The Nikon Mag: Wildlife Tips & Tricks

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100% UNOFFICIAL Issue 139 • August 2022

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THE NIKON MAG

PRO ADVICE! NIKON
STOP
PRESS!
Z30
New video-first
wildlife tips mirrorless
marvel!
& tricks
See page 98 for details
Top Nikon pro Laurie Campbell

shares his secrets for amazing
images of animals
EXPERT TIPS
Metering modes
Learn how to use what BIG TEST!
mode, and when…
Tough tripods!
8 light-but-strong carbon
FREE VIDEOS fibre supports for all budgets
6 PHOTO PROJECTS
TO TRY AT HOME TODAY!
APPRENTICE
Macro masterclass!
Our apprentice learns to shoot brilliant
close-ups of bugs and butterflies
Eeva Mäkinen Tasty shots! 2-in-1 fast glass!
“People give up a Yummy Nikon food Nikon’s astounding
little too early” p64 POTY images p16 Z 400mm f/2.8 TC p100

 
FROM THE EDITOR
This issue’s special

contributors…
Ross Hoddinott
PAGE 6
Ross takes this apprentice to a
nature reserve buzzing with life
on a mission to capture close-ups
of creepy-crawlies.
Laurie Campbell
PAGE 26
Scotland-based wildlife pro
84levruM © :egamI
Laurie imparts 20 of his
handcrafted tips for taking your
best-ever images ofanimals.
Welcome to issue 139

Paul Wilkinson
PAGE 38
The devil is in the detail, explains
Paul, who aims to persuade you
to spend more time perfecting
your filenaming conventions. When it comes to wildlife, few photographers are as
prolific as Laurie Campbell, and this issue he shares
his decades of experience shooting birds and
Eeva Mäkinen mammals throughout the British Isles.
PAGE 64 Our apprentice turns his attention to altogether
Nikon Z Creator Eeva shares smaller critters, as he undertakes a macro
her story and images of the
harsh-but-stunning landscapes masterclass, photographing incredible
of northern Finland. close‑ups of butterflies and bugs in West Country nature reserves.
In our interview we quiz Finnish outdoors photographer Eeva
Robin Savage Mäkinen about her breathtakingly beautiful landscapes and
PAGE 72 images of their inhabitants in and around the Arctic Circle.
Robin tells of his assignment In our Big Test, we try carbon‑fibre tripods that combine stupendous
to photograph some of the few strength with a lightweight build. And while we’re aware we’re in a
brave remaining WWII veterans cost‑of‑living crisis, we couldn’t resist bringing you our thoughts on
to parachute behind enemylines. Nikon’s amazing (but eye‑wateringly expensive) two‑in‑one 400mm
f/2.8 prime that turns into a 560mm f/4 at the flick of a switch.
Matthew Richards In the Skills section, we explore User Settings, get creative with
PAGE 86, 100 & 104 lighting for sci‑fi‑themed portraits, explore different‑strength ND
Matthew tackles your queries, filters, and shoot super‑long‑exposures in daylight. Plus we’re giving
testseight lightweight carbon away CutOut 7, to separate subjects from backgrounds with ease!
tripods, and tries the incredible Adam Waring, Editor
Nikon 400mm f/2.8 TC for size. adam.waring@futurenet.com
WORTH
£67
www.digitalcameraworld.com 3
 
Contents WIN
NIKO!NA
Z 6 90
SEE PAGEII
64 Explore the majesty

of the wilderness with
Nikon pro Eeva Mäkinen
26
06 Apprentice
Wildlife
62 On Location
tips & tricks
Capturing amazing scenes like this is easier
than you think, with Laurie Campbell’s tips
for techniques, settings and more!
A reader finds out how

to shoot stunning macro photography 80 Nikopedia
Tom Mackie shows how
to get round tourists in your photos
62 Discover a simple skill
for removing tourists
from your photos!
Find out how metering

modes help you control exposures
16 Lightbox 64 Interview
Our favourite shots from
Pink Lady Food Photographer of the Year 88 Wild Life
Explore the frozen
North with Nikon pro Eeva Mäkinen
Why Tom Mason finds
it hard to switch off on holiday
26 20 wildlife photo tips

72 On Assignment
How to
adapt your shooting style for animals 90 N-Photo POTY
The story behind a
moving series of war veteran portraits
Our photo challenge
continues with a focus on flowers
38 Go Pro 74 Letters
Dig into the mundane details
that lead to a successful career 96 Next Issue
Share your thoughts and
opinions with the N-Photo community
Coming up in the next
issue of your fave photo mag…
41 Nikon Skills 76 Your Stories

Another collection of
projects you can start work on today! 114 Parting Shot
Shooting a French
landmark from every angle
Another reason why
you should shoot Raw when possible
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for Windows SUBSCRIBE!
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with N-Photo! See page 84 PAGE
4 www.digitalcameraworld.com
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16
Mouth-watering images from the Pink
Lady Photographer of the Year contest
76
Capturing a
French landmark
from all angles
BEFORE AFTER
Gear Zone
98 New Gear The latest Nikon-compatible
gadgets and gizmos – plus the new Z 30!
BEFORE AFTER
100 Nikon Z 400mm f/2.8 TC VR S

The Ferrari of telephoto lenses
102 Reviews Power your gear outdoors,

and a revamped lens filter system VIEW THE PROJECT
ONLINE
104 Sturdy tripods Ensure a stable shot
with these eight carbon-fibre models
VIDEOS
www.bit.ly/NPhoto139
 
APPRENTICE
Close-up
critters
“I
 
THE PRO
NAME: Ross Hoddinott
CAMERA: Nikon Z 7II
Cornwall-based Ross is a multi-award-
winning wildlife, landscape and macro
photographer. He received his first
camera at the tender age of nine and
turned pro at just 18. Since then, he’s
been a regular in the photography press,
worked with clients such as the National
Trust and Kew Gardens, led a plethora
of workshops, and written best-selling
photography books. If anyone knows how
to find and photograph insects, it’s Ross.
For more see: www.rosshoddinott.co.uk
THE APPRENTICE
NAME: Matthew Barber
CAMERA: Nikon D5500
Matthew lives in Bedfordshire and picked
up photography as a relaxing outlet
from the hustle and bustle of day-to-day
life. While some consider photography
an expensive hobby, Matthew has
proven you can capture cracking
close-ups with just a few extension
tubes and close-up filters. That
said, he can’t wait to take a proper
macro lens for a spin, and is
already eyeing up an upgrade…
 
APPRENTICE
“How do youknow what to look out for

EXPERT INSIGHT OTHER SUBJECTS when you’re starting out?”said Matthew.
“You expectto find certain species
throughout the year and in particular
Ross says… When Matthew captured this image of a bluebottle, he didn’t think I’d take it habitats,” said Ross, “but you don’t have
seriously, but I really like it. Even if you’re intending to photograph a particular species to set out tocapture something specific.”
of butterfly or mating damselflies, keep your eyes peeled for other subjects. And those The pair continued tofollow the river,
subjects don’t scanning the vegetation along the
necessarily have to be riverbank for signs of life. “I’ve been
anything special. The coming here for years, and it’s more about
image always trumps turning up with your camera and keeping
the species for me. If your eyespeeled... like this,” said the pro
the subject looks good as a damselfly darted past them.
in the frame and it’s The photographers weresuddenly
a pleasing photo, aware of dozens of damselflies: somein
I’m happy. I’d rather flight, some perched on grasses and reeds.
capture an artistic Matthew reached for the extension
image of a bluebottle tubes in his kitbag, butRoss stopped
than a quick snapshot him. “How’d you fancy having a go with a
of a super-rare proper macro lens?”he said. The young
specimen. apprentice was all toohappy toattach the
Nikon AF-S 105mm f/2.8G VR Micro onto
 
CLOSE-UP INSECTS
SUPER
SHOT #1 TECHNIQUE
ASSESSMENT
1
EXPOSURE SETTINGS
Ross says… 1/250 sec is ideal when
shooting handheld, but you may be
forced to go lower. Don’t be afraid to
use higher ISOs to compensate, if your
camera can handle it. Macro lenses
produce super-shallow depths of field;
PRO KIT narrow apertures will provide more
room for error when focusing.
GEARED HEAD 2
Ross says… A sturdy tripod is
essential; although you can get
by using a standard ballhead, I’d
recommend investing in a three-way
geared head. My Benro GD3WH head’s
three axes tilt independently from
one another, allowing me to adjust
my framing much more precisely.
This is important when shooting MAKE IT RAW
close-ups: at extreme levels of Ross says… I only shoot Raw. Don’t
Camera: Nikon D5500 magnification, the tiniest movement be put off by the large file sizes – Raws
Lens: 105mm f/2.8 made by the camera is amplified are much more malleable in post-
Exposure: 1/400 sec, f/11, ISO800 tenfold through the viewfinder. production, and better quality. Feel free
to capture JPEG images for backup,
as long as you’re also capturing Raws.
his D5500. Rossexplained that the APS-C a surefire wayto get them airborne.” The If you buy a camera with a top-notch
camera’s smaller sensor would produce next subject was perched ona horizontal sensor, you might as well use it.
a near-160mm effective focal length, length of grass.Matthew gently raised
allowing Matthew to shoot from a much
more comfortable distance than the
his cameraand settled into position.
“It’sgenerally consideredbest practice 3
oftentimes impractical close-focusing to focus manually when shooting macro,”
distance ofhis extension tubes. said the pro. “However,we’re probably not
“We’ve got blue-tailed damselflies and going to beshooting at a 1:1 ratio, and AF
banded demoiselles,”said Ross. “Luckily systems have gotten so goodthat they’re
the wind is low,but I don’t think it’swarm much more adept at close focusing.
enough today for dragonflies.” You’ll also have a much easier time using
Matthew identified asubject perched on autofocus while shooting handheld.”
a flower head and reached for his tripod. Matthew used single-point AF and his HISTOGRAM
“Let’sshoot handheld,” said Ross. “Your preferredAF-A, which switches from AF-S Ross says… The histogram isn’t nearly
hit rate will be relatively low, but there’s to AF-Cif it detects movement. as intimidating as it looks. You have
enough light to reachsuitable shutter “My go-to shootingmode is Aperture shadows on the left, midtones in the
speeds, andyou’ll have the opportunity Priority,” said Ross. “Youcan select the middle and highlights on the right. This
to photograph many more subjects.” apertureyou want,then control the visual cue allows you to quickly gauge
The apprentice nodded – but as he shutter speed usingISO.” The pro how well-exposed your image is,
raised his camera, the subject flew off. explained that a little bit of noise was an without squinting at the tiny rear LCD
Ross chuckled: “They’re not that bothered acceptable trade-off for critical sharpness, or struggling with glare from the sun.
by noise, but sudden movementsare before telling Matthew to dial inf/11.
 
APPRENTICE
SUPER
SHOT #2
Camera: Nikon D5500

Lens: 105mm f/2.8
Exposure: 1/200 sec, f/11, ISO800
 
CLOSE-UP INSECTS
PRO KIT HOW TO:

CLOSE-UP LENSES EDIT INSECT IMAGES
Ross says… Matthew had previously been
using close-up filters and extensions tubes, 1
and there’s nothing wrong with that if you’re
on a budget or just starting out. Close-up
filters do impact image quality – and
although extension tubes don’t, they require
you to get very close to your subject, which
can scare insects away. A dedicated macro
lens like my 105mm f/2.8 or a good telephoto
macro like my 200mm f/4 allow me to get
close without impacting image quality.
SELECT YOUR SHOTS
Ross says… When you photograph
handheld, expect a relatively low hit
rate. Once the images are downloaded,
scrutinize your Raws and discard files
that lack critical sharpness. I rate my
best shots in Lightroom so I can easily
locate them later for processing.
“Macro lensesproduce veryshallow and see if you cancapture a head-on
depths of field. Although we could go wider portrait.”It didn’ttake long for Matthew to
to blow the background out further, the find a willingsubject and he instinctively 2
narrower aperture’slarger area of focus focused on the eyes, but it wasn’t easy.
makes focusing thatlittle bit easier.” “The depth of field is so shallow that one
Matthew inputted the apertureand eye is crisp and the other is soft,” said
began raising his ISO.“Push it to800,” said Ross. “Make surethe lens is perfectly
Ross. “That’sit. You’ve got a shutter speed square with the face.”
of 1/500 sec, which is ideal. We’ll be forced Matthew adjusted his position and
to shoot slower as theday progresses, but steadily exhaled as he took Super Shot #1.
it makessense tostartwith a fastshutter “The depth of field is super-shallow,but it
speed so you can settle into a groove.” doesn’t matter because the focal point is A LIGHT TOUCH
The apprentice tooka couple ofimages tack-sharp,” said Ross. “Well done!” Ross says… Well-captured images
before thesubject flewoff, thenangled rarely need much processing. Often,
the Playback screen towards Ross. “Let’s LOVE BUGS adjustments are restricted to colour
make things slightly more challenging,” Matthew spent the next 20 minutes temperature, tone, contrast and maybe
said the pro. “Get down to the insect’slevel capturing sharp shot after sharp shot a small amount of saturation. These
small global adjustments collectively
help images to pop and come alive.
EXPERT INSIGHT FLOWER POWER 3
Ross says… Insects and flowers go hand in hand, so it makes sense to include flora in
your close-up portfolio. These tall and thin common spotted orchids presented Matthew
with a compositional challenge. He either needed to capture a vertical frame-filling image
of a single flower head
or frame a second
specimen behind to
balance a landscape-
shaped composition.
As we found two TURN IT DOWN
almost identical Ross says… To capture sharp,
orchids, he opted for high-magnification images, it’s
the latter. A suitably important to use a fast-enough shutter
shallow depth of field speed. I often shoot at ISO1600 or
(f/5) ensured the 3200 when shooting insects. Modern
second flower didn’t cameras boost excellent ISO
detract too much performance, but be prepared to
from the subject. apply noise reduction in Lightroom.
 
APPRENTICE
Matthew needed to maintaina fairlyhigh shutter

speed as he was shooting handheldthroughout.
of damselflies,but Rossbegan tonotice attractive peerswere far more skittish and

a pattern. “I’ma sticklerfor critical spent most of their timejust out of reach.
sharpness andyour hit rate is really Then, something caught the pro’s eye:
impressive. However, you’re capturing “Perfect.”Ross directed Matthew towards
very similar shots. Once I’ve successfully a long piece of grass.Perchedatop the
captured something, I’ll lookto improve head was a pair of matingdamselflies.
upon that image or find something new. “The female contorts her body to
Let’ssearch for something different.” connect with the male, while he latches
Ross suggested that Matthew move onto her neck,” he said. “The photogenic
onto the demoiselles, but the damselflies’ position is called a mating wheel.”
Matthew took a few shots, which Ross
critiqued. “There’s nothing wrong with
your settings, but I think we can do better
than the top-down, three-quarter angle.
“Always get downto the insect’slevel.
Just likeSuper Shot#1, be mindful of the
shallow depth of field. Youdon’t want one
subject in focus and the other one out.”
Matthew pondered the image for a few
moments before shuffling around the
blade of grass. “Excellent,” said Rossas
PRO KIT he watchedhis apprentice frame the two
subjects squareon. Matthew managedto
LIGHT SHOW place the grass, water dropletsand insects
on roughly the same focal plane. An
apertureof f/11 then providedjust enough
a shortcar journey acrossthe border into
Devon, but when the pair arrived, it took
Ross says… Most of my close-up depth of fieldto render everything sharp. them a while to find their first subject.
images are shot using unmodified Ross smiled: “Very impressive, Matthew. “We’re looking for marsh fritillary
light, but there are situations where Your shutter speed has dipped below butterflies,”said Rossas he heldup a
you want to fill in harsh shadows 1/400 sec, but your hit rate has been so photo of theinsects on his phone. The
or separate subjects from the good I knew you’d nail it. That’sa really butterflies’ attractive wings looked like
background. I always carry a reflector crisp Super Shot #2.” earthystained-glass windows and blended
and a small Manfrotto LUMIMUSE LED right into thegrassy meadow.“They’re
light in my kitbag. You could use a ring STAINED-GLASS WINGS probably sheltering in vegetation.”
flash, but I enjoy the simplicity of The wind hadpicked up, so Ross was keen Both photographers noticed a large
a continuous light, as you can see to move onto the next location before the butterfly on the wing and followed it as it
the lighting before taking the shot. butterflies nestled down for the night. landed on amess ofgrasses. “It’sa painted
Dunsdon National Nature Reserve was lady,” said Ross, “not what we’re looking
 
CLOSE-UP INSECTS
SUPER
SHOT #3
Camera: Nikon D5500

Lens: 105mm f/2.8
for,but we might as well… Would you look “I trynot to disturb the environment,” said framing the whole flower head, but in this
at that? Onthat thistle is a marsh fritillary Ross, “but when you’ve got a few bitsof case it dwarfs the insect and throws the
– the painted lady guided us.” grass encroaching on thescene, I don’t composition off. Try framing a small
Matthew wasted no time in crouching think there’s anything wrong with moving section ofthe flower.” Matthew heeded
down with his camera and framing the them out ofthe way.That said,you should Ross’s advice and captured SuperShot #3.
shot. Rosssuggested hewiden his never touch wildflowers. But you know
apertureto f/8 to yield a faster shutter that – I’ve seen you picking your way WOBBLY WINGS
speed: “If you shoot the wings side-on, through themeadow,which is how it By the timethey’d walked tothe next
you won’t need toworrytoo muchabout should be done.” location the wind had died down again –
having a larger depth of field, since much Matthew captured acouple of images, they didn’t have to look far. “There,”
of the insect is on thesame focal plane.” but Rossstill wasn’t happy. “Marsh said Ross,“a matingpair of common
Because the butterfly waspositioned fritillaries are so small:even when perched blue butterflies. This isn’t goingto be
right in the brush, several strands of grass on a thistle, the flower head seems huge. an easy shot.They’re perched atop
were ruiningan otherwise clean backdrop. Normally there’s nothing wrong with such a tall piece of grass that even
 
APPRENTICE
SUPER
SHOT #4
Camera: Nikon D5500

Lens: 105mm f/2.8
 
CLOSE-UP INSECTS
A clamp was usedto steady this tall blade of
grass andprevent it fromswayingin the wind.
PRO
PORTFOLIO
ROSS HODDINOTT
COMMON BLUE
Always allow your eyes to explore the
background, to look for any clutter or
nasty distractions.A diffused, clean
the slightest breezeis sendingthem “That should help steadythe vegetation,” backdropwill help your subject stand
into a wobble.” he explained. “Obviously extreme care has out and pop from its surroundings.
If that wasn’t enough, the day was to be taken not to disturb the subjects.”
growing old, and theslightly darker With the windbeginning to pick up again,
conditions meant Matthew would Matthew wasted notime in firingoff
have to use a slower shutter speed. another shot, capturing Super Shot #4.
“I’d go up to ISO3200 on my Z7II,” “Fantastic,” said Ross, “andjust in time
said Ross, “but I understand why you’re too. I can feel a few spotsof rain and a
reluctant to push your D5500much downpour’s forecast, so the insects
further. It looks like you’re going to have will be hunkering down for the night.”
to shoot at 1/125 sec. Makesure you
activate burst shooting so you can fire off MATTHEW’S COMMENT
a sequence;you’ve got a better chance I had my reservations when MARBLED WHITE
of capturingsomething sharp then.” I realizedRoss is a Spurs man, Shooting toward thelight can produce
Matthew made sure both insects were but he’s been fantastic. dramatic results. Backlighting highlights
on the same focalplane andcarefully My biggest takeaway was shape, form and exquisite details, like the
framed the image. He correctly identified mitigating the shallow depth of field by translucency of an insect’swings. Early-
that the background was too busy and placing subjects on thesame focal plane. morning orlate-evening light is best.
moved to photographthe butterflies from I’ve added a macro lens to my birthday list!
the oppositeside. However,tryas he
might, he couldn’t get a sharp shot. Ross ROSS’S VERDICT
cradled his chin: “It’s not your fault – N-Photo neglectedto tell me
we’regoing to need a helping hand...” I’dhave to coach a Chelsea
The pro reached intohis camera bag and fan... It pains me tosay it, but
pulled out asmall clamp. He attached Matthew has been superb! He
one end tohis tripod and the other three knows his D5500 inside out and impressed
quarters of the way up the blade of grass. me with his super-sharp hit rate.
BE OUR NEXT
APPRENTICE!
We’re looking for future Apprentices!
So if you would like to appear on
these pages and get top one-to-one
dratsuM xelA © :egamI

professional tuition into the bargain,
send an email headed ‘Apprentice’
to mail@nphotomag.com and make
sure that you include the following SCARCE CHASER
information: your name, address, Study your subject from different angles.
a contact phone number, the camera Next issue our apprentice takes Consider the light, background, angle and
and kit you use, and the subject that a deep dive into underwater depth of field. I’m constantly looking to
you’re interested in shooting. photography with Dr Alex Mustard. capture less conventional, more creative
shots toensure my close-ups standout.
 
 
 
LIGHTBOX
 
 
LIGHTBOX
 
FOOD PHOTOGRAPHER OF THE YEAR
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LIGHTBOX
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 
Top 20 tis f...
Wildlife
photography
From essential preparations to key
techniques and creative options, wildlife
pro Laurie Campbell has 20 ways you
can enhance your animal and bird
photography with your Nikon
I
t was the brilliant nature photographer from Monty Python – any genre that involved
Danny Green who first coined the photographing action was a cra. Imagine, for example,
phrase that wildlife photography had using manual-focus lenses and ISO64 slide film, then
become “the new golf”. I feel sure having to wait until processed film came back from the lab
that Danny was referring to the to see if that once-in-a-lifetime shot was even in focus.
massive surge in the popularity Nowadays with digital capture, we may be able to fast-
in photographing wildlife that track much of the above, but there still remains a far more
seemed to begin when the advent important requirement – and that is having knowledge
of digital capture coincided with of your subject. Become a better naturalist and you
the time when technologies such become a better nature photographer.
as autofocus lenses were starting Above all, take your time and be patient. Nature runs
to get serious. at a slower pace than our busy modern lives, and it’s a fact
When I started out in the mid- that spending time outdoors is good for our wellbeing.
1970s – and at the risk of trotting out No wonder so many people are enjoying photographing
the old “When I were a lad” sentiment, nature and sharing the results with others. In fact, that’s
akin to the ‘Four Yorkshiremen’ sketch exactly why I became a nature photographer.
 
Laurie Campbell
llebpmaC eiruaL © :segami llA

Laurie has spent his career
documenting Scotland’s
wildlife. He has amassed a
picture library of close to
200,000 images, and
authored a variety of
books. More info at:
www.lauriecampbell.com
 
Top 20 tis f… WILDLIFE PHOTOGRAPHY
1
Ge  ﬆ ard
Before you even pick up your Nikon, here are four ways to make sure
you know what you want to shoot and that you’re keeping wildlife safe
Previous spread:
The yellow around 1 FOLLOW THE LAW
2 KNOW THE ADVANTAGES OF
Before you start any nature project, it’s WORKING CLOSE TO HOME
this razorbill is essential to familiarize yourself with the laws on If there is one thing lockdown restrictions during
out-of-focus lichen. nature photography laid out in the Wildlife & the Covid-19 pandemic taught many nature
Above: I could only Countryside Act 1981. All animals are protected photographers, it’s that there are more
start this project on from cruelty from a welfare and moral standpoint; opportunities to photograph wildlife
golden eagles after this act goes further and sets out different categories on our own doorstep than you might think.
getting a licence. and levels of protection for wildlife. Of course, these have always existed, but
Top right: An otter Rare birds, for example, are in Schedule One of were probably overlooked because of the
eating an eel, near the Act. It includes around a hundred species, and perceived notion that remote and more
my home town. states that it is a criminal offence to “intentionally exciting locations offered better opportunities.
Right: I shot this or recklessly disturb the bird while it is at or near The most obvious advantage of working our
roe deer from a its nest and including dependant young”. local patch is that it’s easier to monitor the local
semi-permanent Fortunately, photography is permissible but wildlife and identify opportunities to photograph
wood hide, set up it is controlled by a system of licensing. Check it. It also puts us in a good position to notice changes
with the permission government websites for more details and how in the fortunes of wildlife populations, like the
of a local farmer. to apply for a photography licence. revival in recent years of the otter population.
 
GET STARTED
The most obvious advantage
of working our local patch is
that it’s easier to monitor
the local wildlife
2
3 4
3 ACCESS AND CONTACTS

All land in the UK is owned by someone, so
there is always a question of public access. Access
rights vary, from large tracts of land managed by
bodies such as the Forestry Commission, which can
be relatively free from restrictions, to intensively
farmed land, where we are limited to waymarked
paths on age-old rights of way. In Scotland, under
the Land Reform Act 2003, there is relatively free
access to all land in the wider countryside.
Regardless of location, establish contact with
landowners and managers first, and work towards
building a long-term relationship. Many are oen
pleased to have another pair of eyes on the ground.
With conservation bodies, get involved by doing
some volunteering work on their reserves.
 
Top 20 ts f… WILDLIFE PHOTOGRAPHY
5
Fieldcra 
A telephoto lens means you don’t have to get right up to your subject,
but following these tips means you can get closer than you imagine
5 APPRECIATING ANIMAL SENSES
6 STALKING
Compared with humans, all wildlife will I’ve oen wondered if part of the appeal of Above: A golden
have one or more of their senses that are far more stalking wildlife is somehow related to a hunting eagle staring
developed than any of ours. You need to take this instinct carried over from our distant past. Things straight up the
into account to stand any chance of getting close, are very different while photographing wildlife: barrel of my lens
out of curiosity.
even if you’re using a hide. For wildlife, having more even with a decent long lens, we still need to get
acute senses is essential: their very survival may much closer than any hunter. Right top: This red
depend on it. With mammals, it’s usually their All animals are individuals, so there is the chance deer stag’s roaring
senses of smell and hearing that are most acute, of meeting some that are more habituated to provided just
enough distraction
while for birds it’s eyesight and hearing. people. For the rest, you’ll need to practise fieldcra for me to move
For mammals that spend much of their lives in skills. Most successful stalks rely upon seeing your forward unnoticed.
water, such as otters and seals, it’s said that their subject first, so always look ahead, ideally stopping
eyesight isn’t as important; but when they are once in a while to scan with binoculars. For Right: This drab
on land, it’s safer to assume that it’s as at least as mammals, always approach from downwind and covering was more
than adequate to
good as ours. plan your route to make use of any natural features hide from wading
With birds, and raptors in particular, their that will provide cover. Learn to interpret animal birds on the shore,
eyesight is astonishingly good. Consider that of body language as you get closer. The most but not from
a golden eagle, which can spot an item of prey successful images are ones where the animal passing motorists
on a nearby road.
the size of a rabbit from a kilometre away. is not staring back at the photographer.
 
FIELDCRAFT
I’ve often wondered if part of

the appeal of stalking wildlife
is related to a hunting instinct
carried over from our past
6
7
7 CAMOUFLAGE
We oen see camouflage used unnecessarily
in all kinds of items for which it will have very little
effect unless it is part of a complete package that
takes all of an animal’s senses into account. For
example, using gloves and a camouflaged face
covering to cover pale skin will have zero benefit
if we don’t approach an active fox den downwind.
Nowadays we have so much choice of camouflage
clothing and materials, some with fabrics
impregnated with chemicals that suppress human
scent, or leaf-screen bodysuits that break up the
human outline. In most situations, just wearing
drab-coloured clothing and keeping still and
downwind of your subject is more than enough.
Hides oen need camouflage too, but more to hide
them from inquisitive people than the subjects! 8
 
Top 20 tis f… WILDLIFE PHOTOGRAPHY
Choosing which lenses we need
is dictated by the subject.
A common thread for wildlife
centres around long lenses
Eq u i men 
Expert advice on the most suitable cameras and lenses, how to pick the best tripod,
and what you need to carry to carry your gear to the next location
9
9 CAMERAS
Looking at current trends, mirrorless camera Above: Despite my 10 LENS CHOICES
Given the huge technological improvements
sales are overtaking those of DSLRs. It’s quite a camouflage and since the advent of digital capture, the age-old
seismic change, particularly for those with so much being downwind, advice of spending more on lenses than on cameras
invested in F-mount lenses. But then, the FTZ these badgers because the latter was ‘only a box to hold the film’
noticed me because
adaptor allows many of these older lenses to of the sound of my isn’t quite true nowadays. Yet with megapixel counts
be attached to the latest Z-series Nikons, albeit with DSLR’s shutter. heading ever higher, the need to spend more on
the occasional loss of some functionality. Right top: I bring lenses is as important as ever, because of the need
And what of mirrorless cameras themselves? out a macro lens to have the optical quality to keep up.
Well, they’re a no-brainer really, for the following when I can: the Choosing which lenses we need is dictated by
reasons, in order of importance for photographing discovery of this red the subject and how we want to photograph it.
wildlife: better autofocus, silent operation, in-body grouse chick was Predictably, a common thread for wildlife centres
stabilization, less weight, and sharper lenses. unexpected. around long lenses. For value and flexibility, the
Whether everyone needs to switch is less clear. Right: A tripod was arrival of 150-600mm, 200-500mm and 200-
I have a Nikon Z 9 on order, but I don’t need that essential for this 600mm zooms have fulfilled a need for more
many megapixels for my macro and landscape tight composition of photographers than any other lenses. Expensive,
work, so I’ll be keeping my Nikon DSLRs for now. a drake eider duck. fast lenses are still important, as they are more
 
EQUIPMENT
10
11
usable with teleconverters and more able to focus

in low light. For me, I never go anywhere without
a macro lens!
11 TRIPODS
Except perhaps for those of carbon-fibre
construction, don’t skimp to save weight while
you’re choosing a tripod for a wildlife shoot.
Long lenses may be heavy, so the tripod you
choose must be up to the job.
If you really want to test how capable any tripod
and head combination is, extend it to full height,
attach your camera with your heaviest, longest lens,
activate Live View and scroll in. Gently tap the end
of the lens, and watch to see how much the image
shimmers, and how long it takes to die down.
If either seems excessive, shoot a series of test
exposures of something static at progressively
longer exposure times. Give it a fair trial by using
the timer on a 10-second delay or a remote release;
if it’s a DSLR, try a few with and without mirror
lock-up activated.
Last tip: always keep the last few centimetres
of your tripod legs extended, to prevent dirt
fouling the locking mechanism.
 
When it comes to
photographing flying
birds in practice, some
things never change
A n im s i mot io

13
Wildlife rarely stops moving for long. Here are key techniques for
making sure you grab the ideal shot as your subject passes by
13 BIRDS IN FLIGHT
The efficiency of autofocus systems on many
Above: I hadn’t
expected this raven
longer exposure times to achieve a so-called
motion-blur effect. The results may not be for
of the latest Nikon cameras continues to amaze, to come quite so everyone, and they can be difficult pictures to edit;
as do the permutations of settings to be found in close to my hide. but if it’s something you haven’t tried before, I’d
the menus that control it all. When it comes to Top right: A feeding urge you to give it a go.
photographing flying birds in practice, however, frenzy of eider A few pointers. Choose subjects that can be
some things never change. ducks, shot from photographed against a contrasting background,
To get a feel for how your camera performs with a high viewpoint whether it’s by tone or by colour. Don’t overdo it by
using a 1/25 sec
different settings in real life, a visit to a duck pond in exposure time. shooting in bright, sunny weather: it rarely works,
a public park should provide enough opportunities and can ruin the so, subtle effect you should be
to try it out. In addition, switch off the image Right: I preset the trying to achieve. If you are shooting handheld with
stabilizer on the lens if you are using a shutter speed focus and fired a a long lens, try to pan at exactly the same speed as
that is adequate to avoid camera-shake, because that continuous burst the subject so that, comparatively speaking, only
when this great-
can affect autofocus performance on some systems. spotted woodpecker the background is moving; and keep the image
Other tips include picking up approaching birds looked as though it stabilizer switched on, as it helps smooth out the
in the viewfinder when they are still small in the was about to leave effect. A good starting point is around 1/30 sec.
frame, to give the autofocus more time to lock on; its nest.
and to remember that birds will always face into 15 PRESET MANUAL FOCUS
the wind while taking off or landing. Before the days of autofocus, it was very
difficult to manually hold focus on an animal that
14 MOTION BLUR was moving towards the camera, so most wildlife
When you shoot animals in action in low light, photographers resorted to preset manual focus.
try experimenting by using low ISO settings and To photograph birds in flight, for example, the lens
 
ANIMALS IN MOTION
14
15 16
would first be focused on a distance where the bird

would appear reasonably big in the frame. When
one came into view, a burst of images would be fired
as it passed through the focus point.
As antiquated as this sounds, the technique is still
valid today. To photograph salmon leaping up a
waterfall, for example, set the camera on a tripod
and focus near to the top of the waterfall. With a
remote release, you can stand back and fire bursts
of images whenever a salmon leaves the water. If
you were looking through the viewfinder, you’d
likely miss pictures because your peripheral view
would be limited, and you’d have no warning.
 
Ge t cra iv
17
Above: It was Take your wildlife photography to the next level by combining
a challenge to shoot
this golden eagle in solid technique with a willingness to experiment
desperately low
light, but not
increase the ISO 17 WORKING IN LOW LIGHT
In comparison to yesteryear, when ISO400
not without looking at what we can do to refine our
working technique to cope with low light first.
setting any further. film was considered high but regarded as a last The key to obtaining sharp images of wildlife
An exposure of 1/8 resort because of its marginal image quality, the in low light comes down to two variables: camera
sec on an 840mm
lens worked when range of usable high-ISO settings we have at our shake and subject movement. The combined effect
the bird was disposal today is astonishing. But this doesn’t mean of using adequate camera support, a remote release
absolutely still. that we should be using these high-ISO settings – and, for DSLRs, mirror-lockup, go a long way
 
GET CREATIVE
It’s worth experimenting by

photographing the same subject at
different times of day and weather
conditions to obtain variety
towards ensuring consistent results. And it’s good
practice for situations when we are really working
on the edge, and every f-stop counts.
18 GETTING CREATIVE WITH LIGHT

I’m sure that I’m not alone in looking at a
subject and visualizing what it could look like and
how much better the image could be, if only the
lighting were different. Matching the lighting to the
subject is important; for species that are active at
either end of the day, it seems almost essential to 18
photograph them in the so-called ‘golden hour’,
where the warmth of the lighting imparts 19
information about the time they are active.
Then again, it’s worth experimenting by
photographing the same subject at different times
of day and weather conditions to obtain variety.
I have been doing just that for many years, with a
flock of pink-footed geese that roost on a moorland
loch close to home. So far, I’ve photographed them
in silhouette against a sunset, with rim-lighting
combined with the creative use of lens flare,
in rain, and even by moonlight.
19 COLOUR AND WHITE BALANCE CHOICES

The human eye isn’t great at recognizing
colour temperature, so it’s easy to understand how
errors are made. I’ve never found auto white
balance to be foolproof, so I prefer to deal with it
manually. As I shoot only Raw files, I know that
I could deal with any corrections later in processing,
but I always aim to have as many presets as possible Top: My favourite 20
enabled in my cameras, so that I have less to do to image to date of the
the files later. pink-footed geese,
While using very long exposures, there can be taken at dawn in
freezing fog.
a tendency for colour shis towards blue. I like it
in some scenes; in fact, seeing it on the rear screen Above: This long
oen encourages me to stay with the subject longer exposure of a
than I would have done. A nice feature on Z-series gannet colony at
dusk shows the
mirrorless cameras is their ability to display the motion of the
effects of white balance modes in real time. background sea.
 
Paul Wilkinson FMPA FBIPP FSWPP is a multi-
Paul award-winning international photographer
and co-author of the best-selling book
Wilkinson Mastering Portrait Photography, and shares
his skills through the free companion site
Go Pro MasteringPortraitPhotography.com. In this
monthly series, he shares his experiences
and stories as he talks about the trials and
tribulations of becoming a pro photographer.
The devil is in the <insert subject>?” The second and

slightly morbid request would likely
be: “At our wedding, 15 years ago, you
(mundane) details
took an image of my father, who has
passed away. Could we get a copy of the
image <insert image ID>?”
Of course, there will be other queries,
but we are unlikely to have requests for
‘A red bus travelling from le to right
with a sunny sky’.
There are many facets to being a pro - and some You may think I am stating the
obvious – but given the number of
of them are not that glamorous. But getting photographers who show me images
with the original camera-provided
them right can make all the difference filename ‘DSC1234.jpg’, etc, I would
suggest it’s still worth pointing out!
This helped us figure out some simple
B
naming conventions. First, every job has
a master folder, with a name such as
‘170831 Paul and Sarah’s Wedding’.
eing a professional interactions means we will have Second, every image has a unique
photographer creates inevitable requests for images from name: nothing complicated, just a date
endless stories, from the our archive. stamp, some letters to indicate the job
day I lay in fox poo at That’s possibly a tad sobering – but and the image number in time sequence.
the start of a shoot to the being able to find pictures that may be So, for example, ‘170831PASW_1234.jpg’
day I knocked Prince 15 or 20 years old is something we knew would translate to image number 1234
Charles’ cup of tea of right from the outset that we’d have to from Paul and Sarah’s wedding on 31
out of his hand. Luckily, be able to do. Even this week, I had a August 2017. Why have the date at the
he laughed at me as request for two images from a wedding front like that? Well, that’s so the files
I ploughed right through we shot 15 years ago – and I was able and folders appear in date order when
him, racing to capture to find them in a matter of minutes. viewed in any file browser.
a shot of one of his team Cataloguing every image with Once I have imported the images
meeting an actress from ITV’s individual keywords and locations from the memory cards, I assign the
Coronation Street. (His police security is probably overkill for a portrait names, and they will never change.
detail didn’t look quite so amused...) photographer. On the other hand, if If we create different versions (like
I have airport stories, motorway your business is in stock images, then monochrome or lower-resolution proxy
service station stories, wardrobe detailed keywording (and possibly versions), we add a suffix to the filename.
malfunction stories and medical geo-positioning) may be critical! The original filename never changes.
emergency stories: who knew that if Even though this is a simple
you tell an ex-SAS captain to stand Keep it simple convention, it makes it possible to find
somewhere, he’ll do precisely that until We determined the level of detail we’d any image shot in the past 20 years.
he collapses? Of course, when we asked need by acting out interactions with Filenames are just one tiny (and
him why he didn’t tell us he needed to sit our clients in advance. We would need mundane) bit of running a photography
down, he matter-of-factly replied that to be able to satisfy two types of requests: business – and there are countless others
I had given him an order. first, “Do you remember the shoot you – but if you speak to any established pro,
There is entertainment in all of this, did at <insert location> in <insert rough they will tell you they have processes for
and sometimes a little pathos – but it’s date>? Do you have any more images of these, the tiniest of things.
the little details, the boring details, that The almost-invisible decisions you
really build a business. make right from the start make it
Let’s take file naming. Wait, no, possible for all the exciting stuff
don’t turn the page just yet; there is
a point to this beyond my inane love The almost-invisible to happen later. Boring? Possibly.
Important? Certainly. Ignore them
of technical details. decisions you make right at your peril.
We have been running a photography
business for the best part of two decades; from the start make it Anyway, back to those stories: have
I ever told you about when I tripped
in that time, we have amassed several possible for all the exciting and fell over, disappearing sideways
thousand clients and millions of images.
Having a business with so many stuff to happen later beneath a hedge, right in front of 150
wedding guests...?
 
GO PRO – PAUL WILKINSON
When you turn pro, thinking
ahead and looking into the
mundane details can make a
big difference to your success.
nosnikliW luaP © :yhpargotohP

 
 
42
48
44 50
VIEW THE PROJECT

VIDEOS ONLINE
52 54 Whenever you see this logo, it means

there’s a video to accompany the
tutorial, taking youthrough things
step-by-step. You can watch all of our
photography tutorial videos online –
just go to www.bit.ly/NPhoto139
 
CORE SKILLS
The Proc t o: re skls

Mission
– Store go-to settings for a
variety of subjects so
you can switch to them
in an instant
Customize your camera
Set up your Nikon for different shooting scenarios in a
Time
– 30 minutes
jiffy. Adam Waring explores User Settings and banks
Skill level We know that many of our primed for the last thing you shot, on the mode dial of cameras in
– Beginner readers love to try their hand at and wholly unsuitable for your D7xxx, D7xx and D6xx DSLRs, as
different genres of photography: current subject? We’ve all done well as most Z-series cameras.
Kit needed one day we’ll be up at dawn
shooting landscapes; the next
it: fired the shutter to capture
a fleeting, unmissable moment
Some models have two User
Settings, others three. Simply
– Nikon camera with taking family portraits; the day – then realized the 2-sec self- save your settings to one of these
User Settings or Photo after we’ll be trying to capture timer had been set in conjunction presets; the next time you want
Shooting/Custom fast-paced sports. Fortunately, with a bracketing sequence to shoot that type of subject, turn
Settings Menu banks your Nikon is almost infinitely and a narrow aperture from the the exposure mode dial to the
configurable to capture all previous day’s landscape shoot. corresponding ‘U’ setting.
manner of shooting scenarios. Many Nikon cameras have a Others, such as the D8xx, D5xx
But how many times have variety of ways to help you set and D3xx, plus the pro D6/5/4/3
VIEW THE PROJECT you picked up your camera to up your camera for the shooting and Z 9 models, use ‘banks’ to
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capture whatever happens to be
unfolding in front of you, only to
scenarios you use most often,
then quickly access these go-to
switch between shooting and
custom settings. Here’s how to
find that the camera settings are settings. User Settings are found set your Nikon for instant recall!
 
USER SETTINGS
Go-to sports settings

First, for a camera with User Settings, dial
in some go-to settings. For example, for
action/sports you might want to set Shutter
Priority mode, a 1/1000 sec shutter speed,
High-Speed Continuous release mode,
continuous AF, Auto ISO and JPEG. Once
you’re happy, go to Setup Menu>Save
User Settings and choose a preset number.
▼ Get set for landscapes

Next, set up your camera for something
different, say landscapes. Here you might
decide on Aperture Priority mode with a
narrow f/11 aperture, Single-shot release
mode, single autofocus and single-point AF,
your camera’s lowest ISO and Raw – with
a 2-sec Exposure Delay for good measure.
Save this to a different preset. 1
2 3 4
Pick a preset Put it in the bank

To instantly switch to a User Setting, simply Rather than User Settings, some cameras
turn the mode dial to its corresponding ‘U’ have ‘banks’ for both ‘Photo Shooting’ and
number. You can then fine-tune these base ’Custom Settings’ menus, each labelled A to
settings as you see fit, but if you turn the D. Select the bank you wish to use at the top
camera off, or switch to something else on of these menus, and all the corresponding
the mode dial and back again, it will revert menu options listed below are automatically
to your saved settings. stored in that bank as you change them.
5 Quick Tip
6
With menu banks, any
changes are automatically
recorded in whichever bank
you happen to be using – you
don’t have to save them first.
To speed up access to Photo
Shooting Menu banks, go
Remember my name to Custom Settings Menu>
Controls>Custom Control
Can’t remember what settings are saved to
which bank? Go to Photo Shooting Menu> Extended photo banks Assignment>Preview button
+rear command dial. Now
Photo Shooting Menu Bank (or Custom The Photo Shooting Menu bank only saves
Settings Menu>Custom Settings Bank) changes made to menu items. To also save to switch banks, you can
and press OK, then tap right on the multi- the exposure mode and aperture/shutter simply hold the Pv button
selector and use the on-screen keyboard to speed settings, go to Photo Shooting Menu> and scroll the rear dial.
rename it to something more memorable. Extended Photo Shooting Menu Banks>On.
 
A roof window
provides some
natural light.
You can spread light

CREATIVE TECHNIQUES by bouncing it off of
a wall, which diffuses
it at the same time.
Here we used
blue and magenta Primes are ideal for
lighting, but portraits. An 85mm
experimentation is the go-to, but a
is part of the fun. nifty fifty will do
the trick too.
This Rotolight
AEOS 2 is a great
light, but you
could use gels
on flashguns to
create a similar
effect at home.
The Proc t wo: eaiv ni qs

Mission
– Use coloured lights to
produce sci-fi portraits
that are out of this world
Colour theory
Mike Harris uses multi-coloured lighting panels for
Time
– Four hours a science fiction-styled shoot that’s off the planet
Skill level
– Intermediate This month the good ship both provide continuous lighting lighting at the tap of a screen,
N-Photo blasted off into an (which we used) and high-speed it’s much easier to experiment
Kit needed uncharted area of East Sussex
for a sci-fi-themed portrait shoot,
RGB flash, making them ideal
solutions for film-makers and
with your lighting on the fly.
If you’re just getting into
– Two LED panels, or a courtesy of The Creativity Hub photographers alike. portrait photography, pro-grade
suitable alternative (see www.creativityhubevents. Each light can be controlled via lighting equipment probably isn’t
– 50 or 85mm prime (FX com for upcoming events). As a neat little touchscreen and a practical. Fortunately, lighting
equivalent), or kit lens we photographed a series of pair of command wheels, allowing skills are entirely transferable, so
futuristic scenes – which you to cycle through a whopping just use what’s available to you.
wouldn’t look out of place in 2500 digital filters with ease. In You can purchase affordable gel
a Philip K Dick novel – we had fact, these lights can emit almost attachments for flashguns and
some of the very best lighting kit any colour you can think of (16.7 heads, and some particularly
VIEW THE PROJECT Rotolight has to offer at our million colours to be exact). This resourceful photographers swear
VIDEOS ONLINE
disposal. Most exciting of all were
the lighting outfit’s new AEOS 2
completely removes the need to
lug around gels – and since you
by making their own, or you could
try using a regular desk lamp to
and NEO 3 LED panels. These can change the colour of the create a low-key portrait.
 
LED LIGHTING
 
CREATIVE TECHNIQUES
Two tones
Play with colour
Mixing two colours together
is a great way to make your
portraits pop. We used a
Rotolight AEOS 2 and a
handheld NEO 3 to capture our
image of @sansmelanin (near
left). The ability to simply use a
touchscreen to change a light’s
hue is a huge part of what
makes these LED lights so
enticing. You can experiment
with colour combinations at will,
like the warm orange and cool
cyan lighting in our image of Lee
Hoy (far left). If you don’t have
access to colour-changing LED
panels, try using conventional
gels. Some photographers
make their own gels using
coloured sheets of acetate
or even sweet wrappers.
Mood lights
Set the scene
You can use coloured lighting
to add a sense of realism to
certain scenes. For this setup,
Rotolight’s TITAN X1 was
positioned just to model
@gavrauroxana’s right, with
some of its blue beam bouncing
off the wall. A small NEO 3 with
a diffuser dome was hidden in
front of the television to mimic
blue light from a TV screen. We
dialled in a super-high 10,000K
white balance to counter the
strong blue hues and bring out
the yellow hue courtesy of a
lamp to the model’s left. The
dark conditions required an ISO
of 640, which allowed us to
shoot comfortably at 1/160 sec
with an aperture of f/4.
46
 
LED LIGHTING
Low-key lighting
One light is all you need
If you’re new to portrait above, which produced deep,
photography or are limited defining shadows. The lack of
by the lighting equipment you light does mean you’ll have to
have available, low-key lighting keep an eye on your shutter
is a fantastic place to start, speed and compensate with a
because it can be achieved with wide aperture and higher ISO.
just one light source. While you We used an aperture of f/2.8
can introduce a very soft fill and ISO640, which yielded a
light or reflector, we opted for a suitable handheld shutter
single-light setup – a handheld speed of 1/100 sec. The shallow
Rotolight NEO 3 – but you could depth of field meant only one
use a flashgun, LED panel or eye would be in focus, so we
even a household lamp. We used a single autofocus point
directed our light source onto to lock focus on the eye that
our model @meg_biffin from was nearest the camera.
Mono tones
Curb the colour
If an image isn’t working in
colour, try converting it to black
and white. The red lighting in
our image of @katie.t.willy was
too overpowering, but we liked
the composition and pose.
A black-and-white conversion
revealed a nice balance
between highlights, midtones
and shadows. If you intend to
shoot in mono, it can be helpful
to preview your image in black
and white. Nikon’s Monochrome
Picture Control allows you to do
just that via Live View or (if you
have a Z camera) your EVF. This
is helpful, as exposures and
lighting that don’t work in colour
can sometimes work in mono.
Make sure you shoot Raw, so
you can use the colour version
if you change your mind.
 
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2022
30 September
No filter 3-stop 6-stop 10-stop
The Proc t hr: Een i ar skls

Mission
– Shoot varying long
exposures with the most
popular trio of ND filters
Stopping power
Mike Harris shows the light-blocking abilities of three-,
Time
– 15 minutes six- and 10-stop ND filters by blurring a waterfall
Skill level
– Intermediate Photographers often try to get as using a lower ISO and narrower to the light conditions you’re
much light into their camera as aperture, but very often even a shooting in, and the aesthetic
Kit needed possible, investing in bodies that
boast top-notch image quality at
camera’s base ISO and the very
narrowest aperture isn’t enough
you’re trying to achieve. We
paired our NiSi V7 filter holder
– ND filters high ISOs and fast lenses that to capture adequate motion (not with the most common strengths
– Tripod gather as much light as possible to mention the latter can reduce of ND filters: three, six and 10
via super-wide apertures. image quality). The solution is to stops to demonstrate how each
But there are times when we shoot through a neutral-density filter affects the same subject.
want to reduce the amount of filter (ND for short). Remember that the speed of
light that enters the camera, ND filters act a little bit like the subject and available ambient
so that we can produce longer sunglasses for cameras. These light will both affect the outcome
exposures. This might be to blur tinted sheets of glass block light too, so have fun experimenting.
VIEW THE PROJECT moving clouds, smooth out to allow for longer exposures. You can even stack ND filters to
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choppy waters or exaggerate
intentional camera movement.
They come in various strengths,
so you can tailor the light-
increase the strength; so three-
stop and six-stop filters combine
You can increase exposures by blocking properties according to block nine stops of light.
 
ND FILTERS
1 2 3
Safe and secure Attach the holder Camera settings

Secure your camera to a tripod. Increase If you don’t have a remote shutter release,
stability by extending the thickest legs first You don’t want automatic exposure settings switch on a two-second self-timer or
and refraining from extending the central widening the aperture and increasing the Exposure Delay Mode. Input ISO100 and an
column (the weakest part of a tripod). If ISO to compensate for the dark filters, so aperture of roughly f/8 to f/11, and focus
you’re working on wet rocks, they can cause set your shooting mode to Manual. If you’re a third of the way into the image. Input
tripod legs to slide, so ensure each leg is using a filter holder that isn’t already the necessary shutter speed to achieve a
fully splayed; if possible, use grooves in attached to your lens, make sure you balanced exposure. (DSLR users will work
the rocks to help wedge each leg in place. attach it before you frame your shot. out the long exposure using these settings.)
Clean the filter 4

Gently remove the desired filter from its
pouch – while only touching the edges
– and inspect it for any fingerprints,
smudges or dust. Clean it front and back
using a microfibre cloth before carefully
sliding it into the holder. NiSi recommends
using cold or distilled water to clean filters
at the end of a shoot, and produces its own
Nano cleaning solution.
6
Quick Tip
Long exposures can be spoilt
by light leaking into the
App’s the way to do it camera via the optical
viewfinder. It’s good practice
If you’re using a mirrorless camera and your to cover the opening by
exposure is under 30 seconds, you should
be able to eyeball the correct exposure via 3-, 6- and 10-stop shop shielding it with your hand or
covering it with a lens cloth
the EVF or Live View. If you’re using a DSLR, We used the three most common ND filters during the exposure. Some
we’d recommend using an ND filter but other strengths are available, and you can DSLRs have a dedicated
calculator app, where you simply input stack filters to block more light too. Just bear shutter that blocks the
the base shutter speed and your filter’s in mind the ambient light and the speed of the viewfinder. This isn’t a
strength to calculate the desired exposure. running water: these affects the blur too. problem for mirrorless EVFs.
 
AFFINITY PHOTO
AFTER BEFORE
The Proc t fr: Affin y ho

Mission
– Transform a building into
a graphic painting with
filters and the Pen tool
Building blocks
Learn how to transform a photo into bold, blocky
Time
– 30 minutes shapes – and get to know key tools and filters in
Skill level Affinity Photo. James Paterson shows you how
– Intermediate
Kit needed Some scenes are so iconic that
they can be reduced down to
on buildings. So if you have a
photo of your own in mind, why
look that would be impossible to
achieve with filter effects alone.
– Affinity Photo simple blocks of colour and still not give it try? We’ll use the Pen tool to isolate
remain instantly recognizable. There are two stages. First we’ll sections of the building, then
The Guggenheim Museum in transform our photo into a pencil copy and blur them into single
Bilbao is a case in point. In this sketch using a clever combination blocks of colour.
project we’ll look at how to of layer blending modes and blur This means spending time
transform the flowing lines of filters. This gives us a fine degree with the Pen tool to trace around
a building photograph into a of control over the look of the surfaces and objects. If you
series of graphic shapes, just like sketch effect, as we can make haven’t used the Pen tool before
VIEW THE PROJECT creating a minimalist painting. the lines thicker or thinner by – or if you’re a little rusty – then
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The same technique can be
used on all kinds of photos,
adjusting the blur strength.
The second stage takes slightly
giving this project a go can be
a great way to brush up on your
although it tends to work best longer, but results in a graphic Pen tool skills.
 
GRAPHIC SHAPES
1 2 3
Photo to sketch Boost the contrast Trace the building

Press Cmd/Ctrl+J to copy the bottom layer, Increase the Blur amount to make a sketch Grab the Pen tool. Choose a surface in the
then Cmd/Ctrl+U to bring up HSL. Drag effect. Next, press Cmd/Ctrl+L for Levels building, then click on the corner to add a
Saturation to -100. Highlight the middle and drag the black and white points point. Click-and-drag to make another point
layer and press Cmd/Ctrl+I to invert the inwards to increase contrast. Press Cmd/ – the wider you drag, the more curved the
tones, then set the blending mode to Ctrl+Shift+Alt+E to merge a copy of all the line will be. Plot the anchor points to trace
Colour Dodge. Go to Filter>New Live layers. Rename the new layer to ‘Sketch’, around a section of the building. Once done,
Filter Layer>Blur>Gaussian Blur. then hide all but the bottom layer. click on the first point to close the path.
Blur the surface 4

Click the Selection button in the Pen tool
options at the top to convert the Pen tool
path into a selection. Press Cmd/Ctrl+J to
copy the selected area to a new layer, then
go to Filter>Blur>Average. Press Cmd/
Ctrl+D to deselect, then highlight the
bottom layer.
Build it up
Grab the Pen tool and trace around another
section of the building, then repeat the Tone and blend
process to copy and blur the area. Continue Click the Tone Mapping Persona. Choose a
in this way, isolating areas with the Pen tool preset; we used ‘My Eyes See in HDR’. Reveal
then blurring them, until the whole image the Sketch layer at the top and change its
is covered. Press Cmd/Ctrl+Shift+Alt+E blending mode to Multiply. Add a layer mask
to merge a copy of all layers. and paint black to hide unwanted lines.
 
ADOBE CC
BEFORE
FREE!
15 water
AFTER
reflection
The Proc t five: Ade C effects
Mission
Add water effects
to the foreground
– Add a convincing water
reflection effect to
an outdoors scene
Time
– 30 minutes
Skill level Jon Adams uses this issue’s free Water Reflection Kit
– Beginner to add realistic reflection effects in Photoshop CC
Kit needed
– Photoshop CC
If you want to give an image care to choose a horizontal line it exactly as described: any layers
a brand-new look, this cool that could actually be a waterline in the wrong order will blow it!
technique may be right up your – and for a convincing result,
street – or down your river! It avoid anything breaking this ABOUT YOUR
effectively ‘floods’ the foreground line that would stand out as WATER EFFECTS
of any scene with a computer- inappropriate when reflected. The Water Reflection Kit on the
generated water reflection effect, The technique will work on all download has 15 displacement
making it look like the scene is kinds of images, from still-life map files.
photographed from a low angle shots and full-length portraits to These distort
on a body of water. landscapes and architecture, but the content of
VIEW THE PROJECT All you have to do is choose the I’ve used it on a safari-park shot an image in a
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baseline of the source picture,
and this becomes the ‘waterline’
of a bison, to introduce a ‘water
hole’ to the scene. When you try
pattern that’s
similar to
in the new, flooded image. Take the technique, be sure to follow ripples.
 
ADD A WATER REFLECTION
1 2
Reflect your scene Add motion blur to the reflection

Open an image in Photoshop CC. Select the Crop tool and crop your With the reflection layer selected, click the Lock Transparent Pixels
image. The bottom edge is where your waterline will be, so position icon. Go to Filter>Blur>Motion Blur. Set Angle of 90º and Distance to
the bottom of the crop so it looks natural as the water’s edge. 40 or 50px. Click OK, and the reflection will become slightly blurred.
Tick Delete Cropped Pixels in the Options bar, and press Return. Click on the ‘Background’ layer, then click the Create A New Layer
Press Ctrl/Cmd+J to copy the layer. In the Layers panel, select the icon. With this new layer active, Ctrl/Cmd-click on the reflection
‘Background’ layer. Go to Image>Canvas Size, tick Relative, change layer’s thumbnail to select its contents. Click the foreground colour
the units to Percent and put 100 in Height. Click on the top-middle swatch, then click directly on the background (or the sky) of the
Anchor box, set Canvas Extension Color to White and click OK. original pic to sample an appropriate reflection colour. Press Return,
Now click on the top layer, and press Ctrl/Cmd+T. Shift-drag the top then press Alt+Backspace to fill the selected area on the middle
handle down to the bottom to flip the image and create a reflection. layer. Press Ctrl/Cmd+D to lose the selection lines.
3 4
Create the water effect Add finishing touches

Click on the top layer, then go to Filter>Distort>Displace. Set With the top layer active, click the Add Layer Mask icon. Select the
Horizontal Scale to 200 and Vertical Scale to 400, and tick the Gradient tool and choose Black/White from the presets. Make sure
Stretch To Fit and Repeat Edge Pixels boxes. Click OK; in the dialog the Reverse box is not ticked, and drag from the bottom of the pic up
box, find the downloaded Water Reflection Kit on your hard disk. to the water line. To tone down the effect, double-click the Layer
Double-click one of the Reflection.psd files, and a rippled effect Mask thumbnail and reduce Density. For a more defined water line,
will appear on the reflected layer. create a new layer at the top of the stack, and click with a soft black
You can create different effects with different displacement map brush on the ‘join’ at the extreme left side. Shift-click on the right
files, and by choosing different amounts in Horizontal Scale and side to make a black band along the join. Change the blending mode
Vertical Scale. Always make sure, though, that the Vertical Scale to Multiply and add Gaussian Blur with a natural-looking setting.
amount is double that of Horizontal Scale. Finally, crop off the bottom of the pic to improve the composition.
 
THE BIG PROJECT
The
Mission
– Take exposures that last
for several minutes in
daytime, with a strong
neutral-density filter
Time
– One hour
Skill level
– Intermediate
Kit needed
– Tripod
– 16-stop ND filter (or
stacked 10-stop and
six-stop filters)
– Phone or cable release
VIEW THE PROJECT

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 
Proc t six: e bg proc t
Sweet sixteen
James Paterson shows how you can create stunning
long exposures at any time of the day, with the help
of with a 16-stop ND filter and a little bit of patience
Famous locations like the It allows us to take minutes-long But how strong is strong? 10
Colosseum in Rome are both exposures, which means that stops is a popular strength, but
easy and difficult to photograph. people moving through the frame sometimes this just isn’t enough.
Easy because – well, look at it: don’t register in the image. A 16-stop filter, like the Formatt-
it’s incredible. Difficult because What’s more, it can create lovely Hitech ND used here, opens the
this site attracts people by the motion blur in the clouds, which door to super-long exposure
thousands every day, so it’s serves both as an eye-catching times, even in the brightest
hard to find an angle that isn’t visual and an visual metaphor of sunny conditions. With this
swarming with people. for how this grand structure has monster on our lens, we can
This is where a strong neutral- stood for millennia while activity open the shutter for minutes
density filter can be a huge asset. buzzes all around. under the midday sun.
 
BIG PROJECT
Super-long exposures in the sun GET SET UP FOR SHUTTER SPEEDS

THAT RUN TO SEVERAL MINUTES
Sturdy tripod
1 The camera needs to be perfectly still Neutral-density filter
2 A 16-stop ND filter like our Formatt- People and vehicles
3 One of the benefits of shooting long
for several minutes, so a tripod is a must. We Hitech Firecrest stretches your exposure times exposures in busy spots like this is that people
need to remain in place for a while, so set up to minutes, or even hours. In bright sunshine, or vehicles moving through the scene will not
in a spot that won’t get in the way of passers- a 1/500 sec shutter speed becomes two register in the exposure (unless they stay in one
by or other photographers. If a tripod isn’t minutes 11 seconds (compared to just two position for a long time).As such, this technique
practical (or permitted) in the location you’re seconds with a 10-stop ND): a good length is a great way to remove crowds and traffic from
visiting, you could use a wall or your bag. for blurring clouds and removing passers by. your shot.
2
5
6
3
Slow-moving clouds
4 When your exposure time runs to Phone release
5 Your phone can come in very handy Viewfinder blocker
6 There’s always a danger that light will
several minutes, the movement of clouds when you shoot long exposures. First, you can leak in and fog the exposure, especially at
is transformed into streaks of blur. This calculate equivalent exposure times. There are a few vulnerable spots. Optical viewfinders
tends to be most effective with fluffy clouds lots of apps that do this: some free, others (on DSLRs) can allow light in, so block it up with
in a blue sky, and less so on overcast days for a small cost. Second, if your camera can the camera’s cover. The filter attachment and
with lots more cloud, when the sky often connect to your phone, you can use an app lens fixings can also leak light, so use black tape
ends up looking flat and grey. to start and stop the long exposure. to block the edges, if necessary.
 
16 stops
to success
Take a test shot
Before you attach the filter, take a test shot to work
out a normal exposure of the scene. Use whatever
exposure settings you’re comfortable with – a good
option is Aperture Priority with ISO100, aperture f/8.
This is a good time to experiment with compositions
and fine-tune your framing. 1
2 3 4
Lock the focus Using a 16-stopper Work out an exposure
The filter is almost opaque: once it is A 16-stop filter is suited to daylight An exposure calculator, like the PhotoPills
in place, you won’t be able to focus or conditions with bright skies. 16 stops is app here, is very helpful for long exposures
compose. Get the focus correct now, then overkill for most situations, and we wouldn’t with ND filters. We input the settings for our
switch the lens to manual focus to prevent try using it in low light (unless you’re into non-filter test shot, set the number of stops,
it from hunting. Fit the filter, making sure four-hour exposure times). But if you like and let the app calculate the new shutter
not to nudge the tripod out of place, and the long-exposure look or minimalist speed for us. Each stop doubles the time.
block the viewfinder to stop light leaks. scenes, it’s a great addition to your kit bag. Here, 1/200 sec becomes 5 mins 28 secs.
5 6
Set to Bulb Watch your timing

Most cameras max out at a 30-second Now we sit back and wait, using a timer
shutter speed, so you need to set yours to to watch the exposure length. Keep in
Bulb mode if you want to go slower. This mind that the conditions may change
way, the camera stays open as long as the during the exposure, so you may need
shutter is engaged. To avoid touching the to judge things on the fly. Here the sun
camera, we need to use a cable or wireless broke out from behind the clouds during
release, or a phone paired wirelessly. This a planned five-minute exposure, so
lets us tap to start and stop the exposure. we stopped it at 2 mins 16 secs.
 
BIG PROJECT
Fix long-exposure flaws NOISE, COLOUR CASTS AND EXPOSURE MISHAPS CAN
PLAGUE LONG EXPOSURES – HERE’S HOW TO FIX THEM
Correct noise
1 The camera sensor heats up during Fix colour casts
2 Strong ND filters will invariably leave Combine frames
3 Long exposures can be tricky to get
a long exposure, causing increased noise and the image looking slightly cool. In Lightroom, right in changeable conditions, so you may need
hot pixels. You can use Lightroom’s noise grab the White Balance eyedropper and click on to rely on exposure blending to combine more
reduction tools to reduce this, but a better a neutral point (like the path here) to fix colour than one frame. In Photoshop, copy one image
option is DxO’s PureRaw, a plugin that can casts. Sometimes light can leak in and give on top of another, then Alt-click the layer mask
automatically fix an astonishing level of noise edges a magenta cast. This can be fixed with icon to add a full mask to hide the top layer.
and produce a better Raw file. a Radial Filter, set to reduce magenta tint. Paint with white to reveal the areas you want.
Better reflections
BLUR MOVING WATER AND CREATE CLEANER
REFLECTIONS WITH LONG EXPOSURES
As well as being useful for blurring clouds and
removing tourists, strong ND filters are fantastic
for blurring the motion of water. The churn is
transformed into streaks of silky white blur. Notice
too how reflections will come out clearer when the
water is smoothed out with a long exposure. You don’t
necessarily need a 16-stop filter for this: motion blur
can be achieved with exposure times of just a few
seconds. But with a strong ND, you’re free to use
wider apertures. If you want maximum sharpness,
you can set the aperture to the lens’s ‘sweet spot’,
which is usually around 2-3 stops down from the
widest aperture – around f/5.6 or f/8.
 
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Tom is an award-
Tom winning professional
photographer, best
Mackie known for his high-
quality landscape
On Location work. More info at:
www.tommackie.com
YouTube: Landscape
Photography iQ
Tourist removal tool

The problem with shooting many beautiful
scenes is all the people standing in the way!
But there’s a simple technique to erase them...
H
ave you ever tried to ticket queue. We just had to arrive early
photograph a popular enough to be at the front of the queue at
location that has a the gate. Everything was going to plan
constant flow of tourists? until we tried to enter the car park.
It makes it virtually The gates were closed, with security
impossible to get a clean turning cars away. Had there been a
image. Even trying to sudden hailstorm that wiped out the
manually retouch each entire gardens!? No, I was told, there was
person out of the image a new rule: the car park gates wouldn’t
would be a tedious, open until 8am, when the gardens open.
long-winded task. I like This wasn’t good.
a challenge as much as the Instead of driving around aimlessly,
next person, but there is only I pulled the van across the road into a
so much Content-Aware Fill can do. wood. While we were waiting, a man on
Shooting a long exposure with a a bike stopped and asked me what I was
neutral-density filter can work – but doing. I said, “We are waiting to get into
only if people keep moving. If they stop the gardens, because they have a stupid
to admire something, it will result in new rule that the car park doesn’t open
more ghosts than a Halloween party. until the gardens open.” The man said:
But during a recent workshop in “Stupid rule? That’s my rule.”
the Netherlands, I had an opportunity It turns out he was one of the If they stop to admire
to try out a different technique... managers of the garden. I sure could
have used a shovel to dig a hole! We had something, it will result
Rules, rules, rules a nice chat, and before long the gates in more ghosts than
A trip to Holland in the spring has
to include a visit to the world-famous
Keukenhof gardens, where there are
were open and off we went.
Trying the technique
a Halloween party
incredible displays of tulips, hyacinths The crowds were already mounting, but
and daffodils. I’ve been many times; I swily took my group to the dell, which previous years. When we arrived in front
my first visit was back in the early I consider to be one of the most beautiful of the swirly design, I could see there was
nineties, when the entrance ticket office sections of the garden. There’s a small a footpath right through the middle of it,
was nothing more than a large shed. pond surrounded by trees, and stunning with a steady stream of tourists. It was
I could get access to the garden an hour flowerbeds full of colour. Unfortunately, virtually impossible to get a clean image
before the public were let in by asking there’s also a footpath around the pond, without people. This meant it was the
at the ticket booth. Those days are long so it was vital to get there before the perfect opportunity to try out the tourist
gone: there is now a large modern hordes of tourists arrived. The gardens removal technique.
building with gates at the entrance – were gorgeous; the best I’d seen in years. With the camera mounted on a tripod,
and no early access. We managed to get our photos and I made successive exposures as people
The crowds are immense, so to get moved on to other parts of the garden. moved through the scene. The idea is
people-free photos, it’s crucial to be In the distance, I could see a wonderful to get as many images as it takes to have
one of the first to enter. I purchased design of yellow and red tulips stretching people in different parts of the scene,
tickets for my group a week before, off through the wood. This was and never in one place all the time.
so we didn’t have to waste time in the something new that I hadn’t seen in Then, in post-processing, I loaded
 
ON LOCATION – TOM MACKIE
After opening all 20 images
in Photoshop using the Statistics
script, all of the people within the
scene magically disappear.
AFTER
BEFORE
all the images into Photoshop using File>

Scripts>Statistics, and let Photoshop do
its magic. Within a minute, all of the
people vanished, with only a few cloning
touches needed. It was wonderful to
accomplish an image that looked
impossible to achieve.
eikcaM moT © :yhpargotohP

Despite its dry name, Photoshop’s
Statistics script can be incredibly
useful. It creates an image stack, which
combines a set of similar exposures like
this garden series, then processes them
to remove unwanted objects. Run the
script, play with its settings, and see With a stream of tourists in the scene, it looked impossible to get a clean image.
what you can create! Tom made 20 exposures so that each spot was clear in at least one shot.
 
THE N-PHOTO INTERVIEW
 
EEVA MÄKINEN
 
S
ummer has that we lived there, I was in Lapland Previous page: An

arrived early for six months; so the decision was autumn view of
in Kuusamo, kind of obvious.” a river flowing
through an
a small town Having moved closer to where her untouched area
in Finland’s work was actually taking her, Eeva of old forest in the
northeast, and Mikko now have every intention middle of Oulanka
close to of staying put – the couple have National Park. This
the Russian nearly finished building their own particular area is
closed to the
border. Here, home in the forest by the lake… public 1 April to 15
the winters are August each year.
long and bitterly Nature is your first love. Was Nikon Z 7II; Z
cold, but the photography also an interest 24-70mm f/2.8 S
at 52mm; 1/800
attractions of snow- for you as a child, or did that sec, f/3.2, ISO500.
covered trees, frozen lakes and the develop later on?
Northern Lights make it a popular I think photography came a little Below: Taken
destination for landscape bit later. I was always interested in during the summer
photographers from the world over. photos, but I grew up in a place night with a macro
lens, when the sun
It’s 8pm on 1 June when I speak to where there are a lot of famous was finally low
Eeva Mäkinen, who is sitting outside, bird photographers, and when I was enough in the sky
listening to the local birdsong near a kid they made a big impact on me, to create this soft,
the lakeside where she lives. “It’s but I didn’t think it would be possible dream-like effect
on these wild
a beautiful evening here,” she says for someone like me to actually do flowers. Nikon
happily. “The summer came around a similar thing. D850; 105mm
one and a half weeks early. Usually Of course, I don’t now do the f/2.8; 1/200 sec,
this time of the year we might still same thing, although I was always f/3.5, ISO400.
have some ice on the lakes, but now interested in nature photography,
as I’m sitting on our own lake shore, but it was surprising how everything
the trees have leaves already and turned out.
it’s really summery, 20 degrees!”
Eeva and her boyfriend Mikko
moved here in 2019 from Helsinki,
Finland’s capital, and she finds daily
inspiration in this wilderness on the
edge of Lapland. “Last year when we Autumn is really, really, short, but
were living in southern Finland and the colours are amazing and there
we were deciding what to do, I
noticed that, out of the nine months are no mosquitoes, which is nice!
You also work as a tour guide.

Are they photo-related?
Yes. We only do one or two tours in
a year because that’s not our main
thing. Me and my boyfriend, we really
love connecting with like-minded
people and taking them to places
that we find special. So, that’s like a
special event once or twice in a year,
we take people with us. We don’t
want to do it more because then it
becomes too touristy, if you know
what I mean?
It becomes too much like a
business rather than something
that you do for love?
Yes, exactly.
Tell me about the area where
you live now and the attractions
it offers for photography.
 
EEVA MÄKINEN
Above: In autumn, This area is probably one of the most

especially during famous destinations for landscape
still and foggy photographers, because there is the
mornings, it is
so silent that it Riisitunturi National Park, which is
almost sounds famous for its snow-covered trees
like winter already. in winter, and also a little bit of the
Nikon Z 7II; Northern Lights. The display here
70-200mm f/2.8 isn’t as good as you would get in
at 115mm; 1/2000
sec, f/5.6, ISO400. the far north, but you can see them
here, obviously.
But you have some wonderful
pictures of the Northern Lights…
Yes, but most of them are taken a bit
further north in Lapland. For birds,
this area is very famous because
there is a company that is doing
exclusively bird tours. They have
eagle and black grouse mating hides,
so they are very knowledgeable,
and a lot of bird photographers
travel here for that.
 
You’ve said previously that autumn But in the winter you favour
is your favourite season; is that using the wide-angle lens?
because it’s quite brief? Yes, wide-angle, and of course the
Yes, exactly. It’s really, really, short, 70-200mm is always with me. During
but the colours are amazing and the winter, I don’t really go anywhere
there are no mosquitoes, which is without the wide-angle because
nice! I love that kind of temperature I really love night skies. They’re
when it’s not so warm any more. beautiful here, and you never can
I love camping and hiking, so that know what you will see.
goes well with the landscape
photography. Also, autumn is The light differences between
definitely the best season for hiking midsummer and midwinter are
and everything looks beautiful. extreme where you live, so how
does it affect your shooting?
So, when does winter really set in? When I was starting to learn about
Around November, December. The my own gear and the light, it took a
ice on the lake melted only one week while before I realized what kind of
ago, at the end of May. light situations I like, and what kind
of light I really want to go for. I was
That was earlier than normal, so trying so many different things and,
is that a sign of climate change at the end of the day, I decided some
having an impact? things weren’t for me.
Ah, yes, for sure, but I think in the For example, I’m not a big fan
short term every year is different. of sunsets, which is weird for a
The change in the springtime would landscape photographer. But I notice
be similar without the effects of the light is so much softer in the
climate change, because every May morning, so I always prefer the
is a little bit different. The heatwave mornings and the night-time. Also,
might come, or it might be that the light here changes so fast that
we get some cold waves, so I think you only have two weeks of similar
in the springtime it’s a little bit light, and then it changes again.
harder to say. I write all the little details that
What we see more, relating to that I have noticed; like during the winter
subject, is that the winds are getting if I’m shooting at night-time, what
stronger and stronger as people are side of the moon is the best and the
cutting the forests down, so that’s height of the moon. For example,
more visible here. Also, during the when shooting snowy trees, I think
It’s important to find your niche, Above: A Siberian winter you can see the change more. the moon should be 30 percent to
so what is the main focus of jay at first light on 50 percent, but you need to have
your photography? an April morning. What is your core camera gear that it at a certain angle to get the good
Nikon D850;
It’s definitely more landscapes than 70-200mm f/2.8 you take when you go out to shoot light through the trees.
animals or birds. It’s for fun if at 180mm; 1/2000 your landscapes?
I shoot birds or animals – there’s sec, f/2.8, ISO500. During the winter, the gear I have That’s astonishing. It must have
a woodpecker next to me now! Top right: Reindeer is a little bit different than summer. taken you years of observation
When we moved here, my dream in Lapland. The sun During the winter, I always have a to work that out?
was to start doing a little bit more doesn’t rise above wide-angle lens with me; during the Of course, I’ve made lots of
of birds and animal photography, the horizon in summer and autumn, I hardly ever experiments and mistakes. When
so we are building a place where winter, but there use that. I rather use a 70-200mm I was younger, I was camping a lot
is enough light
I will have the capacity to shoot to add soft colours or even a 35mm and 85mm, and I during the winter – I still do, of
close to home and observe the to the sky. Nikon always have the basic 24-70mm in course – but I didn’t take into
nature closer, because every time D850; 70-200mm my backpack. I don’t know if this is consideration so many variables
you’re travelling somewhere, f/2.8 at 200mm; the same for everyone, but I have when I was trying to create
it’s harder to do so. It helps to really 1/200 sec, f/7.1, seasons where I like certain lenses. something similar that I did the
ISO1000.
know the place, and know the previous year. Then I realized this
environment that you’re shooting. Bottom right: Tell me more… doesn’t happen because something
After six days Well, this time of year I wouldn’t go else is different.
in the Swedish
wilderness, Eeva anywhere without my macro lens,
was rewarded because now all the small details So, in effect, because of the way
with this brilliant are coming up and it’s really the light changes, it’s almost
You need the moon at
display of the beautiful. At the moment, I like the impossible to repeat a shot?
Northern Lights prime lenses, 35mm and 85mm. And Yes, exactly. Or at least, I think it’s
a certain angle for good Nikon D850;
70-200mm f/2.8 the 70-200mm – so those four like that, because I have tried to
light through the trees at 26mm; 10 secs,
f/2.8, ISO2500.
lenses are my favourites at the
moment for this season.
repeat different things. For example,
in February you have a three-day
 
EEVA MÄKINEN
window for the certain size of the whether I want to go full-on with the
moon, and if it’s cloudy at that time, Z or still keep it. I don’t know yet.
you can’t get the shot!
Do you use filters for your
So you must study the weather landscape photography?
forecast and the moon phases I only use the polarizer and very
very closely? rarely some ND grads, but that’s
Yes, every day, although not the more for client work if I need some
moon during the summer. When running water, or something like that.
we take our guests on a photo tour,
it is always planned for a certain Who are your typical clients,
moon phase in the winter. and what type of pictures do
they like to use?
You use the Z series now as well I shoot a lot of nature for different
as the D850. Do you prefer one brands, like the Finnish landscape or
system over the other? details. For example, if a company
I only use the Z now, because I have uses a natural ingredient like spring
learned to use it and it is so much water, then I have to take images that
lighter. It’s made things easier, obviously relate to the product for
especially when hiking and ski-hiking, their marketing. I also shoot some
and you can pack a little bit less products in nature. I love doing
weight. Also, when you’re really tired location scouting, so if a company
and you should take the last photo, says, “this is the colour that we want,
I find it a bit easier for your mind to for example from a Pantone colour
take the lighter camera. map that we want, can you search for
it for us?” I try to find something that
Are you likely to get rid of your colour to deliver in a photo.
D850 as a result of the benefits
the Z series brings? Trying to match a Pantone colour
Maybe at some point. I still use it in with something in the landscape
situations like the winter, when there sounds quite challenging!
are a lot of Northern Lights; then Yeah, but it is really fun! Those are
I might be taking time-lapse on that my favourite types of projects,
camera. But I haven’t decided yet and I work with some regular
 
season. So, I basically carried four

bottles of gin in my backpack for the
past year – without opening them!
It must be very tempting when
the backpack gets too heavy,
not to open the gin!
True. But when it is so cold during
winter then it’s not so sensible to
open a bottle, but I think autumn is a
little bit tempting because you have
all the blueberries on the ground. But
I’ve never thought about it that way.
clothing brands to shoot models in make some projects here, because Above: Macro It’s really fun, I love the colours
nature, but those special projects then I’m learning about my own study of a frozen they use and that they ask me to
leaf taken in the
are my favourite. environment – a little bit more low winter light use around the shape. For example,
each time. of late February. in winter I took photos with the
Do you shoot those commercial Nikon D850; Northern Lights and another
jobs close to home, or do you One of your clients is Arctic Blue 105mm f/2.8; photographer asked me, “Do
1/320 sec, f/9,
travel to other parts of Finland? Gin. Is that a product that required ISO640. you really do this without double
I do travel to other parts of Finland as you to find a suitable location? exposures or Photoshopping, or
well. It totally depends on what the Yeah – for example, now I’ve been anything like that?”
client wants, and then we discuss the shooting again after last summer, My goal is always to try to create
location together. Of course, if it’s autumn and winter. Obviously, we everything as natural as it can be.
possible to shoot somewhere here, have four seasons in a year, and That photo also came with the
I like to choose the location and I shoot all their four products every moonlight because I knew what type
 
EEVA MÄKINEN
of moonlight I can do with the Above: Night skier, past year and I have been drowning in
Northern Lights and the bottle in photographed work, and there has been no time to
a natural way. And I made it! under the do any of my own projects. They’re
I’d rather wake up moonlight in
mid-February, Eeva all written down, like all my ideas,
I like your philosophy, to get
everything right in-camera. Has at 3am in the morning spent the night
here not far from
and what I’m expecting most is to
have a holiday and start doing some
that always been the case?
Yep! Once I tried adding this natural- and wait for one week Kuusamo. “I had
never seen light
inspirational projects.
looking steam for a product to try to to get the photo in like this before.
Everywhere you It sounds like your idea of a holiday
create some mood, and I hated it. It
wasn’t my thing at all. I’d rather wake a natural way looked was like
from a postcard.”
Nikon D850; 14mm
doesn’t involve travelling too far to
somewhere exotic?
up at 3am in the morning and wait for f/1.8; 10 secs, Yeah, just Sweden and Norway, to
one week to get the fog and the sun photographers from Finland, f/1.8, ISO2000. go hiking and to take really random
in a perfect way and to get the photo even though my inspirations photos of anything I see. It’s not
in a natural way, rather than try to are not necessarily the type of pressure; no clients, no plans or
create it in Photoshop or Lightroom. photographers that I’d like to be, anything like that.
just more it’s the philosophy Also, the fact that every time you’re
That’s dedication. Which behind their work. doing photography while you’re
photographers have inspired you? hiking and camping, I always have
When I was a kid, a bird photographer After two years of coronavirus, a stronger connection with those
who lived in the same place; he’s
called Jari Peltomäki. He used to be
things are returning to normal;
so what are your plans for the Next Month photos. I really miss that. With the
pandemic the first year everybody
married to my cousin, so that’s why rest of the year? Go underwater, was really scared and it was
I’ve known him since I was a kid. I got A holiday! I want to have a proper and other photo impossible to go to Sweden and
to know his work, so he was my first holiday to get my creativity back. adventures, with Norway. A lot of fun things are
inspiration. Then I have a lot of We’ve been building a house for the Alex Dawson hopefully coming up this summer.
 
ON ASSIGNMENT
First in, last out

Robin Savage used his Nikon D4S and Z 6II
Part of varying the looks of the photos was
using a variety of lenses. If I had the space
and wanted something that showed depth
and isolated the subject a little bit, I used
the AF-S 105mm f/1.4E ED. But more often
than not, I’d go wide on my AF-S 24-70mm
f/2.8G ED. I also used the AF-S 85mm
to shoot a moving portrait series of wartime f/1.8G and the AF-S 50mm f/1.8G – it just
depended on how I wanted the shot to look.
veterans. He tells their story in a new exhibition An example of this is the photo of Bob
Sullivan (bottom right): I initially thought I’d
T
use the 105mm. But after a few test shots,
I realized it was too long – there was too
he 6th Airborne Division of the Division, I was driven by a desire to pay much compression, and I wasn’t seeing
British Army was formed in tribute to and commemorate the very last enough of the pillars behind him. So I went
1943, at the height of World of these extraordinary men. I partnered for the 85mm, and the shot came together.
War II. It was made up with the Airborne Assault Museum, who Working on this project has been one
entirely of volunteers, who have produced the exhibition, and set about of the greatest pleasures of my life. It’s been
were motivated by a need the research needed to find the remaining a deep honour to photograph them as
to make a difference. They veterans. First In, Last Out is a collection they’ve shared remarkable stories. This
put themselves forward to of their portraits, and is on display at project is a thank-you for the immeasurable
parachute or land by glider IWM Duxford in Cambridgeshire. cost and sacrifice paid by these great men,
in enemy-occupied territory. All 17 portraits were taken at the veterans’ the likes of which we’ll never see again.
Surrounded, and without initial homes. I wanted photos that disclosed
support, they would be subjecting a little of where and who they are now. First In, Last Out is at IWM Duxford until
themselves to a dangerous form of warfare. Having the environment in the photos November 2022. For more information,
The 6th Airborne’s first operation was was important to me. see www.iwm.org.uk/events/first-in-
the Normandy landings on 6 June 1944 last-out and www.firstin-lastout.com
– known today as D-Day. They went on to Home front
lead the breakout of Normandy that August Choosing exactly where to shoot in their
as they pushed the Germans back towards homes was important. There were often
the Seine. At that time, the Division was many challenges, particularly shooting in
around 9000 men strong. Today, just
a handful of veterans remain.
very tight spaces. I had to find a part of their
homes that worked photographically and, I had to find a part of
I’ve been fascinated by the Second World if possible, told a bit of a story about that their homes that worked
War for most of my life. I started visiting
the battlefields of Normandy in 2006, and
person. There were times when I used
only available light, and others where photographically and,
began photographing veterans in 2012.
Now, sadly, with so few veterans left,
I underexposed the ambient and created
a tight pool of light on them, with a gridded if possible, told a bit of
particularly those from 6th Airborne beauty dish to add drama. a story about that person
 
Top: Taken on Breville Ridge,
Normandy, with Drop Zone N in
the background – by nightfall
on D-Day, around 3000 men
had landed there by parachute
and glider. The Airborne troops
were outnumbered three-to-one
and were engaged in a fraught
and bloody battle, but they held
their ground. Every man in this
photo saw action on the ridge,
or landed in the fields behind.
Far left: Harry Read. 6th
Airborne Divisional Signals.
Above left: Bill Gladden,
6th Airborne Armoured
Reconnaissance Regiment.
Above: Danny Mason, 8th
(Midlands) Parachute Battalion.
Left: Bob Sullivan, 3rd
Parachute Squadron, Royal
Engineers.
 
READERS’ LETTERS
Star Letter
I’ll be the judge… I am hopeful that full-frame a bleak beauty to it that sat
I
DSLR cameras may fall in well with that issue’s urban
am a keen photographer, my price range in time. theme. Of course, we’d
returning to the hobby Terry Belben encourage you to enter
after a few years away. your own images!
I got a subscription to As you say, photography is Lack of mirror aside, the
N-Photo earlier this subjective. In our NPOTY Z-series cameras operate in
year and I am no competitions we look for a a similar way to DSLRs, and
professional – but broad range of images to so many of the tutorials and Good things come
I cannot see why the make up our top 10 and felt other content are applicable to those who wait
photo entitled ‘Balcony’ that the ‘Balcony’ image had to cameras across the range.
in the June 2022 issue I’ve been a subscriber to
(page 92, N-Photo 137), is N-Photo for a number of
considered for your N-Photo years now, and have kept
Photographer of the Year every issue that has been
2022 competition. I just posted out to me. When the
don’t get it! I have to be Covid-19 pandemic set in,
honest and say that, if I was glad to have a good set
I had taken it, I would of mags to get my teeth into.
have deleted it for sure. Like many people, I like going
The same goes, in my back and trying out some of
book, for ‘Dogoda’ (page 22, the projects in the Nikon Skills
same issue). Am I that out pages; after all, sometimes it
of it now that I no longer might take many attempts to
recognize good images? achieve the outcome you
But photography is, finally desire!
I suppose, subjective. In April 2020, I decided
Moving on… I think issue that I’d like to apply to be
137’s Star Letter from Paul an apprentice to a pro
Markides has potential – photographer. Many of
iravaY dihaV © :egamI

maybe a small article on us have these ideas and
full-frame DSLRs would help aspirations, and often we are
people like me. Z cameras disappointed when we don’t
are out of my reach, but hear anything back. And to be
honest, during a pandemic,
WORTH
£49
*Winners will need to create an Affinity user account to download the app. The prizes are issued in accordance with the standard Affinity EULA and there’s no cash alternative.
 
READERS’ LETTERS
www.DigitalCameraWorld.com
The best from our companion website
which forced us into because I get the issue about

lockdown, it was obvious a month late in Canada, I miss
that none of us were going all the deadlines for your
anywhere, so how could NPOTY photo contests. 1. Bag a bargain in Nikon’s Summer promotion
disappointment be the deal Is there an internet solution Nikon has launched its 2022 Instant Savings summer promotion across the
of the year – or even the for overseas subscribers UK, offering generous discounts across much of the Z range of mirrorless
following year? that I am missing? cameras andlenses, plus some F-mount DSLR lenses. The discount is applied
Then, out of the blue in Derik Hodgson at the point of purchase, rather than via a complicated cashback scheme, and
is on top of any retailer discounts. https://bit.ly/3xAQCtS
April 2022, an email arrived
from Adam Waring or, as It can take us a little longer
N-Photo readers know him, to reach overseas readers,
hctaW ngiseD © :egamI

The Editor. I can’t tell you how so to that end we’re listing all
excited I was to get an offer the competitions and closing
to spend the afternoon with dates for all forthcoming
Tianna J-Williams and the NPOTY competitions
N-Photo magazine team. throughout 2022. See page
The whole experience was 90 for the list. And good luck!
brilliant, and everyone was on
board to make sure that the FX or DX?
afternoon went without any
glitches. I was buzzing when In the Gear of the Year special
I got my train ride home. I’d that appeared in the January
just had a day to remember 2022 issue (N-Photo 132), 2. The camera rumours are flying thick and fast!
– and one which restored my the Nikon Z 28mm f/2.8 SE Nikon only released two cameras in 2021, but they were both humdingers.
faith in the idea that, if you is said to be a DX lens. Nikon The Nikon Z fc was the Big N’s hottest product in years, and the mighty
Nikon Z 9 is the new flagship camera for the mirrorless range. So, what
really want something, never Australia states it is FX. Nikon rumours are swirling at the moment to give us an idea of where the
give up hope. Stanley Robinson brand will go next? https://bit.ly/3xlByi7
The June 2022 issue
(N-Photo 137) was released, There are no native DX
and there we were in print.
riafciP aiv tenroJ nailiK © :egamI

Z-mount primes. While the
Fantastic! Thank you, Nikon Z 28mm f/2.8 SE is
N-Photo – I’m still smiling! indeed an FX lens, it is sold
Marie Ainge as a kit option with the Z fc,
and, we feel, is targeted at
We were glad to be of service, DX users as a standard prime,
Marie (and it was lovely to where it has a useful effective
meet you!). We keep every 42mm focal length.
Apprentice applicant on file
and scour our list to match
them with our planned pro
photographer each issue. So 3. Free photo education from Picfair and Adobe
the only way to be in with a Some exclusive benefits for photographers have been provided courtesy of
chance is to apply by email. online photography store builder Picfair, as a result of its latest partnership
See page 15 for details, then with Adobe. Picfair users can now accesstwo complimentarymonths of
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Late to the party Sign up to our newsletter for the latest
I am a satisfied customer – Nikon news at https://bit.ly/dcwnews
for the most part. But
 
YOUR STORIES
Camera: Nikon Z 7
[1] Jérôme balanced the vibrant Lens: 24-70mm f/4
sunrise and dark foreground Exposure: 1/3 sec, f/11 , ISO64
in-camera with a soft ND grad.
King of the castle

S, which replaced my already-excellent
Z 14-30mm f/4 S. The former is now
permanently mounted to my camera.
France is known for its varied landscapes
and picturesque settlements, but few
scenes are as striking as the magnificent
Jérôme Colombo keeps coming back to Mont-Saint-Michel, nestled near the border
between Brittany and Normandy. It’s
Mont-Saint-Michel, where different angles a place I keep coming back to; as the
following images show, you can capture
and changing weather make every shot unique remarkably different results simply by
shooting from different angles and in
different weather conditions.
Finding new angles
MISSION: Photograph the same subject multiple my first neutral-density and graduated ND This image was taken in August 2021 [1].
times – but with wildly different results filters, a sturdy tripod and a quality wide- I chose to place myself west of the
PHOTOGRAPHER: Jérôme Colombo angle lens. During this period I devoured commune to capture the sunrise behind.
LOCATION: Brittany, France hundreds of pages and watched hours of I used the freshly cut grass to my
KIT USED: Nikon Z 7, Z 100-400mm f/4.5-5.6 VR S, video on landscape photography. I’ve been advantage, forming leading lines and
Z 24-70mm f/4 S, Z 14-30mm f/4 S reading N-Photo since issue one, and it has adding foreground interest. The mist
SOCIAL MEDIA: https://link.v1ce.co.uk/aaa79t both taught and inspired me a lot; I can’t
thank you enough for that!
In 2018, I decided to replace my D810
I
’ve been fascinated by with the then-brand-new Z 7, and I don’t
photography since my early regret it. The mirrorless camera is perfectly The mirrorless camera is
childhood, and finally got my
first film camera at the age
suited to landscape photography, and being
able to go down to ISO64 is a must! But the perfectly suited to landscape
of 16 (a Nikon, already!).
It wasn’t until 2014 that I started seriously
icing on the cake is the quality of Nikon’s
Z lenses: they’re incredible. My latest photography; being able to
pursuing landscape photography. I bought acquisition is the sublime Z 14-24mm f/2.8 go down to ISO64 is a must!
 
MONT-SAINT-MICHEL
Camera: Nikon Z 7
Lens: 14-30mmf/4
Exposure: 1 sec, f/11, ISO64
[2] Above: Les

Méandres provides
fantastic foreground
interest, while also
serving as a winding
leading line.
[3] Left: The narrow
f/16 aperture has
created a beautiful
starburst that’s
positioned right
at the tip of the
curving tree.
Camera: Nikon Z 7
Lens: 24-70mm f/4
 
YOUR STORIES
Camera: Nikon Z 7
Lens: 24-70mm f/4
Exposure: 6 secs, f/11, ISO64
at the foot of the structure was a bonus [4] A high tide provided ideal conditions,
of waking up early and shooting at 6am.
This winding body of water [2] is known
as Les Méandres, situated on a nearby
Jérôme’s Top Tips but not for the journey back to the car.
Jérôme had to wait for the tide to go out,
as it had submerged the path back...
hiking trail in Ardevon. Three parameters • I always remember the advice given
must be taken into account for capturing by Jeremy Walker during a workshop:
this classic scene. The photo must be
taken at the beginning of summer, when
“Once in place at the chosen place and
time, don’t move”. The temptation to SUBMIT
the sun sets furthest to the northwest;
there must be water in Les Méandres, so
change places could cause you to miss
the best light, which may only pierce YOUR IMAGES!
there needs to have been rain recently; the clouds for a few moments. To see your images here,
and there will be many tourists, so you
have to be patient. • Be prepared not to bring back good send a small portfolio to
On the west side of the landmark is shots on every single shoot. Landscape mail@nphotomag.com
another classic view: a curved tree [3],
which provides a natural frame for the
photography is not always predictable,
but that’s part of its charm.
with ‘Your Stories’
subject. I find this place particularly as the subject
interesting at the end of summer: there • Plan your trip: know what time you’re
are still leaves on the tree and rolls of shooting, the tide and tidal coefficient,
straw in the fields, and the sunrise is and the wind. Dress for the weather, [5] Jérôme’s new Nikon Z 100-400mm
clearly visible to the right of the frame. and remember that the temperature f/4.5-5.6 VR S super-telephoto lens
Any light morning mist that appears can drop dramatically in the evening. allowed him to photograph Mont-Saint-
adds a bit of mystery, and a soft ND grad Michel from a new angle.
helps to balance the exposure.
I had waited a long time to capture an Camera: Nikon Z 7
image like this [4], because the high tide Lens: 100-400mm f/4.5-5.6
needed to correspond with the sunset.
During these tidal conditions, Mont-Saint- Exposure: 1/2 sec, f/8, ISO64
Michel becomes an island again. Mindful
of the orientation of the sun in October,
I chose to position myself a few kilometres
east, at a place called La Roche Torin.
Again, I positioned myself several
kilometres to the east for this final image
[5]. The idea was not only to hope for a
magnificent sunset (the weather was on
my side that day) but also to test my new
Z 100-400mm f/4.5-5.6 VR S. From Le
Grand Port (between Genêts and Saint-
Léonard), you have a clear view of the
commune and can enjoy the sunset at
the beginning of winter. With the help
of a sumptuous sunset and some sheep
in the foreground, I was rewarded with
a beautiful image.
78
 
 
SPOT
CENTRE-WEIGHTED
Matrix metering
works well
for off-centre
portraits, while
Centre-weighted
excels for subjects
in the middle
of the frame.
Spot metering
is good if the
background is a lot
brighter or darker
than the subject.
NIKON KNOW-HOW MATRIX
What are metering modes?

Getting to grips with the light meter built into
your camera is the first step to better exposures
Measuring the brightness of the scene lighter than the foreground, for example. you’ll get in some exposure modes: you’ll
you’re shooting is a crucial part of getting As such, an average reading is needed. have to switch to P, S, A or M to use other
the right exposure for your pictures. In Arriving at the perfect value isn’t made metering choices.
the last few issues, we’ve looked at shutter easier by the fact that the key area of Matrix is by far the most sophisticated
speed, aperture and exposure modes; your image will vary according to your of the metering types. The pattern it uses
but before these can be set, you need to composition and what you want to highlight. to assess a scene breaks the image into
measure the brightness of the scene. This To allow for this, your Nikon has not one a number of zones. This results in a range
is where your Nikon’s exposure meter metering system, but several... of readings that are then analysed before
comes in. an overall average exposure is calculated.
It isn’t simply a matter of taking one METERING MODES The latest Nikons feature 3D Color Matrix
reading, though. The brightness of the The main metering mode, and the one that Metering III, which takes colour and
scene can vary enormously across the your Nikon will be set to when you take it focus distance into account, as well as
picture – the sky will usually be much out of the box, is Matrix. It’s the only option the distribution of light. It looks at the
 
NIKON ACADEMY
METERING MODES
Modes at a glance
How each of the metering patterns works, and when to use them
SPOT MATRIX CENTRE-WEIGHTED AVERAGE
Spot metering only The default metering mode This mode measures This is a variation onthe
measures the intensityof on Nikons measures light the lightacrossthe Centre-weighted mode
light over a small circular area around distributionacrossthe whole frame, whole picture area, but strongly that’sonly availableon Nikon’spro
the active AF point, soyou need to pay togetherwith colour andfocusdata. biases the resulting reading to the cameras. Itmeasureslight evenly
attention to where this is.The area It then compares its finding centre ofthe viewfinder.On more across the whole frame, which makes
corresponds to roughly 1.5-2.5per to an internal database of typical advanced Nikons, you can change it the least sophisticated metering
cent of the frame,dependingon photographic scenes to arrive the size of this central area, and systemof all, but for experts it
which Nikon you’re using. at a suitable exposure. hence theoverall bias. can bethe easiest to interpret.
This graphshows how Spot metering With Matrix metering,the shape of This graphis higher in the middle, The graphfor Average metering is flat,
concentratesaround the AF point. the graphchangeswith each scene. where it’sheavily ‘weighted’. as all areas are treated equally.
The smallarea around the AF point Your current focuspoint is onlyone The exposure is based mainly on the The light across the whole frame
gives an indication of the region of the criteria used by Matrix metering central part of the image, although is measured asa single value.It’s
covered by Spot metering. to work out the best exposure. the outerpartshave an influencetoo. a crude method, but can be useful.
CAMERA SETUP
How to switch metering modes
The way you change metering modes depends on the camera you’re using
External controls
The location of the metering
Information display Metering
On beginner-friendly models such
mode icon Mode choice
Now use the multi-selector to highlight Youcan now pick which meteringmode
mode control depends on the Nikon as the D3500, as well as Z-series the metering mode iconin the menu, or you want to use – press the OKbutton
you’re using. On the D850, it’s a button cameras, you change themetering tap it if your camera has a touch-screen. to confirm your choice. Back on the
on top of the camera, while on the older pattern using the on-screeninterface. It will display an iconshowing the information display, the icon changes
D800, it’sa dial mounted around the First, pressthe ‘i’button onthe back of currently selected metering mode. to show which metering pattern
AE-L/AF-L button. the camera to activate theinterface. Press the OK button… you’re using.
 
NIKOPEDIA
NIKON KNOW-HOW – CONTINUED
Contrast control
How to deal with the shadows
and highlights in your shots
Digital cameras can only register a limited Active D-Lighting
range of tones, and can’t see the range Nikon’s Active D-Lighting feature is
of brightness the human eye can. This presents designed to cope with high-contrast
a problem in high-contrast scenes, where you scenes when you’re using Matrix
have dark shadows and bright highlights – metering. The camera will slightly
when you’re photographing on a sunny day underexpose a scene (to preserve the
or capturing nightscapes, for example. highlights) and lighten the shadows.
In these situations, it might not matter which Active D-Lighting is best used when
metering mode you choose – you’ll lose detail you’re shooting JPEGs, or Raw files
from the highlights or the shadows. Unless you that will be processed by Nikon NX
change your shot, the best exposure needs to Studio. If you open an NEF file shot
be a compromise: how you decide which areas with Active D-Lighting in Photoshop,
you want to preserve details in will depend on it will just look underexposed.
which parts of the scene are the most important.
Shooting outdoors, it’s generally a better idea High-contrast scenes can mean there’s PROS The results can look natural,
to ensure that the scene highlights aren’t blown no ideal exposure – either the sky is and you can adjust the strength on
out. You can then rescue the detail in dark overexposed or the foreground is too dark. more advanced cameras.
shadows at the editing stage. Tools such as Active D-Lighting can help.
CONS Because the exposure is
automatically adjusted, the results
aren’t always predictable.
scene and tries to work doesn’t take focusing or Spot metering is much simpler, the scene. Some Nikons also
out what sort of picture you’re distribution of light into just taking a reading from a offer Highlight-weighted
taking by matching the data up account, and just assumes that small area surrounding the metering, which helps you
with an internal database of the subject is in the middle. active focus point and ignoring expose the very brightest
30,000 scenes. It then relays Despite its simplicity, this mode everything else in the picture. areas in a scene correctly.
its suggested exposure works well for most pictures, It’s the most precise metering
to create an appropriate and it’s also easier to predict mode on your camera but is ERROR ALERT
shutter speed and aperture when exposure compensation also harder to use, as you have Whichever metering mode
combination for the scene. will be necessary. On higher- to pick the spot you take the you use, all options can get
Centre-weighted metering end Nikons, you can change reading from with care. Spot the wrong result in certain
biases the exposure towards the size of the area used for metering is helpful when there’s situations. The problem stems
the centre of the frame. This Centre-weighted metering. a lot of strong light and dark in from the way these metering
Step by step Use AE Lock to control exposure

Configure your Nikon to save a meter reading and recompose the shot in tricky lighting conditions
4
1 2 3
Play with settings Frame the shot Choose an area
By default, the AE-L/AF-L button First, frame your shot to include Let’s say we want to expose
Rinse and repeat
Keep holding the AE-L/AF-L
locks both the exposure and the only the areas you want for the stained glass windows. button (you’ll see the
focus. But you can change the correctly exposed. Do this by Zoom in so they fill the AE-L symbol in the
camera settings so that it only turning the camera or zooming frame, then hold down viewfinder) to reframe
locks the exposure. in, then holding down the button. the AE-L/AF-L button. and take the shot.
 
NIKON ACADEMY
Metering modes PUTTING IT INTO PRACTICE

on your Nikon Spot the difference
To get the advantages of Spot
MODEL
D3500
MATRIX
3D Color Matrix II
METERING
SENSOR
420 pixels
CENTRE
WEIGHTED
8mm circle
AVERAGE?
No
SPOT
2.5% of
metering, pinpoint the right area
frame Spot metering mode is great for precise exposure readings,
D5600 3D Color Matrix II 2016 pixels 8mm circle No 2.5% of and can be a godsend when you’re shooting in tricky light.
frame But the skill lies in deciding which part of the scene to take
D7500 3D Color Matrix III 180,000 6, 8, 10 or Yes 2.5% of the reading from in the first place. Practice makes perfect!
pixels 13mm circle frame
D500 3D Color Matrix III 180,000
pixels
6, 8, 10 or
13mm circle
Yes 2.5% of
frame 1 CHOOSE A
HIGH-CONTRAST
D780 3D Color Matrix III 180,000 8, 12, 15 or Yes 1.5% of SUBJECT TO SHOOT
pixels 20mm circle frame
D850 3D Color Matrix III 180,000 8, 12, 15 or Yes 1.5% of This picture of a lizard
pixels 20mm circle frame against a dark background
D6 3D Color Matrix III 180,000 8, 12, 15 or Yes 1.5% of is a good example, because
pixels 20mm circle frame there’s a big brightness
Z 50 / 3D Color Matrix III Camera 8mm circle Yes 2.5% of difference. The camera
Z fc image sensor frame doesn’t know which area
Z5 3D Color Matrix III Camera
image sensor
12mm circle Yes 1.5% of
frame
needs to be correctly
exposed – only you do!
Z6/
Z 6II
3D Color Matrix III Camera
image sensor
12mm circle Yes 1.5% of
frame There are two solutions… right position for the area
Z7/ 3D Color Matrix III Camera 12mm circle Yes 1.5% of
you want to take a spot
Z 7II image sensor frame
2 SET THE AF POINT reading from. Use the AE-L/
Z9 3D Color Matrix III Camera 8 or 12mm Yes 1.5% of The first option is AF-L button to lock the
image sensor circle frame to select the AF point that exposure, as shown in the
corresponds to the part step-by-step guide below.
of the picture you want to Place the AF point over
systems work: they measure used by your Nikon’s metering be exposed correctly. your subject, then reframe
the light that’s being reflected modes assumes that the Remember that the AF point to shoot.
by the subject, rather than average from the zone (or is where the spot reading will
taking an incidental reading zones) it measures is a be taken from. Now take the 4 COMPARE WITH
that records the light falling midtone brightness – the shot again, but with the AF MATRIX METERING
on the subject. ’18 per cent grey’ often referred point over a different area, Do either of these attempts
Unfortunately, this reflected to by old-school photographers. like the background. at Spot metering give better
reading is skewed by the colour So you may have to dial in The exposure will or worse exposure results?
and brightness of the subject some exposure compensation be very different! Now shoot the same
itself. Bright, white subjects when you’re photographing high-contrast scene using
reflect more light than dark particularly light- or dark- 3 USE AE-L/AF-L Matrix metering, and see
ones. The averaging system toned subjects. Sometimes there how the exposures
won’t be an AF point in the differ again.
Fair compensation
You shouldn’t always expect to find a metering mode that
will give you an ideal exposure for a picture. It’s often
6 essential to use exposure compensation to override the
meter reading and get the result you want. You’ll need
compensation most frequently when your shot doesn’t
conform to the mid-grey average that all the metering
modes assume.
An obvious example would be a scene that’s made up
5 mostly of light tones, such as
a snowy landscape or bulbs of
garlic on a white backdrop, as
Pick your spot
This leaves the rest of the
Shoot again
Using the AE-L/AF-L
shown here. You might need to
dial in one or two stops (+1 or
shot too dark. For a different button again, we can +2EV) of compensation. With
result, try framing the scene reframe the shot and get subjects that are dark, negative
to include the walls and not an exposure that brings out compensation will be needed.
the windows. the interior of the abbey.
 
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This clever program has a number of tools to
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1
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2
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Click on the Internet
1 Select the outside edge
For complex cutouts, the Inside/Outside
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Edge Matting tool is best. First of all, click the you will need to enter your
Polygon icon under the Outside tab, and click to email address to receive
3
plot points around the subject that you wish to your unlock code.
cut out to make a rough selection. It doesn’t Check your inbox and
need to be perfect, but you need to ensure that activate your account by
no point falls within the object itself. To finish clicking on the ‘Click here to
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’reffo redaer 7 tuOtuC‘ enil tcejbus eht htiw moc.gamotohpn@liam liame esaelP ?snoitseuq ynA
the selection, click the starting point.
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2 Trace inside the subject
4
Registration Code.
Next, click the Polygon icon under the Copy and paste your
Inside tab and click-and-drag to create another Personal User ID and
outline on the inside of the subject. Again, this Registration Code into the
doesn’t need pinpoint accuracy, but you do installer’sregistration form.
need to be reasonably close to the edges. Zoom Click OK, then select your
in with the Zoom function (or scroll your mouse preferred language and
wheel) for detailed work. Click Matting, and the installation path to finalize
5
subject is cut out from the background. the installation.
The program will start
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3 Perfect the cutout
However, there’s a patch of background
you for your Registration Code
once again. Enter it andclick
6
within the area framed by our subject’s arm. the Activate button.
To remove this, click the Segmented icon. The You can now start using
image is divided into segments according to CutOut 7 to extract
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 
CUTOUT 7 EXPLORE THE INTERFACE
1 Control icons
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you to adjust the display scale of your current layer. The percentage amount on tools for specifying regions of the
image, save the image, activate the Image the right denotes the zoom level of the main photograph for editing, in addition to
Assistant, display image info, create a new image window. Clicking directly on this various other useful editing tools. The ‘?’
layer from an image, or print the image. number will allow you to change it. icon, above, opens up the program manual.
4 Editing functions
Matting, Transform, Lighting, Color 5 Project history
Displays the changes made to your 6 Layers & Areas panels
View, delete, add, rename, relocate
and Enhancement functions are subdivided project, allowing you to undo steps or and merge layers, and adjust their opacity,
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 
YOUR QUESTIONS ANSWERED
Ask Matthew...
Our resident Nikon expert Matthew Richards answers your
questions and solves your problems. If you have a Nikon-related
question, email it to mail@nphotomag.com
Q Do you have any plans

to review Viltrox DX
Build quality and handling are very good.
The lenses feature fast, near-silent stepping
motor autofocus systems and de-clicked
format Z-mount lenses? It aperture control rings. The 23mm f/1.4 has
looks like there are some two ED (Extra-low Dispersion) elements and
interesting options in the two HR (High Refractive index) elements,
along with HD Nano multi-layer coatings.
line-up, and I’m wondering Image quality is very pleasing, although
they’re of good quality... corner-sharpness is a bit mediocre at very
wide apertures.
Esa Rahiala
A We’ll be publishing a full review in a

forthcoming issue, but I’ve actually
Q I’ve bought a Z MC
50mm Micro lens to
Careful focusing and avoiding camera-shake
are crucial for getting sharp macro shots.
Using flash can also help, thanks to its very
just bought the Viltrox AF 23mm use with my Z 6II, but I am short duration.
f/1.4 Z to use with my Z fc. I’ve been very
struggling to get sharp
impressed so far. It’s one of a trio of
compact, affordable yet high-quality f/1.4
autofocus prime lenses from Viltrox:
close-up shots. Do you
have any tips to help me
A Accurate focusing and keeping the
camera perfectly still are the key
factors for achieving sharp macro
the others have 33mm and 56mm focal shots. For full 1:1 magnification, the lens’s
lengths. As such, the range gives classic achieve better results? closest focus distance results in a tiny
effective focal lengths of about 35mm, Zack Steiner depth of field, even when you’re using a
50mm and 85mm in full-frame terms. narrow aperture; so it’s best to use a single
autofocus point and line this up with the
most important part of the subject,
where you want the greatest sharpness.
Alternatively, focus manually using
a magnified preview on your rear screen.
Using a tripod helps to keep the camera
fixed in place for accurate focusing, and
as still as possible during exposures. Use
a remote controller, self-timer delay or
exposure delay mode, to avoid touching
and unsettling the camera immediately
prior to exposures. You don’t need to worry
about mirror-slap with your mirrorless Z 6II,
but shutter bounce can still be a problem.
Try using the electronic first curtain or fully
electronic shutter options to avoid this.
Q I’d like to upgrade

from my D3300 to
take more landscape and
street photography, as well
The aperture control ring of the Viltrox AF 23mm f/1.4 Z perfectly
complements the hands-on design ethos of the Z fc.
as for baby portraits.
 
YOUR QUESTIONS ANSWERED
Secondhand superstar
Q I’ve been given a used
D5100 camera body. What
would you suggest as a suitable
second-hand standard zoom?
Harry Simmons
A Matthew recommends…
I’d look no further than the Nikon AF-S DX
18-55mm f/3.5-5.6G VR II. Its retractable
design makes it remarkably small and light, ideally
The Nikon Z 50 bundled with the Z 16-50mm VR kit lens (£1039/$997) makes suited to the compact D5100.
for a smart upgrade from the D3300, but it’s certainly not your only option.
I’m fairly open on Q I’m after a
budget. What would powerful but
you recommend? affordable flashgun and
Jane Marshall RF remote trigger for
my Z 7II. What do you
A I’d go mirrorless to take
advantage of Nikon’s
excellent Z-system lenses.
think is the best option?
James Roberts
For a lightweight landscape combo
and candid street photography, the
Nikon AF-S DX 18-55 mm f/3.5-5.6G VR II
DX format Z 50 is ideal, as is the Z fc
if you prefer retro looks and easy-
access control dials. The tiny and
A The Nikon SB-5000
Speedlight is powerful but
pricey at £629/$597 – and
SMALL BUT MIGHTY, THIS IS AN OFTEN
OVERLOOKED STANDARD ZOOM THAT’S
light Z DX 16-50mm VR zoom lens that’s without an additional RF trigger. MORE THAN WORTH THE MONEY
is a great all-purpose choice. An I bought a Godox V860III-N last year,
additional Nikon Z 50mm f/1.8 would and have been really pleased with it. RELEASED: 2014 Key points
be excellent for portraiture, with its It boasts a barrage of operating PRICE NEW: £250/$250 1. Retractable design
effective 75mm focal length on DX modes including high-speed sync and SECONDHAND PRICE: The construction features
cameras and a wide f/1.8 aperture programmable stroboscopic output, ‘Excellent’ £85/$129 a locking mechanism for
for gaining a tight depth of field. and has a wireless RF transceiver. ‘Good’ £75/$98 space-saving retraction.
The full-frame Z 5 and Z 6II both There’s plenty of power on tap, from
give better image quality at high ISO a subtle 1/256 power up to Gn The VR II was the last of the 2. Autofocus system
settings, and the Z 24-70mm f/4 S 60m/197ft (ISO 100, 200mm zoom). AF-S editions of the lens, Autofocus is based on
and the Z 24-200mm VR are both The Godox has a motorized zoom before Nikon switched to Nikon’s Silent Wave
very versatile. A more suitable range of 20-200mm and an extensive an AF-P (Pulse stepping ultrasonic motor. An A/M
portrait lens for FX bodies is the Z -7 to 120 degrees of bounce. The Mark motor) autofocus system, switch assists selection
85mm f/1.8 S, while the Z 14-30mm III also adds a constant LED lamp, which is incompatible with of auto/manual focusing.
f/4 S is great for landscapes. ideal for modelling and video. the D5100 and other older
DSLRs. It’s unfeasibly small 3. Mounting plate
The powerful Godox V860III-N (£193/$229) for a standard zoom, Helping to keep the weight
works flawlessly with the Godox XPro-N weighing a mere 195g and off, the mounting plate is
Nikon-dedicated TTL RF trigger (£60/$69). retracting to just 60mm made from plastic.
in length for compact
stowage. It extends to a still Effective zoom range:
modest 76mm for shooting. 27-82.5mm
There’s also a non-VR Minimum aperture: f/32-36
version of the lens, but four- VR: 4 stops
stop Vibration Reduction Min focus distance:
makes this one the lens to 0.28m AF, 0.25m MF
go for. Ideal as a walkabout Max magnification:
and travel lens, it has an 0.31x AF, 0.36x MF
effective 27-82.5mm zoom Filter size: 52mm
range and delivers very Dimensions: 66x60mm
good image quality. Weight: 195g
 
Pro wildlife photographer and
Tom Nikon Europe Ambassador
Tom has worked around the
Mason globe on assignments to
capture photographs of all
Wild Life creatures great and small,
from the Falkland Islands
to the Amazon Rainforest.
www.tommasonphoto.com
Rock the kasbah

A long-awaited trip to Morocco proves that
switching off the urge to complete photo
assignments is a lot harder than it looks...
W
hat starts out as planning a months I had folded in my ambitions to
simple break for leisure resist the wildlife photography urge, and
soon takes on a life of its had gone and packed a telephoto: a fatal
own, initial web searches mistake if I wanted a relaxing break.
throwing up all manner
of awesome locations. Monkey see
In the blink of an eye, Wandering the streets I soon found
I’m once again queuing myself watching the local wildlife.
up at the gate for Three hours spent getting in the way
check-in; my intended of all the other tourists on a single
holiday has now turned into staircase in a medieval fort was the
a full-blown photographic trip, first real photographic treat.
and I’m trying to sneak a photo bag It was a rather perfect spot to take
weighing well over the low-cost airline in the views of the white storks that
limit above my head. You guessed it: the were breeding on the old wall, bringing
holiday isn’t really a holiday anymore! in new nesting material from the
Being totally objective in reviewing surrounding urbanized area. Many
the past five years, I think I’ve been on tourists didn’t appreciate the storks as
one holiday, a short trip back to see some a holiday highlight; some people made
friends, while every other trip I’ve been images over my shoulder before
on has, in some way, evolved into me realizing this wasn’t on the prescribed
working. Probably one of the most tour, tutting and walking off. they will chase you down rather
notable has to be a trip to Morocco, A few memory cards later, it was time forcefully to demand money and
somewhere my girlfriend and I had for lunch. Heading back to the main put a stop to your photography.
both been keen on visiting for years. square, we dodged our way through the Luckily I was armed with my secret
The idea of idyllic streets and medinas, approaching restaurant owners to finally weapon: not just the 70-200mm, but
tasting the food and enjoying a total settle on a place to eat. Two tagines my girlfriend – the perfect human
change in culture seemed like a perfect ordered and with much water downed, shield and tourist camouflage! Over
break. My exploratory Googling had I was eyeing my next subject: the the next few days, we had numerous
seen me build up a list of possible areas monkey vendors. ‘conversations’ and suspiciously long
to visit, but I wanted to try something Barbary macaques are enslaved, browsing sessions around the squares’
different and focus more on travel dragged around by their owners and store fronts, while I shot intermittently
photography rather than wildlife, forced onto tourists – some willing, over her shoulder to capture the images
because this was supposed to be some not – in order to demand payment I was aer. It was not really the holiday
my holiday too! for a photograph. I knew of this activity I had promised and, aer a few close
Fast-forward a few months, and we before heading out and, having given encounters and being followed by a
were sat on the roof of our riad, the table into the pressure of my inner wildlife group through the streets, time was
nosaM moT © :segami llA
laid with wonderful, colourful Moroccan photographer, I knew I wanted to called on my so-called holiday activity.
dishes. We took breakfast in what can capture the wildlife trade in action. So this year I’m committed to the
only be described as oppressive heat, and Dodging the macaque gangs in holiday: no wildlife gangs or long hours
discussed the fact that we really need to order to make documentary images in awkward spots trying to make images,
improve our bartering skills before we is certainly not your general holiday just a beach and a book. But hey, there’s
hit the medina. Of course, in previous activity. If you’re not paying them, still always time to pack the tele!
 
Dodging the macaque
gangs in order to make
documentary images
is certainly not your
general holiday activity
Above: Working with my
70-200mm, I was able to pick
out frames between tourists
while staying hidden, trying
to capture these poor animals
caught in an awful trade.
Left: White storks on a roof.
You can find great wildlife
photography opportunities just
about anywhere if you look.
 
 
FLOWERS & PLANTS
2
1
1. Pretty Pastels
BY TONYNORTH
2. Flower of Cactus
BY MURVEL48
3. Listen to Me!
BY ANT SMITH
This beautiful group of cyclamens is a composite. The Nikon Z 7’s built-in focus shift function was It’s hard not to enjoy this imaginative pairing.
The flowers were photographed individually on put to good use while photographing this The image is called ‘Listen to Me!’ and it’s not
a lightbox and combined in Photoshop, using incredibly detailed flower head. A whopping hard to see why: the windswept daisy on the
the Multiply blending mode to create the semi- 30 images were combined in post-production right appears to be blasting a wall of sound at
transparent effect. We love the pastel colours, to achieve front-to-back sharpness. We also like the slightly dishevelled daisy on the left. Clever
the placement of the flowers at different heights what appears to be some very tasteful colour narrative aside, the even lighting and dark
to balance the frame, and how the rule of odds popping, which really highlights the grandeur background amplify the subject’s presence,
has been used to perfect the composition. of the flower’s pistil. leaving the viewer to focus on the meaning.
Camera: Nikon D500 Camera: Nikon Z 7 Camera: Nikon D850
Lens: 105mm f/2.8 Lens: 105mm f/2.8 Lens: 105mm f/2.8
Exposure: 1/6 sec, f/16, ISO160 Exposure: 1/125 sec, f/8, ISO100 Exposure: 1/160 sec, f/11, ISO64
 
4
4. Poppy Painting
BY KURT C
5
At a glance, this sprawling meadow filled with
poppies and marigolds looks like an impressionist
painting, but it’s actually a double exposure. The
painterly effect was achieved by capturing the
first exposure in focus and using manual focus
to render the second exposure blurry.
Camera: Nikon D800
Lens: 24-120mm f/4
5. 3 Steps to Heaven
BY STEVE JAMES
Gorgeous lighting and an unusual still-life
arrangement really makes this trio of flower pots
stand out. The dark background was added later;
the flowers were photographed as a silhouette
so the subject could be easily selected in post,
and a replacement backdrop added thereafter.
A photo of a temple wall was used as the backdrop:
a subtle texture, but one that really complements
the rugged subject matter.
Camera: Nikon D850
Lens: 45mm f/2.8
Exposure: 30 secs, f/22, ISO100
92
 
FLOWERS & PLANTS
6. Ghost Lillies
BY SANG MAN
Motion isn’t something you’d usually associate
with flora – particularly in a studio environment
– but this image manages to incorporate still-life
and motion, using intentional camera movement.
Camera: Nikon D300
Lens: 70-300mm f/4.5-5.6
Exposure: 1 sec, f/8, ISO100
7. Pink Tulips
BY SHARON WILLIAMS
The diffused even lighting complements these
delicate tulips perfectly. We like how the blurred
tulip in the background balances the frame,
while creating a welcome sense of depth.
Camera: Nikon Z 6II
Lens: 105mm f/2.8D
8. Lotta Bokeh
BY ANNAFRANCA
Normally a flower head faces the camera, but
we like how this specimen draws the viewer’s eye
towards the gorgeous bokeh-filled background.
Camera: Nikon D7200
Lens: 100mm f /2.8
6 Exposure: 1/500 sec, f/2.8, ISO100
7 8
 
9. Dahlia
BY STEVE OLDFIELD
This image is proof that you don’t necessarily
need a specialist studio setup to capture fantastic
flower close-ups. A Nikon Z MC 105mm f/2.8 VR S
was used to fill the entire frame with the dahlia’s
incredible array of petals, and the flower head was
shot square-on to create a sense of symmetry.
The subject was photographed at a garden centre,
and we can only assume diffused natural light
was used to create beautifully even lighting.
Camera: Nikon Z 7II
Lens: 105mm f/2.8
10. Memories
BY NINES
This image started life as a photograph of
sun-bathed poppies in front of a concrete wall,
with deep shadows in the bottom-right corner.
Post-production techniques were then used to
transform the simple photo into a painterly work
of art. We particularly like how the poppies have
partially retained their photographic form, while
also becoming part of the colourful concoction.
Camera: Nikon D80
9 Lens: 18-135mm f/3.5-5.6
10
WORTH
£1999!
 
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cutting-edge tech in Nikon’s
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ON SALE THURSDAY 4 AUGUST 2022

•Contents subject to change
 
GearZone Lab tests explained
Sharpness
A chart with multiple sharp boundaries
is photographed, the extent of blur at
the centre, mid and edges showing how
many line widths per picture height the
lens can resolve. Simply put, the bigger
the numbers the sharper the lens.
NEW GEAR REVIEW

98 Nikon-related gear
The latest hardware releases,
including the new Z 30 from Nikon!
100 Nikon Z 400mm
A state-of-the-art telephoto
lens that comes at a price Fringing
Chromatic aberration is visible as
purple or green fringing around
high-contrast boundaries, caused by
different wavelengths being focused on
different areas of the sensor. The larger
the number, the worse the score.
Distortion
A lens that bulges towards the edges of
the frame produces barrel distortion,
shown as a negative score. Pincushion
BIG TEST distortion produces a positive score.
102 Reviews
Power your gear outdoors,
and a revamped lens filter system
104 Sturdy tripods
Eight carbon-fibre models
to keep your camera solid as a rock
A score of zero indicates no distortion.
Our awards in a nutshell Our scoring system

1.0 Forget about it!
The best A product that The very best kit 2.0 Below average
BEST ON performance,
design and value GREAT gives you more
for your money GOLD that really sets the
standard
3.0 Good for the money
TEST VALUE AWARD 4.0 Excellent product
5.0 Best-in-class
 
GEAR ZONE We can’t show you what the
New gear
Z 30 looks like just yet, but
videographers should be very
happy with its feature set.
Here’s what caught our eye this month

Nikon Z 30
From £699/$TBA www.nikon.co.uk
ikon’s first dedicated only Z camera to house the seventh
N vlogging camera is
designed to run rings
around the video
generation of EXPEED.
The Z 30’s ability to record 4K
UHD video at 30p and Full HD at up available from the get-go. The It should also pair seamlessly with
capabilities of smartphones, to 120p for silky-smooth, slow- camera has 209 focus points at Nikon’s SnapBridge app, so you can
without compromising on ease of motion footage is the minimum its disposal and the ability to focus transfer 4K video directly from your
use. Images weren’t available at the you’d expect from a video-centric down to -4.5EV. camera to your smartphone.
time of writing, so you’ll have to take camera. However, other tasty While Nikon is very insistent that Prospective pricings start at just
our word for it when we tell you that movie-making attributes include a the Z 30 is a video-first device, it’s a £699 for the body only, with
the lack of a viewfinder is what video time-lapse function, built-in very capable stills camera (albeit a standard 16-50mm kit lens bundle
really sets this body apart from microphones that Nikon say are one without an EVF). And with three at £839, and a double-zoom
its Z-mount counterparts. “hyper-sensitive”, provision for an User Settings on the mode dial, package that boasts the popular
With no optional-extra EVF external microphone and a wind- you’ll be able to switch between your 16-50mm and 50-250mm for £1069.
replacement, the Z 30’s video-first reduction function to boot. video and stills settings at will. But perhaps the best value is a
mantra is abundantly clear. Other A standout feature is the Z 30’s Just like the Nikon Z 50, the Z 30 comprehensive vlogger kit, which
physical additions intended to woo ability to record 125 minutes of can capture 14-bit Raw files, and has includes the 16-50mm, ML-L7
vloggers are a much bigger record uninterrupted footage – even the a maximum shooting speed of 11fps remote, a SmallRig tripod and a
button, a chunky grip for handheld Z 6II is capped at 29 minutes and 29 and a native ISO sensitivity of 100 to SmallRig wind muff for £879.
shooting, and a proper vari-angle seconds. This makes the Z 30 an 51,200. Make no mistake, this is
screen that automatically switches attractive prospect for anyone who a proper Z camera – and therefore FIRST IMPRESSIONS
to Self-Portrait Mode when flipped livestreams; and on that note, the compatible with Nikon’s entire range The Z 30’s biggest boon is its ability
out for selfie-style vlogging. camera can be powered via USB-C, of gorgeous Z-mount glass; pair it to capture 125 minutes of video.
Nikon tells us the DX-format so you don’t have to worry about with the FTZ Mount Adapter, and Nikon’s most affordable Z camera is
20.88Mp CMOS sensor is very changing batteries mid-stream. you’ve access to over 300 F-mount built primarily for video capture, so
similar to the Z 50’s. Although we AF is essential when vlogging. lenses as well. if you’re a stills shooter in the
don’t know exactly which EXPEED The Z 30 features hybrid phase- Compatibility is a big deal for market for a DX Z camera, the Z 50
processor lies beneath the hood, it’s detection/contrast AF, and we’re social-media savvy content creators or Z fc are still your best bet.
probably the sixth generation, given pleased to see both Eye-detection and as you’d expect, the Z 30 boasts Nevertheless, this sub-£700
the pro-grade Z 9 is currently the AF and Animal-detection AF Wi-Fi and Bluetooth compatibility. mirrorless is a tantalizing prospect.
AstrHori 50mm f/1.4

£279/$259 www.astrhori.com
ilt-shift lenses are The lens relies on seven elements Of course, you don’t get a lens this also a fully manual lens, so you’ll
T specialist pieces of
kit, with own-brand
offerings from Nikon
arranged in six groups,
incorporating aspherical and
Extra Low Dispersion
cheap without some compromises.
The big one here being that this
is a tilt-only lens, without any
have to do without autofocus and
any electrical contacts between
camera body and lens. This needn’t
commanding prices north of (ED) elements shift ability. This means you be a deal breaker, as the auto
£1800/$2000. Even a third-party to reduce can’t control perspective exposure preview of mirrorless
offering from a brand such as aberrations and converging verticals cameras make it far easier to expose
Samyang/Rokinon will likely set you and flare. An in your images; but the a shot than would have been the
back £700/$800. But here we have all-metal barrel tilt ability does still case with a DSLR.
a tilt lens for a mere $279/259! with a metal enable precise control
The AstrHori 50mm f/1.4 tilt lens mounting plate over the lens’s focal FIRST IMPRESSIONS
is one of a growing range of lenses give a premium feel, plane, making for It’s not that long since tilt lenses
from the AstrHori brand, founded in while a 52mm filter some interesting were unaffordable for many – but
2018. It’s a full-frame lens available thread allows focusing effects. this lens allows any owner of a
in Nikon Z mount for Nikon fitment of polarizing The 50mm Nikon Z-series camera to dive into
mirrorless cameras. or ND filters. f/1.4 tilt lens is an exciting area of photography.
 
GEAR ZONE
Benro GH5C Mini

£465/$499 https://uk.benroeu.com
Rotolight SmartSoft Box
£439/$499 www.rotolight.com
enro has just launched a and an adjustable height platform, hat does a ‘smart’ The app enables you to create
B brand-new carbon-fibre
gimbal designed to be
used with the smaller
which allows you to balance your
camera and lens combination
precisely, and track moving subjects
W softbox do that a
normal one doesn’t?
Well, Rotolight has just
custom groups based on as many
as 20 different lights, then switch
between them with ease.
camera bodies and long telephoto with ease.You can adjust the tension unveiled its world-first electronic SmartSoft technology was first
lenses being released these days. on the large tilt pivot knob to capture softbox: the SmartSoft Box enables seen in Rotolight’s Titan Cinematic
The GH5C Mini is a light but 360-degree panoramas, and an photographers and film-makers range, but this is its debut in a
robust gimbal that will enable bird, integrated bubble level enables you to control the amount of diffusion consumer-grade removable softbox.
landscape or wildlife photographers to perfectly calibrate the head and and adjust focus with one tap on The Rotolight Titan X2 panels have
to manoeuvre cameras with long prevent uneven movements. a touchscreen or your phone, all been used to shoot movies and TV
lenses more easily. without having to make unwieldy series including The Colour Room
The gimbal weighs just 1.1kg but FIRST IMPRESSIONS adjustments via gels and modifiers. and Grey’s Anatomy.
is able to take an enormous payload If you’re looking to use a long The SmartSoft Box attaches
of up to 30kg – so even if you’re telephoto lens with your Nikon easily to Rotolight’s popular AEOS 2 FIRST IMPRESSIONS
shooting with a 600mm f/4 prime camera, or to enjoy more versatility continuous light source; you can This inventive approach to lighting
lens, you’ll still be able to balance it. in your video shoots, this gimbal then adjust its settings via the could enable you to try out more
Aimed at dynamic sport and could be just the ticket for Rotolight app on your iOS or Android lighting ideas in less time, quickly
wildlife photographers, the GH5C adjusting the position of your smartphone, or use the integrated adjusting levels of diffusion with
Mini features a sliding release plate lens with speed and precision. touchscreen on the AEOS 2 unit. the help of your smartphone.
Delkin Devices Black CFexpress Type B

From £130/$130 www.delkindevices.com
t’s been mere weeks Delkin claims the Black cards can record 10 minutes of 8K Raw 12-bit Just be careful to choose the new
I since Lexar announced
that it was launching
the Diamond Series,
write data faster than the Nikon Z 9’s
own image buffer. Ordinarily, the
camera buffer would fill up once 79
6:1 compression footage (7680 x
4320) at 60 frames per second.
All this translates to a
generation: the older, slightly slower
Black CFexpress Type B cards
are still being sold alongside the
claimed to be the world’s fastest images have been shot, leading to minimum sustained write newer versions.
CFexpress cards. Not to be outdone, a slow-down in burst shooting as speed of 1530MB/s.
arch-rival Delkin Devices has some the memory card becomes a Capacities of the new FIRST
impressive speed claims for its data-writing bottleneck. Not so with Black-series cards IMPRESSIONS
newly updated Black CFexpress the new Black cards: Delkin claims include 75GB, 150GB, If you like to
Type B cards. Where Lexar was that a Black card can write lossless 325GB, 512GB and shoot lots of Raw
making headlines with outright Raw photos without ever hitting the 650GB versions, images with the
speed claims, Delkin is promoting Z 9’s 79-shot buffer, and will only though the 75GB rapid burst rates
the minimum sustained write speed stop once the card is full. version is only rated of advanced
of these cards – arguably a more When it comes to video write for 1240MB/s Nikons, this is the
relevant performance metric in speed, Delkin claims that a Z 9 minimum sustained sort of memory
real-world use. loaded with a new Black card can write speed. card you need.
 
REVIEW
1 3
2
Specifications
Mount: Nikon Z
Nikon Z 400mm
Full-frame: Yes
Autofocus: Yes
f/2.8 TC VR S
Stabilization: Yes
Lens construction: 25 elements
in 19 groups
Angle of view: 6 / 4.5 degrees
£13,500/$14,000 Diaphragm blades: 9
Minimum aperture: f/22 / 32
Sell your car and buy a Nikon Z 400mm Minimum focusing distance: 2.5m
f/2.8 TC VR S telephoto lens instead, says Maximum magnification ratio: 0.17x
Filter size: Rear, drop-in
Matthew Richards. It’s worth it! Dimensions: 156x380mm
T
Weight: 2950g
he Nikon Z 400mm f/2.8 TC Key features
VR S adds genuine clout to There’s no getting away from dream-team that is particularly anti-reflective for
the Z-system telephoto specifications like these demanding a big, light entering at acute angles.
line-up. Lenses with heavy build, with this lens weighing in at just We often say of recent mirrorless lenses
built-in teleconverters to under 3kg. That’s 20 per cent lighter than that they have super-fast and virtually silent
extend the focal length Nikon’s latest 400mm f/2.8 F-mount lens, autofocus, but this one really pushes the
are rare, but not unique. though; and while it’s a bit of a whopper at envelope. It boasts a Silky Swift Voice Coil
Nikon already makes the 156x380mm, there’s a lot packed in. Motor system, which uses magnetic
AF-S 180-400mm f/4E The upscaled optical layout is based on attraction to further boost speed, along
ED VR TC1.4 F-mount 25 elements in 19 groups, which includes with a high-precision sensor inherited from
super-telephoto zoom with seven elements in four groups for the the field of robotics to ensure supreme
a built-in teleconverter. This internal teleconverter. To enhance quality accuracy. The VR system is similarly
prime lens follows suit, combining and reduce weight, the design features two top-drawer, delivering 5.5-stop
a native 400mm f/2.8 configuration with a fluorite glass elements. There are also two performance in its own right while getting
1.4x extender that gives you 560mm at f/4. ED (Extra-low Dispersion) elements, one a further boost from the in-body stabilizers
Not only is the internal teleconverter much Super-ED element and an SR element, of Nikon’s full-frame Z-system cameras.
quicker to add into or take out of the which refracts short-wavelength light. Sure, it’s a heavy lens, but that comes
equation with a simple flip of a lever, it’s also Upmarket coatings include ARNEO with the territory. Even so, reasonably short
designed specifically to match the optical and Nano Crystal Coat, plus Meso periods of handheld shooting are perfectly
characteristics of this particular lens. Amorphous Coat, a new formulation possible. The tripod/monopod mounting
 
NIKON Z 400MM F/2.8 TC VR S
Sharpness
560mm
6 In our lab tests at 400mm, the lens easily

outstripped the Z 100-400mm f/4.5-5.6 VR S
Although it’s a big lens, all the buttons, switches and control rings are within easy reach. – a very sharp lens in its own right.
Fringing (edge)
ring is removable and the VR system really remains scary-sharp at 560mm, with epic
earns its keep. Build quality is exceptional, autofocus performance and rock-steady 400mm
with a tough, weather-sealed construction stabilization. Indeed, the autofocus speed
incorporating a magnesium alloy barrel, is breathtaking, snapping into position and
and fluorine coatings on the front and rear accurately tracking fast-moving subjects.
elements. The barrel features lugs for the Colour fringing and distortion are
supplied padded shoulder strap, and the negligible, and the optical design with its
lens comes with a backpack-style soft three different coatings does a superb job 560mm
padded carrying case (pictured below). of suppressing ghosting and flare.
There are handling refinements aplenty.
The lens’s three control rings include a The 1.4x teleconverter is engaged and
customizable ring that you can assign disengaged via a simple up-down lever.
to stepless aperture control, exposure
compensation, ISO and the like. Similarly, Both with and without the teleconverter in
there’s a customizable function button play, colour fringing is absolutely negligible
towards the rear, and a rank of secondary across the entire image frame.
customizable function buttons around the
front section. Distortion
At the rear left are an A/M focus mode
switch and an autofocus range limiter,
which can lock out distances closer than
6m. Rear right is a simple lever for engaging The 400mm TC is essentially a distortion-
and disengaging the internal teleconverter, free lens at its native focal length, and
complete with a locking switch, just in front there’s only a touch of pincushion at 560mm.
of which is a customizable memory set
button. Up top at the rear is a lockable tray
for drop-in filters. The lens also has
Features N-Photo verdict
a Kensington lock for added 1 A series of front lens coatings help to keep Not many of us would dream of spending
security. The circular hood dust and moisture from spoiling your shot. £13,500/$14,000 on a lens. But we’re still
locks into place with a curious, in the same way that car buffs like to
thumbscrew, around 2 Function buttons dotted around the lens check out a Ferrari. The million-dollar question,
which the soft lens cap barrel, plus a control ring, are customizable. so to speak, is whether this lens justifies its price
can be secured. tag. In one word… Absolutely. With its built-in 1.4x
3 An integrated teleconverter enables you to teleconverter, it’s like two lenses in one: a 400mm
Performance up the focal length from 400 to 560mm. f/2.8 and a 560mm f/4. It delivers spectacular
Image quality is overall performance and stunning image quality
absolutely spectacular 4 A pull-out section enables you to drop in a in both configurations.
in all respects. filter, like the optional C-PL640 polarizer.
Features
Moreover, while 5 This lens is no featherweight, so the lugs for Build &
teleconverters handling
are notorious for an optional shoulder strap are welcome. Performance
Value
4.5
downgrading image 6 The removable tripod foot lets you mount
quality and all-round the lens on a tripod in a balanced way. Overall
performance, the lens
 
REVIEWS
2
1
3
As well as charging laptops and batteries,

you can power other camping essentials.
Features
Jackery
4 1 A pair of fold-out solar panels is included,
5 each rated at 100 watts maximum.
Solar Generator 1000

2 A panel shows how much power is used
and generated, plus remaining capacity.
3 A small torch comes in handy while carrying
the generator around in the dark.
£1640/$1649 https://uk.jackery.com 4 There are a pair each of USB-A and USB-C
sockets, plus a car-style 12-volt output.
Keep your camera charged and post-production 5 UK and European versions come with two
workflow up and running while you’re off-grid AC sockets, while the US model has three.
rom landscapes to wildlife, a lot wasting power when nothing is plugged into generator over the course of a sunny day
F of the photographs we love to
take are outside. If you’re on
an extended trip outdoors,
the unit. The solar panels themselves each
sport an additional USB-A and USB-C
socket, although of course these will only
– repositioning the panels every now and
again to maximize exposure to the sun.
The Jackery Explorer is a smartly turned
keeping your camera powered up can be produce power when there’s sufficient light. out unit, with a built in carry handle to lug it
a real problem – and coming home from around. It’s about the size of a drinks cooler,
a long road trip can mean having to wade On location but weighs in about 10kg, so needs to be
through thousands of images on your An LCD readout tells you how much charge within a short distance of a car rather than
return. If only there was a way to top up your is left in the battery, as well as the current taking on hikes. The Solar Sage panels
electronics and keep your post-processing power input and output in watts. It’s quite fold for storage to a reasonably compact
workflow under control in the wilds… fun to see how the input wattage leaps up 610x535mm, opening up to 1220x535mm,
The Solar Generator 1000 combines in bright spells. At the front of the unit is and have pull-out stands to keep them in
a 1000-watt rechargeable Explorer power a small torch; it’s pretty dim, but okay the optimal position for catching sunlight.
station and a pair of Solar Sage solar for emergencies.
panels, each rated at 100 watts, to recharge We took it on a camping trip for our N-Photo verdict
it from the sun’s rays. You can also charge review; as well as charging camera batteries The Solar Generator 1000 easily has enough
it via the mains or from your car’s 12-volt and keeping our MacBook Pro topped up, capacity to keep laptops and cameras topped up
outlet via supplied adapters. Output-wise, it recharged phones, illuminated camping with free energy from the sun. Obviously you’re
there are a pair of standard UK three-pin lanterns and kept our perishables fresh in at the mercy of the weather, but even in dull
240-volt sockets. (US and European models a powered icebox. conditions, the panels should generate enough
come with their own domestic AC sockets.) We found that while the solar panels juice to keep you going. It doesn’t come cheap,
There are also two pairs each of USB-A were rated at 100 watts apiece, that’s the although discount codes are frequently available
and USB-C sockets, plus a standard 12-volt theoretical maximum; in use on a bright on the Jackery website.
4
car-style socket. You need to activate the summer’s day, they topped out at around
AC and DC outlets by pressing a small 130 watts in combination. Still, that’s more Overall
button, confirmed by an LED light, to save than enough to completely recharge the
 
REVIEWS
6
1
NiSi V7 Kit
3
£199/$199
https://nisioptics.co.uk
NiSi’s latest square filter system
holder and polarizer combo is 4
simple to fit and colour cast-free 2 5
N
iSi has established itself as one
of the most-trusted brands
in filter systems, with many
the polarizer to corresponding marks on
the ring and drop it in, then make a small
clockwise twist to secure it. This really is an
Features
top-name pros swearing by improvement over the V6, where the filter 1 The polarizer is attached by lining up a set
them – thanks to their True Color optical had to be carefully screwed in, which can of markers then a small clockwise twist.
glass, which promises cast-free images be a fiddly process. It makes switching
through even the highest-density filters. the polarizer in and out much faster. 2 There are three slots on the holder for
The backbone of the system is the holder- Also in the kit is a selection of 77mm, 100mm-wide square and rectangular filters.
and-polarizer combo, which has recently 72mm and 67mm adaptor rings.
been updated to this V7 incarnation. Unfortunately NiSi hasn’t solved the 3 The polarizer is made with True Color glass,
The kit includes a three-slot holder for problem of making these any easier to which NiSi claims to be cast-free.
square filters with a recess into which fits attach to a lens: they have to first be
an 82mm adaptor ring. It’s secured by painstakingly screwed into the lens filter 4 A single pin pulls out to attach or disengage
pulling out a retaining clip, which is then thread before in turn screwing into the the holder, while a twist locks it in place.
locked in place with a twist – this is one of 82mm ring’s thread. But once attached, 5 The kit comes complete with a smart
the chief design changes over the previous a snap-on cap clips onto the 82mm ring protective carry pouch plus a cap.
V6 holder, which has a separate retaining to save you the trouble of unscrewing the
clip and locking clamp. This design makes whole lot when stowing your camera back 6 The holder fits into an 82mm ring; step-up
it a little easier to remove and reattach the in its bag. Everything comes supplied in rings for popular lens sizes are included.
holder from the 82mm ring. a smart protective carry case.
The polarizer itself sits in a recess on the
82mm adaptor; simply align three marks on Easy to use As well as this base kit, NiSi offers a number
In use, the polarizer is rotated by simply of bundles that include such delights
twiddling a small geared wheel on the top as additional square ND and ND grads,
or bottom of the 82mm ring, making it ‘reverse’ ND grads for shooting sunsets,
easy to precisely dial in the amount of and specialist filters for night photography,
polarization that you need as you look so there’s the potential to save some money
through the viewfinder. The True Color by buying a bundle.
optical glass lives up to its name, and
images look cast-free when examined N-Photo verdict
on-screen. The low-profile holder is Is it worth upgrading to the V7 if you already have
designed for use with wide-angle lenses, the V6? Probably not; it’s a little easier to swap
and we found we could use it with lenses the polarizer in and out with the new design, but
as wide as 14mm without vignetting. optically the (very good) polarizers are on a par.
It’s worth noting that only the new V7 But for those looking for a square filter system,
polarizer fits the V7 holder, so you can’t this is a well-thought-out design with top-
upgrade just the filter or holder from a quality glass. While this base kit isn’t bad value
previous NiSi kit: you have to buy the whole for money, you’ll get more bang for your buck
lot. But the three frontmost slots are fully investing in one of the bundled kits that come
compatible with NiSi’s existing range of with additional square filters.
5
100mm filters (and, indeed, with 100mm
The polarizer fits an 82mm ring that clips to filters from other manufacturers that Overall
the holder. Three step-up rings are provided. have a standard 2mm thickness).
 
BIG TEST
Sturdy
carbon tripods
For really solid support while easing the load,
you can’t beat a sturdy carbon-fibre tripod.
Here are the best buys
F
or most photographers, the disappointingly short and
perfect tripod should offer comparatively flimsy, prone
solid support for shots free to swaying around in a breeze.
of camera-shake; a lofty For material gains, carbon-fibre
maximum operating height has distinct advantages over
for maximum versatility; and aluminium. It’s impressively rigid yet
a design that fold downs lighter in weight, to the extent that
reasonably small for stowing most full-sized carbon tripod kits
away. In addition, your tripod (including head) are about 20 per
shouldn’t be overly heavy: after cent lighter than their aluminium
all, nobody wants to lug around counterparts. Another bonus of
more weight than they need to. Big, carbon-fibre is that it tends to be
heavy tripods often feel a bit of a better at damping vibrations. And on
chore to use, and end up being left a chilly day, carbon-fibre feels less
at home, where they’re no use at all. cold to the touch than aluminium.
At the other end of the scale, Let’s take a closer look at what
lightweight tripods are often all the competitors have to offer...
The contenders
1 Kenro Ultimate Travel £199/$259
2 Novo Explora T20 £239/$312
3 Vanguard ALTA PRO 2+ £239/$349
4 Manfrotto 190go! £279/$453
5 3 Legged Thing Pro 2.0 Winston £349/$400
6 Benro Mach3 £352/$450
7 Benro Go Plus Travel £353/$460
8 Manfrotto 055CXPRO3 £453/$569
ytteG © :egamI
104
 
105
 
BIG TEST
Cutting-edge designs
Crafty details, clever tricks and carbon construction make for winning tripods
T
he lines of distinction between manner, you can extend the centre column remove the centre column and attach the
full-sized tripods and smaller to its maximum height, then swing the legs head direct to the tripod spider.
‘travel’ tripods have become fully upwards so the feet encircle the head. Some tripods have a pivoting centre
increasingly blurred of late. This typically saves an extra 20cm or so in column. Typically, this enables you to rotate
Indeed, some travel tripods extend to a the folded height. The full-sized 3 Legged it through 90 degrees and use the centre
greater maximum operating height than Thing Winston does the same trick. column as a horizontal boom. It’s ideal for
competing conventional sticks. You’re To enable low-level shooting, all of the low-level shooting and great for extreme
best off looking for a tripod with a set of tripods on test feature multi-angle legs, close-ups. It’s also useful for shooting with
features that’s most ideal for your needs. so you can splay them wide and reduce ultra-wide-angle and fisheye lenses, as you
To enable a relatively small stowage the height that you’re shooting from. The stop the tripod feet creeping into the image.
size, travel tripods tend to have four or limiting factor is the centre column, which The Kenro Ultimate Travel and both
five sections in each leg rather than three. will come into contact with the ground. Manfrotto models enable the centre column
Models in this test group include the Benro To get around the problem, the Benro to be used in upright or horizontal mode.
Go Plus Travel, Kenro Ultimate Travel, Mach3 and Novo tripods on test are The Benro Go Plus Travel and Vanguard
Manfrotto 190go! and the Novo Explorer. supplied with a short, stubby centre tripods offer even more versatility: their
Of these, the Benro, Kenro and Novo column, which you can use instead of the centre columns can rotate through a
add another space-saving trick: instead full-length centre column. The 3 Legged complete 180-degree arc, being locked
of folding them down in the traditional Thing Winston is designed so that you can firmly at a number of angles along the way.
What to look for…

Most current tripods have a sophisticated set of features
COMPACT STOWAGE STUBBY CENTRE COLUMN PIVOT FACILITY

To reduce the foldedsize, the3 Legged Thing Winston, For low-level shooting,you can swap the BenroMach3 Centre columns in the Manfrotto andKenrotripods
Benro Go Plus Travel, Kenro and Novohave swing-up and Novo Explorer’s centre column for a short stub. have a 90-degree pivot facility. Afull 180 degrees
legs, so the feet encircle the head. The head of the Winston can attach direct tothe spider. are available inthe Benro GoPlus and Vanguard.
LEG SECTION CLAMPS BALL HEAD MONOPOD ALTERNATIVE

Twist-actionlocking clamps are generally morepopular Most tripods on test areavailable as completekits, With the 3 Legged Thing, Kenro, Novo, andboth Benro
for loosening and locking theleg sections, but the including aball head. For the Benro tripods and tripods, you can unscrew one legand use itwith the
Manfrotto 055usesequally effective flip locks. Manfrotto 055, you need to buya head separately. centre column as amonopod.
 
STURDY CARBON TRIPODS
KEY FEATURES KEY FEATURES
1.The telescopic, 1.An adjustable
two-section centre friction control isbuilt
column enables into themain locking
extra extension and knob of the ball head.
90-degree pivot.
2.Dual panning
2.Typical ofmany mechanisms are
travel tripod designs, available in the top
the legs swingup to and bottom of the
reduce carrying size. ball head.
3. The padded leg 3. One ofthe
can beunscrewed and four-section legs can
used with the column be unscrewed and
as a monopod. used as amonopod.
Kenro Novo
Ultimate Travel Explora T20
Price (kit) £199/$259 Price (kit) £239/$312
Amazingly tall for a travel tripod A cool kit with a smart design and finish
T W
his tripod kit is about 10 per cent less than eighing in at 2.29kg, level, though, as it’s positioned
available in both the aluminium edition. the Novo isn’t quite beneath the plate.
aluminium and as heavy as the
carbon-fibre Performance Manfrotto 055 kit Performance
editions, both of which are Rigidity and resistance to on test, but has a significantly Resistance to flexing and
excellent value. Like a growing flexing aren’t quite as good as greater maximum load rating of vibration is excellent. The
number of recent designs, the in some tripods on test, but are 20kg for both the legs and the twist-locks require minimal
Kenro has swing-up legs to still impressive. Adjustment head. The bottom section of rotation. However, there’s no
reduce its carrying size – of the legs can feel marginally its four-section legs is a fairly pivot facility for the centre
in this case to just 48cm. lacking in smoothness, but typical 21mm, but the top column. Instead, there’s a short
Despite being the outright everything works well overall. section is the widest of any stub for low-level shooting.
shortest tripod in the group tripod in the group, at 32mm.
when folded, it reaches a With swing-up legs, it folds
towering 187cm in operating Specifications down nice and small to 53cm, Specifications
height. This is not only due to Weight 1.96kg yet has a lofty maximum Weight 2.29kg
its four-section legs, but also Folded height, max height operating height of 188cm. Folded height, max height
because the centre column has 48cm, 187cm Smartly turned out in black 53cm, 188cm
an inner section that extends Max load (legs, head) and silver, with a matching Max load (legs, head)
telescopically. Rigidity does 10kg, 8kg colour scheme for the head, 20kg, 20kg
suffer a little as you near full Centre column the Novo looks and feels like Centre column
extension. The clever design 90-degree pivot a quality item. Everything works Full + short (stub)
also has an upper joint, which Head mount platform dia smoothly, and there are some Head mount platform dia
enables the inner section to 52mm smart design flourishes. 60mm
pivot through 90 degrees, for Head attachment screw The ball head itself is Head attachment screw
use as a horizontal boom. 3/8 inch particularly good, with 3/8 inch
Both of the inner and outer Head BB2 ball head pan-release locks at the base Head CBH-34 ball head
sections of the centre column, Quick-release plate and on the camera platform. Quick-release plate
plus all the leg sections, are Arca-Swiss type The platform itself features an Arca-Swiss type
made from carbon-fibre, so Head adjustments Arca-Swiss type quick-release Head adjustments
it’s a little surprising that the Lock, pan, friction plate. You need to remove this Lock, pan, friction
complete kit only weighs if you want to see the bubble
N-Photo verdict Features N-Photo verdict Features

Build & Build &
It’s not that light for handling This Novo kit is handling
a travel tripod, but Performance immaculately Performance
4.5 4.5
the reward is solid Value engineered and Value
performance and Overall beautifully turned out, Overall
towering height. making it great value.
 
BIG TEST
1.A full 180-degree 1.The XPRO ball head
arc of rotation is is super-sturdy and
enabled by the centre superbly well
column’s pivot engineered.
mechanism.
2.Four leg angles
2.The tripod spider are available via
incorporatesboth simple, sprung
a bubble level anda push-in latches.
3/8-inch threaded
accessorysocket. 3. The ‘Easy Link’
3/8-inch threaded
3. Without swing-up socket enables
legs, it’sone of the the attachment
longer tripods on test. of accessories.
Vanguard Manfrotto
ALTA PRO 2+ 263CB 100 190go!
Price (kit) £239/$349 Price (kit) £279/$453
A tricked-up kit with fancy features A classic tripod, revamped for the road
S M
tanding out from spider and the ball head, the anfrotto’s 190 series the spider, for attaching
the crowd, the latter featuring an Arca-Swiss of tripods has been accessories like an LED light.
Vanguard has a type quick-release plate. a best-seller for
smart gunmetal- years. The latest Performance
grey finish for both the legs and Performance 190go! range is available in both While it folds down fairly small,
head, rather than the usual Operation of the twist-locks for aluminium and carbon-fibre the maximum operating height
black. It plays the numbers extending the leg sections is editions, and as complete kits of 159cm is the least in this test.
game with great success as simple. The sliders for adjusting with the choice of three-way or Resistance to flexing is less
well, with calibrated markings the leg angles are similarly well ball heads. All feature four- impressive than the bulkier
for rotation on the four-angle implemented, and the ball head section legs to help reduce Manfrotto 055, but the 190go!
legs, seven-angle pivoting is solid yet fairly compact. stowage size and have twist delivers good performance.
centre column, and 360-degree locks rather than clip locks;
ball head with its independent they need minimal rotation
pan-release lock. Specifications to unlock and relock. Specifications
The diameters of the three Weight 2.1kg The MK190GOC4-BHX Weight 1.94kg
leg sections are quite modest Folded height, max height edition on test is the range- Folded height, max height
at 26/23/19mm. Even so, the 71cm, 172cm topping kit. It combines 54cm, 159cm
maximum load ratings of 7kg Max load (legs, head) Manfrotto’s latest design of Max load (legs, head)
for the legs and 10kg for the 7kg, 10kg carbon-fibre tubing, and the 6kg, 10kg
head should prove more than Centre column excellent XPRO ball head. The Centre column
sufficient for most. 180-degree pivot head actually has a beefier 90-degree pivot
The tripod is quick and easy Head mount platform dia maximum load rating than the Head mount platform dia
to set up, as is the pivoting 58mm legs, at 10kg rather than 6kg. 60mm
centre column, which can Head attachment screw Four lockable leg angles are Head attachment screw
be locked at various angles 3/8 inch available instead of the usual 3/8 inch
through a complete 180-degree Head E-10 ball head three, and the 90-degree pivot Head XPRO ball head
arc. There’s a 3/8-inch Quick-release plate mechanism for the centre Quick-release plate
threaded socket on the spider Arca-Swiss type column is supremely quick and Manfrotto 200PL
for attaching an LED light or Head adjustments intuitive in use. Other design Head adjustments
microphone. Bubble levels are Lock, pan, friction flourishes include an Easy Link Lock, pan, friction
also fitted to both the tripod threaded socket on the side of

Build & Build &
It folds down in a handling It’s travel-friendly, handling
traditional way, but the Performance but maximum height Performance
4.5 4.5
Vanguard adds a host Value is a little limited. The Value
of smart features, plus Overall pivoting centre column Overall
solid performance. is an added bonus.
 
1.Unusually for a 1.The B1 ball head is
full-sized tripod, the sold separately,but
Winston features is a great match for
swing-uplegs. the tripod.
2.The completekit 2.A straightforward
includes an AirHed blue lockingring
Pro ball head with enables height
a 40kg maximum adjustment of the
load rating. centre column.
3. For ultra-low-level 3. The legwith
shooting,the head comfort padding
can beattached unscrews for use
direct to the spider. as a monopod.
3 Legged Thing Benro

Pro 2.0 Winston Mach3 TMA27C + B1 head
Price (kit) £349/$400 Price (legs + head) £264/$330 + £88/$120
More than the sum of its impressive parts Elegant simplicity with sturdiness
U W
nlike its smaller column and fit the head direct hile swing-up legs used as a monopod in
Albert and Leo to the spider. and pivoting centre conjunction with the removable
siblings in the columns appear centre column and ball head.
Pro 2.0 range, the Performance increasingly in
Winston has three rather than The twist-action leg and centre mainstream tripods, the Mach3 Performance
four sections in each leg and a column locks require minimal looks a very traditional affair. The Mach3 is one of the most
single centre column section. turning. Bubble levels on the It has three-section legs that rigid tripods here, maintaining
It therefore doesn’t fold down spider and AirHed Pro ball head don’t fold upwards for stowage, excellent stability even at its
as small, but is quicker and enable easy levelling, and the and a basic height adjustment maximum operating height.
easier to set up. It shrinks to an head features a pan-only clamp for the centre column Adjustments of the leg sections
manageable 61cm for stowage, release with a calibrated scale. that precludes any pivot facility. are silky smooth.
thanks to legs that swing up It’s therefore easy to write off
around the centre column, yet this tripod as basic, but it’s
extends to a generous 194cm Specifications refreshingly quick and easy Specifications
maximum operating height. Weight 2.05kg to set up. Look a little closer, Weight 1.92kg
Three lockable angles are Folded height, max height and you’ll see that it’s not Folded height, max height
available for the legs, with the 61cm, 194cm short of smart features either. 72cm, 171cm
maximum load rating stepping Max load (legs, head) A simple but effective locking Max load (legs, head)
down from 40kg to 25kg or 15-40kg, 40kg mechanism enables use of the 14kg, 14kg
15kg at wider angles. All three Centre column legs at three different angles to Centre column
of the legs can be unscrewed Full + removed the centre column, and there Full + short (stub)
for quick and easy detachment Head mount platform dia are bubble levels on both the Head mount platform dia
from the tripod. This enables 38mm tripod spider and the camera 56mm
monopod duty with a towering Head attachment screw platform of the ball head. For Head attachment screw
maximum height of 201cm, and 3/8 inch low-level shooting, a stub can 3/8 inch
you can also fit optional Stilletoz Head AirHed Pro be swapped with the centre Head B1 ball head
spiked feet or Vanz dual ball/ Quick-release plate column, and the kit comes with Quick-release plate
spiked feet for a sturdy tabletop Arca-Swiss type interchangeable rubber pads Arca-Swiss type
tripod. For really low-level Head adjustments and metal spikes for the feet. Head adjustments
shooting down to just 23cm, Lock, pan The leg that sports comfort Lock, pan, friction
you can remove the centre padding can be unscrewed and

Build & Build &
The sturdiest kit in the handling Traditional design handling
Pro 2.0 carbon-fibre Performance makes this high- Performance
5 4.5
range, the Winston Value performance Benro Value
still folds down Overall easy to set up, even if Overall
conveniently small. it lacks a few features.
 
BIG TEST
1.The tripod spider 1.The TopLock
enables thelegs to edition of the XPRO
swing fully upwards head (pictured) adds
for compactstowage. an extra £40/$30 to
the cost.
2.The pivoting centre
column locks at 2.As well as an Easy
multiple angles Link socket, the055
throughout a full sports a bubble level
180-degree arc. on a rotating mount.
3. As withthe Mach3, 3. The 90-degree
the padded leg can pivot mechanism for
be unscrewed for the centre column is
monopod duty. quick andeasy to use.
Benro Go Plus Travel Manfrotto 055CXPRO3

FGP28C + B1 head + XPRO ball head
Price (legs + head) £265/$340 + £88/$120 Price (legs + head) £349/$420 + £104/$149
A highly sophisticated tripod A big and beefy contender
W L
hile the Benro a 90-degree pivot for upright ike the Benro Mach3 but, unlike the 190go!, a bubble
Mach3 (page 109) or horizontal use. and Vanguard level is also fitted.
keeps everything tripods on test,
simple, the Go Plus Performance the Manfrotto 055 Performance
Travel incorporates the latest The tripod takes longer to set is relatively large when folded, The 055 is very quick and
and most innovative design up than conventional tripods: thanks to three-section legs simple to set up, and it’s
concepts. It has swing-up legs the price you pay for travel- that don’t swing upwards for noticeably sturdier and more
that enable it to shrink down to friendly design. The pivoting stowage. A four-section edition rigid than the 190go!, especially
a carrying length of just 49cm, system for the centre column of the tripod is also available. with heavy combinations of
yet it extends to a generous is elegant, and every feature With maximum and minimum DSLR bodies and telephoto
height of 179cm. is perfectly implemented. leg section diameters of lenses mounted on it.
The extra height is also due to 29/21mm, the upsized 055
the legs having four rather than feels solid and the maximum
three sections, although this Specifications load rating is 9kg. At just over Specifications
does mean there are extra Weight 2.05kg 2.5kg (including head), it’s Weight 2.54kg
clamps, which can result in Folded height, max height also the weightiest tripod Folded height, max height
reduced rigidity. Even so, the Go 49cm, 179cm in the whole group. 72cm, 182cm
Plus Travel’s outright stability Max load (legs, head) The 055 features clip locks Max load (legs, head)
and resistance to flexing is 14kg, 14kg rather than twist fasteners 9kg, 10kg
almost as good as that of the Centre column for the leg sections. Their Centre column
Mach3, even at its maximum 180-degree pivot clamps have a strong rocker 90-degree pivot
operating height with the centre Head mount platform dia action that feels spring-loaded. Head mount platform dia
column fully extended. 53mm Like the Manfrotto 190go!, 60mm
Like the Vanguard in this Head attachment screw this tripod has a pivot Head attachment screw
test group, the pivoting centre 3/8 inch mechanism for the centre 3/8 inch
column can be rotated vertically Head B1 ball head column that’s wonderfully quick Head XPRO ball head
through a full 180-degree arc, Quick-release plate and easy to use, but you can Quick-release plate
with multiple locking angles Arca-Swiss type only use the centre column in Manfrotto 200PL
along the way. This makes the Head adjustments vertically upright or horizontal Head adjustments
feature rather more versatile Lock, pan, friction orientations. An Easy Link Lock, pan, friction
than in tripods that only offer socket is built into the spider

Build & Build &
With sturdy support handling This tripod folds down handling
and clever tricks Performance in the traditional way, Performance
4.5 4.5
aplenty, this travel Value but features a quick Value
tripod ticks pretty Overall and easy centre- Overall
much every box. column pivot.
 
The winner is…

3 Legged Thing
Pro 2.0 Winston
Sturdy, versatile and impeccably engineered,
the Winston is a worthy winner
Y
ou’ve probably noticed that the around, yet stretches to a
overall ratings for all but one generous operating height,
of the tripods in this test and combines sturdiness
are the same. They’re all with versatility. It’s also
excellent: some score a little higher for beautifully engineered and
features or build and handling, while others has fabulous handling. The Vanguard is
might have better performance or be another very good option, especially if you match the Winston. The Manfrotto 190go!
particularly good value. Taking everything prefer speedier setup to compactness. and Kenro kits are particularly travel-
into account, however, the 3 Legged Thing For rock-solid dependability and the friendly, but the Kenro has a much loftier
Pro 2.0 Winston is our favourite. It’s ultimate in rigidity, the Benro Mach3, maximum operating height and is great
conveniently compact and light for carrying Manfrotto 055 and Novo T20 pretty much value at the price.
How the
tripods Kenro Novo Vanguard Manfrotto 3 Legged Thing Benro Benro Manfrotto
compare Ultimate Travel Explora T20 ALTA PRO 2+ 190go! Pro 2.0 Winston Mach3 Go Plus Travel 055CXPRO3
Contact www.kenro.co.uk www.novo-photo. vanguardworld. www.manfrotto. www.3leggedthing. www.benroeu. www.benroeu. www.manfrotto.

com co.uk co.uk com com com co.uk
Street price £199/$259 £239/$312 £239/$349 £279/$453 £349/$400 £352/$450 £353/$460 £453/$569
Product reference code KENTR401C NV-EXT20KT 263CB 100 MK190GOC4-BHX Winston 2.0 & TMA27C + B1 FGP28C + B1 MT055CXPRO3
AirHed Pro Kit head head + XPRO Ball
Kit/separates Kit Kit Kit Kit Kit Separates Separates Separates
Folded height, leg 48cm, yes 53cm, yes 71cm, no 54cm, no 61cm, yes 72cm, no 49cm, yes 72cm, no
inversion
Weight 1.96kg 2.29kg 2.1kg 1.94kg 2.05kg 1.92kg 2.05kg 2.54kg
Max operating height 187cm 188cm 172cm 159cm 194cm 171cm 179cm 182cm
Max load (legs, head) 10kg, 8kg 20kg, 20kg 7kg, 10kg 6kg, 10kg 40kg, 40kg 14kg, 14kg 14kg, 14kg 9kg, 10kg
Sections per leg 4 sections 4 sections 3 sections 4 sections 3 sections 3 sections 4 sections 3 sections
Leg section diameters 28, 25, 22, 19mm 28, 25, 22, 19mm 28, 25, 22, 19mm 28, 25, 22, 19mm 28, 25, 22, 19mm 28, 25, 22, 19mm 28, 25, 22, 19mm 28, 25, 22, 19mm
Locking leg angles 3 angles 3 angles 4 angles 4 angles 3 angles 3 angles 3 angles 4 angles
Leg extension locks Twist Twist Twist Twist Twist Twist Twist Clip
Pivoting centre column 0/90 degrees No (stub) 180 degrees 0/90 degrees No (stub) No (stub) 180 degrees 0/90 degrees
(+ invert)
Levels (legs, head) Yes 0, 1 bubble 1, 2 bubble 0, 2 bubble 1, 1 bubble 1, 1 bubble 1, 1 bubble 0, 2 bubble
Detachable monopod Yes Yes No No Yes Yes Yes No
Feet Retractable Pads + spikes Pads Pads Pads Pads + spikes Pads + spikes Pads
spikes
Bag included Padded Padded Unpadded Unpadded Padded Padded Padded None
Features
Build & handling
Performance
Value
Overall
 
 
 
PARTING SHOT Future PLC Quay House, The Ambury, Bath BA1 1UA
Editorial
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Hue don’t look so good...

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ytteG :noitartsullI
I’d always wanted to photograph common change a Raw file’s white balance in post, but
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114
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The Nikon Mag: Wildlife Tips & Tricks

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The Nikon Mag: Wildlife Tips & Tricks

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FREE! CUTOUT 7 SOFTWARE WORTH £53 Windows only.

See page 84 for details

100% UNOFFICIAL Issue 139 • August 2022

THE NIKON MAG

Top Nikon pro Laurie Campbell

This issue’s special

Welcome to issue 139

64 Explore the majesty

A reader ﬁnds out how

Find out how metering

26 20 wildlife photo tips

41 Nikon Skills 76 Your Stories

Free software! CutOut 7

100 Nikon Z 400mm f/2.8 TC VR S

102 Reviews Power your gear outdoors,

“How do youknow what to look out for

Camera: Nikon D5500

PRO KIT HOW TO:

Matthew needed to maintaina fairlyhigh shutter

of damselﬂies,but Rossbegan tonotice attractive peerswere far more skittish and

Camera: Nikon D5500

Camera: Nikon D5500

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Great reasons to subscribe now!

YOUR NEW LOWEPRO

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3 ACCESS AND CONTACTS

I’ve often wondered if part of

usable with teleconverters and more able to focus

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would ﬁrst be focused on a distance where the bird

It’s worth experimenting by

18 GETTING CREATIVE WITH LIGHT

19 COLOUR AND WHITE BALANCE CHOICES

The devil is in the <insert subject>?” The second and

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VIEW THE PROJECT

52 54 Whenever you see this logo, it means

The Proc t o: re skls

Go-to sports settings

▼ Get set for landscapes

Pick a preset Put it in the bank

You can spread light

The Proc t wo: eaiv ni qs

No filter 3-stop 6-stop 10-stop

The Proc t hr: Een i ar skls

Safe and secure Attach the holder Camera settings

Clean the ﬁlter 4

The Proc t fr: Aﬀin y ho

Photo to sketch Boost the contrast Trace the building

Blur the surface 4

Reﬂect your scene Add motion blur to the reﬂection

Create the water eﬀect Add ﬁnishing touches

VIEW THE PROJECT

Super-long exposures in the sun GET SET UP FOR SHUTTER SPEEDS

Set to Bulb Watch your timing

DIGITAL ONLINE PRINT

VISIT PHOTOGRAPHYSHOW.COM FOR INFO Supported by:

Tourist removal tool

all the images into Photoshop using File>

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ummer has that we lived there, I was in Lapland Previous page: An

You also work as a tour guide.