lightroom mobile updates get the solarised look

share raw files from your ipad transform a portrait in aCr

t he worl d’s bes t-sel l ing digi tal photo mag a z ine
28 July - 3 Augu s t i s s ue 201

inspir at ion ide a s

MAn vs
CAMerA
are you smarter than
your auto mode?
 W e l c o m e

lightroom mobile updates get the solarised look

share raw files from your ipad transform a portrait in aCr
t he worl d’s bes t-sel l ing digi tal photo mag a z ine
28 July - 3 Augu s t i s s ue 201

open carry: the top clips on a wing and a prayer

8 top filter systems zeiss planar t 50mm f/1.4
tested and rated sony’s new full-frame e-mount nifty fifty

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
and holsters tested how to shoot birds in flight
21-27 JuLY I s s ue 20 0
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
as easy as led adobe updates
ClassiC zooms: we test the best 14-20 july i s s ue 19 9 constant light sources tested new tools for cc users
70-200mm lenses on the market
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
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

inspir at ion ide a s

30 June-6 July I s s ue 197
7-13 july i s s ue 19 8

MAn vs
36
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ice & Fire Brilliant

inspir at ion ide a s in-dep th re v iews
inspir at ion ide a s in-dep t h re v iews

Buildings
how to plan and shoot a
photographiC trip to iCeland
master the secrets of awesome
architecture photography CAMerA
are you smarter than
tIps for
your auto mode?
perfect On yer bIke
Ma s ter dr aMat ic ac t ion photos

portraIts
how to make your
people pictures 200th
stand out issue!

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 CONTENTS
Find out what’s inside this issue
NEwS
F E aT U r E
LIgHTROOm mOBILE
latest updates include raw
editing on the go in iOS

F E aT U r E
maN vS CamERa
Find out when to trust the auto
options and when to go manual

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The very best reader images
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 n e w s

w h at ’ s h o t
The week’s Top headlines in phoTography

Meteora, greece, shot by Elia locardi in

raw on a fuji Xt-2 and edited on location
on an iPad Pro using lightroom for ios

Edi t and sharE r aw f ilEs on

thE go wi th your iPhonE
Lightroom for mobile gets serious

dobe has announced new your raw files from your camera on the or flags you’ve added, so that you can

a versions of its Lightroom app

for ios (2.4) and android (2.1),
with some major improvements. the
most notable new feature for ios users
is a new raw technology preview, which
will enable you to share your highest-
quality edits of images on the go, rather
than having to make do with sharing a
JPeG, or waiting until you get home to
share the optimised image.
with the updated app you can import
go to your iPhone or iPad and edit them
(you can adjust white balance, recover
lost detail in the highlights and shadows
and make selective adjustments – more
on that later), before sharing them.
Sync across devices
a nice touch is that Lightroom for ios
can be synced with Lightroom on your
other devices, enabling you to copy over
any image adjustments, star ratings,
speed up your workflow once you’re
back in the comfort of your own home.
the degree of raw compatibility is also
impressive, with Lightroom for ios
supporting all the same raw file formats
as Lightroom for desktop.
You won’t be able to simply ping an
image from your camera to your iPhone
or iPad wirelessly, however. to transfer
raw files across you’ll need either a
camera connection kit or Lightning to sD
 n e w s
The week’s Top headlines in phoTography
or UsB kits from apple. this will bring
up the Import tab with the ios Photos
app, with imported files added to your
camera roll, which you can then select
and bring into Lightroom for ios to edit.
Due to the considerably larger size
of a raw file compared to a compressed
JPeG, import times can be quite a bit
longer, and raw files also take up more
space on your device. there’s obviously
the worry that performance could be a
bit clunky due to the large files being
handled, but adobe stresses that it’s put
the app through its paces, even testing
it out with a 50MP raw file from a Canon
eos 5Ds on an iPhone 6.

Linear and radial selections

as mentioned, you can now perform
local adjustments, with both linear and
radial selections – they’re great options
for adding drama to skies or lightening
or darkening elements in an image.
other notable improvements include new features in the latest lightroom mobile updates include raw previews in ios, a new camera
keyboard shortcuts when you’re using interface for android, and the ability to make localised edits using linear and radial selections

a physical keyboard connected to an

iPad, the option to add your copyright
information to all imported photos, and
lens profile support for selected camera
and lens combinations.

Pricing
this looks like it could be a huge jump
for Lightroom for ios, and it’s certainly
something for photographers who shoot
raw to get excited about. the ability
to edit raw files from your ios device
on the move (provided you’ve got the
connectivity and space on your device)
is something that’s been missing from
Lightroom’s mobile offering.
this not only enables photographers to adobe’s Creative Cloud subscription the built-in camera now has a new
to showcase and share images at service – it’s currently £8.57/$9.99 per Pro mode, enabling you take control of
the best possible quality on the go, it month for access to both Lightroom CC the shutter speed, Iso, white balance,
also speeds up and streamlines their and Photoshop CC. and focus manually, all in a brand
workflow, with edits carried over into new interface which also has a new
their Lightroom catalogue. Lightroom for Android 2.1 Lightroom Camera widget that enables
the update is available now for iPad things are a little different for android users to access the camera directly.
and iPhone from the ios app store for users, with the focus being on the Lightroom for android 2.1 is available
free, but you will have to be signed up end-to-end DnG capture experience. to download now for free.
 F e A t u R e

Man vs
CaMera

It’s the ultimate challenge: a man armed with manual

modes vs the camera’s auto options... who will win?
nly robots rely on the automatic modes
O on their cameras and editing software,
right? Real photographers will use
manual options to really take control of their
camera and capture top-quality images…
Well, maybe it’s time to think again. Working
through these 17 technique challenges, you’ll
discover who’s really calling the shots: you
or your camera. We compare key automatic
camera options with their manual counterparts,
and go head to head with Adobe software’s
auto corrections. We’re using Canon DSLRs and
lenses, but the principles here apply to most
DSLRs and compact system cameras, although
some of the settings and options will have
different names.
From shooting modes to exposure, and from
focusing to processing, we reveal when it’s best
to control your camera manually, and when you
can rely on auto settings…
 F e A t u R e

shooting Modes
We start by pitting common automated scene modes
against the camera’s semi-auto and manual options…

Challenge 1 APERTURE PRIORITY

Portrait Mode vs
aPerture Priority
Portrait mode sets a wide aperture on
the lens (f/2.8 in our example) to blur
the background, bumping up the ISO as
necessary to ensure the shutter speed
is fast enough to give sharp handheld
results. However, it may also trip the
pop-up flash, even if you don’t want it
to, and you don’t have any control over
the array of AF points in the viewfinder;
this means the camera may not pick
out a person’s eyes, so you can end up
repeatedly half-pressing the shutter
PORTRAIT MODE
release until it locks on. Aperture Priority
gives you all that control, and makes it
easier to brighten up your image with We chose an aperture of f/5.6 to get more
exposure compensation, too. of the facial features in focus, and made
Winner: Man sure we focused on the eyes, too

Challenge 2
The Sports mode worked
surprisingly well for
sPorts Mode
capturing sharp images of vs shutter Priority
fast subjects, but creative We put Sports mode through the
options are limited benchmark test of shutter speed and
AF performance: an all-action flying
display. these stunt planes are
unpredictable and challenging to
photograph when swooping against
detailed backgrounds and bright skies.
As expected, and as with any automatic
or semi-auto shooting mode, Sports
mode isn’t always on form when it
comes to exposure. the day was bright
but overcast, and images were routinely
underexposed, whereas with +1 stop of
exposure compensation dialled in
manually our plane shots are perfectly
exposed. Although you can adjust the
brightness in Sports modes, you can’t
do so ‘live’ – you have to dip into the
Quick menu. But at least on some
cameras you can shoot raw when using
Sports mode, giving you more latitude
for adjusting your images later.
Winner: Man
Challenge 3
Close-uP Mode
vs PrograM Mode
In Close-up mode the aperture was
locked at f/5.6, with the ISO fluttering
between 100 and 1600 to give a fast
enough shutter speed to eliminate
camera shake (and stop the built-in
flash firing on cameras that have one).
Again, with no control over the AF
points, the autofocus was often all
over the shop, although switching to
Live View gives you better idea of
what’s in focus. For general close-up
work, the auto option isn’t half bad.
Winner: CaMera

ClOsE-UP

Here, Landscape
mode set an exposure
of 1/125 sec, f/11,
ISO100; the results are
slightly underexposed,
but not bad

PROgRAM

MAnUAl

Live View focusing, and shooting raw if
available, make Close-up mode a viable
option. However, Program mode gives
you more control over depth of field
Challenge 4
landsCaPe Mode
vs Manual
As you’d expect, Landscape mode is all
about giving you narrowish apertures in
order to capture a decent depth of field.
It will also set a shutter speed according
to the conditions and the lens being
used, increasing the ISO if necessary to
give you reasonably fast shutter speeds
– and sometimes sacrificing image
quality as a result. As you can see in
our example image, this mode has a
tendency to underexpose scenes with
bright skies, making Manual a better
option for high-contrast scenes. lAnDsCAPE
Winner: Man
 F e A t u R e

exPosure
Who’s really in charge when it comes to nailing exposure
– you or your camera? Let the challenges commence…
WEll ExPOsED

TOO bRIghT

Challenge 5
evaluative Metering
vs Manual override
the camera’s default multi-zone evaluative metering pattern
measures brightness across the scene, but then biases the
exposure towards the AF points that have (or almost have) Taking a manual
achieved focus. In theory this is great, as the area you want to exposure
be well exposed is likely to be the in-focus subject. However, reading, or
if that part of the subject is very bright or dark it can cause the using exposure
rest of the scene to be underexposed or overexposed. Large lock to fix the
areas that are very light or dark can throw the exposure out brightness,
too, and it’s only by dialling in exposure compensation, using isn’t as fast
exposure lock on another part of the scene, or shooting in as dialling
Manual, that you can balance the exposure. in exposure
Winner: Man compensation
 F e
Challenge 6
levels & Curves
the majority of automatic options
in imaging software shouldn’t be
seen as an instant click-and-forget
fix. That’s certainly true of Auto
Levels and Auto Curves in Photoshop,
where the tonal pushing and pulling
can lead to increased noise and a
little clipping on the histogram.
However, they can provide a great
base for further manual tweaks,
particularly if you apply these as
adjustment layers in Photoshop.
Winner: CoMPuter
ORIgInAl
AUTO lEvEls
CURvEs
Auto Levels has opened up the shadow
detail here (see how the histogram
shifts to the right) while Auto Curves
brings back more of the punch and
mood of the original shot
A t u R e
Challenge 7 ORIgInAl
e-ttl flash vs
Manual flash
e-ttL flash generally does a good job
of balancing the exposure of a backlit
subject with a bright background, and
its fill light on bright days looks natural,
although on dull days we’ll tone it down
by 1/3 or 2/3 stop. It can be fooled by
light or dark subjects, leading to slight
underexposure or overexposure. You
can fix this with flash exposure
compensation, but switching to Manual
flash gives you consistent output,
regardless of the subject – so you need
to keep an eye on how far the flash is
from the subject. Overall, e-ttL wins.
Winner: CaMera
E-TTl
A close one, this: E-TTL
isn’t perfect, and needs
some adjustment to get the
best results – it’s slightly
underexposed the flower here –
but it’s very fast and convenient
 F e A t u R e

foCusing
Focusing is the toughest challenge yet, so let’s find out which option
is best for delivering images that are sharp in all the right places…
MAnUAl fOCUs

lIvE vIEW

Challenge 8
aCCuraCy test:
one-shot af
vs Manual foCus
In good light and with plenty to
‘bite’ onto, One-Shot AF is rapid and,
seemingly, accurate. But check your
images at full size and you may be
disappointed. the thing is, there’s a lot
that can get in the way of AF accuracy:
the lens might suffer from back-
focusing or front-focusing; the AF point
may cover a number of details and lock
onto the wrong one; zooming the lens
may cause the focus to shift. Using Live
Live View and Manual View, and zooming in on the rear LCD is
focusing combined is the solution, as what you see is what
the only way to go when you get. So, with a little help from
shooting close-ups the camera, Man wins this one…
Winner: Man
 F e A t u R e

Challenge 9
sPeed test: ai servo
af vs Manual foCus
We used our ‘gull test’ for this one – a
challenging subject to push any AF
system – and the camera won
hands-down when it came to tracking
the fast, erratically moving subjects on a
gusty day. Naturally, top-end cameras,
when matched with high-performance
lenses using ring-type ultrasonic motors,
can acquire focus and track the subject
faster and more reliably than others. We
used Canon’s top-end eF 70-200mm
f/2.8L IS II uSM zoom on both a 6D and
5D Mk III. An unfair test? Put is this way:
none of our manually focused images
were sharp enough. Not one.
Winner: CaMera

Challenge 10
reaCtion test: ai foCus af
vs baCk-button foCusing
AI Focus AF switches from One-Shot to AI Servo when the
camera detects movement, then switches back again. As a
test of its effectiveness, we compared it with a Canon 5D
Mk III set to back-button focusing. With the AF mode set to
AI Servo, and focusing deactivated from the shutter button
but instead controlled with the AF-ON back button, this
effectively mirrored AI Focus mode. In our tests AI Focus
mode couldn’t detect sudden movement quickly enough,
and simply couldn’t keep up with subjects.
Winner: Man

Challenge 11
White balanCe
the Auto White Balance option in software such as
Canon’s Digital Photo Professional and Adobe’s Camera
Raw and Lightroom acts in a similar way to the AWB
option on your camera. It’s useful for general scenes, but
when you’re trying to preserve the colour of the light, and
the mood it adds to a picture, the auto correction doesn’t
always deliver. In our experience, using the presets – or
using ACR’s White Balance tool and fine-tuning with the
temperature and tint sliders – works better.
Winner: Man
 F e A t u R e

AUTO

MAnUAl

Challenge 12
auto af Point
seleCtion vs
Manual af Point
seleCtion
Having all the AF points activated in
the viewfinder means that the camera
chooses what to focus on. In our tests,
invariably this proved to be the closest
thing to the lens, or an area of high
contrast or movement, and that didn’t
always correspond with the subject or
detail we wanted to be sharp. using
auto AF point selection to act as a ‘net’
for moving targets can be useful, but
there’s a strong chance it will lock onto
background details too. Manually
selecting the AF point makes a huge
difference for creative focusing. It was no surprise that our camera’s auto AF points locked onto the nearest objects,
Winner: Man rather than the intended subjects, when shooting through foreground detail
 F e A t u R e

iMage settings
Processing. It’s a dirty job, but someone’s got to do it. And that
means you – or your camera. Let’s see who’s best…
Here, Canon’s Auto picture
style gives a bolder but still
natural-looking colour palette
straight out of the camera

AUTO PICTURE sTYlE

sTAnDARD PICTURE sTYlE
Challenge 13
auto PiCture style vs
PiCture style Preset
the Auto picture style option generates a colour, contrast
and sharpness profile that’s optimized for the scene you’re
photographing. And you know what? It doesn’t do a bad job
at all. If there’s a blue sky or greenery in the frame then it
boosts the colours – and they can look more natural than with
the often overcooked Landscape style. Indoors, the results
are closer to the Standard setting. Despite the Auto setting
delivering slight variations from one picture to the next, and
being rubbish for movies (where you need consistent results
between clips), we’ll give this one to the camera.
Winner: CoMPuter
 F e A t u R e

Challenge 14 AWB found it

impossible AUTO
raW vs JPeg to clear the
If you care about picture quality and you’d like to give colour cast in
yourself more flexibility when it comes to editing your the green-
pictures, then you need to shoot raw. there’s a lot to be filtered light
said for shooting JPeGs too: straight out of the camera of a forest
they’re less noisy and have more punch, and you can
also print and share them more quickly, while raw files MAnUAl
require an additional processing step – you can do this
in-camera with compatible cameras, but the adjustments
are limited. Still, we’re sticking with Man+raw files as the
winner here. the creative, lossless processing options
and increased dynamic range are just too good to miss.
Winner: Man

Challenge 15
auto White balanCe vs
White balanCe Preset
Your camera’s Auto White Balance can be relied on to reduce
colour casts in most situations, but in our experience it can
struggle in overcast conditions, producing cool-looking shots;
strong colours can confuse it too. Manually-selected presets
are usually better – they can’t fix all colour casts without a little
white balance compensation, but they give frame-to-frame
consistency, essential for panoramas and batch-processing.
Winner: Man
 F e A t u R e

If you need HDR images quickly then you’ll have to use the
in-camera option, but it’s not as good as doing it manually
MAnUAl
Challenge 16
hdr vs exPosure blending
In-camera HDR can be a bit ‘Marmite’ – you’ll either love or
loathe the results. But at least more recent cameras, such as
the Canon 5D Mk III, give you the option of saving the original,
bracketed exposures as raw files too, enabling you to do
some good, old-fashioned blending in Photoshop. Cheating?
A case of Man+Computer vs Camera? Well, at least we didn’t
use any dedicated HDR software…
Winner: Man

MAnUAl AUTO

In-CAMERA

Challenge 17:
Man vs CoMPuter
blaCk & White
We put the Auto Grayscale Mix option in Camera Raw and
Lightroom to the test. the result? A flat, grey image that, while
a little uninspiring, is at least a decent foundation for further
contrast adjustments. Adjusting the mix manually produces a
more striking shot at the raw processing stage, but big shifts
with the Grayscale sliders can exacerbate noise and create
banding in large areas of graduated tones, such as skies. So,
overall, we’ll hand it to the software’s more restrained choice. Here the Auto Greyscale Mix option in Camera Raw provides
Winner: CoMPuter a good starting point for further monochrome adjustments

the verdiCt
It’s a pretty even match, but in the end Man beats Camera. there’s no denying that some of the auto options can make
your life easier though, and overlooking them in favour of the fully manual approach may be a little short-sighted. Auto
ISO and AI Servo AF were the stand-out automatic options, delivering reliable results – but, even then, they still needed
some human input to produce the desired results.
 s u b s c r i b e

SubScr ibe today and enjoy

Photogr aPhy week For
juS t 39 c /39 P an iSSue *

8 tested
top filter systems zeiss planar t 50mm f/1.4
and rated sony’s new full-frame e-mount nifty fifty

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
21-27 JuLY I s s ue 20 0

open carry: the top clips on a wing and a prayer ClassiC zooms: we test the best
70-200mm lenses on the market
and holsters tested how to shoot birds in flight
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 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 as
a z ieasy
ne as led adobe updates
new tools for cc users
grand master flash 14-20 july i s s ue 19 9 7-13 july
constant light sources tested
i s s ue 19 8
we test 8 top dedicated flashguns 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
t he worl d’s bes t-sel l ing digi tal photo mag a z ine 30 June-6 July I s s ue 197

16-22 June I s s ue 195

36
inspir at ion ide a s in-dep th re v iews
inspir at ion ide a s in-dep th re v iews inspir at ion ide a s in-dep th re v iews

Brilliant
inspir at ion ide a s in-dep t h re v iews

Buildings
master the secrets of awesome
architecture photography
ice & Fire
how to plan and shoot a
photographiC trip to iCeland

CountrysIde
Manner On yer bIke
shoot pic t uresque l andsc apes
tIps for Ma s ter dr aMat ic ac t ion photos

perfect
portraIts
how to make your
people pictures 200th
stand out issue!

To find out how you can get Photography Week delivered straight
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 G A L L E R y

XPOSURE
The week’s mosT inspiring reader phoTos

Seaward Squared
Andy Freer
andy has used the lines of the harbour walls to great effect in this beautifully balanced long-exposure seascape.
http://tiny.cc/jr31cy
 G A L L E R y
The week’s mosT inspiring reader phoTos

a non runner
dAvid oxtABy
These abandoned subjects are perfect
candidates for the grungy Hdr look, and
david has processed the image perfectly
to enhance the desolate feel.
http://tiny.cc/9u31cy

Ferrari 246 S dino

BriAn WAlsh
always look behind closed doors… Brian grabbed a
shot of this rare racing car at a media day to promote
the 2016 Silverstone Classic motorsports festival.
http://tiny.cc/ez31cy
 G A L L E R y
The week’s mosT inspiring reader phoTos

KingFiSHer
neil Burnell
neil’s composition is simple but very
effective, and the depth of field has
rendered the backdrop as an almost
uniform wall of green that nicely
complements the subject’s colours.
http://tiny.cc/qk41cy

JoSHua Tree SunSeT Panorama

MichAel ver sprill
michael’s brilliantly executed panorama perfectly captures the vast open
spaces and dramatic features of California’s Joshua Tree national Park.
http://tiny.cc/xv41cy
 G A L L E R y
The week’s mosT inspiring reader phoTos

TraCKS
AndreW BAchA
andrew has created a wonderfully
ambiguous portrait, with the
subject looking out of the frame as
the tracks lead the eye back into it,
and the shifted colours of the sky
adding to the ethereal mood.
http://tiny.cc/h241cy

VelVeT
luis González
luis has used a shallow depth of field
and simplified colour palette to create
a stunning fine art abstract, with just
enough of the poppy in sharp focus to
give the image context.
http://tiny.cc/4751cy
 G A L L E R y
The week’s mosT inspiring reader phoTos

wild orCHid
GAv Jensen
“another attempt at focus stacking. i found this orchid at Kirkby moor, just outside woodall Spa in lincolnshire, england.”
http://tiny.cc/vg61cy

PHoTograPHy weeK wanTS your PHoToS!

Taken a portrait you’re particularly proud of? Shot a sensational sunset you’d like to
show off? Then join the Photography Week Facebook community and share your best
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 I N
I T ’ S C O O L , T H AT
The besT Thing we’ ve seen This week
GRand teton national paRk
captuRed in stunninG 8k
Time-lapse video is latest instalment in brothers’ project to film all 59 US parks
ight down, 51 to go… in 2014,
E film-making brothers Will and
Jim Pattiz embarked on a
project to document all 59 of America’s
National Parks in film and still images,
and they’ve just produced their latest
movie – a breathtaking 8K time-lapse
showcasing the Grand Teton National
Park in Wyoming.
The brothers, along with two other
crew members, spent almost a month
camping and hiking in the park, which
covers an area of around 500 square
miles and incorporates the Teton
S P I R A T I O N
Image © Will and Jim Pattiz
mountain range, Jackon Hole valley and
Jackson Lake. They used a Sony A7R II,
a Canon 5D Mk III, and a Blackmagic 4K
cinema camera to capture more than
20,000 still images and movie clips.
You can see all eight videos, along
with galleries of fantastic still images,
at the brothers’ More Than Just Parks
website (http://tiny.cc/c5t2cy), where w at ch t he v ideo
they explain that their goal is to “share h t t p: // t iny. cc /z4 r2c y
the wonders of our national parks with
as many people as we can, thereby
ensuring their continued protection and
enjoyment for generations to come”.
 s K I L L s

crash course
ESSENTIAL PHOTO SKILLS MADE EASY

Put yourself
on the maP
The GP-1 accessory adds GPS functionality to many
Nikon DSLRs – Rod Lawton shows you how to set it up

The new D5300 is the first to give the best coverage in populated

5
Mins
Nikon DsLr to have a GPs,
or Global Positioning system,
receiver built in. however, you
can add GPs capability to many other
Nikon DsLrs using Nikon’s clip-on GP-1
accessory. It costs around £200/$280,
and it could prove invaluable for fans
of travel and landscape photography.
It’s also extremely simple to use.
Whereas mobile phones use a
short-range cellular network that tends
areas, GPs receivers calculate their
position using a network of satellites
in geostationary in orbit above the
earth. This means they don’t work so
well in cities where there are lots of
tall buildings, and won’t usually work
at all indoors, but under an open sky a
GPs receiver will give you a perfect ‘fix’
anywhere on the globe, even in middle
of the remotest landscapes. here’s how
to get it working with your Nikon…
 s K I L L s
STEP bY STEP GET GPS ON YOur NIKON

1
make the
connection
The GP-1 slots into your
camera’s hotshoe, but the
connection is actually made
via the camera’s accessory
port. The unit comes with
a 10-pin connector for
attaching to your Nikon;
there’s a GP-1a version with
a redesigned 10-pin locking
nut, but that’s the only
difference.

2
GPs
set-uP
The GPs options are in the
setup menu. By default,
GPs only functions when the
meter is active. This means a
short delay, so the GPs data
may not be available if you
raise the camera to your eye
and shoot quickly. You can
opt to have the GPs active all
the time, though.

3
red or
Green?
Now all you have to do is
watch the lamp on the back
of the GP-1 unit. If it’s green, it
means it’s receiving a signal
from the GPs satellites, and
embedding the location data
in your images. If it turns red,
it’s lost contact, but it will turn
green again as soon as it can
get a new fix.
 E d i t i n g

r aw i n p h oto s h o p
LEARN ESSENTIAL EDITING SKILLS FAST!
HOW TO...
creaTe a
before

sOl ar ised
effec T
Harness the power of
Camera Raw’s Tone
Curve panel to mimic
this popular darkroom
processing technique
he tone Curve panel in adobe
t Camera raw enables you to
selectively adjust shadows,
midtones and highlights to fine-tune
the contrast of your images. But you
can also use the tone Curve panel
creatively, to emulate the darkroom-
based solarisation technique made
famous by surrealist photographers
such as Man ray. the technique dates
back as far back as 1920s.
at first glance a solarised photo may
look like a negative version of a mono
image. however, in a negative all the
shadows and highlights are reversed,
so that shadows become highlights
and vice versa. In solarised images, only
some of the tones are reversed. another
distinctive property of a solarised photo
is the sharp white line that appears
around high-contrast areas.
the solarisation effect was
discovered by accident, and is tricky to
W aT cH T He V ideO
h t t p : // t i n y. c c / 3e h l c y
produce in a darkroom. But, as you’ll
see in this video lesson, by combining
the Camera raw Basic sliders with the
tone Curve controls you can create a
solarised image with ease.

WANT To LeArN hoW To use rAW iN phoToshop fAsTer? GeT The WhoLe course NoW!
if you don’t want to wait a whole year to learn how to use raw in Photoshop, you can download our whole
course from the Photography Week app for just $9.99/£7.99. We’ll be including one part of the course every
week until the end of the year in the magazine, so the choice is yours: wait and take the course for free, or
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 mini test
PHOTO BACKPACKS

1 2
Case LogiC Kontrast
Pro DsLr BaCKPaCK
PriCe: £129/$150
www.caselogic.com
this may be the cheapest
backpack on test, but it rivals bags
costing twice the price. there’s
space inside for a full-frame body
with an attached 70-200mm
lens, and up to eight lenses or
accessories can slot in on either
side. At the back is a partition large
enough for a 15-inch laptop, with a
subsection that’ll house a 10.1-inch
tablet. Tripod-mounting points
on either side complete the load-
lugging abilities.
Although none of the bags here
offer true on-the-go access, the
Kontrast’s top-loading camera
compartment at least lets you get
at your camera without exposing
the rest of your gear. thick back
padding keeps you comfortable,
while semi-rigid internal dividers
protect your kit. there’s even
a tough plastic base for extra
stability and waterproofing.
iKigai rivaL with
Camera Cell medium
PriCe: £230/$300
http://uk.ikigaibags.com
the Rival gives you two bags
in one. its removable camera
compartment cell enables you
to instantly transform the main
bag into a regular daypack. this
self-contained, pull-out module
will house a full-frame body and
a hefty attached lens, plus six
more lenses alongside. the cell
itself is well-padded, as is the
main backpack and especially
its sculpted back panel. This also
doubles as the primary access
point, providing better security
than a front-facing flap, and it
contains individual laptop and
tablet compartments.
However, while the bag-in-a-bag
design is great for gear protection,
it restricts internal space and
adds weight. We’re not fans of
the awkward tripod-mounting
system either, but at least you get
a separate rain cover.
3
LowePro whistLer
BP 350 aw
PriCe: £257/$350
www.lowepro.com
Like the ikigai Rival, this features a
removable camera compartment
with a similar amount of space,
along with the burden of extra
weight. But Lowepro’s version
compensates with ridged outer
panels, which give your gear
good protection when the cell is
removed from the main bag. the
latter ditches additional padding
to save space and weight, but
packs a ridged frame like a true
hiking backpack.
Access is via a rear flap, which
is hinged halfway down to allow
partial access. You’ll find a
laptop slot round the front, while
each side can hold a tripod. But
the Whistler’s big selling point
is its go-anywhere ability. Wide,
supple straps provide exceptional
prolonged comfort, and top-
quality materials will shrug off
abuse from mother nature.
 mini test
PHOTO BACKPACKS

4 5
Manfrotto Pro Light
BumBleBee-220 Pl
PriCe: £190/$260
www.manfrotto.co.uk
Here’s an ex-Kata design that
used to sport the brand’s black-
and-yellow look, hence the
Bumblebee name. the Pro Light
bit is just as confusing, though:
at nearly 3kg, this backpack is far
from a featherweight.
it’s not as if the bulk can be
justified by the removable camera
compartment in some other
designs, either. But you get a pair
of lift-out lens pods that will house
four lenses apiece; between these
are two thickly padded dividers
to keep your camera and large
attached lens cosy. A huge laptop
slot is concealed at the back, with
smaller front and side pockets
taking care of accessories.
the unusual rubberised shoulder
straps are supple, if not especially
comfortable, although the
excellent hip belt will take most of
the bag’s weight.
taMraC
anvil 23
PriCe: £240/$290
www.tamrac.com
if this bag is anything, it’s a mixed
bag. externally there are all the
trimmings of a quality product,
with wide, well-padded straps,
an equally supportive hip belt
and super-thick back padding.
the front access flap is covered
in useful pockets on either side,
and it also contains sizeable laptop
and tablet slots; however, being on
the front of the bag, their weight
isn’t best distributed for optimal
load-carrying comfort.
the main compartment can hold
a large DsLR and attached lens,
along with plenty of extra optics
and accessories. But they won’t
be as well-protected as in the
other bags on test, as some of
the internal dividers feel thin and
weak. Worse still is the base, which
hardly feels padded at all. these
weaknesses make the price seem
disproportionately high.
6
TenBa ShooTouT
BaCkPaCk le medium
PriCe: £159/$200
www.tenba.com/uk
there isn’t much that’ll wow you
about the shootout backpack,
but, while it may not have any
especially funky features, tenba
has nailed the essentials. the
main compartment is spacious
enough to swallow a full-frame
body, attached lens and eight
surrounding alternatives.
Decent all-round padding should
keep everything safe from rough
and tumble, and the bag’s base
gets a tough plastic coating for
added scuff resistance. Weather
protection is good, too, with quality
self-sealing zips, a water-resistant
nylon outer shell and a rain cover.
it’s a comfortable companion
thanks to having the softest straps
on test, along with an equally
comfy back panel. Right behind
this you’ll find a slot for a 15-inch
laptop, although the front tripod
carrier add-on isn’t so convenient.
 A P P s
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