Digital Camera World - Issue 267, Spring 2023

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Issue 266 April 2023 www.digitalcameraworld.com
SKILLS
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Editorial
Welcome
Editor Niall Hampton niall.hampton@futurenet.com
Contributing editors Marcus Hawkins & Claire Gillo
Technique editor Alistair Campbell alistair.campbell@futurenet.com
Art editor Roddy Llewellyn richard.llewellyn@futurenet.com
Group production editor Steve Wright steve.wright@futurenet.com
Reviews editor Gareth Bevan gareth.bevan@futurenet.com
Imaging labs manager Ben Andrews ben.andrews@futurenet.com
Contributors
James Abbott, Jon Adams, Ben Brain, Jon Devo, Andrew James,
Rod Lawton, Sean McCormack, Dan Mold, James Paterson,
Matthew Richards he new season has
T
Cover image Getty
Photography Bath Photo Studio certainly put a spring in
All copyrights and trademarks are recognised and respected
Advertising our step after a winter
Commercial director Clare Dove clare.dove@futurenet.com
Head of Market, Advertising Matthew Johnston that seemed to go on and
matthew.johnston@futurenet.com
Account director Matt Bailey matt.bailey@futurenet.com
Account director George Lucas george.lucas@futurenet.com
on. So whatever wonders of spring
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Turn to p40
Magazines marketing director Sharon Todd cover feature (page 50). Also this
Circulation
Head of newstrade Tim Mathers month, we present another appealing
Production
Head of production US & UK Mark Constance
Production project manager Clare Scott
selection of Photo Active projects (p16) and inspiring
Senior advertising production manager Jo Crosby
Digital editions controller Jason Hudson
images in Hotshots (p42), where we focus on
Production manager Vivienne Calvert
Management
International Garden Photographer of the
Managing director Stuart Williams
Content director Chris George chris.george@futurenet.com Year. This month’s camera and accessory
Group art director Warren Brown
Chief revenue officer Zack Sullivan reviews include a pair of new mirrorless
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ISSUE 267
SPRING 2023
50
FRESH & NEW
WAYS TO CAPTURE
SPRING
Tony North / IGPOTY

42
Hotshots – Winning entries
from International Garden
Photographer of the Year 2023
73
Practical Photoshop _ Get
the most out of Photoshop and
Lightroom with our tutorials
Photo skills Regulars

8 One to One
The car is the star – we get a ride with
39 The Art of Seeing
Benedict Brain on the joy of diptychs
product photographer Sam East as he
Hotshots
shoots a Maserati in North Devon
42 International Garden PotY 2023
Photo Active
16 Fresh inspiration on every page –
64 Reader Gallery Gear & tests
choose from 10 all-new projects Presenting the month’s best images
Shoot the spring! Shot of the Month 96 Panasonic Lumix S5 II

50 10 creative ways to capture the magic
72 Tube Mapper Luke Agbaimoni returns
Full review and lab results of this hybrid
mirrorless that targets content creators
of the new season – James Abbott is
In Focus
the leader of your 13-page masterclass
88 The latest camera kit and accessories
100 Canon EOS R50
24.2MP mirrorless brings the benefits of
Practical Photoshop
73 Behind the Lens
the EOS M50 Mk II to the mighty RF mount
Tutorials covering the latest features
92
of Photoshop and Lightroom, plus
our latest batch of software extras
Jem Southam discusses The Harbour
104 Canon RF 15-30mm
F4.5-6.3 IS STM
Jon Devo column
Filter Forge 9 Standard 94 An affordable ultra-wide-angle zoom
74 Our tech-spert’s latest musings

With thousands of effects on tap,
Interview 105 Laowa 90mm F2.8
2x Ultra Macro APO
we’re giving away this powerful image-
editor for Windows and macOS
120 You Will Be Able to Take Great Photos by This optic will have you seeing double
the End of This Book says Benedict Brain
Photo Answers
84 What the f-stop! 106 Group test:
Filter holders
Our expert answers your questions,
plus Tech Check and Image Rescue
132 Test your photography knowledge 5 best-buy options go head-to-head
4 D I G I TA L C A M E R A SPRING 2023
HURRY!
WHILE Contents
Subscribe today and get OFFER
LASTS
a FREE Lowepro Passport
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£29.99 – see page 40
This
month’s
contributors
Benedict Brain
Photographer
As Digital Camera readers will

know from his monthly column,
Brain’s work has an artistic
sensibility, which he explores in
depth in his first book. Page 120
Sam East
Photographer
8
One to One _ Here’s something we don’t get to do very often… we join From luxury watches to fast cars,
Sam East on a road trip to the Valley of the Rocks in Devon, a stunning product photographer Sam East
backdrop for photographing the super-sporty Maserati Quattroporte Trofeo has certainly shifted up through
the gears since starting out. We
join him on location on page 8
Fiona Georgeson-Powell
Photographer
The best camera is always the

one you have with you, which is
why Fiona Georgeson-Powell uses
her Huawei to shoot the street.
See how she does it, on page 26
Jon Devo
Photographer & writer
Our resident tech columnist

Benedict Brain
enjoys considering the latest

developments in photography
and digital imaging. Read his
latest dispatch on page 94
120
Interview _ With his first book about photography going on sale this month,
we catch up with long-term Digital Camera contributor Benedict Brain to
find out more about how the book came about and what its buyers will learn Jem Southam
Landscape photographer
Photo Active _ 10 things to shoot, edit or create this month. Discover how
Fresh interest in Southam’s
16 backlighting can transform your portrait photography, why patience is key
for shooting scenics, and get the lowdown on capturing roe deer in spring
photo series of Bristol in the late
1970s-early 1980s has led to a
new book, The Harbour. He tells
us more about it, on page 92
Luke Agbaimoni
Urban photographer
Having shot every station on the

London Underground for The Tube
Boris Smokrovic
Mapper Project, Luke’s second

book is on sale now. He explores
one of its key images on page 72
SPRING 2023 D I G I TA L C A M E R A 5
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one
to
one
Fuelling his Sam East
Product
passion
photographer
Having crafted a reputation

for visually sleek photography
that captivates audiences,
British-born photographer
and filmmaker Sam specialises
Alistair Campbell shadows Sam East in producing commercial,

portrait, landscape and
on a shoot with a Maserati sports car automotive images.

www.sameast.co.uk
oday, we’re taking Quattroporte Trofeo. For any

the scenic route to readers curious as to what’s
T Devon with product

photographer Sam
East. Based in
under the bonnet, you’ll find an
enormous 3.8-litre, twin-turbo
V8 petrol engine that produces
Bristol, Sam began 572bhp at 6,750rpm alongside
his photographic career in 2013 a rousing 730Nm of torque,
by shooting ‘passion projects’ which is available all the way
– portraits, products and from 2,250-5,250rpm.
powerful landscapes. More We start our luxury ride early
recently, Sam’s product work in the afternoon, setting off
has expanded from luxury from Bristol to our final shooting
watches to some of the world’s destination, around 100 miles
most exclusive sports cars. away via the scenic route to
This is why we’re motoring the south-west coast.
down to the Valley of the Rocks Accompanying us are Sam’s
in the brand-new Maserati assistants, Eren Chetin and
D I G I TA L C A M E R A 9
one
to
one
Preparing the car

“In all genres of photography, attention to detail can make or break your shot. With a portrait, it
might be a strand of hair across the eyes or a macro shot with specks of dust. Although 99 per
cent of these problems can be fixed later in post-processing, it’s still best to get as much right in
camera as possible. With automotive photography, you’ll most likely have to drive to your perfect
shooting spot, unless you’re very lucky and can have the car delivered to the location. The main
Sam always uses the K&F Concept problem with this, of course, is mud and dirt and potentially adverse weather conditions when
Variable Polarising filter for shooting
you weren’t expecting them, so I always carry a couple of cloths – one to clean and one to dry –
his automotive images.
and a water-spray bottle. The spray bottle also doubles up as a great way to bring a splash of
quality to your images with a well-placed squirt of water droplets.”
Using the right lens
and the right filter
Chloe Elizabeth, who will provide helping USM, and with a couple of precise squirts
“This is an incredibly useful tool that hands throughout the day and also pose as of water onto the Maserati’s iconic badge,
changes the way your camera sees and the driver. Sam has plotted a route that will takes the first frames of the day.
captures light, particularly in relation allow us to stop in some quieter spots while “It’s such a simple trick,” he explains. “Add
to reflections and glare – a prominent he jumps out to bag a few extra images a bit of water and the images immediately
problem with car photography,” says Sam. before the sun sets in three or four hours. start to go to the next level. With product
“By using a polarising filter, you can Along the way, I ask what motivates Sam photography big or small, it’s the attention to
dramatically improve your automotive and where his distinct style comes from. detail that matters. A lot of people who enjoy
photography to create images that are “Visual storytelling is always at the automotive photography will delve deeper
vibrant and dynamic and which stand forefront of my work and stems from my and explore everything the car has to offer;
out from the rest. Polarisers have the love of motion pictures,” he replies. “I also sometimes it might be a small detail in the
effect of increasing colour saturation draw a lot of inspiration from the tones leather seats, the alloy wheels or even a
in some circumstances by reducing and colours of cinematic films.” close-up of the dashboard. I like to cover all
unwanted reflections such as the sky, Having been driving for around an hour, those elements first, before moving on to
clouds or glare from the sun. If you’re into we pull over in a lay-by just outside Linton capture the wider shots of the whole car.”
shooting landscapes, then you’re likely and Lynmouth for our first shooting spot. We all jump back in the Maserati for the
to have a polarising filter tucked away in Approaching the end of winter, the roads final stint, aiming to rock up at our final spot
your kit bag already, and you can use it for are still kicking up mud and dirt, but being an just before sunset. Now sitting in the back
photographing cars, too. The professional experienced pro, Sam grabs a spray bottle seat behind Eren, with his camera securely
finish you get from using polarising filters full of water and a small cloth to remove any bound around his wrist, Sam reduces the
can’t be replicated in editing, so for bits of dirt that have come from the road. shutter speed to 1/80 sec and asks Eren
shooting most of my work it’s probably “It’s not just to clean the car, though,” to gently pull away along the empty road.
the most essential accessory I own.” he grins. Pulling out his Sony A7 IV, Sam “We don’t need to go very fast for
attaches a Canon 24-70mm f/2.8L II this to work,” he explains. “The low

Shooting sports cars with Sam East
3:09pm 2:48pm
Camera Sony A7 IV Camera Sony A7 IV

Lens Canon EF 24-70mm f/2.8L II USM Lens Sigma 35mm F1.4 DG DN Art
Exposure 1/80 sec at f/4, ISO 64 Exposure 1/250 sec at f/3.2, ISO 640
3:02pm
Camera Sony A7 IV
Sam East
Lens Canon EF 24-70mm f/2.8L II USM

Exposure 1/200 sec at f/2.8, ISO 320
www.digitalcameraworld.com SPRING 2023 D I G I TA L C A M E R A 11

one
to 1
one
2
3 4
7
Sam’s top tips for photographing cars
Give your automotive images a podium finish every time with these five simple steps
“Always be looking out for fresh angles, as every car you photograph will have
1
Sam’s kitbag for a slightly different design shape with its own styling details.”
shooting automobiles 2
“Don’t forget about the interior. When we think of cars, we usually think of them from
Accelerate your automotive photography the outside on a road, but there are plenty of details to photograph on the inside.”
1 Gomatic Peter 3
“Try to create a sense of movement where possible – to get a shot with the wheels in
McKinnon 25L motion with a 1/125 sec shutter speed, the car doesn’t need to be moving very fast.”
“Built for comfort and big enough to
take all my kit, with quick and easy “Get low to the ground. This perspective will give the car a real sense of power, and
4
access to all the compartments.” will also often create a blurred foreground, bringing attention to the main subject.”
2 Sony FE 70-200mm 5 “Use a variety of wide-angle and telephoto lenses. This will keep the viewer engaged
F2.8 GM OSS II across multiple images, without your shots becoming repetitive and predictable.”
“A beautiful G Master lens. Extremely
fast and precise autofocus – ideal for
photographing moving subjects.”
shutter speed will create the movement Sam assembles his Gomatic Peter McKinnon
3 Sigma 35mm for us, so 30mph is plenty.” Camera Backpack (tested in issue 266, page
F1.4 DG DN Sam fires off a couple of shots on his 106) at the rear of the car, with the boot up
“The best 35mm lens around – crisp widest lens (a Canon EF 24-70mm) for a for some mild protection from the elements.
images at any f-stop, and a wide dynamic shot with a real sense of speed. “This light is incredible, but I know it’s
aperture for shooting in low light.” Even if you’re not behind the wheel of a going to fade fast, so I have to be ready to
Maserati, this drive is worth doing in its shoot everything within about 45 minutes.”
4 Sony A7 IV own right, with stunning views across the I ask Sam what he’s aiming for, and more
“Breathtaking image quality and Bristol Channel to the north, or over the importantly what the barriers in the road
packed with features, backed up by rolling hills of the open moor and farmland could potentially be when shooting so
incredible autofocus technology.” to the south. If you like to photograph wildlife much in such a small amount of time.
then you’re highly likely to catch a glimpse “I’ve got one Sony A7 IV body and three or
5 Sigma 85mm of an Exmoor pony or two, plus some four lenses I’d like to work my way through
F1.4 DG DN wild sheep or goats along the way. and get a few shots on each,” he replies.
“The significant bokeh at f/1.4 makes As we arrive and park at the Valley of the “I always shoot with my K&F Concept
the car’s exquisite details stand out.” Rocks, it has got noticeably colder than it Variable Polarising Filter. I’ve only got one,
was earlier, and the wind is ripping through so I need to move across to the next lens
6 Canon EF 24-70mm the chiselled dry valley – so much so that each time I change. As the diameters of
f/2.8L II USM we can barely hear each other speak. all the lenses differ, I also need to use
“Versatile, with a flexible mid-zoom step rings every time. The polarising
range and a superb build quality.” filter enables me to shoot all angles of the
car and be able to cut out the glare and
7 K&F Concept Variable refections created by harsh sunlight.”
Polariser (82mm) This light is incredible, I feel like I’ve wasted a couple of valuable
“Perfect for keeping reflections minutes of light by asking Sam about filters,
and glare to a minimum.” but I know it’ll fade fast and with this Eren drives along the short
road into the valley. There’s a perfectly
so I have to be ready placed turning circle at the end where
Sam East
3:54pm
Camera Sony A7 IV
Lens Sigma 85mm F1.4 DG DN Art
Exposure 1/640 sec at f/1.6, ISO 640
Camera Sony A7 IV
Shooting with Lens

Exposure
Sigma 35mm F1.4 DG DN Art
1/640 sec at f/1.6, ISO 200
prime lenses
Consider getting up close and personal
to your subject and capturing your
car’s delicious design and interiors
“With a fixed focal length, prime

1
lenses mean you have to think
more creatively to find the most pleasing
framing and composition.”
“The biggest advantage of using

2
primes is that they bring better
image quality and sharpness, which make
your shots full of detail and clarity.”
“To get the most from primes, you

3
should invest in a variety of focal
lengths – if you need to zoom in and out,
then you have to move your feet.”
4:43pm

one
to 3:59pm
one
Sam East
Camera Sony A7 IV
Exposure 1/80 sec at f/5, ISO 100
the Maserati can shuttle up and down,

allowing Sam to create as many shooting
opportunities as he has the lenses for.
Sticking with his Canon EF 24-70mm,
attached to his Sony A7 IV via a Sigma
MC-11 adapter (see page 20), Sam tries
some low-angled wide cinematic shots
just as the sunlight is still peeking across
the valley in the distance.
“I find you get a particular quality when
marrying up Canon glass to a Sony body,”
Sam says. “It’s difficult to explain, but the
images just seem to hit home on another
level.” Trying out multiple spots to find
rocks that frame the car perfectly, Sam nails
another couple of images before removing
his backpack to change things up again.
Next, he works his way through the
mid-range focal lengths of his prime lenses
(Sigma F1.4 DG DNs with focal lengths of
How to create a
sense of speed
Panning is a great technique for
creating a dynamic shot of moving You get a particular
subjects. Stand parallel to the road,
reduce your shutter speed to below quality when you marry
1/100 sec and track the movement of
the car as it passes – this will create up Canon glass to a
motion blur in the background.
Shutter speed under 1/100 sec
Sony camera body
4:40pm
Camera Sony A7 IV
Exposure 1/250 sec at f/5, ISO 125
35mm, 50mm and 85mm) while the car is

stationary to pick off some more detailed
Experiment
shots in the beautifully warm, soft light of
what is a very memorable golden hour.
with vantage
Finally, it’s time for Sam to use his Sony points
FE 70-200mm F2.8 GM OSS II. He tells me
why it’s one of his favourite lenses to use. Instead of shooting at
“All the lenses I own are incredible and eye-level, get down low,
they all do a different job for me, but the climb to higher ground
70-200mm directs the viewer to go where and even shoot from
the hip. Each small
I want them to look even more than the
adjustment will create a
other lenses. By emphasising the depth
different angle and make
of field, you can really direct the viewer to your images stand out.
areas of your image that are very sharp,
like the car, compared to those that are
heavily out of focus, like the background.”
Climbing a short way up the valley
behind us, Sam wants to reach an
elevated position to capture some panning
shots, as the light is fading now and it’s
obvious there are only a few more passes
left to show the car, location and sunset
together and round off our trip in style.
We’re only too glad to jump back in Use light to maximum effect
what is hands-down the best car I’ve There’s no question that the golden hour is a great time of
certainly ever been in. Sam’s passion day for photography. The best light is soft and warm, making
for automotive photography has been shooting conditions a dream for many photographic genres.
a pleasure to witness this afternoon, However, the time when the light is at its best is also relatively
but it’s now time to hit the road and fleeting, so you need to be prepared. Have your shots clearly
wind down the revs on another envisaged in your mind, with your camera and lenses ready.
One to One pro masterclass.

10 things you can shoot,
edit or create this month,
from wildlife and scenics
to colourful street scenes

TIP CARD
Take it on location
With a kit list, go-to settings and
a technique summary, our
dedicated photo tip card will
get you up and running on
this project in no time!
1/3200 f/1.2 ISO

sec 160
1 | PORTRAITS
The beauty of backlighting

Get out in the soft spring sun and conquer the basics
of backlit portraits, says Alistair Campbell
aving an understanding light source is emanating from behind
H
and control over your your subject, which when under
lighting is essential for control can make for a beautiful
all photographic glowing, warm and a creamy image.
genres, particularly For me, natural light is at the very
when shooting portraits. Traditionally, core of creative portrait photography.
you’ll want to get a good exposure on It is always available, offers the most
your subject’s face no matter what natural mood and comes in various
the environment is. Today, I’m out qualities, temperatures and
with model Ellie to tackle some directions. Once you learn how
slightly challenging backlighting. to work with natural light rather than
Being able to understand where against it, you will feel confident to
Alistair Campbell
light is falling and how it will affect shoot portraits all year round. Here,
your subject is a huge learning curve I’m using a Fujifilm X-T3 and XF 56mm
for all photographers. Backlight, as f/1.2 R, my go-to setup for taking
the name suggests, is when the main sharp portraits anywhere.

Select spot metering Use a shallow aperture Change your position
1 This tells the camera to meter 2 Lenses come with different maximum 3 Moving around will allow you to
from a small area of the frame apertures, but for the majority of my work out not only the best and
(between 1-5%, typically) and portrait photography, and not only most flattering lighting angles
determine the optimal exposure with backlight shooting, I’ll open up for your subject, but more
for it, ignoring the rest of the the aperture to its widest setting. importantly to see how much light
scene. Spot is often preferred Here, my Fujifilm 56mm has a very is entering your camera and falling
to other metering modes that wide f/1.2 aperture; this will create on your subject’s face. As small
provide a reading from the centre a pleasing defocused background adjustments to your shooting
or the entire frame, which during that will draw attention to the more position can often lead to quite
backlight photography will often important part of the frame – Ellie, dramatic changes, get loose
underexpose your subject. the main subject of our shoot. and experiment with angles.
Use a fast aperture
Get it right in-camera Choose a good location
Top kit: lens hood

How to master the basics of backlighting
Usually (but not always) supplied with
There is no hard and fast rule for when to try backlighting could provide a more pleasurable a lens, the hood attaches via to the end
backlit portrait photography. When executed experience for them and ultimately a more of the lens barrel. Its main purpose is
properly, it can provide compelling and flattering facial expression, which is the key to prevent unwanted light flares from
captivating results. Your subject may find it part of shooting portraits. When shooting entering the lens. When the light falling
difficult to keep their eyes open when looking backlit subjects, some of the highlights will be on the lens is strong, though, you might
into strong direct light, so well-judged use of sacrificed, but that’s not necessarily a problem. need to use your hand and the lens hood
to provide a sufficient shaded area.

2 | WILDLIFE
Close to
the action
Patience is key to
capturing creatures,
says Rachel Hannah
hotography has always
P been a happy place for

me. Whenever I am out
taking photos of wildlife
and capturing the beauty of nature
around me, I feel a sense of peace.
Picking up a camera and heading
outdoors, whether in my back
garden, a local green space or a
long walk in the wilderness, has
become a welcome escape from the
hustle and bustle of day-to-day life.
In 2019, I upgraded from a Canon
EOS 80D to a Sony A7 III paired with
a Sigma 100-400mm F5-6.3 DG OS
HSM | C to capture wildlife. This is
my go-to lens now and sits on my
camera most of the time.
I also have a Sony FE 90mm F2.8
Macro G OSS, which I use to capture
insects and finer details when I am
up close to a subject. I recommend
taking advantage of natural light
when shooting wildlife, and if you
have the opportunity, try to shoot
during the golden hour. This will
give your photos a warm, golden
Rachel Hannah
hue and make the colours of
your wildlife photos pop.
Instagram: @itsrachelhannah
Top tele tactics

I’m often asked how I manage
to get photos of wildlife up
close. A telephoto lens is the
obvious answer, but patience
is the key. I can sit for hours in
a pop-up camouflage hide and
get one photo that’s usable,
but the next day I can shoot
50 decent images sitting in Top kit: mount converter
my garden! I think this is why I
adore wildlife photography: it’s Rachel shoots on a Sony A7 III, in full
highly rewarding when you get manual mode, with her Sigma 100-400mm
a shot and also great because lens (Canon EF fit) via a Sigma MC-11 mount
it keeps you on your toes! converter, which bridges the two systems.
20 D I G I TA L C A M E R A www.digitalcameraworld.com
3 | FLORA
Darling buds
Capture emerging spring plants with a
macro lens and create dreamy DoF effects
hile most lenses are sunny spot, you won’t tend to get
W
suitable for taking an even exposure across the image.
pictures of flowers, Try to take photos when there is
one type is especially some overhead cloud or a shaded
useful – the macro area, as you’ll be able to see the
lens. With a magnification ratio details of the flower much better.
of 1.0x or 1:1x, these optics can “Fill the frame” is a popular piece
reproduce objects at full life-size of advice, so make your flowers
on the camera’s image sensor. touch the edge of the frame or spill
Consider the environment around over it entirely. Sometimes, when
your potential subject; if the flower moving closer, you’ll find a more
you want to shoot is in a particularly flattering composition.
Use manual focus for sharpness

Macro lenses require working very close to the subject and the shallow depth of
field they produce can make autofocus difficult. So it’s best to use manual focus
and tools such as focus peaking, if available, to help you nail sharp shots.
Soften the background for creative DoF effects

The easiest way to capture a flower with a beautifully blurred background is to
get up close and use as wide an aperture as your lens will allow. On a dedicated
macro lens, the widest aperture (lowest f-stop value) will typically be around
f/2.8-f/3.5. This gives a very narrow depth of field on your subject, causing
the near foreground and background to go out of focus.
1/200 ISO
sec f/1.8 100
Here, the selection of a wide aperture

has produced a shallow depth of
field, resulting in pleasingly defocused
foreground and background areas.
22 www.digitalcameraworld.com
TOP KIT
Sony FE 90mm
f/2.8 Macro G OSS
Quick, accurate autofocus and
stabilisation helps this affordable
macro lens deliver crisp, high-
quality images with beautiful
bokeh, as seen in this shot.
See p51 for more about
macro lenses.
Future
www.digitalcameraworld.com
4 | CAMERA CARE
How to keep your sensor free of dust
Spring clean 101
Dust off the winter cobwebs and
give your sensor a little bit of love
leaning your sensor, and the best bit is that
C image sensor is an
important part of
you don’t have to remove the
lens. If that doesn’t quite do the
keeping your camera trick, you’ll need an air blower,
working properly. Even if you’ve sensor swabs and a sensor
been very careful when swapping cleaning solution (or a product
lenses, it’s inevitable that some like the Visible Dust EZ Sensor
dust or dirt will build up inside Cleaning Kit). Make sure you
Remove any dust that’s hanging around
over time. Most cameras have match the swabs to the camera’s 1
Use an air blower and gently blow air in multiple directions in the
a built-in sensor cleaning mode sensor size; if they’re too big they sensor area. Hold your camera upside down so dust and other debris
which operates when you turn won’t fit, and if they are too small falls out. Be careful not to hold the front nozzle too close to your sensor.
the camera off (or on) – this is they won’t cover the target area
the easiest way of cleaning your without a few passes.
DSLR or mirrorless camera’s www.visibledust.com
How to get to
your sensor
On a mirrorless camera,
the sensor will be
exposed as soon as the
lens is removed. On a
DSLR, the flip-up mirror
in front of the shutter
needs to be raised to
reveal the sensor. Look
for ‘Lock mirror up for Use sensor swabs and gently pass a swab over your sensor
cleaning’ or ‘Mirror 2
Find a clean room like a bathroom to do your sensor cleaning.
lockup’ in the menu Disable your camera’s image stabilisation, if enabled, so that the
system of your camera. sensor is locked in position and you won’t damage the IS system.

5 | STREET
Try an
unlimited
phone plan
Fiona Georgeson
Powell gets smart with
her Huawei to shoot
colourful urban scenes
ike most of the population,
L I take a smartphone with

me everywhere I go. This
makes its built-in camera
an obvious, and most available, option
for taking photos quickly and easily.
The smart autofocus and easy point-
and-shoot style enables me to capture
images even while walking. I can then
edit or share the pictures on social media
without having to lug my Fujifilm X-S10,
along with the lenses, SD cards and
batteries I would carry for more
dedicated jobs. It’s really easy to use
phone editing apps, like Photoshop,
Gallery and Snapseed, to name a
few – and many of these are free.
I think the future for smartphone
photography is exciting – particularly
how many people are more than
satisfied with the results. It has become
a widely accessible way to have the thrill
of taking photos but getting to the final
results far quicker. Another benefit
(especially when on the move) is that
taking photos with a phone is more
discreet than using a digital camera. In
recent years, people all over the world
have become used to seeing people
Fiona Georgeson Powell
using their phones to take photos and

don’t pay attention any more. So you can
pretty much go about your day without
anyone wondering what you are up to.
Instagram: @fifi_powell

Photo Active
1/800 f/2 ISO

sec 1000

Be mobile
1 Get out into your local towns or cities and start shooting.
Grab yourself a coffee and start to explore the area,
looking for potential image opportunities in new spots
that you might not usually venture into. Try not to rush
around; a big part of camera phone photography is that
it’s easy and enjoyable, and you don’t have to put too
much emphasis on the final images.
Shoot in Portrait mode

2 Most of the time, but not always, I’ll use the Portrait
mode setting. Designed for taking portraits, this
option adds a little more blur to the background
and foreground, therefore drawing the viewer’s
attention to the areas that matter.
Adjust the
3 exposure
When you offer up your phone
to the scene, it will hazard
a pretty good guess at the
required overall exposure.
If you’d like a little more
control, however, just tap on
the brightest area. You can
also hold your finger on the
screen and pull up or down.

Photo Active
Top kit: Huawei

P20 Pro
“The wide (27mm) field of view
is an ideal focal length for
street, architectural or
landscape photography. The
40MP camera also allows me
to zoom in a little if required
without being too detrimental to
the image quality. It’s very rare
that I’d ever print many images
taken on my phone, but for
images to be viewed on the
internet, the P20 Pro more than
does the job for my needs.”
Zoom in and out Edit your images

4 Camera phones have fixed optical lenses, but you can 5 Snapseed is installed on my phone, so
zoom in or out digitally by pinching the screen. Zooming I don’t need to wait until I’m at home to
further will usually result in reduced image quality, edit. In the basic ‘Tune Image’ tab, I can experiment with
so use this functionality sparingly when trying to brightness, contrast, saturation, ambience and so on.
adjust the composition to your advantage. This is usually enough to take an image to the next level.

6 | STUDIO
Put a ring
on it
You can shoot
portraits with one
simple LED light, says
Alistair Campbell
ortraiture is a
photographic genre
P that is easy to try
but difficult to master.
Ranging from natural
light right through to more complicated
four-light setups, the choices can
sometimes feel overwhelming. When
I took up photography, like the majority
of people I shot with natural light – the
sun. Having a single light source, like a
ring light, can simplify a portrait shoot;
place it in front of your model’s face
– about 45˚ off to one side is always a
good default place to start. Continuous
LED lighting offers another advantage: it
allows you to see in real time how the
light falls onto your subject. This is far
easier than using a flash or strobe and
having to shoot a few test images before
finding the ideal shot settings.
Model: @itsdomiiofficial_
1/1000 f/2 ISO

sec 800
Alistair Campbell
Top tips for working

with an LED ring light
The most appealing benefit of using LED
ring lights is that they help to eliminate
harsh shadows. Most are dimmable,
which is helpful when wanting to adjust
your aperture, and some lights have
the option of changing the colour
temperature from cool to warm to suit
your shooting style. As LED lights don’t
get hot, you can move the light much
closer to your model, allowing you to
experiment with lighting intensity.

TOP KIT
LED ring light
These eliminate shadows,
resulting in simple, flattering
lighting over a face, while 360º
of illumination helps to give
skin a flawless look.
www.bit.ly/dcm267
ringlight
Scott Evans
BUY THE BOOK

Shooting Film by Ben Hawkins
PART and Liza Kanaeva-Hunsicker
(ISBN 978-1-78157-834-6)
2 OF 3 is published by Ilex Press
Part 3 in issue and is on sale now, priced
268, on sale £20/$24.99.
www.ilexinstant.com
28 April
7 | FILM PHOTOGRAPHY It’s certainly not a technique I’d

recommend for portraits that require
Try cross-processing accurate skin tones, but if you like surprises

and want your images to stand out from the
crowd, cross-processing can be great fun
Create interesting and unpredictable colour and will change your perception of the
shifts for exciting results, with Ben Hawkins terms ‘negative’ and ‘transparency’.
Ordinarily, you would process colour
negative film in C-41 chemicals, so-called
f the idea of pushing (shooting at some truly wild and wacky shifts in colour because they are designed to be used at 41C.
I a faster ISO than the box speed)

and pulling (shooting at a lower
and contrast. It’s also unpredictable and
no two rolls of cross-processed film
Unless you tell the lab otherwise, this is the
standard process it will use when you hand
ISO) your film appeals to your will ever look exactly the same, even if over your rolls of 35mm or 120 film.
inner anarchist, cross-processing may just they’re processed by the same lab. Colour transparency film is processed
send you into overdrive. This experimental Even better, you can combine cross- in E-6 chemicals, so-called because they
technique involves processing your film in processing and pushing or pulling were invented by Kodak for its legendary
the ‘wrong’ chemicals and can result in for even more extreme creative effects. Ektachrome range and involve a six-bath

Top tip: expired film
Expired film is a sensible, cost-efficient
way to start your cross-processing
adventures, as it tends to be cheaper
and found in bulk from online auction sites. Long-discontinued slide films worth
keeping an eye out for include Kodak Ektachrome E100VS, Agfachrome RSX 100
and Agfa CT100 Precisa, while if you prefer fresher film stock, Fujifilm Provia
400X comes highly recommended. Ingeniously, Lomography even produces
a slide film made specifically for cross-processing: X-Pro Slide 200.
Mick Haupt
Mick Haupt
Essential kit: Adox Scala

Although cross-processing is a colour-only technique, it’s perfectly possible to convert black-and white
negatives into slides. German analogue specialist Adox produces a two-part development kit that will
turn any currently available monochrome film into transparencies – and it’s safe enough to be shipped
worldwide. The Adox Scala Reversal Kit includes two liquid concentrates and an optional clear bath,
which is enough for processing eight rolls of film. www.adox.de
popular approach is to shoot colour contrast, with the film’s built-in orange ‘mask’
transparency film and process it in C-41 providing sun-kissed colour casts. Again,
chemicals – this typically results in a dramatic different films will react differently, but at least
shift in the colour balance, as well as a massive with this more restrained approach, you have
increase in the contrast and exaggerated some idea of how your images will look, and
grain. Different films will react differently – the results will be just as striking. Some
Boris Smokrovic
for instance, Fujifilm Velvia 100 tends to cross-processing enthusiasts recommend

produce red and purple colour casts with you ask the lab to push colour negative film
hints of magenta and yellow, Fujifilm Provia by 2–3 stops when cross-processing it to
400X produces green colour casts with restore some of the lost contrast.
hints of yellow, and Kodak Ektachrome Whichever method you opt for, it’s
development process. This is the E100 produces very green colour casts. important to reiterate that cross-processing
standard method labs use to turn Because transparency film is more sensitive is an unpredictable technique that may or not
unprocessed film into slides. to under- and overexposure than negative film, deliver the results you were hoping for, so it’s
Cross-processing occurs when you it’s important that you meter correctly and always best to experiment if using a particular
reverse these conventions and process bracket your exposures when it’s practical film for the first time. It’s also worth noting
colour negative film in E-6 chemicals and to do so. Cross-processing is a hit-and-miss that results will vary from lab to lab and batch
colour transparency film in C-41 chemicals, technique, and so the more exposure brackets to batch, as the precise chemicals used, the
turning negatives into slides and slides into you can shoot, the better your chances. temperature they’re maintained at and how
negatives. As all films are optimised to be the processing machines are calibrated will
processed in a certain way, you’re now at the For more subtle results all have an effect on how dramatic the shifts
mercy of unpredictable chemical reactions, Shooting colour negative film and processing in colour, contrast and grain appear. All
hence the weird and wonderful results. it in E-6 chemicals may produce more professional labs will be familiar with the
pleasing images. Variously described technique and will know exactly what to do,
Dramatically shift your colour as ‘a little arthouse, a little lo-fi’ and the although you may have to pay a bit extra
Which cross-processing method you use will ‘intimate face of cross-processing’ (thanks for the service, as it requires a more
depend on whether you want super-saturated Lomography), this technique typically leads hands-on approach.
colours or a more muted palette. The most to flatter, far more muted tones and reduced Next month: Zoom bursts

8 | LANDSCAPES
The Isle of Skye

There’s no need to chase the light and rush your
landscape photography, says Nick Hanson
have lived and worked on the pinnacles along the Trotternish Ridge where I could see that the light was just about to
I Isle of Skye as a professional

photographer and guide for
lies the Quiraing and Old Man of Storr. The
light we can get on Skye, which is also known
break through, so I stopped to set up my
camera on the tripod. I opted for a Canon
Skye Photo Academy for as Hebridean Light, is something to behold, EOS R5 and RF 70-200mm f/2.8L lens
seven years now. I also feature on the making it a photographer’s paradise. as subtle beams of light shone on the
YouTube channel Photography Online. This particular shot was captured from landscape below Beinn Edra on the
There is no other place quite like Skye, the Quiraing on a mid-December morning, Trotternish Ridge, whilst at the same time a
with its diversity of landscape within such a where I had been at a particular viewpoint light snow shower passed through, creating
reasonably small area, from its mountains to capture a shot at sunrise. As I was a pleasing softness to the overall photo.
and dramatic coastline, to the peaks and heading along the path back to the car, www.nickhanson.co.uk

It’s not all about Use and understand Spend time
1 wide-angle lenses 2 the histogram 3 finding viewpoints
Landscape photographers will One function of modern cameras that It’s very easy to turn up at a
most likely tend to reach for a I find to be least-used by participants location and opt to stand in the
wide-angle lens when arriving in my workshops when setting same spot that you have seen
at a location. But as I have exposures on the camera is the many other photographers
found while living on Skye, histogram. Some clients don’t even stand before you. However, it
telephoto zoom lenses such know how to access it, so when can often be beneficial to move
as a 70-200mm are also ideal, I show them the histogram and around if possible to find what
as they can pick out distant explain how to use it, this opens could be a stronger viewpoint
parts of the landscape. up a whole new world to them. in relation to your subject.
Patience is vital Be persistent

4 With landscape photography it can 5 Persistence should go
be very easy to believe that after alongside patience, in that if
half an hour of waiting, you’re not you don’t get ‘the shot’ on your
going to get the light you’ve been first visit to a location, then
expecting. But there have been keep returning until everything
many occasions when I have waited aligns and you capture the
two and a half hours, or more, after picture you had in your mind.
sunrise to get the shot I wanted. It will eventually pay off and
you will be glad you persisted.
TOP KIT
Fast 70-200mm
telephoto
While not always the first choice
for landscape photography, these
optics are good at isolating
particular aspects
of scenic views.
Nick Hanson
1/50 f/8 ISO

sec 100

MISS
PART 1?
9 | MACRO Full tutorial online at:
www.bit.ly/dcm
266stack
The focus stack endgame
Concluding our two-part focus stack project, here’s how
to edit the images together in Lightroom and Photoshop
ast issue, we shot a focus stack as you can and then merge them together
L using a macro lens and a Nisi

NM-200 focusing rail. This
for a far more in-focused composite image
that is sharper, has a deeper depth of field
month, we’re going to show you and crisper lines than you would ever capture
how to edit multiple captures together using in the camera with just a single image. So
a combination of Lightroom and Photoshop. read on to see how it’s done…
The goal is to take as many in-focus slivers www.nisioptics.co.uk
Start your edit in Lightroom

1 Import your images to Lightroom and perform the basic
adjustments (improving contrast, adjusting shadows and
highlights, tweaking clarity and vibrance, and so on). It’s
better to edit the first image, copy the settings, and apply
them to the other images to maintain consistency.
Open as Layers in Photoshop Align the Layers

2 Staying in the Develop module, select all the photos 3 In Photoshop, select the layers and go to Edit > Auto-Align
then go to Photo > Edit In > Open as Layers in Photoshop. Layers. In the pop-up box, choose Auto under Projection.
If your images are in RAW format, this step will convert Under Lens Correction, leave the Vignette Removal and
them into a compatible format for Photoshop and Geometric Distortion boxes unchecked. This step merges
open them as layers. your images based on the content.

Photo Active
Blend the Layers

4 Go to Edit > Auto-Blend Layers. In the pop-up box, choose Stack Save the file
Images under Blend Method. Check the Seamless Tones and 5 Once you save your photo in Photoshop, it will open as
Colours and Content Aware Fill Transparent Areas boxes. This a TIFF file in Lightroom. You can tweak your image further
step creates layer masks and blends your images together. or export it as a JPEG image straight away. Congratulations – you
Finally, you will get the stacked photo with all the areas in focus. have just produced your first focus-stacked composite image.

Ben Sutcliffe
10 | WILDLIFE
Deerly beloved Ben’s top tips for photographing roe
Put some spring into your step and

capture roe deer, says Ben Sutcliffe
grew up in the south for photographing roe deer is
I of England, close to
the South Downs
between the months of May and
September, in the run-up to their
National Park where annual rut, and for a short while
creatures such as roe deer and after. It can take weeks before
brown hares were my main focus. you get the shots you want and
It was here at just aged 10 that you normally only learn by
I first picked up a Nikon D80 making mistakes. Please
DSLR and started taking images remember that the animal’s
Shoot with a telephoto lens
of the wildlife I spotted on my welfare is paramount: as wildlife 1
Shooting on my Nikon D4, I tend to only use prime lenses (mainly
walks in the countryside. Now photographers, we should always a Nikkor 500mm f/4); this helps me to keep my distance and provides
over a decade later, it’s fair to strive to document our subject’s excellent clarity and exceptional bokeh when I am closer to my subjects.
say that I have improved a lot behaviour rather than disrupt it.
since then. The peak season www.bensutcliffephoto.com
Get on level terms

Try getting down to eye level with your subject – this will give you a more
interesting angle and a much better connection to the animal. It will also
improve your depth of field by producing a softer background, ultimately
creating a more pleasing image. And knee pads are an excellent accessory!
Choose an appropriate aperture

2
Open your aperture all the way to f/2.8 – it will help soften your
background, create separation from the subject and allow you
to shoot at lower ISOs, which will reduce image noise.
www.digitalcameraworld.com
The art
Dip into your archives and try pairing
seemingly unrelated images to make new
meanings, says our columnist. It’s fun!
of seeing
further enquiry and ‘readings’ that don’t
speak to the photographs’ face value.
This way of reading images can produce
myriad stories and interpretations. I love
how Gibson describes it: “The images
reverberate infinitely back and forth,
creating a hall of mirrors in the mind.”
Embracing vertical orientation, Benedict Brain These two images taken on my
travels were made several days apart
rediscovers the joy of making diptychs in different locations. I love the way
they work together. The hand, window
and ocean have a sense of intrigue,
ooking through my images, was how it felt much more natural suggestive of a novel, while the lone,
I realised that I was framing from a purely design point of view to isolated red chair in its stark, clinical
L in the landscape orientation

more often than not. It wasn’t
deliberate, and this made me
pair images together. This then opens
up bags of potential creative fun,
playing with ideas around diptychs.
surroundings with only an ‘exit’ sign
for company adds to the story. I’m not
sure what it means, but the ‘resonance’
curious as to why. Despite I love the idea of the diptych, between the images works, with the
thinking about it a lot, I’m not sure. especially as a way to alter meaning ‘overtones’ creating new narratives
However, I did decide to try to make and create narratives by placing two and meanings. I shall make more.
more images in the vertical orientation images next to each other. Ralph
and see how this affected my image- Gibson speaks eloquently on the
making. It was liberating in a way, and subject in his book, Refractions:
I sense that my creative process has Thoughts on Aesthetics and
opened up as a consequence. Of Photography. He talks about
course, I’d taken vertically oriented overtones in music, and how a struck
images before, but I was holding on note will reverberate and mix with
to some sort of horizontal hang-up, other struck tones to create new Benedict Brain
and it was good to be free of it. impressions. He says that placing www.benedictbrain.com
It occurred to me retrospectively two images together has the same Camera: Fujifilm GFX 50R
that one of the unexpected and effect, and the overtones can create Lens: GF45mm F2.8 R WR (equivalent 36mm)
delightful aspects of shooting upright interesting points of departure for Settings: 1/125 sec at f/8, ISO 100

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Hotshots
The winners from the International Garden
Photographer of the Year 2023 awards

OVERALL WINNER
1ST PLACE, Breathing Spaces
‘Blue Tajinaste, La Palma,
Canary Islands, Spain’
Tony North
“Echium thyrsiflorum (Syn. Echium
gentianoides) is endemic to the
mountains of La Palma island. From
high up, there was a magnificent view
of both the caldera below and the
stars above. The UNESCO La Palma
Biosphere Reserve encompasses
the entire island, with the Caldera
de Taburiente containing mountains
with a highest peak of 2,426 metres
– the Roque de los Muchachos.”
Tony North / IGPOTY

Caroline Piek / IGPOTY
Hotshots
Bernadette Benz / IGPOTY
1ST PLACE: Beautiful Gardens

‘The Stream Garden, Waspik,
Noord-Brabant, The Netherlands’
Caroline Piek
“The Stream Garden is an immersive
naturalistic garden, designed by Noël
van Mierlo of Van Mierlo Tuinen and
landscaped by Totaaltuin Leende.
“The watercourse is directly connected to
the River Maas and is full of life. The garden
has an irresistible appeal to children from the
neighbouring marina. They are always playing
near the water and jumping over the rocks.
“It also has a private area by the house
where beautiful flower borders and sloping
paths invite you to explore. Every morning,
the sun rises on the horizon and gives you
the perfect panorama to start the day with.”
1ST PLACE:
Trees, Woods & Forests
‘Frosted Silver Birch, Auenstein,
Aargau, Switzerland’
Bernadette Benz
“I had waited especially for a day
with a hoar frost to capture this
silver birch tree, which was growing
at the edge of a forest with rows of
grapevines leading to it. Shortly
afterwards the sun melted the ice.”
1ST PLACE: MPB Plants & Planet
‘Dune, Namib Desert, Namibia’
Gigi Williams
“I took this photo in the Namib Desert,
which is home to some of the highest sand
dunes in the world; this one was particularly
impressive, with the tiny trees growing
happily at the bottom. It is amazing where
plants can grow and how life adapts.”
Gigi Williams/ IGPOTY

Claire Carter / IGPOTY
1ST PLACE: The Beauty
Of Plants
‘Fallen Orchid Flowers,
Shropshire, England,
United Kingdom’
Claire Carter
“I captured these dead
orchid flowers after they had
dropped when they started to
dry and take on a wonderful,
paper-like texture. To
complement this, I added
the background texture
layer in post-processing.”
1ST PLACE:
Wildlife in the Garden
‘Cinciarella, Castelnuovo del
Garda, Verona, Veneto, Italy’
Gianluca Benini
“After several attempts, I
managed to capture the exact
moment when the blue tit
(cinciarella in Italian) took
Gianluca Benini / IGPOTY
flight from the sunflower head.

I am used to placing dried
sunflowers in the garden to
feed the various bird species
that visit me in winter.”
1ST PLACE:
The World Of Fungi
‘Autumn Emergence,
Monks Park Wood,
Warwickshire, England,
United Kingdom’
Jay Birmingham
“I came across this
honey fungus in my local
woodland, just as the sun
was rising and lighting up
the woods with golden
hues. The bonus was
the bracken behind,
which gave the picture
a wonderfully warm
autumnal feel. I captured
it using a wide aperture
Jay Birmingham / IGPOTY

to isolate the subject
and maximise the bokeh
background. I also
used focus stacking
in post-processing.”
1ST PLACE: Abstract Views
‘Abandon Hope, Northamptonshire,
England, United Kingdom’
David Townshend
“‘All hope abandon ye who enter here’
– the infamous line from Dante’s The
Divine Comedy, which was described
as being the inscription on the gates
to Hell. In this image I see circles within
circles of Dante’s Inferno, which I
created from a bug hotel in my garden
using in-camera image blending.”
Hotshots
Mark Bauer / IGPOTY
1ST PLACE:
Wildflower Landscapes
‘Heather and Bracken, Broad
Bottom, New Forest, Hampshire,
England, United Kingdom’
Mark Bauer
“This area of heathland near Burley
in the New Forest is particularly
photogenic in late August, when
there is an extensive carpet of
heather on the gentle slopes. I
found a section which was broken
up by bracken, just starting to turn
into golden hues. A lone tree in
About International Garden Photographer of the Year
the distance made a natural
This continues to be one of the world’s most respected photography competitions
focal point, with the hills behind
and exhibition. Supported by the Royal Botanic Gardens in Kew, London, the main
it receding into the light mist.”
exhibition is usually held annually at Kew, with a rolling programme of touring
exhibitions in the UK and all over the world. Entries are welcome from amateurs
and professionals alike, from any country in the world. The competition as a
whole attracts thousands of individual entries annually from across the world.
www.igpoty.com

FRESH & NEW
WAYS TO CAPTURE
As the natural world comes back to life, it’s time

to reap the abundant visual rewards that the
new season has to offer, says James Abbott
very season brings Photographic opportunities are
E
something unique to the almost everywhere, and you don’t 1/50
sec
photographic table, but as even have to travel far to enjoy
the natural world begins them. From birds feasting on the
to awaken from its winter feeders in your garden and f/4
slumber, it’s always spring that reignites colourful flowers to indoor projects
our motivation. The landscape once again when the weather isn’t on your ISO
100
becomes bathed in lush greens, and our side, spring is the season we’ve
gardens start to fill with colour and play all been waiting for – and that’s
host to birds and insects. why the next 12 pages are full of
So whether you’re a landscape, macro, ideas and inspiration for picking
wildlife or even still-life photographer, up your camera and going on a
spring has something to offer everyone. springtime photo adventure…
Capture a classic Here, after focusing on the stamen, using
James Abbott
Use your macro lens to focus on the intricate an aperture of f/4 has maintained sharpness
in most of the flower, with the background
details of garden and woodland flowers being captured as a seamless blur.
Shoot from the ground Focus on the right place Dial in camera settings
1 Get low to the ground using either
2 Manual focus is often the most
3 To isolate the flower from the
a tripod with an articulating centre column reliable focusing method when shooting background, use an aperture of f/2.8-f/4.
for maximum support, or a beanbag to help close-up, so switch to manual focus and Select ISO 100 and check the histogram
keep the camera steady as you lay on the rotate the focus ring to focus on the flower’s to ensure highlights aren’t blowing if you’re
ground to shoot flowers. An alternative stamen. Having focus peaking set to red is a applying exposure compensation. If you’re
option is to use a mini tripod such as a great way to quickly and easily see whether using a beanbag, watch the shutter speed.
Manfrotto Pixi or Vanguard Vesta Mini. the desired part of the flower is in focus. If it’s slow then use image stabilisation.

SHOOT THE SPRING!
1/125 ISO
sec f/2.8 100
Manually focus on your subject and

use a wide aperture such as f/2.8
to blur the background – this will
make the flower really stand out.
TOP KIT
Macro lens
For the best results, invest in a
dedicated macro optic – primes
with focal lengths around 100mm.
See our best-buy options here:
www.bit.ly/dcm267
macro
CONTENTS
Capture a classic spring view page 50
Shoot still life with a twist 52
Work with the weather 54
Shoot waterfalls and streams 55
Flora with a macro lens 56
Capture dynamic blur 56
Wonderful woodlands 57
Bag bird photos at home 58
Coastal long exposures 59
Getty
Shoot a dynamic spring time-lapse 60

SHOOT THE SPRING!
Add a wintery
‫ژא‬ twist to your still life
Freeze springtime flowers to create a unique indoor photo
ne of the great things about
O PRO ADVICE
winter is frost. Leaves and
branches covered in hoar
frost look almost magical,
USE AN LED LIGHT FOR
while puddles freeze to CREATIVE EFFECTS
clear ice and encase whatever lies within Lighting is important for all types of
the water. The problem, however, is the lack photography, but when shooting indoors,
of bright colour. Sure, muted browns and you can enjoy much more control over
oranges can look fantastic, but wouldn’t it lighting when using an LED panel or even
be even better to have some of the vibrant an LED torch. Small rechargeable LED
reds, yellows and purples of spring? Frosts panels can be bought for as little as
can be long gone, so the solution is to freeze £20/$17, and they’re incredibly useful
colourful flowers in a tub of water to shoot for both still life and macro photography.
an indoor still life that defies the seasons. With a small LED light panel, you can hold
The technique is incredibly simple, and the light in position or place it on a table or
while a macro lens is a great option for worktop. The continuous light allows you to see lighting effects in real-time, which
shooting, a kit lens zoomed in to its longest means you never have to guess how the subject will be lit, because you can see
focal length can be just as effective. the effect as you change the position of the light. Now is the time to experiment –
try frontal, feathered, top, side and backlighting to see what looks best.
Top light Back light Front feathered light Panel side light
Make the block of ice glow

Use creative lighting to capture flower and ice detail
Freeze the flower overnight Set up your mini studio Start with these settings
1 Pop the flower in a plastic tub – as
2 Place the ice block on a small white
3 Shoot at f/8 and ISO 100. Position
many flowers float, you don’t have plate, with the flower facing the the light and turn it on – here, it was
to cover the flower completely (using camera. Put black – rather than placed just in front of the left sheet
shallower water and a spoon to hold white – card behind and to the sides of card, facing to the side to feather
the flower down will work well). Place to add definition and block natural the light onto the ice. Manually focus
the flower face-down in the water light. Now, put a sheet of white paper using Live View and use positive
so that its front is encased in ice. under the plate to act as a reflector. exposure compensation to lighten.

SEND US
YOUR IMAGES!
Inspired by this feature and
want to feature in our gallery? 1/2 ISO
sec f/8 100
Please email your spring images
(at least 2.5MB) marked ‘Reader
Images’ and including a title Thanks to the soft lighting, the
James Abbott
and brief description to: texture of the ice alongside the

digitalcamera@ detail and colour of the frozen flower
futurenet.com have been captured perfectly.
3‫ژ‬ Not to be mist
Take advantage of the weather conditions that
are typical of the season at this time of year
ith cool nights and warm is Clear Outside. This is generally one
W
days, mist and fog are of the best weather apps available
common phenomena in for Android and iOS, and it’s free.
spring. But while there When shooting a misty landscape,
are plenty of occurrences the normal settings and use of filters
to take advantage of in your landscape apply: shoot in Aperture Priority at f/11
and woodland photography, judging when to f/16 and ISO 100, and focus one third
mist or fog are likely isn’t easy, because of the distance into the scene beyond
they’re not always anticipated in the the foreground interest to ensure a
most basic weather forecasts. large depth of field. For photographing
The best weather app to use for woodland, shoot with a telephoto lens
detailed forecasts, including data such as a 70-200mm at f/11 and ISO
specifically related to fog, mist 100 in Aperture Priority. Focus on
and temperature conversions, the tree that needs to be sharp.
WHY THIS
SHOT WORKS
1 Light trails create a
strong lead-in line
that guides the eye
through the scene.
2 Vibrant sunrise colour
adds interest to the
sky and warmth
to the mist.
3 The mist itself
provides the
scene with a more
mysterious and
ethereal quality.
6 ISO
secs f/13 100
Mist is a common feature in

springtime and can completely
transform landscape and
James Abbott
woodland scenes. Plus, if you’re

lucky you may also experience
a temperature inversion.

SHOOT THE SPRING!
4‫ژ‬ Shoot waterfalls

and streams
Take advantage of the lush foliage and often crystal-
clear water that we experience at this time of year
TOP KIT
ND grad filters
Use these to enable the
longer exposures required for
smoothing out water. See page
ou may be wondering that simply looks incredible. What’s water, and 106 for a round-up of best-
Y
why we’ve included more, the rain we typically experience a 3-stop ND buy filter holders.
waterfalls and streams means that water levels can be perfect. filter with a
in a spring feature Waterfalls and streams are often sturdy tripod can be
– after all, you can found in sheltered spots, so light levels useful for extending exposure times.
shoot them at any time of year. But in can be low and diffused, even on bright Shoot at f/11-f/16 with ISO 100; use the
spring, the moss and ferns you often find and sunny days, which is ideal. It’s still histogram to ensure that highlights
in these locations, not to mention foliage worth using a polarising filter to remove aren’t blown, and apply exposure
in general, are a bright and vibrant green reflections from the surface of the compensation when necessary.
2.5 ISO
secs f/16 100
Captured from the side of the

stream, this shot uses the curve
of the flowing water, contrasted
against the green foliage, to create
an interesting composition.
James Abbott
A close-up filter will enable you
to get similar results to a macro
lens for a fraction of the outlay.
PRO ADVICE SHOOT

ªÈnXÁç!n ³0‫ٳ‬È¨
SHOTS ON A BUDGET
There’s no getting around the fact that
James Abbott
macro lenses are the most effective
– and indeed, convenient – ways to get
close to tiny subjects. Their ability to
resolve fine detail is unrivalled, but
Look for
‫ژד‬
they’re not the only way to shoot macro
images. Many other options are available,
each with their unique pros and cons, but
abstraction
one of the best is to use a close-up filter.
These are actually lenses that attach to
the front of a standard lens; they reduce
the minimum focusing distance and allow
Capture dreamy images of flowers using a macro lens you to capture tiny subjects with ease.
Their magnification strength is measured
here are many different ways to shoot flowers, and one that always in dioptres, and it’s possible to purchase
T
produces pleasing results is to capture floral abstracts. Eagle-eyed these filters in dioptres ranging from
readers will have noticed that the example we’re using here is a one to 10, with 10 offering the ability
rose, and those with gardening knowledge will also know that roses to capture a 1:1 ratio. This is where the
begin to flower in early summer rather than spring. Roses are available subject is captured on the sensor at its
to buy throughout the year, though, so if you want to shoot an abstract of a rose, actual size. Close-up filters can also
they’re easy to get hold of. Place the rose on a windowsill so it’s well lit. Shoot handheld be stacked to increase strength, but
straight down into the petals, filling the frame so there’s no background, and using an this can reduce image quality.
aperture of f/2.8. If the shutter speed is too slow, increase the ISO to 400.
6 Dynamic blur with ICM

Follow these simple steps and capture great results every time
oom bursts and camera
Z
rotations are fun, and they
provide instant results that
can be viewed on your
camera’s LCD screen. This
is important because achieving perfect
blur with this technique will always require
James Abbott
a few attempts. Shoot in Shutter Priority

at 1/10 sec and ISO 100, with image
stabilisation turned on if available, and
aim your camera up at a tree or into a
tree canopy. For a zoom burst, with the Look for patches of light
viewfinder held to your eye, zoom in to You’ll get the best results when some sky
the longest focal length and begin zooming is visible through the foliage to accentuate
out as you release the shutter after auto the overall effect. Woodlands make this
James Abbott
focusing. For a rotation, hold the camera in easy because you can shoot straight up
front of your chest and begin to smoothly into the tree canopy, but it can be trickier
rotate as you release the shutter. when shooting a single tree from the side.
56 D I G I TA L C A M E R A SPRING 2023 –
SHOOT THE SPRING!
If you go down to 2.5 ISO

secs f/11 100
the woods today…

Woodlands are difficult to shoot
because you have to capture a
sense of visual calm in the chaos.
But when shooting in mist, the hard
Capture a woodland bluebell carpet for a quintessential spring scene work is done naturally for you.
oodland comes back to life
W
in the spring, and although
autumn is an equally
spectacular time to shoot,
bluebells bring a spectacular
burst of colour to the forest floor for the
briefest period. If you have bluebell
woodlands near you, begin to keep an eye on
how well-developed the flowers are towards
the end of April, with peak flowering possible
between then and early May. If you shoot
on a misty morning, you can enjoy clean
backgrounds with a pleasing mysterious
quality, but even clear skies can yield
interesting results. After the sun has risen,
half-obscure the sun using a tree and stop
down to f/16 to f/22 to capture a starburst.
Images taken under these conditions will
look different, but equally interesting.
Try these camera settings

1 For woodland photography, shoot
with a telephoto lens and stand
further back so you can shoot
straight and avoid converging
verticals in the trees. Shoot in
Aperture Priority at f/11 and ISO 100.
Autofocus on the most prominent
tree and use a remote shutter
release or the camera’s self-timer.
Getty
SEND US
2 Use a polariser or other filters YOUR IMAGES!
Polarising filters are essential for Inspired by this feature and
want to feature in our gallery?
woodland photography because they
Please email your spring images
help to remove glare from foliage as (at least 2.5MB) marked ‘Reader
well as increasing saturation. Other Images’ and including a title
filters that can be useful are soft and brief description to:
James Abbott
ND grads for reducing the exposure digitalcamera@

higher up in trees, which is typically futurenet.com
brighter than on the ground.

8‫ژ‬Capture
fantastic bird
photos at home
Who needs a nature reserve? Bird feeders are a great
way to entice our feathered friends into our gardens
ildlife photography
W
requires the patience
of a saint, which is
something you either
have or you don’t. So for
those of us who struggle to sit still in a
hide or lie on the ground for hours on
end, there is another option – stay at
home. Many of us have bird feeders in
our gardens, and these will naturally
provide a steady stream of feathered
visitors during spring.
Birds will often land close to the
feeder to make sure it’s safe, before
landing on it to feed. While you can
capture images as the birds are
feeding, if you observe their behaviour
you’ll also be able to shoot more
natural-looking photos of them in
surrounding trees and bushes.
Shoot in Aperture Priority at f/4-
f/5.6 and set an ISO to ensure that your
shutter speed is above 1/1000 sec,
with continuous autofocus selected.
TOP KIT
Telephoto zoom
Telephoto zooms with focal ranges of
60-600mm or 150-600mm are ideal for
bird photography, and are much more
affordable than pro-spec primes.
www.bit.ly/dcm267
telephoto
Getty
SHOOT THE SPRING!
9 Shoot the coast

Head to the beach this spring, when photo conditions are ideal
ne of the great So what makes spring such a good in Aperture Priority at around f/11,
O
things about coastal time to shoot seascapes? It’s simply ISO 100. Use ND grads to control
locations is that that sunrise and sunset times are exposure and maintain sky detail,
many don’t change much more palatable than during while a polariser can be used to
much throughout summer, while the temperature is remove glare from the surface
the seasons. A shot taken during warmer than in the depths of winter, of the water. Timing is everything,
a colourful winter sunrise or sunset making it a win-win on both counts. so for more interesting movement
can look just as inviting as one Camera settings are the same as blur, release the shutter as the
taken in the summer. they are for any landscape – shoot tide is retreating.
TOP KIT
Circular polarising filter
Using a polariser on your lens can
help remove glare from seascapes.
Attach the polariser to your lens and
move it in a circular motion until
the glare is removed from the
surface of the water.
0.5 ISO
sec f/11 100
Use an ND grad filter and a

polariser and start the exposure
at just the right moment,
James Abbott
and you could capture an

evocative image like this.

10 Shoot a dynamic
spring time-lapse
Capture and compress the passing of time by transforming photos into video
ime-lapse photography is camera’s intervalometer to capture a set movement is fast; set five, 10 or 15 seconds
T
incredibly easy – it’s simply number of images at a set interval. When if it’s extremely slow. Bear in mind that for
a series of stills taken in judging how many frames to shoot, multiply a 20-second video, you will need to capture
Manual exposure mode, the number of seconds the time-lapse 480 images, and with a 10-second interval
using manual focus to lock needs to be by 24, because this is the that would take 80 minutes to complete.
all camera settings. Simply expose for the frame rate of the video you’ll create. With a two-second interval, it would be
highlights and use filters, and you’ll be fine. Set the interval – the delay between each just 16 minutes and a 60-second time-lapse
The only difference is that you use your shot – to one, two or three seconds if cloud would take 48 minutes to complete.
WATCH THE
TIME-LAPSE!
See what you can achieve with
a time-lapse sequence – watch
the video in the Gifts folder:
digitalcamera
world.com/dc267
SHOOT THE SPRING!
1/8 sec ISO

f/11 100
A time-lapse is a series of photos

stitched together into a video,
and as most modern cameras
have built-in intervalometers,
shooting a time-lapse is easy.
TOP KIT
Remote shutter release
No built-in intervalometer? With your
camera on a tripod, you can set up
time increments for your time-lapse
using a remote shutter release.
Your camera will then take shots at
the intervals you have dialled in.
www.bit.ly/dcm267
remotes
SHOOT THE SPRING!
R áÁ !«0Á0ç È« ázÁXx0‫ٳ‬n¨³0àX(0 XznXJRÁ« xz(¨R Á ³R ¨

Once you’ve gathered your captures, you need to do some basic edits and combine them into a sequence of footage – here’s how it’s done
Edit the captures in Lightroom Export the images

1 Edit the first image of the time-lapse as you would any
2 Export to JPEG at Quality 100 in Adobe 1998 with the long
landscape photo in Lightroom, but crop the image to a 16:9 edge set to 3840 pixels for a 4K output. Export to a folder,
ratio, then sync all settings to the other images that make and make sure the naming convention is Custom Name
up the time-lapse. Since you shot in manual mode, don’t – Sequence. Click back on the dropdown menu and select
worry about differences in exposure between shots, Edit before clicking on Sequence # (1) and then selecting
because these will show how the light changed. Sequence # (0001). Hit Done, then Export the images.
Combine the images in Photoshop Add a Ken Burns zoom effect

3 Open Photoshop and go to Window > Timeline. Next, press
4 You can add a zoom effect in most video
Ctrl/Cmd+O to open and navigate to the folder created in editing software. The process is simple, but slightly different
the last step. Click on the first image and check the Image for each program. Adding a slow zoom adds interest, and
Sequence checkbox before hitting OK. Set the Frame Rate exporting your 4K time-lapse at 1080p maintains image
to 24fps and hit OK. The time-lapse will be created, so then quality. You can also add music here, or in Photoshop if you
go to File > Export > Render Video to render the video. don’t want to add a zoom effect in video editing software.
PRO ADVICE USE A MANUAL LENS

Fully manual lenses are best for time-lapse photography because the
aperture remains fixed during shooting, which eliminates the problem of the
flickering you get with autofocus lenses. These hold the aperture open, only
stopping down when an image is taken, so there are small differences each
time the aperture closes. This doesn’t affect the exposures when shooting
stills, but these tiny variances are noticeable when stills are stitched into a
time-lapse. For the best results, consider using a manual lens from one of
the many third-party brands, like the Samyang 20mm F1.8 ED AS UMC.

PRO TIPS AND TRICKS FOR
SHOOTING IN THE CITY
Whether you’re new to photographing urban life or a keen enthusiast, it’s a
challenge to turn the energy of a city into a stunning shot. Discover expert
advice, camera techniques and more to improve your urban images
ON SALE
NOW
Ordering is easy. Go online at:
Or get it from selected supermarkets & newsagents

Reader gallery Digital Camera readers show how they’ve been getting
creative, submitting images across a range of genres
‘Malham in
1 the Spotlight’
by Ben Dale
“Setting up on the
extraordinary limestone
pavement at the top of
Malham Cove, I waited for
the sunbeams to sweep over
– it was some of the best
light I could have hoped for!”
Digital Camera says:

Superb work, Ben. Leading
lines ground a stunning
composition and those
shafts of sunlight provide
further visual interest.

Reader gallery
‘Say What?’ by
2 Agata Pietrzak
“As challenging as it can be to
take photos of your pet, I love
it most of all – capturing their
personality and funny faces
as they try to please us!”
Digital Camera says: We

love this photo, Agata! It’s very
well lit and the depth of field
draws sharp focus to the
subject’s muzzle and right
eye – and eyes are the
heart of every portrait.
READER SHOT
OF THE MONTH
Agata Pietrzak wins a year’s
subscription to Digital
Camera for this image.
Well done, Agata!

‘The Pruning Puffin’
3 by Gary Davies
“After a rather dull and foggy trip to
Skomer Island in 2022, I tried again
this year. The light was much better
this time, albeit harsh, but I managed
to come away with many shots of
these stunning little birds.”
Digital Camera says: This image

is worthy of professional work, Gary.
Your wide aperture has provided a
shallow depth of field that defocuses
the foreground and background
and frames the puffin perfectly.
‘Waiting Patiently’
4 by Brian Carroll
“A kingfisher coming to fish in a
brook that leads into the River
Exe in Devon – they either sit
next to a sluice gate or on ropes
attached to the concrete walls
waiting to dive in to catch a fish.”
Digital Camera says:

You have made the most of the
light in this scene, Brian, while
capturing some pleasing details
of the bird’s distinctive plumage.

Reader gallery
‘Winter Rose’ by
5 Ginny Stratton
“This rose grows in my garden, and during the recent cold spell I noticed
it was covered in frost. The sun was shining low in the winter sky, so I took
a few photos. This one is hand-held and I cropped the image to square.”
Digital Camera says: Always pay attention to your background, Ginny.

We would suggest touching out the distracting green bract that’s creeping
into the top left of the frame, to focus the viewer’s attention on the rose.
‘Give Back to Mother

6 Nature’ by Debbie Leigh
“I took these pictures in my back
garden – I plant bee and butterfly
attraction plants every year to help PICS WIN
nature out. If we all do the same then PRIZES!
Mother Nature will give us back The standout image in our
happiness, joy and pleasure.” reader gallery wins a one-year
(13 issues) subscription worth
£75.40/$207.87. For details of
Digital Camera says: Toning down
our subscription offers, go to:
the highlights a tad would complete www.bit.ly/dcsub23
this image, Debbie. It’s a beautifully
captured photo, but the bright green
stems are drawing the viewer’s eye
away from the main subject.

Reader gallery
‘Goslings’ by Victor Burnside

7 “I took this photo of a pair of newborn goslings last spring at Fairhaven Lake, between Lytham and St Anne’s in
Lancashire. I used my old Olympus OM-D E-M1 and my new M.Zuiko 40-150 mm F2.8 Pro – 1/2000 sec at f/2.8, ISO 200.”
Digital Camera says: This is a very sweet photograph, Victor, and the shallow depth of field draws attention to the cute
chick in the centre of the frame. A slight tilt to the right would straighten up the foreground, and you could crop in a little.
‘Fire in the Sky’ by

8 Frank Piotrowski
“Smoke from wildfires in the
western US travelled to the east
coast, filling the skies over New
York City as well as New Jersey,
where I live. I was up early one
morning and had very little time
to prepare, but I think this
particular image worked well.”
Digital Camera says: The

colour transitions wonderfully
from warm to cold, Frank, and a
contrast boost would exaggerate
this even more. For a wider-
looking composition, you could
crop the image at the top, too.

9 ‘Hooked on Hookah’ by Brian Dodds SEND US
“A gentleman smoking a shisha pipe in the shuk [market] in Akko, Israel. YOUR IMAGES!
His age and the surroundings seemed to lend themselves to a conversion to Want to feature in our gallery?
sepia and an antique photo look – I used Nik Collection Silver Efex Pro 2.” Please email a high-res image
(at least 2.5MB) marked ‘Reader
Digital Camera says: With an abundance of very bright and dark areas, Images’, and including a title
and brief description, to:
this image was screaming out for a black and white conversion, Brian. The
digitalcamera@futurenet.com
warm sepia toning you’ve applied gives this photo a timeless and classic feel.

Luke Agbaimoni
Shot of
Imperfections considers such questions
as what symmetry means and how to
find it in your daily commute, and revels
in the design of the newly opened
the month
Elizabeth line (Crossrail).
“It can be difficult technically to pull off
a shot like this, as the windows in motion
need to fall into the right place and you
have to hope that the train is not too
busy as well,” says Luke. “I shoot using
back-button focus and make sure that
Tube Mapper Luke Agbaimoni continues both subjects are locked in. I have very
steady hands and can pull off a handheld
his project with ‘Symmetry & Imperfections’ exposure of about 0.8 seconds.
“I also shoot in burst mode, which
helps to achieve steady shots by
negating the camera shake of pressing
I n his first book, The Tube

Mapper Project: Capturing
Moments on the London
the shutter button. Here, I used a 0.5 sec
exposure on my Sony A7R II. As space
is usually quite tight on the Tube, I use
Underground, Luke Agbaimoni a Sony FE 16-35mm f/4 ZA OSS as my
captured themes such as light, walkaround lens and shoot quite wide.”
reflections, tunnels and escalators, and
documented how the Underground London Underground: Symmetry
is part of the identity of its users – & Imperfections is on sale now,
a network of shared experiences and priced at £45, and is available
memories. The follow-up book sees Luke on Amazon UK. You can also
delve into his obsession with symmetry, buy a signed copy,
seeking out powerful examples across with a signed
Luke Agbaimoni the network in his quest to find beauty 12x8 print, via:
Street photographer in the seemingly mundane. www.tube
Title: ‘Moving Windows – Notting Hill Gate’ When we see a symmetrical image, mapper.com/
Location: London it soothes us. It feels as if a puzzle has tube-mapper-
Date: 2023 been completed in front of our eyes. photography-
www.tubemapper.com London Underground: Symmetry & book/

FILE & VIDEO
www.digital
cameraworld
.com/dc267
Fundamentals:
Use colour grading
for a cinematic look
BONUS SOFTWARE EXTRAS: How to add movie
Another cracking collection: magic to your photos
Actions for Photoshop and in Adobe Lightroom 78
two Lightroom presets
Page 82
Get the Look:

76 Enhance moody
landscapes
Editing techniques that
work well with captures
80
of inclement weather
This month…
Filter Forge 9
Tool School: Luminosity Masking Professional:
Get to grips with this powerful technique for selective tonal Deploy filters and
adjustments in Photoshop, and make use of our free actions photo effects with this
month’s free download 74
4
MINU5
VIDEO TRAINING OF VI TES
DEO
The issue 267 download includes video lessons that
build on our tutorials, plus bonus videos with extra tips!
www.digitalcameraworld.com/dc267
FILTER FORGE 9
PROFESSIONAL
Free copy of this software
PHOTOSHOP LIGHTROOM PHOTOSHOP editor for PC and macOS
Learn Luminosity Masking Add a movie look with colour grading Bring your wild landscapes to life Page 74
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45 minutes
of video FILE & VIDEO
training www.digital
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for Lightroom
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and Photoshop.
Make portraits with a fibre-optic brush How to use the Depth Blur filter Master the Object Selection tool

FILTER FORGE
Discover Filter
Forge 9 Professional YOUR FREE
SOFTWARE
Find out how to use this month’s
Download
terrific free software download
and install
elcome to one of the most next. You can also share your effects
Filter Forge 9
W
powerful and versatile image with the online Filter Forge community,
editing packages you’re likely and enjoy access to over 12,000 more
to use. Filter Forge offers effects through that same community. Professional
thousands of effects you While it’s of less use to photographers,
can apply to your photos, helping you find Filter Forge also offers a huge library of Download and register
precisely the look you want to achieve. textures, made with 3D artists in mind. by 31 May 2023
Search and Favorite options make it easy Filter Forge 9 Professional comes in
to locate the effect you want quickly.
If that’s not enough, you can also use
Filter Forge’s integrated editor to make
separate editions for Windows and macOS.
You can use it as a stand-alone application,
or add it as a plugin to use within Photoshop
1 DOWNLOAD
For Windows, enter
www.bit.ly/ff9pro_pc
your own effects. You can arrange blurs, CC 2014-2020, Corel Paint Shop Pro into the Location or Address
gradients, colour adjustments, distortions X6-x9,2018-2020, Affinity Photo 1.8 and field of your web browser.
and more into a ‘network’, with controls that other supported host applications – see the For macOS, you need to enter
dictate how one effect combines with the full list at: www.bit.ly/dc267forge_hosts www.bit.ly/ff9pro_mac into
the Location or Address field of
1‫ژ‬ Find a filter

Users can find and download filters
from the filterforge.com website, then
your web browser. Don’t enter
these addresses directly into
Google or another search
Any questions? Please email digitalcamera@futurenet.com with the subject line ‘Filter Forge 9 Pro reader offer’
find them in Filter Forge app. Click on engine: they won’t work.
the Effects folder to the left of the
screen then enter a word to describe the
desired effect in the Search bar at the
top. You can also browse through the
2 REGISTER
Visit the registration page
via www.bit.ly/dc267ff9pro_
sub-folders on the left and discover regn and complete the form to
effects you may not have thought of! receive your licence code via
email. Your details will not be
2‫ژ‬ Edit a filter

You can get a huge amount out
passed on to other companies.
of Filter Forge without even knowing

what the Filter Editor is. But if you
don’t mind rolling up your sleeves,
3 INSTALL
You can install your copy
of Filter Forge 9 Professional
click Filter Editor in the top-right as soon as you’ve downloaded
corner of the screen to reveal the it: it will work as a trial edition
inner structure of the filter. Play until you receive your licence
with nodes, Controls and connections code via email.
to see how it affects the result.
4 GET CREATIVE!
Use this guide to get
3‫ژ‬ Find a texture

Filter Forge includes a powerful
engine for generating textures on the fly.
started, and visit https://
filterforge.com for more help.
It’s designed more for use by 3D artists, To view Filter Forge 9

who need original textures to apply to Professional’s system
the surface of 3D models, but you may requirements, go to:
well find textures you can apply as www.bit.ly/dc267fforge_reqs
an overlay to give your photo
a distinctive creative edge.

FILTER FORGE
Filter Forge 9 Professional Explore the interface

Textures Search Filters Filter Library Filter Editor
1 You might not use 2 With thousands of 3 Choose from thousands 4 Click this button to access a
Textures too much effects to choose from, of effects in the online node-based Filter Editor. You
– they’re made more with 3D this simple search box can save Filter Library: cartoon and can open library filters in Filter Editor to
artists in mind – but it’s still you a lot of time when you’re watercolour effects, frames, examine and tailor them for your needs,
worth exploring this area. looking for the perfect filter. distortions, glitches, and more. or create a Custom filter from scratch.
Presets & Settings Before & After Save Image As… Apply
5 Use the Settings tab to 6 When you are looking at 7 If you use Filter Forge as 8 … if you use Filter Forge as
make tweaks, then save your different filters or presets, a standalone application, a plugin, this button reads
favourite combinations of settings as this window gives you Before and this button reads ‘Save Image As’ ‘Apply’ and returns the processed
presets. You can re-open the filter later After versions so you can instantly and saves the processed image image back to Photoshop, ready
and choose a default or saved preset. see the effect that each filter has. as a file you can open later… to keep working on.
Go further
The Filter and upgrade
Forge editor Installing Filter Forge 9
Professional entitles you
The core of Filter Forge to a special upgrade price
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which shows exactly how 12 Professional (that’s
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created. You never have to Professional offers support for 16- and 32-bit
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prefer to use effects from processing cores for rendering effects; tabs
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TOOL SCHOOL
FILE & VIDEO
WATCH THE
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GET YOUR
LUMINOSITY
MASKING
ACTIONS PACK
Turn to page 82 to
find out more!
Before
After
The power of
Luminosity Masking
Get to grips with this Photoshop Channels
trick and make use of our free actions
uminosity masking is a powerful technique
This month’s
L
for selective tonal adjustments. It’s often
favoured by landscape photographers free actions
because it offers a fine degree of control
over the brightness of different tonal We’ve supplied a set of 10 actions
ranges. Essentially, Luminosity masking allows us to that create Luminosity masks. To
create selections of different areas of brightness. In our load them, go to Window > Actions
coastal scene here, it means we can target the bright and click the menu at the top. The
areas of sky around the sun, or the dark groynes in the first actions let you create either
foreground, then enhance those areas with adjustments. three or five levels of luminosity
There are several plugins that make luminosity masks, channels, either with or without
but to understand how they work, it helps to know how to Curves layers for each. Several of
create your own. We can do so by using simple selection the actions let you apply specific
James
Paterson shortcuts in combination with Channels in Photoshop. edits, like shifting the colours in
Our Channels panel lets us isolate luminosity by loading a sky to make it more pink, or
With over a decade as a
writer and photographer
selections of different channel information. From here, we denoising shadows. Experiment with
behind him, James knows can target the brighter and darker ranges so that we have the actions, then go to the Layers
exactly which Photoshop several ‘levels’ of brightness and darkness. Once our panel and tweak the Adjustment
and Lightroom tools and
techniques matter most. channels are set up, you can select a section of the tonal Layers to suit your image.
range, then use an Adjustment Layer to tweak the area.

TOOL SCHOOL
Sequence shown is for clarity – follow the numbered steps rather than reading from left to right
Fine-tune masks Channels panel Make Highlight

6 When adjusting ranges 1 This separates the 2 channels
of luminosity you might image into red, green After making an initial
find that you get some and blue channels channel, you can
unwanted results. If so, highlight (for RGB images). We can also target the next level of brightness
the layer mask of the relevant create our own channels. To begin within this channel. Hold Cmd/
Adjustment Layer, then grab the making luminosity masks, hold Ctrl+Shift+Alt (the keyboard
Brush tool and paint black over Cmd/Ctrl and click on the RGB shortcut for Intersect) and
the affected parts to exclude channel. This loads the luminosity click on Highlights 1 to load the
them from the effect. It usually of the image as a selection. Once luminosity of this channel as a
takes a couple of strokes to fix the done, click the ‘Save selection as selection, then click the ‘Save
problem. To copy a mask to a new channel’ icon. This is the first level Selection as channel’ icon to
Adjustment Layer, hold Alt and of Highlights. Double-click to create a new channel. Make as
drag the thumbnail across. rename it as Highlights 1. many highlight levels as you like.
Use Adjustment Create Shadows Make a midtones

5 Layers 3 channels 4 channel
Use channels to target To create shadows As well as making
areas with precision. levels, Cmd/Ctrl+click channels for different
If the highlights are washed out the RGB channel, then go to highlight and shadow levels, you
then click through the highlight Select > Inverse. Now you can can do it for midtones. Hold Cmd/
channels to find the best option make your first shadows channel, Ctrl and click the Highlights 1
– targeted areas will be white. renamed Shadows 1. From here, channel to load it as a selection,
Cmd/Ctrl+click the chosen hold Cmd/Ctrl+Shift+Alt and then hold Cmd/Ctrl+Shift+Alt and
channel, then click on the RGB click on the Shadows 1 channel click Shadows 1. You might see a
channel to go to the normal view. to load the darker parts of it as a warning that nothing above 50%
Now go to the Layers panel, click new selection, then make a new is selected, but that’s fine; areas
the Create Adjustment Layer icon channel named Shadows 2. Now will still be included. Hit OK, click
and choose Curves. Move the line you can make more channels to ‘Save selection as channel’ and
to lighten or darken the area. target darker and darker ranges. rename it ‘Midtones’.

FUNDAMENTALS
FILE & VIDEO

www.digital
cameraworld
.com/dc267
WATCH THE
VIDEO!
2 BONUS
COLOUR
GRADING
PRESETS
Turn to page 82 to
find out more! Before After
Use colour grading

for a cinematic look
Add movie magic to your photos in Lightroom
ometimes we all wish we could sprinkle a little
S
movie magic on our photos. In fact, it’s pretty
simple to do and there are numerous colour
tools in Lightroom to help us. You could use
the Tone Curve’s individual colour channels,
or the oft-missed Calibration panel. Even the HSL panel can
be used for creative rather than corrective means. Here,
though, you’ll see the Color Grading panel in action.
Located in the Develop module, Color Grading makes use
of three colour wheels: Shadows, Midtones and Highlights. Blending slider
The dot in each allows for simultaneous Hue and Saturation
changes, while a slider below handles Luminosity changes.
controls
Holding down Shift while dragging the dot limits you to
Saturation; holding the Command or Control key limits it to The Blending slider controls
Sean the overlap between sections.
McCormack Hue only. In the individual views, you can click the disclosure
triangle below the wheel to see all three control sliders. Balance shifts the colour to
Sean McCormack is the Shadows on the left, or
a photographer and
Setting the final colour look for your image is a very
writer, based in Galway. personal matter, and it may take a while to find something to the Highlights on the right.
He’s the author of The that’s truly you. Widely used in the movies, the teal and Try a Blending value of 20
Indispensable Guide
to Lightroom CC. orange look continues to be very popular, so it might be and a Balance of -15 for this.
a good place to start your colour grading journey…

FUNDAMENTALS
Select Shadows… … and Highlights

1 Select the three wheels 2 Move to the Highlights wheel
together or individually. and look for a colour that
Selecting Shadows, we’ll try a cooler tone. It helps to have high enhances the natural warmth in the shot. Again, use a high
Saturation – a blue tone works well (H235, S86). While subtle Saturation value to find the right Hue, then decrease it.
is always better, this actually needs more Saturation. A yellow-orange tone looks good (H48, S36).
Move to Midtones And finally…

3 Next, go to Midtones. So far 4 For the final step, go back to
you’ve been slightly off using Shadows. You’ve used Hue and
complementary colours, so let’s consider being close to tertiary Saturation, but not Luminosity. Increase Luminosity to make
colours – a mix of primary and secondary. As there’s lots of the black parts of the photo lighter in tone. Producing that really
green in the photo, add a green tone (H115, S18). retro ‘matte’ look, a value of 50 is doing the business here.

GET THE LOOK
FILE & VIDEO

www.digital
cameraworld
.com/dc267
WATCH THE
VIDEO!
Before
Enhance moody
landscapes GET YOUR
MOODY
LANDSCAPES
Explore some editing techniques in ACTIONS PACK
Turn to page 82 to
Photoshop that will work in harmony find out more!
with poor weather conditions
here’s one thing in photography
T
that you can’t control: the
weather. For landscape
photographers, this is part of the
challenge that helps to make the
subject satisfying when the elements do come
together. But even when the weather isn’t great,
unless it’s pelting down with rain, moody
weather conditions are fantastic for capturing Increase midtone and
interesting images, and we’re going to focus 1 highlight contrast
on some of the editing techniques that work Click on the Create new fill or
perfectly with this style of photography. Adjustment Layer icon at the
For this set of techniques, we’re going to bottom of the Layers panel and select
take a progressive approach where the layers Curves. Create an S curve to apply a strong
for each technique will be kept in place. Each amount of contrast and then close the
James Abbott
one will build on the previous step, although dialog. The Layer Mask for this layer will be
James is a professional they can also be applied in isolation. Many active, so go to Image > Apply Image, leave
photographer who
specialises in landscape processing techniques can be used with moody the settings at the defaults and click OK.
and portraits. He’s an landscape images and – as shown here – one, This will create a Mask that targets the
advanced Photoshop
user and has created
several or all can be applied depending on what midtones and highlights, leaving the darker
hundreds of tutorials. the image requires, and ultimately to match tones and shadows untouched, so there’s
your vision for how the scene should look. no shadow clipping and loss of detail.

GET THE LOOK
Warm up the Refined desaturation Tweak the saturation

2 shadows 3 to boost mood 4 of colour channels
Create a Photo Filter Adjustment Create a Black & White Add a Hue/Saturation
Layer, and when the dialog box Adjustment Layer, and when the Adjustment Layer, then click
opens, leave Filter set to Warming Filter dialog opens, set the Blending mode on the on the dropdown menu set to Master and
(85) and set Density to 50% before closing Layers panel to Multiply so you can see the select Reds. Set Saturation to +15 and do
the dialog. Now, go to Image > Apply Image full effect as you adjust settings. Next, move the same for Yellows. Set Greens Saturation
and make sure Invert is checked – this will the Yellows slider to 200 to lighten foliage to -100, Cyans Saturation to -100 and Blues
target darker tones in the image. Hit OK and Blues to -41 to darken the sky. Close to -50. With the Blues, set Lightness to -50
and repeat Apply Image with the same the dialog and set Opacity to 50%, then before closing the dialog. This will reduce
settings a second time to further target select the Brush tool and set it to a large the saturation of the sky while boosting
darker tones. This will apply the Warming size with a soft edge. With black set to saturation of the foliage on the mountains.
Filter to only the shadows and the darker Foreground Color, paint over the darkest Right-mouse click on the layers in the
midtones rather than globally. shadows to reveal detail in these areas. Layers panel and select Flatten Image.

ACTIONS & PRESETS
THIS MONTH’S BONUS SOFTWARE EXTRAS

Improve your shots with FILES & PDFs
www.digital
our Actions and Presets cameraworld

.com/dc267
As seen in this month’s tutorials, you’ll be able

to transform your photos in just a few clicks
his month, we have bespoke library of software
T curated another top

collection of actions
extras by collecting the ones we
are releasing with our tutorials.
How to use your
software extras
and presets to help One of the main advantages Once you have downloaded
transform your images. Actions of using these digital shortcuts the ‘dcm267-files.zip’ file to
and presets can make a big is that they save time – rather your computer, extract it and Instruction PDFs
impact on your captures in a than having to manually adjust put the Actions and Preset can be found in
matter of seconds. Once they a photo to give it a certain look, folders where you can easily the Gifts folder
have been installed in Photoshop actions and presets will get you access them. These folders of the issue’s
or Lightroom, they are on hand there in a few clicks. So use this contain the files, PDFs and download file
for whenever you need them. issue’s collection to give your installation instructions.
You can build up your own photos a little bit extra…
10 LUMINOSITY 2 COLOUR GRADING 4 MOODY

MASKING ACTIONS PRESETS LANDSCAPE ACTIONS
Software: Photoshop Software: Lightroom Software: Photoshop
This month, to tie into the Tool School Presets are saved settings that can Designed to make poor weather conditions
tutorial, we’ve supplied a set of 10 actions be applied to raw or jpeg files during captured in outdoor photos even more
that create Luminosity masks. The first processing. This month, to complement atmospheric, this pack of four Photoshop
actions in the pack let you create either the tutorial on page 78, we’re including actions will really help your scenic shots to
three or five levels of luminosity channels, some Lightroom presets which will help stand out. The actions can be applied in a
either with or without Curves layers for you add a sprinkle of movie magic to matter of seconds and comprise Midtone
each; other actions in the set let you apply portrait photos. Two presets are available & Highlight Contrast, Shadow Warmup,
specific edits, including Pink Sky, Midtone to help you achieve this: Colour Grade Refined Moody Desaturation and
Boost and Saturate Highlights. and Colour Grade Base. Tweak Desaturation.
Download all three packs from: www.digitalcameraworld.com/dc267

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Photo Answers Andrew
James
Dumbfounded by depth of field? Clueless about Andrew is a highly
experienced writer
colour space? Send your technique and camera and photographer –
if you have a problem,
questions to digitalcamera@futurenet.com he is here to help.
Colourful and busy
Andrew James
locations, outdoor markets
offer great opportunities
for candid photography.
A people poser street-style images in this country and as they’re so engrossed in what they’re
all around the world, and there are always doing. If they do, they’re likely to think
I love to travel and a few moments of nerves when you put they’re not even in the frame.
Q want to capture the camera to your eye and start taking The shot above is an example of this. The
more of the sights, pictures, because you just don’t know focal length is 17mm and the man in the top
how people are going to react. left has no idea he’s in the composition, even
but I feel nervous about I think it’s easier in really busy places though I’m really close to him – from his
getting my camera out. where people are constantly coming and viewpoint it just looks like I’m photographing
going. In fact, half the time they won’t even the fruit. The other key is to be confident.
Do you have any advice? notice you. If I’m in a new city, I look for There will still be moments when people
Tanya Flowers outside markets, as there is always colour question what you’re doing, but this doesn’t
and energy in these places. I prefer to work have to be confrontational. One thing to
Having some anxiety when you with a wide lens, too – anything from 16mm remember when shooting at markets is that
are photographing people going to 35mm – so often you’re not having to you can get colour casts, as the light filters
A about their business is perfectly point the lens directly at the subject. Half through the canopy of a stall, so I set Auto
normal. I’ve taken a lot of the time people won’t even notice you, White Balance and always shoot raw files.

Greyscale
Tech Check
Grayscale
Add more shades of knowledge to
your understanding of this concept
What is grayscale? the right balance of tonal How do I know which of

A digital image that has contrast using the original the colour channels will Black & White
been converted from colour colour information. By using make a difference?
to mono in Photoshop using a grayscale conversion, you A lot obviously depends
Image > Mode > Grayscale can end up with an image on the colours within the
shows each pixel as a value that appears flat and lifeless. image. You just need to
of brightness only, with all push and pull the six colour
colour information removed. How should I do the channels – Reds, Yellows,
This is an image purely conversion, then? Greens, Cyans, Blues and
rendered to grayscale. It would be better to convert Magentas – to judge the
via Image > Adjustments > difference it makes.
Is this the best way to Black & White, because this Remember that you are
convert a digital colour will allow you to alter the trying to create a bold and
file to mono? tone of each individual interesting photo, so look
It’s quick and easy, but it colour channel, resulting carefully at how the colours
is not the best, because a in a more controlled final translate to mono tones
grayscale conversion gives result with greater depth when you change the A Photoshop Grayscale conversion is quick but the
you no opportunity to create and contrast. slider amounts. Image > Adjustments > Black & White method is better.
Do I need my ND? visible in the sky when you

look at your image, but as
I recently long as you’re shooting raw
Q broke my files, it’s easy to bring it out
ND grad when you’re processing.
In the two photos on the left,
filter, but before I you can see the landscape image
replace it, do I really as captured, which shows a lack
of sky detail. But by selecting the
need ND grad filters sky, dropping the Exposure back
when shooting and adding a small amount of
landscapes? clarity, look at how many hidden
details are revealed in the
Kerry Weir second image. In an extreme
As captured, this landscape contrast situation you may find
image lacks definition in the sky…
No, in my opinion. it more difficult to get the detail
It’s not great news you want, but that’s where
A for companies capturing several frames
who make and sell exposed differently and merged
neutral density grads, but it’s for HDR will work. This leaves the
impossible to deny that the physical ND filter as a preferred
changes in how we process way of working, rather than an
images, and a modern camera’s essential one.
ability to retain detail within its If you buy a new ND grad and
dynamic range, means that a continue to use it, you can see its
physical ND grad filter is not effect working in-camera. If you
as essential as it used to be. prefer shooting jpegs and doing
Let’s deal with dynamic range little or no editing, this is the way
first. Typically, a sensor can to work. There is also something
capture 14 stops of light. That’s tangible about working with a
a large variation from the blacks physical ND filter and many
… but tweaks to exposure and to the whites, so you can capture landscape photographers enjoy
clarity have improved matters. a lot of detail in a single frame. taking this approach. It all comes
Some of that detail might not be down to personal preferences.

Photo Answers
Shooting long exposures at the beach can

be problematic if shifting sands cause
tripod movement – popular remedies
include disc-like feet, tripod spikes or
hanging a bag from the centre column.
the main justification for shooting any

subject at f/2.8 is for creative reasons.
Does limiting depth of field by opening
up the aperture result in the look you want?
As you rightly point out, a shallow focus
has often been associated with portraits,
as it will give you a pleasing drop-off in
sharpness from the point you’ve focused
on – which in most cases will be the
subject’s lead eye. But you can adapt
this to any subject – wildlife, travel,
nature and even landscapes if desired.
If, by limiting depth of field you create
a more interesting shot, then do it. You
need to consider your point of focus and
then decide whether f/2.8 is going to
give you the right amount of detail, and
importantly how the relationship will
Andrew James
be between the sharp point and a lot of
diffusion within the frame. In most cases,
the reason for using f/2.8 will be, just
as with a portrait, to isolate detail – for
Beach wail generally only the top few inches that the example, when you have a subject
water flow is disturbing. Some tripods have in front of a busy background.
On long exposures a hook at the base of the centre column,
Q at the beach, my and if yours does, I’d suggest carrying a
tripod sometimes lightweight bag with you that you could pop
a few stones in to create extra weight. Just
gets moved slightly by the make sure it’s solid enough not to swing in
shifting sand during the the wind. Remember to clean the tripod
after by hosing off the grit and salt.
exposure. What can I do
to prevent this? f/2.8 and be there?
Tim Cooke Aperture and depth
Some camera manufacturers Q of field still confuse
A sell special disc-like feet that me. Other than for
can be fitted to prevent a
slim tripod foot from sinking taking a portrait, why would
into sand, and I’ve seen some ingenious you shoot at f/2.8?
photographers creating their own versions
Hollie Meadows
of these feet. This obviously spreads the
weight of the tripod to prevent it sinking, There are two main reasons to
but if you have water flowing against the photograph at f/2.8. The first
base of the legs then there is still some A is practical, because at a wide
potential for the tripod to move. aperture you’re going to let in
The other option is tripod spikes which can light and get a faster shutter speed. The
be firmly pushed into the sand to create a second is creative, because at f/2.8 your
firmer footing. Both are relatively expensive zone of sharpness is greatly limited.
options, and you may not want to go to Opening up to f/2.8 for extra light is a
these lengths if you are only an occasional fundamental of photography, and before
visitor to a beach, but as you’ve digital came along it was the only way to
experienced, a slight movement of the gain light because the ISO of the film in the
tripod can cause issues when you are camera was fixed. Of course, with digital we
Andrew James
trying to capture tidal water movement. can change ISO from shot to shot, so other
The sturdier the tripod, the better. than not wanting to increase ISO in case it
I try to push the legs down a few inches results in excessive image noise, upping
into the sand until I can feel slight resistance ISO rather than changing aperture can Isolate your subjects from a busy background
where the sand is more compacted, as it’s sometimes be the better option. Essentially, effectively with an f/2.8 aperture.

1
Image Rescue
Fazed by Photoshop? We’re using
3
Lightroom to salvage this poppy pic
2
Poppies are ideal subjects using the Clone tool. 2
for shooting images with To isolate the poppy head,
a fine-art vibe. But this we’ll open the Masking
photograph is caught panel 3 [Shift W] and 4
somewhere between select Range > Colour
looking warm and ‘muddy’. Range, using the
The framing is loose, eyedropper to target
so we’ll start by tightening the colour tones.
it in the Transform panel Now we can warm up
1 which you’ll find in the the image by using the In a few editing steps go from
Develop module (the White Balance slider, warm and ‘muddy’ to something
seventh section in the as well as adding some that you could hang on a wall.
right sidebar). Using the Clarity. Staying in the
Scale slider to improve Masking panel, we’ll select creates a contrast with the
composition leaves an a Background Mask 4 and warmth of the poppy and
Andrew James
edge of the seed head cool the background down leaves a clean sky. Now
poking out of the frame, with the White Balance we’re ready to print out
but we can remove it by slider. This adjustment our fine-art poppy picture.
Andrew James
Ink spot of bother?
Is it OK to use a
Q third-party ink in
your photo printer
in order to save money?
Kerry Booker
I’ve always recommended not

using third-party inks, but even
A so, I decided to try switching
to a third-party ink to save
money. To the naked eye, the prints looked Tweaking the white balance of black and white
absolutely fine, with a mix of original inks images is better than adjusting the exposure.
and the new cheaper inks. I don’t print
regularly, and the next time I went to use the White balance worries
Get behind the mask printer, there was a blocked nozzle – one of
Do I need to
the new third-party inks. Even a deep clean
When would I use didn’t sort it! I was then really concerned Q worry about white
Q the Luminance about the archival quality of the cheaper balance when I’m
Range Mask inks, so I decided not to use them again,
processing an image as
and have gone back to the more expensive
in Lightroom? brand product. This is just one experience, black and white?
Bob Donaldson but it was a reminder that if you want
Neville Tyler
quality, reliability and durability, perhaps
The word ‘luminance’ is just a it’s best to stick with the product that is As a general rule, no you
techy way of saying brightness, specifically designed for the printer. don’t, but if you play around
A so you can use the Luminance A
with the White Balance slider
Mask to select a specific area in Lightroom or Adobe Camera
of your images based on how bright or dark Raw on an image that you’ve converted to
it is. Just use the eyedropper to select the mono, then you will see that it makes the
area of tone you want to isolate within the images either darker (left) or brighter
scene – for example, the brightest points (right). In other words, cooling white
within this Hong Kong skyline – and you balance down makes the image darker,
can make any adjustments you want. I find and warming it up makes it brighter.
that it’s useful to tick the Show Luminance Of course, you can choose to do this
Map box, so you can easily see the masked with the Exposure slider, but that’s less
Andrew James
area (shown in red) against the image in discriminating, while warming up the white
black and white. This function is also balance for this portrait had the effect
available in Adobe Camera Raw. of mainly brightening the skin tones.

Focal point
Rounding up
what’s new
ƏȇƳ‫ژ‬ƺɴƬǣɎǣȇǕ
The latest photography news from around the globe
1 16MM F/1.4 DC DN
CONTEMPORARY ON1 rolls out Photo
Weighing 420g, optical RAW version 2023.1
construction comprises 30MM F/1.4 DC DN The latest update adds
3
16 elements in 13 groups. CONTEMPORARY a host of new helpful
Filter size: 67mm. Weighing 285g, tools for retouching
optical construction and refining images,
comprises nine including an enhanced
elements in healing brush, sky swap
seven groups. AI modes and advanced
Filter size: 52mm. uses of the healing brush
2 56MM F/1.4 DC DN tool. Support for newer
CONTEMPORARY cameras is included.
Weighing 295g, optical www.on1.com; free
construction comprises for existing owners
10 elements in six groups.
Filter size: 55mm.
Images show Fujifilm X-mount versions of each lens
Canon launches new

community for creators
Canon Club is a new
space for “like-minded,
passionate creatives”
who use the brand’s
ecosystem of products.
Earn rewards for new
purchases, learn from
your peers and Canon
pros, plus much more.
www.canon.co.uk/
Sigma to join Nikon’s canon-club
Samyang/Rokinon AF
mirrorless revolution
75mm F1.8 X for Fuji X
Compact and weighing
only 257g, this new prime
offers an equivalent focal
Development announcement confirms trio of f/1.4 primes for Nikon Z length of about 112.5mm
bodies with crop sensors, with 16mm, 30mm and 56mm focal lengths in full-frame terms. The
optical path comprises
hile the new optics are DX lenses designed and Sony E-mount. Each lens offers a super-quick 10 elements in nine
W for Nikon’s growing roster of APS-C

Z-series cameras – the Nikon Z 50, Nikon Z
maximum aperture of f/1.4 and a minimum
aperture of f/16. There are nine rounded aperture
groups, and autofocus
is delivered via a linear
stepping motor.
fc and Nikon Z 30 – they should also be compatible blades in all three optics, and interior technology
www.samyanglens.com;
with FX Z-series cameras, which will automatically has been specially developed for Nikon’s Z-mount
£475/$499
crop to accommodate them. Sitting within Sigma’s interchangeable lenses. No release date or price
Contemporary range, the trio of lenses is already has been supplied so far for these lenses.
available for Canon EF-M, Fujifilm X, Leica L-mount www.sigma-imaging-uk.com; £/$TBC
Go to www.digitalcameraworld.comǔȒȸɎǝƺǼƏɎƺɀɎȇƺɯɀًȸƺɮǣƺɯɀۭɎƺƬǝȇǣȷɖƺɀ In Focus
OM System 90mm Macro

Introducing the M.Zuiko 90mm f/3.5 Macro IS Pro –
a lens that can really achieve 8x magnification
his new optic takes macro magnification to a 4x/4:1

T lenses to a whole new
level – while it has a 2x
reproduction ratio. Taking the
2x crop factor into consideration,
magnification/2:1 reproduction this technically delivers 8x
ratio as standard, because OM magnification / 8:1 reproduction,
System/Olympus cameras use so you can get very, very, very
Sony 50mm F1.4

Micro Four Thirds sensors with close to teeny tiny subjects. The
a 2x crop factor, this equates to M.Zuiko 90mm f/3.5 Macro IS
G Master
4x magnification in 35mm terms. Pro boasts up to seven stops
On top of that, the M.Zuiko of image stabilisation and is
90mm f/3.5 Macro IS Pro can also an IP53 weather-sealed optic.
be used with the Olympus MC-20 shop.olympus.eu; The brand’s growing family of fast
teleconverter, which doubles the £1,299/$1,499 f/1.4 primes continues to expand
ntroduced as a replacement for the

I ageing Zeiss Planar T* FE 50mm
f/1.4 ZA, the Sony FE 50mm f/1.4
is one third lighter than the Zeiss lens, at 516g.
Optical construction uses 14 elements in 11
groups, with one ED element to suppress
colour aberrations and distortion. An 11-blade
aperture should ensure a very round bokeh
and a smooth, even falloff from focused areas,
while an internal focusing mechanism means
that the lens dimensions won’t change during
use, which is handy if you plan to use filters.
www.sony.co.uk; £1,500/$1,298
Annick Paradis
Instax Mini 12 and
INSTAX UP! app
Latest iteration of popular instant camera
offers parallax correction when taking close-
ups and is available in five pastel shades
uilding on all the features of the Instax Mini 11,

B
Dalla Denoo
the Instax Mini 12 features a subtle design update
– a more rounded bubble-like look – from its
Lensbaby’s new arrival

predecessor. The lens structure has also been updated to
provide a more intuitive experience to power the camera
on and off, as well as accessing the close-up and selfie
modes by twisting the lens. A new parallax correction Double Glass II Optic is compatible with the
feature will line up the lens with the viewfinder in close-up brand’s current and legacy Optic Swap lens bodies
mode, which reduces object shift and creates a more
aligned photo when shooting subjects near to the camera. epresenting a substantial upgrade over the original
Launching alongside the Mini 12 is the new INSTAX UP!,
Fujiflm’s latest smartphone app, which is a one-stop
R Double Glass optic, the Double Glass II offers a range of
enhanced features that provide new ways for creators
solution for digitally scanning, storing and sharing photos. to exhibit creative control over still and video imagery. It covers
instax.com; £79.99/$79.95 (Instax Mini 12). an aperture range from f/2.5 to f/22, which is a big upgrade
£/$ free (INSTAX UP! app) from the original Double Glass, and features a 12-blade manually
adjustable internal aperture, which provides a perfectly round
diaphragm for easy control over the sweet spot size. A unique
drop-in magnetic aperture system enables users to switch
between round, internally adjustable aperture settings or
choose from nine uniquely shaped creative apertures.
lensbaby.com; £219/$200
SPRING 2023 D I G I TA L C A M E R A 89
In Focus Go to www.digitalcameraworld.comǔȒȸɎǝƺǼƏɎƺɀɎȇƺɯɀًȸƺɮǣƺɯɀۭɎƺƬǝȇǣȷɖƺɀ
Focal point DxO PureRAW 3

Rounding up Further improvements rolled out for
what’s new this leading raw processing application
ƏȇƳ‫ژ‬ƺɴƬǣɎǣȇǕ
oftware house DxO recently released the
S third version of its raw processing software.
For any readers not familiar with PureRAW,
it is essentially an upmarket Adobe DNG converter;
it takes regular RAW files and applies DxO’s high-
powered DeepPRIME demosaicing and noise
reduction technology, plus its advanced in-house
lens correction profiles, to produce part-processed
Linear DNG raw files, which offer the extended tonal
Tokina to release a trio and colour data that photographers like to exploit.
of super-telephotos
Features new to PureRAW 3 include the roll-out
With a reflex lens design,
of DeepPRIME XD, which DxO says takes noise
these new optics are
small and light. The SX reduction and detail recovery to the next level; it
300mm, SX 600mm delivers more than the equivalent of an extra 2.5
and SX 900mm are stops of ISO. A new queueing system offers more
all manual focus and options for batch processing images and there are
lack image stabilisation, enhanced customisation controls, including adjusting
but will be much more the strength of lens softness correction, the ability
affordable than to toggle vignetting and chromatic aberration
conventional super-teles. correction off and on. Plus, up to three file
tokinalens.com; £/$TBC
formats can be exported simultaneously.
www.dxo.com; £69/$79 (upgrade from
PureRAW 2); £115/$129 (PureRAW 3)
Leica D-Lux 7
Catch ‘Living The Dream’
in London, until 7 May
007 Edition
Showcasing the work of
several UK-based black A limited edition for James Bond fans
female photographers,
the exhibition is open now o correspond to the year of Dr No’s release,
at The Fujifilm House of
Photography. ‘Living The
T only 1,962 copies of the D-Lux 7 007
Edition will be available worldwide. It
Dream’ explores themes features a trim made from a high-performance,
of womanhood, creativity, rhombus-textured material, and the top plate is
identity and heritage. adorned with the famous 007 logo. The automatic
www.bit.ly/dcm267
lens cap sports the classic ‘gun barrel’ design from
ukbftog
Tamron 11-20mm
the opening titles of the films, and the camera’s
leather case is styled like a pistol holster. Spec-wise,
the D-Lux 7 boasts a 17MP Micro Four Thirds sensor
Wide-angle coming to Fujifilm X and a fast Leica DC Vario-Summilux 10.9-34mm
f/1.7-2.8 ASPH lens (35mm equivalent: 24-75mm).
amron’s fast-apertured, wide-angle leica-camera.com; £1,750/$2,131
Kickstarter for Benro

T 11-20mm f/2.8 zoom is being ported
to Fujifilm’s X-mount. First launched
auto-levelling tripod in Sony E mount in 2022, the 11-20mm f/2.8
The Benro Theta project offers an effective focal length of 16.5-30mm
is now live on the leading in full-frame terms. The Fujifilm X variant will
crowdfunding site. Clever weigh just 335g, therefore making a good
features include carbon choice for travel and landscape photography.
fibre legs, auto-levelling,
Tamron’s development announcement stated
a dual multi-functional
that the forthcoming lens will be constructed
ball head, self-locking for
the legs and swappable of 12 elements in 10 groups and will boast an
control modules. “exceptionally quiet” RXD stepping motor,
www.bit.ly/dcm267 which is something to please video users.
benrotheta www.tamron.eu; £/$ TBC
Jem Southam
Behind
the lens
JEM SOUTHAM
Fresh interest in the landscape Offices, Albion Dockyard, 1979.
photographer’s images of photographs captured a vital record one overwhelming passion – birds and
of an area which has now been ornithology. My mother loved plants,
Bristol Harbour has led to redeveloped beyond recognition. growing and a garden. Many of the
Although a book of the work was various works I have been engaged
a new book about the series published in 1983, a new volume has with over the past 10 years have
just gone on sale. Featuring 58 large- involved birds and plants.
ased in south-west England, format photographs, The Harbour will
Southam is one of the UK’s present Southam’s unique record to Was your family connection, and
B leading landscape
photographers. In the late
1970s and early 1980s, he
a wider audience. We found out more
about the book, and the project which
spawned it, from Southam himself.
your local roots, the biggest pull
towards photographing Bristol’s
harbourside?
started to document Bristol It was both happenstance and curiosity,
Harbour, which had become forlorn What was your route into combined with a compulsion to record
following a period of postwar decline. photography? what was being lost.
The resulting collection of large-format I studied at the London College of The happenstance was to be working
Printing for a Higher Diploma in at the Arnolfini [an international arts
Creative Photography in the late 1960s. centre and gallery in Bristol] – which
I’ve spent a majority of my career is so close to the harbour – whilst
teaching and fitting in my own work it was undergoing this change.
around this. When you have only My curiosity was to see and record
limited time for your own work, it the harbour where my grandfather,
really focuses you on the task in Henry Cottrell, had spent so much
hand as you realise how precious of his working life, and attempting
and what a privilege this time is. to imagine what it was like at this
time, drew me in further.
Were you inspired by the work My work, whether it be focused on
of other photographers? nature or, in this instance, architectural
As a young photographer I looked to infrastructure, has always been
make pictures that mirrored those concerned with landscapes in flux,
I admired in America and in Europe. and the harbour was a prime example.
Then one day – because daily I was
walking through a world that looked You shot the images on Sunday
like no other, in terms of its geology, mornings between 1978 and 1983.
its history, its culture and of course Did you envisage ending up with
its colour and atmosphere – I strove so many negatives (over 1,000),
instead to make my pictures redolent of or is that just how it panned out?
all that. There is nowhere else that has I only realised the extent of the project
Jem Southam
weather quite as varied and nuanced once I had undertaken it, and so I
as that in the south west of England. continued as I was invested in the
My influences have very often been project. It became less of a choice
more personal. My father read widely and more of a duty, to preserve
Behind Bathurst Parade, 1979. with an intense curiosity, and he had what was being lost.

Behind the lens
Jem Southam
Gas Works, Anchor Road, 1979. Sand Wharf, Hotwells, 1978.
Photographs from the series were first So much has changed in the years since Are you ever tempted to return to some
displayed in 1981, with a book published you made the photographs. What do you of the locations, where possible, and
in 1983. What lies behind the recent feel when looking back over them? capture contemporary views? Would
revival of the work? It’s always strange to look over one’s work this offer a compelling commentary
I was revisiting my archives and this when many years have passed since it was on the redevelopment of the area?
coincided with the first Bristol Photo Festival made. One of my main feelings upon looking In the case of the Harbour that would
back in 2020 [a biennial event which returns back is that I am glad I persevered and be quite a depressing project and not
in 2024]. I was invited to show my work in continued with the endeavour; my younger something which would tempt me. Apart
the city and this led to new interest in the self had the hindsight to methodically from the Underfall Yard, there is very little
series, both from myself and from others. continue over those years. left of the original harbour the way it was.
Fifty eight photographs feature in The The photo of SS Great Britain is so You currently have an exhibition open
Harbour – were the ones you included evocative. Do you have any favourites? in Bristol, A Bend in the River. Can you
those which spoke to you most, and I don’t have any clear favourites but I do please tell us a little more about this
was it agonising having to decide also like the photo of SS Great Britain. In series, and why you decided to make
which ones to leave out? fact, we have selected a few of the images the images using a digital camera?
It’s always a difficult process but making for a series of prints and part of the I took these photographs in the same place
a book is as much about collaboration proceeds will enable us to scan and clean-up on the riverbank, returning each day in the
with editors and designers, and listening. some of the other negatives for future use. winter. I returned over the course of five
A carefully edited book is often about The photo of the SS Great Britain has years to photograph the changing water,
letting go about the photographs which been selected and will be available from clouds, trees and swans flying to roost.
aren’t necessary to communicate the RRB Photobooks after Easter. I originally began shooting in digital
work or the project. in passing, with little intention of this
And of course, the time you created the becoming the series it did. I used a Sony
Please tell us about how you made images was one of great change in the digital camera which allowed me to
the images – using a 5x4 camera UK – the photographs really do capture experiment and push exposure values to the
must have been a physical as well a sense of time having paused following extreme. It was never a conscious decision
as a technical challenge… a period of managed decline… but I’m glad it worked out like it did.
Bristol, for any readers who are not aware, Yes, the photographs are certainly
has quite a few hills. I would cycle down to representative of the period. As a
the harbour on my cow-horned handled photographer and artist I realise my
bike, a rickety Velbon tripod over one limitations. I can’t capture and preserve
shoulder and a canvas postman’s bag everything. My long-term working practice
over the other with my 5 x 4 camera, has been disciplined and methodical, so
lens, and six dark-slides over the other. the areas I can focus on, the watching and
The main challenge wasn’t getting there, waiting, has been worthwhile to capture
but cycling back up the hill afterwards. one small part of the greater change.
“My work, whether it be focused on nature

The Harbour by Jem Southam is
or architectural infrastructure, has always published by RRB Photobooks, priced
£65. www.rrbphotobooks.com
ƫƺƺȇƬȒȇƬƺȸȇƺƳɯǣɎǝǼƏȇƳɀƬƏȵƺɀǣȇˢɖɴً A Bend in the River is on display at
Royal West of England Academy,
ƏȇƳ ȸǣɀɎȒǼRƏȸƫȒɖȸɯƏɀƏȵȸǣȅƺƺɴƏȅȵǼƺ‫ٺ‬ Bristol until 1 May 2023

Jon Devo
instagram.com/gadgetsjon
Jon is a professional photographer,
videographer and technology journalist.
By using a good selection of training

images (top), AI can produce some
spectacular results (below).
interesting than I would have been able

to produce alone in a fraction of the
time. It takes some trial and error to
get the AI to recognise your subject
and produce a consistent look, which
is part of the fun. I had to work with
the AI, learn how to speak to it and
describe what I wanted as accurately
as I could, as well as experimenting
with different seeds, which sample
Credit here
tens of thousands of art styles.
Scanning
Introducing AI image generation into
my photography workflow opens up a
whole new world of possibilities. With
these tools, you’re not restricted by
access to expensive editing software
ahead…
or your own artistic skill level. If you can
develop a strong visual vocabulary and
learn to work with AI collaboratively,
you can produce striking content that’s
beyond your imagination. One of the
biggest impacts of AI image generation
is the time saving. With this technology,
Curious about the advantages of AI image you can apply a new style to an image
in a matter of seconds or minutes.
generation, Jon Devo gives it a real-world test But there are also some drawbacks.
Firstly, your images could end up
looking generic and unoriginal. AI
ecently, a client from the original image. Looking over image generation samples the styles
approached me with the images we’d captured together, I of other creators and is still a relatively
R the idea of doing a

photoshoot, but
editing the final
realised I could build an AI model of my
client, using the photos as a training
data set and then finding prompts to
new technology, so it’s not always easy
to get the look you’re going for. If your
approach is lazy, your images could
images in the style hone in on a style that fitted our vision. look like they were created using a
of a graphic novel or computer game. There was a slight learning curve template or rip-off. Also, if you rely too
Growing up, I loved drawing comic- to install the tools on my PC, which heavily on AI image generation, you
book images, and spent many years involved watching a few tutorials on might start to lose your own creative
on DeviantArt. But those days are YouTube. However, all of the tools vision. This could be especially true
behind me and I wasn’t sure I’d be were free and open source. Best of all, if you’re using AI as a crutch to avoid
able to deliver. That’s when I decided there’s a growing community of people learning new techniques or styles.
to turn to AI image generation, a who are happy to share their processes Ultimately, the decision to use AI
subject I’ve touched on in previous and discoveries, making the barrier to image generation is one that should
editions of Scanning Ahead. entry fairly low. Once it was set up, be made thoughtfully and with an eye
AI image generation uses machine- I was generating digital art portraits towards how it can best serve your
learning algorithms to generate new of my client that were far more individual artistic vision.
images based on text prompts and/or
existing images. It has been around
for a couple of years, but now it’s “Introducing AI image generation
sophisticated enough to be a genuinely
useful tool for photographers. With into my workflow opens up a whole
AI image generation, you can apply
a style that’s completely different new world of possibilities”
New gear, buying tips and the world’s toughest tests
96 100
Panasonic Lumix S5 II _ Update Canon EOS R50 _ Brand’s latest
to this hybrid full-frame mirrorless APS-C mirrorless for the RF mount
104 106
Canon RF 15-30mm F4.5-6.3 IS Filter holders _ Our five best-buy
STM _ Affordable ultra-wide-angle options for polarisers and ND filters
t’s cameras for ‘content R8, for which we’re providing lab testing
I
creators’ this month, as two data this issue, the R50 offers an identical
new mirrorless models pass megapixel count to that of the Lumix S5 II,
through our lab. Panasonic’s albeit with an APS-C sensor. Packed with
Lumix S5 II updates its cutting-edge tech and future-proofed with
predecessor’s spec with the addition of a full-width 4K video and social media-friendly Plus
phase hybrid detection autofocus system, shooting modes, the R50 has lots of appeal. 105 Laowa 90mm F2.8
plus unlimited video recording. So could this Also this month, we test a new Canon RF 2x Ultra Macro APO
new full-frame model, plus the ecosystem zoom for full-frame bodies that will also be 119 Canon EOS R8
of compatible L-Mount optics, close the deal a good fit for the R50, and an affordable
for stills shooters also seeking impressive Laowa manual-focus macro prime for
video credentials? And the Canon EOS R50 Canon, Nikon and Sony mirrorless mounts.
is asking a similar question. Having recently Plus, we put five filter holders through an TESTING
UPDATE
joined the brand’s line-up, alongside the EOS exacting field test. Niall Hampton
The awards bestowed by the Digital Camera lab… Ratings explained

All products reviewed
Given to the top For products Given to products Best in class
in KitZone are tested
product in a that receive five that offer superb Excellent independently by
group test stars overall value for money Good photographers with years
So-so of experience, using lab
Poor and real-world testing

KitZone
Mirrorless Panasonic Lumix S5 II
Thanks to its boxy

aesthetic and deep,
texturised grip, the S5
II looks and feels tough.
1
3
2
A new cooling system

in the viewfinder hump
removes limits to most
video recording times.
At the heart of the S5 II

is a 24.2MP full-frame
CMOS sensor and
image processor.
GOLD
AWARD
Panasonic Lumix S5 II
£1,999/$1,997 (body only)
Will phase hybrid detection AF make this a creator’s dream?
w w w. pana s onic .co.uk
Specifications s someone who’s used To tick the right boxes the S5 II needs
A
the Lumix S1 since its to be able to deliver beautiful stills that
Sensor: 24.2MP full-frame CMOS, w/o LPF launch in 2018 and the are easy to edit and transfer from the
Lens mount: Leica L original Lumix S5 since camera on the go. It also needs to
Image processor: Co-developed with L2 Technology 2020, I’ve watched be able to capture a variety of video
AF points: 779-point Phase Hybrid AF Lumix full-frame steadily grow into content: from self-shot presentations
ISO range: 100 to 51,200 a system that has every right to be to robust video files that can be
Max image size: 6,000 x 4,000 revered among photographers and graded heavily, to slow-motion
Metering modes: 1,728-zone multi-pattern sensing videographers. The one thing holding clips, time-lapses, and more.
system, centre-weighted, spot it back from capturing the attention So with a lot of hype to live up
Video: 6K (full-sensor readout)/29.97/25/24/23.98p, of the masses was the contrast-based to, does the Lumix S5 II deliver?
5.9K/29.97/25/24/23.98p, C4K/60/50/30/24p Depth-from-Defocus autofocusing
Viewfinder: EVF, 3.68m dots system that Panasonic developed and Key features
Memory card: 2 x SD/SDHC/SDXC (UHS II) championed for years, despite much A newly designed 24.2MP full-frame
LCD: 3-inch vari-angle touchscreen, 1.84m dots of the competition adopting phase- CMOS sensor is housed inside the
Max burst: 30fps (electronic shutter), detection-based AF setups. Lumix S5 II. It’s the same resolution
7fps with AF-C (mechanical shutter) Uncharacteristically late to the as the original S5, but it’s different
Connectivity: Wi-Fi, Bluetooth innovation party, Panasonic is aiming in a key way: it now incorporates a
Size: 134.3 x 102.3 x 90.1mm the phase hybrid AF-powered Lumix 779-point phase hybrid autofocusing
Weight: 740g (body, hot shoe cover, S5 II squarely at “creators” – that system. It’s a hybrid system because
battery, 1x memory card) annoying tribe of people who make it also utilises Panasonic’s DFD AF
content for a living or a pastime, in technology. Contrast detection tends
the hope of someday turning it to be more consistently accurate when
into a career. People like me. taking pictures of still subjects.

Panasonic Lumix S5 II Mirrorless
4 7
Flaps on the left-hand Switch between two

side of the S5 II conceal burst modes, interval,
a full-size HDMI port self-timer and single
and a USB-C port. shot on this drive dial.
6
5 8
The 3-inch side hinged The PASM dial also

vari-angle touchscreen offers S&Q (Slow
offers 1.84m dots and & Quick) and three
is fully articulating. custom settings.
4 5
6 9
The autofocus point The S5 II has a video

joystick now moves in recording button, but
eight directions, rather no tally light to indicate
than the S5’s four. recording in progress.
Jon Devo
7 8 9
Both of the S5 II’s SD/SDHC/SDXC card slots

support UHS II cards, an upgrade to the S5,
where only one slot was UHS-II compatible.
Jon Devo
However, it’s not as quick or as clever range. It also has Dual Native ISO of
when it comes to detecting and ISO 640 and 4000, which helped the
following moving subjects or recording original S5 deliver clean stills and
video; combining the two approaches footage at higher sensitivities.
effectively represents a remarkable Not to be confused with Picture In one of several major spec bumps, the S5 II gains
upgrade for the Lumix S5 II. Styles/Controls, the new Real-Time a full-size HDMI port over the S5’s micro HDMI port.
Another key upgrade includes LUT feature allows you to bake in the
Active I.S, which utilises the power same LUTs you may use to grade your
of an entirely new image processor. content while colour grading. This Build and handling
Active I.S. deploys algorithms that can time-saving trick applies to stills The Lumix S5 II looks and feels assuredly
detect and anticipate camera motion, and videos and will appeal to people tough, thanks to its boxy aesthetic and
particularly when the camera operator who want to achieve a specific look deep, texturised grip. The viewfinder hump
is also moving. The S5 II can monitor without spending extra time on it. has been expanded from that of the S5 to
the 5 axes of motion and prioritise In terms of video, the S5 II is a 10-bit house a new cooling system, to help deliver
intended movements while video specialist. Almost all of its practically unlimited video recording. This
suppressing unwanted movement. extensive recordable video formats has added some additional size to the body,
The new processor and sensor can be captured with a maximum now fractionally taller by 5.2mm, as well
combo is also designed to deliver of 10-bit colour, including 4:2:2 10-bit as weight – up 26g from 714g to 740g.
greater colour depth and detail, as well C4K/4K 60p video, which has Despite the new fan vents on either side
as a maximum of 14 stops of dynamic no video recording limits. of the electronic viewfinder, the S5

KitZone
Mirrorless Panasonic Lumix S5 II
Jon Devo
Face detection AF works well here to pick out individual faces in a crowded place like the Tokyo subway. Exposure: 1/160 sec at f/4, ISO 2500. Lens: 24-105mm F4.
II impressively retains a degree of camera would maintain the settings then flip it out is vital for keeping
dust and splash resistance. It also between movies and stills modes the screen clear of cables, especially
has a full die-cast magnesium alloy independently. But you do have the large full-sized HDMI inputs, so this
frame, providing comprehensive choice of creating custom menus is frustrating. As is the lack of a tally
protection against bumps and drops. and up to three custom profiles light, important for creators on or
People who regularly need to on the mode selection dial. behind the camera, as well as other
switch between photography and The LCD display appears to be people being filmed. You can tether
video will find doing so on the S5 II the same 1,840k one from the GH6, the S5 II to a compatible smartphone
intuitive, although the experience just without the brilliant mechanism. or tablet via the Lumix Sync app,
would be even more seamless if the Being able to tilt the screen up and though, which works well.
Performance
Rival cameras What most people want to know is how
good is the Lumix S5 II’s autofocus is,
and how it compares to the S5. For the
majority of situations, the Lumix GH6
and Lumix S5 (the most recent Lumix
cameras) are pretty reliable, if not
fast. But the Lumix S5 II combines
DFD technology and phase detection
Canon EOS R6 Mark II Nikon Z 6II Sony Alpha 7 IV autofocusing to deliver a system
£2,779/$2,499 £1,929/$1,997 £2,399/$2,499 that is a significant step up in terms
A fully loaded mid-range A light refresh of its Extremely powerful and of speed and consistency.
mirrorless, this 40fps predecessor, the Z 6II extremely advanced, but
Looking through the camera’s bright
speed demon makes gets a second memory the A7 IV can be quite
mincemeat of other card slot and an extra complex to set up and
3,680k OLED viewfinder, the camera
hybrid cameras. image processor. use if you’re new to Sony. detects subjects immediately, forming
Reviewed: issue 264 Reviewed: issue 237 Reviewed: issue 249 a dynamic box around both humans
and animals. It can also detect faces
and eyes when subjects are in

Panasonic Lumix S5 II Mirrorless
Lab tests
Resolution
Jon Devo
The Lumix S5 II handles low-light situations well, holding onto details in the shadows and
keeping the highlights in check. Exposure: 1/13 sec at f/1.8, ISO 8000. Lens: 18mm F1.8. With 33MP on tap, it’s no surprise the Sony A7 IV is
the camera to beat in this sector. The S5 II’s images
are a little more prone to exhibiting moiré than
Jon Devo
those from the Canon and Nikon cameras.
Dynamic range
The S5 II is strong here, almost matching the

class-leading Z 6 II throughout the test range. At high
ISOs the Panasonic can capture as much as 2EV more
dynamic range than the Canon and Sony cameras.
Signal to noise ratio (decibels)

The camera handles the exposure of these towers in downtown Tokyo well against
the bright sky. Exposure: 1/1600 sec at f/5, ISO 1600. Lens: 18mm F1.8.
proximity, and it will highlight those variants), I was able to get some
as well. Autofocusing is reasonably decent shots of birds in flight, but
customisable: speed and sensitivity tracking their movement without
can be selected, and you can also the assistance of an algorithm tuned
choose from Human, Face/Eye, to predict their movement was more
and Animal+Human detection. challenging than I’ve found when
The S5 II consistently and quickly using cameras like the Sony A7 IV
identifies subjects as they enter the or Fujifilm X-H2S.
frame and with multiple people in the Turning to video, the Lumix S5 II The S5 II’s images exhibit very similar levels of noise
frame, you can use the joystick or tap is a standout camera in its class, to those from the EOS R6 II, though images from
the screen to prioritise a person. offering a raft of recording and the Z6 II are marginally cleaner across the range.
Shooting stills, the S5 II can handle video monitoring options that are
7fps bursts of RAW+JPEG with uncommon at its price point. The S5 Digital Camera verdict
continuous AF for roughly 200 II can be used to produce cinematic
frames. If you need more speed, quality footage that doesn’t need
its mechanical shutter can do 9fps
with AF-S or 30 frames per second
any correction in post-production
if you’ve exposed it to your tastes 5.0 A best-in-class product
using its electronic shutter with and perhaps taken advantage of the
AF-C. (At the time of testing Real-Time LUT feature. Its 10-bit files
5.0 4.5 5.0 5.0
I was using a camera with pre- are robust enough to tune saturation
production firmware.) in standard profiles, however, as
Features Build & Performance Value
From a panning burst of a person well as recover moderately blown handling
running in flat light for bursts of 10-20 highlights and raise underexposed
The Lumix S5 II has a quality 24.2MP sensor, paired
frames, the camera lost focus slightly shots without the quality of your clips
with an image processor that was co-developed
on one or two frames. But there were breaking down. It also comes with a
with Leica. It can capture rich stills at up to 30fps
still plenty of usable shots. full V-Log as standard and allows you in E-Shutter mode and offers unbeatable image
Trying to photograph birds was a to pre-load up to 10 .cube LUT files stabilisation. Its phase hybrid autofocusing system
little tougher. Using both of the Lumix for assistance when shooting matches or in some cases beats cameras above its
S Pro 70-200mm lenses (F4 and F2.8 flat footage. Jon Devo price range. Oh, and it has a full-sized HDMI port.

KitZone
Mirrorless Canon EOS R50
The EOS R50 has a

compact form factor,
and the hand grip is
correspondingly small.
1 3
2
Three RF-S mount

lenses are available,
but RF mount optics
are also compatible.
A 24.2MP APS-C sensor

(the same as the EOS
R10’s) takes care of
stills and video capture.
Canon EOS R50

£789/$679 (body only)
An M50 ported to the RF-S mount – with big improvements
w w w.c anon .co.uk
Specifications anon might not be 33 RF-mount lenses, and there are
C
willing to admit it, but no signs of this slowing down.
Sensor: 24.2MP APS-C (1.6x crop) the EOS R50 seems to Still, while the Canon EOS M50
Lens mount: Canon RF, RF-S indicate that the EOS M will continue to be sold, the EOS R50
Image processor: Digic X experiment is over. If manages to supersede its spiritual
Autofocus: Dual Pixel CMOS AF II nothing else, it’s pretty inarguable that predecessor in almost every way.
AF points: 4,503 AF positions (3,713 for video) the R50 is the spiritual replacement
ISO range: 100-32,000 (exp to 51,200) for the EOS M50 Mark II. Key features
In-body image stabilisation: None The EOS M range of cameras sold The EOS R50 produces 24.2MP still
Max image size: 6,000 x 4,000px exceptionally well, being the favourite images using its APS-C-sized sensor
Metering modes: Real-time with image sensor, tool of many a vlogger and travel – which is the same one featured in
384-zone metering; 4 modes incl Evaluative & Spot photographer who wanted a small the EOS R10. It is also capable of
Video: 1080p up to 120p, 4K up to 30p (uncropped) social media-oriented camera. 15 frames per second continuous
Viewfinder: 0.39 OLED EVF, 2.36 million dots Whether Canon ever took the EOS M shooting speeds using the electronic
Memory card: 1x UHS-I SD seriously is up for debate, releasing shutter, which is incredibly quick
LCD: 2.95-inch fully articulating more camera bodies than it ever and would have been unthinkable
touchscreen, 1.62 million dots made lenses – and a new lens for a camera of this size and cost
Max burst: 15fps electronic shutter, 12fps mechanical for the EF-M mount has not just a few years ago.
Connectivity: Wi-Fi, Bluetooth (4.2), been released since 2018. The EOS R50 uses the Canon RF
Canon Camera Connect, Multifunction Shoe, However, Canon has avoided mount, which supports RF-S lenses
micro HDMI, USB-C, microphone repeating the same mistakes with designed for its APS-C lineup of
Size: 116.3 x 85.5 x 68.8mm its second attempt at mirrorless cameras – so it goes without saying
Weight: Black: 328g body only (375g with cameras; in only five years it has that EF-M mount lenses for EOS M
card and battery). White: 329g (376g) released 13 EOS R bodies and cameras will not work with this

Canon EOS R50 Mirrorless
4 7
Shoot from many Content creators

5
different angles with will love the dedicated
the rear touchscreen. video recording button.
6
5 8
Fully articulating, it The PASM mode dial

offers 1.62 million keeps things simple,
dots of resolution. with just nine positions.
4
6 9
There’s an AF point Accessories can be

selector and AE lock, charged through the
but no AF start button. Multifunction Shoe.
Subject Blur Guide is a new feature on the EOS R50.

Track the horizontal green line with the camera and
the R50 optimises settings for better panning shots.
one, meaning that those hoping good Dual Pixel Autofocus, but it is
for a quick upgrade from the M50 a pared-down AF and does not have
or M50 Mk II might be disappointed. the latest subject-tracking additions
Canon’s APS-C sensors have a crop from Canon’s higher-spec cameras,
factor of 1.6x (unlike the standard 1.5x including horses or aeroplanes. It does
crop of APS-C sensors from other have face and eye detection, though it
manufacturers), meaning that the lacks Canon’s automatic eye priority
same focal length displayed on your (which switches between a subject’s
lens is narrower than on a full-frame closest eye during video recording).
camera, so this is something to bear The R50 comes with the new
in mind if you like to shoot very wide. Multifunction Shoe, and the usual
Video can be captured in 4K 30p, selection of ports, including a micro
which has been oversampled from HDMI, USB-C connector and a 3.5mm
6K, or in Full HD (1080p) up to 120p. mic jack. There are several wireless
The R50 uses the entire width of connectivity options, with
the sensor, so there is no forced
video crop, though there is the
aforementioned 1.6x APS-C crop. “The EOS R50
The R50 has no in-body
stabilisation, but can use Canon’s supersedes the
digital stabilisation system, or employ
the optical stabilisation present in M50 Mark II in Taken on an R50 with a Canon EF 50mm f/1.8 STM,
most of Canon’s lens lineup. The used via an EF-EOS R mount adapter, the camera’s
camera possesses Canon’s insanely almost every way” sensor has captured a pleasing fall-off in focus.

KitZone
Mirrorless Canon EOS R50
Handheld Night Scene Full Auto
To provide smartphone-esque ease of use, the EOS R50 offers new or enhanced automatic modes, including Handheld Night Scene. The final result when using this
mode (left), which captures multiple frames and merges them automatically, is usable straight from the camera – a capture using full Auto is shown on the right.
built-in Wi-Fi, Bluetooth 4.2 and Build and handling

the image.canon cloud service. If you didn’t think the EOS R10 could
There are specific features for shrink down any further, then think
content creation, such as a selectable again. The EOS R50 is an even more
aspect ratio for social media (like miniature version of that camera, and
natively shooting in 16:9). The R50 it sits very much in the EOS R family of
can also shoot in vertical orientation styling, dropping the more boxy hard
and save the end result in a vertical edges from the M50 for smooth curves.
orientation, for immediate use A few buttons from the R10 have fallen
in mobile apps like TikTok. by the wayside, with the R50 more
There are new creative options closely resembling its EOS M brethren.
Single frame in Scene Intelligent Auto. Creative On the top there is just one control
bracketing is one new example, wheel, a mode select dial, an ISO
enabling you to automatically apply button, and a record button. On the
different creative filters to your images, rear of the camera there is no joystick,
giving a choice of effects. The camera but the usual selection of buttons is
also has a Panoramic mode, which will there, matching the M50. The inclusion
automatically stitch several images of an articulating touchscreen will
into one panoramic photo. make vlogging and shooting at
awkward angles much easier.
Looks-wise, Canon has stuck to its
Focus bracketing is another feature guns with the R50; it looks very much
found within the new Advanced A+ mode, like a Canon camera. For a camera that
accessed via Scene Intelligent Auto. It has a big focus on vlogging, it is notable
Final image takes multiple frames, using different focus that Canon has not tried to make this
positions, and merges them automatically. look a little more on-trend with today’s
image-conscious influencers, who tend
to covet classic-looking camera bodies.
Rival cameras Performance
The R50 shares the same 24.2MP
APS-C sensor and Digic X processor
as the R10. With a focus on vlogging
and hybrid content creation, it is great
to see that the R50 uses the full width
of its sensor to capture oversampled
Canon EOS M50 Mk II Nikon Z 30 Sony A6100 4K footage. Gone is the frustrating
£599/$599 £678/$706 £679/$748 video crop that has plagued previous
Compact and capable, A dedicated point-and- Upgrade to the A6000 Canon cameras like the M50, although
takes great stills and shoot video camera, the entry level APS-C CSC,
you still need to deal with the 1.6x crop
1080p video, although 20.9MP Z 30 is well built with new 24.2MP sensor,
its 4K mode is too and is a capable offering image processor and
from using an APS-C sensor.
compromised. at an attractive price. hybrid AF system. That 1.6x crop can come in handy,
Reviewed: issue 242 Reviewed: issue 260 www.bit.ly/dca6100 though, and with fast 15fps burst
shooting you can even use this
camera for some wildlife and sports

Lab tests
Resolution
Both Canon cameras and the Sony have sensors with

a pixel count of approximately 24MP. Consequently
these three models resolve very similar amounts of
fine detail, and narrowly outperform the 20.2MP Z 30.
Dynamic range
The EOS R50 is available in a bundle with an RF-S 18-45mm IS STM kit lens, but this image
shows what it can produce when using a prime lens (the RF 50mm F1.8 STM) for portraiture.
Against the M50 Mk II, the R50 captures around 1EV

extra dynamic range at ISO 6400 and beyond. Both
Canons can’t match the Nikon here; its lower MP
count results in larger, more light-sensitive pixels.
A 3.2-second exposure at f/11, ISO 100, using an RF-S 18-45mm F4.5-6.3 IS STM lens
at 18mm, showcases the capabilities of Canon’s famed colour science. The two Canons are virtually inseparable throughout
the tested sensitivity range. Again, the Z 30 makes use
of its lower MP count to produce images that are less
photography, with more affordable moving, and how quickly new noisy than those from the R50 at higher sensitivities.
optics like Canon’s RF 600mm f/11 IS developments trickle down to
STM and RF 800mm f/11 IS STM being the lower end of the market.
more appropriate-sized telephoto Social media-focused additions such Digital Camera verdict
lenses for such a miniature camera. as vertical video shooting and creative
This actually puts it as a faster readout filters are very welcome additions
than the EOS R5, which just shows
how fast camera technology is
that should make content creation
even faster and more seamless and 4.5 Outstanding
cement this camera’s purpose.
One thing you won’t find on this
4.0 4.0 5.0 5.0
video-focused camera is in-body
“Faster and more stabilisation, which is a shame, but
that is not unexpected at this price
seamless content
handling
point. However, the camera does
The Canon EOS R50 is the perfect companion for
make use of Canon’s in-built digital
creation cement stabilisation at the expense of a tighter
content creators and travellers who want a small
and simple-to-use camera. With a solid spec sheet,
crop, or you can rely on the optical
the purpose of image stabilisation to be found in the
including 24.2MP still images and 4K video, you can
get a lot of quality from this tiny camera. And with
latest Canon RF and RF-S lenses.
the EOS R50”
the guided user interface and the straightforward
Gareth Bevan menu system, the R50 couldn’t be simpler to use.

KitZone
Zoom lens Canon RF 15-30mm F4.5-6.3 IS STM
Specifications
3
Mount: Canon RF
Full-frame: Yes
Lens construction: 13 elements in 11 groups
Angle of view: 110.5 to 71.5º
Autofocus: Yes
1 Image stabilisation: Yes
2 Max aperture: f/4.5
Min aperture: f/22-32
Diaphragm blades: 7
Min focus distance: 0.28m
(0.128m, MF at 15mm)
Max magnification ratio: 0.16x
(0.52x, MF at 15mm)
Filter size: 67mm
Dimensions (L x D): 88 x 77mm
Weight: 390g
Canon RF 15-30mm
F4.5-6.3 IS STM
£669/$499
Particularly small and light for its type
w w w.c anon .co.uk
Sharpness
he Canon RF 14-35mm L-series lens is 1 As usual with wide-angle lenses, scores for sharpness
T
compact and lightweight, but the RF 15-30mm at very short focal lengths aren’t flattering towards
is particularly small for its type. Designed Designed for full-frame EOS
the edges and corners of the frame.
R-system bodies, this lens will
with full-frame R-system cameras in mind,
be a good fit for APS-C models Fringing Short 0.37 Long 0.3
it’s also a good fit for APS-C format bodies.
like the EOS R7, R10 and R50. Lateral chromatic aberration can be noticeable
When you want to go wide, this lens obliges with a maximum
towards the edges and corners, but they can be
viewing angle of 110.5º. Not just for expansive landscapes,
2 taken care of with automatic in-camera correction.
the zoom range is also well suited to cityscapes and
architectural interiors as well as vlogging and selfies. Two barrel switches keep Distortion Short -9.49 Long 0.28
The 5.5-stop optical image stabiliser is a bonus when things simple: functions for Auto correction for distortion can’t be disabled
shooting indoors, especially given the modest aperture the forward control ring and in-camera, but disabling it in raw files reveals heavy
rating. It’s particularly useful when using the lens with stabilisation on and off. barrel distortion at the short end of the zoom range.
EOS R-system cameras that don’t feature IBIS (in-body
image stabilisation). On those which do, combined 3 Digital Camera verdict
stabilisation is boosted to 7-stop effectiveness.
Its low weight and relatively
4.5
diminutive stature makes
Performance the 15-30mm well suited to
Outstanding
Autofocus is speedy for stills and enables smooth transitions shooting scenics and travel.
when shooting movies. The optical image stabiliser lived up
to its 5.5-stop billing in our tests, as well as delivering the
4.5 4.0 4.5 4.5
advertised 7-stop effectiveness in tandem with IBIS.
Decent edge/corner performance is maintained at the
more challenging short end of the zoom range. Like many handling
recent lenses designed for mirrorless cameras, the RF
Compact and lightweight, the Canon RF 15-30mm
15-30mm produces a huge amount of barrel distortion at
F4.5-6.3 IS STM is also more affordable than the
its shortest focal length. As such, it relies on automatic brand’s 14-35mm and 15-35mm L-series RF-mount
in-camera correction for distortion, which can’t be turned options. It packs a 5.5-stop optical stabiliser and
off via menu settings. There’s also very heavy vignetting Some darkness in the corners some upmarket glass. Good build quality, handling
when shooting at or near the shortest focal length with of captures is evident when and performance make it worth the price, but it
the widest available aperture. Matthew Richards working towards 15mm. lacks weather seals and the hood is sold separately.

Laowa 90mm F2.8 2x Ultra Macro APO Prime lens
Specifications
1
1
3 3 Mount: Canon RF, Leica L, Nikon Z, Sony FE
Full-frame: Yes
Lens construction: 13 elements in 10 groups
Angle of view: 27º
2 Autofocus: No
Image stabilisation: No
Max aperture: f/22
Min aperture: f/22
Diaphragm blades: 13
2 Min focusing distance: 20.5cm
Max magnification ratio: 2.0x
Filter size: 67mm
Dimensions (L x D): 120 x 74mm
Weight: 619g
Laowa 90mm F2.8

2x Ultra Macro APO
£569/$499
This will have you seeing double
w w w.ve nu s l e n s . ne t
Sharpness
uite compact for a 90mm macro lens, the Laowa 1 The Laowa is super-sharp across the entire image
Q
is nearly one and a half inches shorter than the frame. Sharpness is retained at narrow apertures,
No weather-seals but
previous 100mm mirrorless lens, but only a fifth the lens feels robust which you might want to use in extreme close-ups.
of an inch shorter than the DSLR version. As with and well-engineered.
its predecessor, it has a fixed physical length, Fringing 0.24
so there’s no externally telescoping inner barrel. 2.0x macro Colour fringing is negligible at all aperture settings,
2 both in terms of lateral chromatic aberration and
magnification is available at the shortest focus distance of
The manual focus ring’s axial chromatic aberration.
20.5cm, or eight inches. As always, that’s measured from the
focal plane of the camera rather than from the front of the lens. smooth action makes
fine adjustments easy. Distortion 0.14
The fact that the lens focuses internally means it avoids cutting It’s virtually a zero-distortion lens. Technically,
down the working distance between the front of the lens and the there’s the merest hint of pincushion distortion,
subject when you’re shooting close-ups. In practice, while the 3 but it’s practically impossible to spot in images.
front element remains in place, the inner elements are deeply Metric and imperial
recessed at the infinity focus setting, and move forward right distance scales feature Digital Camera verdict
up to the front end as you focus down to the closest setting. on the lens barrel.
Performance
As promised for an ‘apochromatic’ lens, lateral and axial chromatic 4.5 Outstanding
aberrations are minimal, and image quality is boosted by three
ED (Extra-low Dispersion) elements in the optical path. 3.5 4 4.5 4.5
The lens also retains sharpness and clarity at narrow apertures,
suffering little from diffraction. That’s good news for macro Features Build & Performance Value
photography, where you’ll often try to eke out anything more than handling
a wafer-thin depth of field to retain sharpness. After all, shooting flat
If you feel that bigger is better when it comes to
objects head-on is of limited appeal unless you’re a stamp collector.
macro magnification, you’ll be delighted that this
When it comes to blur, the Laowa’s quality of bokeh is soft and lens can reproduce small areas at up to twice life
creamy, and remains very pleasing when stopping down, helped by size on a camera’s image sensor. It’s a fully manual
a particularly well-rounded 13-blade aperture diaphragm. All in all, This lens rates very lens designed for mirrorless cameras, but has great
premium overall performance and image quality make this a highly highly when it comes handling and all-round performance. All in all, it’s a
desirable and relatively affordable macro lens. Matthew Richards to sharpness. sound choice for compatible mirrorless cameras.

Filter
holders
Looking to take creative control of your
exposures? Then you’ll need one of these
ilters are particularly square filter holder systems can be
F
useful for getting the much easier to use than a collection
correct exposure in of screw-in circular filters, as you
landscape photography, can switch between different-sized
as seen in this image. lenses with ease.
But if you’re looking to Some types of filter work much
invest in a filter system, better in a square system – for
then purchasing a example, graduated Neutral Density
decent filter holder is essential. Filter filters, where the photographer needs
holders make it quick and easy to the flexibility to be able to move the
change between individual filters, gradient up and down in the frame.
plus you can stack filters on top of Here are our five best-buy filter
each other. While they may seem holders, some of which are also
more cumbersome at first glance, available in kits. Angela Nicholson
106 D I G I TA L C A M E R A MAY 2023 www.digitalcameraworld.com

Filter holders Group test
Capture stunning landscapes,

seascapes and light trails with
an ND grad filter – paired with a
robust and reliable filter holder.
The contenders
1 Marumi M100 100mm Magnetic Filter Holder £142.69/$149.95
2 Formatt Hitech Firecrest 100mm Holder Magnetic Kit £175/$189
3 Cokin NX Series Filter Holder £100/$99.99
Getty
4 Kase Wolverine Series K9 Filter Holder kit £146/$139

5 Lee Filters LEE100 Holder £79/$115.50
Group test Filter holders
Specifications
Filter size: 100mm

type filters
Mount: Screw-fit via
adapter rings
Construction:
Aluminium with
magnets
Kit option: No
Marumi M100 the holder is slimmer than many others,

but it can only be used with 100mm-type
100mm Magnetic
filters that are mounted in a frame that
is subject to magnetic attraction.
A cog in the bottom of the holder
Filter Holder
knits with the knurled rim of the
Marumi adapter rings to enable the
Circular Polariser to be rotated without
£142.69/$149.95 touching the filter itself. It’s good to see
a light seal around the aperture in the
Marumi’s use of magnets in its M100 Marumi 100mm Magnetic Filter Holder,
as this prevents light leaks during
holder means that it’s very quick and long exposures.
easy to swap between different filters Build and handling
Marumi (or possibly H&Y) makes the filter
w w w. marumi - global .com
holder from aluminium and it has a fairly
chunky main section that gives it a very
t may not be the best-known section for it. Similarly, it needs filters solid feel overall. The filter holder is held
I filter manufacturer, but Marumi

has been in the optics industry
for over 85 years. It produces
that are in a frame and designed to
mount by magnetic attraction.
on the adapter ring by two screw-down
retainers, one on either side of the back
of the retainer. These prove very tricky
a huge range of filters with screw-in, round Key features to use when the adapter ring is on the
magnetic and square filter options. The Marumi supplies the M100 100mm lens, and instead it’s better to mount
company’s square and rectangular filters Magnetic Filter Holder with 72mm, 77mm the adapter ring on the holder and then
are produced in collaboration with H&Y and 82mm adapter rings, but the holder screw the whole thing onto the lens.
and feature an H&Y frame that allows can be mounted on lenses with other filter Once an adapter ring has been mounted
them to be mounted in the Marumi threads via a step ring (not included). The on the holder, the polariser can be moved
M100 100mm Magnetic Filter Holder. adapter rings have a wide, smooth rim into position. Without an adapter ring, the
As well as the standard graduated that enables them to be threaded easily polariser is too small to be held by the
neutral density (ND) filters, Marumi offers onto a lens, and a slightly recessed holder. Fitting the polariser reveals a little
more exotic options like reverse graduated knurled section that can rotate surprise: it isn’t magnetic. Fortunately,
ND and centre graduated ND filters, which separately from the outer part. when it’s screwed into the correct position,
can be useful when photographing sunset Marumi’s Circular Polariser fits the polariser is held pretty tightly, but it
or sunrise. Marumi sells the 100mm within the raised edge of an adapter ring. doesn’t always slip straight into the right
Magnetic Filter Holder (M100) filter by Because the Marumi holder uses magnets place and it’s a bit fiddly. Consequently,
itself, but the Circular Polariser for M100 to hold square and rectangular filters, it’s important to be very careful with the
is specifically designed for use with it and there are no guide rails or filter slots to fit, especially if the lens is tipped forwards
the holder, and its adapter has a dedicated thread the filters into. This means that and no other filters are in use. If a square
or rectangular filter is in use, it will keep
the polariser in the holder even if it
isn’t screwed in properly.
“The magnets are strong, but it’s still fairly The M100 holder is designed to be
used with Marumi’s filters, which feature a
easy to push a filter up or down if you need magnetic frame made by H&Y. These are
pulled magnetically onto the holder and
to adjust the position of a graduation” are held securely. The magnetic

Key features
What to look for with the M100
FOR
Strong magnets keep
100mm Magnetic Filter Holder Easy to transport
The filter holder and
square filters in place
Metal construction
three adapter rings Graduation marks help
come in a handy with filter positioning
soft pouch.
AGAINST
The polariser filter
isn’t magnetic
The holder is fiddly
to mount and unmount
Requires framed filters
Magnetic attraction
Rectangular and
square filters will
attach in a snap.
Circular argument
The polariser isn’t
magnetic, so screws
into position.
Adapter rings
72, 77 and 82mm
sizes are included.
attraction is strong enough for up to it easy to rotate it into the correct position attached to the adapter ring before it is
three filters to be stacked together. to give the desired level of polarisation. screwed onto the lens. This isn’t especially
If there’s a graduated filter, this can be problematic unless you want to change
Performance rotated by moving the whole holder on between lenses with different filter thread
The square filter-holding section of the the adapter ring, and the polariser can be sizes on a frequent basis when you’re out
Marumi 100mm Magnetic Filter Holder moved again to compensate if necessary. in the field. It would be quicker if each
is only the depth of one filter, but you can lens had its own adapter already mounted,
stack one or two on top using the magnetic Verdict but instead you have to put the different-
attraction to keep them in place. The The Marumi M100 100mm Magnetic Filter sized adapters onto the holder before
magnets are strong, but it’s still fairly easy Holder is robust and well made. Thanks to it can be mounted.
to push a filter up or down if you need to its use of magnets, it’s very easy to mount
adjust the position of a graduation.
There’s a small screw in one side of the
holder that can be tightened to prevent a
and adjust square and rectangular filters.
However, I’d feel more confident using
a polarising filter by itself if the Marumi
3.5 Very good
filter from being moved up or down, but Circular Polariser for M100 was magnetic.
this only acts upon the first filter in the Its screw-fit design isn’t as easy to use
4.5 3.0 4.0 4.0
holder, although it keeps it in place well. as you’d like. In addition, while the fixing
When the polarising filter is in position, mechanism enables the holder to be held
the cog at the bottom of the holder makes very securely on a lens, it needs to be handling
www.digitalcameraworld.com AUGUST
SPRING 2023
2018 D I G I TA L C A M E R A 109
Specifications
Filter size: 100mm

type filters
Mount: Via magnetic
adapter rings
Construction: Metal with
plastic filter guides
Kit option: Yes
The holder, polarising filter and the rings or

another filter, plus a magnetic lens cap, can
Formatt Hitech be stored in the supplied pouch, which can

be used to cover the polariser whether the
Firecrest 100mm
holder is or isn’t mounted, provided that
there are no filters in the holder slots.
Holder Magnetic Kit

Build and handling
The Firecrest 100mm Holder is made from
lightweight aluminium, so it feels solid
£175/$189 without being heavy. It is mounted on a
lens adapter by hooking its two fixed tabs
Combines the convenience of onto one side of the adapter ring, pushing
it back onto the ring and then screwing
magnetism for a polariser with the closed the third (blue) tab on the
flexibility of slots for square filters opposite side of the first two.
Unlike some filter holders, there’s no
spring in the Firecrest 100mm Holder’s
w w w.f ormat t- hite ch .com
mounting mechanism. This means there’s
no satisfying snap as the holder clips into
place; instead you just have to ensure that
K-based Formatt Hitech is lenses with an 82mm filter thread. There the tab is wound down tight. It makes for
U not the most widely known

filter manufacturer, but it’s
a respected brand by those in
are also two step rings in the kit to allow
the 86mm adapter to be mounted on
lenses with 77mm or 72mm filter threads.
a secure grip, but on a couple of occasions
when I first used the holder, I didn’t have
it in quite the right place.
the know. The Firecrest 100mm Magnetic The holder body is made from aircraft- Square or rectangular filters can be slid
Holder is an update to the Firecrest 100mm grade aluminium, while the filter guides are into the filter guides without a polariser
Holder MKII, and introduces a magnetic made from plastic. Slots enable up to two in place on the magnetic adapter ring,
attachment for the polariser, which on the square/rectangular filters to be mounted in but if you want to mount or remove the
old system was hard to unscrew in the cold. the holder, but Formatt Hitech provides an polariser, you have to remove the holder.
extra pair of guides, plus longer screws, to A fuzzy light seal around the inside edge
Key features enable up to three filters to be mounted. of the holder butts up against the first
Like other filter holders, the Formatt Hitech To prevent light from hitting filters from square or rectangular filter mounted in
Firecrest 100mm Magnetic Holder mounts behind while they’re mounted in the holder, the holder, and the provided covers also
onto a lens via a magnetic adapter. The there are two sets of covers that can be slot on snugly to ensure no light gets in.
supplied circular polariser is mounted via slotted onto the top and bottom of the The ‘vented’ covers, which have a
magnetic attraction, while the holder for holder. One set is ‘closed’ for use with rectangular aperture to allow rectangular
square and rectangular filters is attached square filters, while the second set filters to pass through, are such a snug
mechanically. Formatt Hitech supplies two is ‘vented’ to enable rectangular fit that they need to be mounted after the
magnetic adapters in the kit: one for lenses graduated filters to be moved filters. It’s possible to adjust the position
with an 86mm filter thread, and another for up and down in the holder. of a graduated filter while the vented
covers are in place, but I couldn’t get
a filter to thread into the slots when
they were in position.
“The holder grips the filters securely,
Performance
which means there’s little chance Once the magnetic adapter ring is on a
lens, the circular polariser snaps neatly
of them falling to the ground” into place. Then, with the holder fixed

Key features FOR

Easy polariser
What to look for with the Formatt Hitech

attachment and use
High-quality construction
Firecrest 100mm Holder Magnetic Kit Compatible with a wide
range of filters
AGAINST
Flexibility is key As the polariser is included,
Two magnetic
the kit is expensive
adapters, plus a pair
Holder must be removed
of step rings, are
supplied in the kit. before the polariser can
be removed
Care needed to ensure
the holder is mounted
In-cog-neato
Turn this to adjust the
degree of polarisation.
Versatile holder
Up to three square
or rectangular filters
can be mounted.
Reassuring build
Metal construction
inspires confidence.
on, the cog on the side of the holder allows to enable the supplied extra filter slots to can be popped into position between shots
you to adjust the degree of polarisation be added if necessary. Most photographers once any square filters have been removed.
without having to touch the filter itself. are likely to be satisfied by the ability to Recently, I’ve tested a few filter systems
The position of any graduated filters mount a polariser and up to two square or that use frames around the filter, and while
slotted into the holder can be adjusted rectangular filters, but for those who need the initial set-up of the filter seems a faff,
by rotating the holder on the adapter a third, it only takes a few minutes to insert this approach does avoid putting finger
ring, with the polariser cog being turned the extra slots – just keep an eye on the prints on the filter. With the Firecrest
to compensate if necessary. It means position of the polariser adjustment cog. 100mm Holder, you need to have a lens
you can adjust the respective positions cloth at the ready to keep the filters clean.
from behind the camera and while Verdict
looking through the viewfinder. Formatt Hitech’s Firecrest 100mm Holder is
The holder grips the filters securely,
which means there’s little chance of them
falling to the ground, but there needs to
well made and its metal construction gives
confidence that it will last. The polariser
mount is assured and the holder mounts
4.5 Outstanding
be support from the opposite direction securely. Unlike the Lee Filters LEE100
to the movement when you’re adjusting Holder, it doesn’t have a locking or half-lock
4.0 4.0 4.5 4.5
their position to prevent the camera from mechanism, but it does have a slick means
moving. Formatt Hitech provides an Allen of adjusting the rotation of the polariser. It’s
key with the Firecrest 100mm Holder also good to have a magnetic lens cap that handling
SPRING 2023
2018 D I G I TA L C A M E R A 111
Specifications
Filter size: 100mm

type filters, Cokin L
(Z-Pro series)
Mount: via adapter rings
Construction: Aluminium
Kit options: Five are
available; all include
the holder and a
circular polariser
only want to do once, so it’s well worth

ensuring that you have a frame for
Cokin every filter that you’re likely to use.

The filter is held in the frame by a small
NX Series Filter Holder

aluminium tab that must be removed to
allow the filter to be slipped in. The tab is
secured on the frame by two tiny screws,
£100/$99.99 and though they are easy to remove,

refitting them is a frustratingly fiddly job.
I lost a screw or two in the process, but
Cokin’s NX Series Filter Holder is built to last thankfully, Cokin provides a couple of
and has features that should make it a popular spare screws with the frames.
Once an adapter ring has been mounted
choice among discerning photographers on the lens filter thread, the holder can be
clipped onto the adapter. It’s held by two
cokin.com metal tabs, one of which is sprung to allow it
to be pulled back while the holder is aligned
on the adapter before the clip is released.
okin offers three series of The holder is made of aluminium and is able It keeps the holder securely on the lens.
C filter holders – Creative and Evo

holders, which are available in
a range of sizes, and the newer
to accept a Cokin circular polarising filter
(CPL) and up to two square or rectangular
filters in their frames. Before it can be
With the holder on the lens, it’s time to
mount a filter. If you want to use a polarising
filter, mount this first as it pushes neatly
NX Series. The latter is designed for use mounted on a lens, an adapter ring must be into a dedicated circular area in the holder
with 100mm-type square and rectangular screwed on to the filter thread of the lens. and sits close to the lens. A small metal cog
filters from a range of brands including The low profile of the holder and the filter in the filter holder engages with teeth in the
Cokin. What sets the NX Holder apart from frames mean that the system is suitable for CPL filter’s frame so that it can be rotated
most other filter holders is that the filters use with focal lengths as short as 16mm. easily while you look in the viewfinder.
need to be mounted in an aluminium frame Now you’re ready to slide a framed filter
before they can be used. Cokin makes these Build and handling into the holder. I found it helpful to touch the
frames to fit 100x100mm square filters The NX Series Filter Holder is made from end of the filter frame onto the top of the
and rectangular graduated filters. aluminium, and while it’s lightweight, it feels holder and then slide it onto the row of ball
strong and looks well-made. Most filter bearings closest to the lens. This avoids any
Key features holders have slots for accommodating the misalignment or straddling the two rows of
In an odd quirk, Cokin’s graduated 100mm filters, but the NX Filter Holder has two rows ball bearings. If you want to insert a second
filters are 143.5 x 100mm, while most of of four ball bearings on either side. These filter, rest its frame against the first filter’s
its competitors’ filters are 150 x 100mm. ball bearings fit into slots in the filter frames frame and then slide it into position.
Consequently, Cokin makes two sizes of so that the filters slide smoothly into place.
rectangular filter frame and one square Before you use a filter, it needs to be Performance
frame, so it’s important to ensure that mounted in one of Cokin’s filter frames. As soon as you start using the NX Series
you have the correct size. Cokin sells This is not something you want to do out Filter System, any frustration with mounting
the frames separately an as part of a kit. in the field; it’s also something you really the filter frames is forgotten because they
make the filters much easier to handle. The
broad tab at the top makes an ideal holding
point so you can adjust the filter position
“Any frustration with mounting the filter or remove it easily with less chance of
covering it in fingerprints than with
frames is forgotten because they make many other filters.
I used the holder with both Cokin
the filters much easier to handle” Nuances Extreme filters and filters from

Key features
What to look for with the FOR
Cokin NX Series Filter Holder Low profile and robust build
Frames make filters easier
Adapter rings to handle
72, 77 and 82mm Suitable for use with
rings come in the
wide-angle lenses
Starter Kit or can be
bought separately.
AGAINST
Requires filter frames
NX filter frames are
very fiddly to fit
Tricky to remove the polariser
Get framed up
Filters must be
mounted in a frame.
Fine adjustments
Turn this cog to
rotate the polariser.
Well manufactured
Made from aluminium
and low in weight, the
holder still feels strong.
Lee Filters, and aside from the difference in it out with a fingernail or poke it through polarising filter has to be removed. Neither
the length of the graduated filters from the from the back after the holder has been of these is insurmountable. With patience,
two brands, there’s no difference in how removed from the lens. In a pleasing touch, good light, a decent precision screwdriver
they slip into the filter. They push in easily the filter holder has a light seal that does a and a clear table, the filters can be mounted
and are held securely, yet are easy to adjust. good job of excluding light when an ND filter in their frames ahead of their first use, and
Cokin claims that the NX Series Filter is fitted for a long exposure during the day. it doesn’t take long to work out a way of
Holder is suitable with lenses as short as removing the polarising filter. After using
16mm. I found no reason to question this Verdict the NX filter system, these points seem
and although there was slight vignetting While circular filters, especially those with a small price to pay for the performance.
in some images that I shot with a Canon a magnetic mount, are quicker and easier
RF 14-35mm F4L IS USM at 14mm on a to use, a holder is required for the proper
full-frame Canon R5, it wasn’t problematic.
The Cokin NX Series CPL works very
well with the holder, as the cog mechanism
use of a graduated filter. The Cokin NX
Series Filter Holder makes a great choice,
having delightful build quality and
5.0 A best-in-class product
makes it easy to adjust the rotation holding the filters securely.

precisely, plus there’s no danger of touching There are only really two issues that
5.0 4.5 5.0 5.0
any of the filters in the process. The only count against the NX Series Holder:
hiccup is that it’s awkward to remove the the fiddly screws for mounting the filter
CPL from the frame; you either have to hook frames, and the awkward way in which the handling
SPRING 2023
2018 D I G I TA L C A M E R A 113
Specifications
Filter size: 100mm

type filters
Mount: Screw-fit via
adapter rings
Construction: Aviation-
grade aluminium;
plastic filter guides
Kit option: Yes
Kase Wolverine Series

K9 Filter Holder Kit
£146/$139
Kase’s 100mm K9 filter holder is well
made, easy to use and relatively
affordable. What’s not to like?
kasefilters.com
ase offers an extensive range of polarising filter, as the two are designed
K filters, with everything from 150

x 170mm filters to rear-mounted
filters that slot into the back
to work together. The polariser frame
has a magnetic rim that holds it onto the
magnetic geared adapter ring, which has a
of some lenses. There’s also a choice of knurled edge that knits with the cog in the
circular magnetic filters and square or side of the holder. This allows the polariser
rectangular filters that fit into one of to be rotated without touching the filter.
the company’s holders. The holder is designed to take 100mm-
Kase offers two different-sized filter type square or rectangular filters, and in
holders: a small one for 75mm-type filters the USA it comes with two different sizes Take greater creative control of your captures
with a neutral density filter, which has enabled a
that are suited to small mirrorless cameras; of slot: 2mm and 1.1mm. The 2mm slots
long exposure to smooth the flow of a waterfall.
and two holders that are designed for are fitted as standard, as that’s suitable for
100mm-type filters. These are the Kase most 100mm-type filters. In the UK, only
Wolverine Armour 100mm Filter Holder the 2mm slots are provided, but 1.1mm
system, which has magnetic frames to slots can be supplied by special order. Build and handling
surround 100mm rectangular filters, and Kase supplies the holder with two geared The Kase Wolverine Series K9 filter holder is
the more widely known Kase Wolverine adapter rings for mounting it on a lens: made from aviation-grade aluminium, which
K9 100mm Filter holder, as reviewed here. 77-90mm and 82-90mm. This means they is CNC-machined, and it has a pleasing
can be mounted on the lens with a 77mm matte-black anodised finish. The filter
Key features or and 82mm filter thread. There are also slots, two on each side of the holder, are
Although Kase offers the Wolverine Series two step-rings in the box, however, which made from plastic, and there are graduation
K9 Filter Holder by itself, it primarily sells it enables the holder to be mounted on marks on the front to help guide the
as a kit with the 90mm magnetic circular lenses with a 67mm or 72mm thread. positioning of a graduated filter. Should you
need it, a third set of filter slots is provided
in the kit, and can be added to the holder
using the supplied hex tool and longer
“The Wolverine K9 filter holder is made screws. Made from aluminium, the holder
is lightweight, but also very strong.
from aviation-grade aluminium, and it has Once an adapter ring is threaded onto
the filter thread of a lens, the holder is
a pleasing matte-black anodised finish” mounted by turning the small red knob

Key features FOR
What to look for with the Kase

Lightweight metal
construction
Wolverine Series K9 Filter Holder kit Kit includes a magnetic
polariser
Accepts a wide range
of 100mm filters
In the box
Two adapter rings
and two step rings AGAINST
are included, plus a Including the polariser
magnetic polariser. increases the cost
Filters by Lee Filters don’t
thread as smoothly as Kase’s
The holder clip isn’t sprung
Secure mounting
Wind this knob to fix
the holder to the lens.
A great match
The 90mm polariser is
designed to complement
the K9 Filter Holder.
Smear-free tuning
Use this cog to
adjust the polariser
without touching it.
until the red tab is withdrawn. Then it’s just the polariser to move around in the holder, it’s also robust. The magnet makes it easy
a case of fitting the holder over the adapter as it’s the geared adapter ring that meshes to mount the polarising filter and the cog
ring before turning the knob in the opposite with the cog/dial on the holder’s side. or dial lets you adjust the degree of
direction to move the tab back into position. Kase’s Wolverine K9 filters have a fairly polarisation while you look in the viewfinder
It would be good to have a sprung clip that wide curved chamfer at each corner. This without touching any of the filters. The
can be pulled back and then released, but makes them easy to slip into the filter Wolverine Series K9 holder is compatible
the screw-close clip is very secure. It can guides and slide up or down into position. with any 2mm-thick 100mm-type filters,
also be tightened sufficiently to prevent Lee Filters rectangular filters don’t have but works especially well with Kase’s own.
the holder from rotating, which is handy such a wide curve, and as a result they
with a graduated filter. don’t slip as smoothly into position – in
Performance
The Kase Wolverine K9 filter holder fits
fact, I found that they are prone to catching
on their way in, and need a little wiggle
to send them fully-home.
4.5 Outstanding
easily onto an adapter ring on a lens and,

as mentioned, winding the red knob fixes Verdict 4.5 4.5 5.0 4.5
it securely. Once the holder is in place, the The Kase Wolverine Series K9 Filter Holder
magnetic polariser snaps into position is very well made. It’s light in weight and
when it’s offered up. There’s room for not as bulky as some other holders, but handling

Specifications
Filter size: 100mm

type filters
Mount: Via adapter rings
Construction: Injection-
moulded composite
Kit options: Three are
available, including
Landscape and Long
Exposure variants
The LEE100 Holder mounts onto a lens

via an adapter ring, and it’s compatible
Lee Filters with all the existing adapter rings. It also

has spring release catch with a lock that
LEE100 Holder
can be set to one of three positions:
Neutral: The holder can be rotated
and removed or knocked off if caught
£79/$115.50 by clothing or something similar, thus

protecting the camera and lens from a fall.
Half-lock: The holder can be rotated,
Lee’s 100 Filter System is one of the best- but it’s locked to the adapter ring and
known and most widely used filter systems, cannot be removed.
Full-lock: The holder cannot be rotated,
so how does the LEE100 Holder shape up? and is locked in position, so cannot be
removed from the adaptor ring.
leefilters.com
Build and handling
While it doesn’t feel as tough as the earlier
Lee Filters 100 series holder, the new
ee Filters is one of the best- clip-in filter guides in place of the screw-on LEE100 Holder looks more refined and
L known names in photographic

filters, and its 100 Filter System
is very popular. In March 2019,
type of the older holder. The company
supplies the holder with three pairs of
guides that enable it to hold one, two
modern. It has a weave pattern that looks
like carbon fibre, but it’s actually made
from injection-moulded composite.
the company introduced a new filter holder or three square or rectangular filters in Once an adapter ring is fitted on a lens,
and polariser; some photographers were addition to a circular polariser at the front. the holder is mounted by hooking its two
surprised because the old holder had The new guides just click into place and fixed tabs into the ring’s notch and then
served them well for years. However, the a tool is provided to help slide them out of pulling back on the catch’s release knob
new LEE100 Holder looks and feels more position to use one with a different number as the holder is eased back towards the
modern and does away with the need to of slots. I opted to use the two-slot guide, ring. The knob can be released as
use fiddly little screws to attach the filter as this enables me to use a Big Stopper soon as the holder is in place.
guides. The LEE100 Holder is compatible ND filter (or similar) and a graduated filter. The release lock is the blue ring at the
with all existing Lee Filters 100 filters, In addition, the polariser filter mount is base of the release knob. If the knob is on
as well as same-sized filters from other integrated into the new holder, while the the right when you’re behind the camera,
brands. However, as I’ll explain later, old holder requires a circular adapter ring the lock is in the neutral position when the
the (old-style) LEE Filters 105mm to be mounted onto its front. The downside, largest tab on the ring is facing towards the
Landscape Circular Polariser Filter can however, is that instead of having a screw camera. Rotating the lock ring clockwise
only be mounted via an adapter ring. thread, the new LEE100 Polariser has a through 90°, so that the large tab is facing
bespoke clip mount. Fortunately, there’s upwards when the camera is in landscape
Key features a 105mm Polariser Ring (£39/$58.50) orientation, sets it to half-lock. From that
Lee Filters makes the LEE100 Holder from that enables anyone with the old-style position, rotating the lock through 180°
injection-moulded composite, and has polariser to mount it in the new holder. anti-clockwise (it won’t move clockwise),
so the larger tab is facing downwards,
sets the lock to full-lock.
“While it doesn’t feel as tough as the earlier Performance

It’s easy to attach the LEE100 Holder onto
Lee Filters 100 series holder, the LEE100 a lens once the adapter ring is in place and
Lee’s square and rectangular filters slip in
Holder looks more refined and modern” smoothly. Lee Filters recommends that you

Key features
Clip-in guides
What to look for with the The holder is
supplied with three
FOR
Lightweight design
Lee Filters LEE100 Holder pairs of guide blocks, Attaches securely to
plus a removal tool. a lens when locked
Compatible with a
wide range of filters
AGAINST
Adapter required to fit Lee’s
older 105mm polariser filter
Tricky to remove the polariser
No markings on the locking
mechanism
Refined and modern

Holder is made from
a composite material.
Bespoke clip mount

Lee’s 105mm CPL can
also be mounted, via a
cost-option polariser
ring (£39/$58.50).
Release knob
Use this to select neutral,
half- or full-lock positions.
remove the holder before mounting the a technique that worked consistently for the transition. While the polariser snaps in
LEE100 Polariser, but I found it snaps on me. When the holder lock is in the neutral or easily enough, it can take a while to get the
pretty easily and without much force, so half-lock position, it can be rotated around knack of removing it. Because there are
I usually attach it when the holder is on the the lens fairly freely until any graduated no filter frames or geared controls, when
lens. Removing the polariser, however, is filters are in the correct position. With you’re adjusting the rotation of the polariser
another matter – there’s a knack to it. I find that done, the knurled front ring of the or repositioning a rectangular filter, you
that the easiest way to remove the polariser polariser allows it to be rotated to give need to take care to avoid putting
from the LEE100 Holder is to take the the desired degree of polarisation. fingerprints on the optical surfaces
holder off the lens, hook my index finger as you reach around with your hand.
under the catch on the inside, then reach Verdict
my thumb over the release knob and press The Lee Filters LEE100 Holder looks good
the tip onto the ridged tab of the polariser
and push forwards. It takes a little pressure
rather than extreme force, so if it doesn’t
and is lightweight so it doesn’t add much to
your burden in the field. With the right-size
lens adapter ring, it fits quickly and easily on
4.0 Excellent
move, then you haven’t got the technique to a lens and square and rectangular filters
quite right. You should only press one slide smoothly into position. The lock is a
4.0 4.0 4.5 4.5
of the polariser tabs, not both. real bonus when you’re using a graduated
Despite watching a video about using filter because it prevents any accidental
the LEE100 holder, it took a while to find movement after you’ve carefully aligned handling

The results are in…

ƺɀɎ‫ٮ‬ƫɖɵˡǼɎƺȸǝȒǼƳƺȸɀ
he use of magnets and filter advisable to have a frame for every filter of the bunch here – it’s very well-made and
T frames is transforming filter

holders and the way we use
filters. There’s some short-term
you use rather than swapping them around,
but the long-term gains soon become
apparent, as the filters are easier to handle.
enables precise adjustments of the filter.
However, if you prefer to avoid using
filter frames, the Kase Wolverine Series
pain in fitting a frame to your filters, and it’s The Cokin NX Series Filter Holder is our pick K9 holder makes an excellent choice.
JȒȒƳ Better Best

Formatt Hitech Firecrest 100mm Kase Wolverine Series K9 Cokin NX Series
Holder Magnetic Kit Filter Holder Kit Filter Holder
Good value for money, and the holder’s Light in weight but robust; included Filter frames are essential, but the filters
rugged build quality inspires confidence. polariser is easy to mount and rotate. are held securely. Delightful build quality.
How the
filter holders
compare Marumi M100 100mm Formatt Hitech Firecrest Cokin NX Series Kase Wolverine Series K9 Lee Filters
Magnetic Filter Holder 100mm Holder Magnetic Kit Filter Holder Filter Holder Kit LEE100 Holder
Contact www.marumi-global.com www.formatt-hitech.com www.cokin.com www.kasefilters.com www.leefilters.com
Filter size 100mm type filters 100mm type filters 100mm type filters, 100mm type filters 100mm type filters
Cokin L (Z-Pro series)
Mount Screw-fit via magnetic Via magnetic Via adapter rings Screw-fit via Via adapter rings
adapter rings adapter rings adapter rings
Construction YAluminium with magnets YMetal with plastic NAluminium YAviation-grade aluminium; NInjection-moulded
filter guides plastic filter guides composite
Kit option No Yes Five are available; all include the Yes Three are available, including
holder and a circular polariser Landscape and Long
Exposure variants
Price £142.69/$149.95 Y£175/$189 £100/$99.99 £146/$139 £79/$115.50
Features
Build & handling
Performance
Value
Overall

KitZone
TESTING
UPisDsuAeT26E6
See n
for hands-o
preview
Lab tests
Resolution
Predictably, with all four comparison cameras
Canon EOS R8 having ~24MP sensors, outright resolving power

is almost identical across the group.
Dynamic range
£1,699/$1,499 (body only)
A remarkably light and powerful camera
w w w.c anon .co.uk
Key specifications f you are enamoured with the
I
features of the Canon EOS R6
Sensor: 24.2MP full-frame CMOS Mark II, but it’s beyond your At sensitivities below ISO 3200, the EOS R8 is capable
Lens mount: Canon RF budget, then the EOS R8 is the of capturing a class-leading dynamic range. However,
ISO range: 100-102,400 (exp 50-204,800) camera to consider. It just does it it can’t quite compete with the Panasonic and
AF points: 4,897 AF positions (4,067 for video) all, for online content creators who want hybrid Sony cameras at higher ISOs.
Video: 4K up to 60p (6K oversampled), 1080p cameras for photography and video, enthusiast
up to 180fps, C-Log3, HDR PQ, 4:2:2 10-bit photographers looking to try a full-frame sensor
Viewfinder: 0.39 OLED EVF, or students on a budget, the R8 ticks most of
2.36 million dots, 120fps the boxes. Sure, there are some compromises,
LCD: 3-inch fully articulating but for the technology this camera offers, these
touchscreen, 1.62 million dots all seem like fair trade-offs. Packing all the
Max burst: 40fps electronic shutter, benefits of a full-frame sensor, such as
6fps first curtain electronic shutter shallower depth of field and expanded dynamic
Memory card: 1x UHS-II SD range but in a light and affordable package, the
Size (W x H x D): 132.5 x 86.1 x 70mm R8 is one of the most well-rounded cameras
Weight: 414g (body only) accessible to most people. Gareth Bevan
At higher ISOs where noise is most visible, all four

Rival cameras cameras perform very closely, although the EOS
R8’s images are marginally more noisy.
Digital Camera verdict
Nikon Z 5
£1,349/$1,397
A very good entry-level
Panasonic Lumix S5
£1,799/$1,997
A tough act to beat in
Sony A7 III
£1,699/$1,998
Great autofocus and
4.5 Outstanding
full-frame camera, with the sub-£2,000/$2,000 continuous shooting;

IBIS and weather-seals. market segment. uncropped 4K video. 4.5 4.5 4.0 5.0
Reviewed: issue 234 Reviewed: issue 235 Reviewed: issue 203
handling

Right: Capturing a
moment when the
INTERVIEW light conspires in your
favour can transform
an otherwise dull
scene, says Brain.
Benedict Brain
Benedict
Brain
Photographer
and author
Our regular columnist has just published

Benedict Brain is a UK-based
photographer, journalist
and author. He balances
his personal practice with his first book about photography – but
writing about photography
and running photography
workshops and enrichment
it isn’t a ‘how-to’ technique manual,
programmes.
as Niall Hampton discovers
Brain is often seen on the
judging panel of prestigious
photo competitions and in
2020 he founded the Potato
Photographer of the Year
competition to encourage
creativity during the ongoing
T
Covid-19 lockdowns.
his month’s interviewee Which photographers inspired you when
Brain travels internationally
needs little introduction, you were starting out?
as a public speaker, talking
about the art and craft of as he has penned ‘The I remember seeing a Bill Brandt exhibition in
photography. He also sits Art of Seeing’ column in my early teens, which was inspiring. It opened
on The Royal Photographic Digital Camera since 2019 (see page 39). In my eyes to the possibility that photography
Society’s Licentiate fact, Brain’s columns have inspired his first was an art. Later, on my art foundation
distinctions panel. book, You Will Be Able to Take Great Photos course in Bristol, I discovered the work
By the End of this Book, which goes on sale this of photographers such as Ralph Eugene
www.benedictbrain.com month. So let’s find out more about the book, Meatyard, Duane Michals and Robert Adams
and what it contains, from the man himself… and I was also introduced to the work of John
Blakemore. Blakemore was also a teacher at
What first attracted you to the medium the Derby School of Art and this played a large
of photography? role my in wanting to study photography there,
I was always interested in art as a child. which I did. Blakemore, Olivier Richon and
I chanced upon photography when an the other lecturers at Derby made lasting
inspiring teacher gave me The Puffin Book of impressions on me. Looking back, it was
Photography as a prize for making a model of an invaluable education.
a Saxon village – I used real wattle and daub
and think that clinched it for me. The teacher, You’re known for your artistic and cerebral
Ed Collacott, was a keen photographer and in approach to photography – how long did
WIN fact went on the become a full-time landscape it take you to establish this niche?
A SIGNED photographer himself. I was about 10 at the It’s always been there – I think I’ve always had
COPY! time and the book inspired me to make a the mindset of an artist. The degree at Derby
Enter now: darkroom at home with some old equipment helped articulate some of the ideas, or at least
www.bit.ly/ I cobbled together. The rest is history, and sow the seeds. It wasn’t a very practical degree
dcm267brain Ed and I are still friends today. in the business of photography. In

Benedict Brain
Benedict Brain
Right: The ‘frame within a

frame’ technique is a great
addition to a photographer’s
creative repertoire, says Brain.
Below: Brain’s photograph of

a tree shows how the rule of
thirds can be used to ‘arrange’
the composition of images.
fact you could say I graduated virtually unemployable

as a photographer. However, it did give me a
foundation in creative, critical thinking which in
the long term has been infinitely more valuable.
You travel a lot – which part of the world has been

the most interesting for you to photograph?
I do travel a lot, mainly as an ‘artist in residence’ and
lecturer on cruise ships. It’s a wonderful experience
for which I’m very grateful. However it’s also a very
strange way to experience the world. I’m often
in places for very short periods of time, and it’s
challenging to make in-depth work. However, the
experience of the journey, fleetingly slipping in and
out of countries, is becoming my main subject. So in
a sense it’s the idea of the journey that interests me as
much as the destinations. If I had to pick somewhere
to return to and spend a lot of time working on an
in-depth project without the fear of missing the
boat – literally – then I’d probably return to Alaska.
Before lecturing on cruise ships, you also worked

as cruise ship photographer. What did that involve?
In a nutshell, I was part of a team of photographers
– there were about nine of us. We’d take photographs
of the guests getting on and off the ship, shaking
hands with the captain, in the dining room, and
I even had to dress up as a pirate.
We’d also set up formal portrait studios. We’d shoot
somewhere in the region of 40,000 photos a week,
Benedict Brain
on 35mm and medium-format film. We’d process and

print the film in an onboard lab, put the prints on a
gallery wall and flog them to the passengers. It was
the hardest work I’ve ever done. We’d work seven
122 www.digitalcameraworld.com
Benedict Brain
Benedict Brain
days a week with no day off for anywhere between

seven and 10 months. We made great money and
had an absolute hoot. It was wonderful.
Photographically, it was very different from my
experience of studying photography at Derby. It was
a bit like training as a gourmet chef and then getting
a job in a burger joint. That said, it was a brilliant time
and I leant an awful lot from that experience, too.
Photography workshops are a significant part

of your practice. Are you teaching the skills,
the mindset or a combination of both?
I always focus on the mindset in the first instance.
I think it’s important to let ideas and creativity inform
any technical skills that might be needed to realise
a concept. I think it’s a much better way to learn
new techniques and more importantly develop
as a creative individual.
You recommend On Being a Photographer, the

book by Bill Jay and David Hurn. What do you
particularly like about it, and are there any other
key texts that you recommend in your workshops?
Yes, it’s one book that I always recommend to artistic and conceptual angle. Using examples from Top left: Brain placed stones
photographers, no matter where they are on their my work, I’ve presented ideas that might stimulate collected from a Cornish
photographic journey. It’s very accessible and photographers to think about their image-making beach on a lightbox, changed
essentially a friendly discussion between two great from a more creative perspective. None of the images the angle each time and
layered the shots in-camera.
photographers. It’s jargon free but tackles some really rely on fancy complicated techniques, and while
interesting ideas. I’m also a big fan of most of Robert I may have used a ‘proper’ camera to make most
Above: A fast shutter speed
Adams’ writing, and his photography for that matter; of the photos, they could have been made using of 1/1000 sec froze this dog,
his book, Beauty in Photography, which I’ve been a humble smartphone camera. So in a sense but knowing when to press
dipping in and out of for 30 years, is a constant the shutter was a crucial part
source of inspiration. And Paul Hill’s book of the process, says Brain.
Approaching Photography is another gem.
“It’s important to let ideas
Turning to your own book now, it contains much
key information about photography but it’s not and creativity inform
a technical manual. Who is it targeting?
You’re right, it’s not a technical manual, although some any technical skills that
core skills are touched on. Much like my workshops the
focus is on approaching photography from a creative, might be needed”

Benedict Brain
Benedict Brain
How much have your columns for Digital Camera,

‘The Art of Seeing’, influenced your book?
A lot. In fact, the act of writing the column for past
five years or so helped me articulate my thoughts
and approach to my practice. Thinking about why
I have taken a photograph rather than how and
articulating that into 400 words has been an
incredibly useful process. I’d recommend anyone
aspiring to grow as a photographer to try jotting
down their thoughts on a regular basis.
You make images of a wide range of subjects,

but do you have a preference for photographing
people or things… or is that distinction irrelevant?
I think it is kind of irrelevant. When people ask me
which kind of photographer I am, I never know how
to answer. I’ve taken to saying that I’m ‘genre fluid’.
Benedict Brain
Working for so many years in photography has

exposed me to a wide range of disciplines and
approaches, especially writing technique features for
magazines. I feel as if all this is coming together now
and my own style is emerging. It’s an ongoing process.
Top: Challenging typical
it’s aimed at anyone from a casual smartphone I also find it curious why photographers seem to
depictions of wildlife in Alaska. photographer to a more serious enthusiast. I hope be so compelled to define and categorise themselves.
that people will use it as a creative springboard I don’t sense you see this so much in other art forms.
Above: On a suburban street to explore and engage with the world, using I like photographing people, although I sometimes find
in a port town in Costa Rica. the language of photography. it challenging . I like photographing in the landscape,

Benedict Brain
Benedict Brain
but not in a conventional sense – I’m probably happier picture to look at, but I like that it’s hard-hitting and Above: Focusing on the
on a roundabout on the outskirts of a semi-industrial a little uncomfortable. It challenges typical depictions of background and using
zone than in front of a classic vista. Nearly all my wildlife in Alaska, such as a bear catching salmon on-camera flash has
photographs are taken on my travels, yet I don’t fall in a waterfall. Hopefully it raises questions about overexposed the flowers
in the foreground – an
in the category of a ‘travel’ photographer (whatever humanity’s relationship with nature and the
intentional choice by Brain
that really means). I feel very lucky to be out in the environment. I like it when photography can do that.
to express a sense of place.
world making photos, and in a sense I simply respond
to wherever I happen to be. It’s real privilege to be
able to take photographs of what I want and then
write about that process in magazines and books.
“Articulating why I have taken a
Do you have a favourite image from You Will
be Able to Take Great Photos… and why? photograph rather than how has
Now that is a tricky question. Probably the image of
the wolf rug in Alaska on page 164. It’s not a pretty been an incredibly useful process”

Benedict Brain
Benedict Brain
You concluded your column in the March issue by Above: A straightforward

saying that you were beginning to get a clearer idea capture of some tulips,
of your photographic identity, and were maybe but one which evokes and
getting closer to finding your photographic voice. accentuates the ethereal
Are both of these still a work in progress, then? quality of natural light.
That’s a really interesting question. I think it will always
be a work in progress. But I am getting to the point
where my style, approach, choice of subject matter
and way of seeing is becoming recognisable as mine.
For me this is more important than people ‘liking’ my
images, although it’s even nicer if people like them too!
You believe that mastering one focal length will

make one a better photographer. Which one?
If I had to use just focal length it would be 35mm
(in full-frame terms). In fact, I rarely use anything
else anyway. However, 50mm (full-frame) is a great
focal length to start with as its field of view closely
approximates that of the human eye. If you need
to be closer or further away, then simply walk.
Is shooting full-frame or in medium format

the best option for the images you make?
I currently use a mixture of both. For most of my work, You Will be Able to Take
the medium-format Fujifilm GFX 50R with one or two Great Photos by the End
Benedict Brain
primes (equivalent to 50mm and 35mm) is perfect. It’s of this Book by Benedict
relatively easy to travel with, the files are sublime and Brain is published by
give me enough information to make large prints. I also Ilex Press (ISBN 978-
use the Sigma fp L, which is an amazing camera in a 1-78157-868-1), priced
Above: An example of how negative space – the area around neat little package. At the end of the day, the ‘right’ at £18.99.
or between a subject – can be put to good use in photographs, camera is a very subjective choice and what might www.octopus
says Brain. This is particularly useful in architectural shots. work for me could be a disaster for someone else. books.co.uk

Next
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www.digitalcameraworld.com SPRING 2023 D I G I TA L C A M E R A

Trivia quiz
What the f-stop?

How much do you really know about
photography? Test yourself to the max
with Chris George
every issue with our tricky trivia quiz!
How many types of CFexpress
7 card, of different physical sizes,
are there?
A One
B Two
C Three
D Four
Which of these is not an AI

8 image generator?
A ChatGPT
B Dall-e 2
C Midjourney
D Craiyon
What does the WW stand for in

9 a RGBWW LED lighting panel?
A White White
B Warm White
C Warm Warm
D White + Warm White
What does pushing a film entail?

10
Stephen J. Boitano/Getty
A Deliberately underexposing
a film and then increasing the

processing time
B Deliberately overexposing
a film and then increasing the

processing time
This Nikon-shaped car can travel What was the nickname of Harold C Deliberately overexposing
1 at up to 25mph and was made by
4 Edgerton, the man who pioneered a film and then decreasing the
Sudhakar Yadav, whose wacky flash photography? processing time
invention can be seen on display A Wyatt D Deliberately underexposing
in a museum. But where? B Virgil a film and then decreasing the

A Mulhouse, France C Deputy processing time
B Nashville, USA D Doc
C Hyderabad, India
D Yeovil, UK DJI is the biggest manufacturer

5 of camera drones in the world. How did you do?
Which make of mirrorless cameras But what does DJI stand for? 10 points You’re a photo mastermind!
2 uses the X-mount? A Drone Jinjiang International 8-9 points Fantastic, you’re a brainiac
A Pentax B Drone Japan Industries 6-7 points Really good score
B Hasselblad C Da-Jiang Innovations 4-5 points Respectable, but no cigar
C Fujifilm D Daishu Jet Inc 2-3 points We’ll keep your score secret
D Panasonic
0-1 points Epic fail
Which camera bag manufacturer
Which of these is not a book by
6 is celebrating its 50th
3 fashion photographer Nick Knight? anniversary this year?
A Skinhead A Tenba
B Nicknight B Billingham
C Flora C Domke ANSWERS 1 C, 2 C, 3 D, 4 D, 5 C, 6 B, 7 C, 8 A, 9 D, 10 A

D Fauna D Think Tank

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15 BONUS GIFTS!

Issue 266 April 2023 www.digitalcameraworld.com

FREE! WITH THIS ISSUE

Niall Hampton, editor

Instagram: Email: digitalcamera

Tony North / IGPOTY

Photo skills Regulars

Shoot the spring! Shot of the Month 96 Panasonic Lumix S5 II

74 Our tech-spert’s latest musings

As Digital Camera readers will

The best camera is always the

Our resident tech columnist

enjoys considering the latest

Having shot every station on the

Mapper Project, Luke’s second

Transform your images Buyer’s Guide ebook

ENTER THIS URL ACCESS YOUR FILES

6 D I G I TA L C A M E R A SPRING 2023 www.digitalcameraworld.com

Having crafted a reputation

Alistair Campbell shadows Sam East in producing commercial,

on a shoot with a Maserati sports car automotive images.

oday, we’re taking Quattroporte Trofeo. For any

T Devon with product

Preparing the car

10 D I G I TA L C A M E R A SPRING 2023 www.digitalcameraworld.com

Camera Sony A7 IV Camera Sony A7 IV

Lens Canon EF 24-70mm f/2.8L II USM

www.digitalcameraworld.com SPRING 2023 D I G I TA L C A M E R A 11

Shooting with Lens

“With a fixed focal length, prime

“The biggest advantage of using

“To get the most from primes, you

www.digitalcameraworld.com SPRING 2023 D I G I TA L C A M E R A 13

the Maserati can shuttle up and down,

35mm, 50mm and 85mm) while the car is

www.digitalcameraworld.com SPRING 2023 D I G I TA L C A M E R A 15

16 D I G I TA L C A M E R A SPRING 2023 www.digitalcameraworld.com

1/3200 f/1.2 ISO

The beauty of backlighting

aving an understanding light source is emanating from behind

www.digitalcameraworld.com SPRING 2023 D I G I TA L C A M E R A 17

Use a fast aperture

Get it right in-camera Choose a good location

Top kit: lens hood

18 D I G I TA L C A M E R A SPRING 2023 www.digitalcameraworld.com

hotography has always

P been a happy place for

Top tele tactics

Use manual focus for sharpness

Soften the background for creative DoF effects

Here, the selection of a wide aperture

leaning your sensor, and the best bit is that

24 D I G I TA L C A M E R A SPRING 2023 www.digitalcameraworld.com

L I take a smartphone with

using their phones to take photos and

26 D I G I TA L C A M E R A SPRING 2023 www.digitalcameraworld.com

1/800 f/2 ISO

www.digitalcameraworld.com SPRING 2023 D I G I TA L C A M E R A 27

Shoot in Portrait mode

28 D I G I TA L C A M E R A SPRING 2023 www.digitalcameraworld.com

Top kit: Huawei

Zoom in and out Edit your images

www.digitalcameraworld.com SPRING 2023 D I G I TA L C A M E R A 29

1/1000 f/2 ISO