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Editorial
Editor Daniel Lezano
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Art Editor Luke Marsh
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Contributing Editor Caroline Schmidt
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Contributing Editor Jordan Butters
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Editorial Consultant Jo Lezano
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Other editorial contributors this issue:
James Abbott, James Archer, Adam Burton, Helen Dixon,
Ross Hoddinott, Kate Hopewell-Smith & Richard Hopkins

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Contents NOVEMBER2017/ISSUE132

5 EDITOR’S PAGE
Areyoureadytomakethemostofthearrivalofautumn?
8 PORTFOLIO
Grabafist-fullofinspirationfromthismonth’s
photographicroundup–you’resuchatalentedbunch!
16 SNAPSHOTS
Award-winningimagesandallmannerofphotosnippets
51 SPECIAL: AUTUMN COLOURS
Autumnisundoubtedlyoneofthemostphotogenic
seasons–we’vebagsofinspirationalideasinhere
60 EXPERT CRITIQUE
Submityourimagestoreceivevaluablephotofeedback
65 READER SUBMISSIONS
Howtocontributeimagesortakepartinourworkshops
68 BEGINNER’S GUIDE: BLACK & WHITE
There’sfarmoretoitthandiallingdownthecolouryou
know.Startyourjourneytomasteringmonochromehere
81 MARKETING YOUR PHOTO BUSINESS
LeadingphotographerandentrepreneurKateHopewell-
Smithoffershertopmarketingadviceforphotographers
86 MAIN INTERVIEW: MICK RYAN
Letlandscapephotographer,authorandfounderof
fotoVUEphotoguidebooks,MickRyan,leadtheway…
138 WIN SOME GREAT PRIZES! 51
TwofantasticManfrottobundlesupforgrabs

16 28 32

40
Phototechnique 36
28 PHOTO SKILLS: CREATIVE COBWEBS
Thecreepycrawliesareoutinforce!Here’showtoturn
theirsilkycreationsintomacromasterpieces
32 PHOTO SKILLS: WINDOWLIT PORTRAIT
CarolineSchmidtshowsyouhowtocapturestunning
professionalportraitsusingonlynaturallight
36 PHOTO SKILLS: FRIGHTFUL FRAMES
Wehaveaspookyin-cameramultiple-exposure
techniqueforyoutotryoutthisHalloween
40 PHOTO SKILLS: FOCUS STACKING
Expanddepth-of-fieldinyourshotsbylearninghowto
focusstackimagestogether.Here’showtoshootit… 48
44 EDIT SKILLS: FOCUS STACKING
…Andhere’showtoeditit.Bringyourfocusstacktogether
easilyandinminutesinAdobePhotoshop
46 EDIT SKILLS: FACE OFF
Guaranteegreatgroupshotsbystackingtheoddsinyour
favour–shootplentyandpickthebestfaces!
6 84 SUBSCRIBE TODAY!
48 EDIT SKILLS: DEHAZE FOR CONTRAST
Here’showtousetheDehazetoolformorethanjust
Takeadvantageoftheverylatestsubscriptionoffers
cuttingthroughthemist–controlcontrastwithease

6 Digital SLR Photography November 2017

 CONTRIBUTINGTHIS MONTH:
Daniel Lezano
With over 30 years’ experience as
an enthusiast SLR photographer and
20 years on photo magazines, editor
Lezano is as passionate as ever about
photography, in particular portraits.

Caroline Schmidt
An experienced journalist and
photographer, Caroline brings her
talent for photography and creating
inspiring content to every issue.
carolineannphotography.co.uk

Jordan Butters
With a finger on the pulse of all
things photography, Jordan’s our
social media master, features guru
and a talented pro photographer.
jordanbutters.co.uk

Ross Hoddinott OUTDOOR

He’s not only an award-winning
nature photographer, a leading
expert in landscape and wildlife
photography, he’s a top tutor, too.
rosshoddinott.co.uk

Lee Frost LANDSCAPES

A long-standing regular contributor,
Lee is a fountain of knowledge when
it comes to shooting landscapes and
delivering expert tutorials.
leefrost.co.uk

Ben Hall WILDLIFE

68 102 A renowned wildlife photographer,
author and tutor, Ben applies his
expert knowledge to help improve
your wildlife photography skills.
benhallphoto.com

Helen Dixon LANDSCAPES

Helen is living the dream, having
given up a full-time job to live in
Cornwall and become a professional
landscape photographer.
helendixonphotography.co.uk

Kate Hopewell-Smith PORTRAITS

A leading professional photographer,
81
Gear:Tested&Rated businesswoman and former Nikon
100 PRODUCT NEWS UK ambassador, Kate offers her
Newsofthelatestgear,excitinggadgetsandmust-have business advice on page 81.
accessoriestolaunchinthelastmonth katehopewellsmith.com
102 FUJIFILM GFX 50S James Abbott LANDSCAPES
Fuji’sforayintotheworldofmedium-formathasshaken James is an award-winning editorial,
uptheindustry.Howgoodisthis51.4-megapixelbeast? advertising and commercial
106 GROUP TEST: CARBON-FIBRE photographer, specialising in portrait
TRIPODS UNDER £350 and landscape photography.
Inthemarketforanewtripod?You’reintherightplace. jamesaphoto.co.uk
Ninemodelsthatwon’tbreakthebankareputtothetest
Mick Ryan LANDSCAPES
Climber, photographer, writer, editor
86 106 and publisher. With Chris Gilbert he
has recently authored a photo-
guidebook to the Peak District.
fotovue.com

Richard Hopkins TESTS

With over 30 years’ experience
testing cameras for photography
magazines, Richard’s one of the
UK’s leading technical experts on
photo kit, in particular lenses.

November 2017 Digital SLR Photography 7

 Portfolio
Moeraki Boulders Sunrise
by Kaitlyn McLachlan
www.kaitlynmclachlan.com

“This magical beach on New Zealand’s east coast has

unique boulders that look like giant dinosaur eggs.
I matched tide charts so that I could capture this
photo as the tide was beginning to cover the rocks.
Shooting with my tripod in knee-deep water, I got up
close for this perspective. This was the first time I'd
used my new reverse ND grad filter, which proved
perfect for this colourful sunrise!”
Canon EOS 5D Mk IVwith EF 16-35mm f/4LIS USM lens.
Exposure: 3.2 seconds at f/10 (ISO 100).
 Waipapa Point by Kaitlyn McLachlan
www.kaitlynmclachlan.com

(Above) “Sometimes the best photos are unplanned. I drove

over two hours to get to this lighthouse for sunset, but by
the time I arrived clouds covered the sky. I waited it out and
got a shot just as the sun broke, but left assuming the sunset
was over. This was taken handheld from the car park as I put
away my kit – the sky lit up beautiful oranges and purples!”
CanonEOS5DMkIVwithEF70-200mmf/4LISlens.Exposure:1/500secatf/8(ISO800).

Wharariki Sand Dunes by Kaitlyn McLachlan

(Left) “At the northern tip of New Zealand’s South Island sits
a beautiful beach with interesting rock formations and large
dunes. Because it was a blue-sky afternoon, I knew I
wouldn’t get the sunset I'd hoped for, so I explored the sand
dunes. I ended up lying on the sand and shooting handheld
to get this frame, capturing the details in the sand ripples.”
CanonEOS5DMkIVwithEF16-35mmf/4LISUSMlens.Exposure:1/125secatf/10(ISO100).

The Lone Tree by Kaitlyn McLachlan

(Left below) “I wanted to get my own unique perspective on
this famous tree. Rocks were jutting out from the water,
providing great foreground interest. I shot from ground
level to accentuate the tree against the distant mountains.
A polariser and ND filter helped to control reflections and
smooth out the water with a longer exposure.”
CanonEOS5DMkIVwithEF16-35mmf/4LISlens.Exposure:Sixsecondsatf/10(ISO100).

Ray of Light by Kaitlyn McLachlan

(Right) “For a few moments each day, if weather conditions
align, Antelope Canyon in Arizona sees these magical rays
that make their way down to the walls of the canyon. Access
to this canyon is strictly controlled by guides, so I returned
multiple times to familiarise myself with different photo
opportunities. Even then, you need to be quick!”
CanonEOS7DwithEF-S10-22mmf/3.5-4.5USMlens.Exposure:0.3secondsatf/8(ISO200).

10 Digital SLR Photography November 2017

Portfolio
Portfolio

Gregarious by Mandy Karlowski

mandykarlowski.de

(Right) “My friends and I were heading home after a day's photography
when suddenly we were surrounded by a herd of sheep. All of the
sheep were eating in a huddle, except for one! This one looked so
comfortable out on its own that I had to take a picture of it!”
Canon EOS 550Dwith Canon EF70-200mm f/4LUSM lens. Exposure: 1/1600sec f/4.5 (ISO 200).

Black Beauty by Mandy Karlowski

(Below left) “I’m fascinated by creatures' expressions and majestic
presence, and by playing with light and contrast, I can capture their
individual characters. My portraits are shot in the zoo using available
light, and then selected and placed on backgrounds in Photoshop.”
Canon EOS 550Dwith Canon EF70-200mm f/4LUSM lens. Exposure: 1/100sec at f/4 (ISO 1600).

African Soul by Mandy Karlowski

(Below centre left) “I use Photoshop's Quick Selection Tool to isolate
the subject from the background. I then lower the saturation with a
correction layer to focus on the contrast before dodging and burning.
I then turn the colour back on and do any colour corrections.”
Canon EOS 550Dwith Canon EF70-200mm f/4LUSM lens. Exposure: 1/125sec at f/4 (ISO 1600).

African Beauty by Mandy Karlowski

(Below centre right) “Giraffes are fascinating animals and a great example
of evolution. They can grow up to six metres tall and are survival
specialists. This picture was also shot in the zoo with a zoom lens.
I was very patient and waited until the giraffe looked directly at me.”
Canon EOS 550Dwith Canon EF70-200mm f/4LUSM lens. Exposure: 1/800sec at f/4.5 (ISO 800).

Curious Owl by Mandy Karlowski

(Below far right) “I was very happy to capture this beauty at the Photokina
Event in Cologne. This image is important to me because it reminds
me of the start of my journey into photography. I'd just bought my
very first 50mm lens and had so much fun trying things out.”
Canon EOS 550Dwith Canon EF50mm f/1.8 II lens. Exposure: 1/1600sec at f/2.5 (ISO 800).

500px Perfect for photos

Every photographer featured in Portfolio receives a year's
Awesome membership to online photo community, 500px.
The Awesome membership includes unlimited image uploads,
advanced statistics and insights, online classes and webinars and
the option to license your images through 500px Marketplace.
500px is the perfect place to discover, share, buy and sell inspiring
images from the best photographers from around the world.
Formore information on 500px memberships,visit:www.500px.com/upgrade

12 Digital slr Photography November 2017

November 2017 Digital SLR Photography 13
City Limit by Edoardo Lavagno
ikhals.com
(Top) “Taken in Turin, Italy; a city not so far from the Alps. I love
contrasts, and this shows the perfect contrast between the city and
nature. I used a long focal length to compress perspective. Pure city
in front of pure nature, represented by the beautiful mountains”
Canon EOS Mwith Canon EF-M 55-200mm f/4.5-5.6 IS STM lens. Exposure: 1/500sec at f/7.1 (ISO 200).
Red by Edoardo Lavagno
(Above left) “Turin is comprised mainly of ancient buildings, so finding
interesting backgrounds is easy. I love wandering around on a rainy
day, and Via XX Settembre is one of my favourite streets. I found this
backdrop and waited. The lady with the red umbrella was perfect –
a pop of colour in the grey. The motion shows the pace of city life.”
Canon EOS 6Dwith Canon EF16-35mm f/4LIS USM lens. Exposure: 1/20sec at f/4 (ISO 400).
14 Digital slr Photography November 2017
City Vibes by Edoardo Lavagno
(Above right) “I don't usually shoot with any special equipment, just my
Canon EOS 6D and EF 35mm f/2 – no extra props or lights. No poses,
no direction; I just asked the model to express herself. It's important to
me to keep the shot as natural as possible, because I love to capture
with my camera the same genuine vibes I'm able to see with my eyes.”
Canon EOS 6Dwith Canon EF35mm f/2 IS USM lens. Exposure: 1/250sec at f/2 (ISO 100).
Symbols by Edoardo Lavagno
(Right) “Taken during a summer thunderstorm from a viewpoint above
Turin, this building is called Mole Antonelliana and it is special to me
for two reasons. It's the symbol of my city, and it's a beautiful piece
of architecture! It took many attempts to find the right settings; it was
windy and I didn't want to lose the cloud detail with a long exposure.”
Canon EOS 6Dwith Canon EF85mm f/1.8 USM lens. Exposure: Five seconds at f/11 (ISO 100).
Portfolio
ABird’s award
results

EyE ViEw
Getreadyforafeatheryfeastforthe eyesaswe
presentthe bestimaGes fromthisyear’s beautiful
bird photoGrapher oftheyear competition…
ahmad alessa / bird photographer of the year
snapshots / The world of photography
Jamie Hall/ bird pHotograpHer oftHeyear
gabor kapus / bird pHotograpHer oftHeyear
aleJandro prieto roJas / bird pHotograpHer oftHeyear
F
rom dramatic wide-angles of kites in flight to snuggling
cygnets, delicate details and the mesmerising murmuration of
starlings, it’s not difficult to see why so many photographers end
up pointing their lenses towards our feathered friends.
when it comes to recognising and awarding the best avian artwork,
the winning images from this year’s Bird Photographer of the Year
competition have certainly ruffled a few feathers here among the
Digital SLR Photography team. no more bird puns from here on out,
we promise. now in its second year, the award is supported by the
British trust for ornithology, and this year’s award was presided over
by naturalist photographer, author and television presenter chris
Packham. the competition was open to photographers of any age,
amateur and professional, from any territory around the world.
this year’s crowned Bird Photographer of the Year, and recipient of
the £5,000 top prize, was chosen as alejandro Prieto rojas, who took
his winning image ‘Flamingos’ at rio legartos in eastern mexico. Head
judge Packham commented: “it was a tough job for the judging panel
to whittle down the entries to a handful from which to choose the
18 Digital slr Photography November 2017
pålHermansen / bird pHotograpHer roftHeyear
andrewparkinson / bird pHotograpHer oftHeyear
kelvin dao / bird pHotograpHer oftHeyear
winners, albeit a very enjoyable tough job. the standard of
photography was extremely high and myself and the other judges were
treated to some fantastic bird photographs, but congratulations must
go to alejandro Prieto rojas for his sublime image of flamingos, an
incredible balance of colour, composition and emotion.”
if you like what you see, then the competition book might take your
fancy – featuring the best images from the award, as well as the stories
behind them, it’s available now priced at £25. or, if you think you’ve got
the eye for capturing stunning avian images, then why not enter next
year’s competition? the 2018 Bird Photographer of the Year is open
right now, running until 30 november 2017. there are seven categories
to chose from: Best Portrait, Birds in the environment, attention to
detail, Bird Behaviour, Birds in Flight, garden and Urban Birds, and
creative imagery. You can enter up to eight images per category – entry
starts at just £1.21 per image for multiple images, or £6 for a single
image, and you could win a host of cash and kit prizes. there’s also an
award for Young Bird Photographer of the Year, open to those aged 16
and under. For more information, visit: www.birdpoty.co.uk
Vince Burton / Bird photographer oftheyear

November 2017 Digital slr Photography 19

snapshots / The world of photography

Shootfor
theStarS award
reSultS
thewinningimagesfromthis
year’sinsightastronomy
photographeroftheyearaward
are,asyoumighthopeandexpect,
completelyoutofthisworld…

W
ith a top prize of £10,000 up for
grabs, the 2017 insight astronomy
photographer of the Year award is a
hotly-contested competition amongst the
best of the astrophotography world. Modern
imaging technology has opened up the
world of astrophotography to all of us –
with enough time, practice and knowledge
you can just as likely capture award-winning
images of space with an entry-level DSLR as
you can with a complex telescopic set-up.
the annual award, now in its ninth year, runs
in association with the Royal observatory
Greenwich and seeks to find the best
interplanetary images from around the world
(and beyond). this year it attracted almost
4,000 entries from over 90 countries!
the overall grand prize winner was
Russian photographer artem Mironov,
whose detailed image of the Rho ophiuchi
Cloud Complex, situated approximately
400-light years away from Earth, impressed
judges in the Stars & Nebulae category. the
winning image was taken on a Canon EoS
5D Mk ii over a whopping 15-hour exposure
at iSo 1600, using a Sky-Watcher 200mm f/4
reflector telescope and hEQ5 pro mount.
Judge and BBC Sky at Night magazine editor
Chris Bramley, commented: “Judging the
entries has been a real pleasure but also
tougher than ever, such was the all-round
quality of the field. i was particularly
impressed that there were so many new and
ground-breaking responses to the night sky
captured by the entrants this year.”
the winning and commended images are
now on display at the Royal observatory
1
astronomy Centre, in a free exhibition until
28 June 2017. the book celebrating this
mikkelbeiter/insightastronomyphotographer oftheyear

2 3
year’s award is also on sale at the exhibition,
priced at £25. For more information on this
year’s winning images, and future awards,
visit: www.rmg.co.uk/astrophoto

1)overallwinner&1StPrizeStarS&nebulae:
TheRhoOphiuchiCloudsbyArtemMironov: “therho
ophiuchicloudcomplexisadarkemissionandreflection
nebulasituatedapprox460-lightyearsawayfromourplane."
2) 1StPrizeaurorae:GhostWorldbyMikkelBeiter:
takeninstokksnes,iceland,thephotographercapturedthe
glowoftheaurorainthewetsandsascloudsrollacrossthe
mountains,allowinghimtocapturethisother-worldlyscene.
3)1StPrizePeoPle&SPace:WandererinPatagoniaby
YuriZvezdny: “astargazerstaresupatourgalaxy,themilky
way,astheystretchacrossthenightskyovertheglacier
‘whitestones’inthelosglaciaresnationalpark,argentina."
4)1StPrizePlanetS,coMetS&aSteroidS:Venus
PhaseEvolutionbyRogerHutchinson: thephotographer
capturesthechangingsizeofVenuswiththesamesetupas
theplanetmovesacrossourskyoveracourseofsixmonths.

20 Digital slr Photography November 2017

 The world of photography \ Snapshots

Connie Fore / ComedyPetPhotograPhyawards

artem mironov/ insightastronomyPhotograPher oFtheyear
You’ve gotto laugh
Photography can all be a bit too serious
at times, can’t it? Whether you’ve got a
dog, cat, goldfish or horse that you call
your own, we’re sure that you’ve seen
them doing some hilarious things over
the years. The inaugural Comedy Pet
Photography Awards competition sets
out to highlight the lighter side of
capturing images of animals and our
pets. The 2017 winners bagged
themselves Think Tank goodies and
WEX Photographic vouchers, with the
top prize of £2,000 going to Nando
Harmsen for his amusing capture of a
prancing pony. If you fancy a giggle,
head to www.comedypetphoto.com
to see the rest of the winners.

Klaus nigge/wildliFe PhotograPher oFtheyear

WildlifeWinners
The Wildlife Photographer of the Year
award, in association with the Natural
History Museum, has announced the
finalists for this year’s prestigious prize.
With over 50,000 entries to choose
from, judges had their work cut out in
narrowing the entries down to the final
roger hutChinson/ insightastronomyPhotograPher oFtheyear
yuri zvezdny/insightastronomyPhotograPher oFtheyear

4
selection, each of which is as
impressive as the last. The winners will
be announced on 17 October at an
awards ceremony in the Natural
History Museum’s great Hintze Hall.
We’ll be bringing you news of all the
winning images in the next issue, but in
the meantime, if you’re able, we’d
recommend visiting the Natural History
Museum and viewing the exhibition
yourself. It opens on Friday 20 October,
running through spring 2018, with
tickets costing £14 for adults or £8 for
children/concessions. NHM members,
patrons and children under four go
free. The images then embark on an
international tour in 2018, with details
to be confirmed. For more, head to:
www.nhm.ac.uk/visit/wpy.html

November 2017 Digital Slr Photography 21

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 KEITH LADZINSKI / RED BULL CONTENT POOL
IT'S LIGHTS OUTACROSS AMERICA
MILLIONS OF PEOPLE gathered to gaze at the rare total solar eclipse that happened across
the United States last month. The full solar eclipse is the first one in nearly four decades and as
a once-in-a-lifetime photo opportunity for many, it comes as no surprise so many enthusiast
and professional photographers tried to capture the celestial event in their own special way.
Whilst some photographers filled the frame during the minutes when the moon eclipsed
the sun, others performed feats to make their photographs even more spectacular. Red Bull's
professional photographers – in their usual daredevil form – captured a number of high-
adrenaline events during the eclipse, from cliff-diving to slacklining hundreds of metres above
a ravine! What did you get up to? We’d love to see your pictures on our Facebook page!

THE ROBOTS
ARE COMING
ISAUTOMATIONANECESSARYevilorjustthe
progressionoftechnology?It’satopicthat’savery
realissueinmanylinesofwork–from
manufacturingtopackagingcompanies,and
now,portraitphotographers!IRISisanew
automatedphotobooththat’sarrivedintheU.S,
claimingthatitcancapture“professional–quality”
imagesinjustafewseconds,foraslittleas
USD$20!Theboothgivesusersachoiceofsix
high-keyheadshotsfromafixedfocallengthand
evenallowsthemtoedittheirownimageswith
smartblemishremoval,brighteningandteeth
whitening.Goingbythecarefullyselected
exampleimagesonthewebsite,theresultslook
CASSINI’S PARTING SHOT
NASA/JPL-CALTECH/SSI/JASON MAJOR

goodenough,butsurelyaflashandalensareno
replacementforaphotographer'screativevision
andexperience?IRISboothsarecurrentlyinnine
locationsaroundtheU.S,withmoretofollowin
thenearfuture.Whatdoyouthink?Can
photographybecomeentirelyautomated?Letus
knowonTwitter:@digitalslrphoto
ON 15 SEPTEMBER, NASA’s Cassini space probe bid us a fond farewell as it broke up
upon entry into Saturn’s atmosphere, but not before it transmitted one final hurried
image – the closest ever taken of the gas giant. The parting shot doesn’t show us much
that Cassini hasn't revealed in its 13-year orbit of Saturn, including the impressive
capture above, taken on its penultimate day in orbit. During its time, the images from
Cassini revealed more detail and information about Saturn’s rings and moons than ever
before, fuelling the fire of space exploration for decades to come.

November 2017 Digital SLR Photography 23

 GO ANYWHERE,
SHOOT
EVERYTHING
IMAGE TAKEN WITH X-T20 BY KAREN HUTTON | WWW.KARENHUTTON.COM

VISIT FUJIFILM-X.COM/CAMERAS/X-T20
POWERFUL 24.3-MEGAPIXEL X-TRANS CMOS III SENSOR WITH X-PROCESSOR PRO ENGINE
TOUCHSCREEN REAR LCD | 4K VIDEO RECORDING | EASY TO USE ADVANCED SR AUTO MODE
 The world of photography \ Snapshots

QuickEdit
Photo app
SKIN EDITINGWITHTHE CLONE STAMPTOOL

1 OpenyourimageinPhotoshopandduplicatethe
BackgroundLayersoyou’renotworkingontheoriginal
image.Ifyoumakeamistakeyoucanalwaysrevertback.
2 SelecttheCloneStampToolandadjustthesizeofthe
brushtosuittheareasyouwanttotarget.Inthe
options,settheHardnessto0pxtokeepaverysoftedge.

Enlight QuickShot
Price:Free/Platform:iOS
First was the award-winning image editor
Enlight, then came its equally deserving
sequel Enlight Photofox. Now we have
Enlight Quickshot. Focused on speed, Enlight
Quickshot lets you shoot and edit in the same
place. You can edit multiple pictures with
batch processing and its one-tap feature
automatically aligns, straightens and enhances
your image while you shoot. It also offers new
filters and a Strobe mode to take pictures of
moving subjects. It sounds a tempting app
given the history of Enlight, but whilst it’s free
to try, pricey in-app monthly subscriptions
apply. Given the power of Enlight Photofox

3 SetOpacityto100%butreduceFlowtoaround10-15%.
Selectanearbyareaofsimilartonebyholdingdownthe
altkeyandclicking.Then,brushovertheblemishes.
4 Repeatstep3acrosstheimage,targetingnewareas.
ThelowFlowletsyoubuilduptheeffectforanatural
finish,butuseaLayerMasktoeraseareasifneeded.
and other iOS photo editing apps, the price
might not warrant the features unless all-out
convenience is really what you’re after.

Smile with Samsung

MAKEUSLAUGHFORACHANCETOWINASAMSUNG
128GBMICROSDXCPRO+MEMORYCARD!
SAMSUNG’S PRO+ microSDXC cards can be
used in a range of equipment, including drones
and action cams. Made for ultra-fast data
transfer, they boast read speeds up to 95MB/
sec and write speeds up to 90MB/sec – ideal
for high-resolution images and 4K video. Plus they're
waterproof, temperature-proof, X-ray-proof and magnetic-
proof. You can try this super card for yourself, as Samsung is
MILKOVASA/SHUTTERSTOCK

generously giving one away. All you have to do is email a witty

caption for our image with the subject 'Smile this November'
by 18 November 2017 to: enquiries@dslrphotomag.co.uk.
If you make our sides split, you’ll win a Samsung Pro+ 128GB
microSDXC card worth £119. UK entries only.
www.samsung.com/uk/memory-cards/all-memory-cards/

November 2017 Digital SLR Photography 25

 PH TO
SKILLS
ideas &advice for better photos

p44:mergeyourfocusstackstogether

p28:becomeawebwonderthisautumn p32:masterqualitywindowlitportraits

p46:faceswapforgreatgroupportraits

p36:createahauntingdoubleexposure p40:howtoshootfocus-stackedimages p48:howtousedehazeforcontrastcontrol

PH TO
SKILLS

web
DeSiGN
oNe oF the FirSt SiGNS oF AutumN iS the iNFlux oF
SpiDerS AND cobwebS everywhere! while you miGht
Not be FoND oF theSe eiGht-leGGeD creepy crAwlieS,
JorDAN butterS ShowS you A creAtive wAy to
turN their homeS iN to A photoGrAphic StuDy…

Camera:NikoND750/Lens:NikoNAF-S60mmF/2.8Gmicro

I
s summer over already?! one minute you’re enjoying the long
days, the odd glimpse of sunshine and lighter evenings, and then
suddenly the temperature drops, the trees are on the turn and you
notice that there are spiders everywhere! spider season is in full effect
and, love them or hate them, there’s no denying their work ethic when
it comes to spinning elaborate webs in every nook and cranny.
While those with an aversion to arachnids, much like myself, might
shy away from photographing the spiders themselves, you can still
make a great photographic subject of their intricate cobwebs (when
uninhabited, thank you!). Their fine, silky yarn can be almost invisible at
times, so you’ll not only want to use a dedicated macro lens, extension
tube or a close-up filter to magnify it, but you can also take advantage
of the autumnal conditions and choose a dewy morning to do so. The
tiny droplets of dew will grip to cobwebs like a string of crystal-clear
pearls, highlighting the web’s complex pattern, and allowing you to
play with angles, focus and the background to create wonderfully
enchanting seasonal images. Give it a try!
PH TO
sKIlls
1 search the web I can barely walk out of the front door without
getting a face-full of web at this time of year, so finding a suitable
one to photograph should be pretty easy. Look at thorny branches
protruding from bushes or in the corners of railings and you’ll usually
find several to choose from. Cobwebs in direct sunlight will help with
shutter speeds, although cobwebs in open shade can work well too.
3 shoot handheld We’d often advocate using a tripod for outdoor
macro subjects, but shooting handheld allows you to adjust your
angle quickly as the dew dissipates and the light changes. Consider
the lens’s focal plane in relation to the web – shooting at an angle to
the web allows the dew to fall out of focus more quickly for lovely
bokeh, while shooting straight-on renders more of the drops in focus.
5 Increase Iso You need a fast shutter speed to eliminate any camera
movement and blur from the web moving in the breeze. Don’t
be shy to bump the ISO up to achieve this – a sharp shot with a bit of
noise at ISO 800 is far better than a blurry shot without any grain. An
aperture of f/8-f/13 will give a good depth-of-field, or you can open
up wider for a more artistic shot, although focusing will be trickier!
30 Digital slr Photography November 2017
Capturing cobwebs
2 spray If needed Early morning is best for web-hunting, and if luck
is on your side then your chosen web will be coated in a string of
tiny dewdrops. Calm, sunny autumn mornings following a cold night,
with a light fog are perfect! If the conditions aren’t to be, then you can
cheat a bit – a fine mist water spray bottle can be used to create, or
add to, the dew-like drops by gently spraying from a distance.
4 rock wIth It Getting accurate focus handheld is tricky at high
magnifications as the plane of focus is wafer-thin. One way to deal
with this is to set the camera to continuous burst mode, choose your
focal distance manually (in my case the minimum) and then gently
rock back and forth to achieve focus. When you have it – shoot a
sequence of images and, with luck, some will have pin-sharp focus.
6 backdrop choIce Both light and dark backdrops work, as do those
with a nice gradient between the two. You can easily change
this by adjusting your angle. With a darker backdrop, use negative
exposure compensation to stop the camera from over-exposing, and
with a light backdrop use positive compensation. After capture, check
for focus and make sure the preview and histogram looks healthy.
 Web broWser
Wheneditingyourimages,watchoutfor
purpleandgreenchromaticaberrationon
thesilkandedgesofthedroplets–most
softwarecanquicklyandeasilyfixthis.
Exposure:1/640secatf/4.8(ISO640)
 PH TO
SKILLS

windowlit
portrAits
DAylIGht IS eASIly AcceSSIble AND the ObvIOuS chOIce FOr phOtOGrAphING pOrtrAItS,
but whAt’S the beSt wAy tO uSe It INDOOrS? cArOlINe SchMIDt explAINS yOur OptIONS…

Camera:NIKOND800/Lens:NIKONAF-S85MMF/1.4G/aCCessOry:reFlectOr

W
hen it comes to flattering, versatile and malleable
lighting, daylight can’t be beaten. it’s free, plentiful and
ready to use if you know how to control and manipulate
it for creative effect. Any window or doorway can work as a great
indoor light source, so long as the sun isn’t streaming directly
through. north-facing windows generally offer the most
consistent light, but any opening will do; you may just need to wait
for it to change direction or diffuse any strong light. the size of your
window also plays a part in the quality of the light: the bigger the
window, the softer and broader the light.
once you’ve chosen your light source, you need to decide on
the effect you want. side-lighting, front-lighting or backlighting
each come with their own set of considerations. how you position
your subject in relation to the light – proximity and angle – have a
massive impact, as well as your method of diffusion. net curtains
and indirect light are popular solutions, but you may also want to
have a reflector close to hand to fill in shadows in the case of side
or backlighting. For this tutorial, i’ll show you how to capture a
professional-looking headshot using natural front light for a soft,
evenly lit portrait, and a side-lit portrait for more dramatic effect.
PH TO
sKIlls
1 Position your subject For front lighting, place a subject in the
entrance of a window or door and have them move backwards
to evaluate how the light falls on their face. You want to stop them at
the point where their skin is shadowless and bright. Position yourself
in front of them, with the light coming in from behind you.
3 Focus Set your camera to shoot in single-point AF mode and
position the AF point over one of your subject’s eyes. By using a
wide aperture such as f/2.5 and focusing on the eyes, whilst keeping
the camera parallel to the face, you’ll get a beautiful fall-off in focus.
If you pose them at an angle, you’ll need to stop down your aperture.
5 try side- lighting Side-lighting is far more dramatic, with more
shadow and definition than front lighting. Try to angle your subject
45° to the window and dial in an f/stop of at least f/4.5 to account for
the need of increased depth-of-field to stop the far eye from falling
out of focus. Use multi-zone metering to average the exposure.
34 Digital slr Photography November 2017
Windowlit portraits
2 exPosure Set your camera to aperture-priority mode and use
spot metering to expose for the skin, this should automatically
darken the background as your subject is closer to the light, making
them stand out. Keep an eye on your shutter speed and, if necessary,
increase the ISO to give a shutter speed that eliminates camera shake.
4 your background Often when front lighting a portrait, you’re at
the mercy of your background. You can unclutter it but sometimes
that’s not enough. Where the background adds context to your image,
don’t be overly concerned with it, but you may want to use a seamless
or poster board behind your subject for a cleaner look.
noreFlector withreFlector
6 use a reFlector Depending on your subject’s angle to the light, if
you’re working with direct light or a small window, the far side of
the subject’s face is likely to be in shadow. A reflector can help fill in
any dense shadows on the face by bouncing light back in. Try a silver,
white or gold reflector for varying results.
 try being up front
Holdingablackposterboard
behindthesubjectisaquickand
simplewaytoapolishedportrait.
 PH TO
SKILLS

Haunted
Portrait
The uNuSuAl eFFecTS OF MulTIPle exPOSuReS ARe INdISPuTAbly
eeRIe. cAROlINe SchMIdT exPlAINS hOw yOu cAN cAPTuRe yOuR
OwN hAuNTING PORTRAIT uSING ThIS IN-cAMeRA TechNIque

Camera:NIKONd800/Lens:NIKONAF-S50MMF/1.4G/aCCessOrIes:TRIPOd

C
elebrating all Hallows’ eve is a licence for
trick-or-treating, frightful costumes and – best of all
– creative photography. eerie long exposures, low-key
portraits and candle-lit still-lifes are some techniques worth
exploring but, out of them all, multiple exposures suit the
spooky spiritual essence of Halloween the most. and, did
i mention – there’s no need for any Photoshop trickery.
a camera’s multiple-exposure facility works by blending
the brightest parts of each image, rendering each shot as a
low-opacity frame layered on top of the other. Most cameras
let you merge up to ten images, but you’ll likely get the best
effects by shooting and merging two or three frames.
a popular technique that’s most commonly associated with a
double exposure is when you shoot a silhouette against a bright
background and then a second frame that fills the silhouette
with texture. For this tutorial, however, we’ll be focusing on a
double exposure of a single subject to create a darker,
supernatural portrait. whilst the technique originates from
complex film photography, the multiple-exposure facility in
many current digital slrs make this as simple as using a tripod,
dialling in a few settings and imagination. give it a try!
PH TO
SKILLS

1 SET-UP It’s important to shoot your subject against a clutter-free

background as any elements that move between frames will
be rendered a jumbled mess. For this reason, you also need to use a
tripod to make sure the person photographed lines up in each frame
to avoid ghosting around the outline.
2 CAPTURE THE RIGHT EXPOSURE As it’s the bright elements that get
merged, I asked my subject to wear dark lipstick so her mouth stood
out through her hands. Pose your subject and light them as if you were
photographing a regular headshot. I’ve used a neutral wall and window
light with aperture-priority mode and f/4 for sufficient depth-of-field.

3 SET YOUR DSLR Check your camera’s manual for how to access your
multiple-exposure facility. For Nikon, you’ll generally find it under
the Shooting Menu. Use the four-way control to turn the feature on
and set it to Series to shoot blended images continuously. Next pick the
number of images you want to shoot and blend.
4 WHY USE AUTO GAIN? With Nikon it’s Auto Gain; with Canon it’s
Average, but both settings adjust the exposure of your final image
automatically. As multiple exposures work by combining frames, the
density of the images will increase, so if you don’t use this feature
you’d need to adjust each shot to manually compensate.

5 TAKE YOUR SHOTS When you come to take your exposures,

remember that the final frame will be the most visible. You also
want to consider the density of your subjects, for instance when
your subject places their hands over their face, avoid overlapping
fingers as this will cause certain areas to look more dense than others.
6 EDIT To convert the image to monochrome, add a black & white
adjustment layer (Layer>New Adjustment Layer>Black & White).
To boost the contrast, adjust the colour channels. I decreased the
Reds to darken the shadows and increased Yellow to brighten the
highlights. There you have it, a spooky Halloween portrait.

38 Digital SLR Photography November 2017

 what lies beneath
Channelthesupernaturalthis
monthbyshowingyoursubject’s
manyfaces–trywithtwoframesor
evenmorelikeIhaveonp37.
Exposure:1/160secatf/4(ISO400)

protip
UseprevioUsimages
Somecamerasallowyoutoselect
previouslyphotographedimagesto
use.Ifyouchoosetodothis,you’ll
needtoadjusttheexposuresto
ensureacorrectly-exposed
imageonceblended.
 PH TO
SKILLS

focuS STackIng
FOcuS STAcKING IS A SKILL MORE cOMMONLy ASSOcIATED wITh MAxIMISING DEPTh-OF-FIELD IN MAcRO IMAGES.
jAMES AbbOTT ShARES ThIS GREAT METhOD FOR GIvING FRONT-TO-bAcK ShARPNESS IN yOuR LANDScAPES

Camera:NIKOND610/Lens:NIKONAF-S16-35MMF/4G/aCCessOrIes:TRIPOD,REMOTERELEASE&POLARISINGFILTER

Y
ou’ve proBaBly heard this a
million times: to ensure extensive
depth-of-field when shooting
landscapes, use a small aperture and focus
on a point one third of the way into the
scene. This is of course true, and working to
this simple rule provides you with images
that are sharp in most areas, and acceptably
sharp in others. But what can you do to
achieve absolute pin-sharpness from a
metre away all the way to the background?
The simple answer is focus stacking. This
is a technique where you shoot two or three
images focused on the foreground, middle
ground and background. These are then
blended together in photoshop so that the
whole image is perfectly sharp throughout.
What’s more, with this technique you can
usually shoot at the lens’s ‘sweet spot’ of
f/11-f/13, which gives you the highest level
of sharpness possible. Shooting at the
‘sweet spot’ doesn’t give the most depth-
of-field, but is the point before diffraction
begins to creep into images, softening
detail, as you stop down the aperture.
you may be wondering why you’d need to
take such drastic measures to ensure a
large depth-of-field when shooting with a
wide-angle lens. Wide-angles produce the
most depth-of-field of all lenses, right?
In reality almost all lenses produce the same
depth-of-field if set to the same aperture.
But it’s the narrower field-of-view of
telephoto lenses that gives the impression
of a shallower depth-of-field than with a
wide-angle that produces a wide field-of-
view. If you crop an image taken with the
latter to match the crop of a telephoto,
you’ll find that they’re near identical.

protip
Focusingmatters
It’sworthrememberingwhenfocusing
thatdepth-of-fieldextendsmuchfurther
behindthepointoffocusthanitdoesinfrontof
it.Thismeansthatit’softenworthfocusingjust
alittlewayinfrontofwhereyouintendto
focusbecausethiswillensurethat
depth-of-fieldiscoveringasmuch
groundaspossibleacrossyour
twoorthreeshots.
PH TO
sKIlls
1 COMPOSE THE SHOT Attach your camera to a tripod and ensure that
the set-up is securely locked. Any movement between the two
or three shots you need to take will cause an editing nightmare later.
Now compose the shot using the viewfinder or LiveView, whichever
you prefer, and once the camera is in position, lock off the tripod head
to avoid any movement between shots.
3 AVOID SHAKE While these settings provide excellent sharpness, the
shutter speed will often be slow, especially at sunrise, sunset, or in
a dark location. If you’re shooting water in the landscape it’s probably
going to be longer than a second. To avoid touching the camera to
release the shutter, use a remote release. If you don’t have one, set the
camera’s self-timer to a five-second delay and use this instead.
5 FOCUS ON THE BACKGROUND If the scene is deep with a large distance
between the foreground and the background, as here, it’s worth
focusing on the middle ground and taking a shot, before doing the
same with the background. In most cases images of the foreground
and background are enough, but if you’re unsure, shoot the middle
ground too so you can compare this to the foreground image later.
42 Digital slr Photography November 2017
Focus stacking
2 CAMERA SETTINGS Normal landscape rules apply, so aim to shoot in
aperture-priority at f/11 with ISO at 100. The light was changing
from bright to overcast so it wasn’t possible to use an ND filter to blur
the water. To achieve an exposure of 2.5 seconds, the ISO was set to L
(ISO 50) and the aperture to f/16. These aren’t ideal settings, but they
were the best ones to extend the exposure in the difficult light.
4 FOCUS ON THE FOREGROUND Switch on LiveView and make sure
single-point AF is on. Move the active focus point over the
foreground area. Depending on the scene this may be right at the
bottom of the frame – in this image the waterfall in the foreground is
roughly a metre away. Fire the shutter using a remote release or the
self-timer, and review the image before moving onto the next shot.
WATCHOUTFORCHANGESINlIGHTlEVElS
On the daythese imageswere taken, therewere spells ofsun and cloud,which
meant that thewaterfallwas bathed in bright sunlight one moment and then
overcast the next.When shooting a set ofimages to be focus stacked,you need
consistencyin light and exposure so the images can be blended successfully,
so be surewhen shooting images thatyou’ve a complete set in the same light.
 SeamleSSly blended
Thecloseproximityofthe
foregroundfallsandtheextensive
distancetothebackdropmeant
thatfocusstackingwasessential.
 / Adobe Photoshop CC

BLEND YOUR
FOCUS STACK
PHOTOSHOPCANDOAGOODJOBOFSTACKINGYOURIMAGES,
SOUSEOURSIMPLESTEPSTOCREATEASUPER-SHARPRESULT BACKGROUND FOREGROUND

1 LOAD FILES INTO STACK Save your focus-

stacked shots in a folder on your desktop.
Open Photoshop without any images and go
to File>Scripts>Load Files into Stack. When
the window opens choose Use: Folder, and
locate the folder with the saved shots. Make
sure Attempt to Automatically Align Source
Images is checked and press OK.
2 CROPTHE IMAGE The image may need
to be cropped. Zoom into the image by
pressing ctrl and the plus(+) key, and scroll
around by holding down the spacebar and
left mouse-clicking. If you need to crop, press
C to activate the Crop tool and select Original
Ratio in the top left tool menu. Left mouse-
click, drag the guide and press Enter.
3 CHECK LAYERS With the image still zoomed,
click on the eye icon to the left of the top
layer on the Layers panel. Scroll around to
see where sharpness starts and ends. If you
have three images, leave visibility of the top
layer off so you can do the same again. Turn
on visibility and attach a layer mask to the top
layer (and middle layer if you have one).

4 MASK SHARPNESS Press D on the keyboard

to set the default colours of black and
white. If white is in the foreground press X to
switch to black. Press B to select the Brush
tool and use the Brush Preset picker to set
Hardness to 50%. Change brush size with the
left and right square bracket keys. Now paint
over the blurred area to reveal sharpness.
5 FIX MASKING MISTAKES If you accidently
paint over the wrong part of the image
and reveal blur rather than sharpness,
press X on the keyboard to set white as the
foreground colour. Paint over the offending
area before switching the foreground colour
back to black. Change brush size as required
using the left and right square bracket keys.
6 FLATTEN & SAVE Once happy with the
blending, it’s time to flatten and save the
image. Click on the menu represented by four
horizontal lines at the top right of the Layers
panel, then select Flatten Image from the list
of options. Press Ctrl+Shift+S to bring up the
Save As dialogue, save as JPEG if you’re done
or TIFF if you intend to add Adjustment Layers.

TRYAUTO-BLEND LAYERS
Photoshop can focus stack images
for you, but it sometimes masks the
different images poorly to show strange
areas of blur where they should be sharp.
It’s still worth giving it a try because
sometimes it does a fantastic job, but
if it doesn’t, you can stack your images
manually. The manual method is really
simple. To try the automated feature in
Photoshop, stack the images in the same
way as step one. Hold down Shift and
left click to select all layers. Then go to
Edit>Auto-Blend Layers and select Stack
Images. Make sure Seamless Tones and
Colors is checked and press OK.

44 Digital SLR Photography November 2017

 SHARPNESS THROUGHOUT
Bystackingtwoimagestogether,
thisstreamdetailshotonatelephotoat
PadleyGorgeissharpfromfronttoback.
 / Adobe Lightroom CC

Faceswapping
E1
ORIGINAL IMAG ORIGINAL IMAG
E2

LETUSGUIDEYOUTHROUGHTHEPRACTICEOFDIGITAL
FACESWAPPINGFORGUARANTEEDGREATGROUPSHOTS

I
T SOUNDS LIKE a medical procedure, but fear not – the face
swapping here doesn’t involve any surgical knowledge. All you
need is two or more images from the same group portrait, some
editing software and a few minutes of your time.
Generally, face or head swapping comes into its own when
photographing groups of people – inevitably in any group portrait
there will be at least one person who’s blinking, sneezing, looking at
their phone or not paying attention when you press the shutter.
Therefore, it’s always wise to capture a series of images, each a
second or two apart, from the same focal length and position.
Providing you have at least one pleasing frame of each person, you
can carry out this simple technique. The result is a final image in
which you’ve managed to get everyone to look nicely at the camera
at the same time. Let’s get into it.

1 PICK YOUR IMAGES Review your images and

identify your favourite shot. Depending
on the size of the group, you might need to
swap one or more people’s faces for more
pleasing results. It's best to go through all
the frames at the time of shooting to ensure
everyone is looking at the camera in least one
frame to give you a replacement should you
need it. Without it, you might be stuck.
2 COMBINE THE FRAMES Open your final
image and the frame with the head for
replacement in your software. I’m using
Photoshop but Elements or Affinity Photo
works too. Select the correct face, then copy
and paste it onto the final image. If you're
replacing closed eyes then you may not
have to move anything, but if their head has
moved, some correcting might be needed.
3 LINE THINGS UP At the top of the Layers
palette, reduce the opacity of the new
layer to around 50% to allow you to see
through it, then use the Transform tool
(Edit>Transform>Free Transform) to position
the new face. Try to line up the eyes, nose and
mouth by moving or rotating the top layer, if
needed. Once happy, press the Enter key and
remember to return the opacity to 100%.

4 MASK THE NEW LAYER Add a black Layer

Mask (Layer>Layer Mask>Hide All).
Select the Brush tool and, with White as your
colour, use a soft brush to carefully reveal the
‘correct’ face. Again, with blinking subjects
this is easily done. If you’re dealing with a
turned head, then the ideal place to blend the
two images is in the hairline and neck. Take
your time and brush carefully.
5 SHIFTAND TRANSFORM The new face might
need more tweaking to look natural. Use
the Move tool to reposition the top layer, or
use Free Transform to scale or rotate to fit.
You’ll probably find that you’ll need to go
between masking and transforming a few
times before you’re happy. Zoom in and
carefully check where the two frames meet –
any inconsistencies will stand out!
6 FINALTOUCHES Once you’re all done and
happy that the transformation looks
natural, you can now merge the layers
(Layer>Merge Visible) and carry out final edits
before saving the image. It’s always best to fix
pixel-based problems before the rest of your
editing, so as not to waste time if the image
isn’t salvageable, and also to ensure that the
final image has a consistent look to it.

46 Digital SLR Photography November 2017

 / Adobe Lightroom CC

FixskiesinLightroomwithDehaze
THEDEHAZETOOLDOESMORETHANREMOVEFOG;ITCAN

JORDAN BUTTERS
ORIGINALIMAGE

BRINGFLATSKIESTOLIFE,ASJORDANBUTTERSREVEALS…

T
HE PRIMARY FUNCTION of Adobe’s Dehaze tool, as introduced
to Photoshop CC, Lightroom CC and Photoshop Elements 14
in 2015, is to cut through haze, fog and mist in images. If you’ve
an earlier version of Photoshop or Lightroom, then sadly the Dehaze
tool isn’t available, however there are some good filters and plug-ins
available online that mimic the effect.
The Dehaze tool works by assessing the contrast in an image and
applying corrections based on a physical model of how light is
transmitted, therefore its effect differs from image to image. As well
as removing haze and mist, it can also be used to bump up contrast
in images that aren’t affected by traditional atmospheric haze, for
example scenes containing smoke, or even images of the night sky.
And, as you’ll see below, Dehaze is also a fantastic tool in Lightroom
for making flat skies in your landscape images really pop.

1 BASIC ADJUSTMENTS As I have here, start off by making your usual

adjustments. I’ve bumped up the Exposure, added a small Tone
Curve to add contrast, changed the White Balance and applied Lens
Corrections to fix distortion. The sky still looks a bit flat; at this point
you might want to reach straight for the Graduated Filter tool and apply
negative Exposure to the sky, but it’s worth trying the Dehaze tool first.
2 ADD DEHAZE If you just apply the Dehaze to the sky alone, then it
can look jarring with the rest of the image untouched, therefore I
like to apply a subtle Dehaze to the whole image before adding further
Dehaze to the sky. Scroll down to the Effects panel and you’ll find the
Dehaze slider. Increase the slider gradually. You won’t need much at
all – go too far and its effect on the land might be too pronounced.

3 SELECTIVE DEHAZE With the global effect in place, now apply the
Dehaze tool selectively – this can be done using either the Brush
or the Graduated Filter tools; I’m going with the latter to focus on the
sky. Select the Graduated Filter tool at the top and, in the Effect menu,
select Dehaze. Click and drag on your image to set the filter position
before using the upper and lower lines to set the filter graduation.
4 TWEAK SETTINGS The default setting for Dehaze is 25, which is often
just right, however it’s image dependent. Increase the Dehaze
slider for a more dramatic sky, or decrease it for a subtle effect. Dehaze
can introduce an unnatural blue tint when applied too much, but
you can combat this by decreasing the filter’s Saturation slider, or by
increasing the colour temperature using the Temp slider.

48 Digital SLR Photography November 2017


5 MASK OVERLAPS Horizons are rarely free of interruptions, but the
advantage of a digital graduated filter is that you can customise it
to suit the scene. If anything juts up into the filtered area, such as the
lighthouse here, select Mask: Brush at the top of the Graduated Filter
tab and then below, where it says Brush, select Erase. Choose your
brush Size, Feather and Flow below and you're ready to mask.
AdobeLightroom CC \
6 BRUSH THE MASK You can now brush carefully across the offending
area to remove the filter’s effect from this part. Be careful not to
introduce a halo around the object too, as this is easily done. Zoom in
and take your time, altering the brush Size and Feather to avoid a harsh
line. If you make a mistake or go to far, change Brush to A and brush
back over this area carefully to add the filter back in.
November 2017 Digital SLR Photography 49
 IMAGE: ROSS HODDINOTT
Getreadyfor

AUTUMN
THELANDSCAPEISABOUTTOEXPLODEINTOCOLOUR,SOEMBRACEITSOPPORTUNITIESWITHOURTECHNIQUES,
ADVICEANDPHOTOIDEASTHATWILLKEEPYOUBUSYCAPTURINGTHEMOSTPHOTOGENICSEASONOFTHEYEAR
Words: DANIEL LEZANO
Autumn

images: ross hoddinott

ProtipwithNikon
RossHoddinott
Nature photography

1 Foray for fungi the onset of autumn brings with it the chance to find fungi in ever
greater numbers. Fungi thrive in cool, damp conditions, so head to your local woodland and
explore dark, damp areas of undergrowth for suitable subjects. due to their small size, you’ll
need some form of close-up aid. a short telephoto macro lens delivering life-size (1:1)
reproduction is an ideal choice, allowing you to capture the delicacy of the fungi’s structure in
crisp detail – the niKKor aF-s 60mm f/2.8g micro is one such optic. the lack of light means a
reflector and/or small led light is incredibly useful to illuminate the scene and add some
interesting highlights to the fungi’s texture. You may find using a tripod for stability works best, but
alternatively set a high iso rating (800-1600) and/or use image stabilisation to minimise the risk of
camera shake. get down low for the best viewpoint and try exposures at the widest to mid-
aperture settings to determine the extent of depth-of-field that works best for the scene.

2 Autumn wildlife autumn is the

season when many types of wildlife, big
and small, start preparing for the onset of
winter. many species of birds begin their
migration to warmer climates, while others
start collecting food in preparation for the
months of hardship or hibernation ahead. even
fish aren’t immune to the changing seasons,
with october and november marking the
months of the famous salmon runs that see
them swimming upstream. all offer potential
for great wildlife images, but perhaps the most
spectacular autumn wildlife shots are those of
deer rutting. stags looking to mate bellow loud
moans and roars, wave their antlers and strut
back and forth in acts of showmanship. aim to
shoot early in the morning when the males are
most active and you may be lucky enough to
take advantage of golden light and mist for the
perfect backdrop and lighting. a telephoto
zoom allows you to crop in tight, or use a
wider setting to place the subject in context
– nikon’s aF-P 70-300mm f/4.5-6.3g is an
ideal choice for wildlife photographers.
ben hall

52 Digital slr Photography November 2017

3 Lightbox still-life
With trees shedding leaves by the
millions, it’s worth keeping a bag
with you and collecting a variety of
specimens to shoot still-lifes with later.
EkATErinA GOlubkOvA/ShuTTErSTOck

Select as many different types, sizes and

colours of leaves that you can find and
once home, lay them out on a flat
surface under something heavy, or
within the pages of a book, so that they
dry flat. Once you have a big enough
collection, explore your options to
create interesting backlit still-lifes using
a lightbox. This could be a dedicated
lightbox, or a sheet of glass lit from
underneath by a desk lamp. Place your
lightbox on the floor and use a tripod
with legs extended to have your camera
centrally placed above the lightbox.
Arrange leaves on the lightbox and take
some test shots so you can fine-tune
composition, leaf arrangement and
exposure. You’ll find the brightness of
the lightbox may cause your camera to
underexpose, so use positive exposure
compensation to give a good exposure.

November 2017 Digital slr Photography 53

Autumn

4 Finding gold Autumn is a

landscape photographer’s dream, as
scenes transform from the lush greens
of summer into areas filled with glorious
golden tones. Over recent years, the
duration of when autumn is at its peak has
become shorter (as well as later in the year),
so it’s best to be well prepared so you don’t
miss the colourful transformation at its best.
Use the vast resources of the Internet to
refine a shortlist of the best locations in your
area. One of the best websites to visit is the
National Trust’s at www.nationaltrust.org.uk
– type 'autumn' into the search box and
you’ll be rewarded with various links that can
be used to determine suitable locations,
such as ‘autumn colour in the south-east’,
‘best walks for autumn highlights’ and
‘dazzling autumn colour displays’. There are
of course some annual favourites in the UK,
such as Richmond Park near London,
Westonbirt Arboretum near Tetbury and the
New Forest in Hampshire. You will be spoilt
for choice but so will many other outdoor
photographers, so expect to join other
enthusiastic photographers for a gold rush.

54 Digital slr Photography November 2017

 Theperfectway
toaddnewskills!
The Nikon School at the newNikon Centre
ofExcellence in central London offers a
wide range ofphotographycourses and
workshops.Whynot treatyourselforsomeone
you love to a Nikonvoucherthat can be used
at the Nikon School. Forfurtherdetails,
visit:www.nikon.co.uk/training

SmIleuS/ShutteRStOCK

5 Take time to look up! When you’re wandering parks, forests and woodland,
be sure to look straight up towards the canopy as it offers potential for some striking
results. By placing yourself between a group of tall trees and using an ultra wide-angle
zoom like the NIKKOR AF-P DX 10-20mm f/4.5-5.6G VR at its widest focal length, you can
capture dramatic results with the trees converging towards the centre of the frame.
Alternatively, when presented with large trees sporting a wide canopy, stand close to a
single trunk and use it a single lead-in line towards the colourful backdrop. Clear, sunny days
work best as the light levels will be higher and leaves will be lit up by the sunlight – you’ll find
a polarising filter is worth a go, especially if areas of deep blue sky can be included too.
ROSS hODDINOt t

6 Magical morning mist

Autumn, along with spring, is the season
when mist is most likely to appear. If you
know what weather conditions create mist,
you can prepare to make the most of this
highly photogenic natural phenomenon. mist
is most likely when a warm day is followed by a
cold, frosty night – when this occurs, be
prepared to head out early and capture the
warmth of sunrise combined with mist, for
beautifully atmospheric images. low-lying
areas are particularly prone to mist and you can
fully exploit these types of locations by finding
a high viewpoint and capturing the scene with
a wide-angle lens. Rural areas with structures
such as churches, ruins or castles that rise out
of the mist can look particularly atmospheric.
mist also forms over large areas of water, so be
sure to head to nearby lakes and rivers, where
you can use a telephoto lens to hone in on
water birds like swans and ducks set against a
misty backdrop. Often, they look best as
silhouettes so ensure you place the morning
sun behind them to backlight the scene.
ADAm BuRtON

November 2017 Digital slr Photography 55

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 Autumn

7 Focus on the details For most of

ImAGES: ROSS hODDINOTT

us, autumn images will be based around

wide views that include the overflowing
riches of auburn and burgundy that this
season offers, but don't discount the details
either. The autumn floor holds as much
potential as the trees, all you need to do is
take a closer look. Leaves, with their intricate
designs and symmetry, are interesting
subjects all year round, but their colourful
transformation in autumn makes them
particularly appealing this time of year. Look
for subjects in pristine condition, or find dry,
curled specimens littering the ground. Any
type of lens is suitable, but you’ll find the
versatility of a standard zoom with an
extended range, such as the NIKKOR AF-S
24-85mm f/3.5-4.5G ED VR will allow for
perfect compositions. A macro lens will
allow you to focus even closer too, if you
want to fill the frame with networks of leaf
veins or other autumn miniatures, such as
acorns, chestnuts and fungi.

November 2017 Digital slr Photography 57

Autumn

hElEn Dixon

hElEn Dixon

8 Woodland contre-jour Capturing backlit scenes of forests and woodlands is a

popular technique with outdoor photographers, but it adopts an additional dimension in
autumn. By shooting into the sun, trees are backlit and strong shadows are cast through
the scene, leading to atmospheric results. in autumn, the reds and golds of the foliage add even
more impact and, in the right conditions, the trees can look ablaze in colour. Research the
9 Mirror the magic!
Scenes filled with autumn glory
make for magical images and if
you’re lucky enough to be near a lake,
weather and when clear days are forecast, head out early to the forest and capture the sun you may be able to mirror the scene in
while it’s still low in the sky. Even the best metering systems struggle, so constantly review the water. Days with little or no wind are
results and apply necessary compensation to ensure perfect exposures. ideal, as the perfectly still water acts like
a mirror, but don’t be put off if there’s a
gentle breeze as while softer, the
Nikon’sassetsforoptimalautumncolour reflections can still be effective. Early
morning is the best time for wind-free
Every Nikon digital SLR boasts a Picture Control conditions, with the warmer light helping
function, which allows you to change image to add to the golden tones of the scene,
characteristics such as colour saturation and along with the possibility of mist for
contrast, in much the same way as your choice of added atmosphere. When it comes to
film emulsion did in the past. Most Nikons offer a filter choice, a polarising filter is essential
choice of Standard, Flat, Neutral, Landscape, – it will help saturate the natural colours
portrait, Vivid and Monochrome. When shooting and remove glare for a cleaner reflection,
autumn, we’d suggest setting your camera to but take care with shutter speeds as it will
Vivid, to really highlight the strong seasonal add up to two stops of exposure. Start by
colours. If you shoot in Raw+JPEG, you’ll also splitting the frame equally by placing the
capture an unprocessed Raw file along with the horizon through the centre of the image,
vivid JPEG images too. www.nikon.co.uk and then try alternative compositions.

58 Digital slr Photography November 2017

 10 Woodland streams
The UK is blessed with woodland,
a type of location boasting photo
opportunities all year round, although the
colours of autumn bring additional visual
interest. A popular image shows woodland
streams and rivers cascading around
boulders on which fallen autumn leaves can
provide strong foreground interest. The use
of a slow shutter speed blurs the water’s
movement and this combination of static
elements and movement creates very
appealing results. Most professionals decide
on the composition and then establish the
exposure, often carefully positioning leaves
in the foreground. Set up your camera on a
tripod, use aperture-priority mode and
select a mid to small f/stop (f/11-16) for
extensive depth-of-field and to create slow
shutter speeds to blur the moving water.
Use hyperfocal distancing to ensure leaves
to background are in focus. A wide-angle
lens will include the whole scene and
emphasise the foreground – the NIKKOR
AF-S 16-35mm f/4G VR is an ideal choice.
ROSS hOddINOTT

November 2017 Digital slr Photography 59

 estuAry driftwood
by Jake Barac
CanonEOS6DwithEF16-35mmf/4LISUSMlens.
Twoexposures:65secondsatf/4and160secondsatf/22(ISO100).
What we think: For this image, Jake merged
two exposures – one for the water and one
for the sky – in place of a graduated ND filter.
The technique works well, and the brooding
blue clouds add drama. There's a nice colour
contrast at play here too, with the warmer
sand in the foreground. Jake's used the
driftwood not only as the focal point, but
also as a leading line pointing into the scene.
As a minimalist landscape it works, although
the leading line ultimately doesn't lead
anywhere, and the horizon isn't interesting
enough to hold your attention.
Why it works
1) Good technique to balance exposure
2) Warm and cool tones contrast
3) Strong point of interest
60 Digital slr Photography November 2017
August’s sunset
1 by Steven Iceton
CanonEOS600DwithEF-S10-22mmf/3.5-4.5USMlens.
Exposure: 0.6secs at f/16 (ISO 200).
What we think: Compositonally this is
really nice – the winding path leads your
eye from left to right, with the hills then
acting like stepping-stones and taking you
the other way off into the distance. Had
2 Steven moved to the left and placed the
3 biggest hill on an intersecting third, it
could've been even stronger, although he
may have lost the impact of the heather.
The fiery sky looks great, although we
wonder if Steven captured something in
direct light before the sun disappeared or
if he was just a fraction too late?
Why it works
Compositionally strong image
Great elevated viewpoint
Fantastic sky
 wAnT your SHoTS crITIqued by THe
digital slr photography experTS?
Turn To pAge 65 To fInd ouT
How To SubmIT ImAgeS

edited Landscape expert HelenDixon

“IreallylikeSteven'sshot.Hehas
managedtocaptureallofthe
elementsforasuccessfullandscape
image;it’savisualfeastfortheeyes!
TheS–shapedpathwayworksatreatasitsends
theeyefromlefttorightandthroughtheentire
sceneandbeyond.Stevenusedapolariserhere
andthathaseliminatedreflectionsonthe
foliageandenhancesthecoloursinthescene,
howeverthisalsopresentsadownsideasithas
introducedanunevendarkeningofthesky.In
thiscaseIwouldhaveoptednottouseitasthe
skyisalreadynaturallydark.Theimageis
slightlyunderexposedtoo,butcanberescued
inpost.Thetreeispositionednicelywithinthe
framebut,forme,thedistanthilliswheremy
eyeleadsmeanditsitsalittletoocentral.A
compositionalshift,placingthehilltotheleft
couldhavebalancedthescene.AllinallSteven
didagreatjob;it’sinterestingthroughoutthe
wholescene,goodjobSteven!”

November 2017 Digital slr Photography 61

 point taken
AdAM burton

by Mark Hollis

NikonD7100withAF-S18-105mmf/3.5-5.6lens.
Exposure:Sixsecondsatf/11(ISO100).

What we think: With a picturesque

lighthouse, the choppy Irish Sea meeting
the Menai Strait, Puffin Island in the
background and good light possible at
both sunrise and sunset, it's clear to see
why Anglesey's Penmon Point is popular
with photographers. Mark's found a good
balance between foreground, lighthouse
and island, as well as rendering nice
texture and motion in the water.
Although there's no colourful sky, the
light is nice and soft too. It looks like the
tide is in, which doesn't give you much
room to play with at this location, but
Mark's put all the elements in the right
places, whilst showing good technical
skill. We suspect his toes might have
gotten a little damp in the process!

62 Digital slr Photography November 2017

Landscape expert AdamBurton
“NorthWalespresentsendless
opportunitiesforphotographers,
andPenmonisoneofthebest.
Markhasfoundanicecomposition
–infact,I'vecapturedaverysimilaranglehere
myself.Byarrangingtheelementsinthescene
injusttherightplaces,he'sgiventheimage
depthandofferedviewersplentytoexplore.
Havingsaidthat,there'salwaysroomfor
improvement.Landscapephotographyisas
muchabouttechnicalcameraskillsasitisabout
readingtheelements,andputtingyourselfinthe
rightplaceattherighttime.Thisisalocation
that'stransformedbylightatbothsunriseand
sunset,andtherightlightcanbethedifference
betweenagoodimageandgreatone.Mark’s
alsovisitedduringahightideandwhilethis
benefitsfromwatersurroundingthelighthouse,
itdoesmeansyoumissmanyofthereflective
rockpoolsthatdottherockyshore.Still,agreat
effort,andalocationwellworthrevisitingagain.”
prince of the teaseLs
by Mark Gunn
CanonEOS1200DwithSigmaAF135-400mmf/4.5-5.6APOlens.
Exposure:1/100secatf/5.6(ISO100). 1
What we think: This is the sort of scene
that bird photographers wait all day for – 2
a subject resting in an elevated position,
bathed in warm, soft light. Mark framed the 3
shot nicely, with the composition showing
some of the bird's environment. There's
some softening of the image – this could be
down to camera movement or a slight
breeze. Don't be afraid to raise the ISO rating
for a faster shutter speed and also stop
down slightly for more optical sharpness.
For example, ISO 800 would allow for
1/400sec at f/8 in the same conditions.
Why it works
1) Great subject in nice, warm light
2) Good framing and composition
3) Telephoto renders background soft
November 2017 Digital slr Photography 63

DigitalSLRPhotographyneedsyou!
IFYOU WOULDYOU LIKE THE CHANCE TO SEEYOUR IMAGES IN DIGITAL SLR PHOTOGRAPHY,
OR TAKE PART IN ONE OF OUR READER ARTICLES, THEN NOW'SYOUR CHANCE TO GET INVOLVED!
HOW TO GET YOUR IMAGES TO US...
EMAIL: If you want to email
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Please only email images at a maximum
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Please don't send us your entire
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November 2017 Digital SLR Photography 65
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iPad, ifyou’ve several exposures to combine, thenAffinity
offers accurate automatic alignment ofmultiple images
with powerful user-control. So, ifyou've captured avast
panoramic landscape, a detailed focus-stacked macro
image ora HDR bracketed sequence,Affinityis smart
enough to stitch the images seamlessly,whilst allowing
you greatercontrol overyourfinal image.
sophisticateD selections: Makingaccurate
selectionsisakeypartofediting,andAffinity’sadvanced
selectionrefinementalgorithmisheretohelpyoupick
onlythepartsyouwant.No-oneenjoysmakinglaborious
selections,andwithAffinitytheprocessismadeeasy–
whetherit’sanentireskyinalandscapeorindividualhairs
inaportraitthatneedselecting,Affinityaffordsyouas
muchoraslittlemanualcontrolasyouneed.
November 2017 Digital slr Photography 67
The Beginner’s Guide
BLACK
&WHITE
monochrome photographystarts at capture. Join us in uncovering
the bare basics of howto build striking black & white images…
Words: Caroline sChmidt & jordan butters
W
hat goes around comes
around, and that's entirely true
for trends in photography. it
used to be said that black &
white was too traditional and
would be obsolete with the emergence of
colour film, but just as coloured film effects
have re-emerged in digital photography, the
appeal of black & white has arguably never
been stronger. it’s a classic: it can be
reinvented but it never falls out of favour.
Capturing colourful images can be like
searching through chaos to find the perfect
combination. spectrum colours can
confuse, they can distract a viewer from the
point of interest and there’s a million-and-
one ways to use it for different impacts. but
black & white simplifies a scene by stripping
back an image to its bare essentials and
letting you concentrate on controlling one
colour: grey. that’s not to say, however, that
achieving simplicity is easy. it can be more
challenging than cramming colour into a
frame; there’s nothing for the elements of
the image to hide behind. the image is at its
purest: its success relies on the play between
light and shade, shape and form, and a
strong visual connection for creating mood
or adding atmosphere.
this month’s Beginner’s Guide equips you
with the essentials for transforming your
black & white images from bland to
spectacular. not every image is destined to
be in monochrome, and we’ll explain why
later, but there are a number of subjects and
techniques that suit the simple beauty of
black & white. We’ll be covering portraits,
landscapes and patterns; the power and
pitfalls of contrast; as well as the best ways
to capture and create your black & white
masterpieces in post-production. so read
on as we pack you with an arsenal of ideas,
techniques and advice for creating your best
ever black & white pictures.
image: mayer george/shutterstock
The Beginner’s Guide
an introduction to mono
seeingcolouringrayscaleisthesecrettogreatblack&whiteimages.
hereweoffersomeinsightastohowaswellasotheressentialsskills
V
ibrant sunsets and rainbows,
sparkling deep blue eyes and creamy
skin tones, it isn’t a surprise that colour
photography gets so much glory. but, as
wonderful as colour is, it’s also familiar and
realistic, making us slightly uncomfortable
when those colours don't look natural. black
& white, on the other hand, may not work for
every image, but when it does it’s considered
an art form. it strips away any distractions
colour may bring, steps the image away
from real life and gives you limitless creative
control over its impact and atmosphere.
Our response to a black & white image is
also usually much more emotive than with
colour; the subject matter almost becomes
irrelevant as light and shadow, texture and
shape are all brought to the forefront. as long
as your image has good shape, tonal range
and intrigue you’ll be amazed at what works
as a successful black & white photograph.
While fantastic black & white photography
is easier than ever to achieve with digital
technology, shooting for monochrome
requires a different approach compared to
capturing colour. back in the days of film
photography, you’d load your camera with a
carefully-selected roll of black & white film,
you would carry around a set of colour filters
to control contrast and, if you were really
serious, you’d have a darkroom set up in
which you could dodge and burn to
perfection. now, it’s as simple as switching
your camera’s Picture style/Picture Controls
to Monochrome (see panel) or converting a
colour image during processing, but the
same principles of what makes a strong
black & white image beautiful still apply.
Few situations in life are black & white;
there’s a whole world of grey in-between,
and it’s the same for photography.
Howto setyour camerato sHootmonocHrome
1 forthoseseriousaboutgettingthebestblack&white
results,you’llneedtoshootinraw+JPeg(seeQ&a
panelforwhythisisimportant)andconverttheimagesto
monochromeinpost-production.eventhoughyou’re
capturingrawfiles,itstillhoweverpaystoshootin
monochrometohelprefineyourcapture,whichiswhere
theJPegcomesin.you’llneedtolocateyourcamera’s
Picturestyles/Picturecontrolsandselectmonochrome..
70 Digital slr Photography November 2017
a monochrome image may contain areas of
near pure white and near pure black but it
also has a wide scale of grey that has to
deliver contrast for the image to have visual
impact. each spectrum colour has its own
shade of grey when converted to grayscale,
and it’s important to know what intensities of
grey you’re working with by learning how to
‘see’ tonal contrast in a colour scene. this
contrast helps create shape, form and
separates elements in your image for depth,
such as your subject from its background,
to avoid the photograph looking flat and
lifeless. For instance, a lush green landscape
with cloudless sky and a red barn as a focal
point may look vibrant, but when turned to
black & white it’ll probably look flat with very
little contrast and interest between the
elements. Green and red can be very similar
shades, and a cloudless blue sky will have
little variance in tone. switch your camera to
shoot Monochrome (see panel for how) and
use LiveView to preview a scene; it’s a useful
way to help you assess a composition based
on a colour scene’s tonality.
Whilst there are umpteen ways to convert
an image to black & white during processing,
not all images suit a conversion and strong
images have to begin in your mind's eye.
aside from using Monochrome mode and
LiveView, a way to visualise black & white is to
look at the lines, shadows and shapes of a
scene, this will give you an idea of the
contrast and if there’s enough visual interest.
Once you’ve then captured your image in
colour to retain maximum information and
flexibility with your raw file conversion,
you can then use various software and filters
to adjust the tonal range for a striking black
& white conversion – turn to page 79 for a
few of our recommended options.
2 aJPegfileissubjecttoparticularin-cameraedits,
unlikearawfile,butyoucancustomisethemtorefine
thelookofyourblack&whiteimage.inyourmenusystem,
selectmanagePicturestyles(oryourcamera’sequivalent)
andselectmonochromeandok.fromhereyoucanadjust
brightnessandcontrasttorevealdetailsandgiveyoua
clearervisualofwhatyourscenewilllooklikepost-edit,as
wellasaddtintssuchassepiaandblue.
Q&a: Black &wHite
Q ShouldIshootinblack&whitemode?
it’spersonalpreference,butyoudon't
needtounlessyou’readversetoediting. forthe
bestblack&whiteimages,youwanttosetimage
qualitytoraw+JPeg.arawfileistheequivalent
toafilmnegative,containingallthecolour
informationneededtoprocessyourb&wimage.
aJPeg,ontheotherhand,hasalreadybeen
convertedandthecolourinformationdiscarded
afterthecameraprocessyourpicture. shootingin
raw+JPeggivesyouthebestofbothworlds:the
chancetopreviewyourmonochromeimage
in-cameraaswellasretainthe rawcolourdatato
createacompellingfinalpicture.
Q Whatcanhelpmevisualiseinmono
ifyoushootinraw+JPegandselectthe
monochromePicturestyle,activatingliveView
willsetthescreentoshowimagesinb&w. it'sthe
easiestwaytoprevisualisethesceneinmono.
oryoucouldtakeashotwithyoursmartphone.
youcanusesmartphoneapps,suchas lenka,
simplyb&wandhuelesstodoaquickanalysisof
ascenebeforeyoucomposeyourphotograph.
Q
WhenshouldIconverttomono?
thesimpleansweris:wheneveryouwant.
therearenohardandfastrules,butitisworth
notingnotallscenessuitthestyle.youwantto
lookforscenesthathaveawidetonalrangefor
contrastandstronglinesandshapesforinterest
asthesetendtomakethebestblack&whites.
therearecertainsituations,however,thatcall
forconversion:badweatherandlongexposures
(seep72),dramatically-litportraits(p74)and
graphicabstracts(p76).ablack&whiteimagecan
alsosaveanot-so-successfulcolourimageif,for
instance,you’restrugglingwithanawkward
whitebalanceandneedtoneutralizemixed
lighting,colourcastsfromnDfiltersornoisefrom
shootingwithahighisorating.
opticalfilters for B&w
ifyouwere shootingwith black &white film,
you’d be using filters on the front ofyourlens to
control the contrast ofyourimages, the most
popularbeingyellow, orange, red and green.
theywork bychanging thewaythe colours
translate to greybylightening the colours close
to them and darkening complementarycolours.
forinstance, the orange filterlightens areas of
orangewhile darkening areas ofblue, making it
popularforenhancing blue skies. nowadays
these filters are almost redundant as theycan
negativelyaffect exposures. several cameras
offerthe equivalent filtereffects in-camera to
applydigitallywhen using monochrome mode.
here’s a rundown ofwhat each colourfilters do…
yellow: lightenswarm and darkens cool
colours. increase in contrast tends to be subtle.
red: blue skies go black and greens darken,
clouds are stark and contrast become dramatic
as it lightenswarm tones.
orange: likeyellow, it lightenswarm colours
and darkens cool ones but the contrast is
significantlystronger.
Greens: lightens greens and blues,whilst
darkeningwarmercolours. useful forlandscapes
whereyouwant to separate green tones.
Blue: greens and blues are lightenedwhile
warm colours become darker.
changing the tone
Onceyou’veastrongblack&white
image,youcouldthenaddawashof
subtlecolourlikesepia(seep78).
image: jordan butters
The Beginner’s Guide

Black & White landscapes

badweatherand long exposuresarejustacouple ofreasonswhy
landscapesare made for mono – find outthe facts for bestresults

B
lack & white photography is
rooted in the works of so many great
landscape photographers – ansel
adams, Michael kenna and Josef holehner,
to name a few – that it's no surprise it's still
inspirational. their images have helped keep
the beauty of film photography alive and
inspired countless photographers in their
wake to create monochrome masterpieces,
ensuring the quality and variety of black &
white scenics is still as strong as ever.
like film, digital images should be
captured as negatives – in other words raw
files – and that's never more important than
with landscapes. to capture maximum detail
throughout the frame and to retain as much
control over your tonal range and quality as
possible, shooting in colour and raw format
is paramount. when you’ve taken so many
careful steps to capture your photograph,
where's the sense in surrendering at the final
step and letting your camera decide what
detail to delete by shooting in Jpeg-only?
as we've mentioned previously, shooting
raw+Jpeg lets you preview your converted
images in-camera and gives you the digital
negative to process at your discretion. it's a
win-win! having such power over your
processing also means you can exploit what
limited tonal range you have at capture.
Not all scenes suit monochrome, but
there are some that make a perfect pair.
Night-time landscapes, for example, with its
inherent high iSos and noise; cities with
monochromatic skyscrapers, strong lines
and abstract shapes; and the coast that's full
of opportunities for simple abstracts and
creative long exposures. Some landscapes
are made for mono once they're subjected
to certain conditions, such as fog, mist and
a brooding, dark stormy sky is also perfect
weather for great black & whites as you can
really exploit the natural contrast in the sky
with a strong ND grad filter. however, if it
were in colour you’d probably need to wait
for the sun to break through the clouds for
similar impact. Normally, when shooting in
colour, you'd want to avoid flat lighting but
with black & whites, the strength of the light
is far less important than its quality. Dull,
overcast days with little direct light may
deliver flat, lifeless landscapes straight out of
camera – but they offer far more options in
processing. the even, soft light from cloud
cover reveals the smallest of details that may
otherwise have been lost to deep shadows
and bright highlights that can be a struggle to
control. instead you provide yourself with the
perfect digital negative that enables you to
expand the tonal range without the worry of
losing detail in the highlights or shadows. you
can process for contrast by brightening and
darkening midtones to improve dynamic
range. the flip-side of flat lighting, however,
is a washed-out sky, so you may want to use
a graduated ND filter to improve the available
tonal range or consider replacing the sky in
post-production.
of course it’s not only bad weather that
produces great black & whites images: strong
directional light from a low setting sun, for
instance, can work wonders for revealing
texture and adding depth, so it’s still worth
heading out during the golden hours to utilise
the low raking light. when the light is vibrant
and warm, as it often is at sunrise and sunset,
you may find it difficult to justify a black &
white conversion. But trust us: give it a go.
colour often masks the shapes and true
tones of a scene, which a change to black
heleN DixoN

backlighting, as it often creates low-contrast & white can bring to the surface, so don’t
scenes with already monochromatic tones, discount it when you’re processing a raw file
producing amazing mood. – you've nothing to lose.

Whatto shootin Black &White

roSS hoDDiNott

ulrich Mueller/ShutterStock
JorDaN ButterS

infraredifyou’ve an infrared filterora camera that’s
been converted to record infrared light, black &white
photographyisyourally. colourinfrared photography
can be difficult to dowell, so most people remove the
colourcasts byconverting to mono to create illuminant
black &white landscapes. it’s a technique to tryduring
spring and summerwhenyou can shoot in full sun and
include green foliage orgrass,with plentyofskyand
cloud.anygreens are rendered chalkywhite,whilst blue
waterand skyappears practicallyblack.
longexposuresifblack &white landscapes are
about capturing mood ratherthan reality, coastlines are
perfect.theirnatural minimalism is ideal forthe simplicity
ofmonochrome and the scope forartistic treatment is
huge. filters arewell placed, especiallyneutral density
types, forlengthening exposures and reducing the sea to
a smooth blurormist.you could also fill a third ofthe
framewith skyto capture the streaks ofpassing clouds.
some nd filters do tinge an imagewith a cast,which is
one more reason to developyourblack &white skills.
MiniMalistsnowyscenes and backlit landscapes
each have potential forstrong, graphic mono images
due to theirhigh contrast and muted colour. sometimes
you’ll need to helpyourcamera to expose correctlyby
using positive ornegative exposure compensation to
retain this contrast. forinstance, to avoid a snowyscene
looking grey, add a stop ofpositive compensation – itwill
have the benefit ofmaking stark trees almost silhouette.
forbacklit scenes, however,whereyouwant a silhouette,
let the camera do thework and use multi-zone metering.

72 Digital slr Photography November 2017


CLAUDIO DIVIZIA/SHUTTERSTOCK
HDRBlack &white isn't usuallyaffiliatedwith HDR as
much as colour, but it should be. Bracketing exposures
and blending them in Photoshop, ordedicated HDR
software, likeAurora HDR orPhotomatix, is a brilliantway
ofexpanding dynamic range to reveal detail and achieve
bettercontrast. Setyourcamera to shoot bracketed
exposures (-1EV, 0, +1EV) oryou can create a multiple
exposure from a single Rawfile bysaving an adjusted
version ofthe same file, before merging into a HDR
image and converting to black &white.
MASTER MONOCHROME
Landscapephotographywasborn
inblack&white,anditremainsa
classicapproachtothesubject.
ESSENTIALFILTERS FOR LANDSCAPES
Certain optical filters allow you to control the contrast of your black
Certainopticalfiltersallowyoutocontrolthecontrastofyourblack
& white images (see page 70), much the same way as you can digitally
&whiteimages(seepage70),muchthesamewayasyoucandigitally
usingcolourchannelsandHSL(Hue,SaturationandLuminance)
adjustments(seepage78).Butthereareafewopticalfilterswhose
effectscannotbeeasilyreplicatedandareessentialforlandscapes:
GRADUATEDNEUTRALDENSITYWhenskiesareblandoryou
wanttomakeabroodingstormbolder,NDgradsarekey.They
reducethedifferenceinbrightnessbetweentheskyandland,
balancingtheexposure,theskyisalsocorrect.Fordramaticresults
that darken the sky try stronger density ND grads such as the 0.9ND
thatdarkentheskytrystrongerdensityNDgradssuchasthe0.9ND
or,tocontrolabrightskyforamorebalancedscene,a0.6ND.
POLARISINGFILTERLikearedfilter,apolariserdarkensblue
skiesmakingclouds‘pop’, increasescontrastandclarity,aswellas
removingglareandreflectionsfromwaterandshinysurfaces.
It’sanincrediblyusefulfiltertohaveinyourkitbag.
NEUTRALDENSITYFILTERNDfiltersallowyoutoincrease
theexposuresoyoucanrecordmovementinthelandscape.
ROSS HODDINOTT
Densitiessuchas0.6,0.9and1.2NDareusefulforblurringfast
movingwater,butextremeNDsallowyoutocreatesimple
scenesusinglongexposuresindaylighttocapturemotion.
November 2017 Digital SLR Photography 73
The Beginner’s Guide
Black&White
Portraiture
Learnthe essentiaLs for
craftingand conqueringthe
artofbLack &white portraiture
T
he beauty of black & white portraits
is you often have the time to control
how you create them. Whilst with
landscapes you’re at the mercy of Mother
Nature and available light, portraits can be
styled to enhance contrast, lit to create
sculptural highlights and special effects, and
positioned in front of backgrounds that
provide depth through tonal separation.
how you build your portrait is up to you but
there are certainly countless ways to create
stunning monochrome portraits that there’s
no excuse for a ‘flat’ photograph.
Colours can be used to grab attention in a
number of ways: throw a red scarf on a
subject in a crowd and you’ve instantly made
them a focal point;or zoom in for a close-up
and vibrant eye colour can be captivating.
for black & white to work, you need to take
control over the play of light and shade to
create contours and the style you want.
highlights are perhaps the most important
for portraits as it’s where the eyes get drawn
to first, for this reason it’s important with
women to correctly expose the skin, or even
overexpose slightly, to avoid dull skin tones.
how you light for a flattering female portrait
is half the challenge: soft, even lighting will
help you illuminate their skin and exposing
for their skin may also darken surrounding,
creating the illusion of an even brighter,
smoother skin tone. If your subject has
naturally dark skin, however, which may be
rendered as a dark midtone or even shadow,
it’s crucial you insert some rim or
backlighting to add definition. for men, you
can be far more dramatic with your black &
white conversions as well as your lighting.
Side-lighting is notorious for revealing
maximum texture and detail, so if it’s a five
o’clock shadow, chiselled contours and
character you want to capture, high contrast
is an absolute must.
Dramatic lighting works well for black &
white portraits: backlighting for bright
high-key images or silhouettes, rim-lighting
for curves, front-lighting for skin illuminating
portraits, side-lighting for strong contrast
and definition – the options are endless,
whether you use natural light or studioflash.
your lighting modifiers also need to be
considered, for instance if you want a sharp
fall-off from light to dark you’ll need to place
a bright light with small modifier close to
your subject; but if you want a smooth, soft
and wide graduation of tones across your
subject’s face, you’ll need to use a much
larger and more diffused light source.
as much as the light’s behaviour and your
backgrounds are important for achieving a
desired effect and level of contrast, clothes,
hair colour and make-up are also crucial
considerations when designing your
portrait. Whether it’s a polished portrait or a
74 Digital slr Photography November 2017
ProtiP
highlightingaSSetS
asimplewaytoaddsomelightreliefto
it’Sallinthe eyeS ablack&whiteportraitofawomanif
therearen’tmanynaturalhighlightsisto
aNN Nevreva
havethemwearlipglossandtoaddahair
light.thehighlightscreatedbythegloss
andhairwilladdmoredynamic
rangeandinterest.
with a portrait devoid ofcolour, it’s neverbeen
so important to ensure there’s enough light in
the eyes. catchlights are crucial foradding life to
whatwould otherwise be solid black pupils and
dark irises. it’s tempting to brighten thewhites of
the eyes to create contrast, and over-edit the
irises to reveal tonal detail, but this can result in
stark, unnatural-looking faces. it’s farbetterto
achieve the right exposure using flash ora
reflectorfora softerlook, full ofdetail, than it is
to ‘fake’it byusing dodge and burn.
detailed, grungy headshot that’s oozing
mood, your choice of editing is the last but
essential stage to master. We’ll cover a few
approaches later but selective editing is your
friend. Whatever method you use, treating
each section of the portrait separately for
exposure and contrast whilst watching how
it works as a whole is best. brightening the
skin in processing can help, whilst amplifying
highlights in hair, on lips and in eyes inject life
into details that global adjustment may miss.
Sometimes black & white might not be
the design, but it can be a saving grace so
even if you haven’t shot with monochrome
in mind, it’s worth a try in certain situations to
hide a multitude of sins. If noise ‘ruins’ an
image because of a high ISo, the wrong
White balance, a subject’s uneven skin tone
needs more work than you can muster, or
aNN Nevreva
you’ve horrible colour casts – monochrome
can be a quick and simple way to save, and
possibly even improve, your portrait.
Whatto Shootin Black &White
bulkaN evCIMeN/uNSplaSh
alekSo94/ShutterStoCk
StreetPhotograPhythere are some types of high-keyabright backlight, bright skin tones and
portraits that can’t be controlled: street photography light-coloured clothing,with perhaps even a couple of
requiresyou to seek outways ofcapturing people as they stops ofpositive exposure compensation forgood
go about theirdailylives. street photographyis raw measure, andyou’ve got the makings ofa high-key
documentarystorytelling,which iswhymonochrome image. it’s imperative thatyou useyourhistogram to
suits it sowell, butyou have to look forareas oflight and check fordetail being lost in the highlightswhen
dramatic shadows to elevateyourimages from the shooting this style ofimage, but filling a scenewith light
realms of‘snapshot’. street lamps at night, reflected light and ridding it ofanyhard shadows can create some
off glass buildings orstrong backlighting forsilhouettes amazing monochrome images, especiallyofwomen and
are all extremelypopularoptions. babies,where softness is avisualvirtue.

simon wijers/unsplash
Low-keyImageswith predominantlydark tones are
called low-keyand generallycontain areaswith a lot of
dense shadow.Whilst dark midtones and shadows are
the crux ofthis style, in actual fact lighting is nevermore
important.The placement ofhighlights, although
minimal, sculpts the image and help separate elements
and reveal details. It’s a great technique fornudes:
carefullyplaced highlights caress curves emphasising the
all-important shape and form, but the deep shadows
stop too much being revealed to preserve modesty.
The Beginner’s Guide
going grey
Aclassicmonochromeapproachto
portraitsworkswellforallsubjects.
doeS Low-contraStwork?
kiuikson/shutterstock
keenan constance/unsplash
Whilst black &white images generallybenefit
from strong contrast, low-contrast images can
ShadowpLayUsing highlights and shadowto sculpt be incrediblyevocative, too, ifexecutedwell.
people’s features is one thing, butyou can also use it as a Whetherit be high-keyimages featuring a
feature unto itselfto create dynamic and interesting majorityofhighlights and midtones; low-key
portraits. Shape creators such asvenetian blinds or images that consist ofmostlyshadows and
stencils in front ofa small light source can deliverstrong, midtones, orjust a flatwash ofmidtone greywith
concentrated lightwith shaped shadows.Varyits nothing in the extremes, theycan all create
distance from the light to affect the strength and clarityof beautiful images evokingverydifferent feelings,
the shadows casts. Backlighting a person is also a great despite theirlimited tonal range. See ourideas
graphic style formonochrome; shootwith multi-zone panel formore details.
metering andyou'll cast them into silhouette.
November 2017 Digital slr Photography 75
The Beginner’s Guide

abstracts & Graphicmono

TheymayonlyrevealasmallsecTionofTheworld,buTabsTracTs
canbepowerfulpiecesofphoTography,especiallyinblack&whiTe

C
lassifying abstract photography shapes or patterns, using clever
requires a broad brush, and there’s no composition, light and shadow, and even
definitive right or wrong when it comes camera or editing techniques such as
to defining what is and not an ‘abstract’. one silhouettes or high-contrast. graphic
view is that abstract photography involves images often look more like drawings or
capturing images that are void of, or lack, paintings than photographs. there’s a fair
context in relation to the subject or scene amount of crossover between abstract
being photographed. What does this mean? and graphic photography, hence why
Well, imagine zooming in and framing just we’ve bundled them together here.
one part of a large building, and capturing it in it shouldn’t come as a surprise that these
such a way that the subject as a whole isn’t sorts of images often go hand-in-hand with
immediately recognisable. Without obvious monochrome conversions – after all, black
context, i.e. this is a part of a building, it & white images are already one step removed
becomes easier to appreciate shapes, lines, from reality by their lack of colour alone.
angles and textures that might be missed removing all colour from abstract and
when viewing the building as a whole – graphic compositions can greatly add to the
that’s an abstract approach. impact of an image, making the subject or
there are several popular techniques that scene not immediately obvious to the viewer.
fall into this category – for example, high-key also, with careful and considered editing of
and low-key images, patterns and textures, black & white images, the photographer is
silhouettes and compositions focusing on able to play with contrast and monochrome
shapes, geometry, lines and angles. in short, tones in a far more exaggerated manner than
any image that offers an alternative or unusual is possible with colour, for dramatic effect.
view on a scene could broadly be classified as abstract compositions are all around us,
an abstract photograph. but learning to see them is an acquired skill,
graphic photography, on the other hand, and one that requires plenty of practice. it
doesn’t relate to photographing gory or adult calls for a far more careful study of objects
themes! graphic images simplify objects or and scenes to see beyond the obvious, but
scenes and reduce them down to basic there are some techniques you can try….

cameratechniquestotry
samuel zeller/unsplash

jordan butters

ZoominThe phrase ‘can’t see thewood forthe trees’ Lookupanddownwe’re used to seeing theworld
springs to mind here.agreat trick forhelpingyou to see straight-on, from head-height. mix things up and try
abstracts in theworld aroundyou is to use a telezoom pointingyourlens upward ordownward to scan for modernarchitecture
lens to zoom right in onyoursubject orscene and scan abstract angles. looking upworkswell in citieswith steel
jordan butters

around.asyoureye is forced into seeing just a magnified
part ofthe scene, it’s easierto find potential abstract
compositions thanwhen facedwith thewiderpicture.
scott Webb/unsplash
and glass giants converging aboveyou,whereas looking
down reveals textures and patterns in the naturalworld,
such as ripples in the sand orcracks in stone.
bruno cerVera/unsplash

modern architecture is fruitful forabstracts. next

timeyou’re in a city, seek out geometry, lines,
angles and shapes. curves and sharp diagonal
lines help make fordynamic abstracts, as do
compositionswith negative space, contrasting
Gomacroclose-up photographyreveals detail that pLaywithexposureseek out high- and low-key textures ortones, andwhere straight lines
might not have been apparentwhenviewed at scale. in scenes. don’t fret about manual mode – use intersect. speaking ofcontrast – bright, sunny
taking a macroview, focusing on one detail and omitting aperture-prioritywith exposure compensation to dial in days suit this approach,with strong shadows
the rest ofthe subject,you can create eye-catching positive (brighter) ornegative (darker) exposure. cutting across architectural features – justwatch
abstracts. it’s tempting to leave these in colour, especially high-keyscenes contain lots oflight tones,whereas yourexposure and expose forthe highlights,
withvibrant subjects. but take a risk and trymonochrome low-keyscenes displayplentyofdark tones – translated casting the shadows into deep black tones.
– it’s perfect forhighlighting texture and pattern. into black &white,you can create highlygraphic images.

76 Digital slr Photography November 2017

 fifty ShadeS of Grey
Don’tbeafraidtobreakthe
conventionalrulesofcomposition
wheneyeingupabstracts.
image: jordan butters

abStractclaSSicS
ricardo gomez angel/unsplash
samuel zeller/unsplash
jordan butters

tom barrett/unsplash

GeometryEasyto spot in modern SilhouetteSReducing a subject liGhtandShadowBright, sunny repetitionandpatternRepetition

architecture – straight lines, intersecting
angles, symmetryand interesting shapes
make forgreat abstract approaches,
especiallystripped ofcolour.The basic
rules ofcomposition come into play
– the rule-of-thirds, negative space and
leading lines. Leading lines are usually
more dynamicwhen theyenterthe
frame diagonallyfrom the lowercorners.
down to its basic shapewith a silhouette
is a fantasticwayto flexyourcreativity,
and theyworkwell in black &white.
Backlighting is essential – frameyour
subject against a bright background,
such as the sky, and meterforthe
highlights, casting them into shadow.
Converting to mono and adjusting
contrast emphasises this further.
days aren’t the best forlandscape or
portrait photography, but they’re
fantastic forblack &white abstracts as
theyinject contrast. Look forscenes split
byhard shadows, orshapes being cast on
brightwalls. Oftenyou can anticipate an
image appearing bythinking ahead as the
sun moves across the sky. Meterforthe
highlights and let the rest fall to darkness.
and patterns are all around us, ifyou look
carefully.Think ripples on a beach, a
mesh fence, a zebra’s coat,windows in a
tall building, the shadowofrailings cast
on the ground, tiles onwalls and floors or
a reptile’s scalyskin – there’s loads of
choice out there!Void ofcolour, they’re
often simplified and reduced down to
repeating tones. Give it a try.

November 2017 Digital slr Photography 77

 The Beginner’s Guide

ORIGINAL
CONVERT TO
B&W

HOW TO EDIT
FOR MONO
TRANSFORMING COLOUR IMAGES
INTO BLACK &WHITE IS MORETHAN
SIMPLYREMOVINGTHE COLOUR

I
N COLOUR PHOTOGRAPHY, we always
strive to capture as close to the final results
in-camera as possible, however when it
comes to digital black & white photography,
the images almost always benefit from
editing. Because black & white photography
is already one step removed from reality in its
lack of colour, it’s a medium that often suits
more extreme editing than you might usually
carry out. For example, increase contrast too
much on a colour image and you’ll find the
colours can become oversaturated, however
in monochrome you can tweak and play with
tones to a greater extent for wonderfully rich
black & whites. We’re essentially dealing with
shades of grey, and without editing some
black & white images can look flat and
muddy. It’s important that you make the most
of the contrast and tones in your images to
really make them 'pop'.
No matter what editing software you use,
the tools available to you are very similar, and
you can get much the same results. In the
example below we’ve used Adobe
Lightroom, however if you fancy a less
involved process, then try out some of the
dedicated black & white software we've
recommended on the page opposite.

1 CONVERTTOBLACK&WHITEWhilethere'sone
buttontopresstogoblack&white,atthetopof
Lightroom'sBasictab,there’salotmoretomonochrome
masterpiecesthanthis.Beforeyoustart,adjustyour
ExposureandWhiteBalance,ifneeded–that’snota
misprint.ChangingyourWBaltersthetones,andyoudon’t
havetosticktotheonethatmatchesthelighting!
2 COLOURMIXINGScrolldowntotheHSL/Color/B&W
tabandyou’llnoticetheslidersareautomatically
adjusted.ThesecoloursliderstellLightroomhowlightor
darkeachcolourshouldappearwhenconvertedtogrey.
Useinmoderation;vastdifferencesinneighbouring
colours(forexampleredandorange)canresultinartefacts
andhalos.PressingAutoatthebottomresetsthetones.
3 CONTROLCONTRASTContrastisimportantinblack
&whitephotography.Youcancontrolcontrastusing
theContrastsliderintheBasictab,orformoreinvolved
controlcreateanS-curve,asshown,intheToneCurvetab.
Theamountofcontrastneededdependsontheimage–
themorepronouncedthecurve,thehigherthecontrast,
howevergotoofarandyou’ll‘crush’tones,losingdetail.

78 Digital SLR Photography November 2017


4 WHITESANDBLACKSTheWhitesandBlackssliders
controlhowdarkthedarkestshadows,andhowlight
thebrightesthighlightsare.TheHighlightsandShadows
slidersthentweakthetoneswithintheseboundaries.
Forthefulltonalrange,watchthehistogramandadjustthe
Blacksslideruntilthegraphtouchestheleftside.Then,
repeatthisfortheWhitesslideruntilittouchestheright.
JORDAN BUTTERS
MONOCHROME CONVERT
Comparedtothedefault
monoconversion,thiseditis
muchmoreeye-catching.
5 DODGEANDBURNDodging(brightening)and
burning(darkening)isdoneselectivelywiththe
AdjustmentBrushtool,usingtheExposurecontrol.As
explained,monochromeimagestendtolendthemselves
tomoreextremeediting,andthisappliestododgingand
burning–it’sagreatwaytodrawaviewer’sattention,as
wellasselectivelyaddingcontrastandsculptingshapes.
The Beginner’s Guide
SOFTWARE ROUND-UP
Adobe's Photoshop, Elements and Lightroom,
aswell asAffinityPhoto, offerfantastic controls
forblack &white editing, and that might be all
you’ll everneed. However, there are some
dedicated mono editing packages available,
and they’re certainlyworth a dabble…
NIK SILVER EFEX / FREE
www.google.com/nikcollection/
You don’t get much forfree, but Nik SilverEfex
Pro is an exception.As part ofthe discontinued
Google Nik package,you can download it at zero
cost. SilverEfex Pro is the top choice formany
pros.There are more features, controls and
presets thanwe can mention – it also supports
TIFFediting, and ties inwithAdobe software and
AffinityPhoto, allowingyou to retain image
qualityand switch seamlesslybetween software.
MACPHUNTONALITY/ £53
macphun.com/tonality
TonalitybyMacphunisapowerfulblack&white
editingsoftware.Butwhywouldyoupaywhen
SilverEfexProisfree?Well,Tonalityoffersahost
offeaturesmissingfromtheNiksoftware–Raw
processing,layersandmasks,awiderrangeof
presets,brushes,blendmodes,andluminosity
masking.That’snottomentionongoing
development,improvementsandfreesupport
too.Tonalityis,however,Mac-onlyatpresent.
DXO FILMPACK 5 / FROM £60
www.dxo.com
Ifyouwant thatvintage black &white film look
inyourimages then DXO’s Filmpack is a great
choice.There are two levels available – Essential
(£60) and ELITE (£100),with onlythe ELITE
offering Rawsupport, advanced colourcontrols
formonochrome, highlight and shadowtoning
and almost double the numberofbundled
presets. Filmpackwill run as eithera standalone
software, oras a plug-inwithinAdobe products.
TOPAZ B&WEFFECTS / USD$60
www.topazlabs.com/bweffects
Topaz’s monochrome offering has the most in
commonwith Nik SilverEfex Pro, butwith a price
tag attached. However, SilverEfex Prowon’t be
supported forever, and this iswhere B&WEffects
reallycatches up. It’s easierto use than the Nik
software too.Although there’s nothing here that
can’t be achieved in Lightroom orPhotoshop,
Topaz B&WEffects makes life easywith plentyof
nicelyconfigured presets.
6 GETCREATIVEFauxfilmeffectscanworkreallywellin
black&white.Grain,forexample,addsanostalgicfeel
–you’llfindthecontrolsinLightroom’sEffectstab,where
youcancontrolthegrainamount,sizeandroughness.
Anotheroptionisaddingacooltoneorsepia–thisisdone
intheSplitToningtab,byaddingaHuetotheShadows
slider–don'taddtoomuch,oritbecomesoverpowering.
November 2017 Digital SLR Photography 79
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 MARKETING
YOUR PHOTO
BUSINESS
How tobuildandmaintain awareness
MARKETING IS A CRITICAL AND ONGOING ELEMENT OF RUNNING A PHOTOGRAPHY BUSINESS, SO
HOW CAN YOU MAKE SURE YOUR COMMUNICATIONS ARE EFFECTIVE AND NOT MISSING THE MARK?
The Photo Business Guide

Kate hopewell-smith
KateHopewell-Smithhasa
backgroundinTVmarketing,
fine-artpublishingandbrand
consultancy.Shehasrunher
successfulphotography
businessspecialisingin
portraits,weddingsandboudoirsince2010
(www.katehopewellsmith.com)and
representedtheNikonbrandasoneofitsUK
Ambassadors.Sheisalsoadirectorofboththe
photographyschoolTrainingbyLumiere(www.
trainingbylumiere.co.uk)andluxurydestination
brand,byLumiere(www.bylumiere.co.uk).

H
aving previously outlined the
necessary first steps to setting up a
photography business, we will now
focus on some of the most important
areas in greater detail. Most photographers
recognise the vital role of marketing but
struggle to know what to spend their time,
and potentially money, on to ensure they
effectively build and maintain awareness
with the right customer base. unfortunately
there is no ‘golden bullet’: marketing today
comprises many facets for consideration.
Modern marketing is very customer-
focused thanks to the impact of social
media and the ability to have ‘conversations’.
it is about knowing your target customer,
creating the right product to satisfy their
needs, creating desire for that product and
letting the right people know you have it.
it isn't sales, but that will hopefully be the
result of this effective marketing.
in last month’s article we discussed the
importance of doing your market research
and being able to clearly define your target
market – who they are, how and where they
live and what problems they have that need
solving. you also need to know where they
would likely see your marketing message –
a local bridal shop or a destination wedding
magazine? as marketing should be viewed Intermsofreturnon media platforms work best for you and your
target market. Most photographers use
as an ongoing conversation, you are able to
make changes to your message or even
investment,wordofmouth Facebook, pinterest and instagram because
these platforms are more focused on visual
your product to ensure you're constantly
relevant and ahead of the competition.
isthemosteffectiveform content. Whilst posting regularly is
important, do think carefully about how
effective marketing is also about the timing
being right for the client, which is why
ofmarketingandit’salso relevant the content is and if it is engaging
for your ideal client – i.e. is it addressing
articulating your message well often ensures themostsustainable their needs rather than your own? and
you will be at the front of their mind when remember that it is essential that you market
they are ready to purchase. the benefits of working with you rather than
Having a well-designed brand and an search engines such as google can the fact that you take pictures!
up-to-date website and blog is a deliver your brand and content to potential in the last year i have discovered that my
fundamental building block. it is the job of clients but featuring highly in search engine brides are more likely to be on instagram
your marketing to get your ideal customer rankings will only happen if you have put the than Facebook, which has resulted in a
to your website and inside the door of your necessary effort into your search engine change to my marketing strategies. this
business. Blogs are a great way to create optimisation (seo). once i gained a better doesn’t mean that i no longer use Facebook,
regular content that adds value to the understanding of what factors affect the but i have learnt that its organic reach is so
imagery. a blog post shouldn't be thought of rankings i spent some time editing the low that you are better off viewing it as an
as an advert but an opportunity to provide content of both my website and blog posts advertising platform and putting some
relevant, useful and valuable content for and saw an immediate change in relevant budget behind carefully planned and
customers. you should try to get featured on traffic and enquiries. i'll be delving deeper targeted posts. view advertising as a direct
third-party blogs, too – but do your research into effective seo in next month’s issue. attempt to drive new business to your
and make sure you only submit content to the explosion of social media has resulted website and as a part of your overall
blogs that your target market might follow. in a massive choice of communication marketing strategy. you need to become
in essence there are three main ways that channels. you cannot (and should not) try to very familiar with Facebook’s adManager
people are going to find your website/blog: master them all – part of the challenge of and be clever with how you use the tools to
search engines, social media and referral. marketing today is finding out which social target key demographics. For example, you

82 Digital slr Photography November 2017


can target engaged 30-year-old women
who live in London and who have an interest
in designer brands. Online advertising is
therefore worth considering, whilst I have
never found paying for print advertising
works well for photographers.
In terms of return on investment, word of
mouth is the most effective form of marketing
and it’s also the most sustainable. There are
two key audiences for photographers: clients
and industry contacts. Photography clients
should be viewed in terms of their life-time
value to the business – your customer service
should exceed expectations and build trust
and loyalty for the long term. Testimonials
from past clients are very powerful forces in
the purchasing process, because trust tops
the list of why people buy. If you believe you
have done a great job and have a very happy
customer don’t be afraid to ask them for a few
words about their experience with you.
Photographers, particularly in the wedding
market, work alongside other businesses all
the time and they can become a key referral
source. Building industry relationships takes
effort and time, so be very careful about
aligning yourself with the right kind of
businesses that also attract the same kind of
The Photo Business Guide
clients you need, otherwise the referrals will
unlikely lead to bookings. The same thought TRAINING BYLUMIERE
process should be applied to decisions about
exhibiting at fairs and shows – only spend
the investment if you are certain that the right
kind of clients will actually be attending.
All of this advice is based on the
experience of marketing the Kate Hopewell-
Smith Photography business and it has
worked incredibly well for me; I have built a
fantastic network over the years that
benefits all those involved. Interestingly
when Brent and I created the brand for our
destination business, byLumiere, we realised
very quickly that we would have to think KateHopewell-SmithandBrentKirkman
differently if we were to be successful, launchedTrainingbyLumiere(www.
because we positioned this business as a trainingbylumiere.co.uk)toprovideareal,
premium brand for a high-end consumer authenticandcurrentwaytolearntheskillsfor
(note the word premium and not luxury – becomingasuccessful,profitableprofessional
luxury branding has its own complex set of photographer.TheBuckinghamshire-based
rules). Our target clients are not easy to get schoolprovidesrelevant,intimateand
to and are incredibly swayed by word of supportivementoringandtraining.Theyoffer
mouth and the ‘right’ visibility. We are having asix-monthpart-timeFoundationProgramme,
to start all over again with a new marketing plusarangeofworkshopstofillknowledge
strategy. Why? Because we are targeting a gapsthroughouttheyear.Thementoringhelps
different customer. Next month will be all existingphotographersturntheirbusinesses
about SEO and how to get your content aroundormoveuptothenextlevel.
ranked by search engines.
November 2017 Digital SLR Photography 83
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Covering popular topics such as landscapes, portraits and

macro photography, Digital SLR Photography provides all
the expert advice and inspiring ideas you need to develop
your skills and take your best ever photographs.
The BigInterview

PeakPractice
HowdoyougoaboutplanningapHotograpHicadventure?JordanbutterscHatstolandscape
pHotograpHer,autHorandfotovuefounderMickryanaboutHislovefortHepeakdistrict,
discoveringtHegreatoutdoorsandguidingtHewaytoinspireotHerpHotograpHers…
image: Chris gilbert
Mick Ryan
A
longside good light,
taking beautiful landscape
photographs is all about
being prepared, being in the
right place at the right time,
a smidgen of technical
know-how and a handful of luck. We’re
incredibly fortunate that, here on this small
island, we have a wealth of great landscape
photography opportunities available, many
of which are accessible within a few hours’
drive. if you want to take great landscape
photographs then step one is planning, and
step two is placing yourself in front of a great
landscape; it's as simple as that. You needn’t
go it alone either, and fotoVUe's series of
location guidebooks is a great place to start
planning a visit to many of the UK’s most
impressive photo locations.
88 Digital slr Photography November 2017
Mick Ryan
Mick Ryan
Mick Ryan
The idea for fotoVUe first came about
when UK-based climbing expert and
photographer Mick Ryan was climbing in
the eastern sierra mountains in California.
he was writing climbing guidebooks at the
time, and wondered why no-one had really
picked up on the idea of doing the same
for photographers. “i used to go to galen
Rowell’s gallery in Bishop, California to look
at his photos,” Mick tells me. “i would end up
pointing at various images and asking galen:
“Where’s that? And where’s that?”, that’s
where the idea came from; i thought about
a guidebook that showed photographers
where all the best spots were.”
While Mick began to process the idea
of creating a series of comprehensive
photographers' guidebooks, life had other
plans and he put it on the back-burner for
a while. it wasn’t until he returned to the UK
and started working for climbing website
UKClimbing.com that the cogs started
turning again. “i’ve always loved beautiful
scenery and have enjoyed a long-standing
passion for photography, so i decided to start
working on a photographer's guidebook for
the lake district. Through the UK Climbing
forums i became aware of a photographer
by the name of stuart holmes, who lived in
Keswick and had some exceptional images
of the lakes. We got talking and founded
fotoVUe together. stuart began work on
our first title: PhotographingtheLakeDistrict.
he wrote the first book and i edited it.”
it was the first in a popular range of
fotoVUe titles focusing on providing
photographers with all the best locations to
visit in several regions across the UK.
 Mick Ryan

The majority of guidebooks are actually read at home, TopLeft:AwintersunsetattheWoolPacks,acollectionof

gritstonebouldersat2,000ftontheKinderPlateau.
so we paired this expert knowledge with high quality Left:WinHillandLoseHillfromHordronEdgeinautumn.
print, big images and large books that photographers Oneofmanyguidebooklocationsthatisn’twellknown.
Above:TheGreatRidgethatstretchesfromMamTorinthewest
can pore over in the comfort of their own home toLoseHillintheeastisanexcellentdaywalk.Alongthecrestis
afamousgatethatisapopularspottophotographEdale.

From North Wales to Cornwall and Devon,
Dorset, and now the Peak District, each
fotoVUE title is nicely divided by area,
and offers all of the classic photography
viewpoints, as well as some of the lesser-
known locations, complete with information
on how to get there, where to park up and
what to shoot. Each is expertly authored
by established professional photographers
with the best inside knowledge of the region.
Familiar names such as Adam Burton, Mark
Bauer, Simon Kitchin and Chris Gilbert
grace the covers, so you can rest assured that
each title is backed by the right credentials.
“We’re really picky about who we work
with,” Mick tells me. “All the photographers
that we use are really obsessed with outdoor
photography – they're real, high-end,
technical professionals. The majority of
guidebooks are actually read at home, so we
paired this expert knowledge with high-
quality print, big images and large books that
photographers can pore over in the comfort
of their own home, read in the car or take
with them in their camera bags.”
The latest title in the fotoVUE range,
PhotographingThePeakDistrict, is one that’s
especially close to Mick’s heart, and it’s the
first to bear his name on the cover too, as he
authored it alongside photographer Chris
Gilbert. “I used to visit the Peak District to
climb, aged 18 or 19,” he reminisces. “We
would travel every weekend from Blackburn,
where I grew up, to Stoney Middleton and
then head out to the gritstone edges at
Stanage and Curbar. When I returned from

November 2017 Digital slr Photography 89


the U.S. I settled in Sheffield and got to know
the Peaks intimately. I love finding new
places. The famous gate on the Great Ridge
is one of the most popular places in the Peak
District, and quite rightly so; you’ve got to go
there as it’s stunning. But after you’ve been
there you can go down to Chee Dale where
the mist will be rising from the River Wye.
There’s so much more to see. I think there’s
a reason why the Peak District was the first
National Park; it’s a fairly compact area that's
packed with beautiful places. You’ve got that
contrast between the gritstone edges and
Brontë-type moors, and the haunting sites of
the plane crashes from the ‘50s. Then there's
the wonderful, idyllic green meadows and
leafy dales. It really is a special area.”
Mick has been photographing landscapes
in the area seriously for the past six or
seven years, and in a region with such rich
variety and hidden gems the decision to
90 Digital slr Photography November 2017
Mick Ryan
I think there’s a reason
why the Peak District
was the first National
Park; it’s a fairly compact
area but it's packed with
beautiful places.
Top:Viator’sBridgeatMilldaleinthesouthernPeakDistrict.
Aboveleft:ReflectionsinHowdenreservoirwherethe
Dambusterspractisedthebouncingbomb.Aboveright:
LookingtowardtheRoachesfromHangingStone.
Opposite:ApanoramaoftheeasternDarkPeak.
co-author Photographing The Peak District
was one that ensured each chapter could be
covered as thoroughly as possible. “I saw
some of Chris Gilbert’s images and instantly
fell in love with his work; they evoke a
very emotional response,” Mick explains.
chRis GilbeRt
chRis GilbeRt
“There are possible pitfalls that can come
from co-authoring, but Chris and myself
decided on some simple but really important
things from the get go, such as whose name
was going first and who was going to have
the cover image. I did all the writing, Chris
fed me some locations and we split the
photography. I’ve got a lot of respect for
Chris – it was a really enjoyable process.”
Part of fotoVUE’s ethos is to look after the
photographers and authors to ensure that
they create something that they’re proud to
put their name to. Image sale royalties from
a single print run won’t pay off the mortgage
in this day and age, so fotoVUE works with
photographers to keep on developing and
adding content to the titles to create second
and third editions further down the line.
Photographers can also sell their own books
too, which helps them to earn extra on top of
the royalties, and makes both authoring
Image:mIck Ryan Mick Ryan

October 2017 Digital slr Photography XX

 Chris Gilbert

Chris Gilbert

We tell our photographers that when they're at a Left:WallsandfieldsinTansleyDalenearLittonintheWhite

Park.Above:Thewell-knownCurbarEdgelookingdown
location not to just go for the big classic shot – use three intotheDerwentvalley,aclassicPeakDistrictlocation.
different focal lengths, take more images, be mobile and Right:There’snobetterplacetowitnesscloudinversions
thanonasmallroadthatclimbsoutofthesmallvillageof
try and tell a story through a collection of photographs Castleton.Farright:GrindslowKnollabovethevaleofEdale
offerstheperfectperchforautumnandwintersunrises.

and landscape photography a continually
viable income stream for the professionals.
Of course, informing the readers is at
the heart of all of this, and Mick tells me
that a lot of energy and thought goes into
how they approach each location: “We tell
our photographers that when they're at
a location not to just go for the big classic
shot – use three different focal lengths, take
more images, be mobile and try and tell a
story through a collection of photographs.
It’s not just the gate at Mam Tor, it’s the steps
leading up, it's the trig point on the top, or
the grass in the foreground with the valley farewell, turn off the computer and head out
blurred below. If you approach a location with my camera to discover this nation’s
like that not only do you get more fun out of great photography hotspots. However,
it, but in the book it’s more interesting for the reaction to fotoVUE’s guidebooks,
readers to look at. There’s so much more to surprisingly, isn’t always as positive as
photography than the usual big rock in the my own. “We have come into criticism
foreground and the misty valley below.” from some photographers for producing a
As Mick and I talk on Skype, I’ve a number tick list,” Mick reveals. “We’ve even had
of fotoVUE titles laid out on the desk in front people saying that there are tripod marks
of me, and I can certainly attest that seeing at locations because we’ve put them in the
all of these inspirational images, and reading books, but I’m sure they’re exaggerating.
about how accessible the great locations We faced the same criticism for creating
are, is enough to make me want to bid him hotspots with rockclimbing guides too.

92 Digital slr Photography November 2017

 Mick Ryan

Mick Ryan

Mick Ryan

November 2017 Digital slr Photography 93

What we’re striving to do is actually the
complete opposite of this. Sure, go and get
the classics – it’s a rite of passage, but then
visit some of the other places nearby. We’re
trying to take people away from the hot
spots and to allow them to find more places,
different compositions and a greater variety
of shots. It seems to be working; we get
people telling us that they’re discovering new
places they didn’t know about. In the Peaks,
you can get so much done in a morning;
there’s a good road network and you’re
covering a relatively small area. The biggest
skill for a photographer here is to know
where you’re going and make the most of
your time, which our titles help with.”
In an age where photography is such a big
part of everyone’s life and travels, and we all
have a more than capable camera on us at all
times, Mick is very aware that there are more
than just dedicated photographers showing
interest in their guidebooks. He explains
further: “Everyone's a photographer of some
kind now – the die-hard club photographers
94 Digital slr Photography November 2017
We’re trying to take people away from the hot
spots and to allow them to find more places, different
compositions and a greater variety of shots
will absolutely hate me for saying that, I
know. But hopefully those shooting with
a smartphone will transition to taking
photography more seriously at some point.
By default our titles make for great visitor
guidebooks. We know from pre-orders
and sales that not only photographers,
but walkers, climbers, daytrippers and
tourists are buying the guides. So we’re
now tweaking our approach to welcome
those who might not be visiting solely for
photography. It’s a balancing act, as the
photographer is still our main focus, and we
always include plenty of information on kit
and technical details. We’re all photography
geeks too, so we want to know EXIF data for
each image and so forth – that side of things
is very important still.”
More variety is on the horizon too it seems;
a title covering Scotland is well underway, as
well as a large book covering photography of
all kinds in London as well as a smaller pocket
guide for the capital. With photo tourism a
popular pastime, overseas locations are in the
works too. Photographer James Rushforth
has just finished PhotographingTheDolomites,
which is available to pre-order now, and he is
currently, and enviably, in Iceland working
on a guidebook for the entire island as well.
Mick revealed to me plans to produce books
for Croatia and Yosemite at some point in the
future too. “We’re planning on developing
apps and ebooks that add more geographical
functionality,” he reveals. “In the future
you’ll be able to buy a stripped-down version
of the book on an app with GPS coordinates
 Mick Ryan

chRis GilbeRt
Mick Ryan
Mick Ryan

Above:CrookHilllookingdownattheAshoptonviaduct
Mick Ryan

andLadybowerreservoir.Topright:TheremoteCrow
StonesontheHowdenMoorsabovetheDerwentreservoirs.
Middleright:TheHopeValleyfromMamTorwiththeHope
churchspireemerging.Bottomright:Theserpentinecurve
oftheroadthatleadsintotheValeofDalefromMamNick.

built in, all linked to The Photographer's

Ephemeris . We’re ultimately trying to cover
all the UK, so we’ve a few more regions to
pick up here in the meantime too.”
“There’s a tendency to believe that in this
social media-led world that we all want to
digest small bits of information as quickly as
possible, but I don't subscribe to that,” Mick
continues. “I think there's a lot of people
who still appreciate reading interesting
info in long form. Combine that with lovely
photographs and I think you’ve got the best
of both worlds. We want people to sit down,
read, look, plan and get out there. The big,
almost philosophical, message is that it's fun
to go outside and take photographs.”
PhotographingThe Peak District is out now, priced
£27.95. Formore fotoVUE titles,visit:www.fotovue.com

November 2017 Digital slr Photography 95

 Gear
photo kittested & rated byeXperts

FujiFilmGFX50s
thebrandbehindthebrilliantX-seriesoFcompact,Feature-packedmirrorless
modelshaslaunchedarGuablytheFinestdiGitalmedium-Formatcamerayet!

Plus
Gearnews: severalcameraandlenslaunchesheadupthismonth’slatestreleases Page100
Grouptest: ninecarbon-fibretripodsunder£350aregivenafullandthoroughtest Page106
minitests: X-ritecolorimeter,manfrottoXumefiltersystem&chillblast’spowerfulpcrated Page115
Gear/ Product news
ABUSYMONTH
FOR FUJIFILM!
FUJIFILM HAS ANNOUNCED a number of
new releases and forthcoming launches.
First up we have its latest X-Series mirrorless
model: the 24.3-million pixel X-E3. It's an
update of the X-E2, which was released in
late 2013, and is the first X-Series model to
sport Bluetooth for image transfer. It boasts
a slimline and lightweight body (337g with
battery and card), making it a great choice as
a travel camera, and offers a 2,360,000-dot
electronic finder as well as a 3in 1,040,000-
dot LCD touchscreen monitor.
Videographers can shoot at 4K or
lower, while other features
include an ISO range of image stabilisation. Fujifilm Fujifilm also revealed details of X Raw
100-51200 recording and a also revealed further details Studio, a new Raw conversion system due in
hotshoe for external flash of its lens roadmap for the late November (Mac) or late January 2018
(there's no integral flashgun). near future, with an (PC). It will allow for fast and easy Raw
The XE-3 is available now for XF8-16mmF2.8 R LM WR conversion that uses the camera's processor
£849 body-only, in a kit with ultra-wide-angle zoom and rather than the computer's for improved
the 18-55mm lens for £1,249 a XF200mmF2 R LM OIS WR batch conversion and image quality.
or the 23mm f/2 lens for £1,149. prime telephoto due for Finally, users of the X-Pro2, X-T2, X100F
Close-up enthusiasts will be release in 2018. and X-T20 can expect firmware updates in
looking forward to November Fujifilm also announced it would November/December that will add a number
with the release of the (£1,249) Fujinon launch the Fujinon GF45mmF2.8 R WR lens of features and improvements to usability, as
XF80mmF2.8 LM OIS WR Macro, the first – the sixth model in the medium-format well as support for X Raw Studio. These
optic in the X-series range to boasts a 1:1 GF range. With an effective focal length of include adding 4K video with Film Simulation
(life-size) reproduction ratio. Its effective 36mm and 11 elements in eight groups, it Modes on the X-Pro2, new AF tracking
focal length of 112mm makes it ideal for promises to give ultra high-resolution algorithms for moving subjects on the X-Pro2
photographing nature close-ups and it sports wide-angle images for landscape, travel, and X-T2 and touch panel operational
16 elements in 12 groups, as well as optical portrait and documentary photographers. enhancements on the X-T20! www.fujifilm.co.uk

ANDFORCANON,TOO...
THE CANON EOS M100 is the latest mirrorless model in the
EOS M range and is aimed at photo novices looking for a
small, easy to use and affordable camera. It boasts a
24.2-million pixel APS-C CMOS sensor, a DIGIC 7 image
processor, Dual Pixel AF, integral flash, Full HD video and
both Wi-Fi and Bluetooth. The 3in 1,040,000-dot LCD
monitor can be tilted upwards by 180° and has a touchscreen
facility. There is a wide range of exposure modes including OLYMPUS
several scene modes, as well as four metering patterns and a set
of creative filters. Considering it costs only £450 body-only (£570 OM-DMARKIII
with 15-45mm lens), it offers an excellent range of features.
THE OM-D E-M10 MARK III is the latest
Also announced are four EF lenses designed for the EOS range of DSLRs, all due to be
budget Micro Four-Thirds mirrorless
on sale in November. Portrait users will be attracted by the (£1,570) EF 85mm f/1.4L IS USM model from Olympus. It costs £700
prime, designed to give ultra-sharp portraits with attractive bokeh. It boasts body-only and updates the two-year-
14 elements in ten groups and a four-stop image stabiliser. A trio of old Mark II with a number of new
tilt & shift lenses priced at £2,500 was also announced: the TS-E features and performance
50mm f/2.8L MACRO, (£3,500) TS-E 90mm f/2.8L enhancements. These include a faster
MACRO and TS-E 135mm f/4L MACRO. processor, slow-motion and 4K video
Close-up photographers looking for a high- recording, along with a faster
powered macro-light will need to start saving up continuous shooting rate of 8.6
for the (£1,080) MT-26EX-RT, released in frames-per-second. Other features
November. This twin-light model has movable include a 16.1-million pixel sensor,
flash tubes, clip-on diffusers ad adjustable power 121-point contrast AF system,
settings. It features a hotshoe-mounted control 324-zone metering pattern, built-in
unit and sports a radio wireless facility that allows it five-axis stabilisation, Wi-Fi and a wide
to control up to 15 other flash units in five groups. range of creative art filters.
www.canon.co.uk www.olympus.co.uk

100 Digital SLR Photography November 2017

 Product news \ Gear
INBRIEF...
NIKOND850LAUNCHED
NIKON’S LATEST FULL-FRAME DSLR has been SPECTRALBYTHINKTANK
announced and it looks set to become an instant hit, Think Tank has released the Spectral
ThinkTankhasreleasedtheSpectral
judging by the positive response from the public. Nikon series of shoulder bags. Three sizes
seriesofshoulderbags.Threesizes
claims: 'it gives full-frame photographers the ultimate areavailable,eachwithaclean,
combination of resolution, speed, and light sensitivity', discreetdesignandamagnetic
and features an FX-format CMOS sensor with Fidlockclasp.Pricesare£95for
45.4-megapixel resolution, no optical low-pass filter and a new theSpectral8,£114forthe
gapless on-chip lens architecture designed to capture additional Spectral10and£133forthe
detail and a wider dynamic range. Despite the very high resolution, the EXPEED 5 www.thinktank.com
Spectral15.www.thinktank.com
processor handles continuous shooting at up to nine frames-per-second when using the ULTRA-WIDE BACKDROPS
optional MB-18 battery pack (standard frame rate: 7fps), while the sensitivity range of ISO
Manfrotto has launched panoramic
64-25600 is expandable to 32-102400. Videographers have 4K video at their disposal,
backgrounds in granite and
while full-frame time-lapses can be created in 8K. The AF system is based on the D5 and
limestone.The three-panel
sports 153 AF points, while exposures are handled by a 180,000-pixel RGB sensor. The
background is self-supporting,
range of features makes it suitable for all forms of photography from sports to studio and
measures fourmetreswide,
provides a serious alternative to the Canon EOS 5DS/DSR for those wanting ultra-high
collapses to 100x30x35cm for
resolution images. The D850 costs £3,500 body-only and is available now. www.nikon.co.uk
easystorage and carriage and
costs £600. www.manfrotto.co.uk

4K 360°THETA
TAMRON’SULTRA-TELEPHOTO The£400RicohThetaV,is
aslimlineandlightweight
TAMRON HAS RELEASED details of its latest ultra-telephoto zoom; camerathatshoots360°
the 100-400mm F/4.5-6.3 Di VC USD. Designed for full-frame sphericalstillimages(approx
DSLRs, it features three LD (Low Dispersion) elements to minimise 14-megapixels)and4K360°
aberration reduction, Tamron’s eBAND anti-reflection coating and video.ItoffersWi-FiandBluetooth
a moisture-resistant construction and fluorine coating for andhastransferspeeds2.5xfasterthan
enhanced weather-proofing. At 1,115 grams, it's the lightest in its previousmodels.www.ricoh.com
class and the barrel features magnesium to improve weight
reduction, strength and portability. A high-speed Dual MPU SONY’S LITTLE RXO
(Micro-Processing Unit) provides fast and precise AF and Sonyhopes its (£800) RXOwill
improved Vibration Compensation. Price and availability are take a chunk ofthe action cam
yet to be confirmed. www.tamron.co.uk market from GoPro. Designed
to survive crushing, 10m depths
and being dropped from two

GET READY FOR CAMERAWORLDLIVE!2017 metres, it's certainlytough. It's tinyat

59x40.5x29.8mm, shoots 15.4-megapixel stills at
up to 16fps, aswell as 4K and slow-motionvideo.
LEADING PHOTO RETAILER www.sony.co.uk
CameraWorld has announced
CameraWorld LIVE, a brand new, PROFOTO’SA1
free, one-day photography
Aswewenttopress,premium
event taking place on 28 October
studioflashbrandProfoto
in Bishopsgate, central London.
revealedthe(£850)A1,a
It will bring the biggest and
powerfulon-cameraflash
most respected brands in the
boastingfastrecycling,AirRemote
photography industry, including
built-in, AirTTL, high-speed flash and an
built-in,AirTTL,high-speedflashandan
Canon, Nikon, Sony, Fujifilm, Olympus, Panasonic, Tamron, Sigma, Zeiss, Lowepro, Benro and
LEDmodellinglight.ItworkswithCanonand
Velbon. There will be product demonstrations, seminars, experts on hand to answer questions
Nikon,withSonytofollow.www.profoto.com
and the chance to touch, try and buy the latest photo kit and take advantage of exclusive show
deals and trade-in offers. For further details, visit: www.cameraworldlive.co.uk

LIGHT FANTASTIC FROM ROTOLIGHT

ROTOLIGHT HAS ANNOUNCED a world first with its NEO 2, an all-in-one High-Speed Sync (HSS)
flash and continuous on-camera LED for portrait photographers and videographers. NEO 2 provides
the benefits of continuous light and the flexibility of HSS flash (1/8000th sec) whenever users need
more power or to freeze action. HSS also enables users to shoot with wider apertures to create
beautiful separation between subject and backgrounds. It features adjustable colour temperature in
both flash and continuous modes, with a built-in Kelvin display, and gives 5,000 full-power flashes
on a single set of rechargeable AA batteries. It costs £300 and is available now for Canon, Nikon,
Sony, Olympus and Panasonic, with Fujifilm to follow soon. Also, Rotolight has collaborated with
Elinchrom to integrate its Skyport 2.4Ghz HSS wireless flash receiver into NEO 2, eliminating the need
to buy a standalone fl ash receiver. Skyport enables users to wirelessly control up to ten lights in four
flash
groups at up to 200m with the new Rotolight HSS transmitter. www.rotolight.com

November 2017 Digital SLR Photography 101

Gear/ Mirrorless medium-format camera
FUJIFILM
GFX50S
Fujifilm’sGFX50S isthefirstcamera
initsnewmedium-formatsystem,
promisingimagequalitysurpassing
what'sonofferfromsmallersensors
Test: DANIEL LEZANO
SPECIFICATIONS
GuidePrice:£6,000(body-only)
Imagesensor:G-format(4:3)CMOS(43.8x32.9mm)
Resolution:51.4-megapixels
Maximumimageresolution:8256x6192pixels
ContrastAFsystem:9x13(117points)/17x25(425
points)singlefocuspointsandsixsizesoffocusarea
Meteringpatterns:Multi-zone(256zones),
spot,average&centre-weighted
ISOrange:ISO100-12800plusAuto.
Expandableto50-102400.
Shutterspeeds:1/4000sec-fourseconds&Bulb.
(Electronicshutter:1/6000sec-60minutes)
LCDmonitor:3.2in2,360,000-dottiltingtouchscreen
Framerate:Threeframes-per-second
Storage:DualSD(SDHC/XC)
Size(WHD):147.5x94.2x91.4mm
Weight:825gincludingbattery&card/920gwithEVF
Website:www.fujifilm.co.uk
F
UJIFILM’S X-SERIES of APS-C
mirrorless cameras have proven
incredibly popular, thanks to their
combination of small size, high
specification and excellent image quality.
The GFX 50S is a totally different type of
camera and the first in Fujifilm's G-system.
At its heart is a medium-format sensor that's
1.7x bigger than full-frame yet smaller than
other medium-format digital sensors.
Photographers as old as me will know that
Fujifilm has a heritage in medium-format
cameras, with models like the GA645,
GX680 and GX617 offering a diverse range
of options for enthusiasts and professionals.
So while the GFX system is new, the brand is
well versed in medium-format cameras and
optics that are capable of meeting the needs
of the discerning professional photographer.
The GFX 50S is the first model in the range,
and having used it for a couple of weeks I'm
very impressed with it. While the bigger
sensor requires the camera body to be larger
to accommodate it, the GFX 50S is similar in
size to pro-spec DSLRs from the likes of
Canon and Nikon. However, the outfit does
become bulkier with a lens fitted, as optics
need to be larger due to the larger sensor.
That said, it's still a relatively compact and
lightweight offering bearing in mind the
format size – I took the body and two lenses
102 Digital SLR Photography November 2017
on a short overseas trip and didn't find
it much different to carrying around a
pro DSLR and set of lenses.
As you'd expect, the magnesium
alloy body feels very robust and
well put together and is sealed in
58 locations to ensure excellent
dust- and weather-proofing.
A prominent handgrip affords a
solid hold, so much so that
one-handed shooting-from-the-
hip is possible. Two large dials on
the top-plate handle ISO and
shutter speeds, with both offering
a central lock button to prevent
accidental rotation. Control buttons are
located on the top, front and rear of the
body and while some are labelled, others
(chiefly the customisable buttons) are
unmarked, which is unusual. Customisation
– an important facility for pros – is extensive
on the GFX 50S, with ten options, including a
Q (Quick) button near the thumbrest and a
four-way control, allowing fast access to
important functions.
The 3.2in LCD monitor is excellent,
providing a very sharp and bright display
when using LiveView or reviewing images.
An up/down (no side-to-side) tilting facility
allows it to be used high or low and, best of
all, it sports a touchscreen facility too.
The electronic viewfinder (EVF) provides
100% coverage and uses a 3.69-million-dot
screen, which gives a sharp and colourful
electronic image, along with extensive
information and the option to have a
histogram or electronic level on the screen.
Above&below:Despitehousing
amedium-formatsensor,theFujifilm
GFX50S isasimilarsizetopro-DSLRsand
hasacontrollayoutthat'seasytogetusedto.
A sensor can be activated to switch between
using the LCD or EVF to compose or review
images. The EVF is detachable, allowing an
optional tilting adapter to be fitted.
All these features ensure users feel at
home with the GFX 50S relatively quickly,
with the majority of the camera's operability
being very similar to that of a DSLR.
The Fuji's 51.4-million pixel CMOS sensor
is larger than full-frame and much larger
than APS-C, and the additional surface area
means bigger pixels (and larger optics),
which both work at allowing the GFX 50S
to capture images with far more detail and
sharpness than smaller sensors with a similar
pixel count. It boasts an excellent dynamic
range of 14 stops and, as well as the native
format, can be set to shoot in six other
formats including 1:1, 3:2 and 16:9.
The X-Processor Pro is the imaging
engine tasked with handling these large

files and ensuring processing extracts
maximum image quality and minimal noise.
The ISO range can be expanded as low as
ISO 50 and as high as 102400, so there is
plenty of scope for low light handheld
photography. Exposure modes are limited to
the core four: program, manual, aperture-
and shutter-priority. There are four metering
modes, with the default being a 256-zone
pattern. Spot takes a reading from a 2% area
and can be linked to the active AF point.
The AF system is based on contrast AF and
offers a wide range of modes and options.
Along with single and multi-point AF, zones
using 3x3, 5x5 or 7x7 points is available, with
a focus lever on the rear allowing quick
adjustments of their position. Face and eye
detection options are also available.
Other notable features are a wide range
of Film Simulation modes based on classic
Fujifilm emulsions, a 1.28in LCD info panel
Exposure:1/160secatf/10(ISO500)
behind the shutter button, Full HD video, an
interval timer, multiple exposures, a hotshoe
for dedicated flash and Wi-Fi connectivity.
Bar the odd obvious thing that separates
mirrorless to DSLR (such as the EVF), using
the GFX 50S is effectively no different to
using a large DSLR. AF is responsive and
accurate, and in terms of speed is close to
matching that of current DSLRs. The
multi-zone pattern was consistently good
too, with only strong backlighting throwing
it off. Image quality is exceptional, with the
huge files recording an incredible level of
detail. Dynamic range proved excellent too,
while noise was handled far better than I
expected – night shots at very high ISO
ratings are more than usable. In terms of
image quality, no other digital camera I've
used can match the Fujifilm GFX 50S. My
only concern in terms of usage is battery life
– a spare or two is recommended.
THE GF
GFX
GF X SYSTEM
The GFX 50S is
TheGFX50 the first model in the GFX system
isthefirstmodelintheGFXsystem
and
andusestheGMount,whichhasadiameterof
uses the G Mount, which has a diameter of
65mm.
65mm.Afullyelectronicmountensuresfast
A fully electronic mount ensures fast
communication
communicationwithlensesandaccessories,
with lenses and accessories,
whilethemirrorlessdesignallowsforashort
while the mirrorless design allows for a short
backfocusof16.7mm,whichaidslensdesign.
ThesystemcurrentlyofferssixGFlenses,a
flashgun,verticalgripandvariousaccessories.
Belowisalistoflenses(35mmequivalentfocal
lengthinbrackets)andmainaccessories.
• 23mmf/4RLM(18mm):£2,399
• 45mmf/2.8RWR(Duelate2017)
• 63mmf/2.8RWR(50mm):£1,359
• 32-64mmf/4RLMWR(25-51mm):£2,149
• 110mmf/2RLMWR(87mm):£2,599
• 120mmf/4ROISWRMacro(95mm):£2,499
• EF-X500flashgun:£449
• VG-GFX1VerticalBatteryGrip:£579
CLOSEST RIVALS
• PENTAX645Z:Brilliantmedium-formatDSLR
backedupbyacomprehensiverangeofoptics.
Featuresaweather-resistantbody,FullHD
videoand51.4-megapixelCMOSsensor.Costs
£6,600body-onlyor£7,500with55mmf/2.8.
• HASSELBLADX1D-50C:Compactand
lightweightmirrorlessmedium-formatmodel
boasting a50-megapixelCMOSsensor,
weatherproofbodyandFullHDvideo.Thereare
fourlensesintherange,butanadapterallows
useofHasselbladH-seriesoptics.Itcosts
around£7,800body-only.
• CANONEOS5DSR:Thisfull-frameDSLR
boastsaCMOSsensorwitharesolutionof
50.6-millionpixels.Itcosts£3,149body-only,
hasFullHDvideocapabilityandallowsaccess
toCanon'sextensiveEFlensrange.
VERDICT
The Fujifilm GFX 50S is an
exceptional camera that
delivers unbelievably sharp
images. Its relatively compact
size (and weather-proofing) means it's as
suitable for use outdoors as in the studio.
It's also very competitively priced too –
most innovations are released at a premium
price, but Fuji has made this a truly viable
option for pros. A truly wonderful camera.
Handling 18/20
Ease of use 18/20
Features 19/20
Performance 19/20
Value 18/20
Overall 92/100
November 2017 Digital SLR Photography 103
Happy 100th Anniversary, Nikon!
Nikon Digital Cameras 50mm f/1.8D AF..................................................................
50mm f/1.4D AF..................................................................
£109.00
£249.00
The widest range
Nikon D5 DSLR body.......................................................... £4,895.00
105mm f/2D AF-DC............................................................ £859.00
Nikon D850 DSLR body...................................................... £3,499.00 135mm f/2D AF-DC............................................................ £1,075.00
Nikon MB-D18 Grip for D850.............................................. £369.00 180mm f2.8D AF IF-ED...................................................... £729.00

of second-hand
Nikon D810A (Astrophotography) DSLR body.................... £2,890.00
Nikon D810 DSLR body......................................................
Nikon D810 + MB-D12 Grip Kit...........................................
£2,390.00
£2,699.00
AF-S FX Silent Wave Nikkor Lenses
AF-S 20mm f/1.8G ED....................................................... £635.00

Nikon
Digital and film bodies, manual
and autofocus lenses, speedlights,
close-up equipment and
thousands of Nikon accessories
all under one roof.
For more information contact
020-7828 4925
Nikon D810 + AF-S 14-24mm f/2.8G ED Nikkor................. £3,899.00 AF-S 24mm f/1.8G............................................................. £599.00
Nikon D810 + AF-S 24-70mm f/2.8E VR............................ £4,175.00 AF-S 24mm f/1.4G ED....................................................... £1,775.00
Nikon D810 + AF-S 14-24mm & 24-70mm f/2.8E VR Kit..... £5,590.00 AF-S 28mm f/1.4E ED........................................................ £2,079.00
Nikon MB-D12 Grip for D810.............................................. £299.00 AF-S 28mm f/1.8G............................................................. £529.00
Nikon D750 DSLR body...................................................... £1,590.00 AF-S 35mm f/1.4G............................................................. £1,489.00
Nikon D750 + MB-D16 grip Kit........................................... £1,839.00 AF-S 35mm f/1.8G ED....................................................... £419.00
Nikon D750 + AF-S 24-85mm f/3.5-4.5G ED VR Kit.......... £2,045.00 AF-S 50mm f/1.4G IF.......................................................... £369.00
Nikon D750 + AF-S 24-120mm f/4G ED VR Kit................. £2,270.00 AF-S 50mm f/1.8G ............................................................ £179.00
Nikon D610 DSLR body...................................................... £1,189.00 AF-S 58mm f/1.4G............................................................. £1,339.00
Nikon D610 + MB-D14 Grip Kit........................................... £1,349.00 AF-S 85mm f/1.8G............................................................. £419.00
Nikon D610 + AF-S 24-85mm f/3.5-4.5G ED VR Nikkor..... £1,669.00 AF-S 85mm f/1.4G............................................................. £1,325.00
Nikon MB-D14 Grip for D610.............................................. £209.00 AF-S 105mm f/1.4E ED..................................................... £1,775.00
Nikon D500 DSLR body...................................................... £1,690.00 AF-S 8-15mm f/3.5-4.5E ED Fisheye-Nikkor...................... £1,299.00
Nikon D500 + 16-80mm f/2.8-4E ED.................................. £2,440.00 AF-S 14-24mm f/2.8G IF-ED.............................................. £1,525.00
Nikon MB-D17 grip for D500............................................... £349.00
AF-S 16-35mm f/4G ED VR............................................... £989.00
Nikon D7500 DSLR Body.................................................... £1,189.00
AF-S 17-35mm f/2.8D IF-ED.............................................. £1,490.00
Nikon D7500 + 18-140mm f/3.5-5.6G VR DX Kit................ £1,525.00
AF-S 18-35mm f/3.5-4.5G.................................................. £589.00
Nikon D7200 DSLR body.................................................... £829.00
AF-S 24-70mm f/2.8G IF-ED.............................................. £1,449.00
Nikon D7200 + 18-105mm f/3.5-5.6G VR DX IF-ED Kit..... £1,020.00
AF-S 24-70mm f/2.8E ED VR............................................ £1,835.00
Nikon D7200 + MB-D15 Grip Kit.........................................
Nikon D5600 SLR body.......................................................
£1,045.00
£590.00
AF-S 24-85mm f/3.5-4.5G ED VR...................................... £419.00
AF-S 24-120mm f/4G ED VRII........................................... £919.00
Nikon D5600 + AF-P 18-55mm f/3.5-5.6G VR DX Kit......... £649.00
AF-S 28-300mm f/3.5-5.6G ED VR.................................... £769.00
Nikon D5600 + AF-S 18-140mm f/3.5-5.6G VR DX ED Kit..... £840.00
Nikon D5300 DSLR body.................................................... £419.00
AF-S 70–200mm f/2.8E FL ED VR..................................... £2,240.00
AF-S 70-200mm f/4G VR IF-ED......................................... £1,139.00
Nikon D5300 + AF-P 18-55mm f/3.5-5.6G VR DX Kit......... £495.00
Nikon D5300 + AF-S 18-140mm f/3.5-5.6G VR DX Kit....... £665.00 AF-S 80-400mm f/4.5-5.6G VRII ED.................................. £2,069.00
AF-S 200-400mm f/4G VRII IF-ED..................................... £5,790.00
Nikon D3400 + AF-P 18-55mm f/3.5-5.6G VR DX Kit......... £439.00
AF-S 200-500mm f/5.6E VR ED......................................... £1,135.00
Nikon Dff + AF-S 50mm f/1.8G Special Edition.................... £2,249.00
Nikon Dff DSLR body, chrome or black finish..................... £1,995.00 AF-S 200mm f/2G VR II IF-ED........................................... £4,690.00
Nikon Dff + AF-S 50mm f/1.8G SPECIAL GOLD Edition..... £5,000.00 AF-S 300mm f/4E PF ED VR............................................. £1,439.00
AF-S 300mm f/2.8G VR II IF-ED........................................ £4,689.00
Nikon 1 System AF-S 400mm f/2.8E VR FL ED........................................... £9,890.00
Nikon 1 V3 10-30mm + Grip Kit.......................................... £795.00 AF-S 500mm f/4E FL ED VR.............................................. £7,990.00
Nikon 1 AW1 + 11-27.5mm f/3.5-5.6................................... £549.00
AF-S 600mm f/4E FL ED VR.............................................. £9,635.00
AF-S 800mm f/5.6E VR FL ED (inc. TC-800-1.25E ED teleconverter)
Nikon 1 AW1 + 11-27.5mm f/3.5-5.6 + 10mm f/2.8............. £695.00
........................................................................................... £14,390.00
Nikon 1 J5 + 10-30mm PD Zoom lens, black..................... £345.00
TC-14E III 1.4x teleconverter............................................. £415.00
Nikkor VR 6.7-13mm f/3.5-5.6............................................ £375.00
TC-17E II 1.7x teleconverter............................................... £335.00
Nikkor VR 10-30mm f/3.5-5.6............................................. £225.00
TC-20E III 2x teleconverter................................................ £385.00
Nikkor VR 30-110mm f/3.8-5.6........................................... £179.00

Wanted 1 Nikkor VR 70-300mm f/4.5-5.6........................................

1 Nikkor AW 10mm f/2.8.....................................................
1 Nikkor 18.5mm f/1.8.........................................................
£745.00
£245.00
£145.00
AF & AF-S Micro-Nikkor Lenses
AF-S 40mm f/2.8G DX Micro.............................................
60mm f/2.8D Micro.............................................................
£229.00
£399.00

for Cash
1 Nikkor 32mm f/1.2............................................................ £599.00 AF-S 60mm f/2.8G ED Micro.............................................. £485.00
1 Nikkor VR 10-100mm f/4.5-5.6 PD-Zoom........................ £529.00 AF-S 85mm f/3.5G VR DX IF-ED Micro............................. £429.00
Nikon SB-N7 Speedlight..................................................... £119.00 AF-S 105mm f/2.8G AF-S VR Micro IF-ED........................ £729.00
Nikon GP-N100 GPS Unit................................................... £99.00 200mm f/4D AF Micro IF-ED.............................................. £1,239.00
Mount adapter FT1............................................................. £199.00
Nikon Speedlights
AF-S & AF DX Nikkor Lenses SB-5000 Speedlight........................................................... £459.00
10.5mm f/2.8G AF DX ED Fisheye..................................... £569.00 SB-700 Speedlight............................................................. £229.00
AF-S 35mm f/1.8G DX........................................................ £165.00 SB-500 Speedlight............................................................. £179.00
AF-P 10-20mm f/4.5-5.6G VR DX....................................... £329.00 SB-300 Speedlight............................................................. £109.00
AF-S 10-24mm f/3.5-4.5G IF-ED DX.................................. £699.00 SB-R1C1 Close-Up Commander Kit.................................. £569.00
AF-S 12-24mm f/4G IF-ED DX........................................... £939.00 SB-R1 Close-Up Remote Kit.............................................. £399.00
AF-S 16-80mm f/2.8-4E ED VR DX.................................... £839.00 SU-800 Wireless Speedlight Commander.......................... £319.00
AF-S 16-85mm f/3.5-5.6G ED VR DX................................ £539.00 SB-R200 Wireless Remote Speedlight............................... £139.00
AF-S 17-55mm f/2.8G DX IF-ED........................................ £1,275.00
AF-P 18-55mm f/3.5-5.6G VR DX....................................... £199.00 Manual Focus Nikkor AIS Lenses
AF-P 18-55mm f/3.5-5.6G DX............................................. £149.00 20mm f/2.8 Nikkor......................................................... £901.00
AF-S 18-55mm f/3.5-5.6G VRII ED DX.............................. £149.00 24mm f/2.8 Nikkor......................................................... £608.00
AF-S 18-105mm f/3.5-5.6G VR DX IF-ED.......................... £225.00 28mm f/2.8 Nikkor......................................................... £615.00
We are always seeking mint AF-S 18-140mm f/3.5-5.6G VR DX ED..............................
AF-S 18-200mm f/3.5-5.6G VR II DX IF-ED.......................
£445.00
£595.00
35mm f/1.4 Nikkor.........................................................
45mm f/2.8P Nikkor, chrome.........................................
£1,227.00
£325.00
or near-mint examples of AF-S 18-300mm f/3.5-5.6G ED VR DX..............................
AF-S 18-300mm f/3.5-6.3G ED VR DX..............................
£839.00
£575.00
50mm f/1.4 Nikkor.........................................................
50mm f/1.2 Nikkor..........................................................
£597.00
£855.00
Nikon FM3A, FM2 & F3HP AF-S 55-200mm f/4-5.6G DX ED VR II.............................. £219.00
Special Purpose: Perspective
AF-S 55-300mm f/4.5-5.6G DX VR.................................... £289.00
cameras and manual focus AF-P 70-300mm f/4.5-6.3G ED VR DX.............................. £289.00 Control & Micro-Nikkor Lenses
AF-P 70-300mm f/4.5-6.3G ED DX.................................... £245.00
Nikkor lenses 19mm f/4E (Tilt/Shift-Perspective Control) ED Nikkor........ £2,990.00
24mm f/3.5D PC-E ED Nikkor............................................ £1,525.00
AF FX Nikkor Lenses 28mm f/3.5 PC Nikkor........................................................ £1,195.00
14mm f/2.8D AF ED............................................................ £1,270.00 45mm f/2.8D ED PC-E Nikkor............................................ £1,440.00
16mm f/2.8D AF Fisheye.................................................... £649.00
85mm f/2.8D ED PC-E Nikkor............................................ £1,290.00
Please telephone 20mm f/2.8D AF..................................................................
24mm f/2.8D AF..................................................................
£479.00
£379.00 105mm f/2.8 Micro-Nikkor.................................................. £1,047.00
28mm f/2.8D AF.................................................................. £249.00 200mm f/4 Micro-Nikkor..................................................... £895.00
020-7828 4925 35mm f/2D AF..................................................................... £265.00 PC: Perspective Control. PC-E:Tilt/Shift-Perspective Control

for our offer today Prices include 20% VAT. Prices Subject to Change. E.&O.E. TO ORDER TELEPHONE 020-7828 4925

40 Churton Street, London SW1V 2LP, England Tel: 020-7828 4925 Fax: 020-7976 5783 Mon-Fri 10am - 5:30pm, Sat 10am - 1pm
info@graysofwestminster.co.uk Visit our website: www.graysofwestminster.co.uk
The New
Nikon
D850

Key features include:

 45.7mp backside illuminated full-frame sensor
 Up to 9fps burst rate at full resolution (7fps without battery grip)
 ISO range 64-25,600 (extendable to 32-102,400 equivalent)
 153-point AF system as incorporated in the flagship D5 body
 Electronic shutter for vibration-free and noiseless shooting in LiveView mode
 RAW recording in large, medium or small sizes
 Focus shift mode allows for an infinite depth of field
 EXPEED 5 processor gives noise-free performance at high ISOs and focus capabilities at -3 EV
 Button illumination for shooting in dark situations
 True full-frame 4k/UHD video shooting
 High speed data transfer, wireless connectivity & Snapbridge compatibility
 Shoot approximately 1840 still images on a single charge from the EN-EL15a battery
 The new MB-D18 battery grip coupled with the EN-EL18b battery allows for 9fps shooting
& up to 5140 still images on a single charge
 The tilting, touch-operational 3.2-inch, approx. 2360k-dot LCD monitor
makes it easier to shoot stills and 4k from different angles TO ORDER TELEPHONE
020-7828 4925
PRICE: £3499.00, MB-D18 battery grip: £369.00 Prices inclusive of 20% VAT

Facebook: Grays of Westminster YouTube: Grays of Westminster Twitter: @nikonatgrays Instagram: @nikonatgrays
Flickr: Grays of Westminster LinkedIn: Grays of Westminster Google+: Grays of Westminster Pinterest: nikonatgrays
Gear/ Carbon-fibre tripods

CARBON-FIBRE

106 Digital SLR Photography November 2017

 Carbon-fibretripods \ Gear

TRIPODS
Test: RICHARD HOPKINS

THEY'RE ALL CARBON-FIBRE, ALL UNDER £350,

AND ALL COMPLETELY DIFFERENT! NINE TOP
TRIPODS FROM THE BEST KNOWN BRANDS,
ALL SUBJECTED TO THE REVEALING SCRUTINY
OF OUR UNIQUE NEWTEST PROCEDURE

November 2017 Digital SLR Photography 107

Gear/ Carbon-fibre tripods

T
hese tripods have two things in
common – they're all carbon-fibre
and cost around the £300 mark, give
or take. But those things aside, they're
a very varied bunch, from lightweight travel
tripods, to heavier professional standard
supports, with some models sporting
unusual designs and attractive extras.
Most tripods at this level come without a
head, but have a universal 3/8in screw on the
top platform to fit any head of your choosing.
it's important not to skimp on that as a chain
is only as strong as its weakest link and the
head is the main user-interface; the bit you
actually work with. at the lighter end of the
scale, we have the slik Lite, which weighs
only around 1kg and can be closed down
unbelievably small with that cunning
mechanism where the legs fold up and back
on themselves to wrap around the ball-head,
but then extends into the tallest on test! Can
tripods like these really support a full-size
dsLr and telezoom lens?
the middle ground is well populated with
tripods from Benro, Manfrotto, sirui,
vanguard and velbon. they include
innovative features like articulating centre-
columns and monopod conversion options.
one model even offers both, but can still step
up to the mark for regular tripod duties.
and, at the more enthusiast end, there are
three models that are clearly focused on the
vital task of providing super-stable support
with fatter leg sections and more robust
fixtures, but still with a keen eye on the weight.
how much difference do these things make?
to find out, we've developed our usual field
analysis and added a new and revealingly
accurate test procedure for measuring a
tripod's resistance to wind-buffet and
mirror-shock. there's no hiding from this one.
it's described in the section below, with simple
percentage performance data given in each of
the respective reviews.
HowwedidTHeTesTs
the two enemies of tripod stability are
buffeting from the wind, and vibration from
the camera's mirror and shutter mechanisms.
We set up tests to accurately measure the
effects of both, using imatest software to
analyse the blurring of real world images.
imatest is normally used to measure lens MtF
sharpness very precisely, and it does exactly
the same thing with movement blur.
the wind effect was generated with an
industrial fan, carefully positioned and turned
down low to simulate a Gentle Breeze 3 as
defined by the Beaufort scale that runs from
0 (dead calm) to 12 (hurricane). Gentle
Breeze 3 blows at 8-12mph, set with a
calibrated wind meter, and is described as
'leaves and twigs in constant motion, light
flags extended.' this proved to be quite a
tough and revealing test, but not an
unrealistic or unusual one in practice.
a shutter speed of five seconds was found
to be the exposure time necessary for
consistent results that include all the strongest
vibrations as they run down and back up the
length of the tripod legs, with oscillations and
resonances then clashing together to
produce an extra bump. Mirror-shock was
measured in the same way with the fan off, at
a shutter speed of 1/15sec that is usually the
worst affected speed with dsLrs.
the outfit used in our test weighed 1.9kg
and consisted of an enthusiast-level dsLr
(Canon eos 7d) fitted with a telephoto zoom
(eF70-200mm f/4L), mounted and balanced
via the tripod collar on a high grade arca-
swiss p0 head. all the tripods were set at
exactly 122cm (4ft) high to the top platform,
and the figures in each review are the
percentage of sharpness compared to
control images ranked at 100% taken with the
fan off and fast-duration flash. For example, if
the control image with flash showed a 100%
resolution of 40 lines-per-mm on the test
target (at MtF50), then a tripod scoring 75%
would deliver a 30-lpmm resolution image
under test conditions.
it's well known that bigger and heavier
tripods are more stable, but it's interesting to
see how closely this fact was played out in the
tests. and in much the same way, if you are
able to compare a few tripods side by side,
you'll probably be able to rate them in order
of performance with a fair degree of accuracy
if you set them up to the same working height,
then hold two legs and gently push and pull
them one against the other. You'll feel
movement even with the best tripods, then
look down the legs to check flexing around
the joints. extend the centre-column and do
the same with one hand on top and the other
holding the top platform.

AnAToMyoFATriPod
12

1)Height:optimumheightputs
thecameraatshoulderlevel,so
youcanseeallthecontrols.
130cm-ishsuitsmostpeople.
2)Minimumheight:Apartfrom
reducingthelegs,optionsfor
lowworkingincludesettinga
widerlegangle,areversibleor
articulatingcentre-column.
3)Legsections:Moresections
giveextraheightand/orshorter
closedlength,butmorejoints
canreducerigidity.
4)Legangle:standardlegangle
isaround22°.slightlywider
anglesincreasestabilitywitha
biggerfootprint,narrower
anglesincreaseheight.
5)Legangleadjusters:Usually
twoextraangleoptions,plus
standardangle,togetdown
low,ortohelplevelthetripod
onunevenground.
6)Material:Carbon-fibreis
ideal,strongandlight,butmore
expensivethanaluminium.it
alsoabsorbsvibrationbetter.
7)Monopodconversion:
Unscrewoneleg,boltittothe
centre-columnandyouhavea
nicetallmonopod.
8)Foamrubbergrip:warmerin
winter,andmorecomfortable
forcarrying,eitherinthehandor
restingonyourshoulder.
9)Centre-column:Convenient 9
forextraheight,butreduces 2
stability.Bestavoidedwitha
10
heavyrig.Usuallyreversibleto
usecameraupside-down. 5
14
10)Articulatingcolumn:
Forawkwardangles,butatfull 13
stretchcanunbalancethetripod. 7
1
11)Leglocks:Leversarefastand
easy,buttwist-collarsaremore
robustandlesslikelytocatchon
things.Personalchoicereally.
4
12)Universalheadmount:
standard3/8inthreadmeans
differenttripodheadscanbe
freelyinterchanged.
8
13)Ballasthook:Forhanging
extraweight,likeacamerabag,
forincreasedstability.
14)Spiritlevel:Tokeepyour
horizonsstraight. 6
15)Feet:standardrubberfeet
canoftenbeexchangedfor
spikes.somefeetincorporate
bothoptionsinone.
Legmarkings:Usuallyin
centimetreincrements,asa
handyreferenceforadjusting
heightandlevelling.
Carryhook:Alwayshandy,to
11
attachashoulderstrap,orcable 3
releaseetc.
Accessoryport:A3/8inor1/4in
15
threadedsockettoattachan
ipadormagicarm.

108 Digital slr Photography November 2017

 Carbon-fibretripods \ Gear
VelbonGeoE543D(A)
Me Foto SPECIFICATIONS

L
Streetprice:£230
OTS OF SOUND design features
Normalmaxheight:123cm
here, in a lightweight and well BEST Extendedmaxheight:157cm
priced package, which sticks to FEATURE
Minimumheight:15cm
the basics without too many frills. Leverlocks are strong
Lengthclosed:46cm
Some are performance enhancing, and quiet, and legs
like the lever locks, which close are marked in cms Legsections/angles:4/3
firmly but silently, and the centre- forlevelling Standardlegangle:23°
column that's adjusted by a knob in the Legdiameters:25,22,19,16mm
crown, which is easier to use and lowers Leglocks:Levers(adjustable)
the camera closer to the centre of gravity. Weight:1.28kg
Other features are more convenience Loadrating:3kg(claimed)
oriented but no less welcome, such as the legs Monopodoption:No
marked in 2cm increments for easier levelling, Shoulderbag:Included
the rubber feet that screw back to reveal spikes, Manufacturedin:China
foam hand warmers on all three top sections, Warranty:Fiveyears
the bottom section of the centre-column which Website:www.intro2020.co.uk
simply unscrews for low-level work, a ballast
hook and also a separate weight hammock that VERDICT
hangs between the leg joints and can be loaded
with stones (or whatever's handy) to provide It's marginal on height for taller
extra stabilising ballast or just used as a low weight of only 1.28kg and four leg sections users, but scores highly on
convenient place for accessories. These are all to make the height, while retaining a short 46cm performance for such a light tripod
thoughtful extra features that have helped to closed length. So Velbon has had to reduce the with some nice design touches.
earn Geo tripods high praise in past reviews. maximum leg diameter to 25mm, but they've It comes at a keen price, too.
On the essential subject of solid support pulled it off and the Velbon Geo E543D, while not Build quality
though, Velbon is on a tough gig with the very as solid as its larger stable-mates, strikes a pretty
Features
good compromise and runs very close behind
heavier and more costly Manfrotto 190Go! and Stability
Sirui N-2204X. The Velbon Geo scored 59% for Value
wind-buffet and 60% for mirror-shock, rounding
up to an average score of 60%. Overall

VanguardVEO2265CB(withBH50head) SPECIFICATIONS

V
Streetprice:£250
ANGUARD’S REPUTATION FOR Normalmaxheight:122cm(inchead)
innovative design, good build BEST Extendedmaxheight:150cm
quality and fair prices are all in FEATURE Minimumheight:Groundlevel
evidence here, with a light and very
Cunning centre- Lengthclosed:41cm
compact tripod, complete with column mechanism Legsections/angles:5/3
ball-head. Two features are immediately folds down fast
obvious. There are no less than five leg Standardlegangle:21°
sections, secured with grippy twist-collar Legdiameters:26,23,20,17,14mm
locks, that explain the very short 41cm closed Leglocks:Twist-collars
length combined with a height of 122cm. But Weight:1.35kg(inchead)
that includes the head which is about 9cm, so Loadrating:8kg(claimed)
it's just a bit too short to be comfortable for most Monopodoption:No
users without extending the centre-column. Shoulderbag:Included
The other thing catching your eye is the unusual Manufacturedin:Myanmar
centre-column design, with a cut-out on one Warranty:Eightyears
side of the top platform. It looks like some sort of Website:www.vanguardworld.com
articulating device, and technically it is, but it's
not for positioning the camera in difficult VERDICT
positions as others do. It's actually part of the
quick-folding mechanism, so instead of pulling It's clever, but the quick-folding
the legs up and backwards over the raised centre-column needs more work
centre-column (as with the Slik), you simply to restore lost rigidity. Likewise,
swing the centre-column down through the there's a serious flaw. The cut-out section robs five leg sections will always have
cut-out, without touching the legs. the top platform of its integral strength, and it's more flex than three or four.
It's a pretty cool feature that saves a lot of impossible to lock the centre-column tightly in Build quality
waving legs around somewhat awkwardly, but position. It wobbles, especially in the direction in
Features
line with the cut-out, and combined with the five
leg joints that also add unwanted flex, resulting in Stability
disappointing stability test figures. For wind- Value
buffet, the Vanguard scored 50%, and 56% for
mirror-shock, giving an average rating of 53%. Overall

November 2017 Digital SLR Photography 109

Gear/ Carbon-fibre tripods
Manfrotto190GOC4TB SPECIFICATIONS

A
Streetprice:£250
T FIRST GLANCE, it looks
BEST Normalmaxheight:123cm
like another model in the
FEATURE Extendedmaxheight:147cm
ever-popular Manfrotto 190
Unusuallyfor
Minimumheight:8cm
series with twist-collars instead of
Manfrotto, twist-collar Lengthclosed:46cm
the lever leg locks that are usually
a Manfrotto signature. But there leg locks are more Legsections/angles:4/4
are other differences to the 190Go! compact & lighter Standardlegangle:23°
versions and, compared to the Legdiameters:25,22,19,16mm
190CXPRO4, most significantly there's Leglocks:Twist-collars
a substantial 300g reduction in weight down Weight:1.35kg
to just 1.35kg, a 6cm shorter folded length, fatter Loadrating:7kg(claimed)
tubing, and a lower price. All are most welcome Monopodoption:No
changes, but the downside is a 12cm lower Shoulderbag:No
height. It's an appealingly different package that Manufacturedin:Italy
also offers potentially greater stability. Warranty:Tenyears
The first thing to consider is the height. At Website:www.manfrotto.co.uk
123cm before extending the centre-column,
the 190Go! with a head and camera on top, is VERDICT
just tall enough to put the viewfinder around
shoulder height for the average user, and that's A lot of small changes to the
a good position for easy operation with a clear horizontally where it can slide for and aft, and standard Manfrotto 190 recipe
view of controls on top. But if you're nearer 6ft, rotate. Articulating centre-columns are great for add up to a lighter, more compact
or prefer to have the camera at eye-level, then it getting down low, for macro or for copying and better value 190Go! version
may be a bit low. The 90° centre-column is one work and go well with adjustable leg angles that retains high performance.
of Manfrotto's highlight features which is easy to – here there are four settings available rather Build quality
use and particularly robust and solid, that flips than the more usual three.
Features
Manfrotto build quality can be taken as read.
The 190Go! scored 60% in the wind-buffet test Stability
and 65% for mirror-shock, giving an average Value
rating of 63% high numbers for such a
lightweight tripod, that tie with the dearer Sirui. Overall

BenroGoPlusClassicTGP17C SPECIFICATIONS

T
Streetprice:£290
GP IN THE name stands Normalmaxheight:132cm
for Transformable GoPlus, BEST Extendedmaxheight:159cm
indicating Benro's tilting FEATURE Minimumheight:Groundlevel
and swivelling centre-column Fullyarticulating Lengthclosed:62cm
mechanism. There's also a centre-column and Legsections/angles:3/3
detachable monopod feature, a detachable
making this one of the most versatile Standardlegangle:26°
monopod feature
designs, promising high performance Legdiameters:25,22,18mm
with Benro's high grade nine-layer Leglocks:Twist-collars
carbon-fibre and known build quality. Weight:1.38kg
It's pretty light too at 1.38kg, considering the Loadrating:8kg(claimed)
extra bits and pieces included, and reaches a Monopodoption:Yes
decent height (132cm) before extending the Shoulderbag:Included
centre-column. With three leg sections (more Manufacturedin:China
rigid than four) it can only close down to 62cm. Warranty:Fiveyears
The articulating centre-column pop-ups Website:www.benroeu.com
easily, and unlike the Manfrotto that is locked
horizontal, the Benro can tilt through 180° VERDICT
degrees from straight up to straight down,
and even a little beyond. You can point it pretty These are good figures, though judging by the The TGP 17C has some really
much anywhere with ease, even putting the robustness of the legs with their beefy collar useful and well implemented
camera on the ground. It's not quite as rigid as locks, the numbers might have been higher extra features – to go with high
the Manfrotto, but more than up to most tasks. without the tiny amount of extra flex introduced. overall performance and modest
The articulating column also seems to have The monopod feature is equally easy to set up weight. The cost is fully justified.
had a slight impact in the stability tests, with – just unscrew one leg, pull out the centre- Build quality
scores of 58% for wind-buffet and 60% for column and bolt them together. The monopod
Features
mirror-shock, giving an average of 59%. extends up to a massive 171cm, ideal for
overhead shots. Other details include rubber Stability
feet than can be swapped for spikes, a carrying Value
hook, 3/8in accessory port, spirit level, and a
foam rubber warmer on the monopod leg. Overall

110 Digital SLR Photography November 2017

 Carbon-fibretripods \ Gear
SlikLiteCF-422(withSBH-180DShead) SPECIFICATIONS

L
Streetprice:£300
IGHTWEIGHT TRAVEL TRIPODS tend to
Normalmaxheight:144cm(inchead)
be short, but the Slik Lite CF-422 is just BEST Extendedmaxheight:178cm
the opposite. It's actually the tallest FEATURE Minimumheight:20cm
here, standing 144cm or 178cm with the
The included Lengthclosed:48cm
centre-column extended, though that's mini ball-head is
with the ball-head, which comes Legsections/angles:4/3
a little gem Standardlegangle:23°
included. It's high by any standard, and will
have your head bumping against the ceiling if Legdiameters:22,19,16,13mm
you stretch it up indoors, Yet it's very light, a Leglocks:Twist-collars
mere 935g without head, and that includes a Weight:1.10kg(inchead)
built-in torch that fits inside the centre-column Loadrating:3kg(claimed)
– for map reading, apparently. It closes down to Monopodoption:No
48cm with the legs folded up and back on Shoulderbag:Included
themselves, into a very slender package. Manufacturedin:Thailand
Aside from the size and weight, the other Warranty:Threeyears
thing that immediately impresses is the high Website:www.intro2020.co.uk
build quality, with fine engineering and smooth
operation that's particularly evident in the mini VERDICT
ball-head. This little gem weighs just 190g and
includes an Arca-Swiss type quick-release with A rare combination of low weight
a very slim QR plate, but outperforms many and height. Very well made, with a
larger heads in smoothness and precision. high-quality mini ball-head.
So far so good, but there's a downside. The lenses, use mirror lock-up and keep the height Though stability inevitably suffers
combination of long, narrow section legs with to a minimum when conditions are less than in blustery conditions.
multiple joints is not good for stability. It's ideal, it'll be fine. Test results were 44% for Build quality
unavoidable, and this is not a tripod for a heavy wind-buffet and 57% for mirror-shock, giving an
Features
camera on a blustery hillside. But if you avoid big overall performance of 51%. These are tough
tests, which illustrate the compromises that Stability
have to be made when ease of transportation Value
take priority, even when the highest standard of
materials and manufacture are applied. Overall

InduroStealthCLT203 SPECIFICATIONS

T
Streetprice:£300
AKE THE EXCELLENT Benro Normalmaxheight:135cm
Mach3, move everything BEST Extendedmaxheight:160cm
down a notch – height, FEATURE
Minimumheight:16cm
weight, price – and the Induro It still has high Lengthclosed:63cm
Stealth CLT 203 is pretty much a performance nine-layer
Legsections/angles:3/3
carbon copy. Not surprisingly carbon-fibre, but less
perhaps as Benro and Induro are weight Standardlegangle:22°
sister companies, and while both Legdiameters:29,25,22mm
brands have their distinctive aspects, Leglocks:Twist-collars
Mach3 and Stealth share everything from Weight:1.60kg
nine-layer carbon-fibre legs, to the details. Loadrating:16kg(claimed)
These include three leg angles, fat and grippy Monopodoption:No
twist-collar leg locks, a short centre-column Shoulderbag:Included
supplied for getting down low, rubber feet that Manufacturedin:China
can be swapped for the spikes provided, a ballast Warranty:Tenyears
hook, spirit level and a 3/8in accessory port. It's Website:www.indurogear.com
simpler to list the Induro's differences, which are
foam grips on all three legs, and a three-winged VERDICT
locking collar for the centre-column that is
actually a little easier to grasp than the Benro's, A classic three-section design,
plus an extra 1/4in accessory port. focusing on the essentials of high
All this is good news for those wanting a In the wind-buffet test, the Induro scored 75%, performance and stability, to rival
classic tripod that concentrates less on and 73% for mirror-shock, an average of 74%. Benro's Mach3 and Manfrotto 055,
eye-catching features and more on the essential That puts it in third place, close behind the but with a handy weight saving.
task of providing a high standard of support. And Benro Mach3 and Manfrotto 055, but well ahead Build quality
the Induro Stealth does that very well, losing of anything else. A commendable performance
Features
almost nothing to its bigger and heavier rivals. considering it weighs around 25% less.
Maximum height is a more than adequate at Stability
135cm, extending to a generous 160cm with the Value
centre-column up, and down to 16cm with the
legs splayed and short centre-column in place. Overall

November 2017 Digital SLR Photography 111

Gear/ Carbon-fibre tripods
BenroMach3TMA37C SPECIFICATIONS

T
Streetprice:£310
HERE’S SOMETHING VERY
Normalmaxheight:136cm
appealing about the purity of BEST Extendedmaxheight:162cm
Benro's Mach3 series; it passes FEATURE Minimumheight:17cm
over fancy features in favour of a
Leg sections are broad Lengthclosed:63cm
simple, classic design and quality and sturdyforextra
materials. Every penny of investment Legsections/angles:3/3
strong support Standardlegangle:23°
in the TMA37C is concentrated on
delivering solid support, with wide Legdiameters:32,29,25mm
diameter legs (32mm at the top) made of Leglocks:Twist-collars
nine-layer carbon-fibre, with three sections that Weight:1.85kg
are more stable than four, and large grippy twist- Loadrating:16kg(claimed)
collar locks. That's the essentials sorted. Monopodoption:No
It's not totally devoid of a few modest extras Shoulderbag:Included
though. The legs have three angle settings to Manufacturedin:China
get down low, and an additional short centre- Warranty:Fiveyears
column is provided for a minimum platform Website:www.benroeu.com
height of only 17cm. There's a ballast hook, spirit
level, the rubber feet unscrew for swapping with VERDICT
the spikes supplied, and a handy 3/8in threaded
socket can be used for accessories. It all comes The fat 32mm top leg sections are
in a very nice quality shoulder bag, too. and Induro Stealth were the only other tripods at the heart of class-leading
Unsurprisingly, the Mach3 topped the ratings to rate into the sixties zone and above. scores for stability, plus good
for stability, scoring 82% in the wind-buffet test In use, the fat profile legs and chunky collar height, reasonable weight, and an
and 76% for mirror-shock, for an overall rating of locks give a reassuringly solid impression. It just overall quality feel at a fair price.
79%. It's a combination of the larger tubing, only feels well planted, a fact backed up by the Build quality
three legs sections, and a bit more solid mass performance figures, and everything operates
Features
that is pushing up the scores. The Manfrotto 055 as smoothly as you'd expect. The height is well
judged, also suitable for taller users, and there's Stability
the option to go above head height with the Value
centre-column extended, though that risks
some loss of stability. Overall

ManfrottoMT055CXPRO4 SPECIFICATIONS

M
Streetprice:£345
ANFROTTO’S PERENNIAL 055 Normalmaxheight:140cm
series tripods are always
BEST Extendedmaxheight:170cm
near the top of the best FEATURE Minimumheight:8cm
sellers list, and none more so than
Tilting centre-column Lengthclosed:54cm
this CXPRO4 version with high
addsversatility, Legsections/angles:4/4
overall performance coupled to a withoutcompromising
stack of advanced features. There Standardlegangle:24°
stability Legdiameters:29,25,20,16mm
are four sturdy leg sections, 29mm
diameter at the top, with Manfrotto's Leglocks:Levers(adjustable)
heavy duty lever-action Quick Power Weight:2.1kg
Locks to hold everything together. Then the Loadrating:9kg(claimed)
centre-column has a neat conversion trick, Monopodoption:No
flipping 90° to form a sliding and rotating Shoulderbag:No
horizontal bar, giving excellent low-level access Manufacturedin:Italy
that's ideal for poking into awkward corners with Warranty:Tenyears
macro. Manfrotto's implementation of this Website:www.manfrotto.co.uk
popular feature is not quite as versatile as some,
but it's definitely more solid. VERDICT
The CXPRO4 stands tall at 140cm, extending
to 170cm with the centre-column up, which is a tripods of this calibre are present, plus four leg The 055 series has changed a lot
handy few inches more than rivals, but closes angle positions which is less common. over the years, but has always
down to only 54cm. It's also a little heavier and Manfrotto's flashy QPL lever leg-locks divide delivered high performance.
the only tripod here over 2kg, though Manfrotto opinion. They're bulky and can catch on The CXPRO4 also brings with
has not been tempted to skimp on the robust undergrowth, are quite stiff and close shut with it welcome new features.
construction for the sake of a few grams. Good a snap, but ultimately there's no doubting their Build quality
decision. All the other usual features found on clamping strength.
Features
The Manfrotto 055 CXPRO4 performed very
well in our stability tests, scoring 80% for Stability
wind-buffet and 76% for mirror-shock, to rate Value
an average of 78% – effectively tying with the
Benro Mach3 for first place. Overall

112 Digital SLR Photography November 2017


SiruiN-2204X
T
HE HIGH QUALITY fit and
finish of the Sirui N-2204X
is immediately obvious,
and confirmed by the smooth and
Detachable leg screws
positive action of all adjustments.
on to the centre-column
It's a very nice tripod to use, with
to create an excellent
ample height at 134cm without
extending the centre-column, yet
there's a noticeable weight saving
over similar spec rivals. The twist-collar
leg locks are softer but more grippy, the bottom
section is marked at 5cm intervals for easier
levelling, and the rubber feet screw back to
reveal spikes – small but thoughtful touches
that have real value in the field.
A closer look at the detachable monopod
feature shows attention to detail and use of
carbon-fibre and brass where aluminium and
steel is more common. The monopod leg is
double-secured with an internal thread and
external locking collar. It simply unscrews, as
does the bottom part of the centre-column,
and they bolt together. To save removing the
tripod head, a second camera platform is
provided so your monopod head fits straight on.
The monopod extends to a handy 160cm, good
for photographing birds or aircraft overhead.
Manfrotto 190Go!
Testconclusion
W
E’VE A FINE selection of excellent
tripods here, and while they're all
carbon-fibre and pitched at a
similar £250-£350 price point, there is a
wide range of design types, from
lightweight travel versions to heavier
no-compromise tripods, so it should be
easy to find a model that suits you.
Our Best Buys include something for
Carbon-fibretripods \ Gear
SPECIFICATIONS
Streetprice:£350
Normalmaxheight:134cm
BEST Extendedmaxheight:163cm
FEATURE Minimumheight:14cm
Lengthclosed:47cm
Legsections/angles:4/3
Standardlegangle:22°
monopod
Legdiameters:28,25,22,19mm
Leglocks:Twist-collars
Weight:1.48kg
Loadrating:15kg(claimed)
Monopodoption:Yes
Shoulderbag:Included
Manufacturedin:China
Warranty:Sixyears
Website:www.sirui.eu
VERDICT
Premium quality construction and
thoughtful design touches, with
In our stability tests, the Sirui performed a ample height and a well executed
little below it's more heavily built competitors, detachable monopod feature –
scoring 64% for wind-buffet and 62% for for a modestly premium price.
mirror-shock, an average of 63%. There's no Build quality
doubt that the slightly larger 3204 version of this
Features
tripod would bump the numbers up, if
performance in difficult conditions is a priority. Stability
A K-20X ball head (£115 extra) was supplied. Value
It's unusually good, smooth and precise, and fits
neatly between the legs when folded. Overall
BenroTGP17C Benro Mach3TMA37C Manfrotto 055CXPRO4
every purpose. In price order, the Best Buy
£250 Manfrotto 190Go! strikes a great
balance between height, weight and
and offers a lot for a Best Buy £290.
At £310, the Best Buy Benro Mach3 is a
simple, solid, no-frills workhorse tripod,
stability. Light and small enough for easy which topped the stability tests. In a similar
carrying, yet big and robust enough for vein, see the Highly Rated Induro Stealth
serious photography. Also check out the priced at £300.
Highly Rated Velbon Geo at £230. The Best Buy Manfrotto 055 comes in
Benro's TGP 17C reveals unrivalled just under the budget limit at £345 and
versatility, featuring both an articulating offers very stable support, including an
centre-column and a detachable articulating centre-column. Sirui's Highly
monopod option, mated to a decent set of Rated N-2204X has a different features set
legs. It all works well, is not overly heavy, and runs it very close for £350.
November 2017 Digital SLR Photography 113
 Accessories\ Gear
X-riteColorMunkiDisplay
Calibrationfordisplaysandprojectors/Simpletouseset-up/ForPC&Mac
Test: DANIEL LEZANO process is started. You can choose between
Easy and Advanced modes, with easy-to-
Price:£119 follow wizards helping you with each stage.
Website:www.xpdistribution.com The process takes less than ten minutes,
so you don't have to wait long, and once

H
AVE YOU EVER compared the
colours of your on-screen digital
files with prints, or on other screens,
and noted a big difference? If so, it's
possible that your monitor(s) need to be
calibrated for more accurate colours. While
this sounds technical, it doesn't have to be.
While there are several calibration kits
offering extensive options that calibrate
from screen through to printer, there are
also some simpler yet sophisticated models
that make the whole process much easier.
The X-Rite ColorMunki Display is one
such device and is designed for
photographers wanting a fast yet accurate
calibration set-up that doesn't require prior
experience or expertise. Supplied with the
colorimeter is a quick start guide, USB cable
and a software disc (install it and when
prompted, update it to the latest version).
Following the instructions is a breeze
– once the software's installed the device is
connected to your computer via the USB
lead and then mounted on the central part
of the monitor, before the calibration
finished you can flick between the new
and old profile
profile to compare the changes.
The ColorMunki has a strong range of
features available, such as the Advanced
set-up being able to measure the level of
ambient light and also flare when
calibrated, allowing it to optimise your
display's calibration to suit your working
conditions. To be honest, I'm not sure I'd
opt to use these latter features as they add
a degree of variation to the set-up and in
truth, I found the results of the Easy
calibration to be excellent. The changes are
noticeable across the colour gamut but
with the majority of my images being
portraits, the changes in skin tones stood
out clearly. Along with calibrating monitors,
it can also be used with digital projectors
too, which will add its appeal to portrait and
wedding photographers as well as camera
club photographers.
The software has a feature that also
reminds you to re-profile every so often,
which is essential to ensure any shift in the
monitor's colour display is corrected.
Overall, I didn't come across any problems
with the installation or performance of the
ColorMunki device and its software; it has
certainly lived up to its claims . I have no
hesitation in recommending this calibration
system to enthusiast and professional
photographers alike; it's ideal if you're
looking for a simple, fast, affordable – and
most importantly – accurate calibration.
VERDICT
Therearemoresophisticatedcalibration
systems available, but unlessyou also
want to calibrate a printer, this model
should giveyou everythingyou need to
improve the colouraccuracyofyourdisplay. Its ease of
use is a majorselling point, alongwith its performance.
Overall

ManfrottoXUMEFilterAdapters
Magneticfilterholders /Availableineightdiametersfrom49mmto82mm
Test: DANIEL LEZANO unscrew them from one lens and screwing
on to another. This is ideal when you need
Price:Holdersfrom£10/Kitsfrom£35 to attach or swap filters quickly and is also
Website:www.manfrotto.co.uk very useful when you need to use filters in

F
ILTERS AREN’T NORMALLY an area of
photographic kit that sees too much
innovation. Occasionally we'll see new
materials used in their construction
and a new type of multicoating but, in
general, not a huge amount changes.
The announcement by Manfrotto earlier
this year of its acquisition of US-based firm
Xume was soon followed by the release of a
range of adapters and holders that allow
filters to be easily and quickly swapped
from lens to lens.
How it works is incredibly simple. A steel
adapter is screwed on to the rear of the
filter and a magnetised ring is screwed on
to the front of the lens. This allows the filter
to be attached simply by holding it close to
the holder – the force of the magnetism is
strong enough to hold the filter in place, yet
it's easy to remove by a slight pull. Invest in
holders and rings for your most commonly
used filters and lenses and you'll be able to
quickly swap filters without having to
extremely cold weather.
The holders and adapters are very well
made with a matte black finish that
matches most lenses. There are no
markings on them stating diameters, which
is something I hope is corrected on the next
generation to make them easier to identify.
The holder and rings together have a
similar width to a standard filter, so this
raises the question of whether there is a risk
of vignetting when used with wider focal
lengths. We reviewed a 77mm holder and
ring with a Manfrotto circular polarising
filter and tried them on a Canon EF
17-40mm f/4L lens to check for this
potential problem. By photographing a
white wall with and without the XUME
set-up, it was possible to check to see if the
corners of the frames were darker – a clear
sign of vignetting. I found there was no
problem at all. I'd suggest that you do a
similar trial with your own kit.
The cost of the XUME accessories isn't
too expensive, although it's not that
dissimilar to buying a filter. A 49mm lens
adapter is around £25, filter holder £10 or
kit with both for £35. Other sizes of
adapters and holders are similar in price,
with the most expensive being the 82mm
XUME, costing £30 for the lens adapter, £13
for the filter holder and £43 for the kit.
The XUME system is a fiendishly simple
idea that proves to work extremely well.
VERDICT
Thisisclearlyanaccessoryof
convenienceratherthannecessity,butif
youregularlyswapfiltersbetweenlenses,
thetimesavedmightmakeitworthforking
outforasetofXUMEholderandadapters.Justtakecare
whenusingthemwithultrawide-anglelenses.
Overall

November 2017 Digital SLR Photography 115

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ChillblastFusionPhotoOCVIII
Over-clockedInteli7octa-corechip/Excellentediting&multi-taskingperformance/GPUacceleration/RAID-1back-up
Test: JAMES ARCHER
SPECIFICATIONS
Guideprice:£2,300
Processor:IntelCorei7-7820X'Skylake-X'Processor
Overclocking:Upto4.6GHz
CPUCooling:CorsairH100iV2CPULiquid
Memory:32GBRAM
OSDrive:250GBsolid-statedrive
Storage:Twin3TBharddrives
Back-up:RAID-1configured
OpticalDrive:Blu-rayrewriter
Website:www.chillblast.com
T
HERE’S NO TWO ways around it:
the Fusion Photo OC VIII is a mightily
expensive PC. Fortunately, this isn’t
hubris – you’re getting the kind of
high-end components that make speedy
photo editing an absolute breeze.
The brains of the operation is the Intel
Core i7-7820X processor. Chillblast has
over-clocked this so that each of its eight
cores run even faster than usual, and this
showed in our benchmark tests, which
simulate various image and video editing
tasks as well as heavy multi-tasking. It sailed
through the image portion, indicating a
system that will easily run any editing
software you can throw it at, staying fast
and responsive all the while.
Even more impressive was its
performance in the video editing and
multi-tasking portions of the benchmark;
if you ever use your camera to shoot video
footage, this PC will let you keep on
working at a comfortable pace while video
encodes in the background. The generous
32GB of RAM certainly helps; it runs at a
relatively slow speed of 2133MHz, but
there’s so much to go around that this
doesn’t make much of a difference.
Chillblast has also included a GeForce
GTX 1060 graphics card. This is designed
for gaming rather than media editing, but it
does mean you can take advantage of GPU
acceleration for better performance in
certain applications, such as Adobe
Lightroom CC. It also provides a healthy
mix of HDMI, DVI and DisplayPort outputs,
for varied monitor set-ups.
A breathlessly fast solid-state drive
ensures that Windows 10 boots and loads
quickly, but the dual 3TB hard drives are
even better for photographers. They come
pre-configured in RAID-1, so any files you
save on one drive will be mirrored on the
other – an easy way of creating back-ups.
There are other quality-of-life inclusions
as well, such as the 17-in-1 multi-card
reader and Blu-ray rewriter drive hidden
behind a door on the front. There aren’t
Accessories\ Gear
a huge number of USB ports for a PC of this
price, but there’s still more than enough to
suffice for most users. The case has also
been lined with sound-absorbing fabric,
to prevent the fan noise from disturbing
you as you’re touching up your shots.
Chillblast hasn’t held back when creating
this PC, and while it is expensive, it’s no
more so than competing Windows-based
systems with a similar specification. It’s also
a much smarter buy than, say, the Apple
Mac Pro, which is pricier at £2,999, yet gives
you a slower processor, half the RAM and
only a single SSD for storage.
VERDICT
The Chillblast Fusion Photo OCVIII
spares fewexpenses in pursuit ofthe
ultimate photo-editing PC.The result is
blisteringlyfast,with ample storage space and
physical connectivity. It even doubles up as a highly
capable gaming PC, ifyou’re everinclined to slack off.
Build quality
Features
Performance
Value for money
Overall
November 2017 Digital SLR Photography 117
 Tel: 01803 852400 PHONE LINES OPEN
MON -FRI 8am - 5pm,
Email - info@mifsuds.com SAT 9am - 3pm,
www.mifsuds.com SUN CLOSED.
SHOP OPEN
U.K. Stock Mifsuds Photographic Limited TUE -FRI 10am - 5pm,
No Grey Imports 27-29, Bolton Street, Brixham. Devon. TQ5 9BZ. SAT 9am - 3pm. SUN/MON CLOSED.

PART-EXCHANGE WELCOME
WE PART EXCHANGE, BUY FOR CASH OR COMMISSION SALE
FAIR PRICES OFFERED ~ QUOTED QUICKLY ~ COLLECTION CAN BE ARRANGED
For speediest response please email your equipment details to... info@mifsuds.com

URGENTLY Canon AND Nikon 600mm F4

WANTED...
Canon EOS 1DX MKII
Full Frame
Body only £4798
Canon EOS 5D MKIV
Full Frame
Body only £3277
Canon EOS 6D MKII
Full Frame
Body only
£1997
Plus 24-105 STM
Canon EOS Full Frame Cameras
EOS 6D body................................£999
EOS 6D + 24-105 f3.5/5.6
IS USM STM................................£1399
please contact us NOW!
Canon EOS 7D MKII Canon EOS M5 CANON EFS LENSES 70-300 F4/5.6 L IS USM . . . . .£1247
APS-C 10-18 F4.5/5.6 IS STM . . . . . . . £197 70-300 F4/5.6 IS USM II . . . . . . £448
APS-C Body only 18-55 F3.5/5.6 ISII no box. . . . £129
CANON EF FULL FRAME LENSES
85 F1.4 L IS USM . . . . . . . . . . .£1599
85 F1.8 USM . . . . . . . . . . . . . . . . £319
£997 100 F2.8 IS L USM macro. . . £797
Body only 8-15 F4 L USM Fisheye. . . . . . . £969
11-24 F4 L USM . . . . . . . . . . . .£2697 100-400 F4.5/5.6 IS LII USM £1788
£1347 Plus 15-45 £997 14 F2.8 USM MKII . . . . . . . . . .£1949 200-400 F4 IS L USM . . . . . . .£9997
Plus 18-150 £1249 16-35 F2.8 L USM MKIII . . . . .£1897 200 F2.8 II L USM . . . . . . . . . . . £698
16-35 F4 L IS USM. . . . . . . . . . . £898 300 F2.8 IS L USM II . . . . . . . .£5399
Canon EOS 77D Canon EOS M6 17 F4 L TSE . . . . . . . . . . . . . . . .£1849 400 F2.8 IS L USM II . . . . . . . .£9399
APS-C APS-C 20 F2.8 USM . . . . . . . . . . . . . . . . £419 400 F4 DO II IS USM . . . . . . . £6321
Body only Body Only 24 F1.4 LII USM . . . . . . . . . . . .£1349
24 F2.8 IS USM . . . . . . . . . . . . . . £399
400 F5.6 L USM . . . . . . . . . . . . . £899
500 F4 IS L USM II . . . . . . . . . £8199
£798 £727 24-70 F2.8 L II USM. . . . . . . . .£1697 600 F4 IS L USM II . . . . . . . .£10899
Plus 18-55 STM £918 Plus 15-45 STM £837 24-70 F4 L IS USM. . . . . . . . . . . £724
24-105 F4 L IS USM MKII. . . .£1047
1.4x III or 2x III conv each . . . . £388
CANON FLASHGUNS/GRIPS
Plus 18-135 STM £1148 Plus 18-150 STM £999
24-105 F3.5/5.6 IS STM . . . . . .£349 MR-14 EX II Ringlight.
ingligh . . . . . . .£548
Canon EOS 200D Canon EOS M100 28 F2.8 IS USM . . . . . . . . . . . . . . £387 MT-26 EX RT mac twin ligh
430EX III RT Speedlight
light £1079
Speedligh . . . . . .£238
APS-C APS-C 35 F2 IS USM. . . . . . . . . . . . . . . . £468
Body only
Plus 15-45 STM
40 F2.8 STM . . . . . . . . . . . . . . . . £159
50 F1.2 L USM . . . . . . . . . . . . .£1249
600EX-RT II Speedligh
Speedlight . . . . . . £538
BG-E21 (fit 6D MKII) . . . . . . . . . £197
£578 50 F1.4 USM . . . . . . . . . . . . . . . . £319 BG-E20 (fit 5D MKIV) . . . . . . . . £297
£569 50 F1.8 STM . . . . . . . . . . . . . . . . . £97 BG-E18 (fit 750/760D) . . . . . . . £119
Plus 18-55 IS STM £678
Canon EOS APS-C Cameras
70-200 F2.8 IS LII USM. . . . . .£1797
70-200 F2.8 non IS L USM. . .£1197
BG-E16 (fit 7D MKII) . . . . . . . . . £197
BG-E14 (fit 80D). . . . . . . . . . . . . £137
£2377 EOS 80D Body.................................£947 Canon EOS M System 70-200 F4 L IS USM. . . . . . . . .£1048 BG-E13 (fit 6D) . . . . . . . . . . . . . . £148
EOS 80D + 18-55 STM ..................£1078 EOS M3 + 15-45 ............................. £449
11-22 f4/5.6 IS STM ....................... £317
EOS 80D + 18-135 STM ................£1297
EOS 800D Body ..............................£768 15-45 f3.5/6.3 IS STM .................... £199 400
EOS 800D + 18-55 STM ..................£868 18-55 f3.5/5.6 IS STM .................... £199 F4 DOII
18-150 f3.5/6.3 IS STM.................. £398
EOS 760D Body ..............................£578
22 f2 STM ....................................... £198 IS USM
EOS 750D Body ..............................£558
28 f3.5 Macro IS............................. £289 £6397 500 F4 IS L USM II £8199
EOS 750D + 18-55 STM ..................£598
EOS 750D + 18-135 STM ................£798 55-200 f4.5/6.3 IS STM.................. £249

Nikon D850 Nikon D500 NIKON DX NON FULL FRAME LENSES

10.5 F2.8 DX Fisheye . . . . . . . . . .£599
10-20 F4.5/5.6 G VR . . . . . . . . . . .£328
Full Frame APS-C 10-24 F3.5/4.5 AFS G . . . . . . . . . .£729
16-80 F2.8/4 AFS ED VR. . . . . . . .£858
16-85 F3.5/5.6 AFS VR . . . . . . . . .£568 10-20 F3.5 EX DC HSM . . . . . .£328 105 F2.8 EX DG OS HSM . . . .£358
Body only price Body only price 18-105 F3.5/5.6 AFS G no box . .£239 12-24 F4 DG HSM Art . . . . . £1378 135 F1.8 DG HSM Art.. . . . . £1398

£3499 £1699
18-140 F3.5/5.6 AFS VR . . . . . . . .£469 12-24 F4.5/5.6 II DG. . . . . . . . .£648 150 F2.8 EX DG OS. . . . . . . . . .£778
18-300 F3.5/6.3 AFS VR . . . . . . . .£628 14 F1.8 DG HSM Art . . . . . . £1678 150-600 F5/6.3 OS Contemp £788
35 F1.8 AFS G . . . . . . . . . . . . . . . . .£178 17-50 F2.8 EX DC OS. . . . . . . .£328
70-300 F4.5/6.3 AFP VR . . . . . . . .£329
70-300 F4.5/6.3 AFP non VR . . .£299 18-35 F1.8 DC HSM Art . . . . .£648
Nikon D5 Nikon D7500 NIKON FX FULL FRAME LENSES
8-15 F3.5/4.5 AFS E. . . . . . . . . . £1298
18-300 F3.5/6.3 DC mac OS .£368
20 F1.4 DG HSM Art . . . . . . . .£698
APS-C 14-24 F2.8 AFS G ED. . . . . . . . . £1448 24 F1.4 DG HSM Art . . . . . . . .£648
Full Frame Body only 16-35 F4 AFS VR . . . . . . . . . . . . £1018 24-35 F2 DG HSM Art . . . . . . .£758
18-35 F3.5/4.5 AFS G . . . . . . . . . .£618
£1277 24-70 F2.8 DG OS HSM Art £1398 150-600 F5/6.3 OS Sport . . £1328
Body only £5098 20 F1.8 AFS G ED. . . . . . . . . . . . . .£647
35 F1.4 DG HSM Art . . . . . . . .£598 500 F4 DG OS HSM Sport . £4997
Plus 18-140 VR £1578 24 F1.8 AFS G ED. . . . . . . . . . . . . .£628
24-70 F2.8 AFS G ED VR. . . . . . £1598 50 F1.4 EX DG HSM Art . . . . .£569
Nikon Full Frame Cameras Nikon APS-C Cameras
D810 Body Only...........................£2398 D7200 Body only ........................... £838
24-120 F4 AFS G ED VR . . . . . . . .£779
35 F1.4 AFS G . . . . . . . . . . . . . . . £1299
35 F1.8 AFS G . . . . . . . . . . . . . . . . .£438
50-100 F1.8 DC HSM Art . . . .£948
70-200 F2.8 EX DG OS . . . . . .£898 500 F4.5 EX APO DG HSM. £2997
D750 Body only ...........................£1597
D750 + 24-120 F4 VR ...................£2297
D7200 + 18-105 VR ......................£1087
D5600 Body Only .......................... £648 50 F1.4 AFS G . . . . . . . . . . . . . . . . .£377
50 F1.8 AFS G . . . . . . . . . . . . . . . . .£188
85 F1.4 DG Art. . . . . . . . . . . . . .£999
100-400 F5-6.3 DG OS CAF FIT ONLY
MBD-18 grip (D850) ...................... £368 D5600 + 18-55 AF-P....................... £728 60 F2.8 AFS . . . . . . . . . . . . . . . . . . .£419 HSM Contemporary . . . . . . . .£798 USB Lens dock. . . . . . . . . . . .£39.99
MBD-17 grip (D750) ...................... £348 D5600 + 18-140 VR ........................ £948 70-200 F2.8 AFS E FL ED VR . . £2347
MBD-12 grip (D810) ...................... £348 D3400 + 18-55 AF-P....................... £438 70-200 F4 AFS G ED VR . . . . . . £1178 70-200 f2.8 Di VC USD G2 ......... £1297
70-300 F4.5/5.6 E ED VR . . . . . . .£699 70-300 F4/5.6 Di VC USD..............£298
Nikon Nikon 85 F1.8 AFS G . . . . . . . . . . . . . . . . .£428
105 F2.8 AFS VR macro . . . . . . . .£748 15-30 f2.8 Di VC USD .....................£928
70-300 F4/5.6 Di AF........................£128
85 f1.8 SP Di VC USD......................£747
8-15 F3.5/4.5 70-200 F2.8 200-500 F5.6 AFS E ED VR. . . . £1248
300 F2.8 AFS ED VRII . . . . . . . . £4599
16-300 f3.5/6.3 Di II VC PZD ........£428 150-600 F5/6.3 VC USD G2....... £1275
18-200 F3.5/6.3 Di II VC.................£188 150-600 F5/6.3 SP VC USD ...........£819
AFS E FL 300 F4 AFS E PF ED VR. . . . . . . £1497 18-400 f/3.5-6.3 Di II VC HLD .....£648 Kenko Converters
AFS E £1298 ED VR £2347 400 F2.8 G E FL ED VR . . . . . . £10398
500 F4 G E AFS FL ED VR . . . . . £8444
24-70 f2.8 Di VC USD G2............ £1247 1.4x or 2x Pro 300 conv each.........£149
24-70 f2.8 Di VC USD .....................£747 Auto ext tube set...............................£99

WE STOCK COKIN P, X AND Z SERIES KITS. PLEASE SEE WEBSITE FOR FULL DETAILS.
X-Pro2 body..........................................£1348
X-T2 + 18-55mm .................................£1647
X-T2 body ..............................................£1389
XT-10 body X-T20 + 18-55mm...............................£1039
£399 X-T20 body...............................................£797
X-T10 + 18-55mm..................................£697
X-T10 body...............................................£399
X100f Compact....................................£1248
10-24mm F4 XF ......................................£766
14mm F2.8 XF R .....................................£689
16mm F1.4 XF .........................................£898
16-55mm F2.8.........................................£958
18mm F2 XF.............................................£498
18-55mm F2.8/4 OIS ............................£599
18-135mm F3.5/5.6 XF.........................£718
23mm F1.4 XF .........................................£829
23mm F2 XF R WR .................................£418
27mm F2.8 XF .........................................£398
35mm F1.4 XF .........................................£498
35mm F2 R WR........................................£368
50mm F2 R WR........................................£468
50-140mm F2.8 R OIS........................£1428
55-200mm F3.5/4.8 OIS XF.................£677
56mm F1.2 R APD...............................£1328
56mm F1.2 XF .........................................£898
60mm F2.4 XF macro ...........................£648
80mm F2.8 OIS WR macro ...............£1249
90mm F2 R LM WR ................................£898
100-400 F4/5.6 OIS WR ......................... £1698
1.4x XF TC WR..........................................£328
2x XF TC WR .............................................£398
11mm or 16mm Ext tube each........... £70
VPB-XT2 Vertical grip............................£289

Family Run Pro Dealership With Friendly, Knowledgeable Staff. Prices Inc VAT - Correct 22/09/2017. E&OE.
MORE ON WEBSITE - UPDATED DAILY. FREE U.K. MAINLAND DELIVERY FOR ITEMS OVER £100 VALUE. ALL U.K. STOCK, NO GREY IMPORTS.
 Although we are the best stocked dealer in the West Country,
we cannot always have every item listed in stock at all times, so
we are happy to reserve new & used items for customers
planning to visit. Prices correct 22/09/2017 but subject to
change without notice. See website for up to date prices. E&OE.
QUALITY USED EQUIPMENT. See website for full list. Call us to check condition. 6 Month warranty on most secondhand.
CANON USED Buy with confidence - all of our used equipment is thoroughly tested and cleaned before being offered for sale
CANON DIGITAL AF USED
Used Canon 1DX MKII body box .............£3999
1DX MKI body box ..............£2999
EOS 1DX 1D MKIV body.......................£1499
MKI I body 1D MKIII body ......................... £499
1Ds MKII body......................... £699
box 7D MKII body box.................. £899
7D body box............................ £499
£3999 6D body box............................ £799
5D MKIII body box................. £1699
5D MKI body box ......................£399
Used Canon 70D body......................................£549
60D body......................................£399
EOS 7D 50D body box.............................£299
650D body ...................................£299
MKII BG-E2.................................................£39
body BG-E2N..............................................£49
BG-E3.................................................£39
bo
box BG-E4 box........................................£69
£899 BG-E5.................................................£49
BG-E7.................................................£79
NIKON USED We carry out sensor cleaning on the premises, firmware updating and equipment hire - please enquire for details
NIkON DIGITAL AF USED
Used Nikon D4s body box........................£3699
D4 body box..........................£2199
D4s body D3X body box.......................£1399
box D3s body box........................£1399
D3 body box.................£999/1199
£3699 D2xs body box........................ £399
D810 body box......... £1599/1799
D800 body box......... £1199/1399
Used Nikon D750 body box.....................£1299
300mm D700 body box....................... £699
D610 body ............................... £799
F2.8 D300s body ............................. £349
AFS VRI D300 body box....................... £299
D200 body box....................... £149
£2999 D7200 body box .................... £699
D7000 body............................. £399
Used Nikon D5500 body............................. £449
D5300 body............................. £329
D810 body D3200 body............................. £229
box D3100 body............................. £169
D90 body.................................. £199
£1599/1799 D80 body.................................. £169
D60 body.................................. £149
DIGITAL USED Why not register to receive our email newsletters? Simply send your email address to info@mifsuds.com to enrol
FUJI DIGITAL USED
Used Fuji X-Pro2 body box.................... £999
X-Pro1 body box.................... £399
X-Pro2 X-T1 body black...................... £499
body X-T1 body black...................... £449
box X-T10 body box ...................... £299
X-E2 body silver box............. £299
£999 X-E1 body silver ..................... £199
10-24 F4 OIS box.................... £649
Used Olympus 16-50 F3.5/5.6 OIS MKII ....... £149
18-55 F2.8/4 XF ...................... £399
OM-D E-M1 27 F2.8 XF................................. £249
body M- 35 F1.4 R box........................... £399
50-230 F4.5/6.7 XRC ............. £249
box 60 F2.4 macro box................. £399
£599 90 F2 WR box .......................... £649
EF-42 flash box ....................... £119
Used Sony EF-20 flash box ..........................£69
MINOLTA/SONY DIGITAL USED
A77 MKII Sony RX100 MKIII box............ £449
Sony RX10 MKII box ............... £699
body box Sony A7R II body box...........£1799
Sony A77 MKII body box...... £699
£699 Sony A350 body....................... £169
Sony VG-C70AM....................... £139
MEDIUM FORMAT 6x45, 6x6, 6x7 & 6x9 USED
bRONICA ETRS 645 USED
Used Hasselblad ETRSi + 75 + WLF
503CW + 120 back................................ £399
ETRS body ................................ £119
Millennium 30 F3.5 PE ................................. £699
+ 80 F2.8 40 F4 E ....................................... £199
CFE + A12 50 F2.8 PE ................................. £349
£2799 75 F2.8 PE ................................. £149
135 f4 PE................................... £249
Used Mamiya 150 F3.5 E ....................................£99
150 F3.5 PE M- Box................ £149
RB67 Pro SD + 200 F4.5 PE............................... £199
90 KL + WLF 2x extender.............................. £199
E14 Ext tube ...............................£49
+ Back E42 Ext tube ...............................£49
£549 120 RFH........................................£69
135W back ............................... £299
Used Rollei 135N back ................................ £169
Polaroid Back .............................£49
3.5F 6x6 AEII prism ................................. £129
White Face
serviced
Plain prism ..................................£59
Rotary prism...............................£99
£1699 Winder early ...............................£79
Speed Grip E...............................£59
35MM & MISCELLANEOUS USED
CANON FD USED
Used Nikon A1 body serviced................... £199
AE1 Program body...................£99
400mm F2.8 ED AIS 24 F2........................................... £299
24 F2.8 ....................................... £149
24 F2.8 breechlock................ £149
28 F2.8 ..........................................£49
35-70 F4 .......................................£69
35-105 F3.5 .............................. £149
£1299 50 F1.2 L.................................... £699
50 F1.4 ..........................................£99
Used Nikon 50 F1.8 ..........................................£49
50 F2..............................................£49
500mm F4 AIS 50 F3.5 macro ............................£99
70-150 F4.5 .................................£29
100 F2.8..................................... £149
100-300 F5.6...............................£79
135 F3.5........................................£49
135 F3.5 (Breechlock)..............£39
200 F4 ...........................................£69
£1399 25mm/50mm Ext tube each £29
ITEM YOU REqUIRE NOT LISTED? PLEASE GIvE US DETAILS OF wHAT YOU ARE LOOkING FOR AND wE wILL CONTACT YOU wHEN THAT ITEM bECOMES AvAILAbLE.
Mail order used items sold on 10 day approval. Return in ‘as received’ condition for refund if not satisfied (postage not included - mail order only). E&OE.
BG-E11 box ..................................£169
BG-E16 box ..................................£169
TC-80N3 remote........................£85
Powershot G12....................... £229
Powershot SX60HS ............... £299
CANON EOS M USED
M5 + 15-45...................................£799
EF-M 11-22 F4/5.6 IS STM......£249
EF-M 55-200 F4.5/6.3 IS STM£229
EF-M 28 F3.5 IS STM macro ..£229
CANON AF FILM BODIES USED
EOS 5QD body box ............... £129
EOS 500/500N/1000f b/o ea.£49
EOS 600/650/1000 body ea..£49
PB-E2 drive M- box................ £199
PB-E2 drive fits EOS1/3........ £149
CANON AF LENSES USED
8-15 F4 L fisheye.................... £899
10-22 F3.5/4.5 USM EFS ...... £329
14 F2.8 USM LII box ............£1439
15-85 F3.5/5.6 IS USM EFS.. £429
D40X body ..................................£99
MBD-12 grip ............................ £249
MBD-10 grip M- box............. £129
MBD-10 grip ...............................£79
MBD-80 grip ...............................£49
MBD-200 grip.............................£49
NIKON AF FILM BODIES USED
F5 body ..................................... £399
F90X body...................................£99
F801 body ...................................£49
F601 body ...................................£49
NIkON AF LENSES USED
10.5 F2.8 DX ..................................£429
10-24 F3.5/4.5 DX.......................£599
14 F2.8 AFD...................................£999
14-24 F2.8 AFS M- box..........£1099
14-24 F2.8 AFS box....................£999
16 F2.8 AFD Fisheye..................£499
16-85 F3.5/5.6 AFS VR...............£399
17-35 F2.8 AFS box....................£999
17-55 F2.8 AFS .............................£499
18-35 F3.5/4.5 AFD ....................£299
18-55 F3.5/5.6 AFS VR................ £99
18-70 F3.5/4.5 AFS .....................£129
Sony LA-EA4 mount adap ... £189
Sony HVL-43AM box .............. £199
Sony HV56AM........................... £169
Sony HVK-F42AM .................... £119
SONY NEX USED
NEX 5 body .................................... £129
FE 16-35 F4 ZA OSS E................ £899
FE 16-50 F3.5/5.6 EZ .................. £149
FE 28-70 F3.5/5.6 OSS............... £299
FE 70-200 F4 G OSS box.......... £999
FE 90 F2.8 macro......................... £799
Samyang 100 F2.8 macro....... £229
MINOLTA/SONY AF USED
7xi body .......................................£49
7000i body..................................£39
300Si body ..................................£19
11-18 F4.5/5.6 AFD DT......... £259
24-50 F4 .......................................£99
24-85 F3.5/4.5 ......................... £149
28 F2.8 ..........................................£99
28-75 F2.8 AFD ....................... £299
28-80 F4/5.6................................£39
28-85 F3.5/4.5 ............................£99
35-70 F4 .......................................£39
35-70 F3.5/4.5..................................£25
Tripod adapter E .......................£39
Winder early ...............................£49
Metz SCA 386.............................£49
bRONICA Sq 6x6 USED
SQB + 80 + WLF
+ 120 back................................ £399
40 F4 S ....................................... £299
50 F3.5 PS ................................. £299
50 F3.5 S.................................... £149
150 F4 PS ......................... £149/199
200 F4.5 PS M- box ............... £199
2x PS converter M-................ £179
135N 35mm film back ......... £119
SQAi 120 RFH .............................£79
SQAi prism late....................... £299
Plain Prism S Boxed .................£69
AE Prism Early ............................£79
ME Prism Finder ........................£69
Metz SCA 386.............................£49
Pro shade S .................................£59
Lens Hood 65-80.......................£20
SQAi Motorwinder ................ £149
Speed grip S ...............................£79
SQAI winder............................. £149
Please contact us to determine availability before making a lengthy journey
2x Extender B.............................£49
177A flash..£20 244T flash ...£20
277T flash...£25 300TL flash.£49
Winder A....£20 Winder B.....£30
Angle finder B............................£49
CONTAX 35mm RF USED
90 F2.8 G................................... £269
CONTAX 35mm USED
28-70 F3.5/4.5 MM ................ £169
LEICA SLR USED
R8 body black box................. £499
LEICA M USED
IIIf Red Dial ST serviced
chrome body........................... £479
LEICA OPTICS USED
Televid APO 77 + 32x eye....... £699
Trinovid 10x42........................ £699
MINOLTA MD USED
XD7 body black...................... £199
X300 chrome body ..................£49
X300s black body .....................£49
Website altered daily inc. manufacturers cashback & promotions
www.mifsuds.com
Subscribe to our newsletter - send your email address to info@mifsuds.com.
16-35 F2.8 USM LII................. £849
16-35 F4 L................................. £749
17-40 F4 L................................. £449
17-55 F2.8 IS USM EFS ......... £499
17-85 F4/5.6 IS USM................... £199
18-55 F3.5/5.6 IS EFS ....................£99
18-200 F3.5/5.6 IS........................ £299
20 F2.8 USM................................... £349
24 F2.8 STM.................................... £109
24 F3.5 TSE MKI box................... £699
24-85 F3.5/4.5 USM.................... £149
24-105 F4 L IS.......................... £599
28-80 F3.5/5.6 ............................£79
28-135 F3.5/5.6 IS USM ....... £199
28-300 F3.5/5.6 IS USM L ..£1199
55-250 F4/5.6 IS STM............ £149
65 F2.8 MP-E............................ £849
70-200 F2.8 IS USM LII .......£1499
70-200 F2.8 IS USM L............ £999
70-200 F2.8 USM L ................ £799
70-300 F4.5/5.6 L USM......... £899
18-105 F3.5/5.6 AFS VR............£199
18-135 F3.5/5.6 EFS DX............3169
18-140 F3.5/5.6 AFS VR............£399
18-200 F3.5/5.6 AFS VRI...........£299
18-300 F3.5/5.6 VR .....................£649
24 F3.5 PCE M- box.................£1099
24-70 F2.8 AFS box....................£999
24-85 F3.5/4.5 VR ........................ £329
24-120 F4 AFS VR........................ £599
24-120 F3.5/5.6 G VR................. £299
24-120 F3.5/5.6 G........................ £199
28 F1.8 AFS G................................ £449
28-100 F3.5/5.6 AF G....................£69
35 F1.8 AFS G................................ £349
35 F1.8 DX....................................... £149
35 F2 AFD ....................................... £199
50 F1.4 AFS box...................... £299
50 F1.8 AFS .............................. £149
55-200 F4/5.6 AFS VR ........... £169
58 F1.4 G AFS .......................... £999
60 F2.8 AF................................. £199
70-200 F2.8 VR II box..........£1299
70-200 F2.8 VR I box............. £999
70-200 F4 AFS VR................... £899
35-80 f4/5.6.......................................£25
35-105 F3.5/4.5 ...............................£99
50 F1.7 AF.....£89 50 F2.8 mac£179
70-210 F4.5/5.6 ...............................£69
75-300 F4.5/5.6 ............................ £129
85 F1.4 G box ................................ £649
100-300 F4.5/5.6 APO............... £179
100-300 F4.5/5.6.......................... £149
500 F8 mirror................................. £349
VC700 grip.........................................£39
RC1000S cord...................................£29
SONY LENSES USED
10-18 F4 E OSS ............................. £599
16-80 F3.5/4.5 ZA DT................. £499
18-55 F3.5/5.6 SAM.......................£59
18-70 F3.5/5.6..................................£89
18-135 F3.5/5.6 DT SSM........... £329
18-200 F3.5/6.3 DT ..................... £199
55-200 F4/5.6 DT SSM .................£69
75-300 F4.5/5.6 ............................ £129
100 F2.8 macro............................. £299
SIGMA MIN/SONY AF USED
10-20 F3.5 EX............................. £269
10-20 F4/5.6 EX DC ................. £249
18-35 F1.8 Art............................ £549
For more used equipment listings please see website www.mifsuds.com
FUJI USED
G617 inc 105 F8 ..................... £999
HASSELbLAD 6x6 USED
503CW Millennium
+ 80 F2.8 CFE + A12 ...........£2799
501C + 80 CB + A12............£1699
503CW winder........................ £179
45º prism late.......................... £299
45º prism early ..........................£99
Sports viewfinder .....................£69
Chimney.......................................£89
A12 chrome latest................. £349
A12 late blk/chr...................... £199
Polaroid back 100.....................£79
50 F4 CF FLE ............................ £849
150 F4 chrome serviced...... £199
Ext tube 21..................................£39
Ext tube 55..................................£39
Vivitar 2x conv ...........................£49
Lens hoods various........... £20/50
MAMIYA 645 MF USED
645 Pro TL + 80 +
AE prism + back..................... £599
Plain prism (645 Super)..........£79
X700 black body .......................£69
XGM chrome body...................£49
28 F3.5 MD..£49 50 F1.7 MD £49
50 F2 MD .....................................£49
70-210 F4 MD.............................£99
2x Converter...............................£79
Ext tube for 50 F3.5..................£29
Ext tube set.................................£49
Auto bellows 1...........................£99
NIkON MF USED
FE2 body chrome .................. £349
F3 body ..................................... £199
F2 Photomic body box........ £399
FM2 body chrome box ........ £399
FM2n body chr box............... £299
FM2n body chr ....................... £249
FE body chrome........................£99
20 F3.5 AI.................................. £199
24 F2 AI ..................................... £299
24 F2.8 AIS M- box ................ £249
24 F2.8 AI.................................. £199
70-300 F4.5/5.6 IS USM L .... £999
70-300 F4.5/5.6 IS DO .......... £399
70-300 F4.5/5.6 IS USM ....... £249
75-300 F4/5.6 MKII ...................£99
85 F1.2 L USM ......................... £899
100 F2.8 L IS USM .................. £649
100 F2.8 USM box.................. £339
100-400 F4.5/5.6 LII IS U....£1499
100-400 F4.5/5.6 L IS U........ £899
135 F2 L USM box.................... £749
180 F3.5 L USM macro........... £699
300 F2.8 LII IS U ......................£4699
300 F4 L IS USM box............... £699
400 F2.8 IS USM L .... £3499/4999
500 F4 IS L USM....................£4499
2x extender MKIII..................... £339
2x extender MKII box............. £239
SIGMA CAF USED
10-20 F4/5.6 HSM box.............. £249
17-50 F2.8 EX DC HSM ............. £249
17-70 F2.8/4 DC OS.................... £249
70-300 F4/5.6 G non VR..........£99
80-400 F4.5/5.6 AFD VR....... £699
85 F1.4 AFS M- box ............... £999
85 F2.8 DN PC-E ...................£1099
105 F2.8 AFS VR...................... £549
200-400 F4 AFS VRII............£3799
200-500 F5.6 AFS VR
M- box .....................................£1079
300 F2.8 AFS VRII .................£3999
300 F2.8 AFS VRI ..................£2999
300 F4 E AFS PF VR..............£1299
300 F4 AFS box....................... £549
300 F4 AFD (non AFS).......... £399
400 F2.8 G E FL ED VR ........£8499
400 F2.8 AFS MKII................£3999
500 F4 AFS VR .......................£4999
TC14EII box .............................. £299
TC17EII....................................... £249
TC20EIII M- box ...................... £329
TC20EII....................................... £199
SIGMA NAF USED
12-24 F4.5/5.6 DGII ....................£499
17-70 F2.8/4 DC mac OS.........£199
18-200 F3.5/6.3 DC mac C...... £199
18-50 F3.5/5.6 DC.......................£69
28-105 F2.8/4 ...............................£69
28-135 F3.8/5.6............................£79
28-300 F3.5/6.3 macro........... £149
50 F2.8 EX DG macro ............. £179
50-150 F2.8 EX DC MKII......... £399
55-200 F4/5.6 DC OS.................£79
70-300 F4/5.6 DG OS............ £169
70-300 F4/5.6 APO DG............£99
150-500 F5/6.3 APO DG ...... £499
1.4x EX conv ...............................£99
TAM 10-24 F3.5/4.5 DiII ....... £239
TAM 24-70 F3.5/5.6 ..................£49
TAM 90 F2.8 ............................. £249
TAM 90 F2.8 ............................. £179
TAM 200-500 F5/6.3.............. £399
Teleplus 1.4x conv....................£69
Teleplus 2x conv .......................£79
Kenko 1.4x Pro 300DG......... £149
MINOLTA FLASH USED
Minolta 5200i.............................£29
Minolta 5400HS.........................£39
Minolta 5600HSD M-...............£99
OLYMPUS 4/3 USED
E5 body ..................................... £599
645 Super WLF...........................£99
Polariod Back HP401 ...............£29
Polaroid back .............................£29
120 Insert.....................................£20
120 Back.......................................£79
Winder..........................................£79
45 F2.8 N................................... £199
150 F3.5 N ...................................£79
150 F3.8 NL leaf...................... £299
210 F4 N M- ................................£79
Ext Tube 1....................................£29
Ext tube 2 ....................................£29
Ext tube 3S..................................£29
Teleplus 2x converter..............£49
Vivitar 2x converter..................£39
MAMIYA TLR 6x6 USED
65 F3.5 box late ...................... £199
65 F3.5 serviced...................... £149
250 f4.5...................................... £179
Porrofinder..................................£59
MAMIYA 6 & 7 RF 6x7 USED
43 F4.5 L + VF box ...............£1199
50 F4.5 L + VF box ................. £799
150 F4.5 M- .............................. £399
28 F2.8 E box..............................£69
28-85 F3.5/4.5 AIS.................. £199
35 F2.8 PC................................. £349
35-70 F3.3/4.5 AIS.................. £129
35-70 F3.5 AIS ............................£99
35-105 F3.5/4.5 AIS..................£79
50 F1.2 AIS................................ £399
50 F1.4 AI.................................. £199
50 F1.8 AI.................................. £149
50 F1.8 E.......................................£59
55 F2.8 AIS................................ £199
180 F2.8 AIS ED scruffy........ £179
400 F2.8 ED AIS ....................£1299
500 F4 AIS...............................£1399
500 F8 mirror........................... £249
600 F5.6...................................£1499
TC300 ......................................... £149
SC-17 TTL lead...........................£25
DW-3 WLF find fit F3 ...............£99
DW-21 fits F4........................... £149
PK-11a ext tube.........................£49
18-200 F3.5/6.3 DC..................... £149
18-250 F3.5/6.3 DC OS ............. £199
24-70 F2.8 HSM............................ £469
28-105 F2.8/4...................................£69
28-135 F3.8/5.6 ...............................£99
28-200 F3.5/5.6 Asph ..............£99
30 F1.4 DC HSM...................... £279
35 F1.4 DG Art ........................ £499
50 F2.8 EX macro ................... £149
50-500 F4/6.3 EX DG OS...... £699
50-500 F4/6.3 EX DG ............ £399
70-300 F4/5.6 APO DG............£99
120-300 F2.8 DG OS sport £1999
120-300 F2.8 EX DG .............. £699
120-400 F4/5.6 DG ................ £399
150-500 F5/6.3 DG OS.............. £449
150-600 F5/6.3 OS sport.......... £999
180 F2.8 EX DG OS ..................... £999
180 F3.5 EX DG HSM mac....... £399
TC1401 1.4x conv........................ £189
1.4x EX DG conv .......................... £149
24-35 F2 DG Art box .................£599
24-70 F2.8 EX DG HSM.............£469
24-105 F4 DG OS HSM.............£499
28-200 F3.5/5.6 early................... £69
35 F1.4 DG Art..............................£499
70-200 F2.8 EX DG................. £399
70-300 F4/5.6 APO DG............£99
105 F2.8 EX DG OS ..................... £279
105 F2.8 EX DG............................. £199
135-400 F4.5/5.6 DG.................. £299
150 F2.8 EX DG OS ..................... £549
150-500 F5/6.3 DG OS.............. £499
170-500 F5/6.3 D......................... £299
500 F4.5 APO DG M- box......£2499
TC-1401 1.4x converter............ £179
1.4x converter EX DG................ £149
2x EX converter...............................£99
TAMRON NAF USED
10-24 F3.5/4.5 DiII....................... £239
11-18 F4.5/5.6............................... £219
18-250 F3.5/6.3 ............................ £149
19-35 F3.5/4.5..................................£99
28-75 F2.8 XR Di........................... £229
28-300 F3.5/6.3 XR Di................ £199
E3 body ..................................... £299
E510 body ................................ £149
E500 body ................................ £129
11-22 F2.8/3.5 ......................... £349
12-60 F2.8/4 ED...................... £399
14-42 F3.5/5.6 ............................£49
14-45 F3.5/5.6 ............................£99
14-54 F2.8/3.5 ......................... £199
40-150 F3.5/4.5..........................£99
50 F2 macro............................. £299
50-200 F2.8/3.5 ED................ £399
EC14 converter....................... £199
25mm ext tube..........................£89
VA-1 angle finder......................£79
OLYMPUS MICRO 4/3 USED
OMD-EM1 body M- box ...... £599
OMD E-M5 MKII body box.. £499
OMD E-M5 body box............ £249
OMD-EM10 MKII body blk.. £349
OMD-EM10 body blk............ £249
OMD-EM10 body silv ........... £249
E10 body................................... £279
12 F2........................................... £479
14-42 F3.5/5.6 ......................... £169
17 F2.8 ....................................... £159
135 Panoramic adapter....... £129
MAMIYA Rb 6x7 USED
Pro SD + 90 KL
+ WLF + back .......................... £499
Pro S + 90 + WLF
+ back ........................................ £399
Pro S body................................ £149
Plain prism late....................... £199
WLF. ...............................................£79
90 F3.5 KL ................................. £299
127 F3.5 KL............................... £299
180 F4.5............................................ £149
Pro SD ext tube 1 45mm............£99
Pro SD ext tube 2 82mm............£99
MAMIYA RZ 6x7 USED
RZ Pro body ............................. £149
120 RFH Pro ................................£99
Polaroid back .............................£79
FE701 prism............................. £299
WLF................................................£79
Winder II.......................................£49
65 F4 box M- ........................... £399
90 F3.5 W M- box................... £299
180 F4.5 W................................ £199
PK-12/PK-13 ext tube each ...£49
OLYMPUS OM USED
OM-4T body ............................ £249
OM-2SP body.............................£99
OM-2n body chrome... £149/199
24 F2.8 ....................................... £199
35-70 F4 .......................................£79
35-105 F3.5/4.5..........................£79
80 F4 macro............................. £199
135 F4.5 macro....................... £199
7, 14, 25 man ext tube ea......£20
14 or 25 auto ext tube ea......£29
60-116 auto ext tube set .... £199
Tripod mount ring....................£59
PENTAX 35mm AF USED
16-45 F4 .................................... £199
17-70 F4 SDM M- box .......... £299
18-55 F3.5/5.6 ............................£69
28-80 F3.5/5.6 ............................£49
50-200 F4/5.6 DA......................£99
55-300 F4/5.8 ED WR............ £229
OTHER CAF USED
TAM 18-200 F3.5/6.3 VC ...... £149
TAM 18-250 F3.5/6.3 DiII..... £149
TAM 28-300 F3.5/6.3 XR Di.........£199
TAM 70-300 F4/5.6 Di USD VC. £219
TAM 70-300 F4/5.6 ........................£99
TAM 150-600 F5/6.3 VC USD. £599
TOK 100 F2.8 ATX........................ £299
Zeiss 50 F1.4 ZE box .................. £399
Kenko ext tubes set......................£99
CANON FLASH USED
ST-E2 transmitter ......................£79
MT-24EX Ringflash ................ £499
MR-14EX Ringflash................ £299
430EX MKIII.............................. £189
430EX MKII ............................... £169
550EX......................................... £149
580EX box ................................ £179
600EX RT box .......................... £299
MORE ON wEbSITE
www.MIFSUDS.COM
70-300 F4/5.6...................................£79
150-600 F5/6.3 Di VC USD...... £599
OTHER NAF USED
TOK 10-17 F3.5/4.5 ATX....... £249
TOK 11-16 F2.8 ATX Pro DXII £349
TOK 12-24 F4 ATX Pro .......... £329
FLASH / ACCESSORIES USED
SB-24......................................................£49
SB-25......................................................£49
SB-26....................................................£69
SB-28....................................................£69
SB-600............................................... £169
SB-700............................................... £199
SB-900............................................... £249
SB-R1 Ringflash M- box .......... £349
SU-800 commander.................. £279
SD-8A battery pack.......................£89
DR-5 angle finder........................ £149
DR-3 angle finder...........................£59
MB-10 (fits F90)...............................£29
MB-23 (fits F4)..................................£69
MC-30 remote .................................£49
MORE ON wEbSITE
www.MIFSUDS.COM
25 F1.8 ....................................... £269
40-150 F4/5.6 .......................... £189
MC-14 converter.................... £249
ECG grip .......................................£39
HLD-8 grip................................ £129
HLD-7 grip box..........................£99
HLD-6 grip...................................£89
PANASONIC DIGITAL USED
GH2 body ................................. £299
G3 body box............................ £199
GX7 body.................................. £349
GF3 body black .........................£99
GF1 body .....................................£99
14-42 F3.5/5.6 ......................... £199
14-42 F3.5/5.6 ............................£79
14-45 F3.5/5.6......................... £149
20 F1.7 ....................................... £199
25 F1.4 ....................................... £379
35-100 F4/5.6 .......................... £169
45-150 F4.5/5.6....................... £149
45-200 F4/4.5 box ................. £199
100-300 F4/5.6........................ £349
TZ100 box ................................ £429
PENTAX DIGITAL USED
K100d body ............................. £149
PENTAX 645MF USED
645 + 75 F2.8........................... £249
645 body + insert .................. £199
200 F4 ........................................ £149
300 F4 ........................................ £249
1.4x converter......................... £199
PENTAX 67 USED
6x7 body + prism................... £599
45 F4........................................... £399
135 F4 macro late .................. £249
165 F2.8 latest M- .................. £499
200 F4 latest ............................ £169
200 F4 early...................................£99
300 F4 early scruffy................... £99
Pentax rear conv 1.4x........... £249
2x rear converter.................... £179
Auto ext tubes ...........................£49
Wooden grip ........................... £169
ROLLEI 6x6 TLR USED
3.5F White Face serviced...£1699
MORE ON WEBSITE
www.mifsuds.com
55-300 F4/5.8 ED box........... £199
100 F2.8..................................... £149
SIGMA PkAF USED
18-250 F3.5/6.3....................... £199
28-200 F3.5/5.6....................... £149
PENTAX MF USED
20 F4 PK box............................ £199
35 F2 PK box............................ £199
50 F1.4 PK................................. £149
85 F2 PK .................................... £199
120 F2.8 K................................. £199
135 F3.5 PK .................................£69
150 F3.5 PK box...................... £149
50 F1.4 PK....................................£99
50 F2..............................................£49
50 F4 macro PK..........................£99
STUDIO LIGHTING USED
Bowens Esprit 500
twin head kit ........................... £449
TAMRON ADII USED
35-135 F3.5/4.2..........................£99
 visit wex.co.uk
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THE WEX PROMISE: Over 19,000 Products • Free Delivery on £50 or over** • 30-Day Returns Policy • Part-Exchange Available • Used items come with a 12-month warranty††
†

EOS 200D EOS 800D EOS 77D K-1 A99 Mark II A9

24.2 mp 24.2 mp 24.2 mp 36 mp 42.4 mp 24 mp

1080p 6.0 fps 6.0 fps 6.5 fps 12.0 fps 20.0 fps

200D From £579 800D From £769 77D From £799 K-1 £1999 A99 II £2999 A9 £4499
200D Body £579 800D Body £769 77D Body £799 K-1 Body £1999 A99 II Body £2999 A9 Body £4499
200D + 18-55mm £679 800D + 18-55mm IS STM £869 77D + 18-55mm IS STM £919
200D + 18-135mm £919 77D + 18-135mm IS USM £1149
Available in Black/Silver/White £1064 Inc. £85 Cashback*

GH5 GFX 50S X-T2

EOS 80D EOS 7D Mark II EOS 6D Mark II

20.2 mp 26.2 mp 20.3 mp 51.4 mp 24.3 mp

24.2 mp 10.0 fps 6.5 fps 12 fps 3.0 fps 6.5 fps
7.0 fps 1080p Full Frame 4K 1080p Full Frame

80D From £943 7D Mark II £1349 6D Mark II From £1999 GH5 From £1699 GFX 50S £5999 X-T2 From £1399
80D Body £943 7D Mark II Body £1349 6D Mark II Body £1999 GH5 Body £1699 GFX 50S Body £5999 X-T2 Body £1399
80D + 18-55mm IS STM £1079 £1219 Inc. £130 Cashback* 6D Mark II + 24-105mm £2379 GH5 + 12-60mm f3.5-5.6 £1899 X-T2 + 18-55mm £1649
80D + 18-135mm IS USM £1299 GH5 + 12-60mm f2.8-4.0 £2199

EOS 5DS EOS 1D X Mark II OM-D E-M10

5D Mark IV
D850 D500 Mark III

30.4 mp 50.6 mp 20.2 mp 45.7 mp 17.2 mp

7.0 fps 5.0 fps 16.0 fps 6.0 fps 20.9 mp 8.6 fps
Full Frame Full Frame Full Frame Full Frame 10.0 fps 4K

5D Mark IV £3349 5DS £2949 1D X Mark II £4799 D850 £3499 D500 £1729 OM-D E-M10 III £629
5D Mark IV Body £3349 5DS R Body £3149 1D X Mark II Body £4799 D850 Body £3499 D500 Body £1729 OM-D E-M10 III Body £629
D500 + 16-80mm £2479 OM-D E-M10 III 14-42mm £699

Canon Lenses Nikon Lenses

EF 24mm f1.4 L II USM................£1499
£1329 Inc. £170 Cashback*
EP 35mm f1.4 L II USM .............£1799
£1584 Inc. £215 Cashback*
EF 50mm f1.2 L USM...................£1272
£1102 Inc. £170 Cashback*
EF 50mm f1.4 USM......................£349
TS-E 50mm f2.8 L Macro ..............£2499
EF-S 60mm f2.8 USM Macro.......£379
EF 85mm f1.2 L II USM................£1747.85
£1532.85 Inc. £215 Cashback*
EF 85mm f1.4 L IS USM .............£1569
EF 85mm f1.8 USM......................£327
EF 100mm f2.8 L IS USM Macro.£799
EF 135mm f2 L USM....................£859.97
EF 180mm f3.5 L USM Macro .....£1229
EF-S 10-18mm f4.5-5.6 IS STM ..£199
EF-S 10-22mm f3.5-4.5 USM ......£499
EF 11-24mm f4 L USM ................£2699
EF-S 15-85mm f3.5-5.6 IS USM..£599
EF 16-35mm f2.8 L III USM ..........£1949
£1734 Inc. £215 Cashback*
EF 16-35mm f4 L IS USM.............£899
EF-S 17-55mm f2.8 IS USM .........£718
EF 17-40mm f4 L USM..................£649
EF-S 18-55mm f4-5.6 IS STM ......£219
EF 18-135mm f3.5-5.6 IS STM.....£379
EF-S 18-200mm f3.5-5.6 IS ..........£439
EF 24-70mm f2.8 L II USM ...........£1799
£1584 Inc. £215 Cashback*
EF 24-70mm f4 L IS USM ...........£699
EF 24-105mm f4 L IS II USM........£1065
EF-S 55-250mm f4-5.6 IS STM ....£269
EF 70-200mm f2.8 L IS II USM.....£1899
EF 70-200mm f4 L IS USM ..........£1049
EF 70-300mm f4-5.6 IS II USM ...£449
EF 70-300mm f4-5.6 L IS USM.....£1200
EF 100-400mm f4.5-5.6 L IS II USM £1789
20mm f1.8G AF-S ED .............................. £659
24mm f1.8 G ED AF-S ............................. £649
35mm f1.8 G AF-S DX ............................. £179
50mm f1.8 G AF-S ................................... £199
50mm f1.4 AF-S ....................................... £389
58mm f1.4 G AF-S ................................... £1419
60mm f2.8 G AF-S ED Micro ................... £529
85mm f1.8 G AF-S ................................... £429
105mm f2.8 G AF-S VR IF ED Micro....... £769
300mm f4 E PF ED VR AF-S................... £1529
10-24mm f3.5-4.5 G AF-S DX.................. £745
14-24mm f2.8 G AF-S ED........................ £1619
16-35mm f4 G AF-S ED VR..................... £1029
16-80mm f2.8-4 G AF-S VR ED DX ........ £899
18-105mm f3.5-5.6 G ED VR AF-S DX ... £239
18-200mm f3.5-5.6 G ED AF-S DX VR II £649
18-300mm f3.5-6.3 G ED VR AF-S DX ... £629
24-70mm f2.8 G AF-S ED........................ £1549
24-120mm f4 G AF-S ED VR................... £999
28-300mm f3.5-5.6 G AF-S ED VR ......... £829
70-200mm f2.8 G AF-S ED VR II............. £1998
80-400mm AF-S Nikkor f4.5-5.6 G ED VR..£2199
200-500mm f5.6E ED VR AF-S ............... £1179
*Canon Cashback ends 17.10.17

Photo Bags & Rucksacks Anvil Slim

F-803
Pro Runner BP 350 ProTactic 450 AW Professional
RuggedWear
AW II Backpack Backpack Backpack Hadley Pro
Manfrotto 3N1-36 Original
Designed to fit PL Backpack Canvas Khaki/Tan
Purpose-built
to organise and 1-2 Pro DSLRs
protect more (one with up to 3-in-1 backpack Hadley: Canvas/Leather: Khaki/Tan,
gear, and provide 70-200mm lens for commercial Black/Tan, Black/Black.
more options for attached), up to 8 photographers, FibreNyte/Leather: Khaki/Tan, Sage/
manoeuvring in lenses/speedlights, videographers
a 15” laptop, tripod and drone users.
Tan, Black/Black.
busy airports and
crowded streets. and accessories. Digital .................................. £119 RuggedWear:
Anvil: Small ................................... £149 F-5XB ......................................£69
Pro Runner: Anvil Slim...............................£122 Large ................................... £154 F-6 ...........................................£79
BP 350 AW II ..........................£139 Photo Sport BP: Anvil Super............................£134 3N1-36 PL ............................£159 Pro Original ......................... £189 F-803 .......................................£139
BP 450 AW II ..........................£169 450 AW...............................£178 Anvil Pro................................£129 3N1-26 PL ............................£149 Hadley One ......................... £265 F-2 ...........................................£129

Tripods & Tripod Heads We sell tripod accessories including plates and spiked feet on our website!
Trade in,
MT055XPRO3 ...................£159
MT190XPRO3
• 160cm
Max Height
• 9cm
Min Height
Gorillapod Kit 1K
• Flexi-Tripod legs
• 21cm Closed Length
327RC2
Joystick
to
trade up Competitive
MT055CXPRO3 Series 3 4S XL Head prices
• 1Kg Max Load
Carbon Fibre......................£329 • 202cm Max Height Free collection
MT055CXPRO4 of your gear
• 10cm Min Height
Carbon Fibre......................£345
Fast turnaround
MT190 Series: Ball Heads: of your quote
MT190XPRO3 ................... £149 New Systematic Tripods: Gorillapod: and credit
494RC2 ............................ £49
MT190XPRO4 ................... £159
Series 3 4S XL ......................... £764 Gorillapod 500.........................£35 496RC2 ............................ £64.95
MT190CXPRO3 MK190XPRO3
Carbon Fibre...................... £299 + X-Pro 3-Way Head ......... £239 Series 4 4S L............................ £759 Gorillapod Kit 1K .....................£52 XPRO Ball Head 200PL... £109 wex.co.uk
MT190CXPRO4 MT190XPRO4 Series 5 4S L............................ £845 Gorillapod Kit 3K .....................£86 327RC2 ............................ £169
Carbon Fibre...................... £318 + X-Pro 3-Way Head .........£249 Series 5 6S G........................... £1099 Gorillapod Kit 5K .....................£172
Terms and Conditions All prices incl. VAT at 20% Prices correct at
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is £2.99** (based on a 4 day delivery service). For Next Working Day
Delivery our charges are £4.99**. Saturday deliveries are charged at
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trading name of Warehouse Express Ltd (registered as company
3m Heavy Duty 5-in-1 Light Multi no. 03366976. VAT number 231 9471 12). ©Warehouse Express Ltd
Lumimuse LED Background Collapsible Reflector 2017. *CASHBACKS Are redeemed via product registration with the
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430EX III SB5000 Lights Ezybox Speed-Lite 2 Stand - 56cm Urban Collapsible off Drayton High Road, (opposite ASDA) Norwich. NR6 5DP.
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ONETRIPOD&WINDSOR
BACKPACKWORTH£280!
THISMONTH'SCOMPETITIONOFFERSTWOLUCKYREADERSTHECHANCETOSCOOPAPHOTOGRAPHICPRIZEBUNDLE
CONSISTINGOFATOPMANFROTTOTRAVELTRIPODANDAVERSATILEANDSTYLISHPHOTOBACKPACK.HERE'SHOW…
MANFROTTO IS A BRAND synonymous with
high-quality photo accessories. While it's
traditionally known for its range of tripods,
the Italian manufacturer has diversified in
recent years to cover everything from studio
backgrounds to filters and camera bags. This
month's prize bundle will suit photographers
on the go and includes two of its latest and
most popular products.
The (£120) Manfrotto Befree One
aluminium tripod is designed for travel
photographers looking for a highly portable
support that's easy to pack away. Weighing
1,350 grams, it measures just 32cm folded,
yet reaches a respectable height of 130cm.
It's a great solution for photographers who
love to get out and about, whether in the big
city, the great outdoors or overseas. And with
a maximum load of 2.5kg, you can use it with
a wide selection of zoom lenses.
The second part of our bundle is made up
of a spacious and stylish storage solution for
your camera outfit. The (£160) Windsor
Camera Backpack is both visually appealing
and protective, sporting a vintage-themed
look with high-quality, traditional leather
138 Digital SLR Photography November 2017
TW WIN
&
O DS
MA OR
NF BA
RO CK
TT PA
O CKW
BE B
IN
FR UN
EE D
!
ON LES
E T UP
RA FO
VE R
L T GR
RIP AB
OD S!
trims and a soft plaid lining, and a water-
resistant attractive exterior material. The
interior has padded dividers and can easily
store a medium-sized DSLR with an attached
70-200mm f/2.8 lens plus two additional
lenses, or a premium mirrorless camera with
multiple lenses. The Windsor can also store a
DJI Mavic Pro Combo kit, and can be turned HOW TO ENTER
HOWTO ENTER
into an everyday field trip backpack by Foryourchance towin one ofourtwo Manfrotto tripod
removing the protective pouch. It also has a and backpack bundles, answerthis simple question:
dedicated compartment for a 15in laptop.
The Windsor is designed to allow fast and WHAT IS THE MANFROTTO BEFREE
easy access to kit with side zippers, and
features the Manfrotto Protection System,
ONE MADE FROM?
which protects your gear from shock. A)ALUMINIUM B) TITANIUM C) URANIUM
Adjustable shoulder straps ensure a
Emailyouranswer, alongwithyourname & address, to:
comfortable fit, while you can also carry your
competitions@dslrphotomag.co.uk using the subject
tripod via its adjustable leather attachments. 'Manfrotto Bundles'byTuesday21 November2017.
It's an ideal way to comfortably carry your We'll pick twowinners at random and theywill receive
camera outfit in a stylish and secure bag. confirmationwithin seven days. Open to UK readers only.
To have the chance of winning, answer our
simple question before 21 November 2017.
Please note that this competition is only open
to readers living in the UK.
Forfurtherinformation on Manfrotto's range of
products,visit:www.manfrotto.co.uk
#ITSNOTYOUITSME

I DESERVE
BETTER
Photographer: John Nassari johnnassari.co.uk, johnnassari

TIME TO BREAK-UP WITH YOUR OLD DSLR?

The E-M1 Mark II is a true powerhouse of technology. Wrapped in the compact camera is a new
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PhotographyHolidays&Courses2018 Welcome

Contact
Produced by Digital SLR Photography
Email: enquiries@dlslrphotomag.co.uk
Online: www.digitalslrphoto.com
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Magazine(facebook.com/DigitalSLRPhoto)
Twitter: @DigitalSLRPhoto

Editorial
Editor Daniel Lezano
daniel.lezano@dslrphotomag.co.uk
Art Editor Luke Marsh
luke.marsh@dslrphotomag.co.uk
Contributing Editor Caroline Schmidt
caroline.schmidt@dslrphotomag.co.uk
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maisie_harvey@dennis.co.uk

Publishing
Felix Dennis Founder
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All rights in the licensed material belong to

FelixDennis,HaloorDennisPublishingand
LearnfromtheUK’sleadingexperts
may not be reproduced, whether in whole
or part, without their prior written consent. ”WHETHER YOU WANT to improve your landscapes,
Digital SLR Photography is a registered trademark. portraits, wildlife, travel or general camera skills, getting
Thepublishermakeseveryefforttoensurethemagazine’scon- personalised expert advice and feedback is a great course
tentiscorrect.AllmaterialpublishedinPhotoHolidays&Courses of action to consider. While each month, the Digital SLR
andDigitalSLRPhotographyiscopyrightandunauthorised
reproductionisforbidden.Theeditorsandpublishersofthis Photography team endeavour to help and inspire you to
magazinegivenowarranties,guaranteesorassurancesandmake improve your photography, supplementing our advice
norepresentationsregardinganygoodsorservicesadvertised
inthisedition.Noresponsibilitycanbeacceptedforimagesor with hands-on tutorials from professional photographers could help
correspondencelostordamagedinpostortransit.Tolicensethis you resolve those tricky technical issues, refine your technique and get
product,pleasecontactCarlottaSerantonion+44(0)207907
6550;emailcarlotta_Serantoni@dennis.co.uk
those burning photo questions answered. One benefit of workshops,
While every care was taken during the production of this short courses and photo holidays, in the UK or abroad, is that you also
supplement, the publishers cannot be held responsible for get to learn from like-minded photographers as well as share your own
the accuracy of the information or any consequence arising
from it. Dennis Publishing takes no responsibility for the
photography knowledge and expertise. You often get led to the very
companies advertising in this supplement. best locations, during the best light, to ensure you have every chance of
The paper used within this supplement is from sustainable capturing stunning pictures. It can be an invaluable opportunity to gain
fibre, manufactured by mills with a valid chain of custody.
new skills and develop existing techniques, so why not take a look
Printed by Buxton.
through this guide to discover the most popular courses on offer –
Provided free with the
some led by our regular contributors – and give them a try!”
November 2017 issue of
Digital SLR Photography

Daniel Lezano
Editor, Photography Holidays & Courses 2018

Free with the November 2017 issue Digital SLR Photography 5

What’s inside PhotographyHolidays&Courses2018

17

Contents 25

8Landscapes
Take a fantastic course with leading experts
and improve your landscape photography
10Notjustanothertourcompany!
Landscape photographer Cheryl Hamer
provides an insight into her workshops
14CornishSeascapes
Chris Simmons offers his expert advice on
planning a successful seascape shoot
19Portraits
Learn the skills and techniques you need 30
to create appealing and attractive portraits
20Post-production
Expert advice on post-processing & printing
to help you make the most of your images
22Travel
Don’t step on a plane until you’ve signed up
to one of these incredible courses
27Wildlife
Pack the telephoto along with your passport
and get set to take amazing wildlife images

6 Digital slr Photography Free with the November 2017 issue

PhotographyHolidays&Courses2018 What’s inside

Free with the November 2017 issue Digital slr Photography 7

Landscapes PhotographyHolidays&Courses2018

ChrisDavisLandscapePhotography
WORKSHOPS/ 1-2-1 / POST-PROCESSING TUTORIALS
I’ve been lucky to have found great mentors over my photographic
development and now gain immense pleasure from using all that
combined knowledge and experience to deliver a packed and
intense training experience for you. Whether you’re beginner
needing help on how to better use your camera, or a more seasoned
shooter wanting to improve your technique in the field, when
processing or any stage in-between, I can put together a plan that
is 100% designed for you to take your imagery to the next level. Or
join me on a small group workshop – there is still availability on our
December Glencoe Winter workshop: visit the website for details.

• Web:www.chrisdavis-photography.com • Facebook:chrisdavisphotographyUK
• Email:chris@chrisdavis-photography.com
• Telephone:07590572008

Cornwall
Photography
Workshops
ONE-TO-ONE/SMALLGROUPS
WORKSHOPS&TOURS
Whether visiting or lucky enough
to call Cornwall home, there will
be moments you want to cherish
forever. And with Carla’s help, you
can improve your photography
skills and get those perfect
shots too. The award-winning
photographer runs a range of
relaxed but comprehensive
courses, workshops and one-to-
one sessions, giving you a solid
grounding in photography, both on-
location and in post-production.
Why not join Carla for a half-day/
full-day one-to-one workshop, or
a residential workshop in Cornwall? off the beaten track, chasing courses all around the world too
With so many fantastic locations the Cornish Light and enjoying with the highly renowned ‘Light and
on the doorstep, her extensive wonderful Cornish delights are Land Photographic Workshops &
knowledge of the area, and being a all part of the package! Why not Tours’. So if you fancy trying your
restauranteur, Carla has excellent take this further and arrange to photography even further afield,
inside knowledge of great places to do some printing with Carla in her Carla is planning some amazing
make every workshop complete – gallery and take home with you ventures. For more information,
with fantastic Cornish specialities! a special memory ready to hang visit Carla’s website, or if you are
With some amazing places to stay on your wall? Carla’s workshops passing her home in Porthleven,
Carla can tailor for you a private are open to photographers of all go and find her new gallery, which
or small group workshop – being abilities and she tailors the time is full of inspiration to encourage
driven to spectacular locations around you. She also takes her you out with your camera!

• Website:www.carlaregler.com • Facebook:CarlaReglerPhotography
• Email:carla@carlaregler.com • Twitter:@CarlaRegler
• Telephone:07971 951698

8 Digital slr Photography Free with the November 2017 issue

PhotographyHolidays&Courses2018 Landscapes

Ross HoDDInoT T
Dawn2DuskPhotography
Ross HoDDInoT T
DeveloP yoUR sKIlls As A lAnDscAPe PHoTogRAPHeR
Dawn 2 Dusk Photography is one of the UK’s leading providers of
landscape photography workshops. It is run by three of the UK’s best
known, award-winning landscape photographers – Mark Bauer,
Adam Burton and Ross Hoddinott. All three are experienced tutors and,
in addition to their photo expertise, each has an intimate knowledge of
many of the UK’s most photogenic and iconic locations.
Dawn 2 Dusk Photography offers an appealing mixture of residential
and one-day photography workshops, to ensure that every budget and
need is catered for. Throughout each of our photography workshops,
you will enjoy the full benefit of two tutors’ experience, offering friendly,
practical and personal advice on subjects like exposure, filtration, image
sharpness, composition and creativity. And with a maximum group size
of ten, plenty of individual attention is guaranteed.
Whether you are a beginner or enthusiast, shoot digital or film, our
photography workshops are designed to help you develop your skills
as a landscape photographer, while visiting some of the UK’s most
picturesque locations. We hope you can join us…

• Website:www.dawn2duskphotography.co.uk
• Email:ross@dawn2duskphotography.co.uk
• Telephone:+44 (0)1288 321387

Free with the November 2017 issue Digital slr Photography 9

Landscapes
CherylHamerPhotography
NOT JUST ANOTHER PHOTOGRAPHY TOUR COMPANY!
T
HERE IS NO BETTER
recommendation than
customer experience, and
Cheryl gets consistently excellent
feedback for her photography
workshops and tours. For example
Neil said: “I’ve just had the two most
amazing days of my photography
life, so thank you … The post-course
notes are also superb reference
aids”. Helen said: “you teach more
and explain better” (than a famous
workshop company).
So, what can Cheryl offer you?
Well, she runs a regular programme
of one-day workshops either in
Anglesey or Snowdonia, all at the
value-for-money price of £99, and
you are guaranteed a small group
experience of no more than four
people. These workshops are at two
levels: beginner/improver, or
intermediate, so you can be sure to
be working alongside people of a
similar skill level.
What does this mean? An
‘absolute beginner’ will probably
have been using the automatic
settings on their camera ,such as
the landscape or portrait modes,
whereas an ‘improver’ may have
been using a setting like aperture-
10 Digital SLR Photography Free with the November 2017 issue
PhotographyHolidays&Courses2018
priority or even manual, but not feel
they are really completely getting
the best from these settings.
On these workshops you will
learn how to shoot in aperture-
priority or manual mode and how to
control aperture and depth-of-field
(how much of the picture is sharp
and in focus); how and where to
focus in a picture; how to utilise
White Balance to really get creative
and how to successfully control
exposure. You will also gain an
understanding of the essentials of
composition, the use of graduated
Neutral Density filters and long
exposure filters (these are available
to borrow), and an understanding
of minimum shutter speeds when
handholding. There may also be
the opportunity to practice some
post-processing, although Cheryl
also runs separate sessions on this.
No more crashing disappointment
when you get your pictures onto
your computer and feel that you just
haven’t done the place justice!
A sound understanding of these
basic techniques are crucial so that
you are then able to move on and
become more creative with your
photography, which is what Cheryl
concentrates on in her Level 2
intermediate workshops. These
focus on a range of different
techniques, such as more creative
use of filters, long exposures,
intentional camera movement, soft
focus effects and in-camera multiple
exposure. Cheryl will also help you
to consider more advanced
composition and how to develop
your own style. Cheryl is very skilled
at enabling you to become more
PhotographyHolidays&Courses2018
creative, as evidenced by Mike who
said: “I would just like to say thank
you for the past few days. I not only
enjoyed the course but, with your
guidance, I’ve gone beyond the
technical side to the inspirational
side of photography”.
Cheryl also runs regular week-
long photo tours. On the agenda
for 2017/18/19 are the following:
• November2017:OfftheBeatenTrack
inSnowdonia&Anglesey.(Oneweek.)
• February 2018 or 2019: Iconic
Iceland. (Eight days.)
• March 2018: Photographing
Mallorca. (One week.)
• May 2018 or 2019: Off the Beaten
Track in Iceland. (Ten days.)
All these tours are suitable for
anyone whatever their current skill
level, because with at least a week to
‘play with’, Cheryl will have the time
to give you the attention you need to
come back with great pictures.
Free with the November 2017 issue Digital SLR Photography 11
Landscapes
ALL IMAGES: CHERYL HAMER
So, Cheryl Hamer Photography is
NOT JUST ANOTHER
PHOTOGRAPHY TOUR COMPANY.
Cheryl is a skilled, creative
photographer – and a great teacher
– who is dedicated to helping you
really get the best from yourself and
your camera. Join her for fun,
creativity and a host of new skills.
• Website:www.cherylhamer.com
• Facebook:cheryl.hamer.14
Landscapes PhotographyHolidays&Courses2018

DigitalPhotographyHolidays
pHOtOgRapHYWORkSHOpSaND1-tO-1’S
Landscape photography workshops and weekends, exploring
the rugged coastline of gower, South Wales and the Bluebell
woods of gloucestershire with award-winning professional
photographer Stephen Studd. the gower peninsular and bluebell
woods are both blessed with amazing light and Stephen’s
intimate knowledge of these areas will ensure that you will be in
the right locations for the best light. Small group sizes guarantees
personal attention with expert tips and guidance tailored to your
individual needs, giving you the tools and confidence to master
your camera. all levels of photographer are welcome.

• Web:www.digitalphotographyholidays.com • Facebook:www.facebook.com/
• Email:info@digitalphotographyholidays.com DigitalphotographyHolidays
• Telephone:(+44) 07706 119609 • Twitter:@photographyhols

ImageSeen
CReatIveLaNDSCapepHOtOgRapHYWORkSHOpS
Run by professional landscape photographer Sarah Howard,
Image Seen offers tailored one-to-one tuition as well as
small group workshops in some of Britain’s most photogenic
regions, including the Lake District, Dorset’s Jurassic Coast,
Northumberland, the Yorkshire Dales, North Yorkshire coast,
North Cornwall and the Cotswolds. Suitable for all levels of
ability, the workshops are designed to both challenge and
inspire. Offering expert hands on tuition and friendly, practical
advice, Image Seen will help you get the most from your
camera and develop your photographic skills.

• Web:imageseen.co.uk • Facebook:tinyurl.com/ImageSeen
• Email:info@imageseen.co.uk
• Telephone:07760 498 112

AnthonyBlakePhotographyWorkshops
BeINSpIReD
Share the company of other photographers and enjoy tuition and guidance
on the aspects of landscape photography, with an emphasis on good camera
craft and creativity. generally based on Dorset’s Jurassic Coast, experienced
photographer and tutor anthony Blake offers a regular programme of one,
two and three-day workshops for small groups (max. three). Other locations
and workshops include three-day residential groups on Cornwall’s west coast,
Bath-in-a Day, Stourhead in autumn, Wiltshire Bluebell days and many more.
also, bespoke 1-2-1 tuition days with options to share with a friend or family
member. Camera groups and arranged corporate days welcome. all levels from
beginners to aspiring professionals. gift vouchers available for Christmas!

• Web:www.anthonyblakephotography.co.uk
• Email:tony@anthonyblakephotography.co.uk
• Telephone:01258 863436 / 07710 400586

12 Digital slr Photography Free with the November 2017 issue

Landscapes
CatchingWaves
A FIVE POINT PLAN FOR SEASCAPE SUCCESS
T
HEY SAY ‘TIDE and time wait for
no man’ and with Seascape
photography, nothing could be
more apt. For each moment of every
day offers unique opportunities to
capture stunning coastal imagery.
That is if you have done your
homework. Because beyond simply
turning up at a beach and keeping
your fingers crossed, there’s much
to take into account if you
consistently want to get ‘the shot’.
The sea’s constant state of change,
the sun roving the horizon and the
pervading weather conditions can all
be conjured with to gain magical
results. So if you want to get the best
from time out with your camera, prior
planning and preparation is key. For if
you have an objective mapped-out
before you set foot on the sand, your
mindset is clearer, letting you focus
on the matter in hand.
So here’s my five point plan to
planning a Seascape shoot:
1 APPLYAPPS:Aside from printed
OS Maps and tide tables, there are
a host of digital apps that assist the
creative process. I mainly use Met
Office for weather forecasting, Sun
Seeker and The Photographer’s
Ephemeris with SkyFire for sun
position and solar activity, Magic
14 Digital SLR Photography Free with the November 2017 issue
PhotographyHolidays&Courses2018
Seaweed for wave height and sunset
forecasting, Tide Pro for tide times
and OS Mapfinder for location
orientation. I build a picture of what
will be happening where and when,
then choose the best place to go.
2 LOCATIONKNOWLEDGE:
Understanding a location is
important. You can never know
enough about the surroundings.
For example, knowing what features
are going to be visible at a certain
state of the tide, or how you can
balance where the sun is going to be
hitting the horizon with rock
formations and textural structure,
all help in achieving success.
3 SETOBJECTIVES:Decide where
you are going to shoot and the
imagery you want to capture. Where
on the location are you going to
set-up, start and end? Where will the
sun rise or drop? Where will the tide
be when it does? What direction will
cloud formations come from?
Form a mental picture of what you
are going to shoot and prepare your
kit accordingly.
Right:Plantomatchthetidalstatewithlocation
features.Below:Knowingwherethesunwillhit
thehorizonhelpsgettheshot.
4 TIMING:Allow plenty of time to
walk the location and prepare,
especially if you are new to the place.
This avoids rushing your set-up, lets
you settle in to the surroundings and
revert to a ‘Plan B’ location if need be.
5 READTHESEA: The Magic
Seaweed app gives an insight, but
when you arrive on location, take ten
minutes to observe the sea and get
an idea of the wave set timing. This
will let you bring the clean breaks
into your compositions.
PhotographyHolidays&Courses2018
Beyond this preparation comes
the actual shooting. Choosing
manual camera settings and filtering
techniques that truly capture the
atmospheric dynamics ‘in camera’.
This part takes years of hands-on
experience and is precisely what I
focus my teaching upon in my
one-to-one residential workshops.
Ranging from two to five days in
duration, I run these highly
successful courses all year round.
I offer all levels of photographer,
from DSLR beginners through to
diversifying professionals, the
chance to stay on the magnificent
North Coast of Cornwall and
experience a truly unique seascape
masterclass. Please visit my website
for more details.
• Web:c-simmonsworkshops.co.uk
• Email:chris@c-simmonsphoto.co.uk
Free with the November 2017 issue Digital SLR Photography 15
Landscapes
IMAGES: CHRIS SIMMONS
Seascape safety
Preparefortheconditions.Wear
appropriateclothing.Relaywhere
youaregoingandyourreturntime.
Double-checktidalstateandmatch
seaconditionstoyoursafeapproach
andretreat.CheckRNLI/CoastGuard
signswarningoflocalhazards.Never
takechances.Neverover-extendyour
physicalormentalcomfortlevels.
CONSTANTLYMONITORTHESEA.
WILD PHOTOGRAPHY HOLIDAYS

Photography Workshops and Expeditions Worldwide

Breathtaking destinations and outrageously good lo-

cations. Greenland, Iceland, Assam and Nagaland,

Undiscovered South India, Ladakh, Lofoten Islands,

Spain and Scotland – come and see for yourselves.

w w w.wildphotographyholidays.com
PhotographyHolidays&Courses2018 Landscapes

HFHolidays
PHOTOGRAPHYHOLIDAYS
INBRITAINANDEUROPE
Our photography holidays are
led by an extraordinary group of
highly experienced and supportive
leaders, who will help you learn new
skills, advance your technique and
develop your eye. See the world
through a lens and discover how to
get the very best out of your camera
on our inspirational photography
holidays, based at stunning
locations in Britain and Europe.
Choose from three, four or
seven-night holidays. HF Holidays
has a range of photography holidays
to suit every level of photographer.
• HOLIDAYS:Creative Projects with
your Camera, Develop a it. On most holidays we’ll spend the 100 years of experience, we were
Photographic Eye, Exploring Black majority of the day outdoors, either chosen as a Which? Recommended
& White Photography, Focus exploring by mini-coach or on foot. Provider for Holiday Companies in
on Light, Introduction to Digital During the course of each day we’ll 2017, commended for outstanding
Photography, Landscape walk up to three miles (5km) unless customer service and awarded five
Photography, Scottish Highlands at otherwise stated. On seven-night stars across the board.
Christmas, Wildlife Photography. holidays we include one free day We have 18 country houses
• NEWFOR2018:Capturing Water on where you can explore or take in the UK, each with its own
Camera, Discover Photography photographs independently. individual character surrounded
Weekend, Exploring Movement Enjoy a daily image review session by beautiful countryside. All meals
in Photography, Photographing offering constructive feedback are included in your holiday price
Thomas Hardy’s Dorset, Steam throughout your holiday. and every holiday has a carefully
Railways with a Camera. When you choose an HF Holiday, prepared programme to grab your
Bring your own camera and find you know you’re in great hands. interest, develop your skills and be
out how to get the best results from A British co-operative with over thoroughly enjoyable.

• Website:hfholidays.co.uk/photography
• Telephone: 0345 470 7558

PhotographWestCornwall
EXPLORETHEBEAUTYOFWESTCORNWALL
Photograph West Cornwall is based in Hayle in the beautiful
St Ives Bay and we are conveniently located to take you
to some stunning locations around West Cornwall. Our
workshops are run on either a one-to-one basis, or for up to
three friends and can be tailored to run between one to five
days. You can take this opportunity to photograph coastal
landscapes, fishing villages, ancient monuments, tin mines
and much more. We can help you to learn new skills to
improve your photography or just take you to some of the
best hidden locations in South West Cornwall.

• Web:www.photographwestcornwall.com • Facebook:Photograph West Cornwall

• Email:info@photographwestcornwall.com
• Telephone:07973 321181

Free with the November 2017 issue Digital SLR Photography 17

PhotographyHolidays&Courses2018 Portraits

Paul’sStudio
GlaMouRanDnuDeWoRkSHoPS,CouRSeS&PHotoSHootS
Paul’s Studio offers truly stunning backdrops for location glamour and nude
photography. Choose from either small group shoots at the Manor House in
Berkshire or weekend events in Carmarthenshire, Wales. Paul’s Studio also offers
one-to-one photography and lighting courses in portrait, glamour, nude, adult
and boudoir at their fully equipped studio in Reading. Whatever your experience,
your course will be customised to your needs.
We also offer studio hire or the option to book an hour on a Model Day for a
one-to-one shoot, including assistance if required. Please feel free to check out
our website to see our excellent feedback and also join the studio’s mailing list to
be kept informed of up and coming events.

• Website:www.pauls-studio.co.uk
• Email:info@pauls-studio.co.uk
• Telephone:07930 462906

PortraitPro DOWnlOAD
quICk&eaSytouSePoRtRaItRetouCHInG ThEFREE
TRiAlnOW
Special 50% off online deal now on plus extra 10% off
any new edition or upgrade with your code: DSLRHC.
• Full make-up controls. apply lipstick, eyeshadow, blusher & more
with comprehensive and intuitive controls. our most requested
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• Child Mode. optimised to bring out children’s natural beauty.
• Correct lens distortion. Fix wide-angle portraits with a simple slider.
• advanced skin colouring controls. Give skin a healthy, natural glow.
• Improved facial and mouth detection to speed up your workflow.
• High definition! Mac Retina and high-resolution display support. BEFORE AFTER

• Offer:Save 50% with the onlIne Deal, and remember your

code DSlRHC for an extra 10% saving on any edition or upgrade.
• Website: www.portraitpro.com

EOSTrainingAcademy
SPeeDlIteWoRkSHoPSFoRCanoneoSPHotoGRaPHeRS
learn how to harness the capabilities of your Canon Speedlite, how the system
works and the clever things it does to make photography simple.
Workshops are a mix of presentation and hands-on learning. With the flash
system explained, you’ll have a practical session designed to reinforce the
classroom learning, during which you’ll use a number of lighting approaches
with our workshop model. you will receive individual guidance on your Canon
camera and flashgun, whatever combination you own.
our lecturers are ex-Canon staff and know the eoS system inside and out. So
whether attending a Speedlite workshop or another course, you’re guaranteed
to leave with the knowledge and skills to enhance your eoS photography.

• Website:www.eostrainingacademy.co.uk
• Email: hello@eostrainingacademy.co.uk
• Telephone:01869 331741

Free with the November 2017 issue Digital slr Photography 19

Post-production PhotographyHolidays&Courses2018

PermaJetPrintAcademy

vicki-LeA BouLTer
PerfecTPriNTS,everyTiMe
Having trouble getting your prints to match
what you see on screen? Just bought an inkjet
printer but not really sure how to get the best
results? With the PermaJet Print Academy
you can learn everything you need to know,
from file handling to colour management,
ensuring you get perfect prints every time.
Spend the day with dedicated, friendly
lecturers who will guide you through the
process from start to finish. No matter what
level of experience you have beforehand,
we guarantee you’ll leave feeling confident
in your ability to print.
What’s more, you’ll get to know the range of
PermaJet inkjet media and what a difference
paper choice can make to your images. The
Print Academy courses include:
• Digital Printing &Monochrome Printing
• Photoshop for Photographers (Parts 1-4)
• Lightroom Skills (Parts 1-4)
• Weekend photography and print workshops
Based in the picturesque location of
Stratford-upon-Avon, with various courses
around the country, this is the ideal day
out with lunch, beverages and free parking
included. Don’t hesitate to get in touch if
you’d like to know more or book your place
on a course. Please note, places are limited to
ensure everyone experiences focused tuition
during the day.

• Website:www.permajet.com/Products/Academy
• Telephone:01789 739200
• Email:louiseh@permajet.com

NorthumberlandPhotoTraining
LANDScAPeSANDPoST-ProDucTioNTrAiNiNg
Northumberland Photo Training offers photo workshops tailored to suit your
individual skill set and interests. Tuition is either one-to-one or in small groups,
and covers the basics of digital photography to advanced techniques and
post-production. Most importantly, tutor Andy craig teaches the art of natural
photography. you’ll learn about atmosphere and light: how to see the potential
in a location and how to make beautiful photographs that document the story
of the landscape. Digital post-production is taught using a state-of-the-art
computer suite and Photoshop and Photoshop elements. The courses, starting
from £65 for a half-day PhotoTrail to two days’ advanced tuition, are all set
around the spectacular landscapes and seascapes of Northumberland.

• Website:www.acphototraining.co.uk
• Email:andy@andycraigphotography.com
• Telephone:01665 576012

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Travel PhotographyHolidays&Courses2018

CarlaReglerPhotography
One-TO-One/SMALLGrOupSWOrKShOpS&TOurS
Travelling to stunning locations, capturing the light and enjoying
local hospitality are the moments you want to cherish and capture
with your camera. With Carla’s help, you can improve your
photography skills, composition, camera knowledge and editing
skills and join like-minded people at some wonderful locations both
in the uK and abroad. Carla hosts various photography workshops
in the uK at different locations, including new ‘On The Water’
workshops. This includes one-day workshops, short three-day
residential or longer five- to nine-day residential workshops –
all an excellent way to spend time perfecting your photo skills.

• Website:www.carlaregler.com • Facebook:Carlareglerphotography
• Email:carla@carlaregler.com • Twitter:@Carlaregler
• Telephone:07971 951698

DigitalPhotographyHolidays
hOLidAySWhereThefOCuSiSOnphOTOGrAphy
Our travel photography holidays
and tours explore a diverse range of
destinations, including the ‘Golden
Land’ of Burma; Cambodia the
‘Kingdom of Water’, and the sublime
landscapes and people of Vietnam.
Stephen Studd will guide you
through these incredible locations,
sharing with you his 26 years’
experience as an award-winning
professional travel photographer.
Our holidays are all about what
you see, developing your own
unique photographic style, inspiring
you to explore your creativity whilst
learning the craft of photography
and having fun along the way.
Small group sizes guarantee
personal attention with expert
tips and guidance tailored to your
individual needs, giving you the
tools and confidence to master
your camera and produce unique
and powerful images. There is
no single person supplement on
any of our holidays. All levels of
photographer are welcome.

• Web:www.digitalphotographyholidays.com • Facebook:www.facebook.com/
• Email:info@digitalphotographyholidays.com digitalphotographyholidays
• Telephone:(+44) 07706 119609 • Twitter:@photographyhols

22 Digital slr Photography Free with the November 2017 issue

PhotographyHolidays&Courses2018 Travel

s
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isco raph To50
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18 to PH
20 r pho ‘dsLR
sl de
ital se co
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F:stopTrainingphotographicworkshops
CAPTURE A UNIQUE PERSPECTIVE ON TUSCANY
This Tuscany photographic
workshop/holiday is a wonderful
opportunity to experience the
scenery and atmosphere of one
of the most picturesque regions
of Europe. It is a full itinerary in the
company of Martin and Tom who
will be present throughout each
of the days to offer instruction and
guidance. You’ll return home a
better photographer and have some
exquisite photographs to display.
There are many Tuscany
photography workshops and
holidays, but this one is located
in the northern part of Tuscany.
Northern Tuscany has a more
mountainous, and therefore a
more varied landscape than the
southern parts of Tuscany.
Our Tuscany photography
workshops are located in the
Garfagnana region of north-west
Tuscany. Garfagnana lies in a more
isolated region of Tuscany, which
keeps it tucked away from the
hordes of tourists and allows you to
take images that avoid the clichés
of Tuscany. This ensures you can
relax from the stresses and strains of
everyday life, avoid the crazy driving
and not worry about being ripped
off in every shop and restaurant
during your stay, before returning
home with truly unique Tuscan
photographs.
The landscape of Garfagnana
blends rugged mountains with a diverse and idyllic scenery that
broad valleys where olive trees, is beautiful in every season. This
vines and chestnut trees form a lush all lends itself to you having a
green blanket, contrasting with memorable and truly inspiring
the terracotta roofs. This provides photographic holiday.

•Website:www.fstoptraining.com
•Email:info@fstoptraining.com
•Telephone:+44 (0)1360 622654 / Mobile:07779 239437

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PhotographyHolidays&Courses2018 Travel

FrenchPhotographicHolidays

PAUL EDMUNDS
QUALITYPHOTOGRAPHICWORKSHOPSDEEPINRURALFRANCE
Everything is included in our seven-day photographic workshops: all
accommodation, meals and transportation, allowing you to concentrate on
your photography to the full. We offer fantastic 1:1 tuition and cover all levels of
photographic experience. For the duration of your workshop, each guest will
have exclusive use of one of our Apple Mac computers, running the very latest
versions of Photoshop CC and Lightroom. We will guide you through the editing
stage and on to the final printing of your images at the end of the week. At the end
of each day, you can look forward to a four-course evening meal, with wine. We
have an extensive knowledge of our area; we know where the best shots are and
the best times of the day to capture them. Come and join us!

• Web: www.frenchphotographicholidays.com
• Email: frenchphotographic@gmail.com
• Telephone:+33 (0) 553 547 485

TimMannakeePhotographyHolidays
PHOTOTOURS&WORKSHOPS
INFRANCE&WORLDWIDE
We offer some of the best travel and
landscape tours both in Europe, Asia
& Africa. Our destinations in France,
where we have been based for the
last 25 years, include Provence,
Brittany, Dordogne and the Atlantic
coast, plus regular workshops in the
Camargue featuring the white horses
and black bulls.
New tours for 2018/19 include an
amazing 12-day tour around Oman
and a ten-day tour along the coast
of Ireland. We return to Venice at
Carnival time for the ninth time and
return to Tuscany in the spring.
You’ll take some of the best
photos of your life, all in a relaxed
atmosphere with great company.
We choose lovely hotels in ideal
locations and make every effort
to assure your holiday goes as
smoothly as possible.
Over 80% of our clients rebook –
so please take a look at our website
and check out our exciting new
photo destinations.

• Website:www.timmannakee.com
• Email:mannakee@wanadoo.fr
• Telephone: +33 633176493
IMAGES: TIM MANNAKEE

Free with the November 2017 issue Digital slr Photography 25

PhotographyHolidays&Courses2018 Travel

ClicketyClick
WILdLIfePhOTOSAfArISINSOuThAfrIcA
South Africa is a wildlife photographer’s heaven. With clickety click
safaris you could be photographing lions, leopards, elephants,
buffalos, rhinos, cheetahs, wild dogs and hippos! With your newly
learnt photography skills you’ll go home with incredible wildlife
shots and memories to last forever. Our photo safaris are very
flexible. We offer individual photo workshops lasting a few hours,
short group courses lasting a couple of days, or an entire photo safari
with a private guide. Treat yourself to a tailor-made photo safari, or
spend a few days of your already planned holiday learning how to
capture incredible photographs. come and discover South Africa!

• Website:www.clicketyclicksafaris.com
• Email:michelle@clicketyclick.eu
• Telephone:+27 82 762 9900

WildPhotography

WILd PhOTOGrAPhy hOLIdAyS

Holidays
ATOL-PrOTecTedTOurS&
WOrkShOPSWOrLdWIde
Our travel photography holidays
and workshops visit some truly
wild and inspirational locations in
Iceland, Greenland, Ladakh, Assam
and Nagaland, South India, Spain,
Scotland and the Lofoten Islands
in Norway. On-the-spot expert
help and guidance from friendly
professional photographic tutors will
enable you to create some magical
images, including landscape, nature,
people, architectural photography,
plus the northern lights in Greenland,
Iceland and Norway. A high standard
of care and safety is a key to all tours
and workshops. Our photographic
tutors have great organisational
skills, together with the ability to look
after our guests in remote and epic
locations! Tuition naturally extends to
post-processing, enabling participants
to return home with a portfolio of
professionally-finished images.
Participating on one of our trips or
workshops is a holiday – lots of fun
and a great learning experience with
like-minded people – come and see
for yourselves…

• Website:wildphotographyholidays.com
• Telephone:+44 (0)1630 647828
• Email:enquiry@wildphotographyholidays.com
• Facebook:facebook.com/wildphotographyholidays

Free with the November 2017 issue Digital slr Photography 27

PhotographyHolidays&Courses2018 Wildlife

WildFalklands

GEORGINA STRANGE
EXPERTWILDLIFE&PHOTOGRAPHYTOURS
Join Georgina Strange in the Falkland Islands for an unforgettable
wildlife experience. These remote and wild islands are one of the
world’s best destinations for nature enthusiasts and simply one of
the most rewarding locations for wildlife photography! Georgina is a
local Falkland Islander, wildlife expert and internationally recognised,
professional and award-winning photographer. With a lifetime of
knowledge on the wildlife and natural environment of the Falklands,
Georgina’s photography tours will take you out into the wilderness
for remarkable close encounters with some of the Islands’ most
charismatic creatures! All photographic abilities are welcome.

• Website:www.designinnature.com
• Email:georginastrange@gmail.com
• Telephone:+500 21186 / +500 54185

BirdPhotographyCourses
INDIVIDUALTUITIONWITHJOHNDANIELS
John Daniels has been a professional wildlife photographer for over
25 years. His 1-2-1 courses are tailored to your needs so you can
learn at your own pace and concentrate on the subjects and
techniques you want to improve. John won’t just put you in a hide,
he will show you the best camera settings to apply to capture great
shots. Most of the images you take will not be possible from public
hides. Stay at John’s unique location in mid-Wales: with redstarts,
pied and spotted flycatchers nesting in the garden and red kites,
cuckoos and hares close by, you won’t have to go far to get fantastic
shots. Courses run for one, two or three days at affordable prices.

• Web:www.birdphotographycourses.co.uk • Facebook:bird photography course

• Email:johndanielsshoot@yahoo.co.uk
• Telephone:01483 200079

BritishWildlifeCentre
GETCLOSETOBRITAIN’SWONDERFULWILDLIFE
The British Wildlife Centre, in Surrey, is home to the finest collection
of native wildlife in the country, with over 40 species on display in
natural settings. Photography days (without tuition) are held when
the centre is closed to the public and give amateur photographers
the chance to get really close to rarely seen species such as red
squirrels, otters, badgers, wildcats and owls. Places are limited to 12
and groups are led by an experienced team who will ensure you are
presented with the very best wildlife photo opportunities. The centre
also hosts tutored workshops run by professional photographers.
Dates and sample itineraries can be found on the website.

• Website:www.britishwildlifecentre.co.uk
• Email:info@britishwildlifecentre.co.uk
• Telephone:01342 834658

Free with the November 2017 issue Digital SLR Photography 29

Wildlife PhotographyHolidays&Courses2018

WhiteHorsesOfTheCamarguePhotographyHoliday
CAPTureTheMAGNIfICeNT

SerGe KrOuGLIKOff PrOvIded TO NATureLeNS

hOrSeSOfTheCArMArGue
14-18 SePTember2018: £2,099
Galloping en-masse towards you
through deltas at sunset, droplets
kicked up by dozens of hooves,
suspended for a fraction of a second
against a golden sky – the spectacle
of the wild white horses of the
Camargue is a stunning reminder
of the raw beauty of Mother Nature
and an unforgettable image waiting
to be taken.
Witness with NaturesLens and
Camargue Specialist Photographer
Serge Krouglikoff the raw power
and natural elegance of the stallions
and horses of the Camargue. Over
the course of five days, we will have
seven photography sessions with
these stunning horses and their
Gardians, the men on horseback
who watch over the wild horses your field of view. Two separate unusual to your portfolio. An
that have inhabited the wetlands sessions with a single stallion afternoon session of portrait
for generations. (one white and one black) on the photography of both the white
Capture the iconic white horses, beach takes place in the afternoon, stallion and a black stallion, against a
alone and in groups, as they allowing for dramatic action shots clean, moody backdrop, using both
posture, trot and gallop through as the beautiful animals gallop lighting and natural daylight, making
the marshes, surf and lakes, their through the surf and along the for dramatic close-up shots.
grace and elegance reflected back shoreline. Intertwined at full height, We provide accommodation
through the surface of the water. we also have one session with in a three-star hotel on a bed
With several drives per shoot, fighting stallions, showcasing their and breakfast basis. In-trip
you’ll have ample opportunity to feisty, fiery temperament. transportation is also included
capture images from a range of Our trip also encompasses in the cost. International flights,
perspectives, including horses a unique opportunity to add lunch, dinner, drinks and items of
running towards the lens and across something rather special and a personal nature are excluded. SerGe KrOuGLIKOff PrOvIded TO NATureLeNS

• Website:www.natureslens.co.uk
• email:info@natureslens.co.uk

30 Digital slr Photography Free with the November 2017 issue

 Slim

Weight:
Perfect for summer 1KG
adventures, Ideal for
photographers using
mirrorless and compact
DSLR cameras. The new Max Height:
Slim tripods are a new
streamline design, as the
146cm
name would suggest!

The two Benro Slim kits

are also fantastic value Capacity:
for money – With the 4kg
aluminium kit priced at
£80, and a carbon fibre
kit for just £120. Both kits
include a removable ball
head, complete with Arca-
Folded Length:
style quick release plate 51cm
and a carry case.
#BenroLetsGo

@benrouk
@BenroLetsGo
Distributed by MAC Group Europe @Benro_UK
Email: info@macgroueu.com | Tel: 01902 255500
*Specifications are based on the carbon fibre version www.benroeu.com
#ITSNOTYOUITSME

I NEED
MORE SPACE
Photographer: Steve Gosling stevegoslingphotography.co.uk, steve_gosling

TIME TO BREAK-UP WITH YOUR OLD DSLR?

Always ready for any photo assignment in the world, the E-M1 Mark II
body weighs in at a mere 500g. Together with its robust construction,
this compact camera goes where DSLR cameras can’t.
Find out why so many are making the switch at:

itsnotyouitsme.co.uk