T H E W O R L D ’ S B E S T-S E L L I N G D I G I T A L P H O T O M A G A Z I N E

28 DECEMBER 2023-3 JA NUA RY 2024 I S S UE 58 8

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 W E L C O M E

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 CONTENTS
FIND OUT WHAT’S INSIDE THIS ISSUE
NEWS
TTARTISAN LAUNCHES
F/2 ULTRA-WIDE LENS
New optic is available for all
APS-C mounts – and it’s cheap

F E AT U R E
GET INSPIRED FOR 2024
Kick-start your creativity with 24
cool new-year photo projects
PHOTOS
GALLERY
F E AT U R E Our pick of the best reader
images from around the world

PHOTOS I N S P I R AT I O N I N S P I R AT I O N
YOUNG HOT SHOTS
Eight-year-old is the star of
animal photo contest for kids

CRASH COURSE
SHOOT A FESTIVE FEAST
Expert tips for mouth-watering
pictures of festive food
CRASH COURSE PHOTOSHOP
PHOTOSHOP
ADD INSTANT PUNCH
Give landscapes a makeover
with targeted Curves edits

REVIEW
JUS T
FUJIFILM 39¢/39p
GFX 100 II
With a new processor
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WHEN YOU SUBSCR IBE
and 8fps burst shooting
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 N E W S

W H AT ’ S H O T
THE WEEK’S TOP HEADLINES IN PHOTOGRAPHY

T TART ISAN ANNOUNCES BUDGE T

F/2 ULTR A-WIDE-ANGLE LENS
New 10mm f/2 ASPH will be available for all APS-C mounts and MFT

© TTArtisan
ens maker TTArtisan has The 10mm focal length is the full-frame top pick for shooting the night sky,

L announced a new ultra-wide

angle lens which is its widest
non-fish eye lens to date, and at a price
that makes it a potential bargain.
The TTArtisan APS-C 10mm f/2
ASPH has been developed for APS-C
cameras, and is available for Sony E,
Fujifilm X, Nikon Z, Canon RF, and MFT
mounts. Although TTArtisan has recently
ventured into creating AF lenses, the
new 10mm is a return to its more typical
manual-focus design. It boasts an array
of features that make it an ideal option
for architecture and astrophotography.
equivalent of 15mm, and provides a
large 105-degree angle of view.
The main concern with wide-angle
lenses is distortion, especially at the
edges; however, TTArtisan says the
design, which includes two aspherical
elements, ensures that its new optic
produces ‘nearly zero distortion’.
With a length of around 100mm and
a weight of 333-345g, it’s lightweight and
compact enough to be used as a daily
walkabout lens, or kept in your bag as a
wide-angle option.
Ultra-wide-angle lenses are the
and there are a few features that
astrophotographers may want to take
advantage of. Less coma enables a
rounder star shape, and the large f/2
aperture allows for lower ISOs when
shooting in low-light environments.
The lens comes with a removable
threaded 72mm filter holder, and other
features include a minimum focusing
distance of 0.25m, an 8-pointed
starburst effect, and a clicked aperture.
The TTArtisan APS-C 10mm f/2 ASPH
is priced at $169 / £169, and is available
to pre-order now at Amazon.
 F E A T U R E

24 FAB PHOTO
PROJECTS FOR 2024!
Claire Gillo lines up four seasons of assignments for
you to try your hand at over the next 12 months

t’s time to bid farewell to 2023
I and say hello to 2024! The new
year is always a great time to
start afresh and to reassess your
ambitions and aims for the year, and
that goes for your photography just as
much as anything else – and especially
if you have some new kit to play with.
To inspire you to shake things up,
we’ve curated 24 fabulous photo
projects for you to try throughout the
year. The idea is that you should aim to
tackle one project every fortnight, and
in doing so explore different genres, and
develop new skills that will help you to
grow as a photographer.
To make them easier to follow we‘ve
grouped the projects into themed
seasonal categories, starting with
winter, but you can mix and match as
you see fit. You can also adapt our
suggestions to suit your own shooting
and editing style, and feel free to put
your own creative stamp on them.
Whether you manage to tick off all
24 projects or just a few, we’re confident
that the tips and techniques on the
following pages will help you to take
your photography to new heights in
the new year!
 F E A T U R E

WINTER
01 FABULOUS FLORA
You may think that spring and
summer are the best times of
year to take stunning garden shots, and
while this is true, the winter garden also
3 TOP TIPS
1 Convert your images to black and white.
This style of photography lends itself to
the monochromatic medium, as your winter
garden shots should all be about the form and
structure of the plants.
offers plenty of interesting photographic
Isolate your subject. Think about your
opportunities. Look for structural and
skeletal plants such as dead thistles or 2 background, and about how to make your
subject stand out – a wide aperture setting
cow parsley to shoot as your main will help you do this.
subject. You can get great results by
getting down low to compose your Consider how you’re going to present your
shots, so use a knee pad or old cushion 3 images – a double or triptych can work well.
to save your knees from getting dirty
and wet on the ground.

02 BLEAK LANDSCAPES
Instead of waiting for the
perfect golden hour scene,
embrace the dull weather by shooting
bleak and minimal winter landscapes.
3 TOP TIPS
1 When converting your
images to black and white,
it’s easy to over-boost the
contrast and make the blacks
too dark and the whites too
Misty conditions are ideal – use light. Pulling both back a little
negative space to aid your composition. can be much more effective.
This type of project can be shot in both
A wide-angle lens is
rural and urban locations, so wherever
you live, you can achieve great results.
2 useful for this style of
photography.
Trees work particularly well as a main
When it comes to
subject, but so do man-made structures
such as water towers and power plants. 3 composing your images,

© Claire Gillo
as well as using the rule of
Have a look at the work of Hilla and thirds you can also think more
Bernd Becher and Josef Koudelka for symmetrically.
some inspiration.

03 LIGHT
THE WAY
Winter months
are the perfect time to
shoot light trails in traffic.
Head into the urban
environment, or look for a
busy and interesting stretch
of road for your location.
Essential kit includes a
tripod, a high-vis jacket if
you’re standing near roads,
and a wide-angle lens.
Experiment with different
shutter speed settings to
see how they add to the
final effect. The speed of
the traffic and the number
04 SERENE
STILL LIFE
On those
days when it’s freezing
cold, or the rain is
hammering down and
you can’t face the
outdoors, find some
household objects to
create a simple still-life
setup. For this image
we used some candles
as our main subject and
draped a household
plant around them to
add interest to the shot.
The background is also
important, as this helps
© Claire Gillo

of vehicles will also affect to set the feel and tone

© Getty

the result. of the image.

 F E A T U R E

WINTER CONTINUED

05 CREATIVE PORTRAITURE
This project is easy to do at home
but it will require some planning, a lot
of milk (around six litres), a model, and flowers,
although these are optional. We shot our image
3 TOP TIPS
1 Bounce the flash to achieve a clean look; you
want to avoid heavy or distracting shadows.

using flash, and elevated our position above the If you’re going to add floating flowers to the milk,
model using a step ladder; make sure you have 2 remember to add these after your model is in
position, otherwise they’ll be disturbed and may
your camera strapped and secured to your
sink as your model gets into the bath.
body to avoid any accidents. To create the milky
effect, fill your bath about halfway with warm

© Claire Gillo
Once you’ve added the milk the water will cool
water and then add the milk. If you don’t want
to use fresh milk you could use milk powder.
3 down quite quickly, so be ready to shoot so that
your model doesn’t get cold!

06 FESTIVE BOKEH
Bokeh comes from the Japanese
word boke, which means blur or haze.
You can achieve lovely bokeh effects with a lens
that can be opened to a wide aperture setting
– the wider the better, so prime lenses are ideal.
You’ll also need some lights in the background;
small lights work best, so Christmas trees are
perfect for this effect.
© Getty

© Claire Gillo

Why not experiment with your Christmas lights this

year to achieve some great bokeh effects?
 F E A T U R E

SPRING
07 BRING SPRING INDOORS
When the first signs of spring start to emerge,
we all seem to breathe a sigh of relief… however,
we’re also aware that April showers can go on way beyond
April, so on those rainy days why not bring the spring
indoors? A flat lay is a great way to do this, and can be
achieved in a few easy steps.

3 TOP TIPS
1 SET UP THE BACKGROUND
Lay a piece of coloured card
on a table and place it next to a
large window for soft lighting.
You’ll want to make your image
bright and vibrant, so coloured
card will work best.

2 BOUNCE THE LIGHT

To fill in the shadows, place
a reflector on the opposite side
to your main light source. This
lifts the image, and softens the
stronger shadows for a more
even result.

3 SET UP YOUR CAMERA

Put your camera into Aperture
Priority mode, and set the aperture
to f/4 and the ISO around 200.

© Claire Gillo
You can either shoot handheld, or
use a tripod if you need a slower
shutter speed.
© Claire Gillo

© Claire Gillo

© Claire Gillo

08 ANIMAL PORTRAITS
Many animals are born in the
spring, making it a great time
to capture some characterful animal
portraits. For a winning shot, keep the
focus on the eye or the face of the
animal to create a connection between
the subject and the viewer. Animals can
be tricky to work with – especially ones
that aren’t domesticated – so be patient,
and keep shooting to ensure you get a
winning shot.
09 THE BARTOCHA
TECHNIQUE
Sandra Bartocha was one of
the first to invent this popular technique,
where you layer images on top of each
other (often nature images) to create a
beautiful effect. To achieve this, shoot
multiple images of your subject at
different focus points, and then build
your image using editing software such
as Photoshop, in which you can blend
multiple layers together.
10 GARDEN LIFESTYLE
The spring garden is the
perfect setting for a lifestyle
project. Although this shot looks as
though it’s been taken candidly from
behind the flowers, it has in fact been
carefully composed and thought
through to ‘sell the dream’. Placing
items such as a blanket or a magazine
on the table adds that lifestyle element
to the scene, and enables the viewer to
picture themselves in the setting.
 F E A T U R E

SPRING CONTINUED

11 BEAUTIFUL BUTTERFLIES
By late spring, many different varieties of
butterfly are starting to hatch. To shoot our
spring butterflies, we ‘raised’ them ourselves. We
ordered some caterpillars from Insect Lore (insectlore.
co.uk), and watched them grow from caterpillars into
Painted Lady butterflies – this is also a particularly
interesting project to try if you have children. When
we released the butterflies into our garden they were
completely docile, meaning we were able to take our
time to get the perfect composition.

3 TOP TIPS

© Claire Gillo
1 Head to your back garden or the local park and look
for flowers (such as the daisies in our example), or for
interesting backdrops where the butterflies can rest.

2 Use a long lens, such as a macro 100mm prime, for the

best results.

3 When shooting at close proximity to subjects your choice

of aperture setting is important. For our butterfly images,
f/8 was the perfect setting, as it softened the
background while keeping most of the
butterfly sharp, which was the effect
we were after.

Using a 100mm macro

lens with a wide aperture

© Claire Gillo
will enable you to achieve
fantastic DoF effects, as in the
image on the right

12 WIDE AND SHALLOW

As winter turns to spring you’ll
find fields of flowers starting
to bloom. Our instinct and habit when
we shoot a wide-angle image is to set
the aperture to a narrow value to keep
the scene sharp from front to back.
For this project, however, you can do
the opposite, and open your aperture
to a wide setting to blur the background
and foreground. This works best
in-camera if you have a lens that can
go as wide as f/2.8; if you don’t have
an f/2.8 optic, just shoot as wide as you
can and then exaggerate the blur effect
at the editing stage. f/2.8
© Getty

3 TOP TIPS
1 Look for a colourful subject – fields of
differently coloured tulips or lines of flowers
are perfect for this technique (lavender fields
2 Think about where you want the focus to sit
in the image – about a third of the way up
the frame often creates a pleasing result.
3 Plan your shoot to coincide with good
weather. Avoid the bright midday sun, and
shoot in softer light towards the beginning or
also work well in the summer months). the end of the day.
 F E A T U R E

SUMMER
13 SPLASH & SHOOT
Jumping into the sea or a large body of water
is always great fun, and you can capture some
dynamic action shots at the same time. To make sure
your shots are sharp, set your camera to its fastest
3 TOP TIPS
1 Shots like this are all
about communication.
Brief your subject, and
tell them where they
need to jump so you can
burst-shooting speed, and ensure that your autofocus be ready to get the shot.
is set to a subject-tracking setting so you can keep your

© Claire Gillo
subject in focus. You may need to get your subject to do Shoot a sequence of
a few jumps or dives to get the perfect shot. 2 images, and either pick
the best of the bunch
or present them as a
sequence.

Seawater and cameras

3 don’t mix! Protect your
camera with a waterproof
cover (left) and keep it
clear of any big splashes.

© Claire Gillo
A long lens will help
you get close to your
subjects.

© Claire Gillo
© Claire Gillo
© Claire Gillo

15 SUMMER SCENES 16 PERFECT PORTRAITS

At the start and end of the
day the light becomes softer,

14 DIVINE DRINKS
Cold drinks on a sunny
summer’s day make the
perfect combination for a winning
photograph. It’s often a good idea to
The first or last light of a long
summer’s day are the best
times to shoot spectacular summer
scenes – the beach here took on a
lovely yellow glow as the sun set
meaning you can achieve lovely results
with your portraits. Coordinate your
sitter’s clothing to match the scenery;
we also added a creative filter to this
image, and added a toning effect to
shoot into the light, and you also want behind us. Shoot in raw, and bring out help tie the different elements in the
to make sure your drinks are ice-cold so the warm tones at the editing stage to scene together.
that condensation forms on the glass, enhance the summer mood.
which adds to the overall effect. 3 TOP TIPS
3 TOP TIPS Have fun, and engage with your subject as
3 TOP TIPS Calm and still days are ideal for shooting 1 you’re shooting. Although you might find
Think about your setting and how it adds to 1 scenes like the one above. Have a recce it challenging to direct a model while also
1 the overall look – an outdoor setting such
as a garden is the best way to go.
beforehand to work out the best spot from
which to compose your shot.
keeping an eye on your camera settings, you
should make sure they’re comfortable.

Use a wide-angle lens, and look for curves If you’re working with children you’ll need
2 Open your aperture to a wide setting to blur
the background and isolate your subject.
2 and shapes in the landscape that enhance
the composition.
2 to be quick, as they won’t stand or sit still
for long. To hold their attention, do your
research first – find out their interests so that
Add props to add interest to the corners
3 or edges of the frame, but make sure that
these don’t become the main focus – for the
3 At the editing stage, bring some detail back
into the shadows. You may also need to
you can engage with them more easily.

warm the shadows up, as these will tend to look Keep the focus fixed on the face, and if
image above we included a pair of sunglasses.
cooler than the rest of the scene. 3 shooting closer up, focus on the eyes.
 F E A T U R E

SUMMER CONTINUED

17 SPLASH & SHOOT

If you’re a fan of both
people-watching and
live music, there’s nothing
better than taking photos at
an outdoor summer music
festival. You’ll be surrounded
by colourful stalls and stages,
and equally colourful people,
and you’ll be spoiled for great
photo opportunities.

© Claire Gillo
© Claire Gillo

© Claire Gillo

1 LOOK FOR LIGHT
Photography is all about finding the
best light. When you’re at a festival or other
outdoor event use the natural or ambient
lighting to your advantage, and look for
opportune moments to shoot your subject.
2 CROWD FUN
As well as photographing the musicians at
a music festival, there are lots of images to be
captured in the crowd. Look for fun moments,
especially when people are unaware of your
presence for a more candid and natural result.
© Claire Gillo
3 CAPTURING THE MOMENT
With performers, it’s all about being ready
to capture the perfect moment, and shots of
someone jumping in the air are always a winner.
Keep your ISO above 800 to ensure your shutter
speed is fast enough to freeze the action.

18 SHOOT BIG
GROUP PHOTOS
Shooting a large group of
people is never easy, so think of fun
ways you can get them to engage
with each other – people feel a lot
less awkward if they have something
to do, or are given good direction.
These colourful bridesmaids naturally
formed around their bride, creating the
perfect lineup for a group picture, and
it was a hot day, so it didn’t take much
encouragement to get them to paddle
in the water! Make sure you keep your
© Claire Gillo

aperture setting at around f/8 so that

everyone in the frame is sharp.
 F E A T U R E

AUTUMN
19 AUTUMN CLOSE-UP
Autumn offers plenty of
opportunities for wide-angle
landscapes, but the small details of
the season are also a joy to
photograph. Look for slivers of light
to frame your subject, and when it
comes to editing your images follow
our steps for atmospheric results
– we think Lightroom is one of the
best image-editing software programs
for toning and styling your images.

© Claire Gillo
1 OPEN LIGHTROOM
Import your images
and go to the Develop
2 PROFILE AND PRESETS
Profiles and presets are easy

Module. Start by adjusting

the controls in the basic
tab. Correct the Exposure
and White Balance, boost
the Contrast, and use the
Whites, Blacks, Shadows
and Highlights sliders to
balance the expsoure.
You can also experiment
with the Tone Curve to
fine-tune contrast.
ways of toning and styling your
images, and are a great starting
point for creating your own
‘looks’. You can create your own
profiles, and there are lots of
profiles available for free, or to
buy, online. We added a touch
of a profile called Soft Fade as
the base for this image. You
can adjust the intensity of a
profile or preset effect using the
Amount slider – sometimes a
hint is all you need.
3 COLOUR GRADING
Now take it a step further and
go to the Color Grading panel,
which enables you to tone the
midtones, highlights and shadows
separately. Start by choosing your
colours – for example, warmer
ones for midtones and highlights,
and cooler ones for the shadows.
You can then adjust the amount
applied by clicking further out on
the circle. Again, less is more, so
build up effects gradually for the
best results .

20 LOCATION
PORTRAITS
Landscape
photographers search for
that perfect autumnal light,
3 TOP TIPS
1 Keep your camera in Aperture
Priority mode, and knock the
exposure down a stop to ensure your
highlights aren’t overexposing.

and it’s just as important when
you’re shooting portraits. This
image of a girl at an outdoor
adventure project is the
perfect example of what a
Shoot into the light, keeping the
2 focus on your subject.
Colour is important for a shot like
3 this, so think about what you want
© Claire Gillo

your subject to wear. In our image

setting sun in autumn can the red jumper is perfectly matched
bring to an image. to the lighting conditions.
 F E A T U R E

AUTUMN CONTINUED

21 SHOOT ABSTRACT ARCHITECTURE

Sometimes less is more, such as in this example
of an image of a beach sauna. The contrast of
the patterned orange tiles against a clear blue sky is what
makes it so effective. You don’t need to go far to find this
type of image, so have a search around your local area to
see what you can discover.

22 STILL LIFE
AROUND THE
HOME
If you need a day at
home, you can still take
great photographs. Your 3 TOP TIPS
Use a tripod, as you’ll need to
home has plenty of areas
you can style, from living 1 use longer shutter speeds indoors,
and you want to keep your ISO low,
room areas to a shelf and ideally at 100, to ensure that your
dresser in the bedroom. shots aren’t grainy.
If you have busy
A shelf of old books with colourful
surfaces, remove the
clutter and style your 2spines, carefully arranged, can
make an attractive subject.
shots using a few books,
plants, candles, blankets, For scenes in which there’s a big
cushions, or whatever 3 difference between the highlights
and shadows, bracket two or more
you have lying around…
exposures and merge the shots in-
it’s a good excuse to
camera or at the editing stage.
have a tidy up and sort
© Claire Gillo

your household items at

the same time.

23 FIRE AND FOOD

Smoky and fiery cooking scenes make for dramatic
food shots – watch for flare-ups created by juices
dripping from meat, for example. When it comes to selecting
the right camera settings, don’t be afraid to push the ISO up if
you’re shooting in low light. Here, we set our ISO to 1600 and
the aperture at f/2.8 to get a shutter speed of 1/400 sec, which
kept the flickering flames and the cook’s hand sharp.
© Claire Gillo

24 PRESENTING YOUR PHOTOS

On those rainy days later in the year, take time
to reflect on your photography, go through your
photos, and, where necessary, organise and edit them.
Try printing some of your images – you can frame your
favourites and hang them on a wall, or think of other ways
to display and share them, such as in a book or collage.
© Claire Gillo
 S U B S C R I B E

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 G A L L E R Y

XPOSURE
THE WEEK’S MOST INSPIRING READER PHOTOS

HARLEY QUINN
SALVATORE VITALE
“I took this photo during the 2023 Lucca Comics & Games festival, an annual event dedicated
to comics, animation, games (role-playing, board, card), video games and fantasy and science
fiction imagery. It takes place in Lucca in Tuscany, Italy, around October and November, and is
the second-biggest event of its kind in the world after Comiket in Tokyo. The model
photographed is playing a version of the Marvel character Harley Quinn.”
https://bit.ly/3zmSje4
 G A L L E R Y
THE WEEK’S MOST INSPIRING READER PHOTOS

STAIRCASE ABSTRACT
MARK GREENFIELD
“This is an abstract shot of the staircase at the Fondazione
Feltrinelli cultural and exhibition centre in Milan.”
https://bit.ly/3v1BExW
 G A L L E R Y
THE WEEK’S MOST INSPIRING READER PHOTOS

CALLANISH STANDING STONES

HOWARD PRATT
“The Callanish standing stones on the Isle of Lewis in the Western Isles of
Scotland. I arrived well before sunrise, and the wind picked up and started to blow
over any tripod setups that weren’t being held in place by the photographer.”
https://bit.ly/4agEY8E
 G A L L E R Y
THE WEEK’S MOST INSPIRING READER PHOTOS

BLING
GEORGE KURZIK
“This is a multiple long-exposure image taken in a studio, using a turntable on which I placed
various pieces of costume jewellry found over the years in the streets of Philadelphia, PA.”
https://bit.ly/2QrRzC5

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 I N S P I R A T I O N

I T ’ S C O O L , T H AT
THE BEST THING WE’ VE SEEN THIS WEEK

Images © The photographer and courtesy RSPCA Young Photographer of the Year
Guardian of the Galaxies by Hope Whittaker, 11, Winner, Under 12 A Year in the Life of a Turkey by Jamie Smart, 8, Winner, Portfolio

Golden Glow by Alex George, 15, Winner, 12-15 Years Self Reflection by Beau Healy, 14, Winner, Small World

THESE AMAZING ANIMAL IMAGES

WERE ALL CAPTURED BY KIDS
RSPCA announces the winners of its 2023 Young Photographer Awards
he RSPCA, the UK-based animal
T charity, has announced the winners
of its 2023 Young Photographer
Awards. Eight-year-old Jamie Smart
dominated this year’s contest – not only was
she crowned overall winner, becoming the
youngest-ever winner of the competition,
she also took top spot in the Pet Portrait
and Portfolio categories, and third place in
the Small World category.
Not surprisingly, talented Jamie, from
Powys in Wales, is hoping to turn her
passion into a career: “I’d definitely like to be
a wildlife photographer and presenter when
I’m older,” she says. “I really want to spread
awareness and make a difference.”
The RSPCA is the world’s oldest and
largest animal charity, and has been running SEE MOR E IM AGE S
Young Photographer of the Year for 30 years. h t t p s : // bi t . ly/ 3N t e c Q Q
Click the link to see more winning and
commended images from this year’s
competition at the RSPCA website.
 S K I L L S

CRASH COURSE
ESSENTIAL PHOTO SKILLS MADE EASY

A FEAST FOR THE E YES

If it looks good enough to eat, then it’s good enough
to photograph. Adam Waring plays with his food…

he festive season is upon classic culinary captures. dessert, and a sprinkling of icing sugar

T us, and it’s a time for getting

together with friends and
family, sharing gifts with
our loved ones and, above all, stuffing
ourselves silly!
But wait! Before tucking into yet
another mince pie or cheese board, the
smorgasbord of edible delights that
festoon dining tables at this time of year
affords us an ideal opportunity to try
our hand at food photography. For this
tutorial we’re using a variety of typical
Christmassy treats to demonstrate some
It’s not enough to simply photograph
each individual dish on its own – you
need to create miniature ‘sets’ for each
shot. A natural wooden table works
well for your mini-studio ‘floor’ to
place everything on, and you’ll need a
variety of rustic-looking props, plates
and serving utensils. Use related foods
in addition to your ‘hero’ product. For
example, chunks of artisan bread,
chutneys and crackers are ideal for
dressing a shot of cheese; colourful
berries can add a dash of colour to a
works wonders with mince pies. Fill
empty space with a scattering of the
ingredients that go into each dish, such
as dried fruit and nuts, or crumbs of
bread and cheese. Light from candles
and fairy lights add interest too.
It can be a time-consuming process
to get everything right. Examine each
shot with a critical eye, and think about
what can be added to improve it. And
best of all, once you’ve photographed
your yuletide spread, you can eat it – it
would be a shame to let it go to waste!
 S K I L L S
HOW TO SHOOT A FESTIVE FOOD SPREAD

1
USE A TRIPOD
Not only does a tripod allow you to shoot
at the slower shutter speeds necessary in
low indoor light, it’s critical for nailing your
composition. Food photography is all about
fine-tuning the details – tinkering with the
positioning of your main subject, adding
supplementary items, and ensuring your
backdrop is unfussy. Using a tripod also keeps
your hands free for holding reflectors.

2
CAMERA SETTINGS
You need to have total control over depth
of field to enable you to determine just
how much of your shot is in focus, so shoot
in Manual or Aperture Priority mode. Use
a low ISO to minimize noise, and shoot in raw
for maximum editing leeway. Use a shutter
release or the 2-sec self-timer to avoid jolting
the camera as you shoot.

3
LENS CHOICE
You can use pretty much any lens, but
primes are favoured by food photographers,
particularly macro lenses, to enable super-
close-up shots to show every mouth-watering
detail. A 50mm or ‘nifty fifty’ is also great, as it
mimics the field of view of the human eye for a
natural perspective, and also enables a super-
shallow depth of field.
 S K I L L S
HOW TO SHOOT A FESTIVE FOOD SPREAD

4
NATURAL LIGHT
Most food photography is done with natural
light. Position a table with your setup close to
a large window – the light needs to be soft,
diffused and indirect, so a north-facing window
(or a skylight) is ideal, and will give your subject
a lovely rim light – and use a reflector to gently
bounce light back onto the face of your main
subjects to soften shadows.

5
RUSTIC PROPS
Almost as important as the food itself is what
you put it on; look for crockery with eye-catching
designs, battered baking trays and textured
serving platters to add interest to your shots.
A clean tea towel is also useful, and items
like fairly lights or candles can be used in the
background to create some beautiful bokeh.

6
LIVE VIEW
Shooting in Live View gives you a what-
you-see-is-what-you-get display before
you’ve taken the shot, which is important for
checking the amount of depth of field – vital
to ensure that the important parts of your shot
are pin-sharp. Zoom in to your subject with
the + magnifying glass for a 10x view. If your
camera has a tilting screen it makes shooting
at awkward angles much easier.
 S K I L L S
TOP TIPS CREATIVE TECHNIQUES

LENS: 90mm f/2.8 Macro

EXPOSURE: 1/15 sec, f/3.3, ISO100

SAY CHEESE
Shoot up close

Getting in really close

enabled us to show all
that delicious detail in this
Stilton. We set our camera
at a slightly elevated view to
show the top of the wedge,
ensuring it was flat-on to
the face of the cheese so
that it was pin-sharp across.
We placed a couple of figs
slightly behind our subject
and apple slices in front of
it, using a narrow aperture
for a shallow depth of field
so they would drop out of
focus. We draped some fairy
lights further back so that
they would be rendered into
indistinct discs of bokeh,
and scattered a few cheese
crumbs for added interest.

LENS: 24-70mm f/4

EXPOSURE: 1/50 sec, f/4, ISO1250
EXPERT TIP
Pros apply all kinds of
tricks to make food
look temptingly tasty.
Brushing or spraying
a mix of water and
glycerine adds a nice
sheen, while a wet cotton
pad microwaved and
strategically positioned
out-of-shot behind
dishes generates plumes
of steam for a just-out-
the-oven look. Freezing
berries helps to keep
them looking fresher
for longer.

ALL FIRED UP
A human touch
Nothing says Christmas quite like a
flaming plum pudding, and having a
person carrying this most traditional
of desserts, complete with seasonal
jumper, lends the shot a homely
feel. After popping the pud into the
microwave for a couple of minutes
and applying a generous dousing of
pre-warmed brandy, we lit the pudding.
The flames don’t last long, so had to be
quick! It needs to be dark for the flames
to show up, so we dimmed the lights,
whacked up our ISO to enable a 1/50
sec shutter speed and shot handheld
so that we could quickly frame up our
scene, trusting our Nikon’s Vibration
Reduction system to counter camera
shake and instructing our model to
hold still. We focused on the top of
the pudding and selected High-speed
Continuous mode, then rattled off a
sequence of shots so that we could be
sure of getting one that had the flames
in the most attractive position.
 S K I L L S
TOP TIPS CREATIVE TECHNIQUES

THE PIES HAVE IT LENS: 50mm f/1.4

Shoot from above EXPOSURE: 1/4 sec, f/8, ISO100

A classic flat-lay gives a top-down view,

which is the ideal way to showcase
a spread of food, and we used this
technique for this image of a batch of
mince pies. We arranged the pies on
a battered old baking tray, and added
a generous sprinkling of icing sugar
before removing one of the pies and
putting it on a plate, leaving a tell-
tale gap on the tray. To further dress
the scene we dolloped brandy butter
into a serving pot and spooned some
into our chosen pie. Placing a tea towel
on the edge of the baking try suggests
that these have come fresh from the
oven, while a sieve adds additional
interest. We rotated the centre column
of the tripod at a 90-degree
angle and ensured our camera
was perfectly level, then set
a midrange f/8 aperture –
the sweet spot of many lenses
– and focused on the top of one
of the pies so that everything
was in sharp focus.

LENS:
EXPOSURE:
90mm f/2.8 Macro
0.3 sec, f/8, ISO100
A PIECE OF CAKE
Focus stacking

When shooting up close

you will only get a small
segment of the dish in focus,
which often works well, but
for long, thin items, like this
stollen, it’s usually better
to have the whole thing in
focus. This is impossible in a
single shot, so the solution
is take several shots, each
focusing on a different
sliver of the subject – some
cameras have an auto ‘Focus
Shift Shooting’ mode that will
do this for you – then merge
them in post. We dressed
the scene with a scattering
of fruits and nuts. Our
stollen was quite bland and
beige-looking on its own,
so a row of berries atop not
only brightens things up, but
gives you a point to focus
on for each stack segment.
 E D I T I N G

PH OTOS H O P
LEARN ESSENTIAL EDITING SKILLS FAST!
HOW TO...
BRING YOUR
LANDSCAPES
TO LIFE
James Paterson
shows you how to use
targeted Curves edits
to apply an array of
landscape-enhancing
edits and effects
t first glance, a freshly
A photographed landscape may
appear rather muted compared D O W NL OA D T HE
to the scene you shot, but there’s often
P R O J EC T F I L E S
h t t p s : // b i t . l y/ 35B f 3b F
a whole heap of colour information in ON A PC OR MAC
there just waiting to be teased out, and
in this project we’ll show you how to
make your landscape colours sing.
Rather than simply applying a uniform
saturation boost, we’ll instead make a
series of targeted edits tailored to
specific areas, with the help of of
Photoshop’s array of intelligent
selection tools.
We’ll then use the Curves command
to boost tones and colours. Not only
can we use Curves to add overall
punch; we can also target the red,
green or blue colour channels to subtly
shift the colours in the scene.
This is where adjustment layers
come in. When we add an adjustment
layer, the active selection is converted
to a layer mask, which enables us to
apply localise adjustments, and it’s
this combination of adjustment layers
and masks that makes editing in
Photoshop such a joy, as we have full
control over the changes we make – at
any time we can alter the parts of the W AT CH T HE V IDEO
h t t p s : // b i t . l y/ 2 S q L A 1k
image that are affected by an
adjustment by painting on the layer
mask, or adjust the strength of the
adjustment by tweaking the
adjustment layer settings.
 M ED I U M - FO R M AT
C A M ER A T E S T
EXPERT OPINION ON THE L ATEST KIT

FUJIFILM GFX 100 II

The do-it-all medium-format camera that
should tempt full‑frame professionals

www.fujifilm.com £6,999/$7,499

t’s only been a few years since
I Fujifilm set out on its mission
to push its own vision of
exactly what a medium-format
camera should be. After decades of
medium-format being synonymous
with boxy, heavy cameras for
high-end professional users, the
Fujifilm GFX 50S and GFX 50R
brought medium-format (almost) to
the masses. Both had bodies of a size
that rivalled DSLRs and even some
mirrorless cameras, at a price that
significantly undercut the competition.
Fujifilm is certainly not alone in
revolutionising medium-format
cameras. Industry stalwart Hasselblad
was the first to create a more
compact medium-format system
with the Hasselblad X1D 50C,
although Hasselblad’s system didn’t
come close to touching the relative
affordability of Fujifilm’s cameras.
2019’s GFX 100 changed the body
of the GFX series to include a vertical
grip, which was somewhat against
the philosophy of making mirrorless
medium-format cameras more
compact, but it was an answer to
the question of how far Fujifilm could
push the specs of a medium-format
camera with its introduction of in-
body image stabilisation.
The new Fujifilm GFX 100 II returns
to the design ethos of the original GFX
camera, but pushes medium format
even further. Is it enough to finally
convert full-frame photographers to
the benefits of medium format?
Key features
The Fujifilm GFX 100 II features a
new high-speed 102MP CMOS sensor.
Paired with Fujifilm’s X-Processor 5,
this enables the camera to shoot at
eight frames per second at full
resolution – a notable achievement
for a medium-format camera – with a
 MEDIUM-FORMAT CAMERA TEST FUJIFILM GF X 100 II

1 Fujifilm’s Bishamon-Tex texture is designed

to improve handling when you’re on location.

2 At 44 x 33mm, the medium-format image

sensor is considerably bigger than the 35
x 24mm sensors in full-frame cameras.

3 There are 17 Fujifilm lenses designed for

use with the GFX 100 II’s G-mount.
01

4 The 3.2-inch rear screen tilts in three

directions – it’s not the most adaptable 02
you’ll find, but it’s decent.
03
5 The rear panel buttons are generously
spaced, with a thumb joystick control above.

6 The no-frills mode dial has standard

exposure modes, plus space for
six custom options.

7 The GFX 100 II comes with a detachable

EVF; an optional tilt adapter is available.

8 A sizable top screen provides at-a-glance

shooting information with room to spare.

9 Three function buttons occupy a spot

that might previously have been seen as
dead space.
04
05
larger buffer than its predecessor,
which can handle up to 325 raw files.
It supports shooting in various
formats, including 16-bit HQ raw
and HEIF 10-bit, offering improved
dynamic range over the previous
model with a new base ISO of 80.
The GFX 100 II can also create 400MP
Pixel Shift images by combining 16
raw shots, and achieve true-colour
(24-bit) images with just four frames.
09
Fujifilm has also added a new Film
Simulation called Reala Ace, bringing 08
the total available to 20.
Autofocus has been enhanced
with the X-Processor 5, with subject 07
recognition for humans, animals,
vehicles and insects available. It also
offers improved human face and eye 06
recognition – especially useful for
portrait photographers. The camera
also provides up to eight stops of in-
body image stabilisation when used
with compatible lenses.
For video, the GFX 100 II offers
 MEDIUM-FORMAT CAMERA TEST FUJIFILM GF X 100 II
4K 60p 4:2:2 10-bit video internally
without cropping, as well as 8K
24p with a 1.42x crop or 8K 30p
with a 1.51x crop, and Full HD up to
120p. It supports Apple ProRes and
Fujifilm’s F-Log2 for up to 13 stops
of dynamic range, expandable to
14 stops in D Range Priority mode.
External recorders can enable ProRes
Raw or Blackmagic Raw recording,
and the camera can record to external
SSDs. Targeting video professionals,
the GFX 100 II offers IDT support,
focus mapping, vector scope, and
waveform in Live View. Its Video
Format mode adapts the sensor video
size to cinema lenses from a range of
manufacturers.
The GFX 100 II features a
detachable 9.44m-dot viewfinder as
well as a three-way tilting three-inch
screen, with a 2.09-inch screen up top.
The camera uses Fujifilm’s NP-W235
battery, which is good for around 540
frames (that’s 20% better than the
GFX 100) or 60 minutes of 4K 30p
recording on a single charge.
Build and handling
The styling of the GFX 100 II follows
that of Fujifilm’s compact medium-
format cameras like the GFX 100S,
and does away with the built-in
vertical grip from the original GFX 100.
The camera is smaller and lighter than
the GFX 100, as it no longer has the
grip built in, although with the optional
grip accessory attached it actually
becomes the larger and heavier
option of the two.
Personally, I think the optional
grip is the right move; I don’t love a
vertical grip (despite shooting mostly
portraiture), and the GFX 100 II is
big enough already, so having it as
an optional extra and enjoying the
full force of Fujifilm’s most powerful
medium-format camera without the
extra bulk is very welcome.
Fujifilm is one of my favourite
manufacturers when it comes to
the build quality and styling of its
cameras, and the GFX 100 II is a slick-
looking camera, but it also feels good
in the hand. The new Bishamon-Tex
material on the camera is pleasing
to hold: it’s a little more grippy than
the traditional faux-leather finish, and
The GFX 100 II’s impressive technology
is supported by Fujifilm’s acclaimed
Film Simulations, with the new Reala
Ace likely to win a lot of fans
while it’s nothing revolutionary it does
give strong futuristic space-suit vibes,
and makes the camera look much
more modern. I will admit that I prefer
the look of the faux leather, but after a
while I didn’t notice the new material.
Coming from using smaller systems
day to day, I did find that the GFX 100
II felt heavy and bulky. It certainly is
a camera you’ll notice after carrying
it for long periods, and I noticed the
added weight even when throwing
the camera into a rucksack to walk
around. But when I remind myself
that this is a 102MP medium-format
camera, it’s still much smaller than
most professional full-frame DSLRs;
and for the size and weight, the power
on tap here is pretty amazing.
The GFX system is still hamstrung
by the need for GFX lenses to be large.
Unfortunately, current technology
dictates that larger lenses with
more elements have better image
quality, and more space for powerful
autofocus motors – and with a
medium-format image circle, GFX
lenses are only ever going to get so
small. By design, the GFX 100 II body is
about what’s comfortable to hold while
still balancing with large GFX lenses.
The 100 II’s control layout is fairly
similar to that of previous GFX
models, but there are three new
unmarked custom function buttons up
top. Their functions are indicated by
© Gareth Bevan
three corresponding small symbols
on the top screen, which is a really
nice touch. GFX bodies are definitely
large enough to accommodate more
custom function buttons, so these
three new ones are appreciated.
As is common with Fujifilm cameras,
pretty much all the buttons can be
remapped to your personal shooting
preferences.
The two custom function buttons
on the front of the camera are in a
slightly more central position than
before; maybe it’s my large hands,
but I found that my middle finger
kept knocking the upper of these
buttons when I picked up the camera,
as it was very easily pressed. I don’t
have any functions on this button that
drastically affected my images or
setup, but this could be very irritating
depending on what you decide to
use them for.
The 2.09-inch top screen remains,
and still functions as the fastest way
to view camera settings quickly; it can
also be used to display virtual dials
or a live histogram. There’s a lot of
spare real estate on the screen in stills
mode, and I wish the screen could do
even more to be useful, but it’s busier
in video mode.
The rear screen is good quality.
Fujifilm has opted for a three-way
tilting unit; given the purposes for
which this camera will likely be used,
 MEDIUM-FORMAT CAMERA TEST FUJIFILM GF X 100 II

© Gareth Bevan
The back streets of Stockholm show how much detail the
GFX 100 II’s 102MP image sensor is capable of capturing,
with superb colour fidelity the icing on the cake

© Gareth Bevan
that’s probably all it really needs,
and you can sort-of replicate that
waist-level viewfinder experience
of traditional medium-format film
cameras. The removable viewfinder
is a pleasure to use, with a clear
and sharp resolution; it can also be
pushed into boosted mode for a
smoother viewing experience, great
for high-speed action. You can fit the
optional EVF-TL1 adapter (£499
/ $569) between the viewfinder
and the camera body to add tilting
functionality to the ’finder.

Performance
I initially tested the GFX 100 II at
Fujifilm’s X Summit 2023 in Stockholm.
While the weather was against me,
the undeniable beauty of the city’s
Old Town district was a pleasure to
capture with the GFX 100 II. The
resolving power is simply amazing,
and there’s so much cropping
potential to work with; while taking
photos of a crowded street, I could
zoom in on individual faces, and the
The dynamic range that the GFX 100 II accommodates in
raw images copes easily with shadows and highlights
amount of detail held in the 102MP the autofocusing prowess of the
photos is incredible. X-Processor 5, the 100 II is a worthy
We’ve already seen Fujifilm’s 102MP rival to almost any full-frame camera,
sensors at work in its previous GFX for almost any type of photography.
cameras, and theyve impressed; but At eight frames per second, this
with a new faster sensor, improved thing is fast for a medium-format
in-body image stabilisation, and camera. Obviously the GFX 100 II
 MEDIUM-FORMAT CAMERA TEST FUJIFILM GF X 100 II
© Gareth Bevan
With highly responsive eye-tracking autofocus,
the GFX 100 II was made to shoot portraits.
The autofocus system keeps up with even small
movements by the model to keep eyes sharp
isn’t going to trouble the best full-
frame cameras for sports or wildlife,
with cameras like the Sony A1 or
Canon EOS R3 reaching 30fps (at
considerably smaller image sizes).
Let’s not forget that the GFX 100 II
has a 102MP medium-format sensor
compared with the 24MP full frame
sensor in the EOS R3, say. For Fujifilm
to push that many pixels at that
speed is a remarkable achievement,
and one that drives medium format
ever closer to being a viable for a
high-speed action camera.
The GFX 100 II is most at home
SENSOR: 102MP CMOS II HS IMAGE
PROCESSOR: X-PROCESSOR 5 LENS
MOUNT: FUJIFILM G MOUNT AUTOFOCUS:
INTELLIGENT HYBRID AF (TTL CONTRAST
AF / TTL PHASE DETECTION AF)
STABILISATION: 5-AXIS IN-BODY; UP TO
8 STOPS ISO RANGE: 80 TO 12,800 (EXP 40
TO 102,400) MAX BURST: 8FPS CONTINUOUS
AF (MECHANICAL SHUTTER) VIDEO: 8K 30P,
4K 60P, FHD 120P VIEWFINDER: 9.44M-DOT,
0.64IN OLED LCD: 3.2-INCH 2.36M-DOT,
TILT-TYPE LCD TOUCHSCREEN MEMORY
CARD: 1 X SD/SDXC UHS-II, 1 X CFEXPRESS
TYPE B CONNECTIVITY: USB TYPE-C,
HDMI, ETHERNET, MIC PORT, HEADPHONE
PORT BATTERY: NP-W235 LI-ION BATTERY,
APPROX 540 FRAMES SIZE (W X D X H): 152
X 99 X 117MM (INCLUDING EVF) WEIGHT:
1,030G (INCLUDING EVF & BATTERY)
taking portraits, though, so that was
my next port of call while testing
the camera. Where to start? The
eye-detection autofocus is near
flawless; I got such a high hit rate that LAB TESTS
I barely needed to discard any final
shots, which is so important when
the perfect expression can be ruined RESOLUTION (LINE WIDTHS/PICTURE HEIGHT)
by missed focus. The autofocus had
no hesitation jumping to the nearest
eye as the model moved around;
after a while, I stopped even being
concerned about the focus, and could
redirect my energy to composition
and poses.
When it comes to editing images,
medium-format is in a different
league even to full-frame. Not only is
the ability to crop in and still maintain
so much detail a huge advantage, but We tested the GFX 100 II against the Sony A7R V, the
Hasselblad X2D 100C, and the Leica M11. In most
the dynamic range stored within the comparisons, the Sony and Leica cameras would
uncompressed Fujifilm RAF files gives trounce their rivals in our resolution test, but here
you so much room to play with. I like their sensors of around 61MP are no match for the
two 100MP cameras.
to edit by flattening out my images,
pushing the shadows and squashing
the highlights, and this was easy in
the GFX files, without losing details or
SIGNAL-TO-NOISE RATIO (DECIBELS)
encountering any murky greys when
the highs or lows hit their limits.
The new Reala Ace Film Simulation
is going to replace Provia as my
standard profile for editing. It offers
a much more neutral and balanced
starting point for editing when used as
a raw editing profile, and I’m counting
the days until it comes to Fujifilm’s
X-Series cameras.
Gareth Bevan
Remarkably, given its huge megapixel count, the GFX
100 II manages to generate slightly less image noise
than the full-frame cameras on test; its extra sensor
VERDIC T size keeps it just ahead of the pack.
The GFX 100 II is a revelation. DYNAMIC RANGE (EV)
I review a lot of cameras, and
this is one of the few that I found
really hard to give back after the
review period. The GFX 100 II
should be the catalyst for every
full-frame professional portrait,
fashion, product and landscape
photographer who might be
wavering over making the jump
to medium format.
The cameras are more closely matched here. The 100
II manages to maintain its peak performance right up
to ISO1,600, whereas the X2D’s dynamic range is
already starting to drop at ISO800.
Don’t sit on it. Sell it.
More than half of us have
camera gear we no longer use.
Sell your gear and upgrade
your visual storytelling.
Trade up for new adventures.

Upgrade,
completed.

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and trade used gear.
Get an instant quote

See mpb.com/info/unused-tech-survey for more details.

 A P P S
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