PANASONIC GH6 REVIEW

Is it the best movie-making mirrorless camera around?

Practical advice for enthusiasts and pros

www.digitalcameraworld.com Issue 252

GET MORE FROM YOUR

SENSORDynamic range Resolution Detail Tonal quality

NEW SKILLS
A
GET PRO INFRARED

FREE AB AGE
MASTERCLASS
Learn to shoot & edit
E R RIB amazing landscapes
CAM OU SUBS
NY
C
0
WHE AGE 5
SEE P

GO GREEN! TOP TELEPHOTO

MODERN
EXPERT ADVICE
ECO-FRIENDLY ZOOMS ON TEST
SHOOT CREATIVE MODERN WILDLIFE WILDLIFE
PHOTOGRAPHY DOUBLE EXPOSURES PhotographerTim
0e479381-0069-45af-b2a9-c0a37e1e14de TimFlach
Flach and more
on what it
How to turn pro sustainably NIKKOR Z 40mm f/2 on what
means to capture it means
animals to
today
0e479381-0069-45af-b2a9-c0a37e1e14de
 WELCOME

We need to understand the relationship between

attention-grabbing moments and storytelling
How can photographers help
to create change when it
comes to the environment
and conservation? That’s one
question I’ve been asking this
issue, as we recognise another
global Earth Day on 22 April.
Why not discover the small
ways you can become a more
eco-friendly photographer (p66), the best examples
of green web hosts for a sustainable photo business
(p64) and incorporate nature into your portraits with
a creative double exposure project on p52.
From p36, our pro guide to modern wildlife
photography goes beyond showing you how to take
pretty pictures of animals, and instead explores how
to use photos to tell powerful and engaging stories.
There’s even an exclusive Q&A with world-renowned
photographer Tim Flach (p46).
Modern digital cameras are marvels of imaging
technology, capable of recording astounding levels of
light and detail, but high-quality sensors also make
it more difficult to hide poor technique or lens use.
If you’ve invested in a high-end model, you may not
be getting the maximum resolution benefit. On p22,
we show you how to get the most out of your camera
sensor – from dynamic range to noise reduction,
read the feature to reach your full imaging potential.
Next, brush up your editing skills from p60, and be
inspired by stunning fantasy portraits in an interview
with social media sensation Adam Bird (p74).
In the reviews section, you’ll find four versatile
wildlife and travel lenses (p96), and a hands-on with
the Panasonic LUMIX GH6 (p104), one of the most
capable cameras around right now. Happy shooting!
Lauren Scott, Editor
lauren.scott@futurenet.com

GET IN TOUCH Ask a question, share your thoughts or showcase your photos…

@DPhotographer Tweet www.facebook.com/ Instagram: Email: Website:

your opinions or images DigitalPhotographerUK @dphotographermag team@dphotographer.co.uk Get news, tips and reviews at
and see them printed Share your thoughts and shots Follow and tag us Newsletter: http://bit.ly/DP-news www.digitalcameraworld.com

3
0e479381-0069-45af-b2a9-c0a37e1e14de
 Future PLC Quay House, The Ambury, Bath, BA1 1UA
Editorial
Editor Lauren Scott
lauren.scott@futurenet.com
0330 390 6246
Senior Designer Neo Phoenix
Production Editor Jon Crampin
Technique Editor Peter Fenech
Senior Art Editor Warren Brown
Content Director Chris George
Product photography Bath Photo Studio
Contributors
Claire Gillo, Angela Nicholson, Graeme Green, Adam Bird, Tim Flach,
Matthew Richards

Main cover image

© Mike Will
Advertising
Media packs are available on request
Commercial Director Clare Dove
clare.dove@futurenet.com
Advertising Manager Michael Pyatt
michael.pyatt@futurenet.com +44 (0)1225 687538
Account Manager Matt Bailey
matt.bailey@futurenet.com +44 (0)1225 687511
International Licensing
Digital Photographer is available for licensing and syndication. To find out
more, contact us at licensing@futurenet.com or view our available content
at www.futurecontenthub.com
Head of Print Licensing Rachel Shaw licensing@futurenet.com
Subscriptions
New orders: www.magazinesdirect.com 0330 333 1113
Renewals: www.mymagazine.co.uk
Customer service: 0330 333 4333
Email queries: help@mymagazine.co.uk
Group Marketing Director Sharon Todd
Circulation
Head of Newstrade Tim Mathers
Production
Head of Production Mark Constance
Production Project Manager Clare Scott
Senior Ad Production Manager Jo Crosby
Ad Production Coordinator Chris Gozzett
Digital Editions Controller Jason Hudson
Production Manager Vivienne Calvert
Management
Brand Director Stuart Williams
Head of Art & Design Rodney Dive
Managing Director Future Passions Andrea Davies
Chief Content Officer Angie O’Farrell
Printed by William Gibbons & Sons Ltd, 26 Planetary Road, Willenhall,
WV13 3XB
Distributed by Marketforce, 5 Churchill Place, Canary Wharf, London, E14
5HU www.marketforce.co.uk Tel: 0203 787 9001
© Tim Flach

Digital Photographer (ISSN 1477-6650) is published monthly with an extra issue in March by
Future Publishing, Quay House, The Ambury, Bath, BA1 1UA, UK

The US annual subscription price is $175.37 Airfreight and mailing in the USA by agent named
World Container Inc., c/o BBT 150-15 183rd St, Jamaica, NY 11413, USA
Application to Mail at Periodicals Postage Prices is Pending at Brooklyn NY 11256.

POSTMASTER: Send address changes to Digital Photographer, World Container Inc., c/o BBT

Our contributors 150-15 183rd St, Jamaica, NY 11413, USA

Subscription records are maintained at Future Publishing, c/o Air Business Subscriptions,
Rockwood House, Perrymount Road, Haywards Heath, West Sussex, RH16 3DH. UK

PETER GRAEME ADAM BIRD All contents © 2022 Future Publishing Limited or published under licence. All rights reserved.

FENECH GREEN Having already No part of this magazine may be used, stored, transmitted or reproduced in any way without
the prior written permission of the publisher. Future Publishing Limited (company number
Our Technique The animals made big waves 2008885) is registered in England and Wales. Registered office: Quay House, The Ambury,
Bath BA1 1UA. All information contained in this publication is for information only and is, as far
Editor, Peter, we share the in the world of as we are aware, correct at the time of going to press. Future cannot accept any responsibility
helps you to get planet with offer commercial for errors or inaccuracies in such information. You are advised to contact manufacturers and
the most from wildly creative photography, retailers directly with regard to the price of products/services referred to in this publication.
Apps and websites mentioned in this publication are not under our control. We are not
your camera possibilities for shooting for the responsible for their contents or any other changes or updates to them. This magazine is fully
sensor this issue, independent and not affiliated in any way with the companies mentioned herein.
photographers. likes of Disney
debunking the technical jargon In our pro guide to modern wildlife and Adobe, we wanted to find If you submit material to us, you warrant that you own the material and/or have the necessary
rights/permissions to supply the material and you automatically grant Future and its licensees
that often goes with photography. photography, starting on p36, out more about Adam’s fantasy a licence to publish your submission in whole or in part in any/all issues and/or editions of
Whether it’s improving dynamic Graeme shares some technical portraits and self-portraits. In our publications, in any format published worldwide and on associated websites, social media
channels and associated products. Any material you submit is sent at your own risk and,
range or calibrating autofocus, turn to tips and insights, from finding the Q&A interview from p74, discover although every care is taken, neither Future nor its employees, agents, subcontractors or
p22 to find out if you’re squeezing all right gear to using your images in a his kit, key techniques and the licensees shall be liable for loss or damage. We assume all unsolicited material is for publication
unless otherwise stated, and reserve the right to edit, amend, adapt all submissions.
the quality you can from your sensor. conservation story. inspiration behind his imagery.
Subscription delays
Website: Website: Website: Disruption remains within UK and International delivery networks. Please allow up to seven
www.digitalcameraworld.com www.graeme-green.com www.adambirdphotography.com days before contacting us about a late delivery to help@magazinesdirect.com

CLAIRE TIM FLACH MATTHEW

GILLO Not just a wildlife RICHARDS
Our regular photographer, For wildlife
Claire has been Tim is increasingly photography,
shooting infrared researching how a superzoom
landscapes with to use his images lens keeps
photographer of animals to your options
David Clapp this promote positive open. Gear
issue (p14) and brings you pro advice action for mother nature. How can we expert Matthew has the latest and
from behind the scenes. She’s also shoot in a way to evoke empathy and greatest of the breed, comparing
Future plc is a public Chief executive Zillah Byng-Thorne
answering more important career- create change? On p46, find out what optics from Canon, Nikon and company quoted on the Non-executive chairman Richard Huntingford
related questions on p72, including advice Tim has for emerging artists Tamron. Turn to p96 to find out London Stock Exchange Chief financial officer Penny Ladkin-Brand
(symbol: FUTR)
how to work with other professionals who want to make a difference, and which lens will take your travel and www.futureplc.com Tel +44 (0)1225 442 244

to grow and build connections. see his wild portraits with personality. wildlife photography the furthest.
Website: Website: Website: We are committed to only using magazine
paper which is derived from responsibly
www.clairegillo.com www.timflach.com www.digitalcameraworld.com managed, certified forestry and chlorine-free
manufacture. The paper in this magazine was
sourced and produced from sustainable
managed forests, conforming to strict
4 environmental and socioeconomic standards.

0e479381-0069-45af-b2a9-c0a37e1e14de The manufacturing paper mill and printer hold

full FSC and PEFC certification and accreditation.
0e479381-0069-45af-b2a9-c0a37e1e14de
Contents
Regulars
10 News
Keep up to date with the latest industry
announcements and exciting releases

74 Interview
Fantasy lover and social media sensation Adam
Bird shares the techniques behind his portraits
inspired by Disney and the Harry Potter films

82 The gallery
The first ever WildArt Photographer of
the Year showcases its stunning winners

88 Photocrowd
We reveal the results of our latest photography
competition, in association with Photocrowd

90 GuruShots
We joined up with online photography game
GuruShots for the Beautiful Nights challenge

Practical skills
22 Get more from your sensor
22
Get more
© Kyle Loftus

The sensor is your digital camera’s main from your

component. We’ll show you how to extract sensor
more detail, colour and overall quality from it

36 Modern wildlife photography

Find out how to take impactful images, from
wide-angles to close-ups, as well as how to
use your work to tell a story and evoke change
52
Creative
project
52 Creative project
Create a double exposure with flower power
– just in time for Spring! The effect is easy to
create using two frames and editing software
© Lauren Scott

58 Stunning silhouettes
Meter from the highlights and learn to use
strong backlighting to shoot graphic images
which make the most of colour and form

Editing skills
60 Photoshop tutorial
Mimic the look of Lensbaby lenses and apply
blur to highlight the focal point of your image
62 36
© James Abbott

Pro guide to
62 Lightroom tutorial
© Tim Flach

Enhance modern wildlife

Learn how to enhance skies for maximum skies photography
mood using masking tools and controls

6
0e479381-0069-45af-b2a9-c0a37e1e14de
SUBSCRIBE TODAY
TO GET A FREE CAMERA BAG WORTH £53
TURN TO PAGE 50 TO FIND OUT HOW!

Pro advice
14 Shoot like a pro
Claire Gillo joins landscape photographer

74 and Canon pro David Clapp in the wilds of the

© Adam Bird
UK’s Dartmoor National Park. Together, they
Interview explore the joys of infrared photography

64 Print & share

Looking for an eco-friendly website host? Here
are five brilliant carbon offsetting options to
consider when setting up or moving a website

114 66 Career feature

© Verity Milligan
There are many ways that you can be more
sustainable as a pro photographer, and none of
Pro column
them need to damage your profits or practice

72 Career advice
Know your lens covers from your cases? Find
the answers to more of your questions on

66
getting the most from your photo business

114 Pro column

Career Do you appreciate the beauty nearer to
feature home? Verity Milligan shares her love of local
landscapes – even after lockdown has ended

New kit & reviews

14 82
96 Wildlife superzooms
© Csaba Daroczi
© David Clapp

For wildlife photography, a long lens keeps

Infrared your options open and your wild animals
photography Gallery frame-filling. We test four of the latest and
greatest optics, from Canon, Nikon and Tamron

Group test:
96 Wildlife
superzooms
104 Panasonic GH6
The long-awaited Panasonic LUMIX GH6
is finally here. Its video specifications are
staggering, but how does it perform for stills?

108 Tenba Fulton v2 16L bag

Tenba’s popular backpack collection welcomes
a larger capacity, plus all day protection for
shooting in rough weather. We try it on for size

110 Lenses
We take two professional optics out into the
field. This month, it’s the Panasonic LUMIX S
16-35mm f/4 and NIKKOR Z 100-400mm

112 Accessories
It’s the little things that can enhance your
photography. We’ve rounded up ten of the best
photo gadgets and gifts to add to your kitbag

7
0e479381-0069-45af-b2a9-c0a37e1e14de
 Gifts & giveaways Free e-book to download
Posing for portraits
This month, hone your essential camera skills with our free
e-book The Art of Posing for Portraits. Successful poses are
vital for great portraits – as well as placing the subject within
the frame for compositional purposes, the photographer must
direct the subject to achieve the best possible results. In our
free e-book, you will discover techniques for posing female
subjects, male models and group shots, plus learn the best
ways to incorporate the surroundings and use props in your
shots. This e-book will enable you to create incredible images
and take your portrait photography to a more professional level.

To claim your free e-book, head to

https://bit.ly/DP252

Enter our Photocrowd

contests online to win
Affinity prizes
Every month, we team up with Photocrowd – the
world’s leading photography competition platform
– to give you the chance to win a licence to Affinity
Photo editing software (worth £49 for Mac or
Windows), plus your images printed in Digital
Photographer. Affinity Photo is a toolset engineered
for modern photography professionals. Whether
you’re editing and retouching images or creating
full-blown multi-layered compositions, it has all the
power and performance you’ll ever need. To win,
head to Photocrowd and discover our latest contest.
It’s easy, free and fun – we love seeing your entries!
Visit: www.photocrowd.com/digitalphotographer

Review test shots

We think test shots
are important when it
YOUR
comes to reviewing and
comparing the latest
FREE ASSETS
camera kit, but we are available to download
know it’s hard to tell the on pages where you
difference between test see this icon
images when they’re
printed as small versions
in the magazine. You can
DOWNLOAD THE
open, view and compare TEST SHOTS
test shots from our kit reviews anywhere you https://bit.ly/DP-252
see the download icon, pictured on the right.

8
0e479381-0069-45af-b2a9-c0a37e1e14de
 BIG SAVINGS ON OUR BEST-SELLING MAGAZINES

SAVE SAVE SAVE SAVE

90% 89% 88% 91%

SAVE SAVE SAVE SAVE

92% 90% 90% 77%

See the entire range online at

/spring2
www.magazinesdirect.com/spring22
or phone 0330 333 1113 and quote code SP22

*Offer closes 31st April 2022. Offer open to new subscribers only. After your trial issues, your subscription will continue at the price shown at the point of purchase. Saving is based on full subscription rate. We will notify you in advance of any price changes. Please
allow up to six weeks for delivery of your first subscription issue (up to eight weeks overseas). If the magazine ordered changes frequency per annum, we will honour the number of issues paid for, not the term of the subscription. Payment is non-refundable after

0e479381-0069-45af-b2a9-c0a37e1e14de
the 14 day cancellation period unless exceptional circumstances apply. Selected magazines are available on this introductory offer and exclusions apply. For full terms and conditions, visit www.magazinesdirect.com/terms. For enquiries please call: +44 (0) 330
333 1113. Lines are open Monday-Friday 9am-5pm UK Time (excluding Bank Holidays) or e-mail: help@magazinesdirect.com. Calls to 0330 numbers will be charged at no more than a national landline call, and may be included in your phone provider’s call bundle.
 IN FOCUS

DJI LAUNCHES NEW

MATRICE DRONE FAMILY
© dji

DJI Matrice 30 and DJI M30T enterprise drones deliver portable power
At the recent DJI Enterprise live event, the company
announced the launch of its new drone family for the
enterprise sector, the DJI Matrice M30. The Matrice series
comes in two versions, the M30 and the M30T. The M30 model
integrates a 48MP, 1/2-inch, CMOS sensor zoom camera with 5×~16×
optical and 200× digital zoom, a 12MP wide-angle camera with 8K
photo/4K 30fps video resolution and a laser rangefinder that can
give the precise coordinates of objects up to 1200m away. The M30T
features an additional 640x512px radiometric thermal camera.
The new DJI RC Plus remote controller, which features a 7-inch
high-definition screen, enables pilots to see more visual information.
As the DJI RC Plus is IP54 certified, similar to the M30 drone, it can be
used in heavy rain. DJI also launched the DJI Dock – an autonomous
takeoff, landing and charging station that allows for fully automatic,
programmed flights with the DJI M30 Series (Dock Version). It widens
the horizon for automated missions that can be monitored and
supervised remotely. After setup, the M30 drone can take off through
FlightHub 2 missions anywhere within a 7km radius. www.dji.com/uk

Macro contest launched for fourth year

Close-up Photographer of the Year is open for entries until 12 June
The search is on to find the fourth Close-up Photographer of
the Year (CUPOTY). The competition, which is dedicated to
close-up, macro and microphotography, is now open for entries,
with photographers having until 12 June to enter.
CUPOTY is open to everyone, using any type of camera, smartphone
or light microscope. There are 11 categories to choose from, with a new
Invertebrate Portrait category for 2022. The total prize fund has been
boosted to £5,500 this year, with the overall winner receiving £2,500 in
cash and each category winner taking home £250.
The judging panel for CUPOTY 04 includes award-winning
© Petr Bambousek

photographers, magazine journalists, conservationists and authors.

Judging will take place in July, with the results announced in September.
Last year’s competition attracted more than 9,300 entries, from 56
countries. To enter and see last year’s winners, visit www.cupoty.com

10
0e479381-0069-45af-b2a9-c0a37e1e14de
 The future of photography predicted by experts
In a new video released by Canon Europe, pro creators express
their views on how visual storytelling will evolve over the next decade
What does the future hold for
visual storytelling in a more
technological and politically
charged world? For World Storytelling Day
last month, Canon creators shared their
predictions for the trends that we’ll see
over the next generation in an online video.
The experts, including pro photographers
and videographers from around the world,
predicted that AI and AR technology will
be central to the emergence of ‘viewer-led
storytelling’, with audiences demanding
greater control over content viewpoints.

© Tasneem Alsultan
The democratisation of storytelling is
another area of interest for the future, with
the proliferation of social media giving
regional stories increased relevance and
significance on a global scale.
In an increasingly digitised world, the digital fatigue. We can now access news The Canon EMEA Ambassador
Canon ambassadors also predicted that stories from all over the world at our Programme brings together some of
print media will continue to have a role to fingertips, and this technology allows us the world’s best photographers and
play in support of the visual storytelling to tell stories in a more compelling and videographers from across EMEA to share
experience, due to the emotional immersive way, creating new opportunities stories that resonate. Watch the video at:
connection it brings and the danger of for both creators and consumers. https://youtu.be/dFA2vVKQef8

F1 fans get
more action More snippets of photography
© The Presidential Press and Information Office’s of Azerbaijan CC BY 4.0

news from around the world

Fresh camera angles NFTS COMING TO INSTAGRAM
Mark Zuckerberg confirmed at the South
and new camera by Southwest (SXSW) convergence that
NFTs will be coming to Instagram but
tech for Formula 1 gave no indication of when that might
be. There are still lots of technicalities to
iron out, but it would seem that you will
be able to buy, sell and mint NFTs on the
As the 2022 Formula 1 season,
platform. Zuckerberg also explained that
gets under way, the television people would be able to use Instagram as
coverage of the sport is set a platform to show NFTs they already own.
to receive a technological makeover to
reflect the significant changes being
made to this year’s F1 cars and race rules. CAMERA SALES BAN IN RUSSIA
Ricoh has now joined Fujifilm, Peak
The first improvement to enhance the Design, Panasonic and Sony in
small-screen spectator experience this suspending sales in Russia, following the
year is the helmet camera. You can also unethical invasion of Ukraine. Apple was
expect a fresh onboard viewpoint, with the camera mounted low down on the car’s front wing to give a one of the first major corporations to stop
the sale of its products and services, and
greater sense of speed. Two new roaming cameras will help record footage from unexpected locations
since then many companies, including
during a race, such as if a driver was to have an accident, and there will also be more cameras located Canon and Adobe have followed,
on the pit wall, with the aim of covering every team in the pit lane. Though the sport has long made use withdrawing products from the country.
of helicopter-mounted cameras for overhead shots, drone camera usage has historically been limited Fujifilm and Sony also announced
because of safety concerns about drones potentially crashing down onto the circuit. that they would donate $2 million to
humanitarian efforts, while Peak Design
The 2022 F1 season will see drone camera footage used more extensively, having been approved by will supply free access to equipment for
F1’s director of broadcast and media, Dean Locke. Following successful trials in 2021, F1 will be now be photojournalists in need of it.
broadcast in HDR for the whole season on compatible channels and devices. www.formula1.com

11
0e479381-0069-45af-b2a9-c0a37e1e14de
IN FOCUS

UK school children capture

CLIMATE CONCERNS
The Canon Young People Programme and Ideas Foundation supports a
series of creative photography workshops led by ambassador Clive Booth
Last month, an exhibition of
photographic work highlighting
young people’s concerns about
climate change was held under the guidance
of the Canon Young People Programme
(YPP). The images were created by pupils
of Queen Elizabeth’s Grammar School in
Ashbourne, Derbyshire, under the guidance
of former pupil, Canon Ambassador and pro
photographer, Clive Booth.
The exhibition featured seven pieces of
artwork created by Year 12 pupils at the
school and is the result of a series of Canon
YPP photography and digital storytelling
workshops. These workshops aim to provide
young people with the knowledge, skills and
confidence to tackle the sustainability issues
that matter to them, using creative mediums
as well as critical thinking.
Based on the United Nations’ Sustainable
Development Goals, pupils were tasked with
using visual storytelling, language, and design
to create a poster and video that would bring
to life their concerns for the future of the
planet and their local environment.
As they created their masterpieces, the
young people were mentored by Booth, who
recently appeared as guest editor of Digital
Photographer for our 250th issue, and other
Canon experts. The children were provided
with inspiration and education through
training on how to use Adobe Spark, how to
shoot photographs and videos and how to
use lighting and props to bring their stories
to life. The workshops were also supported by
education charity the Ideas Foundation.
“This activity has created some incredible
results, and I’m proud that the school has
had the opportunity to showcase these
images to the wider public,” said Booth. “It’s
clear that the pupils were able to use these
creative workshops as a platform to express
their anxieties about climate change and the
overwhelming concerns they have over the
very future of the planet.”
Canon’s Young People Programme helps
young people from across Europe, the Middle
East and Africa with creative education by
delivering workshops, inspiration, education
and empowerment. Since its inception, it has
worked with over 5,000 young people and
over 50 charity partners.
In the UK, the Canon YPP has been running
in partnership with the Ideas Foundation for
over six years. To find out more about the
programme, visit: www.canon.co.uk/canon-
stories/inspiring-a-world-of-change

Left
Mute the pollute
This work by Ed
and Dominique
was inspired by the
amount of noise
created by lorries
in their local area

Right
Climate anxiety
In a haunting piece,
creators Holly, Lottie,
Maisy and Lydia
wanted to depict
someone trying to
escape from single-
use plastics

Opposite
Make it last
Fast fashion is a big
problem in the world
today, as recognised
by Eve and Robyn in
their image here

12
0e479381-0069-45af-b2a9-c0a37e1e14de
 NEWS

13
0e479381-0069-45af-b2a9-c0a37e1e14de
 LIKE A PR
T
SHOO

Capturing the
INVISIBLE
LIGHT
© David Clapp

Claire Gillo joins David Clapp for the day to learn how to shoot
infrared landscapes on the cold and wild landscape of Dartmoor
14
0e479381-0069-45af-b2a9-c0a37e1e14de
 INVISIBLE LIGHT

David Clapp
Landscape photographer
David Clapp has shot some
of the most iconic locations
around the world, exploring
all kinds of environments,
natural and urban.
Based in the South West
of England, David runs
photography workshops
both in the UK and abroad. For more information
about his photography courses, visit his website.

To see more of David’s work:

www.davidclapp.co.uk

It’s the beginning of “Past 700nm, the light becomes

March and I’ve arranged
to meet landscape
photographer David Clapp at
his house, before heading up to
Dartmoor together. We live in the
same neck of the woods, so the
logistics of the day are relatively
easy to arrange, for once. After
I arrive, we have a cup of tea,
discuss the plan, then pile our
gear and warm clothes into my
car and head towards Haytor, a
small village on the outskirts of
the Dartmoor National Park.
“I’ve forgotten my walking boots,”
says David as we arrive
at the first location, Emsworthy.
I only have trainers on too, which
on reflection, is probably not the
best idea for a photoshoot on
Dartmoor in the middle of winter.
Today, David is shooting
infrared landscapes while
teaching me about them at the
same time. David has in his hand
his converted full spectrum
Canon EOS R5 and he has lent
me his old converted Canon EOS
6D (not a full spectrum camera
but a converted B&W 665nm)
so I can have a go at IR too. I’m
thoroughly excited about it.
When it comes to infrared
photography, David has been
shooting in the medium, in
one form or another, for the
past 12 years and is extremely
enthusiastic about it.
Before we start shooting
seriously, though, David runs
through a brief explanation of
his full spectrum camera and
© David Clapp
infrared and before 400nm, it’s
ultraviolet. People think there
is a big cut-off at these points,
however, that’s not true – it fades
from ultraviolet to visible light and,
at the other end, from red into IR
light,” David says. “My camera is a
full spectrum converted camera,
so it can capture ultraviolet,
infrared and visible light.”
David purchased his camera
and kit from Kolari Vision, a US-
based company that specialises
in IR gear. He also has an EF to
EOS R lens converter with a
built-in filter slot, meaning that to
convert his camera to infrared, he
simply slots in whatever IR filter
he wants from his collection and
he’s away. It’s simple and easy to
use, with no fuss at all.
In the past, I’ve used a screw-
on IR filter on a non-converted
camera, which comes with
all types of issues from long
exposure settings to focusing
problems. As soon as I start using
David’s old Canon EOS 6D, It’s
clear how much easier is to shoot
IR with a converted camera. You
don’t have to worry about using
a long exposure setting and you
can easily focus on your subject
using the AF setting. In fact, all
day neither of us used a tripod
and had the freedom to compose
our scenes by hand.
David’s mirrorless camera has
the added advantage that he can
preview the scene through his
LCD screen or viewfinder so he
can instantly see how the IR effect

what IR light is. “The visible light is working.

spectrum runs from around It’s a short walk to Emsworthy
400nm to 700nm,” he explains. Barn from the small car park at

15
0e479381-0069-45af-b2a9-c0a37e1e14de
 LIKE A PR
T
SHOO
© Claire Gillo
the top of the hill. There is so
Why green works much character and so many
textures around this iconic
In infrared photography, green shows up as white location that it is difficult not to
– and that can produce some spectacular results find an interesting composition to
shoot, wherever you look.
Green and infrared go together like peas in a pod. The infrared David stands looking towards
light turns the green to white, which in turn makes the scene the barn in one of his favourite
look as if it were covered in snow. This works for both black spots and frames up the door
and white and some colour infrared effects. This shot from to sit between the rocks in the
David’s collection was taken at the same location as one of the foreground. We then wait for the
shots we took at Emsworthy Barn but in the summer. light to break through. “Although
David says that when the camera meters the scene, it reads you can shoot on a grey day like
the green hues as grey. Therefore in a heavy green scene today, it really helps when there is
to get a correct exposure you want to boost your exposure a bit of side light to illuminate the
compensation up by a stop or two. Make sure you check the scene,” he says.
individual channels on your histogram as well as the standard I get my converted camera
graph to ensure nothing has overexposed. out and try framing up a few
compositions, although wherever
I stand, David tells me I’m in the
wrong spot. It turns out he’s right
though. David is an expert on
Dartmoor and has worked hard
over the years to find all the best
compositions, so I take his advice.
David tells me if he doesn’t
compose his images properly
he can’t sleep at night. On the
contrary, I sleep fine and am
happy to tweak my compositions
at the editing stage, if needed.
© David Clapp
When it comes to camera
settings, David shoots for the
most part either in the Aperture
priority mode or in Manual. He
likes to start with his ISO at
16
0e479381-0069-45af-b2a9-c0a37e1e14de
ISO 1/100
f/8
100 sec
EMSWORTHY ROCKS
400 and his f-stop at f/8. “The
reason I start at f/8 is that, in IR
photography, the corners of the
image suffer from a technical
flaw called field curvature,” he
says. This is when the corners of
the image soften, but David finds
shooting at f/8 or narrower helps
to eliminate this issue.
When we finish at the barn, we
head towards our next location,
which is just a short hike up a
hill. We’re heading for an iconic
tree and rock formerly known
as Saddle Tor, however, it has
now been changed to the more
appropriately-named Emsworthy
Rocks. David points across the
valley to the rocks that form the
actual Saddle Tor. “Unsurprisingly,
it was confusing people,” he says.
David has photographed this
location many times and yet
never gets bored by its beauty.
“It’s classic Dartmoor,” he says. “A
rock and a tree, what more could
you want?” We study the tree
that’s blowing around in the wind
up close, trying to guess how old
it is. David tells me that one of its
branches recently came off in a
storm. I hope the tree has a few
more years left in it, as it would
be a shame to lose this shot.
At this location, David shoots a
few frames and, once more, we
 INVISIBLE LIGHT

ISO 1/50
f/16
200 sec

EMSWORTHY BARN

ISO 1/100
f/11
400 sec
x3 © David Clapp

NUN’S CROSS FARM

17
0e479381-0069-45af-b2a9-c0a37e1e14de
 KE A PR
HOOT LI
S
are lucky with a small break in the
clouds that adds an extra zing to
his black and white shots. As with
the previous location, David uses
his 665nm filter for this image,
which enables a little visible light
through, mixed with infrared. The
6
5 results are inspiring.
It is about midday when we
head back to the car and decide
to try one more location before
stopping for lunch. David has
6 photographed a small cottage
in Ponsworthy before and we
both hope it will make a great
shot again… but, as we pull up in
4 the car, we notice a skip and van
parked outside. We decide to try
above, however, there is a bank
of beautiful daffodils that nicely
frame the foreground of David’s
shot. This time, David opts to
shoot in colour IR so he gets out
his Aerochrome filter. The result
is surreal. The daffodils remain
yellow but the grass in the scene
turns an autumnal orange.
With both of our stomachs now
rumbling, we realise we need to
get some food. Our original plan
to stop at Widecombe in the
Moor has to be abandoned due
to nowhere being open, so we
head to the village of Princeton
– the location of the infamous
Dartmoor Prison – to grab a

x3 © Tommy Reynolds
1 the church at Buckland in the sandwich. When we finally find
Moor instead, which is another somewhere that is serving food
2 short drive away. (the catering options in Dartmoor
When we arrive at the church, in mid-winter are pretty limited),
the grey clouds are looming we sit down to eat and discuss IR

7 3
Infrared’s challenges
Infrared photography has some unique challenges,
here are some tips to help you overcome them
Hotspots A hotspot is an unwanted lens flaw that some
lenses are susceptible to. David has worked out which lenses
© Claire Gillo

in his collection are better for his infrared photography and

which ones to avoid. His go-to lens for IR shoots is the Canon
EF 24-70mm f/4L IS USM.

What subject? There are no limitations when it comes

David’s infrared kit to the subject matter for IR photography. Any location
works, from the natural environment to the cityscape,

1 Canon EOS R5 David’s

converted full spectrum
mirrorless R5 is agile and light
David often goes to his trusty
100-400mm when needed.
and you can also shoot IR any time of year.

You want some side light Although IR can be shot in any

and can be used as both an IR
camera and normal camera,
giving David lots of flexibility
5 Canon EF 16-35mm
f/4 L IS lens
Having a wide-angle lens
weather, it really helps the scene if there is a bit of directional
light to play around with.

on his photoshoots. option is great for those Mix up the aspect ratio David likes to experiment with
landscape vistas. the different aspect ratios in his camera from 16:9, 5:4 to 1:1.

2 EF to EOS R lens
converter With this
adapter, the IR filters slot
6 Filters In his collection,
David has an Aerochrome
“Mix it up a bit and break away from the 2:3,” he says.

See light in a different light David says that to become

between the camera and lens. filter (colour), a 665nm, good at IR photography, you need to see in the medium.
David likes EF lenses and can 590nm, and a clip filter to “The only way to do this is to keep practising and shooting.”
use them with this setup. switch the camera back to a
normal shooting mode, plus a

3 Canon EF 24-70mm
f/4L IS USM and Canon
EF 24-70mm f/2.8L IS USM.
Breakthrough magnetic snap-
on polariser filter.

David uses both, but the f/4 is

less susceptible to hot spots. 7
Tripod Although David did
not use his tripod on our
photoshoot, he always has

4 Canon EF 100- the Gitzo 4543 XL to hand.

© Claire Gillo

400mm f/4L IS lens. He describes it as “sturdy

A long zoom lens is great for and a dream to use, even
landscape photographyBLOB?
and CHECK OUTweather.”
in the wildest TOMMY’S KIT
AT WWW.AMAZON.CO.UK/SHOP/
18 TOMMYREYNOLDS
0e479381-0069-45af-b2a9-c0a37e1e14de
 INVISIBLE LIGHT

© Claire Gillo
ON LOCATION

ISO 1/125
f/16
400 sec

BUCKLAND IN THE MOOR

© David Clapp

19
0e479381-0069-45af-b2a9-c0a37e1e14de
 KE A PR
HOOT LI
S
black and white photography
can’t do. “I love how the foliage on
the rocks just pings out,” he says.
During lunch, we remember
another iconic Dartmoor location,
Nun’s Cross Farm is not too
far away and so choose that as
our final location of the day. As
we get out of the car, the wind
is howling and bitterly cold. We
take a few minutes to ensure
we are wrapped up warm before
plunging into the beyond.
As we approach the farm, we
notice a sign has been put up on
the gate. ‘Danger, Unmarked Mine
Shafts’ it reads. This time though
we can still get the shot. “The
clone tool is going to have a job to
do when I get home,” says David.

photography further. I ask David
what subjects are good to shoot.
“For me, there are no limitations,”
he says. “There are the obvious
things, such as grass which turns
to white, however, you don’t need
grass in your shot to make it work.
I also love the IR effect in the
city,” he adds. David then shows
me some surreal images he shot
using his colour Aerochrome
filter in London (they look more
© Claire Gillo
like they were taken in the USA
in the 1960s) and also some
monochrome shots he took on
the Cornwall coast. The effect is
more subtle here, yet the IR adds
a layer of depth that standard
He composes a classic black and
white landscape of the front of
the house, then heads up to the
back of the scene to include the
iconic stone cross, house and tree
in his final shot.
With the light now giving up on
us, we decide to call it a day and
head back home to defrost from
the shoot with another cup of tea.

David’s top tips

for shooting
infrared scenes
Armed with converted camera
1 Pick a filter David first decides what
type of IR filter he wants to use. On the
grey day we had, he mostly opted for his
2 Filter in David then slots the filter into
his EF to EOS R adapter so that the
filter sits between the lens and the sensor,
equipment and filters, David 665nm filter, which allows some of the rather than being on the front of his lens,
offers his top tips for shooting IR visible light spectrum to go through too. which is how most filters work.
x5 © David Clapp

3 Shooting mode For this assignment,

David chose the Aperture priority
mode. He starts with his camera settings
at f/8 and ISO 400 and adjusts them
from there, depending on the conditions.
4 Make it monochrome For the
majority of the day, David was
shooting in black and white. So he
opted to put his Canon EOS R5 into the
Monochrome picture style setting.
5 Check the histogram In Infrared
photography, the red is susceptible
to peaking, so it is important to review
each shot. While shooting, David regularly
checks the individual histogram’s channels.

20
0e479381-0069-45af-b2a9-c0a37e1e14de
 INVISIBLE LIGHT

NUN’S CROSS FARM

ISO 1/100
f/16
800 sec

© David Clapp

21
0e479381-0069-45af-b2a9-c0a37e1e14de
TECHNIQUES

GET MORE FROM YOUR

SENSOR Learn to extract more detail, colour and overall quality

from your digital camera’s main component

M
odern digital cameras are
marvels of imaging technology.
Over the past 20 years, there
has been a revolution in
what sensors are capable of
recording, both in terms of
light gathering capacity and detail capture. At
one time, seemingly not too long ago, 6MP was
considered high-resolution, whereas the latest
crop of full-frame mirrorless cameras can pack
on 60MP with ease. Just as happened with the
introduction of high-definition video, however,
there are some added difficulties when working
with such potential for detail recording.
When HD video became the standard, many
television networks found the rendition of detail
was so great that every flaw in the lenses used,
and indeed in the human subjects, could be
easily spotted by the untrained eye. The same is
true when shooting with ultra-high pixel counts
for still images – the user must be conscious
of their camera work to prevent unpredictably
conspicuous imperfections.
Not only can high-quality sensors make it
difficult to hide less than perfect technique or
lens use, but if you have invested heavily in a
high-end model, it is inefficient for your business
if you aren’t getting the maximum resolution
benefit. Over the next few pages, we’ll look at
some key techniques for getting as much out of
your sensor’s potential as possible. These range
from improving the standard of your own camera
work to calibrating your system so all items
function optimally together.

Pictured
Complex system
Sensor technology can appear to be
steeped in mystery. Simple mistakes in
camera work and processing technique can
undermine the potential of your images
© Peter Fenech

22
0e479381-0069-45af-b2a9-c0a37e1e14de
 23
0e479381-0069-45af-b2a9-c0a37e1e14de
TECHNIQUES

Calibrate AF
Improves: Detail
Make your focus as
accurate as possible
As accurate as autofocus is, over time there
are shifts in the optimal focus position of a PIXELS
lens’s optics. This can mean, when using vs DETAIL
AF, the focus position is not perfectly Higher resolution usually
placed at the desired subject distance. means greater detail, but if
Using in-camera lens micro adjustment sharpness is jeopardised then
(or AF fine-tune) you can improve visible detail will drop, regardless
sharpness to get the most detailed of how many pixels the sensor
has. Good camera work and
resolution possible. This can be done in
quality optics are needed
your camera’s custom function options.
to see the benefits of
Use a drawn horizontal line as an AF more pixels.
target and two perpendicular rulers as
a scale. Shoot an image and then select an
adjustment amount in the menu, reshoot
and assess. Note that this is unnecessary for
mirrorless cameras, as AF functions use the
imaging sensor, so use for DSLRs.
© Alexandr Ivanov

Right
Narrow focus
When fine focus is required, it is important that
your AF is not going to front or back focus. At short
working distances, this can make or break a shot

Choose correct
© Artmor Productions

IS modes
Improves: Detail
KEEP
Stabilisation features can improve IT COOL
and jeopardise image resolution As the sensor and camera
components heat up they
introduce more noise. Where
Resolution is defined as the ability to possible, let your camera cool
determine discrete points as separate in an down, especially in the summer.
image. Image stabilisation systems are meant Store the body out of direct
to help improve sharpness, but if left active sun and, if you have multiple
when shooting from a tripod it can introduce cameras, try swapping units
vibrations, which degrade resolution. to allow cooling time for
When using camera support, either improved quality.
switch to tripod mode if your lens has this, Right
or turn off IS altogether. Remember to check IS modes
that your camera’s in-body image stabilisation Selecting the image stabilisation
mode to either the correct mode for
(IBIS) is also switched off, as some camera a support-mounted rig or to the Off
systems combine lens-based and body- position avoids the introduction of
integrated functions. unexpected blur

24
0e479381-0069-45af-b2a9-c0a37e1e14de
 GET MORE FROM YOUR SENSOR

Understand electronic shutters

Improves: Distortion
Beware some of the drawbacks of non-mechanical image making

© Daniel 2
Electronic shutters are an exciting prospect.
The rumours of a customisable Nikon Z 9
shutter sound aside, the removal of a physical
moving part allows much higher effective
shutter speeds and silent shooting options.
However, this technology is less suitable for
fast laterally-moving subjects, as the read-out
process can introduce distortion – a skewing
of vertical lines mostly. Check your camera
manual to see at which shutter setting the
electronic mode takes over and beware of
compositions incorporating many vertical
components above this speed.
The benefits outweigh the costs, but it helps
to know when your camera is switching from
mechanical shutter, so you don’t get surprise
distortions that are difficult to correct.

Right
Shutter mode
Until global electronic shutters become a
reality, rolling shutters can result in skew
distortion of subjects moving past the camera
or in the background of panning shots

25
0e479381-0069-45af-b2a9-c0a37e1e14de
TECHNIQUES

© Jaime Reimer

ETTR the right way

Improves: Signal-to-noise ratio/Colour
Push your exposure further for even better results
Exposing ‘to the right’ is an established set the exposure can be misleading. able to take the exposure further right, as we
digital technique. It ensures the minimum Although the data may be touching the right rarely aim to hold detail in these areas.
noise possible and captures better colour wall of the graph, this may just be where light Try activating highlight alerts for a visual
information, due to the way sensors gather sources appear in the image. If shooting a representation of where clipping is occurring.
image data, and makes fuller use of the gamut. scene with street lights, bright window lights If landscape details are still in-range, push the
However, using the histogram to judge how to or with the sun in the frame, you might be histogram further, for even better RAW files.

26
0e479381-0069-45af-b2a9-c0a37e1e14de

1 Activate highlight alerts Some cameras
don’t have highlight alerts active by default,
so to turn them on, go into your model’s
menu system and look for the playback and
review tools. Toggle these to on, or enable,
and when reviewing an image, the clipped
areas will flash in black or a coloured overlay.
0e479381-0069-45af-b2a9-c0a37e1e14de
2 Observe the histogram Select the
histogram to show RGB channels, to
ensure you aren’t losing detail in any of the
channels. Watching the graph, increase the
exposure until the graph starts to touch the
right side of the chart. This indicates some
areas of the image are overexposed.
GET MORE FROM YOUR SENSOR
3 Reference and re-assess Shoot an
image and review it to visualise exactly
where there is detail loss. If this is simply a
powerful light source or expectedly bright
region, try pushing the exposure further to
the right until the alerts spill onto more
desirable areas of detail.
27
TECHNIQUES

Avoid single coloured light

Improves: Signal-to-noise ratio
Ever wondered why blue light shows more noise?
Digital sensors are covered by an array of
coloured filters (a Bayer Filter) to allow your
camera to ‘see’ in colour. To better represent
human vision, there are twice as many green
filters as blue and red, which can cause issues
when shooting under stage lighting or vast
blue skies. Under red or blue light, you’ll only
be able to gather around 25 percent of the
total signal available under mixed lighting.
Added to the natural insensitivity of many
sensors to blue wavelengths and noise is more
prominent in the blue channel. If possible,
for event photography, favour shots with
mixed coloured lighting or avoid excessively
brightening single coloured-light shots in
software. The same goes for clear blue skies.
That’s not something we can greatly control,

© Kyle Loftus
but it is useful to be aware of this quirk of
digital technology, in order to get the best
possible results.

Below
Mix it up
Timing your shots so that your subjects are
illuminated by mixed lighting or avoiding
great exposure changes to single colour
images helps reduce noise presence
© Antoni Shkraba

28
0e479381-0069-45af-b2a9-c0a37e1e14de

Image circle
Improves: Edge detail
Get better edge-to-edge sharpness by using the ‘wrong’ lens
© Peter Fenech
THE
WIDER THAN
YOU NEED RULE
For maximum future-proofing
of your gear, consider investing
in kit that goes beyond commonly
required characteristics. If you regularly
shoot at f/4, buying an f/2.8 lens means
you never have to shoot at the weaker
maximum aperture. Similarly, shooting
at a wider focal length than
necessary allows cropping of
the softer frame edges.
0e479381-0069-45af-b2a9-c0a37e1e14de
GET MORE FROM YOUR SENSOR
Lenses designed for APS-C or Micro 4/3
sensors have smaller image circles, allowing a
reduced size and weight. If these advantages
are not important to you, pairing a full-frame
lens with a smaller sensor improves the
apparent corner and edge performance. Since
the larger image circle of these optics is much
larger than the sensor area, you effectively
only see the centre of the total image frame –
the edges are excluded. Since the peripheral
areas are the weakest, even for professional
glass, cutting these out will give you lower
distortion, higher resolution and better colour
performance out-of-camera.
Left
Lens choice
Using a full-frame lens on an APS-C format camera
body allowed improved edge performance in this wide-
angle image, meaning no cropping was necessary
29
TECHNIQUES

Go the
distance
Improves: Detail
Using only hyperfocal
focusing could kill detail
Another common misconception is that
the hyperfocal focusing method is the WHAT’S
© Peter Fenech

best procedure for front-to-back image YOUR

sharpness. The mathematics used to obtain SHARPEST
the hyperfocal values are rather outdated APERTURE?
and work from the concept of ‘acceptable Many photographers know the
sharpness’. Clearly, what we accept as sharp benefits of using a lens’s sharpness
differs greatly from the early 20th Century, f/stop, but this may not always be the
same for every lens. Two stops down
when the method first came into use.
from maximum is a good starting
Today, double distance focusing is more point, but take a series of images
widely accepted to obtain equal sharpness in controlled conditions to find
at near and far distances. For this, find the each optic’s sharpness
distance of the nearest object to the camera sweet spot.
and double it. For most landscapes, using a
wide lens, f/11 will produce more sharpness Above
throughout. However, it is better to focus Finding focus
on critical areas of your image and use tech Modern digital cameras have
many advanced features for
such as live view, AF and focus peaking. If
accurately judging focus. These
the horizon is barely visible, prioritise focus provide sharper results than
around foreground areas and vice versa. hyperfocal methods

When to use in-camera

noise reduction
Improves: Shot noise
Is long exposure noise
reduction really useful?
Shooting JPEGs isn’t advisable if you’re after
maximum sensor potential, but in-camera NR
can speed up the output process. At medium
ISO settings or in good light, this can balance
detail and grain for immediate image usage.
At higher sensitivities, it is better to apply
custom reduction to RAW files in software.
Long exposure or high ISO NR uses dark
frame subtraction to create a noise map, using
a seamless black frame. This can be used to
subtract fixed pattern noise, but it can also
increase background read noise and double
© Peter Fenech

the exposure time. A solution is to shoot a

manual dark frame and apply this to multiple
images in software.

30
0e479381-0069-45af-b2a9-c0a37e1e14de
 GET MORE FROM YOUR SENSOR

Apply
profiles
Improves: Distortion
The power of brand-built
software correction
While Lightroom profiles have become a
giveaway option for influencers, camera
profiles form a more integral part of colour
and detail reproduction. A manufacturer’s
colour science is not always built into the RAW
file and some applications have the software
brand’s default profile applied automatically.
Explore the list of available treatments
and observe the effect of applying ‘Camera
Landscape’ or similar, depending on what
your software calls the setting. Similarly,
make sure you have the correct lens/camera
Below
profiles active to correct distortions specific
Colour me right

© Peter Fenech
A camera’s ‘colour science’ and integrated to your body-optic combination and play
optical corrections should be applied as with the Calibration Process in Lightroom to
a starting point for detail extraction customise the colour depth.

31
0e479381-0069-45af-b2a9-c0a37e1e14de
TECHNIQUES

Control noise Pictured

Noise-free skies
Increasing brightness in
software has revealed more

via ISO noise (left) than increasing the

ISO in-camera (right). At higher
ISOs watch out for reduced
dynamic range
© Stein Egil Liland

Improves: Noise visibility

Sometimes increasing the ISO
setting can reduce image nois
We’re so used to the idea that increasing the ISO raises noise levels,
that we can become preoccupied with keeping this close to the base
setting at all costs. Read Noise is not something we can control, so
will exist regardless of sensitivity. Increasing the ISO boosts the
signal gain which, while eventually introducing other types of noise,
will initially swing the visual signal-noise balance in our favour.
The lesson is that it is better to increase the native ISO setting,
to achieve the correct exposure, than to brighten the RAW file in
software. By this stage, the S-N balance is locked into the file and
cannot be improved. Boosting the signal before recording to the
memory card has taken place reduces the apparent contrast between
the constant noise field and the surrounding image detail.

1 Shoot your
dark frame
Calculate the exposure
settings needed for
your main image and
keep these the same
for your dark frame
shot. Ensure your lens
cap is securely fitted,
with no spaces for
any light to leak into the shot. If your settings change, then
capture a new file in the same way.

2 Open as
layers
Firstly process your
images in RAW
software, ensuring
your settings are
synchronised for your
dark frame. Open
your main image from
which you want to remove noise and your dark frame as layers or
copy across the latter onto each image in turn.

3 Change
blend mode
Change the blend
mode of the dark
frame to Subtract. This
should remove thermal
noise (hot pixels)
and any fixed noise
patterning. It can take
some practise to get the process right but does reduce shoot time
since the same dark frame can be reused.

32
0e479381-0069-45af-b2a9-c0a37e1e14de
 GET MORE FROM YOUR SENSOR

UNDERSTAND
NOISE TYPES
Read Noise is created in the
chain from sensor to memory
card. Small voltage fluctuations
create random bright or dark pixels.
Shot noise is created by charge
leakage during long exposures,
sensor temperature and other
factors, and is variable
in intensity.

33
0e479381-0069-45af-b2a9-c0a37e1e14de
 TECHNIQUES

Top tips
Quick ways you can
improve the performance
of your sensor today

1 KNOW YOUR
CAMERA (NOISE
LEVELS/BALANCE)
Not every camera performs the same.
Get to know how your unit responds to
temperature and changes in exposure or
sensitivity for predictable results.

2AVOID STACKING
FILTERS
Even pro-quality filters reduce image
quality. Keep the light path as uninhibited
as possible for maximum sharpness and
minimal aberrations.

3CUSTOM
PROCESSING
Apply sharpening, noise reduction and
geometric corrections based on the
strengths and weaknesses of your specific
camera and lens for better results.

4OLD
REPROCESS
FILES
Improvements can apply to images you
shot years ago. Use updated software
algorithms to improve the performance
of cameras long since retired.

5BRACKET
YOUR SHOTS
It’s easy to leave exposure adjustments
to RAW processing. For the best dynamic
range and S-N ratio, bracket your exposures
for later merging.

6IMAGE BLENDING
If it’s practical for your shoot,
use sensor-shift modes and focus
stacking for the ultimate sharpness,
focus and resolution.

Pictured
Complete quality
© Aron Visuals

Through a combination of camera and

software techniques, it is possible to
obtain maximum potential from your
sensor and get more for your investment

34
0e479381-0069-45af-b2a9-c0a37e1e14de
0e479381-0069-45af-b2a9-c0a37e1e14de
TECHNIQUES

Pictured
Tiger, Miami
“There is something familiar
about this image, maybe
because the action reminds
me of a dog,” says Tim
© Tim Flach

Pro guide to modern

WILDLIFE
PHOTOGRAPHY The remarkable animals with whom we share the planet offer many
creative possibilities for photographers. Here, wildlife photographer
Graeme Green gives his tips and insights, from finding the right
gear to using your photography for the good of the planet

W
e live on a wild planet.
It’s a fact that sometimes
gets lost or forgotten, as
so many of us spend more
time than we’d like in front
of computers or television
screens, or stuck inside offices, factories and
other places of work.
Getting out to explore what nature has to
offer is always a breath of fresh air, and the
diverse creatures we share the world with
offer incredible potential for photographers.
My job as a wildlife photographer has
taken me around the world, from the
white wonderland of Antarctica to the lush
rainforests of Malaysia and the teeming
savannahs of Tanzania, filling my mind (and
hard drives) with memorable encounters. But
photographing wildlife doesn’t always require
a flight halfway around the world – there
are some amazing natural wonders to be
found near to home, in national parks, nature
reserves, forests and even parks right in the
middle of our biggest cities.

36
0e479381-0069-45af-b2a9-c0a37e1e14de

Wildlife photography rewards
photographers who take their time and look
carefully at what’s around them. It’s not all
about capturing iconic giants, such as gorillas,
elephants and polar bears, but it can often
be as much about finding a tiny frog hidden
among green leaves or a colourful bird
perched on a branch.
0e479381-0069-45af-b2a9-c0a37e1e14de
Expensive gear is no replacement for
creativity, patience and perseverance, and
it’s true that you can take good pictures with
a phone or an inexpensive camera. But it
certainly increases your chances of getting
the results you’re after if you match your
photographic ideas with the right equipment –
and know how to use it.
MODERN WILDLIFE
Wildlife photography is a great way to
celebrate the natural world. But many species,
large and small, face serious threats to their
existence from climate change, pollution,
the illegal wildlife trade and habitat loss.
Photography can be a powerful way to tell their
story and help keep these creatures alive, so
future generations can photograph them too.
37
TECHNIQUES

Where should I shoot?

All the gear in the world won’t help if you can’t find any wildlife.
So let’s increase the odds of finding creatures worth capturing
There is a wealth of information online, such as which species can be found at
a particular nature reserve or what time of year nesting birds make their way
through. Social media is another useful resource; search for species you want
to photograph, and reach out to other photographers or
wildlife experts to ask for their advice. Be careful what
information you share online, though, especially about
the sensitive locations of nesting birds or animals.
It also pays to talk to people, such as park wardens,
rangers, scientists and researchers. Especially when
travelling abroad, the expertise of a local guide is
valuable. Having a clear idea of what you want also helps,
although with nature, there are rarely any guarantees.

38
0e479381-0069-45af-b2a9-c0a37e1e14de
 MODERN WILDLIFE

Getting started Top kit for wildlife

photography
Whether at home or on an adventure,
Graeme takes these items
there are a few essentials to consider, with him when he’s shooting
from locations to how to plan a shoot CANON EF 24-105MM F/4L
IS II USM LENS
Before remortgaging your house you want to photograph – it will
A lot of wildlife
so you can buy a lens that help focus your mind and research photography requires
looks like a rocket launcher, it’s on where and when to find it. zooms or powerful
worth remembering that wildlife It’s not enough to just capture fixed lenses to get
photography often comes down to an animal on your memory card. you closer to your
subject. But a practical,
the same basic components as so To take photos that satisfy you adaptable lens with
many other types of photography: creatively, you need to understand a good range, like a
time, commitment and effort. your camera settings, especially 24-105mm, is good for
Having a giant lens that cost shutter speeds, focal points, plenty of situations.
more than your car won’t instantly apertures and ISOs, and how they
make you a wildlife photographer interact. Combining that technical VANGUARD
– not least because, unless you knowledge with your own personal VEO ACTIVE 53
figure out how to locate wildlife, creative ideas will help get the best You are often out for
you’ll have nothing to point it at. out of yourself and your camera. long periods, so your
There are times throughout my No matter how tempting the bag needs to be
comfortable with easy
career where I’ve spent hours (or photo, it’s essential to avoid acting
access to your gear.
even days) on assignments out in in a way that causes stress or Vanguard’s VEO Active
the field without much happening injury to wildlife, whether that’s 53 is a 45 litre backpack
when the animals are unwilling to getting too close or using food designed to carry multiple
make an appearance. to ‘bait’ animals so they associate bodies and lenses.
But perseverance usually pays humans with food. Avoid zoos or
off, as does doing research in ‘sanctuaries’ unless you’re certain SANDISK EXTREME
advance to find out where and the animals are well-cared for. PRO UHS-II CARD
when you have the best chance of Many keep animals in miserable Wildlife photography can
photographing a particular animal conditions and, by paying, you eat up memory – you’re
or behaviour. Think about what become part of the problem. likely to get click-happy
in front of incredible
sightings – so memory
Left Below left Below right cards are essential.
Mexico Tanzania Abbotsbury, UK Carry cards that have
Graeme captured “Colour can make The repetition a large enough memory
a squirrel enjoying a photo,” says of Mute swans to store lots of images.
a good stretch, Graeme. Here, the gives an abstract,
tongue sticking subject blends into patterned feel, a
out as it yawns the backdrop well bit like wallpaper CANON EOS 5D MKIV
Wildlife photography
requires a sturdy, tough,
weather-sealed camera,
that can handle being
in wintry mountains
or humid jungle. This
Canon EOS has great
image quality (30.4MP
resolution), speed (7fps
continuous shooting)
and shoots 4K video.

CANON EOS R5
Companies have decided
the future is mirrorless,
which means lighter
cameras but with high
performance, such
All images © Graeme Green

as the R5, which has

45MP resolution,
shoots 20fps in full-
resolution raw, and works
effectively on high ISOs
(good for low light).

39
0e479381-0069-45af-b2a9-c0a37e1e14de
TECHNIQUES
Get closer
How to capture remarkable portrait
images with a longer focal length
Being part of the food chain,
aware that predators could leap
from nowhere at any moment,
tends to make animals nervous.
Many species have also learned
to be cautious of humans and
vehicles, for good reason. All that
means it can be difficult to get
close to wildlife. And proximity
matters, as portraits of animals
tend to be more interesting when
you’re close enough to see the
eyes and whiskers on a face,
rather than a distant blurry speck
far off in the distance.
There are times when animals
might come close to your vehicle,
and with time, patience and
careful movement, there are some
species that might let you nearer
to their world. It pays to keep
quiet and to make any movement
slow, quiet and non-threatening –
one loud, careless move and every
40
0e479381-0069-45af-b2a9-c0a37e1e14de
Finding
focus
What telephoto lens
settings are best to use?
creature in sight will bolt for the
safety of tree cover.
The situations where animals
keep a sizable distance is where
big lenses come in handy. That
distance also allows animals to
feel safe, rather than threatened,
vital for their well-being, but also
important for photos. If an animal
is cowering, growling or has
turned its back to move away, you SUPER-TELEPHOTO LENS
end up with poorer pictures. A lens of 600mm or above will help you capture
In animal portraits, the eyes portraits, behaviour or wild scenes that would
are often important and a good otherwise be unobtainable. Pro level lenses are
pricey (Canon’s 600mm costs over £13,000), so
point of focus. Pick your F-number it can be worth renting lenses from companies
carefully – selecting too low an such as HireACamera (www.hireacamera.com)
aperture might mean your point for specific trips where they will come in handy.
of focus, such as the eyes or
snout, are in focus, but anything
in front or behind, like the rest of
the animal’s face or body, quickly
soften. Pulling back on the depth
of field will mean more of your
portrait is in sharp focus.
STANDARD ZOOM LENS
Considerably lighter and easier to carry and
point than a 600mm lens, a good zoom is a
vital piece of equipment for shooting wildlife.
It’s extremely useful to be able to move across
such a large range, zooming in and out as an
animal moves, to get the shot you want.
Above
Cormorant
Bright sun in
Mexico’s Yucatan
Peninsula lights
up the face of a
cormorant. “I set
the bird off to one
side and chose a
low f-number,”
says Graeme
Left
Eyes on lion
All images © Graeme Green
“I spent some time
TELECONVERTER with this lion at a
Teleconverters increase the effective focal distance he clearly
length of lenses. They are a useful way for felt relaxed about,
photographers to get more magnification which meant
from their equipment and a feeling of being I could take a
closer to the animals in their images. portrait where he
appeared calm”
 SHUTTER
SOUNDS MODERN WILDLIFE
Animals will usually be wary
of the camera, and it often takes
a few hours – or even a succession
of days – for them to get used to it.
What’s more, the sound of the shutter
might scare them off. Modern mirrorless
cameras are silent when taking an image,
and on most pro DSLRs you can dull
the sound of the shutter by turning
on Live View or switching to
a silent mode from the
camera’s menu.

Finding focus What telephoto lens settings are best to use?

Stabilisation helps to counter handshake and movement so that your photos are more likely
to stay crystal clear. Camera shake can be a greater problem with large focal lengths. Most
telephoto lenses come with a few stabilisation options, including the basic Stabilisation On or
Off, but also different modes.
For example, on Canon’s 600mm lens, Mode 1 corrects vibrations or shake in all directions,
and is meant for photographing still or slow-moving subjects, such as resting animals. Mode
2 is suited to tracking subjects as they move sideways, such as an animal running across
the landscape. Mode 3 is best for shooting erratic or irregular movements, such as monkeys
playing and tumbling. In all cases, it’s worth remembering that using faster shutter speeds
reduces the likelihood of blurring in photos, with fast shutter speeds being necessary for fast-
moving creatures, from big cats to birds anyway.
Large lenses can be used handheld but they’re heavy and holding them for any length of
time can be tiring, increasing the chance of movement. Increase the stillness and sharpness
by resting the camera on a cushion or beanbag or using a tripod or car door-mounted gimbal.

41
0e479381-0069-45af-b2a9-c0a37e1e14de
TECHNIQUES

Go wider Use a wide-angle lens to incorporate

A long telephoto might be the
first lens that springs to mind for
capturing wildlife, but wide-angle
lenses can open up opportunities
too. A wide-angle can offer up a
more dramatic perspective, and
because a large proportion of a
scene can be captured in a single
frame, they also enable a subject
to be captured within the context
the environment into your images
of their natural habitat. For
instance, in the image pictured
below, the empty space around
the penguin works to convey the
expansive environment.
Conversely, if you want to
capture an intimate portrait of
a subject with a wide-angle, the
main problem to overcome is that
the animal needs to be rather
closer to the lens. At focal lengths
of 16-24mm, subjects will look
tiny in the frame, even at just
a metre away, particularly the
smaller critters. Unless subjects
are already comfortable around
humans, you need to hide away
and fire the shutter remotely with
a wireless release or remote. Even
if you are fortunate enough to
get an interested creature, there’s
an extra element of luck involved
in getting an in-focus, well-
composed photo.
Practice your skills in a location
frequented regularly by animals
such as birds or squirrels, then
if you want to find out whether
exotic species are present, try
setting up a camera trap.

f/13

NARROW APERTURE
The penguin and ‘surfboard’
are the clear focus but by
keeping the f-stop quite high
and increasing the depth
of field, the details of the SURFING GENTOO
landscape contribute to the The penguin is occupying a
image, rather than being a central position on the piece
blue-white blur. of ice, wings outstretched,
like the arms of a surfer.

42
0e479381-0069-45af-b2a9-c0a37e1e14de
 MODERN WILDLIFE

Using a wide-angle
Remote triggering How to effectively shoot animals in their environment
Fire your camera from far away!
When using a wide-angle lens, you might
need to fire the camera remotely. The
best way to trigger the shutter is with a
wireless release. Your camera may have
a wireless remote feature built-in, or the
ability to fire shots using a smartphone
app. Set the camera to Continuous
High Speed drive for a rapid-fire
succession of shots, making it more
likely that you’ll get one in focus.

FRAMING

1
The snowy mountains in Connections Shooting animals in the
the background frame wild is about making connections, either
the main focus, the
penguin and surfboard,
between the main subject and aspects of the
and provide more environment or between the main subject and
information in the picture other species they share it with – in this case,
about the environment. a lion and the vultures who clean up after a kill.

2 Careful framing When photographing

an animal in its environment, you can fill
the whole frame with details. Be careful to not
make any clumsy crops or cut-offs. This photo
would be different and less effective if the
tops of the palm trees or the shadow of the
main bird, a darter, had been lopped off.

COLOUR
The colours in Antarctica’s
crisp clear landscapes are
fantastic, especially the vivid
blues of the skies and ocean,
and are vital to the image.

3 Dwarfing The feel of a wild landscape should

come across in your picture, giving the viewer a
sense of what it’s like to be there. Dwarfing the subject
– making the animal or animals, like these penguins,
small in the overall image – is an effective way to give
a sense of the scale of the landscape and the climate
and weather conditions, such as an incoming storm.
All images © Graeme Green

43
0e479381-0069-45af-b2a9-c0a37e1e14de
TECHNIQUES

Telling a story
How to turn your images into
a powerful story and help with
conservation of rare species
Wildlife photography can be these animals face, whether
more than just attractive photos it’s rows of hacked-off shark
to fill books, calendars and social fins, orangutans isolated in
media feeds. Around the world, deforested landscape, or animals
photographers use their work locked in miserable, dirty cages.
to highlight the threats facing Photographer Jo-Anne McArthur
wildlife, from iconic species, and a group of like-minded
such as lions, photojournalists
elephants, have also recently
tigers and Photographers developed a new
PROXIMITY
whales to little- strain, Animal
known rodents, use their work Photojournalism
With many wildlife photos,
it helps to get a close-
insects and (APJ), to highlight up shot. Here, this was
fish. These to highlight the the harm and achieved by working with
an expert ranger team to
photos are a suffering caused
stark reminder threats facing by industrial
get relatively close and
then using a 600mm lens.
of what we farming, animal
stand to iconic species testing and other
lose in the practices, from
All images © Graeme Green

worsening biodiversity crisis. chickens to pigs.

Many photographers
work under the banner of
conservation photography,
showing both the beauty of
wildlife and the harsh realities
The pictures journalists
produce aren’t always pretty
but they are necessary. These
photos must be powerful, so they
have an impact on the viewer.

THE STORY
I recently worked in Akagera National Park in Rwanda, a national park that has been brought back to
life by African Parks and the Rwanda Development Board, including the reintroduction of black rhinos
and the introduction of white rhinos into what’s hoped will be a safe haven.
Rhinos have existed on this planet for 50 million years, but rhino horn has become incredibly
valuable to poachers. It is sold for high prices in China and other parts of Asia as traditional medicine,
despite the horns being made of keratin – the same substance as our fingernails – and having zero
medicinal value. The photos below were taken in Akagera, including a rhino that had its horn removed
previously in South Africa, the surest way to avoid the rhino being killed by poachers.

How to shoot a series Why several images can tell a more powerful story than a single one

WHITE RHINO RANGER TEAM

This shot is of a white rhino with its horn intact, in the Akagera National Park A ranger team, working alongside Akagera’s Conservation and Research
in Rwanda. It is in contrast to the dehorned animal in the picture above. Manager, regularly patrol the park to help keep the rhinos safe and healthy.

44
0e479381-0069-45af-b2a9-c0a37e1e14de
 MODERN WILDLIFE

HORN-FREE
A rhino without its horn is a
jarring and sad sight, a mark
of how desperate the situation
facing these ‘living dinosaurs’
is. By clearly showing the
stump where the horn used
to be, it draws people into the
story and hopefully makes
people want to find out more.

EYE CONTACT
Wildlife photos also often
benefit from eye contact, rather
than faces that are turned away.
Also, aim to show other details
on faces, such as the cracks
in elephant or rhino skin.

DOG UNIT ATTACK

A dog from the specialist K-9 unit goes through training exercises so they are The dogs are trained to identify and attack poachers, helping to keep the rangers
ready to assist the team of rangers with their anti-poaching work in the park. safe by allowing them to carry out their work without threats of violence.

45
0e479381-0069-45af-b2a9-c0a37e1e14de
 TECHNIQUES
Pro case study
Wildlife photographer
Tim Flach on
storytelling and
grabbing attention
Would you call yourself
a wildlife photographer or
an animal photographer?
That’s an interesting question.
It might give some perspective
to say that I’ve been working
with social scientists, exploring
what depictions of animals
evoke empathy and lead
ultimately to pro-environmental
outcomes. When you say wildlife
photography, you probably
mean some sort of conservation
communication through imagery.
How do we make social change
through imagery that makes
us care and want to act?
For a recent research paper
I was part of, we took animal
portraits of mine and compared
them to a set of people looking
at wildlife photography done
by a National Geographic
photographer or equivalent, and
All images © Tim Flach
46
0e479381-0069-45af-b2a9-c0a37e1e14de
then another group who never
saw any images. Many of the
people were troubled by my
images. They found that they had
more anxiety, but interestingly
enough, they actually showed a
tendency to be more caring after
viewing the images than they
had before. The ones who just
saw the traditional wildlife shots
were no more prone to caring
after seeing the images than the
people who saw no images at all.
So what is it about your
images that evokes empathy?
You can show a wild animal, but
if the image isn’t actually
relatable and personal, it
tends not to be something
that we actually go out and
suddenly act on. In conservation
communication, and in my
work, I see a big role for
anthropomorphism.
With digital photography and
the way we perceive images,
it’s amazing how little data we
actually collate. We do a few
cascades but our attention span
is not as great as you might
imagine. We need to understand
the relationship between
attention-grabbing moments that
draw you in and the storytelling
that goes with it.
There also needs to be
this sense of otherness and
sameness. If you have an animal
that has a flat face, like we do,
then you’re going to find it cute
and feel empathy. Cuteness is a
mechanism that operates quickly
before we have rational thought.
And your emotional bonding from
cuteness works at such a primal
level. My approach might be an
attention-grabber but traditional
wildlife photography still has an
important role to play.
Above
Celebes Crested Macaque
“Cindy, who wasn’t the most
cooperative model, came to
my studio in 2001,” says Tim
Right
Common Hippopotamus
“Eradicating the ivory trade
will be a tall challenge. Hippo
teeth are highly sought after”
Below left
Cockatoo crest
“The beautiful crest on the
heads of cockatoos is one of
the things that sets them apart”
Below middle
Fruit bat
“How we understand images
has been a passion of mine
for many years,” Tim says
Below right
Crowned Sifaka
The cover image of Tim’s book,
Endangered, the childlike pose
was used to show vulnerability
 ABOUT
TIM FLACH
Tim Flach is a photographer,
president of the Association of
Photographers (AOP) and a member
of the AOP Awards jury. Three of Tim’s
photographs have been selected among
the finalists this year, with winners due
to be announced in late spring (he is a
past gold winner as well). He was also
a judge for the Open Awards in 2020,
a series of awards open to both
commercial and amateur
photographers.

How much of your how could you communicate

work is influenced by
scientific research?
Photographers have a role,
almost like translators, to take
something from one space into
another where it can be acted
upon. It’s vitally important that
I collaborate with the people
who have an understanding of
what’s going on, but that will
have no relevance unless their
findings are translated into the
wider cultural space.
Have you always been
interested in conservation?
Like most people, I’ve moved
with the understanding. As you
bear witness, you can’t unsee
what you see. And as you
meet those who have a better
understanding, you’re drawn
around by your consciousness.
What advice do you have
for emerging artists?
It’s not enough just to take a
pretty picture. It’s about context,
so spend time understanding and
getting your head around what’s
going on. What is the story and
that? The challenge is to think
about what is being said in your
sequence of images. How could
it be used? How could it organise
the experience in a way that
creates change? Once we have
an understanding of something,
we can be smart in the way we
go forward.
What’s next for you
and your work?
I want to look at the important,
but rather uncharismatic, area
of insects and soil blindness.
We have lost 60 percent of our
topsoil and scientists reckon
we’re going to lose the rest
within another generation.
And, of course, that has huge
implications for humanity. It’s
a problematic area, and I want
to see if I can do something
useful, however, it’s not easy
to make a picture of a bug as
impactful as one of a panda.
I’ve also got shows coming up
in the Natural History Museums
of Beijing and Paris. My intention
is to not only practice but deliver
to large numbers of people.

47
0e479381-0069-45af-b2a9-c0a37e1e14de
TECHNIQUES
TOP TIPS for
WILDLIFE
PHOTOGRAPHY
1 Do your research Look
online, talk to photographers
or wildlife experts to find the
best times and places to locate
wildlife to boost your chance of
seeing interesting behaviour.
7 Think about light Whatever
time of day, think about how
best to use the light, whether it’s Instead, when possible, get down
backlighting a subject or making at eye level, or lower, with the
silhouettes against the sky.
48
0e479381-0069-45af-b2a9-c0a37e1e14de
2 Know your gear Get to
know your camera, including
how to change shutter speeds,
apertures and ISOs, so you can
get the correct settings in the
field, rather than missing a shot.
8 Get down low Avoid
photographing downwards.
animal you’re photographing.
3 Be ready Keep your eyes
peeled and your camera
switched on. Wildlife moments
come and go in a flash, so you
need to be prepared and ready
for when the magic happens.
9 Get creative You don’t need
to position an animal in the
centre of your shot. Experiment
with where and how much of the
animal you place in the frame.
4 Predict the future
See photos before they
happen. If a group of animals is
moving in a particular direction,
look where they’re going and get
into position for the right shot.
10 Go abstract Play with
different shutter speeds
for blurring effects, or try adding
abstract elements, focusing on
patterns, textures and shapes.

Try adding abstract
elements to your
work, focusing on
patterns or textures
5 Use the golden hours The
start and end of each day
offers golden light that gives
a rich, warm colour to wildlife
photos as the light comes
sideways from low down.
11 Look for ‘moments’
Animals sleeping rarely
make standout photos. Look for
exciting moments in their lives,
such as grooming or playing.
0e479381-0069-45af-b2a9-c0a37e1e14de
MODERN WILDLIFE
5
inspirational
pro wildlife
photographers
Follow the journey of these exceptional
modern shooters on social channels
Marsel van Oosten
The winner of pretty much every wildlife
photography award going, Marsel van
Oosten’s work demonstrates how you can
turn wild encounters into colourful pieces
of art. He works across a massive range of
species, from polar bears to snow monkeys.
@marselvanoosten
Ami Vitale
Nat Geo photojournalist Ami Vitale uses her
photography and storytelling to communicate
the urgent need for action to protect wildlife,
as well as telling conservation stories of hope
involving endangered species such as rhinos,
pandas and giraffes.
@amivitale
Vladimir Cech Jr
From tigers and gorillas to rare, endangered
species and largely unseen wildlife, Vladimir
Cech Jr from the Czech Republic creates
captivating images with a wide variety of
styles and camera techniques, including
camera traps.
@vladimir_cech_jr
Gurcharan Roopra
Gurcharan Roopra produces a broad range
of wildlife photography, from classic portraits
and animal behaviour to more experimental
techniques, such as blurring and silhouettes,
as well as ground-level perspectives looking
6 Look closely It pays to look
up from your camera, as
there may be something else
up at elephants and other giants.
@gurcharan
happening – creatures such as
lizards or butterflies are just as
worthy of attention as big beasts.
Cristina Mittermeier
Along with partner Paul Nicklen, Cristina
Mittermeier uses visual storytelling to
12 Evaluate and improve
Take a critical look at your
photos and see what works and
campaign for whales, sharks and other marine
creatures and their habitats to be protected,
showing spectacular wildlife, ocean-sized
what doesn’t. Think about what problems and solutions.
you might change next time. @mitty
49
 UK-only subscription offer

Reader offer
Lowepro Passport Duo
FREE when you subscribe
Take out a subscription and get the magazine delivered straight
to your door, plus a brilliant camera bag*

worth
Gift

£53

Subscribe today at:

WWW.MAGAZINESDIRECT.COM/DPH/A34M
or call 0330 333 1113 and quote ‘A34M’
Make sure you use this URL or quote the code on the phone: other offers are available that do not include the free bag gift

50
0e479381-0069-45af-b2a9-c0a37e1e14de
 Top reasons to
Subscribe for a year
and get this versatile subscribe today
bag to carry all your
essential kit in Get the Lowepro Passport Duo
Your convenient camera storage option,
Lauren Scott
Editor, Digital Photographer available with annual print subscriptions
(see below for more details).

Great savings
Top features of the Subscribe annually from only £42
Lowepro Passport Duo a year and receive 13 packed issues.

• Fits mirrorless cameras The latest tips and insights

and compact DSLR Each month, a subscription to Digital
Photographer challenges and inspires
• Convertible design transforms enthusiasts and seasoned professionals
from waist bag to backpack alike to take truly phenomenal shots and
get the best results from their kit.
• Ample padding and adjustable
divider system protect gear
• Two zippered pockets for Option 1: Print subscription:
quick access to small items Pay £27.50 every 6 months
• Made from lightweight, weather 13 issues of the print edition of Digital
resistant fabric ideal for travel Photographer delivered to your door
Lowepro Passport Duo

Option 2: Print & digital subscription:

Pay £35 every 6 months
13 issues of the print edition of Digital
Photographer delivered to your door
13 issues of Digital Photographer to read
instantly on your iOS or Android device
Lowepro Passport Duo

Option 3: Digital subscription (no gift):

Pay £21 every 6 months
This option does not include the bag
13 issues of Digital Photographer to read
instantly on your iOS or Android device

*Terms and conditions: Offer closes 30th June 2022. Offer open to new UK subscribers only. Pricing is guaranteed for the first 12 months and we will notify you in advance of any price changes. Please allow up to six
weeks for delivery of your first subscription issue (up to eight weeks overseas). Your gift will be delivered separately within 60 days after your first payment has cleared. Gifts only available to subscribers on the UK
mainland. Gift not available with a digital subscription. The full subscription rate is for 12 months (13 issues) and includes postage and packaging. If the magazine ordered changes frequency per annum, we will honour the
number of issues paid for, not the term of the subscription. For full terms and conditions, visit www.magazinesdirect.com/terms. For enquiries please call: +44 (0) 330 333 1113. Lines are open Monday- Friday 9am- 5pm
UK Time or e-mail: help@magazinesdirect.com. Calls to 0330 numbers will be charged at no more than a national landline call, and may be included in your phone provider’s call bundle.

51
0e479381-0069-45af-b2a9-c0a37e1e14de
SHOOTING SKILLS

52
0e479381-0069-45af-b2a9-c0a37e1e14de
 Learn to capture and merge several
images into one, using editing software
to create striking abstract portraits
Difficulty level: Easy
Time taken: 2 Hours
All images © Lauren Scott
As a technique, double exposure
photography is nothing new. It
has existed since the early days of
film when, traditionally, the same slide was
exposed twice to produce a superimposed
image. In the digital age, the effect can
be reproduced using a camera with a
dedicated Multiple Exposure mode.
However, if your camera doesn’t have
a dedicated mode, or you want more
creative control over the final image, you
can also mimic the effect in Photoshop. In
this tutorial, you’ll discover how to shoot
the best initial portrait image for this
Pictured
Flower power
The effect of
overlapping several
photos appears
intricate, but is
easier to achieve
than it looks
0e479381-0069-45af-b2a9-c0a37e1e14de
technique, as well as how to edit the two
images in Photoshop for a striking and
abstract result. One of the great things
here is that you don’t have to shoot your
portrait and overlay images at the same
time. If you have the perfect fill-in image
within your archive, it’s easy to have a go –
provided you have a camera with manual
shooting modes and a willing subject.
Follow this step-by-step tutorial, as we
go through both the shooting and editing
steps you need to merge two photographs
together, with the help of some simple
Photoshop blending modes.
What you’ll need
DSLR or mirrorless camera
Natural light
Photoshop
A willing model
53
SHOOTING SKILLS

Shooting 1 2

steps
1 Set up camera Switch your
camera to Aperture Priority using
the top dial. Select centre-weighted
or spot metering – an easy way to
expose the shot correctly for the
subject. Make sure you’re using a
suitable lens, a 50mm prime works
well for this type of portrait shot.

2 Dial in settings Set the ISO

to the lowest value possible.
You’ll be shooting against a bright
background, so shouldn’t need to
raise it any higher. Next, select an
aperture of around f5, ensuring that
your model’s whole face is in focus.
If the exposure is too bright and the 3 4
shutter too fast, narrow the aperture.

3 Arrange your subject Position

your subject against a bright
background, such as the sky on an
overcast or clear sunny day. They
should ideally be side-on to you – a
profile shot is more successful than
a front-on face, as their features will
be more identifiable in silhouette.
Move yourself to avoid any messy
background scenery, such as trees.

4 Set the focus Lenses can

sometimes struggle to focus
properly when they are pointed
at a bright light source, such as a
white sky. If you find this is the case,
switch to manual focus on the lens
barrel and use the focus ring to
ensure your subject’s face is sharp.

5 6
5 Frame and shoot You can use
the viewfinder or Live View to
compose, but take a few test shots
once you’ve set up. Whether you
shoot portrait or landscape, check
for distracting elements in the
frame. Dial in positive exposure
compensation if necessary, ensuring
the camera overexposes the sky.

6 Shoot fill image You can

choose anything for the second
photo but natural subjects such
as leaves and flowers work best.
Shoot a scene with interesting
shapes or textures to effectively fill
your silhouette image. Alternatively,
select a pre-existing image you can
use to overlay your portrait shot.

54
0e479381-0069-45af-b2a9-c0a37e1e14de
 DOUBLE EXPOSURES

SUBJECT DIRECTION
Shooting on an overcast
day is ideal. If the sunshine
is bright, face your model
slightly away from the sun
to avoid them squinting

LOW ANGLE
Crouch down for a lower
shooting perspective
to achieve a clean
background that’s free
from distracting elements

CHOOSE
YOUR OPTIC
A dedicated portrait
lens works well for this
technique but it needn’t
be expensive. We used
the Nikon 50mm f/1.8 G

The setup
In-camera technique
Use a DSLR to create the effect
without editing software
Modern cameras often have a myriad of
extra functions buried in their menus; most
high-end Nikon and Canon DSLRs enable you
to perform the double-exposure technique
in-camera. On a Canon, Navigate to the
Shooting Menu, scroll down to find Multiple
Exposures and press OK (Enable or Disable
on a Canon system). From there, you can
decide how many frames you want to shoot,
and how you want the camera to expose your
shots. On the Nikon D800 we were using,
the feature is called Image Overlay. This
enables you to pick two RAW images from
the card, and the camera will convert them
into one image for you instantly.

55
0e479381-0069-45af-b2a9-c0a37e1e14de
SHOOTING SKILLS

Edit the shot 1 2

1 Get started You can edit your portrait

in the usual way in Camera Raw, but we
opened it up from Adobe Bridge straight
into Photoshop. Right Click on the layer
and hit Layer From Background. Then go to
Image>Adjustments>Levels to increase the
brightness and contrast of the portrait.

2 Import second image Open your fill

image, go to Select>All and then Copy.
Open your portrait shot and paste one image
on top of the other. Go to Edit>Transform to
Rotate, Scale and Flip your image (if needed)
so that it covers your portrait. Use the Clone
tool to remove distractions from either layer.

3 Blend and adjust Select the top layer

and change the Blend Mode to Screen – a
great Blending Mode for brightening images.
Once you have your basic double exposure,
you can use the Move tool to reposition and 3 4
resize the fill layer over the portrait, paying
attention to what’s covering the features.

4 Bring out details Create a Levels or

Curves adjustment layer from the Layers
palette to bring out detail in the mid-tones,
or alternatively, use the Burn tool to darken
the edges of your portrait and create a bolder
outline to the face. Desaturating the entire
face layer will produce a more subtle result.

5 Experiment Once you have got to grips

with the simple processing steps, try out
new fill images – nature scenes such as this
landscape are effective. Move the ‘fill’ image
around to fill your portrait, and tweak the
contrast so that you start to see more and
less detail in the sky portion of your portrait.

Right
At the rock face
Merging two shots together is a great
way to add intrigue and interest. The
blending process is straightforward,
especially if you shoot portraits
against a clean background

56
0e479381-0069-45af-b2a9-c0a37e1e14de
 DOUBLE EXPOSURES

ORE
X2 BEF

AFTER

57
0e479381-0069-45af-b2a9-c0a37e1e14de
 AFTER
SHOOTING SKILLS

Create stunning
silhouettes
Work with strong backlighting to shoot graphic
images that make the most of colour and form
For as long as photography has
existed, silhouettes have been
popular – during the Victorian era,
they were even seen as an affordable way
of capturing a portrait. It’s easy to assume
the process of creating a silhouetted image
is straightforward. We spend so much time
producing balanced exposures and avoiding
reducing subjects to silhouetted outlines so to
shoot one intentionally, you may assume that
all you have to do is underexpose.
However, this represents only half of
the procedure. If care is not taken, the
main subject can become lost in the frame.
Overlapping of elements in the scene can
cause a loss of shape and therefore impact,
while even choosing an ideal subject for this
treatment can prove a challenge.
The best candidates have a variety of
discrete characteristics – strong shapes that
sculpt the negative space around and between
them. Since we have no detail to work with,
the colour and graphic properties of the scene
take centre stage. Create a balance of bright
and dark areas and ensure the exposure is
adequate to turn the subject solid black.

Left
Clipped highlights
BEFORE In this shot, the exposure
is insufficient to create
true silhouettes, which
makes the effect seem
unintentional. There
are some distracting
foreground details too

Right
True black
By recomposing to
All images © Peter Fenech

favour the sky, the

frame now looks more
balanced, while turning
the exposure down
in-camera has reduced
the skyline to solid black

1 Set depth To push the graphic qualities

of the scene, we need extensive depth-of-
field. To achieve this, stop down the aperture
to at least f/8, with f/11 or f/16 preferable
when using a longer focal length. Check for
any blurring of defined lines.
2 Meter from the highlights Since
preserving detail at both ends of the
exposure scale is unnecessary, metering
from the brightest areas of the frame will
ensure there are no blown highlights while
pushing foreground elements into shadow.
3 Shoot a test Roughly set a composition
that you like and capture an image to
assess the overall brightness. Look for any
unwanted remaining detail in the foreground
or particularly bright highlights in the sky
that could ruin the ‘dark’ effect.

58
0e479381-0069-45af-b2a9-c0a37e1e14de
4 Adjust exposure Keeping a close eye
on the camera’s histogram, adjust the
exposure settings until the graph is skewed
towards the left side. Most of the tones
should be divided into two peaks at either
extreme of the exposure scale.
0e479381-0069-45af-b2a9-c0a37e1e14de
5 Check overlaps Zoom in closely on
your image to assess the structure of
the silhouetted foreground. In this case, we
zoomed in on the skyline to check for any
unwanted overlaps that might be spoiling
the shape of the dark region.
6 Adjust compression Play with the
lens compression to see the effect that
this has on the structure of the silhouette.
A wider focal length will stretch the gaps
between objects while zooming in closer
will seemingly reduce this space.
59
 EDITING SKILLS: PHOTOSHOP
Mimic the look of
PHOTOSHOP
TUTORIAL Lensbaby lenses
Meet the editing pro
James Abbott is a
professional photographer
and photography journalist,
specialising in shooting
and editing techniques. He
recently released his first book,
covering professional image editing skills in
both Adobe Photoshop and Affinity Photo.
@jamesaphoto www.jamesaphoto.co.uk
1 Make a selection With the Background
Layer active, press Ctrl/Cmd+J to make a
copy that will become active – this is the Layer
we’ll work on. Select the Elliptical Marquee
Tool and create a selection around the focal
point in the image. Leave space between the
subject and selection for feathering.
All images © James Abbott
4 Add Radial Blur Go to Filter>Blur>Lens
Blur and when the dialogue opens set
Blur Method to Zoom, Quality to Best and set
Amount to around 20. Left-click on the Blur
Centre grid and drag the centre to the rough
equivalent of where the sharp area of the
image will be and press OK to apply.
60
0e479381-0069-45af-b2a9-c0a37e1e14de
Apply blur to highlight the focal
point of any image in Photoshop
Nothing beats having the lenses to
get effects right in-camera. But for
some photographers, buying specialist
lenses that may only be used a few times a year
isn't possible. Lensbaby lenses are unique in the
way they create the shallow field of focus you
can typically achieve with tilt and shift lenses
but with a small area of circular sharpness –
and that’s what we’re going to emulate here.
2 Modify the selection Go to Select>Select
and Mask, and when the dialogue opens
set the View to Overlay and then set Feather to
between 200-600, depending on the camera
resolution. Experiment to find the best amount
and use Shift Edge to change the selection
size if necessary. Hit OK when you are happy.
5 Create a vignette With the selection
still active, click on the Create new fill or
adjustment layer icon at the bottom of the
Layers panel and select Curves. Left-click in
the centre of the curve and drag down and
to the right, then close the dialogue. This will
darken only the blurred area of the image.
What you’ll
be using
Elliptical Marquee Tool
Duplicating Layers
Select and Mask
Radial Blur
Lens Blur
3 Apply Lens Blur Hold Ctrl/Cmd+Shift+I
to invert the selection and then go to
Filter>Blur>Lens Blur. When the dialogue
window opens, leave the settings at default,
apart from Radius, which can be set to
between 30-70, and press OK. For this image,
we set it to 60 to add a small amount of blur.
KEY TIP
USE THE HISTORY PANEL
If you find the Marquee selection you
make is too large or too small, or the
amount of selection feathering is
incorrect, use the History panel to go
back to the image state before the
mistake was made. If the panel isn’t
visible, go to Window>History.
Insert Main
Strong focal point Rushing blur
The image shows the location in Using basic selections with
a unique way, but has potential Lens and Radial Blur, the
to be more interesting by focal point remains sharp,
adding a Lensbaby effect while the rest is blurred
 BEFORE

AFTER

61
0e479381-0069-45af-b2a9-c0a37e1e14de
 EDITING SKILLS: LIGHTROOM
Enhance skies
for maximum mood
LIGHTROOM Use Lightroom’s masking tools and
TUTORIAL
extensive controls to boost sky detail
Capturing detail throughout high-
contrast scenes is an essential part
of landscape photography – and
graduated ND filters are the kit of choice
for most photographers to achieve this.
1 Make basic adjustments To get started,
process your image as usual but focus on
how the ground looks – don’t worry about
the sky at this stage. This image required
adjustments to White Balance, Exposure,
Shadows, Highlights, Whites, Blacks, Texture
and contrast was added using the Tone Curve.
All images © James Abbott
4 Darken the top Create another Linear
Gradient at the top of the sky. Positioning
the central line of the guide close to the top
of the image and pulling the bottom down
creates a soft and natural-looking gradient.
Next, reduce Exposure to darken the top of
the sky, taking care not to darken too much.
62
0e479381-0069-45af-b2a9-c0a37e1e14de
What you’ll
be using
The aim here is to maintain all detail in the Basic adjustments
sky without blowing highlights. However, the Linear Gradients
result can seem lacklustre compared to how Masking Brush
the scene looked to the eye, so that’s exactly Shadows & Highlights
what we’re going to remedy here… Exposure & Dehaze
2 Apply Masking Continue with the focus
on the ground area of the image, using the
Masking tools to apply localised adjustments
3 Create a targeted Gradient Pull a Linear
Gradient over the sky. Click on the mask
and go to Intersect Mask with>Luminance
where necessary. In this image, the Brush Range. Drag the handle to the right to
was used to create a mask to lighten the target brighter tones and move the bottom
mid-ground, while the Radial Gradient was left arrow left to graduate. Use Exposure,
used to lighten rocks in the foreground. Highlights and Whites to darken any detail.
KEY TIP
DON’T RELY ON AI
Within the Masking controls in Lightroom,
there’s an option to Select Sky. This AI
function does a decent job of selecting
skies, but it’s not as effective as manually
using the Brush or Linear Gradient
intersected with Luminance Range.
5 Apply Dehaze In this image, there’s haze
in the background, so Dehaze can be used
to increase contrast in the sky, plus darken
Inset
Detail maintained
Despite using a
Main
Brighter and
moodier
graduated ND filter that With general processing
and enhance detail overall. A Linear Gradient
has maintained highlight and careful enhancements
was pulled over the whole sky area and detail in the sky, the result of the sky area, the result is
overlapped the ground slightly with Dehaze still doesn’t look as moody both brighter and moodier
set to 19 and Exposure at 0.10 to lighten. as it did to the naked eye with more detail throughout
 AFTER

BEFORE

63
0e479381-0069-45af-b2a9-c0a37e1e14de
PRINT & SHARE

Go green online
We round up some of the best examples of eco-conscious
web hosts to help you build your sustainable photo business
The theme for this issue of Digital impact of our business upon the environment, it’s
Photographer is centred on building a more easy to overlook our online exploits as damaging.
sustainable future for the photography Hosting many hundreds of websites is energy-
industry. Not only do we have opportunities to make hungry – but yours isn’t the only one your web
our photo work more eco-friendly, but we can also use host is supporting, of course.
our images to promote a greener world. This process Here, we have taken a look at the Conclusion
starts with looking more closely at our own workflow, best green web hosting services for A website is an important
whether professional or enthusiast, and finding the photographers – those platforms that are part of a photography business,
weakest points in terms of its environmental impact. the most eco-conscious and allow you but by simply choosing a green
One such area, which many photographers may to run a successful photo website with a web host you can make the
not think about, is web hosting. Since it is not a direct minimal carbon footprint. process better for the planet,
without affecting your day-to-
day workload.
iPage
“For every kilowatt-hour (kwh)
of energy that iPage uses, the
company purchases Renewable
Energy Certificates to offset that
amount with wind energy by
200 percent”.
This is how iPage describes its
approach. It’s a clear statement
and leaves little room for
vagueness about how green
the company actually is – a
common issue amongst web
hosts. The iPage system is also
easy to use and the products
are good, which adds up to true
carbon-neutral quality.

GreenGeeks
GreenGeeks claims
to be the world’s
number one green
hosting provider. It’s
a confident claim, but
that’s backed up by a
300 percent carbon
offset standard.
This means that
usage is more than
carbon neutral, it’s
technically carbon-
reducing! The host
provides features,
such as WordPress
integration, 24/7
tech support and a
30-day money-back
guarantee.

64
0e479381-0069-45af-b2a9-c0a37e1e14de
A2 Hosting
Carbon neutral for 15 years, A2 Hosting has shown commendable
dedication to making moves towards eco-friendly operations. In
addition to getting energy from sustainable sources, its partnership
with carbonfund.org has allowed work on reforestation projects.
The offering for photographers is reasonable too, providing a wide
variety of choice of plans. Prices are a little higher, but you get
performance-boosting features and integrated virus scanning.
0e479381-0069-45af-b2a9-c0a37e1e14de
Kualo
Kualo isn’t as far along the path to being carbon neutral as others, but it
has committed to carbon-offsetting programs and has a dedicated page
that provides updates on its progress. The company uses sustainable
energy sources in both the UK and the US, while its data centre facilities
are rated to be as efficient as possible. It also offers a free website builder
and uses a Machine Learning Firewall and malware protection.
Data centres account
for two percent of
the world’s carbon
emissions – as
much as the
airline industry
Trey Gardner, CEO/Founder
of GreenGeeks
DreamHost
Another hosting service that ultimately aims to obtain all of its energy
from renewable sources, DreamHost has business-wide efficiency-
boosting practices, from using reclaimed water for its cooling plants to
in-house composting for its office kitchens. The company also invests as
a partner in clean wind programs. Starting at just $1.99 per month, you
can get a shared hosting plan that is beginner-friendly and – even better –
if you already use a WordPress site, you can migrate it for free.
65
© Lukas Bieris
PRO ADVICE

Pictured
Shot at sustainability
It’s not easy to run a profitable business
and be climate-conscious. But with a few
simple changes, you should be able to
meet both objectives harmoniously
© Sarayut Thaneerat / Moment via Getty Images

66
0e479381-0069-45af-b2a9-c0a37e1e14de
 Shoot
green
We look at the small changes you can make
to become a more eco-friendly photographer
he conversation about climate
T
change comes and goes, led
by media coverage of high-
profile events but neglecting
some of the key environmental
issues we face today. As
photographers, we probably don’t think of our
business practices as especially damaging to
the environment. When working from a home
studio or fixed location, it can feel as though
we are operating in a bubble that doesn’t
connect much with nature. However, there
are issues other than global warming and
worldwide climate impacts to consider.
0e479381-0069-45af-b2a9-c0a37e1e14de
On a local level, our day-to-day activities can
have significant effects on the environment.
From the production of waste materials to
damaging behaviour when out shooting in the
landscape, we all leave a footprint of which it
can sometimes be hard to keep track.
Many of the negative impacts we introduce
are entirely unintentional and often overlooked.
For this reason, it is useful to review our
workflow to identify weak points in the
sustainability of the operation. It is surprising
how much we throw away and where the
areas for improvement are. The upside is that
we may even save some money in the process.
67
PRO ADVICE

filled memory cards and leave the modelling

Power consumption
As photographers, we use a lot of electricity.
Most of this is unavoidable as we simply cannot
function without power – our cameras need to
be charged, our laptops need to be active for
editing and we need a charge for each of our
studio strobes. However, you should think about
asking yourself whether, during a working day,
you are using more power than is necessary.
A perfect starting point in the journey to
greater sustainability is to reduce unnecessary
power usage. Turn off your gear when it is not
in use and it’s possible to make big savings,
both environmentally and financially. Take a
look around your workspace – if you’re anything
like us at Digital Photographer, it won’t take
you long to find areas of non-optimal efficiency.
Many photographers use multiple screens to
edit their work. This is perfectly acceptable and
arguably essential in some cases, however, if
you don’t need all monitors to be active, then
turn off those that aren’t being used.
The same can be said of strobes. At the end
of a shoot, it is easy to walk away with your
lights burning. This racks up both your carbon
footprint and your energy bills.
When creating a controlled editing setup,
calculate exactly how much light you need
and work out the ideal placement for balanced
intensity. Then turn off all other lights in the
room that aren’t critical for your work.
In the field
When shooting out and about in the field,
always make sure that you minimise your direct
impact on the surroundings. Keep your distance
from wildlife subjects to avoid causing distress
or altering their behaviour. This can have
profound effects on life cycles and the general
well-being of the organisms we shoot.
Macro and plant photographers should limit
their ‘gardening’ of wild environments – try not
to move anything that can’t be composed out
of a shot or retouched later. If you do have to
make physical alterations, try pegging back
stray foliage instead of pruning. If you move any
organisms for shooting purposes, always return
them, unharmed, to where you found them.

When shooting in the field, make sure you

minimise your impact on the surroundings
Right above
Reduced waste
Printing at pre-cut
sizes is effective
when outputting
small numbers of
images, while roll
paper is better for
larger print runs

Right
Snap decisions
Your photography
may affect the
environment but a
few small changes
can make all
the difference

Far right
Lights, action
Modelling lights are
easy to forget about
and leave on in your
studio. A standard
lighting setup helps
remind you when
this happens, as
the extra light is
noticeable

68
0e479381-0069-45af-b2a9-c0a37e1e14de
 SHOOT GREEN

An effective approach is to scout locations

for ideal shooting spots. That way you can
reduce walking on vegetation or other habitats
by setting up in a few pre-identified positions.
Be mindful of damaging roots too – consider
swapping tripod feet to minimise the impact on
the ground upon which you will be shooting.

Sustainable materials
In these pages, we often advise photographers
to print more of their images, however, this
only applies when printing sustainably. Printing
inexperience leads to many failed prints that
need discarding. Papers made from synthetic
materials often require more chemicals to be
used in their production. That means they can’t
be fully recycled, so they end up as landfill.
Eco-friendly papers are those made entirely
from natural materials and sustainable sources,
such as 100 percent cotton papers, from
certified farms. These might be more expensive
to purchase but are likely to have full colour
management support, which can reduce waste.
CARBON
NEUTRAL If you print less regularly, stick to using online
PHOTOGRAPHY print labs, and only those that specify which

© George Milton via Pexels

It’s not possible to prevent all CO2 papers and inks they work with. If you are a
emissions caused by your photography, but professional who prints often, consider using roll
we can work to reduce them. Firstly, if you’re paper and waiting until you have accumulated
looking to buy a second camera, why not search enough orders to fill an area of paper. For one-
the second-hand market for gear? That way you can off jobs, use pre-cut paper sizes – this approach
find some great products that are friendlier to your can minimise the amount of unusable off-cuts.
wallet and to the environment since you are essentially
recycling an item that would otherwise end up as landfill.
Source these items locally and you’ve also limited the
transport impacts. Furthermore, look to green website
hosts that are certified as eco-conscious. Also, why
not use your locality as a selling point? Promote
your business locally to reduce your need
to travel, using this environmentally-
conscious stance as a mutually
beneficial marketing
strategy.

© Carlos Alcazar via Pexel

© Rotolight

69
0e479381-0069-45af-b2a9-c0a37e1e14de
PRO ADVICE
Pro advice
Founder of Urth,
Christian Gibson,
on managing your
environmental impact
What was your inspiration that
made you want to create Urth?
I wanted to create a business that combined
my passion for photography and the
environment. I started Urth myself, working
from a library in Melbourne, designing the
products and establishing the sales channels.
Six months after starting Urth, I left on a
two-year road trip through Latin America
with my friend Chris, who later became
my business partner. On that trip, we
photographed every day, engaging with local
communities and visiting remote locations
whilst living in our van. This trip solidified
Urth’s roots in photography and our passion
for using creativity as a tool for conservation.
For more information, visit: www.urth.co Instagram:
70
0e479381-0069-45af-b2a9-c0a37e1e14de
What makes Urth products different
and how do you feel they set an
example for other manufacturers?
Urth differentiates itself through an obsessive
attention to detail. We thoroughly consider
every aspect of the product, from the
function and form of the physical product
and how it makes you feel when using it, to
the impact it has on the planet. It’s relatively
easy to make a product that meets a minimal
requirement. It’s much more difficult to make
a product that is beautiful, has an intuitive
and enjoyable user experience and leaves a
net positive impact on the planet.
Tell us about some of the main
ways in which photographers can
negatively impact the environment
as part of their day-to-day work?
Firstly, you should be conscious of the
amount of gear you have. Cameras, lenses
and other camera equipment can be carbon-
intensive to produce, so only buy and own
@urth
© Welton Souza via Pexel
what you need. I am often surprised at
how much gear some photographers have,
a lot of it probably sits around gathering dust
for most of the year. Secondly, travelling is
often part of the job, which is amazing as
you get to see beautiful parts of the planet,
but consider offsetting flight emissions and
strategically planning routes and projects to
reduce unnecessary travel.
Do you feel photography is an
effective medium that can bring about
awareness of climate challenges?
Definitely. Everyone is fully aware of the
climate challenges our planet faces. We know
this through the images and videos we see
on the internet and TV, and sparingly through
lived experiences. It’s critical to document
climate change and climate challenges so
that there is awareness at the global level of
what is happening. Science is what drives the
facts and the data, but images touch people’s
hearts and drive them to action.
 NEXT ISSUE

Next issue
The latest kit reviews, tutorials and
projects to hone your photo skills

Issue 253 is on sale

17 May 2022
Read these essential features:
• Get more from your lenses Plus
• Create stunning portraits in natural light
• Winning travel images and how to capture them FREE
EXPERT ADVICE eB o ok
guide

BETTER
BIRD
PHOTOS
Discover the pro gear and techniques you
need for captivating avian images, with
© SMWPHOTO / iStock via Getty Images

insights from inspirational pro photographers

Available at www.magazinesdirect.com
71
0e479381-0069-45af-b2a9-c0a37e1e14de
GO PRO
Career advice
Looking to exhibit as a group or need some covers
to keep your kit dry? Claire Gillo offers her advice
Keeping your
camera kit dry
I’m going to be photographing some
local rugby matches on a monthly basis
throughout the year and, while my
camera and kit seem watertight in light
drizzly conditions, I’m worried about it if
the weather gets worse. Do you have any
advice on which waterproof kits to look
for? I need something to cover my long
Canon 100-400mm f/4.5-5.6 L IS II lens.
Michael Hensby
Keeping your kit protected in bad weather
conditions is a great idea, especially if you
are regularly going to be in unpredictable
conditions. We’ve had a look around and
we’ve found a range of options for you.
Vanguard’s Alta camera Rain Cover
comes in a range of sizes and simply wraps
around the end of your lens and hangs
over the lens and camera body. A large Alta
cover from Amazon costs under £26.
The Storm Jacket SLR PRO Large in black
comes in at £52 from WEX or the Wildlife
Watching All-In-One Reversible Camera and
Lens Cover Size 2.5 Advantage retails from
the same company at a little over £60.
Another option to keep your lens
protected is to purchase a lens coat. The
one for a Canon 100-400mm f/4.5-5.6 L IS
II, the Realtree Advantage Max4 HD, retails
around £92. The advantage
of a lens coat is that you can
access your lens far easier
and adjust the settings. This
brand is marketed at wildlife
and sports photographers
who often face the elements.
Although there are many
budget options around, we
recommend that if you are
going to be using it on a
regular basis, purchase a
product of better quality and
avoid anything too cheap and
badly made.
If you shoot regularly, don’t be
tempted by budget options when
it comes to protecting your kit
72
0e479381-0069-45af-b2a9-c0a37e1e14de
Group exhibitions
I’m a photography graduate who wants to
become a portrait photographer. What top
tips can you give me for starting out and
what kit should I invest in?
Hannah Davies
Getting involved with group exhibitions is a great
way to showcase your work and widen your
network. When it comes to working with others,
good communication is the key. Make sure you
listen and are listened to – you want to ensure
your opinions and concerns are heard too.
There are a few major things on the checklist
to consider, the first being cost. Are you
renting a space? How are you splitting the
cost? Consider hidden costs such as opening
evening drinks and how you will split the bill. For
example, if one photographer has more space
in the show, should this reflect in how you split
the rental costs? These things need to be ironed
out before you begin. It is worth documenting
all proposed plans as you go so everyone has in
writing what has been agreed.
Worried about fee increase
I’ve been a photographer for three years
and I’ve never raised my fee. With the
sudden jump in living costs,
I don’t know if I can afford
to keep charging what
I am. I’m worried that
if I hike my prices
up I won’t get
the work in. Any
advice?
Julia Newman
We are living in
uncertain times,
with businesses
feeling the squeeze,
as the hike in living
costs is added to by
the war in Ukraine and
a two-year pandemic. If you ©krisanapong detraphiphat/
Moment via Getty Images
can’t afford to pay the bills, you
won’t last much longer, so it’s important to
reflect on your prices and increase your rate.
To give you an idea of how you can calculate
your fee increase, some photographers look
© Matthias Ritzmann/ The Image Bank via Getty Images
Exhibiting with other photographers is a great
opportunity to network and reduce the cost, but make
sure you are all on the same page before you start
You will also want to consider your ambitions
for the show and how they match with those
you are exhibiting with. Does your work attract
the same audience or are you after different
clients? Also, consider how your work looks
alongside others. If you have different styles,
you may need to be clever in how you present it.
Think about framing and how the show works as
a whole, as well as on an individual basis.
at the rate of inflation as a starting point. Due
to current circumstances, the inflation rate
for 2022 will be much higher than a ‘normal’
financial year. The Consumer Price
Index (CPI) shows that the cost of
living has already risen to 5.5%
so take this into account.
In your price increase,
also consider what
equipment you have
bought over the year,
and how your skills
have improved as a
photographer to ensure
these elements are being
reflected in your price.
As you haven’t raised your
prices for a couple of years, we
would suggest making a small
increase as a starting point, then
reflect on this again in six months and
increase it if necessary. That way, it won’t
come as too much of a shock to your clients.
Increase your fee on a yearly basis, or you may
reach a point where you can no longer continue

Bringing photographers together
Documentary and wedding photographer Maria Reaney
from Birmingham explains how her Iso Kids project in
lockdown inspired her to work with other photographers
Tell us about your project,
Iso Kids, and how you
came up with the idea?
When the pandemic hit, the
wedding industry, as with
many other segments of
society, was brought to a
complete standstill. National lockdowns meant
people experienced incarceration in their
own homes. Families’ private spaces became
their only spaces; fear ensued and we locked
ourselves away to stem the spread of the virus.
Unable to photograph weddings, I turned
my gaze to my children. This historical and
unprecedented time felt so important to
document. The light changed due to less
pollution and the much slower pace of life
meant I was noticing small changes in my
children’s behaviours and emotions. We all felt
discomfort, financial worry and monotony.
I sensed these emotions needed to be
embodied in photographs that conveyed an
honest and authentic representation of social
starvation and family life in 2020.
Find out more about Maria and Iso Kids at www.mariareaney.com and www.silverleafphotography.co.uk. Follow
0e479381-0069-45af-b2a9-c0a37e1e14de
As time passed, I started to build up a
number of pictures and began posting
them on Instagram. As a newbie to Insta,
I came across a unique world of woman
photographers documenting in their
homes too. The power of the photograph
as a historical document is how I became
entranced by photography in the first instance.
To see such beautiful work about such a
poignant time in human existence; I was
inspired to create a collection called ‘Iso Kids’
depicting children globally in isolation.
Why did you want to work with other
photographers in the industry, rather
than doing it as a solo project? And what
have you learnt out of the process?
Throughout this time, I connected with many
photographers online and started to tell people
about my project. I requested submissions and
imagery began pouring in. I also reached out to
photographers whose work I admired – many
replied immediately and instantly connected
with the concept.
x4 ©Maria Reaney
Above
Lockdown time
Maria Reany’s Iso Kids project
documents the emotions
experienced by children during
the global pandemic, including
frustration, boredom and isolation
I asked people to use the hashtag
#isokidsopen to enter work into the open call
and before long, a strong set of cohesive and
powerful independent imagery emerged.
This process has helped me to grow not only
as a documentary and portrait photographer
but also in experiencing the beauty of curating
work to showcase genuine narratives. The
media occasionally touched on home life, but
I felt the impact was not truly recognised.
What have you got planned for the final
image selection from the project?
A final selection of 35 photographs by 18
photographers from seven countries has been
chosen for print. They were selected by a team
of four judges, including representatives of
Young Minds UK, professional photographers
and photography writers. The Iso Kids
collection will tour art galleries in Birmingham
before showcasing throughout the UK. The
project will be running in support of Young
Minds UK, a charity committed to improving
children’s wellbeing and mental health.
@silverleaf_photography and @maria_reaney
73
INTERVIEW

Adam Bird
Adam is a fine art and
portrait photographer
based in the West Midlands,
UK, whose clients include
Adobe, Disney, Panasonic,
Cosmopolitan and HELLO!
magazine. Adam also shoots weddings
and sells his fairytale-like presets so that
other photographers can enjoy his style.
To see more of Adam’s work:
www.adambirdphotography.com
@adambirdyy

Adam
Bird Stunning portraits from a social media sensation,
inspired by Disney, Harry Potter and more
Interview by: Lauren Scott
All images © Adam Bird

74
0e479381-0069-45af-b2a9-c0a37e1e14de
 Pictured
The Moon Is Down
Model: Jodi Lakin
“One of my favourite parts
of photography is creating
magic in the most ordinary
of places,” says Adam

75
0e479381-0069-45af-b2a9-c0a37e1e14de
INTERVIEW

H
ey Adam. Where in the world
are you and what are you
currently working on?
I’m from a small town in the
West Midlands part of the
UK, and I’m currently
preparing for wedding season as well as
working on a Harry Potter photo series.

Tell us about your journey in

photography. What made you start
shooting professionally?
I’d say that I started taking photography
seriously as a teenager. There wasn’t an option
to study photography at school, so instead,
I would spend hours watching tutorials online
and practising doing mini-shoots with my twin
sister. I would then share the images online
and managed to gain a small following. That
led to enquiries and paid jobs, which made me
realise I could make a career out of it.

How would you describe your images

and photographic style to somebody
who has never seen them?
I’d describe my photography style as surreal,
whimsical and dreamy.

What was your first camera, and

what kit do you shoot with now?
My first camera was a Nikon D3100, which
was an entry-level DSLR with an 18-55mm
kit lens. I now shoot on a Canon 5D Mark IV
and my typical camera bag includes a 35mm,
50mm and 85mm 1.4 lenses.

What are your typical camera

settings and techniques?
I always shoot in manual mode and my
go-to camera setting is to shoot with a
wide aperture. I love shooting wide open at
something like f 1.4, as it gives my work a soft
and dreamy quality. I also try to keep my ISO
as low as possible as I prefer to add in grain
afterwards whilst editing.

Your portfolio features a lot of portraits
inspired by Disney and Harry Potter.
How do you come up with your ideas?
A lot of my inspiration comes from nature and
storytelling. Growing up, I adored watching
Disney movies and I’ve been lucky enough
to photograph their newest wedding dress
collection. My Harry Potter photo series
actually started out as a lockdown project. I
really missed creating during those first few
months and, as I couldn’t shoot with models,
it was a great theme to work with for self-
portraits. I already had a cloak and a wand
from a Halloween party, so I decided to get
creative and see what I could come up with.
Do you spend a lot of time editing your
work and are presets involved?
I love the editing aspect of photography just
as much as physically shooting the image. I
will spend hours creating and compositing
scenes in Photoshop and then move over to
Lightroom for colour adjustments. I always
tweak images individually but I save my
presets as I go along so I can use them as a
base for future images with a similar theme.
Above
The Charm of Levitation
Model: Holly Stones
“Throughout lockdown, I was
rewatching all the Harry Potter
films and it inspired me to
shoot this series of images”
Right
Harry Potter Series
“I’ve always wanted to shoot
a shadow image, but never
felt I had the right concept.
Everything was shot in camera,
except the feather,” says Adam

I love the editing aspect of photography

just as much as physically shooting
76
0e479381-0069-45af-b2a9-c0a37e1e14de
 ADAM BIRD

77
0e479381-0069-45af-b2a9-c0a37e1e14de
INTERVIEW

Where do you find the right props

and locations for your shoots?
I find a lot of my props online (eBay and
Facebook marketplace are particularly great)
or I’ve found them in charity shops. I like my
images to have a timeless feel, so I tend to go
for items that have more character to them
and more of a ‘worn’ look. I love to travel, so
I usually just take photos on my phone of
places that inspire me. I’ll also find locations
through Google maps or even Instagram
places, as they show the most recent photos
of a location.

How important has social media been

for you to grow as a photographer?
Social media has played a huge part in my
career because it has opened so many
doors and opportunities for me – I certainly
don’t think I’d be where I am now without it.
However, it’s important to not get caught up
with likes or following trends as social media
moves on so quickly.

It looks like you often shoot content for

partners, such as Adobe. How do these
partnerships or collaborations come
around, and do brands come to you?
Most brands find me through Instagram and
reach out via email. It does help to have a
following, however, I think some brands have
found me just through hashtags. My top tip
would be to tag relevant brands in your work
– if you’ve done quite a big photoshop edit,
I’m sure the people at Adobe would love to
see it! Also, if you’re using any branded items
or clothing in your work, I would message the
designer personally and show them your work.

What tips would you give for any

photographers who want to follow
a similar career?
My biggest tip would be to shoot as much
as possible. At the start of my career, I shot
all sorts of things (babies, proms, pets,
families) until I found my love for conceptual
photography. It’s a great way of seeing what
you’re drawn to and will help create your
own style with shooting. I’d also say to join a
community like Instagram or Flickr. There are
so many other people out there who share
a love for the same thing. The great thing
about these platforms is that there are often
competitions or weekly challenges you can join
in which is really inspiring!

You’ve also got a gorgeous wedding

portfolio. Is it very different shooting
weddings to commercial content?
My approach to photography changes when
shooting weddings as you have one chance
to capture a moment and that’s it. Whereas
with my fantasy photography, my images
are staged and I usually plan every element
myself, including the location, styling and the

78
0e479381-0069-45af-b2a9-c0a37e1e14de
 ADAM BIRD

Adam’s kitbag
The gear Adam uses to create his imagery
1. Wacom Pen
2. Canon RC-6 Remote
3. Manfrotto Tripod
4. Sigma 35mm F1.4 DG HSM Lens 1 2
5. Zeiss Lens Wipes

4 5

Opposite Left Below

On Hold Midsummer The King of the Lake
Model: Debbie McGregor Night’s Dream “This self-portrait was shot
“I shot all sorts of things Model: Rosie Hardy in a paddling pool in my
until I found my love for “I chose a painterly look as garden, using black fabric
conceptual photography” I’m drawn to soft tones” and lily pads from a canal”

79
0e479381-0069-45af-b2a9-c0a37e1e14de
INTERVIEW

Above
concept, and I’ll spend hours in Photoshop The Land of Colour
crafting one single image rather than a full Model: Jodi Lakin. “With
gallery. Another big difference is that I want my fantasy photography, I
my wedding photography to be as true to the spend hours in Photoshop
crafting one single image”
day as possible and that’s definitely not the
case with my other work. Left
The Black Widow
Where would you like to be in five years? Model: Rachel Perera
I’ve never really had a goal with photography “I love creating characters
in my pictures. Here, this
as I normally take each day as it comes.
one is the Black Widow”
But I hope in five years’ time that I still hold
the same passion as I do now and perhaps Right
would like to see more of my work in the real The Sky’s The Limit
world rather than behind a screen. There’s Model: Immy Lyon. “One
something really magical about seeing your of my favourite quotes is
‘If you can dream it, do it’.
images in print and it would be quite cool to
I use it in my photography”
have a gallery of my work.

Lastly, share something that may surprise

us and your thousands of Instagram fans.
Believe it or not, I still have no idea how to use
half of the tools in Photoshop!

80
0e479381-0069-45af-b2a9-c0a37e1e14de
 ADAM BIRD

81
0e479381-0069-45af-b2a9-c0a37e1e14de
THE GALLERY

Pictured
Winner: Best Portfolio
Csaba Daroczi from Hungary
won the Best Portfolio Award
for his shots, including this
one of rabbits fighting in mid-
air. "Through my binoculars,
I saw the rabbits jump up
into the air, for example,
when they were fighting for
food. I found this behaviour
fascinating to watch,” he says.
© Csaba Daroczi

The Gallery
WildArt Photographer of the Year 2021
82
0e479381-0069-45af-b2a9-c0a37e1e14de
WildArt Photographer of the Year Awards 2021
In its first year, the WildArt Photographer
of the Year contest had over 10,500
entries from 700 photographers in 47
countries. The WildArt Photographer of
the Year was Csaba Tokolyi from Hungary,
while Csaba Daroczi, also from Hungary,
took the Best Portfolio Award and
D’Artagnan Sprengel from New Zealand
0e479381-0069-45af-b2a9-c0a37e1e14de
won Young Photographer of the Year. This
year's WildArt POTY competition, featuring
prizes totalling over £18,000, is now open
for entries, with ten individually-themed
competitions running throughout 2022.
To view all the 2021 category winners
and to register for this year’s competition,
visit: www.wildartpoty.com
83
THE GALLERY

© D’Artagnan Sprengel

84
0e479381-0069-45af-b2a9-c0a37e1e14de
 © Mohammad Murad

WildArt POTY rewards original,

© Csaba Tokolyi

creative and artistic approaches

Above left
Photographer
of the Year 2021
Csaba Tokolyi took the
overall prize with this
shot, ‘Whale Sharks
and Tourists’

Left
Winner: Young
Photographer
of the Year 2021
D’Artagnan Sprengel
fron New Zealand took
this spectacular shot of
glow worms in a cave

Above right
Motion (Adult)
Mohammad Murad, of
Kuwait, took this shot
of a baby elephant
moving with the herd

Right
Space (Adult)
Adam Stunkel from
the United States
took this shot of an
owl in Portland
© Adam Stunkel

85
0e479381-0069-45af-b2a9-c0a37e1e14de
THE GALLERY

© Amit Eshel

86
0e479381-0069-45af-b2a9-c0a37e1e14de
 © Rachel Piper

Left Above Below left Below middle Below

Colour (Adult) Abstract (Adult) Connection Wet (Adult) Light (Adult)
This shot of a stingray Rachel Piper (Adult) Polish photographer Austrian Bernhard
© Jan Piecha

in The Maldives was (UK) caught this Amit Eshel (Israel) Marek Mierzejeski Schubert caught a
taken by Jan Piecha spider's web in the shot these pumas spotted these two cockroach against
from Germany morning sun in Patagonia, Chile beautiful butterflies the bracket fungus
© Marek Mierzejewski

© Bernhard Schubert

87
0e479381-0069-45af-b2a9-c0a37e1e14de
PHOTOCROWD COMPETITION
THE BEST OF ABSTRACT & CREATIVE
The winners of our latest contest with Photocrowd have been revealed
F
or our latest competition in association with
Photocrowd, we challenged you to submit your
best abstract and creative shots. After working
through all the entries, the winners have been
selected. Both crowd-voted and expert winners will
win a licence to Affinity Photo professional editing
software. Congratulations to all of the winners – as
usual, the standard of submitted images was
extremely high and it was a difficult task to pick out
the best ones.
WIN! Prizes from Affinity
Enter our Wild Landscapes contest, in association with
Photocrowd, before 13 May 2022 for a chance to win
For our Wild Landscapes contest, get your walking boots on
and head away from civilisation. Focus on weather events and
dramatic landscapes, such as waterfalls, coastlines or misty
forests. Take us somewhere only dedicated photographers go!
Enter at www.photocrowd.com/digitalphotographer from
29 April for a chance to win a licence to Affinity Photo editing
software (worth £48.99 for Mac or Windows). Affinity Photo
is a toolset engineered for modern photography professionals.
88
0e479381-0069-45af-b2a9-c0a37e1e14de
1ST PLACE WINNER
Architectural Frill
Photographer: Debarshi Mukherjee
Our comment: We received a lot of urban images in this round, with
architecture featuring heavily. You have to work hard to make such
images your own and not rely on the design itself, and this image perfectly
demonstrates that point. The photographer has found an intriguing aspect
of the wider scene and composed it in such a way to control context, which
is the most important aspect of abstract photography. Very well done!
Whether you’re editing and retouching or creating multi-layered
compositions, it has the power and performance you need.
Affinity Photo features non-destructive editing, RAW processing,
real-time edits and colour management as standard.
Winners of this Photocrowd contest will be notified by
email and can pick between Mac, Windows or iPad versions of
Affinity Photo. The winning images will be revealed in issue 254
of Digital Photographer, on sale 14 June 2022.
Architecture featured heavily in this round 2ND PLACE
Abstract perspective
Photographer: Howard Mason
Our comment: Many abstract shots are
close-ups, whether they are building details
or actual macro images of small objects.
However, this image has a great sense of
scale. We love the combination of long
exposure, central composition and colour.
Well seen and put together.

3RD PLACE
Window abstract
Photographer: Sarah Mawdsley
Our comment: What a festival of colour! It’s
almost reminiscent of a Rothko painting and
makes great use of the strong primary colours
found in the architectural design. Once again,
this image demonstrates the importance of
isolating the important areas of the frame to
make a shot out of the larger scene. Great
choice of composition and focal length.

89
0e479381-0069-45af-b2a9-c0a37e1e14de
GURUSHOTS

Guru Shots
We joined up with online photography game GuruShots to
print the winning images from the Beautiful Nights challenge
GuruShots is billed as the world’s Challenges are voted on by Gurus and the
leading photography game. It’s an wider GuruShots community, and there’s a
online platform that gives global fresh competition brief, such as the Beautiful
exposure to people who love taking photos. Nights challenge, every day.
GuruShots members start as Newbies and All the winners receive prizes from
compete with other photographers to win GuruShots’ sponsors, including Lowepro,
challenges, increase their ranking on the site Kodak and Lensbaby. For more information,
and eventually progress to ‘Guru’ status. visit www.gurushots.com

90
0e479381-0069-45af-b2a9-c0a37e1e14de
WINNER (left) WINNER (above) WINNER (below)
Top photographer: Top photo: Guru’s top pick:
Pata Nahee Iran Darren McMillan Australia José Manuel Infiesta Spain

91
0e479381-0069-45af-b2a9-c0a37e1e14de
GURUSHOTS

Above, clockwise from top left: Andre Miranda Brazil; AxeHoleBarista United States; Babak Rahimifar Iran; Freedom Peace Lithuania;
Ronaldo Diláscio Brazil; cmdinyar United States

Above, clockwise from top left: edemiherran Trinidad & Tobago; explorerdigitalart United States; Debbie Louez Australia;
Fabiano Santos United States

92
0e479381-0069-45af-b2a9-c0a37e1e14de
 GURUSHOTS

Above, clockwise from top left: Hans Comprix United States; Kim Wright Australia; Marketa Zvelebil France; Ilan Horn Israel

Above, clockwise from top left: Nicolene Dreyer Australia; Nikolay Tatarchuk Israel; Olga Zeltser United States;
Renee Dusha United States; PrimeTime United States; Peter Beckwermert United States

93
0e479381-0069-45af-b2a9-c0a37e1e14de
CREATE TO CAPTIVATE
ALL YOUR FAVOURITE BRANDS PLUS HUNDREDS OF DEMOS
MAS TER CLA SSE S AND WOR KSH OPS . BE INS PIR ED.
TICK ETS ON SALE SOO N

V I S I T P H O T O G R A P H YS H O W. C O M F O R I N F O Supported by:
0e479381-0069-45af-b2a9-c0a37e1e14de
 96
Wildlife KIT INTRO
superzooms
For wildlife photography,
a superzoom lens keeps your
options open and your wild
animals frame-filling. We test
the latest and greatest optics,
from Canon, Nikon
and Tamron.

Kitintro
The expert and independent reviews of gear we’ve bagged this issue
104 Panasonic GH6
The long-awaited Panasonic Lumix GH6
is finally here. Its video specifications are
110 Lenses
We take two professional optics out into
the field and test their performance. This
staggering, but how does it perform for stills? month, it’s the Panasonic Lumix S 16-35mm
Check out the features and foibles of the model f/4 and Nikkor Z 100-400mm

108 Tenba Fulton v2 16L bag 112 Accessories

Tenba’s popular backpack collection welcomes It’s the little things that can enhance your
a larger capacity, plus all-day protection for photography. We’ve rounded up ten of the best
shooting in rough weather. We try it on for size photo gadgets and gifts to add to your kitbag

Our ratings Product awards Lab testing

Our team of trusted and expert Digital Photographer’s awards are given out Some of our product reviews also
reviewers score gear thoroughly to when a product really catches our attention. have in-depth lab data, graphs and
help you make better buying choices. Here are our three most used accolades. scores. This means that the kit has
Don’t go there been subjected to more rigorous
Could be better testing. Lens tests are carried out
Solid performer using Imatest, and cameras are tested
Excellent bit of kit in our laboratory using DxO Analyzer
EDITOR'S BEST VALUE INNOVATION
Best on the market CHOICE AWARD AWARD hardware and software to check the
image noise and dynamic range.

95
0e479381-0069-45af-b2a9-c0a37e1e14de
REVIEWS

96
0e479381-0069-45af-b2a9-c0a37e1e14de

GO WILD WITH A
SUPERZOOM
For wildlife photography, a superzoom keeps your options open. Here’s the best of the breed
Think wildlife photography and
you’re probably thinking of monster
telephoto lenses that allow you to
keep a respectful distance and be non-
intrusive – and maybe not get eaten in the
process. But it’s not always that way. You
can find yourself up close and personal with
tamer beasts, where a more standard focal
length fits the bill. Or you might even want
to capture a herd of animals in the grander
context of a sweeping landscape.
One thing’s for sure when shooting wildlife,
you can always expect the unexpected. You
often have to react quickly to capture the
0e479381-0069-45af-b2a9-c0a37e1e14de
definitive moment and that simply won’t
be possible if you need to swap lenses on
your camera. It’s times like these when a
superzoom comes into its own, giving you
everything from a wide-angle perspective to
good telephoto reach at the flick of a wrist.
We’ve rounded up four of the best of the
breed. For designers and manufacturers,
nearly all of the attention is on lenses for
mirrorless cameras nowadays, so it’s no
surprise that the latest and most exciting
superzooms fall into this category. For Canon
EOS R and Nikon Z series cameras, there are
the Canon RF 24-240mm F4-6.3 IS USM and
GROUP TEST
Nikon Z 24-200mm f/4-6.3 VR, respectively,
the Canon giving a little more telephoto
stretch than its Nikon rival.
The Tamron 28-200mm f/2.8-5.6 Di III
RXD for Sony E-mount cameras is more
modest in its overall zoom range, losing
out at the wide-angle end. By contrast, the
Tamron 18-400mm f/3.5-6.3 Di II VC HLD for
Canon and Nikon APS-C format DSLRs really
pushes the boat out, with a mighty zoom
range – its extraordinary telephoto power
effectively being further boosted by the crop
factor of these cameras. Let’s take a closer
look at what they have to offer.
97
REVIEWS

FILTER THREAD
The physical dimensions
are almost identical to
the Tamron 18-400mm,
CUSTOMISABLE
with the same 72mm FOCUS RING
filter thread. A Focus/Control switch
enables the selection
of alternative functions
during autofocus, like
the adjustment of
aperture and ISO.

PRICE: £959/$899
FUNCTION
SWITCHES

Canon RF 24-240mm Additional switches

include on/off for
the 5-stop optical
image stabiliser

F4-6.3 IS USM
and zoom lock.

It’s weighty for a superzoom but manageable for prolonged handheld shooting in the wild
This Canon’s 10x zoom range beats that of systems of the EOS R3, R5 and R6 cameras.
Sharpness
the other full-frame compatible superzooms It also allows for smooth and virtually silent
3000
on test, matching the Nikon for a generously autofocus transitions during video capture.
wide-angle view at the short and beating The manual focus ring is electronically
both the others for telephoto reach. It’s no coupled. That’s par for the course, but the 2500

surprise then that the Canon is a little larger lens also features a Focus/Control switch.
and heavier than its full-frame competitors, With the latter, you can assign various 2000

with a 72mm rather than 67mm filter thread functions to the focus ring when in autofocus
and weighing in at a still manageable 750g. mode, such as control over ISO and exposure 1500
Build quality feels solid although, typically compensation. It’s useful for enabling stepless
of Canon’s non-L-series lenses, it doesn’t aperture control when shooting video.
1000
feature any weather-seals and the petal- The optical path includes aspheric and UD
shaped EW-78F hood is sold separately for (Ultra-low Dispersion) elements, plus Canon’s
500
around £35/$40. Handling is refined with an old-school Super Spectra Coating. The net
easy-action zoom ring that comes complete effect is good sharpness, boosted in handheld
with a locking switch, although our review shooting by an effective 5-stop optical image 0
f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
sample didn’t suffer from any zoom creep. stabiliser, along with good resistance to
Autofocus is driven by Canon’s Nano USM ghosting and flare. Centre Middle Edge

motor, as featured in a growing range of its
recent lenses. It’s particularly rapid for stills
and able to keep pace when tracking wildlife,
especially when coupled with the amazing
animal- and bird-detection autofocus
However, as with many recent lenses for
mirrorless cameras, including the Nikon on
test, performance is pretty dire in terms of
distortion and colour fringing, relying heavily
on automatic in-camera corrections.
Centre-sharpness is exceptional for a superzoom
lens, with consistently high scores at all zoom
settings, although edge/corner-sharpness drops
off noticeably at both ends of the zoom range.

98
0e479381-0069-45af-b2a9-c0a37e1e14de
 GROUP TEST

CONTROL RING
FLARE PROTECTION As with the Canon lens,
The Nikon features high-tech the rear control ring can
ARNEO Coat, Nano Crystal be customised to perform
Coat and Super Integrated a range of functions
Coating and, unlike including stepless
aperture control and MULTIPLE
the Canon lens, comes WEATHER-SEALS
complete with a hood. exposure compensation.
The metal mounting
plate features a
weather-seal to guard
against the ingress of
dust and moisture, and
there are additional
weather-seals around
other joints.

PRICE: £949/$897

Nikon Z 24-
200mm f/4-6.3 VR
A lightweight in construction but not in performance, the Nikon is a formidable all-in-one lens
With the same wide-angle potential as the
Canon lens on test, this Nikon doesn’t stretch
quite as far in telephoto reach, but there’s
not a whole lot in it. The plus points of the
more modest zoom range are that the Nikon
Based on a linear stepping motor,
Sharpness
autofocus is quick and practically silent,
3000
delivering good tracking performance along
with smooth autofocus transitions for
video capture. The 4.5-stop VR (Vibration 2500

has a smaller, more lightweight build. It’s the Correction) is on a par with the Canon
lightest lens in the group and only a little over lens’s optical stabiliser and performance 2000

two-thirds the weight of the Canon. is effectively boosted with Nikon’s Z-series
Build quality and the precision of the cameras that feature in-body stabilisation. 1500
controls feel similar to those of the Canon It’s even more of a ‘must-have’ feature
lens, but the Nikon adds multiple weather- when using the lens on an APS-C format
1000
seals and comes complete with a hood and body, such as the Z 50 and Z fc, which lack
pouch, rather than these items being sold IBIS. The lens gives a useful ‘effective’ zoom
500
separately as ‘optional extras’. range on these cameras, equating to 36-
High-tech glass and coatings include two 300mm in full-frame terms.
ED (Extra-low Dispersion) elements, one There’s little to choose in the lab scores 0
f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
aspherical ED element, two further aspherical for sharpness between the Canon and Nikon
elements and the application of Nikon’s high- lenses, although the Nikon proved sharper Centre Middle Edge

performance ARNEO Coat and Nano Crystal
Coat, as well as the more conventional Super
Integrated Coating. A fluorine coating is
also featured on the front element to repel
moisture and grease and to ease cleaning.
towards the edges and corners of the frame
in our real-world tests. Again, the lens relies
on automatic corrections in-camera or
when processing raw files to take care of
distortions and colour fringing.
Levels of centre-sharpness throughout the zoom
range are similar to those of the Canon but, in
our tests, the Nikon proved sharper towards the
edges and corners of the frame.

99
0e479381-0069-45af-b2a9-c0a37e1e14de
REVIEWS

WEATHER-SEALS
Multiple weather-seals
are fitted, including a
rubber O-ring around the
metal mounting plate.

FOCUS RING
The focus ring rotates
during autofocus but,
being at the front end
and a little recessed, it
shouldn’t affect handling.
MODE SWITCHES
Switches are on hand
for VC on/off and AF/MF
focus modes, and there’s
also a zoom lock switch.
PRICE: £599/$649

Tamron 18-400mm
f/3.5-6.3 Di II VC HLD
This Tamron superzoom for APS-C format cameras gets you really close to faraway wildlife
This unique superzoom lens was originally
designed for Canon and Nikon APS-C format
DSLRs but is also compatible with EOS R and
Z series mirrorless cameras via the respective
mount adapters. The only catches are that
modulated Drive) motor, which is quick and
Sharpness
quiet. Unlike the other lenses on test, the
3000
focus ring rotates during autofocus and
there’s no full-time manual override. Handling
isn’t affected as the focus ring is positioned 2500

early examples will need updating to firmware at the front of the lens, which limits the risk
2.0 and, on full-frame bodies, you can only of your fingers interfering with the rotation. 2000

shoot in ‘crop’ mode. The crop factor for The construction features various weather-
Nikon and Canon APS-C bodies is 1.5x and seals, including one on the metal mounting 1500
1.6x respectively, giving a mighty effective plate. VC (Vibration Compensation) is
zoom range of either 27-600mm or 28.8- important, given that no Canon or Nikon
1000
640mm. Either way, that takes you firmly into DSLRs have in-body stabilisation. However,
super-telephoto territory and from a relatively it’s rather less effective than in most recent
500
compact, lightweight package. Tamron lenses, with 2.5-stop performance.
Measuring 79x124mm, the Tamron is a Despite its supersized zoom range,
millimetre slimmer and longer than the sharpness is pretty much as good as in 0
f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
Canon 24-240mm lens on test, and a little Tamron’s older 16-300mm and 18-300mm
lighter at 710g. Aiming to keep the size down lenses, but it’s poorer than in all of the other Centre Middle Edge

and the quality up, the optical design includes
two moulded glass aspherical elements and
one hybrid aspherical element, along with
three low-dispersion elements. Autofocus
is driven by an HLD (High/Low torque-
lenses in this test group. Barrel distortion is
noticeable at 18mm but pincushion is fairly
mild at medium to long zoom settings. At
the long end, colour fringing can be evident
towards the edges and corners of the frame.
Sharpness is decent for an old-school superzoom
designed for DSLRs but drops off at longer zoom
settings. Throughout the zoom range, sharpness
is no match for the newer ‘mirrorless’ lenses on test.

100
0e479381-0069-45af-b2a9-c0a37e1e14de

FOCUS RING
Like the Canon and Nikon lenses,
the Tamron has an electronically
coupled focus ring, but this time
it lacks customisation options
for alternative functions.
PRICE: £849/$899
Tamron 28-200mm
f/2.8-5.6 Di III RXD
The zoom range is sizeable but less ‘super’ than the other lenses on test
With its modest 28-200mm range, Tamron’s
superzoom for Sony E-mount mirrorless
cameras is neither particularly wide-angle nor
telephoto. Even so, it gives a useful sweep of
focal lengths on full-frame bodies, boosted to
42-300mm on APS-C format cameras.
At its shortest focal length, the Tamron
is a whole f/stop faster than the Canon
and Nikon lenses and shrinks less to f/5.6
at the long end. Optical highlights include
GM (Glass Moulded Aspherical), hybrid
aspherical, LD (Low Dispersion) and XLD
(eXtra Low Dispersion) elements. Tamron’s
BBAR (Broad-Band Anti-Reflective) coating is
also applied to minimise ghosting and flare.
Autofocus is taken care of by an RXD
(Rapid eXtra-silent Drive) system, based on
a stepping motor, with the same advantages
as for the Nikon lens. The system is also
compatible with Sony’s latest Fast Hybrid
AF, Eye AF and DMF (Direct Manual Focus)
modes. However, the lens lacks Tamron’s
VC (Vibration Compensation) optical image
0e479381-0069-45af-b2a9-c0a37e1e14de
GROUP TEST
SINGLE SWITCH
There’s no auto/manual focus
switch here. In fact, the only
physical switch on the lens is for
locking the zoom mechanism.
WEATHER-SEALS
Multiple weather-
seals are fitted to the
mounting plate and
around other joints, and
there’s a fluorine coating
on the front element.
stabilisation system – a disadvantage when
Sharpness
using Sony’s first generation of full-frame
3000
mirrorless cameras and most APS-C format
bodies, which lack in-body stabilisation.
The construction includes weather-seals 2500
and a fluorine coating on the front element.
The usual zoom lock switch is also featured, 2000
even though our review sample didn’t suffer
from zoom creep. Handling is refined, with 1500
smooth operation of the zoom ring and a
precise electronically coupled focus ring.
1000
Sharpness is impressive, throughout the
entire zoom range and across the whole
500
image frame. Distortions are well controlled
even without relying on in-camera correction,
with mild barrel distortion at 28mm and 0
f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
pincushion being most noticeable in the
central part of the zoom range. Colour Centre Middle Edge
fringing is negligible through most of the Levels of sharpness across the image frame are
zoom range and minimal at the longest marginally less impressive than from the Canon
setting. The Tamron is a strong performer and Nikon lenses on test, but significantly better
and what it lacks in outright zoom range, it than from Tamron’s 18-400mm superzoom.
makes up for in optical quality.
101
REVIEWS

EDITOR'S
CHOICE

www.canon.co.uk www.nikon.co.uk www.tamron.eu www.tamron.eu

Canon RF 24-240mm Nikon Z 24-200mm Tamron 18-400mm Tamron 28-200mm

F4-6.3 IS USM f/4-6.3 VR f/3.5-6.3 Di II VC HLD f/2.8-5.6 Di III RXD
Price FEATURES Price FEATURES Price FEATURES Price FEATURES
£959/$899 There’s a generous £949/$897 The autofocus and £599/$649 The Tamron’s £849/$899 The feature set is
zoom range, Nano optical stabilisation standout feature pretty impressive
USM autofocus systems work is its mighty zoom overall but with the
Elements/ Elements/ Elements/ Elements/
and a customisable well, as do the range and extended glaring omission of
groups groups groups groups
focus/control ring. multiple coatings. telephoto reach. optical stabilisation.
21/15 19/15 16/11 18/14

Angle of view Angle of view Angle of view Angle of view

(diagonal) BUILD (diagonal) BUILD QUALITY (diagonal) BUILD QUALITY (diagonal) BUILD QUALITY
84-10.3 QUALITY 84-12.3 The construction 75.5-4 The zoom ring of our 75.3-12.3 The lens feels solid
degrees The lens feels solid degrees feels rock-solid and degrees review sample was a degrees and robust and
and robust but it’s there are plenty of little stiff but the lens comes complete
the only one in the weather-seals, plus features weather- with weather-seals
Diaphragm group to lack any a fluorine coating seals. Diaphragm and a fluorine
Diaphragm Diaphragm
7 blades weather-seals. on the lens. 7 blades coating.
7 blades 7 blades

Autofocus Autofocus
Autofocus Autofocus
type type
HANDLING type HANDLING type HANDLING HANDLING
Nano Stepping
It’s the weightiest Stepping motor Handling is excellent. HLD The focus ring rotates The zoom and focus
Ultrasonic motor
lens in the group but As with the Canon, during autofocus and rings operate with
handling is very good customisable functions it has no full-time smooth precision
Min focus Min focus manual override but
Min focus overall, with effective can be applied to the Min focus but no physical auto/
distance distance handling is good.
distance stabilisation. focus ring. distance manual focus switch.
0.5-0.7m 0.45m
0.5m 0.19-0.8m

Max
Max PERFORMANCE PERFORMANCE Max PERFORMANCE Max PERFORMANCE
magnification
magnification Performance is Performance is magnification Image quality is magnification Overall image quality
0.28x
0.26x very good in all top-drawer in all 0.34x pretty good overall 0.32x is impressive, and
respects, although respects, making this but the 2.5-stop sharpness is almost
Mount
Mount image quality relies a seriously good lens Mount optical stabiliser Mount as excellent as in
Nikon Z (FX)
Canon RF heavily on in-camera for wildlife and other C EF-S, N F (DX) is a bit of an Sony E (FE) the Canon and
corrections. shooting scenarios. underachiever. Nikon lenses.
Filter size
Filter size Filter size Filter size
67mm
72mm 72mm 67mm
VALUE FOR VALUE FOR VALUE FOR VALUE FOR
MONEY Dimensions MONEY MONEY MONEY
Dimensions It’s the most It’s pretty much as Dimensions All things considered, Dimensions Tamron undercuts
77x114mm
80x123mm expensive in the pricey as the Canon 79x124mm this Tamron lens is 74x117mm the Canon and
group and the hood lens but at least you good value for one Nikon lenses for
costs extra but it’s Weight don’t have to pay with such a vast Weight price in Europe, but
Weight Weight zoom range.
still decent value. 570g extra for the hood. 575g not in the USA.
750g 710g

Overall Overall Overall Overall

The Canon offers a powerful The Nikon doesn’t have the More of a super-duper- This Tamron is a smart choice
zoom range and very good biggest zoom range of the zoom, the Tamron’s extra for any Sony mirrorless camera,
image quality, taking automatic lenses on test here, but it’s range comes with a slight but the lack of stabilisation
corrections into the equation. still our pick of the bunch. compromise in image quality. features could be an issue.

102
0e479381-0069-45af-b2a9-c0a37e1e14de
 PRO TIPS AND TRICKS FOR
SHOOTING IN THE CITY
Whether you’re new to photographing urban life or a keen enthusiast, it’s a
challenge to turn the energy of a city into a stunning shot. Discover expert
advice, camera techniques and more to improve your urban images

ON SALE
NOW

Ordering is easy. Go online at:

Or get it from selected supermarkets & newsagents

0e479381-0069-45af-b2a9-c0a37e1e14de
REVIEWS
EDITOR'S
CHOICE
Price: £1,999/$2,199
Panasonic Lumix GH6
On paper, this is the ultimate affordable hybrid camera. Its video
specifications are staggering, but how does it perform for stills?
The Panasonic Lumix GH6 shows
that the company still has faith in its
Lumix G Micro Four Thirds line-up.
Indeed, it’s Panasonic’s full-frame Lumix S
line-up that appears to have slowed down,
with nothing new since the Lumix S5.
The new GH6 sits right at the top of the
Lumix G lineup, offering powerful 4K and 5.7K
video capabilities but in a smaller, lighter and
cheaper setup than a full-frame system. It’s a
serious step up from the Lumix GH5 II, which
is essentially an update to the Panasonic’s
long-running and popular GH5 model, but
brings higher resolution, unlimited recording
times, a huge leap in frame rates and a
wider choice of recording formats, bit depths,
bitrates and codecs.
However, this isn’t just a camera for video
recording. While the video features are at
the heart of the GH6, it is laid out like a
conventional mirrorless camera and is, in fact,
a highly capable stills camera, matching the
resolution of many full-frame models, albeit
with a smaller sensor.
104
0e479381-0069-45af-b2a9-c0a37e1e14de
The GH6 is likely to attract serious
filmmakers and videographers, but it could
also be a highly effective all-rounder for those
who shoot stills too.
Key features
The Lumix GH6 features a new 25MP stacked
sensor. This doesn’t just give a modest
increase in resolution, but a big increase
in readout speeds and hence the choice of
codecs, compression levels and frame rates.
It isn’t just processing power alone that has
made this possible. The GH6 also has active
cooling, for longer recording times and to
accommodate the higher processing demands.
It also swaps one of its predecessor’s twin
SD card slots for a CFexpress Type B slot to
accommodate the highest recording settings.
The GH6 also offers hybrid in-body and
lens-based stabilisation, which will be a relief
to many. Panasonic didn’t include IBIS on
the video-centric Lumix GH5S, for example.
However, there are two things the GH6 doesn’t
have that users might have been hoping for:
in-camera raw video capture and phase-detect
AF. The lack of in-camera raw video capture is
particularly disappointing and perplexing too.
Panasonic has also stuck with its DFD
(Depth From Defocus) contrast AF system.
This is now so fast and effective for stills
photography that you might not notice the
difference, except maybe for high-speed
tracking, but there are still many video users
who complain of ‘flutter’ during continuous
AF as the system makes countless tiny
adjustments and focus checks.
A lot is going to depend on your own
shooting and focusing habits, so single-person
shooters filming themselves moving around
and in and out of shot will quickly find the
limits of any system.
Build and handling
The GH6 is a big camera, bigger even than a
Sony A7 series body. Some of this is due to
the cooling system, which fits between the
rear flip-out screen and the camera body. The
vents are quite prominent, but not obtrusive.
Left
Magnesium
frame
The GH6 isn’t
officially IP rated for
protection against
the elements, but
it is claimed to be
dust- and splash-
resistant

Below
Weather-sealed
Despite its
impressive video
credentials, the top
plate has familiar
photographic
controls

Below
Well connected
FEATURES
The GH6 allows 25MP STACKED LIVE MOS SENSOR
for simultaneous The new 25MP stacked sensor doesn’t just give a
internal recording to modest increase in resolution, but a big increase
a CFexpress card or in readout speeds and hence choice of codecs,
SD memory card and compression levels and frame rates.
external recording via
the HDMI output NO RECORDING LIMITS
The GH6 has a new forced-fan cooling system
that Panasonic claims will remove all overheating
problems. So, the only thing limiting recording
length should be your storage capacity.

IMAGE STABILISER
The GH6 offers hybrid in-body and lens-based
stabilisation. The five-axis Dual IS 2 combines
control of the Body IS and Lens OIS to offer 7.5
stops’ worth of correction, according to Panasonic.
In testing, we found it coped well with ‘jitters’.

WEATHER SEALING
The GH6 isn’t officially IP rated in its protection
against the elements, but is claimed to be sealed
and both dust- and splash-resistant. The body is
constructed from a rugged magnesium alloy.

PROCESSING ENGINE
The GH6 is powered by a new Venus Engine,
which Panasonic says delivers approximately
twice the processing power as before, for faster
processing of the sensor’s higher pixel count.

VIDEO STANDARDS
For the first time on a Lumix camera, you can
internally record ProRes 422 HQ and ProRes
422 codec videos. This is a pro industry standard,
delivering high image quality at low compression.

25MP SENSOR

105
0e479381-0069-45af-b2a9-c0a37e1e14de
REVIEWS
RIVAL CAMERAS
ALTERNATIVES TO THE GH6
FujifIlm X-T4
£1,399/$1,699
The APS-C format XT-4 is
an extremely strong rival to
the GH5 II, especially with
its phase-detect autofocus.
Reviewed: issue 228
KEEP UP WITH THE CAMERA LATEST RELEASES AT:
@DPhotographer facebook.com/DigitalPhotographerUK
106
0e479381-0069-45af-b2a9-c0a37e1e14de
Panasonic Lumix S5
£1,699/$1,699
Incredibly, the full frame
Lumix S5 is no larger than
the GH5 II, and is a close
match for video capabilities.
Reviewed: issue 243
Above
Autofocus
For stills, the AF feels more
zippy than the Lumix GH5.
Tracking moving targets
such as animals and people
is generally effective
Right
Quality control
JPEGs straight from
the camera show good
colour, dynamic range,
and excellent detail
Left
High contrast
It’s not classed as a
‘street’ camera, but the
GH6 is a capable all-rounder
when it comes to regular
stills photography
Sigma fp
£1,599/$1,699
A completely different kind
of camera to the GH5 II, the
Sigma fp has film-making
kudos of its own.
Reviewed: issue 246
Otherwise, it’s clear that this is a camera built
for ergonomics and robustness, not dainty
pocket-sized stowage.
The GH6 does have a really good heft in your
hand, all the controls are clearly marked and
they are firm and positive too. Even the ‘third’
dial – the four-way rear controller – spins
firmly and without accidental button presses.
One thing to be aware of is how easy it is to
accidentally press the second record button
on the front of the camera, but then again, if
this was your everyday camera you’d probably
get used to this and learn to avoid it.
The cluster of AF controls, just to the right
of the EVF, is highly effective. An outer lever
switches between manual focus, S-AF and
C-AF modes, and you press a button in the
middle to choose the focus area. To the right
of the main AF control is an AF-ON button, and
just below that is a small but effective joystick,
which also offers diagonal movement. However,
positioning the AF point quickly and precisely
isn’t as easy as it could be – the initial AF point
movement is a little slow, and if you keep the
joystick pressed down, it suddenly accelerates
much too quickly.
The three-tier menu system is about as
straightforward as you could hope for on
such a sophisticated camera. Panasonic has
taken an interesting approach to handling
the almost infinite possible permutations of
video resolution, frame rate, codec, bitrate,
sub-sampling and bit depth. It has packaged
them up into a series of choices and organised
these under the three internal recording
formats supported by the GH6.
For example, if offers just three packaged
settings for the MP4 format, recommended for
direct and easy out-of-camera sharing, a much
longer list for the MOV format, recommended
for higher quality and editing/grading later,
and a shorter list for the highest quality Apple
ProRes format (not ProRes RAW). That’s still
a lot of options, but the choice is simpler than
working out your own settings permutations.
The 7.5 stop IBIS is probably more useful for
stills photography than video. This IBIS system
(and most others we’ve tried) copes well with
‘jitters’, but doesn’t replace a gimbal for video.
The GH6 offers a stable handheld platform
for video but only if you keep pretty still. If the
camera moves too quickly, the IBIS struggles.
Performance
The Panasonic Lumix GH6 pushes the
envelope for 4K video capture further than any
other Panasonic MFT camera to date. If you
want raw video, however, you’ll still need an
external recorder, and if you’re filming yourself
or other fast-moving subjects, Panasonic’s
DFD AF may struggle – this is where Sony
really scores. On paper, it matches the Sony
A7S III at less than two-thirds the price but
with 5.8K capture, 25MP stills and a wider
choice of cheaper, lighter lenses.
 PANASONIC GH6

100%

Panasonic GH6 The GH6 could also be a highly effective

Megapixels (effective) FEATURES
25.2MP
Max resolution
Video options to suit both
casual and demanding users,
all-rounder for those who shoot stills
5776 x 4336 plus top connectivity and
Sensor information impressive stabilisation.
Live MOS
Shutter speed 1 2 3 4
60- 1/8,000 sec BUILD QUALITY
ISO sensitivity The GH6 body feels rugged
100-25,600 (exp. and solid, with responsive
50-25,600) buttons and an LCD
Exposure modes touchscreen to boot.
Program, Aperture
Priority, Shutter Priority,
Manual, Creative HANDLING
Video, Custom 1, 2, 3, 4, The easy control layout and
Intelligent Auto menu navigation make it a
Metering options joy to use, even for those
Multiple, Center Weighted, who are fairly new to video
Spot, Highlight Weighted
Flash modes
TTL, Auto, Red-eye QUALITY OF RESULTS
Reduction, Forced On, Although it excels at video,
Slow Sync, Forced Off the still image quality is
Connectivity very good indeed, with a
Wi-Fi, Bluetooth punchy dynamic range.
Max burst
14fps with AFS, 8fps
with AFC + Live View
(mechanical shutter, VALUE FOR MONEY
electronic front The GH6 doesn’t look so
curtain, AFS) cheap, until you compare
Weight it to the likes of the Lumix
823g with card S1H or Sony A7S III.
and battery
Dimensions
138.4 x 100.3 x 99.6mm
Batteries
Rechargeable Li-ion
Overall
Storage You wouldn’t buy it for any
technical breakthroughs,
CFexpress type B and
but as a blend of film-making
1 VARI-ANGLE SCREEN 3 AUTOFOCUS SYSTEM
SD/SDHC/SDXC UHS-II The 3-inch touchscreen flips and twists, but Panasonic’s DFD AF system works well for
LCD and stills performance, the it also tilts, allowing for flexible framing angles stills and video. Manual focus is excellent
1.84m dot 3-inch TFT GH6 is terrific for the price.
Viewfinder 2 MODE DIAL 4 DUAL CARD SLOTS
3.86m dot OLED, The familiar mode dial allows for quick There are two card slots, one for standard
100% coverage selection of M/A/P/S shooting modes SD and the other for CFexpress Type B cards

107
0e479381-0069-45af-b2a9-c0a37e1e14de
REVIEWS

Website: www.uk.tenba.com
Price: £125/€144 for 16L All-Weather Backpack in Black/BlackCamo

Tenba Fulton v2 16L

Tenba’s popular backpack collection offers a new, larger capacity, plus all-day
protection for shooting in rough weather. Lauren Scott tries it on for size
New photography bags come and go
so often that you wonder how many
more types there might possibly
be to release. After all, how much is there to
a backpack? And what is so different from
one to the next? I’d argue that the right bag
can literally make or break your shooting
experience, yet there’s never going to be a
camera bag that everyone will like, nor can you
get away with having one bag for all situations.
Shooting in an urban environment requires
something modern and unobtrusive – a
classic bag that just happens to protect your
camera kit. A wildlife photographer will need
capacity for longer lenses, while a landscape
shooter needs waterproofing to be a priority.
You get the general idea, but I mention
this because the Tenba Fulton v2 (I tested
the generous new 16L size) reminds you
what a good camera bag can be; functional
In terms of design, the Fulton builds on
its predecessor rather than overhauling it
108
0e479381-0069-45af-b2a9-c0a37e1e14de
without being nerdy, classy without being
luxurious, roomy without being enormous and
comfortable enough for a long day out. The
Volkswagen Polo of the camera bag world.
While the original Tenba Fulton design
came in 10L and 14L sizes, this second
iteration also includes a roomier 16L option
that, as well as simply housing more camera
kit, can take a laptop up to 16-inches. This
makes it much more versatile, allowing the
v2 to become a commuter bag, office bag or
something suitable for content creators and
pro photographers who tend to carry their
MacBook Pro with them everywhere they go.
In terms of design, the new 16L Fulton
builds on its predecessor rather than
overhauling it – a good idea, given how
popular the original bag was. There is a
marked improvement in the bag’s weather
resistance; it features a sealed, water-repellent
Fulton v2 variations
Get the right sizing, design and
waterproofing for your needs
This review is for the 16L backpack, but
10L and 14L versions are also available.
Tenba claims that the 10L has room for
a mirrorless or DSLR camera with two
to four lenses, plus an iPad or iPad Pro
up to 11-inches (28cm). The 14L should
be able to hold a mirrorless or DSLR
camera with three or four lenses, plus
a laptop up to 13-inches.
All three sizes come in two standard
colourways – Black and Tan/Olive,
plus a third ‘All Weather’ design in a
Black Camo colourway (pictured). This
is made from hydrophobic, water-
repellent nylon for extra protection, has
a rubberised zip to keep the rain away
from your electronic devices and comes
with a double-sided rain cover.
 zipper on the front compartment, and comes
with a rain cover that’s included loose inside
the main compartment. The bag itself is
made from a water-repellent canvas which
feels sturdy without being plasticky, and the
stitching gives you the impression that it’s
been built to last. Lastly, the main camera
compartment features a brushed tricot interior,
a cross-woven, textured fabric with two yarns
twisted around the weft yarns to provide a
strong, sheer fabric. Technical, eh? In reality, it
feels extremely durable.
Moving onto the capacity of the 16L Fulton,
the main compartment has room for a DSLR
or mirrorless camera, extra lenses, plus
flashguns or video accessories like mics
and LEDs. Adjustable velcro dividers keep
everything in place neatly, and it’s easy to
reconfigure them to suit your needs. On one
occasion, I was able to carry a Nikon D800
and Sony A7 III (both with kit lenses attached)
plus extra lenses and chargers. You could also
use the Fulton purely as a drone bag, as it
would easily fit a DJI Mavic with accessories.
Elsewhere, there’s the sizeable padded pouch
at the front of the bag, a tripod or monopod
pocket on one side and a water bottle pouch
on the other. Personal gear – clothing, keys or,
in my case, snacks – goes in the rolltop, which
can be rolled down tightly, or expanded to
provide extra space as and when you need it.
Above
At first, I thought this design would be
Black Camo
more of a hindrance than a help, but it takes
colourway
The bag on test here just a few seconds to open up the pouch and
is the most expensive delve in to find what you need – that’s great
in the Fulton v2 range, news for when you’re feeling peckish on a
but includes extensive
waterproofing features
street photography assignment. Likewise,
and materials while you have to take the bag off or swing it
onto one shoulder to get to the rear-access
camera compartment, this isn’t a problem and
provides a sense of security if you’re shooting
in a busy environment.
Comfort-wise, I genuinely enjoyed carrying
the Fulton 16L bag around on a city shoot all
day. Like most modern camera bags, it has
a padded mesh to keep things sweat-free
against your back, and as we also got to test it
in Morocco, we can vouch for its effectiveness
in warmer climes. The padded straps are
comfortable, and, being a smaller-framed
person, I also didn’t experience the bag
slipping off my shoulders like I sometimes do
with bags designed with men in mind.
The Fulton All-Weather backpack comes with
Tenba’s signature Dual Sided WeatherWrap –
the rain cover – which is silver on one side
and black on the other for a more discreet
look. Fortunately, I didn’t have to use it during
testing but it feels just as well-made as the
rest of the backpack. Although I have to return
my sample of the Fulton v2 16L imminently,
I’m keen to add it to my pro bag roster.
Summary
Ease of use
Value for money
Features
Build quality
Overall
Tenba’s new version of its popular Fulton
bag strikes a solid balance between being
lightweight and spacious, yet unassuming for
everyday use. If you’re looking for a low-profile
design that’s also secure, this is a great buy.

Right
Padded power
The front pocket
features rain-
sealed zips.
The padding is
substantial and it’s
easy to get at your
laptop quickly

Far right
Storage
solution
The 16L version
holds a mirrorless,
several lenses,
filters, accessories,
compact cameras
and chargers

Right
Keep rolling
So many high-end
camera bags forget
the need to store
personal items.
Inside the rolling
top I could stow a
lightweight jacket,
hat and snacks

109
0e479381-0069-45af-b2a9-c0a37e1e14de
REVIEWS

DOWNLOAD
TEST SHOTS
https://bit.ly/DP-252

PRICE:
£1,499/$1,498
FOCUS DISTANCE:
0.25m
WEIGHT:
500g

Panasonic LUMIX S Pro 16-35mm f4

This wide-angle zoom could be the ideal travel and landscape option for pros
Left
Build and handling Corner to corner
High-end LUMIX lenses often have a rugged The optics of the lens produce a relatively consistent
feel and the S Pro 16-35mm f4 is no exception. level of sharpness at the edges of the frame. There is
The barrel appears solid enough to take a also minimal vignetting and geometric distortion
scrape or two and while the smooth surface Below left
makes the lens difficult to grip in places, Up close
the lightweight build means it’s a breeze to This optic lacks an f/2.8 maximum aperture, but its
focusing distance of 25cm allows effective focus
carry. Combined with the less bright f/4 max limitation, nicely rendered by a nine-bladed diaphragm
aperture, the dimensions are small and it’s
almost possible to fit the lens in a coat pocket.
The controls are easy to find and operate, and Technical specs
we love the sliding mechanism of the focus
ring that switches between auto and manual. Manufacturer Panasonic
Model LUMIX S Pro 16-35mm f4
Performance Web www.panasonic.com
In terms of sharpness, you can’t fault this Elements/construction 12 elements in 9 groups
optic. Centre resolution is superb and well Angle of view 107°- 63°
maintained out to the edges, with only Max aperture f/4
the corners displaying a significant fall-off. Min aperture f/22
Contrast is natural but impactful and colour Min focus distance 0.25m
rendition is spot-on. We like the impressive Mount L- Mount
close-focusing of the lens too, which allows Filter size 77mm
a usable amount of bokeh, although there Length 99.6mm
is a notable drop in lens performance at Diameter 85mm
the shortest working distances. Distortion Weight 500g
and vignetting are almost absent but, with
BUILD QUALITY
a mirrorless lens, the profile corrections
IMAGE QUALITY
in the RAW files make it difficult to assess
pre-adjusted performance. There is minor VALUE FOR MONEY
chromatic aberration, but it isn’t offensive. FEATURES

Verdict Overall
If you can go without a faster maximum
Images by Peter Fenech

aperture, then the LUMIX S Pro 16-35mm f4 Focus clutch mechanism

is a perfect option for shooting on the move. Close focusing
It combines a superb user experience with Filter thread
impressive image quality, fast focusing and Sharpness
build in a portable, discreet form. Slight grip difficulty

110
0e479381-0069-45af-b2a9-c0a37e1e14de
 LENSES

PRICE:
£2,699/ $2,696
FOCUS DISTANCE:
0.75m
WEIGHT:
Nikon NIKKOR 1435g

Z 100-400mm f/4.5-5.6 VR S
With its exceptional range, is this variable-aperture zoom worth the price?
Left
Build and handling Long reach
It comes as no surprise that this pro-level The zoom range makes this a versatile lens, allowing
Nikkor lens appears to be well-constructed extreme close-up shots. On an APS-C format Z-series
and feels every bit like a high-grade model. It body, the maximum focal length is 600mm at f/5.6
is aligned in build quality with the latest pro Below left
Nikon Z-Series cameras, such as the Z 9 and Steady influence
Z 7II. It isn’t a lightweight piece of kit, as there The VR in the Nikkor Z 100-400mm f/4.5-5.6 VR S sets
new standards for handheld shooting, even in difficult
is a lot of glass inside, but compared with its light. Shooting at 400mm is workable with no support
DSLR equivalents, you feel the advantages of
going mirrorless. One slight niggle is that the
placement of the zoom ring at the front of the Technical specs
barrel makes it a little hard to reach, given the
length. We would have preferred the zoom and Manufacturer Nikon
focus rings to be reversed, as the latter is likely Model Nikkor Z 100-400mm f/4.5-5.6 VR S
to be used far less often. Web www.nikon.co.uk
Elements/construction 25 elements in 20 groups
Performance Angle of view 24° 20’ – 6° 10’
Optically, the glass is very good. Resolution, Max aperture f/4.5 – f/5.6
contrast and colour are all at the highest Min aperture f/32–f/40
level and users will be able to get the most Min focus distance 0.75m
out of the sensors in the Z-Series cameras. Mount Nikon Z
There isn’t really anything to complain about Filter size 77mm
here, even wide-open. The VR mechanism is Length 222mm
phenomenal. Even shooting on the Z fc, which Diameter 98mm
lacks IBIS, we were able to handhold shots as Weight 1435g
low as 1/13sec. AF was instant and accurate in
BUILD QUALITY
our tests too and the close-focusing ability is a
IMAGE QUALITY
welcome addition to the lens’ versatility.
VALUE FOR MONEY
Verdict FEATURES
There’s no doubt this is an exceptional optic
for sports and action photographers, providing Overall
almost everything they could want. It is
Images by Peter Fenech

questionable whether a lens with a variable Fast AF

aperture is worth the price, which is likely to Zoom range
be an indicator of Nikon economics, rather VR capability
than its overall competitiveness. If you have Image quality
the money though, then why not? Expensive

111
0e479381-0069-45af-b2a9-c0a37e1e14de
REVIEWS

ACCESS RIES
A collection of ten fun yet functional
products out there for photographers
Right
Above

SAMSUNG LENSBABY SOFT FOCUS II

PROPLUS MICROSD Website: www.lensbaby.com
Website: www.samsung.com Price: Approx. £169/$180 (optic only)
Price: £22/$24 (128GB) Approx. £249/$271 (fixed/straight body)

Samsung’s ProPlus microSD cards are One of Lensbaby’s most in-demand optics has been
available in capacities of 128GB, 256GB revamped with a built-in 12-blade aperture – and is
(£46/$40) and 512GB (£94/$100) and now available as part of the Optics Swap system, with
deliver read speeds of up to 160MB/s or without a straight body. It is compatible with all of
and write speeds up to 120MB/s. They Lensbaby’s current and legacy optic housings and has
are backed by a ten-year warranty and an aperture range of f/2.5 to f/22. The images are soft
come with Samsung’s six-proof (water-, at the wider aperture but closing down to f/8 or smaller
temperature-, X-ray-, magnet-, drop- and gives sharp results at the centre.
‘wearout’-proof) protection.

Left

PROGRADE DIGITAL
CFEXPRESS TYPE
B AND SD CARD
READER
Website: www.progradedigital.com
Price: £61/$80
This dual-slot card reader enables
you to download files from
CFexpress Type B and SD UHS-II
cards. Thanks to its USB 3.2 Gen 2
interface, it offers transfer rates of
up to 1.25GB/s when shifting images
from both card types simultaneously.

Right
Above
NIKON Z
INSTAX MINI EVO TELECONVERTER
Website: www.instax.co.uk
Price: £175/$200 TC-2.0X
Website: www.nikon.co.uk
The Instax Mini Evo combines the fun of an analogue Price: £629/$597
instant camera with the convenience of digital
technology. You can shoot and produce prints instantly The Nikon Z Teleconverter TC-2.0x is a great addition to your kit to double up
or save your images to a microSD card for selection and the focal length of your compatible Nikon Z-series lenses. Made from eight
printing later. With ten lens modes and ten filter effects, elements in five groups, it delivers high-quality results but adds only 270g in
there are 100 different looks available for your images. weight. The only downside is the 2-stop reduction in the maximum aperture.

112
0e479381-0069-45af-b2a9-c0a37e1e14de
 ACCESSORIES

Right

PROGRADE DIGITAL
COBALT CFEXPRESS
TYPE B
Website: www.progradedigital.com
Price: £316/$430 (325GB)

ProGrade Digital’s Cobalt CFexpress cards are

the cards that Nikon used to calculate the burst
depth of the Z 9. They offer read speeds of up
to 1700MB/s and write speeds up to 1500MB/s
to enable 8K recording as well as fast stills
Above
shooting. They are available in capacities
RODE AI-MICRO of either 325GB or 650GB (£537/$730).
Website: www.rode.com
Price: £69/$79
Rode’s AI-Micro is a matchbox-sized
dual-channel audio interface. It features Left
two 3.5mm mic inputs with auto-TRS and
TRRS sensing making it compatible with
PROFOTO CLIC
a wide range of microphones, including SOFTBOX OCTA
the Rode VideoMic Go II and Lavalier Website: www.profoto.com
II. It connects via USB to a computer, Price: Approx. £216/$299
smartphone or tablet for high-quality
audio recording, with USB-A, USB-C Designed for use on
and Lightning cables supplied. Profoto’s A-range flash
units, the Clic Softbox
Octa folds flat for travel
but pops quickly into
shape for use and mounts
on the flash via magnetic
attraction. It features an
integrated handle and stand
adapter so it can either be used
hand-held or on a lighting stand.

Above

PEAK DESIGN TRAVEL

DUFFEL 65L
Website: www.peakdesign.com
Price: £131/$170
Peak Design’s new 65L Travel Duffel is perfect for
carrying lots of gear. It can be used as a regular duffel
bag or combined with up to four units (up to 24L
capacity) of Peak Design’s Camera Cubes to keep your
gear protected. It’s rugged and weatherproof with two
removable top handles and a removable shoulder strap.
Above
SHIFTCAM PROGRIP STARTER KIT
Website: www.shiftcam.com
Price: £130/$150
Many of us shoot with smartphones too, but they lack the same ergonomics
as a dedicated camera. The ShiftCam ProGrip helps by adding a large grip and
hand-strap, plus a Bluetooth-connected shutter button. It doubles as a wireless
power bank and can be used with accessories including a light and lens.

113
0e479381-0069-45af-b2a9-c0a37e1e14de
PRO COLUMN

LOCAL LANDSCAPES
Uncertain times make Verity Milligan appreciate the beauty nearer to home
All images ©Verity Milligan

A
s we emerge from the global
event that was Covid, it seems
as though we’re entering another
period of uncertainty, with rising
fuel prices and a squeeze on
our cost of living. To escape
the maelstrom of daily news, my instinct is
to retreat to the outdoors. When I’m outside,
with or without my camera, I feel connected to
something bigger than the sum of me and
can guarantee that I will feel better.
I’ll be the first to admit when I think of the
outdoors, my mind drifts to the grandeur of
the Lake District or the pristine beaches of the
Outer Hebrides, however, one of the things that
the past couple of years has taught me is that
there is beauty everywhere, even tucked away
amongst the urban sprawl.
When I first fell in love with landscape
photography, I didn’t know how to drive and this
restricted where I could travel to in the mornings
(unless I was able to convince my
understanding partner to drive me
somewhere). At the time I found this
frustrating, but the upside of this was
I got to know my local area well.
I’ve lived in Birmingham for a while,
and although it doesn’t stand out as
one of the most beautiful locations,
there are plenty of green spaces to
explore and atmospheric conditions
can create just as much excitement
in my local park as in the Lakes.
Some of the most fulfilling
mornings of photography I’ve
experienced have been in places less
than ten miles from my home. This
knowledge can be valuable when
the weather plays ball as instead of
feeling overwhelmed by an unfamiliar location,
I can immediately create the composition and
make the most of the conditions.
For example, I return time and
time again to Sutton Park on
the outskirts of Birmingham. It’s
a huge urban park and there’s
always something new for me
to discover. I have my favourite
trees and I’ve photographed the
landscape across all seasons,
from the first buds of spring to
PRO BIO summer mist, autumn fungi and
Verity is a landscape and
winter frost.
commercial photographer
based in Birmingham, UK. The world has changed
She’s also an ambassador irreversibly over the past two years
for Zeiss lenses, and and it continues to shift, but we
a workshop leader with can take solace in the diversity of
Light and Land.
www.veritymilligan
landscapes we enjoy, whether they
photography.com are urban or rural.
I’ll always be drawn to the
extraordinary scenery of more remote places,
but there’s plenty to see and learn from
exploring your local landscapes.

114
0e479381-0069-45af-b2a9-c0a37e1e14de
0e479381-0069-45af-b2a9-c0a37e1e14de
9021
9000

0e479381-0069-45af-b2a9-c0a37e1e14de