WELCOME

© Andy Mumford
“Winter can seem bleak, but the joy of photography
is being able to see the beauty in change”
It is a testament to the power
of the visual arts that how we
perceive each season of the
year is potentially influenced
by how they are represented
in the media.
It can be a challenge to work
out the natural order of things
– did we choose to represent
winter through Christmas card-worthy scenes
because of the way in which the landscape stirred
our emotions, or did we grow to love those picture-
perfect elements because we saw them in print?
Either way, there is far more to winter than
Christmas trees and other commercialised facets of
the holiday season. Turn to p22 of the magazine to
read our step-by-step guide to capturing incredible
frozen landscapes, full to the brim with fascinating
details and aesthetic balance.
Once you’ve enjoyed that, be sure to explore our
feature on fashion portraiture. You may think that
shooting fashion is all about standing at the end
of a catwalk at a glitzy photoshoot in Paris but, in
reality, the genre offers a tremendous number of
transferable skills. Turn to p36 to discover high-end
portrait techniques and pro advice on working with
other creatives to produce dazzling shots of people.
We also have the usual spectrum of top-level tips,
including outdoor wide aperture lens techniques
from Jeremy Flint (p52) and street photography
insight (p14). Also, don’t miss our review of the new
Canon EOS R7 (p104).
Winter can seem bleak, but the joy of photography
is being able to see the beauty in change. Until next
month, happy shooting!
Peter Fenech, Editor
peter.fenech@futurenet.com

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

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3
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BUNERMANN BRAUN CAMPBELL 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
This month, our Stephie is an For our Shoot 2008885) is registered in England and Wales. Registered office: Quay House, The Ambury,
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on the world of fashion portraiture.
Starting on p36 of the magazine, Kim
explores all of the insider secrets and
transferable skills you can put to use
for incredible shots today. Also, see
her creative exposure tutorial on p58.
Website:
digitalcameraworld.com
Having worked for the likes of
German Vogue, Walt Disney and
BMW, Stephie is the perfect person
to contribute to our fashion feature,
offering insight into using flash for
better portrait images.
Website:
stephiebraun.com
learn how the contemporary street
photographer should approach the
established techniques of the genre
with a modern twist. See p14 to
begin reading Alistair’s pro advice
for gear, framing and more.
Instagram:
@alistaircampbellphoto
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JEREMY UJJWAL ANGELA

FLINT MUKHERJEE NICHOLSON
This issue, Appearing in our A long-time
experienced pro Pro Analysis slot contributor
travel and location this issue, Ujjwal to the pages
photographer is an India-based of Digital
Jeremy has put travel, landscape Photographer,
together a creative and wildlife this issue
project to help you save cash on photographer. On p74, we break Angela has taken an in-depth
expensive lighting kit. Starting on down one of his wildlife compositions look at one of Canon’s latest and
p52, Jeremy explains how to get the to reveal how his choice of framing most exciting cameras, the APS-C Future PLC is a public
company quoted on the
Chief executive Zillah Byng-Thorne
Non-executive chairman Richard Huntingford
most from a wide aperture prime lens focuses the viewer’s attention firmly format mirrorless EOS R7. Turn to London Stock Exchange Chief financial officer Penny Ladkin-Brand
(symbol: FUTR)
and capture a dramatic portrait shot on his subject, despite a crowded p104 to see how the camera fared www.futureplc.com Tel +44 (0)1225 442 244

using only natural light.
Website:
jeremyflintphotography.com
4 from sustainable managed forests,
background and surroundings.
Website:
500px.com/ujjwal_mukherjee
throughout Angela’s tough testing.
Website: We are committed to only using
magazine paper derived from
angelanicholson.com responsibly managed, certified
forestry and chlorine-free
manufacture. The paper in this
magazine was sourced and produced
conforming to strict environmental
and socioeconomic standards.
Regulars
10 News
Stay up to date with the latest launches and
announcements from around the industry
22
How to capture
wonderful
winter images
76 Interview
Wildlife and nature photographer Jonas
Beyer offers his insight into capturing frozen
landscapes and their amazing inhabitants

84 The gallery
Explore the winning images from the
Spotlight Photography Awards 2022

90 Shot of the month

Andy Parker takes us through the process
behind capturing his stunning image of
storm waves at Newhaven Lighthouse

92 Photocrowd
The winning shots from the Perfect Pets
competition, in association with Photocrowd

Practical skills
© Andy Mumford

22 Shoot winter scenes

Discover how to master the elements
and capture all the colour, light and
atmosphere of frozen winter landscapes

36 The beauty of fashion

From the runway to street fashion – get ahead
in the world of fashion photography with our
useful tips and behind-the-scenes insight

52 Creative project
Jeremy Flint’s guide to creating stunning
portraits using a prime lens and natural light 52
© Jeremy Flint

Natural light
58 Long exposure flash portraits
Get creative using flash light to combine
frozen and abstract elements in one shot

Editing skills
60 Photoshop tutorial
James Abbott shows you how to replicate the

62 36
distinctive look of infrared photography with a
simple monochrome conversion in Photoshop
© Siân Elizabeth
© James Abbott

62 Lightroom tutorial Dig deeper Fashion

Learn how to carry out targeted detail recovery into detail photography
using the Parametric Tone Curve in Lightroom

6
SUBSCRIBE TODAY
TO GET A FREE CAMERA BAG WORTH £84
TURN TO PAGE 50 TO FIND OUT HOW!

Pro advice
14 Shoot like a pro

76
We joined photographer Alistair Campbell for
a walk around the picturesque streets of Bath

© Jonas Beyer
to discover the basics of street photography
Interview
Interview
64 Print & share
Are your Instagram images lost among the
endless reels? We consider some alternative
social media sites that optimise photo sharing

66 Career feature

114
One key to running a successful photography

© Amy Bateman
business is organisation. Dan Mold shares his
tips on keeping things running smoothly
Pro column
72 Career advice
Get pro tips from Claire Gillo on the best
backpacks for your camera, selling your old kit
and running a business with a diverse workload

64 114 Pro column

© Parteek Katyal

How Amy Bateman’s journey to document the

Print state of Britain’s agricultural industry in Cumbria
& share has ended up in an exhibition and a photo book

New kit & reviews

14 84
96 Group test
© Alistair Campbell

© Nicky Hamilton

As the long winter nights draw in, more of

Shoot our photography will be in the dark. We test
like a pro Gallery four of the best cameras for shooting in
low-light environments

104 Canon EOS R7

Canon’s flagship APS-C format mirrorless
is aimed at experienced enthusiasts. Angela
Nicholson looks at what it has to offer

108 Oppo Find X5 Pro

Could Oppo’s partnership with legendary
camera brand Hasselblad tempt professional
photographers to this premium smartphone?

110 Lenses
This month, we test the quality and performance
of the Nikkon Z 24-120mm f/4 S and the
Panasonic Lumix S 18mm F1.8 lenses

112 Accessories

96
Best cameras Sometimes it’s the little things that make all the
for low-light difference. Boost your photography with these
shooting ten recommended fun and functional products

7
 Free e-book to download
Black & White
Landscapes
Few genres of photography stimulate the imagination
like monochrome. In our free supplement this month,
we break down the top pro tips you’ll need to capture
incredible tonality, manage exposure and achieve stunning
contrast. Learn how to prioritise detail by using both
high-key and low-key lighting, properly expose your shots
for mood, master mono composition and perfect your
processing. Get your download now!

To claim your free e-book, visit

https://bit.ly/3MRya6l

Enter our Photocrowd

contests online to win
Affinity prizes
Every month, we team up with Photocrowd – the
world’s leading photography competition platform
– to offer you the chance to win an Affinity Photo
editing software licence (worth £49 for Mac or
Windows) and have 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 need. For a chance to
win, go 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
FREE ASSETS
latest kit, but we know are available to download
it’s hard to tell the on pages where you
difference between see this icon
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open, view and compare TEST SHOTS
test shots from our kit reviews anywhere you https://bit.ly/3MRya6l
see the download icon, pictured on the right.

8
 IN FOCUS
© Karine Aigner/Wildlife Photographer of the Year

WILDLIFE PHOTOGRAPHER OF THE YEAR

A ball of bees wins the 58th competition and will feature in an exhibition
The winners of the Natural History
Museum’s Wildlife Photographer of
the Year contest have been revealed.
US photographer Karine Aigner won the grand
prize of the 58th competition for her image,
‘The Big Buzz’, taken on a ranch in Texas.
Karine captured the activity with a macro
lens as a buzzing ball of cactus bees rolled
over the hot sand. A few minutes later, the pair
at its centre, a male clinging to the only female
in the scrum, flew away to mate.
The Young Wildlife POTY 2022 was won by
16-year-old Katanyou Wuttichaitanakorn from
Thailand for his image, ‘The Beauty of Baleen’.
The two images were selected by a panel of
judges from a total of 38,575 entries over 19
categories, based on their originality, narrative,
technical excellence and ethical practice.
“Wildlife photographers offer unforgettable
glimpses into the lives of wild species, sharing
unseen details, fascinating behaviour and
front-line reporting on the climate and
biodiversity crises,” says Dr Doug Gurr,
director of the Natural History Museum.
All of the category winners and shortlisted
images will be on show at the Natural
History Museum in London until 2 July 2023,
and tickets are available now. The flagship
exhibition has been redesigned to position
the photographs among short videos, quotes
from jury members and photographers, plus
insights from museum scientists to provide
more context into how human actions are
shaping the natural world.
The exhibition will also tour across the UK
and internationally to venues in Australia,
Canada, Denmark, France, Germany, New
Zealand, Switzerland, USA and more.
The 59th Wildlife POTY contest is now open,
to photographers of all nationalities and levels.
The fee for entries from 50 countries will be
waived. www.nhm.ac.uk/wpy/competition

DxO PhotoLab 6 brings DeepPRIME XD and a new ReTouch tool

PhotoLab 6 is the latest version of DxO’s
RAW processing, lens correction and editing
software for photographers. This version
brings DeepPRIME XD (eXtreme Details),
a development of DxO’s DeepPRIME tech
to deliver yet more fine detail.
There’s an all-new de-noising technology,
a ReTouch tool, improvements to the Library
panel and the integration of perspective
correction tools so that the ViewPoint add-on
is no longer needed for perspective fixes.
for complex geometric corrections and
can be used as a standalone application, or
Photoshop, Elements or Lightroom plug-in.
DxO has also been working on its colour
management and processing algorithms and,
in PhotoLab 6, it introduces a new, ultra-
wide gamut colour space to ensure that no
subtleties of colour are lost during editing.
PhotoLab 6 Essential Edition and PhotoLab 6
Elite will cost £199/$219 and £129/$139 for
new users; with a lower price for upgrading
© DxO

DxO ViewPoint 4 is designed specifically from previous versions. www.dxo.com

10
 Google Pixel 7 Pro and Pixel 7 unveiled
The Pixel 7 Pro and Pixel 7 smartphones feature ‘computational
photography’ features powered by Google’s new Tensor G2 chip
At its ‘Made By Google’ event on
6 October 2022, the company
officially unveiled its Google
Pixel 7 and Pixel 7 Pro smartphones. The
cameras on both devices offer small
improvements over the Pixel 6 and Pixel
6 Pro released last year. The Pixel 7 Pro
has the same 50MP wide, 12MP ultra-wide,
and 48MP telephoto lenses as the Pixel 6
Pro, but boasts 30x high-resolution zoom
thanks to a Super Res Zoom feature.
Google is focusing on the Pixel’s
‘computational photography’ features,
including the new Photo Unblur (an

expansion of Face Unblur, first seen on the
Pixel 6 and Pixel 6 Pro). Along with Night
Sight introduced on the Pixel 4, Photo
Unblur uses machine learning to improve
your images by removing blur and visual
noise for sharper shots. Macro Focus on
the Pixel 7 Pro will focus on objects from
as close as 3cm.
The devices are powered by Google’s
new Tensor G2 chip, which allows for
more efficient performance and longer
battery life. These features help make
the Pixel 7 and 7 Pro ‘the best phones for
photography’, according to the tech giant.
The Google Pixel 7 Pro is similar in
design to its predecessor, including the
prominent camera bar spanning the rear
© Google
of the smartphone. However, the camera
housing has been changed to metallic,
rather than glass, so that the lenses stand
out more as a result. Both devices are now
made, in part, from recycled materials. The
Pixel 7 Pro and Pixel 7 are available now,
priced £599/$599 and £849/$899.

Laowa launches two macro cine lenses

These macro cine lenses for Super35 and full frame More snippets of photography
news from around the world
cameras have T-stops not F-stops, and follow focus VOIGTLANDER NIKON Z LENSES
Voigtlander has released the 40mm f1.2
Nokton and D 35mm f2 Macro Apo-Ultron
Laowa is renowned for its twin specialities, ultra-wide primes and high-magnification macro lenses, reviving a classic name for the
lenses. As the creator market booms, the company is adapting more of its lenses to the digital age. The former is an ultra-fast
specific needs of video shooters. The two new lenses are the Laowa 65mm T2.9 2X Macro standard prime lens for full-frame Nikon
APO Cine (S35) and Laowa 100mm T2.9 2X Macro APO Cine (FF). The Laowa 65mm T2.9 2X Macro Z cameras, while the D 35mm f2 Macro
Apo-Ultron is an APS-C macro lens for the
APO Cine (S35) will come in Fujifilm X, Sony E, Nikon Z and Canon EF-M mounts, offering macro
Nikon Z fc, Z50 and Z30. At the time of
magnification up to 2x – twice the 1:1 ratio of regular macro lenses. writing, both lenses are available for
The Laowa 100mm T2.9 2X Macro APO Cine (FF) is a full-frame macro lens that will come in Arri pre-order. www.voigtlaender.de/lenses
PL, Sony E, Canon EF, Canon RF,
and L-mount versions. Like the
65mm lens, its lens has a 77mm CHRIS KILLIP RETROSPECTIVE
A collection of work by industrial
front filter thread and the same landscape photographer Chris Killip
APO lens design. Inside, however, will be on display in the Chris Killip:
it has a 13-blade diaphragm – an Retrospective exhibition at The
unusually high number – to help Photographers’ Gallery in London until
19 February 2023. Killip died in 2020,
produce smooth bokeh. Both offer
leaving behind many unseen photos.
T-stop light transmission settings Described by Martin Parr as a “key
and external gears for both player in British photography”, Killip’s
focusing and stepless iris control. legacy will live on through the exhibition
The Laowa 65mm will cost curated by Tracy Marshall-Grant and
Ken Grant. Admission to the exhibition is
£719/$599 for all mounts, priced £8 for adults and £5 for students.
© Laowa

and the Laowa 100mm costs www.thephotographersgallery.org.uk

£1199/$999. www.venuslens.net

11
YOUR IMAGES

STORY
BEHIND
THE STILL
Photographer: Tony Menias
Website: www.beloveful.com
Instagram: @beloveful
Image location: Nandgaon, Uttar Pradesh, India
Type of commission: Personal
Shot details: Fujifilm X-Pro2,
Fujifilm XF18-135mm F3.5-5.6R LM OIS WR
f/7.1, 1/110sec, ISO 200

About the shot: Traditions and festivals are a good way

of documenting a new and foreign country. Here, the
art of photography is to quickly familiarise oneself with
the unknown surroundings. In this way, it is possible to
capture unique moments and direct the view, not only to
active events but also to quiet and unusual scenes.
Tony Menias travelled to India to experience the Holi
Festival. “Holi can be celebrated for six days in various
small cities that lead to the birthplace of Krishna,
Mathura,” he says. “One of the first days is held at the
temple on top of the Nandisvara Hill in Nandgaon, Uttar
Pradesh. Thousands flock to this temple to take part in
the festival of colours, including many photographers.”
To gain a unique insight into the different culture,
Tony followed his own strategy. “While almost every
photographer was at the temple documenting, I
followed the motto if everyone is looking right, look left.
So, I decided to wander around the quieter parts of
the village. I stumbled upon this spot that exemplified
how festive and colourful this little town was. The
complementing coloured walls were splashed and
speckled by vibrant pigments that were most likely
thrown around earlier that day.”
As a street photographer, the biggest challenge to
capturing the decisive moment is to be in the right place
at the right time. “This was where I knew I had to wait
for the perfect person to walk by. Luckily, a little girl was
passing through with those pigments in her hand and an
outfit to match. I call it ‘Holi Passage’,” says Tony.
Instead of intensively editing his work, Tony
concentrates on getting everything right when taking
the photo and says he prefers basic retouching to
optimise the overall impression of the image.

Right
Alley catch
“Colours, smells, tastes and textures are
All images © Tony Menias

abundant and bountiful – and all can be

indulged during the Holi Festival,” says Tony

12
13
 LIKE A PR
T
SHOO

Alistair Campbell
As the technique editor
for our sister magazine
Digital Camera, Alistair
writes about a huge
range of photographic
topics on a daily basis,
however, candid street
photography is one of
his personal passions.
Having previously worked as a freelance
photographer, his knowledge of using
locations to their full potential has armed
him with the practical skills to find subject
matter in the most unlikely of scenarios.
To see more of his work, including his
fashion portraiture, find him on Instagram.
@alistaircampbellphoto

14
Peter Fenech explores historical Bath
with Alistair Campbell to discover
the essentials of street photography
Street photography has a
unique historical association
within the art world. Some
of the most well-respected names in
the medium created their legacies
by capturing people and places on
the street, documenting a snapshot
of the decades in which they worked.
Names such as Henri Cartier-
Bresson, Vivian Maier, Elliot Erwitt
and Helen Levitt are synonymous
with 20th Century street
photography and the unique style of
capturing the world they pioneered.
While certain concepts that these
artists generated have endured,
none more so than Cartier-
Bresson’s ‘decisive moment’, many
photographers working today can
have difficulty interpreting their
ideas in a modern context. Digital
photography has revolutionised the
way photographers view and capture
the world around them, meaning we
must use historical inspiration with
care if we are to get the most from
our time and modern equipment.
I’m keen to explore the genre of
street photography through the eyes
of a contemporary artist. As such, I
am in the picturesque city of Bath
Spa, in Somerset to meet Alistair
Campbell for a photowalk. Armed
with his Fujifilm cameras, an X-T2
and an X-100V compact, we set off in
search of engaging subject matter.
I ask Alistair what he looks for in
a subject and the elements he aims
to find first when hunting for the
perfect street composition.
“I look for people first and then the
background,” he says. “Of course,
you can’t always find the perfect
background but, sometimes, I’ll set
up and wait for a good subject to
walk into the scene. If you focus on
people it doesn’t really matter where
you shoot in terms of location.”
I notice Alistair has both cameras
out of his bag at the same time,
which might seem counterintuitive
for a genre that’s all about
maintaining discretion. He explains
that he has adapted his camera
bag to allow easy access to both
bodies on demand while remaining
as inconspicuous as possible. This
raises a common question about
street photography – how to shoot
confidently without creating conflict
with the subject. This is an area
where those new to the genre of
street photography might feel
uncomfortable at first.
“To avoid unwanted attention, I’ll
just keep on shooting after I’ve taken
a picture of somebody,” Alistair says.
“If I were to stop and check the back
of the camera straight away, the
subject would know I was focused on
them. Whereas, if I look interested in
the background and act casual, they
won’t assume I was shooting them.
© Alistair Campbell
People know what you’re doing but,
most of the time, they don’t seem to
care. It depends where you are.”
15
 LIKE A PR
T
SHOO
We move through the crowded
Be ready for action High Street and exit onto the
quieter York Street, under its
iconic archway – built in 1889 by
Overcome typical street photography challenges
Charles Davis to carry water to
One of the biggest hurdles in street shooting is the speed with the famous Spa. Alistair spots a
which picture opportunities come and go. Alistair believes digital shaft of sunlight on a wall that is
technology has eased the process but that being prepared is creating an ideal background and
still an essential skill to master. “Digital photography has made suggests we wait for someone to
the practice easier, but being in the right place at the right time walk onto our al fresco stage.
can be tricky. If you’re just walking around, you end up missing It doesn’t take long for
things. I suggest finding a spot, setting up and waiting for things passers-by to appear, but Alistair
to happen. It’s a bit like fishing – you can have the location and waits for someone to enter the
the bait but nothing happens and that’s okay. It’s about creating natural spotlight before taking
a little control in an otherwise uncontrollable setting,” he says. his shot. He tells me he tends to
favour harsher, dramatic lighting.
“A lot of my work is quite dark.
I used to shoot a lot of portraits
in flat light, but now I often shoot
in a harsher light, which means I
just expose for the highlights to
underexpose the overall frame.
This gives a darker look.”
The advantage of studying
graphic properties is that it is not
always necessary to capture a
literal representation of a subject.
“In this type of scene, I don’t
always worry about perfect
exposure control. If the highlights
are a bit bright or the shadows
Alistair uses two cameras, each with a prime lens mounted, to allow quick recomposing. a little darker than usual, it’s
A single camera with a zoom lens would offer the same flexibility, reducing missed shots. okay as long as the subject is
clear,” Alistair says, proving that
16
it’s always important to decide
on your creative priorities before
heading out on a shoot.
I ask him about the technical
side of shooting incognito. How
does Alistair focus his subjects
on the go?
“Often I’ll just focus on the
background and depth of field
will be enough to get most
everything sharp. If you’re
shooting at f/1.4, that might
not work, but at f/5.6 or f/8 it’ll
usually be fine,” he explains.
“Alternatively, you can focus
at the estimated distance from
the camera your subject will be
walking, pre-focus on that spot
and wait. It depends on the focal
length in use too.”
With wider lenses, the depth of
field is naturally deeper, meaning
small focus shifts are not as
noticeable as when shooting at
higher magnifications and wider
aperture settings.
Speaking of focal lengths, as
we move on further around
Bath’s quaint streets and narrow
alleyways, I quiz Alistair on his
preferred choice of lenses for this
style of street photography. What
are his favourites and why does
he choose each type?
 17
STREET WISE

© Phil Barker
x4 © Alistair Campbell
 LIKE A PR
T
SHOO
x3 © Tommy Reynolds
1
Alistair’s essential photo gear
1 Fujifilm X-T2 Featuring
a 24MP APS-C format
sensor, this Fujifilm is a
favourite amongst street
photographers and all those
capturing candid images.
Alistair is able to use the
camera discreetly, while
the physical exposure dials,
common to the Fujifilm
design philosophy, allow rapid
access to settings on-the-go
On our shoot, Alistair
had his most used settings
assigned to the function
buttons to further streamline
his shooting workflow.
2 Fujifilm XF 56mm f/1.2
R WR With its ultra-fast
aperture, this optic offers
a great balance of light
gathering and portability. It into account with his X-Series
provides the equivalent Full
BLOB? CHECK
Frame focal length of 84mm,
for subtle compression.
AT WWW.AMAZON.CO.UK/SHOP/
18
3
4
2 that for a while. Basically, when
MANFROTTO MMXPROC5 MONOPO
3 Fujifilm X-100V
While compact cameras
have seen a decline in recent
years, this model retains
its position as a street
photography master, thanks
to the APS-C-sized sensor.
The camera provides a retro
handling experience, similar
to that of many cameras
used by street photographers
of decades past, but it also
offers modern features, such
as film simulation and an
internal ND filter.
4
Assorted Fujinon lenses
Alistair has used multiple
optics before, but now works
mainly with prime lenses. He
prefers standard focal lengths
up to 50mm, which he takes
lens choices, allowing for the
OUT TOMMY’S
1.5x magnification of his X-T2.KIT
Not pictured
TOMMYREYNOLDS
“Commercial street photography
is about balancing spontaneity
with publishing requirements”
“When I started out, I was using
a 16-55mm zoom lens, which was
fine for most things. It wasn’t the
sharpest lens, but it was versatile.
I started using primes but I don’t
like carrying lots of kit, so I’ve
worked through several different
focal lengths.
Ideally, I prefer a 50mm. When
I had my first camera, all I had
was a 50mm and I got really
good at using that. But then I
moved to an 85mm and used
I get tired of one perspective I
switch to the other – I try not to
overcomplicate things. If I have
an 85mm on my camera, I’ll
get the most out of what I can
achieve with that lens. I tend to
prefer longer lens shots but I like
to show variety. The experience
of using a 35mm is different from
a 50mm or 85mm.”
Ultra-fast prime lenses are
another element that has
become synonymous with
street photography, but Alistair
recommends they are used
with caution. While maximum
aperture may have been essential
when paired with an ISO 100
film or an early DSLR, which was
noise-limited, today f/stops wider
than f/1.8 can be overkill.
“Because the low f/number is
a main selling point, with fast
primes, it’s tempting to shoot
wide open all the time, but
often this can be too shallow
or far too bright,” he says, as
he adjusts the exposure for the
highly reflective limestone used
heavily throughout Bath’s period
architecture. Keeping the ISO
at 400 allows us to stop down,
increasing focus depth and
allowing us to get the highest
possible quality from our chosen
lens. Even stopping down by
2EV can vastly improve detail
resolution across the frame, while
making from-the-hip shooting
more practical.
We traverse the expansive
shadow cast by Bath Abbey and
head back into the shopping
areas, in search of different
characters. We stop to capture a
street performer juggling flaming
torches, who strikes a pose for
the camera – another reason
to remain inconspicuous when
looking for candid shots.
In an attempt to capture a
unique perspective, Alistair
lowers the camera height and
employs the built-in ND filter
in his X-100V to lengthen the
exposure time. This blurs passing
shoppers and creates some
contrast of tone. It makes full use
of modern camera features to
provide a contemporary feel to
his street photography.
I ask him how the creative
approach to modern street
photography differs from that of
other genres.
“The first thing I shot was
fashion. I often shot on the street
as I had limited kit and space.
That was about finding textures
and patterns for backgrounds,
which is the same as street
photography,” he says.
 STREET WISE

© Alistair Campbell

Top tips for street shooting

Prevent exposure changes When shooting
quickly or with your eye away from the camera,
lock exposure to prevent unpredictable shifts
between frames as you recompose.

Pick a spot Increase your chances of

combining an engaging subject with a great
background by selecting a good location and
waiting for an effective scene to materialise.

Colour or monochrome Colour can sometimes

detract from the main details you want the
viewer to focus on, making black-and-white
conversion an effective creative choice.

Shoot past the moment Keep shooting for

several frames after the ‘perfect’ composition
to increase the choice of images and also make
yourself less conspicuous to your subject.

19
 LIKE A PR
T
SHOO
Change your angle
Make the location part of the narrative of your shots by changing perspective.
Shooting down low or up high can offer greater intrigue in everyday scenes
“The only real difference is
that, with street photography,
I don’t care too much about
absolute technical perfection
– if something blows out or is
underexposed, you make it work
for the scene. With fashion, you
have to capture certain detail in
the clothes or model,” he adds.
“Making street photography
work commercially is more
challenging. For example, if I
was shooting for a magazine, I’d
be balancing spontaneity with
the publishing requirements. If
I knew what it was for, let’s say
it’s a landscape format shot
going across two pages, I’d wait
until the subject was on a third.
That would keep them out of the
gutter [the middle line where
pages are bound] and ensure a
decent amount of interest on the
other side of the spread.”
Shoot dramatic street scenes
1 Set f/stop Although shooting at
maximum aperture will enable you to
reduce depth-of-field for dramatic effect,
it is often better to stop down slightly to
maintain easier control over sharpness
when shooting from the hip.
20
As we turn onto Dorchester
Street, I ask Alistair how street
photography differs from travel
shooting – two genres often
mistakenly confused.
“They are similar but in travel,
it’s more about showing where
you’ve been and what was
there. With street photography,
it’s about showing a specific
narrative. Somebody is reading a
paper, walking a dog or feeding
some birds. What are they doing?
Where are they going? It has a
different purpose.”
Before we part ways, Alistair
offers some advice on developing
a mindset for street photography.
“If you have good contrast, nice
light and an interesting subject
© Alistair Campbell
that you want to know more
about, you’ll find something. It
doesn’t pay to overthink things.
Just be out enjoying the process.”
2 Select ISO Set the sensitivity to
between 400 and 500. Although
ISO100 will give the best absolute quality
3 Test focal length Shooting with the
lens you have on the camera can open
up creative possibilities, however, it is
in most cases, these low sensitivities can worth changing to a different focal length
become problematic when light levels fall. occasionally, to ensure you are covering
Mid settings allow the greatest flexibility. every possible available perspective.

4 Apply camera styles If shooting
JPEG files, these will be applied to the
final image, but even when shooting RAW,
in-camera image styles offer a detailed
preview of the final image. These can be
selected later in proprietary RAW software.
5 Set AF mode Choose the single-point
AF mode as this offers precise control
over where the camera is focusing. It is
particularly useful when shooting from
the hip, as you know exactly where in the
frame the priority will be.
STREET WISE
6 Check histogram While minor clipping
is often acceptable in small areas of
the frame, always check the histogram
to gauge if there are any problem zones,
extending far beyond the dynamic range.
Use exposure compensation accordingly.
21
TECHNIQUES

Pictured
Cold fire
Winter landscapes are often
defined by certain preconceptions
and cliches regarding colour
palette and tone. Challenging
these can produce stunning shots
that leave a lasting impression
© Andy Mumford

22
 SHOOT
WINTER SCENES
Master the elements to capture the colour, light
and atmosphere of minimalist frozen landscapes
inter landscapes are often portrayed as
desolate, uninviting places, yet rarely
does this detract from their regal nature.
There is a visceral element to snow-
enveloped terrain that stimulates an
emotional response beyond the common
perception of beauty. From a psychological point of view,
human vision is drawn to the brightest or most colourful
aspect of a scene, but when devoid of such objects, a
landscape can conjure a mix of feelings.
The emptiness of a snow field and frozen mountain range
activates a sense of vulnerability in the viewer, but at the
same time, can bring about a feeling of peace and tranquillity.
A stretch of ice over a frozen lake can be both ominous and
inviting. Snow-dusted forests can signify danger, due to their
impenetrable nature, but also seem cosy and protective.
As photographers, we can use these generally universal
traits to our advantage when framing and exposing winter
landscape images. The winter months provide a unique set
of challenges and creative opportunities, so it is helpful to
brush up on your photographic skills before the first snow
starts to fall, at least in temperate and polar climes.
If you live in a region with less extreme swings in weather,
you can still apply the skills learned here to your everyday
photography. You can also use this knowledge to emphasise
the best qualities of winter, however it manifests itself.
23
TECHNIQUES

1. Overexpose
Use Exposure Compensation for corrective and creative reasons
Early on in our photographic career, we for creativity. Instead of merely aiming for Above Above right
learn that snow can wreak havoc with our a ‘correct’ exposure, pushing it further can High-key impact Pleasing balance
Controlled Using a lens of
camera’s auto exposure system. The reflective produce a high-key, minimalist image, with a
overexposure greater than
properties of snow force the camera to greater focus on contrast and small details. creates a clean, 100mm has
underexpose the scene, by attempting to Keeping an eye on the histogram or crisp, wintery shot magnified the main
render the white material mid-tone grey. highlight alerts for clipping, nudge Exposure with a greater detail of the shot,
It is therefore advisable to use Exposure Compensation up to around +2/3EV. This focus on the most creating a better
prominent elements symmetry than if
Compensation to bring the exposure back really pushes the ‘white-out’ feel of a blizzard of the season, such a wide-angle optic
towards the centre, for a more natural image. and can make a great black-and-white or near- as contrast of tone had been mounted
However, this can also be an opportunity monochromatic composition. and sparse detail on the camera

24
 SHOOT WINTER SCENES

© Dana Neibert / The Image Bank via Gettyimages

2. Compress the scene

Bring detail together for a balanced composition
Where colour is in short supply, as is often the
case when shooting snow-covered landscapes,
it helps to switch your attention to capturing
© Marco Bottigelli/Moment via Getty Images
of 100mm or greater. A 70-200mm lens is
perfect for small groups of trees or shrubs,
while a 70-300mm or 400mm lens is better

patterns and detail. For example, tree bark
contrasting against the white field of snow is
a great subject, truly isolating the experience
of seeing familiar scene elements in a new way.
Because of the relatively low-frequency
detail of such winter scenes, it helps to
compress the most engaging elements, to
control the symmetry of the frame. This can
be achieved using an equivalent focal length
for bringing together mountainous scenes or
snow-capped hills.
Using a longer focal length will also make
falling snow more prominent, as compression
will make flakes appear larger in the frame.
If you wish this to be visible, stop down to
f/11 or higher, while shooting wide open or
extending the shutter speed will blur this
detail, reducing its presence in your shot.

Understand metering behaviour

Achieve more predictable exposures by
getting to know how your camera works
While the general functions of auto exposure systems are often
discussed, many photographers are strangely unaware that the AE
system is, in many cameras, linked to the chosen active AF point.
While changing the metering mode will alter general behaviour,
if you focus and recompose, your exposure will change if you do
not use AE Lock. This can lead to wildly unpredictable brightness,
especially when using Spot or Partial metering, with reflective snow
and ice in-frame. Remember to change AF point, hold down Exposure
Lock or switch to Manual mode to prevent exposure changes.

25
 TECHNIQUES

3. Capture reflections
Make full use of still winter air to capture glassy reflected images
Although winter weather can be changeable the landscape. Reflections are potentially absorbed by the reflective surface itself, so
and dramatic, in between these periods of tricky to shoot at any time, but if there is snow this is not bounced back in the direction of the
low pressure come stretches of high pressure present, the already challenging exposure camera. This often leads to underexposure.
and stable air. When these occur, there is little requirements are further complicated. Since this is already a danger in winter
if any wind, which is the perfect condition for Reflected images are generally darker scenes, even more precision is needed when
capturing reflections on bodies of water within because a proportion of the light has been calculating exposure.

Compose an image Decide how to structure your image, meter and choose exposure accordingly

1 Choose image structure Start by

deciding on how you want to arrange
your composition. Many images of lakes and
rivers can be somewhat two-dimensional
when shot straight-on. Aim to place the
horizon line on a third or, to control empty sky,
opt for 4/5th or 7/8th foreground dominance.
© Ryuji Yoshimura/500px Prime via Getty Images
2 Meter the scene Using Spot or
Partial metering modes, take your
exposure reading from the shadow area
where the real and reflected images meet,
usually at the bottom of the opposite lake
or river bank. This will prevent underexposure
of the bottom half of the frame.
3 Lengthen exposure In Aperture Priority
Mode, stop down to f/11 or above to push
the shutter speed lower, thereby ironing out
any distracting surface detail on the water.
Zoom in to check for visible ripples and
also areas of overexposure, using Exposure
Compensation for micro-adjustments.

Pictured
Mirror image
A longer exposure can add a
feeling of serene calm often
experienced on crisp winter days.
This treatment complements
reflections in lakes and rivers

26
 SHOOT WINTER SCENES

4. Look
Pictured
Frozen waterfall
While the dramatic
landscape speaks for

for colour
itself, the extra splash
of colour in the person’s
red jacket provides a
compositional full stop
© Andy Mumford

Seek out small areas

of bold colour to make
your images pop
While many winter landscapes seem devoid
of bold colour, this can often be used to our
creative advantage, producing images with a
unique atmosphere. However, this can also be
used as the basis for an organic colour-splash-
like effect. The software technique of the same
name is rarely attractive and has fallen out of
favour, but when placing a naturally colourful
object in a high-key setting, the results can be
extremely eye-catching.
A popular example is to feature a human
figure in a winter landscape, wearing brightly-
coloured apparel. A red coat in a sea of snow
immediately draws the viewer’s eye, so when
placed at a compositional crossroads, such
as at the start of a leading line, this can help
you control the audience’s journey. Similarly,
colourful winter berries can have the same
function in a close-up scene or the plumage
of a bird will offer a unique focal point.
Due to the strength of this type of visual
element, you should take care with its
placement within the frame. Opposite to the
positive uses outlined above, badly placed
colour, like at the edge of the frame or in an
out-of-focus background, will have negative
implications for where the viewer looks first
and how long their attention is held.

Choose focusing method

Large areas of low-frequency detail will
often cause issues when using autofocus,
as it cannot find enough contrast to
set focus distance accurately. Even
when using manual focus, there are
few reference points to use to judge
sharpness. For this reason, non-visual
focus methods are preferable. Hyperfocal
focusing will offer a good balance of
foreground and background sharpness,
while double-distance focusing is
quick and easy. Download a hyperfocal
distance app or chart to help with the
values, which should provide sufficient
detail in sparse winter landscapes. Here,
we used an app called Photo Tools.

27
 TECHNIQUES

Pictured
Colour depth
Winter sunrises and sunsets are some
of the most colourful and dramatic.
Don’t forget to capture a natural
contrast of blues with rich oranges,
yellows and reds for greater depth.
© Xuanyu Han/Moment via Getty Images

5. Capture warmth
When shooting landscapes, winter is not only about the blues
We have learned through reinforcement that
winter is defined as a season by shades
of blue and other ‘cold’ colours such as
magenta and cyan. The association is
fairly self-explanatory but is not always
justified. Firstly, we only tend to think of
these colours as cold because of the winter
connection. There is somewhat of a cause-
and-effect situation at play, but in terms of
the Kelvin scale at least, these colours are
warmer. It is important not to get confused
by this discrepancy. Blue has a higher Kelvin
value as materials that give off a blue colour
when heated burn at a higher temperature
than those which burn yellow or orange.
Secondly, the winter months are
populated by some of the most fiery,
dramatic golden hours seen all year. Yes, it
is easy to let blue creep into the shadow
areas but to represent the full colour palette
winter provides, we must include these low
Kelvin colours too. Shoot in RAW format
and adjust the colour temperature in a
localised way, introducing a contrast of
colours across the image.
If your image is looking too blue but a
‘warmer’ White Balance such as Shade or
Cloudy strips away its natural presence,
look for something to reflect any reds and
oranges in the sky. Frozen lakes or pools
can break up the composition by adding
reflected sky colour to contrast against
the surrounding snow.

6. Balance the blues

Landscape pro Andy Mumford explains how to control white balance
How you control white balance in winter
landscapes depends on the lighting in the
scene. Snow in a cloudy blue hour is different
from snow in a warm golden hour. For me,
the most important thing is to ensure I have
as much data as possible in the file so I can
ensure it’s correct later on at the processing
stage, and this means ensuring the image is
properly exposed.
Most modern cameras are pretty good at
exposing for winter scenes, but I find it’s better
to expose to the right to ensure the snow is as
bright as possible, without clipping. The closer
to the midtones and shadows, the more the
snow takes on a colour, and removing it can
degrade the file. At the processing stage, it’s
about understanding the mood of the scene
and adjusting the white balance and tint to
suit. A slight blue in a cloudy scene feels
natural, but in a sunny scene, I try to keep the
snow as white as possible and remove any
blue present. There isn’t one white balance
that works, it depends on the conditions and
the amount of direct light in the scene.
What’s important is that you shoot in RAW
so you can adjust the white balance in post-
processing. For more, see andymumford.com

Pictured
Controlled colour
Underexposure can often lead to
saturated blues. Here, Andy has
retained the cold feel of the scene
while keeping colours natural
© Andy Mumford

28
 SHOOT WINTER SCENES

7. Show
movement
Introduce some
dynamic energy into
otherwise static winter
landscape shots
Stillness can be a fantastic attribute of winter
landscape scenes and is one of the defining
characteristics of the season, especially after
heavy snowfall. However, on occasion, the lack
of detail can produce a flat shot with little in
the way of drama or energy. Showing motion
is an effective tool in all landscape imaging but
in winter scenes it can make or break the shot.
When presented with white-out conditions,
assuming it is safe to head out and shoot, it
is worth finding a moving subject first around
which you can base your images. A stream,
river or waterfall are all perfect contenders
as they are large enough in the frame for the
motion to be visible.
Moving water is effective because it will
either complement the soothing qualities
of undisturbed snow, or it will
contrast well against sharp
SEAL THE forms, such as frozen
DEAL rocky outcrops or bare
While it’s common knowledge tree branches. In heavy
that weather sealing is a huge bonus snow showers, make
in winter weather, it is important an asset of drifting
that both your camera and lens have flakes by extending
comparable quality seals. A pro lens on the shutter speed
a non-pro camera or vice versa can still slightly, to convey its
leave your setup vulnerable to moisture
movement. Shooting at
ingress, so don’t forget to consider
approximately 1 second
any such potential weak spots
in your weather protection. will trace the motion,
amplifying the impression
of blizzard conditions.
Try shooting falling snow
against an area of darker trees,
to make flakes stand out more clearly.
Combining multiple frames in your editing
software will also create a stronger effect.

Left
Slow and soft
Moving water is a great
complementary element to
sharper winter textures and
also softer, snow-covered
areas. Flowing streams
or waterfalls break up the
scene for added interest too
© Mohan Reddy

29
TECHNIQUES

© Peter Fenech

Above
Icefall
Cropping in closer to the
landscape focuses attention on
elements such as ice and snow

9. Process
to perfection 1 Set Blacks and Whites Start the process by setting the extremes
of the tonal range. Most RAW editing software has Black and White
point sliders that will dictate the maximum range of possible tones.
Control the distribution of colour, Importantly, choosing to leave the contrast low can be a creative
decision, based on the atmosphere of the image.
highlights and shadows with a
standard winter software workflow
Although winter landscapes may often seem minimalist in terms
of detail, they pose considerable challenges during the editing
stage. Errors in this area commonly stem from incorrect global
processing, with some zones of the image becoming over-edited
and others not receiving enough corrective measures. It is useful
to remember that we need to make the images look cold,
as they appeared in person, while maintaining a natural colour
palette and balanced highlights.
As we previously mentioned, watch out for over-saturated blues
in the shadows areas at this stage too, applying corrections with
the selective adjustment tools. Before attempting to correct areas
of overly bright snow, ask yourself whether it is truly distracting
4 Local adjustments For the most precise control over colour
distribution, use the Adjustment Brush or Radial Filter in
Lightroom – or a similar application in your preferred software – this
in the image. Often, it can become more distracting if the snow will allow you to make fine local edits. In many programs, it is possible
artificially turns into a muddy brown or grey. to load Colour Temperature on a brush, for manual grading.

30
 SHOOT WINTER SCENES

8. Shoot Winter lens options

the details
For close up detail, which optics are the best
choice for shooting in wintry conditions?
When you need high magnifications, the

Tell a bigger story logical choice is to use a macro lens.

with the smaller details
It’s tempting to focus on sweeping vistas
in the winter season, mostly because of
the pressure to ensure our images have
enough detail to hold the viewer’s attention.
However, there are also many smaller-scale
opportunities to form a narrative.
On stock photography websites, detail
shots of larger subjects are often prominent.
The last remaining vegetation pushing
through the snow layer, a drystone wall with
a subtle snow dusting or a robin sitting on
a fencepost – these elements convey more
visual information about objects that would
otherwise be lost in wider-framed scenes.
Other points of interest might be cracks in
the ice, bubbles of air caught under the frozen
surface of a lake or frost on leaves. Make sure
to limit background visibility to ensure that
each detail is given room to breathe.
However, macro optics are, by their nature,
fairly niche in their application and while it
might only take a few seconds to change
lenses when greater flexibility is required,
winter poses unique challenges.
In the extreme cold or when caught
in heavy rain, it is never advisable to
expose the delicate sensor in your camera
to these elements. Ice can scratch the
silicon wafer and once the camera is
taken indoors, condensation will form.
A 70-300mm with a close-up function
is more flexible, enables reasonable
magnifications and opens up shots of
more distant subjects. Alternatively, the
humble kit lens can be useful. A standard
zoom such as a 24-105mm covers the
bases of scenic and close-up photography
while minimising the need to swap to
another model. Just be aware of reduced
or absent weather sealing.

2 Neutralise the image To remove all colour casts from the image,
use the White Balance tool. Select an area of the image that is
close to neutral grey and click the pointer tool over it. This will remove
any strong cool or warm casts in the frame, although it may also leave
the image lacking in depth.
3 Fine-tune colour balance If the previous step stripped all
thematic colouring from your shot, use the Temperature and
Tint sliders to reintroduce a global colour palette. Consider using
your Colour Grading or Split Toning tools to target certain colours
in the highlights or shadows.

5 Control grittiness We can decide how crisp our images appear

by using mid-tone contrast. This is controlled in many image
editing programmes using Clarity. Increasing Clarity will accentuate
the detail in snow and ice, while reducing the value adds a glow effect.
Decreasing Dehaze will enhance whiteout conditions.
6 Softproof Where colour palettes are limited or at risk of over-
enhancement, it’s important to know exactly how an image will
print, as mistakes in processing will be highly noticeable. Downloading
ICC profiles for your paper and printer and using Soft Proofing
features on a calibrated monitor can help visualise prints.

31
 TECHNIQUES

Pictured
Negative
reinforcement
“Negative space is not
necessarily empty space,
it should still add weight
to the composition
and further the impact
of the subject,” says
Andy Mumford.
© Andy Mumford

32
 SHOOT WINTER SCENES

10. Control
negative space
Andy Mumford on how to create a better
sense of balance in sparsely-detailed winter shots
Empty space doesn’t add anything to the
scene, but negative space can actually work
as a counterpoint to a detailed element such
as a hut or a tree. It comes down to the idea
of compositional weight – negative space is
an element of the composition that is
necessary for the frame to work.
Empty space, however, adds nothing to
the frame and should be removed, because
having it there just dilutes the composition. An
example of empty space would be an ultra-
wide shot where the whole foreground is snow.
It would be much better to remove that from
the frame by using a narrower focal range.
While I don’t really have a preferred focal
length for shooting winter scenes, ultra-wide
can be less useful as the foreground is often
a featureless white mass that doesn’t add
anything to the frame.
But then again, if you’re shooting next to the
ocean or a fjord in wintertime, then an ultra-
wide can be incredibly useful. Overall though,
I find myself using longer focal lengths as, that
way, it’s easier to isolate a particular element
in a more minimal frame, or compress shapes
like snowy mountains together.

Understand compositional weight

It’s always important to have in mind the balance of your composition and how harmonious
that is. Each element in a frame has a weight and the way that weight is distributed around
the frame affects the balance. Negative space has a weight, but not as much as detail, so
the two must be in proportion. Giving plenty of space around any element and allowing
it to breathe is essential but that space is often negative. When I consider the different
compositional weight of elements, I imagine it as a picture on a wall and whether it would
tip to one side or balance – it’s hard to put into words but it’s something you can feel.

33
TECHNIQUES

Winter landscape
troubleshooting
Solve any problems the winter
season may throw at you
Problem: Condensation challenges
When shooting in cold weather, the
temperature of the camera can lead to
the formation of condensation when
going into a warmer environment.
Solution: Leave your kit in your
camera bag when you go indoors to
allow gradual warming, which should
produce less moisture.

Problem: Adjust your LCD Bright

snow and ice can be as intrusive as
direct low sunlight, creating a false
exposure impression in the preview
image on your LCD screen.
Solution: Make sure that your LCD
has its auto brightness adjustment
function active, which is present on
most cameras today in the Display
menu options.

Problem: Create layers Snow

tends to flatten out the landscape by
obscuring detail and three-dimensional
levels. This can reduce the sense of
depth.
Solution: Use differential brightness
to create scale and distance perception
and wait for low, directional lighting to
accentuate variations in topography.

Problem: Power problems Cold

weather drains batteries, reducing
usable duration. This leads to a
risk of losing shots when on longer
photoshoots away from your base.
Solution: As well as taking multiple
batteries, don’t store them all together.
Wrap them in insulating layers and
separate them: this way spares won’t
all drain at the same rate.

Problem: Condensation challenges

Virgin snow is a glorious thing to
behold but often it can be disturbed
by your arrival on location and the
footprints this generates.
Solution: Assess the location before
the snow arrives so you can find your
preferred shooting direction and
© Andy Mumford

source alternative access routes to

avoid disturbance.

34
TECHNIQUES

THE BEAUTY
OF FASHION
Improve your skills and get inspired for more than just
your next fashion shoot
he concept of fashion and the ideal of beauty
are themes that have captivated society for
centuries. Inspired by music, films and events,
the fashion world is constantly changing,
either reflecting current trends or, in many
cases, setting new ones. The world of fashion
photography is a tough and varied one. All the skills
required in fashion photography are widely applicable
to other genres, with creativity and technical knowledge
the only essential basics, though organisation and
communication also contribute significantly to good results.
However, in this genre of photography, creative ideas
have to be based on the fashion itself, with everything else
being staged around it. The particular language of the
fashion brands, but also the products themselves, bring
great challenges. In most cases, photographers will already
have their subjects and backgrounds on location. The art
of making a career in fashion photography lies in not
sticking to tried and tested visual patterns. Instead,
success in this genre may mean breaking the rules, finding
unique perspectives and remaining open to new ideas.
Besides the fashion items themselves, a model is the
essential component of a fashion shoot. You can book
models through agencies but this can be expensive,
particularly for a beginner. In the fashion industry,
networking is worth its weight in gold. Activate your
contacts and search for suitable models on social media
platforms, such as Facebook groups, to find interested
people to help your project. Build your portfolio with some
simple tricks and learn how to stand out from the crowd.

Pictured
Analyse fashion
The first step towards
creating a successful shoot
and achieving outstanding
results is to work out the
purpose of the photography
and skilfully set the scene
© Antonio Fernandez

36
37
 TECHNIQUES
Find your style
Get an overview about various genres
for a clear vision of your creative goals
With photography, fashion items
and accessories are brought to
life and can gain an emotional
level with the help of visual
implementation and storytelling.
You may initially assume that
the sales aspect comes first, but
this is not always the case. There
are numerous fashion genres in
the photographic scene, taking
over magazines and social media.
Professional photographers
usually do not concentrate on one
fixed genre, but often pursue two
or three styles in their work.
“It is important to try out styles
and realise your own projects”
38
© Jscott
Beauty
Hair and makeup are
part of fashion, with
makeup artists and
stylists your team-mates.
Try organising a beauty
shoot, with the focus
on selling accessories
or make-up products.
Gear and settings
Zoom lens Versatile,
easy to work with
Macro lens Capture
details without loss
This has several advantages: of quality by cropping
firstly, you are constantly being Reflector Eliminate
challenged creatively, always unwanted shadows
keeping up to date with trends in Beauty dish Make
the industry. In addition, genres skin appear smooth
such as runway and street style or and give it a glow
editorial and beauty photography
almost go hand in hand. Tips and strategy
When finding your niche, it Home studio No pro studio
is important to try out many environment required,
styles and realise your own visual so make your own
projects in addition to commercial Activate network Work
jobs. These offer you a free with familiar faces from
working atmosphere with no fashion shoots
briefing to restrict your scope. Take opportunities
Contact small businesses
© Christian Diokno
to get free products
Retouching Be careful and
don’t overwork natural aspects
Catalogue Product
Focus on fashion items Produced in studios,
with shoots taking these photographs
place with a model in focus on the product
a studio. The customer and are often the
should get an insight ultimate presentations
into details of material, in detail. Setup will
colour and fit, and how largely depend on the
it will look on them. brand’s language.
Gear and settings Gear and settings
50-70mm prime lens Softbox Choose type
No risk of body distort based on subject
Custom white balance Light box Fast results
Show the true colours for small objects
Softbox Choose type Various backdrops
based on subject Don’t be afraid of bold
Neutral backdrop colours or patterns
No distraction from Use props Underline
fashion aspects of item
Tips and strategy Tips and strategy
Stay neutral Let the Start small Photograph
fashion stand out your favourite brands to
Clear communication build a portfolio
Supervise the model Share Tag brands on
Natural poses Pay social media to reach out
particular attention to Experiment Try various
the face and hands settings to find your own
Post-production Work particular style
© Melvin Buezo
out the characteristics Post production
of the clothing item Elaboration of details
Street style Runway
Taking fashion shots on Capturing models at
the street is becoming fast-paced fashion
more popular. Magazines shows requires flexibility
and social media follow and working under tough
the latest trends and conditions. Crowds, low
styles and offer a great light situations and
platform to get your limitations on equipment
photos published. are all challenges.

Gear and settings

50mm prime lens Focus is quick, Gear and settings
lightweight, sharp at all stops Zoom lens Gain more
Wide aperture Create bokeh, freedom in compositions
focus on subject Increase ISO Translate
Aperture priority atmosphere, flash often
Automatically controls prohibited
changing light conditions Continuous focus mode
Fast shutter speed Keep the model sharp in
1/125 sec or shorter movement
for moving subjects Monopod Offers flexibility,
take the weight off shoulders
Tips and strategy
Get informed Find Tips and strategy
unique styles at Start small University shows
fashion shows provide fewer rules and may
Stay up to date be ideal to build your portfolio
Know what trends Shoot in verticals Layout of
to focus on magazine pages and covers
Share Designers Various framing Focus on
like to repost content clothes and brand featured

© Rajesh Kumar Verma

Stay in the accessories
© Rosivan Morais

background Create Get media/press pass Opens

natural candid shots new perspectives and freedom

Editorial High fashion

Published in books Usually large productions
or magazines, these with top models or famous
images tell a story figures. Photographers
of the latest trends. work with pros and even a
Styling is critical, so designer. Visual languages
briefings with the are highly creative and
client are essential to often show the fashion in
bring that vision to life. an unconventional way.

Gear and settings Gear and settings

75mm prime lens Full frame camera high
All-rounder, adaptable resolution for large
to various settings print campaigns
Portable gear Make it easy Exclusive kit High quality
to change location quickly stands in first place
Lighting equipment Keep Dramatic lighting
it simple but effective Experiment with light
Light meter Always get and shadows
the correct light settings, Involve props Create
wherever you are visual interactions

Tips and strategy Tips and strategy

Have a plan Stick closely Collaborate Be open
to the client’s brief to new creative input
Diversified location Be risky Stand out
Create more visual space with bold decisions
Teamwork Communicate Experiment Try out
clearly with the stylist, poses and angles
make-up artist and models Attention to colour scheme
© Murat Esibatir

Don’t lose focus Remember Create unique styles

© Roy Reyna

product and brand language 39

TECHNIQUES

Benefit from location

and organisation
Gain an insight into the visualisation of ideas and
how your project benefits from the right location
Planning a fashion shoot involves so many
aspects that it can seem difficult to create a
plan at the beginning. If you want to shoot
for your portfolio or do freelance projects
with fewer restrictions, it is advisable to focus
primarily on the visual aspects of fashion. The
use of different materials, textures and colours
will give you plenty of inspiration to construct
a successful fashion concept.
Other considerations include make-up
and styling but, here, you should contact the
team members responsible and take their
suggestions into account. Also, when choosing
a model, their opinions and advice are
important and should be discussed together.
Make sure your choice of location fits your
story and, especially with outdoor locations,
pay attention to your planned timeline. It is
important to take account of ambient light
and weather conditions, so calculate a time
schedule and stick to it as much as possible.
The right location can support the
fashion and also offer new and unforeseen
creative paths. Especially at the beginning
of your fashion photography journey, you
should prefer versatile locations with room
for variation. This way you can try things
spontaneously on set and find your direction.

Create a mood board © Cottonbro

Order your ideas to develop

the ultimate shooting concept
Develop a collage that includes all your ideas for
the shoot. This can be a helpful tool to plan the
implementation of the shoot, but also to communicate
different aspects of it with the rest of your team.
You can create a mood board from printed images
but you don’t have to stick to fashion photographs –
also include icons, drawings, colour palettes, lighting
situations, environments and anything that you see as
an inspiration for your fashion shoot. Think about
make-up and styling and search for preferences. Sites
such as Pinterest can be a great help here. It is also
© Siân Elizabeth

advisable to make lists of the camera equipment you

need, so you will know what to rent or buy.

Main Boxout
Location, location Key communications
Make sure the location Pictures can often say
fits your story. With more than words, so
outdoor locations, pay if you are creating an
attention to your planned analogue mood board,
timeline, taking account take a photograph of it
of the ambient light and so that you can share
weather conditions your vision with the team

Shoot movement
on location
Planning ahead is key to getting
the best quality images from your
fashion photoshoot on location
1 Make a plan Create a mood board,
including location ideas, wardrobe styles,
makeup looks and hair styles. Your team
can view this and add their own thoughts or
images to help guide models with posing tips.
2 Choose right lens Use a lens that is
versatile to be able to get lots of variation
when you’re out shooting on location. The
70-200mm f/2.8 lens is a great all-round
lens for both beauty and fashion.

40

3 Shoot in RAW Raw files give you the
opportunity to create a better composition
or to crop in to focus on the expression. Take
more images than you think you need. It’s
always better to have more options afterwards.
4 Use high drive mode Use this mode
to shoot lots of frames when you want
to capture movement in one go. If you are
using flash, remember that some frames
won’t have the flash fired due to recycle times.
THE BEAUTY OF FASHION
5 Focus on eyes Use single AF points.
Enable eye-detection mode on your
camera and set it to people with continuous
autofocus. Your model can then move freely
and you can concentrate on the composition.
41
 TECHNIQUES

Create fashion stories

Fashion and portrait photographer Liselotte Fleur
explains how teamwork brings her visions to life
Behind every photo, there is a lot of planning, Keep in mind that the location is important for
organisation and teamwork. When I create a the story. Sometimes I start with the location
fashion story on location, I start with a mood and create a mood board based on that. Next
board. This collection is ideal to show the to the backdrops where we are shooting, we
team the specific style I want to go for. always make sure there is room for the stylist
When it comes to forming a team, my and model to change their work.
advice is to find make-up artists and stylists The day before the shoot starts, I make
on the same level as you, with common styles a checklist about what equipment I need
and mindsets, so you can grow together and – cameras, lenses, lights, laptop, batteries,
help each other – not just to create editorials, cables and accessories. Always take a print
but also introduce you to more clients. I found copy of your mood board on set to make the
all my best team members on Instagram or concept clear for everyone. Most importantly,
during other shoots and events. communicate with your team. Starting out, I
Together, we talk about ideas and develop a was a little shy – but I realised you have to Above Main
Team effort Direct action
concept. I am contacting a model agency and take control of the shoot. I learned how to Have creative people Learn to direct your
pitching the visual language of our project. In direct the team and the results got better. Be around you with the same team for better results.
return, they send me a selection of models self-confident behind the camera because this ideas and style, it will be Self-confidence reflects
and I book the one that suits our concept best. will reflect positively on everyone on set. easier to work together positively on all on set

Behind the scenes

I always prefer to work with daylight as it gets me more creative
and flexible but, if it’s too dark, flashlights are the best option.
I always bring at least two flashlights – I start with one and do some
test shots to check whether I need an extra flash. Here, the octabox
was placed above and behind me to avoid shadows on the model.
It is an easy set-up and lets the model and location stand out.
© Liselotte Fleur

42
 THE BEAUTY OF FASHION

Liselotte Fleur
Dutch fashion
and portrait
photographer
Liselotte Fleur
captures models in
a natural way while
telling a story
through fashion.
After studying
at the Art Academy in Rotterdam, she
followed her passion as a fashion
photographer, eventually writing a
book, The Fashion Camera, about
her experience, business insight and
technical knowledge of the industry.
@liselottefleur
liselottefleur.com

43
 TECHNIQUES

Use powerful flash to

complement natural light
Learn how to combine flash and ambient lighting to
create unique photographic styles on your fashion shoot
Stephie Braun offers some tips on getting the best results using flash and natural light

1
Did you bring
everything? Make
sure your batteries, for
2 Clean your lenses
Before you arrive on
the set, it is important
3 Personalise
your lens kit
Depending on the
both your camera and to clean all the lenses shooting concept, put
your flash, are fully you bring with you. This together your own lens
charged. Bring more than one battery for your way you will avoid unnecessary interruptions kit. For fashion, both a fixed focal length (eg.
flash, preferably three, so you can shoot with during the shoot and make any retouching 50mm or 35mm) and a wide-angle zoom lens
a full battery while the others are charging. work easier afterwards. (eg. 24-70mm) work, as well as a macro lens.

4 Read the light

© Team Credit: Photography & Direction: Stephie Braun, rep. by BoschtoBanrap, Model: Maya Andrews, rep. by Elf Models, Hair & Make-Up: Lonyrell Make-Up, Clothes: Danny Reinke Couture
Once you arrive on
set, check the existing
THE RIGHT light conditions to see
FLASH whether it is hard or
Think about the optimal soft, dark or bright. The
flash for you shoot. Here, direction from which the
Stephie is working with the light is coming is also important, so look for
Profoto A10 flash for Canon, the sun and watch the shadows around you.
which features a fast flash
recycling system that
offers the maximum
of speed. 5 Get camera ready Once
you have a feeling for
your ambient light, click the
flash onto your camera and
don’t forget to lock it. For
maximum creative freedom,
set your camera to manual
(M) mode. Trust your skills but don’t be afraid
to do something wrong in this mode. The
digital image is forgiving and you can reverse
many errors in post production.

6 Prepare the flash

Turn on the flash
and use all the tools your
flash has to offer, such
as LED modelling light,
magnetic light shaper
and a connection with
your smartphone via AirX. Then choose the
Pictured intensity of the flash based on the scene.
Light work
Light is an essential
element of creating a
good fashion photo.
Where natural light is
7 Play your way to
the best lightning
Pay attention to an ideal
limited or your shooting partnership between
goals change, a flash can
open up new possibilities.
flash and camera. To
Working with natural keep the ISO low, use the full power of the
and flash light can allow flash for maximum output. To keep both the
you to achieve your model’s clothes and face sharp, I recommend
visual goals and get that
an aperture between f/8 and f/22. For a
unique fashion shot
backlit shot of the model, go up to ISO 200.

44
 Stephie Braun
German photographer
Stephie Braun is a
freelance photographer

10 Pro tips focusing on the field of

fashion, beauty, lifestyle

1 Location is key Before you can start commercials and

shooting, it is important to know where editorials. She received

© Team Credit: Photography & Direction by Stephie Braun, rep. by BoschtoBanrap, Model: Johanna Orthey rep. by. Fly Models, Hair & Make-Up: Tanja Fritzler, Clothes: Silvia Wintergerst Couture
exactly the shoot will take place. In fashion the Talent award from
photography, a basic distinction is made Vogue Germany in
between studio and on-location shoots. For on- 2019 and has worked with a wide range of
location shoots, it helps if you know the area clients, including Walt Disney Studio, Beats,
so it is easier to find interesting backgrounds Prada Beauty, BMW, Adidas Women, Vogue
and scenes for your shoot. Working in a studio Germany, Schön! magazine and more.
gives you greater control over the conditions, @stephie.braun
including weather and lighting. stephiebraun.com

2 Imagine you were the designer of the

clothes On the day of the fashion shoot,
it’s all about understanding the vision of the
designer or the different designers. Know
in advance where the celebrated brands
come from, what countries and cultures they
represent, and what aesthetic and textual
traditions they bring with them. The more
you know, the more you can respond to them
or break with them in terms of the staging of
individual pieces.

3 Work with key words If you want to

create a strong, free fashion editorial
then find three words that describe exactly
what the content should be about. This way,
before the first photo is taken, you already
have a content bracket that you can use as
a guideline when taking photos. Is it about
colour, form and light? Or is it about the
female gaze, body and independence?

4 Map your ideas A mood board is the

perfect way to determine the basic tone
of your fashion shoot. You can either do this Main
Bread winner
online on Pinterest or miro.com or make “The original plan was to photograph
an analogue version with printed pictures, the beautiful dress by designer
clippings or colours. Here, you can collect Silvia Wintergerst Couture in a side
everything that appeals to you during your street. However, it started to rain,
so without further ado, we changed
research phase. In this way, you can decide to an indoor construction site of a
whether you want to work with more or less future baker,” says Stephie
light and where the images should be shot.

5 Preparing is caring? Before you start

taking a fashion picture, do some research
and see what is already out there. Use online
7 What is fashion about? Fashion is not
just about clothes, fabrics and colour.
Besides the function of individual garments,
9 Have fun on set To make your fashion
shoot as fun and powerful as possible,
it can be a good idea to have a Polaroid
databases such as Pinterest and Instagram or it is also about social issues, culture and ethics. camera or a small point-and-shoot 35mm film
browse the latest issues of popular magazines. Let yourself be inspired and try to incorporate camera on set as well. This way you can snap
Photo books and independent magazines can your own interpretation of these aspects into interesting candid moments and maybe some
also be a great source of inspiration. the story you photograph. additions to your digital pictures. Be playful!

6 Who is in front of the camera? At least

as important as the fashion itself are the
people who wear it – the models. Modelling
8 Build your team and become best
friends Besides you as the photographer
and the model, a team that includes a
agencies are always open to providing stylist and an artist for hair and make-up
photographers with ‘new faces’ for editorial is indispensable. It is often the case that a
shoots. Depending on the concept you pitch photographer is allowed to put together his or
to the agency, they may send you a casting her own team for a shoot. Don’t only consider
board, from which you can select exactly the your potential team members’ previous work,
right person or people for the requested shoot. but make sure that there is an interpersonal
As a beginner or a freelancer, this could be a connection too. The easiest way to check this
good way to expand your portfolio. is by meeting them in person.
10 Fashion is everywhere If you’re not
working on a current fashion shoot,
there are plenty of ways you can get involved.
Follow your favourite labels and designers on
Instagram, watch livestreams of runway shows
during fashion weeks or search YouTube for
interviews and autobiographies of fashion
photographers such as Helmut Newton, Sarah
Moon, Jürgen Teller or Tim Walker. You could
even book a workshop with contemporary
photographers such as Lara Jade. Go for it!

45
 TECHNIQUES
Pro advice
Fashion, beauty and
portrait photographer
Siân Elizabeth gives
an insight into her work
Hi Siân, can you tell us a bit about your
creative journey and your fascination
with fashion and beauty photography?
I started my journey into fashion and beauty
photography when I realised the part I
enjoyed most about wedding photography
was the individual portraits of people. I loved
taking the close-up shots and the outfits
and knew that this was where I wanted
to redirect my interest. So, I invested in a
studio, fell in love with lighting and started
experimenting from there.
Describe the process behind coming
up with your ideas and how do you
then turn them into action?
As mentioned, all photoshoots start with
a mood board. It is so important to have a
clear idea of your vision before you start
shooting. Not only does this help you focus
but if you’re working with a team of people,
it helps them to see what your vision is, and
it brings the whole look and feel together.
Main
Traditional input
“This image was part of a
collection for a Japanese stylist.
We wanted to mix modern with
traditional but keep a soft and
feminine look,” says Siân
46
What camera kit do you shoot with? information to relax them. It can take a bit
Right now, I am shooting with a Canon R5. of practice, but it builds rapport and makes
everyone feel more at ease.
I decided to make the switch to mirrorless,
and I can honestly say I have no regrets.
This is the best camera I have ever owned How important is post-processing to you
and will last me in good stead. In terms of and what aspects do you focus on?
lenses, the one I couldn’t be without would If I have a lot of images on a deadline, I will
be the 70-200 f2.8. This lens is the work with a retoucher to do the
most versatile for beauty and basic skin editing. This gives
fashion and gives you the ABOUT SIÂN me a good base and from
scope for many different ELIZABETH there, I will ensure that
looks. I like prime Siân is an internationally there are no distractions
lenses, but I like to published beauty, fashion and across the image, so
have options and have portrait photographer. She also creates that your eye is drawn
always steered more educational content for worldwide to the model. I don’t
toward zoom lenses. photography platforms, recently gave like heavy editing and
a talk at The Photography Show also keep colours as
How do you prepare and is a podcast host. Siân has true to life as possible,
also been shortlisted for the
for a shoot, including without desaturating or
British Photography Awards
making your models Fashion category.
heavy saturation.
feel comfortable? sianelizabeth.co.uk
Shoot days are always What makes a successful
exciting – there’s such a buzz fashion shoot?
in the air, especially if you have a A clear concept at the start of a
great concept and you’re working with a shoot can literally make or break an image.
team that you know will deliver. The best It’s so important to have a clear vision of
way to get models to relax is to just have a what you want to achieve. This determines
chat first before you start your photoshoot. whether an image is successful or not. It’s
Ask questions about them and what their also important to ensure that everyone
interests are. Then when they are in front wants to be there – the camera picks up if
of the camera, you can circle back to that someone is uncomfortable or awkward.
THE BEAUTY OF FASHION

Above left
Colourful interplay
“A simple natural light
set up, created this
beautiful light, perfect
for an editorial focusing
on the earrings”

Above
Golden vibes
“This series focused on
statement jewellery. I
created the lighting using
gels and tied this together
with a structured hair and
make up look, to create
a bold image”

Far left
Outdoor magic
“This image was shot on
location, using a single
Profoto b2 strobe and a
purple smoke bomb in the
backdrop, to add drama
and an ethereal feel”

Left
Studio Dschungel
“I used a backdrop I made
from shop wallpaper and
All images © Siân Elizabeth

plants I had purchased

specifically for this
shoot. The wardrobe was
resort wear from a local
designer. I used LEE filter
colour gels, to add to the
tropical atmosphere”

47
TECHNIQUES

What advice would you give to any

aspiring fashion photographers?
Connect with as many creatives as you Left
Look-book
can and keep shooting! Start building your
shooting
network early on, this gives you so many “This series of images
options for people to work with and to start were taken for a look-
growing your portfolio. This helps you see book in a very small
what you like and dislike, and to build a style. studio, using a three
light setup, using LEE
coloured gels to add
What has been the proudest warmth to the image”
moment in your career so far?
I recently spoke at The Photography Show Below left
in Birmingham and had the most wonderful Interact
and direct
feedback from people in the audience. I was Clear and good
overwhelmed by their responses and it made communication
me feel humbled and proud. I also teach with the model will
online classes for photography platforms, take your shots to
the next level
something that initially scared me, but I said
yes and now I’m writing classes as we speak.
Below right
What’s next for you and your work? Different
hairstyles
I’m always planning shoots, collecting

All images © Siân Elizabeth

Think about how
ideas for personal projects and creating you can shoot
moodboards. I’m also filming a lot of online different variations
content as well as podcasting, which keeps not only from
different angles
me busy. I take each day as it comes, keep
but also in terms of
practising and try to enjoy each moment! styling and make-up

48
 NEXT ISSUE

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SHOOTING SKILLS

Capture stunning
portraits in natural light
Great portraits needn’t mean expensive studio kit. Jeremy Flint explains
how to achieve impressive results with just natural light and a prime lens
Difficulty level: Intermediate
Time taken: 1 hour
All images © Jeremy Flint

With the cost of living rising all the

time, photography can become an BEFORE
expensive pastime for the enthusiast.
For professionals, whose margins are being
squeezed by rising costs, any savings could
prove vital to running a successful business.
The good news is that there are cost savings
to be made in some aspects of our work. For
example, there is no need to break the bank by
purchasing lots of lenses for portraiture when
one prime lens can do the trick.
Capturing engaging portraits with a prime
lens is a creative technique that not only
allows you to work with less equipment but
also challenges you to be creative in your
approach. Rather than using a zoom or
telephoto lens, a fixed focal length prime lens
can be used to create great portraits where
you can move around your subject rather than
staying in one place and zooming in with a
variable zoom lens.
Besides eliminating the need to adjust the
focal length, shooting with a single prime lens
makes capturing portraits both easier and
more rewarding as it eliminates the need to
pack a large camera bag full of lenses. Whilst
great portraits can be achieved using a flash,
natural light or a combination of the two,
shooting with natural illumination challenges
you to work with the available light to create
even more dynamic results.

What you’ll need

DSLR or mirrorless camera
Prime lens – whichever is
your favourite for portraits
Tripod for stability
Adobe Lightroom or
similar editing software

52
AFTER

53
 SHOOTING SKILLS

Shooting 1 2

steps
1 Choose your location Shooting
outdoors instead of inside a
studio will ensure you have plenty
of natural light to work with. Choose
a location that is well-lit and where
uneven shadows are not covering
the subject, which can be distracting.

2 Choose the right lens The

correct prime lens is determined
by what you would like to frame
in your image and the effect you
want to achieve. A prime lens, such
as a 50mm or 85mm, provides a
great way to shoot portraits with
a single lens and fill the frame.
3 4
3 Set your camera Place your
camera on a tripod and make
sure everything is stable enough
to shoot sharp images. Move the
camera into a vertical position,
check everything is level and ensure
all the equipment is locked in place.

4 Set your aperture Use aperture

priority mode and set a large
aperture (small f-number) to create
a shallow depth of field and render
the background out of focus. Select
a small aperture to keep everything
in focus, depending on the mood of
the shot you are aiming for.

5 Adjust other settings Choose

a shutter speed that at least
matches the focal length of the lens
for a sharp result and adjust the ISO
to ensure enough light enters into 6
the frame, allowing you to create 5
a bright enough exposure.

6 Take the shot Now choose your

composition, frame the image
and take your shot. Work with the
light and ask your subject to look
at the camera and away to suit the
style of shot you are looking for.

“Work with the

available light
to create even
more dynamic
results”
54
 STUNNING PORTRAITS IN NATURAL LIGHT

STABLE TRIPOD
Placing the camera on a tripod
helps to keep the camera stable

TRIPOD HEAD
A ball head will provide PRIME LENS
the greatest flexibility A 50mm or 85mm
for composition while prime lens is a great
a two-way type is more choice for portraits
precise on each axis

The setup
Explore various
framing options
You may need to place your
subject to make good use of
the light and background
When you shoot your subject, you
may find that the light shining upon
your them is too harsh and strong,
especially if you are shooting at
midday with the sun directly overhead.
In this case, relocate your subject
and move to a position where the light
catches them evenly and where the
light in the scene is more balanced
and natural. Also, carefully frame them
around the background to add to
the composition.
Control interest by adjusting the
aperture to help reveal or eliminate
any background elements beyond
your main subject.

55
SHOOTING SKILLS

Edit the shot 1 2

1 Adjust exposure In Lightroom, lift the

exposure to the desired level to brighten
the overall image and recover details in the
background and the main subject at the same
time. Apply other global adjustments to the
image to make it look more dynamic.

2 Remove chromatic aberrations Under

the Profile tab in Lens Corrections, tick
the Remove Chromatic Aberrations box to
improve the image quality and eliminate any
colour fringing or glow around the edge of
the subject that you may not easily notice.

3 Add contrast Under Tone corrections,

move the contrast slider to the right.
Applying contrast to darker and lighter areas
makes the image stand out by adding more
depth and interest to the main subject.

4 Improve detail Enhance detail with the

Texture slider. Add some Clarity to provide
an element of sharpening that focuses on 3 4
adding more structure to the middle tones.
This creates a sharper image with more
contrast and drama across the whole frame.

5 Increase colour To add more colour and

pop, experiment with the sliders under the
Color tab. Increase the amount of Vibrance
and Saturation to the desired effect but be
careful not to overdue these adjustments, as
the image can start to look unnatural and
over-edited if taken too far.

6 Final Adjustments Make further tweaks

to improve the image, including sharpness,
shadows and highlights. Use the Sharpening
slider to increase the sharpness and both
Shadows and Highlights to lighten or darken
the image. Finally, crop the image to focus on
the key features for more visual impact.

Right
Before Lightroom adjustments
The image requires tweaking of exposure, colour
and contrast as it is slightly flat in its original form

5 6

56
 STUNNING PORTRAITS IN NATURAL LIGHT

AFTER

BEFORE

57
SHOOTING SKILLS

LONG
EXPOSURE
FLASH
Get creative by using flashlight to combine
both frozen and abstract elements in one shot
Long exposure is a well-known bringing the main subject to life. There are no
method used by photographers, limits to your creativity – each photograph
especially under difficult lighting is unique depending on the chosen exposure
conditions, to improve images that would length and the integrated movement.
otherwise be undesirably dark. However, this
Inset
technical approach can be extended with the No focus point
addition of a flash light, which can offer new Without using a flash, the overall image shows
perspectives and open up creative possibilities. only the blurred elements and lacks sharpness
For this tutorial, you will need a flash,
whether it is a studio or a practical hand-held
flash. By integrating this technical lighting BEFORE
kit into your shoot, it is possible to bring the
main subject of your image into sharp focus
while combining it with artistically captured
movement through long exposures.
With this approach, it is important to note
that the flash must fire automatically at the
end of the exposure to achieve the best results.
This is known as rear sync or second/slow
curtain flash. This technique can be used in
many areas and is especially popular in dance
photography to convey a sense of movement.
Even with the most diverse objects, you
can achieve dreamlike and playful results by

1 The optimal background Make sure

to choose a background that contrasts
greatly in tone with your main subject. Black
backgrounds achieve the greatest effect.
Cardboard or black fabric are ideal low-budget
material solutions to try.
58
2 The right light The most important piece
of kit we need is a flash, but along with this,
you will also need a permanent light. Adjust
the flash and find the right location for the
second light. Either place it in front of or next
to your subject, depending on your aims.
3 Gain control Set your camera to manual
focus mode. To achieve the desired effect,
choose a slow shutter speed and low ISO
settings. For example, start with one second
and then test different ISO settings to suit
your individual project’s needs.

4 Adjust flash settings Go to your
camera’s menu and select the Second
Curtain Flash option – some cameras may
have a flash button. Here, press it until Rear is
selected. Don’t forget to select the Rear
mode on your flash as well.
5 Stay stable Set up your tripod and mount
the camera on it – you will benefit from
the extra freedom of movement, especially
if you are shooting alone. Another benefit of
a tripod is that it makes it easier to find the
appropriate crop for your flower project.
AFTER
Balanced abstraction
With the help of long exposure
and second curtain sync, we
have created an artistic pattern
6 Be creative Release the shutter, start
moving your subject and take a few test
shots. A remote shutter release will be helpful,
especially if you are working alone. Vary the
exposure time to achieve different results and
try out a range of exposures and movements.
59
 EDITING SKILLS: PHOTOSHOP
Pseudo infrared
PHOTOSHOP
TUTORIAL in Photoshop
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 Adjust Hue/Saturation Create a Hue/
Saturation Adjustment Layer and, when the
dialogue opens, click on the dropdown menu
set to Master, select Yellows and set Saturation
to +15. Select Greens and set Saturation to
+15. Go to Cyans and set Lightness to -25 and
then Blues to set Lightness to -30.
All images ©James Abbott
4 Convert for Smart Filters Hold down
Ctrl/Cmd+Shift+E to merge all visible
Layers to a New Layer at the top of the stack,
then go to Filter>Convert for Smart Filters.
This will allow you to edit the amount of grain
we're going to add in the next step using the
Adobe Camera Raw Filter.
60
Transform your brightly lit summer
images with this fun technique
For many photographers, having
a spare camera body converted
to shoot infrared is a luxury that’s
hard to justify. But this eye-catching type of
photography, which is best shot in the middle of
bright sunny days when there’s foliage on trees,
creates amazing results. But rather than using
an Infrared filter which makes exposures long,
here’s how to replicate the effect in Photoshop.
2 Convert to mono Create a Channel Mixer
Adjustment Layer and when the dialogue
opens check the Monochrome box. Next, set
Red to +30, Green to +110 and Blue to -40
then close the dialogue. This will convert the
image to mono and also create an Infrared-
style conversion where foliage glows.
5 Add grain Go to Filter>Adobe Camera
Raw Filter, and when the dialogue opens
click on the Effects tab. Now set Grain to 80,
Size to 30 and Roughness to 35 then click on
OK. This will create a fine but prominent grain
that’s reminiscent of the grain created when
shooting with infrared film.
What you’ll
be using
Smart Filters
Gaussian Blur
Channel Mixer
Hue/Saturation
Adobe Camera Raw Filter
3 Add blur Hold down Ctrl/Cmd+Shift+E
to merge all visible Layers to a New
Layer at the top of the stack, then go to
Filter>Blur>Gaussian Blur. Set an amount
between 10-30 pixels, depending on the image
resolution, and hit OK. Set the Blending mode
to Soft Light and Opacity to 40-50 percent.
KEY TIP
USE THE CHANNEL
MIXER CORRECTLY
Every image is different, so
the values used in the Channel
Mixer may need to be varied to
fit the one you’re working on.
Make sure that the Total RGB
values add up to 100 percent.
Insert Main
A summer start Mono drama
This summer image with its The infrared conversion has
mix of shadows and brightly added drama to the image.
lit areas is perfect for an Blue sky is closer to black,
infrared-style mono conversion and foliage appears to glow
 AFTER

BEFORE

61
 EDITING SKILLS: LIGHTROOM
Dig deeper with Tone
Curve in Lightroom
LIGHTROOM Apply targeted detail recovery
TUTORIAL
using the Parametric Tone Curve
The Shadows and Highlights sliders
are fantastic controls for recovering
detail in Lightroom, but they can
sometimes be a blunt instrument when
dealing with high-contrast images. But
1 Apply Lens Corrections Scroll down
to the Lens Corrections tab and check
Remove Chromatic Aberration and Enable
Profile Corrections. If you check Enable Profile
Corrections and the profile doesn’t load, click
on the Make dropdown menu and select the
manufacturer, which forces the profile to load.
All images ©James Abbott
4 Use the Parametric Curve Scroll down
to the Tone Curve where the Parametric
Curve is open. The four sliders provide more
refined control over tonal range detail than
the Shadows and Highlights sliders in the
basic tab. Here, Highlights is set to -80, Lights
to -20, Darks to +30 and Shadows to +40.
62
when combined with the Point Curve and
Parametric Tone Curve, your ability to target
detail recovery to specific tonal ranges is
greatly increased. It’s safe to say that there’s
more to the Tone Curve than meets the eye.
2 Make basic Adjustments In this image,
White Balance, Exposure, Clarity and the
Tone Curve were adjusted. The Point Curve
was set to the Strong Contrast preset, and
the Parametric Tone Curve icon was clicked to
open this second Curve. The icon is a white
S shape over a grey circle above the Curve.
5 Adjust Blacks and Whites The image
was looking washed out so a boost
of contrast was required; the best way to
achieve this is to increase the white point and
decrease the black point using the Whites and
Blacks sliders. Here, Whites were set to +40
and Blacks to -30 to improve the image.
What you’ll
be using
Shadows & Highlights
Basic adjustments
Both Tone Curves
Lens Corrections
Whites & Blacks
3 Recover Shadows and Highlights The
Shadows and Highlights sliders are useful
but push them too far and it will look like an
over-processed HDR shot. Adjust these sliders
using amounts that recover detail without
washing out the image. Here, Highlights
were set to -60 and Shadows to +50.
KEY TIP
TWO IN ONE
Lightroom’s Tone Curve consists of two
curves. As well as controlling colour,
brightness and contrast with the Point
Curve, the Parametric Tone Curve sliders
cover four tonal ranges and expand on the
use of the Shadows and Highlights sliders.
Inset
Controlled
underexposure
Main
Recovered detail
Using Shadows, Highlights,
This high-contrast scene Whites, Blacks and the
was tricky to capture while Parametric Tone Curve has
maintaining detail, partly due allowed much of the detail in
to the sun star being captured this extremely high contrast
through the tree branches scene to be recovered
AFTER

BEFORE

63
PRINT & SHARE
FIND A ‘NEW
INSTAGRAM’
Alternative social media platforms that optimise photo sharing
For many photographers, social media is a
love-hate relationship. It’s no secret that the
photo-sharing app, Instagram, has changed,
becoming more like video platforms such as TikTok
or BeReal. With its algorithm now biased towards reels,
it is clear Instagram is no longer a photography app.
When we share our images, we want to do so
without losing control over our visibility. We want
to reach potential clients, build a network and
community – and explore inspiring photography.
64
However, Instagram is anything but inspiring at
the moment – the same content appears again
and again, there is competition for likes and Conclusion
followers and the web platform is basic at best.
Instagram won’t disappear
It also only allows low-resolution uploads
overnight but it is increasingly
and restricts the format. As photographers,
these are negatives we shouldn’t have to
difficult to effectively share images
accept. So, let’s look for alternatives where on a platform dominated by video
the sharing experience, image quality, content and TikTok-type reels. So why
visibility and reach are all optimised. not look for an alternative platform that
makes your photos discoverable by
other communities? With low-res
images and no chronological feed
Vero on Insta, you don’t have
With a phone and web app, Vero
has established itself in the photo much to lose.
industry and beyond. There are no
algorithms to control the visibility
of your work, nor are there any
resolution or ratio restrictions to
compromise the visual experience
of your photos. Perhaps the biggest
advantage of Vero is that you can
add hyperlinks to your captions,
directing other professionals and
creatives to further content on
websites, shops and more. Through
this ad-free platform, you can not
only reach photographers but also
creatives all over the world.
500px
With this platform, you can
reach people without needing
thousands of followers. Its
unique discovery system
means you can search
through categories and
customised filters. You can
also tag high-resolution photos
with information about the
technical equipment and
settings. One great feature is
the ability to search for work
based on specific equipment.
With 500px, you can share,
network and educate too.

Twitter
More and more photographers are using Twitter to share their work.
Though not aimed at photographers, the excellent hashtag system
makes discovering images easy. There are no restrictions on the
resolution and you don’t need to crop photos – you can even share
multiple images at once. The platform is ideal for communicating
and connecting with professionals and means you can reach
millions of potential customers if you are selling your images.
Behance
Adobe’s portfolio platform is an especially interesting prospect for
freelance photographers, as a place to exchange ideas and get in touch
with professionals and companies offering work. Post your own images
and see how often your work is viewed and liked or create a portfolio,
adding your work experience, publications you have worked for and
client lists to offer insight into your skills. Potential clients can search for
candidates or even publish job opportunities. You can add community
photos to mood boards and view a range of tutorials via livestreams.
With its algorithm
biased towards
reels, it is clear
that Instagram
is no longer a
photography app
ClickASnap
Calling itself the only photo platform on the internet
where you get paid for posting photos, ClickASnap
enters the market with an innovative USP. The concept
is that you get paid per photo viewed without losing
your rights to your images. It sounds like a great idea
but, inevitably, there are a few strings attached – you
need a subscription to receive money for your photos,
for instance. Nevertheless, the platform is ideal for
sharing with a view to selling. You can even set up seller
accounts and offer digital downloads and prints.
65
© Prateek Katyal
GO PRO

KEEP YOUR PHOTO

Running a photography business can be tough. Dan Mold shares his

top tips to help you stay organised and keep things running smoothly

Running a well-oiled, properly organised Budget with a spreadsheet

photography business is the best way to give Keep your finances in good shape with a tidy spreadsheet that shows all of your
yourself a competitive advantage. Maintaining income and outgoing expenses. This will give you a good idea of your cash flow
a professional appearance is key to securing clients, from month to month, help you budget and also make your life much easier when
as if you’re late to an appointment or realise that it comes to filing your Self-Assessment Tax Return each year. Keep a folder of your
you’ve double-booked a shoot last-minute, that client receipts or scan them into a folder on your hard drive so you have them to hand.
is unlikely to give you a second chance. This is especially important if you’ve made any business purchases that you hope
Being organised also helps you to see exactly what to claim the tax back on, such as camera kit, computers, hard drives or car mileage.
jobs you have lined up throughout the year and gives
you a good indication of whether you have the scope
to take on more work, meaning you can optimise your
workflow and maximise profits.
Having a full calendar of work may sound like the
ideal scenario, but if you’re overbooked and spreading
yourself too thinly, you may end up having to drop a
shoot at the last minute due to time constraints or
rush your work to meet a tight deadline. This could
lead to a drop in the quality of your output, potentially
deterring a client from booking you again.
© dtimiraos/E+ via Getty Images

When done right, an organised workflow will help

you keep on top of your accounts and paperwork, and
make managing your books as stress-free as possible.
Here are my top tips to help you schedule photo
assignments, manage budgets and keep everything
efficient so you can maintain a professional brand
image and boost profitability.

66

Above
Dates to remember Plan your year with a detailed calendar
Keep all the dates of your The key to keeping an organised photography business
meetings and shoots in a
is having a steady stream of shoots consistently
single calendar, otherwise
you’re bound to forget throughout the year. You’ll definitely want to schedule
something important any photoshoots, client meetings or networking events
onto one single calendar.
Left Keep all of the important dates and shoots in a
Necessary expenses single place. Don’t put some dates into a digital
Spreadsheets with all your
income and outgoings will calendar app and then other important dates down
make filing your annual on a physical paper, for example, that way you’re
Self-Assessment Tax bound to forget something.
Return much easier Cloud-based calendars, such as Google Calendar,
are fantastic, syncing up and showing you all the
important dates from any device whether you’re on
your laptop, desktop or smartphone.
Having all of the important dates in one place is
a great visual aid that shows you whether you have
the time to take on additional work. Don’t forget to
schedule time for editing into your calendar too as
each shoot will require some time for post-production.
A wedding shoot may only take a day to capture
all the photographs, but you’ll also want to allocate
“Prioritise jobs in order of
some time afterwards on your calendar to allow for
editing. This could be anything from a few days to a
full week, depending on how experienced you are and
the standard you’re trying to reach.
© Westend61/Westend61 via Getty Images
You’ll also need to factor in the time it will take to
get prints made up, or any USB sticks or CDs with the
images stored on them sorted for the couple too.
It’s also worth setting reminders for any important
photo shoots so that you don’t forget them. You may
also need to factor in extra time if you need to visit the
location where you’re shooting in advance.
A small whiteboard next to your computer can be a
great way to write down and visualise any upcoming
shoots to act as a reminder, or you could write a to-do
list of certain editing steps that you need to complete
during the post-processing phase. You can then wipe
off old objectives and write down new ones as you go.
It’s best practice to prioritise the jobs that need
to be done first and start with the one that has the
most pressing deadline. Rather than chip away at
several projects at once, it’s also more efficient to
work to completion on a single project with the closest
deadline and then methodically work through the next
projects in order of when you need to finish them.
most pressing deadline”
67
GO PRO

Keep documents organised

You’ll save yourself a headache if you keep all of your
documents, including invoices, liability insurance and
model releases neatly organised too. This is always

© Margi/DigitalVision Vectors via Getty Images

best practice to have as a reference for yourself in
case you need to check some details.
But as the saying goes ‘plan for the worst and hope
for the best’. The worst-case scenario here would be a
dispute between the photographer and a model or a
landowner about the use of the images, so having a
signed release shows you exactly what you’re allowed
to do with your photos in case of any litigation.
You’ll also need to ensure that any personal
information you keep adheres to GDPR law.

© Ryan McVay/The Image Bank via Getty Images

Above top
In the folder
Capitalise on downtime
Keep all your paper Many photographers will experience a them to market yourself by reaching out to
documents in folders so lull at some point in the year, especially your contacts by email or over the phone to
they are easy to find in a with genres such as weddings, where try and secure jobs for the following year.
worst case scenario
photographers have a busy summer but less Spend some time working on your website
regular workflows over the winter months. or Instagram to make sure these are looking
Above
Down but not out These slow periods are an opportune professional and people can find you easily
Every photographer has time to take some much-needed holiday, on the web or social media with good SEO.
a lull in workflow, so use and we would certainly recommend that It’s also worth arranging shoots, even if
yours to market your you take some time away to avoid burning you’re not being paid. This way you can keep
business, or try a style
of photography that you out. However, once you’ve recharged your your shooting skills sharp and continue to
wouldn’t normally do batteries it’s not a good idea to sit idle. If grow your photo library. Or just experiment
you have quiet periods between shoots, use with a style you wouldn’t normally get to try.

6868

© Virojt Changyencham/Moment via Getty Images
Keep a clean memory card workflow
As a photographer, there aren’t many
moments more heart-sinking than realising
you’ve just formatted a memory card that
contained files you needed, though dropping
a camera or lens might just top it!
As a professional, you’ll want to avoid this
at all costs, so keep a neat and tidy memory
card workflow. I like to use a hard case for my
memory cards and keep any freshly formatted
cards face up and ready to go. If any used
cards need to be backed up, I store them face
down so I know which card to grab next.
ASSESSMENT
PROGRESS
MEASURE
KEEP YOUR BUSINESS ORGANISED
Above
Memory loss
When you get back to your computer, it’s There’s nothing worse
than formatting a memory
best practice to back up your shots three card with files you need,
times and in at least two different places, such so keep a neat workflow
as your laptop’s hard drive, an external hard
drive and also on the cloud for good measure, Below
keep at least one backup in a location different Be selective
to your main premises so that you still have It may be tempting to take
your images in case of a flood or house fire. on too much work, but try
to select only the jobs you
To mitigate corrupted files occurring at the want to do, have a passion
point of capture, use a camera with dual card for and some expertise in
slots and set it to store a backup on your
second card, just in case one fails.
Realistic timelines
When starting out as a professional
photographer, it’s tempting to say yes to
every job that comes your way – at this
LIMITATIONS stage, you are likely to need the income
and to build a network of contacts.
However, try not to fall into that trap.
As hard as it is, try to select the jobs
you want to do and have a passion for
and expertise in. Be realistic and try
your best to give accurate timelines to
© Margi/Digital Vision Vectors via Getty Images
avoid double-booking or stressing about
REPORTS multiple shoots back-to-back with little
time for editing. If you are asked to do
a shoot that isn’t your speciality or you
can’t attend due to other bookings try to
pass the job on to a photography friend.
In my experience, the photography
community is generous and friendly,
and the favour is usually returned with
somebody referring you in the future.
69
 GO PRO
PRO
Pro advice
Phox Planner’s Kate
©Vicki Knights
Darkins and Jo Hughes
on how organisation can
boost your business
Hey, Jo and Kate... tell us a bit about
yourselves and your career journeys.
What made you decide to create
the Phox Planner?
We started work on the planner in 2020
when our professional photography work
ground to a temporary halt during the first
lockdown. We had always wanted to create
something together professionally and
we finally had an opportunity where we
had some time to be creative outside our
businesses and not just in them.
However, first and foremost, we are both
professional photographers. We met while
doing a photography course in the Lake
District 13 years ago and we immediately
bonded over the struggles of building a
photography business. We have been each
other’s go-to ever since.
For more information visit: phoxplanner.com
70
What are the biggest challenges to being
organised as a working photographer?
The planner was built from our experience
of running our own photography businesses
and juggling family life. We have always
been as passionate about organisation and
planning as we are about photography. We
created the planner for other photography
entrepreneurs like us, who want to get
organised, focused and motivated.
Our planner is different from a typical
planner as it is designed specifically for
photographers, by photographers. It brings
structure to running your business with
weekly planning and review sections, a
daily schedule and task lists specific to
photographers. We still use digital software
for managing our client systems but believe
both work well in conjunction with each other.
How does creating an organised task
schedule help increase your profitability?
Phox stands for photographic excellence.
The planner guides you through how to
create a system of habits that we know work
to maintain a successful business.
We carve up our weekly to-do list into
categories such as Ready Steady Shoot
(client-related shoot work), Be Discoverable
(business-building activities), Routine Reality
(business fundamentals that keep your
business ticking over) and Odds & Ends
(everything else in your life that might get
forgotten when you’re overwhelmed).
And what practical steps can we take?
If you know exactly what you are doing
when you start your day you will feel
energised, focused and positive for the
day ahead. Once you find a system like the
Phox Planner that works for you, stick to it
consistently. This will help reduce burnout
and stress, improve well-being and mindset
and therefore performance and flow. We
need daily and weekly structure for our
mental health – without it, we start to feel
demotivated, chaotic and like we are failing.
If you’re feeling unproductive, your daily
system is there to get you back on track so
you can focus and thrive. Working on the
right thing is more important than working
hard if you want to master your day.
 GO PRO

Career advice Claire Gillo offers advice on backpacks and used

kit, plus gets pro tips on running a diverse business

Marketing issues Backpack query

I’ve been a photographer for about a
year now full-time but I’m having trouble
identifying what type of photographer
I am! I enjoy shooting a variety of genres
but think my marketing strategy is
unclear and my website is all over
the place. Any advice?
Anonymous
You are not alone here and we would say
many photographers also struggle with this
aspect. It can be hard to create a coherent
website that shows off your skill set yet also
quickly relays to your client what you do,
especially if you shoot a variety of genres.
That said, you’ve only been a full-time
photographer for a year so give yourself a
chance as it takes a while to adapt to the
industry and find your path, style and way.
We suggest you first spend some time
looking at what other photographers do
and particularly those who you aspire to be
like – it can be useful to see how they sell
and market their businesses. Also, consider
how your portfolio works. For example, you
I’m looking for a camera backpack that can
also hold a 15-inch laptop. What would you
recommend?
Violet Jones
With so many products on the market, we
understand it can be tricky to find the right
backpack. We’ve hunted around for you and
found our top recommendations that fit your
specification to accommodate a 15-inch laptop.
The first item on our list is the Manfrotto Pro
Light RedBee-310 Backpack. This compact bag
can hold a 400mm lens on a DSLR body plus
an additional two or three lenses. The laptop
compartment is safely padded and accessible
through the back zip of the bag. This bag
currently retails at around £149.
Next on our list is the Lowepro ProTactic 450
AW. This bag is currently on sale for £189 and
can accommodate one or two pro DSLRs with
a 70-200mm lens attached. The padded straps
and waist belt are ideal if you do a lot of walking.
Another backpack worth considering is the
The Manfrotto Pro Light Flexloader L fits lots of gear,
but may be too bulky for airline carry-on luggage
Vanguard Alta SKY 51D. It’s more expensive, at
£210, but can fit one or two pro DSLRs with an
attached lens, three or four lenses, a flash and
accessories or it can also be set up to fit a drone
inside (or on the back), while leaving space
below for a compact system camera.
Finally, the Manfrotto Pro Light Flexloader
L will fit lots of gear and is comfortable to wear.
However, it’s too big for most airline carry-on
bags so if you’re going to be flying, keep this in
mind. It’s also the most expensive on our list at
£224 but is thoroughly adaptable in design and
the laptop compartment is easy to access.

Selling used kit

say you shoot multiple genres but if you
mainly shoot weddings and portraiture,
those two can often fit well together and
be marketed as one business. However, if
you are trying to sell landscapes and pet
portraiture, they don’t blend together quite
as easily, so you may need two separate
websites to ensure you are attracting the
right type of client.
Good luck with it all and, remember,
Rome wasn’t built in a day! These things
take time to develop and fall into place.
© Neil Buchan Grant/Moment via Getty Images
I’ve got some old lenses I want to sell as
I don’t use them anymore. Where’s the
best place to do this?
Ellie Brayshaw
There are many places you can sell used
photographic equipment from posting an
advert online yourself to getting a company to
sell it on your behalf. There are pros and cons
to each method and which one you prefer will
come down to your preference.
If you sell an item yourself then you are
likely to make the most profit, however, keep
in mind firstly you have to decide where you
want to sell it (Facebook Marketplace and
your kit and offer you a price, which is likely
to be less than if you sold it privately, however
you don’t have the hassle of waiting for a
buyer as they’ll buy instantly.
Whether you sell privately or through a
company if you have additional things like the
original packaging and receipt this can be a
bonus as buyers can see the equipment has
been cared for and from a legitimate company
(ie. not the grey market).

© Jozef Polc/500px Plus via Getty Images

eBay are popular choices) and you have to list

If you specialise in distinct genres, such as
landscapes and pets, consider two websites
and market the kit yourself. This way can take
longer to sell as you don’t know the reach of
your listing plus also many photographers are
reluctant to buy from a private dealer as there
is no warranty provided.
The second and less profitable but easier
way to sell your kit is to a company like MPB,
Camera Jungle, WEX or Park Cameras to
name a few. These companies will check over Sell your old unwanted kit and make some money

72
© Rebecca Peake, Peake Photography
How do I run a business
with multiple areas?
Rebecca Peake of Peake Photography on how to balance
the demands of capturing both newborns and newlyweds
Tell us about yourself
and what you do…
I’m Rebecca Peake, owner
of Peake Photography,
mum to two little ones
and a lover of all things
storytelling. Originally,
I felt self-conscious about being a ‘mum with
a camera’ who turned professional, but that is
where my journey started and it has definitely
shaped my style of photography. I am now
approaching my third year as a professional
photographer, offering a mix of wedding and
motherhood photography.
What skills do you need as a photographer
to shoot weddings, maternity, newborn and
family portraits?
Across all four genres, the key is being
personable and relaxed. I got that from starting
out photographing my two young children.
As any parent knows, you need to work with
them rather than expect them to listen to
you. But this has helped me get more natural
moments, regardless of genre. The one genre
that stands out to me is weddings – you need
to be everything for that! Organisation and
To find out more about Rebecca at www.peakephotography.co.uk and follow on Instagram @peake.photography and @peake.weddings
teamwork with all other wedding suppliers
(particularly videographers and venue staff)
are really critical here.
What are the advantages of marketing
yourself across these different areas?
What I love about sharing both family and
wedding photos is I am attracting clients that
fit really well with me. Most of my couples are
young families themselves, or where children
are a large part of their wedding and that
is really where my USP shines through. In
addition, being part of someone’s wedding
day is such a huge honour, and I love to follow
their journey in future years as their family
changes and grows, which I can offer with my
motherhood side.
Do you enjoy shooting a variety of subjects
or do you have a sector that you prefer?
I honestly love it all from a photography point
of view, and couldn’t possibly pick between
them, however, I do find weddings fit in better
with my life. It helps knowing the date well
in advance and I get such a thrill from the
day. A wedding day also offers such a variety
of photography – I get to experiment with
Above left
Lifting the veil
Wedding day photography
involves a variety of styles
Above
Guest appearance
Capturing all those candid
moments from the big day
creativity in the morning with detail shots,
spend special moments with the newlyweds,
and I absolutely love being a fly-on-the-wall
and getting all the candid moments.
How difficult is it to market and price
yourself in each area?
I split my pricing separately between weddings
and motherhood – it’s difficult to compare
the two. For weddings, it’s a package deal,
including support in the run-up, and a full
gallery of images delivered. For a motherhood
session, I charge a fee and then offer packages
once the client has seen the photos. It works
well for the different situations, and I market
myself to the same budget for each genre.
What advice would you give to others
wanting to go down the same career
path as you?
Believe in yourself! I honestly would never have
guessed I would get to where I am now, but I
kept taking opportunities and riding the wave
and I don’t think I will ever look back. It’s very
much about putting yourself outside of your
comfort zone, and then the rewards you get
from succeeding are like nothing else.
73
PRO ANALYSIS

WHY
SHOTS
WORK
TITLE: Centre of Attraction

DATE: May 2011

KIT: Canon EOS 50D

Canon EF 300mm
F/2.8L IS USM

WEBSITE:
500px.com/p/ujjwal_mukherjee

ISO 1/4000
f/3.5
400 sec

“My inspiration for creating beautiful

photographs always comes from the
observation of the wonders of nature and
the landscapes of our amazing world.”

Ujjwal Mukherjee
Indian-based
photographer Ujjwal
Mukherjee focuses
on travel, landscape
and wildlife subjects.
As a photographer for the past
24 years, he has been fortunate
enough to travel to many parts
of the world, providing amazing
photographic opportunities.
© Ujjwal Mukherjee

CRUCIAL FOCUS DECISIVE COMPOSITION

The focal point is clearly in the centre of the shot, which is
important for creating some kind of balance for the eye in this
busy environment. Sharp and out-of-focus elements make
the impala in the middle stand out, directing the viewer’s gaze
towards it. To achieve this result, Ujjwal adjusted the camera
settings. “I used a longer focal-length lens and a larger aperture
and, hence, I could keep the background blurry and soft mostly
by using the in-camera settings,” he explains.
The standout element of the shot is the impala in the
centre, even though there are many other subjects
in the frame. “This image is an example of where
a considered composition of breaking the ‘Rule of
Thirds’ has produced a better image,” Ujjwal says.
“The Impala making eye contact with the viewer while
the rest of the herd is evenly distributed left and right
breaks the pattern and gives the image strength.”

74
DEFINED CROP
Without Ujjwal’s decision to tightly crop the original
shot, the image as a whole would lose its effect. The
repetitive shapes are essential and it is through these
that a connection is made between the viewer and the eye
contact from the impala. “It was important not to keep
much empty background space behind the impalas,” he
says. “That would have gone against my visual strategy
and affected the overall balance of the composition.”
THE RIGHT MOMENT
The visual appeal of this image is created by the interplay
between focus and timing. Ujjwal’s initial goal was to capture
the extraordinary, but wildlife photographers can often wait
for hours for that perfect moment. “Good wildlife shots are
the ones that have some elements in them that stand out
from the more familiar and common scenes,” Ujjwal says.
“I was happy I had pressed the shutter at just the right time,
otherwise this image would have lost its uniqueness.”
75
INTERVIEW

Wildlife and nature photographer Jonas Beyer

captures frozen landscapes and their inhabitants
Words by: Kim Bunermann
All images ©Jonas Beyer

76
 aving a love of wildlife, an
interest in photography and
one of the most remote and
extreme places on Earth as
his backyard meant that for
Danish photographer, Jonas
Beyer, getting deeper into the field of
wildlife and nature photography was a no-
brainer. Beyer spends every minute of his
free time in the great outdoors, not only
documenting the wildlife of our amazing
planet but also educating and raising
awareness of what we need to preserve.
As a tour guide, Beyer works with
enthusiastic nature photographers in
Greenland, both above and below water.
Swimming with orcas or observing polar
bears are both part of his life as a wildlife
photographer. Based on his experience
and extensive knowledge of the animals
and their habitats, he is able to capture
wildlife in an extraordinary way.
By blending into nature and being
accepted by the animals as a respectful
visitor rather than a threat, he is able to
establish a unique connection with them,
translating this into photographs that tell
a story and evoke a range of emotions.
It is anything but easy to capture these
magnificent moments with the camera
– the animals need to feel calm in his
presence. Only then can Beyer capture
those moments where they interact, play,
care and show their curiosity.
Jonas Beyer
Denmark-born Jonas
Beyer has specialised
in nature and wildlife
photography since
2012, when he visited
the Arctic region. Now
based in Greenland, he is a guide on
expeditions around Greenland and
Norway, documenting the wonder of
wildlife in these extreme conditions.
To see more of Jonas’ work:
www.jonasbeyer.com
@beyer_photo
Pictured
Black and white Weddell seal
“This Weddell seal was resting
on the snow on a small rocky
beach. As I was slowly cruising
past, I enjoyed watching
how it was scratching itself”

77
INTERVIEW

Left
Hey Jonas, what does a regular day Polar bear
look like for you as a photographer? and a cub
I wouldn’t say there is a normal day “After a morning
– wildlife and nature photography are snack, the cub
tucked itself into its
constantly changing and so you can never
mother for a nap”
expect anything to be the same. There are
countless times when I get back from a
Below
trip without any photos, which is also the Momma bear and
beauty of it. You need to put in hours and cub in landscape
hours out in nature, but only sometimes do “Then, after a rest for
you get lucky in being at the right place at 15-20 mins, the polar
bear mother and
the right time. I plan to get up early in the cubs decided to go
morning for the sunrise and even when all exploring the area”
the forecasts look promising, the weather
can change drastically or there can be no Right
animals to be found. It’s a waiting game. Bearded
seal on ice
“You could almost
What are your personal qualities that
believe that the seal
have a positive impact on your work? is smiling into my
Time and patience are key for wildlife camera. I choose this
photography, but much more important framing because it
– and I can’t stress this enough – is to focuses on the finer
details of the seal”
understand the animals you work with.
You must have respect for them and never
Right below
disturb or interfere with their natural Jumping penguins
behaviour. It is essential to acknowledge “I was sitting in the
the research it takes before going out and boat, enjoying the
taking photos. I also accept that there interaction between
the penguins. It was
must be a time for me to leave to give the
so funny to see how
animals space to do what they do and not as one came up
have a visitor sitting and observing them. another went down”

78
 PRECIOUS CREATURES

“Time and patience are key for wildlife

The many hours I have spent watching
musk oxen in Greenland has taught me

photography, but more important is to

that for them to feel safe with me around
visiting the herds, they need to know

understand the animals you work with”

where I am. If I ever tried to sneak up and
photograph them closely, they would be
startled and run. Instead, I put lots of time
into every visit I did, letting them see me
from far away, then slowly reducing the
distance between us. Sometimes that
meant sitting on a cold rock or in the snow
for an hour before moving again.

What are the greatest challenges you

find shooting wildlife in remote places?
The weather is definitely the biggest
challenge. I want to be out in extreme
conditions, like heavy snow, whiteouts
and blizzards, because times like these
offer unique possibilities of showing how
strong and adaptable wildlife are in those
conditions. And then we can also talk about
the camera’s battery life when I’m out in
-35°C, or fast-changing weather conditions
and situations where I have had to leave
the area in a hurry to make it safely out of
a storm or an extreme whiteout.
Luckily for me, I haven’t had any
situations where I’ve been in great danger
that I needed to get out of. I have been

79
 INTERVIEW

Above Right, above Right, below

Moving orcas
in purple light
“When cruising in the Norwegian
fjords, you can sometimes be
lucky to get travel buddies. Here,
you see two orcas surfacing in
the beautiful purple arctic light”
Penguins swimming
“Being in the water with lots of
curious penguins around me
was a really cool (and cold!)
experience. As they dive into
the water, they drag a stream
of bubbles after them”
Jonas Beyer’s kitbag
Humpback whale
and orcas in the back
“I was focusing on the orcas when,
out of the blue, I felt a shadow
beneath me. Looking down, I saw
a humpback whale slowly coming
up to the surface to breathe”
threatened by musk oxen when they think
I have been too close, but I have come to
understand the signs and so I stay back.
I have also had curious polar bears, but
again, never so close that it has turned
into a dangerous situation. You need
to understand the wildlife and read the
warning signs and behaviour to know
what you are dealing with.

1. Nauticam housing 1 Which camera do you use and which

2. Canon EOS R5
3. Canon RF 70-200mm
4. Canon RF 100-500mm
2
5. Canon EF 200-400mm
6. Canon 1.4 extender
7. Canon RF 24-105mm
8. Canon RF 15-35mm
9. F-stop camera bag
lenses do you prefer to work with?
I shoot with a Canon EOS R5 and I have
two housings, so I can be more efficient
when I’m visiting the wildlife. I like to have
a zoom lens and a wide-angle on to capture
portraits and details but also to tell the
story of the animals in their landscape and
5 show their home.

4 How does the cold weather influence

3
your choice of kit and do you need
special technical equipment?
Extreme cold temperature is draining these
new mirrorless cameras super-fast, so
having multiple batteries is a must. Without
6 these, nothing but the experience will
come home with me. Being out in the cold
9 I always have two batteries in my inside
pocket close to my body to stop them
from getting too cold. I use F-stop camera
7 8 bags and I trust these bags to keep my
equipment dry and safe from the weather.
Other things I have to pay attention to

80
PRECIOUS CREATURES

81
INTERVIEW
include salt water, which can really destroy
a camera and its buttons. I have lost a few
cameras to salt water or you have to spend
tons of money getting them fixed and
cleaned after splashes.
What do you think of social media?
Is it important for your line of work?
Social media takes lots of time and I would
much rather be out looking for wildlife –
but as a creator and a voice for our nature
and wildlife, it is important to share stories
and photos for the world to see. What I do
is show the beauty of the animal’s natural
habitat, but when promoting conservation
work, you have to show the heartbreaking
wildlife crimes. Hopefully, these photos and
experiences will come out through social
media, so lots of people will see and be
aware of what we need to protect and save.
82
What has been your most memorable
moment photographing in nature?
That is a really hard question to answer
and I’m grateful for that because it means
that I have had so many moments where I
had to pinch myself to make sure I wasn’t
dreaming. What comes to my mind will
be a time I was accepted by a polar bear
mother and her two cubs. She accepted
me with them and had the cubs playing
in the snow between me and the mother,
while she was hunting for seals. But any
experience where the wildlife comes up to
curiously check me out is a moment that
I will never forget.
“Through social media, lots of people will
become aware of what we need to protect”
Has the climate crisis changed
your work and, if so, in what way?
Climate change is a huge concern in the
polar regions, where the temperatures
are rising faster than anywhere else on
the planet. And yes, I see it. This year, the
usual sea ice around Svalbard disappeared
early in the season, you could only find ice
much further north. In northern Greenland,
we used to have an ice cave. In 2020, I was
digging out the entrance in late February,
but during that summer, the ice melted
and the roof of the cave collapsed. It’s so
sad to see an ice cave that’s thousands of
years old disappear in just one summer.
 PRECIOUS CREATURES

Above left
White arctic fox
“Winter is my favourite time
because getting the beautiful
white animal into the white
surroundings is my favourite
kind of photography. It’s
really minimalistic”

Above
Almost a mirror
“The two musk oxen were
sparring by gently putting
their heads together and
the snow was slowly falling.
It was an amazing sight”

Left
Blue ice
“Sailing around icebergs is
always amazing, but this
iceberg was a little more
special than usual because
of its colours and shapes”

83
THE GALLERY

Production Paradise Spotlight Photography Awards

Spotlight Photography
Awards 2022
Created by Spotlight magazine, published
by Production Paradise, the Spotlight
Photography Awards is now in its fifth
year. It focuses on promoting commercial
photographers and photographic art
within advertising categories. With a
panel of over 60 judges, consisting of
representatives from advertising agencies,
magazines and brands, the contest is
open to commercial photographers and
offers over $40,000 worth of prizes
across 13 categories. For further details,
visit: www.productionparadise.com

84
 Pictured
Mother’s Milk
Inspired by his wife’s state
of dream-like delirium after
giving birth, Nicky Hamilton
aimed to raise awareness of
postnatal depression
© Nicky Hamilton

85
86
THE GALLERY

© Francesca Salice
© Stefan Hobmaier

© Paul Saraceno

© Rich Begany © Andrew Latreille

 © Frederic Schlosser
Opposite, top left
Michael von Muecke
Stefan Hobmaier
took this portrait of
the musician and
blacksmith, von Muecke

Opposite, top right

Fire Escape
Andrew Latreille’s
colourful study
of a fire escape

Above
Porsche 911
Sport Classic
Frederic Schlosser
shot this in Frankfurt

Left
The Untold
Story of Ursula
the Sea Witch
The Advertising
category winner

Opposite, below right

Lipstick
Landscape #2
From a series of
macro shots of
cosmetics
© Michael Wharley

Opposite, below left

Frozen Berries
Paul Saraceno’s
Food Category
Winner

87
 © Steve Bright © Måsse Hjeltman Fashion

88
THE GALLERY

© Måsse Hjeltman Fashion

 © Lol Johnson
Opposite, top left
Hiindarella
Måsse Hjeltman shot
this fashion image
in Malmö, Sweden

Opposite, top right

Headdress
Måsse Hjeltman
also won the Beauty
category with this shot

Above
Untitled 2022
Shot for a kids fashion
editorial commissioned
by Luna magazine

Left
The Reason I Dive
Kohei Ueno shot freediver
Erik Donathan at the
Caribbean Cup 2022

Opposite, below
Ang Gyalzen Sherpa
Steve Bright shot this while
travelling in the Himalayan
mountains in Nepal
© Kohei Ueno

89
YOUR IMAGES

SHOT
OF THE
MONTH
Photographer: Andy Parker
Title: Newhaven under the waves
Location: Newhaven Lighthouse,
East Sussex, United Kingdom
@balders18

About the shot: “Newhaven never disappoints

when there are strong winds. The ideal
conditions are high tide and a strong easterly
or westerly wind – and on this day, I was not
disappointed. The west side of the harbour
offers good perspectives by including the curving
harbour wall. The wind made it difficult to stand
still whilst composing the shot, however, once
I had my position sorted, it was just a question
of waiting for the right wave.”

Tag us @dphotographermag
for a chance to feature here
Every issue, we’ll be sharing the best images from our
Instagram community. Tag us on @dphotographermag
for a chance to appear as our Shot of the Month.

90
 WIN! SAMSUNG
256GB PRO PLUS
MICRO SDXC MEMORY
CARD WITH SD ADAPTER
Every issue, one Digital Photographer
reader wins a Samsung 256GB PRO Plus
MicroSDXC memory card with SD adapter.
Boasting up to 160MB/s and 120MB/s
read/write speeds, the card is perfect for
high-res stills and Ultra HD video. It is
the go-to card for the modern content
creator using mirrorless, smartphone,
action cam and drone cameras. Find
out more at samsung.com/uk/
memory-storage

91
PHOTOCROWD COMPETITION

THE BEST OF PERFECT PETS

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 Perfect Pet shots
and, after working through all the entries, the winners
have now 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 select the best ones.
1ST PLACE WINNER
Snow dog
Photographer: Gej
Our comment: The harmonious colour scheme and the rule of thirds make
this a well-balanced photograph. The depiction of the husky combined with
the blurred snowflakes is a nice composition. We like how the sky on the left
is a little brighter, drawing the viewer’s eye across the rest of the image.

WIN! Prizes from Affinity

Enter our Indoor Portraits contest before 24 November 2022,
for a chance to win Affinity Photo, a new pro standard in photo editing
Stay inside to capture characterful portraits in artificial or window light
for our Indoor Portraits contest. Manage colour and busy backgrounds
for engaging environmental portrait studies. Enter at www.photocrowd.
com/digitalphotographer from 8 November for a chance to win a licence
to Affinity Photo editing software (worth £49 for Mac or Windows). Affinity
Photo is a toolset for modern photography professionals. Whether you’re
editing and retouching or creating multi-layered compositions, it has the
power and performance you need. Affinity Photo has non-destructive editing,
RAW processing, real-time edits and colour management as standard.
Winners of this contest will be notified by email and can choose between
Mac, Windows or iPad versions of Affinity Photo. The winning images will be
revealed in issue 261 of Digital Photographer, on sale 22 December 2022.

92
“The lighting clearly emphasises the
heroic aspect and brings out details”
2ND PLACE
Hero
Photographer: Calretas
Our comment: This strong dog portrait is a
successful visual realisation of the pet’s character.
The lighting clearly emphasises the heroic aspect and
brings out details, with the chosen colours adding an
artistic touch and making us wonder where the dog’s
cape is. The powerful view out of the frame suggests
that our hero’s next mission is already calling.
3RD PLACE
Attracted to danger
Photographer: Jaz72
Our comment: Sometimes we wonder what
goes on in the minds of our cats – and this
one is definitely focused on planning the next
step. The atmospheric light and attention
to detail make the image almost look
like an 18th-century still life painting. The
background accentuates the light and the
cat is stylishly staged in the tense moment.
93
 KIT INTRO

96
Low-light
legends
Most good cameras can deliver
results in wintry conditions, but
some excel when it’s cold and
dark. Here, we test cameras
from Canon, Nikon, Panasonic
and Sony that can take
winter in their stride.

The expert and independent reviews of gear we’ve bagged this issue
104 Canon EOS R7
Canon’s new flagship APS-C format
mirrorless camera is aimed at experienced
enthusiast photographers. Angela Nicholson
tries it out and sees what it has to offer
110 Lenses
Every month, we take two professional optics
out into the field and test their performance –
this time it’s the Nikkor Z 24-120mm f/4 S
and the Panasonic Lumix S 18mm F1.8

108 Oppo Find X5 Pro 112 Accessories

Will Oppo’s partnership with renowned It’s the little things that can enhance your
camera brand Hasselblad tempt professionals photography. We’ve rounded up ten of the best
to purchase its latest premium smartphone? 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
REVIEWS

When it’s cold and dark outside, some cameras come to the fore with features and
specifications to suit the challenging conditions. Here, we test four such examples
96

It’s that time of year again. Along with the end of daylight
saving, many of us in the northern hemisphere find ourselves
setting off for work before sunrise and returning home after
sunset, as well as wrapping up warm for the commute. Sunny day
photography is consigned to the weekend but photo opportunities
still abound at dusk and dawn – and in the blue hour of twilight.
Any good camera is capable of delivering excellent results in wintry
conditions, however, some excel when it’s cold and dark. For starters,
mirrorless cameras with their live exposure preview in the viewfinder
can make it much easier to see what you’re doing. The boost in
brightness is a bonus for composing shots, as well as giving live
feedback on how exposure settings will affect the recorded image.
Meanwhile, some of the latest cameras can autofocus in almost
total darkness, assuring sharp shots even under a fingernail moon
or from the light of a single candle.
GROUP TEST
For handheld photography, clean image quality with minimal
noise, even at high ISO settings is the order of the day – and of the
night too, when it comes to that. It’s therefore best to be modest
when it comes to megapixel count, as the photosites on the image
sensor that correspond with actual pixels in the resulting image are
physically larger. The same applies to favouring a full-frame camera
over a crop-sensor body.
To beat the shakes in handheld shooting when you’re using
slow shutter speeds, or simply trying to offset the shivers in cold
weather, effective image stabilisation is a must. A camera with IBIS
(In-Body Image Stabilization) can make all the difference here, and
in many cases, IBIS can team up with optical stabilisation in lenses
to give even greater effectiveness. Taking all of these things into
consideration, we’ve chosen to test four cameras that can easily
take winter in their stride, whatever the weather throws at them.
97
REVIEWS
SIMPLE LAYOUT
Similar to the older
EOS RP, the R6 looks
pretty basic from
the front and top,
with no OLED info
display screen.

ARTICULATED JOYSTICK
TOUCHSCREEN CONTROLLER
The LCD It’s the first
touchscreen is Canon 6-series
fully articulated, camera to
which is a bonus have a joystick
for shooting from controller at the
creative angles rear, more in line
as well as for with pro-grade
vlogging. bodies.

PRICE: £2,399/$2,499 (body only)

Canon EOS R6
What it lacks in megapixels it makes up for in other winter-friendly ways
Like the Nikon Z 6II, the EOS R6 is seen
as a poor relation to its higher-resolution
sibling, in this case, the EOS R5. Indeed,
with ‘just’ 20.1MP under the bonnet, the R6
has the lowest resolution of any camera on
test. Even so, it’s a grown-up camera with
lots of upsides, and features essentially
the same image sensor as Canon’s flagship
group. In practical terms, -6EV equates to
night scenes lit by just a quarter-moon. Camera specs
Like the first generation of Sony A7 60
cameras, the EOS R and RP didn’t feature
in-body image stabilisation, despite
50
arriving on the scene five years down the
line. Canon originally adhered to building
optical stabilisation into most RF mount 40

DSLR, the EOS-1D X Mark III. lenses, sticking to tailoring stabilisation to

The autofocus system is phenomenal. individual lenses. A bonus of later cameras, 30

Winning the numbers game against the including the EOS R6, is that they feature
Z 6II’s 273 phase-detection sites, the R6 5-axis, 5-stop in-body stabilisers, rising to 20

boasts 6,072 points in its hybrid AF system,
based on Canon’s usual Dual Pixel CMOS
AF image sensor design. It features Canon’s
‘deep learned AI’ autofocus that can
recognise and track humans, animals, birds
and vehicles. It’s adept at picking out heads,
even if they’re adorned with winter hats and
scarves, or even skiing helmets and goggles.
A further low-light bonus is that the
autofocus system works right down to
-6.5EV, edging ahead of other cameras in the
8-stop effectiveness with some RF lenses.
The fast continuous drive rate of 12fps 10
rises to 20fps if you use the electronic
rather than mechanical shutter, making
0
the R6 a sporty camera. However, although 100 200 400 800 1600 3200 6400 12800 25600
it has the most modest megapixel count,
Signal to noise Dynamic range Resolution
the R6 is the only camera in the group
to lack a back-illuminated image sensor, Without a back-illuminated sensor, high-ISO
image noise is a little more noticeable than
which impinges on light-gathering potential. with the Nikon and Panasonic cameras but
Images taken at ISO 6400 and above look less so than with the Sony.
noisier than from the Nikon and Panasonic.

98
 GROUP TEST

FUNCTION BUTTONS
The two function buttons on
the front of the camera are
widely customisable and
fall neatly under the finger.

TILTING JOYSTICK
TOUCHSCREEN CONTROL
The presence As well as being
of a vertically able to select
tilting rather than autofocus
fully articulated points via the
touchscreen touchscreen, a
makes the Z 6II joystick controller
less than ideal is also featured
for vlogging. at the rear, as
with all the other
cameras on test.

PRICE: £2,009/$1,997 (body only)

Nikon Z 6II EDITOR'S

The Mark II edition of the Z 6 adds a couple of important upgrades CHOICE

There’s little to differentiate the external
look and feel of the Z 6II over the original
camera, even though it’s marginally deeper
and heavier. The important upgrades are a
second card slot, adding an SDXC UHS-II
slot to the existing XQD/CFexpress slot,
and a secondary EXPEED 6 processor. The
former enables instant backups as you
onto heads and eyes as they come into
view, with reliable tracking abilities. The Camera specs
standard range of EV -4.5 to +18 stretches 60
down to -6EV in ‘low-light AF mode’, just half
a stop behind that of the Canon. Suffice to
50
say, the Nikon matches the Panasonic for
maintaining autofocus in near-darkness.
The large 0.5-inch OLED viewfinder has a 40

shoot, plus options including saving stills resolution of 3690k dots, closely matching
and movie files to different cards. The extra the viewfinders of the Canon and Sony 30

processing power brings a faster maximum cameras. The Z 6II leads the pack for the
drive rate of 14fps, improved video capture size and resolution of its rear touchscreen, 20

and better low-light performance.
The 24.5MP image sensor has more
resolving power than that of the Canon,
as well as featuring a back-illuminated
design. This enables greater light-gathering
potential for each photosite, potentially
enhancing the quality of high-ISO images.
Autofocus isn’t quite such a high-tech
affair as in the Canon but it performs well
nonetheless. Automatic recognition of
people and animals works well, locking
at 3.2-inches and 2100k, but only vertical
tilt is available rather than full articulation. 10
For signal-to-noise performance at high
ISO settings, the Nikon beats the Canon
0
and Sony cameras, although it trails slightly 100 200 400 800 1600 3200 6400 12800 25600
behind the Panasonic in signal-to-noise
Signal to noise Dynamic range Resolution
lab tests. Even so, images from real-world
shooting look equally clean even towards The signal-to-noise performance of the Nikon
Z 6II is very good indeed, even at high ISO
the upper end of the standard ISO range, settings, complete with impressive dynamic
with good retention of resolution and range and retention of fine detail.
dynamic range.

99
REVIEWS
VARI-ANGLE
TOUCHSCREEN
Selection of 225 individual
contrast-detection ‘areas’ is
available via the touchscreen
or joystick controller.
PRICE: £1,549/$1,698 (body only)
Panasonic Lumix S5
The cost-effective Lumix S5 cuts Panasonic’s full-frame cameras down to size
A Micro Four-Thirds specialist, Panasonic
has also made strides in the full-frame
mirrorless market, with its S-system
cameras. There are some fine own-brand
lenses to accompany the bodies and,
thanks to featuring the Leica L-mount,
there are plenty of high-performance and
reasonably-priced Sigma prime and zoom
alternatives to extend the range.
While the S1 range of cameras was well
received, there were a few criticisms about
the comparatively large, hefty build for
mirrorless bodies and the relatively slow
autofocus speed. The newer S5 is more
compact, around the same size and weight
as the other cameras on test. Autofocus
speed is also improved but, based on
contrast detection rather than a similar
hybrid phase/contrast system to the other
cameras in the group, it’s still rather less
snappy. On the plus side, it has the same
ability to work in near-darkness, matching
the Z 6II’s rating of -6EV.
100
QUICK-ACCESS
BUTTONS
The top panel has dedicated
buttons for white balance, ISO
and exposure compensation,
but there’s no info display.
DUAL CARD SLOTS
Like the other cameras on
test, the S5 packs two card
slots, this time one SDXC
UHS-II and one SDXC UHS-I.
BEST VALUE
AWARDS
The standard and extended ISO ranges
top out at the same sensitivities as the Camera specs
Nikon and Sony, at ISO 51,200 and ISO 60
204,800 respectively. The S5 matches the
Canon and Nikon for 5-axis, 5-stop in-body
50
stabilisation, with the usual enhancement
when using optically stabilised lenses, this
time stretching to 6.5 stops. 40
A useful feature for long exposures is that
the electronic viewfinder and rear screen 30
preview the final image, which is updated
during the exposure. The viewfinder is 0.5- 20
inch but has a modest 2360k resolution.
Unlike Panasonic’s S1 series cameras, the 10
3-inch rear LCD is fully articulated rather
than just having a tilt function, but there’s
0
no secondary info screen on the top panel. 100 200 400 800 1600 3200 6400 12800 25600
Images remain noise-free even at high
Signal to noise Dynamic range Resolution
ISO settings, while resolution and dynamic
range are also well retained. It eases ahead For lab test scores at high ISO settings, the
S5 leads the pack for signal-to-noise ratio.
of the Nikon in lab tests for signal-to-noise However, there’s no visual improvement in
performance but any improvements in the real-world shots compared with the Nikon.
quality of real-world shots are imperceptible.
 GROUP TEST

COMMAND DIALS MODE DIAL

Like the other cameras The shooting mode dial has three
on test, the Sony positions for custom setups but, like
has command dials the Canon and Panasonic, there’s
at the front and rear, no info display on the top panel.
nominally for easy
access to both shutter
speed and aperture
adjustments.

FUNCTION
BUTTONS
Labelled C1 through
C4, the function
buttons at the rear
can be assigned to
various tasks but
can feel unintuitive
until you really get to
know the camera.

PRICE: £2,399/$2,498 (body only)

Sony Alpha A7 IV
The A7 goes fourth with useful upgrades over the previous 24MP edition
Launched in 2018, the Sony A7 III is
arguably a more direct competitor to the
other three cameras in this test group, with
its 24MP image sensor. However, Sony
labelled it the ‘basic’ model in the A7 III line-
up and the 2021 Mark IV fits the timeline
better, as well as ‘going beyond basic’,
according to Sony. One headline upgrade
The in-body stabilisation system is also
improved, rated at 5.5-stops compared with Camera specs
5-stops for the other cameras in the group. 60
In practice, we found it worked well for stills
but less so for shooting movies.
50
The OLED viewfinder is close to those
of the Canon and Nikon cameras, easing
ahead of the Panasonic for resolution. It’s 40

over the A7 III is a step up to a 33MP image a different story around the back, with
sensor, with the removal of the anti-aliasing a relatively low 1037k dots in the 3-inch 30

filter. The gain in resolution comes with touchscreen. At least it’s a fully articulated
no reduction in the standard or extended display, whereas the A7 III only has a tilt 20

ISO range, nor a reduction in the 10fps
maximum drive rate. The boosted buffer
capacity is virtually limitless.
The upgraded autofocus system is
fast and less prone to hunting, as well as
being good at tracking people and animals.
However, it’s only rated as working down to
EV -4, compared with EV -6 to -6.5 for the
other cameras. In practical terms, that’s the
difference between shooting under a half
moon instead of a quarter moon.
function. Handling is a mixed bag. As with
the other cameras on test, there’s a joystick 10
controller at the rear but while the function
buttons are customisable, finding your way
0
around them can be a steep learning curve. 100 200 400 800 1600 3200 6400 12800 25600
The image sensor is back-illuminated, but
Signal to noise Dynamic range Resolution
you pay a price for the extra megapixels in
terms of image noise and dynamic range. In For signal-to-noise and dynamic range, the
Sony loses out to the other cameras in the
low lighting, when you need to push the ISO group at high ISO settings, and the differences
setting, images appear noisier and flatter are fairly obvious in real-world shots.
than with any of the other cameras on test.

101
REVIEWS

EDITOR'S BEST VALUE

CHOICE AWARDS
www.canon.co.uk www.nikon.co.uk www.panasonic.com/uk www.sony.co.uk

Canon EOS R6 Nikon Z 6II Panasonic Lumix S5 Sony Alpha A7 IV

Price (body only) FEATURES Price (body only) FEATURES Price (body only) FEATURES Price (body only) FEATURES
£2,399/$2,499 Excellent autofocus £2,009/$1,997 There’s a lot packed £1,549/$1,698 An excellent back- £2,399/$2,498 Upgraded features
and stabilisation but in to the Z 6II, the Megapixels illuminated image Megapixels from the A7 III
Megapixels Megapixels
the R6 doesn’t have top-panel OLED sensor is backed up include a jump in
20.1 a back-illuminated 24.5 display is unique 24.2 by effective in-body 33 megapixels and a
Max resolution image sensor. Max resolution in this group. Max resolution stabilisation. Max resolution vari-angle screen.
5472x3648 6048x4024 6000x4000 7008x4672
Autofocus Autofocus Autofocus Autofocus
Hybrid phase/ BUILD QUALITY Hybrid phase/ BUILD QUALITY Contrast, 225-area BUILD QUALITY Hybrid phase/ BUILD QUALITY
contrast, 6072-point Typical of contrast, 273-point The standard Shutter speed The Panasonic is contrast, 759-point Like the other
Canon’s high-end of construction a little heavy for Shutter speed cameras in this
Shutter speed interchangeable lens Shutter speed is excellent in all 1/8000 to 60s, Bulb its size but it is test, the A7 IV has
1/8000 to 30s, Bulb cameras, the build 1/8000 to 90s, Bulb respects, even ISO (extended) is very well built 1/8000 to 30s, Bulb a tough and robust
ISO (extended) quality is excellent matching the ISO 100-51,200 to withstand the ISO (extended) build and is well
ISO (extended)
throughout. pricier Z 7II model. rigours of winter. ISO 100-51,200 weather-sealed.
ISO 100-102,400 ISO 64-51,200 (50- (50-204,800)
(50-204,800) In-body (50-204,800)
204,800)
In-body
In-body In-body stabilization
stabilization HANDLING HANDLING HANDLING HANDLING
stabilization
stabilization 5-axis, 5-stop
The interface is highly Handling is refined The layout of controls Handling is good once
5.5-axis, 5-stop
5-axis, 5-stop intuitive and easy 5-axis, 5-stop with a host of Metering range is simple but highly you get to know the
Metering range
Metering range to use, and handling Metering range customisable controls, -6 to +20 EV effective, enhancing camera but it is
-4 to +20 EV
-6.5 to 20 EV is enhanced by a -6 to +19 EV but it only has a tilting Max burst rate the camera’s less than intuitive
vari-angle LCD. LCD, which isn’t ideal. overall handling. Max burst rate at the outset.
Max burst rate Max burst rate 7fps
10fps
12fps (20fps elec) 14fps Max video res
Max video res
Max video res Max video res 4K, 60/50/
4K, 60/50/
4K, 60/50/ PERFORMANCE 4K, 60/50/ PERFORMANCE 30/25/24p PERFORMANCE PERFORMANCE
The EOS R6 is pretty Autofocus and Autofocus isn’t 30/25/24p What you gain in
30/25/24p 30/25/24p Viewfinder
good overall, but stabilisation are the fastest but the Viewfinder resolution with the
Viewfinder high-ISO images Viewfinder great, high-ISO OLED, 0.5”, 2360k image quality is Sony, you lose in
OLED, 0.5”, 3686k
OLED, 0.5”, 3690k could be cleaner OLED, 0.5”, 3690k quality matched the LCD impressive, even high-ISO image
LCD
LCD considering the low LCD Panasonic in real- 3.0-inch, vari-angle at very high ISO
3.0-inch tilting
quality for noise
megapixel count. world tests. settings. and dynamic range.
3.0-inch, vari-angle 3.2-inch tilting touchscreen,
touchscreen, 1037k
touchscreen, 1620k touchscreen, 2100k 1840k
Connectivity
Connectivity Connectivity Connectivity
VALUE FOR VALUE FOR VALUE FOR USB C, Wi-Fi, VALUE FOR
USB C, Wi-Fi, MONEY USB C, Wi-Fi, MONEY USB C, Wi-Fi, MONEY Bluetooth MONEY
Bluetooth The Canon is a fair Bluetooth With its feature Bluetooth Less expensive Dimensions The Sony is pretty
Dimensions (WDH) bit pricier than the Dimensions (WDH) set, build quality, Dimensions (WDH) than the other (WDH)
good value for a
Nikon and Panasonic handling and cameras on test, the 33 megapixel
138x88x98mm and not particularly 134x70x101mm 133x82x97mm 131x80x96mm
performance, the Panasonic is great camera with all
Weight (inc batt) great value for money. Weight (inc batt) Z 6II is good value. Weight (inc batt) value for money. Weight (inc batt) mod cons.
680g 705g 714g 658g

Overall Overall Overall Overall

The EOS R6 is a sporty little The Nikon Z 6II is our pick There is very little to choose The Sony A7 IV is a terrific
number but while it is well- of the bunch for winter between the Panasonic S5 all-rounder for both stills and
suited to action photography, photography, just edging and the Nikon for image quality video but it isn’t the best
it is less so to dark winters. ahead of the Panasonic S5. and it’s standout value. under low lighting.

102
REVIEWS

Price: £1,350/$1,499

Canon EOS R7
Canon’s flagship APS-C format mirrorless camera is aimed at experienced
enthusiast photographers. Angela Nicholson takes a look at what it has to offer
After many rumours and much the performance. It’s also coupled with detection focusing. There’s also intelligent
anticipation, Canon has introduced Canon’s new Digic X processing engine and subject detection and tracking, that uses
the EOS R7 and R10, two mirrorless this enables a native sensitivity range of ISO deep-learning algorithms to enable the R7
cameras with the RF mount and APS-C format 100-32,000 with expansion settings up to ISO to detect and focus on people, animals (cats,
sensors. The R7 is the more advanced camera 51,200. There’s also an impressive maximum dogs and birds) and vehicles. It can even
of the two models and it has been designed continuous shooting rate of 15fps (frames use hierarchical detection and prioritise the
with experienced enthusiast photographers per second) for up to 224 JPEGs or 51 RAW eyes (provided eye-detection is enabled in
in mind, particularly those with an interest in files when the mechanical shutter is in use or the menu) then heads followed by bodies
wildlife photography. 30fps for 126 JPEGs or 42 RAW files when the when detecting humans or animals. It’s a
Its APS-C format sensor has 32.5 million electronic shutter is employed. useful feature for pet, wildlife and portrait
effective pixels and is similar to the sensor The R7’s sensor has Canon’s Dual Pixel photography. Meanwhile, the vehicle detection
in the Canon 90D and M6 Mark II but with CMOS AF II technology, which means that is handy when shooting motorsports, and
updated micro lenses and wiring to improve every pixel can play a role in the phase- activating the ‘Spot detection’ sets the camera
to focus on the driver, if they are visible.

Subject detection works brilliantly with I found the subject detection and eye-
detection work brilliantly with humans and are

humans and it’s good with animals too good with animals too. However, if the animal
is moving quickly, the focusing is sometimes

104

a little behind the detection. You see the
eye has been detected in the frame, but it
isn’t always the sharpest point. That said,
there’s a good hit rate and it makes action
photography much easier. It’s also possible
to customise the response of the AF system
using the options in a dedicated screen in
the R7’s menu. This can, for example, direct
the camera to be more inclined to stay with a
detected subject rather than jump to another
that comes into the frame.
While it’s smaller than the Canon 90D,
the R7 feels pretty robust, however, it isn’t
quite up to the level of the Canon 7D Mark
II. Nevertheless, it is weather-sealed to the
same standard as the 90D and it has a
large, comfortable grip. The R7’s control
arrangement seems familiar and different at
the same time.
Far left
Smaller and lighter
The R7 is smaller and
lighter than the Canon
90D but has the same
degree of weather-sealing
Below
Multi-Function Shoe
The R7 has the same
Multi-Function Shoe as
the R3, which means it
can be used to attach
accessories such as a
compatible microphone
instead of just a flashgun
Left
New switch
A new switch on the front
of the camera lets you
swap between autofocus
and manual focus
FEATURES
RF MOUNT
Though it has an APS-C format sensor, the R7
has the same RF mount as Canon’s full-frame
mirrorless cameras, such as the R3, R5 and R6.
DUAL PIXEL CMOS AF II
Dual Pixel CMOS AF II is Canon’s most
advanced on-sensor phase-detection
focusing technology to date and in the R7,
it is sensitive down to -5EV.
REFRESHED SENSOR
The R7 essentially has the same 32.5MP
sensor as the 90D and M6 Mark II, however,
the micro lenses and wiring have been updated
to boost the new camera’s performance.
RAW BURST MODE
Raw Burst Mode enables a sequence of
RAW files to be shot from approximately
0.5 seconds before the shutter button is
pressed fully (while half-pressing) and is
useful for capturing unpredictable action.
IN-BODY IMAGE STABILISATION
The R7’s 5-axis in-body image stabilisation
There’s a new switch on the front for (IBIS) feature is claimed to offer up to 7EV
selecting the focus mode, for example, which shutter speed compensation and operates
in both stills and video modes.
is great. The large Quick Control Dial that can
be found on several of Canon’s enthusiast- 4K 60P VIDEO
level cameras, has also been relocated and As well as being able to record 4K 50/60p video,
the R7 is capable of recording 4K 25/30p video
now sits around the R7’s Multi-controller downsampled from 7K for better quality.
(joystick). While I like the fact that the two
controls are close together so you can switch
quickly between them, photographers with
broader thumbs may find that they nudge the
wrong control.
Canon hasn’t given the R10 the same
control arrangement, instead, it has more
conventional dual control dials. Canon has
experimented with new controls over the past
few years and it will be interesting to see what
it settles on when the time comes to update RF MOUNT
the R6 and R5. While I didn’t have much
trouble with the Quick Control Dial’s new
105
REVIEWS

location, the R7’s power switch is a different

Above
Subject detection
While not as snappy as with
stacked-sensor cameras, the
R7’s subject detection is good
and is useful with lots of subjects
Left
Capable AWB
The automatic white balance
system takes a lot in its stride
and has helpful Ambience or
White priority settings
Opposite
ISO 12,800 maximum
Low-ISO images have
plenty of sharp detail and
noise is controlled well up
to around ISO 12,800
matter. It’s not a major drama, but as well as
turning the camera on, the switch is used to
swap between stills and video mode. There
were times when I flicked the camera on, lifted
it to my eye and found I was in video mode.
Canon opted for a 0.39-inch type
2.36-million dot electronic viewfinder in the
R7 and while those numbers don’t especially
impress, it proved perfectly adequate in most
situations. Similarly, the 2.95-inch, 1.62-million
dot screen doesn’t set your heart racing, but it
does the job well enough. It’s certainly handy
to be able to move it around so you get a clear
view from just about any direction.
At the lower sensitivity settings, the R7
produces detail-rich images that look great,
and noise is controlled well as the ISO rises,
with ISO 1,600 images looking very good
indeed. However, I would recommend sticking
to ISO 12,800 or lower when possible, as
that’s the point at which luminance noise
becomes evident in the RAW files and the
JPEGs look a bit too smooth.
Canon claims that the R7’s image
stabilisation system enables 7EV shutter
speed compensation with the new RF-S 18-
150mm f3.5-6.3 IS STM in action, however,
I found 4EV was closer to the mark when
checking images at 100 percent on screen.
Being less picky and looking at normal viewing
sizes suggests that it delivers around 6EV
compensation. The stabilisation system is also
behind the R7’s clever Auto-level feature that
helps to keep horizons level in stills and video –
and this works very well indeed.

TALKING POINT…
Canon RF-S lenses
Canon announced the RF-S 18-45mm F4.5-6.3 IS
STM and RF-S 18-150mm F3.5-6.3 IS STM lenses
at the same time as the R7 and R10. These RF-S
lenses are specifically designed for use on cameras
with the RF mount and an APS-C format sensor, or
full-frame RF-mount cameras in APS-C mode.
Consequently, they produce a smaller image
circle than a full-frame lens and are smaller and
lighter than comparable full-frame optics. While
they are pretty good kit lenses, they are more
appropriate for use with the diminutive R10 than
the R7 and neither is especially well-suited to
wildlife photography, something that the R7 is
supposed to be designed for.
As Canon is keen to point out, EF and EF-S lenses
can be used on the R7 via an adapter, but many
photographers will be looking for the company to
show more commitment to the new camera range
and introduce a collection of high-quality RF-S
optics with larger, fixed maximum apertures.

KEEP UP WITH THE LATEST CAMERA RELEASES AT: @DPhotographer facebook.com/DigitalPhotographerUK

106
 CANON EOS R7

100%

Canon EOS R7 The 2.95-inch, 1.62-million dot screen

Megapixels
32.5MP
FEATURES
Phase-detection focusing, doesn’t set your heart racing, but it does
the job well enough and is handy to use
Max resolution a 32.5MP sensor, subject
6960 x 4640 pixels detection and 4K video
Sensor information from 7K add appeal
APS-C (22.3 x 14.8mm)
format CMOS 1 2 3 4
Shutter speed BUILD QUALITY
Mechanical: 30-1/8000 sec, While there are more
Bulb, Electronic: 30-1/16000 robust cameras, the
ISO sensitivity R7 feels solid enough
ISO 100-32,000 expandable and is weather-sealed
up to ISO 51,200
Exposure modes
Scene Intelligent Auto, HANDLING
Creative Filters Flexible Although generally
Priority, Program, Shutter good, there are quirks
priority, Aperture priority, in the R7’s handling
Manual, Bulb, 3 Custom that will split opinion
Metering options
Evaluative, Partial, Spot,
Centre-weighted average
Flash modes
QUALITY OF RESULTS
External-only: E-TTL II,
Fast focusing, great colour
Manual
and good noise control
Connectivity
with a 32.5MP sensor gets
Wi-Fi, Bluetooth, USB-C,
a thumbs up
HDMI Micro, 3.5mm
mic, 3.5mm headphone,
RS-60E3-type remote VALUE FOR MONEY
control terminal In a market with ever-
Batteries increasing prices, the R7
LC-E6E rechargeable Li-ion offers good value but we
(supplied) need more RF-S lenses
Storage
Dual SD/SDHC/SDXC
UHS-II
LCD
2.95-inch 1.62-million-dot
Overall
TFT color LCD touchscreen The R7 is a solid proposition
Viewfinder but it needs more directly
compatible APS-C format
1 VARI-ANGLE SCREEN 3 QUICK CONTROL DIAL
0.39-inch 2.36-million-dot The specs are underwhelming but it’s useful The large Quick Control Dial sits around
OLED electronic viewfinder lenses that are more suited that the screen is on a vari-angle hinge the joystick-like Multi-controller
Weight to the camera’s audience.
612g with card and battery 2 TOUCH-CONTROL 4 POWER AND MODE SELECTOR
Dimensions Canon has fully embraced touch control and Video or stills mode is selected using the
132.0 x 90.4 x 91.7mm menu features can be selected with a tap power-switch, which can cause issues

107
REVIEWS

Price: £1,049/$1,200
Operating system:
Android 12, ColorOS 13

Oppo
Find
X5 Pro
Will Hasselblad cameras
tempt professionals to this
premium smartphone?
While there is an argument that
compact digital cameras still
have a future, it’s undeniable that
smartphone cameras have surpassed them
in popularity and photographic potential. To
assess this potential, it is important to review
the similarities between each camera type.
Both devices are designed for portability
and ease of use, rather than image quality.
Compacts and smartphones feature smaller
sensors than DSLRs and common mirrorless
cameras and, as such, are limited in their
maximum pixel count and ISO sensitivity. This
makes large image reproductions and low-light
shooting less practical than when using a Full
Frame camera, APS-C or even an M43 model.
Files from the Oppo Find X5 Pro’s headline
Hasselblad camera are generally sharp and
detailed. Viewing images taken indoors at
100 percent magnification reveals that noise
is well controlled, even at sensitivities of ISO
1000 and above. As expected from a small
sensor (the X5 Pro uses a 1/1.56in format),
in-camera noise reduction is automatically
applied to JPEGs, which produces a smudging
effect. As long as the image isn’t brightened
aggressively, results are impressive and
superior to what was possible from a compact
camera of a decade ago. This is helped by the
f/1.7 maximum aperture, which allows more
light into the camera natively.
Contrast from the built-in optics is
also punchy but not over the top, giving
shots a natural depth. This is achieved by

Opposite, top Opposite, left Opposite, right

Night light Sharp detail Colourful
The X5 Pro’s Oppo’s tie-up The X5 Pro’s
f/1.7 maximum with Hasselblad colours push the
aperture allows means the boundaries of
more light into camera is what we expect
the camera generally sharp from camera
natively and detailed phones

108
© Oppo
 replacing the plastic elements found in
smartphone cameras with what Oppo calls
ultra-transparent glass. This also manages
to reduce severe chromatic aberration and
geometric distortions, while increasing clarity,
even at maximum aperture.
The X5 Pro’s colours push the boundaries
of what we have come to expect from camera
phones. The combination of lens quality,
sensor technology of the Sony IMX 766 chip

© Chris George
and processing method provides organic
results. With older phones, images often look
highly ‘digital’, similar to early DSLR cameras.
Things have improved and files from the X5
Pro have an almost filmic style under certain
lighting. Combined with the wide aperture
and the reasonably shallow depth-of-field this
generates, images do have a pro edge.
In terms of handling, the phone is well-
balanced and easy to operate. It feels nicely
constructed and capable of withstanding a
few knocks while out shooting. Paired with
the IP68 water and contaminant resistance,
this lends a sense of reassurance, despite the
relatively thin profile of the body.
The screen is responsive and the
camera app is intuitive. For more advanced
photographers, there are plenty of settings to
play with, for maximum control. The size of
the screen itself can prohibit single-handed
shooting, however, if the user wishes to
© X2 Peter Fenech

access settings while maintaining a good grip.

Powered by the Snapdragon 8 Gen 1 chipset,
the X5 Pro is quick to process images and is
responsive to commands.
Overall the Oppo Find X5 Pro is a fantastic
smartphone and an attractive proposition for
Hasselblad camera technology photographers. It’s quick and powerful, and
images are a significant step above what the
Oppo’s partnership with the legendary brand offers new features previous generation of models could dish up.
One disappointing element is the lack of
The headline feature of the Find X5 Pro’s photography offering is the inclusion of Hasselblad telephoto range, compared with rival models,
cameras. Now working in partnership with Oppo on its smartphone technology, Hasselblad such as the iPhone 13 Pro or Samsung Galaxy
has brought some unique tools aimed at those purchasing the phone for high-end imaging. S22 Plus. It also features a lower resolution
The Hasselblad XPan is probably one of the most desirable – and unusual – film cameras than the wide and ultra-wide options (13MP,
ever made. Unlike the medium format cameras that made Hasselblad famous, the XPan down from 50MP), limiting further digital
used 35mm film to shoot panoramic images that were cropping. This might not be a deal-breaker
65x24mm in size – on the X5 Pro, you can now shoot for casual users, but it reduces the viability
images with the same panoramic ratio. The Oppo of using the X5 Pro in place of a mirrorless
incarnation of the XPan is, of course, one of the camera for professional applications.
digital menu options on its built-in cameras.
However, despite having three built-in lenses,
it only offers one wide-angle view when Summary
shooting panoramas. Ease of use
This XPan mode was first seen on the Value for money
OnePlus 9 Pro and OnePlus 9 phones Features
last year, but now that OnePlus has Quality of results
been merged into Oppo, the tech
moves to the Find X5 Pro. A neat trick Overall
of the XPan mode is that, as you fire
the shutter, the image you have just The Oppo Find X5 Pro offers a genuinely useful
taken is displayed as a negative and the photographic tool, with enough features to
final images are recorded on the internal keep most enthusiast photographers happy.
memory as positive versions. It’s a great smartphone, but it isn’t cheap and
© Oppo

it has some tough competition.

109
REVIEWS

DOWNLOAD
TEST SHOTS
https://bit.ly/3MRya6l

PRICE:
£1,049/$1,097
FOCUS DISTANCE:
0.35m
WEIGHT:

Nikkor Z 24-120mm f/4 S 630g

With wide and medium telephoto perspectives, is this a must-have pro optic?
Left
Build and handling Dynamic and discreet
The 24-150mm focal range is a crowded The focal length range covers both wide and medium
market, mostly because of the versatility of settings, making the lens perfect for street and travel
qualifying optics. Therefore, any zoom lens photography, while the constant aperture is welcome
in this category is going to be of interest Below left
to working event, portrait and landscape Inclusive extreme
photographers. The Nikkor Z 24-120mm f/4 S The lens is compatible with Nikon’s FX (Full Frame)
format mirrorless cameras, like the Z6 II, making the
feels solid in the hand and reassuringly cold to 24mm wide setting useful for wide-angle photography
the touch. This may seem an odd metric, but it
indicates the presence of metal or high-impact
materials in the construction. Technical specs
Though not the lightest Z series lens, it is by
no means heavy and should be at home in any Manufacturer Nikon
travel photographer’s kitbag. The zoom travel Model Nikkor Z 24-120mm f/4 S
is smooth with just enough resistance, while Web www.nikon.co.uk
the track distance is manageable, allowing Elements/construction 16 elements in 13 groups
rapid zooming throughout the range. Angle of view 84° to 20°20’
The lens has a simple design, but all Max aperture f/4
of the controls are easy to reach and we Min aperture f/22
appreciated the independent manual focus Min focus distance 0.35m
and multifunction control rings. Mount Nikon Z mount
Filter size 77mm
Performance Length 118mm
The lens lives up to the S on its barrel and Diameter 84mm
delivers excellent sharpness across the frame, Weight 630g
even wide open. There is also little in the way
BUILD QUALITY
of distortion although, as is the norm, there is
IMAGE QUALITY
heavy digital correction applied to both RAW
and JPEG files, making absolute assessment VALUE FOR MONEY
tricky. The end result is impressive regardless. FEATURES
Focusing is rapid and quiet too.
Overall
Verdict
Images by Peter Fenech

As a standard lens, Z System users won’t be Excellent optical performance

disappointed with most aspects of the 24- Small and lightweight
120mm f/4 S. It’s versatile, portable and sharp. Sensible design
The lack of VR might be an issue on non IBIS- Focal range
equipped Nikon bodies though. No Vibration Reduction

110
 LENSES

PRICE:
£799/$998
FOCUS DISTANCE:
0.18m
WEIGHT:
340g

Panasonic LUMIX S 18mm F1.8

Extra wide and bright, the Lumix L-Mount prime is a favourite in the making
Build and handling Left
Natural clarity
All of Panasonic’s high-end Lumix lenses Colours from the LUMIX S 18mm F1.8 are pleasant
have a premium feel and this recent addition and the glass offers a superlative natural contrast.
to the L-Mount family continues the trend. Meanwhile, edge vignetting is also well managed
It has a plastic finish but retains a sense of Below left
ruggedness and balance. The low weight Close focus
makes it a joy to use and it is comfortable on Wideangle lenses don’t generally provide extensive
bokeh, but this optic effectively de-focuses
the Lumix S5 we used. It’s another example of backgrounds at f/1.8 at minimum focus distance
the advantages of mirrorless technology – a
DSLR lens of this focal length and aperture
combination would be cumbersome. Technical specs
The design is minimalist, with only a single
AF/MF control switch present on the barrel. Manufacturer Panasonic
This makes it easy to use and frees up the Model LUMIX S 18mm F1.8
surface area for comfortable handling. Web www.panasonic.com
Elements/construction 13 elements in 12 groups
Performance Angle of view 100°
Sharpness is good in the centre of the frame, Max aperture f/1.8
even wide open, improving further towards Min aperture f/16
f/5.6. Resolution drops off noticeably in the Min focus distance 0.18 m
corners, at f/1.8 and demonstrates only a Mount L-Mount
moderate increase when stopping down. Filter size 67mm
Without pixel-peeping though, images look Length 82mm
generally punchy and crisp. Colour fringing is Diameter 73.6mm
well controlled, even when deactivating user- Weight 340g
accessible automatic profile corrections.
BUILD QUALITY
Digital trickery does have a role to play
IMAGE QUALITY
though and correction vastly improves native
distortion performance. While you wouldn’t VALUE FOR MONEY
buy this lens for bokeh, it’s a positive attribute, FEATURES
delivering smoothly rounded highlights from
the 9-bladed aperture diaphragm. Overall
Verdict
Images by Peter Fenech

Impressive centre sharpness

A dust- and weather-resistant build, lightweight Close focusing
design and superior image quality give this Tough build
lens a professional edge. Smooth autofocus Smooth AF
will make it popular amongst video shooters. Edge sharpness

111
REVIEWS

ACCESS RIES
A collection of ten fun yet functional
products out there for photographers
Left
LEXAR PROFESSIONAL
CFEXPRESS TYPE A / SD
USB 3.2 GEN 2 READER
Website: www.lexar.com
Price: £84/$79
This card reader has two slots and can accept both
SD and CFexpress Type A cards. It’s supplied with a
USB-C cable and a USB-A adapter, so it can be used
with a wide range of computers. With CFexpress
Type-A cards it has a maximum transfer speed of
900MB/s while with UHS-II SD cards it naturally has
a more modest maximum speed of 312MB/s.
Above
DJI AVATA FLY
SMART COMBO
Website: www.dji.com
Price: £989/$934
(with Goggles V and DJI Motion Controller)
DJI’s new first-person view (FPV) drone is designed
for an immersive flying experience but its 48MP
1/1.7-inch CMOS sensor and 12.7mm effective focal
length lens means it’s also capable of capturing
some thrilling footage. Don’t forget that the drone
regulations mean you must be accompanied by a
spotter when flying the drone wearing goggles.

Left

LOWEPRO ADVENTURA III

Website: www.lowepro.com
Price: £20-116/
$19-120
Lowepro’s new Adventura III range
of pouches, soft cases, shoulder
bags and backpacks are now made
largely from recycled materials and
are designed to give camera gear
rugged protection. The range starts
with the Adventura CS 20 III, which is
designed to hold a compact camera,
and goes all the way up to the
Adventura BP 300 III backpack
that holds a full-frame mirrorless
camera with four or five lenses and
a 13-inch laptop, plus a tripod.

Left

NISI TRUE COLOR

Above

MANFROTTO 496
CENTRE BALL HEAD
Website: www.manfrotto.com
Price: £79/$120
This aluminium ball head weighs just 400g but
can support up to 10kg. It features independent
control over the ball lock, friction and panning
movement for precise framing. It comes with a
quick-release plate that’s compatible with most
Manfrotto tripod heads (except the 804RC2 and
MH804-3W) as well as Arca-Swiss type heads.
ND-VARIO 1-5 STOPS
Website: www.nisioptics.co.uk
Price: £89-279 / $89-349
Nisi makes this variable neutral density filter in 14 sizes
from 40.5mm to 105mm. It’s supplied with a push-
on cap, plastic case and a fabric pouch. The outer is
marked with a scale in 1-stop increments and there are
hard stops at either end, while a short handle makes it
easy to adjust the degree of filtration without getting
finger prints on the glass. That said, the glass is coated
to repel water and oil.

112
 ACCESSORIES

Above

Above
ROGUE FLASH
ADAPTER
Website: www.rogueflash.com
Price: £37/$35
Available in small or standard sizes,
this silicone adapter is designed to
stretch onto a rectangular flashgun
head to enable it to be used with
Rogue’s magnetic flash modifiers
for quick swapping between a
diffuser dome, a grid or coloured
gels. Check Rogue’s website for
flashgun compatibility.
LENSPEN SENSORKLEAR II
Website: www.manfrotto.com
Price: £12/$15
The LensPen SensorKlear II features the unique LensPen cleaning tip of the original model
with an articulated end section that makes it easier to use. It can be used by itself for
removing specks of dust and dirt quickly and without the need for any cleaning solution, or
in combination with the LensPen SensorKlear Loupe for a detailed view of the sensor.
Left
PROFOTO
CONNECT PRO
Website: www.profoto.com
Price: £339/$399
Profoto’s latest wireless flash
trigger is available for Canon,
Nikon and Fujifilm cameras
now and Leica and Sony
compatible versions – a non-
TTL version for any camera
with a standard hotshoe – will
come later. It offers improved
TTL group control over its
predecessor with intuitive output
adjustment, and it’s powered
by three AAA batteries that are
claimed to last for up to 50 hours.

Above

LEXAR PROFESSIONAL
CFEXPRES TYPE A CARD Above

GOLD SERIES LENSPEN DSLR PRO KIT

Website: www.lexar.com Website: www.manfrotto.com
Price: £170-£265/$200-$400 Price: £30/$35

Available with 80GB (£169/$200) or 160GB capacity
(£265/$400), this CFexpress Type A card offers write
speeds up to 800MB/s and read speeds up to 900MB/s
to enable the highest level of performance when used
with the likes of the Sony A1 and A7 IV cameras.
The sensor isn’t the only part of a camera that can benefit from
a spot of cleaning on a regular basis. This kit from LensPen comprises
the Original LensPen for lenses, FilterKlear for filters and MicroPro
for viewfinders. It comes supplied with a microfibre pouch that keeps
everything together but also doubles as a cleaning cloth.

113
PRO COLUMN
FORTY FARMS
Amy Bateman is on a journey to document the state of British agriculture
ritish life photographer Amy
Bateman began a journey
to record the stories of 40
farms across Cumbria in
March 2021. An exhibition of
her photos, which runs until
4 January 2023, will also be
accompanied by a hardcover book with over
500 images, called Forty Farms.
Amy visited 40 farms from isolated
farmsteads unchanged in generations to
businesses at the cutting edge of innovation;
from world-class sheep breeders to award-
winning cheese-makers, capturing a record of
farming during a period of profound change.
Over the course of a year, Amy interviewed
and captured farmers such as international
best-selling author James Rebanks, Michelin
chef Simon Rogan of L’Enclume fame, and
Susan Aglionby, who has helped educate
hundreds of young people at her farm.
“Photography is a powerful tool in the
documentation and chronicling of events and
stories,” says Amy. “For me, documentary
114
All images © Amy Bateman
photography is a way of thinking
about life and its experiences.
You take a photograph using
the technical elements at your
disposal, taking into account
things like light conditions and
the overall composition of the
shot but, ultimately, it’s the story
you capture that sets the tone.
I couldn’t have captured the
images I did for Forty Farms
without spending time on each
of the farms. It was important for
me to get to know each farmer
personally to learn about their
life and their relationship with the
land they work on. This, and my
first-hand experience of farming
helped them to relax, to accept
what I was doing and, above all
else, to trust me, which is why I
managed to capture the images I did.
My photography has developed intuitively
from my knowledge and practical insight
PRO BIO
Life photographer Amy
Bateman specialises in
capturing people, places and
artisan products from her base
in the Lake District in northwest
England. She began her career
in family and pet portraiture
and, after winning several
photography competitions
as an amateur, she turned
freelance in 2019. She now
works in the commercial sector,
providing images for rural
businesses of all sizes.
amybatemanphotography.com
offer critical commentary relating to people,
places and events – I hope I have managed
to encapsulate all of that in Forty Farms.
into the working practices
used on my own family farm.
This helped me to home in
on the realities that those
who live and work in rural
areas of the UK, particularly
in the agricultural sector, are
exposed to on a daily basis.
The aim was to use my
insight to document what I
saw, recording the hopes and
fears of those I met along the
way, as the UK countryside
and the agricultural industry
adapt during a period of
unparalleled change.
There’s no question that
photography can bear witness
and even act as a catalyst for
change. It can foster sympathy
and raise awareness or simply
9000 9021