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MARCH 2013
ISSUE 76

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EDITOR’S WELCOME
Why it’s time to support your local camera shop
“WELCOME TO THE MARCH 2013 ISSUE of
Digital SLR Photography. It’s a turbulent time
in the world of photography at the moment.
If you’re a photography enthusiast living in the
UK, then you’ll no doubt be aware that
Jessops, the nation’s largest independent
retailer, has gone into administration. Even
though it has been in trouble for a number of
years, the announcement still came as
something of a shock. Jessops has been on
the high street for as long as I can remember and I have fond
memories of it. I bought my first SLR from Jessops (way back in the
mid-80s!) and shopped there for many years. However, I have to
admit that while in the past you could visit your local branch and
get a concise, expert opinion and buy products at reasonable
prices, in the last couple of years, the service hasn’t lived up to days
of old. Ultimately, this (along with the internet) is what led to
enthusiasts shopping elsewhere. Thankfully, there are still many
excellent independent photo retailers around the UK that offer
Daniel Lezano, Editor,
Digital SLR Photography
IMAGE: ROSS HODDINOTT
expert advice, as well as providing kit at competitive prices. It’s
important that we support our local camera stores – without them,
where can you go to look at the latest kit and discuss with experts
what’s best for our needs? You’ll find many of the UK’s best photo
dealers advertising in the back of the magazine – the likes of
CameraWorld, Grays of Westminster, LCE, Calumet and Park
Cameras (to name but a few), all provide invaluable expertise and
service – for free – so let’s be sure to offer them our custom.
“Well, that doesn’t leave me much space to highlight what’s
inside this month’s issue, which is no bad thing, as it means you can
discover our diverse mix of photo techniques, inspiration and
expert advice for yourself. With everything from portraits to
landscapes to pets, along with getting the most from your Raw
files, you won’t be short of ideas! Finally, don’t forget that the Focus
on Imaging show takes place at the Birmingham NEC at the start of
March. The Digital SLR Photography team will be wandering
around the show looking at all the latest products and taking in the
odd seminar, so if you do see any of us, do walk over and say hello!
Have a great month taking pictures. All the best!”
Contents
RegulaRs
keeping you in the pictuRe!
03editor’spage
Daniel Lezano champions support for
our local photography stores
06exposure
Packed with the latest news from the
industry – the lowdown on Jessops, new
product releases, book reviews and more
22Readershowcase
Shots taken by our readers that could give
the pros a run for their money
52expertcritique
Your images reviewed by our experts
57picturesubmissions
How to send us your best images!
154nextissue
A little look at what’s coming up in our 58
April 2013 issue master
your skills
technique
impRove youR photo skills
get the pictuRe
30 techniqueofthemonth
Our top ten photo ideas to capture simple steps to BetteR pictuRes
fantastic portraits of your pets 36 Backlitrainyportraits
58 mastercoastlines Give your portraits a bit of sparkle by
All the advice you need to start taking learning how to backlight rain
amazing seascape shots today 40 mistylandscapes
71 Budgetphoto 35 Get out early when mist is forecast to
Long exposures for less – grab yourself a capture beautiful ethereal landscapes
get the
£3 welding glass lens and get shooting piCture 43 Bathtimeportraits
77 creativeeye Natural light and bathtubs are the perfect
Three photographers take on this combo for flattering children’s portraits
month’s challenge to shoot candles 46 capturewintervistas
85 thecompletepicture:Raw part1 Quick tips to brave the cold and make the
If you’re not yet using Raw, our in-depth most of snow and ice on the landscape
expert guide explains why you should… 48 icestill-life
97 DigitalDarkroom Get up close to frozen puddles to shoot
Improve your post-processing skills 97 abstract shots of patterns in ice
50 five-minutephotoshop
inspiRation digital How to use colour graduated filters to
darkroom give skies more impact
the woRlD of pRo photogRaphy
104 cuttingedge
A look at the impressive work of pros
test centRe
Tim Flach and Sacha Goldberger latest geaR testeD By expeRts
119 canoneos6D
suBscRiBe toDay! Does Canon’s affordable full-frame DSLR
produce the goods? We find out…
turn to page 114 to find out
about our latest subs offers 123 DigitalslRandcsclistings
71 Up-to-date listings and specifications
budget 128 tested&rated
photo Capture One software, Gitzo’s latest
monopod and Lexar’s 25-in-1 card reader

104 119
Cutting main
edge test

77
Creative eye

4 / Digital slR photogRaphy / march 2013

 March2013/Issue76

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Paul Ward & Donna Willingham

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March 2013 / DIGItAL sLR PhOtOGRAPhY / 5

 EXPOSURE /3.13
WHAT’S HOT IN THE WORLD OF PHOTOGRAPHY

THEBIG
APPLE
PHOTOGRAPHER SERGEY SEMENOV
GOES TO GREAT HEIGHTS TO CAPTURE
A BIRD’S-EYE VIEW OF THE WORLD
IMAGE: © SERGEY SEMENOV
 EXPOSURE/3.13 PHOTO INSPIRATION
1

©AIRPANO
THE WHOLE
2

©SERGEY SEMENOV
WIDE WORLD
AIRPANO IS THE COMING together of a
group of Moscow-based photographers
who have captured mesmerising
panoramic images of over 120 locations
worldwide. The project’s aim is to deliver
some of the most amazing sights that the
world has to offer direct to your computer
through their breathtaking 360° panoramic
images. The team shoot from high above
the world’s biggest cities and best-known 3

©SERGEY SEMENOV
locations, before painstakingly stitching the
images together. Digital SLR Photography
caught up with photographer Sergey
Semenov, who shot the stunning aerial
panorama of New York City on the previous
page, to discuss the project. “We normally
shoot from air balloons or camera-
equipped RC helicopters to give us a unique
aerial view of some of the world’s iconic
landmarks. Usually panoramic images are
shot using a tripod and panoramic head –
we hover in a helicopter in a single position
and then get the pilot to rotate around a
single axis to capture these images. Great Pyramids in Cairo, Egypt. We’ve had 4
©AIRPANO

“I use a Canon EOS 5D Mk II and a some pretty intimidating moments

selection of lenses, such as the EF 16-35mm involving permits to shoot in other
f/2.8L, EF 24-70mm f/2.8L, EF 70-200mm countries, including having our equipment
f/2.8L and Sigma 10mm and 15mm and memory cards temporarily
fisheyes. I also use a Really Right seized by officials in Cairo. After
Stuff ballhead and a home- explaining our cause and
made rotator. The images showing them the images,
are combined using either WE’VE HAD we were allowed to
PTGui or Autopano continue working.”
software, before final SOME PRETTY As spectacular as the
editing in Photoshop.” INTIMIDATING images look in print,
Capturing the images MOMENTS, they really come alive
is often the easy part, as Opening Image: CentralPark,NewYork.Sergey
INCLUDING HAVING when viewed on the shotthe843-acreparkfromahelicopter.
Sergey explains: “The AirPano website, which
techniques that we’ve OUR EQUIPMENT allows you to rotate, pan
1: AsunrisepanoramicimageoftheChristthe
Redeemerstatueoverlookingacloud-covered
mastered makes SEIZED and zoom in to your RiodeJaneiro,Brazil.
capturing the images heart’s content, as well as 2: TheAirPano360°virtualtouroftheJökulsárlón
relatively easy. The tricky changing the point of view IceLagooninIcelandistrulybreathtaking.
aspect is often getting the – completely immersing you in 3: Sergeyshotthismind-bendingpanoramic
relevant permits to shoot at a the location. Take a look for yourself self-portraitfromahotelwindowinNewYork.
location, such as at UNESCO World at: www.airpano.com. 4: TheAirPanoteamsometimesuseremote
Heritage sites like the Christ the Redeemer You can see more of Sergey’s personal controlhelicopterscapableofcarryingadigital
monument in Rio de Janeiro,Brazil, or the work at: www.sergesemenov.com. SLRtocapturetheirpanoramas.

8 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013

 COMPETITION NEWS EXPOSURE/3.13

ASHLEY VINCENT
ROAR

NENAD SAJIC
TALENT The results of the 2012 National
Geographic Photo Contest are
in, and here are the winners…
THE ANNUAL NATIONAL Geographic Photo
Contest attracts entries from all over the
world, spoiling judges for choice with some
truly outstanding images. The 2012 contest
proved to be one of the best yet.
The competition was split into three
categories – Nature, People and Places
– and with over 22,000 images from 150
different countries all vying for the top prize,
competition was fierce. The grand prize and
Nature category award went to Ashley
Vincent of Thailand for his captivating image
of an Indochinese tigress shaking herself
dry. Alongside the prestige and bragging
rights of winning the contest, Ashley nets Controversy and photo contests seem to
MICAH ALBERT

himself a cool USD $10,000 along with a trip
to the National Geographic photography
seminar in Washington, D.C.
The winner of the Places category was
chosen as Nenad Sajic of Croatia for his
image of the windswept Matterhorn
Mountain at full moon, and Micah Albert of
California took home the People categories
for his powerful image, ‘Amongst the
Scavengers’, depicting a woman living in
Kenya’s Municipal Dump.
go hand in hand in recent times. The winner
of the Places category was originally named
as Harry Fisch for his image of people on the
banks of the River Ganges. However, the
image was disqualified as the photographer
chose to clone out a plastic bag at the edge
of the image. Had Fisch chose to crop the
scene to remove the offending litter, his
image would not have been excluded.
To view all of the winning images, visit:
www.ngphotocontest.com

MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 9

 EXPOSURE/3.13 PRODUCT NEWS

PREMIUM
COMPACTS
If you’re looking for a high-quality
retro-styled compact, then two new
models may appeal. The Fujifilm X20 is
an update of the popular X10 and
boasts a newly developed 12-million
pixel 2/3in X-Trans CMOS II sensor and

NIKON EXPANDS ITS EXR Processor II, which claims to

increase resolution by 20% and reduce

MIRRORLESS RANGE
noise by over 30%. The 4x zoom is
equivalent to a 28-112mm f/1.8-2.5
lens, while the Hybrid AF claims to be
the world’s fastest at launch. The X20 is
Two new Nikon 1 models announced at CES in Las Vegas available in black or silver and black,
and costs around £500.
NIKON’S 1 J1 proved to be one of 2012’s
www.fujifilm.co.uk
bestselling CSCs and the range is now
bolstered by two brand-new models. The £400 Pentax MX-1 offers
The super-speedy Nikon 1 J3 offers a 12.1-megapixels, a 1/1.7in CMOS
14.2-megapixel sensor within an aluminium sensor and integral 4x zoom. Other
body. It is claimed to be the world’s smallest features include a 3in tilting screen,
interchangeable-lens camera and offers the built-in Shake Reduction, in-camera
world’s shortest release-time lag at the time Raw and pop-up flash. The MX-1 is tiny
of its launch, while the 10.1-megapixel at just over 12cm wide and weighs just
Nikon 1 S1 is the first model in the S-Series 363g. You’ve a choice of silver or black
and is aimed at fuss-free photography. finish. www.pentax.co.uk
Both have a maximum ISO rating of 6400,
can shoot up to 60 frames-per-second,
offer Full HD video and incorporate the
Nikon EXPEED 3A image processor. The
Nikon 1 J3 with 10-30mm zoom costs
£580, while the Nikon 1 S1 with 11-27.5mm
zoom costs £480. Both cameras are
available now.
Two lenses were also announced at the
show: the £460 1 NIKKOR VR 6.7-13mm
f/3.5-5.6 ultra wide-angle zoom lens
(available in March) and the £480 1 NIKKOR
VR 10-100mm f/4-5.6 10x zoom lens.
www.nikon.co.uk

NIKON’S ODD COUPLE
TWO VERY DIFFERENT lenses have been announced by
Nikon. The £670 FX-format 18-35mm f/3.5-4.5G ED
boasts improved optics, a Silent Wave Motor and is
lightweight at 385g. The AF-S NIKKOR 800mm f/5.6E FL
ED VR super-telephoto is a different beast entirely,
weighing 4,590g and offering the ultimate in pulling
power. It’s supplied with a 1.25x teleconverter that
boosts its focal length to 1,000mm. If you fancy one,
start saving before its launch in April– it costs £16,000!
www.nikon.co.uk
GET SOCIAL
Get involved with the team by joining our
new social channels. Share photos, opinions
and keep up to date on the latest news.
Facebook www.facebook.com/digitalslrphoto
Twitter www.twitter.com/digitalslrphoto
Flickr www.flickr.com/groups/digitalslrphoto
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10 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013

 PRODUCT NEWS EXPOSURE/3.13

SAMSUNG’S LATEST
FLAGSHIP NX
SAMSUNG’S STYLISH
NX-series offers some of
the most innovative and
feature-packed CSCs. The
range now boasts the
NX300, which features a TAMRON
20.3-megapixel APS-C
CMOS sensor, WiFi, 3.31in
tilting AMOLED monitor, a wide sensitivity range of
SUPERZOOM
MICRO FOUR-THIRDS users
ISO 100-25600 and a continuous shooting rate of after a superzoom should look at
8.6 frames-per-second. Also announced is the NX Tamron’s 14-150mm f/3.5-5.8 Di
45mm f/1.8 2D/3D lens, an innovative optic that III VC. It boasts an effective focal
allows stills or video to be shot in either 2D or 3D. length of 28-300mm, three
Both are available later this year, while prices are yet aspherical lens elements, a
to be confirmed. www.samsung.co.uk stepping motor for fast and silent
AF, Vibration Compensation and
weighs only 350g. Price and
AN INTERCHANGEABLE availability to be confirmed.
www.intro2020.co.uk
-LENS ANDROID!
POLAROID HAS revealed the
iM1836, a sleek-looking camera that
is the first to use the Android
operating system. There are very few
details currently available apart from
the fact it offers WiFi, Bluetooth and
shoots Full HD video as well as still
images. Looking very similar to Nikon’s 1
J1 but with a neat white/black finish, the iM1836 is expected to go
on sale with a 10-30mm kit lens later this year. www.polaroid.com

SPEED BOOSTER
WHAT WOULD YOU say if
we told you that there was
an adaptor that could make
your current lenses wider
and faster? Well, meet the
Metabones Speed Booster!
We won’t go into the
specifics, but the adaptor
acts as a focal reducer, with
a x0.71 reduction ratio
– meaning that you can get
almost full coverage from a
full-frame lens on an APS-C
sensor, and gain an extra
stop of light. The adaptor is
priced between USD$400
and USD$600 and is
currently only available for
Sony NEX and Fuji X
cameras in Canon EF, ALPA
and Leica R fitments.
However, a Micro Four-
Thirds version is apparently
on the way.
www.metabones.com
NEW SONY LENSES
USERS OF SONY’S NEX range have two new optics
to choose from. The 20mm f/2.8 pancake (effective
PRIME TIME
focal length: 30mm) is available in March and is
ideal as a lightweight standard lens, albeit with a
FOR SIGMA
wider than normal viewing angle. The 18-200mm SIGMA HAS ANNOUNCED four
f/3.5-6.3 OSS (effective focal length: 27-300mm) prime lenses. The 30mm f/1.4
boasts an 11x focal range and is optimised for video DC HSM is available in Canon,
as well as photography. Prices to be confirmed. Nikon and Sigma fittings and
www.sony.co.uk with an effective focal length of
45mm, can be used as a
premium, fast-aperture
standard. The 19mm f/2.8 DN,
FUJIFILM X100S 30mm f/2.8 DN and 60mm f/2.8
FUJI’S X100 developed a cult status DN are primes designed for
and has now been superseded by the mirrorless cameras. The Micro
X100S, offering a new 16.3-megapixel Four-Thirds fittings give an
APS-C X-Trans CMOS II sensor with effective focal length of 38mm,
in-built Phase Detection pixels for 60mm and 120mm respectively,
improved AF speeds. The new sensor while when used with Sony NEX,
and processor claim to increase resolution by 25% and reduce noise the focal length has a 35mm
by 30% when compared to the X100. The X100S also boasts a new equivalent of 28.5mm, 45mm,
autofocus system that can switch between phase and contrast 90mm. Prices and availability
detection. It sports the same retro chic exterior as the original and is are yet to be confirmed.
available mid-February for around £1,100. www.fujifilm.co.uk www.sigma-imaging-uk.com

GIOTTOS REINVENTS THE TRIPOD! SHOOT OFF THE GRIP

GIOTTOS HAS DEVELOPED a new range of tripods that BALL HEADS with pistol grips aren’t
use a Y-Tube column at its centre that allows the tripod to that new, but Vanguard’s GH-
be up to 30% more compact when stored. The Silk Road 300T is one of a kind thanks to the
Series YTL tripods consist of two-way vertical-only built-in shutter release. It allows
centre columns and models with a versatile 3D centre you to shoot while panning, which
column. Available in aluminium or carbon-fibre, there are could help sports and wildlife
three weight-capacity brackets – 5kg, 8kg and 10kg – photographers capture images
and either three or four leg sections. We’ll be testing one they might otherwise miss. It is
of these innovative models soon. available now for €200 (£171).
www.giottos-tripods.co.uk www.vanguardworld.co.uk

MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 11

 EXPOSURE/3.13 PHOTO NEWS
PEOPLE OF THE DELTA
Joey L’s latest project has him raising funds and awareness in Africa
INTERNATIONALLY-ACCLAIMED
photographer Joey L has made a
name for himself with his unusual
approach to portraiture. As well
as his commercial and celebrity
work, Joey is well-known for applying his
style to indigenous tribal subjects in places
like Ethiopia, Kenya and Sudan. We caught
up with Joey to discuss his latest project,
which he is currently seeking funding for,
called People of the Delta.
“The project, which is primarily movie-
based, came about because I recently had
the chance to direct a couple of videos and
it would be a great opportunity to apply this
skill-set to my personal work. I see it as not
only a chance to bring my photography to
life, but I’ll also get to tell the story of the
people I’ve met and their daily struggles.”
We’ve all seen tribal documentaries, but
Joey’s approach makes this project stand
out. “My photographs aren’t shot in a
documentary style. I see this as being more
of an ‘art film’, shot in a very cinematic style
using similar lighting to my images. I have a
script written and the film has a distinct path.
However, what I discovered from my recent
scouting trip was that the people are very
good at improvisation. None of them have
ever acted, or seen a movie, but as the story
12 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013
IMAGES: JOEY L
covers everyday events for them, they don’t
find any difficulty in portraying this
realistically. Because of this, I have tweaked
the script to follow a narrative rather than
getting caught up in too much dialogue –
the result will be more natural.”
Having visited Ethiopia several times, it’s
clear Joey’s passion is fired up when talking
about the tribespeople. “This part of the
world is an amazing place to visit as a
photographer. We depend on visual
appearance to tell a story, so when
somebody displays exactly who they are
and what they’ve done in their lives through
the scars they wear or how they decorate
themselves, that’s the perfect subject. On a
broader scale, these people’s way of life is
increasingly under threat by changing
ecological and political pressures. I hope the
film highlights their struggle. Also, we’ll be
making payments and donations to the compromising on the end result. Early
villages and the people we work with.” backers gain access to cool features, such
Joey has chosen to crowd-fund the as an exclusive behind-the-scenes tutorial
project through the Kickstarter website, an featurette, a one-to-one portfolio review
increasingly popular method of sourcing and critique over Skype and signed
funding. “This work is close to my heart and gallery-quality prints.”
the last thing that I want is a studio stepping Joey’s target fund is $150,000, which
in and changing things to glorify the he’s hoping to reach by 19 March. To
situation,” he says. “Crowd-funding allows support the project, scan the QR code
me to make this project a reality without above, or visit http://kck.st/WoJ2ag
VIEW THE WORLD OF
PHOTOGRAPHY IN FOCUS
INTERESTED IN PHOTOGRAPHY? Fancy a day out? Then start
planning a trip to Focus on Imaging, the UK’s biggest photo
show. Taking place at the Birmingham NEC from Sunday 3 to
Wednesday 6 March, it provides you with a chance to get
hands-on with the latest photo kit, pick up a show bargain from
one of the trade stands, or benefit from seminars covering
everything from lighting to post-production. If you’re really
lucky, you might even bump into one of the Digital SLR
Photography team wandering around! Tickets cost £10 on the
day or £8 online in advance. www.focus-on-imaging.co.uk

INDUSTRY UPDATE
JESSOPS GOES BUST
THE START OF 2013 brought sad news for
the UK photo industry. Following
disclosure that it was in serious financial
difficulties last year, high-street
photographic retailer Jessops fell into
administration on 9 January 2013, with 187
UK stores closing their doors for the final
time just a few days later, resulting in over
1,800 job losses.
Jessops first opened in 1935 as Jessop
of Leicester; by 2003 it had expanded to
250 high-street stores and had a strong
online presence. However, competition
from other online retailers combined with
the changing photography market saw
Jessops struggle to make a profit in recent
years, reportedly owing HSBC £30 million
when administrators were finally called in.
Larger manufacturers such as Canon
and Nikon were key to Jessops’ business
and both expressed regrets regarding the
news. Canon said: “Canon is disappointed
to hear of the news regarding Jessops,
having had a strong business relationship
with the company for many years and
particularly following our efforts to
support them during recent difficult
trading conditions. Canon remained
willing to support, in a reasonable way, the
continuation of the business. Closure of
the stores and the decision not to continue
trading was that of the administrators. Any
What our Facebook members had to say
Nick Tsiatinis It’s been inevitable for
years now. I know of numerous people
who would visit Jessops to play with the
equipment and get free advice... and
then thank the salesperson for his/her
time before walking out and buying it
off the internet.
Kev Warrilow The fact is that Jessops
was always much more expensive than
nearly everywhere else...
PHOTO NEWS
WHAT DO
YOU THINK?
Join in on the
discussion at
www.facebook.com/
digitalslrphoto
action taken regarding Jessops’ future
since the administrators were appointed is
the direct consequence of their
management of the situation.”
Nikon has also said that despite reaching
an agreement on how it could support
Jessops through difficult times, it wasn’t
seeing the results it expected. John
Walshe, Managing Director of Nikon UK
told Digital SLR Photography: “Nikon
sincerely regrets that Jessops has gone
into administration. Jessops has been a
valued customer for many years and Nikon
has continuously supported Jessops.”
On a personal note, Paul Reynolds of
Sigma Imaging UK said:“It’s incredible how
many people in this industry started their
career as a sales assistant at Jessops –
myself included! The news, although sad,
wasn’t entirely unexpected and as such
Sigma had a prudent trading relationship
with Jessops. Our thoughts go to the
members of our industry who now find
themselves seeking employment.”
The Masters Photography Association
has offered a year’s free membership to
former Jessops employees wishing to turn
to freelance photography work.
The news poses the question of how we
will buy photo kit in the future. Are the days
of try before you buy gone? Air your views
at: www.facebook.com/digitalslrphoto
Emma Van Looy I used to work at
Jessops and everyone was aware of the
difficulties. Unfortunately it was only a
matter of time before this happened.
Keith Nuttall I bought my D300 from
Jessops, as it was local, but mainly for
the good price. Unfortunately, the
knowledge of sales staff has generally
been poor in my experience, and their
lens prices were unrealistic.
EXPOSURE/3.13
How are you affected?
I recently paid for a new camera
from Jessops which hasn’t yet
arrived – where do I stand?
Jessops has stated that customers
will not receive their orders. If you
paid for your order, in part or full,
using a credit card, we recommend
that you contact your card issuer for
advice. If not, you may still have a
chance of claiming back money via a
claim form at the following link:
http://pwc.to/WQ0TI7. Alternatively,
contact the Jessops Group Helpline
on 0113 289 4422.
I purchased a lens from Jessops
that has developed a fault – am I
covered under its warranty?
Check your lens manufacturer’s
website for the full details of its
warranty, as these should still be
honoured. If you took out a Jessops
warranty or care plan, we
recommend that you contact the
helpline on the number above.
I have a Jessops gift voucher –
is this worthless now?
Yes – unredeemed cards and
vouchers will not be honoured. Fill
out the claim form here http://pwc.
to/WQ0TI7 – you may get a refund.
I dropped some film into Jessops
to be developed off-site – how do I
get my film and/or prints back?
Prints ordered for home delivery are
being processed by CeWe. If your
order was being sent back to Jessops
for collection, you can contact CeWe
on 01926 463117 to find out its status.
Can I get a refund on my Jessops
academy course?
Pre-paid academy courses will not be
refunded, and the courses will not
take place. Contact your credit card
issuer or call 0113 289 4422.
So where now?
A quick internet search will provide
you with your nearest camera retailer.
You’ll also find many reputable photo
retailers advertising in this magazine.
Here is a shortlist of some to consider:
London Camera Exchange:
www.lcegroup.co.uk
WEX Photographic:
www.wexphotographic.com
Park Cameras:
www.parkcameras.co.uk
Cameraworld:
www.cameraworld.co.uk
Grays of Westminster:
www.graysofwestminster.co.uk
MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 13
 EXPOSURE/3.13 PICKS OF THE MONTH

Photo castaway: #2 Michael Grecco

We’ve theoretically packed celebrity and commercial photographer Michael Grecco off
to a desert island to spend the rest of his days. We’ve been kind enough to allow him to
take along a few photography-based luxuries – find out here which items he chose...

1) CAMERA 2) LENS 3) ONE PHOTO COMPANION 4) PHOTO ACCESSORY

I would pack my Hasselblad
HD4D-50; I know I can always
count on it to deliver perfect files
every time. I’d like to think that I’d
spend my time on the island
shooting with the notion that if I
were ever to be rescued, I could
have an exhibition full of beautiful
large prints, full of detail,
documenting my time there!
5) ONE OF YOUR PHOTOS
It would be my first published
conceptual portrait, shot in 1991.
It’s of writer and performer Barry
Yourgrau posing as a Dodge hood
ornament. He had written a
tongue-in-cheek article about
how his 67 Dodge Dart was the
coolest and most phallic car in the
car capital of the world, Los
Angeles. It seemed appropriate!
5
It has to be the Hasselblad I would take my favourite model in I would pack my Tiffen filter kit
50-110mm f/3.5-4.5 lens so I can the world, Houda Shretah. We containing graduated ND filters so
cover both wide-angle and have worked together for many that I could make the skies rich
telephoto shots without switching years, she is always amazingly with colour. I enjoy layering
lenses. How strict are customs on funny at the right time and would multiple graduated filters and/or a
the island? If I could get away with be a good muse to photograph polariser to enhance and
it I’d also try to slip in my while deserted on an island! manipulate the sky.
Hasselblad HC Macro 120mm f/4
lens, too, so that I could shoot
starfish to my heart’s content.
3
6) A PHOTO TAKEN BY 6
ANOTHER PHOTOGRAPHER
It’s a little big so I’d have to check
my luggage allowance, but my
favourite image is Steven Meisel’s
Untitled VII, from his series Four
Days in LA: The Versace Pictures,
2000 displayed in the White Cube
gallery in London. It now sits right 1
outside my office and I can’t live
without it. 4
2

VIDEO OF THE MONTH

Video of the month

Everyone loves a good behind-the-scenes video and the people at Phlearn produce
some of the most informative out there at the moment. The concept of blowing a
sparkler into a model’s face is definitely not one that you should try at home, but it’s
worth noting that the model’s eyes are closed during the shoot and her open eye
appears to be cloned in later. The video illustrates how they overcome some of the
challenges of the shoot, including an intricate four-light set-up using coloured gels
and how to best treat and interact with a model on set. Great video! To watch it, visit:
http://bit.ly/YkfTTG or scan the QR code above.

14 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013

 PHOTO OPINION EXPOSURE/3.13

App of the month

FOR & AGAINST...

MICHAEL BATEMAN
MOBILE PHONE EYEEM
PHOTOGRAPHY PRICE: FREE
PLATFORM: IOS /
DANIEL LEZANO, EDITOR & ANDROID / WINDOWS
WWW.EYEEM.COM
ENTHUSIAST PHOTOGRAPHER
”If you think that mobile phone While Instagram still has
photography is not a valid way of the lion’s share of the
taking pictures, then the chances are market when it comes to
you’ve not used one of the latest retro-filter-based social
models. I considered mobiles as only fit imaging apps, its recent
for snapshots until I started using an terms of service update
Apple iPhone 4 a couple of years ago. Its five- has seen a newcomer
megapixel camera may not challenge the quality of receive a surge in
optics of DSLR lenses, but it’s still very good. More popularity. EyeEm offers
importantly, the access to an arsenal of apps allows retro filters and frames in
it to capture very creative results. Hipstamatic, in a similar vain to
particular, changed my view of ‘iPhoneography’ and Instagram, but in doing
converted me from sceptic to fanatic within so offers an interface
minutes of using it. I’m not alone in having this view and tagging system that
– countless friends I’ve shown ‘Hipsta’ images to is not only easier and
immediately bought Hipstamatic and continue to quicker to use, but looks
use it regularly. Having just acquired the iPhone 5, a lot better, too! What’s
I’m keen to see how its eight-megapixel camera more, unlike Instagram,
performs. Now, there’s no argument that, in terms the filters and frames
of versatility, a digital SLR outfit offers far more than can be applied pre-
mobile phones ever can, but that’s not an argument image capture, so you
against mobiles being viable tools for photography. can see what your final
My home has several large framed prints on the image will look like
walls that were taken on the iPhone 4 and, trust me, before you snap it. Well
you’d never know they were shot on a mobile. I’m in worth a look!
no doubt that in terms of image quality, the latest
generations of mobiles deliver incredible results.
The best thing about using mobiles as cameras is
that they are always close to hand and ready to use
in seconds. Add the fact you can edit images on the DARREN THORNDICK,
move before sharing them with ease via email, text ENTHUSIAST PHOTOGRAPHER,
or social media, and it’s clear the mobile is the WWW.DARRENTHORNDICK.CO.UK
ultimate in convenience and speed. If you’ve never ”I feel that photography comprises
taken iPhoneography seriously, give it a shot – you three main aspects: composition,
might be pleasantly surprised at the results.” lighting and subject matter. A good
photograph has an even mix and blend
of these three aspects that work
What you had to say... together in harmony to produce a
stunning image, and a photographer’s role is to
We asked our Facebook fans if image creation using control these aspects as best as we can. Although
a mobile phone was a valid form of photography… we can still utilise the skills of composition and
subject matter when shooting with a mobile phone,
YES: 84% UNSURE: 4% they take away our ability to control the exposure of
NO: 12% a scene for the most part. A camera shooting in
auto mode such as a mobile phone will always try to
get to the middle ground in terms of White Balance
and exposure, which is not necessarily what we
want. Retaining control of the exposure by way of
controlling ISO, aperture and shutter speed is what
separates a snapshot from a photograph. I’m not
saying that camera phones don’t have their uses in KIT TIP#1
aiding a photographer – I use mine to scout STUCK FILTER
locations, check sunset times and positions and
If you have a filter stuck
also to quickly work out time-lapse scales. The
on one of your lenses
smartphones we have today are very powerful at
that just won’t budge,
what they do, but being used as a replacement for a
wrap two or three
fully manual camera is not one of those. I put the
rubber bands around
rise in popularity of mobile phone photography
the filter ring for extra
down to convenience more than anything else –
grip. If this doesn’t work,
they can produce decent enough quality images
press the end of the lens
and they are always in our pockets. For that reason,
down into the rubber
I can see them eventually taking over the compact
sole of a shoe and twist
point-and-shoot market, but as far as being used
the shoe and lens in
for what can be considered ‘serious photography’?
opposite directions.
I can’t see it happening.”
Problem solved!

MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 15

 EXPOSURE/3.13 BOOKS
BOOK
OFTHE
MONTH
Africa
£25 / Michael Bright / Quercus Natural History /
ISBN 978-1-78087-914-7
Part of the allure of any David Attenborough
documentary is the breathtaking imagery
captured. You could almost pause the
programme at any moment and the resulting
freeze-frame would make for an amazing
photograph. This title accompanies the recent
Africa documentary and contains equally
stunning images along with all the information
Great Photos –
Simple Cameras
£26.99 / Bernd Daub / Rocky Nook
ISBN 978-1-937538-02-6
Sometimes it’s too easy to get caught up in the
technical aspect of taking a good photograph
and forget that sometimes simplicity works. This
book aims to strip photography back to basics
by covering the ins and outs of taking pictures
with simple cameras, like a Holga. Unfortunately
there are some great basic cameras that don’t
get a mention. Nonetheless, this type of
photography, although niche, is growing in
popularity (we’re looking at you, Instagram), so if
this is of interest to you, it’s worth a read.
VERDICT: If you’re a fan of fun and quirky
cameras, and want to know more about how to
use yours, pick this up.
Rating:
16 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013
that you’d expect about the wonderful continent
and its incredible wildlife.
What’s more, you can use your smartphone to
view augmented reality content, such as videos
and images, that come to life when you point
your phone’s camera at the page. The wonders
of modern technology!
Michael Freeman’s
Photo School: Portrait
£17.99 / Michael Freeman / Ilex
ISBN 978-1-908150-95-0
Photographing people isn’t easy – many
variables can affect the success of your images.
Thankfully, this title goes a long way in covering
the various aspects that you can control during a
portrait shoot. From posing to composition,
lighting to processing, most topics are covered
in detail. The accompanying images are
contemporary and of a high quality, and each
chapter has a challenge to help you improve
your skills. The only thing missing is lighting
diagrams, especially in the lighting chapters.
VERDICT: Well laid out and comprehensive. If
you want help in taking great people portraits,
then this is a must!
Rating:
©ANDY ROUSE
VERDICT: Fantastic photography and
informative content. The augmented reality
adds to the wow factor. Deserves a place on
many a coffee table...
Rating:
The Flash Stick
£16.11 / Rod & Robin Deutschmann / Amherst
Media / ISBN 978-1-608955329
Anyone who has dabbled in off-camera flash
will testify that the results are often much
improved when compared to using your flash
on-camera. This book takes this idea and
employs the rather bizarre-looking concept of
placing your flash on the end of a pole –
affectionately called the Flash Stick. The results
are as you’d expect from photographers who
know what they’re doing with off-camera flash
– they illustrate the point very well. But the
question that keeps popping into your head is:
What’s wrong with using a lightstand?
VERDICT: The book does a good job of
persuading you to use off-camera flash, but we
won’t be using a Flash Stick anytime soon.
Rating:
 EXHIBITIONS AND COMPETITIONS EXPOSURE/3.13

Exhibitions
1 2

©SEBASTIÃO SALGADO/AMAZONAS IMAGES/NBPICTURES.

LE VIOLON D’INGRES, 1924 BY MAN RAY MUSEUM LUDWIG COLOGNE,
PHOTOGRAPHY COLLECTIONS (COLLECTION GRUBER) © MAN RAY TRUST /
ADAGP © COPY PHOTOGRAPH RHEINISCHES BILDARCHIV KÖLN

Man Ray Portraits 1

7 February to 27 May / £12.70 /
National Portrait Gallery, London
This exhibition features over 150 prints of
influential modernist photographer Man Ray’s
portraiture work in America and Paris Mishka Henner 3

PAUL WARD
between 1916 and 1968. 2 March to 5 May / Free /
www.npg.org.uk/manray Open Eye Gallery, Liverpool
Manchester-based Mishka Henner dissects the
Snapshots of Mumbai 3
value of photography in a world oversaturated
9 February to 6 March / Free /
with visual media. Henner uses large-scale
Bilston Art and Craft Gallery, West Midlands
composite images made up of elements from
Regular Digital SLR Photography contributor
various types of media.
Paul Ward explores the bustling metropolis of
www.openeye.org.uk
Mumbai with his unique style of photography.
www.snapshotsofmumbai.com
Martin Parr’s Liberation
Migration Stories: Valentina Bonizzi 22 March to 12 May / £5.75 / Sebastião Salgao: Genesis 2
23 February to 22 September / Free / Guernsey Museum & Art Gallery 11 April to 8 September / £10 /
National Galleries Scotland Renowned British photographer Martin Parr Natural History Museum, London
Valentina Bonizzi uses video and still images debuts Liberation – a collection of images Experience the majesty of nature in this
to explore the experiences of migrants across documenting Guernsey’s Liberation Day collection of landscapes, wildlife and remote
the ages, from 1850 to modern day. Celebrations. communities by Sebastião Salgado.
www.nationalgalleries.org www.museum.guernsey.net www.nhm.ac.uk

Competitions
Thames21 2013 Annual
Photography Competition
Seeking the best and most inspirational
images of London’s waterways, Thames21 is
offering £250 for the winner along with a
copy of the National Maritime Museum’s
Ansel Adams Exhibition Book.
Closing date: 26 March. Entry cost: Free.
Enter before 30 April and receive 10% off entry
fees. Closing date: 31 May. Entry cost: USD$15
students, USD$25 non-professionals,
USD$35 professionals.
www.photoawards.com
The Aesthetica Art Prize 1
Judged by an experienced jury, the Aesthetica
Art Prize is offering up to £1,000 in cash prizes
©MARY HUMPHREY

www.thames21.org.uk
Nikon Small World
If you’re a fan of ultra-macro photography,
then this is the competition for you. What’s
more, enter and you’re in with a chance of
winning up to USD$3,000-worth of Nikon
camera kit for your troubles!
Closing date: 30 April. Entry cost: Free.
www.nikonsmallworld.com
International Photography Awards
An impressive USD$20,000 prize fund is up
alongside an exhibition in York and coverage in
Aesthetica Magazine.
Closing date: 31 August. Entry cost: £18
www.aestheticamagazine.com 1
2013 Astronomy Photographer of
the Year awards 2
Calling all space fans! Point your lenses towards
the night sky and enter the fifth annual
Astronomy Photographer of the Year
Competition. The winner nets a £1,500 grand
prize with each category winner taking home
©LUC PERROT

for grabs, including a USD$10,000 grand £500 cash.

prize. The IPA is open to students, professional Closing date: 13 June. Entry cost: Free.
and non-professional photographers alike. www.rmg.co.uk 2

MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 17

 EXPOSURE/3.13 PHOTO TUITION

2013 Photo workshops: Looking for some expert tuition? Here’s a round-up of photo courses covering a range of subjects

Landscapes

Giants Causeway Coast
26-29 April / £895
Enjoy Northern Ireland’s Giants
Causeway Coast under the
guidance of professional
photographer David Clapp.
www.lightandland.co.uk
Tuscany
11-18 May / £1,775
A week in Tuscany in the
company of photographers
Clive Minnitt and Phil Malpas is
one not to be missed!
www.lightandland.co.uk
Lee Frost Photo Adventures:
Iceland
24 May-3 June / £2,200
Join Digital SLR Photography
contributor Lee Frost on a
photographic adventure to
beautiful Iceland.
www.leefrost.co.uk
Lakes and Mountains –
Slovakia
6-9 June and 10-13 June / £650
Join Digital SLR Photography
contributor Ross Hoddinott in the
beautiful Tatra National Park,
in Slovakia.
www.tatraphotography
workshop.com
BRETT HARKNESS
ROSS HODDINOTT
Iceland Workshop with
John Gravett Ross Hoddinott: Dorset Coastline
16-23 June / £1,995
Eight days amongst stunning
mountain ranges, icebergs and
volcanos with John Gravett.
www.keadventure.com
Dolomites with Charlie Waite
14-20 July / £1,845
This photo holiday with
landscape pro Charlie Waite
will help you best capture this
beautiful part of Europe.
www.lightandland.co.uk
Lake District: Young Persons
Workshop
21-25 July / £475
One of the few courses aimed at Wrap up warm and join Lee Frost Isle of Skye with David Ward
young photographers, aged 11 and Duncan McEwan on the 5-12 October / £1,695
years and older, in the heart of the Orkney Islands in Northern The Isle of Skye is a long way
Lake District. Scotland for some stunning north, but it’s well worth the trip
www.lakelandphotohols.com coastal scenery. for the scenery alone.
www.leefrost.co.uk www.lightandland.co.uk
Land of Fire and Ice – Iceland
2-8 September / £1,899 Dorset Coastline Rugged North Cornwall
Capture cascading waterfalls and 14 September / £120 13 to 15 October / £425
majestic mountains on a Ross Hoddinott and Mark Bauer Let Ross Hoddinott and Mark
seven-day trip with Lee Pengelly. lead this one-day tour of the Bauer guide you to the top spots
www.tatraphotography magnificent Dorset coastline. on the north Cornwall coast.
workshop.com www.dawn2dusk www.dawn2dusk
photography.co.uk photography.co.uk
Orkney with Lee Frost
4-11 September / £1,395 Colorado & Utah – Golden Yosemite with
American High Adam Burton
27 September-8 October / £3,495 19-27 October / £2,899

Joe Cornish and Antony Spencer
guide you on a journey through
Colorado and Utah, including the
spectacular Rocky Mountains.
www.lightandland.co.uk
Adam Burton guides you through
this wonderful National Park in
California.
www.tatraphotography
workshop.com

Nature
Europe’s Great Predators:
Germany
18-21 March / £475
You’re likely to see lynx, bears and
wolves during this workshop in
Germany led by photographer
Simon Stafford.
Brett Harkness: Location Fashion Flash www.tatraphotography
workshop.com
Portraits Eagles of Hortobágy: Hungary
Lara Jade Studio Workshop 5 to 8 December / £899 Spend
20 February / £400 Join renowned fashion photographer Lara time inside specially designed
Jade in London to cover the ins and outs of studio photography. hides within the Hortobágy
www.larajadeworkshops.com National Park with bird-expert
Ben Hall.
Brett Harkness: It’s All About Weddings www.tatraphotography
19 March / £462 Wedding photography is a lucrative business so workshop.com
why not learn from one of the best at the magnificent Crewe Hall?
www.brettharknessphotography.com Spring Colours at High
Beeches
Brett Harkness: Location Fashion Flash 18 April / £95
29 April / £510 If off-camera flash leaves you feeling confused then Join the experts at Park Cameras
this one-day course at an old Manor House in Shropshire is perfect. for this one-day course on
www.brettharknessphotography.com capturing spring colours at High
Beeches Gardens in Sussex.
Brett Harkness: Summer Wedding Fashion Extravaganza www.parkcameras.com
24 June / £510 This course aims to teach you both natural light and
flash photography, but there are only ten places, so be quick! Photography for Beginners
www.brettharknessphotography.com 10 May / £150
This course at Colchester Zoo
covers the basic of photography,
and you’ll get to practice on some
amazing creatures, too!
www.photography
4bigcats.co.uk
Lake District Nature
Workshop
19-25 May / £685
Experience the beauty of the
Lakes in this six-day nature
workshop with Lakeland
Photographic Holidays.
www.lakelandphotohols.com
Photography for Beginners
17 August / £125
Capture snow leopards, amur
leopards and jaguars, and pick up
the basics of photography at the
Cat Survival Trust.
www.photography
4bigcats.co.uk
Birds of Prey
5-7 and 8-10 November / £499
Ben Hall teaches you how to
capture all kinds of birds of prey in
in the Czech Republic.
www.tatraphotography
workshop.com

18 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013


EVENTS DIARY
WHERE TO GO & WHAT TO SHOOT THIS MONTH
Snowdrops in bloom
Various dates throughout
February and March
Snowdrop festivals
Look online for your local
display – lots of historical
houses up and down the
country open their gates
in celebration of these
spring flowers, and it’s a
great chance to perfect
your garden photography.
A favourite is the Scottish
Snowdrop Festival, with
more than 50 venues keen
to show off their
snowdrop gardens.
www.nts.org.uk/Events/
Theme/Scottish-
Snowdrop-Festival
Until 28 February
Winter bird watching
at Pagham Harbour
Winter brings a waterbird
spectacle, with up to
20,000 ducks, geese and
waders feeding and
The Shire Horse Society Spring Show
roosting around this
glorious and peaceful
nature reserve. The big
sheltered bay fills and
empties with each tide,
where you’ll catch wild
ducks, geese and wading
birds flighting to and fro,
and the beautiful
landscapes create a lovely
backdrop. Don’t forget
your telezoom to make
sure subjects fill the frame.
www.rspb.org.uk/
paghamharbour
Throughout March
and April
Lambing season
The lambing season is the
epitome of spring, and it
will be in full swing
through March and April.
No matter where you are
in the UK, you should find
a farm nearby where you
can photograph baby
lambs to celebrate the
beginning of spring.
9-10 March
Scottish Motorcycle
Show, Royal Highland
Showground, Ingliston,
Edinburgh
With breathtaking live
stunt shows and a trials
display team, there will be
lots to see, and brilliant
entertainment on offer all
weekend. Get a sneak
peek at all the latest
models of bike for 2013,
plus the biggest collection
of classic motorcycles
spanning over 80 years.
www.scottish
motorcycleshow.com
14-24 March
Falmouth Spring
Festival, Cornwall
For ten days of March,
Falmouth becomes a
fun-packed town. Events
include rockpooling
sessions on Castle Beach,
brass-band shows, spring
fest walks and painting the
town yellow as nearly 100
shop windows are
brightened up with
daffodils and decorations.
www.falmouth.co.uk
15-17 March
The Shire Horse
Society 2013 Spring
Show, East of England
Showground,
Peterborough
If you enjoy a spot of
animal and pet
photography, here’s
DIARY EXPOSURE/3.13
Holi Celebrations
your chance to shoot
some fantastic images
of majestic shire horses.
With more than 200
competing horses,
vintage displays, a
Victorian funfair and
more, there’ll be plenty to
keep you and your camera
entertained all weekend.
www.shire-horse.org.uk/
spring-show-18
16 March
The Mighty
Deerstalker, Traquair
House, Peeblesshire
Give your night
photography a workout
by shooting tweed-
wearing fancy-dress
runners when the sun
goes down. The 10K
cross-country run
features a course full of
muddy streams and
obstacles, so there’ll be
plenty of opportunity for
cracking action shots.
Fireworks complete the
evening, so don’t forget
your tripod.
www.notoriousnightruns.
com/deerstalker
MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 19
HINDRIK SIJENS
GIGI GIANNELLA
17 March
Winchester Duathlon
The very first duathlon to
come to the beautiful city
of Winchester. Try out
your panning techniques
as the sprinters and
cyclists compete against
each other in this epic
race – the sprint distance
section is a 5km run and
20km cycle, followed by
another 5km run. Not for
the faint-hearted!
www.trytri.co.uk/ 2013-
events/winchester
-duathlon
23 March
Holi Celebrations,
Richmond
Join in this spring religious
festival celebrated by
Hindus and Sikhs. Just
make sure you stand well
back with your camera as
everyone throws brightly
coloured powder and
water over each other!
Expect an exciting and
colourful array of dance
and music, including
Bollywood and Bhangra.
www.richmond.gov.uk/holi
 INBOX EXPOSURE /3.13

READER FEEDBACK
Have you something to say about the magazine or photography in general that
MORE ESSENTIAL
READING FROM
you’d like to share with other readers? We’d love to hear from you, so please THE EXPERTS AT
write to us at our usual address or send an email to: dslrfeedback@dennis.co.uk DIGITAL SLR
PHOTOGRAPHY.
PEDAL POWER Wheely great, Adam

I wanted to send you this image in response to the Master

Darkness section of the January 2013 issue. Like many of
your readers, the weather last year conspired against us and
dry days were naturally taken up with child-based activities.
The section on painting with light provided the opportunity
for a few much-needed hours of creativity in the garage to
keep the photographic fun going. Please continue with
these encouraging sections of what is a fantastic magazine.
Could I also suggest a section on photography in fishing, boating, swimming and the
correct ways to light the ark if the weather ends up as wet in 2013 as it was in 2012.
Adam Smith
Editor’s reply: Thanks for your suggestion, Adam, we’ll keep it in mind!

Pinteresting us to do in order to get that

THROUGH THE PINHOLE
I noticed with interest your
feature on digital pinhole
photography in the February
2013 issue. I’ve been using a
homemade pinhole lens for a
while and I wholeheartedly
recommend it. There are a
couple of things I would point
out though from experience
– first, the long exposures and
the pinhole (a hole, albeit a
small one) that’s open to the
elements seems to increase
the amount of fine dust that
accumulates on the sensor.
They are very evident in the
images because of the large
depth-of-field. Second,
exposure times are an inexact
science and it takes a few
attempts to get things
spot-on. Don’t discard the
under- and overexposed
frames. If you have an HDR
application like Photomatix,
use them to create an HDR
pinhole image. It sounds
strange but you can achieve
some really interesting results
– here’s an example of mine.
Mr Carl Jacques
Editor’s reply: Great work,
Carl, thanks for the tips.
STARTING OUT
I read your November 2012
issue and was amazed at the
immense number of tricks
that technology has enabled
perfect shot. I was enthralled
by the Photoshop tips from
Jordan Butters. Being new to
photography, I particularly
enjoyed Expert Critique. The
technical information (ie the
camera settings included in
the shots) are especially useful
and helpful for me to take that
shaky step away from the
auto mode. This is clearly a
magazine dedicated to those
passionate to learn all there is
about great photography. But
I wonder how photographers
capture fleeting moments
when they travel, using a
tripod and having to change
between all the various
lenses? What would be the
bare minimum one would
need for, say, a travel trip to
capture nature, landscape
and candid shots of people in
action and the occasional
interesting wildlife without
carrying back-breaking
equipment? Often I find the
moment passes, which
frustrates me. I am excited but
very daunted, especially when
comparing to the ease of the
compact I have been used to.
J Hussein
Editor’s reply: A DSLR with a
50mm f/1.8 lens, ultra-wide
zoom and a 55-200mm
telezoom make up a decent
kit for travel photography.
SECRET MESSAGE…
In the last issue, our secret
message asked if anyone
actually read them! Shaun
Davis from Basingstoke was
the first reader to reply ‘yes’.
Lucky Shaun wins a bag of
goodies for his eagle eye!
TOP TWEETS
@ZIADALHIJAJ
just found my
@DigitalSLRPhoto magazine
at the doorstep, happy days!
@KRW80
@DigitalSLRPhoto I’ve found
all the “How To” style articles
really useful – would be good
to see something on urban
photography. Cheers.
@B15DVE
Anyone like to see abit of
evening sunshine? #usnp
@DigitalSLRPhoto @
peakwalkdays #photography
pic.twitter.com/0ZEKVHeT
@NORN_IRONMAN
@DigitalSLRPhoto Jessops
closure not good 4staff or
industry but it’s been a long
time coming. In part due to
mtg strategy adopted over
past 15yrs or so.
@_OVEREXPOSED_
@paulwardphoto
@DigitalSLRPhoto Well done,
some great pictures. Order your print or
digital copy direct
Shaun: went to Specsavers from magbooks.com
or call 0844 844 0053

MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 21

 WojciechDziadosz
Age: 24 / Occupation: Surveyor

The Sun Also Rises: “This was taken not far from my
home, near Wroclaw in Poland. I awoke to thick fog
and soon enough the early morning sun began to
burn through. I took two exposures – one for the
foreground and one for the sky – and combined
the two alongside basic colour correction, levels
and contrast adjustments in post-processing.”
Nikon D200 with a Tokina 12-24mm f/4 PRO DX II.
Exposure: 1/90sec at f/8 (ISO 100).
sponsoreD By

Wojciech Dziadosz (continued)

Mountains Awake: “striding along the stony steps leading down the
valley, I came upon a breathtaking sight. I positioned myself on one of
the rocks near the edge of a waterfall. The rocks were slippery and any
wrong movement could end tragically, but I threw common sense to
the wind – I couldn’t miss the shot. The mountain peaks were shielded
by the clouds and the light poured down the valley. I used Cokin 0.6 and
0.9nD grad filters to add movement to the water and hold back the sky
whilst exposing the light spilling down the valley. This is one of my
favourite shots from this trip.”
Nikon D200 with a Tokina 12-24mm f/4 PRO DX II lens.
Exposure: One second at f/20 (ISO 100).
Golden Autumn: “This is one of a series of photos I took this fall in
rudawy Janowickie – a mountain range in Western sudetes, poland.
I spent the night on top of the highest mountain in the area and awoke
to a fantastic view. on this morning, the weather was perfect – there
was a dense sea fog and the early morning light created a fantastic
pattern in the mist as it pierced through the tops of the trees. I used a
Cokin 0.6nD grad filter to create a gradient from dark to light in the
image, and in post-processing, adjusted only tones, levels and curves.”
Nikon D700 with a NIkkOR AF-S 70-300mm f/4.5-5.6D VR lens.
Exposure: 1/250sec at f/10 (ISO 200).

HussainTarouti
Age: 30 / Occupation: Banker

The Edge of Glory: “I took this a couple of months ago inside the Burj
Khalifa in Dubai – the tallest building in the world. It was noon and the
sunlight coming in from the huge windows was so bright that I had my
camera prepared – I knew a photographic opportunity wouldn’t be far
away. These dark escalator steps contrasted with the light bouncing off
the white walls through the floor and so I waited for the moment when
there were no shadows being cast on the walls. In Lightroom, I made
adjustments to highlights, shadows and contrast.”
Canon EOS 5D Mk II with a Sigma 15mm f/2.8 EX Fisheye lens.
Exposure: 1/15sec at f/3.5 (ISO 800).

24 / DIGITAL SLR PHOTOGRAPHY / march 2013

 comment
Wow! Wojciech’s images
grab your attention using vivid
colours and fantastic light!
I love the atmosphere captured
by the light piercing
through the treetops and
mist in this image.
Jordan Butters
sponsored by

comment
These stunning portraits
have a professional feel to
them. A great location, beautiful
model, expertly applied
make-up and superb
technique combine to give
fantastic images.
daniel Lezano

26 / DIGITAL SLR PHOTOGRAPHY / march 2013

 Alex Filatov
Age: 30 / Occupation: Photographer

First Light at Monument Cove: “This was taken at Monument Cove, a

wonderful off-the-map location in Acadia National Park, Maine. I
bracketed several exposures, using the longest exposure I could by
stopping down to f/22. When I combined the images in Photoshop, the
mist-like water between the rocks gave the image an ethereal feel.”
Nikon D700 with a NIKKOR AF-S 14-24mm f/2.8G ED lens.
Exposure: Multiple exposures at f/22 (ISO 200).
Bass Harbor Sunset: “Bass Harbor Head lighthouse is one of the most
photographed sites in Acadia National Park, Maine. I arrived early, set up
and composed my capture so that the lighthouse would be reflected in
a puddle of seawater left by the receding tide. Due to the shape of the
coastline, rather than using ND grad filters I opted for bracketed
exposures and manually combined them in Adobe Photoshop instead.”
Nikon D700 with a NIKKOR AF-S 14-24mm f/2.8G ED lens.
Exposure: Multiple exposures at f/13 (ISO 200).

Markus Oskarsson
Age: 26 / Occupation: Photography student

What Remains 1: “I had spotted this location beforehand and knew I had
to use it. I sourced a model and my friend, who is a make-up artist, and I
went about finding some bohemian-themed clothing from secondhand
stores. On the day of the shoot, the sky was clear so we waited until the
sun was low in the sky for the best light. I used a shallow depth-of-field
for a dreamy feel and a reflector to lift the shadows.”
Canon EOS 5D Mk II with a Canon EF 24-70mm f/2.8L USM lens.
Exposure: 1/350sec at f/4 (ISO 100).
What Remains 2: “After choosing the images from the shoot that I
wanted to work with, I set about processing them. I applied a subtle
cross-processed look, with warm tones and a blue tint to the shadows.
I carried out some light retouching by dodging and burning using Curves
before adding some grain using the Alien Skin Photoshop plug-in.”
Canon EOS 5D Mk II with a Canon EF 24-70mm f/2.8L USM lens.
Exposure: 1/250sec at f/4 (ISO 100).

march 2013 / DIGITAL SLR PHOTOGRAPHY / 27

sponsored by

28 / DIGITAL SLR PHOTOGRAPHY / march 2013

 COMMENT
Great travel images make
you want to pack your bags and
head out to the locations. These
wonderful landscapes, packed
with atmosphere, mood and
colour, do just that.
Caroline Wilkinson

Alan Chan
Age: 31 / Occupation: Civil engineer

The Shining Jewel: “The Golden Gate Bridge is much photographed –

however, whenever there is low fog sweeping through the bay, it’s
something that must be seen. I wanted to shoot a panorama where San
Francisco would fall between the towers of the bridge. Using a spirit
level to level the tripod, I overlapped the shots by around 25% to ensure
enough coverage when merged. These in-camera techniques helped to
make a nice merge between the images. I then made some exposure
adjustments before selectively dodging and burning.”
Canon EOS 5D Mk II with a Canon 70-200mm f/2.8L IS USM lens.
Exposure: 15 seconds at f/11 (ISO 100).
Day Break: “Bonsai Rock is a photographer’s favourite on the Nevada
side of Lake Tahoe. I composed this shot so that the sunrise colours in
the sky seemed to be radiating from the rock. I selected the narrowest
possible aperture to lengthen the exposure and smooth out the choppy
water. I used a Singh Ray 0.9ND reverse grad filter to hold back the
horizon and then, in post-processing, corrected the exposure on the
rock and snow-capped mountains.” www.alanchanphotography.net
Canon EOS 5D Mk II with a Canon EF 16-35mm f/2.8L II USM lens. Reader Showcase with SanDisk Memory Vault
Exposure: 25 seconds at f/22 (ISO 50).
Every Reader Showcase will receive a new 8GB SanDisk®
Stefano Granata Memory Vault: the unique digital storage device specially
developed to keep irreplaceable shots safe, in original
quality, for up to 100 years*. The SanDisk® Memory Vault
Age: 32 / Occupation: Business and art director
features SanDisk Chronolock™ technology which, together
Lei: “This was shot as part of a test shoot in an old abandoned train with an impact-resistant polymer body and a durable metal
topcase, makes the SanDisk® Memory Vault ideal for reliable,
station – it was a great location, complete with decommissioned trains! long-term image storage. Great photographers have always
I had just purchased a secondhand Nikon 80-200mm f/2.8 zoom and counted on SanDisk memory cards to capture stunning
wanted to try it out for some portrait work with my model and muse, images. Now they can also rely on SanDisk
Laura. In post-processing, I converted the image to black & white and technology to keep their pictures safe for
adjusted the monochrome tones by tweaking the colour sliders in the future. SanDisk® Memory Vault is
Lightroom. I then imported the image into Photoshop CS6 to carry out available in 8GB and 16GB capacities.
the finer adjustments required.” To find out more, visit
www.sandisk.co.uk/memoryvault
Nikon D700 with a Nikon AF-D 80-200mm f/2.8 lens. * For more information, see www.sandisk.com/preserve
Exposure: 1/320sec at f/2.8 (ISO 250).

MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 29

Technique
of The monTh...

petportraits WheTher you’re A cAT or doG Person, or love horses

over hAmsTers, here Are PlenTy of PhoTo ideAs To Try

T
hey become our best friends, our
surrogate children and often our
favourite – if not most accessible –
subjects to photograph. They come in all
weird and wonderful varieties, each with
unique personalities, and while not always
willing subjects, can make the most
endearing pictures. Pets, whether they’re
fuzzy, furry or feathered, offer lots of photo
opportunities. you don’t even need a studio
or flash for creative results – in fact, keeping it
simple with natural light and concentrating
on the concept, technique and background
can often lead to the best images of your
beloved. The less equipment you use, the less
intimidated camera-shy characters will be,
making it easier to capture eye contact. A
camera and short lenses, like a wide-angle or
50mm, is all you need and avoid telezooms
unless you’re shooting from a distance.
JAvi inchusTA GonzAlez
While we give you ten great ideas to try
here this month, we were overwhelmed with
choice as there’s really no end of inspirational
ideas when it comes to shooting pets. A lot of
success, however, hinges on reacting to the
environment. you can orchestrate an image
with the hope of it working – for instance,
enticing your pet into the best light with your
camera at the ready – but most of the time
the best images come from impromptu
moments, especially when the pet is young
and up to mischief! There are a few fail-safe
techniques you can apply to any potential
picture idea, regardless of whether your pet’s
exotic or domestic: shoot with a wide
aperture (f/5.6 or wider) to blur distracting
backgrounds, focus on the eyes and shoot in
raw to allow yourself scope for error as quick
reactions rarely result in exactly the right
camera settings every time. Good luck!

mATT drAPer

3 SHOOT THROuGH GLASS

Photographing tank-bound pets can be
tricky but is certainly not impossible. you actually
have the advantage of them being contained
and knowing the space you have to work with,

2 keeP IT LOw keY shooting against a black background is a striking way to create a giving you a little control over the lighting and
low-key portrait (an image that’s primarily shadows and dark in tone). having the subject environment. Try placing a coloured background
emerge from black can look artistic and be a useful way to eliminate distractions from the behind the glass tank or bowl and use a macro
background. natural light on a cloudy day perfectly complements this technique as it’s soft and lens to get in close to fill the frame. ideally, light
diffuse. Place yourself between your pet and the light source to capture the even lighting on your the subject from above to avoid casting
subject. spot-meter on a grey subject in the same lighting to avoid the camera overexposing the reflections on the glass: shooting from a right
image: you could also dial in one or two stops of negative exposure compensation to ensure angle and using a polarising filter may also help.
your blacks are true, or as you’re shooting in raw, pull the exposure back in post-production. As these types of pets are unlikely to do as you
don’t use flash as it may spook your subject. if your subject is also dark, you may need to use command, be prepared to spend a long time
manual focus or single-point autofocus on an area of contrast to stop the camera from hunting. waiting for the eye contact and perfect focus, as
quite often you’ll need a very wide aperture to
maximise the low light.

30 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013

 1 caPtUre the action
Dogs love to run, and capturing shots of
them in action, ears and gums flapping in
the wind, can yield fantastic images. Start by
asking a friend to hold the pooch in position
while you set up a few hundred yards away
– this allows them to get up to speed before
they reach you. Use a telephoto zoom,
such as a 50-200mm, and get down low to
their eye level. You’ll need to use shutter-
priority mode along with continuous
autofocus in order to track them as they run
towards you. Select a high shutter speed of
1/500sec or faster, depending on the
available light, and give the signal for your
assistant to release the dog. Make sure that
you fire off plenty of shots in burst mode
while they run at you, but remember to put
your camera down before they arrive –
dogs tend to accelerate a lot more
efficiently than they brake!
IMage: JOrDan BUTTerS
Irene MeI

2013 Ben HeIne

4 Use window light

Cats are notoriously difficult subjects to
photograph because of their aloof nature. Your
best chance of snapping a few good frames is to
catch them when they’re being lazy, bathed in
window light, or distracted by a toy or bird. Set
your camera to aperture-priority mode, a wide
aperture and the highest ISO rating you can
before introducing noise, to blur the background
and generate a fast enough shutter speed to
freeze any movement, letting you react to a
photo opportunity even in low light. Fill the
frame with your subject to minimise any
distractions, like the windowpane, but to
maximise on the beautiful light. Dogs are slightly
easier to work with as you can coax them to stay
5 Be creative There’s no shortage of creative ideas to try with pets, but we love Ben Heine’s
‘Pencil Vs Camera’ series. By mixing drawing with photography, he opens up so much opportunities
to be quirky and humorous. This image is one exposure taken outdoors, with Ben holding his sketch in
still and to look towards a window, if need be. line with the dog. He then tweaks the image in Photoshop CS4 to enhance the contrast and colours.

march 2013 / digital slr PhotograPhY / 31

Technique
of The monTh... Pet portraits

Delia galhoTra
6 uSe neGATIve SPAce & cOLOuR
While most people either have a cat or a
dog as a pet, it’s the unusual subjects that can
make really interesting pictures and inspire.
Brightly coloured pets, like parrots or reptiles,
look great against an equally colourful backdrop
of a complementary, or even contrasting,
colour. if possible, try spotlighting the
background for more interest. While most
photographers try to fill the frame, as long as the
empty space in the image is free from
distractions and used to balance the subject or
to emphasise a feature, like their small size or an
unusual crop, ‘negative space’ (as it’s commonly
called) can be used to strengthen an image.
isTockPhoTo

olka kryvoshei

irene Mei

7 ReADY fOR mY cLOSe-uP

if your pet is by no means camera-shy and
gives you eye contact, make the most of the
symmetry in its face with a tight crop. cats,
especially, provide striking portraits this way and
it means you don’t have to worry about the
background, only that the lighting is even on
their face. rather than get really close with a
portrait lens, zoom in from a few metres away
and use f/5.6 to get the nose and eyes in focus.
you’re likely to need more depth-of-field for
subjects with long noses, such as dogs.
8 SeT THe Scene
Using clothes, toys and household items as
props can help set a scene and give quirky
pictures the ‘ahh’ factor – especially if the pets
are young or tiny, like Tobi here. This image is a
great example of how using everyday household
items can enhance an image and be useful for
containing a curious but fast-moving subject
long enough within the best light to get a
picture. Puppies and kittens look exceptionally
sweet in oversized props, too, so capitalise on
their cuteness.
9 GLORIOuS GOLDen HOuRS
Walking your dog early or late in the day can
be a peaceful, relaxing experience and one that
can provide the most beautiful light: when the
sun is low, grass and trees adopt an attractive
warm glow. Try to shoot from a distance with a
telephoto lens wide open (approx f/4) to capture
beautiful bokeh and a relaxed subject. as your
dog is likely to be backlit, use spot metering to
take an exposure reading from them to avoid
underexposure. consider leaving your lens hood
at home, too, to flood the image with warm light.

32 / DIGITAL SLR PHOTOGRAPHY / MARCH 2012

10 Change your view
Shake up your shoot by trying
different vantage points and focal lengths.
A wide-angle or better still an ultra wide-
angle zoom gives great results if used from a
high or a low viewpoint, distorting
perspective. Try getting really low to the
ground and pointing the camera upwards to
exaggerate scale, or encourage the subject
to get within touching distance of the lens to
make their nose massive with a tapering
body. Remember, though, the closer your
subject is to the lens, the smaller the aperture
you’ll need to get sufficient depth-of-field.
ImAge: ISTock phoTo
 Drawing
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 Master your
digital camera

Get the picture Simple steps to creative images

Rainy-day portraits Mist opportunities Add grads in Photoshop

Don’tletraindampenyourenthusiasm Setthealarmforaveryearlystartand Flat,greyskiescanruinyourscenicsso
forportraiture.Useittoyouradvantage! makethemostofmistymornings learnhowtoaddagradeffectforimpact!

PLUS! PHOTOGRAPH BATHTIME PORTRAITS, WINTER SCENES & ICE PATTERNS

MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 35

 Get the picture Backlighting rain

Rainy-day
portraits
There’s nothing more likely to put paid to an outdoor
portrait session than a sudden downpour, but adding
a little bit of flash can make the best use of the weather
JORDAN BUTTERS: There are a large number of people who
view portrait photography as a fair-weather or indoor pursuit.
Unfortunately, with the climate in this country as it is, if that were
the case, all our portraits would be shot inside. Learn to embrace
the rain and snow – with the addition of an off-camera flashgun
and a touch of waterproofing – and you can carry on shooting no matter the
conditions, using the falling drops or flakes as a sparkling natural backdrop.
If you are lucky enough to find yourself in a shower when the sun is low in
the sky, such as just after sunrise or before sunset, then you can use the sun as
a natural backlight. The chances of such conditions presenting themselves on
cue is unlikely, so an off-camera flashgun is often a required back-up.
Because of their transparent nature, raindrops and snowflakes show up best
when back- or side-lit, as the light can refract through the droplets to
illuminate them. This is why if you try to photograph rain with your flash
pointing towards the droplets, they don’t show as prominently.
I’d recommend trying this technique out under shelter or in a doorway if
possible – both for your subject’s and your camera’s sake. No one looks their
best when soaked from head to toe and the last thing you want is your kit
getting damaged. You can even give this a technique a try when it’s not raining
– simply set up a garden hose or sprinkler to spray behind your subject.

36 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013

 Get the picture Backlighting rain
1
Lighting set-up
Backlight(flashgun 8ft
Backlight(
away at full power)

Rain

Subject in doorway

Shoot
through
umbrella

Key light Camera: 1/160sec

(flashgun 2-3ft away at f/8(ISO 100) 2 3
at 1/32 power)

SET-UP: Set up your lights one at a time to prevent confusion. As one

light is behind your subject and one is in front, neither will affect the
exposure of the other. I have chosen to position my model in a doorway to
prevent both her and the camera kit from getting wet, but you can shoot
this style of portrait outdoors, too – just remember to protect your kit!

1 Waterproof your kit

An important precaution is to
protect your camera kit from the
elements. Seal any flashguns and
triggers that will be potentially
exposed to water in clear,
watertight plastic bags. If you’re
going to be standing out in the rain
yourself then fit a rain cover for your
camera and lens, or ask an assistant
to hold an umbrella over you.
2 Choose your key light
Your key light is the main light
that you’ll be using to illuminate
your subject. You can use your
on-camera flash, but for a more
flattering light consider bouncing
the light off another surface or
using an off-camera flash. I have
chosen to use an off-camera
flashgun in a shoot-through
umbrella to the left of camera.
3 Set the exposure
Select manual mode and
choose your camera’s max sync
speed and a mid-aperture of
around f/8 for optimum sharpness
and to retain attractive bokeh in the
background. Use a light meter to
take a reading from your subject
and set the flash power
accordingly. Alternatively, take a
test shot and adjust from there.
4 Set up your backlight
Place your waterproofed
flashgun three to five metres
behind your subject, pointing
towards them, set it to 1/2 power
and its widest zoom. Take a test
shot and assess how much of the
rain is being illuminated. Increase
the power if necessary. Position
your subject between the backlight
and yourself, then you’re all set.

Pick the right aperture

The aperture that you choose will f/2.8 f/5.6 f/8
greatly affect the appearance of
the bokeh created by the rain. Too
wide an aperture and the bokeh
blurs into one. If you do adjust your
aperture after taking your initial
exposure reading, remember to
take another reading and adjust
the power of your key light.
f/2.8: At the widest aperture the
bokeh is too pronounced and the
raindrops blur together.
f/5.6: By stopping the aperture
down, separation between the
raindrops begins to appear.
f/8: At a mid-aperture the
raindrops are still pronounced but
remain nicely out of focus.

38 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013

 IMAGE
DETAILS
Kit: Canon EOS 5D Mk II
with EF 24-70mm f/2.8L
Mode: Manual
Exposure: 1/160sec at f/8
(ISO 100)
 Get the picture

The magic of mist

Vacating a warm bed on a chilly winter morning can seem like
madness – but not if the result is a stunning shot like this…
ROSS HODDINOTT: Why are
misty conditions so irresistible to
photographers? When the
landscape is shrouded in mist, we
will gladly drag ourselves out of
our warm, snug beds at ‘silly o’clock’ in the
morning to take photos. I guess the answer
is quite simple – mist adds mood and a
feeling of mystery to our images. By
reducing colour and contrast, it simplifies
the appearance of objects within the
landscape, placing added emphasis on
shape and form. No self-respecting outdoor
photographer can resist the lure of misty
weather, but how can you ensure your early
start is rewarded with great images?
Autumn and winter is traditionally one of
the best times of year for shooting mist, so
keep a close eye on the local weather
forecasts. It can be tricky to anticipate when
mist will form and where. There are different
types of mist and fog, but the most
photogenic kind is ‘radiation fog’, which
forms during clear, still nights when the
ground loses heat by radiation. The ground
cools nearby air to saturation point and mist
forms. It will often remain confined to low
ground, forming a thin white layer at the
bottom of valleys and over fields. Weather
forecasting websites like www.metoffice.
gov.uk, www.accu weather.com and
www.metcheck.com are a great resource,
and their forecasts are often very reliable.
When checking the forecast, look for clear
and cool still nights – ideal conditions for
mist to form. Some forecasts will actually
predict mist, but checking the visibility often
gives the best indication – if visibility drops
from ‘excellent’ or ‘very good’ to just ‘good’
or ‘average’ overnight, there is a decent
chance you will be greeted by mist in the
morning. Set your alarm early and allow
plenty of time to reach your location. It can
be difficult to decide which locations to visit
in misty weather, as you can never be quite
sure when and where mist will form, or how
dense it will be. However, it is normally best
to opt for an elevated viewpoint, such as the
view from the top of a hill or valley, which
allows you to get above the mist. It is worth
visiting some potentially good locations
beforehand to get an idea of their picture
potential. The type of scene that suits misty
conditions best are ones including strong,
bold focal points – for example, a row of
trees, church tower or interesting landmark.
Mist looks at its most atmospheric just
before and after sunrise. At this time of day,
light levels are low and shutter speeds
characteristically lengthy, so a tripod is
essential. It is worth carrying a range of focal
lengths. While wide-angles often work well
in misty weather, telephotos often prove
equally useful. Longer focal lengths, in the
region of 70-200mm, will shorten
perspective and emphasise the mist further.
They also allow you to isolate key points of
interest – a skeletal tree, for instance, or
ruins emerging evocatively from the fog.
As well as photographing large open spaces
when it is misty, it can also be worthwhile
visiting misty woodland in autumn. The fog
will simplify the environment, enabling you
to capture very graphic, eerie-looking
images of trees shrouded in mist.
Last words of advice: wrap up warm and
be prepared to work quickly – mist often
clears or lifts quickly and the best conditions
will soon pass. Also, keep a lens cloth close
to hand – condensation is likely to form on
the lens, potentially ruining images.

1 Plan ahead In order to capture great misty

images, you have to plan your shoot
carefully. I checked the weather regularly for
several days until finally I noticed a cool, clear
night was forecast, with a predicted wind-speed
of just 4mph – perfect conditions for mist.
Visibility dropped to ‘good’ overnight – another
indicator that mist would be likely. Pack your
camera gear the night before and prepare some
warm clothing for a swift start in the morning.
2 Don’t hit snooze I decided to visit a location
where a row of conifers grows upon a
hilltop. It can be photographed from an adjacent
hill and I hoped mist would fill the valley
between. Elevated viewpoints like this often
work best when shooting mist. Sunrise was just
after 7:00am. I set my alarm early enough to
arrive 45 minutes beforehand. This would give
me time to find a good viewpoint, set up and be
ready to shoot any predawn glow.
3 Arrive on location Once on location, mist
had filled the valley as predicted. I opted for a
70-200mm zoom – not only would the longer
focal length enhance the effect of the mist, but it
would also give me lots of different framing
possibilities. Using a tripod, I focused manually
on the trees via LiveView. I selected aperture-
priority mode, opting for an aperture of f/11.
The camera set a corresponding shutter of
15 seconds, but the result was too dark.

40 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013

 Shooting mist in landscapes

Final image
An early start is
rewarded by an eerie
misty landscape full
of atmosphere.

IMAGE
DETAILS
Kit: Nikon D800 with
70-200mm f/2.8
Mode: Aperture-priority
Exposure: 30seconds
at f/11 (ISO 200)

4 Keep an eye on the exposure Mist has a

habit of fooling metering systems. This is
because TTL metering is designed to assume
that subjects are mid-tone (18% grey). As a
result, it tends to underexpose bright subjects
like mist or snow. Always check the histogram
screen regularly. If the graph is biased to the left,
apply positive exposure compensation. In this
instance, I dialled in one stop of positive
compensation to brighten the image.
5 Consider your composition Composition
will make or break your shot. In this instance,
I tried a variety of compositions using different
focal lengths. I tried placing the trees right of
centre and centrally in the frame. However, our
eyes naturally view the world left to right, so I
decided placing them on the left created the
strongest result. However, don’t be afraid to
experiment – shoot a variety of compositions or
be bold with your arrangements.
6 Observe changes Mist can change quickly,
drifting in and out of shot and growing more
or less dense. As a result, the same scene can
look radically different when photographed over
a period of an hour or so. Shoot a sequence of
images and decide later (when they’re on your
computer) which ones you prefer. Once the
light gets too bright and harsh, and the mist
begins to lift and disperse, it is time to pack your
camera away and head home for breakfast!

MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 41

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 Get the picture Studio-esque bathroom portraits

Bathtub
portraits
Use your bath as a giant
softbox to capture beautiful
natural-light portraits
CAROLINE WILKINSON:
Short on studio space to
shoot your little ones or
trouble keeping them still
long enough by a window to
get a decent shot? You’ll be surprised at
the solution. If bath time is a happy time
in your household, you can use this to
your advantage as the bathtub is a great
locale for capturing studio-esque
portraits – unless you have a peach or
avocado suite, that is. Finding an area of
the house with clean, natural light
where unflattering shadows, colour
casts and messy backgrounds aren’t a
problem can be difficult, and getting
your child to sit in that spot long
enough to capture an angelic portrait
makes it that much more challenging.
As long as they’re old enough to sit up
on their own, a white bathtub keeps
them contained and the tub works like
a giant softbox and reflector; bouncing
natural light off the white surfaces for
bright, even illumination with a clean
studio-like background. If your
bathroom has limited light due to
frosted or small windows, you could
also use the sides of the bath to bounce
flash off for similar results.
The toughest part of this technique is
getting the child to interact with the
camera and to compose a good
portrait; standard bathtubs don’t leave
much room for negotiation.
Bathrooms can be quite cold, too,
especially if you’ve no water in the tub,
so make sure the heating is on and/or
your child’s wearing clothes. They
might think it’s odd to have no water in
the bath, so if they start acting up, run a
shallow one for them to play in – just
make sure you have a second adult on
hand out of frame to prevent accidents
as your attention will be distracted by
the camera. Use whatever means
necessary to get a smile from them,
too: chocolate bribery works well, as
does someone pulling faces or playing
with toys behind your head for getting
eye contact. But above of all, make sure
they have fun, otherwise you’ll be lucky
to get more than three frames off
before bath time is over.

MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 43

 Get the picture

1 Set up Very little is needed for this technique: your camera, subject and
perhaps a flashgun with a bounce function and tilting head, if light
levels are low. You’ll need a portrait lens, if not a macro lens, for this shoot,
as you’ll find space is limited and you’ll need to crop out any handrails and
the edge of the bath. For this shoot, a 50mm f/1.8 worked well, but a longer
lens, such as a 100mm macro, would have made it even easier.
2 Assess the exposure A lot of white in your image may fool the camera
into underexposing the image. Set the camera to spot metering rather
than multi-zone for better results, as the exposure will be based on where
you focus: the face. Use aperture-priority mode and dial in a wide aperture
of f/2.8-f/5.6 to maximise the light and blur the background. Use
single-point autofocus and pinpoint the eye closest to the camera.

3 Change your angle Depending on how tall your child is and the focal
length you use, you may need to alter your viewpoint to crop out any
unwanted elements like tiles, toys or handrails. Even if you don’t need to
change your view, try it anyway by getting low so you get their eyes
peeping over the bath, high for a more flattering angle or simply alternate
between portrait and landscape orientation for dramatically different looks.
4 Edit the shots If you’ve exposed the image well enough, very little
should need to be done, other than basic editing. To improve the
contrast, I duplicated the image layer (Layer>Duplicate layer) and changed
the Blend Mode to Soft Light. A small adjustment to Levels (Layer>New
Adjustment Layer>Levels), the addition of a High Pass filter (Filter>Other>
High Pass) set to no more than 4px and a quick crop was all that was done.

Common errors to watch out for...

INACCURATE METERING If your
background is rendered grey rather than
seamless white, make sure you’ve switched to
spot metering. If that alone doesn’t work, dial
in a stop or two of positive exposure
compensation. Use your camera’s histogram
to determine if the image is underexposed:
you want to see the peaks biased to the right
and a little to the left of the histogram.
BAD FOCUSING Using shallow depth-of-
field means your focusing has to be pinpoint.
As multi-point autofocus locks onto the
closest subject to the camera, which for
portraits is often the nose, manually placing a
single AF point on the eye closest to the
camera produces the best results. If you want
both eyes in focus, you’ll need to use at least
f/5.6 for sufficient depth-of-field.
NOT ENOUGH LIGHT If shooting wide open
and increasing your ISO as high as your
camera’s noise control allows doesn’t give you
a shutter speed fast enough to freeze
movement or illuminate the bath tub
sufficiently, you’ll need to bring out the
flashgun. Keep it simple by using TTL metering
for a fill flash and turn the head so it bounces
off the white ceiling or sides of the bath.

44 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013

 Studio-esque bathroom portraits

IMAGE
DETAILS
Kit: Nikon D800 with
50mm f/1.8 lens
Mode: Aperture-priority
Exposure: 1/60sec at
f/4.5 (ISO 200)

Final image
Who’d have known your bathtub
could be used as a mini-person’s
studio? The bathroom in general
is a great place for utilising
natural softbox-esque light for
any type of portrait.

MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 45

 Get the picture

WINTER LANDSCAPES IMAGE

DETAILS
Kit: Nikon D800E with
NIKKOR 14-24mm lens
Winter can be one of the best times of year to head out and shoot stunning icy Mode: Bulb
Exposure: 74 seconds
scenes. Professional landscape photographer Marc Adamus provides his at f/14 (ISO 320)
favourite hints and tips on how you can take the most of dramatic winter vistas…

Sky
If you’re shooting
against a partly cloudy
sky, consider using a
Neutral Density filter. A
Hitech 1.8ND was used
here to prolong the
exposure to 74 seconds
and capture movement
in the clouds.

Focusing
Use a hyperfocal
distance calculator for
optimum depth-of-field.
Alternatively, you can
take two exposures
– one focused on the
mountain and one on the
foreground – and
blend them together.

Composition
Ice makes great
foreground interest as it
refracts and reflects the
light and has a natural glow
to it. The broken shards of
ice act as a lead-in,
pointing you towards
the mountain.

42 / DIGITAL SLR PHOTOGRAPHY / JANUARY 2013

 Winter images

Post-processing
Winter scenes by their
nature are often void of
colour. Consider toning
your image with a
cool-blue hue to
enhance the cold feel
of the scene.

Framing
Consider arranging your
composition to frame
interesting items in the
scene. In this image, the
broken ice in the
foreground frames the
reflection of the
mountain in the lake.
 Get the picture
Shoot abstract ice patterns
Frozen puddles can be a source of fantastic natural patterns. Grab your camera and wrap up warm…
ROSS HODDINOTT: Chilly, wintry
weather can prove a particularly
productive time for discovering
and photographing natural
patterns. For example, water will
freeze, creating thick sheets of ice, full of
interesting shapes and designs to
photograph. From November through to the
end of March, the UK is prone to spells of
freezing weather. This is no time to stay in the
warmth of your home – instead, put on your
thermals and head outside with your camera.
Photogenic and abstract-looking
patterns, detail and texture are everywhere
within nature – the trick is recognising them.
In freezing weather, the surface of pools,
puddles, lakes and canals turn to ice; while
along the edges of waterfalls and streams,
1 Set up Look for ice patterns on frozen pools,
puddles and along the edges of reservoirs.
Using a tripod, position your camera directly
above the ice, positioning the tripod carefully so
as not to fracture the ice. Overcast light is best.
If it’s sunny, consider casting the ice into shade
using your shadow to produce cooler,
low-contrast light. When photographing near
larger bodies of water, always keep to the edges
for safety and never step out onto the ice.
4 Concentrate on composition Ice patterns
are very abstract, so giving advice on how to
compose them is difficult. There is no right or
wrong way. Look for interesting detail, like
trapped air bubbles, criss-crossing lines, shapes
and curves. Try to isolate, highlight and arrange
them in such a way that you create a visually
pleasing and compelling composition. Your
creativity and eye for detail is key to the success
of this style of image. You will often find your
composition evolves over several shots as you
make fine adjustments to your set-up. Results
can vary greatly in look and feel.
48 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013
photogenic icicles form. After a few days of
freezing conditions, overlapping layers of
thick ice can create extraordinary patterns.
Look for trapped air bubbles, lines and swirly
detail on the surface that you can isolate to
create strong, engaging compositions.
Pebbles, leaves or a feather trapped within
the ice adds further interest and a focal point
to your photos, so it is worthwhile looking
for this type of detail.
Most ice close-ups have a very abstract
feel to them, so the ability to ‘see’ the image
in the first place is often the most
challenging aspect. In terms of lens choice,
a macro lens is best – ideally, opt for one in
the region of 100mm, as it provides a good
working distance. However, you don’t
always need a high degree of magnification
2 Dial in the settings With ice being a flat
surface, you do not require a wide depth-of-
field so long as you position the camera parallel to
the subject. Therefore, opt for aperture-priority
mode and select f/8 or f/11. This is close to a lens’s
‘sweet spot’ – being sharp and largely diffraction-
free. Keep the ISO rating low and allow the
camera to select the corresponding shutter
speed. You could use autofocus, but I prefer to
focus manually by zooming in via LiveView.
when shooting ice patterns, so a telezoom
usually suffices.
An overhead viewpoint is best for
revealing interesting shapes and detail. Try to
position your camera parallel to the surface
to help maximise depth-of-field. Bright,
direct sunlight can wash out fine detail so
wait for low-contrast, overcast light or use a
diffuser if the light is too bright. A tripod is
essential. However, place the legs with care
and also tread carefully – if you crack the ice,
your shot will be ruined.
When it is not cold enough for ice outside,
it is possible to create your own by filling a
clear, shallow dish with 6-8cms of water and
sticking it in your freezer. Once frozen, take
it out and start shooting, either indoors,
using window light, or outside in sunlight.
0EV
+1EV
3 Review your exposure One thing you need
to watch when photographing ice – and
other wintry subjects – is that it doesn’t fool your
camera’s TTL metering into underexposing
results due to its brightness. Review results
regularly, checking the histogram for gaps to the
right of the graph. If images are dark, apply
positive exposure compensation. In this
instance, I had to apply compensation of +1EV,
which isn’t unusual for this type of subject.
5 Post-process Your ice shots will often
benefit from a few minor tweaks during
processing. A cool-blue hue will enhance the
ice’s cold appearance, so rather than selecting a
technically correct colour temperature, it is
worthwhile opting for a cooler setting – in the
region of 4500-5000K. Although you can do
this in-camera using White Balance, Raw
shooters can apply this attractive cool cast with
more precision during processing. Similarly,
increasing contrast during editing using Levels
or Curves deepens tones and lifts highlights,
giving patterns and texture greater definition.
 Ice patterns

IMAGE
DETAILS
Kit: Nikon D800 with
150mm macro lens
Mode: Aperture-priority
Exposure: Five seconds at
f/11 (ISO 100)

MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 49

 Get the picture

Add a colour grad filter

Learn how to control Photoshop’s gradients to create a colour
graduated filter effect and transform otherwise ordinary skies
JORDAN BUTTERS: In an ideal
Original
world, landscape photographers
would always carry an array of
ND grad filters; one for every
conceivable situation and effect
you want to create. In reality, however, this
isn’t always practical. Thankfully there are a
range of Photoshop effects that simulate
the results of various filters. Gradients are
great for emphasising existing colours in the
sky or completely changing the mood and
feel of your image by emulating a different
time of day to when the image was taken.

Experiment with different filters

You could always try adding more than one colour filter to your image. Simply duplicate your
Gradient layer by selecting it in the Layers palette and going to Layer>Duplicate Layer and change
the gradient colour as was done in steps three through to five. Try placing the gradients at different
angles using the Angle dial in the Gradient Fill menu for different effects.

Warming filter Cooling filter

Green filter Multiple filters

1 Add the gradient Before we begin, press D

on your keyboard to reset your colour
palette to default. Click on the Add new fill or
adjustment layer button in the Layers palette
and select Gradient from the drop-down menu.
2 Adjust the gradient In the dialogue box, click
on the Reverse tick-box to place the
gradient at the top of the image. Click OK. Back
in the Layers palette, change the Blend Mode of
the Gradient layer to Multiply.
3 Open the Gradient Editor Double-click on
the thumbnail on the Gradient layer in the
Layers palette to open the Gradient Fill menu
again. Then click on the Gradient thumbnail at
the top to open the Gradient Editor palette.

50 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013


4 Change the colour Click on Black Color
Stop in the bottom-left corner of the
gradient. Then click on the Color thumbnail to
open the Color Picker window. Select a colour
– I chose pink to emulate a dusk sky. Click OK.
5 Alter the opacity The two Color Stops above
the gradient scale control the opacity of the
gradient. Move the White Color Stop in the
top-right corner to control the depth and
hardness of the gradient. Once done, click OK.
Five-minute Photoshop
Final image
Caught out without your
filters? Fear not – when you
can create stunning sunsets
like this in Photoshop, you’ve
always got a back-up plan!
6 Add a Photo Filter Back in the Layers palette,
click on the Add new fill or adjustment layer
button again and select Photo Filter. Select one
of the Warming Filters and click OK – this will
warm the entire image to suit the dusk colours.
MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 51
 ExpertCritique
p q EXPERT OPINION TO HELP YOU TAKE BETTER PICTURES

EDITOR NATURE & SCENICS LANDSCAPES PHOTOSHOP

MEET DANIEL LEZANO ROSS HODDINOTT LEE FROST CAROLINE
WILKINSON
OUR Daniel has judged
national photo
Ross is an expert
photographer and
Lee’s been a
professional Caroline is an
EXPERT competitions on writer specialising in photographer & experienced
TEAM a regular basis
for several years
wildlife, close-ups
and landscapes
photo writer for
several years
photographer and
Photoshop expert

If you want honest and constructive comments about your images, send in a selection to
Expert Critique. You should supply up to 25 images on a CD/DVD along with an A4 contact
sheet of thumbnail images. Enclose a stamped addressed envelope if you would like your
submission returned. Each reader whose image is published receives a fantastic Lowepro
Fastpack 250, worth £60, which holds a DSLR with zoom attached, 2-3 additional lenses or
flashguns, a 15.4in widescreen laptop and general accessories. Visit: www.lowepro.com

BOATATBURNHAM
ByGlynHopping
Camera: Nikon D800
Lens: NIKKOR 24-120mm f/3.5-5.6 VR
Exposure: 0.8secs at f/11 (ISO 100)
GLYN SAYS: “This image was
taken on a bright and sunny day
during a visit to the hamlet of
Burnham Overy Staithe in
Norfolk. This is said to be the
place where Admiral Lord Nelson first
learned the art of sailing.”

LEE FROST: I live very close to a location

like this on the Northumberland coast and
on days like the one Glyn faced, it’s very
difficult to come away with great
photographs. I know – I’ve tried. The
problem with shooting coastal scenes –
or any kind of landscape – in sunny,
cloudless weather, is that everything looks
picture-postcard perfect. There’s no
atmosphere or drama, so you have to work
hard to produce something decent.
Glen didn’t help himself by choosing to
put a blue and white boat in the foreground
against a blue sky. It’s all too, well, blue. But
not far away I see a boat with some red
paintwork. Maybe that would have worked
better, contrasting nicely with the blue sky.
With no mast to compromise the
composition, Glen could also have got in
much closer to that other boat, using it to
fill the foreground. You really need to fill the
frame with colour and interest in weather
like this, otherwise you end up with rather
bland images. Glyn was probably attracted
to the reflection of the boat in the shallow
water, but it isn’t strong enough and by
including it he’s just added to the feeling
that there’s a lot of empty space.
Verdict: Needed colour contrast and a
tighter composition.
ROSS HODDINOTT: For me, the camera
angle is the biggest problem with this shot.
Glyn has opted for a relatively low
viewpoint, but the boat still merges with
the buildings behind. Separation is an
important consideration when taking
photos and a higher or lower viewpoint
may have provided that. I can certainly see
“Thebuildingsandother
boatsdon’treallyadd
anythingtothecomposition
–theyjustcomplicateitand
detractfromthemainfocal
point” ROSSHODDINOTT
why Glyn was drawn to this view, though.
Maybe it wasn’t possible, but if only Glyn
could have captured the boat in better
profile, isolated against that lovely clear
blue sky. The buildings and other boats
don’t really add anything to the
composition – they just complicate it and
detract from the main focal point. I wonder
if, by shooting the boat from the opposite
side or using a lower shooting angle, Glyn
could have achieved a cleaner
composition? Alternatively, maybe he
could have got closer to the boat and shot
it wide-angle so that it filled the frame
more, obscuring more of its surroundings
Verdict: A good subject, but the boat
merges with the buildings behind and the
composition is a bit messy. If only Glyn
could have found an angle to isolate the
boat against the clear sky.
Quick critique
1) Reflection
Choosing to use a reflection in the
composition could have worked, had the
reflection been stronger. As it is, it
highlights the empty space in the image.
2) Perspective
Shooting from a low angle would make
the boat more dominant in the frame and
separate it from the buildings behind. As
an alternative, Glyn could get closer and
use a wide-angle lens to similar effect.
3) Alternative subjects
As Lee points out, the red boat in the
background could have made for a more
suitable subject to contrast with the blue
sky. Always assess the surroundings to
seek out the best possible image.
2
3
1

52 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013

FRUITSPLASH
ByKyleSmith
Camera: Canon EOS 7D
Lens: Canon 24-105mm f/4L IS USM
Exposure: 1/250sec at f/14 (ISO 200)
KYLE SAYS: “I set up a black
background with my flash to
one side of the tank. I
experimented with flash
settings and apertures to get the
best exposure. In Photoshop I cloned out
the splash marks on the tank and used
Unsharp mask to sharpen the image.”

LEE FROST: I admire photographers who

are willing to step out of their comfort zone
and try something new. Digital cameras
allow us to see the results immediately and,
in turn, that enables us to correct our
mistakes and produce great images as we
go. With a subject like this, you need instant
feedback – a fraction of a second can
make the difference between an okay shot
and a great one. Kyle varied the exposure
and timing until he got what he wanted,
and the end result is great. It’s amazing how
well a humble flashgun can freeze action
and allow us to see things beyond human
vision – like the amazing shapes in the
water. Personally, I’d have cropped the shot
because I think there's too much black
space and the fact that the water suddenly
comes to an end on either side looks odd.
I also think the background is maybe too
simplistic and something more colourful
would work better. On the whole, it’s a
great example of high-speed flash and,
having mastered the technique, I reckon he
could come up with even better results.
Verdict: Simple, clean, well-timed and
well-executed.

ROSS HODDINOTT: Technically, this is a

well-captured shot. I can’t imagine how
many times Kyle had to tweak his set-up,
and drop the fruit into the water before
achieving this image. However, you do see
quite a few high-speed images like this
now, so I guess it’s fair to say that this isn’t
one of the most exciting I’ve seen. That
probably sounds harsh considering how
well Kyle has done. However, for me, there
is a little bit too much space at the top of
the frame. Had the splash been larger and
higher, it would work fine, but as it is, I think
a tighter crop would work. Also, with the
fruit so close, I think the result looks rather
static. I would have preferred to have seen
the halves at different depths, as this would
have created a more visually balanced
result. Lastly, I’m not quite sure about using
two different types of fruit – even numbers
of objects generally don’t create such
strong compositions; odd numbers
typically work best. Having done well to
perfect his set-up, I think Kyle just needs to
work on producing a stronger final image.
Verdict: Although Kyle’s done well, with
a little more experimenting, I think he will
capture a more striking result.
“The black background is maybe too simplistic and
something more colourful would work better” LEEFROST
Likes & dislikes...
Likes: As high-speed shots go, it's
clear to see that Kyle has got his
technique nailed. By patiently adjusting
exposure and timing until he got the shot
he wanted, he's managed to freeze the
fruit and water at just the moment when
the splash becomes highly photogenic.
Often, it's simplicity that makes high-
speed shots work, and this is a good
example of a clean, well-executed shot.
Dislikes: Having proven that he's
capable of producing high-speed
shots to a high standard, our experts feel
he may have let himself down slightly by
not experimenting enough. While it's
technically very good, it's not different
enough to warrant any fanfare. With a little
tweaking to the crop and slight
adjustments to the composition, Kyle
could have produced something
extraordinary, not just ordinary.

SPONSORED BY
Expert Critique Helping you take better pictures

STANAGEEDGE
ByPhillBarratt
Camera: Nikon D5000
Lens: Nikkor AF-S 18-55mm G DX
Exposure: 1/30sec at f/16 (ISO 100)
PHILL SAYS: “This was taken on
a frosty morning at Stanage
Edge in the Peak District just
after sunrise. This composition
was chosen to portray a sense
of depth in the image and minimise lens
flare. I used 0.6ND and 0.9ND grad filters to
hold back the sky and balance the image."

LEE FROST: Here we have an image that

oozes atmosphere. Soft light, warm
colours, dark sky and haze combine to
create an image that makes you feel warm
just by looking at it. The trouble for me is
that there isn’t enough to look at. I can
sense there’s a magnificent view stretching
away into the distance but I’m only seeing a
small slice of it, and that leaves me feeling a
bit short-changed. Phill used his zoom lens
at its widest focal length, but in this case it
just wasn’t wide enough to really do the
scene justice. Part of the problem is caused
by the portrait format, which has allowed
Phill to include lots of sky. I’d prefer to see
less sky and more landscape, which would
be the case if Phill had shot in landscape
format. I'd also have been tempted to
include less foreground. I reckon that if
Phill had taken a few steps closer to the flat
rocks and used them as the foreground
interest, we’d see more of the hazy hills in
the distance and the composition would
have worked much better.
Verdict: Bags of atmosphere, but not
the best composition.

ROSS HODDINOTT: One of the skills of

landscape photography is putting yourself
in the right place at the right time, and Phill
has done just that. These are the type of
conditions that landscape photographers
would bite their arm off for. But, for me, the
resulting shot could have been better.
Firstly, I think landscape format would suit
“I’d prefer to see less skyand more landscape,which would
the scene better. The sky is empty and the
vertical format puts more emphasis on it.
In contrast, by shooting in landscape, Phill
could have made more of a feature of
those lovely granite outcrops. I also think
that the boulder in the bottom corner is too
dominant. I might have either considered
taking a step back – so that it didn’t loom
so large – or even a few forward in order to
exclude it altogether. On a technical note,
the horizon seems to be sloping while
there are a few spots of flare in the shadow
areas. Always check that your lens is free of
dirt – particularly when using smaller
apertures – and use a lens hood if possible.
A hotshoe spirit level can be useful for
getting straight horizons.
Verdict: A great scene and lovely
conditions, but the composition could be
improved and there are some spots of
flare in the areas of shadow.
be the case if Phill had shot in landscape format” LEEFROST
Quick critique
1
1) Exposure
A hazy and frosty morning scene basked in warm
sunlight is a landscape photographer's nirvana. Phill has
used optical filters well to balance the sky with the
foreground in order to create a good overall exposure.
2) Composition 2
Phill's choice of orientation hasn't made the most of the
scene. The vertical format emphasises the sky, which
unfortunately doesn't have much in the way of interest.
A landscape format image would make the most of the
fantastic views and crop out some of the sky.
3) Foreground interest
The granite outcrop adds interest and Phill has done the
right thing by including it. However the boulder in the
lower right corner is too dominant and would be better
3
either smaller in the frame, or cropped out completely.

54 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013


COMBESTONETOR
ByDanMicklewright
Camera: Nikon D7000
Lens: Tokina AT-X 11-16mm f/2.8 Pro DX
Exposure: 0.6secs at f/16 (ISO 100)
DAN SAYS: "This was taken on
Combestone Tor on Dartmoor.
I'd gone up there early for
sunrise, however, it was
obscured by cloud so I opted
instead to take advantage of the colours in
the sky by reflecting them in the water."
LEE FROST: I cut my teeth as a landscape
photographer on Dartmoor so I have great
affinity with the area – the wild, remote
scenery is breathtaking. I can’t say I’m
particularly awed by Dan’s shot of
Combestone Tor, though. It’s actually my
favourite Tor as it commands fantastic
views and the weird rock shapes offer lots
of potential for dramatic images. Sadly,
Dan’s offering fails to do it justice. The pool
of water has been included simply because
it contains a nice reflection of the sky. But
beyond it, in the middle distance, there’s
just empty space and the most interesting
part of the scene – the granite tor – is small
and insignificant. The colour balance also
appears slightly weird, with a distinct
magenta cast in the clouds. That could be
due to the time of day the shot was taken,
but it still looks strange to me. I reckon
conditions weren’t as bad as Dan felt. The
sky over in the top right of the shot looks
Helping you take better pictures Expert Critique
quite nice to me and though there was no
direct light on the tor, I would still have got Digital darkroom
up close and used some of the rocks to add
scale and lead the eye into the scene. An
RECOMPOSE TOOL
ND grad filter would have taken care of the
sky, retaining those soft colours. The Recompose Tool in Photoshop
Elements is handy for removing areas of
Verdict: A lovely location but there's too empty space from an image quickly and
much empty space left between the easily, without using time-consuming
foreground and the focal point. stitching techniques. Click and hold on
the Crop Tool to select the Recompose
ROSS HODDINOTT: Combestone is a Tool. Then select the Mark for Protection
great spot, and a place where both Lee and brush from the top toolbar and paint
over the areas that you want to preserve.
I have visited many times ourselves. It is Next, select the Mark for Removal brush
good to see Dan opting for a less familiar and brush over areas which you want to
angle of the tor and, given the lack of light, I remove. Finally, use the side anchor points
think he has adapted well to the conditions. to recompose the image. The tool will
The pool and reflections make good preserve and delete the areas as marked
foreground interest and I like the way it – perfect for changing the perspective of
your image post-capture.
appears to be pointing towards the tor. The
pool certainly helps inject a bit of depth
into a landscape lacking in contrast and life
due to the flat lighting. It is a shame the
plants poking up in front of the puddle are
slightly blurry, as it makes them more
distracting. The sky is nice, but I think the
lack of any focal interest in the middle
distance is the biggest problem. I find my
eye jumps directly from the pool to the
granite outcrop – that large grassy area in
between is just a bit boring. Had the pool
been a little closer to the tor, I think this is a
composition that could have worked,
particularly in better light. However, as it is, I
“The sky is nice, but I think
don’t think the shot is quite strong enough. the lack of any focal interest
Verdict: Dan’s done well, given the in the middle distance is the
circumstances. However, the image is let
down by the flat light and uninteresting biggest problem”
middle distance. ROSSHODDINOTT
SPONSORED BY
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 IMAGE: HELEN DIXON

HOW TO MASTER

COASTAL
LANDSCAPES
HERE IN THE UK, WE’RE BLESSED WITH THOUSANDS OF MILES OF BEAUTIFUL STRETCHES OF
COASTLINE, BUT TO TAKE YOUR COASTAL LANDSCAPES TO THE NEXT CREATIVE LEVEL, YOU NEED TO
KNOW HOW TO USE ALL THE DETAILS TO YOUR BEST ADVANTAGE. OVER THE NEXT TEN PAGES, LEADING
PROS LEE FROST AND ROSS HODDINOTT SHOW YOU HOW TO GIVE IMAGES THE WOW FACTOR…
 HOW TO MASTER... COASTAL LANDSCAPES
HO

Coastal kit
IF YOU WANT TO TAKE GREAT IMAGES
OF THE COAST, FIRST YOU NEED TO BE
ARMED WITH THE RIGHT PHOTO GEAR

LENS CHOICE
Focal length will greatly influence the look
of your seascapes, so lens choice is a key
consideration. A telezoom, in the region of
70-200mm, is a versatile and handy lens for
coastal photography. Its long end is ideally
suited to capturing waves crashing over
rocks or for shooting faraway focal points
– like an island, lone walker or lighthouse.
Longer focal lengths are also useful for
foreshortening perspective – ideal when
you wish to make background elements
appear more imposing. A focal length in the
region of 100mm is well-suited to shooting
beach detail, like sand patterns and
interesting geology. Again, you could opt for
a telezoom, but a 100mm macro is also a
good option. Not only is a macro of this
length suited to shooting texture, but it also
allows you to capture frame-filling
close-ups of miniature things, like seaweed
and barnacle-clad rocks.
While a good range of focal lengths is
recommended for coastal photography,
a wide-angle is an absolute must. A
wide-angle zoom offers the most flexibility
and one in the region of 17-35mm is a good
option. Short focal lengths have an
inherently large depth-of-field and are ideal
for capturing images bursting with depth
and interest. You can capture great
foreground interest using wide-angles –
like reflective pools, rocky outcrops and
wavy sand patterns. The only drawback of
using a wide-angle lens on the beach is that
you have to get close to your subject, which
is not always safe or practical when the tide
is rushing in. When you need to keep further
away from the sea, but still want to capture
sweeping views, a 24-70mm zoom is a
better choice – still being wide enough to
capture dynamic results, but long enough to
allow you to work from a safer distance.
ROSS HODDINOTT

FILTERS
For coastal photography, three filter types
will really benefit your images: a polariser;
graduated ND filter; and solid ND. When
rotated within its mount, a polariser helps
reduce or enhance reflections and saturate
colours, particularly clear blue skies.
Graduated Neutral Density filters are
corrective filters, designed to lower the
level of contrast between the sky and
foreground to within the camera’s dynamic
range – making it possible to capture detail
throughout high-contrast scenes. Solid
NDs are a more creative filter. By absorbing
light from across the entire frame, they
artificially lengthen exposure time. As a
result, you can blur water movement to
produce more evocative and less
static-looking shots.

60 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013

 rOSS HODDINOTT
OTHeR uSefuL AcceSSORIeS
Remote release: Physically releasing
the shutter can soften image sharpness,
so it is better to use a corded or wireless
remote release. It is also useful for Bulb
mode, when you employ exposures
longer than 30 seconds.
Skylight or uV filter: Skylight and UV
filters are designed to absorb ultraviolet
light, but when working on the coast,
are more useful for protecting the
lens’s valuable front element from sea
spray and sand.
Lens cloth: Always keep a dedicated,
clean lens cloth close to hand when
working on the beach, in order to
quickly whisk away any moisture from
the front of the lens.

LEE FrOST
TRIPOD
Don’t forget your tripod – without one, your
creative opportunities will be severely
limited. Long-exposure techniques rely on
using a tripod. Opt for a solid, sturdy design
– a lightweight tripod could easily get
knocked over by a rogue wave or strong
wind. When shooting on the beach, push
the tripod’s feet into the sand to aid stability
– if you don’t, your set-up might ‘sink’
slightly during exposure, potentially ruining
the result. Once you get home, don’t forget
to clean your tripod. Saltwater is corrosive,
so rinse legs and carefully remove all sand
from springs and joints. From time to time,
apply a small amount of oil to nuts and bolts.

OuTDOOR cLOTHInG
You won’t feel very creative if you are cold or wet. Wear inappropriate clothing
or footwear, and you will soon want to return to the car or head home. In wintry
or windy weather, quality outdoor clothing is essential. Start with a good base
layer designed to wick moisture away from your skin and keep your body warm
and dry. In winter, wear thermals and opt for proper walking socks. Although a
good water- and windproof jacket can be costly, long-term it will prove a wise
investment. Waterproof coats, like Paramo’s Halcon jacket, are ideal for
photographers, having useful, oversized pockets; perfect for housing graduated
filters. Wear a hat in cold weather – doing so will help you retain heat. Gloves are
also important. They need to be warm, but also thin enough to allow you to
change camera controls and attach filters etc, without you needing to take
them off – the North Face’s range of Etip gloves are worth considering.
Footwear is also important. If you are staying away from the waves, wear
walking boots – they are comfortable, warm and will support your ankles
when clambering over rocks. However, often the best viewpoints are near the
tideline, which means you’ll need wellies. They might not be the most
comfortable or glamorous footwear, but they will keep your feet dry. Although
costlier, heavy-duty, neoprene wellies, like those by Muck Boot, are well worth
considering if you intend to spend a lot of time on the beach in cold weather.

MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 61

 HOW TO MASTER... COASTAL LANDSCAPES
HO
EXPOSURE & SHUTTER SPEEDS
In landscape photography, aperture choice
normally takes priority over shutter speed
because we need to ensure we have
adequate depth-of-field to achieve
front-to-back sharpness. However, once
we head to the coast, the shutter speed we
use must also be given careful consideration
as it controls the amount of blur/motion we
record in the sea and this can have a strong
influence on the mood of the final image.
The shutter speed you use depends on
the type of scene you’re shooting and the
effect you’re wanting to achieve. If you want
to capture the drama of huge waves
crashing onto cliffs, for example, you’re
going to need a fast shutter speed to freeze
the flying water, so you’ll be looking at
anything from 1/500sec to 1/2000sec,
depending on how ferocious the sea is and
how big those waves are in the frame – the
bigger and closer they are, the faster the
required shutter speed.
At the other end of the exposure scale, a
popular technique when shooting coastal
scenes in low light – especially at dawn and
dusk – is to use a long exposure of anything
from a few seconds to a few minutes to
smooth out the texture of the sea so it
contrasts with static elements such as piers
and jetties. The effect can look stunning.
Between these two extremes the options
are many and varied, and if you’re a fan of
coastal photography, it’s worth
experimenting with different shutter speeds
on different sea conditions to see how they
affect the way the sea records. You can
check each image as you go and if you’re not
happy with the effect, shoot again using a
slower or faster shutter speed. The ‘milky’ sea
effect looks great, but don’t be tempted to
always use long exposures – sometimes it
pays to record a little texture in the sea and
for that you may only need an exposure of
1/4sec or 1/2sec, especially if waves are
washing across the foreground and you’re
using a wide-angle lens. Similarly, at dawn
and dusk, while a 30 to 60-second exposure
COMPARISON SET OF DIFFERENT
SHUTTER SPEEDS: This set of images shows
the difference the shutter speed has on how
moving water records. The first few shots
look rather boring as the sea has been pretty
much frozen and its surface is cluttered with
surf patterns, but by one second it is blurring
nicely and by eight seconds is looking very
soft. The longer exposures of 30-120 seconds
have smoothed the sea so the old wooden
groyne stands out in 3D, an effect that has
become very popular but isn’t everyone’s cup
of tea. Which shot do you prefer?
Two seconds
62 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013
will give you a misty effect on breaking
waves, see what happens when you only
expose the scene for five to ten seconds.
Timing is important, too, especially with
shorter exposures. If you want a streaky
effect in the sea, it usually pays to trip the
shutter as a wave is receding rather than
approaching as the draining away effect
tends to work better photographically,
especially if the sea is streaked by white surf.
Aperture-priority is still the most practical
exposure mode to use because it allows you
to set the aperture you need to control
depth-of-field – f/11 to f/16 for most
wide-angle views – and the camera sets the
shutter speed required to achieve correct
exposure. If that shutter speed is too slow,
which it may be in low light or if you want to
freeze crashing waves, you can either select
a wider aperture (providing it doesn’t
compromise depth-of-field) or increase the
ISO. This latter option may be the only way
to get the aperture and shutter speed you
need, but try not to go beyond ISO 400
unless it’s absolutely necessary as image
quality will begin to suffer – though if you’re
faced by an amazing sea and you want to
stop it dead, set whatever ISO rating you
need to get the result you want.
If the shutter speed you need to achieve a
certain effect isn’t slow enough, even with
your lens set to minimum aperture and the
ISO at its lowest setting, you’ll need to resort
to filters – Neutral Density (ND) filters.
They’re covered in more detail on page 60,
but suffice to say, the more dense the ND
filter, the more you have to increase the
exposure – so for coastal photography, it’s
worth carrying a couple of NDs such as 0.6
(two stop) and 0.9 (three stop), which you
can use individually or together.
And let’s not forget about the ten-stop
ND filter, which has achieved almost
legendary status among creative
photographers. Armed with a Lee Big
Stopper (or equivalent from B+W or Hitech),
you can keep your shutter open for minutes
and turn everyday coastal scenes into
fine-art masterpieces!
1/60sec 1/15sec
Eight seconds 15 seconds
 ross hoddinott
all images: lee frost

1/8sec 1/2sec One second

30 seconds 60 seconds 120 seconds

MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 63

 HOW TO MASTER... COASTAL LANDSCAPES
HO

COASTAL COMPOSITION
Composition is obviously key in any coastal
landscape, but how you tackle that depends
on a number of factors: what foreground
features you have to work with, if there’s a
focal point, if the tide is in or out, how much
sea you want to include, if the sky is
interesting or bland, the quality of the light,
the time of day and sun position, the type of
image you’re hoping to produce and the
lenses you have.
If you’re heading to a familiar location you
may have a clear idea in mind of what you
want to come away with: a wide-angle
sunrise with sand ripples in the foreground;
a long-exposure shot with the sea washing
over rocks; and so on. But you also have to
keep an open mind because conditions may
not be as expected when you arrive, or you
may see the potential for a totally different
shot. Assuming you do get exactly what you
1 2
went for, there may also be the time to seek
out other images – once you’ve got your
sunrise, don’t be too eager to dash off for a
cuppa, stick around for a while longer.
The great thing about most coastal
locations is that they present many
opportunities for interesting images if you’re
willing to remove your blinkers and work the
scene. Spend some time looking around.
Use different lenses to change the angle-of-
view and perspective. Look at the scene
from a higher or lower viewpoint. Check out
different foregrounds – sand ripples, rock
ridges, pebbles, boulders, pools of water
reflecting the sky or waves washing in front
of you. Wait for the tide to come in or go out
and see how that affects the scene.
To give you an idea, Lee Frost headed to his
local coast and spent three hours on
Bamburgh Beach. The light wasn’t great and
the tide was low, but that didn’t stop him
coming way with some interesting images.

1) This first effort uses a 17-40mm zoom at 17mm. 4 5

A polariser improves the sky and the castle is

positioned roughly using the rule-of-thirds.
2) Turning my camera on its side and tilting it with
the zoom set to 17mm allows me to make a
feature of the sky. A polariser emphasises the
clouds beautifully.
3) Converted to b&w the sky has more drama,
while the semi-silhouetted castle looks brooding.
4) Backing off a few metres, zooming into 40mm
and shooting in landscape format from a lower
viewpoint gives a totally different look and feel.
5) I experiment with shutter speeds to get motion
on the incoming tide. Even with an exposure of 6 7
five seconds I still record some texture in the sea.
6) I head down the beach for an into-the-light
shot. The sun is bright, but as it’s small, flare isn’t
too much of a problem. Sand texture adds depth.
7) There’s barely a breath of wind, so I decide to
check out the rock pools. The reflection of the sky
isn’t great, but the calm, clear water still makes a
good foreground with that lovely sky streaking
overhead and the castle as a focal point.
8) For this pan I took a series of four overlapping
frames with the camera on a tripod and stitched
them using Photomerge in Photoshop.

64 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013

 3

all images: lee frost

8

MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 65

 HOW TO MASTER... COASTAL LANDSCAPES
HO

HELEN DIXON
HELEN DIXON

HELEN DIXON
COASTAL BUILDINGS
Buildings can add scale and a key point of
interest to your coastal images, so when
appropriate, include them in your shots.
Lighthouses, castles, harbour walls, piers,
beach huts and groynes all have huge
picture potential and will help your shots
look less generic.
Dotted all around the UK coastline are a
number of lighthouses, many in very
photogenic spots – for example, Portland
Bill in Dorset, Godrevy in West Cornwall,
Neist Point on the Isle of Skye and Corbiere
in the Channel Islands. While Bamburgh and
Dunstanburgh in Northumberland and St
Michael’s Mount in Cornwall are among the
UK’s most photogenic coastal castles. When
including buildings like this in your
photographs, don’t feel compelled to
include them large in the viewfinder.
In fact, buildings often benefit from being
captured relatively small in the frame. Doing
so helps imply a feeling of isolation and
remoteness, yet their inclusion gives the the water. Doing so helps place emphasis on
HELEN DIXON

viewer a better feeling of place and
perspective. Compositionally, buildings
such as this are often best placed on, or
close to, a dividing third.
Although less attractive, harbour walls and
piers can prove equally photogenic. Strong,
structural objects like this are particularly
well-suited to being shot with artificially long
exposures. By using a solid ND filter to
generate an exposure of several seconds –
or even minutes – it is possible to smooth out
the structure’s shape and form, and results
can have a fine-art look to them – particularly
if also converted to black & white.
Finally, don’t overlook rows of colourful
beach huts. They are such iconic seaside
buildings and, depending on their location,
can be highly photogenic. Wide-angle or
fisheye views can create colourful and
eye-catching results, particularly shot from a
low angle and contrasted against a blue
polarised sky.

66 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013

 imAGES: roSS hoDDiNoTT
Without filtration
FILTRATIOn
Don’t forget your filters when you head to
the beach. A polariser will not only give
colours a boost and saturate clear blue
skies, but by rotating it in its mount, you are
able to reduce or enhance reflections. This
is particularly helpful for revealing detail
when shooting reflective boulders, rock
pools and wet sand. Due to its two-stop
filter factor, a polariser can also be
employed as a makeshift ND, lengthening
shutter speeds by a couple of stops.
ND grads are another key filter type. They
are half clear, half coated with a transitional
zone where the two halves meet. The ND
coating is designed to absorb light, allowing
photographers to even out the level of
contrast between brighter sky and darker
foreground. ND grads are available in both
hard and soft transitions, and in different
strengths – typically one-, two- and
three-stop densities. Grads are the only
in-camera method of achieving correctly Withfiltration
exposed results when shooting high-
contrast scenes, such as sunrise and sunset.
When talking about filters for coastal
photography, it would be impossible to
overlook the role of solid ND filters. Unlike
grads, the entire filter is coated. They are
designed to artificially lengthen exposure,
so photographers can creatively blur
subject motion, like waves and rushing
water. A three-stop version is a good
density for creating an attractive and
deliberate level of motion. Extreme
ten-stop versions are also available. With
one of these attached it is possible to
employ exposures of several seconds long,
even in bright light. While the shutter is
open, drifting cloud will blur and even
rough, choppy seawater will be rendered
smooth and glassy. Solid ND filters are a
key creative tool for coastal photography;
if you like the blurry water effect, don’t go
to the beach without one.
imAGES: roSS hoDDiNoTT

COASTAL DeTAIL
Don’t overlook the miniature landscapes at
the coast – it’s home to lots of interesting
detail and texture, like wavy sand patterns,
pebbles, seaweed, shells, fishing rope and
even driftwood. With a little imagination and a
standard zoom or macro lens, eye-catching,
intriguing and abstract-looking images are
possible. Look for shapes, repetitive patterns,
strong diagonal lines and colour. Low
contrast, overcast light often suits this type of
image well, aiding the capture of fine detail
and good colour rendition. Selecting a
large aperture, such as f/2.8 or f/4, in order to
generate a shallow depth-of-field is one
good creative approach; while filling the
frame will often maximise a subject’s impact.
To record your subject sharp throughout, opt
for a smaller aperture and position your
camera parallel with the subject to place as
much of it as possible within the available
zone of sharpness. Use a tripod to provide
stability and also allow you to carefully
fine-tune your composition.

MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 67

 HOW TO MASTER... COASTAL LANDSCAPES
HO

HELEN DIXON

HELEN DIXON
TIME OF DAY AND TIME OF YEAR
Potentially you can capture great seascapes
at any time of the day and throughout the
seasons. However, as you might expect, the
golden hours of light – at dawn and dusk –
typically provide the best light and
conditions. Around half an hour either side
of sunrise and sunset, the light and colours
in the sky can be magical. The predawn
glow can be wonderfully colourful, so get to
your location in good time, before the sun
has risen. Equally, don’t pack up too soon
when shooting the evening light – the
colours of sunset can intensify and be at
their best over 30 minutes after the sun’s
disappeared from view.
Different locations suit being shot at
different times of day. For example, the
north Cornish coast is generally best suited
to sunsets. Being able to predict the sun’s
position in advance will help you to work
efficiently and avoid disappointment. We
recommend you use a sun and moon

calculator, like The Photographer’s

HELEN DIXON

Ephemeris (http://photoephemeris.com)
when planning your coastal shoots. Sun
Scout is another handy app. Cleverly, it
overlays a graphical representation of the
sun’s future position on your smartphone.
Therefore, you can plot exactly where the
sun will rise or set once on location.
Different times of the year produce
different opportunities. In spring, coastal
flowers, like thrift, can carpet clifftops, while
in winter the sea can be rough and dramatic.
Great shots are possible throughout the
year. However, in summer, beaches tend to
get crowded and footprints in the sand
make the beach look messy. Therefore, it is
best to avoid tourist hotspots in the holidays.
Finally, when planning your visit, don’t
overlook tide times. Certain locations or
standpoints suit a high or low tide better, so
you will want to time your visit accordingly.
It is also important to know tide times from a
safety aspect – it is easy to get stranded by a
rising tide. Visit: www.tidetimes.org.uk.

68 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013

 Top 10 UK coastal locations
LEE FROST
1) LUSKENTYRE, ISLE OF HARRIS,
SCOTLAND
It was once voted among the top beaches
in the world. White sand, grassy dunes,
aquamarine sea and the distant peaks of
the Harris Hills certainly makes it a
photographer’s paradise.
ISTOCK PHOTO
4) SALTWICK BAY,
NORTH YORKSHIRE
Dramatic coastline with high cliffs,
wave-washed rock slabs, the imposing rock
stack of Black Nab and even the rusting
skeleton of a wrecked ship at low tide. Being
on the east coast, it’s a good dawn location.
XXXXX
6) DUNRAVEN BAY/
SOUTHERNDOWN, GLAMORGAN
Arguably the most photogenic beach in
Wales. Low tide reveals a huge sandy bay,
punctuated with photogenic pools
and interesting rocky outcrops, which
create ideal foreground interest.
ROSS HODDINOTT
8) BEDRUTHAN STEPS, CORNWALL
The clifftop views of the sea stacks
stretching across the beach are spectacular.
In spring, colourful thrift carpets the cliffs,
while in winter this is a great spot to shoot
large, crashing waves. The beach is only
accessible in spring and summer.
LEE FROST
2) ELGOL, ISLE OF SKYE,
SCOTLAND
At the end of a 15-mile single track road.
Dramatic foreshore with boulders, slabs
and honeycomb rock and views across
to the soaring Cuillin Hills. A great stormy
day and sunset location.
ROSS HODDINOTT
9) KIMMERIDGE BAY, DORSET
Forming part of Dorset’s Jurassic coastline,
Kimmeridge is a great spot for shooting
sunsets. At lower tides, photogenic rocky
ledges are exposed and Clavell Tower,
perched on the adjacent clifftop, adds a
focal point to wide-angle views.
ADAM BURTON
3) EMBLETON BAY,
NORTHUMBERLAND
Big black basalt boulders provide a dramatic
foreground in shots looking towards the
haunting ruins of distant Dunstanburgh
Castle. Best at dawn or late afternoon with
waves washing over the boulders.
LEE FROST
5) ALNMOUTH, NORTHUMBERLAND
A beautiful sweeping sandy bay with dunes
and groynes and a shallow estuary full of
photogenic fishing boats. Best of all, you
can shoot stunning sunrises and sunsets
all year round as the beach faces east and
the estuary faces west.
ISTOCK PHOTO
7) HAPPISBURGH, NORFOLK
Happisburgh is well-known for its decaying
and broken sea defences, which create
interesting foreground interest. Sunrise is
generally the best time to visit with your
camera. Perched above the beach is a
photogenic red-and-white lighthouse.
CHRIS RUDLAND
10) SOUTHWOLD, SUFFOLK
A coastal location with oodles of picture
potential, including one of the finest piers
found anywhere in the UK. There are also
colourful beach huts, groynes and rip-rap
rocks to shoot. This is a great spot for
playing with lengthy exposures.
 The easier way to better pictures.

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 UDGET
B O
PHOT e ND fi lter
xt re m
Par t 9: E

MISSIONSTATEMENT
MISSION STATEMENT
Times are tough for all of us at the moment, so while our passion for photography may not have diminished,
Timesaretoughforallofusatthemoment,sowhileourpassionforphotographymaynothavediminished,
our photo-expenses budget is sure to have taken a hit. Therefore, spending our hard-earned cash on
ourphoto-expensesbudgetissuretohavetakenahit.Therefore,spendingourhard-earnedcashon
expensive new optics or the latest gazillion-pixel DSLR is unlikely for all but the most fortunate. However,
expensivenewopticsorthelatestgazillion-pixelDSLRisunlikelyforallbutthemostfortunate.However,
there are many low-cost products that claim to offer us a chance to expand our creative options and
therearemanylow-costproductsthatclaimtoofferusachancetoexpandourcreativeoptionsand
capture images that belie their relatively low price tag. In BudgetPhoto wetestlow-pricedphotoproducts
captureimagesthatbelietheirrelativelylowpricetag.In
todiscoveriftheydeliverontheirpromiseofallowingfantasticphotographyonaverysmallbudget
LEE FROST

MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 71

 UDGET
B O
Extreme ND filter

PHOT Welding mask lens

£3.4 5

Parweld Welding Lens Glass Filter

Guide price: £3.45
Fit: Doesn’t fit any available filter holder. Has
to be attached to the lens by other means.
Size: 4.5x5.25in
Construction: Glass
We purchased this welding mask lens
on ebay from Bargain Fixings
(bargainfixings1) at a cost of just £3.45.
Postage was free and the lens was
delivered to our door two days after the
order was placed, so we’d recommend
Challengee: Lee Frost Bargain Fixings as a supplier. Most welding
mask lenses are smaller than this one at
Budget: £3.50 4.25x3.25in, but we decided to go for a
Theme: Welding mask lens as ND filter bigger lens so it would easily cover the
front element of an ultra-wide zoom lens.
OVER THE LAST few years,
‘extreme’ Neutral Density filters
such as the Lee Big Stopper and Above & left: There’s a knack to attaching the
B+W 110 3.0 have become welding mask lens using Blu-Tack, but once it’s
firmly in place you can get brilliant results.
must-have accessories,
allowing photographers to use exposures Right: Don’t be alarmed when your shots
reveal a strong green cast – you can correct the
several minutes long in broad daylight to colour later in Photoshop, or convert images to
record motion in a scene. Moving water black & white, which is what I tend to do.
turns to milk, blowing clouds record as
wispy streaks across the sky, swaying trees window to protect the welder’s eyesight. means of attaching it to your lens. We
become hazy ghosts in the landscape. The lens works in the same way as an ND started out using four blobs of Blu-Tack,
Instead of freezing time, which is what we filter – it cuts down the light passing each about the size of a pea. By holding the
normally do when taking photographs, through – but the most significant welding lens against the front of the camera
these filters allow us to record the passing difference is the price: you can pick them lens then squeezing the Blu-Tack balls
of time and create amazing effects that the up for less than £1! against the outer edge of the lens barrel and
human eye will never see. Google ‘welder’s mask lenses’ or search the rear surface of the welding lens, you can
The downside of these filters is their on ebay, and you’ll discover loads of hold it in place. That said, welding lenses
price tag. A Lee Big Stopper – the best options, with prices ranging from 79p to can be heavy so there’s a danger of it falling
option out there – costs a minimum of £4. Whether one brand is better than the off the lens and breaking, especially in cold,
£100, but demand almost always other is hard to say. Most are made of damp weather when Blu-Tack becomes
exceeds supply so it can take glass, which is good as glass is far less adhesive. A more secure option is to
months to get hold of one, or if more durable than plastic or attach a filter holder adaptor ring to the
you’re impatient, you have to resin and also likely to be welding lens so you can screw it on to the
pay silly money (£200+) on DID YOU KNOW? better optically. camera lens. Not only will this prevent it
If welders don’t use a dark
ebay. Hitech makes a lens on their mask, the
All the images here were from falling off, but you’ll also achieve a
cheaper alternative, but it’s ultraviolet radiation created shot using a welding mask good seal between the camera lens and
not as good as the Big by the welder’s arc can cause lens measuring 5.25x4.5in welding lens so there’s no risk of flare or
Stopper and still costs £75, photokeratitis, which is (see panel above), but the reflections being caused by stray light
basically sunburn of the
while the B+W ND 110 3.0 eyes. Ouch! standard size seems to be creeping in behind the filter and bouncing
will set you back £150+ for a 4.25x3.25in (approximately off its rear surface while you’re making an
77mm thread size. 108x83mm). The Cokin P-series exposure. We used a spare 77mm Lee
If you’re going to use this type of filter holder takes filters that are Filters adaptor ring, though any brand of
filter on a regular basis, then it’s worth the 84mm wide so you may manage to get a filter ring will do, and attached it to the
investment. But if it’s likely to be an welding mask lens that fits into one of the welding lens with gaffer tape. It looks
occasional dabble, then you may struggle to slots – same with a Hitech 85mm holder. crude, but works well.
justify spending so much money on a filter. Welding mask lenses are thicker than Once the welding lens is securely fitted
Fortunately, there’s a much cheaper photographic filters, so it’s all down to to your camera lens, it’s then possible to
alternative. Welders wear a protective the brand you buy, though those from attach an ND grad to it so you can control
mask that has a narrow window in the front www.weldinggear.co.uk fitted comfortably the brightness in the sky and prevent it from
through which they can see what they’re into a Cokin P-series holder. overexposing. A good sky is often the key to
doing. Because welding produces intense If you can’t get yours into the slot of a a successful ten-stopper image, so you’ll
light, a dark lens or filter is fitted in this filter holder, you’ll need to find another find that you need an ND grad (0.6 or 0.9

72 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013

Original shot
density) more often than not. This is where
Blu-Tack comes in handy again – simply
press four small balls of it on to the front of
the welding mask filter, making sure they’re
outside the lens’s field-of-view, then press
the ND grad against them to hold it in place.
As there’s a danger of the grad falling off
and being damaged, secure it with rubber
bands. You might be wondering why we
don’t suggest using rubber bands instead of
Blu-Tack. There’s a good reason – if you
sandwich two filters together, Newton’s
rings are likely and they will create distorted
patterns on the image. By placing blobs of
Blu-Tack between the filters you keep them
apart and Newton’s rings are avoided.
Colour corrected
Once the welding mask lens is in position
on the camera lens, you won’t be able to
see through it with your eye to the camera’s
viewfinder, so aligning the ND grad – as well
as composing the image and focusing – will
be tricky. You can compose and focus
(manually, not with AF) before you attach
the welding lens, but the ND grad is the last
thing to position before taking the shot, so
the welding lens will already be in place.
Fortunately, LiveView comes to the rescue
here – if your DSLR is only two or three
years old, its LiveView mode should be
sensitive enough to see through the
welding mask lens, so you can align the ND
grad while looking at the preview screen.
Which welding mask lens?
A quick internet or ebay search will reveal a
range of cheap welding mask lenses. Here
are some suggestions.
∞ rscsupplies (eBay)
Shade 9 to Shade 13 lenses measuring
4.25x 3.25in (108x83mm) cost just £1.50
each with free postage – buy a bunch and
treat your mates!
∞ langleysteelworks (eBay)
Shade 8 to Shade 13 lenses measuring
4.25x 3.25in (108x83mm) cost just £1.35
each with free postage.
∞ www.weldinggear.co.uk
Shade 9 and Shade 11 lenses measuring
4.25x 3.25in (108x83mm) for only 79p
each, though postage is £1.99 plus VAT so
two lenses posted will set you back a
staggering £4.28, or £2.14 each!
∞ www.ukwelder.com
Shade 9 to Shade 14 lenses in various sizes
including 90x110mm and 4.25x3.25in
(108x83mm), prices from £1.09 to £1.41
(+ VAT) and postage. A single Shade 9 lens
posted will cost £3.41, but two lenses
posted cost £5.44 so the unit price drops as
the quantity increases.
MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 73
 UDGET
B O
Extreme ND filter

PHOT Colour corrected

Exposure reference guides

Fig 1
Unfiltered Exposure with
exposure welding lens
1/125sec Eight seconds
1/60sec 15 seconds
1/30sec 30 seconds
1/15sec 60 seconds
1/8sec Two minutes
1/4sec Four minutes
1/2sec Eight minutes

Fig 2
Same exposure, different settings
12 seconds at f/4
25 seconds at f/5.6
No filter Welding lens
50 seconds at f/8
100 seconds at f/11
200 seconds at f/16
400 seconds at f/22

Above: Fig 1: Adjust your exposure to

compensate for the ND filter. Fig 2: These
examples show different combinations giving
the same overall exposure.

The same applies if you change camera

position once the welding mask lens is in
place. Instead of removing it, use LiveView
to aid composition and save time. LiveView
can also be used for critical focusing. You
need to set focus to manual anyway,
because if you use AF with the welding
mask lens in place, it confuses the focusing
system and you’ll be unable to take the shot
because focus won’t lock. Avoid it by
switching to manual focus and, if necessary,
enlarging the LiveView image so you can
focus on a specific point in the scene.
If you’ve never used an extreme ND filter
before, working out correct exposure may
seem tricky. It is and it isn’t. You need to
accept that your camera’s metering system
won’t work properly with a welding lens in
place due to its density, so it needs a helping
hand. Your best bet is to take an exposure
reading without the welding lens in place,
then calculate the exposure required once it
is in place. The density of welding lenses
– and therefore the exposure you need to
use – varies. When you order one, you may
be given the option of Shade 8, Shade 9,
Shade 10 and so on. As the number gets
bigger, the density increases so you’ll need
to give more exposure. We purchased a
Shade 10 lens and assumed it had a density
equivalent to ten stops, like a Lee Big
Stopper. If you assume this, calculating
correct exposure is easy because you just
multiply the unfiltered exposure by 1,000
(see Fig 1 in the guide above).
All you do then is take a test shot to see if
the calculated exposure is correct. To save
time, open up your lens to a wide-ish
If you haven’t already started exploring the world of
long-exposure photography with extreme ND filters, we
recommend you start now with a welding mask lens
aperture so the unfiltered exposure is when images start to take on a surreal look.
around 1/125sec – which means it will only Windy days are also better than calm days
be around eight seconds with the welding because there’s more motion in the sky as
lens in place. You won’t record much clouds drift overhead, and coastal scenes
motion with an eight-second exposure, but always work well because of the movement
it will quickly tell you if the exposure is in the sea. For best results, contrast static
correct. You can then make any necessary elements with moving ones, so for a coastal
adjustments, but stop the lens down to a shot, include a pier or jetty, or partially
smaller aperture and increase the exposure submerged rocks in the foreground.
accordingly. For example, if you shoot Once exposures get beyond 30
for eight seconds at f/4 but find the seconds – which will be most
image is a little too dark, try GOT A of the time – you’ll need to
another one for 12 seconds at SUGGESTION? set your camera to Bulb (B)
f/4. If that’s okay, you can stop Have a Budget Photo idea and use a remote release to
you’d like us to try out?
the lens down to a smaller Email your suggestions to
hold the shutter open for
aperture and increase the dslrfeedback@ the required duration.
exposure time as required to dennis.co.uk, titled When it comes to timing the
maintain correct exposure (see ‘Budget Photo’, and we exposure, some DSLRs have
may try it out!
fig 2 in the guide above). a timer on the top-plate LCD
The whole point of using an so you can keep an eye on that.
extreme ND filter is so you can set long If your camera doesn’t have a timer,
exposures even in broad daylight and record count elephants in your head, use a
motion in a scene – primarily in the sky and stopwatch on your mobile phone with the
moving water. To do this well, you need to alarm set to go off when the time is up, or
use an exposure of 30 seconds or longer, use your wristwatch. You don’t have to be
though two to four minutes is even better. In second-perfect, so if the ‘correct’ exposure
bright sunlight you may find you can’t shoot is 60 seconds and you leave the shutter
for more than 30 seconds even with your open for 65 seconds, it won’t make any real
lens stopped down to minimum aperture, difference to the image.
but on a dull, cloudy day you’ll be able to use When you take your first shot through a
exposures many minutes long and that’s welding mask lens, prepare for a shock.

74 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013

The images come out with an ugly green
colour cast! Initially you may think you’ve
made a mistake, but it’s perfectly normal.
Pukka ND filters, like the Lee Big Stopper,
are much more neutral, but welding mask
lenses have a green tinge which the
camera’s sensor records. If you shoot in
Raw, you can adjust the colour during
post-processing, though as the green cast
is so strong, it’s almost impossible to get rid
of it completely. We used ACR in
Photoshop 5 to process the Raw files. The
colour temperature presets don’t really
work – you have to adjust the ‘tint’ slider to
add the maximum amount of magenta you
can and that does a pretty good job. Once
the image is saved as a TIFF and opened in
Photoshop or Lightroom, you can make
further adjustments using Colour Balance
or Channel Mixer to make the image
appear more natural.
Another option is to create a custom
White Balance so the colour cast is
corrected in-camera. Check your DSLR’s
manual to find out how to do this as it varies
from brand to brand, but it will involve
taking a photograph of a neutral tone such
as grey sky or white card through the
welding lens, then letting the camera base
the White Balance on that image. If you’re
going to use a welding lens regularly, it’s
worth doing as it will save time at the
computer and the images you see on your
camera’s preview screen will look far more
Above: Although welding mask lens lenses
aren’t made from optical grade glass, image
quality is surprisingly good. An exposure of four
minutes was used here.
natural. However you deal with the colour
cast, you should also seriously consider
converting the images to black & white.
Not only does this mean colour casts are
no longer an issue, but the look and feel of
your long-exposure landscapes will be
enhanced no end by b&w conversion, as
you can see from the examples here.
Earlier we mentioned optical quality.
Obviously, welding glass lenses aren’t
made for photographic use, so don’t
expect them to be as sharp as a Big Stopper.
That said, they’re really not that bad – we
were really surprised by how sharp our
images were and reckon they’ll easily print
to 16x20in. Considering you can pick up a
welding lens for less than £1, that’s pretty
amazing. In fact, we’d go as far as saying
that of all the gadgets and gizmos covered
in Budget Photo so far, this one offers far
more bang for your buck than the rest put
together, and if you haven’t already started
exploring the world of long-exposure
photography with extreme ND filters, we
recommend you start now with a welding
mask lens. You may decide to invest in a
proper photographic filter later, but at least
this way you can see if you’re going to
enjoy the technique without parting with
too much cash.
Welding mask lens top tips
1) Clean it: Before use, clean the welding
mask lens by running it under warm water
then wiping dry with a microfibre cloth –
ours was quite dirty.
2) Correct exposure: Do a test shot to
establish correct exposure. Assume the
density is ten stops and work from there,
but the density does vary.
3) Avoid flare: The welding lens needs to
be tight against the camera lens to prevent
light leaking in behind it and causing flare.
4) Colour casts: You always get an ugly
green colour cast from welding lenses but
by shooting in Raw you can make
adjustments to get rid of it – or create a
custom White Balance.
5) Use a tripod: Exposures are long when
using a welding lens (that’s the whole
point!), so mount your camera on a tripod.
6) Use LiveView: Despite the density of
welding lenses, LiveView on the latest
DSLRs will see through it, allowing you to
compose and focus with it attached to
your camera lens.
7) Image quality: Don’t expect the same
level of sharpness you’d get from a Lee Big
Stopper or other photographic ND filters
– welding lenses aren’t optical quality.
8) Try different brands: Quality does vary
between brands so be prepared to try a few
different ones – most cost less than £1
each so they’re hardly expensive!
MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 75
 EXTRAORDINARY IMAGES USING ORDINARY ITEMS

#9CANDLES
Ifyou’restuckforphotoinspiration,thenourmonthlychallengemaybejustwhat
you’relookingfor.Weselectthreephotographersfromthe DigitalSLRPhotography
teamandcontributorseachmonthandtaskthemwithcapturinganimagethatusesan
ordinaryhouseholdobject.ThelatestchallengeseesPaulWard,JordanButtersand
CarolineWilkinsonaimingtocaptureacreativeimageusingcandles...

Recommended kit
D800 panel
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aims to prove that combining imagination
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images, even if your subject is as ordinary as candles! If
you're looking to add creativity to your photography, then
you'll find it even easier to get the results you want by using
the best possible kit. For the ultimate image quality, consider
the Nikon D800, which boasts an FX-format CMOS sensor
that has a class-leading resolution of 36.3-million pixels,
allowing it to capture an unprecedented level of detail.
For further information on Nikon's range of products,
visit: www.nikon.co.uk

MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 77

 CREATIVE EYE
CANDLE

BLAIRMATCHPROJECT
ByCarolineWilkinson
Camera: Nikon D800
Lens: NIKKOR 50mm f/1.8
Software: Adobe Photoshop CS5
REACHING THIS IDEA, however
Top left: Previewing
morbid it might appear, was the scene on my
actually a lot of fun. I’ve wanted Nikon D800 allowed
to create a matchstick-man me to check if the
scene for a while now as they lighting and scale
always tickle me and seem so cleverly worked well for the
final shot.
done, but I could never find the time to
build a diorama; there was always Above: I went
through a whole box
something better or quicker to shoot. But of matches before
with the New Year resolution to try the finding a style that
projects I’ve been meaning to do, the worked for my
candle theme was the perfect push. matchstick men.
Coming up with the concept was borne Left: A few everyday
from a conversation with my husband, who items were all that
has a wild artistic imagination. Talking to me was needed to nail
about his students’ writing projects where the shot.
they have to conjure an elaborate Below left &
background story to an image, it got my bottom left: I tried a
few different ways to
cogs working as to how I could use a similar set up the scene,
idea to connect a candle and matchstick before deciding on
men. One thing led to another as we both the final shot.
fuelled our silly natures and after a lot of Right: My final shot
‘what ifs …’ and ‘they coulds…’ mingled with gave more emphasis
childlike giggles, I came up with the final to the 'dead' match in
idea of this creepy bonfire scene. the foreground, and I
I sketched out initially how I wanted it to preferred the way the
shadows fell on the
look, which meant printing an image of a scene. A simple idea
woodland scene to use as a backdrop and that's fun to try out
filling in the foreground with moss and on a free afternoon.

pebbles to complete the diorama.
But getting the lighting, scale and
perspective spot-on would be very tricky
with such a set-up and this type of project
is only meant to take a couple of hours at
most to do. Instead I took myself off to a
big-brand DIY store for wallpaper samples
to create a seamless background and
brought a few home to see what worked
well tone and texture-wise with the warm
light from the candle. The lighting is what
decides whether this image works or not
and keeping it simple with one candle and
adjusting the exposure to get the effect
seemed the way to go.
To create the men, I tried sculpting legs
and arms by splintering long matches with a
jack knife but that proved harder than it
looked. A box of matches later and I resided
to superglue and smaller matchsticks as the
arms. I then wove scarves out of embroidery
thread and stuck the matches to the
wallpaper around a tealight. The burnt man
was created the same way but set alight first
to get singed. Once in place,
I set up my Nikon D800 outfit and
experimented with compositions and
viewpoints, before lighting the candle and
taking a test shot. Set to manual mode, I
started with an aperture of f/7.1 to get the
focusing and depth-of-field right,
eventually settling on f/9, then selected a
shutter speed for an accurate exposure. In
this instance, a correct exposure wasn’t the
best exposure; too much light meant a lack
of atmosphere. Stopping the shutter speed
down from four to two seconds meant
more detail in the flame, a deeper glow from
the ‘fire’ and still sufficient light to expose
the ‘dead’ match on the ground. With all that
figured out, the only question left to answer
is what happened? Did he get too close or
was he sacrificed for warmth? Send your
caption ideas to dslrfeedback@dennis.co.uk
to be in with a chance to win a prize.

78 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013

MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 79
 CREATIVE EYE
CANDLES

GIRLONFIRE Clockwise from

top left: I drilled
ByPaulWard three holes in the
aluminium, which I
then stuck the
Camera: Nikon D800 candlesticks through
Lens: NIKKOR 24-70mm f/2.8 and secured with
bolts; Sabina worked
Software: Adobe Photoshop CS2 on styling the hair
around the candles to
I WAS A BIT panicky about this hide the aluminium
shoot, as when you’re using headband on model,
models, make-up artists and hair Finlay Parfitt; the
stylists, it only takes one of them make-up was done by
not to want to do it on the day artist Gemma Clarke.
and then you can’t. The original idea I had Below left: Here
you cannot see the
was melting candle wax over a mannequin third light, which is to
head to create a wax hat that the model the left of the smoke
could wear, almost so it looked like her head machine, but it
was a big candle and the wax was melting produced the
down her face. But, after some thought highlight on the hair
and back of the
about the time it would take to melt that model's neck.
much wax, and the cost of needing so many
Below: This was the
candles, it proved not to be the best option. original image the
When I put a casting call out for the model shoot was set up to
and stylists, Sabina Yunusova, who I used to capture and is lit by
style hair for a previous Creative Eye, got in three lights: a key
light, hair light and a
touch. She’s extremely creative, so I knew Portaflash to
when she came onboard I could leave it to illuminate the smoke.
her to build the hair around a candlestick Bottom: I shot the
instead. With deciding this, we then had to candles separately in
figure out a way of fixing the candles to her a dark room and then
head. After trailing around a few charity superimposed them
on to the final image
shops I bought some straight candlesticks, using the Screen
which had bases that could get screwed off, blending mode.
and attached them by drilling holes in to a
piece of aluminium that got bent into a moment. I actually did three or four Alternative shot
headband and securing them with bolts. different flame shots so that they didn’t
My main idea was to do the shot with the look identical. I didn’t use a flash, I just
smoke against the background, but my turned all the lights off, set the Nikon D800
favourite image turned out to be an on a tripod and metered from the flame. As
afterthought and a much simpler set-up. I shot them against a black background, all I
For the first one, I used three lights and a needed to do was add them as individual
smoke machine: the key light was a large layers in Photoshop and apply a Screen
Octobox softbox with egg crate attached blend mode to get rid of the background.
to stop the light falling on the background; When we finished the shoot, we went
a small Jessops portaflash to illuminate the back to where we’d been doing the
smoke behind the model; another light make-up – the lifestyle area of my studio
behind and to the left-hand side of Gemma – and there was such lovely light coming
Clarke, the make-up artist, as she’s working through the windows that I had to take a
the smoke machine, which acts as a small couple of shots. I changed the camera
hair light. The image was taken at 1/60sec settings, bumping the ISO up to 800 and
at f/7.1 (ISO 200). opened the aperture to f/3.2 as the light
The candle's flames were shot separately was a lot lower. I stood between the model
to get the right exposure and detail, and and the window to get the best light falling
also so not to set the model’s hair alight; evenly on her face and perfected the pose
with the amount of hairspray she had in, we before taking the final shot of the day –
might have had a Michael Jackson and what’s proved to be my favourite.

Right: As you can

see, the window in
my lifestyle studio
starts about 6ft off
the ground and runs
to the ceiling but
floods the room with
natural light – it’s a
lot like the light I’d
get from a large
softbox pointing
down 45°.
Centre: I shot in Raw
and darkened the
image slightly in
post-production
before desaturating
and adding a vignette.

80 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013

MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 81
 CREATIVE EYE
CANDLES
SMOKINGSKILLS
ByJordanButters
Camera: Nikon D5200
Lens: NIKKOR AF-S DX 18-55mm f/3.5-5.6
Software: Adobe Lightroom 4 and CS5
I'LL BE HONEST with you – this
was a tough one. A quick search
of 500px or Flickr will tell you
that, as far as photographic
still-life subjects go, candles are
pretty popular objects. You can see why –
they look aesthetically pleasing and they
emit a lovely warm glow. However, coming
up with a creative idea for an image wasn't
as easy as I thought it would be.
Much brainstorming and inspiration-
searching took place, when suddenly it
dawned on me – the candle itself needn't
be the subject of the image; it just had to
play a part in creating it. So I settled on the
idea of an abstract smoke-trail image using
the smoke from an extinguished candle.
Obtaining the images turned out to be
the easy part – I set up a piece of black
foam board on my kitchen counter to act
as a backdrop and placed a candle holder
in front of it. I put the unlit candle in the
holder and set my Nikon D5200 up on a
tripod, in portrait-orientation, to allow
room for the smoke to rise into. I selected
single-point autofocus and focused on
the tip of the candle, before switching to
manual focus to ensure it didn't change.
I used manual mode at ISO 100, selected
the maximum sync speed of 1/200sec and
chose a mid aperture of f/8 for a workable
depth-of-field. I then connected a wireless
flash trigger to the camera and placed the
receiver on a budget flashgun, which I
rested on the counter to the right of the
candle, pointing upwards at where the
smoke would trail. I selected manual mode
on the flash and a power of 1/32 which,
after a test shot, proved to be sufficient to
illuminate the smoke – however, some of
the light was spilling onto the background.
I used a small piece of black foam board
and a black folder to flag the light from the
background to solve this problem.
Before lighting the candle I opened the
outside door to allow the kitchen to cool
down, as smoke appears more prominent
and lingers longer in colder environments.
After half an hour, I shut the door and
82 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013
Above left:
Composing the shot
beforehand and
locking the Nikon
D5200 in position on
a tripod left me free
to set up the shot and
light and extinguish
the candle.
Above: After lighting
the candle, I left it to
burn for a short
period to ensure that
the wick got hot
enough to smoke
when extinguished.
Left: After gently
blowing out the
candle, I had time to
get three to four
shots off before the
smoke disappeared.
Below left:
I selected my
favourite-shaped
smoke trails in
Lightroom to
composite into the
final image, carefully
selecting each trail
using Photoshop's
Lasso Tool.
closed all of the blinds and doors in the – this ensured that the same amount of
room. This made sure no ambient light light reached the smoke, but made sure
crept in and eliminated drafts that could that it would be captured equally well, no
blow the smoke out of frame. After lighting matter which direction it went. The added
the candle, I allowed it to burn for 30-60 bonus was that my recharge time between
seconds to allow the wick to get hot, shots dropped thanks to the lower flash
before blowing it out and firing off a few power, meaning I could fire off more shots
shots. After repeating this process several before the smoke dissipated.
times, I found that when the smoke trailed The steps I took in post-processing were
to the opposite side of the frame to the a bit more involved – I imported my files
flashgun, it ended up underexposed. To into Lightroom 4 and picked out the best
rectify this, I placed a second flashgun on trails, which I then exported over into
the opposite side of the candle and dialled Photoshop CS5. Using the Lasso Tool, I
the power of both flashguns down to 1/64 selected each smoke trail and copied and
pasted them onto an image I took of the lit
candle with no smoke trails. I then changed
the Blend Mode of each layer to Lighten to
ensure the smoke showed through.
To add extra interest, I applied a colourful
Gradient layer to each smoke trail and
changed the Blend Mode of each Gradient
to Color. Finally, I merged all of the layers
together and duplicated them, before
flipping them to create a mirrored pattern.
A quick tweak to Curves and a spot of
sharpening, and the image was complete.
I decided not to include the candle in the
composition in the end as it detracted from
the abstract nature of the image.
MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 83
 THE
C MPLETE
PICTURE

RAW PART 1

IT’S NEVER BEEN EASIER TO CREATE OUTSTANDING IMAGES. DIGITAL CAMERAS ARE CAPABLE
OF CAPTURING INCREDIBLE AMOUNTS OF INFORMATION, ESPECIALLY WHEN CAPTURED AS
RAW FILES. BY FOLLOWING OUR BEST-PRACTICE GUIDELINES, NOT MANY MISTAKES ARE
BEYOND REPAIR AND GOOD PHOTOGRAPHS CAN BE MADE GREAT WITH LITTLE EXTRA
EFFORT. DO YOU WANT TO KNOW HOW? TURN OVER TO FIND OUT...
WORDS: CAROLINE WILKINSON / MAIN IMAGE: MARC ADAMUS
W
HAT WOULD YOU do if you were article is to show you why and how, with a
given one-million pounds? Buy a few adjustments to your workflow, you can Set your camera for Raw
new house? Take a luxury holiday or dramatically improve your images.
two? Give up the day job to be a professional First, Raw is not difficult– it’s often more It’s so easy: simply select the Image Quality
photographer? Whatever you decide, one involved than shooting JPEGs because you setting via your camera’s menu system or
thing you probably wouldn’t do is to throw have to put more thought and time into top plate and choose Raw or Raw + JPEG,
away most of that money and try to make generating the files to how you want them to then shoot as you normally would and take
the same dreams come true on the small look, but it’s no different from shooting and comfort in the fact that you’re capturing
fraction that’s left – sounds silly, doesn’t it? maximum quality. There are a couple of
processing film, which is what all great things to be aware of, though, when
So why would you do this with your photographers did before digital. It’s also shooting Raw: first, the image size (see Size
camera’s pixels? You spend a lot of the most forgiving format, making matters!, page 89); second, a technique
money on the latest technology it ideal for beginners. The called ‘exposing to the right’. As the most
with the view of getting the SHOOT format allows you to make image information is contained in the
best image quality that your RAW + JPEG human errors without highlights, by using your histogram as a
budget can buy, and then guide to slightly overexpose your scene
Not only does it allow you to save ruining a potentially great
time and hard drive space by (not so much that you lose detail in the
you, in effect, discard a image (yes, professional
reviewing JPEGs on your monitor highlights), you can capture a lot more data
generous proportion of photographers make and detail in a Raw file, which you can then
this data and detail by before having to convert the Raw
files, but you can apply in-camera
mistakes too) and allows draw out by adjusting the exposure during
shooting in JPEG and styles to your JPEGs, like black & you to process the processing. For a full tutorial on this
then wonder why your white, to preview the results image in many different technique, see part two next month.
image quality is not as without affecting the Raw data, ways – just like you would
great as you imagined. which you can adjust later. with a film negative. So for
So what should you be creative photographers, it’s
using? In short – Raw. These really a no-brainer. If you’re still
days, digital cameras capture an not convinced that Raw is a rookies’
extraordinary amount of image information format, too, make sure you read how our
and a large part of achieving professional- professional contributors use Raw and why
grade images is knowing how to unlock and they give it rave reviews.
capitalise on this detail. Some photographers Understanding the difference between
believe Raw to be tricky and not a format for Raw and JPEG might also persuade you.
beginners, while others believe that if you When you take a picture, your camera
were a good photographer and got the processes the data captured by the sensor,
images right in-camera, there’s no reason to which, unaltered, is a 12-, 14- or 16-bit
not shoot JPEG. Both camps are wrong, in uncompressed Raw file (actual depth
our opinion, and the aim of this two-part depends on the camera model you’re using).

Raw software
When you buy a camera,
the manufacturer provides
a CD-ROM with
its own Raw processing
software. For some,
it’s sufficient, but many
prefer to use third-party
processors and for those who already own
Adobe software, they have one of the best
available. Photoshop CS’s Adobe Camera
Raw (ACR) is by far the most popular and
powerful editing suites, but versions of this
program are also available in other Adobe
products, such as Lightroom and
Photoshop Elements. In fact, for the most
part, the Raw editing capabilities of each are
very similar or simplified versions. Apple
Aperture also has a Raw converter and
Capture One by Phase One is another
popular program for some photographers.
If you’re curious about how each works
differently or how user-friendly you may
find them, each program can be
downloaded as a free 30-day trial.
THE LANDSCAPE PHOTOGRAPHER: LEE FROST Lightroom 4 £106 (upgrade £61)
Free trial from www.adobe.com/products
“I want to achieve optimum image quality and the Raw format does exactly
Photoshop CS6 £660 (upgrade £188)
that. What’s the point in spending thousands of pounds on cameras and lenses, Free trial from www.adobe.com/products
then letting the camera delete data from the images I capture before I’ve even
had the chance to see them on my computer’s monitor? A Raw file contains Elements 11 £78 (upgrade £63)
Free trial from www.adobe.com/products
more data than I need, but at least by shooting in Raw I get to decide what stays and
what goes. I can also save processed Raw files as 16-bit TIFF files, whereas JPEGs are Capture One €229 (£146)
8-bit. It’s easier to adjust things like colour temperature if you shoot in Raw, too, and I Free trial from www.phaseone.com/4/
can batch-process Raw files to apply exactly the same settings to each image, which is Apple Aperture 3.4.3 £55
useful when I shoot a sequence of images to stitch into panoramas. If I forget to specify Free trial from www.apple.com/uk/aperture
a WB like Daylight, and instead shoot with AWB, the colour balance of each image may Manufacturer software
vary – shooting Raw allows for this margin of error.” www.leefrost.co.uk Free with your camera

86 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013

 Raw
Car photography

ROSS HODDINOTT
Eyes for detail
JPEGs from Raw files have
more detail than in-camera
JPEGs, so for ultimate
sharpness, shoot Raw!

MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 87

 Set the tone
Shoot in Raw and you can
easily change the White
Balance to give images
the mood you prefer.

WHAT’S YOUR
EXTENSION?
Every camera manufacturer

ROSS HODDINOTT
has its own Raw file format:
Nikon has NEF, Canon has
CR2, Sony has ARW, for
instance. It’s what will show
up on your computer as
the file extension
instead of .JPG. UNLIKEAJPEG,YOUR
RAWIMAGEISN’TPRINT-
READY–IT’SANEGATIVE
WAITINGTOBEDEVELOPED.
IT’SHOLDINGALOTOF
POTENTIALDETAILFOR
YOUTODRAWOUT
A JPEG, on the other hand, has been
processed by the camera before the image is
saved to your memory card, often after
sharpening, colour and contrast adjustments
have been applied. The camera also
compresses the file down to an 8-bit image
as it decides what data is needed for the best
photograph and deletes the rest. If you’ve
slightly under- or overexposed your image,
chances are that you’ve lost valuable
information that cannot be recovered or
corrections made without compromising
the image quality. If you had shot in Raw,
THE NATURE PHOTOGRAPHER: ROSS HODDINOTT however, that information would be retained
“For nature photographers, the argument for shooting Raw is overwhelming. and easily recovered to improve the quality
When shooting wildlife, you have to react quickly to the subject’s movement. of your exposure and dynamic range. Raw
Often, there isn’t time to fine-tune all the shooting parameters, like White files contain more data than you need to
Balance, in-camera. However, by shooting in Raw, photographers have the
create a successful image and puts you in
luxury of being able to tweak such things later during editing, without any loss of quality.
Due to a Raw file’s great flexibility, nature photographers can concentrate on focusing, control of all the creative decision-making.
composition and being creative. Raw files also capture more tonal levels, so image It also means you can use your computer to
quality is maximised. They also have greater latitude to exposure error, so if you do make process your images, which has far more
a mistake, you are more likely to be able to retrieve the image. Although Raw files are power and controls than a camera.
larger and therefore take longer to write to the camera’s card, most digital SLRs have Do we have you convinced yet? Are you
such large buffers that shooting JPEGs offers no significant advantage to Raw, even swapping your Quality setting from JPEG to
when capturing large bursts of images.” www.rosshoddinott.co.uk Raw, as you read now? Great. Now what?
Unlike a JPEG, your Raw image isn’t

88 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013

 Panoramic
Raw photography

Raw FAQs

Q When I open my Raw files in ACR I get

areas flashing red and blue. It’s really
distracting. What does it mean and how
can I get rid of it?
A Don’t worry, it’s only the highlight and
shadow warnings! If any of the shadow
areas are clipped (pure black with no detail),
they will flash blue to let you know and if
any of the highlights are blown (white with
no detail), the affected areas flash red. It’s
handy to have these warnings on so that, as
you make adjustments to the image, you
can see if the clipped shadows and blown
highlights improve. If you want to turn
them off, though, click on the small
triangles at the top-right and left corners of
the histogram in the ACR window.

Q I’ve got Photoshop CS5, Lightroom 4

and Nikon Capture NX, which came
with my Nikon D700. They can all process
Raw files – which should I use?
A It’s entirely up to you, but you’re better off
sticking with one of the three so you get
used to it, rather than chopping and
changing. Many Nikon fans use Capture
NX, but Lightroom and Photoshop are
more streamlined because they allow you
to do much more with your images using a
single application. Don’t forget you have
Elements, too, for a simpler and cheaper
version of Photoshop if the bigger
softwares intimidate you.

Q I’ve just bought a new DSLR and ACR

won’t open my Raw files. Do I need to
upgrade my version of Photoshop?
A Not necessarily. When manufacturers
bring out new camera models, the Raw
format used by those cameras usually
THE COMMERCIAL PORTRAIT PHOTOGRAPHER: PAUL WARD won’t be recognised by the version of ACR
“Up until a year ago, my main priority was being able to get a lot more images you’re using in Photoshop as it predated
on a memory card in case I made mistakes. I thought JPEGs were best. I was the launch of the camera. When you try to
wrong: Raw has a lot more benefits. If you get the WB wrong, you can tweak it, open a Raw file, a message says: ‘Could not
whereas doing that in Photoshop on a JPEG isn’t very accurate and can be hard complete your request because Photoshop
to do. If I slightly overexpose a shot, Raw-editing software allows me to pull detail back, doesn’t recognise this type of file’.
Adobe issues free updates for ACR that
which is really handy. Before I moved over to the Nikon D800, whenever I tried to open allow you to open Raw files from specified
up shadow areas to reveal detail, I’d get grainy images, but the D800 is amazing for new camera models – you can download
revealing detail in the shadow without introducing noise. It’s also useful when creating them from www.adobe.com. However,
HDR images. I prefer not to take multiple exposures, as a part of the scene or the model whether or not this will solve your problem
will often move slightly between shots. With Raw I can expand the dynamic range by depends on the version of Photoshop
outputting three different exposures from a single Raw file and merging them together you’re using and if the DSLR you bought is a
– it’s far more controllable and the results are better.” www.paulwardphotography.com new model or one that has been around for
(Find out how to create a multiple exposure or HDR image from a Raw file next month.) a while. If you’re running CS3 or CS4 and
your camera is a recent launch, then you’ll
probably find that the last ACR update
issued doesn’t include your camera on the
print-ready – it’s a negative waiting to be list of models covered. If you’re running
developed. It’s tonally flat, softer than it Size matters! CS5, you’ll probably be okay and if you’re
should be and holding a lot of potential detail running CS6 then you’ll definitely be able to
in the highlights and shadows for you to With increasing megapixels and data download an ACR update for your camera.
draw out. For many photographers, collection, one modern challenge If no suitable ACR update is available for
especially those new to digital editing, the photographers are facing is massive Raw your version of Photoshop, you could
either upgrade to Photoshop CS6 or buy
idea of processing and converting Raw files files. Depending on your camera’s file size,
a Raw file can take up to five or six times Adobe Lightroom 4, which will allow you to
can be daunting and off-putting, but it can process Raw files from your new camera
be made as simple or as complicated as your more space than a JPEG. Not only does this
mean high-capacity memory cards, or and still import into Photoshop after.
skills permit. The beauty of Raw is that, as
your skills develop, there’s also no reason
why you can’t return to re-edit the same
plenty of spares, but you may eventually
need a bigger hard drive and faster
processor if your computer is to manage
Q How should I save my image from
Adobe Camera Raw?
A Before you save your image, click on
image again later as long you keep a file in its downloading and editing these mammoth Workflow Options (blue writing at the
lossless Raw state, as the image information images. Add to this that the file size bottom of ACR) and set the Size, Depth,
is never permanently altered. There are increases as you edit the images until Space and 300 pixels/inch as the
several software packages you can use, too, they’re compressed, plus the fact that you Resolution (see page 92 for full details).
might want to keep the original Raw file as If you’re not opening your image into
but our preference is Adobe: whether that be well as the JPEG, and you’ll be needing a lot Photoshop, click Save Image... and
Elements, CS or Lightroom. Each have very more storage space than if you stuck with preferably select TIFF as your Format as it
similar Raw interfaces, borne from Adobe JPEG only. But let’s face it, though – the retains more information than a JPEG, and
Camera Raw, which we’ll show you how to pros of Raw still far outweigh these cons. set Compression to None.
navigate over the page.

MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 89

Navigating the Adobe Preview options
To see how your adjustments

Camera Raw interface

affect your image, make sure
this Preview box is ticked. The
button to the right expands or
reduces the size of your
interface on your monitor.
New to ACR and confused by all its features? No fear, we make CS5 clear...

The toolbar
Zoom: Magnify the
image to see it in
more detail by
clicking on the preview image.
Hand: Navigate
around the magnified
image by clicking and
dragging the Hand Tool.

White Balance: By
clicking on an image
area that’s white or
grey, ACR can determine the
colour of the light the image
was taken in.
Color Sampler: Allows
you to select a colour
that you want to
adjust by clicking on that area
of the image.
Targeted Adjustment:
Instead of using the
sliders to make
adjustments, drag this tool on
the image to make edits.

Crop: Perhaps one of

the most useful tools,
use Crop to change
the aspect ratio, to recompose
your image or simply remove
elements from the edges.
Straighten: Correct a
wonky horizon or
rotate your image.

Spot Removal: Get rid

of sensor spots, dust
marks and other
unwanted blemishes.
Red-Eye Removal:
Click on the subject’s
pupil to get rid of
red-eye in portraits.
Adjustment Brush:
Use this tool to make
localised edits to the
image. See page 93 for details.
Graduated Filter:
Draw a line across
your image to apply a
graduate effect. You can then
adjust Exposure, Brightness,
Contrast, Clarity, Saturation,
Sharpness and Color of the
graduate to suit your picture.

Preferences: Click
here to access the
Camera Raw Save Image... Zoom Workflow Options
Preferences dialogue box.
Click here to open your Save Instead of using the Zoom By clicking on this blue
Rotate Options. From here you can Tool, you can make more information line, you can
counterclockwise & select your image Format, precise enlargements by select the best image space,
Rotate clockwise: File Extension and level of selecting a percentage from resolution, size and depth to
Click on the tools to rotate in Compression before naming this drop-down menu or ensure optimum quality.
either direction by 90°. and saving the file. using the + or - buttons. See page 92 for details.

90 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013

 Raw
Car photography

Clipping warnings Histogram Adjustments

Clipping is where detail is lost at the extreme ends Just like on your camera, the ACR histogram Basic: Arguably the
of the histogram spectrum – these black and shows you the distribution of your exposure control room of ACR,
white triangle buttons, when pressed, activate information from pure blacks to pure whites. It’s a these tools for the
warnings to indicate where clipping has occurred. good reference for determining what adjustments most part are all you need to
Areas with lost shadow detail (right triangle) flash you need to make. As you move the sliders, you’ll dramatically transform your
blue, while highlights (left triangle) flash red. notice the histogram changes its distribution. Raw images – turn over to
find out exactly how.
Tone Curve: It
functions in a similar
way to Photoshop’s
Curves adjustment, allowing
you to manually manipulate
the tonal graph to affect your
image’s contrast.
Detail: You can access
the Sharpening and
Noise Reduction
features of ACR via this tab.
They’re quite simple to use,
but for more information and
In
tutorials, see page 94 or next
month’s article.
HSL/Grayscale: This
tab holds most of the
controls you need to
alter colour. You have HSL
(Hue, Saturation and
Luminance adjustments) as
well as a Convert to Grayscale
box that allows you to use the
Grayscale Mix sliders to adjust
the various grey tones in your
image to improve contrast.
Split Toning: Want to
be a bit more creative
with colour? The Split
Toning tab enables you to
adjust the Hue and Saturation
of the highlights and shadows
separately for duotone results.
Lens Corrections: A
really useful feature
and one tab we
recommend visiting before
you do any editing, especially
if you’ve used a wide-angle
lens and your image has barrel
or pincushion distortion,
fringing or vignetting.
See page 95 for details.
FX: The Effects tab
features the more
creative adjustments.
You can add grain and apply
a vignette for artistic results.
See page 95 for details.
Camera Calibration:
Use this tab to apply
your in-camera styles,
like Vivid and Landscape. You
can use the Camera Profile
sliders to help calibrate your
on-screen image to match
your LCD view, if needed.
Presets: Create your
own presets so you
can apply creative or
routine tweaks with one click.
Open Image The ACR interface Simply click New Preset and
then record the adjustments.
When you’ve done all the editing you want to in ACR, you have the Adobe softwares have very similar
option to open the image in Photoshop for further processing. interfaces and capabilities when it Snapshots: Take
Instead of clicking Open Image, hold Alt lt to open the image as a comes to Raw, so whether you’re ‘snapshots’ of your
copy – it’s useful if you want to apply different techniques to the using Elements 10 or Lightroom 4, editing as you go along
same Raw file in Photoshop. You can also press Alt lt to change the the tools and techniques we refer to compare the results or to
Cancel button to Reset, reverting all sliders to default settings. to will, for the most part, translate. easily return to an earlier state.

MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 91

The basics: Get started in Adobe Camera Raw
Master Basic adjustments and we promise the quality of your photographs will never be the same again
If you normally shoot JPEGs, you won’t
have to know much to notice a dramatic
difference to the quality of your edited
images once you start working with Raw.
Just being able to navigate a few basic
settings in your chosen software guarantees
better results, simply because you not only
have a lot more image information, and thus
scope for better improvement, but you call
the shots based on each image’s needs
rather than letting the camera apply the
same blanket adjustments, like sharpening
and colour saturation, to all your pictures.
The best part of editing in ACR is that it
doesn’t matter how many errors you make,
no amount of editing you do to your Raw file
degrades the image quality – unlike a JPEG
– so you’re free to experiment with
consequence until you convert the image to
a JPEG or TIFF. And even if you do save your
edits to the Raw file, the edits you’ve made
are still completely reversible. Brilliant isn’t it!
Most of your key editing tools are housed
under the Basic tab and are adjustable using
sliders, making them fast and easy to use.
If you’re only interested in making minimal
edits to every Raw file, then this page has all
you need to know, and more: Basic is the
powerhouse of ACR. While it has more than
enough to get you by, and should keep the
learning curve relatively shallow, you and
your images would be missing out if you left
it there. There is, after all, a reason we
couldn’t fit all this information into one
issue; there are just too many great
techniques to tell you about. But before we
get ahead of ourselves, here’s a breakdown
of what the Basic panel offers and how you
can use it to process your best ever pictures.

White Balance

ADAM BURTON
Before Presets Before Custom

LEE FROST
As the pros have already plugged, this is
one of the most useful tools in your Raw
editing arsenal. While the White Balance
Tool is great, these controls make
correcting any in-camera White Balance
errors a doddle once you get the hang of
it: simply select a WB preset or use the
sliders for a custom WB.

After Presets After Custom

Workflow options Exposure

If you click on the blue text below your
preview image in the ACR window, a
Workflow Options box opens. Make sure
you have Space set to Adobe RGB (1998)
and Depth to 16 Bits/Channel. Click Size to
see various options: most of which have a
– (minus) symbol after them, one that has
no symbol and one or two that have a +
(plus) symbol at the end. The option with
no symbol is the optimum one for your
camera and saves your images at
maximum resolution. Choose that one.
You’ve paid for those megapixels so you
might as well use them. There’s no point,
generally, in choosing a lower resolution
option, and if you choose one that’s higher
than the resolution of your camera, the files
will be interpolated, which you don’t usually
need – increase the file size later, in
Photoshop, if necessary. Also, make sure
ROSS HODDINOTT
Before
Out of all the controls in the Basic panel,
Exposure is the one you’re likely to use
every time. Move the slider to the right to
increase or left to decrease the
exposure: much the same way as adding
exposure compensation to your camera.
You can also type in an exposure value,
like 2 for two stops, in the box. If your
image is dramatically under- or
overexposed, combine Exposure with
other sliders for the best results and be
careful of introducing noise.
After
Recovery (Up to CS5)
LEE FROST

Before
Resolution is set to 300 pixels/inch.
If you overexposed your image in-
camera, then this tool is your fail-safe
option; use it to recover detail in the
highlights. If you’ve not clipped your
highlights, you can use the slider as
generously as you need to, but if you’ve
overexposed to the point where there’s
no detail to recover, ACR will attempt to
reconstruct the detail where two or
more colour channels are present. Be
watchful of highlights turning grey as a
result of trying to retrieve lost detail.

After

92 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013


Fill Light (Up to CS5)
Underexposed your image slightly and
want to reveal detail in your shadows?
Then this is the tool you’ll need to go to
after tweaking the Exposure. It works in a
similar way to if you had used a burst of
fill flash when taking the shot, opening
up the shadows for a brighter image. Use
in conjunction with the Blacks slider to
improve contrast, but don’t overdo it or
you’ll start to introduce noise, halos and
the resemblance of an image with ugly
hyperreal dynamic range.
Blacks
Target only your darkest areas to add
depth to your shadows by increasing the
amount of pure blacks in your image.
Watch the histogram and the preview
images for areas that flash blue to avoid
clipping detail.
Brightness (Up to CS5)
Quite simply, it does what it says on the
tin. Adjust the slider to affect the overall
brightness of your image. ACR has more
effective tools for doing this, like
Exposure, which may be why it’s not been
featured in the latest version, CS6.
Clarity
Fantastic for increasing the level of detail
in your image, Clarity is a tool to be loved
and loathed. As it targets edge contrast,
use it with caution as excess can result in
halos and artefacts. CS6, however, has
transformed this tool so halos are much
less of a problem. Zoom in to the image
for a better view of your adjustments,
which are best made as a final tweak.
Combine Clarity with moderate
sharpening for the best results: too
much of either may hinder image quality.
Vibrance & Saturation
Wondering why ACR has both theses
sliders? It’s simple: Vibrance targets areas
not already saturated, while Saturation
enhances all colours equally.
Vibrance
Raw
Car photography
Adjustment Brushes
LEE FROST
Before
While the Basic tab holds
the key to your
fundamental editing
tools, every adjustment
you make using the
sliders affects your Raw
file globally. But what if,
after you’ve made those
adjustments, there are
areas of the image that
need further work? Do
you open it in Photoshop
to destruct the pixels
using the Dodge/Burn
After Tools or arduously use
Adjustment Layers with
Layer Masks for selective
editing? Well, while the latter option is still a
preference over the former, you don’t even
have to leave ACR to make these localised
changes – that’s what the Adjustment
Brush is for.
Once you select the Adjustment Brush
from the toolbar, the Basic panel converts
to the Adjustment Brush panel, featuring
some of the same sliders: Exposure,
Brightness, Contrast, Saturation, Clarity,
Sharpness and Color. In CS6, you also have
Contrast the benefit of Noise Reduction, Moire
Reduction, Defringe, Clarity, Saturation,
Manipulate the mid-tones, without Shadows, Highlight, Tint and Temp.
affecting the whites or blacks in your In CS5 and CS6, there’s also a sub-
image, to add a little extra punch or to category that affects the brush’s properties
soften tones. Leave it to the end of your such as Size, Feather, Flow and Density. You
editing process and watch for clipping of can use the brush to target areas of your
shadows and highlights. image and then the required adjustment
slider to edit that section without interfering
with the rest of your image. The Auto Mask
feature is useful for helping isolate areas.
For every new area you want to target or
adjustment you want to make, click New at
ADAM BURTON
Before
the top of the panel. If you want to delete
an adjustment, hover over the adjusted
area to reveal the pin (a green node) – if it’s
not visible, click Show Pins at the bottom of
the panel. Click on the pin and then
Backspace to delete. Alternatively, press
Erase and brush over the area again to
remove the adjustment.
We have a fantastic tutorial in this issue
for using the Adjustment Brush in
Lightroom 4 (page 100), which applies to
ACR, too, so don’t forget to check it out.
New to CS6
After
Highlights This new
tool is incredibly
powerful: drag it to
the left to recover
highlight detail – like
Recovery in CS5 – or
the right to brighten
highlights with
minimal clipping. Use in combination
Saturation with the Whites slider for extra punch.
Shadows Use this slider by moving it
to the right or left to brighten or darken
shadows and mid-tones, respectively,
and to recover detail in the shadows.
Whites Drag this new slider to the left
to reduce any clipping to the highlights
ADAM BURTON
– similarly to Recovery in earlier CS
versions – or the right to introduce
specular highlights.
MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 93
 FURTHER
READING
For in-depth tutorials on

Advance your skills with these top tools how to apply these tools
and Raw processing
techniques in Lightroom
Want to know how to use the other highly effective features in ACR? Here are a few… and ACR, refer to our
monthly article
Having covered the basics, you should at least be able to now dabble but to open your Raw image as a copy or Digital Darkroom.
with processing your Raw files and start to notice the difference to object to ensure the best results – otherwise
your images. Some photographers, after making basic ACR exposure you’ll lose data and quality.
and contrast adjustments, prefer to open their image in the main Depending on your preferred ACR workflow, some
Photoshop suite to apply any distortion correction and sharpening, of the tools featured in this section, such as Camera and Lens
rather than continuing to edit in ACR. It’s really a matter of choice. Correction, defringing and vignette removal, might become your first
If you do choose to make some, or all, of your extra adjustments in port of call before making any edits in the Basic panel. Whatever your
Photoshop, we strongly advise not compressing your Raw file first, preference is, it’s worth knowing what they do and how they work.

Lens Corrections

ADAM BURTON
Before
Different lenses exhibit various defects depending on factors like f/stop and
focal length, one of which is distortion. But this is simple to correct in ACR.
Select the Lens Corrections tab and click Profile, then Enable Lens Profile
Corrections for automatic adjustments based on the lens you’ve used.
You can also use the Distortion slider if it’s not sufficient. See Vignetting
and Fixing Fringing for more information on further common corrections.

After

Sharpening
A lot of photographers prefer to leave sharpening to Photoshop, or at least after all other
editing has been done, as it arguably offers more control and allows you to alter the
level of sharpening depending on the output (ie web or print). ACR’s sharpening,
however, located in Detail, is based on the same algorithm as Photoshop’s Unsharp
Mask, so is very effective. Sharpening in ACR also has the benefit of being non-
destructive and reversible, whereas in Photoshop this is a lot more difficult to achieve.
However you decide to sharpen, know that it’s an essential step as, unlike a JPEG, no
in-camera sharpening has been applied to a Raw file.
Before After

∞ Amount: Affects edge definition. The

higher the Amount, the more edges are
sharpened. Be careful of adding artefacts.
∞ Radius: Adjust the size of the details that
sharpening is applied to. Use a larger
radius for large details and a low Radius
for fine details.
∞ Detail: Use to sharpen high-frequency
data. Set it low to remove blur around
edges and high for making texture much
more pronounced.
ROSS HODDINOTT

∞ Masking: Leave set to 0 so the other

slider affects the whole image or 100 to
restrict tweaks to the strongest edges.
Press Alt/Opt to see the areas masked.

94 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013

 Panoramic
Raw photography

Tone Curve Fixing fringing

The next tab along from Basic is
Tone Curve, and it works in a similar The latest ACR (6.7) makes fixing colour
way to Curves in Photoshop. As fringing incredibly easy: click on Lens
Raw files are notoriously flat, this Corrections then the Manual tab and
section can become really useful select Defringe: All Edges. If grey lines
and an alternative to some of the appear, select Highlight Edges instead
Basic sliders once you’ve got the as this is where most fringing appears.
hang of it. You have two options: Zoom in to your image to at least 100%
Parametric and Point. Under the to judge the results.
Point sub-tab you can select a
preset that affects the brightness
and contrast, or you can adjust the
line intersecting the histogram
manually, like you would in Curves.
If Levels was more your style, stick
with the default Parametric sub-tab Before
as it allows you to use the sliders,
which can be more manageable, to
target Highlights, Lights, Darks and Before
Shadows. Move the sliders to the
left to lighten, or right to darken
those specific tonal bands. You’ll
notice as you change the sliders
that the graph line changes shape
– the higher you set the contrast,
the steeper the curve will create an
‘S’ shape. In Lightroom 4 and
Photoshop CS6, you can also select
specific colour channels to edit –
great if you only want to affect the

ADAM BURTON
contrast of Red, Green or Blue, or
apply a creative cross-processing
technique to your images. After After

Vignetting

ADAM BURTON
Before After
Lens corrections: Often if you’ve used a
wide-angle lens, your image may suffer from
slight vignetting (darkening of the corners). To
correct this, click on the Lens Correction tab
and use the Amount slider under Lens
Vignetting to lighten or darken the edges to
reduce the amount of cropping you may need
to do. The Midpoint slider is useful if your
vignette encroaches beyond the corners.

Before After ROSS HODDINOTT

Artistic effect: Vignetting,

when controlled, can be an
artistic finishing touch. In this
case, use Post Crop
Vignetting under the Effects
tab. Choose a Style:
Highlight Priority to protect
your highlights; Color
Priority to preserve hues;
Paint Overlay to blend the
original colours with the vignette. You can then
adjust the following settings: the Amount to
lighten or darken the corners; Midpoint to
affect the spread of the vignette; Roundness to
decide its shape; Feather to adjust the softness;
and Highlights to control contrast.

NEXT MONTH: MAXIMISE DETAIL ∞ RAW MULTIPLE EXPOSURES ∞ COMMON RAW FILE PROBLEMS ∞ CREATIVE RAW TECHNIQUES

MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 95

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 EX IT
TU
PE IO
DIGITAL

RT N
DARKROOM
MASTER ADOBE’S IMAGE SOFTWARE & IMPROVE YOUR PHOTOS

Photoshop Elements Photoshop CS Lightroom

INSIDE...
ELEMENTS
USING LEVELS
Improve the contrast and
colour of images quickly
and easily using Levels

PHOTOSHOPCS
FILL THE FRAME
Extending the background
of your image is a useful
little ‘cheat’ you can use
when you need to make
discreet changes to the
composition

LIGHTROOM
SELECTIVE
ADJUSTMENTS
Discover how, by using
the Adjustment Brush,
it’s possible to make
localised changes with
the minimum of fuss

Whatever your ability level or choice of editing software, there’s something for everyone in this
monthly series. We guide you through each of Adobe’s editing packages to show you how to get
the best from your images. This month, we explain the most effective way to improve contrast in
Elements 10, how to change your composition in CS and to make handy localised adjustments to
your images in Lightroom 4 using the Adjustment Brush

MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 97

 Photoshop Elements
Understanding Levels
Levels: the simple secret to improving contrast and colour. Find out
how to master this trouble-free tool to transform your images
CAROLINE WILKINSON: If you’re
new to digital editing you may not
have heard of Levels, which is a
useful tool when you want to
improve the contrast, tweak the
exposure and enhance the colours of your
images. Levels is an all-in-one solution for
these basic adjustments – and it does a great
job of it, too. This tutorial presumes that you
want to edit a well exposed JPEG, not a Raw
file, which is best done using Raw
conversion software to maximise on the
detail and dynamic range (see page 90).
JPEGs carry less information than Raw files,
so they greatly reduce your scope for
rescuing an exposure and making edits
without damaging image quality. Whereas
the fewer tweaks to JPEGs, the better.
You may be tempted to use Elements’
Quick Edit features, but I suggest bypassing
this section and going straight into the Full
editing suite to use Adjustment Layers. The
Quick Edit one-click adjustments take the
hassle out of editing but rarely produce the
best results; often blowing highlights to
open up shadows or making highlights
muddy for the sake of deepening shadows.
1 Access Levels You’ll need your Layers palette
open (Windows>Layers). Now add a Levels
adjustment layer (Layer>New Adjustment
Layer>Levels), when the New Layer dialogue
box appears, click OK. You should not only see a
new layer appear in your Layers palette but a
large dialogue box displaying a histogram – this
is the exposure histogram for your image; the
same as you would see on your camera’s LCD.
3 Take control If Auto improves the contrast
and colour sufficiently, you could close the
dialogue box and leave your editing there. If not,
click the Reset to adjustment default button at
the bottom of the Adjustment panel and move
the black slider to the right so it’s at the edge of
the histogram and the white slider similarly to
the left; you should see an instant improvement
to the tonal range and depth of the colours.
98 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013
Simple colour and contrast adjustments
Original
They also target your image’s pixels so the
effects are irreversible. An Adjustment Layer,
on the other hand, gives you the flexibility to
erase your adjustments at any time, leaving
the original pixels untouched and image
quality the best it can be. You can also
selectively adjust areas of your image using
the Adjustment Layer’s Layer Mask; it’s a
slightly more advanced option, requiring
more control and judgement over editing
decisions, but once you get the hang of
working in Elements, it’s a technique worth
having in your arsenal for images that need a
bit more attention before print.
Before After
2 Assess your image For an average scene that
doesn’t bias the shadows or highlights, you
want a histogram that runs from the far right to
the far left, so your blacks are true black and your
whites are true white. The ‘Before’ histogram
doesn’t look like this, causing the image to be flat
and colours dull. Click Auto to see how it
changes your image. Our ‘After’ shot shows the
shadows and highlights more evenly spread.
4 Target colour If your image has a slight
colour cast, or you want to adjust the
colours in your image, you can also do this using
5 Take the next step Beginners might want to
finish the tutorial at step four; others may
find these advanced steps worth mastering. If
Levels. One way is to select the middle you have an image like this one, where making
Eyedropper tool and to click on an area of grey/ the sky stronger leaves the foreground
mid-tone to set the White Balance. Alternatively, underexposed, or vice versa, you can use the
you can target the tonality of Red, Green and Layer Mask attached to the Levels adjustment
Blue independently via the Channel drop-down layer in your Layers palette to edit your
menu, which as default will show as RGB. adjustment to affect only one or the other.
 DIGITAL DARKROOM

Final imageFinal image

Get everybody’s
Selections allow
good you
side by
tomerging
adjust your
yourimage
best
groupone section
shots at a time.
into one.

WARNING
When editing a JPEG, don’t
be too heavy-handed with
the exposure adjustments.
If you open up the
shadows too much in the
hope of revealing detail,
you risk introducing
quality-degrading noise
and artefacts.

6 Use the Layer Mask Here, the tonality of the

foreground has been improved but the sky
and misty background could look better in areas.
To target the sky separately, add a new Levels
adjustment layer and tweaks by only focusing on
this section, ignoring any effect on the
foreground. Once happy, select the Brush Tool,
make sure Foreground color is set to Black, the
edges are soft and Opacity is 100%.
7 Edit the sky Click on the Layer Mask next to
your new Adjustment Layer to activate it, and
then start to brush over the foreground to reveal
your first Levels-adjusted image. When you
come to the edges of where the foreground and
sky meet, try lowering the Opacity slider to
40-50%, zooming into the image and selecting a
smaller brush to ensure a smooth graduation
between the two sections.
8 Adjust your process Repeat this process for
as many parts of the image that need
individual attention. For better control, use a low
Opacity brush. If you make a mistake, switch the
Color from Black to White and go over the area
again on the Layer Mask to restore the original
state. You can delete the Adjustment Layers if
they’re no longer needed or double-click on
them to re-edit the histogram.

MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 99

 Lightroom How to use the Adjustment Brush

Make selective adjustments Original

The Adjustment Brush is one of Lightroom’s most powerful and

useful tools. Learn how to use it to selectively adjust your images
JORDAN BUTTERS: Although
we’d all obviously like to get every
shot right in-camera first time, it
isn’t always possible. Thankfully,
the range of adjustments
Lightroom 4 offers allows you to tweak, alter
and manipulate almost any parameter to get
the best out of your images.
While these changes can be made on a
global scale, more often than not there will
be specific areas of your image that you
want to tweak without affecting the rest of
the image – this is where the Adjustment
Brush comes in.
The Adjustment Brush allows you to
selectively apply any adjustments that you
wish onto a specific part of your image.
It can be used to adjust exposure, contrast,
saturation, or pretty much any of the other
settings that you can make in the Basic tab of
the Develop module.
Lightroom fundamentals
MULTIPLE ADJUSTMENTS?
You can use multiple Adjustment Brushes
on a single image to make several different
adjustments at once. Simply click on New
at the top of the Adjustment Brush palette
each time you want to use a new brush.
To delete a brush, click on the node pin
for that brush on the image to select it and
press the Backspace key.

1 Make global changes first Before making

any selective adjustments, make any global
changes that you see fit. It’s a good idea when
making any exposure or contrast adjustments to
enable the clipping alerts in the Histogram so
you know how far you can push the settings. To
do this, click on the two small triangles in the top
corners of the Histogram window.
2 Set the brush size Click on the Adjustment
Brush to open the Adjustment Brush palette.
First set the brush Size, Feather, Flow and
Density using the sliders. Flow and Density may
appear to do similar things, however, Flow
controls how fast the adjustment is applied,
and Density sets the opacity of the adjustment.
Leave Auto Mask unchecked for now.
3 Brush in large areas first Use the Exposure
slider to set the exposure value that you want
to apply – this can be adjusted later so I’ve
chosen -0.50 for now. Click and hold on your
image to begin brushing on your adjustment,
giving a wide berth to any obstacles. If you want
to see where you’ve brushed, hover over the
node pin on the image to highlight the areas red.

4 Use the mask When you come to an area

where you have obstacles to paint around,
switch on the Auto Mask feature in the
Adjustment Brush palette. Continue to brush
around the obstacles and Auto Mask will attempt
to mask out any items that it doesn’t think you
want to paint. It probably won’t get it 100% right
first time, but it’s a good starting point.
5 Adjust the settings With your sky masked,
move the Exposure slider again until you
reach the level you’re happy with. An exposure
of -1.00 is just right here. You can also use the
other sliders to make additional adjustments to
the selected area. I’ve also added +25 Saturation
to boost the blue sky. These changes are
non-destructive, so feel free to experiment.
6 Erase any over-spray If you painted over any
obstacles on the horizon, or if the Auto Mask
tool failed to mask an object, simply click on
Erase in the Adjustment Brush palette, adjust
your brush Size and Feather as before, and brush
back over to erase the adjustment. Making sure
Auto Mask is switched on again while erasing will
help your brush find the edges as before.

100 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013

 DIGITAL DARKROOM

Final image
Using the Adjustment
Brush, I was able to
recover the sky without
affecting the rest of the
image, despite the
obstacles on the horizon.

MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 101

 Photoshop CS Extend backgrounds for better framing

Extend a background Original

Changing the aspect ratio of an image is often akin to fitting a round

peg into a square hole. Extend the background to make life easier
JORDAN BUTTERS: Extending a
background is an incredibly
useful technique. It can be used
to change the aspect ratio of an
image without resorting to
awkwardly cropping your image and either
drastically altering the composition or, even
worse, cropping out part of your subject. It’s
also a widely used technique in publishing
when overlaying copy on an image.
There’s no one-size-fits-all approach to
extending a background and quite often
you’ll find that a combination of the different
methods mentioned here works best. The
general rule of thumb is that the more
complicated and less uniform the
background, the trickier the process
becomes. Clear and uncluttered
backgrounds with a solid, uniform tone
are the easiest; for example, those shot
against a single-colour backdrop.
In this example, I want to resize my 6x4in
image to fit neatly within a 9x7in photo
frame. If I was to simply crop the image I
would end up cropping out either part of the
subject’s head or feet – not ideal. By first
making sure that my entire subject is
included in the frame, I can extend the
background at each side to fill the missing
areas. Here’s how…

1 Select the ratio First you need to unlock the

Background layer; double-click on the layer
in the Layers palette. In the dialogue box that
opens up, click OK. Select the Crop Tool and, in
the menu bar at the top, enter the new aspect
ratio that you wish your image to take; in my
case, 7in Width by 9in Height.
2 Crop your image Click and drag to make
your initial selection. At this point the tool
won’t allow you to select past the edges of the
existing image. Release the mouse and then
click on one of the corner anchor points and
drag outwards, off the edge of the image. Press
the Enter key to commit to the crop.

ABOVE: Applying a 9x7in crop without

extending the background crops the subject.

Alternative techniques
If your background distorts when using
this method, try one of these alternative
techniques. The first two steps remain the
same no matter which method you choose.
CONTENT AWARE SCALE Go to
Edit>Content Aware Scale. Drag the anchor
points outwards, keeping an eye on your
subject to make sure they don’t distort.
CONTENT AWARE FILL Select the empty
space on either side of your image with the
Rectangular Marquee Tool. Go to Edit>Fill
and select Content Aware – Photoshop will
try to choose the best content for the space.
CLONE STAMP TOOL Use the Clone
Stamp Tool to sample the background and

3 Select the background To fill the empty

space on either side of your image, select the
Rectangular Marquee Tool and click and drag on
your image to select as much of the background
as possible to one side of your subject. Be
careful not to select the edges of your subject at
all or they will distort in the next step.
4 Extend the background With your selection
made, go to Edit>Transform>Scale and use
the side anchor point to stretch your
background to the edge of the frame. Press the
Enter key to commit to this transformation. Then
repeat steps three and four for the other side of
the image.
brush them in place in the empty spaces.
COPY AND PASTE With the Rectangular
Marquee Tool select areas of the
background and Copy and Paste them in
to the empty spaces. Use the Clone Stamp
Tool to hide any joins.

102 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013

 DIGITAL DARKROOM

Final image
Extending the background
has allowed me to retain
the original composition.

MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 103

 CuttingEdge
Edge

MORE
MOR
MORE THAN
HUMAN
ACCLAIMED PRO TIM FLACH SPEAKS TO
CAROLINE WILKINSON ABOUT HIS LATEST
PHOTOGRAPHIC MONOGRAPH DEALING
WITH SEVERAL DEBATES ABOUT THE
HUMAN AND ANIMAL RELATIONSHIP
CuttingEdge
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1 2

THE UNDERLYING
QUESTION IN MY
WORK IS HOW WE
HUMANS SHAPE
NATURE AND HOW
IT SHAPES US

IF I HAD to pick a photographer who
fascinates and inspires, Tim Flach would be
high on the list – if only for his voice. Not
his quintessentially decorous English
accent – although that makes listening to
him a joy– but his conceptual voice, which
goes far deeper than exquisite imagery and speaks loud of
current, often controversial, issues. Not many
photographers can engage and educate through a single
image, but Tim has it down to a tee. For his viewers who
enjoy photography for photography’s sake, you can
appreciate his beautiful imagery without needing to know
more. But for those who like a good back story, you can
delve a little deeper and broach issues that you may never
have realised existed.
“I’m not trying to be moralising, nor am I trying to polarise
the debate either, I’m actually saying this is what’s going on.
It’s up to you to decide if it’s right or wrong,” explains Tim as
he talks to me about his latest project, More Than Human.
A book and exhibition that, in true Tim-style, combines
stunning animal portraits with a much less attractive
narrative discussing a number of debates around animals,
including cloning and cross-breeding.
While previous projects have focused on a single
species, this year-long project comprises a mixture of
exotic subjects from around the world. “The book, More
Than Human, has about 180 images of which 80%
originated in the last year. I’ve also brought in images that
were special to me that I had taken over the years but have
never been published in a book, but supported the ideas
that I wanted to explore. I also brought in a few images
from previous projects Equus and Dogs Gods, as I wanted
one book that showed a good representation of my work.
“The underlying question in my work is how we humans
shape nature and how it shapes us. There are some animals
where the influence of humans has altered where they
exist, such as a jellyfish that affects an ecosystem after
being inadvertently moved by the bow of a ship from one
ocean to another. Or the harlequin ladybirds introduced to
the UK as a pest controller – their cannibalistic nature now
threatens native ladybird species. That’s just one debate.”
Tim goes on to explain many others, including the
emphasis we place on saving certain endangered animals
over others, the panda is one example. “We think of them as
a special species, but actually they’re not as
important, biologically speaking, as a bat might be if
we lost it.” One of Tim’s most interesting images in the
book is of a featherless chicken, a peculiar picture on the
surface but one that he deliberately wanted to elicit
questions like: Why is it featherless? Has it been plucked or
is it genetic? “The chicken is a good example that illustrates
not just how actively we’re breeding livestock, but also the
much more interesting debate about how we consume
more animals today than ever, yet we’ve never been so 1)Thebone
separated from animals. We buy our headless, hairless structureofthe
chicken wrapped in cellophane often without a second Egyptianfruitbat
thought to where it’s come from and how it became isalmostidentical
toahuman’s.
featherless. This chicken, for example, has been bred
2)Unlikesome
without feathers.” othercats,Bengal
For this book, Tim’s explored genetics, medical research, tigersareathome
conservation and the inadvertent consequence of humans inwater.
– a lot to pack into one book, but a project that’s taken him 3)Chimpanzees
around the world and led to photographing some weird liveinintricately
and wonderful creatures, from the miniature to the structured
communitiesand
massive. “I’ve photographed cockroaches being used for sharehumantraits.
antibiotics, genetically modified spider goats – a cross
4)Thethree-
between a spider and a goat so its milk can be extracted bandedarmadillo
and used for human ligament transplants – and a colony of istheonlyspecies
ants being used for anti-fungi research. The largest animal torollitselfintoa
was a liger – a cross between a male lion and a tigress – the ballasprotection.
world’s largest big cat at 11-feet long. It begs the question 5)Thefeatherless
why we are breeding something that can’t be bred and why chickenhasbeen
bredtoreducethe
in America alone there are 5,000 big cats kept as exotic economicimpact
pets, when there’s only an estimated 3,000 in the wild?” onthefarmer.
By exploring so many contentious issues, it’s no surprise 6)TheChengdu
that Tim gained support along the way, especially ResearchBaseof
considering his side project for the last year of exploring the GiantPanda
Amazon and Borneo rainforest. ”Both projects helped each Breedinghasbred
morethan120
other and it’s allowed me to set up opportunities to work giantpandasfrom
with organisations such as Durrel, Aspinal Foundation and justsix since1987.
Twycross Zoo World Primate Centre. It not only gave me 7)Mandrillsdisplay
access to animals like the bonobos at Twycross Zoo, but it’s perhapsthe
put me in a strong position to do further work in Africa, in brightestmarkings
places like the Congo, which can be problematic.” ofanymammal.
Tim prefers not to photograph large, wild animals in the 8)TheRoyalWhite
Tigerhasbeen
studio, so mostly he shot the animals in situ, even if that usedtoproduce
meant negotiating the challenges of shooting through hybridsastheme
thick glass. “You need a plan but you can’t be too married parkattractions.

106 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013

 Tim Flach

3 4 5

6 7 8

MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 107

CuttingEdge
g
gEdge

ONCEYOU
LOOKABITCLOSER
YOU SEE THERE’S
BITING, MATING,
SOMEAREBEING
DRAGGEDOFF

to it. Logic, technique and reason are important, as while subject out of the context of their environment. 1)Beetlesmay
you need some sort of structure, you need to be able to If I was to show you the concrete and straw behind them, makeup25per
centofallspecies
recognise images and opportunities that emerge as more then the viewer enters a whole other series of associations onEarth.
surprising. The first thing you do when working with when what I’m interested in is isolating their genetic traits,
2)Siamesefighting
animals is to speak to those people who know the animals not their setting. Some of the small guys, like the beetles, fishwerebredwith
best and to take interest in their behaviour; that way you’re cockroaches, owls and doves, were done in my studio. heightened
working within the parameters of what that particular “One of my favourite images has to be the beetle aggression
animal can give you on the day.” montage as it’s so theatrical. Once you look a bit closer towardsrivals.
Lighting-wise, Tim goes from one extreme to the other: you see there’s biting, mating, some are being dragged 3)TheAxolotlis
from one light shot through glass to photograph a chimp to off. While most people would be drawn to the iconic aspeciesof
14 lights on a Banana cockroach. “A bigger subject doesn’t creatures like the liger and panda, it’s actually the small salamanderunder
threataround
necessarily mean more lights. I used one Broncolor Satellite majority that are really important ecologically; beetles, MexicoCity.
Evolution – it’s like a parabolic mirror – to get the beamed after all, account for 25% of all species on the planet.”
4)RareBluefire
light source for the gorilla shots and a lot of edge lights for You learn something new every day! jellyfisharemostly
the smaller subjects to create atmosphere. By beaming the To see Tim’s work, visit www.timflach.com. Buy his book foundoffthewest
light, I was able to turn the background black, taking the More Than Human from Amazon for £25.60 coastofScotland.

108 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013

 Tim Flach

2 3 4

MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 109

CuttingEdge
Edge

LIGHT-SABRES,LEVITATIONANDALOVEAFFAIRTORNBETWEENGOODANDEVIL.JORDANBUTTERS
CATCHESUPWITH SACHAGOLDBERGER TODISCUSSHISGRANDMOTHER’SUNUSUALALTEREGO
WHEN FRENCH ART-director-turned- including Nazi and Communist persecution during and 1)“Ishotaselection
photographer Sacha Goldberger took up after the war. Despite this, she is a very funny lady with a ofimageslooking
photography at the age of 38, he found great sense of humour, and I wanted the images to reflect upattallbuildings
inLondonandNew
himself in need of a muse. Coming from a this. I’m tired of seeing the same portraits of elderly people York,andthen
traditional Jewish family, Sacha has a very – they are often portrayed in a negative light; alone, sad addedinMamikain
close relationship with his grandmother, and bored. I’m also a huge fan of Marvel comic books and thestudiolater.”
Frederika, and so she seemed like the most logical choice. so what started out as a bit of fun between my grandma
It wasn’t long before Sacha’s love of comic books and and I quickly evolved and Super Mamika was born.”
Frederika’s sense of humour took things in an unexpected The first thing that grabs you about the Mamika series
direction. “When I started photography, my grandma was is Sacha’s seemingly endless stream of weird and wacky
the perfect subject – after retirement she was lonely but ideas for scenarios that Mamika might get herself into.
she was always interested in my work, so photography “I draw inspiration from comic books, as well as the
allowed us to spend time together. She was born in everyday things that I see around me, and amusing
Budapest and has been through a lot in her lifetime, scenarios that come into my head. I worked for many
CuttingEdge
g
gEdge
1 2 7

3 4

5 6

years as an art director and so am also able to draw on my “We have just published our second book in the Mamika 1)“It’simportant
professional experience as well as the ideas of creative series, entitled Mamika & Co. The images tell the story of forsuperheroesto
friends and colleagues within the industry. My grandma how Mamika is torn between the dark side with Dark keepfit,too.Super
Mamikaspends
also comes up with some fantastic ideas for images!” Papouka and the good side with Super Papika. The funny sometimeonher
After shooting the initial images, Sacha created a thing is, the dark side aren’t so bad when they get old – treadmillathome.“
MySpace profile for Mamika and before long she became they tone down a lot in retirement.” 2)“Unfortunately
a viral hit online, with international television and A large part of Mamika’s appeal is that the images show assuperheroesget
newspaper features following in quick succession. The elderly people in a new and positive light. The scenarios older,their
characters soon found their legs and started to evolve. Mamika finds herself in, although unexpected and often eyesightisn’tas
“We always shoot entirely for fun,” says Sacha, “but the ridiculous, always stay on the right side of the boundaries goodasitusedto
be.It’soneofthe
response Mamika received was incredible. My grandma of taste. “I like my images to be absurd and provocative,” hazardsofthejob,
has always been inspiring to me but she started receiving Sacha explains, “but there’s a line. My aim isn’t to Iguess.“
emails from all over the world with people praising her embarrass or ridicule my grandma. Some people might 3)“SuperMamika’s
and calling her an inspiration! It evolved from there – think that her dressing up as a superhero is ridiculous but dog,Beurk,makes
Frederika has been married four times and so I thought it I think those people are taking it too seriously. I mean, anoccasional
was about time that Mamika had a man in her life – I superheroes get old, too, right? She is a great actress and appearance.“
created Mr Papika, who is actually my best friend’s father. always manages to look elegant and empowered – no 4)“Besidessaving
One lover was never going to be enough for a lady like matter what scenario she ends up in as Mamika!” theworld,Mamika
andPapikastill
Mamika, and so Dark Papouka was born – he is played by Aside from their obvious creativity, Sacha’s images havetimeformore
a gentleman who I met whilst putting together another are also of an exceptionally high technical standard, leisurelypursuits,
project about the holocaust. the likes of which is usually reserved for top-end suchasboules.”

112 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013

 Sacha Goldberger

A LARGE PART OF MAMIKA’S

APPEAL IS THAT THE IMAGES
SHOW ELDERLY PEOPLE IN A
NEW AND POSITIVE LIGHT

commercial photoshoots. “My typical lighting set-up In creating Mamika, Sacha has taken a chapter
comprises between three and nine Elinchrom studio in his grandmother’s life that, for most, contains
lights, depending on the location and scenario. I try to relatively few stories to tell and turned it into a tale
light the characters to suit the comic-book style of the of superhuman powers, weird and wacky situations and 5)“DarkPapouka
images, so my lighting often comprises soft ambient light the battle between good and evil. So where does it go takesona
combined with artificial highlights to add contrast. I shoot from here? “There are two big evolutions in the Mamika well-knownmovie
villain,although
using a Hasselblad 503CW with a Leaf Aptus 75 digital project – a positive and a negative. The positive is that thingsaren’t
back and whenever I photograph my grandma, I use a every time we get together for a shoot, my skills improve. exactlyasthey
large team including two assistants, a model maker, a The lighting gets better, my post-processing improves werewhenhe
make-up artist and a stylist. I do this because I want every and the images evolve technically as a result. The wasyounger.“
image I make to be the best that it can be, so I treat the negative is that my grandma is now 93 years old and, 6)“Beinga
shoot the same as if I was working on an advertising as we say in France, at her age, the years count double well-known,
campaign for a big commercial client.” – we can’t shoot as much as we used to and I have to international
Sacha continues, “Some of the shoots are done on adapt to how she feels. celebrity,Super
location – we shot part of the series in Brooklyn as a nod to “For now, the Mamika project has come to a natural Mamikahasto
spendtimemaking
the comic-book influence, whereas some are shot in end, but I’ve said that before more than once. It’s all down herselflook
France. The series of images that take place on the sides of to my grandma; if she wants to do more then we’ll do beautiful,too.“
buildings were shot in New York and London, and then the more. I only do it to have fun with her – Mamika is simply a
7)“Notaskistoo
characters were shot later on in the studio. The key here is love story between a grandson and his grandma.” bigortoosmallfor
to match the lighting, angle and perspective from the To order Mamika & Co and see more of Sacha’s work, theoneandonly
studio to that of the building to make it look realistic.” visit: www.sachabada.com SuperMamika!”

MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 113

Advertorial
LIVING THE DREAM
THIS MONTH, TRAVEL PHOTOGRAPHER FILIP GIERLINSKI TAKES A GROUP OF
PHOTO-ENTHUSIASTS OFF THE TOURIST TRAIL AND INTO THE UNKNOWN
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situations where I think,
‘How the hell did I end up
here?’ Finding myself in the
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was certainly one of those occasions!
“I was leading a photography tour with
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highlands close to the Chinese border.
“I’d been to this village a couple of times
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“All this was quite the contrast to the nice,
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train. But it’s unexpected times like these
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deep breath and embrace the unknown.
“Even though it was a little chaotic, the
mood among the locals was great. I advised
the group to use a wide lens and get right
A professional’s approach: People in their environment
Get close: A wide-angle or standard lens
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you engage with your subjects rather than
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Be friendly: It’s so important to earn
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 EX VI
RE
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TESTCENTRE
TEST CENTRE

RT S
THE LATEST GEAR AND ACCESSORIES TESTED BY EXPERTS

MAIN TEST

CANON
EOS 6D WITH FULL-FRAME
BECOMING EVER MORE
POPULAR, CANON'S
20.2-MEGAPIXEL EOS 6D
HOPES TO TAKE A CHUNK
OF THE 'AFFORDABLE'
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Prices & specifications of all
the current digital SLRs and
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CAPTURE ONE
SOFTWARE TEST
The latest Raw package
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MINI TESTS
We rate Lexar's latest multi-
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MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 117

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Canon EOS 6D
Body only: £1,800 (Guide) / £1,690 (Street)
24-105mm kit: £2,520 (Guide) / £2,300 (Street)
Image sensor: CMOS full-frame (36x24mm)
Image resolution: 20.2-megapixels
LCD: 3in Clear View TFT (1,040,000 dots)
Storage: SD (SDHC/SDXC)
Weight: 755g (including battery and card)
W
AY BACK IN 2005, Canon began
the full-frame revolution with
the introduction of the EOS 5D
– a 12.8-megapixel DSLR that
packed a full-frame sensor into a relatively
compact body, becoming an instant
favourite with landscape and travel
photographers in particular. While the Mk II
and Mk III has since been released, the
design and size of the EOS 6D makes it a far
more comparable model, boasting a smaller
and lighter option that is sure to find favour
with outdoor and travel photographers.
While the original EOS 5D had the full-frame
market to itself for a number of years, there is
no such luxury for the EOS 6D, which finds
itself up against a number of very strong
rivals, with the recently launched Nikon
D600 providing its strongest competition.
How good is it? Read on to find out...
Handling & ease of use SCORE 24/25
The EOS 6D is one of the nicest handling
models on the market, with the design and
build quality really driving home the fact that
you’re in possession of a top-end camera.
While APS-C models are smaller and lighter,
the EOS 6D is relatively compact considering
it sports a full-frame sensor. It feels
reassuringly solid to hold, with magnesium
alloy used in its construction and a
weatherproof sealing against dust and
moisture. The ergonomics of the body is
excellent, with the large, curvaceous
handgrip affording a very secure hold. The
camera balance is also excellent, regardless
of whether you’re using a small prime or a
longer zoom lens. The control layout, which
is similar to previous models, is very neat,
with large buttons and dials all clearly
labelled to help improve ease of use. The
latter is improved by the use of the Q (Quick)
button on the rear above the eight-way
control, which is used along with the two
input dials to select and change functions via
the LCD monitor. While the Canon also
Canon EOS 6D: Dimensions
HEIGHT: 110.5MM
WIDTH: 144.5MM
Camera test
ABOVE: The relatively compact
size of the stylish EOS 6D belies the
fact it sports a full-frame CMOS sensor.
In the box
The Canon EOS 6D is supplied with the
LP-E6 lithium-ion battery, LC-E6 battery
charger, eyecup Eb, body cap, strap,
interface (USB) and AV cables, software CD
and owner’s instruction manuals.
boasts a very comprehensive and easy-to-
navigate menu system, you’ll find that you
can access most of your everyday functions
using this well thought out control system.
The 3in LCD monitor offers a sharp
1,040,000-dot screen that is bright and
usable even on a sunny day. However, it
lacks the swivel mount found on the EOS
60D and the EOS 650D’s touchscreen, both
of which would have been useful features.
The viewfinder is excellent, with a large
and bright screen making image
composition enjoyable and easy. Unlike
most other full-frame models, though,
image coverage is 97% rather than 100%, so
images will include a little of the scene
DEPTH:
LCD: 3IN 71.2.MM
TESTCENTRE
WORDS: DANIEL LEZANO
around the edges that isn’t visible through
the finder. Bearing in mind the high
resolution, a minor crop of any distracting
elements shouldn’t prove a problem.
Overall, the EOS 6D handles beautifully
and is fast and easy to use.
Features SCORE 22/25
The headline feature of the EOS 6D is its
20.3-megapixel CMOS sensor, which boasts
larger pixels than found in APS-C sensors,
allowing it to capture sharper images with
lower noise. The EOS 6D sports the
latest-generation DIGIC 5+ image
processor, which handles stills and Full HD
video. It offers a sensitivity range of ISO
100-25600, which can be expanded as low
as ISO 50 or as high as ISO 102,400 and can
handle continuous shooting at a respectable
4.5 frames-per-second.
The EOS 6D features a small number of
innovative features. It is the first EOS to offer
WiFi and GPS built in. The WiFi facility allows
you to quickly upload images to your mobile
or social network sites like Facebook. It also
allows the camera to be remotely operated
via a Canon app (see panel). The GPS
function is of particular interest to landscape
and travel photographers, recording
location information for every image. For
those looking to be a little creative, HDR and
multiple exposure modes are available, but
unfortunately they are for JPEG shooting
only. The EOS 6D also sports the silent-
shutter mode found on the EOS 5D Mk II,
which allows for discreet shooting.
In most other ways, the EOS 6D offers a
strong but unexciting specification. There is
a full choice of exposure modes, including
MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 119
TESTCENTRE Camera test

Viewfinder
Full-frame DSLRs always provide the best
viewfinders – the EOS 6D is no exception.
The screen is large and very bright, with
exposure information displayed along the
bottom. Unlike the viewfinders on other
full-frame models, the EOS 6D provides
97% frame coverage rather than 100%.

Canon’s EOS Remote app

The Canon EOS 6D
worked faultlessly
Available for Android and in temperatures as
Apple iOS, the EOS low as -10°C.
Remote allows you to
shoot or check images
remotely. You can use
your smartphone’s
screen to check images
THE AUTOFOCUS SYSTEM IS FAST AND RESPONSIVE
on the camera, transfer shots to your AND CAN FOCUS EVEN WHEN LIGHT IS DIM
smartphone or delete unwanted frames.
You can also use your smartphone as a
remote ‘LiveView’ screen – perfect when Scene and customisable options. The
using the self-timer. When taking pictures, metering uses the tried-and-tested 63-zone Verdict
you can change exposure settings and dual layer iFCL system found in most recent
adjust autofocus before firing the shutter. models, with the option to select spot, partial Enthusiasts looking for a relatively portable
or centre-weighted average. and affordable full-frame DSLR will want to
The AF system is based around 11 points, take a look at the Canon EOS 6D. It handles
of which only the central point uses the beautifully, is easy to use, has a strong (if
Key features more sensitive cross-type sensor. While unremarkable) range of features and
produces very high quality images. It’s
more than suitable for most needs, it falls
certainly a camera that’s easy to
CMOS SENSOR short of what rivals offer – for instance, the recommend. However, it arrives shortly
The EOS 6D boasts Nikon D600 boasts 39 AF points. Another after the Nikon D600, another ‘affordable’
a newly developed omission is a built-in flash – if you want to full-frame mode that boasts a higher
20.2-megapixel shoot with flash, you’ll need an external resolution, slightly better specification and
full-frame CMOS Canon Speedlite. lower price tag. Both are superb cameras
sensor with a pixel HD video is an area where recent Canon that won’t disappoint, but despite proving
size of 6.55µm. highly capable, the Canon just falls short of
DSLRs have excelled and the EOS 6D
Image resolution is matching the Nikon for all-round appeal.
an impressive continues this trend, with Full HD (1080p)
5472x3648 pixels. recordings offering a wide variety of modes
Handling & ease of use 24/25
and settings, as well as the option to use an
IFCL METERING external microphone. Features 22/25
The 63-zone iFCL
(intelligent Focus Performance 23/25
Color Luminance)
Performance SCORE 23/25
When it comes to image quality, the Canon Value for money 21/25
metering system
uses colour and
luminosity
EOS 6D does not disappoint. Colours are
accurate, contrast is good and image Overall 90/100
information to sharpness is excellent, with in-camera
provide accurate JPEGs delivering very good sharpness and
exposures. Raw files providing even more detail. The general use, we’d not recommend the EOS
AUTOFOCUS dynamic range is excellent, too, as is noise, 6D for shooting moving subjects. While the
The 11 AF sensors which only becomes evident at ISO ratings metering system is very reliable, with the
are arranged in a above 1600. Even at the very high settings, 63-zone pattern taking care of most
diamond noise is well controlled and so, if pushed, you subjects, it’s not foolproof, with high
formation around can shoot at high ISO ratings and expect to contrast and backlit situations leading
the central area of capture decent images. to error and requiring up to a stop of
the frame. The
central AF point
The autofocus system is fast and exposure compensation.
uses a cross-type sensor with sensitivity responsive and can focus even when light is The EOS 6D produces a strong overall
down to -3EV – good enough to be able dim. When tracking subjects, the EOS 6D performance and proves to be a pleasure to
to focus in moonlight! does a fair job, although off-centre subjects use, delivering images of a consistently high
do flit in and out of focus. While fine for quality with relative ease.

120 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013

 Camera test TESTCENTRE

Comparison table: Canon EOS 6D and rival full-frame digital SLRs

MODEL CANON EOS 6D NIKON D600 CANON EOS 5D MK III NIKON D800 SONY ALPHA 99

CONTACT 08705 143723 0800 230 220 08705 143 723 0800 230 220 08705 111999
www.canon.co.uk www.nikon.co.uk www.canon.co.uk www.nikon.co.uk www.sony.co.uk

GUIDE PRICE (RRP) £1,800 (body only) £1,960 (body only) £3,000 (body only) £2,600 (body only) £2,300 (body only)

SENSOR TYPE CMOS (Full-frame) CMOS (FX-format) CMOS (Full-frame) CMOS (FX-format) CMOS (Full-frame)

RESOLUTION 20.2 24.3 22.3 36.3 24.3

(EFFECTIVE PIXELS)

MAXIMUM IMAGE 5472x3648 6016x4016 5760x3840 7360x4912 6016x4000

RESOLUTION

EFFECTIVE FOCAL 1x 1x (FX-Format) 1x 1x 1x

LENGTH INCREASE 1.5x (DX-Format)

NUMBER OF AF POINTS 11 39 (nine cross-type) 61 51 19

MULTI-ZONE METERING 63-zone 2,016-pixel 63-zone 91,000-pixel 1200-zone

NOMINAL ISO RATING 100-25600 100-6400 100-25600 100-6400 100-25600

EXPANDABLE ISO RATING 50-102400 50-25600 50-102400 50-25600 100-25600

SD/SDHC/SDXC SD/SDHC/SDXC SD/SDHC/SDXC &

CARD FORMAT SD (HC/XC) & CF SD (HC/XC) & CF
Memorystick

SHUTTER SPEEDS 1/4000sec-30sec + Bulb 1/4000sec-30sec + Bulb 1/8000sec-30sec + Bulb 1/8000sec-30sec + Bulb 1/8000sec-30sec + Bulb

BUILT-IN FLASH No Yes No Yes No

FLASH SYNC 1/180sec 1/250sec 1/200sec 1/250sec 1/250sec

SHAKE REDUCTION IS lenses only VR lenses only IS lenses only VR lenses only SteadyShot Inside

DUST REDUCTION Yes Y

Yes Yes Yes Y
Yes

CONTINUOUS FRAME RATE 4.5fps 5.5fps 6fps 4fps 6fps

3in Clear View TFT 3.2in (921,000-dot) 3in (1,229,000-dot)

LCD MONITOR 3.2in (1,040,000-dot) 3.2in (921,000-dot)
(1,040,000-dot) articulated

HD VIDEO Yes (Full HD) Yes (Full HD) Yes (Full HD) Yes (Full HD) Yes (Full HD)

POWER SOURCE Lithium-ion Lithium-ion Lithium-ion Lithium-ion Lithium-ion

SIZE (MM) 144.5x110.5x71.2 141x113x82 152x116.4x76.4 146x123x81.5 147x111x78

WEIGHT (GRAMS) 755 850 950 900 812

ISSUE TESTED March 2013 December 2012 August 2012 July

uly 2012 -

TEST RATING (%) 90 93 94 94 -

MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 121

 THE UK’S BIGGEST PHOTO SPECIALIST

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18.0 MEGAPIXELS 18.0 MEGAPIXELS 20.2 MEGAPIXELS

£ 599.99 £ 799.99 £ 2399.99

CANON EOS 7D CANON EOS 5D Mk III CANON EOS M
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Award winning 18MP 61-point autofocus, The power and control of a
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22.3 MEGAPIXELS 22.3 MEGAPIXELS 18.0 MEGAPIXELS

£ 1049.99 £ 2349.99 £ 649.99

BATH CHESTERFIELD GLOUCESTER LONDON (STRAND) PORTSMOUTH TAUNTON
01225 462234 01246 211891 01452 304513 0207 3790200 023 9283 9933 01823 259955
BRISTOL (BALDWIN ST) COLCHESTER GUILDFORD MANCHESTER READING WINCHESTER
0117 929 1935 01206 573444 01483 504040 0161 236 5819 0118 9592149 01962 866203
BRISTOL (BROADMEAD) DERBY LEAMINGTON NORWICH SALISBURY WORCESTER
0117 927 6185 01332 348644 01926 886166 01603 612537 01722 335436 01905 22314
CHELTENHAM EXETER LINCOLN (HIGH ST) NOTTINGHAM SOUTHAMPTON (CIVIC CTR) OPENING TIMES:
01242 519 851 01392 279024 01522 528577 0115 941 7486 023 8033 1720 Monday—Saturday
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28 BRANCHES NATIONWIDE UK MAIL ORDER Next day delivery available from all LCE branches. Postage & Insurance £4.99 for
most items. E. & O. E. Prices quoted include VAT @ 20%. Prices subject to change. Goods subject to availability.

SEARCH OUR USED EQUIPMENT AT:

www.LCEgroup.co.uk
 Digital SLR listings TESTCENTRE

Program, aperture-priority, shutter-priority

Sensor/effectiveresolution(megapixels)

Frames-per-second(atmax.resolution)

Issue date of test (BG = Buyer’s Guide;

otherwise it includes standard zoom)

Scene modes (portrait/action etc)

Guide Price ( *indicates body only,

Other brand-specific modes

HD Video (HD: 1280x720;

Centre-weighted average

Top shutter speed (sec)

Increase to focal length

Flash sync speed (sec)

Depth-of-field preview
Full HD: 1920x1080)
Manufacturer/model

Range of ISO ratings

Pro = Pro field Test)

Dimensions (mm )
Storage card type
LCD size (inches)

Weight (grams)

Test rating (%)

Integral flash
Multi/Spot
Multi-zone
& manual

Full auto

Partial

Spot
Bulb
CanonEOS1100D £460 12.2 1.6x 2.7 SD ■ HD ■ ■ ■ ■ ■ ■ – – ■ 1/4000 100- ■ 1/200 ■ 3 495 129.9x99.7 Aug 11 85
NEW!

(HC&XC) 6400 x77.9

Canon EOS 600D £685 18 1.6x 3 SD/ ■ Full HD ■ ■ ■ ■ ■ ■ ■ – ■ 1/4000 100- ■ 1/200 ■ 3.7 515 133.1x99.5 Jun 11 95
SDHC 12800 x79.7

Canon EOS 650D £800 18 1.6x 3 SD/ ■ Full HD ■ ■ ■ ■ ■ ■ ■ – ■ 1/4000 100- ■ 1/200 ■ 5 575 133.1x99.8 Oct 12 91
SDHC 25600 x78.8

Canon EOS 60D £1,050* 18 1.6x 3 SD/ ■ Full HD ■ ■ ■ ■ ■ ■ ■ – ■ 1/8000 100- ■ 1/250 ■ 5.3 755 144.5x105 Jan 11 88
NEW!

SDHC 12800 x78.6

Canon EOS 7D £1,700* 18 1.6x 3 CF ■ Full HD ■ – – ■ ■ ■ ■ – ■ 1/8000 100- ■ 1/250 ■ 8 820 148.2x110.7 Jan 10 93
NEW!

12800 x73.5

Canon £1,800* 20.2 1x 3.2 SD/ ■ Full HD ■ ■ ■ ■ ■ ■ ■ – ■ 1/4000 50- – 1/180 ■ 4.5 755 144.5x110.5 Mar 13 90
NEW!

EOS 6D SDHC 25600 x71.2

Canon £3,000* 22.3 1x 3.2 CF & SD/ ■ Full HD ■ ■ – – ■ ■ ■ – ■ 1/8000 50- – 1/200 ■ 6 950 152x116.4 Aug 12 94
EOS 5D Mk III SDHC 102400 x76.4

Canon £5,300* 18.1 1x 3.2 2x CF ■ Full HD ■ – – – ■ ■ ■ ■ ■ 1/8000 50- – 1/250 ■ 14 TBC 158x163.6 – –
EOS-1D X 204800 x82.7

Nikon D3200 £600 24.2 1.5x 3 SD/HC/ ■ Full HD ■ ■ ■ – ■ – ■ – ■ 1/4000 100- ■ 1/200 – 4 505 125x96 Sep 12 91
XC 12800 x76.5

Nikon D90 £600* 12.3 1.5x 3 SD/ ■ HD ■ ■ ■ – ■ – ■ – ■ 1/4000 100- ■ 1/200 ■ 4.5 620 132x103 Nov 08 90
NEW!

SDHC 6400 x77

Nikon D5200 £720* 24.1 1.5x 3 SD/ ■ Full HD ■ ■ ■ – ■ – ■ – ■ 1/4000 100- ■ 1/200 – 5 555 129x98 – –
NEW!

SDHC 25600 x78

Nikon D7000 £900* 16.2 1.5x 3 SD/ ■ Full HD ■ – – – ■ – ■ – ■ 1/8000 100- ■ 1/250 ■ 6 690 132 x 105 Feb 11 91
NEW!

SDHC 25600 x 77

Nikon D600 £1,960* 24.3 1x 3.2 SD/ ■ Full HD ■ ■ ■ ■ ■ – ■ – ■ 1/4000 50- ■ 1/200 ■ 5.5 850 141x113 Dec 12 93
NEW!

SDHC 25600 x82

Nikon D700 £1,988* 12.1 1x 3 CF ■ – ■ – – – ■ – ■ – ■ 1/8000 100- ■ 1/250 ■ 5 995 147x123 Oct 08 93
NEW!

25600 x77

Nikon D800 £2,600* 36.3 1x 3.2 CF & SD/ ■ ■ ■ – ■ – ■ – ■ – ■ 1/8000 100- ■ 1/250 ■ 4 1000 146x123 July 94
SDHC 25600 x81.5 12

Nikon D800E £2,900* 36.3 1x 3.2 CF & SD/ ■ ■ ■ – ■ – ■ – ■ – ■ 1/8000 100- ■ 1/250 ■ 4 1000 146x123 – –
SDHC 25600 x81.5

Nikon D4 £5,290* 16.2 1x 3.2 CF & ■ Full HD ■ – – – ■ – ■ – ■ 1/8000 100- – 1/250 ■ 11 1180 160x156.5 – –
XQD 204800 x90.5

Olympus E-5 £1,499* 12.3 2x 3 CF/SD ■ HD ■ ■ ■ ■ ■ ■ 1/8000 100- ■ 1/250 ■ 5 800 142.5x116.5 – –
6400 x74.5

Pentax K-30 £600 16.28 1.5x 3 SD/ ■ Full HD ■ ■ ■ ■ ■ – ■ – ■ 1/6000 100- ■ 1/180 – 6 590 128.5x96.5 Nov 12 91
SDHC 25600 x71.5
PRICES STATED ARE CURRENT GUIDE PRICES INC VAT AT 20%

Pentax K-5 II £800* 16.3 1.5x 3 SD/ ■ Full HD ■ ■ ■ ■ ■ – ■ – ■ 1/8000 80- ■ 1/180 – 7 760 131x97 Jan 13 91
SDHC 51200 x72.5

Sigma SD1Merrill £1,840* 46 1.5x 3 CF ■ – ■ – – – ■ ■ ■ – ■ 1/8000 100- ■ 1/180 ■ 5 700 145.5x113.5 – –

(3x 15.4) 6400 x80

Sony Alpha 37 £420* 16.1 1.5x 2.7 SD/MS ■ Full HD ■ ■ ■ ■ ■ – ■ – ■ 1/4000 100- ■ 1/160 ■ 7 506 124.4x92 – –
16000 x84.7

Sony Alpha 57 £600* 16.1 1.5x 3 SD/MS ■ Full HD ■ ■ ■ ■ ■ – ■ – ■ 1/4000 100- ■ 1/160 ■ 10 543 132.1x97.5 – –
25600 x80.7

Sony Alpha 65 £790* 24.3 1.5x 3 SD/MS ■ Full HD ■ ■ ■ ■ ■ – ■ – ■ 1/4000 100- ■ 1/160 – 10 543 132.1x97.5 Feb 12 92
NEW!

16000 x 80.7

Sony Alpha 77 £1,000* 24.3 1.5x 3 SD/MS ■ Full HD ■ ■ ■ ■ ■ – ■ – ■ 1/8000 100- ■ 1/250 – 12 653 142.6x104 Apr 12 92
NEW!

16000 x 80.9

Sony Alpha 99 £2,485* 24.3 1x 3 SD/MS ■ Full HD ■ ■ ■ ■ ■ – ■ – ■ 1/8000 100- – 1/250 – 10 812 147x111.2 – –
NEW!

25600 x 78.4

MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 123

 MFBEJOH

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 Compact System Camera listings TESTCENTRE

Sensor/effectiveresolution(megapixels)

Issue date of test (BG = Buyers' Guide;

Frames-per-second(atmaxresolution)
Scene modes (portrait/action etc)
Guide Price ( *indicates body only,
otherwise it includes kit lens)

Program, aperture-priority,

HD Video (HD: 1280x720;

shutter-priority & manual

Centre-weighted average

Top shutter speed (sec)

Increase to focal length

Flash sync speed (sec)

Full HD: 1920x1080)

Body weight (grams)

Manufacturer/model

Range of ISO ratings

Pro = Pro field Test)

Integral viewfinder

Dimensions (mm )
Storage card type

LCD size (inches)

Integral flash
Touchscreen
Sensor type

Multi-zone

Test rating
Full auto

Spot
Bulb
CanonEOSM £770 18 1.6x APS-C SD/ 3 ■ – ■ ■ ■ ■ ■ ■ ■ Full HD 1/4000 160- Opt 1/200 4.3 298 108.6x66.5 Feb 13 87%
NEW!

SDHC 25600 x32.3

FujifilmX-E1 £730* 16.3 1.5x APS-C SD/ 2.8 – ■ ■ ■ – – ■ ■ ■ Full HD 1/4000 100- ■ 1/180 6 350 129x74.9 – –
HC/XC 25600 x38.3

FujifilmX-Pro1 £1,250* 16.3 1.5x APS-C SD/ 3 – ■ ■ ■ – – ■ ■ ■ Full HD 1/4000 100- Opt 1/180 6 450 139.5x81.8 Jun 12 89%
HC/XC 25600 x42.5

Nikon1 S1 £480 10.1 2.7x CX-format SD/ 3 – – ■ ■ ■ ■ ■ ■ ■ Full HD 1/16,000 100- ■ 1/60 60 197 102x60.5 – –
NEW!

SDHC 6400 x29.7

Nikon1 J2 £500 10.1 2.7x CX-format SD/ 3 – – ■ ■ ■ ■ ■ ■ ■ Full HD 1/16,000 100- ■ 1/60 60 280 106x61 – –
SDHC 6400 x29.8

Nikon1 J3 £580 14.2 2.7x CX-format SD/ 3 – – ■ ■ ■ ■ ■ ■ ■ Full HD 1/16,000 160- ■ 1/60 60 201 101x60.5 – –
NEW!

SDHC 6400 x28.8

Nikon 1 V2 £800 14.2 2.7x CX-format SD/ 3 – ■ ■ ■ ■ ■ ■ ■ ■ Full HD 1/16,000 100- ■ 1/250 60 338 107.8x81.6 – –
NEW!

SDHC 6400 x45.9

Olympus PEN Mini £500 16.1 2x Four-Thirds SD/ 3 ■ Opt ■ ■ ■ ■ ■ ■ ■ Full HD 1/4000 200- Opt 1/250 8 269 109.8x64.2 – –
E-PM2 SDHC 25600 x33.8

Olympus PEN Lite £600 16.1 2x Four-Thirds SD/ 3 ■ Opt ■ ■ ■ ■ ■ ■ ■ Full HD 1/4000 200- Opt 1/250 8 325 110.5x63.7 – –
E-PL5 SDHC 25600 x38.2

Olympus £680 12.3 2x Four-Thirds SD/ 3 ■ Opt ■ ■ ■ ■ ■ ■ ■ Full HD 1/4000 200- ■ 1/180 3 321 122x69.1 Oct 11 4.5/5
PEN E-P3 SDHC 12800 x34.3

Olympus £1,000* 16.1 2x Four-Thirds SD/ 3 ■ ■ ■ ■ ■ ■ ■ ■ ■ Full HD 1/4000 200- Opt 1/250 4.2 425 121x89.6 – –
OM-DE-M5 HC/XC 25600 x41.9

Panasonic £505 12.1 2x Four-Thirds SD/ 3 ■ – ■ – – ■ ■ ■ ■ Full HD 1/4,000 160- ■ 1/160 4 267 107.7x66.6 – –
Lumix GF5 HC/XC 12800 x36.8

Panasonic £600 16 2x Four-Thirds SD/ 3 ■ Opt ■ ■ ■ ■ ■ ■ ■ Full HD 1/4000 160- ■ 1/160 4.2 272 116.3x67.8 – –
NEW!

Lumix GX1 SDHC 12800 x39.4

Panasonic £760 16 2x Four-Thirds SD/ 3 ■ ■ ■ ■ ■ ■ ■ ■ ■ Full HD 1/4000 160- ■ 1/160 6 346 119.9x83.6 – –
NEW!

Lumix G5 SDHC 12800 x46.7

Panasonic £1,550* 16.05 2x Four-Thirds SD/ 3 ■ ■ ■ ■ – ■ ■ ■ ■ Full HD 1/4000 125- ■ 1/160 6 855 132.9x93.4 – –
Lumix GH3 SDHC 25600 x82

Pentax Q10 £380 12.4 5.5x 1/2.3in SD/ 3 – Opt ■ ■ ■ ■ ■ ■ ■ Full HD 1/8000 100- ■ 1/180 5 200 102x58 – –

PRICES STATED ARE CURRENT GUIDE PRICES INC VAT AT 20%

NEW!

HC/XC 6400 x33.5

Pentax K-01 £680 16.2 1.5x APS-C SD/ 3 – – ■ ■ ■ ■ ■ ■ ■ Full HD 1/4000 100- ■ 1/180 6 561 122x79 – –
NEW!

HC/XC 12800 x58

Samsung NX1000 £600 21.3 1.5x APS-C SD/ 3 – – ■ ■ ■ ■ ■ ■ ■ Full HD 1/4000 100- Opt 1/180 8 222 114x63x37 – –
NEW!

SDHC 12800

Samsung NX210 £750 20.3 1.5x APS-C SD/ 3 – – ■ ■ ■ ■ ■ ■ ■ Full HD 1/4000 100- Opt 1/180 8 222 117x63x37 – –
NEW!

SDHC 12800

Samsung NX20 £900 20.3 1.5x APS-C SD/ 3 – ■ ■ ■ ■ ■ ■ ■ ■ Full HD 1/4000 100- – 1/180 8 341 122x90 – –
SDHC 12800 x40

Samsung NX300 TBC 20.3 1.5x APS-C SD/ 3.31 ■ – ■ ■ ■ ■ ■ ■ ■ Full HD 1/6000 100- Opt 1/180 8.6 280 122x63.7 – –
NEW!

SDHC 25600 x40.7

Sony NEX-F3 £420 16.1 1.5x APS-C SD/MS 3 – – ■ ■ ■ ■ ■ ■ ■ Full HD 1/4000 200- ■ 1/160 5.5 225 117.3x66.6 – –
NEW!

16000 x41.3

Sony NEX-5R £670 16.1 1.5x APS-C SD/MS 3 ■ Opt ■ ■ ■ ■ ■ ■ ■ Full HD 1/4000 100- Opt 1/160 10 276 110.8x58.8 – –
25600 x38.9

Sony NEX-6 £710* 16.1 1.5x APS-C SD/MS 3 – ■ ■ ■ ■ ■ ■ ■ ■ Full HD 1/4000 100- ■ 1/160 10 345 119.9x66.9 – –
25600 x42.6

Sony NEX-7 £1,130 24.3 1.5x APS-C SD/ 3 ■ ■ ■ ■ ■ ■ ■ ■ ■ Full HD 1/4000 100- ■ 1/160 10 415 119.9x66.9 – –
SDHC 16000 x 42.6

More essential reading from the experts at Digital SLR

Photography. Ideal companions for your digital camera

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MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 125

An Aladdin’s Cave of Second-hand Nikon

“This is Grays of Westminster,

the famous Nikon dealer in London
– a perfect example of what a top
class camera shop should be,
run by enthusiastic,
knowledgeable staff.”
– 35mm Cameras
by Brian Long
Published by Crowood Press

40 Churton Street, London SW1V 2LP, England Tel: 020-7828 4925 Fax: 020-7976 5783 Follow us on: @NikonatGrays
info@graysofwestminster.co.uk Mon-Fri 10am - 5:30pm, Sat 10am - 1pm
Find us on Facebook: www.facebook.com/graysofwestminster Visit our website: www.graysofwestminster.co.uk
TESTCENTRE Software test
WORDS: JORDAN BUTTERS

Capture One Pro 7

A credible alternative to other Raw processing options or one to avoid?
We put Phase One’s Capture One Pro 7 through its paces
Price: £193/€229 Full / £58/€69 Upgrade
Version tested: 7.0

RAW PROCESSING is a vital part of any

photographer’s workflow. This stage in the
editing process involves importing your
carefully captured Raw files and entrusting
your chosen software to faithfully interpret
the data and produce the results that you’d
hoped for. The big players are often those
bundled with cameras, such as Canon’s
Digital Photo Professional or Nikon’s
Capture FX, or those included as part of
other image-editing software such as Adobe
Camera Raw as built-in to Adobe Elements,
Lightroom and Photoshop CS. A less-
considered option is Phase One’s Capture
One Pro 7.
Phase One is best known for producing
medium-format cameras and digital backs.
Capture One Pro 7 is its latest Raw
processing package and boasts a features
list that, on paper, puts many of the other
options to shame – offering full retina
display support, an improved catalogue
management system and what Phase One is fumble your way around sufficiently enough
claiming is the world’s most advanced to start processing your images. Having used
image-processing engine. And it’s not just Adobe products for the past few years, it
for medium-format shooters either – the seems a bit alien at first to be processing
software supports all kinds of Raw files on images outside of their familiarity, but I can
the market at present and offers profiles for see how, given time, you could learn to live
even the newest camera models, from with Capture One’s way of working.
compacts right up to medium-format. So what about image quality? I processed
Previous versions of Capture One Pro the same Raw file through Lightroom 4 and
offered no catalogue management but Capture One Pro 7 to compare the
rather palmed that responsibility off onto differences. As there are similar variables and
Phase One’s Media Pro software, available alterations offered by both packages, I
separately. Capture One Pro 7 amalgamates processed the images using each software’s
the two, and does so with moderate default settings. What was instantly
success. Let’s get this out in the open from noticeable was that the Capture One image
the start – Capture One Pro 7 is not as was much sharper than the Lightroom
user-friendly or intuitive as Lightroom 4. image – the Phase One software also
However, many of the features and buttons handled colour fringing incredibly well right
are similar to Adobe’s offerings, meaning off the bat, with no tweaking. Colour
that, without consulting the manual, you can rendering is also a big plus-point in Capture Adobe Lightroom 4

Sharpened using Capture One Pro 7

One’s favour, the new processing engine
handles strong hues incredibly well and
produces colours that are more vibrant;
blues and reds in particular render
impressively well. In comparison, the
Lightroom 4 file looked soft and slightly
washed out. However, what was also
noticeable in the Capture One file was a
sizeable loss of detail in areas of shadow –
the Lightroom image offering a noticeably
wider dynamic range. This was easily
Sharpened using Adobe Lightroom 4
addressed using Capture One’s Film Extra
Shadow setting rather than the default Film
Standard setting, although the argument
could be put forth that, with enough
tweaking, either software has the potential
to emulate the output of the other.
Unfortunately, Capture One’s handling of
noise leaves a lot to be desired. Lightroom’s
handling of high-ISO files is one of the best

128 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013

 Software test TESTCENTRE

Capture One Pro 7

ABOVE: Colours are noticeably more vibrant

on the market and Capture One’s solution
doesn’t come close. Out of the box, noise
reduction is heavy-handed and best turned
down. Even when heavier noise reduction is
needed, Capture One simply doesn’t handle
it well, with detail disappearing the moment
the slider is increased.
While Capture One Pro 7 is leaps and
bounds above previous versions, there are
still flaws compared with other options.
when processed through Capture One Pro 7.
TOP LEFT: Capture One Pro 7’s default
sharpening makes Lightroom images look soft.
LEFT: The layout looks familiar but isn’t quite as
intuitive as you might like.
At £193 for the full version, it isn’t cheap
either – twice the price of Lightroom 4. For
processing a studio shoot, I can see the
appeal; it offers tethered capture for most
cameras including models not supported by
Lightroom and, when working with a small
number of images, it’s easy enough to get
good results. However, for processing larger
batches of images, Lightroom still has the
edge. Hopefully Capture One’s catalogue
management system will improve with time
as, aside from this and its poor noise
handling, it is really quite good.
Verdict
A pricey but impressive alternative for
those shooting in a studio or strictly
low-ISO situations. Image quality is
excellent in some areas and lacking in
others and the catalogue system isn’t
as intuitive as it could be. A worthy
alternative, but I won’t be uninstalling
Lightroom 4 just yet.
Features
Ease of use
Performace
Value for money
Overall

MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 129


GitzoGM5561T Traveler monopod
Carbon-fibre / Six sections / Compact size / Maximum height of 155cm / Integral belt clip
Price: £310 (Guide) / £275 (Street)
Material: Carbon-fibre
Leg sections: Six
Minimum height: 41.5cm
Maximum height: 155.5cm
Weight: 750 grams
Load capacity: 25kg
Website: www.gitzo.co.uk
WHILE TRIPODS MAKE A LOT of sense for
most fields of photography, as a professional
sports photographer, I can’t remember the
last time I used one. In this line of work, one
leg is definitely better than three, with a
monopod proving an invaluable accessory.
I’ve tried various models and brands over the
years and have finally discovered one that
ticks every requirement. Cue the Gitzo
GM5561T monopod.
The GM5561T is a carbon-fibre model in
Gitzo’s highly regarded Traveler range. I’ve
been using it daily over the last four months
and it is without doubt the best monopod
I’ve ever owned. In terms of build quality, it is
extremely robust and thanks to the carbon-
fibre construction, it’s very lightweight, too.
The leg has six sections, with the twist-action
G-Locks being fast to use and very secure
once locked. I have been using it regularly to
support my NIKKOR 400mm f/2.8 and
600mm f/4 telephotos, which weigh 4.6kg
and 5kg respectively, and have never had a
problem with it. The Gitzo extends to a very
Lexar Multi-card 25-in-1 reader
Pop-up design / Hi-speed USB 3.0 / 25 memory card formats / Card-to-card file transfer
Price: £30 (Guide)/ £22 (Street)
System requirements: Windows & Mac
Summary of card formats: CompactFlash; SD
(various); Mobile: microSD & Memory Stick Micro
(M2); Memory Stick (various); xD (various)
Website: www.lexar.com
WHILE IT’S POSSIBLE to transfer images
from camera to computer via a USB lead, the
majority of photographers remove the
memory card from the camera and slot it into
a card reader instead. While this is fast and
convenient, if you have more than one
camera, each using different card formats,
you need either a separate card reader for
each or one that handles multiple card types.
Lexar is one of the world’s leading memory
card manufacturers, so it’s no surprise to see
it offers a range of card readers, with this
being its latest. Finished in white and with a
neat pop-up design that protects the card
slots, it scores well for looks and design. A
blue LED indicates files are being transferred.
It also provides a strong range of features,
Product tests
useful maximum height of 155cm, but in
many respects, it’s how compact it is once
closed that makes it such a success. When
heading on flights for a one-day job, such as
covering a Champions League game, I only
want to travel with carry-on luggage to save
time and hassle. The length of previous
monopods I’ve used meant I needed to send
it through as hold luggage, but this Gitzo fits
neatly with my camera kit inside my carry-on
bag (the excellent Think Tank Airport). It also
has a handy clip on the strap so that I can
with USB 3.0 providing up to 5x faster transfer
than USB 2.0 and support for a claimed 25
card formats. This figure is actually a bit
cheeky, as it refers to variants within a format
– for instance, the support for SD, SDHC and
SDXC is classed as three formats. We’d prefer
to look at it as supporting the five main
formats: SD, CF, xD, microSD (popular with
mobile phones) and Sony Memory Stick,
along with the variants within each.
The reader proves very easy and quick to
use. Our test computer supports USB 2.0, so
expect even faster times if you have USB 3.0
ports. A transfer of 4GB of images from a
Lexar Professional 133x SD card to an Apple
TESTCENTRE
TEST: RICHARD PELHAM, THE SUN’S
CHIEF SPORTS PHOTOGRAPHER
HIGHLY
RATED
Verdict
The Gitzo is at the top end of the price
spectrum, but for professionals
wanting a take-everywhere monopod
that supports heavy telephoto lenses,
it’s the very best.
Overall
hang it off my belt if required.
Admittedly, this Gitzo monopod is very
expensive, but from my point of view, I’m
using a product that works, rather than
spending less for a monopod that isn’t sturdy
or has locks that slip. The word on good kit
spreads quickly in the world of sports
photography and since I started using the
Gitzo, over half a dozen other sports pros
have bought one. If you need a lightweight,
compact and sturdy monopod, this Gitzo is
the one to have.
TEST: DANIEL LEZANO
BEST
BUY
Verdict
The latest Lexar card reader is a
‘futureproof’ option, supporting USB
3.0 and all the main card formats. It’s
fast and well-designed, too. It’s
definitely worth considering if you use
multiple card formats.
Overall
iMac took three minutes, five seconds, while
a 4GB transfer from a Sandisk Extreme
(30MB/sec) card took only two minutes,
13 seconds. A 4GB transfer from a Lexar
Professional 300x UDMA CompactFlash
card was timed at two minutes, 25 seconds.
At £30, the Lexar represents good value if
you use several card formats, especially if you
have computers that support USB 3.0. If not,
look at cheaper options supporting one or
two card formats, including Lexar’s excellent
£18 CF/SD reader.
MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 131
 Voted Best Online Retailer 2002-2012
Best Specialist Retailer 2010-2012
Good Service Award Gold Winner 2011-2012

EOS M NEW! EOS 600D EOS 650D EOS 60D

18.0 18.0 18.0 18.0
megapixels megapixels megapixels megapixels
3.7 fps 5.0 fps 5.3 fps
1080p 1080p 1080p
movie mode movie mode movie mode

NEW! EOS M From £529 600D Body £425 650D Body £535 60D From £675
NEW! EOS M + 18-55mm f3.5-5.6 IS STM 600D + 18-55mm IS II £495 650D + 18-55mm f3.5-5.6 IS II £609 60D Body £675
£529 600D + 18-135mm IS £639 650D + NEW! 18-135mm IS STM £798 60D + 18-55mm f3.5-5.6 IS II £745
NEW! EOS M + 22mm f2.0 + EF Adapter 600D + 18-55mm IS II + 55-250mm IS II 650D + 18-55mm f3.5-5.6 IS II 60D + 18-135mm f3.5-5.6 IS £849
£649 £675 + 55-250mm IS II £808 60D + 17-85mm f4.0-5.6 IS USM £889
Canon Lenses
EF 28mm f1.8 USM ..................................£379
EF 40mm f2.8 STM....................................£166 EOS 6D EOS 7D EOS 5D
EF 50mm f1.2 USM .................................£1169
EF 50mm f1.4 USM ...................................£279 Mark III
EF 50mm f1.8 ............................................£82
EF 85mm f1.2 L II USM..............................£1649
EF 85mm f1.8 USM ..................................£299 18.0 18.0 22.3
EF 100mm f2.8 L IS USM Macro ...............£689 megapixels megapixels megapixels
EF 16-35mm f2.8 L USM MkII ...................£1099 3.7 fps 8.0 fps
SAVE UP TO
6.0 fps
EF 17-40mm f4.0 L USM ...........................£579
EF 17-55 f2.8 IS USM.................................£749 1080p 1080p Full Frame
£1084
EF 17-85mm f4-5.6 IS USM.......................£334 movie mode movie mode CMOS sensor ON RRP
EF 18-135mm IS STM................................£349

From £1649 From £1099 From £2335

EF 18-200mm f3.5-5.6 IS...........................£389
EF 24-70mm f2.8L II USM ........................£1899 NEW! 6D 7D 5D Mk III
EF 24-105mm f4.0 L IS USM......................£822
EF 70-200mm f2.8 L IS USM II...................£1799 NEW! 6D Body £1649 7D Body £1099 5D Mk III Body RRP £2999 £2335
EF 70-200mm f4 L USM ...........................£483 NEW! 6D + 24-105mm £2289 7D + 18-135mm f3.5-5.6 IS £1309 5D Mk III + 24-105mm f4.0L IS USM
EF 70-200mm f2.8L IS II USM....................£1799 7D + 15-85mm f3.5-5.6 IS USM £1559 RRP £3689 £2975
NEW! EF 70-300mm f4.0-5.6 L IS USM.....£1129
EF 100-400mm f4.5-5.6 L IS USM .............£1189 5D Mk III + 24-70mm f2.8 II
RRP £5298 £4214

D3200 D5200 NEW! D7000 D600 NEW!

Black or
Red 24.1 16.2 24.3
megapixels megapixels megapixels
SAVE UP TO
24.2
megapixels
5.0 fps
1080p
6.0 fps
1080p
£310 5.5 fps
Full Frame
4.0 fps movie mode movie mode ON RRP format

D3200 Body £395 NEW! D5200 From £649 D7000 From £642 NEW! D600 From £1450
D3200 + 18-55mm VR From £439 NEW! D5200 + Body £649 D7000 Body RRP £899.99 £642 NEW! D600 Body £1450
D3200 + 18-55mm VR + 55-300mm VR NEW! D5200 + 18-55mm VR £719 D7000 + 18-105mm NEW! D600 Body + 24-85mm £1823
From £713.05 D5100 From £349 RRP £1099.99 £789
Nikon Lenses
35mm f1.8 G AF-S DX.......................................£150
40mm f2.8 AF-S DX Micro ...............................£186
NEW! 50mm f1.8 G ....................................................£155
V2 16-85mm f3.5-5.6 G AF-S ED DX VR ................£439
Black or
18-200mm f3.5-5.6 G ED AF-S DX VR II ...........£584
D4 White NEW! 18-300mm f3.5-5.6 ED VR.....................£679
14.2 55-200mm f4.0-5.6 G AF-S DX VR IF ED...........£241
megapixels 55-300mm f4.5-5.6 G AF-S DX VR....................£279
50mm f1.4 G AF-S ............................................£278
36.3 16.2 60 fps 60mm f2.8 G AF-S ED Micro ............................£404.95
megapixels megapixels
SAVE UP TO SAVE 105mm f2.8 G AF-S VR IF ED Micro .................£629
4.0 fps
£670 11.0 fps
£750 V2 From £749 14-24mm f2.8 G AF-S ED .................................£1319
16-35mm f4.0 G AF-S ED VR ............................£829
Full Frame ON RRP Full Frame ON RRP 18-105mm f3.5-5.6 DX ED VR..........................£204
format format
NEW! V2 + 10-30mm £749 18-300mm f3.5-5.6 ED VR ...............................£679
NEW! V2 + 10-30mm + 30-110mm £929
From £1929 £4249
24-70mm f2.8 G AF-S ED .................................£1239
D800 D4 Body J2 + 10-30mm £399 24-120mm f4 ED VR ........................................£810
28-300mm f3.5-5.6 G AF-S ED VR....................£659
J2 + 10-30mm + 30-110mm £529 70-200mm f2.8 G AF-S ED VR II .......................£1605
D800 Body RRP £2599 £1929 D4 Body RRP £4999 £4249 NEW! S1 + 11-27.5mm £479 70-300mm f4-5.6 VR .......................................£425
D800E Body RRP £2899 £2359

A99 GH3
OM-D E-M5 E-PL5 Silver, NEX-6 NEW! NEW!
Silver or Black Black or White Black
NEW! 16.1 24.3 16.0
megapixels megapixels megapixels

16.1 10.0 fps 6.0 fps 20.0 fps

16.1
megapixels SAVE 1080p Full Frame 1080p
megapixels 8.0 fps £330 movie mode format movie mode

OM-D E-M5 NEW! E-PL5

ON RRP NEW! NEX-6 A99 NEW! GH3
From £992 From £579 X-Pro1 £1099 Body £629 Body £2199 From £1199
OM-D E-M5 Body £992 NEW! E-PL5 + 14-42mm X-Pro 1 RRP £1429 £1099 NEW! NEX-6 + 16-50mm A99 Body £2199 NEW! GH3 Body £1199
OM-D E-M5 £579 NEW! X-E1 Body £669 Power Zoom £729 A99 Body + Battery Grip NEW! GH3 + 14-140mm
+ 12-50mm £1148 NEW! E-PL5 + 14-42mm + NEW! X-E1 + 18-55mm £1049 NEW! NEX-6 + 16-50mm + 2 FREE Batteries worth £1599
40-150mm £729 + 55-210mm £929 £136 £2448 NEW! GH3 + 12-35mm
Fuji X-Mount Lenses: From £839
Olympus Micro FT Lenses: NEW! E-PM2 + 14-42mm
Fujinon 18mm f2.0 R £429
NEX-7 A77 Body £829 £1999
45mm f1.8 ZUIKO £216 £475 NEX-F3 + 18-55mm £349 A77 + 18-135mm £979 LUMIX G Micro FT Lens:
Fujinon 35mm f1.4 R £446 From £469
60mm f1.8 M.ZUIKO ED£429 NEW! E-PM2 + 14-42mm +
Fujinon 60mm f2.4 R £499
NEW! NEX-5R A65 From £649 12-35mm f2.8 £849
75mm f1.8 M.ZUIKO PW EZ 40-150mm £649 A57 From £489 NEW! 35-100mm f2.8 Vario
NEW! Fujinon 18-55mm
£639 f2.8-4.0 £599 A37 From £509 Power O.I.S £949
 01603 208762
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Visit www.wexphotographic.com

Digital Compact Cameras Digital Compact Batteries, Cases and Accessories are available to buy on our website
12.0 12.1 IXUS 125 HS Silver, Red, Blue, Green or Pink
megapixels megapixels .......................................................................£134.99
12.1 5.0x 50.0x IXUS 240 HS Silver, Light Pink, Pink, Blue or Black
megapixels .......................................................................£169
optical zoom optical zoom
5.0x IXUS 500 HS Silver, Red, Blue or Black ..........£184
optical zoom 1080p 1080p IXUS 510 HS White or Black..........................£219.95
movie mode movie mode
1080p PowerShot A3200 Pink, Aqua or Pink ..........£94.95
movie mode PowerShot A4000 Silver, Red, Blue or Pink ..£104
PowerShot SX240 HS Pink, Silver or Black ...£189
PowerShot SX260 HS Red, Grey, Green or Black
.......................................................................£209
NEW! PowerShot SX500 IS Black .................£224
PowerShot G15 Black PowerShot S110 PowerShot SX50 HS Black PowerShot D20 Silver, Blue or Yellow..........£259
£439 Black or White £366 £379 PowerShot G1X ..................... RRP £699 ......£499

AS SEEN ON Coolpix L610 Silver, Red or Black ..................£150

NEW! SAVE SAVE
TV Coolpix L310 Black................. RRP £149.99 .£119
Coolpix P310 Black or White . RRP £249.99 .£194
16.1
£55 megapixels

42.0x
£20 Black, Coolpix S6400 Red, Purple, Silver,
Silver, Red, Blue or Black........................... RRP £199.99 .£159
ON RRP optical zoom ON RRP Green, Coolpix S9300 Red, Silver, Blue or Black
Purple, ................................................ RRP £249.99 .£194
NEW! Coolpix P7700 Coolpix AW100 Black, Orange or Coolpix S3300
S3300 Pink or
RRP £499.99 £389 Camouflage RRP £249.99 £194 RRP £99.99 £79 Blue

SP-720 UZ Silver or Black ....... RRP £229.99 ...£150
NEW! SZ-31 MR Silver or Black ........ RRP £299.99 ...£179
NEW! SZ-15 White, Red, Blue or Black ...........£179
NEW! TG-630 White, Red, Blue or Black.........£169
NEW! TG-830 Blue, Silver, Red or Black..........£249
size sensor
NEW! SH-50 White, Silver or Black.................£249
XZ-2 Black........................................................£419.95
NEW! Tough TG-2 £349
NEW! FinePix XF-1 Black ..............................£279
FinePix F660 EXR Blue, Red, Black or White
.............................................. RRP £174.99 ...£99
FinePix SL300 Black ............. RRP £219.99 ...£145
APS-C FinePix F770 EXR Black, Red, Blue or White
.............................................. RRP £249.99 ...£179
FinePix X100 FinePix HS30 EXR Black ....... RRP £324.99 ...£219
RRP £729.99 FinePix X10 Black................. RRP £399.99 ...£299
£549 FinePix X-S1 EXR.................. RRP £529.99 ...£399 WG-2

NEW! RX1 Black..............................................£2599
W690 Red or Black..........................................£114
WX100 White, Silver or Black .........................£156
H90 Silver or Black ..........................................£166
HX10V White or Black.....................................£134
HX20V Brown or Black....................................£249
Cyber-Shot RX100 Black HX200V Red, White, Black..............................£309
£479
Lumix LZ20 Red or Black ................................. £119.95 12m
Lumix FT20 Red, Orange, Blue or Black........ £120 waterproof
Lumix SZ7 White, Brown or Black.................. £144
Lumix FX90 Black ............................................. £202
Lumix FT4 Black, Silver, Orange or Blue........ £222
Lumix LX7 Black................................................ £349 Optio WG-2 Red or Black RRP . £279.99.........£180
Optio WG-2 GPS Orange
Lumix TZ30 Lumix TZ25 Black or Red ................................. £184.95
Lumix FZ200 Black ........................................... £429 or White ................................... RRP £329.99 .£219.99
£224.95 Optio VS20 Black or White ...... RRP £199.99 .£139

Memory Cards Extreme Pro: SanDisk Extreme Pro: Sony Experience:

95MB/s SDHC
8GB .................................... £27
16GB .................................. £39
32GB .................................. £64
64GB SDXC ......................... £124
SanDisk Extreme:
60MB/s UDMA C/Flash
8GB .................................... £38
16GB .................................. £64.95
32GB .................................. £118
90MB/s UDMA C/Flash
16GB .................................. £99.99
32GB .................................. £179.95
64GB .................................. £319
Eye-Fi Card with Adapter
4GB .................................... £39.95
8GB .................................... £44.95
SanDisk ImageMate USB 3.0
12-in-1 Reader
White.................................. £34.95
30MB/s UHS-I SDHC
4GB ........................................£12 Pixma
Sony XQD™ 8GB ........................................£18 Pro 1
Memory Card:
16GB ......................................£29
125MB/s XQD 32GB ......................................£49
16GB.......................................£109
32GB.......................................£169 Sony Expert: 94MB/s SDHC
8GB ........................................£28
Sony XQD™ Readers: 16GB ......................................£42 NEW! PIXMA Pro 100....................................... £389
XQD Card USB 3.0 Reader......£49 32GB ......................................£89 NEW! PIXMA Pro 10......................................... £549
XQD Express Card Adapter ....£79 64GB ......................................£129 Pixma Pro 1.................................RRP £799 ...... £648

Photo Bags & Rucksacks Rover Pro

AW 45L NEW! F-803
Blue. Hadley Pro RuggedWear
Perfect for Original
carrying a Expedition
Photo Hatchback
8x Canvas
AW 22L Pepper Red, Pro DSLR, DR-465 DL Khaki/Tan
Grip up to Black/Slate Perfect for
Galaxy Blue or Slate Hadley: Canvas/Leather:
Grey. 5 lenses, carrying Khaki/Tan, Black/Tan, Black/Black.
Perfect for carrying outdoor a DSLR, 2 FibreNyte/Leather: Khaki/Tan,
a DSLR, up to 4 equipment Expedition: Lenses, 17” Sage/Tan, Black/Black.
4x........................................ £89 Laptop &
lenses, 11” Macbook NEW! and 15”
Laptop 5x........................................ £129 Accessories Digital.................................. £109 F-5XB RuggedWear........ £89.95
Air & accessories Small ................................... £139
6x........................................ £139 F-5XZ RuggedWear ........ £99.95
NEW! Photo Hatchback AW: NEW! Rover Pro AW: 7x........................................ £150 DR-465 DL ...........................£69.95 Large.................................... £154 F-6 RuggedWear ............ £104.95
16L..........................................£89 35L..................................... £219 8x........................................ £199 DR-466 DL ...........................£79.95 Pro Original.........................£169 F-803 RuggedWear ........ £159.95
22L..........................................£94 45L..................................... £239 9x........................................ £219 DR-467 DL ...........................£89.95 Tripod Strap Black or Tan....£19 F-2 RuggedWear ............ £159.95

Tripods & Heads

Silk Road NEW! Scan this code with a reader
YTL8353 on your Smartphone to
190XPROL • 171cm read all the latest news, SLR
• 164cm Max Height reviews and how-tos Zoom
055XPROB Max Height • 19cm GT2541EX
• 178.5cm • 8.5cm • 164cm Gorillapod:
Min Height Compact.............................£17
Max Height Min Height Max Height
• 10cm NEW! SILK ROAD - 3D Column: • 3cm Hybrid (Integral Head) .......£29.95
Min Height YTL9353 Aluminium ....... £114 Min Height SLR Zoom ...........................£39.95
NEW! 190XPROL............£144.95 YTL9383 Aluminium ....... £124 Focus GP-8 .........................£86
055XDB...........................£102 NEW! 190XPROL + 496RC2 YTL8353 Carbon Fibre .... £229
055XB..............................£113 Compact Ball Head.........£199.95 YTL8354 Carbon Fibre .... £239 Terms and Conditions
055XPROB ......................£114 NEW! 190XPROL + 804RC2 YTL8383 Carbon Fibre .... £259 Series 2: Explorer Tripod All prices incl. VAT at 20%. Prices correct at time of going to
Or visit http://bit.ly/ZpDRMX press. FREE Delivery** available on orders over £150 (based
055CXPRO3 ....................£214.95 3-Way Head ....................£204.95 YTL8384 Carbon Fibre .... £269 GT2541EX ................ £529 on a 4 day delivery service). For orders under £150 the charge
is £2.99** (based on a 4 day delivery service). For Next Working
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CALUMET
Nikon D600 Canon EOS 5D Mark III
Call: 08706 03 03 03
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Visit: stores nationwide

Canon EOS-6D
Take your photography to another The new EOS-5D Mark III Your entry into the full-frame world. A 20.2 megapixel
level with the D600. builds on the DSLR featuring a full-frame
Remarkably lightweight performance of the sensor and compact
FX-format D-SLR with legendary EOS- design. Ideal for
high-resolution 24.3 5D Mark II, portrait
megapixel CMOS offering improved photography and
sensor, ISO 100- speed, greater travel, offering
6400 (extendable) resolution, tight control over
EXPEED 3 image enhanced depth of field and
processing, highly- processing power a large choice of
sensitive 39-point AF and extended creative options for both stills and Full HD wide-angle EF
system and Full HD 1080p movies – providing unparalleled artistic freedom for the lenses. Full HD 1080p resolution
D-movie. Discover the full-frame advantage. most demanding photographers. movies and Ei-Fi for unparalleled
Nikon D600 connectivity.
£1450.00 EOS 5D Mark III Body £2335.00 Canon EOS-6D Body £1649.00
Nikon D600 + 24-85mm Lens EOS 5D + 24-105mm £2975.00 Canon EOS-6D + 24-105mm Lens
£1823.00 EOS 5D + 24-70mm II £4205.00 £2289.00

NIKON DSLRs CANON DSLRs

D800 Body £1929.00 D7000 Body £642.00 EOS 5D Mark II Body £1469.00 EOS 7D Body £1069.00
D4 Body £4249.00 D800E Body £2359.00 D7000 +18-105mm £789.00 EOS-1D X Body £4849.00 EOS 7D +18-135mm £1279.00

D90 Body £439.00 D5200 Body £649.00 D3200 Body £395.00 EOS 60D Body £609.00 EOS 650D Body £529.00 EOS 600D Body £425.00
D90 +18-105mm £565.00 D5200 +18-55mm £699.00 D3200 +18-55mm £439.00 EOS 60D +18-55mm £679.00 EOS 650D +18-55mm £565.00 EOS 600D +18-55mm £489.00

NIKON LENSES DIGITAL CAMERAS CANON LENSES

35mm F1.8G AF-S DX £149.00 EF 50mm F1.4 USM £278.00
50mm F1.4G AF-S £271.00 EF 50mm F1.8 II £81.00
50mm F1.4D AF £239.00 EF-S 60mm F2.8 USM Macro £348.00
50mm F1.8G AF-S £155.00 EF 85mm F1.2L II USM £1648.00
60mm F2.8G AF-S ED Micro £404.00 EF 100mm F2.8L IS USM Macro £688.00
85mm F1.4G AF-S £1189.00 EF 8-15mm F4.0L USM Fisheye £1078.00
105mm F2.8G AF-S VR Micro £609.00 EF 16-35mm F2.8L USM II £1098.00
14-24mm F2.8G AF-S ED £1305.00 EF 17-40mm F4.0L USM £578.00
Nikon Coolpix P7700 £389.00 Nikon 1 V2 10-30mm £749.00 Canon Powershot G1 x £499.00
16-35mm F4.0G AF-S ED VR £829.00 EF 24-70mm F4L IS £1498.00
18-35mm F3.5-4.5D IF ED AF £475.00 EF 24-70mm F2.8L II USM £1898.00
18-200mm F3.5-5.6G AF-S VR II £580.00 EF 24-105mm F4.0L IS USM £821.00
18-300mm F3.5-5.6G AF-S ED VR £685.00 EF 28-135mm F3.5-5.6 IS USM £358.00
24-85mm F3.5-4.5G AF-S ED VR £419.00 EF 70-200mm F2.8L IS USM II £1798.00
24-70mm F2.8G AF-S ED £1235.00 EF 70-200mm F4.0L IS USM £884.00
28-300mm F3.5-5.6G AF-S VR £669.00 EF 70-300mm F4.0-5.6 IS USM £374.00
70-200mm F4.5-5.6G AF-S VR II £1579.00 EF 70-300mm F4.0-5.6L IS USM £1098.00
70-200mm F4G AF-S VR ED £1099.00 Canon Powershot G15 £439.00 Fujifilm X100 £549.00 Fujifilm X10 £299.00 EF 100-400mm F4.5-5.6L IS USM £1188.00

NEW from Calumet PRINTERS STUDIO

Calumet
10" Speedbox
Great value lightweight,
portable softbox that produces
a soft diffused light, perfect for
portraits, events and still life images.
£39.99 Epson Stylus Photo R3000 £585.00
Canon Pixma Pro-10 £545.00

Creo Generators
Professional power packs with precision
performance and high-end specifications
perfect for studios and rental houses.
Calumet Genesis 200 2-head kit £349.99 1200Ws £3199.00
Canon Pixma Pro-1 £649.00 Epson Stylus Pro 3880 £895.00 Calumet Genesis 400 2-head kit £399.99 2400Ws £3999.00

All prices include Vat at 20%. Prices correct at time of going to press. E&OE.
CALUMET seminars
Click: www.calumetseminars.co.uk

MANCHESTER LONDON (Drummond St) 020 7380 1144

0161 274 4455
Be Inspired and Inspire Your Clients
Canon “Off Camera” Flash Tim Wallace
Jayce Clarke The class is also very much aimed at people thinking about starting as
Working our way through 1, 2 and 3 light sets, you will have all the a professional photographer and are looking for a better idea of things
knowledge to make “flash” part of your everyday photography. they need to focus their efforts and planning on to succeed in this
difficult market.
Friday 1 March 10.00-16.00 £75
If you would like to know how Tim has managed to build his business from
scratch in just 6 years to where he is now then this is the seminar for you
Fashion Shoot & Shooting the Video to attend.
Jason Harry Friday 1 March 10.00-15.00 £99
This workshop will enable you to shoot with a model and produce a video Fashion Flair - Complete Fashion
for the photo shoot.
Be Inspired and Go Create Photography Workshop and Post
This workshop will cover: • The role of the stylist, hair and makeup in
theteam • Creating the look and mood for the shoot • Creating the video Tim Wallace Production Workshop
for the shoot • Location vs studio • Lighting options • Review and Aimed squarely at those that are seeking to learn more about photography Glenn Norwood
image selections • Post production and gain a better understanding of light and other elements that turn good This workshop covers an edgy fashion shoot, covering the most
pictures into great pictures. contemporary lighting techniques used today followed by Photoshop Post
Thursday 7 March 10.00-15.00 £99
These talks are not based on just understanding digital camera equipment production course which demonstrates many retouching & compositing
but more looking at the whole discipline of photography.
Master Studio & Mixed Light Saturday 2 March 10.00-15.00 £99
techniques.
Wednesday 13 March 10.00-16.00 £129
Photography for Makeover/Lifestyle
Jason Harry Shooting Interiors - A Master Class Lightroom 4 - The Essentials
Taken from the highly competitive and profitable makeover industry this Richard Southall Glenn Norwood
style of photography works to tight schedules, delivering to the client A master class in interior photography to be undertaken at location (wine This course introduces the Adobe Photoshop Lightroom features for
great images and an experience that often raises self esteem. bar, hotel or night club) near to the Calumet branch. organising, enhancing, and sharing digital images and video clips.
We will work through formats to help organise your time while still
Thursday 7 March 10.00-15.00 £69 Thursday 14 March 10.00-16.00 £79
allowing you flexibility to deliver a personal experience, making the most
of your time.
Saturday 9 March 10.00-15.00 £85

EDINBURGH GLASGOW
0131 553 9979 0141 353 0875
BELFAST
028 90 777 770 Create Video with your DSLR - Landscape Photography
One Light- Photography Workshop DAY ONE Lorentz Gullachsen
Jason Harry With a series of presentations and demonstrations Lorentz will give you
and Post Production Workshop This workshop will be both practical and discussion about how to produce
an insight into the world of an advertising and fine art landscape
photographer. This seminar will help you will understand the process
Glenn Norwood high quality video with your HD ready DSLR. of shooting landscapes for fine art as well as advertising and editorial
This workshop shows how to create many classical and contemporary Topics covered: • Setting your camera up, to be video ready • Ideal commissions.
lighting techniques using simply one light. This course will demonstrate settings • Deciding the frame rate and shutter speed • ISO selection
lighting portraits with both studio strobes and speedlights and will be • Focusing, thinking ahead • Lenses to use, my go to lens selection Tuesday 5 March 10.00-16.00 £89
followed by a post production workshop to demonstrate how best to • Making the best quality sound • Video trend’s creating the look.
produce your images. Wednesday 13 March 10.00-15.00 £85 Master Studio & Mixed Light
Tuesday 5 March 10.30-16.00 £75 Photography for Makeover/Lifestyle
Create Video with your DSLR to a Jason Harry
Travel Photography - pay for your Commercial Quality - DAY TWO Taken from the highly competitive and profitable makeover industry this
holiday with your travel images Jason Harry
style of photography works to tight schedules, delivering to the client
great images and an experience that often raises self esteem.
Lorentz Gullachsen This is a more advanced workshop allowing you to build on the basics We will work through formats to help organise your time while still
The session shall comprise of: • A case study of an international from day one. allowing you flexibility to deliver a personal experience, making the most
commission • A shooting day - A typical day on location • What the You will be shown how to produce videos of commercial quality. of your time.
market wants - shooting the experience, technical specification, release
for publication - what subjects sell and who buys travel images. Topics covered will include: • Camera stability on the move • Shoot for Saturday 16 March 10.00-15.00 £85
• Good shooting practice - what kit to use, essential items for a travel output against using profiles • Editing Process • Output your project for
photographer • Location research - what times are best to shoot YouTube, iPad, DVD authoring. • Light shaping tools • Choosing
additional light sources, LED, tungsten
The day will provide you with an insight into producing travel images that
will improve your portfolio and possibly help pay for your holiday or even Thursday 14 March 10.00-15.00 £85
launch a career as a travel photographer.
Tuesday 12 March 11.00-16.00 £79 Master Studio & Mixed Light BIRMINGHAM
Photography for Makeover/Lifestyle 0121 326 7636
Location Portrait Photography Jason Harry
Lorentz Gullachsen Taken from the highly competitive and profitable makeover industry this
Fashion Flair - Complete Fashion
Photographing people on location is particularly challenging as it has so
many elements that require careful consideration, but often the subjects
style of photography works to tight schedules, delivering to the client Photography Workshop and Post
great images and an experience that often raises self esteem.
are only available for a short time. So a great understanding of the craft, We will work through formats to help organise your time while still
Production Workshop
combined with the ability to adapt quickly are just part of the skill set you allowing you flexibility to deliver a personal experience, making the most Glenn Norwood
require. of your time. This workshop covers an edgy fashion shoot, covering the most
Portraits on Location is a seminar designed to inform how contemporary contemporary lighting techniques used today followed by Photoshop Post
Friday 15 March 10.00-15.00 £85
photography has moved into a new era of with digital capture and new production course which demonstrates many retouching & compositing
lighting technology. techniques.
Wednesday 13 March 10.00-16.00 £79 One Light- Photography and Post Wednesday 6 March 10.00-16.00 £129
Production Workshop
Glen Norwood Lightroom 4 - The Essentials
This workshop shows how to create many classical and contemporary Glenn Norwood
lighting techniques using simply one light. This course will demonstrate This course introduces the Adobe Photoshop Lightroom features for
lighting portraits with both studio strobes and speedlights and will be organising, enhancing, and sharing digital images and video clips.
followed by a post production workshop to demonstrate how best to Thursday 7 March 10.00-16.00 £79
produce your images.
Wednesday 20 March 10.00-16.00 £99 One Light - Photography and Post
Production Workshop
Glenn Norwood
This course will demonstrate lighting portraits with both studio strobes
and speedlights and will be followed by a post production workshop.
BRISTOL Friday 8 March 10.00-16.00 £99
0117 942 2000

An Introduction to Night Creative Fashion and Beauty

Photography Lighting Workshop
Richard Southall Jon Gray
Using a top professional model, Jon will be demonstrating several
An evenings walking tour the local area where the participants will gain
different creative styles of lighting techniques for commercial and
a basic understanding of the techniques required for successful night
editorial fashion and beauty images.
photography in a city environment. A digital SLR camera and tripod will
be essential. Friday 8 March 10.00-17.00 £149
Tuesday 19 March 18.30 -21.00 £65

All prices include Vat at 20%. Prices correct at time of going to press. E&OE.
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 SRB
Photographic
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Full ND Set .................£34.95
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Black and White Kits...£39.95
Individual ND .............£12.50
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Hitech 10 Stop............£60.00
Filter Holders.................. £5.00
Adaptor Rings................. £4.00
Our ND Sets are listed among the top
10 Landscape Accessories in ‘Amateur
Photographer’ magazine and have been
given a five star rating.
Much more on
www.srb-griturn.com
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Foundation Kit .........£59.00
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CANON AT MIFSUDS
EOS 1DX body
£4849
EOS 5D MKIII body
£2315
Part
Exchange
Welcome

CANON AT MIFSUDS
EOS 6D EOS 60D EOS 650D
Body only Body only Body only
£1599 £637 £515
with 24-105mm f4 L £2277 with 18-55mm IS £799 with 18-55mm IS II £569
300mm 400mm 500mm with 18-135mm STM £829
f2.8 LII f2.8 LII f4 LII IS Please visit our website for more Canon lenses
IS USM £4977 IS USM £8199 USM £7699 & accessories. Correct 28/01/13. E&OE.

WANTED! WANTED!
Why not help fund your next purchase by letting us
PART EXCHANGE your good quality equipment. We also
BUY FOR CASH and SELL ON COMMISSION.
Collection can be arranged - please email details of equipment to info@mifsuds.com.
Most types of cameras, lenses, studio equipment etc from all brands considered.
In particular . . . NIKON 200mm f2 ~ NIKON 200-400mm ~ NIKON 300mm f2.8
NIKON 400mm f2.8 ~ Nikon 500mm f4 ~ NIKON 600mm f4
VR and AFS versions of these lenses. Please email with details.

Mail Order : PHONE LINES OPEN

01803 852400 MON -FRI 8am - 7pm

Email - info@mifsuds.com
SAT 9am - 5pm,
SUN 10am - 1pm.
,

U.K. Stock www.mifsuds.com SHOP OPEN

MON -SAT 9am - 5pm,
Only 27-29, Bolton Street, Brixham. Devon. TQ5 9BZ. SUN 10am - 1pm.
Photo © Paul Rudman

Mail Order : PHONE LINES OPEN

01803 852400
info@mifsuds.com
Email -
MON -FRI 8am - 7pm,
SAT 9am - 5pm,
SUN 10am - 1pm.
U.K. Stock www.mifsuds.com SHOP OPEN

FAMILY RUN SINCE 1954

Only 27-29, Bolton Street, Brixham. Devon. TQ
TQ5 9BZ.
MON -SAT 9am - 5pm,
SUN 10am - 1pm.

MIFSUDS ARE CANON PROFESSIONAL STOCKISTS

U.K.
Stock
ONLY

EOS DSLRS COMPACT CAMERAS
1DX body £4849 G1X ........£479 G15 . . . . £439
SX50.......£369
5D MKIII body. . £2315 EF-S NON FULL FRAME LENSES
5D MKIII + 24-105 IS . . . £2959 10-22 F3.5/4.5 USM . . . . . . £614
15-85 F3.5/5.6 IS U no box £499
6D body £1599 17-55 F2.8 IS USM . . . . . . . . £769
6D + 24-105 17-85 f4/5.6 IS USM unboxed £379
f4 L £2277 18-55 F3.5/5.6 IS unboxed. . £99
18-135 F3.5/5.6 IS STM. . . £389
7D body . . . . . . . . . . . . . £1066 18-135 F3.5/5.6 IS U no box £279
7D + 15-85 IS . . . . . . . . . £1589 18-200 F3.5/5.6 . . . . . . . . . £419
7D + 18-135 IS . . . . . . . . £1329 55-250 F4/5.6 IS II . . . . . . . £239
60D body . . . . . . . . £637 60 F2.8 Macro USM . . . . . . £339
60D + 18-55 IS £799 EF LENSES
650D body £515 8-15 F4 L USM Fisheye . . £1047
650D + 18-55 14 F2.8 LII . . . . . . . . . . . . £1777
16-35 F2.8 MKII L USM . . £1077
IS II £569 17 F4 TSE L . . . . . . . . . . . £1847
650D + 18-135 IS STM . £829 17-40 F4 USM L. . . . . . . . . £579
600D + 18-135 IS . . . . . . £599 20 F2.8 USM . . . . . . . . . . . £377
24 F1.4 L II USM . . . . . . . £1189
24 F2.8 IS U . . . . . . . . . . . . £577
24 F2.8 . . . . . . . . . . . . . . . . £347
24 F3.5 L TSE MKII . . . . . £1599
24-70 F2.8 L II USM. . . . . . £1689
24-105 F4 L IS USM unboxed . £799
28 F1.8 USM . . . . . . . . . . . . . . . £354
28 F2.8 IS U . . . . . . . . . . . . £569
35 F1.4 L USM . . . . . . . . . £1067
35 F2 IS USM. . . . . . . . . . . £799
35 F2 . . . . . . . . . . . . . . . . . £189
40 F2.8 . . . . . . . . . . . . . . . . £159
50 F1.2 L USM . . . . . . . . . £1189
50 F1.4 U . . . . . . . . . . . . . . £269
50 F1.8 II . . . . . . . . . . . . . . . £87
65 F2.8 MPE . . . . . . . . . . . £799
70-200 F2.8 IS USM LII . . . £1749
70-200 F2.8 non IS L USM . . . . £939
70-200 F4 L IS USM. . . . . . £869
70-200 F4 L USM . . . . . . . . £479
70-300 F4/5.6 L IS USM. . . £1077
70-300 F4.5/5.6 IS USM . . £419
85 F1.2 L II . . . . . . . . . . . . £1599
85 F1.8 USM . . . . . . . . . . . £279
100 F2.8 IS L USM macro . £659
100 F2.8 Macro USM . . . . . . . .£399
100-400 F4.5/5.6 IS L USM £1177
135 F2 L USM . . . . . . . . . . £889
180 F3.5 L USM Macro . . £1129
200 F2.8 II L USM . . . . . . . £585
300 F2.8 LII IS USM. . . . . £4977
300 F4 L IS USM . . . . . . . £1069
400 F2.8 IS L II USM . . . . £8199
400 F5.6 L USM . . . . . . . . £1039
500 F4 IS LII USM . . . . . . £7699
600 F4 IS LII USM . . . . . . £10044
Ext tube 12II. . . . . . . . . . . . . . . £79
Ext tube 25II . . . . . . . . . . . . . £129
1.4x III or 2x III converter ea £369
FLASH & ACCESSORIES
Angle finder C. . . . . . . . . . . £219
BG-E5 grip (450D) . . . . . . . . £107
BG-E6 grip (5D MKII) . . . . . . £187
BG-E7 grip (7D) . . . . . . . . . . £139
BG-E8 grip (550D) . . . . . . . . .£115
BG-E9 grip (60D) . . . . . . . . £129
BG-E11 grip (5D MKIII) . . . £277
BG-E13 grip (6D) . . . . . . . . £249
LP-E4 . . . £159 LP-E6 . . . . £80
MR 14EX Ringlight . . . . . . . £469
MT-24EX. . . . . . . . . . . . . . . £789
270 EX II . . . . . . . . . . . . . . . . . . £139
320EX . . . . . . . . . . . . . . . . . . . . £185
430 EX II . . . . . . . . . . . . . . . . . . £199
600EX RT . . . . . . . . . . . . . . . . . £459
CP-E4 compact battery pack . . £149
Off camera shoe cord OC-E3. . .£59
LC5 wireless set . . . . . . . . . £449
GP-E2 GPS receiver . . . . . £299
RS-80N3. . . . . . . . . . . . . . . . £49
ST-E3 Transmitter . . . . . . . £309
ST-E2 Transmitter . . . . . . . £239
TC-80N3 . . . . . . . . . . . . . . . £149

MIFSUDS ARE NIKON PROFESSIONAL DEALERS

U.K.
Stock
ONLY
DIGITAL SLRS COMPACT CAMERAS 16-35 F4 AFS VR . . . . . . . . £839 70-300 F4.5/5.6 VR . . . . . . £419 MBD11 Grip (D7000) . . . . . £229
D4 body £4199 P5200 .....£479 AW110. . £395
P9400 .....£299 S9500 . . £359
20 F2.8 AF-D . . . . . . . . . . . £459
24 F1.4 AFS G . . . . . . . . . £1589
80-400 F4.5/5.6 VR AFD . £1377
85 F1.4 AFS G . . . . . . . . . £1175
MBD10 Grip (D300/D700) . £219
DR-5/DR-6 angle finder each £229
D800 body . . . . £1889 DIGITAL ONLY LENSES 24 F2.8 AF-D . . . . . . . . . . . £335 85 F1.8 AFS G . . . . . . . . . . £377 SBR200 wireless rem S/Lite £199
D800E body . . . £2349 10.5 F2.8 DX . . . . . . . . . . . £549 24 F3.5 PCE. . . . . . . . . . . £1449 105 F2.8 VR macro . . . . . . £629 SBR1 ringflash . . . . . . . . . . £389
10-24 F3.5/4.5 G AFS DX . £629 24-70 F2.8 G ED AFS . . . £1219 200 F2 G VR II . . . . . . . . . £3877 SBR1CI ringflash/command £539
D600 body £1439 12-24 F4 DX . . . . . . . . . . . . £859 24-85 F3.5/4.5 G ED VR . . £419 200-400 F4 VR II . . . . . . . £4997 SB-700 . . . . . . . . . . . . . . . . £229
D600 + 16-85 F3.5/5.6 AFS VR DX £439 24-120 F4 G ED VR . . . . . . £819 300 F2.8 AFS G VR II . . . . £4189 SB-910 . . . . . . . . . . . . . . . . £319
24-85 G £1849 17-55 F2.8 DX . . . . . . . . . £1099 28 F1.8 AF . . . . . . . . . . . . . £565 300 F4 AF-S . . . . . . . . . . . £1049 SC-28 . . . . £59 SC-29 . . . . £69
18-105 F/3.5-5.6G ED VR . . £197 28 F2.8 AFD . . . . . . . . . . . . £249 400 F2.8 AFS VR II . . . . . £6555 SU-800 flash slave no box . £199
D7000 body . . . . £629 18-300 F3.5/5.6 G ED VR DX £689 28-300 F3.5/5.6 G ED VR . £666 500 F4 AFS VR II . . . . . . . £5899 MC36 . . . . . . . . . . . . . . . . . £129
D7000 + 35 F1.8 G DX . . . . . . . . . . . £149 35 F1.4 G . . . . . . . . . . . . . £1477 600 F4 AFS VR II . . . . . . . £7199 MC30 . . . . . . . . . . . . . . . . . . £69
18-105 VR . . . . . £789 40 F2.8 AFS G DX . . . . . . . £189 35 F2 AF-D . . . . . . . . . . . . . £289 TC14EII converter . . . . . . . £319 EN-EL3E . .£67 ENEL4A. . . £89
55-300 F4.5/5.6 G VR DX . £289 50 F1.4 AF-S G . . . . . . . . . £277 TC17EII converter . . . . . . . £319 EN-EL15 . . . . . . . . . . . . . . . . £59
D5200 body £649 85 F3.5 G VR DX . . . . . . . . £379 50 F1.8 G . . . . . . . . . . . . . . £169 TC20EIII converter . . . . . . . £369 EN-EL18 . . . . . . . . . . . . . . . . £99
D5200 + 18-55 VR £699 LENSES 50 F1.8 AF-D . . . . . . . . . . . £129 FLASH & ACCESSORIES ME-1 Stereo Microphone . . . £87
14 F2.8 AFD . . . . . . . . . . . . £999 60 F2.8 AFS . . . . . . . . . . . . £397 GP-1. . . . . . . . . . . . . . . . . . £199 WT-5 Wireless trans for D4 £399
D3200 body . . . . . . . . . . . £384 14-24 F2.8 G ED AF-S . . . £1337 70-200 F2.8 VRII . . . . . . . £1579 MBD14 (D600) . . . . . . . . . . £239 WU-1a wireless adapt D3200 £55
D3200 + 18-55 VR . . . . . . £429 16 F2.8 AF-D Fisheye . . . . £699 70-200 F4 G ED VR . . . . . £1089 MBD12 Grip (D800/E) . . . . £289 NX Capture 2 . . . . . . . . . . . £169

WANTED
We want your cameras, lenses & studio equipment

U.K.
Stock
ONLY
MIFSUDS ARE SIGMA PRO LENS STOCKISTS
3 YEAR WARRANTY ALL LENSES
8-16 F4.5/5.6 DC HSM NAF only £479
10-20 F3.5 EX DC HSM. . . . . . .£459
10-20 F4/5.6 EX DC CAF/NAF .£369
12-24 F4.5/5.6 EX DG mac MKII £669
17-50 F2.8 EX DC OS HSM . . .£499
17-70 F2.8/4.5 DC OS . . . . . . . .£299
18-50 F2.8/4 DC OS . . . . . . . . .£169
18-200 F3.5/6.3 DC OS II . . . . .£279
18-250 F3.5/6.3 DC OS Macro .£399
18-250 F3.5/6.3 DC OS NAF only £299
24-70 F2.8 EX IF DG HSM. . . . .£589
30 F1.4 EX DC HSM NAF only .£299
35 F1.4 DG HSM . . . . . . . . . . . .£769
50 F1.4 EX DG . . . . . . . . . . . . . .£365
50 F2.8 EX DG . . . . . . . . . . . . .£249
50-150 F2.8 DC MKII . . . . . . . . .£799
50-500 F4/5.6 OS HSM CAF/NAF . .£999
70-200 F2.8 EX DG OS . . . . . . .£879
70-300 4.5/5.6 APO DG mac . . .£149
85 F1.4 EX DG HSM . . . . . . . . .£669
105 F2.8 EX DG OS. . . . . . . . . . £549
120-300 F2.8 EX DG OS CAF/NAF £1649
120-400 F4.5/5.6 APO OS NAF only £629
150 F2.8 EX DG OS. . . . . . . . . .£699
150-500 F5/6.3 DG OS CAF/NAF . £749
180 F2.8 EX DG OS. . . . . . . . .£1299
1.4x EX DG converter . . . . . . . .£189
2x EX DG converter . . . . . . . . . .£219
EM140DG macro ringflash . . . . .£349
WE PART EXCHANGE
BUY FOR CASH OR COMMISSION SALE
Collection can be arranged.
contact us at info@mifsuds.com or ring 01803 852400
Micro 4/3rds system
GH3 body
only £1199
GH3 + 12-35mm .........£1999
GH3 + 14-140mm .......£1589
G5 + 14-42mm X ..........£669
G5 + 14-42mm..............£549
G5 body ........................£519
GX1 + 14-42mm X........£539
GX1 + 14-42mm ...........£429
GX1 body......................£349
GF5 + 14-42mm X ........£479
GF5 + 14-42mm............£379
GF5 body......................£319
7-14mm F4 ..................... £949
8mm F3.5 ....................... £499
12-35mm f2.8 ................. £877
14-42mm F3.5/5.6 X System Cameras & Lenses
Power OIS X................... £350
NEW - DUE MARCH 18mm f2 XF ..... £419
14-140mm F4/5.8 OIS.... £579
20mm F1.7 ..................... £269 X100s .............£1129 18-55mm
25mm F1.4 DG............... £439 X20 .................. £539 f2.8/4 OIS XF... £599
35-100 F2.8 Power OIS X £999 Pre-order The 35mm f1.4 XF .. £419
45mm F2.8 OIS .............. £549 Above NOW 60mm f2.4 XF .. £459
45-150 F4/5.6 OIS.......... £259
45-175mm F4/5.6 X-Pro 1 body.. £1099 XFXR20 flash .. £189
Power OIS X................... £319 X-E1 + 18-55 EF42 flash ....... £199
45-200mm F4/5.6 OIS.... £269 f2.8/4 OIS ........ £999 X-100 Limited Edition
100-300mm F4/5.6 OIS.. £419 X-E1 body........ £629 Black Kit........... £719
LFV2 Viewfinder ............. £199
FL220E Flash ..................£115
14mm f2.8 XF .. £769 X-10 compact.....£319
FL360E Flash ................. £187
FL500E Flash ................. £347 Tamron Lenses
LX7 Quality Compact ..... £349
FZ-200 Camera .............. £439
18-270mm f3.5/6.3 Di II VC PZD. £389
FZ-150 Camera .............. £269 60mm f2 Di macro NAF ................£299
TZ-30 Compact Camera £239 90mm f2.8 Di macro....................£339

Family Run Pro Dealership with Friendly, Knowledgeable Staff. Open 7 days per week. Prices inc VAT. P&P Extra. E&OE.
We are happy to reserve new & used stock for customers planning to visit. Prices are based on current stock at time of compilation January 29th 2013.
Prices are subject to change without notice so please check availability to avoid disappointment. We keep the website updated daily (Mon-Fri) - latest prices on-line. E&OE.
Photo © Paul Rudman
QUALITY USED EQUIPMENT. See website for full list. Call us for condition and to buy secondhand stock. 3 Month warranty on most secondhand.
5x4 USED
Schneider Sup Ang 90 F8 £299
Polaroid back.................. £49
Toyo 6x7 RFH............... £129
Toyo quick roll slider..... £199
Fidelity double dark sl ea £15
BRONICA RF USED
45 F4 + viewfinder box. £349
BRONICA ETRS 645 USED
ETRSi + 75 F2.8 E + 120£199
40 F4 PE ...................... £179
50 F2.8 E........................ £99
50 F2.8 PE ................... £199
75 F2.8 E II................... £129
100 F4 PE .................... £249
105 F4.5 PE macro ...... £399
135 F4 PE .................... £279
150 F3.5 E...................... £89
150 F3.5 PE M- Box..... £179
200 F4.5 PE ................. £179
500 F8 EII..................... £499
2x extender E ............... £139
E14 ext tube ................... £49
120 RFH ......................... £69
Polaroid Back ................. £29
Rotary prism ................. £149
AEIII Prism ................... £179
AEII Prism ...................... £89
WLF Boxed..................... £59
Plain Prism E.................. £39
Angle viewfinder E........ £179
Winder ............................ £79
M bracket........................ £69
Speed Grip E.................. £49
Metz SCA 386 ................ £49
BRONICA SQ 6x6 USED
SQA + 150 + 120 RFH . £249
120 RFH ......................... £79
40 F4 PS ...................... £449
50 F3.5 PS ................... £199
65 F4 PS Boxed ........... £149
110 F4 PS macro... £279/399
135 F4 PS M- ............... £249
150 F3.5 S...................... £79
150 F4 PS .................... £149
150 F4 PS M- Box........ £199
200 F4.5 PS M- box ..... £199
2x PS converter M- ...... £299
S36 ext tube ................... £89
Auto bellows S box....... £199
Polaroid back.................. £49
135N back ...................... £99
120J 645 back ................ £69
Waist level finder ............ £69
Plain Prism S Boxed ...... £99
AE Prism Early ............. £149
ME Prism Finder........... £129
Metz SCA 386 ................ £49
Lens Hood 65-80............ £20
Pro shade S box............. £49
Motorwinder.................. £199
Speed grip S................... £99
BRONICA GS 6x7 USED
150 F4 PG M-............... £149
G18 Ext Tube box .......... £79
Polaroid Back ................. £39
Speed Grip .................... £89
AE Prism Finder G ....... £129
AE Rotary Prism........... £199
CANON DIGITAL AF USED
1DS MKIII body M- box £2299
1D MKIV body Exc++. £2699
1D MKIII body............... £999
1D MKII body......... £399/499
7D body box .......... £699/749
5D MKII body box......... £999
5D MK I body ........ £499/649
60D body M- box.......... £549
50D body.........................£399
40D body.........................£299
30D body.........................£199
20D body.........................£179
550D body.......................£329
1100D body.....................£219
1000D body box .............£199
BG-E1 ...............................£29
BG-E2N.............................£69
BG-E3 ...............................£39
BG-ED3.............................£39
BG-E4 (5D MKI) ...............£69
BG-E5 ...............................£69
BG-E6 box (5D MKII) .......£99
BG-E7 box ........................£99
BG-E8 ...............................£89
G10 compact box ...........£199
SX1 IS compact M- box .£149
S3 IS compact ..................£69
CANON AF USED
EOS 1n RS body.......... £399
EOS 3 + PB-E2 ............ £169
EOS 3 body ............. £79/199
EOS 5 body .................... £39
EOS 300 body ................ £20
EOS 500 body ................ £20
EOS 500N body ............. £20
EOS 50E body................ £20
EOS 100 body ................ £20
10-22 F3.5/4.5 EFS ...... £399
15-85 F3.5/4.5 IS U...... £449
16-35 F2.8 L MKI.......... £729
17-40 F4 L box ............. £479
17-85 F4/5.6 IS U......... £199
18-55 F3.5/5.6 IS EFS ... £99
18-55 F3.5/5.6 EFS............£69
18-200 F3.5/5.6 IS box ... £349
20-35 F3.5/4.5 U ............. £199
24 F1.4 L MKII box.........£1199
24 F1.4 L MKI M- box.... £849
24 F3.5 L TSE M-..... £699/749
Visit our clearance site on ebay http://stores.ebay.co.uk/Mifsuds-Photographic
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).
Subscribe to our email newsletter - be amongst the first to learn about
special offers and promotions - ask us for details.
Prices correct when compiled January 29th 2013. E&OE.
24-70 F2.8 LII M-........... £1499
24-105 F4 L ............. £649/699
28 F1.8 U M- ................... £299
28-90 F4/5.6 UII .................£89
28-135 F4.5/5.6............... £179
28-300 F3.5/5.6 L U IS . £1699
35-70 F3.5/4.5 ....................£69
35-135 F4/5.6 U ............. £99
55-250 F4/5.6 IS........... £139
60 F2.8 EFS box .......... £249
70-200 F2.8 L IS II M-£1549
70-200 F2.8 L IS MKI . £1099
70-200 F4 IS L M- ........ £699
70-300 F4/5.6 IS U....... £299
75-300 F4.5/5.6 U .......... £99
80-200 F4.5/5.l6 II .......... £49
85 F 1.2 L U M- .......... £1349
100 F2.8 IS L U Mint ...........£579
100 F2.8 U box............. £329
100-400 F4.5/5.6 L M- box..£1099
100-400 F4.5/5.6 L ....... £999
180 F3.5 L box ............. £879
300 F2.8 IS U L . £2999/3299
300 F4 IS U L ...........£699/749
400 F5.6 L......................£899
500 F4 IS L U...............£4999
1.4x conv MKII ...............£279
1.4x conv MKI ................£169
2x ext MKII .....................£199
2x extender MKI.............£169
Teleplus 2x DG conv ...... £89
Kenko ext tube set DG ..£110
NCE2 charger............... £149
BP-200 grip .................... £20
BP-50 grip ...................... £29
PB-E2 ............................. £79
LC-5 kit ......................... £179
LC-4 kit ..........................£119
SIGMA CAF USED
12-24 F4.5/5.6 EX DG .... £399
17-35 F2.8/4 EX...............£119
17-70 F2.8/4 DC OS....... £239
18-50 F2.8 EX DC mac .. £239
18-50 F2.8 EX DC........... £199
18-125 F38/5.6 DC OS... £229
18-125 F38/5.6 DC ............£99
24-70 F2.8 DG HSM Mint£499
24-70 F2.8 EX DG .......... £349
50 F1.4 EX DC................ £299
50-500 F4/6.3 EX DG ..... £599
70-300 F4/5.6 APO DG mac..£99
70-300 F4/5.6 DG mac......£69
105 F2.8 EX DG.............£319
120-300 F2.8 EX
DG HSM OS.....................£1299
120-300 F2.8 EX DG HSM £849
135-400 F4.5/5.6............. £199
150-500 F5/6.3 OS box .. £599
170-500 F5/6.3................ £399
1.4x EX DG conv M-....... £149
2x EX DG conv M-.......... £159
OTHER CAF USED
TAM 17-50 F2.8 XR VC.. £289
TAM 17-50 F2.8 XR DiII . £249
TAM 28-270 VC DiII PZD £329
TAM 55-200 F4/5.6 ............£49
TAM 70-300 Di VC M- .... £239
TAM 70-300 F4/5.6 ............£79
TAM 90 F2.8.......... £219/269
VIV 19-35 F3.5/4.5 ......... £69
CANON FLASH USED
270EX M- ....................... £79
380EX............................. £69
420EX............................. £89
430EX box.................... £139
580EX box.................... £239
MR-14EX ...................... £349
ML-3 ring not digital........ £89
CPE-4 batt pack ............. £89
CPE-2 batt pack ............. £69
Sigma EM140G ring ..... £199
CANON MF FD USED
T90 Body TO CLEAR ..... £49
A1 body ................... £79/179
AE1-P chrome body ....... £69
AV1 chr body .................. £49
20 F2.8 exc++ .............. £249
24 F2.8 ........................... £79
35 F2 ............................ £169
35-70 F3.5/4.5 ................ £39
35-105 F3.5 .................... £99
35-105 F3.5/4.5 .............. £79
50 F1.8 ........................... £20
50 F3.5 Macro ................ £99
50 F3.5 Mac + Tube ..... £149
70-210 F4 ....................... £69
100 F2.8 ......................... £99
100 F4 Macro + tube.... £299
100-300 F5.6 .................. £99
135 F3.5 ......................... £29
200 F4 ............................ £49
2X A Extender................. £99
2X B Extender ................ £69
TOK 60-300 F4/5.6......... £69
Winder A......................... £29
Angle finder B................. £69
Action finder for F1N .... £149
AE power winder FN ...... £79
AE motor drive FN
+ battery pack............... £149
Auto bellows ................. £149
CANON FLASH USED
199A ............................... £59
244T ............................... £29
299T ............................... £49
300TL ............................. £49
CONTAX RF USED
G2 body Titanium ......... £399
28 F2.8 Titanium........... £299
Please follow
us on
27-29, Bolton
Street, Brixham.
Devon. TQ5 9BZ.
35-70 F3.5/5.6 blk box . £399
TLA200 Titanium ............ £69
TLA30 flash .................... £29
CONTAX SLR USED
167MT body.................... £69
139Q body...................... £69
137MA body ................... £69
EPSON PRINTER USED
R3000 kit ...................... £549
FUJI DIGITAL USED
X-E1 + 18-55 silv M- box£949
X-E1 body Mint box...... £579
X100 Ltd Ed M- ............ £649
X100 M- box ................. £469
60 F2.8 R M- box ......... £429
S5 body M- box ............ £299
FUJI 35MM USED
M42 & Bayonet
SEE WEBSITE
FUJI MED FORMAT USED
250 F5.6 GX680 ........... £199
GSW690 III M- box....... £899
GW690 MKIII M- box.... £599
GITZO USED
TRIPOD HEADS
G1077M........................ £139
G1177M .......................... £49
G1178M .......................... £79
G1570M........................ £149
G2180........................... £129
G2272M........................ £149
G2780FQR green......... £149
GH1720FQR................. £139
GH1720QR................... £149
GH1780FQR................. £129
GH1780QR................... £149
GH1781QR....................£119
GH2720QR................... £159
GH2750QR................... £139
GH2780QR................... £199
GH2781T ........................ £99
GH2781TQR................... £99
GH3580S...................... £169
GH3580SQR ................ £179
GH3780QR................... £199
GH5380S...................... £179
GH5380SQR ................ £179
TRIPOD LEGS
G1325 MKII .................. £299
GK1580TQR4............... £389
GK1580QR5 ................. £399
GK1580TQR5............... £449
GK2520FT .................... £499
GK2580TQR................. £399
GT0531......................... £199
GT1541......................... £299
GT1542......................... £299
GT1542F ...................... £449
GT1542T ...................... £399
GT1543T ...................... £299
GT1840C ...................... £199
GT2341L....................... £199
GT2531......................... £279
GT2531EX.................... £359
GT2531LVL................... £299
GT2532S ...................... £339
GT2540T ...................... £279
GT2540F ...................... £399
GT2540FL .................... £429
GT2540LLVL................. £399
GT2541EX.................... £339
GT2542S ...................... £379
GT3320BS.................... £199
GT3330......................... £249
GT3531......................... £369
GT4552TS .................... £479
GT4552GTS ................. £499
GT5532LS .................... £479
HASSELBLAD XPAN USED
XPan I + 45 F4.................. £899
30 F5.6 M- box................ £1899
90 F4.................................. £299
HASSELBLAD 6x6 USED
SWCM + VF ..................£1299
903SWC + viewfinder ...£1999
503CW body chr........... £799
500CM + 80CF
+ A12 blk/chr .................£749
PM90 prism .................. £199
WLF early ....................... £49
A12 latest blk/chr.......... £199
A12 late black............... £149
E12 box ........................ £349
503CW winder box ....... £299
250 F4 FE M- box ........ £699
50 F2.8 CE M- box ....... £749
50 F4 CF FLE............... £749
50 F4 CF ...................... £549
80 F2.8 CF M- .............. £499
120 F4 CF .................... £649
150 F4 CFi M- .............. £799
150 F4 CFI ................... £649
150 F4 CF .................... £349
150 F4 blk T* ................ £199
160 F4.8 CB M- box ..... £499
250 F5.6 M- .................. £299
Vivitar 2x conv ................ £79
LEICA DIGITAL USED
D-Lux 5 blk.....................£399
D-lux 2 M- box................£279
V Lux 20 M- box.............£249
LEICA M/COMPACT USED
IIIg + 5cm f2 + erc ........ £999
M4P chr body ............... £749
M3 chr d/wind + ERC .. £749
M3 chr s/wind ............... £549
21 F2.8 blk ASP M- box . £1999
28 F2.8 M- box ............. £699
35 F2 blk ASP M- box £1599
Mail Order :
01803
852400
50 F1.4 blk M- box ..... £1899
CF22 flash ...................... £69
CF FLash........................ £69
SF20 flash ...................... £79
LEICA SLR USED
R7 body blk box .............. £379
R4 body chr ..................... £149
60 F2.8 R...................... £449
LIGHTMETERS USED
Gossen Lunasix III.......... £79
Gossen Sixtomat ............ £79
Minolta Flashmeter V ... £179
LOWEPRO USED
Lens Trekker 600AW...... £99
Dryzone 200 yellow/blk £179
Pro Trekker AW .............. £99
MAMIYA 645 USED
645 Pro TL + 80 + RFH
+ plain prism................. £379
645 Pro TL inc 80 F2.8 N +
FE401 Prism + Pro Winder .£449
645 Pro SV Kit inc 80 F2.8 N
+ SV Prism + 120 RFH
+ Winder Box................ £379
645 Pro + 80 F2.8 N
+ 120 RFH + FE401 ..... £449
645E body .................... £199
645 Super + AE prism
+ RFH + winder ............ £199
645 Pro TL Body .......... £199
645 Pro Body................ £179
45 F2.8 N M- Box ......... £199
55 F2.8 N...................... £129
55-110 F4.5 .................. £279
70 2.8 C leaf................... £99
105-210 F4.5 ULD C....... £249
110 F2.8 N...................... £99
110 F2.8 C...................... £79
150 F3.5 N...................... £99
210 F4 N M- ................. £129
300 F5.6 N ULD-C M- .. £249
Ext Tube 1, 2, 3S each... £29
Teleplus/Viv 2x conv ea.. £49
FE401 AE prism box .... £199
AE prism 645 Super ..... £149
Plain prism (645 Super) . £69
Polariod Back HP401 ..... £39
Polaroid back.................. £39
120 Insert ....................... £29
HA401 120 RFH Box...... £59
120 Back ........................ £39
Winder ............................ £79
MAMIYA TLR 6x6 USED
C330 S B/O + WLF....... £299
C330 F Body + WLF..... £149
80 F2.8 S ...................... £149
180 F4.5 ....................... £169
Paramender.................... £89
MAMIYA 7 RF 6x7 USED
7II body.................. £749/849
50 F4.5 L + VF ............. £849
65 F4 box ..................... £499
80 F4 N......................... £549
150 F4.5 L .................... £379
Panoramic kit.................. £49
MAMIYA RB 6x7 USED
Pro S + RFH + 127 F3.8 £349
Pro SD body ................ £249
Pro S body.................... £149
Pro S body scruffy .......... £99
Prism early ..................... £99
WLF ................................ £79
Chimney ......................... £69
120 645V back ............. £149
120/220 6x8 motor ....... £149
Pro S Polaroid back ....... £49
50 F4.5 C...................... £269
180 F4.5 C...................... £99
250 F4.5 KL M- box ........ £249
45mm tube SD M-..............£99
Ext tube 2............................£69
MAMIYA RZ 6x7 USED
RZ67 Pro II + 90 + RFH . £649
RZ67 Pro II + 90 + RFH . £499
RZ67 Pro II + 110 + RFH £499
RZ Pro+110 F2.8+RFH £349
RZ Pro + 90 F3.5 + RFH£349
RZ Pro II body .............. £299
RZ Pro body ................. £149
50 F4.5 W M- ............... £269
50 F4.5 ULD M- box..... £699
65 f4 M- box ................. £329
75 F4.5 shift M- ............ £549
140 f4.5 W M- macro.... £349
180 F4.5 M- .................. £179
No 1 or No 2 ext tube ea £69
FE701 prism AE ........... £249
AE prism early ................ £99
Pro II Polaroid back........ £69
120 back Pro II ............... £99
120 back Pro 1 ............... £39
Pro shade ....................... £49
Pro AE hood ..................£119
MINOLTA/SONY DIGITAL USED
Sony A550 body box......£399
Sony A350 body.............£179
Sony A200 body.............£239
HVL-F36AM flash............ £129
VGB50AM grip box.........£119
Nissin Di866 II ................. £129
Sigma EF530DG Super...£99
Minolta VC7D grip.......... £119
Sony RLAM ringlight ......£219
MINOLTA/SONY AF USED
Dynax 9 body box ........ £249
Dynax 7 body ................. £79
Dynax 7xi body............... £49
Dynax 5 body box .......... £39
Dynax 700Si + VC700.... £69
Connect
now with
your QR
app
Dynax 700Si body .......... £49
Dynax 600Si ................... £69
Dynax 505Si Super b/o .. £29
Dynax 505Si body .......... £29
Dynax 404Si body ............£29
17-35 F3.5 G M- box ......£699
24-105 F3.5/4.5 ............ £149
28-105 F3.5/4.5 .............. £99
35-105 F3.5/4.5 M-......... £99
50 F1.7................................£79
75-300 F4.5/5.6..................£89
100-300 F4/5.6................ £129
SONY LENSES USED
16 F2.8 fisheye box...... £379
18-70 box ....................... £49
24-70 F2.8 box ...............£1199
50 F2.8 D mac................. £299
50 F1.4 M- box................ £199
75-300 F4.5/5.6................£119
SIGMA MIN/SONY AF USED
12-24 F4.5/5.6 EX DG ...£399
15 F2.8 EX DG box .......£329
17-35 F2.8 EX................£149
18 F3.5 box ....................£129
18-35 F3.5/4.5..................£69
24-70 F2.8 EX DG mac .£269
28-70 F2.8 EX................£149
55-200 F4/5.6...................£69
70 F2.8 EX DG................ £299
600 F8 .......................... £349
1.4x EX DG conv.......... £149
1.4x EX conv ................ £129
2x EX DG conv M- box £169
TAM 28-75 XR Di box .. £249
TAM 70-300 F4/5.6......... £69
TAM 90 f2.8 .................. £199
TAM 180 F3.5 M-.............. £439
TOK 11-16 F2.8 ATX Pro..£399
VIV 19-35 F3.5/4.5 ......... £69
VIV 100-400 F4.5/6.7 ... £149
Teleplus 1.4x conv.......... £69
Teleplus 2x conv............. £99
Jessops ext tubes........... £69
Kenko 1.4x Pro 300DG £149
VC-9 (Dynax 9) M- box £129
VC700 (700/800Si)......... £29
VC600 (600Si)................ £29
VC-7 (Dynax 7)............... £69
Min 3600HSD flash ........ £79
Min 5200i........................ £49
Min 5400HS.................... £69
NIKON DIGITAL AF USED
D3S body box............. £2699
D3 body ............. £1699/1799
D2X body box........ £399/649
D800 body M- box...... £1699
D700 body ........... £999/1349
D300 body ............. £399/499
D200 body box ............. £299
D90 body box ............... £349
D7000 body box ........... £549
D5100 body M- box...... £249
D5000 body .................. £199
EH-6 mains charger ....... £59
MBD-10 box ...........£119/149
MBD-11......................... £169
MBD-80 box ................... £99
MBD-200 box ................. £69
Cool[pix P7100 ............. £199
Coolpix P100 ................ £149
NIKON AF USED
F6 body M- box ............ £949
F5 body M- box ............ £499
F4 body ........................ £299
F4S body ...................... £169
F100 + MB-15 .............. £149
F90X body ...................... £49
F801 body ...................... £49
F801s body..................... £49
F55 body ........................ £29
F601 body ...................... £29
10.5 F2.8 AF G DX M- ....£379
10-24 F3.5/4.5 M- box.....£549
12-24 F4 AFS DX M-.......£599
16-85 F3.5/5.6 DX...........£379
17-55 F2.8 AFS box £599/699
18-55 f3.5/5.6DX VR .........£99
18-55 f3.5/5.6DX ...............£79
18-70 F3.5/4.5 AFS .........£129
18-105 F3.5/6.3 VR.........£159
18-135 F3.5/5.6 AFS .......£149
18-200 F3.5/6.3 VRII M- .£399
18-200 F3.5/6.3 VR box..£299
24 F1.4 AFS M- box ......£1399
24-85 F2.8/4 AFD............£349
24-120 F3.5/5.6 VR.........£299
28 F2.8 AF N ...................£119
28-80 F3.5/5.6 G................£49
28-100 F3.5/5.6 G..............£49
28-105 F3.5/4.5 AFD....... £169
28-300 F3.5/5.6 G........... £149
35 F1.8 AFS .................... £109
35-70 F2.8 AFD............... £299
40 F2.8 AF DX................. £189
50 F1.8 AFD M-................£119
55-200 F4/5.6 AFS VR ... £139
60 F2.8 AFS M- box........ £339
70-200 F2.8 VRI..... £999/1099
70-210 F4/5.6 AF ...............£99
70-300 F4/5.6 VR............ £329
70-300 F4/5.6 AFD.......... £149
75-300 F4/5.6 ................. £79
80-200 F2.8 AFN M-..... £799
80-200 F2.8 AFS .......... £699
80-200 F2.8 early ......... £299
80-400 F4.5/5.6 VR ...... £799
85 F1.4 AFD M- box ..... £699
85 F1.4 AFD ................. £579
85 F1.8 AFD ................. £239
BUY ONLINE (new stock only) - CHECK LATEST PRICES - UPDATED DAILY:
www.mifsuds.com
U.K. Stock
Only
105 F2.8 AFS VR ......... £539
300 F4 AFS box ........... £879
300 F4 non AFS ........... £369
500 F4 AFS VRII ........ £4899
TC20EII ........................ £199
SIGMA NAF USED
10-20 F4/5.6 EX DC..... £289
12-24 F4/5.6 EX DG..... £399
17-50 F2.8 EX DC OS.. £379
17-70 F2.8/4.5 DC OS . £249
17-70 F2.8/4.5 DC........ £149
18-50 F2.8 DC macro... £239
18-50 F2.8 EX DC........ £199
18-125 F3.8/5.6 DC........ £99
24-70 F2.8 EX DG HSM. £449
24-70 F2.8 EX DG .......... £349
28-200 F3.5/5.6............... £129
28-300 F3.5/6.3..................£99
30 F1.4 EX DC box......... £249
50 F2.8 EX DG................£179
50-500 F4/6.3 DG OS.....£799
50-500 F4/6.3 EX DG .....£599
50-500 F4/6.3 EX ............£499
55-200 F4/5.6 DC Mint......£49
70-300 F4/5.6 APO mac....£99
105 F2.8 EX DG box ...... £319
105 F2.8 EX box ............. £249
120-300 F2.8 EX
DG HSM OS.....................£1299
170-500 F5/6.3................ £179
1.4x EX DG M-................ £149
1.4x EX conv ......................£99
2X EX conv...................... £109
TAMRON NAF USED
18-200 F3.5/6.3 DiII ........ £149
18-250 F3.5/6.3 DiII box . £199
18-270 PZd M- box ......... £319
28-200 XR Di mint box ....£119
28-200 XR ..........................£79
55-200 F4/5.6 DiII ..............£49
70-300 F4/5.6 .....................£69
90 F2.8...................... £219/289
TOK 11-16 F2.8 ATX .... £399
TOK 12-24 F4 ATX M-.. £399
TOK 35 F2.8 ATX Pro .. £199
Teleplus Pro 300DGX 2x .... £149
FLASH / ACCESSORIES USED
DW-30 (WLF for F5)........ £139
SB-24...................................£49
SB-25...................................£49
SB-26...................................£69
SB-27...................................£49
SB-28...................................£69
SB-29...................................£99
SD-8A..................................£99
SD-8 box.............................£69
MB-10 (F90X).....................£29
MB-15 (F100) .....................£49
MB-16 (F80) .......................£29
MB-40 M- box.................. £199
WT-2 box ............................£99
LS5000 scanner............ £1399
NIKON MF USED
F3T body blk M- box .... £699
F3HP body.................... £299
F3 body ........................ £199
FE-2 body chr............... £249
FA body chr M- ............. £299
FM2n body chr ...... £249/299
FM2n body blk.............. £169
FM2 body chr ............... £149
FM body chr ................... £99
28 F3.5 Shift ................. £449
28 F3.5 AI ....................... £99
35-70 F3.3/4.5 AIS ......... £99
35-105 F3.5/4.5 AIS ..... £149
36-72 Series E................ £79
43-86 F3.5 AI.................. £69
50 F1.4 AIS................... £199
50 F1.4 AI ..................... £149
50 F1.8 AIS..................... £99
300 F4.5 AIS................. £199
TC14B box ................... £149
TC16A............................. £99
TC200............................. £59
MD-12 winder.....................£49
SB-15.............................. £39
SB-17 (fit F3) .................. £49
DR-3 angle finder ........... £79
DW-4 (fit F3)................. £169
OLYMPUS DIGITAL USED
E1 + 14-42.................... £249
E510 body .................... £199
E500 body .................... £179
E300 body .................... £169
14-45 F3.5/5.6 .............. £169
18-180 F3.5/6.3 ............ £299
25 F2.8 ......................... £169
40-150 F3.5/4.5 .............. £99
40-150 F4/5.6 ................. £89
50 F2 macro ................. £399
FL50 flash box.............. £179
HLD3 grip ....................... £59
Sigma 10-20 F4/5.6 DC £299
Pen E-PL2 + 14-42....... £249
Pen E-P3 body M- box . £299
Pen E-PL1 + 14-42....... £199
12 F2 ............................ £439
14-150 F4/5.6 ............... £349
17 F2.8 ......................... £139
MMF2 4/3 adaptor .......... £69
OLYMPUS MF OM USED
OM4Ti blk body............. £249
OM-10 chr body.............. £49
21 F3.5 ......................... £249
28 F3.5 ........................... £49
35-70 F4 ......................... £89
35-105 F3.5/4.5 ............ £149
50 F3.5 macro..................£129
FAMILY RUN SINCE 1954
75-150 F4...........................£69
135 F3.5 ......................... £39
The pick of our
180 F2.8 ....................... £399
300 F4.5 ....................... £199
used items
Olympus Auto bellows
+ slide copier M- ........... £169
T32 flash......................... £49
Man ext tube 7/14/25 ea. £24
Auto ext tube 7/14/25 ea ..... £39
PANASONIC DIGITAL USED
LX3 compact M- box .... £149
G5 + 14-42 M- ................£429
G3 body box ................. £199
G2 body........................ £169
GX1 body M- box ......... £249
GF3 + 14-42 OIS.......... £199
GF3 body mint box....... £199 EOS 1D MKIV body
GF1 body box............... £149
14-42 F3.5/5.6 ................ £69 box £2699
14-50 F3.8/5.6 OIS....... £299
20 F1.7 M- .................... £199
45-200 F4/5.6 OIS........ £189
LVF1 viewfinder box ....... £79
FL220 flash..................... £59
PENTAX 645 DIGITAL AF USED
45 F2.8 AL .................... £379
45-85 F4.5 FA M- box... £749
80-160 F4.5 FA............. £599
PENTAX DIGITAL AF USED
K7D body...................... £349 EOS 7D body
K20D body box............. £349
K10D body box............. £199
DBG4............................ £149
£699/749
DBG3 mint...................... £49
DBG2.............................. £79
PENTAX 35mm AF USED
MZ-S body.................... £179
MZ5N body..................... £69
MZ5 body ....................... £69
12-24 F4 ....................... £449
16-45 F4 ....................... £199 Canon 300 F4 L IS
18-55 F3.5/5.6 WR ......... £79
18-55 F3.5/5.6 ................ £49
24-90 F3.5/4.5 FA............ £179 USM £699/749
28-70 F4 AL........................£69
50-200 F4/5.6 DA WR .... £99
50-200 F4/5.6 DA ........... £79
70-300 f4/5.6 .................. £79
80-200 F4.7/5.6 .............. £49
100-300 F4/5.6 ............... £99
AF200G Mint .................. £49
AF500FGZ flash ............. £79
SIGMA PKAF USED
8 F4 EX M- box ............ £279 Canon 500 F4 IS L
10-20 F3.5 EX DC box . £349
12-24 F4.5/5.6 EX M-... £369 £4999
17-35 F2.8/4 EX ........... £149
18-200 f3.5/6.3 DC box £129
28-200 F3.5/5.6 ............ £139
70-300 F4/5.6 DG........... £79
150-500 F5/6.3 DG ..... £449
170-500 F5/6.3 ............. £379
TAM 17-50 F2.8 XR Di . £229
TAM 18-200 XR DiII ..... £139 Sigma CAF/NAF
Cosina 100 F3.5...............£79
PENTAX 35mm MF USED 120-300 F2.8 EX DG
HSM OS £1299
K1000 body chr .............. £99
Program A body.............. £49
M42 300 F4 M-............. £279
28 F3.5 ........................... £49
28-50 F3.5/4.5 PK .......... £69
35-70 F3.5/4.5 PK .......... £49
40-80 F2.8/4 PK ............. £69
50 F1.7 ........................... £49
50 F2 .............................. £49
80-200 F4.5 .................... £49
400-600 F8/12 .............. £399
Rear converter PT62 ...... £69
Auto bellows including
copy attachment ........... £139
PENTAX 645AF USED Nikon D300 body
645NII body .................. £549
645N body .................... £299 £399/499
120 insert........................ £79
45 F2.8 FA.................... £379 If what you are looking
45-85 F4.5 M- box........ £699 for is not listed...
80-160 F4.5 FA............. £499
PENTAX 645MF USED email with your
55 F2.8 M- .................... £249 requirements & we
120 F4 macro ............... £349 will advise when we
135 F4 Leaf .................. £199
150 F3.5 EX++ ............. £149 have what you want.
200 F4 .................. £129/179
1.4x converter ..................£199
2x converter .....................£179 DSLR SENSOR
120 Insert M- box............ £49
PENTAX 67 USED CLEANING ON
67 MU + metered prism
+ 105 F2.4 .................... £699
THE PREMISES
67 MU body.....................£299 Email us now for
55 F4 ............................ £279
75 F4.5 latest box ......... £249 details - done
75 F4.5 shift .................. £449
135 F4 mac early.......... £129
by appointment
165 F2.8 ....................... £149
165 F4 leaf.................... £299
only MON-FRI
200 F4 latest................. £269
300 F4 early scruffy....... £149
300 F4 late.................... £349
Auto ext tubes................. £99
PRO LENS
Vivitar 2x conv ................ £79
ROLLEI USED
HIRE
Rolleiflex 2.8 GX TLR Jersey
Limited Edition M- box £1899 Email for details
TAMRON ADAPTALL USED
TELESCOPES/BINOS USED
SEE WEBSITE
- Subject to
VOIGTLANDER USED
Bessa III (667) box ..... £1299
availability
(SECURE SSL ENCRYPTION)
KOOD
KOOD RIG 3 SET
A complete set, with all necessary
accessories and alternatives included and
the most professional Matte Box 2 - KRL03
Supplied in Alloy Trolley Case with
extending handle
Comprises of KRLO3 Rig (as RL04 Below
but with large Battery Pack Holder)
C Bracket and over head
carry handle on twin 19
cm long rails for adjusting
to exact centre of gravity
KOOD RIG 4 SET
Kood Rig 4 set is not packed in an Alloy
case, nor comprehensive accessories
supplied, Matte Box 3 is Pro DSLR type
with two filter carriers but does not swing
to one side (details under matte boxes)
Shoulder Pad
20cm pair of rails
28.cm pair of rails
Couple together to make 48cm twin rail
Sliding and lock camera platform, 3cm
height adjustment, ¼ and 3/8 tripod
threads and a 13 com sliding and lock
camera plate
29.5 cm cross rail with 2 x handles 360
degree adjustment on handles and on rail
KF3 Follow focus kit
KOOD RIG 002 SET
Camera Platform, Mounted on
15mm Dia. Cross rail
2 Handles 360 degree rotation and lock
19cm 15mm Dia. rail and shoulder Pad
Shoulder pad has Velcro strap for
attaching battery packs etc
KR002 set as above but with
Follow Focus 1
Matte Box 1
KOOD Rig 002 Plus set – as above
But with 90 degree curved 15mm rod
and overhead carry handle
Tel: 01727 823812 Fax: 01727 823336 www.koodinternational.com
Follow Focus 4 – fast snap fit - with
two flexible cable controls (plug in
control knobs on flexible cables) 24 cm and
38cm and a fast crank handle (provides 3
ways of operating - use Knurled knob, speed
crank or Knob on Flexible cable
Matte Box (see under matte box) 2 with
C Bracket and Hinge ideal for all types
of DSLR and high end video
Twin fully adjustable handles
Big Lens support fully adjustable
KOOD RIG 001 SET
This simple light
rig Has a single
handle block
with a 15mm
Cross rod and clamp to hold the shoulder
pad rod and another cross Rod The block
has two 15mm 60mm apart clamps and
a sliding quick release pad for the
Camera. Two 15mm Dia x 18com length
Rods are provided – So all types
of accessories can fit and it can also be
converted into a two handle Rig
KRL 001 set – as above with follow focus 1
KOOD DSLR Rig 1
A comprehensive
and versatile
Pressed steel
Rig providing
a stable platform
for Video
etc with handles and
shoulder support – fantastic value and
very rigid – can be used with
standard twin15mm Dia Rod 60cm
apart fitting with an extra
attachment (this enables all Follow
Focus and Matte Boxes etc) –
without the attachment only the
follow focus F2 can be used
HEAVY
HEAV Y DUTY ALLOY
Mounting Block with twin 15mm Dia
60cm apart 18 cm rods has ¼ and 3/8
tripod
Cage has 34 x ¼ female threaded holes
– you can hang everything on this,
incomparable for tripod work.
Supplied with overhead handle
DSLR RIGS &
STEADY CAMERA DEVICES
KOOD Follow Focus 00
All Kood Follow Focus units are
supplied with Gear Belt
Basic unit with gear belt for standard
15mm Dia 60cm apart rods
Adjustable height
Can be used both sides of lens but gear
wheel cannot be reversed as with all
other KOOD Follow Focus devices – nor
can you use Fexi Knobs or speed crank
KOOD Follow Focus F1
Slip free gear driven from either side of
the lens – gear wheel can be reversed
Fits Std 15mm 60 cm apart rods – fully
adjustable
Focus indicator
KOOD Follow Focus F2
Same as Fi1 but separate L plate
provided for fitting into the base plate of
the camera
Can be used without a rig or with rig 1
by fixing directly to the camera as well as
withal rigs that have standard twin 15mm
Dia. rods 60cm apart
KOOD Follow Focus F3
Slip Free gear
driven (can be used either side of the lens
gear wheel can be reversed)
Adjustable stops and indicator
Use with Std twin 15mm Diameter Rods
60cm apart
Compatible to all DSLR/Video Cameras
Easy mounting and adjust
KOOD Follow Focus F4
Same as F3 except that the twin
rail fitting is a snap fit adjust
and tighten
Matte Box 1 KOOD Crab Clamp
Mounts any
devise that has
English/continental
male screw and
clamps a 15mm –
30 mm diameter
rod or other item
For use with Digital SLR a simple rig Jaw spread 44mm Depth from centre of
mounting Matte Box which fits onto
the V Jaws 15mm
Standard 15mm Twin rails 60 cm apart
-adjustable for height
No provision for filters KOOD Magic Arm
Matte Box 2
Two independently rotating filter holders
accepting 4” x 4” and 4” x 5.6” filters,
two black masks provided so that 4” x
4” filters fit perfectly
Adjustable side wings and top wing
Front 247mm x 158mm with attachable
black mask x203mm x 115mm
140mm Lens aperture with 4 Different
rubber baffles for snug lens fit to all
lens sizes 18cm fixes to Camera shoe or English
male tripod thread, ball and two 55mm
arm with 360 degree lockable and fixed
joint , ends in ball with English male
thread – the joint and ball ends all lock
with the joint knob
Mounts on Rig with L bracket for Std
twin 15mm Rods 60 cm apart, Rig is
hinged so you can swing it away from Arm
KOOD Magic Arm 28cm
and onto Lens Two 106mm arms – detail
as above
Serious bit of Kit
Matte Box 3 For DSLR
and all size Video
Video Cameras
Two filter holders accepting 100mm
Square filters Rear filter holders rotates KOOD L bracket
360 degrees for polarizers
Front 200mm x 120mm with For rails to attach matte
box 2 to the Rig rails –
Adjustable side wings and top wing
use with spare rails
KOOD C Bracket
3 Different rubber baffles o convert the
10mm Diameter lens aperture to a snug
lens fit
Mounts on Std twin 15mm Rods 60 cm
apart with 70mm height adjustment
KOOD Big lens support
suppor t
Slides and fixes on twin
15mm Diameter rails
60cm apart
50mm height
adjustment. Fits std. 15mm Dia rails 60 cm apart for
attaching over head carry handle etc –
Supports long
lenses so there use with spare rail set
is no leverage KOOD Over head handle – use with C
pressure on the lens bayonet and camera Bracket and twin 15mm Spare rails
 Tel: 01727 823812 Fax: 01727 823336
www.koodinternational.com
KOOD Cranked Bracket KOOD Sliders KOOD Set of Two

For 2 sets of Twin 15mm Dia. Rails, for

monitor etc Super smooth with slight resistance for smoother controlled 75mm x 80mm Diameter Mounting
sliding by hand, far better than cranked without crank Towers for all KOOD Dollys (shown here
Whole track can be mounted on a stand or tripod via central on the three wheeled dollies).
plate with English and Continental female threads
60cm
80cm
100cm
120cm
KOOD Spare twin

19cm 15mm diameter rails

KOOD Zoom gear

belt and lever
Carbon Steady Cam
120cm with connectors
KOOD Speed crank and rods for Matte Box

For single finger operation on all follow KOOD 120cm Steady Camera Device
focus devices KOOD Single Spring Vest for
120cm fluid type contol over
15” (Steady Movement)
KOOD Small four
wheel Dolly KOOD Single Spring vest for 120cm
fluid type control over 30” (for more
rapid jerky movement as in running,
136 mm plate between axel centres, reportage work)
Wheels on both axels are 110mm
KOOD Light weight Steady Camera
KOOD Flex control apart, plate has angle calibration
Device - designed for use without vest
indicators
or springs
4 x NBFS 60mm Diameter Skate
Wheels
English Male tripod screw

12” length for all Follow focus devices

from 01 – 04 ,click fit into centre of
control knob provides control knob on
a flexible cable
KOOD Flex control 18” cable

KOOD Single rod clamp

With female tripod thread

KOOD for wheel Dolly 2

190 mm plate between axels – Metal plate 7mm thick for

extreme rigidity will take any weight

KOOD Sliding and lock Wheels on both axels 177mm apart for good stability
camera platform
4 x 74mm Diameter
NDFS Skate Board Wheels
2 X 75mm x 8mm Diameter
mounting towers included

3cm height adjustment, ¼ and 3/8

tripod threads and a 13 com large CAN BE ORDERED FROM ANY INDEPENDENT RETAILER
sliding and lock camera plate and Rails

KOOD three wheel Dolly

Triangle base plate 24cm between axle

KOOD
centres
KOOD International Limited, Unit 6, Wellington Road, London Colney AL2 1EY
185 degree adjustment on each
wheel so it can move from a straight Tel: 01727 823812 Fax: 01727 823336 E-mail: koodinternational@gmail.com
line to a 360 degree spin

www.koodinternational.com
3 NBF 60mm Diameter Skate Wheels
English/continental male item
attachment screw
Continued on next column...
KOOD BRAND PRODUCTS ARE EXPORTED WORLDWIDE

KOOD SUPPLIES EVERY PART OF THE PHOTO TRADE - HOME AND EXPORT.
EMAIL: koodinternational@gmail.com FOR DETAILS OF STOCKIST IN YOUR AREA OR, IF YOU ARE A CAMERA EQUIPMENT TRADER,
SEND YOUR DETAILS FOR ACCOUNT APPLICATION AND TRADE SUPPLY PRICES
 We are a small, family owned and run company, specialising in
photographic consumables - and proud winners of the 2011
Good Service Award. We are located in Leamington Spa,
in the heart of Warwickshire - if you are passing, please
pop into our shop, and meet Cooper - our new office dog!

01926 339977 www.premier-ink.co.uk

PRINTER INK CARTRIDGES

EPSON
COMPATIBLE & ORIGINAL INK
Canon Compatibles HP Compatibles Lexmark Compatibles
At Premier Ink Supplies, we stock two types of cartridges for Epson printers - Originals, BCi3e Black 26ml £2.99 No.15 Black 46ml £4.99 No.1 Colour £10.99
BCi6 B/C/M/Y 15ml £2.99 No.21 Black 10ml £7.99 No.2 Colour £11.99
which are made by Epson, and Compatibles, which are made by a UK company called BCi6 PC/PM/R/G 15ml £2.99 No.22 Colour 21ml £11.99 No.3 Black £14.99
Jet Tec. Using Jet Tec Compatibles is a way of saving money, without compromising on PGi5 Black 29ml £4.99 No.45 Black 45ml £4.99 No.16 Black £11.99
the quality of your prints. Here’re the results from two independent ink tests that agree… CLi8 B/C/M/Y/PC/PM 15ml £3.99 No.56 Black 24ml £9.99 No.17 Black £9.99
PGi520 Black 19ml £4.99 No.57 Colour 24ml £12.99 No.26 Colour £12.99
CLi521 B/C/M/Y/GY 9ml £3.99 No.78 Colour 36ml £9.99 No.27 Colour £11.99
“Jet Tec’s colours were superb, with single greys and PGi525 Black 19ml £4.99 No.110 Colour 12ml £10.99 No.31 Photo £11.99
blacks very close to Epson …so Jet Tec wins!” CLi526 B/C/M/Y/GY 9ml £3.99 No.300XL Black 18ml £14.99 No.32 Black £9.99
- Total Digital Photography Magazine PG37 Black 12ml £9.99 No.300XL Colour 18ml £16.99 No.33 Colour £11.99
PG40 Black 28ml £13.99 No.301XL Black 15ml £14.99 No.34 Black £11.99
PG50 Black 28ml £12.99 No.301XL Colour 18ml £16.99 No.35 Colour £12.99
Ink Test “What we’re looking at here is not only the best choice
of ink for the R300 printer, but also the best ink in this
PG510 Black 11.5ml
PG512 Black 18ml
£13.99
£14.99
No.336 Black 10ml
No.337 Black 21ml
£7.99
£10.99 Lexmark Originals
Winner group test, period. There’s just no getting away from CL38 Colour 12ml
CL41 Colour 16ml
£12.99
£16.99
No.338 Black 21ml
No.339 Black 34ml
£10.99
£12.99
No.1 Colour
No.14 Black
£19.99
£16.99
the superb combination of performance and pricing” CL51 Colour 24ml £14.99 No.342 Colour 12ml £10.99 No.15 Colour £18.99
- Computer Upgrade Magazine CL512 Colour 11.5ml £15.99 No.343 Colour 21ml £12.99 No.17 Black £17.99
CL513 Colour 15ml £16.99 No.344 Colour 21ml £14.99 No.23 Black £16.99
No.348 Photo 21ml £12.99 No.24 Colour £18.99
Cartridge Code: Originals: Jet Tec Compatibles: Suitable EPSON Printers: Canon Originals No.350XL Black 30ml £14.99 No.27 Colour £18.99
T007 Black £26.99 16ml £3.99 20ml, 3 for £10.99 Photo 790, 870, 890, 895, 900, 915, 1290 BCi3e Black 26ml £10.99 No.351XL Colour 20ml £16.99 No.28 Black £14.99
T008 Colour £21.99 46ml £4.99 50ml, 3 for £13.99 Photo 790, 870, 890, 895, 915 BCi6 All colours, 13ml, each £8.99 No.363 Black 20ml £6.99 No.29 Colour £16.99
T009 Colour £27.99 66ml £4.99 70ml, 3 for £13.99 Photo 900, 1270, 1290 PGi5 Black 26ml £11.99 No.363 C/M/Y/PC/PM each £4.99 No.32 Black £19.99
T026 Black £35.99 16ml £3.99 20ml, 3 for £10.99 Photo 810, 830 ,830u, 925, 935 CLi8 All colours, 13ml, each £10.99 No.364XL Black 18ml £9.99 No.33 Colour £21.99
T027 Colour £26.99 46ml £4.99 50ml, 3 for £13.99 CLi42 All colours, 13ml, each £10.99 No.364XL C/M/Y 11ml each £8.99 No.36 Black £16.99
T0341-T0347 Set of 7 £119.99 set of 7 Check Website. Photo 2100 CLi42 Set of 8 £79.99 No.37 Colour £18.99
T0341/8, each £14.99 17ml Check Website. Chamelion Inks PGi9 All colours, 14ml, each £8.99 HP Originals No.43XL Colour £27.99
T0342/3/4, each £17.99 17ml Check Website. PGi9 Set of 10 £82.99 No.21 Black 5ml £10.99 No.44XL Black £22.99
T0345/6/7, each £17.99 17ml Check Website. PGi29 All colours, 36ml, each £19.99 No.22 Colour 5ml £13.99 No.100 Black £13.99
T0441-T0454 Set of 4 £39.99 set of 4 £14.99, 3 sets for £42.99 C64, C66, C84, C86, PGi29 Set of 12 £229.99 No.38 All Colours 27ml each £24.99 No.100 Cyan / Mag / Yellow £8.99
T0441 Black £17.99 13ml £4.99 21ml, 3 for £13.99 CX3600/3650, CX6400, CX6600 PGi72 All colours, 14ml, each £10.99 No.56 Black 19ml £16.99 Many more in stock!
T0452/3/4, each £9.99 8ml £3.99 21ml, 3 for £10.99 Parasol Inks PGi72 Set of 10 £99.99 No.57 Colour 17ml £24.99
T0481-T0486 Set of 6 £64.99 set of 6 £19.99, 3 sets for £56.99 R200, R220, R300, R320, R340 PGi520 Black 19ml £9.99 No.58 Photo 17ml £22.99
T0481/2/3, each £14.99 13ml £3.99 21ml, 3 for £10.99 RX500, RX600, RX620, RX640 CLi521 B/C/M/Y/GY 9ml £8.99 No.110 Colour 5ml £17.99 Brother Compatibles
T0484/5/6, each £14.99 13ml £3.99 21ml, 3 for £10.99 Seahorse Inks PGi520/CLi521 Set of 5 £41.99 No.300 Black 4ml £10.99
T0540-T0549 Set of 8 £99.99 set of 8 £35.99, 3 sets for £99.99 Photo R800, R1800 LC900 Black £3.99
PGi525 Black 19ml £9.99 No.300 Colour 4ml £12.99 LC900 C/M/Y £2.99
T0540 Gloss £8.99 13ml £3.99 21ml, 3 for £13.99 Frog Inks CLi526 B/C/M/Y/GY 9ml £8.99 No.301 Black 3ml £8.99
T0541/2/3/4, each £13.99 13ml £4.99 21ml, 3 for £13.99 LC900 Set of 4 £11.99
PGi525/CLi526 Set of 5 £41.99 No.301 Colour 3ml £9.99 LC970 / 1000 Black £3.99
T0547/8/9, each £13.99 13ml £4.99 21ml, 3 for £13.99 PGi550 Black 15ml £9.99 No.337 Black 11ml £16.99
T0551-T0554 Set of 4 £32.99 set of 4 £14.99, 3 sets for £42.99 Photo R240, R245, LC970 / 1000 C/M/Y £2.99
CLi551 B/C/M/Y/GY 7ml £8.99 No.338 Black 11ml £17.99 LC970 / 1000 Set of 4 £11.99
T0551 Black £8.99 8ml £4.99 21ml, 3 for £10.99 RX420, RX425, RX520, RX525 PGi550/CLi551 Set of 5 £41.99 No.339 Black 21ml £23.99
T0552/3/4, each £8.99 8ml £3.99 21ml, 3 for £10.99 Duck Inks LC980 / 1100 Black £3.99
PG37 Black 11ml £11.99 No.343 Colour 7ml £18.99 LC980 / 1100 C/M/Y £2.99
T0591-T0599 Set of 8 £92.99 set of 8 Check Website. Photo R2400 PG40 Black 16ml £14.99 No.344 Colour 14ml £26.99
T0591/2/3, each £11.99 13ml Check Website. Lilly Inks LC980 / 1100 Set of 4 £11.99
PG50 Black 22ml £21.99 No.350 Black 4.5ml £11.99 LC1280XL Black £4.99
T0594/5/6, each £11.99 13ml Check Website. PG510 Black 9ml £11.99 No.351 Colour 3.5ml £13.99
T0597/8/9, each £11.99 13ml Check Website. LC1280XL C/M/Y £3.99
PG512 Black 15ml £14.99 No.363 Black 6ml £12.99 LC1280XL Set of 4 £15.99
T0611-T0614 Set of 4 £32.99 set of 4 £14.99, 3 sets for £42.99 D68, D88, PG540 Black 8ml £11.99 No.363 C/M/Y/PC/PM each £8.99
T0611 Black £8.99 8ml £4.99 21ml, 3 for £13.99 DX3800/3850, DX4200/4250, DX4800/4850 PG540XL Black 21ml £17.99 No.364 Black 6ml £7.99 Brother originals also in stock!
T0612/3/4, each £8.99 8ml £3.99 21ml, 3 for £10.99 Teddy Bear Inks CL38 Colour 9ml £15.99 No.364 PB/C/M/Y 3ml each £6.99
T0711-T0714 Set of 4 £32.99 set of 4 £14.99, 3 sets for £42.99 S20, S21, SX100/105/110/115/200/205/210/215 CL41 Colour 12ml £18.99 No.364 Set of 4 £19.99
T0711 Black £8.99 7.4ml £4.99 13ml, 3 for £13.99 SX400/405/415/515, D78/92/120, B40W, BX300 CL51 Colour 21ml £25.99 No.901 Black 4ml £10.99 Kodak Original Ink / Paper
T0712/3/4, each £8.99 5.5ml £3.99 13ml, 3 for £10.99 DX4000/4400/5000/6000/7000/7400/8400/9400 CL52 Photo 21ml £18.99 No.901 Colour 9ml £13.99 ESP Black Series 10 Ink £6.99
T0791-T0796 Set of 6 £69.99 set of 6 Check Website. Photo 1400 CL511 Colour 9ml £15.99 No.920XL Black 49ml £19.99 ESP Colour Series 10 Ink £12.99
T0791/2/3, each £11.99 10ml Check Website. Owl Inks CL513 Colour 13ml £18.99 No.920XL C/M/Y 6ml each £8.99 ESP Black Series 30 Ink £6.99
T0794/5/6, each £11.99 10ml Check Website. CL541 Colour 8ml £15.99 No.940XL Black 49ml £23.99 ESP Colour Series 30 Ink £12.99
T0801-T0806 Set of 6 £49.99 set of 6 £19.99, 3 sets for £57.99 Photo P50, PX650/660/700W/710W/720WD, CL541XL Colour 15ml £19.99 No.940XL C/M/Y 16ml each £15.99 ESP Black/Colour Twin Packs £18.99
T0801/2/3, each £8.99 7.4ml £3.99 13ml, 3 for £10.99 PX730WD/800FW/810FW/830FWD/830FWD
Many more in stock! Many more in stock! Kodak Photo Paper also in stock!
T0804/5/6, each £8.99 7.4ml £3.99 13ml, 3 for £10.99 R265/285/360, RX560/585/685
T0870-T0879 Set of 8 £69.99 set of 8 Check Website. Photo R1900
T0870 Gloss
T0871/2/3/4, each
T0877/8/9, each
£7.99 11.4ml Check Website.
£8.99 11.4ml Check Website.
£8.99 11.4ml Check Website.
Flamingo Inks
PHOTOGRAPHIC PAPERS
T0961-T0969 Set of 8 £69.99 set of 8 Check Website. Photo R2880 As an Ilford Pro Centre, we As a PermaJet Premier Stockist,
T0961/2/3/4/5, each £8.99 11.4ml Check Website. Husky Inks stock the complete range of we supply the ENTIRE PermaJet
Ilford Galerie papers, including range, including Baryta, Smooth
T0966/7/8/9, each £8.99 11.4ml Check Website. A2, 17, 24 and 44 inch rolls. and Textured Fine Art and Canvas.
T1281-T1284 Set of 4 £26.99 set of 4 £14.99 set of 4 S22, SX125/130, SX420W/425W/445W, Below is just a selection. Below is just a selection.
T1281 Black £6.99 5.9ml £4.99 13ml BX305F
T1282/3/4, each £6.99 3.5ml £3.99 10ml Fox Inks Photo Glossy Paper 200g, A4, 20 BOGOF £7.99 Sample Pack 25 sheets, 5 different papers! £11.99
T1291-T1294 Set of 4 £38.99 set of 4 £16.99 sets of 4 SX420W/425W/445W/525WD/620FW, Smooth Gloss 290g, 6x4, 100 sheets £17.99 NEW Ultra Pearl 295g, A4, 25 £12.99
T1291 Black £9.99 11.2ml £5.49 16ml BX305F/320FW/525WD/535WD/625FWD/630FW, Smooth Gloss 290g, 7x5, 100 sheets £23.99 Digital Gloss or Oyster 271g, 6x4, 50 £7.99
T1292/3/4, each £9.99 7ml £4.49 13ml BX635FWD/BX925FWD/BX935FWD, B42WD Smooth Gloss 290g, A4, 25 sheets +10 FREE £10.99 Digital Gloss or Oyster 271g, 7x5, 50 £10.99
T1571-9, each £19.99 25.9ml each or £154.99 set of 8 Photo R3000 Turtle Inks Smooth Gloss 290g, A4, 100 sheets £35.99 Digital Gloss or Oyster 271g, A4, 50 £19.99
T1591-9, each £13.99 17ml each or £99.99 set of 8 Photo R2000 Kingfisher Inks Smooth Gloss 290g, A3, 25 sheets £27.99 Digital Gloss or Oyster 271g, A3, 25 £21.99
T5591-6, each £12.99 13ml each or £69.99 set of 6 Photo RX700 Penguin Inks Smooth Gloss 290g, A3+, 25 sheets £29.99 Digital Gloss or Oyster 271g, A3+, 25 £29.99
T5801-9, each £39.99 80ml each or £314.99 set of 8 Photo Pro 3800, 3880 Smooth Pearl 290g, 6x4, 100 sheets £17.99 Double Sided Oyster 285g, A4, 25 £26.99
No.18 Black £7.99 5.2ml NEW Expression Home XP30, XP102, XP202, XP205 Smooth Pearl 290g, 7x5, 100 sheets £23.99 Double Sided Matt 250g, A4, 100 £26.99
No.18 C/M/Y, each £5.99 3.3ml NEW XP302, XP305, XP402, XP405 Smooth Pearl 290g, A4, 25 sheets +10 FREE £10.99 Matt Proofing 160g, A4, 150 £19.99
No.18 Set of 4 £21.99 set of 4 NEW Daisy Inks Smooth Pearl 290g, A4, 100 sheets £35.99 Matt Plus 240g, A4, 25 £9.99
No.18XL Black £14.99 11.5ml NEW Expression Home XP30, XP102, XP202, XP205 Smooth Pearl 290g, A3, 25 sheets £27.99 Fibre Base Gloss 295g, A4, 25 £24.99
No.18XL C/M/Y, each £10.99 6.6ml NEW XP302, XP305, XP402, XP405 Smooth Pearl 290g, A3+, 25 sheets £29.99 NEW Fibre Base Distinction 360g, A4, 25 £25.99
No.18XL Set of 4 £44.99 set of 4 NEW High Capacity Daisy Inks Smooth Fine Art 190g, A4, 10 sheets £13.99 Smooth Fine Art Portfolio 200g, A4, 25 £19.99
No.24 B/LC/LM, each £7.99 5.1ml NEW Expression Photo XP750, XP850 Smooth H/weight Matt 200g, A4, 50 sheets £12.99 Smooth Fine Art Portrait 300g, A4, 25 £26.99
No.24 C/M/Y, each £7.99 4.6ml NEW Elephant Inks Smooth Lustre Duo 280g, A4, 25 sh BOGOF £12.99 Textured FineArt Artist 210g, A4, 25 £19.99
No.24 Set of 6 £41.99 set of 6 NEW Gold Fibre Silk 310g, A4, 50 sheets £44.99 Textured Fine Art Parchment 285g, A4, 25 £21.99
No.24XL B/LC/LM, each £11.99 9.8ml NEW Expression Photo XP750, XP850 ICC profiles available for all Ilford papers Canvas Artistic 400g, A4, 10 £14.99
No.24XL C/M/Y, each £11.99 8.7ml NEW High Capacity Elephant Inks ICC profiles available for all PermaJet papers
No.24XL Set of 6 £69.99 set of 6 NEW
No.26 Black £8.99 6.2ml NEW Expression Premium XP600, XP605, XP700, Established in 1584, the
Hahnemuhle name is As an Official Fotospeed
No.26 Photo Black £7.99 4.7ml NEW XP800 synonymous with fine art Stockist, we can supply
No.26 C/M/Y, each £7.99 4.5ml NEW Polar Bear Inks printing. Full range now the complete Fotospeed
No.26 Set of 4 (no PB) £29.99 set of 4 NEW available at Premier Ink. range. Below is just a tiny
selection of their papers.
No.26XL Black £13.99 12.1ml NEW Expression Premium XP600, XP605, XP700,
No.26XL Photo Black £12.99 8.7ml NEW XP800
Sample Pack 14 sheets, A4 £9.99
Albrecht Durer 210g, A4, 25 sheets £22.99 Sample Pack 14 sheets, 7 different papers! £9.99
No.26XL C/M/Y, each £12.99 9.7ml NEW High Capacity Polar Bear Inks
Pigment Friendly Gloss 270g,A4, 50 +15 FREE £17.99
No.26XL Set of 4 (no PB) £49.99 set of 4 NEW German Etching 310g, A4, 25 sheets £27.99
Bamboo 290g, A4, 25 sheets £27.99 Pigment Friendly Lustre 270g,A4, 50 +15 FREE £17.99
Sugar Cane 300g, A4, 25 sheets £24.99 Pigment Friendly Satin 270g, A4, 50 £17.99
If you cannot find the ink cartridges for your printer, please give Photo Rag 308 308g, A4, 25 sheets £29.99 Pigment Friendly Matt Duo 200g, A4, 100 £24.99
us a call, or check our website, and we’ll do our best to help. Photo Rag Pearl 320g, A4, 25 sheets £32.99 NT Natural Textured 315g, A4, 20 £17.99
Photo Rag Satin 310g, A4, 25 sheets £32.99 NST Natural Soft Textured 315g, A4, 20 £17.99
We stock what is probably the UK’s largest range of ink cartridges and Photo Rag Baryta 315g, A4, 25 sheets £34.99 HWS High White Smooth 315g, A4, 20 £19.99
Fine Art Pearl 285g, A4, 25 sheets £32.99 NEW Platinum Baryta 300g, A4, 20 £22.99
photo paper, including wide format ink cartridges and roll papers. Fine Art Baryta 325g, A4, 25 sheets £32.99 ICC profiles available for all Fotospeed papers

E&OE. Prices may be subject to change, but hopefully not! Premier Ink & Photographic, Longfield Road, Leamington Spa, CV31 1XB. 01926 339977
Orders are shipped promptly by Royal Mail 1st class post, for which we charge just £1.99 per
order. All prices include VAT, and a full VAT receipt is provided with every order. Payment
accepted by credit/debit card, cheque or postal order. Orders accepted securely online,
www.premier-ink.co.uk, over the telephone, 01926 339977, by post, or by visiting our shop:
Premier Ink & Photographic, Longfield Road, Sydenham Ind Estate, Leamington Spa, CV31 1XB.

01926 339977 www.premier-ink.co.uk Winners of the Amateur Photographer 2011 GOLD “Good Service Award”

MEMORY BATTERIES SQUARE FILTERS SCREW-TYPE FILTERS

NEW LOWER
PRICES
Camera Batteries
A comprehensive range of
rechargeable li-ion
KOOD KOOD
batteries. P-Type Filter System Japanese Optical Glass Filters
Manufactured by The P-Type square/rectangular filter system Coated to reduce lens flare and reflections.
respected independent consists of three parts:
battery manufacturers
Energizer and Blumax. All 1) An adapter ring that screws onto the front UV / Haze Filters Circular Polarising Filters
batteries come with a 2 year guarantee. of your lens KOOD square filters are manufactured Used both to protect the lens of your These remove reflections from surfaces
2) A filter holder clips onto the ring in the UK, and are fully compatible camera, and to absorb ultraviolet rays such as glass and water, as well as
NB-2L/LH for Canon £9.99 3) One or more P-Type (84mm wide) filters with the Cokin P-Type filter system
Sandisk NB-3L for Canon £9.99
that can cause photos to appear hazy. increasing contrast and saturation.
Blue NB-4L for Canon £9.99 P-Type Adapter Rings P-Type Filters (84mm wide) 46mm UV / Haze £6.99 46mm Circular Polarizing £18.99
C4: 5MB/s NB-5L for Canon £9.99 52mm UV / Haze £6.99 52mm Circular Polarizing £19.99
49mm Adapter Ring £4.99 Circular Polarizing £29.99 55mm UV / Haze £7.99 55mm Circular Polarizing £21.99
2GB 5MB/s £8.27 £3.99 NB-6L for Canon £9.99 52mm Adapter Ring £4.99 ND2 £9.99
4GB 5MB/s £12.41 £3.99 NB-7L for Canon £12.99 58mm UV / Haze £8.99 58mm Circular Polarizing £24.99
55mm Adapter Ring £4.99 ND4 £9.99 62mm UV / Haze £9.99 62mm Circular Polarizing £29.99
8GB 5MB/s £21.10 £4.99 NB-8L for Canon £9.99 58mm Adapter Ring £4.99 ND8 NEW £10.99
16GB 5MB/s £39.39 £7.99 NB-9L for Canon £9.99 67mm UV / Haze £10.99 67mm Circular Polarizing £34.99
62mm Adapter Ring £4.99 ND2 Soft Graduated £11.99 72mm UV / Haze £11.99 72mm Circular Polarizing £39.99
NB-10L for Canon £12.99 67mm Adapter Ring £4.99 ND2 Hard Graduated £11.99
Sandisk BP-511 for Canon £12.99 77mm UV / Haze £14.99 77mm Circular Polarizing £44.99
72mm Adapter Ring £4.99 ND4 Soft Graduated £11.99 82mm UV / Haze £17.99 82mm Circular Polarizing £49.99
Ultra LP-E5 for Canon £12.99 77mm Adapter Ring £4.99 ND4 Hard Graduated £11.99
C6: 30MB/s LP-E6 for Canon £29.99 £19.99 86mm UV / Haze £22.99 86mm Circular Polarizing £59.99
82mm Adapter Ring £4.99 ND8 Soft Graduated NEW £13.99
LP-E8 for Canon £15.99 ND8 Hard Graduated NEW £13.99
More sizes in stock, from 24 to 86mm! More sizes in stock, from 27 to 86mm!
4GB 30MB/s £15.66 £4.99 LP-E10 for Canon £12.99
8GB 30MB/s £27.85 £6.99 P-Type Holders Light Blue Graduated £11.99 Skylight Filters Neutral Density Filters
NP40 for Fuji £9.99 Dark Blue Graduated £11.99
16GB 30MB/s £57.22 £10.99 NP45 for Fuji £9.99 Holder Standard £5.99 Similar to a UV filter, but with a pinkish tinge Used reduce the amount of light passing
Holder Wide Angle £6.99 Cool Blue Graduated £11.99 to add a gentle warmth to your photos. through the lens, reducing shutter speed
NP50 for Fuji £9.99 Light Sunset Graduated £11.99
Sandisk NP95 for Fuji £9.99 Hood Modular £6.99 52mm Skylight £7.99
without affecting colour contrast or balance.
Available as ND4 (2 stop) and ND8 (3 stop).
Extreme Dark Sunset Graduated £11.99 £8.99
NP140 for Fuji £12.99 Light Tobacco Graduated £11.99 55mm Skylight
C10: 30&45MB/s £9.99 52mm ND4 / ND8 £11.99
NP150 for Fuji £19.99 P-Type Filter Wallet Dark Tobacco Graduated £11.99 58mm Skylight
£10.99 55mm ND4 / ND8 £12.99
4GB 30MB/s £21.33 £7.99 NP400 for Minolta £12.99 A smooth cushioned filter Light Mauve Graduated £11.99 62mm Skylight
£11.99 58mm ND4 / ND8 £14.99
8GB 30MB/s £37.42 £8.99 EN-EL1 for Nikon £9.99 wallet, to protect
Dark Mauve Graduated £11.99 67mm Skylight
and store up to £13.99 62mm ND4 / ND8 £17.99
16GB 45MB/s £52.02 £14.99 EN-EL3/3A for Nikon £9.99 Light Red Graduated £11.99 72mm Skylight
8 P-Type filters
£16.99 67mm ND4 / ND8 £22.99
32GB 45MB/s £92.02 £28.99 EN-EL3E for Nikon £15.99 Dark Red Graduated £11.99 77mm Skylight
£9.99 72mm ND4 / ND8 £29.99
EN-EL5 for Nikon £9.99 Light Green Graduated £11.99 More sizes in stock, from 30 to 105mm!
77mm ND4 / ND8 £34.99
Sandisk EN-EL9 for Nikon £12.99
Ultra Dark Green Graduated £11.99 Close Up Filter Sets More sizes in stock, from 37 to 82mm!
EN-EL10 for Nikon £9.99 P-Type Six-Piece Light Yellow Graduated £11.99
30MB/s EN-EL11 for Nikon £9.99 Neutral Density Filter Kit Sets containing three filters, rated at +1, +2,
Dark Yellow Graduated £11.99 and +4 diopters. Increases close up / macro Starburst Filters
4GB 30MB/s £21.76 £13.99 EN-EL12 for Nikon £9.99 Light Fog £9.99 ability of the lens they are fitted to. These add a dramatic star cross flare to
8GB 30MB/s
16GB 30MB/s
£36.12 £19.99
£70.06 £34.99
EN-EL14 for Nikon NEW £24.99
EN-EL15 for Nikon NEW £29.99 £49.99 Strong Fog
Light Diffuser
£9.99
£9.99
52mm Close-Up Set £26.99 bright light sources, such as streetlights.
They also give a slight soft focus effect.
55mm Close-Up Set
Sandisk
EN-EL19 for Nikon
EN-EL20 for Nikon
£12.99
£14.99
£43.99 Strong Diffuser £9.99 58mm Close-Up Set
£29.99
£34.99 52mm Starburst x4/6/8, each £11.99
Starburst 4x,6x,8x, each £12.99 58mm Starburst x4/6/8, each £15.99
Extreme Li10B/12B for Olympus £9.99 Neutral Density filters have a multitude of
Close-Up +1,+2,+4, each £12.99
More sizes in stock, from 46 to 77mm!
67mm Starburst x4/6/8, each £21.99
60MB/s Li40B/42B for Olympus £9.99
uses - from increasing detail in landscapes
and reducing over-exposed skies, to creating 80A, 80B, 80C, each £9.99 72mm Starburst x4/6/8, each £27.99
Li50B for Olympus £9.99 stunning motion scenes by reducing shutter Lens Converters
8GB 60MB/s £67.02 £29.99 speeds. Here's a kit which includes all the 81A, 81B, 81C, each £9.99 Ideal for converting your kit lens to a
More sizes in stock, from 46 to 82mm!
16GB 60MB/s £116.19 £49.99 BLM-1 for Olympus £12.99 popular ND filters, and everything you need 82A, 82B, 82C, each £9.99 2.0X telephoto or 0.5X wide angle lens.
32GB 60MB/s £208.89 £89.99 BLS-1 for Olympus £12.99 to get started! The kit contains: 1x ND2 85A, 85B, 85C, each £9.99 We stock many other filter types,
CGA-S005 for Panasonic £9.99 Filter, 1x ND2 Soft Graduated Filter, 1x ND4 52mm 2.0X or 0.5X converter £35.99 including multi-image, fog,
Filter, 1x ND4 Soft Graduated Filter, 1x P- Red, Orange, each £9.99 55mm 2.0X or 0.5X converter £37.99 split-field, red, orange, yellow and
CGR-S006 for Panasonic £9.99 Yellow, Green, each £9.99
CGA-S007 for Panasonic £9.99
Type Filter Holder, 1 x P-Type Adapter Ring 58mm 2.0X or 0.5X converter £39.99 green filters in a range of sizes.
of your choice (49-82mm). Many more P-Type filters in stock!
DMW-BCG10 for Panasonic £19.99
DMW-BCJ13 for Panasonic £19.99 We also stock Z-Pro (100mm) and A-Type (67mm)
DMW-BCK7 for Panasonic £19.99 filters, holders and adapter rings Light Craft FaderND MkII (2-8 stop)
Compact Flash: 400X
DMW-BLB13 for Panasonic £19.99 Workshop 52mm FaderND MkII £56.99
8GB 60MB/s £118.46 £29.99 55mm FaderND MkII £59.99
DMW-BLE9 for Panasonic £14.99
16GB 60MB/s £204.25 £54.99
Compact Flash: 600X
DMW-BMB9 for Panasonic £24.99
D-Li50 for Pentax £12.99
LENS HOODS & CAPS Filters
Amazing but true - by simply rotating the
outer element of the filter, the amount of
58mm FaderND MkII
62mm FaderND MkII
£62.99
£69.99
8GB 90MB/s £177.38 £43.69 D-Li90 for Pentax £12.99 light passing through the filter can be 67mm FaderND MkII £79.99
16GB 90MB/s £271.30 £77.69 D-Li109 for Pentax £12.99 Bayonet-Fit Lens Hoods Screw-Fit Lens Hoods adjusted from a 2 stop to an 8 stop reduction. 72mm FaderND MkII £89.99
SLM-1137D for Samsung £9.99 The FaderND filter is constructed from two 77mm FaderND MkII £99.99
Compact Flash: 1000X 52mm Shaped Petal Hood £6.99 opposing sheets of polarizing glass, the
SLM-1674 for Samsung £12.99 55mm Shaped Petal Hood £6.99 outer sheet mounted in an independently ND500MC (fixed 9 stop)
16GB 150MB/s £371.30 £109.99 BG-1 for Sony £19.99 rotating frame. The new Mk II version
32GB 150MB/s £569.56 £199.99 58mm Shaped Petal Hood £6.99 features both imporvied optical elements, 52mm ND500MC £39.99
NP-FM500H for Sony £19.99 62mm Shaped Petal Hood £7.99 and a thinner, conical shaped frame to 58mm ND500MC £47.99
SDHC Class 10: 400X NP-FH50 for Sony £19.99 67mm Shaped Petal Hood £7.99 reduce the chance of vignetting. 67mm ND500MC £55.99
8GB 60MB/s £130.73 £14.99 NP-FW50 for Sony £24.99 72mm Shaped Petal Hood £9.99 Also available is the highly acclaimed 72mm ND500MC £59.99
16GB 60MB/s £248.47 £22.99 Many more batteries in stock! 77mm Shaped Petal Hood £9.99 ND500MC fixed 9-stop filter with ultra-thin 77mm ND500MC £64.99
frame for wide angle photography.
SDHC Class 10: 600X
A comprehensive range of aftermarket 82mm Shaped Petal Hood £11.99
matt black bayonet-fit lens hoods for 46mm Rubber Hood £3.99 Genuine LightCraftWorkshop filters - beware of immitations!
16GB 90MB/s £180.73 £37.99 Battery Grips Canon, Nikon and Sony lenses.
32GB 90MB/s £329.79 £69.99 52mm Rubber Hood £3.99
ES-62 Canon 50/1.8
STEPPING RINGS
A range of professional battery £9.99 55mm Rubber Hood £3.99
grips from Hahnel. All can take ES-71II Canon 50/1.4 £9.99 58mm Rubber Hood £3.99
two Li-ion batteries for double ET-60 Canon 75-300/4-5.6 £9.99
the battery power. AA 62mm Rubber Hood £4.99
battery compartment ET-65B Canon 70-300/4-5.6 £9.99 67mm Rubber Hood £4.99
and/or vertical shutter ET-67 Canon 100/2.8 Macro £9.99 Step-Up and Step-Down Rings
release and/or infrared 72mm Rubber Hood £5.99
Compact Flash remote, depending on model.
ET-67B Canon 60/2.8 £9.99 77mm Rubber Hood £5.99
Stepping rings are used to “step-up” or “step-down”
from one filter thread size to another.
EW-60C Canon 18-55 IS £7.99
8GB 60MB/s £59.99 £29.99 For Canon 5DMkII: £99.99 EW-73B Canon 17-85 IS £9.99 34-37mm 52-55mm 58-55mm 67-62mm
16GB 60MB/s £99.99 £49.99 Lens Caps This is just a tiny
For Canon 5DMkIII: £99.99 EW-78BII Canon 28-135 IS £9.99 37-43mm 52-58mm 58-62mm 67-77mm fraction of our range.
SD Cards For Canon 7D: £99.99 EW-78D Canon 18-200 IS £9.99 30mm, 37mm, 40mm, 43mm, 43-46mm 55-52mm 58-67mm 72-67mm Over 160 different sizes
2GB £8.99 £3.99 For Canon 30/40/50D: £59.99 EW-78E Canon 15-85 IS £12.99 46mm, 49mm, 52mm, 55mm, 46-49mm 55-58mm 62-67mm 72-77mm in stock, from 25mm to
4GB Class 10 £19.99 £5.59 For Canon 60D: £99.99 EW-83E Canon 17-40/4.0 £12.99 58mm, 62mm, 67mm, 72mm, 49-52mm
105mm. Probably
58-52mm 62-72mm 77-72mm the largest selection
8GB Class 10 £29.99 £7.99 For Canon 450/500D: £69.99 EW-83J Canon 17-55/2.8 £12.99 77mm, 82mm, 86mm, 95mm
All just £4.99 each! in the UK!
16GB Class 10 £49.99 £14.99 For Canon 550D: £99.99 HB-25 Nikon 24-85, 24-120 £12.99 £3.99 each
For Canon 600/650D: £99.99 HB-37 Nikon 55-200 VR £7.99
MACRO PHOTOGRAPHY
USB Pen Drives For Canon 1000D: £69.99 HB-45 Nikon 18-55 VR £7.99 We also stock a range of
4GB Transcend £11.99 £4.19 For Nikon D80/D90: £59.99 SH-006 Sony 18-70/3.5-5.6 £9.99
8GB Transcend £19.99 £5.99 body caps and rear lens
For Nikon D800/D800E:£99.99 SH-108 Sony 18-55/3.5-5.6 £9.99 caps for Canon, Nikon,
16GB Transcend £34.99 £11.59 For Nikon D7000: £99.99 Extension Tubes
This is just a sample, more in stock! Olympus, Sony, Pentax, etc Reversing Rings - £12.99
These fit to the camera body, between the Set of 3 tubes. They contain no optics,

BATTERIES & CHARGERS camera and lens, leaving a screw thread they simply move the lens further from the

SPIRIT LEVELS to enable the reverse mounting of lenses.

Standard Rechargeables
High-power Ni-MH rechargeable AA and
AAA batteries - all sold in packs of 4.
AAA 1000mAh Duracell £6.99
AA 2450mAh Duracell £6.99
AA 2500mAh GP £9.99
AA 2850mAh Ansmann £13.99
AA 2900mAh Delkin £14.99 £9.99
ReCyko+ Rechargeables
New technology, combining the benefits
of Alkaline and Ni-MH rechargeable
batteries. They come pre-charged, retain
90% of their charge after 6 months, and
last 4 times as long as alkaline batteries!
AAA 850mAh equivalent (4) £5.99
AA 2050mAh equivalent (4) £7.99
Ultimate Lithium
Energizer Ultimate Lithium:
The longest lasting AA and
AAA batteries in the world!
AAA Ultimate Lithium (4) £6.99
AA Ultimate Lithium (4) £7.99 £5.99
E&OE. Prices may be subject to change, but hopefully not!
Universal Charger
The NEW Hahnel UniPal
charger is able to charge
AA, AAA, Li-Ion batteries,
cameras, phones, iPods
and more! Mains power
cable, plus 12V car charger.
£19.99
Full details on our website.
Dedicated Charger
A dedicated Li-Ion charger, able to charge
most camera batteries. Mains
cable, plus 12V car charger. £14.99
Coin Cells, etc
A comprehensive range of specialist
batteries - see our website for full range.
£1.99
CR123A Energizer Lithium (1)
CR2 Energizer Lithium (1)
2CR5 Energizer Lithium (1)
£1.99
£3.99
£5.99
CRV3 Energizer Lithium (1)
LR44 Energizer Alkaline (2) £1.99
CR2025, CR2032 etc £1.99
Full range of coin cells in stock
A way of obtaining a high reproduction ratio,
allowing extreme Macro photography.
camera body, allowing closer focusing.
Autofocus tubes available in Canon, Nikon
and Sony fittings - manual tubes are also
available in Pentax and Olympus fittings.
Canon: 52, 55, 58, 62, 67mm
Bubble Spirit Levels Twin Axis Normal Hotshoe £7.99 Manual Focus Tubes £17.99
Twin Axis Sony Hotshoe £7.99 Nikon: 52, 55, 58, 62, 67mm Autofocus Tubes £134.99
Pentax K: 52, 55, 58, 62, 67mm
These simply mount onto the Triple Axis Normal Hotshoe £9.99
hot shoe of a DSLR camera. Triple Axis Sony Hotshoe £9.99 Olympus: 52, 55, 58, 62, 67mm Extension Bellows
Sony: 52, 55, 58, 62, 67mm Acting like an adjustable set
of extension tubes, they
CLEANING
Coupling Rings - £11.99
allow fine control over
focusing distance. Nikon,
Used to attach two lenses together via their
Canon and Pentax fit.
filter threads, achieving high magnifications
£49.99
52-52mm, 52-55mm, 52-58mm
Sensor Cleaning
55-55mm, 55-58mm, 58-58mm Right Angle Viewfinders
Adjustable eyepiece, adjustable
LensPen SensorKlear Loupe 6X magnification, with LEDs £39.99 T2 Mounts - £12.99 magnification, 360 degree rotating
LensPen SensorKlear Loupe Kit inc. Loupe, Blower, SensorKlear £49.99
Canon, Nikon, Sony, Oly, Pentax body. Ideal for close-up work.
Green Clean Sensor Cleaning Kit inc. Mini Vacuum, swabs, wipes £64.99 1.0X-2.0X £49.99
Green Clean Sensor Cleaning Wet’n’Dry Swabs pack of 4 £15.99 Series 7 Rings, Rollei Rings and
Hasselblad Rings also in stock. 1.0X-3.3X £64.99
Lens Cleaning Telephone: 01926 339977 or 0800 1077 211
www.premier-ink.co.uk
LensPen Original Carbon-tipped pen with built-in cleaning brush £7.99
LensPen DSLR Pro Kit Cloth, Pen, FilterKlear, MicroPro £24.99 £17.99
Spudz 6x6 Washable microfibre cloth with neoprene pouch and belt/key clip £4.99
Massive range of cleaning equipment on our website and in stock. Premier Ink, Longfield Road, Leamington Spa, CV31 1XB
 We are a small, family owned and run company, specialising in photographic
consumables - and proud winners of the 2011 Good Service Award. We are located
in Leamington Spa, in the heart of Warwickshire - if you are passing, please pop
into our shop, and meet Cooper - our new office dog! To find out more about
us (or Cooper) you can also find us on www.facebook.com/premierink

01926 339977 www.premier-ink.co.uk

CAMERA BAGS TRIPODS TRIGGERS & METERS

We will match or beat ANY UK Think Tank price! Massive range of Manfrotto in stock! The NEW Plus III L208 TwinMaster
Full Think Tank range in stock - below are just a few examples: Below are just a few examples: Single Unit £129 Analogue, incident and

Retrospective Airport Commuter Airport International 190XPROB Tripod 055XPROB Tripod Double Unit £249 £85 reflected, ambient
light only.
7 V2.0 Aluminium 3-section legs, aluminium Aluminium 3-section legs, aluminium Triple Unit £369
canopy, Q90 hoizontal tilting central column canopy, Q90 hoizontal tilting central column L308S FlashMate
Weight: 1.85kg Weight: 2.40kg Mini & Flex Digital, incident and
reflected, ambient and
Load: 5.0kg Load: 7.0kg The world’s leading TTL
£139
flash light.
Folded: 57cm Folded: 65cm wireless triggering system.
Height: 146cm Height: 178cm
AC3 Zone Controller £49
£99.99 £109.99
NEW! £114 NEW! £149 £245 TT1 Mini Transmitter £149 L478D LiteMaster Pro £349
190CXPRO3 190CXPRO4 055CXPRO3 055CXPRO4 TT5 Flex Transceiver £159 L478DR LiteMaster Pro £399
Carbon Fibre 3-section Carbon Fibre 4-section Carbon Fibre 3-section Carbon Fibre 4-section
legs, Q90 column legs, Q90 column legs, Q90 column legs, Q90 column
Weight: 1.29kg Weight: 1.34kg Weight: 1.65kg Weight: 1.70kg
Load: 5.0kg Load: 5.0kg Load: 8.0kg Load: 8.0kg
We will match or beat ANY UK Billingham price! Folded: 58cm Folded: 50cm Folded: 65cm Folded: 54cm
Height: 146cm Height: 146cm Height: 175cm Height: 170cm Hahnel Combi TF Yongnuo CTR-301P £27.99
Full Billingham range in stock - below are just a few examples:
£204.99 £212.99 £232.99 £246.99 Combed wireless remote shutter Extra Receivers £18.99
release and radio flash trigger.
Hadley The 5 The 07 2.4GHz, 100m range, 4 channels. Yongnuo RF-602 £29.99
Range Series Range MM294A3 Monopod MM294A4 Monopod 679B Monopod Receiver & Transmitter £49.99 Extra Receivers £19.99
Aluminium 3-section Aluminium 4-section Aluminium 3-section Yongnuo RF-603 £31.99
Weight: 0.50kg Weight: 0.50kg Weight: 0.60kg NEW GigaT MkII £65
225 £247 Load: 5.0kg Load: 5.0kg Load: 10.0kg Yongnuo YN-460II and YN-560II
Folded: 59cm Folded: 49cm Folded: 64cm NEW Tuff TTL £99 flashguns also in stock!
Hadley Small £126 335 £256 107 £247 Height: 151cm Height: 151cm Height: 162cm
Hadley Large £148 445 £279 207 £270
Hadley Pro £159 555 £315 307 £288 £29.99
234 Tilt Head
£34.99
234RC Tilt Head
£35.99
804 RC2 Pan / Tilt
FLASH GUNS
Ideal for monopods with RC2 quick release with RC2 quick release
Weight: 0.27kg Weight: 0.27kg Weight: 0.79kg
Load: 2.5kg Load: 2.5kg Load: 4.0kg
Comprehensive Kata range in stock! £14.99 £24.99 £49.99 Free batteries Free batteries
Below are just a few examples: with every Nissin Flashgun with every Metz Flashgun
496 RC2 Ball Head 498 RC2 Ball Head 410 Geared Head
GearPack Digital 3-N-1 with RC2 quick release with RC2 q/release with RC4 quick release Nissin Di866 MkII 24 AF-1 £49.99
Range Rucksack ProLight Weight: 0.46kg Weight: 0.67kg Weight: 1.22kg The world’s most powerful hotshoe flashgun! A 36 AF-5 £69.99
guide number of 60m/ISO100 and a clear, full
Range Series Load: 6.0kg Load: 8.0kg Load: 5.0kg colour LCD panel, makes this advanced unit 44 AF-1 £129.99
50 AF-1 £169.99
NEW! £49.99 £74.99 £142.99 simple to use. Designed for use with Canon,
NEW! Nikon and Sony digital SLRs, the Nissin Di866
fully supports full TTL functionality with the option Canon, Nikon, Sony, & Olympus
Gearpack-60 £49 DR-465 £65 £49 for full manual overrides. Covering a range of
Gearpack-80 £59 DR-466 £72 3N1-25 £139 focal lengths from 24-105mm and
including a secondary fill in flash
Gearpack-100 £69 DR-467 £79 3N1-35 £169 unit, the Nissin Di866 is the Nissin MF18 Ring Flash
flashgun professionals have
been waiting for. Includes built-in The new Nissin MF18 Macro Ring Flash offers
Comprehensive Vanguard range in stock! USB port for down-loading upgrades. an exceptionally high guide number of 16m
(ISO100), colour LCD display, power pack port,
Below are just a few examples:
£189.99 Canon, Nikon & Sony
Auto, TTL, Manual, Multi,
Wireless and Custom settings
AltaPRO 263AT Tripod AltaPRO 264AT Tripod are just some of its features,
plus an expanding ring head.
Comprehensive Tamrac range in stock! Aluminium 3-section legs, magnesium Aluminium 4-section legs, magnesium Nissin Di622 MkII Includes mounting rings for 52,
Below are just a few examples: canopy, MACC Multi-Angle-Central-Column. canopy, MACC Multi-Angle-Central-Column. An impressively powerful 58, 62, 67, 72 and 77mm
flashgun with a guide number diameter mounting
Weight: 2.00kg Weight: 2.10kg of 44m, bounce and swivel head, rings.Available in
Expedition Velocity Sling Accessories Load: 7.0kg Load: 7.0kg full TTL, wide angle diffuser. Canon and Nikon fit.
Range Range Folded: 63cm Folded: 53cm
Water Bottle £13
Height: 165cm Height: 155cm £114.99 Canon, Nikon & Sony £279.99
4X £89 6X £29 Lens Case 50 £12 £125.99 £134.99
7X £39 Nissin Di466
5X £104 Lens Case 100 £13
6X £119 8X £44 Lens Case 200 £14 PRO 253CT PRO 283CT NEW! Nivelo Tripods Guide number of 33m. Full TTL,
adjustable bounce flash head,
TTL Flash Cord Coiled £24.99
7X £149 9X £49 Flash Case £11 Carbon Fibre 3-section Carbon Fibre 3-section A new range of lightweight, flexible, compact
tripods with heads, that fold flat in a few seconds wide angle diffuser. TTL Flash Cord Straight £29.99
legs, MACC column legs, MACC column
8X £169 10X £59 Rain Cover £20 Weight: 1.66kg Weight: 1.70kg
thanks to the unique, inverting open canopy.
204BK H:101cm, W:0.6kg £53.99
£72.99 Canon, Nikon & Olympus
Available in Canon, Nikon, Sony, Olympus,
Panasonic, Pentax and Samsung fit.
Load: 7.0kg Load: 8.0kg
Folded: 63cm Folded: 64cm 214BK H:120cm, W:0.7kg £62.99
Height: 165cm
£242.99
Height: 170cm
£296.99
244BK H:145cm, W:1.1kg £98.99
245BK H:161cm, W:1.2kg £107.99 FLASH DIFFUSERS
Comprehensive Vanguard range in stock! PH32 Pan / Tilt SBH100 Ball Head GH100 Pistol Grip Bounce Flash Diffuser
Below are just a few examples: 3-way fluid head, magnesium, Lightweight magnesium alloy, Multi award-winning pistol grip These popular, simple opaque plastic diffusers simply fit onto the front
three spirit levels, quick twin adjuster knobs, 2 spirit head with spirit level, friction of your flash gun, creating a diffused bare bulb effect with even
release plate. control and panoramic function. coverage. Huge range available for Canon, Nikon, Sony, Olympus,
Messenger Zoomster Backpack levels, quick release plate
Pentax, Metz & Nissin. Below is just a sample of the range:
UP-Rise Outlawz UP-Rise Weight: 0.42kg Weight: 0.39kg Weight: 0.75kg
Load: 5.0kg Load: 10.0kg Load: 6.0kg Canon 270EX / 380EX / 420EX
Canon 430EX / 430EXII / 550EX
£67.49 £67.49 £107.99 Canon 580EX / 580EXII
Nikon SB600 / SB800 / SB900
UP-Rise 28 £72 UP-Rise 45 £90 Nikon SB24 / SB25 / SB26 / SB28 £10.99
Sony: HVL-F42AM / HVL-F58AM, Metz: 48AF1 / 58AF1
UP-Rise 33 £82 Outlawz 16Z £54 UP-Rise 46 £99 Nissin: Di466 / Di622 / Di866, Pentax: AF-540FGZ
UP-Rise 38 £90 Outlzaw 17Z £63 UP-Rise 48 £108
GH-1P Gimbal GH-2 Gimbal Travel Angel 2 Inverted Dome Pro Flash Diffuser Set
RAIN COVERS Superb gimbal head, with
control handle. Side mounting
for lens.
Heavy duty gimbal head, with
massive load rating. Flat
mounting for lens.
A1682TB0
A1692TB0
£179
£189
Comprising a clear vinyl body that simply slips onto the head of the flash
gun, and an inverted frosted dome that clips onto the front.
In addition to diffusing the flash directly hitting your subject, the
inverted dome spreads light evenly through the sides of the clear

OpTech Rainsleeve Kata Elements Think Tank Weight: 0.8kg Weight: 1.4kg Flat Traveller 2 vinyl body, lighting up the surrounding environment, thus producing
a natural soft daylight effect. Especially useful for shooting interiors
Load: 12.0kg Load: 23.0kg A1182TB0 £204
Unique eyepiece opening Covers Hydrophobia and portraits, and is a firm favourite with wedding photographers.
and drawstring lens Protect The ultimate
£229 £329 A1192TB0 £209 Supplied with four domes, giving you a full range of natural,
cool, or warm-up tones. Available in four sizes:
enclosure. your protection
Two versions, camera from the Size 1: 62-65 x 39-42mm Nikon SB600, SB800, etc
for DSLRs with against weather! Size 2: 64-68 x 35-38mm Canon 420EX, 430EX, etc
or without a the Size 3: 68-72 x 46-49mm Nikon SB26, 27, 28, etc
flashguns. 2 per pack. elements! 70-200 £109 £29.99 Size 4: 73-77 x 46-49mm Canon 550EX, 580EX, etc
Standard £6 E690 Small £37 70-200 Flash £114 A284 Tripod
Flash £8 E702 Large £52 300-600 £118 Triad 30 Lite £39.99
Aluminium 4-section 4 section magnesium alloy
tripod, legs extendable at 3
Weight: 2.17kg

CAMERA STRAPS
different angles, reversible
Load: 8.0kg centre column, built in spirit
Folded: 56cm level. Supplied with BH30
Height: 154cm £73.99 alloy ball head, and
carrying case.
The world’s fastest C2504 Monopod C2804 Weight: 1.20kg
camera straps! Monopod Max Load: 4.0kg

STUDIO ACCESSORIES
Carbon Fibre 4-section
Folded: 56cm
Weight: 0.59kg £66.99 Max Height: 142cm
RS-4 Classic £54.99 Load: 4.0kg
RS-5 Cargo £64.99 Folded: 47cm C3204
RS-7 Curve £59.99 Height: 153cm Monopod Triad 40 Lite £49.99
Including BH40 alloy ball head.
RS-W1 Womens £59.99 £59.99 £74.99
Weight: 1.58kg Max Load: 5.0kg
RS-SPORT £59.99 Folded: 60cm Max Height: 153cm
RS-DR1 Double £119.99 BH02 BH08 Ball Head Apollos and Halos Collapsible Umbrellas
SnapR-35 Large £44.99 Ball Head Quick release plate, The convenience of an umbrella meets the control Such a simple but effective idea - umbrellas with
£22.99 spirit level, 360 degree rotation, Triad 60 Lite £59.99 of a softbox. Built on an umbrella frame, they a telescopic shaft. Perfect for travel, they open
dual control knobs Including 3-way fluid damped pan/tilt head. mount to any standard umbrella receptable. to 43” diameter, but collapse down to just 14.5”.
BH05 Weight: 0.42kg Weight: 1.90kg 28” Apollo £99.99 43” Umbrella Soft Silver £19.99
The world’s best-selling Max Load: 5.0kg
SLR camera straps! Ball Head Load: 12.0kg Folded: 61cm Apollo Orb £119.99 43” Umbrella White £19.99
£25.99 £29.99 Max Height: 162cm Apollo Strip £119.99 43” Umbrella White/Black £21.99
Camera Straps System Connectors
BH22 Ball Head BH25 “An excellent value Westcott 28” Apollo Westcott Umbrella Westcott 5-in-1
Wrist Strap £11.99 Adapt-its (4) £4.99 Ball Head for money tripod”
Classic Strap £16.99 Extensions (2) £6.99
Sliding quick release plate, Flash Kit Flash Kit Reflector Kit
spirit level, 360 degree £37.99 Amateur Photographer including shoe, including shoe including reflector,
Super Classic £19.99 UniLoop (2) £6.99 rotation, triple control knobs Magazine mount, 28” Apollo mount, umbrella reflector holder,
and light stand. and light stand. and light stand.
Pro 3/8 Strap £17.99 ProLoop (2) £9.99 Weight: 0.4kg BH28
Pro Loop Strap £18.99 LensSupport (2) £9.99 Load: 8.0kg Ball Head BH30 Ball Head £19.99 £184 £81 £110
Utility Sling Strap £29.99 Sling Adapter £10.99 £31.99 £45.99 BH40 Ball Head £29.99 £129.99 £64.99 £79.99
E&OE. Prices may be subject to change, but hopefully not! Premier Ink & Photographic, Longfield Road, Leamington Spa, CV31 1XB. 01926 339977
Orders are shipped promptly by Royal Mail 1st class post, for which we charge just £1.99 per
order. All prices include VAT, and a full VAT receipt is provided with every order. Payment
accepted by credit/debit card, cheque or postal order. Orders accepted securely online,
www.premier-ink.co.uk, over the telephone, 01926 339977, by post, or by visiting our shop:
Premier Ink & Photographic, Longfield Road, Sydenham Ind Estate, Leamington Spa, CV31 1XB

01926 339977 www.premier-ink.co.uk Winners of the Amateur Photographer 2011 GOLD “Good Service Award”

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www.premier-ink.co.uk
Telephone 01926 339977 or 0800 1077 211.
Premier Ink & Photographic, Longfield Road, Leamington Spa, Warwickshire, CV31 1XB
 NEXT ISSUE
APRIL 2013 ISSUE ON SALE 12 MARCH MAIN IMAGE: LEE FROST

MASTER YOUR SKILLS

FROM DUSK TO DAWN

The magic hours of morning and evening provide photographers with the
chance to add a colourful sunrise and sunset to landscape scenes.
We reveal the photo skills you need to capture stunning results

PHOTO TECHNIQUE

Get the picture

As well as landscape and still-life techniques, we’ve an extravaganza of portrait advice,
including creatively using flash gels and photographing pets with their owners

THE COMPLETE PICTURE

More on Raw
Put theory into action with the second part of our major article on Raw. Our creative
and practical techniques will help you maximise detail and perfect your exposures

MAIN TEST

Nikon D5200
Looking to upgrade to a reasonably-priced, highly specified digital SLR?
Find out if the £800 24.1-megapixel Nikon D5200 is the right model for you!

MORE TECHNIQUE MORE EXPERT ADVICE MORE INSPIRATION!

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