WELCOME

© Christoph Schaarschmidt
“From everyone at Digital Photographer, we wish
you a happy holiday season and a creative 2023”
What a year it’s been! In
the photography journalism
business, we often say that
camera and kit releases come
along like buses – nothing
materialises for ages and then
suddenly you have to choose
between four or five press
conferences to attend. This
issue, we had the pleasure of putting together our
annual Gear of the Year awards, where we take look
back at all of the kit that passed through our office
doors and impressed us the most this year. You can
begin reading it on p24 of the magazine.
Winter is a time of short days and long nights, and
if you can’t swim against the proverbial tide, go with
it, we say. To that end, we’ve got 13 pages of advice
on shooting long exposures, turning a practical
necessity into an exciting creative opportunity for
our photography. This one starts on p36 of the
magazine. Next up, if you’re like me and find the
steady replacement of DSLR cameras bittersweet,
turn to p96, where we have rounded up the best
value, pro-level examples that are still going strong
today. Take a walk down memory lane and save
yourself some cash in the process. Plus we have the
usual essential career advice (p72) pro insight (p14)
and techniques (p50).
We know times are a little tough for many right
now, so as we head into the new year, I’d like to take
the opportunity to thank all of you for joining us
every month. From everyone at Digital Photographer,
we wish you a very happy holiday season and a
prosperous, creative 2023!
Peter Fenech, Editor
peter.fenech@futurenet.com

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

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creative and practical effects. You
can find this on p36 of the magazine.
Meanwhile, she has also crafted a
tasty natural light food shot tutorial
(p56) and, on p64, she explores how
to make Instagram work for you.
Website:
digitalcameraworld.com
our Shoot Like A Pro feature on
p14. Here, Karyn explains how she
captures impactful documentary
images at dramatic vigils and
protests while remaining both
safe and respectful in the process.
Website:
rubyldn.uk
the perfect person to explain how
to earn some extra income from
your blog or website by teaming
up with affiliate partners. Discover
his essential tips on this trick of the
trade on p66 of the magazine.
Website:
dadfarphotography.com
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BENJAMIN MATTHEW BARBARA

BARAKAT RICHARDS ASBOTH
Ever wanted to Matthew is our Barbara is a
travel to exotic resident expert in professional
locations with all things camera wedding,
your camera and tech. This month, portrait and
earn some money he has rounded up branding
in the process? some of the best photographer.
Running workshops might be the value pro-grade DSLR cameras to In our Pro Column on p114, she
answer but, as Benjamin explains in find the model offering the ideal value explains the process behind
our PhotoCV feature on p70, there of quality and price while proving her #Unfiltered project, which Future PLC is a public
company quoted on the
Chief executive Zillah Byng-Thorne
Non-executive chairman Richard Huntingford
is much to consider. Read about his once and for all that, even in 2023, encourages women to celebrate London Stock Exchange Chief financial officer Penny Ladkin-Brand
(symbol: FUTR)
career journey for some essential tips DSLRs aren’t dead yet. See p96 of their natural appearance through www.futureplc.com Tel +44 (0)1225 442 244

on how you might get started. the magazine to start reading. the medium of photography.
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Contents
Social space
70 Photo CV
We asked night photographer Benjamin
Barakat about his career path and for his
advice on how to make it in the business
76 Interview
How underwater photographer Maria Munn
discovered the joy of shooting amazing
hidden worlds in extreme circumstances
84 Guru Shots
The winning images from our Amazing
Architecture challenge with Guru Shots
114 Pro column
Barbara Asboth’s #Unfiltered examines
women’s self-esteem through photography
Practical skills
24 Gear of the Year 2022
From the top cameras, the latest lenses or
the most useful accessories, we’ve visited
the archives to bring you the best of 2022
36 Pro long exposures
Learn all the right kit, composition methods
and technical skills you will need to achieve
stunning pro-level long-exposure shots
50 Creative Project
James Abbot gives you the lowdown
on adding an extra dimension to your
landscape images by getting down low
56 Shooting tutorial
Forget complex lighting setups, we’ll show
you how to improve your still life and product
shots by using the natural light available
6
© Scott Jessiman
84 Guru
Shots
GEAR OF
THE
Editing suite
58 Photoshop tutorial
Add a cinematic colour effect using the
blending tools and gradient map to colour
YEAR
grade your images in Adobe Photoshop
60 Lightroom tutorial
Lightroom comes with many lens correction
profiles as presets but if yours isn’t included,
24
we’ll show you how to create your own
Gear of the
62 Affinity Photo tutorial Year 2022
In our new series of Affinity Photo tutorials,
we show you how to sharpen your image non-
destructively using the live band-pass mask
Pro advice
14 Shoot like a pro
Peter Fenech meets photojournalist Karyn
Louise to discover the skills required for
shooting dramatic shots that tell a story
64 Print and share
Instagram’s algorithm favours videos and
reels, so follow these tips on how you can
beat the system and promote your images
66 Career feature
Being a successful photographer requires
many sources of income, one of which could
be paid promotions. We look at the do’s and
don’ts of working with affiliates
72 Career advice
Need some ideas on how to sell your fine art
14
photos, find textured backgrounds on a tight
budget or get inspired for your social media
Shoot
© Karyn Louise
posts? Claire Gillo is here to help out
like a pro
 36 Long

© Steven Ross
exposures

76 50 66
© James Abbott
© Maria Munn

© Kav Dadfar
Interview Creative project Work with affiliates

New kit
and reviews 96 Top value
96 Group test: DSLRs
Everyone’s going wild for mirrorless, but
DSLRs
DSLRs still offer good value and lens choice

104 OM System OM-5

The branding has gone, but does everything
good about Olympus live on in the OM-5?

108 GoPro Hero11 Black

GoPro’s latest Hero11 has the biggest sensor
we’ve seen on one of its action cameras

110 Lenses
We test the Fujifilm Fujinon XF18-120mm
F4 LM PZ WR and the Nikkor Z 35mm f/1.8 S

112 Accessories
Treat your kitbag to these ten goodies
 Free e-book to download
Master the Light
For photographers, light is essentially a paintbrush and the
digital sensor inside our DSLR or mirrorless camera is the
canvas. It’s therefore essential that we get the best from
the light and use it to guide our compositions effectively.
Pro photographer Peter Eastway is an expert in getting
the best from the light, both in terms of shooting and
editing. In this e-book, he explores the role of lighting in
successful photos and examines the ways in which it
can influence your work. Learn how to master the light
and create your most dramatic images yet.

To claim your free e-book, visit

https://bit.ly/3UhH0Ms

Enter our Photocrowd

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

Review test shots

We think test shots
are important when it YOUR
comes to reviewing
and comparing the
FREE ASSETS
latest kit, but we know are available to download
it’s hard to tell the on pages where you
difference between see this icon
test images when they
are printed in the DOWNLOAD THE
magazine. You can TEST SHOTS
open, view and compare https://bit.ly/3UhH0Ms
test shots from our kit reviews anywhere
you see the download icon, pictured on the right.

8
 IN FOCUS
© Benjamin Briones Grandi, Max Rive, Martin Broen, Daniel Mirlea, Julie Kenny

INTERNATIONAL LANDSCAPE
PHOTOGRAPHER OF THE YEAR 2022
Chilean photographer Benjamin Briones Grandi wins grand prize of $5,000
The International Landscape
Photographer of the Year 2022
(ILPOTY) award has been won by
Chilean photographer Benjamin Briones
Grandi for his series of painterly images.
Now in its ninth year, the ILPOTY received a
staggering 3,813 entries and the top 101 will
be included in the 2022 ILPOTY book.
Briones Grandi takes home the top prize of
$5,000 in cash, a NiSi 100m V7 professional
100mm filter kit, worth US$1,199, plus a copy
of the ILPOTY 2022 awards book. His series
of four images selected from the portfolio
category includes landscapes that truly look
out of this world, from monochromatic, white
deserts to mountains doused in magical light.
While his photos are of real places, they give
the impression of fantasy, far-away worlds.
The overall winner for the single image
category was awarded to Martin Broen from
the USA, who will receive the same prize as
Briones Grandi. His photo ‘Flooded Cave’
(above right) was taken on the Yucatan
Peninsula in Mexico. Second place was
awarded to Mitja Kobel for ‘Dusk of the Alpine’,
while third place in the individual image
category went to Liu Bai for an abstract image
of sand dunes contrasted by light and shadow.
Reflecting on this year’s submissions, judge
David Burnett said, “It has been a pleasure to
immerse myself in these pictures and it’s a
constant reminder of what kind of dedication
our entrants bring to the act of photographing.
The wet, the cold and the long, strenuous
hikes to find a perfect location – all this is
buried inside the heart of these pictures. My
admiration for my fellow photographers only
grows each year I help judge these awards.”
To find out more information about the
ILPOTY 2022 winners or how to enter
the 2023 competition, visit the website:
internationallandscapephotographer.com

Fujifilm TG-BT1 allows X-shooters to get a grip

Fujifilm’s new tripod grip for its X-Series
cameras, the TG-BT1, is available now. This
grip allows for not only table-top and still
shooting but also makes it that much easier
to capture group selfies as well as lower-
angle shots that can be tricky.
Used as both a comfortable handheld
grip and also as a sturdy tripod, the TG-
BT1 can be paired via Bluetooth to operate
a compatible camera remotely and also
The TG-BT1 tripod grip allows users to
adjust and tilt the camera angle to 180°
vertically, and 360° horizontally, which
therefore makes it useful as a perfect selfie
grip when rotated and used horizontally
at 180°. It can also be used as a versatile
shooting grip for taking still videos and
low-angle shots, ideally at its best when
rotated 90° vertically.
Priced at £169/$200, the TG-BT1 is the
© Fujifilm

control zoom operations on a paired latest accessory added to the Fujifilm X

camera, perfect for still video shooting. Series of digital APS-C cameras.

10
 RØDE VideoMicro II announced
This super-compact on-camera shotgun mic is best suited for
vlogging and filmmaking on the go, with a weight of just 39g
The RØDE VideoMicro II is a
super-compact on-camera
microphone for vloggers and
filmmakers, with a shotgun design that
offers a highly directional ‘super cardioid’
polar pattern to capture sound from the
direction in which it is pointing. It succeeds
the original RØDE VideoMicro, which was a
RØDE bestseller.
It has a 3.5mm TRS output jack so it
plugs straight into a camera’s microphone
socket and does not require batteries.
There are no controls, making it ultra-
simple to use even for photographers who
are newcomers to recording audio content.
The new VideoMicro II has a completely

redesigned annular line tube body. RØDE
has also overhauled the circuitry to
produce better sensitivity and lower noise.
It’s a smaller sibling of the RØDE VideoMic
Go II, a good microphone for on-camera
use, though the VideoMicro II does
without USB connectivity or headphone
monitoring, which helps it achieve its
ultra-low weight of just 39g. The mount
has integral cable management slots and a
standard cold shoe mounting ‘foot’, plus a
3/8-inch thread for mounting on stands.
Foam and furry windshields are included,
as are a pair of ‘patch cables’, one for
© RØDE
TRS to TRRS (smartphone and tablet)
connection and one TRS to TRS cable for
camera connection.
The RØDE VideoMicro II is made in
RØDE’s factory in Sydney, Australia, and
will sell for £66 (about $79).

Focus-by-wire control for your Tamron

The Tamron Lens Utility app brings remote More snippets of photography
news from around the world
focus control from your Android smartphone TWO BRAND NEW 120 FILMS
Kentmere Pan 100 and Kentmere Pan
400 films are available in 120 format.
The Tamron Lens Utility app can make adjustments to Tamron lens settings out in the field, Kentmere Pan 100 is a medium-speed,
and it follows on from the Tamron Lens Utility for computers that was released back in ISO 100 panchromatic black and white
October 2021. It uses the Tamron USB-C Connection cable to hook an Android device up to a film with fine grain and good sharpness.
Tamron lens for configuration. The Tamron Lens Utility app was first announced back in August 2022, Compared with Pan 400, this film is
slower with finer grain and a touch more
and although it is still under development, it is now available to download from the Google Play store.
contrast. Both films offer quality, value
One feature already usable is an A-B Focus function that can shift focus smoothly from one point and performance for those still interested
to another, so a little like a remote follow focus system but driven by the lens’s AF motors rather than in film photography, and suggest that
gears and belts. Tamron says the the medium certainly isn’t dead yet.
functions can be expanded in
the future. The app also makes KASE LAUNCHES REVOLUTION
MAGNETIC CIRCULAR FILTERS
it possible to choose a set focus Incorporating Kase’s popular Wolverine
position and then move the glass, its new Revolution filters are
focus to that point using the designed for ease of use. They feature
app’s Remote Set Button. These coloured identifying rings for selecting
the different filters you need, as well as
features sound as though they
adaptor rings to help reduce vignetting
will be useful for videographers on awkward lenses that prevent circular
using manual focus shifts. filters from being stacked. Only 77mm
As the app is still under and 82mm Entry and Pro kits will be
development, Tamron notes that available at launch, but Kase says that
more sizes will be available soon. All kits
features are subject to change come with an inlaid adapter ring.
© Tamron

without notice, and it isn’t www.kasefilters.com

compatible with every lens.

11
YOUR IMAGES

STORY
BEHIND
THE STILL
Photographer: Antonio Bernardino Coelho
web: 100asa.com/photographer/antoniocoelho
Instagram: @antonio_bernardino_
Image location: Porto, Portugal
Type of commission: Personal
Shot details: Sony Alpha 7III, Sony 50mm f/1.8,
f/5.6, 1/250, ISO 80

About the shot: Nothing is more repetitive than a scene

that people have seen thousands of times in a similar
form. The challenge here is to stand out from the crowd
by pursuing new visual strategies, and this is especially
true when photographing famous architecture. This isn’t
easy, as the surroundings can limit the photographer
and familiar images are burned into our memory, so it’s
all about getting creative and rejecting old impressions.
Photographer Antonio Bernardino Coelho accepted
the challenge, capturing the architecture of the Casa
da Musica in Porto with a fresh vision. “My goal was to
create a different view of the building, which was difficult
as the architecture is internationally acclaimed. It was
designed by Dutch architect, Rem Koolhaas, as part of
the European Capital of Culture,” Antonio explains.
When framing the building in its surrounding area,
Antonio chose to shoot from a linear perspective with
a vanishing point. But this strategy came with some
difficulties. “One of the main challenges was the distance
between where I took the image and the architecture
itself,” he says. “If I had used a wide-angle lens, the
effect it created would have flattened the building. So
I captured 13 photos in total and created a panorama.”
To follow his creative vision, Antonio adjusted a few
specific things in post-processing. “I wanted to highlight
the building, especially the right window with panels of
blue tiles – a characteristic of Portugal. I minimised the
impact of its surroundings, both on the right and on the
ground, by adding a blur effect to direct the viewer’s
focus to the details of the architecture,” Antonio says.
All images © António Bernardino Coelho

Right
Art in concrete
“It was important that the colour
and shadows highlight the building
itself and bring out its unique features
in a great way,” says Antonio.

12
13
 LIKE A PR
T
SHOO

Karyn Louise
The founder of RUBY
LDN, Karyn Louise is
a London-based multi-
genre photographer,
covering still life,
portraiture, events,
live performances
(music and theatre),
headshots, fashion
and documentary. She has had work
featured in various publications, including
Rolling Stone, Billboard, Grazia, Yahoo,
The Times, The Guardian, The Telegraph,
Business Insider and more. She was also
a photography consultant for Channel 4.
To see more of Karyn’s work, visit:
rubyldn.uk
@rubyldn.uk

14
 SENSITIVE
SUBJECT
Peter Fenech meets Karyn Louise
and discovers the skills required to
safely and respectfully shoot highly
impactful documentary images
They say the pen is mightier
than the sword and yet,
as the saying goes, a
picture is worth a thousand words.
This apparent contradiction can
make working on a photography
magazine a challenge – a constant
balancing act between visual and
literary communication. If the rule of
storytelling is to show, not tell, the
audience something, then our remit
is to show and tell, without missing
any vital information.
Here at Digital Photographer, we
have the luxury of being able to
explain the content of an image – in
many ways, breaking a fourth wall to
place the subject of a shot in context.
But conversely, for photographers
like Karyn Louise, working to
document sometimes difficult and
emotionally-charged events, such as
political protests or civil unrest, the
complete story must be conveyed
without the help of long format text.
I’m meeting Karyn in London
to shadow her as she covers a
vigil for the victims of the 2021
English Channel disaster, in which
27 migrants lost their lives crossing
the channel in an inflatable dinghy.
The controversy around the issue
of immigration means this is a
sensitive topic. I’m keen to learn
how Karyn will approach the event,
© Karyn Louise
capturing the images she needs
while maintaining respect for those
affected by the tragedy.
As we walk the short distance from
Westminster Underground station
to the location in Parliament Square,
I ask Karyn about her background
in photography and how she
came to specialise in the genre of
documentary and photojournalism.
“I studied for my degree in theatre
and drama, so emotion is something
that I have taken and applied to my
documentary photography,” she says.
“I really want to show in a picture
how somebody is feeling. Someone
might seem aggressive, but there
could be one moment when they
look quite vulnerable. You need to
see that in a picture for the message
to hit home about why people are
protesting in the first place.”
This seems to be a particularly
niche area of photography, so I
ask Karyn how she would advise a
novice to the genre, such as myself,
to approach their first shoot at a
protest or demonstration.
“One of the surprises people new
to this might find is how quickly
everything changes,” she says. “You
have to be ready, not just physically,
but your camera has to be set
correctly, with the exposure ready to
go. If you’re shooting during the day,
consider the Sunny 16 rule [where,
at an aperture of f/16 on sunny days,
your shutter speed should be the
inverse of your ISO value]. You can’t
go back and reshoot, so you have to
get it right in camera.”
15
 LIKE A PR
T
SHOO
“Always go in with an idea of
Unfolding drama the story you’d like to tell. What
do you want people who weren’t
there to see? You need to make
Be ready to react to quickly evolving situations
a storyboard of all the things that
Many events that a documentary photographer might find happened that day. In that story,
themselves covering are fluid, quickly developing and changing there needs to be emotion. You
direction. For maximum success, photographers have to adapt need to capture key moments
their camera settings and creative focus. As we left the vigil, that explain why people are
Karyn spotted police outriders in Trafalgar Square, beginning protesting – it’s not in vain, it’s
to stop the flow of traffic. Sensing something might be about not to stop people getting from A
to happen, she got her camera ready to shoot something more to B, it’s about raising awareness.”
rapidly moving than the people at the vigil. While we couldn’t see “During the Black Lives Matter
the occupants of the armoured cars emerging from The Mall, protests, that was one of the
Karyn’s experience had taught her to be ready for anything. running themes throughout
my whole image collection.
The stereotypes are that black
people can be aggressive and
have anger issues and that kind
of thing. What I wanted to show
is that if you are constantly
being marginalised because
of something as simple as the
colour of your skin, you’re going
to be pretty passionate,” she says.
“Another thing I noticed was
that there were a lot of young
men crying – something you
don’t often see at protests. It was
nice to show how more of the
younger generation are in touch
Experience of covering dynamic scenarios has allowed Karyn to recognise the signs of with their emotions.”
a developing photo opportunity, resulting in her being ready to quickly capture the action We arrive in Parliament
Square and some of the
16
practical challenges we will
face immediately become clear.
Attendees are tightly packed
around a platform, on which
speakers are stood, along with
relatives of the victims and
representatives for various
charities and organisations, such
as Care4Calais, a charity that
helps refugees and victims of war.
Karyn starts to shoot from a
distance, working out where she
needs to be to tell the complete
story, before weaving her way
through the crowd towards the
front. She prefers not to use
flash where possible, but as
we’re shooting after dark, it is a
necessity. She is careful not to
get in anyone’s way and remains
as inconspicuous as possible.
“Look for banners and placards
and people who might be
dressed to show the theme of
the event. These things really
help make a story,” she says.
Karyn walks the length of the
platform to cover all of the main
angles and capture as many
faces as possible. She never
remains in one place for too
long, which she tells me is a core
aspect of showing respect to the
people attending the event.
 17
SENSITIVE SUBJECT

© Phil Barker
x4 © Karyn Louise
 LIKE A PR
T
SHOO

“Sometimes, it’s just about

being brave. If you feel safe,
1 go in, get the shot and get out”
“It’s really hard with protests
not to get too close. But what
I do is take two pictures per
person. Once they notice you,
3 they change their demeanour
and, from experience, you know
it’s time to stop. I use my instinct
for this. You don’t want to start to
become an irritation,” she says.
“This is especially true when
somebody is crying, as the first
x3 © Tommy Reynolds
“With a vigil, you have to be
mindful. During the minute’s
silence, I was wondering whether
I should take images. But some
attendees were on their phones,
so I did. I was just considerate in
how I took the shots,” she adds.
“With a protest, I try to be on
the edges of the action so I can
get a picture from above. I was
covering an Extinction Rebellion

thing they want to do is cover protest where they stopped

5
their faces. You must capture a
shot and move on. The last thing
you want when you’re upset is
MANFROTTO MMXPROC5
2 MONOPO to have a camera in your face
clicking away.”
Karyn turns her camera around
to focus on the spectators, in
4 search of descriptive expressions
that might help convey the
solemn atmosphere of the
evening – exactly a year to the
day since the tragedy. As well
as shooting amongst the crowd
of people, to offer an immersive
element to her images, she also
raises the camera over the group,
to show more of the environment
and put each of her closeup
Karyn’s essential photo gear images in a wider context.
The speeches are followed by
some buses. I got onto one and
took a picture from the top deck.
Sometimes, it’s just about being
brave. If you feel safe, go in, get
the shot and get out.”
The mood this evening is
subdued but contemplative. The
people are focused on having
their voices heard, but there
is little cause for direct anger
among attendees. Everyone here
seems to be of a similar mind.
That isn’t always the case.
“I actually forget about my own
safety more than I should,” Karyn
says. “I was discussing this with
another female photographer
friend, about how you can see
there is an image right there and
you forget it might be dangerous.

1 Nikon Z 6II This

mirrorless camera
is excellent in a range
pre-existing range of DSLR
lenses. This automatic
adaptor allows her to use
a minute’s silence for the victims
and I notice that Karyn turns off
her flash for the duration. This is,
You sneak in and get the shot.”
I ask if Karyn has ever been
in an uncomfortable situation
of situations, including quality F-Mount optics on her of course, a completely different where she might have been at
low light and fast-paced new Z-Mount camera bodies event from some of the more risk. “During the BLM protests, I
action, making it ideal for with no loss of autofocus or heated protests that Karyn has was right in the thick of it,” she
documentary photography autoexposure capabilities. covered and so, once the silence replies. “People were throwing
duties. Meanwhile, it has comes to an end, I ask how her bottles for some reason. They
enough resolution to allow
subtle cropping of images to
recompose in post.
4 Hoya Pro1 Digital
UV filter
Heated protests at close
creative and practical approach
might change depending on the
event type and atmosphere.
thought a cameraman and
reporter were from the Daily Mail
and I went around the crowd
quarters aren’t the safest

2 AF-S Nikkor 24-70mm

f/2.8 G ED Karyn also
uses a 70-200mm lens,
conditions for an expensive
lens. A protector or UV filter
such as this adds an extra
however, this standard lens layer of protection for the
is ideally versatile for rapidly front lens element.
changing scenes. In the case
of our shoot, the telephoto
lens would have made
composition a challenge.
5
Nikon SB-700 speedlight
This flash unit is small
enough to be discreet but
allows images to be captured

3 Nikon FTZ Mount

Adapter As with many
where handholding would be
impossible otherwise. On this
BLOB? CHECK
professional photographers OUTdiffused
evening, Karyn TOMMY’S the KIT
today, Karyn has her own flash for a better
AT WWW.AMAZON.CO.UK/SHOP/light blend.

18 TOMMYREYNOLDS
 SENSITIVE SUBJECT

© Karyn Louise

Top tips for

photojournalism
Don’t overshoot With a limited
time window, make sure you focus
on getting key shots rather than
lots of images that don’t say much.

Storyboard your shots At the

quality control stage, make notes
about the key moments at an
event and choose shots that hit
these markers to give your image
collection a clear narrative.

Look for emotion People react

to the emotions of others so make
your subjects’ reactions to things
a clear focal point of your images.

Stay organised Remember to add

keywords to your images at the
archiving stage, including the date,
time, location and subject of your
images, for easier recall in future.
This can broaden the commercial
appeal of your work too.

19
 LIKE A PR
T
SHOO
Amongst the action
Karyn gets as close to her subjects as she can without becoming obtrusive so that
viewers can get a front-row perspective of events they could not attend themselves
to capture them being heckled.
Another photographer arrived
at the spot a bottle was going to
land right before me and it hit
him on the head. They didn’t aim
for him or anyone in particular
but I was two seconds away from
that being me. It reminds you to
be careful. I used to wonder why
some photographers thought
it necessary to bring bicycle
helmets to events – now I know.”
As the vigil draws to a close,
Karyn captures some final
images of the signs and placards
many of the attendees are
carrying and we move out of
the crowd. Karyn quickly scrolls
through her images, checking to
see that she has every available
perspective covered. There are
several photographers capturing
the event, so we are also mindful
of allowing everyone else the
Prepare for documentary shoots
1 Choose TTL flash For nighttime events
such as the one we attended, a flash is
an essential tool. It’s important to reduce
workload in rapid situations, so set your
flash to TTL mode, for automatic lighting
output adjustment, bespoke to the scene.
20
opportunity to shoot unhindered
– a professional courtesy.
I ask Karyn about some of
the biggest errors a novice
documentary photographer
might make in tricky conditions
such as this. “Overshooting,” she
replies. “Come back with the
story in your head so that you
can cut it down to around 20
images. If you can tell the story
in that many shots, basically, you
have an exhibition. Put them out
there and you’ve done your job.”
While this might be a niche
genre, I ask her what transferable
skills photojournalism might
require or indeed equip her with.
“Above all, I’d say knowing your
camera inside-out is a critical
skill,” she says. “You also need
© Karyn Louise
to trust your gut instinct too.
Knowing when it’s the right time
to leave is vitally important.”
2 Camera settings Use shutter priority
mode where keeping the subject sharp
is complicated by ambient light levels. Auto
3 Name the files Karyn sets up her
camera to apply custom file naming
to her images as she shoots. This reduces
ISO will also help reduce workload. Here, it time spent at the archiving stage and
was necessary to shoot at the maximum ensures no images become split from their
aperture as we were shooting at night. folders, making future recall difficult.

4 Choose a folder To further group
related images together, Karyn
assigns a new destination folder on her
memory card before her shoot begins. This
streamlines her organisation if she ends up
covering multiple events in a day.
5 Autofocus override modes Modern
autofocus systems are incredibly
capable but working in close quarters can
introduce focus-hold challenges, as people
shift position. Where available, an AF
override allows manual microadjustments.
SENSITIVE SUBJECT
6 Take a test shot Capture an image as
soon as the action starts to unfold,
to review the exposure, composition and
focus, checking this is technically accurate
and matches the intended tone. Consider
deactivating audio AF confirmations.
21
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23

Your guide to the best, most exciting and most
innovative photographic kit of 2022
ot every year is the same in terms of camera
launches. Some years, there is a flurry of industry
news, causing photography journalists around
the world to suffer from repetitive strain injury as
their typing fingers struggle to keep up with the
number of reviews. In other years, new releases
trickle into the headlines at a more leisurely pace.
Arguably, the first half of 2022 looked as though it might fall
into the latter category. This was due in part to the ongoing
component supply problems that have plagued the manufacturers
and caused significant delays to new products, even before they
are officially launched. However, the second half of the year still
had a few surprises in store, as the pace of reveals accelerated
from the springtime onwards.
24
OF
THE
At this stage in the development of digital photography, there
are few areas in which the key brands can be truly revolutionary.
The pixel race is all but over, maximum ISO settings rarely shock
anymore and who remembers when LCD size used to be worthy
of a shoutout? Artificial Intelligence is the latest buzzword, with
new cameras boasting innovative ways of applying this technology.
Intelligent AF is on spec sheets more than ever before, and AI
modes are diffusing down from the pro models into enthusiast-
level cameras. Love it or hate it, the concept is here to stay.
Over the next few pages, we have rounded up the best bits of
kit from 2022, choosing those that stood out from the crowd on
a number of metrics. Above all, these products offered the best
balance of value and quality in 2022, while setting trends we
expect to represent the future of photography.
 GEAR OF THE YEAR

CAMERA
OF THE LENS ACCESSORY
OF THE
SOFTWARE
OF THE

YEAR YEAR YEAR

OF THE

YEAR

25
 Full-frame might be the future but don’t discount smaller sensors just yet
We are living in the age of the
full-frame mirrorless camera.
As even more models flood
onto the market and the
technology trickles down into
the enthusiast and amateur
ranges, what was once the remit
of the professional and those
photographers with organically
deep pockets is now accessible
to a greater proportion of
content creators. That said, while
2022 saw the veil lifted on next-
generation full-frame models,
there were also some interesting
developments in other areas.
Fujifilm’s loyalty to the APS-C
format has been one of the
greatest factors in keeping
it alive and relevant, but the
brand’s reluctance to break
away from its generally standard
26MP resolution for its X-Series
cameras had raised doubts
about its longevity in this
market. That all changed with
the release of the X-H2 and its
40MP effective resolution. Once
again, the smaller sensor format
has re-entered the race, proving
bigger is not always better when
it comes to image quality and
camera body size comparisons.
The year also saw the
emergence of APS-C in the
Canon RF mount, with the
announcement of the EOS R7
and EOS R10 models. While
users of the EOS M series may
be left feeling short-changed,
the move was inevitable and
once again the Canon range
has found equilibrium with only
two camera lines.
While these fell into the
category of headline-grabbers,
2022 also saw a variety of
iterative developments, proving
once again that evolution can
often be more constructive than
revolution in the game of high-
end photography.

Top feature Subject detection autofocus system

Release month February 2022

OM System OM-1
CAMERA The last ever camera to carry the
OF THE Olympus name has much to offer
YEAR Gone, but definitely not forgotten, the Olympus brand
was neatly wrapped up this year with the launch of the
first camera by OM-System. It’s a complicated story,
but this is the final camera to bear Olympus titles – a
one-off to celebrate the brand’s undeniable heritage.
Thankfully, the future seems bright and the OM-1
impressed on almost all fronts, from image quality
delivered by a new sensor to the headline AI-assisted
subject detection AF. It only has 20.4MP but it delivers
exceptional detail, especially in the handy High-Res
mode. It’s all wrapped up in a solid body, which is
familiar yet modern, appealing to both new and legacy
Olympus devotees. A sign of great things to come?

Once again, smaller

sensor formats have
re-entered the race

26

Top feature
40MP native
resolution
Release month
September 2022
Fujifilm
X-H2
It may be known for its chic range of retro-styled mirrorless
cameras, but Fujifilm is no stranger to DSLR-styled, ultra-modern
technology powerhouse models. The new X-H2 raises the APS-C
game with a spectacular 40MP resolution and 8K video, rivalling
top-of-the-range offerings from Nikon, Canon and Sony. We’ve
long been fans of the medium format GFX series and the X-H2
bridges the gap with the X-Series. Superb handling combined with
ultra-powerful processing provides both a high level of detail and
lightning quick 15fps mechanical shutter burst rates. A true
pro camera at a greatly competitive price.
Top feature
4K 120p and 5.7K
60p video shooting
Release month
February 2022
Panasonic
Lumix GH6
Panasonic kicked off the mirrorless revolution way back in 2008
and the company hasn’t stopped pushing the boundaries since.
The GH6 is more than a tweak of its predecessors, it’s a big step
up. The new 25MP stacked M43 sensor not only fills out on the
megapixel count, the higher readout speeds open up a huge
range of codecs and frame rate choices, adding to the already
enviable Lumix video offering. It might not be the smallest
mirrorless model on the market but there’s an extensive range
of compatible quality lightweight lenses to widen the appeal.
Furthermore, the price point can’t be ignored – the GH6 is
a lot less painful on the wallet than many comparable models.
GEAR OF THE YEAR
Top feature
32.5MP APS-C
format sensor
Release month
September 2022
Canon
EOS R7
We’ve been waiting for this camera for some time now. As soon
as the RF mount was thrust upon the mirrorless world, it was only
a matter of when, rather than if, Canon launched an APS-C line.
When it finally did make an appearance, the EOS R7 immediately
got us talking in the office. With a 32.5MP sensor, dual card slots,
7K oversampled video, 15fps mechanical shutter and signature
8-stop maximum IBIS compensation, the camera seriously
punches above its weight, which by the way is only 612g. The EOS
R7 has got us excited about how Canon will develop its burgeoning
RF system and what new tech the next few years will bring.
Top feature
AI autofocus with
subject tracking
Release month
October 2022
Sony a7R V
There were few photographers who weren’t impressed by the
a7R IV, which offered nearly medium format levels of resolution.
While the a7R V may seem like more of an update than a new
model, it further cements the Sony range as a market-leading
player. Maintaining the headline-grabbing 61MP full-frame sensor,
the fifth-gen camera adds a dedicated AI processing engine for
intelligent features, in addition to the AI autofocus mode, which
makes tracking rapid subjects a breeze. It’s also built like a tank so
it is more than a match for the brutal assignments many pros will
throw at it. If you are a long-time Sony user, you’ll find the handling
reassuringly familiar too. A true master of many trades.
27
 We saw some great optics in 2022
Generally, camera launches
steal the headlines, often
superlative image quality in the
use of the latest optical materials.
Release month
LENS OF THE

overshadowing some incredible
advances in lens technology.
After all, if we have cameras with
fancy new AI features, we need
the lenses to keep up or surpass
them for quality and reliability.
This year saw the release
of many exciting lenses that
updated and expanded the range
of offerings. These appealed to
both professional photographers
and enthusiasts, adding
improved handling through
construction and design and
The introduction of new
mirrorless mounts by key
manufacturers opened up a
world of opportunities for third-
party companies. One of the
key issues in the first decade of
mirrorless photography has been
inflated lens prices. As more
cameras are launched, so too
are lenses, encouraging brands
such as Irix, Tamron and Sigma
to create alternative, cheaper
options. We look forward to
discovering what next year brings.
YEAR
June 2022
Sony FE
24-70mm F2.8 GM II
When it comes to a professional lens, few optics are as widely
useful and popular as a standard zoom. The 24-70mm f/2.8
represents the go-to lens for many pro photographers so it needs
to be reliable, sharp and well-built.
In the modern age, for a lens to catch our attention, it also needs
to have a few tricks up its sleeve – and this Sony optic delivers
on all fronts. Not only is the image quality superb, but the AF is
lightning-quick and almost silent, which is perfect for shooting
video. Meanwhile, we think the de-clickable aperture is enough
reason to buy it out of the gate.

Release month Release month

March 2022 March 2022

Irix OM System M.ZUIKO

21mm f/1.4
Irix lenses might not be to everyone’s taste – the lack of autofocus
may put off some photographers – but we are rather partial to the
range, not least because of the affordability and performance that
almost every member of the family provides.
The 21mm f/1.4 is a full-frame lens, which comes in a range of
DSLR mounts, such as the Nikon F and Canon EF. Therefore, it can
be easily and cheaply adapted to current mirrorless cameras with
no need to worry about loss of AF. The image quality is excellent
and the handling is fantastic if you can get used to not having AF
in 2022. Overall, it is well deserving of a place on this list.
Digital ED 40-150mm F4.0 Pro
Combining an exceptional range and a constant aperture, this
pro-level lens from OM System builds on the reputation set by
Olympus’s optical quality. We were impressed by the performance
at maximum aperture throughout the focal range, and it excels at
moderate f/stops. The all-metal build gives it a professional feel
and an idea that this product is at home both inside and out.
Meanwhile, it brings all the benefits of Micro 4/3 – low weight
and a diminutive body, despite offering a 300mm equivalent focal
length. It also adds an effective optical stabiliser and offers great
value for money.

28

Release month
October 2021
Sony FE
70-200mm F2.8 GM OSS II
It says a great deal about the Sony lens range that two of the FE
‘trinity’ optics appear in our list of the year. Many of the features
we love about its 24-70mm stablemate are also present on this
70-200mm – the second most popular range in a pro’s kitbag.
It knocks spots off the model it replaces, offering exceptional
sharpness even at the corners.
It is beautifully constructed, handles like a dream and offers
as many features as you could hope to find in a lens. It’s a great
choice for sports, portrait and wedding photographers and is
reasonably priced compared with some competing options.
Release month
October 2022
Nikon Z
17-28mm f/2.8
It may have felt as though Nikon has been falling slightly behind
Sony and Canon in the mirrorless market for a while, but the Z
System is well and truly established as a force to be reckoned with.
This wide-angle zoom is the perfect partner to another favourite
optic of ours, the Nikon Z 28-75mm f/2.8. With these lenses,
Nikon has built an alternative range of trinity lenses, which come
at a much more palatable price than the traditional pro-centric
f/2.8 zooms. Image quality is excellent here, as is the handling
experience, with a seamless cross of focal lengths with its sibling.
It’s a real bargain, but also a fantastic proposition in its own right.
GEAR OF THE YEAR
Release month
October 2022
Panasonic
Lumix 18mm F1.8
Wide, fast and lightweight, this L-Mount lens is as portable as it is
sharp. With no crop factor being applied, this is a true wide-angle
prime, offering a perfect combination of light-gathering capacity
and inclusive field-of-view. It’s rather unique on this front, with few
lenses directly in its class.
We liked the simplicity of the user experience – what you
see is what you get – and the lightweight design makes it an
ideal companion for the travel and event photographer. The
close focusing distance also provides a standout balance of
magnification and shallow depth of field.
Release month
July 2022
Tamron
17-70mm F/2.8 Di III-A VC RXD
The Sony E-Mount is well catered for by third-party lenses, so it
takes something extra to stand out from the crowd. This lens from
Tamron does so with its highly useful focal range and constraint, a
bright maximum aperture of f/2.8.
At one time, we might have expected an optic with these
specifications to weigh far more than 1kg and cost well over
£1,000. Therefore, at 525g and with a price of below £700, the
benefits are clear. The image quality is a match for most high-res
cameras in the Sony and, more unusually, the Fujifilm lines, while
the Vibration Compensation does its job well.
29
 In a category covering everything from camera bags to editing software,
we tested a huge range of accessories to find our favourites in 2022
Sometimes it’s easy to forget just long-exposure shoots or securely professional photographers really software needs to feel intuitive,
how much we rely on the smaller back up our images when we are need from their kit. slick and comfortable to use,
accessories in our camera bags, doing our long-term archiving. In the modern age, editing in something which is likely to be
such as quick-release plates, To this end, we have scoured image software is a critical part a different experience for each
fast memory cards, versatile the extensive list of accessories of what we do on a daily basis photographer.
ball heads and reliable, durable we have reviewed over the as photographers. Arguably, it While Adobe products used
storage solutions. past 12 months and selected constitutes around 50 percent to be the only real pro option
Our cameras and lenses might those products that perfectly or more of our total workflow, so and still represent the industry
be our main tools, but much fill a gap in our workflow and when selecting an editing suite standard, there are some
of the quality they can provide genuinely make capturing it’s vital we make an informed fantastic alternatives today.
becomes meaningless if we images at the pro level faster and decision. It’s not all about power Let’s take a look at our favourites
can’t keep them steady during easier. Ultimately, this is what and price –your photo editing from the past 12 months.

Release month Release month

April 2022 June 2022

Samsung
Portable SSD T7 Shield
There is a lot of focus on memory cards and RAID drives these
days, but many photographers need mid-term storage solutions
on the move – somewhere to back up images from a shoot and to
store initial rounds of edited shots, before long-term archiving.
This Solid State Drive from Samsung is tough and reliable
and, due to the high read and write speeds, is a great option as
a working drive for video content creators. Furthermore, since
it features 256-bit AES (Advanced Encryption Standard) it is
possible to protect stored data even if the SSD is lost.
Profoto A2
Portable monolight
This monolight is incredibly lightweight and portable. Even a few
years ago, a light such as this would be beyond the wildest dreams
of location portrait and wedding photographers. Roughly the size
of a coke can and weighing just 773g, you can almost use it like a
speedlight, making multi-light setups quick and easy.
It isn’t the cheapest of lights on the market, but it is a genuinely
unique concept. The battery life is good too, allowing 400 full-power
flashes on a single charge. If you regularly shoot away from the
comfort of a studio, then this could be for you.

30
 GEAR OF THE YEAR

ACCESSORY
OF THE

Review month
May 2022
Promediagear
BH50C60 Ball head
If there was one tripod ball head we could use for the rest of our
lives, it would probably be this one. Though it weighs 725g, it
can support up to 68kg of photo gear. It has a solid aluminium
construction and the controls are easy to use and access. While
not a budget model, it is less expensive than the ProMediaGear
BH1 and offers everything you could want from a tripod head.
Release month
October 2022
YEAR
Rotolight AEOS 2
Quality LCD panels with customisable lighting options and output
settings are hard to find. The Rotolight AEOS 2 is a standout
product for many reasons – it offers 16.7 million colours, allowing
the photographer to tightly manage colour balance or create eye-
catching studio shots without gelled strobe setups. The AEOS 2
can also be used as a flash with a high-speed sync mode, adding
to the versatility of this benchmark-setting continuous light.

Release month November 2022 Release month October 2022 Release month June 2022

Affinity 2 DxO PhotoLab 6 Nik Collection 5

This year, Digital Photographer began a series
of regular tutorials in Affinity Photo, indicating
that the software has hit the mainstream. It
has a fantastic range of advanced tools, all
of which do a similar (or better) job than
Adobe’s established players. Most of what you
can find in Photoshop you can substitute with
a tool in Affinity Photo, and it’s available in a
perpetual licence costing less than £50.
PhotoLab has seen continuous growth,
so it’s no surprise that the latest version,
PhotoLab 6, pushes the boundaries
yet again. DxO has obviously done its
homework and the workspace is slick and
intuitive. The power of the DeepPRIME XD
engine is a standout characteristic and
together, these qualities form one of the
best RAW editors available today.
Since its inception in 1995, Nik Software
has been bought by Google, turned into
a free package then sold on to DxO. The
DxO influence remains and in version 5,
Color Efex Pro and Analog Efex Pro have
seen some excellent upgrades, including
to the interfaces and the signature U-Point
technology, the latter of which now benefits
from even more advanced masking.

SOFTWARE
OF THE

YEAR

31
Our hopes and dreams about what to expect from the photo industry next year

Canon The sky’s the limit for Canon as its mirrorless lineup continues to grow
Canon was slow to enter the mirrorless race
at the high end but has since hit the ground
running with second-generation models,
such as the EOS R6 Mark II, appearing.
Ironically, the first full-frame R-Series
camera, the aptly named EOS R, has been
slow to see development. While it was
disappointing to some, the camera had
many strong features and deserves an
update. There is speculation as to whether
this will take the form of an EOS R Mark II or
an EOS R8, but we are likely to see a revised
body design (goodbye MFn Bar) dual card
slots and uncropped 4K video. An EOS R5
Mark II is not unlikely either, perhaps with
a 60MP sensor.
All eyes are on the elusive R1 of course,
though even if it is announced, we’d be
surprised if it was available in 2023. We’ll
© Canon

almost certainly see some development of

the APS-C line though.

Nikon Nikon is finally taking some ground back from its competitors but will this continue?
If the Canon EOS R3 was the competitive
answer to the Nikon Z9, then at some point
it’s reasonable to assume Nikon will target
a camera to rival the EOS R1, whenever that
model does materialise. This might not be
the Z8 though, which is rumoured for a 2023
release and is supposedly the mirrorless
answer to the beloved D850, the success of
which Nikon is clearly keen to repeat.
Such a model could feature a higher
resolution sensor than the Z9, or the same
sensor at a lower price point. The Z6 and Z7
III cameras are also suggested in a ‘leaked’
roadmap, the authenticity of which is unknown.
If true, the third-gen variants see no change
© Nikon

in stills resolution, so these are likely to be

iterative updates rather than revolutionary ones.

32
 GEAR OF THE YEAR

Sony You can’t accuse Sony of not providing choice – and its range is only set to grow further
Sony is a major force in photography today and the company
is keen not to lose any momentum. While it can be tricky to
work out its product strategy, the overlap in camera specs
leaves few gaps in the Sony mirrorless lineup, which will
probably be a continued trend in 2023. Sony thrives on having
a camera for everyone and so we may see updates at both
pro and enthusiast levels.
An A9 III is rumoured to have 24MP, up to 30fps burst
shooting and AI autofocus tracking. Having been delayed by
over a year already, if it’s going to happen surely it will in Q1/2
of 2023, chip shortage allowing. We may also see a successor
to the popular A6400, with BIONZ XR and AI processing

© Sony
engines and further blogging-related feature updates.

Panasonic Panasonic knows its audience and we could see it cement its position as the video leader
Video is what Panasonic does well and it would be
a mistake for the Lumix brand to shift its focus to
stills photography in direct competition with the
‘Big Three’, so any new cameras will probably be
updates to existing products.
There is much talk about replacements for both
the Lumix S1H and S5, with Mark II titles. This
makes sense and rumoured specs for the former

© Panasonic
are a 34MP full-frame sensor, AI AF, integrated
ND filters and 8K 24p, while retaining a design
aimed at easy pro-level videography.

OM-System
With Olympus consigned to history, OM System
can’t allow its following to go the same way
The initial interest in a ‘new’ camera company will subside quickly so
OM System will be focused on securing loyalty in a targeted portion of
the market. Despite dropping the Olympus name, OM System is likely to
continue to cash in on the brand heritage, shown by a PEN model being
its first. This range will probably be expanded further to take some of
Fujifilm’s business, while we may see development at the high end, with
© OM System

a replacement or update to the E-M1X with AI features and improved

autofocus. The size advantages of the M43 mount will probably be the lead
marketing focus to combat pro competition from Nikon, Sony and Canon.

Fujifilm
This could be a year of huge change for
the APS-C format X-Series of cameras
It’s an exciting time for Fujifilm users. We’re finally seeing some truly huge
expansion of the X-Series with boundary-dissolving resolutions and speeds
and we’d put our money on this trend continuing over the next 12 months.
Fuji followers have been asking for an X-Pro 4 for some time, so we could
see a 40MP sensor under this banner. Love for the X-100V has not waned, so
© Fujifilm

perhaps an update or replacement is on the cards, though probably not a

priority. GF lens diversification is also confirmed with a new shift optic.

33
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35
TECHNIQUES

PRO LONG
EXPOSURE TECHNIQUES
Expand your technical skills, learn how to master challenging
situations and integrate new visual strategies into your images

36
 hotography is more than just a
means of documenting reality
– with its technical possibilities,
it can encourage creativity
and inspire people to explore
new paths. This is where long-
hopefully, a trick or two up their sleeves.
With these things, you will be able to get
the most out of the camera’s long shutter
speeds and create magical images.
However, you can see any number of
long exposure shots of familiar subjects on
Pictured
Million dollar morning
Shooting at dawn will enhance
the atmosphere of your image.
Here, exposure time may vary
depending on the traffic
© Stephen Ross

exposure photography comes in. With this
method, movement is captured stylishly,
offering an expanded view of the ordinary
and showing something that cannot be
viewed with the naked eye.
However, even the most advanced
camera technology cannot produce these
images alone, and the photographer must
have the right knowledge, equipment and,
social media networks and it can be difficult
to think outside the box. So, we’ll show
you how to detach yourself from familiar
situations and take a unique approach that
will allow your shots to stand out from the
crowd. Take time to analyse the scene and
bring out elements with long exposures to
highlight characteristic features and meet
your visual goals.

37
 TECHNIQUES
Prepare for
long exposure
Get ready to start shooting long-exposure images
with an overview of the equipment you will need
To maximise the quality of your long-exposure
images, it is essential to know how to use
your equipment like a pro. Modern camera
technology is highly capable, but don’t rely on
it alone – a camera is only the base and there
are many other things to consider. Investing in
the right equipment and knowing how to use
these tools are necessary skills too.
In this genre of photography, it can be
disappointing to wait 30 seconds or more
only to realise that you have set the technical
parameters incorrectly. Exposure time,
aperture, sharpness, image noise and image
Cover the viewfinder
Avoid light leaks to create a clear
photograph without interference
When using exposure times of 30 seconds
or longer, do not leave the viewfinder of
your DSLR open. This way you ensure that
only the light in front of the lens will enter
the camera sensor. Otherwise, even small
light sources outside the composition will
create unwanted effects. Most cameras
already come with a viewfinder cover or
have an option to automatically close it.
If not, use any other material to prevent
extraneous light from entering.
© Roy Cruz
38
composition are the key factors that will
determine the quality of a long exposure shot.
Learn how to use your equipment effectively
and be aware of both its advantages and any
possible weak points. This will help avoid the
possibility of mistakes and save time.
Slow shutter speeds are mainly used for
outdoor shots, but be aware of the challenges
as you cannot control the environment. If you
are shooting a dynamic water scene in nature,
use a UV filter to protect your lens from
raindrops when composing the image and
simply remove it when the frame is set.
WIDE ANGLE LENS
Working with a focal
length of 35mm or wider
is ideal for long-exposure
landscape shots, as a
greater expanse of the
scene can be captured and
more elements included
in the composition.
What you need
AVOID
VIGNETTE
EFFECTS
Pay attention to your filter slots
and remove slots that aren’t
necessary. If working with wider
lenses and smaller filters, do
not use step-down rings, as
these also lead to hard
vignetting.
© Roy Cruz
 PRO LONG EXPOSURE TECHNIQUES

HEAVY-DUTY TRIPOD
A carbon fibre tripod will
prevent camera shake.
You may also need to
carry an extra weight,
such as a bag of sand, in
your kitbag to ensure the
POLARISING FILTER tripod remains stable
If shooting directly against even in strong winds.
the sun, using filters will
remove unwanted glare.
The filter’s tint will improve
the overall appearance of NEUTRAL
your subject in terms of DENSITY FILTER
contrast and saturation. Use ND filters with up to
10-stops to take control
of the light conditions.
This allows you to
increase the shutter
speed even in bright
light without the risk
of overexposure.

BLACK CARD REMOTE RELEASE

If your scene contains Avoid jeopardising the exposure
elements of different with even slight movements
brightness, card can be of the camera. Use a remote
used to cover certain control cable, wirelessly,
parts of the lens while connected via an app or use the
the photo is exposed. timer function of the camera.

Left

Think square
Contrary
interplay
Combine hard
and soft elements
Consider the types of in one image. Be
filter holder systems for creative and include
a long-term investment uncontrollable
subjects like birds
to add an extra layer
When integrating filters into
your workflow, it is advisable
Far left
to invest in square filters right Monochrome
from the start. They are more beauty
expensive but offer better By reducing the
value for money and more colours, the focus
is drawn to surfaces
advantages. Especially if you are and structures that
working with different lenses, are artfully staged
square filters are versatile and and characteristic
easy to mount without the risk of the long-exposure
technique
of accidentally shifting the focus.

39
TECHNIQUES
Master slow shutter speed
Control exposure settings to effectively adjust them to your project’s needs
One of the major challenges that low-light
photography presents is how to calculate
the correct exposure time. There are plenty
of apps and websites that can automatically
calculate an exposure time based on your
aperture and ISO settings and filters. Spot
metering or experimentation are other options,
but finding the appropriate exposure settings
can take a while. Especially when you try out
exposures over minutes and therefore have to
wait a long time until the shot is recorded.
40
A simple way to save time is to work
backwards, using shorter exposures and
higher ISO settings first. After a few test shots,
you may be able to determine the optimal
settings. Now, the ISO value can be minimised
in a few steps. Decrease the ISO setting by
one stop and simply double the exposure time.
Do this until the value is 500 or less.
By setting a minimum ISO value and a
medium aperture of f/8, you enable a longer
exposure time and create a decent depth
© Stephen Ross
of field. The shutter speed can vary greatly,
but in general, you can say that at least five
seconds is required in most situations. When it
comes to capturing slow-moving clouds or car
trails, that could be as much as 120 seconds.
The ND filter is a useful tool here. It offers
the possibility to extend the shutter speed and
improve images in situations where only two
stops more will make the difference. ND filters
usually come with an exposure table that
allows easy adjustment of exposure settings.
 USE NOISE PRO LONG EXPOSURE TECHNIQUES
REDUCTION
Remember to use LENR
for long exposures in low
light. Unwanted hot pixels are
automatically removed from the final
image. The camera automatically
records another photo after the
exposure and will therefore
need twice the
exposure time.

Check results
Remember that the LCD screen can be misleading about the brightness
of the results, especially if you are shooting in low light conditions. To
make sure exposures are correct, analyse the histogram. An ideal graph
will show a fairly even distribution of tones. If the histogram shows
much closer values on either the left or right sides, some parts of the
image may be severely overexposed or underexposed. That means the
exposure time wasn’t ideal for the subject and should be adjusted.

Left Far left

Set the focus Starry sky
© Stephen Ross

Concentrate on highlighting Including stars in a long exposure shot

a particular element to draw enriches the overall impression and adds
attention to it. A single light source detail. A tilting screen helps with image
gives the image a calmer mood composition and checking the focal point

Select B, T mode
Depending on your visual objectives, light sources
and the time of day, you may want to extend the
shutter speed beyond 30 seconds. To do this,
switch to Bulb mode (B) to take control of the time
the shutter stays open. Remember to work with a
remote shutter release or connected app, as it is
almost impossible to hold the shutter button down
for that length of time without causing movement.
Many high-end cameras have a Time mode (T),
which offers a clear advantage over Bulb mode.
Here, simply press the shutter button once and,
when you want to finish the exposure, simply press
the remote shutter release again.

41
TECHNIQUES

Take
advantage
of daylight
Manage bright light
situations with pro
long exposure methods
Using long shutter speeds in daylight is
characterised by a great dynamic range,
making it possible to transform natural
elements in different ways. Here, the challenge
is to find the right exposure balance.
This makes it more important to learn the
different ND filter types and simple tricks to
balance your photography. An ND filter with
10 f-stops is mainly used in bright scenes and
is ideal for creating a minimalist overall image.
If an extremely long exposure time is required,
remember that ND filters can be combined. In
this way, the exposure time is simply extended
and new visual possibilities open up.
In landscape photography, it is especially
difficult to expose according to preferences, as
background and foreground often require two
different exposure times. Soft, hard or reverse
GND filters can help, as they have a different
brightness gradient from top to bottom and
darken certain areas of the image by allowing
different amounts of light to fall on the sensor.
When you work with variable ND filters, you
© Stephen Ross

cannot simply combine several stops. It is also

noticeable that the photos can lack sharpness
when taken through adjustable filters.

Pro’s advice Compose

Pro Stephen Ross gives his tips
on handheld long exposures
“A tripod is almost always necessary
for long exposure shots, but shooting
handheld isn’t impossible. Even the
slightest movement or vibration can
cause motion blur so find a sturdy object
(tree, rock, ground) to brace yourself or
your camera against to eliminate shakes
while the shutter is open. Start with short
shutter speeds and work up to longer
exposures when you are more able to
keep the camera steady. Stick between
1/8 and 1 second long exposures for best
results without a tripod.” To see more of
with strategy
Highlight the movement in your
photo to lead the viewer’s gaze
When transforming movement in
daylight through long exposures, there
are key rules that make your images
stand out. Leave your tripod in the
bag so you are free to find the best
perspective. Analyse your surroundings
and choose a scene where elements
are constantly moving in one direction,
so you can direct the viewer’s gaze.
Another approach is to play with
blurred and sharp elements to create
© Stephen Ross

Stephen’s work: www.sgphotography.us a visual contrast and highlight the

IG: @scubagooding.photo long exposure elements.

42
 PRO LONG EXPOSURE TECHNIQUES

FILL EMPTY
SPACE
Where you have largely
empty areas of a scene, with
few details, use a long exposure
to draw with movement across
the negative space, stretching
the interest further, creating
a more balanced
composition

Left
Impressive
dynamic
Compose your shot
carefully, emphasising
the dramatic effect
of clouds by giving
them enough space to
enhance their impact

Opposite
Calm atmosphere
A long exposure of three
minutes has shaped
the water into a soft
element and made

© Roy Cruz
colours visible that
are reflected in
the background

Learn black
card technique
Need a GND filter? Here
is a low-budget method
that works in the field
1 Secure your camera Deactivate IS
and mount the camera on a tripod. To
maximise stability, extend top leg sections
and vary the length on uneven ground. Use
foot spikes or additional weight if necessary.
2 Set your focus Deactivate the auto
focus mode and instead put the
camera into manual mode. Set the focus
before the ND filter comes into play, to
benefit from the clear and bright view.

3 Spot metering Take a meter reading

for the sky in the background and
nature in the foreground. This way, you
have two individual exposure times from
which you can work out the optimum.
4 Attach ND filter Attach your ND filter,
being careful not to adjust the focus.
Calculate the required exposure time for
5 Hold black card Select the longest
required exposure time and place the
black card in front of the lens in areas that
the selected filter strength for both the need less exposure. Set a smartphone
background and the foreground. timer to know when to remove the card.

43
TECHNIQUES

Think outside the box

Involve long exposure applications to achieve advanced image styles
One of the main features that differentiates
long-exposure photography from other genres
is that it can represent movement in a highly
visible way. This type of photography is often
combined with dark subjects, light sources,
light trails and the transformation of natural
elements. However, we have become so used
to finding such images that it can be difficult
to get new creative input.
It is often overlooked that long exposures
offer many possibilities to take your photos to
another level and stand out from the crowd.
Get creative and incorporate more advanced
techniques into your photography. Since the
shutter is open for a long time and the camera
records for seconds or even minutes, we can
incorporate a wide range of styles to benefit
from this technical process.
In this way, you won’t be limiting yourself
to a few of the classic long-exposure
techniques. Instead, why not include other kit,
your photography knowledge and advanced
methods to create something original?
With these insights, you will learn how to
use long exposure to combine ideas, thereby
also finding solutions to problems in everyday
shooting situations.

Mix with a speedlight

How to set up second curtain flash to
both capture and freeze movement
By combining a slow shutter speed with a flash, the subject
is brought into sharp focus and movement is captured
artistically. This technique is used in many areas but is
especially popular and widespread in the field of sports.
Instead of capturing sequences of a movement that are
stitched together in editing programmes, this method
shows a sequence of motion processed into a single image.
With a second/slow curtain flash or rear sync, the flash
fires automatically at the end of the exposure time and
creates an interplay between sharp and blurry elements.
It is important to note
that the movements are
recorded in a veiled and
transparent way. To achieve
the best results, it is
necessary to use a strong
and contrasting background
to the tones of the subject.

Right
Show motion
Dancers are an ideal subject
for the second curtain flash
x2 © Jo Kassis

technique. Use bold colours

and create strong contrasts
to bring out the unique
features of this method

1 Prepare the camera Shoot in

manual mode and use low ISO
settings. A minimum of 1/60sec
2 Control your flash Attach the flash
exposure time is required. Mount your
camera on a tripod for the best results.
and select Second Curtain Flash and
Rear mode. Also, adjust the Rear option
on your unit. Depending on the project,
start with a flash power of around 1/32.
3 Test and create The value for the
shutter speed depends on the speed
of the subject and can vary extremely. Test
some exposure times to get a feeling for
the technique and your visual goals.

44
 PRO LONG EXPOSURE TECHNIQUES

© Roy Cruz
Eliminate distractions One method to achieve clear shots in crowded places
When photographing outdoor scenes,
there is one uncontrollable factor that
can become an issue – people walking
in certain spots – for popular tourist
places, an increased shutter speed may
be required. This way, people will not
1 Get prepared
Find a perspective
and mount the camera
steadily through the frame. To get just become ghostly objects, but they on a tripod. Connect
around this problem, one solution is to disappear altogether. the remote shutter
use a slower shutter speed. When composing your photograph, release by cable or
In most situations, it is sufficient to pay attention to the direction from Bluetooth to minimise
work with an exposure time of about which people are entering the scene. the risk of movement
three minutes. However, this will vary If they are arriving across the horizon and blurred results.
depending on how long people remain then the technique is more effective.

2 Attach ND filter
Switch to manual
and switch off the image
stabilisation. Adjust the
focus manually before
attaching the ND filter
to work with a clear
view and get sharp
photos.

Left
Clear focus
3 Shoot in B
mode Switch
your camera to B
Long exposure
removes mode, or to T mode if
distracting available. Take a few
factors that draw test shots and use
attention away
your smartphone’s
from the subject
and focuses solely timer function to press
on the building the shutter button.

45
TECHNIQUES
Pro case study
Landscape photographer Christoph
Schaarschmidt on long exposures
Hey Christoph, tell us a bit about
yourself and your photographic journey
That journey started in my childhood. Both my
grandfather and my father were enthusiastic
hobby photographers and videographers.
When I was in school, I took a camera with me
on every trip. Later, I wanted to turn my hobby
into a job and so I studied media engineering.
What fascinates you about
long-exposure photography?
My final thesis during my studies was about
time-lapse photography. I spent days and
“Using long exposure methods, I can
make things visible that you can’t see
with your eyes, such as star trails”
46
nights filming movements in nature. During
this time I found more and more pleasure
in capturing exactly these processes in just
one single exposure. Using this method, I can
make things visible that you can’t see with
your eyes. This is when I shot my first star trail
images and long-exposure landscapes.
What are your biggest challenges
when taking long-exposure images?
One of the biggest challenges is taking long
exposures of light trails on roads. This summer,
I wanted to take such a picture in the Austrian
Alps. When I got to the mountains for the first
time, it started to rain and there was lightning
on the horizon. So I returned to my tent. On
the second attempt, I waited in vain for a car
to light up the road below. So the third time,
I had to make sure it worked properly.
I hiked to my photo location and positioned
and programmed my camera. After that, I
returned to my car and drove up and down
the pass road by myself. When I got back to
my camera afterwards, I was more than happy
that everything had worked according to plan.
What has been the longest exposure
time you have ever worked with?
I think the longest exposure time in a single
image was about 20 minutes. When you
expose for such a long time, a terrible colour
noise appears in the finished picture. You have
to take dark pictures at the same time and it
just gets incredibly complicated.
Most of my extremely long exposures are
created by stacking many single images. In
principle, you shoot a time-lapse, which is
subsequently assembled into a single image
on the computer. Using this technique,
I have created images with an exposure
time of up to two hours.
 PRO LONG EXPOSURE TECHNIQUES

x4 © Christoph Schaarschmidt
Far left
When capturing the beauty of nature, When it comes to lenses, I naturally like Trollstigen Road,
what do you pay special attention to? wide-angle and bright lenses. Mainly because Norway
When I find a place that I want to I like to be out and about at night to “This is a stacked time lapse of
photograph, I first look for a photograph stars and the Milky a car coming up the famous
road at night. The car needed
suitable composition. Then I CHRISTOPH Way. For this reason, I use a about 18 minutes to reach
try to find out what would SCHAARSCHMIDT Sigma 14-24mm f2.8 – one the top of the mountain pass”
be the perfect time to Born in 1983, Christoph is of the best lenses I’ve ever
photograph this place, an internationally published owned. For landscape Left top
landscape photographer based in Spirit Island, Jasper
because it is important details, I now have a National Park, Canada
how the natural light Saxony, Germany. He has won awards Canon 100-400mm lens “For this 90-second exposure,
interacts with the and been shortlisted for numerous with me, which I am very I used multiple grey and
competitions. He has had his gradient filters to add a
landscape. happy with.
images printed in the Weather. little drama to the sky and
Should I photograph I also use Haida gray
A Force of Nature book and water. I was lucky that I just
it in the morning, evening National Geographic and graduated filters for my caught the sunlight on this
or at night with the moving magazine. landscape pictures. Of course, wonderful little island”
stars? Or do I have to come a stable tripod that stands
Left bottom
back at a completely different firm for several hours is also very
Mount Rundle, Banff
time of year? Often, you don’t have important. And I never want to be National Park, Canada
this luxury so you have to do something with without a remote control again – without this “100 seconds of moving
the situation you find. My motto is that you my star trails won’t be possible. clouds at sunset above
get a little smarter with every attempt, even if the Vermillion Lakes near
the town of Banff. I used a
the result isn’t perfect. What is next for you and your work? gradient filter for this shot.”
This is a good question. I’d definitely like to
What equipment do you use most regularly? spend more time outside with my camera. Above
I’m currently using a Canon EOS 6D Mark II. I’ve travelled a lot and photographed around Wave Rock,
Western Australia
I’ve always been a Canon user and, without 80 national parks around the world but there “A 30-second exposure of
being a huge tech geek, I’m just really happy are so many more in Europe alone that I the Milky Way above the
with what it offers me. haven’t seen yet and would love to shoot. famous landmark”

47
 TECHNIQUES

Pro tips for

long exposures
1 Reduce vibrations To minimise
camera movement, always remember
to pack your tripod and remote shutter
release before you head out to shoot
with long shutter speeds.

2 Think wide Wide angle lenses are

ideal as they capture more of the
surroundings, making it easier to work
out the long exposure characteristics.

3 Extend shutter speed Make use of

ND filters to increase the exposure
times without the risk of overexposing
specific elements in your shot.

4 Explore the scene When shooting

in low lighting conditions, it’s
always best to check your location and
familiarise yourself with the surroundings,
especially before it gets too dark.

5 Compose freely Try out different

handheld views for the maximum
flexibility in composing your shot. Secure
your camera on a tripod afterwards.

6 Analyse movements Observe

your scene and pay attention to
the direction from which the movement
appears in front of your lens. That way
you can enhance the effect of movement.

7 Create interplays Shoot both

the soft and hard elements in the
frame next to each other to create visual
contrasts and bring out the special
features of long-exposure images.

8 Save time Start by shooting at

faster shutter speeds and higher ISO
values. Then lower the ISO settings by
one stop and double the exposure time
until you find the right settings.

9 Combine knowledge When you

want to take creative shots that
stand out, then forget all the rules. When
using technical methods, be smart and
think outside the box.

10
© Christoph Schaarschmidt

Stay patient Creating long

exposure shots according to
specific visual ideas can take a long time.
Be open to other photographic outcomes
– sometimes they are the best.
Pictured
Racetrack Playa, Death Valley
National Park, United States
“This is a stacked star trail image
over a period of about one hour. The
moonlight lit up the foreground.”

48
SHOOTING SKILLS

SHOOT LOW-LEVEL
LANDSCAPES
Pictured
Highs and lows
A low viewpoint has
created a much more
interesting image than
shooting at standing
height where the

Accentuate the foreground interest by getting down low scene appears to have
no foreground interest

50

Breaking some of the unspoken
conventions of landscape photography
can often allow you to capture more
unique viewpoints that completely change the
balance of the scene. Landscapes are often shot
with the tripod set to a height between 50-150cm,
and for most situations, this provides the perfect
viewpoint to show off the surroundings at their
best. However, positioning the camera just above
the ground level creates surprisingly interesting
results with the right scenes; typically featuring
rugged foreground interest and lots of texture.
“Positioning the
camera just above
ground level creates
interesting results”
BEFORE
Along with a wide-angle lens to capture the Difficulty level: Intermediate
widest field of view possible to include the Time taken: 30 minutes
All images © James Abbott
foreground, focus stacking is an essential element
of this technique. This is simply because, with the
camera low to the ground, the foreground interest
could be as little as 30cm in front of the camera, What you’ll need
while distant elements of the scene could be Camera and wide-angle lens
hundreds of metres away. Even shooting at f/22, it Articulating tripod or mini tripod
wouldn’t be possible to capture such a deep scene ND graduated filters
in sharp focus. And once the exposures taken at Shutter remote
f/8 or f/11 have been blended together, the entire Adobe Lightroom & Photoshop
scene will be pin-sharp throughout.
51
SHOOTING SKILLS

Shooting 1 2

steps
1 Set up the tripod Position
the camera around 15cm above
the ground – a tripod with an
articulating centre column is the
easiest tool to do this. Alternatively,
you can use a mini tripod or insert
the centre column of a standard
tripod upside down to position the
camera close to the ground.

2 Shoot wide-angle Shoot with

the widest focal length you have,
for example, 16mm for full-frame
or 10mm for APS-C. The reason is
that it’s important to get as much of
the scene into the frame as possible.
After merging the focus stacked
3 4
exposures, the outer edges of the
final image are blurred and will have
to be cropped out.

3 Level the camera Flip out the

LCD screen, turn on Live View
and make the Virtual Horizon visible
on the screen, often by pressing
either the Info or Display buttons.
You can now adjust the tripod head
to ensure that the camera is level
and the horizon is straight before
switching to the histogram view.

4 Attach filters Although you’re

working low to the ground,
landscape shooting conventions
apply, so attach filters to your lens
to control the light. For this scene,
a soft 4-stop ND grad was used to
maintain sky detail with a polarising
filter set to minimum strength. 6
5

5 Camera settings & focusing

Shoot in manual mode to lock
the exposure with ISO at 100 and
aperture set to f/8 or f/11. Turn on
autofocus and position the active
point low in the frame. Take a shot,
then use the D-pad to move up two
AF points. Repeat until you have 6-8
exposures focused at various depths.

6 Use a shutter remote

Shutter speeds may be too
slow to fire the shutter by pressing
the shutter button, and doing so
could cause camera shake. To avoid
this problem, you can either use a
shutter remote control, the camera’s
self-timer or its smartphone app to
release the shutter instead.

52
 SHOOT LOW-LEVEL LANDSCAPES

TRIPOD SHUTTER REMOTE

The easiest type of tripod to use is one
with an articulating centre column to
position the camera low to the ground.
Alternatively, you can use a mini tripod
or insert the centre column of
a standard tripod upside down.
Because the shutter speed is
likely to be slow, use a shutter
remote to avoid camera shake.
If you don’t have a shutter
remote, you can use the camera’s
self-timer or smartphone app.

CAMERA AND LENS

FILTERS Any camera will work well for low-
ND grads, a polariser and even ND level landscapes, but the best lens is a
filters, if the scene requires it, can be wide-angle to capture the widest field
used to control light and exposure times. of view you possibly can. Alternatively,
Square filters are the most versatile, but use a kit lens set to the widest focal
you can use any type of filter you have length if this is all you have.
depending on your preference.

The setup
Shoot comfortably
Use a camera’s smartphone app
for Live View and setting control
Most, if not all, modern cameras can
be controlled by an Android or iOS
smartphone app developed by the
camera manufacturer. The advantage of
this when shooting low to the ground is
that you can enjoy a Live View from the
camera, adjust settings, set focus points
and release the shutter while standing.
This is much more comfortable than
controlling the camera using its direct
access controls and setting focus points
using the LCD screen for focus stacking.
The image on your smartphone will be
larger than that shown on the camera
LCD screen, so the overall shooting
experience is more comfortable.

53
SHOOTING SKILLS

Edit the shot 1 2

1 Process the first image Apply any basic

adjustments required. For this image, White
Balance was adjusted while Lens Corrections,
Tone, Presence and Curves adjustments were
also made. Localised adjustments will be
added in the next step to recover sky details.

2 Apply Masking Refine your localised

adjustments where necessary. Despite
using an ND grad, we needed the Masking
Brush to recover sky detail, with two masks
intersected with Luminance Range.

3 Synchronize Settings Hold the Shift key

and click on the last focus stacked image
to select all, then click the Sync button. Click
Check All and press the Synchronize button.
Right-click on the selected images and then
go to Edit in>Open as Layers in Photoshop.

4 Align and stack images In Photoshop,

hold down Shift and click on the bottom
image. Go to Edit>Auto-Align Layers, default 3 4
settings and hit OK. Go to Edit>Auto-Blend
Layers. If Stack Images is selected, press OK.

5 Crop out edge blur With a near-to-far

focus stack, the edges of the images will
be blurred and need to be cropped out. Select
the crop tool, making sure the ratio is set to
Original Ratio. Drag the guide over the image
and zoom in to make sure all blur is removed
before committing to the crop.

6 Add finishing touches Flatten the image

by right-clicking the Layers panel and
selecting Flatten Image. You can now apply
further adjustments as required in Photoshop.
You’ll need to Save As so the image is saved in
your preferred file format and location.

Right
Boosted texture
At standing height, the path creates a
lead-in line but focusing on the rocks
in the foreground is more engaging

5 6

54
 SHOOT LOW-LEVEL LANDSCAPES

BEFORE

AFTER

55
SHOOTING SKILLS
Master natural light
Take advantage of daylight to create an atmosphere
and enhance the natural appearance of your subjects
Working with natural light has one
great advantage: it gives photography
a unique and natural atmosphere that
is difficult to recreate in the studio. But daylight
is anything but uncontrollable and, used
correctly, it can have a great influence on the
overall look and visual language of your image.
To control the light and shadows, it is
necessary to remember that the quality of light
changes throughout the day. If you photograph
under an overcast sky, in the morning or in
the afternoon, the light creates soft shadows
and reflections, whereas the midday sun tends
to create more extreme effects. The harsh
1 Find your spot Build your set close to
a window and avoid extraneous light
sources. In this way, you avoid yellow tinges
and elements will benefit from soft light
reflections and shadows. If needed, use
a reflector to brighten up the shadows.
4 Switch to manual To master natural
light, take full control of the settings.
Use low ISO values and correct the overall
brightness by varying the exposure times.
Select the smallest aperture and increase it
until the desired image sharpness is achieved.
56
incidence of light emphasises the shadows and
produces graphic and unnatural results.
Food photography offers the opportunity
to learn and understand how to use light in a
natural way. In this genre, many photographers
work with daylight, as it makes the food more
appetising and realistic looking but also shows
off the special features in a stylish way. Low
ISO settings, wide aperture and long shutter
speeds make it possible to get the best results,
even when shooting in lower light.
With products however, don’t try to increase
the brightness by working with extremely large
apertures. This affects the depth of field and
2 Think
about light
Try out different
arrangements
of the food to
analyse the
individual effect
of the light and
find the best
perspective. A
45° angle shows
off the main
features while
a bird’s eye view
provides a wider
overview.
5 Find your style Try a range of different
backdrops, keeping an eye on how each
one affects the visual appearance of the main
elements and overall atmosphere. Focus on
both texture and colour and make sure to
bring out the details as much as possible.
reduces the sharpness of the elements. Instead,
use a tripod and a longer exposure to balance
the light. Learn the optimal camera settings,
perspectives and compositions to get the most
out of daylight and you may not need to work
in the studio anymore.
Inset Main
Yellow tinge Balanced light
Mixing the light here The main subjects
has resulted in an appear tangible and the
unnatural overall look background works out
and colour. The subject colours and structures.
looks unappetising and The composition and
artificial due to flat light light reflections create
and a lack of shadows a natural effect
3 Secure your camera When you have
decided on the perspective, mount the
camera on a tripod to capture maximum light
when working with long exposures. To reduce
the risk of movement, work with the built-in
camera timer or use a remote shutter release.
6 Use negative space Sometimes, less
can be more, so don’t try to add too many
components. Instead, focus on the main
subjects to enhance their visual properties.
Negative space can help your composition, the
eye focuses on these and balances the image.
 AFTER

BEFORE

57
 EDITING SKILLS: PHOTOSHOP
Colour grade with
PHOTOSHOP
TUTORIAL the Gradient Map
Meet the editing pro
James Abbott is a
professional photographer
and photography journalist,
specialising in shooting
and editing techniques. He
recently released his first book,
covering professional image editing skills in
both Adobe Photoshop and Affinity Photo.
@jamesaphoto www.jamesaphoto.co.uk
1 Set the shadow colour Double-click on
the Foreground Color Palette to open the
Color Picker and select a dark colour for the
shadows. Here, a dark teal was selected with
the hexadecimal value #032323. To select
colours that work well together, use a colour
wheel to identify complementary colours.
All images ©James Abbott
4 Switch Blending modes Change the
Blending mode of the Gradient Map Layer
to Screen before pressing Ctrl/Cmd+J to
duplicate the Layer. This will make the image
light, so change the Blending mode to Multiply
(a darken Blending mode) and this will balance
with the Screen used in the Layer below.
58
Apply a cinematic colour effect
in a quick, easy and effective way
Colour grading is an eye-catching
technique that continues to grow in
popularity among photographers. Once
the preserve of Hollywood movies, adding some
colour grading to your images can produce an
additional sense of style and atmosphere. And
the best thing of all is that there’s an incredibly
effective way to apply colour grading in Photoshop
using the Gradient Map Adjustment Layer.
2 Set the highlight colour Double-click on
the Background Color Palette on the right
and when the Color Picker opens, select a light
colour to represent the highlights – this can
be close to white. For this image, to complete
the orange and teal grading, we chose a light
orange with the hexadecimal value of #f5d6aa.
5 Group Layers The top Layer will be
active so hold down Shift and click on the
Layer below so both are highlighted. Press
Ctrl/Cmd+G to group the Layers and then
change the Opacity of the Layer to the desired
amount. This image was set to 25 percent for
a mild, yet easily noticeable, colour grade.
What you’ll
be using
Blending modes
Layer Opacity
Gradient Map
Layer Groups
Color picker
3 Create a Gradient Map Click on the
Create new fill or adjustment layer icon
at the bottom of the Layers panel and select
Gradient Map. When the dialogue box opens,
the colours selected in the previous steps will
be automatically loaded into the gradient so
you can immediately close the dialogue.
KEY TIP
APPLY A SOFTER HAZY GRADE
The effect we’ve created here has
resulted in a natural contrast, but if you
prefer a softer hazy look, there’s a simple
way to achieve it. After creating the
Gradient Map Adjustment Layer, simply
leave the Blending mode as Normal and
reduce the Opacity to the desired level.
Insert Main
Neutrally balanced Cinematic warmth
This woodland image has been The orange and teal effect
neutrally balanced for a clean has warmed the image but
result, but it would benefit kept the shadows cool for a
from a subtle colour grade natural-looking colour grade
 AFTER

BEFORE

59
 EDITING SKILLS: LIGHTROOM
Create manual lens
correction profiles
LIGHTROOM Generate a lens profile in Lightroom
TUTORIAL
if a preset for your lens doesn’t exist
Lens Correction presets are a
quick and easy way to remove lens
deficiencies including distortion
and vignetting, but they don’t exist for all
lenses. Most modern lenses are covered by
1 Process your image In some images, it is
easy to see distortion, however, this shot
needed to be processed before it was visible.
If a lens profile is unavailable, then apply
adjustments in the Basic tab to get the image
as close to fully processed as possible in
terms of colour, contrast and exposure.
All images ©James Abbott
4 Remove vignetting Most lenses create
vignetting with the amount depending
upon the type of lens. Sometimes the natural
vignette creates a pleasing result, but at
others, you may want to remove it. For this
image, Amount was set to +35 to brighten
and Midpoint was pushed down to 20.
60
What you’ll
be using
Lightroom’s software, but if you are using Remove Chromatic Aberration
an unsupported lens, an old manual lens or Manual Lens Corrections
would simply like to create your own manual Basic adjustments
profile, that’s exactly what we’ll cover here. User Presets
We’ll also cover saving it as a User Preset. Transform
2 Use Transform This image was taken at a
slight angle and features plenty of straight
lines, making it much easier to straighten
3 Apply Manual Lens Corrections In the
profile section of Lens Corrections, click
on Remove Chromatic Aberration and select
before applying Lens Corrections. In the manual tab. For this image, Distortion was
Transform, Vertical was set to +2, Horizontal set to +5 to remove a slight barrel distortion.
to +2 and Rotate to -4.0. However, most Minus figures remove pincushion distortion.
images won’t require this type of correction. Defringe removes colour fringing if present.
KEY TIP
WORKING WITH PRESETS
To preview the effect of any
Lightroom Preset, hover the
mouse pointer over the Preset
name on the Preset tab. To
apply the Preset, simply left
mouse-click on it.
5 Create a Preset Click on the Preset arrow,
then click on the plus symbol and select
Create Preset, making sure that the Group is
Inset
Visible distortion
The need to apply lens
Main
Fully corrected
The lens distortion and
corrections isn’t always vignetting in this image
User Presets. Label the preset with the name
apparent, but once the were fairly minor, but
of the lens, then click on the Check None image is processed you removing them helped
button before clicking on the Lens Corrections can often see if any lens improve an image that
checkbox. Click Create to save the preset. deficiencies are present has lots of straight lines
AFTER

BEFORE

61
 EDITING SKILLS: AFFINITY
Control sharpening
non-destructively
AFFINITY Use the new live band-pass mask to
TUTORIAL
sharpen in a defined frequency range
Sharpening is one of the most crucial
editing tasks in processing and can
make or break your photograph.
One common mistake is to take sharpness
to the extreme, however, which can cause
1 Use unsharp mask Add a live unsharp
mask filter to work on fine detail
sharpening. Select New Live Filter Layer >
Sharpen > Unsharp Mask. Zoom into your
image to gain a detailed view. Work with a
minimum Radius to avoid over-sharpening
and increase the Factor value with care.
Image ©Sergey Tsybulsky
4 Adjust intensity map Fine-tune the
effects by raising the intensity of the
pixels. Tick the Linear option and adjust
the graph by moving the nodes. Untick the
Preview and balance this effect by increasing
the Low Band and decreasing the High Band
sliders until the desired sharpness is achieved.
62
What you’ll
be using
specific details to lose their effect and reduce Live unsharp mask
the overall impression of the photo. In this Live band-pass mask
sensitive process, less is often more so, using Low and high band sliders
Affinity, we’ll show you how to set your focus Intensity map
and bring targeted sharpness into play. Brush tool
2 Mask the effect Add a live-band mask to
mask the created effect – this is located
under the option New live mask layer – and
3 Render greyscale Tick the Preview
option to open the Render Greyscale
representation. The black image pixels are
then select Band-pass. In this way, the new transparent and the white are opaque. By
added mask is now adapted within the minimising the Low Band and increasing the
unsharpened mask layer and the previous High Band values, you will be able to enhance
sharpening is automatically removed. the sharpness of the less visible edge details.
KEY TIP
SHARPEN WITH CARE
The mask can be adjusted non-destructively,
so you can change the settings as much as
you like. This makes experimenting with the
adjustments easy and will help you gain a
feeling for them. To avoid over-editing, keep
going back the original every now and again.
5 Erase elements To further control the
contouring around your subject, eliminate
areas from the live mask. Select the Brush
Inset
Limited
effectiveness
Main
Rich in detail
Through live band-pass
The basic sharpness masking, certain elements
tool and change the brushes panel to the
of the image does not of the image stand out due to
masking category. Set your active colour to direct the viewer to targeted sharpness, creating
black and then simply paint over the desired specific elements and a much better balanced
areas to eliminate specific image parts. valuable details are lost. overall impression.
AFTER

BEFORE

63
PRINT & SHARE

BOOST YOUR
IG REACH
Strategies for sharing photos efficiently on Instagram
It is common knowledge that Instagram’s
algorithm is biased towards reels and video
content. Despite this, the platform still has
the potential to grow networks and build communities,
so how can photographers make the most of it?
As photographers, we don’t want to pretend that
videos come before images and many of us have
neither the time nor the inclination to produce extra
content just to satisfy the algorithm. It’s one of the
reasons why photographers are increasingly switching
to other platforms. But if you want to
continue using Instagram efficiently, using
a few clever strategies can help make your
photo content visible to a larger audience.
One way of achieving greater reach is to
post giveaways. However, this may mean
that you only gain ‘superficial’ followers who
don’t stay and engage with your content. Try
these methods, which can be easily incorporated
into your workflow, to increase your reach.
Conclusion
Whatever strategy you
decide to follow, your focus
should be on growing your reach
organically. It’s not just about the
number of followers but about building
and growing an active community
that fully engages and interacts with
your content. This may take more
time, but it is necessary in the
long run to efficiently achieve
a wider audience for your
photographic work.

Analyse followers
It is important to focus on the
audience, clients and like-minded
creatives to grow your network in
a targeted way. To do this, you first
need to get an overview of your
followers’ interests and actions.
Here, IG has an ‘Insight’ function
that displays activities and data
about content and its performance.
Broken down by content type, you
gain an overview of responses
from the community but also non-
followers. This function makes it
possible to understand audience
preferences and could point to
new content publishing strategies.

Time it right
When you post new content, you
want to reach as many people as
possible. IG analytics provides
helpful information about where
your followers are located. This
is vital to know as it affects when
your community views content.
To reach the maximum number
of users, analyse the most active
times and days to find out the
optimal posting times. If these
don’t fit into your workflow,
use apps such as Tailwind to
pre-create posts and set up
auto-publishing dates.

64
Transform Create stories
photos Statistics show that
Why not feed the IG users like to explore IG
algorithm with reels stories. Here, you have
and videos based on the opportunity to direct
photos? This is one way followers to your profile
of using its rules to your and also to specific
advantage. Take the posts. Simply use the
opportunity to promote story post function to
your photography in a promote new content.
different way and also Put stickers on the
to create atmosphere photo to hide the image,
and new visual input. partially revealing details.
Apps such as Canva In this way, the content
help to create videos seems mysterious and
in a simple and user- grabs the audience’s
friendly way. Don’t attention. Another
forget to include option is to post behind-
background music and the-scenes moments
match the image details to communicate and
to the rhythm of the update new projects
sound to convey moods. with your community.

Get featured
If your photography
focuses on a specific genre,
it is worth interacting
with IG accounts that
promote certain photo
content. The advantage
here is that the followers
are likely to match your
target audience and offer
potential. Don’t just look for
accounts with millions of
followers as it is difficult to
get in touch. Use a hashtag
and mention the account
in your new posts. This way
the feature page receives
notifications about your
photography. Also, write
DMs and attach your work
to get people’s interest.

65
© cottonbro
GO PRO

66
 THE DOs
DON’Ts
OF WORKING WITH
AFFILIATES
Promoting relevant products and services to
your audience is one way of earning extra cash
Words by: Kav Dadfar
All images ©Kav Dadfar

To be a financially successful affiliate links, where you can potentially

photographer these days, you earn thousands by promoting products
need to earn money from a and services to your audience on behalf of
variety of different sources. One of the companies. Here are some of the do’s and
best avenues for this is through paid don’ts when working with affiliate partners.

Pictured
A rocky road
Promoting products through
affiliates can be a source of extra
income, but there are several
pitfalls you should be aware of

67
GO PRO

DOs
Make sure you have an audience
Affiliate marketing isn’t something that you can
suddenly start from scratch and immediately expect
to be earning an income from. As with any business,
the first things you need are potential customers and
an audience that is already engaged with your
photography work, your blog or even yourself.
Before you can even think about earning money from
affiliate links, you need to spend time trying to grow
both your audience and their engagement by providing
them with content that they want to see or read.

Work with the right clients

Whether you have the audience already or have worked
hard to build it specifically for affiliate marketing, it
is important that you are selective in the clients you
work with. Promote products and brands that you truly
believe in and not just anything that pays an affiliate fee.
Trust is fickle and all your hard work in building a
customer’s confidence will be undone if they see that
you are selling out for money. Spend some time vetting
potential affiliates and only work with the ones that fit
your values and offer what your audience wants.

Always be honest
Trust goes beyond just ensuring that you work with
brands you believe in. You also need to be open and
disclose whether you are being paid from links that you
feature on your blog, website or social media.
But this honesty also extends to reviews or other
content that you produce about the affiliate. For
example, if you have been given a tripod by an affiliate
partner and it wasn’t great, don’t mask it and try to sell
it as the best tripod on the market as that’s the quickest
way to lose credibility with your followers. Either don’t
promote it or be honest about your opinion of it.
Above
Right clients
Be selective in the clients
you work with. Promote
brands you believe in and
don’t accept just anything
that pays affiliate fees

Left
Captive audience
Before you can earn
money from affiliate
links, you need to build an
audience that is engaged
with your content

Opposite above
Honest living
Tell the truth about any
products you feature and
disclose whether you have
been paid for the links that
appear on your website

68
 WORK WITH AFFILIATE PARTNERS

Far left
Fair price
Too many affiliate
links or promoting
the same product
runs the risk of
your content being
viewed as spam

Left
Day job
Don’t quit your day
job in the hope
of making lots of
money. Make sure
it is a sustainable
source of income

“One of the pitfalls of signing up to many affiliate

DON’Ts programs is your content being seen as spam”
Agree to unreasonable terms
I have been approached many times over the
years by brands to be an affiliate. I turned
down the majority because I didn’t believe
they offered the right terms or a fair fee. For
example, one brand requested exclusivity in its
sector, yet its affiliate percentage was tiny.
Always try to have an idea of what you
think your commercial value would be for any
brand you are considering a partnership with
and assess whether it is going to be a fair
partnership for both parties.
Give up your day job
Of course, some people can potentially earn
thousands a month from affiliate fees. But for
most, it is going to take time to build enough
of an audience to earn that sort of income.
Even if you have had a few great months of
affiliate fees, don’t suddenly quit your day job
with the expectation that you will be making
lots of money going forward.
Bide your time and make sure that you have
proven that it will be a sustainable source of
income before making drastic changes.
Become a ‘spammer’
One of the major pitfalls of relying on affiliate
fees is that you can be tempted to sign up for
more affiliate programs and try to promote
each brand to your audience, which can result
in your content being seen as spam.
Instead of randomly emailing or promoting
on social media, create a schedule so that
your audience isn’t bombarded with marketing
emails. Contact the affiliate’s partnership
teams to see if and when there are promotions
or new releases that you can also factor in.

69
SOCIAL SPACE

Photo CV
We profile an expert photographer’s career journey
for insight on becoming established in the industry

Desert nights
Exploring hidden islands or driving deep into the
Arabian desert isn’t for everyone, especially at night

Middle Eastern delight

Benjamin aims to raise awareness of the beauty
that the region has to offer, such as Petra in Jordan

Benjamin Barakat I’m an award-winning night photographer,

Location: Buckten, Switzerland
Specialisms
Night photography tours/workshops
Landscapes
Travel
To see more of Benjamin’s work:
benjaminbarakat.com
IG: @benjaminbarakat
and for the past two years, I’ve been
named Milky Way POTY. My images
have been featured by Forbes, National
Geographic, CNN, BBC, Vice and more.
I’m a real estate photographer by day and
a researcher at the highest observatory
in Europe, The Sphinx Observatory
in Switzerland. I host seminars and
workshops internationally and lead night
photography tours to the Middle East,
Night games
teaching others what I love and do best.
Some clients are experienced photographers
but have zero knowledge of night photography

70
 PHOTO CV

Benjamin’s photo kit

The essential gear he couldn’t
do without for night shooting

CANON EOS R
My Canon R
mirrorless is a
beast of camera
and perfect for low
light photography.
It’s literally as good
as it gets for night
photography.

SAMYANG XP
14MM F2.4
This wide-angle
prime lens offers
inclusive field-of-view
and a wide aperture.
It has excellent
resolution for
detailed night skies.

SIGMA 40MM F1.4

AF DG HSM ART
I work with lots of
third-party lenses,
and this Sigma
has an extra bright

Career Path maximum aperture,

reducing the need
for long exposures.
When did you start out in to understand ISO, aperture, exposure
your current photo genres? and various techniques, such as stacking,
After spending countless nights with my tracking and even light painting.
wife outside on our porch stargazing, I came
up with the crazy idea that I wanted to take What key skills are needed SUNWAYFOTO
TRIPOD
pictures of the stars. I remembered that my for your line of work?
I’ve tried all the top
father once had an old camera, so I asked Patience is key to dealing with clients, brands of tripods
him if he still had it lying about. A few weeks especially people new to night photography. but ended up with
later, I decided to go out and capture the sky. I often have clients that have done Sunwayfoto for
It was a great feeling but when I think photography for longer than me but with its ease of use. In
night photography,
back now, the images looked terrible. After zero knowledge when it comes to night stability is essential.
some research, I came across the Milky Way photography. Other than that, a lot of the
and other night sky objects and was left in places I run my tours are in the Middle

“Patience is key
disbelief by some of the images I saw. So my East and that takes a different mindset and
next objective was to capture the Milky Way. understanding of how to communicate and

to dealing with
Eventually, I had a trip to Lebanon with make my way around in such places.
some other photographers and spent a night

clients, especially
in the mountains, knee-deep in the snow. It How do you decide on the locations
was worth it, but I didn’t know then that I was for your images, especially when

those new to night

about to step into my purpose in life. running a tour or workshop?
I’m an explorer and love to see new places

What challenges did you face as a
startup and how did you overcome these?
My images and techniques were fairly
amateur until I made a new friend, Ralph
Rohner, who was a pilot for Swiss Air. He had
over ten years of experience in photography
and taught me the basic techniques of night
photography and even some astronomy,
which I was also clueless about.
I always call him my mentor and I’m
grateful for all the lessons and tips he has
handed down to me on a silver plate. I started
photography”
that are less frequently visited or somewhat
challenging. I want to offer something new
to my clients and for them to be amazed by
places they never knew existed. Exploring Vital skills
hidden islands in the Indian ocean or driving Understanding ISO, aperture,
deep into the Arabian deserts isn’t for exposure, stacking and light painting
are essential for night photography
everyone, especially by night.
The places I offer tours are still new when
it comes to night photography and that’s my
goal, to be a leader. On top of that, I’m half
Lebanese so I am trying to raise awareness of
the beauty the Middle East has to offer.

71
 GO PRO
Career advice
Claire Gillo offers advice on the best places to sell fine art prints online and
speaks to a pro who shares her top tips about selling artwork via Redbubble
Fine art query
I would like to sell my fine art prints
online but have no experience doing
this. Where would you recommend that
I start looking and where should I avoid?
Thanks in advance.
Alice Seddon
There are many online selling platforms
offering a similar service, so you have to
decide whether you want to be a little fish
in a big pond or a big fish in a little pond.
Both have pros and cons – being on a big
platform means it can be hard to be seen
but you have a larger target audience.
There isn’t a right or wrong decision, just
different options to weigh up.
Etsy is a good place to start. It costs
17p to list an item with a 6.5 percent
transaction fee. This is one of the biggest
selling platforms out there, but that does
mean there is stiff competition.
Fine Art America is another popular
choice. This platform differs in that it
takes care of the printing, framing and
shipping, making it a much easier process.
It sets a base price then whatever you
add on top, you keep as profit. You can
either set up a free account or pay $30 a
year for a premium account with benefits.
For those whose photographic work
leans more towards the fine art side,
Saatchi Art is worth considering. Set up
an account with them for free and receive
65 percent on every artwork sold.
Finally, Redbubble is another option to
consider. This company works in a similar
way to Fine Art America in that it makes
the products and starts with a base price
meaning the artist makes a small profit.
Selling your arty photographic images through
© Claire Gillo
an online platform is an excellent way to
generate some additional income
72
Best textured
backgrounds
I would like to invest in some textured
backdrops for my still life and food
photography. Do you have any
recommendations for a photographer
on a tight budget?
Jason Dixon
There are many different textured backdrops out
there that range in price. We suggest you start
© Claire Gillo
with Black Velvet Styling (blackvelvetstyling.
com) as the company has a large range of
products that aren’t too pricey. For example,
A textured background can help transform
an A1-sized vinyl photography backdrop costs your product and food photography shots
£32.50, but it’s also worth having an explore
around the sale section of the website, as you However, if money is really tight at the
can find some products there for half price. moment, have you ever considered making
Club Backdrops (clubbackdrops.com) is your own textured backdrops? Wallpaper or tile
a similar company to Black Velvet. A 60cm samples mounted onto a backing board could
by 90cm vinyl backdrop can be purchased be a relatively cheap and easy way to make
for around £22 from this online retailer. a backdrop you can use again and again.
How do I make my social
media more interesting?
My social media posting is getting stale and Although social media is essentially
I’m struggling to come up with a daily post. businesses trying to sell products, users want
I seem to be stuck in a rut and uninspired. to be entertained and engage with people
Do you have any inspiring ideas that might through the medium. Find a way to market
set me on a different path to this endless yourself that is honest and genuine. Behind-
chore I have to endure? the-scenes videos of a photo shoot are always
Danny Johns popular or a before and after image will
get engagement. If you offer your followers
Social media for many is a chore, so don’t genuine and engaging insight into your world,
worry Danny, you are not alone. Start by you may start feeling more inspired too.
taking a step back – do you need to post
every day? Could you post once a week or
every other day instead? Taking a small step
back might help you to re-engage and give
yourself some much-needed head space.
One key thing to remember is social media
is ever-evolving. What was once popular soon
changes, plus the platforms are continually
© Nik Shuliahin
altering and adding in new elements, so to
be successful, you need to keep up with it. A
good way to get noticed is by being genuine
and making your social media about you as Engaging with your followers by being genuine
well as the product you are selling. is the best place to start on your social media
 Left
King of
Spring
This white
stag with
magnolia
antlers is a
© Gill Prince x4 particularly
niche print

Right
Head
above the
clouds
A fantasy

© Sarah Parker
giraffe with
sunflowers,
planes and
clouds

How do I sell my artwork?

Fine art photographer Sarah Parker shares the success of her business, Sarah
or Someone, and the advantages of selling via a print-on-demand platform
Hi Sarah, tell us about
yourself and what you do
I’m a British ex-pat
living near Heidelberg,
Germany. I’ve been taking
photographs for over 20
years, and dabble in all
sorts, but I specialise in animal photography.
I particularly love capturing portrait-style
images of animals (wild or domestic) and
giving them a whimsical, fine-art twist. I sell
my prints and merchandise through the
print-on-demand platform Redbubble
(redbubble.com/people/sarahorsomeone).
What are the pros and cons of
selling through this platform?
The main advantage of Redbubble is that
you don’t have any financial outlay. You can
also offer a wide variety of merchandise to
customers all around the world without
having to deal directly with shipping or
customer service. I am disabled and suffer
from ill health and so this is a solution that
works well for me because I can add work
whenever I can get around to it.
Low risk means low gain though, and a
typical profit margin for print-on-demand
services, including RedBubble, is about 20
percent of the total item cost. You can make
your margin higher but then you risk missing
out on sales as you are competing with other
artists on the platform. It’s a non-selective site
so there is a huge amount of competition.
What is your best-selling product?
I sell a lot of posters and other wall-art prints,
which is the kind of product I have in mind
when creating a fine-art photography piece,
Homeware and cushions, in particular, seem
to be popular, so I’ve started taking that
into consideration. Sometimes I create two
different final crops of an image, one aimed
at wall art and another aimed specifically at
cushions or coasters, for example.
What is your target audience and do
you market your work anywhere else?
I have to be honest, I just create what I like
and hope others will like it too. I try to keep
interior design in mind when creating a fine-
art piece. You can take the most amazing
award-winning wildlife photograph but if it’s
not going to look nice in someone’s home it’s
unlikely to sell. I don’t do much marketing
myself other than having a website and
sometimes noting that prints are available
when I make an Instagram post. Redbubble
advertises your work to people that have
already seen it or made searches on related
subjects (in the way that other retailers do).
What top tips would you give to others
wanting to sell their photography online?
Print-on-demand is a good way to ‘test the
water’ without having to risk money on
holding stock, however, if you want to see your
clients face-to-face it won’t be for you.
My advice would be to have realistic
expectations. I don’t make huge amounts
of money selling my prints, but I have the
satisfaction of knowing my work is available,
and that people have chosen to buy it. That
gives me a huge amount of satisfaction, which
often outweighs the financial incentives.
Finally, think about what potential clients
may be looking for – an excellent photograph
does not always make good wall art.

To find out more about Sarah go to sarahorsomeone.myportfolio.com, or follow her on Instagram @sarahorsomeone

73
 PRO ANALYSIS

WHY
SHOTS
WORK
TITLE: Durdle Door in the Snow

DATE: March 2018

KIT: Canon 5D mark IV

Canon EF 16-35mm f/2.8L III USM
Lee Filters (0.6 ND soft grad + polariser)

WEBSITE:
www.pinners-photography.co.uk

ISO 1.5
f/9
100 sec

“My love of photography was inspired by my late

grandfather, who always went out with his camera. When
he died, I bought a camera and I’ve never looked back.”

Matt Pinner
Matt Pinner is a British landscape
photographer based in Dorset, UK.
He has worked with numerous
clients including Canon, The Times,
Toyota and others. Matt offers
one-to-one workshops for budding
landscape photographers and
publishes books and calendars featuring nature
images shot from a distinctive perspective.
© Matt Pinner

CONTRARY ELEMENTS LEADING LINES

One way to make photos stand out is to recognise unusual
situations that add a further visual layer to the scene.
“When the ‘beast from the east’ was predicted to hit the UK,
I couldn’t resist shooting this famous landmark in the snow –
I knew it probably wouldn’t happen again for a very long time,”
says Matt. The contrary elements are balanced out perfectly
and make the landscape even more special. “This image has
the effect of inner peace. I captured this scene to show that
there is calm at the eye of the storm,” he says.
Matt’s composition directs the viewer’s gaze towards the
focal point through a mix of straight and rough organic lines.
“The shoreline is highlighted by the crispness of the snow
and the rich sea green water,” Matt says. “Between these
was some sea foam and exposed sand, creating a pathway
to the rock itself,” he adds. To emphasise the focal point of
the composition, Matt captured as much of the foreground
as possible. “I went close to the water’s edge to help
elongate the image and maximise the surroundings.”

74
MUTED TONES
The calming effect of this photograph is mainly due to the muted colour
palette. “The grey and green against the blue and white all balance out
to create an atmosphere that reflects the solidity of the rock itself,”
says Matt. He aims to let his work express itself by doing the minimal
amount of editing possible. “I didn’t work on anything specific, other
than lowering overall highlights and upping the shadows. You should let
images be as organic as they can,” Matt says. Capturing the best image
in-camera means he can avoid time-consuming editing processes.
STRONG STRUCTURES
Durdle Door has a distinct shape that dominates the surrounding
landscape. “I used the long exposure technique to create the illusion
of the sea being frozen to build a connection between sea and
snow,” says Matt. With this method, he contrasts both elements
and draws out the characteristics of the stone. “The smooth sand
and curved lines of the shore draw the eye to the hard texture of the
rock formation,” he adds. With this decision, Matt has created an
interesting interplay between the various structures in the picture.
75
INTERVIEW

Maria Munn
Maria Munn is an award-
winning underwater
photographer and a
leader in teaching the
genre with compact
cameras, starting the
UK’s first dedicated courses for
beginners from her studio in Swanage,
Dorset. Her first book, Underwater
Photography for Compact Camera
Users, is a best-seller, winning Book
of the Year in the UK diving industry.
To see more of Maria’s work:
www.oceanvisionsphotography.co.uk
@oceanvisionsphotography

Pictured
Green Turtle, Malaysia
“Even lighting using two strobes
is essential to bring out the
colours and textures of a
wide-angle scene,” says Maria

Words by: Kim Bunermann

All images ©Maria Munn

76
Explore the magical underwater world
with pro photographer Maria Munn, who
discovered her passion in extreme circumstances
ur underwater world is areas nor get to shoot them without injuries in an accident in which she
unique, inspiring and the right specialist equipment, both for suffered 15 fractures. While in hospital,
bizarre. With over 30,000 the dive and the camera. The genre of Maria watched a programme about whale
known species of fish underwater photography, therefore, offers sharks and decided that if she survived
and over 6,000 different a unique window into stunning worlds and could walk again, she wanted to
species of coral, the that would otherwise be hidden away. learn to photograph them.
oceans are awe-inspiring havens for Maria Munn first considered the idea of Once she had recovered, Maria set
water-based wildlife. However, unlike on underwater photography when she was in about her quest, travelling the world and
dry land, not everyone can access these hospital after sustaining life-threatening shooting underwater environments. From

77
INTERVIEW

launching the first underwater compact

camera photography courses with Emperor
Left
Divers in Egypt to shooting white sharks
Grey Seal,
in Mexico, Maria has seen and done it all. Lundy Island
“Scuba diving can be enjoyed by anyone, “The richness of
regardless of physical ability,” she says. “If marine wildlife is
you have a disability, scuba diving offers a incredible, from
vest kelp forests
unique sense of freedom, transporting you to beautiful
into a world of weightlessness and intrigue.” cup corals and
Shooting with both compacts and DSLRs, friendly seals”
Maria was the first person in the UK to gain
Below
a distinction from the Royal Photographic
Mimicking
Society for her work, before she turned her Miracle
hand to helping beginners. Now teaching Octopus,
the genre from her studio in Dorset, her Indonesia
students have won awards, been published “Using a compact
camera, housing
in National Geographic and worked on and natural light
programmes such as Blue Planet II. can produce
winning images.
We often see underwater photography This was runner-
up in the British
from faraway places. Do you have to go
Photography
far to take such breathtaking pictures? Awards,” she says
Absolutely not. There is so much beauty
beneath the waves around our UK coastline, Right
from snorkelling with friendly seals to Magical Cave,
Raja Ampat
incredible encounters with blue sharks and “Timing is essential
the second-largest fish in the sea, the basking to capture
shark. Don’t forget lakes and ponds, these sunbeams in the
are magical havens for so much underwater water,” says
Maria. You also
life. Remember to check the weather and
need a wide-angle
conditions beforehand and wear adequate lens to create
protection to stay warm or prevent sunburn. dramatic images”

78
THE POWER OF OCEANS

79
 INTERVIEW

You started the first dedicated courses You work with both DSLR and compact What is your most used camera
for beginners in underwater photography cameras, but predominantly with and the must-have items in your kit?
in the UK. What do your lessons look compacts. What’s the advantage of I love working with my Olympus TG6 and just
like and how do you plan a shoot? compacts for underwater shooting? can’t put it down anymore. I love capturing
I believe that the best way to learn is to have I love compact cameras for their ability split-level scenes showcasing the beauty of
fun, so my sessions are run for individuals or to capture both close-up and wide-angle an area above and underwater in the same
small groups in a relaxed manner. They are images during the same underwater shoot. image without the need for Photoshop. A
tailor-made to each guest’s needs and the Additional lenses made by Olympus, as well wide-angle lens is my perfect companion
particular areas that interest them. I have a as other manufacturers, can easily be added but it needs to have at least a 100° field of
studio in Swanage, which is just a few steps and are kept safe underwater using a lens view to achieve the best results.
away from the sea and is designed to inspire caddy system on an arm. You can also add I also use a Sealife Sport Diver housing,
visitors to photograph the beauty both here external lights, which helps keep the whole which Sealife Cameras kindly lent me to use
in the UK and overseas. system small and light to travel with. with my iPhone. I can’t put it down! It makes
During the lessons, we will go for a snorkel I’ll never forget swimming for my life in creating underwater images so easy for a
and practice techniques learnt in the shallow, pursuit of whale shark images with my beginner and delivers incredible results. The
safe waters of Swanage Bay. I also run day Canon DSLR in a large, heavy housing. software is compatible with most makes of
trips to locations where my students can
photograph and swim with seals. I offer online Left Right, above Right
help and I’m also looking to run overseas Orange Skunk Liberty Wreck, Bali Blue Shark, Cornwall
Clownfish, Malaysia “Colour combinations create as “Blue Sharks are migratory
trips too. They’re a fabulous way of practicing “I had to get as close as I could whilst much impact underwater as they animals and often visit south-west
and developing skills you have learnt, from keeping motionless in the water to do on land. Shooting other divers Cornwall to feed on the unique
settings through to composition and lighting. create a sharp image,” says Maria gives the scene a sense of scale” nutrient-rich waters,” she says

80
 THE POWER OF OCEANS

PRO ADVICE
Don’t forget to take care of
your equipment. Always double
and triple-check that your O-ring
seal is clean from sand, grit
and any lurking hair. One tiny
element going wrong could
cause a dreaded
housing leak.

81
 INTERVIEW
both Android and iPhone, meaning there’s
no need to upgrade the housing when
purchasing a new phone.
What are your underwater equipment
tips for budding photographers?
The most important thing to remember is
that water reduces sharpness, colour and
contrast, so it’s imperative to get as close as
“I was in hospital recovering from injuries in
a life-changing accident when I watched a
programme about whale sharks. I decided
then that if I survived and was able to walk
again, I would learn to photograph sharks”
82
you can to your subject. It is just as important,
if not more, to remember not to damage
reefs or harass creatures. Make sure the
camera and housing will give you the results
you want. If your passion is seascapes, caves
or large subjects, such as whale sharks, then
make sure a wide-angle lens will fit on the
front of your housing to give you the best
results. If your passion is close-up or macro
subjects then a strobe or external light are
the best accessories to buy. Some housings
like the Olympus TG-6 allow the built-in flash
to be used for macro subjects – just make
sure the part that covers the flash is opaque.
What are the biggest technical
challenges of shooting underwater?
Mastering how to expose subjects near the
surface using both natural and artificial
light is one. It can be tricky to get the
exposure right when there is a burst of
sunshine overhead. One of the golden rules
in underwater photography is ‘always shoot
with the sun behind you’. But ignore that rule
and you can get some eye-catching images.
Essentially, so many things can affect the
quality of your image – the operator’s ability
to stay still, the clarity of water, distance,
available light, where the subject is and how
 THE POWER OF OCEANS

Above left Above

fast it’s moving. Being able to think in a nano-
second to change the camera’s controls or
position yourself at the best possible angle
takes a lot of practice. And whether you’re
freediving or going out with scuba gear, you
have to remember to keep yourself safe too.
If there was one thing you wish you had
known before getting into underwater
photography, what would it have been?
It would be that taking award-winning images
was possible with a compact camera. I
still can’t believe that, back in 2001, when
I started to encourage those with smaller
cameras to get into underwater photography,
there was no one else doing that. Even the
Royal Photographic Society were astounded
when they learnt that my portfolio for my
distinction comprised both digital compact
and DSLR images.
You have been capturing our beautiful
underwater world since 2001, have you
noticed any climate-related changes?
I have seen so much change since I started
– and it’s incredibly worrying. Organisations
such as the Marine Conservation Society
say that, whereas there once were just
eight species of jellyfish in the UK, they are
now regularly finding 11. One of them, the
bioluminescent crystal jellyfish (or Aequorea
victoria) is normally found in Pacific waters,
but rising sea temperatures have damaged
coral reefs and displaced some migratory
species that usually live in cooler water.
Then there’s the huge danger to all kinds
of marine species from unsustainable fishing
practices. It’s an important time to support
organisations such as Sea Shepherd and
Ghost Diving, which remove illegal fishing
nets and protect ocean animals worldwide.
Schooling Fish,
Manta Ray, Mexico
“Using a fisheye lens and Malaysia
a strobe light helped “In large numbers, fish
me get close to this create powerful images.
huge 8m creature and Staying calm is key
fit it into my camera to getting the fish to
co-operate,” she says
frame,” says Maria
What’s next for you and your work?
I’ve just returned from volunteering with the
Ocean Film Festival team – it was incredible
to meet so many people passionate about
the ocean. I’ve also been asked to be a UK
ambassador for the Mares watersports
brand, to help encourage newcomers into our
blue wilderness through snorkelling. Nothing
makes me happier than giving beginners the
confidence to develop their skills to explore
our oceans safely and create captivating
images underwater. I’m also writing my
third book, which I’m really excited about.

83
GURUSHOTS

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

84
WINNER (Opposite)
Top photographer:
Happy Bunny !!! France

WINNER (Above)
Top photo:
Anca Romania

WINNER (Left)
Guru’s top pick:
Francesco Masi Italy

85
 GURUSHOTS

Anke Morreel Belgium Brian Spears United States

Irene Waters Australia Gabriel Nerf United States

Izabella Hamar Croatia Justashot ... Canada Eva Wiedemann Austria

Maria Fremming Denmark Ryszard Tutko Poland

86
 GURUSHOTS

Tara McGeary United Kingdom

87
 GURUSHOTS

Steel Daisy Mexico

Karen Moore United Kingdom Angela Fardo United States

88
 GURUSHOTS

Marius Forgaciu Romania Lize Bester South Africa

Gwen Carr United States Pedro Campos Portugal

Pavel Shynkarenko Cyprus Michael Gordon Israel

Viktor Borsós Hungary

89
YOUR IMAGES

SHOT
OF THE
MONTH
Photographer: Ruth Kordtomeikel-Hiller
Title: ‘Rübchen’ in the morning sun
Location: Rietberg, Germany
@ruthsgartenfreunde

About the shot: “My garden friends regularly come over for breakfast
and they are the perfect models to capture,” says Ruth. “The feeders are
located on the trees in my garden so that they can quickly escape from
enemies. I also provide fresh water next to the tree every day. Since word
of the delicacies has spread among the nimble animals, there are often
peak times at the buffet. If one of the squirrels gets too excited, it hops
straight to the kitchen door hoping for a ‘nut to go’. It works every time.”

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

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

91
PHOTOCROWD COMPETITION

BEST OF INDOOR PORTRAITS

The winners of our latest contest with Photocrowd have been revealed

F
or our latest competition in association with Photocrowd,
we challenged you to submit your best Indoor Portrait
shots and, after working through all the entries, the
winners have now been selected. Both crowd-voted and
expert winners will win a licence to Affinity Photo professional
editing software. Congratulations to all of the winners – as
usual, the standard of submitted images was extremely high
and it was a difficult task to select the best ones.
1ST PLACE WINNER
The innkeeper
Photographer: Annafranca
Our comment: We love the lighting in this shot! It demonstrates masterful
control of the spread of light and so it’s unclear whether the source is natural
or artificial – the aim of any professional lighting technician. The composition,
colour and sharpness all create wonderful depth. A lovely indoor portrait shot.

WIN! Prizes from Affinity

Enter our Winter Detail contest before 23 January 2023 for a
chance to win Affinity Photo, a new pro standard in photo editing
The winter season isn’t all about snowy landscapes. We want to see your
best shots of wintery detail, from frosty closeups of ice on vegetation to
abstract exposures of barren woodlands. Enter at www.photocrowd.com/
digitalphotographer from 3 January for a chance to win a licence to Affinity
Photo editing software (worth £49 for Mac or Windows). Affinity Photo is
a toolset for modern photography professionals. Whether you’re editing
and retouching or creating multi-layered compositions, it has the power
and performance you need. Affinity Photo has non-destructive editing, RAW
processing, real-time edits and colour management as standard.
Winners of this contest will be notified by email and can choose between
Mac, Windows or iPad versions of Affinity Photo. The winning images will
be revealed in issue 263 of Digital Photographer, on sale 21 February 2023.

92
2ND PLACE
Piano Girl
Photographer: Stefan Nielsen
Our comment: This is a lovely take
on the brief – we really like the lighting,
exposure and the way the frame is divided
across the diagonal, creating a minimalist
feel. The positioning and the pose of the
subject demonstrate a great knowledge of
environmental portraiture as each aspect
says something about the person.

3RD PLACE
Untitled
Photographer: Yaroslava Gromova
Our comment: This is an exotic-looking shot!
The colours complement each other beautifully
and the lighting is superb. Although it looks as if
it was shot in controlled conditions in a studio
or on a set, the lighting has a gorgeously organic
look to it, showing that the photographer
knows how to control colour temperature and
modification to create a life-like, real-world style.

93
 KIT INTRO

96
Top value DSLRs
While all the buzz in the
industry is around mirrorless
cameras, DSLRs still offer plenty
of lens options and great value
for money. In this test, we review
four of the finest DSLRs –
two apiece from Canon
and Nikon.

The expert and independent reviews of gear we’ve bagged this issue
104 OM System OM-5
The Olympus branding may have disappeared,
but, as James Artuis discovers, the OM-5
retains everything that was great about its
predecessors and improves a few aspects too
110 Lenses
Every month, we take two professional optics
out into the field to test their performance. This
issue, we have the Fujifilm Fujinon XF18-120mm
F4 LM PZ WR and the Nikkor Z 35mm f/1.8 S

108 GoPro Hero11 Black 112 Accessories

The Hero11 Black has the biggest sensor we’ve It’s the little things that can enhance your
seen in one of GoPro’s action cameras. Angela photography. We’ve rounded up ten of the best
Nicholson takes it out and about in her review photo gadgets and gifts to add to your kitbag

Our ratings Product awards Lab testing

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

95
REVIEWS

96
 GROUP TEST

Despite the frenzy around the latest mirrorless cameras, there’s plenty of life left in DSLRs.
Here are the best buys that will give you maximum performance for minimum outlay...
Let’s get something straight right from the start – there’s Moreover, there are decades’ worth of world-class lenses to choose
nothing wrong with DSLRs. Sure, all the fuss and frenzy has from, lovingly designed and manufactured to bring out the best of
been about mirrorless cameras of late but let’s not forget, these cameras. There is still far more choice of specialist optics for
many of the most iconic images from the last 20 years have been DSLRs than there is for mirrorless cameras – something for every
shot on DSLRs. And it’s not just an amateur thing. The world’s most scenario and requirement, even if you’re shooting deep space on a
demanding professional photographers have been trusting their clear night. And let’s not forget the comparatively long battery life.
livelihoods to reflex cameras, and continue to do so. So what are the best-buy DSLRs on the market today? Sony bailed
Of course, as the latest in photographic technology, mirrorless out a few years ago, dabbling with single-lens translucent cameras in
cameras currently enjoy many advantages, not least of which is that the transition to mirrorless. Pentax is still firmly in the DSLR camp, but
almost all of the R&D budget of the major camera manufacturers has it’s Canon and Nikon, as ever, that really steal the limelight and stoke
been exclusively channelled in their direction over recent years. But up the creative fires. We’ve picked out four of the most fabulous SLRs,
there’s a flip side. Some of us still favour the unadulterated purity of either analogue or digital, arguably of all time, to put into the arena of
an optical viewfinder, compared with a pint-sized electronic screen. this month’s group test. And, unlike most things these days, the price
And there’s that fulfilling slap of a reflex mirror as it flips up to pass of some of them has actually come down recently, making them even
light through to a DSLR’s image sensor. better value. Let’s take a closer look...

97
REVIEWS

TOP VIEW
The conventional shooting
mode dial includes two user-
defined custom settings. Direct-
access buttons for autofocus
mode, drive mode, ISO and
metering mode are lined up in
front of the top-panel info LCD.

REAR VIEW
The rear panel
features a dual
concentric
multi-way
FRONT VIEW controller and
The pentaprism dial, as well as a
viewfinder is bright fully articulated
and clear but, 3-inch
unlike those of all of touchscreen.
the other cameras in The ‘Quick’
the group, it only gives menu is
98 percent coverage particularly
of the image frame. intuitive.

PRICE: £1,269/$1,399

Canon EOS 6D Mark II

A powerful and versatile DSLR, the 6D Mark II is a major upgrade over the original model
Still going strong after more than five
years, the 6D MkII is reasonably compact
for a full-frame SLR and has good handling
characteristics. Thanks to plentiful direct-
access buttons and dials, it’s quick and
easy to access all the important settings
for creative shooting. For delving deeper
into the settings, Canon’s ‘Quick’ menu
sensor-based autofocus is much faster and
less prone to hunting than in DSLRs that Camera specs
only feature contrast-detection AF on the 60
image sensor.
For practicality, live view and movie
50
capture also benefit from the upgrade to
the vari-angle touchscreen, whereas the
original 6D had a basic fixed screen. The 40

system is particularly intuitive and works newer model also adds Digital Movie IS
a treat with the rear touchscreen. The which enables electronic image stabilisation 30

weather-sealed construction is robust but when shooting movies. One downside,

fairly lightweight for a DSLR. however, is that movie resolution tops out 20

One of the major upgrades over the
original 6D is that the MkII has a much
improved 45-point autofocus system.
Moreover, all of the points are cross-type,
able to resolve detail in both horizontal
and vertical planes, and 27 of them work at
apertures down to f/8.
Better still, the MkII features a Dual Pixel
AF image sensor. This enables hybrid phase/
contrast detection autofocus in live view
stills shooting and video capture. As such,
at 1080p, so there’s no 4K UHD capability
apart from shooting in time-lapse mode. 10
Autofocus and metering are consistently
accurate, while auto white balance tends
0
to give a subtle and attractive warmth to 100 200 400 800 1600 3200 6400 12800 25600
colour rendition. Image noise is suppressed
Signal to noise Dynamic range Resolution
particularly well, even at fairly high ISO
settings and the maximum burst rate is a Images look clean, even at fairly high
sensitivity settings of around ISO 6400,
nippy 6.5fps. The camera’s stamina is also with the Canon EOS 6D Mark II closely
impressive, with around 1,200 shots from a matching its stablemate, the 5D Mark IV.
fully charged battery.

98
 GROUP TEST

FRONT VIEW
The front of the Nikon
features the usual
sub-command dial along
with customisable function
buttons and a particularly
intuitive autofocus
mode selector.

TOP VIEW REAR VIEW

On the top panel
are ISO, exposure
compensation
and movie start/
stop buttons. The
shooting mode
dial has two user-
defined settings and
an Effects sub-menu.
At the rear, there
is a large, high-res
3.2-inch, 2,359k
touchscreen,
although it only
has an up/down
tilt facility rather
than full vari-
angle articulation.

PRICE: £2,099/$2,197

Nikon D780
The D780 takes its desirable design and handling cues from its predecessor
The D780 takes all of the D750’s desirable
design and handling cues but, in a first for
a Nikon DSLR, adds hybrid phase/contrast-
detection autofocus on its image sensor.
This puts it in the same league as the
Canon cameras on test, with capable and
natural-feeling stills shooting in viewfinder
mode, coupled with the same kind of
topping out at 4K instead of 1080p, with
30/25/24p frame rate options. The camera Camera specs
boasts uncropped 4K recording, down- 60
sampled from 6K capture. For storing stills
and video files on different cards, or for
50
instant back-up and other options, the
D780 features two SD/HC/XC card slots
compared with the 6D Mark II’s single 40

accuracy and performance as a mirrorless slot, and they’re both of a faster UHS-II
camera in live view and for shooting movies. specification. You also get almost twice the 30

For regular, viewfinder-based stills battery life, at around 2,260 shots.

shooting, the D780 has a powerful 51-point The Nikon’s viewfinder also wins out with 20

autofocus module, in which 15 points are
cross-type and 11 points work down to f/8.
Autofocus works in low light levels down
to -3EV. Switching to Live View mode, you
get 273 phase-detection sites on the image
sensor and low-light autofocus works in
near darkness, down to -7EV with the
‘Low-light AF’ option enabled.
The megapixel count of 24.5MP almost
matches the Canon 6D Mark II’s 26.2MP
but the D780 wins out for video resolution,
100 percent frame coverage, and its rear
LCD is larger and higher resolution, at 3.2- 10
inch and over twice as many pixels, although
it’s a tilting touchscreen rather than fully
0
articulated. The maximum drive rate is 100 200 400 800 1600 3200 6400 12800 25600
faster, at 7fps, and the buffer bigger, with
Signal to noise Dynamic range Resolution
the capacity for 68-100 RAW files depending
on quality settings, compared with the 6D The Nikon D780 is the best camera
of the four we have featured in this
Mark II’s 21. Overall performance and image group test for minimising image noise
quality are impressive but the D780 is much at high ISO settings.
pricier than the 6D Mark II.

99
REVIEWS
REAR VIEW
The ‘multi-controller’ mini joystick at
the rear is good for AF point selection
and menu navigation, below which is
an AF area selection button.
PRICE: £2,799/$2,699
Canon 5D Mark IV
A powerful all-rounder, the 5D Mark IV is favoured by many pros
Compared with many of the latest pro-
grade mirrorless cameras and the Nikon
D850, the 5D Mark IV has a more modest
30.4MP image sensor, but the advantages
include low-noise image quality, even at
high ISO settings, and manageable data file
sizes that speed up workflow. Even so, the
maximum burst rate of 7fps is no quicker
than the Nikon D850, which has 50 percent
more megapixels. You can boost the Nikon’s
drive speed with an optional battery grip.
The 5D Mark IV is the same height and
depth as the Nikon D780 on test but is a
little wider. It’s a handful, but in a good way,
as its size makes for comfortable, natural
and well-balanced operation, even when
using large telephoto lenses. The layout of
direct-access controls and the inclusion
of a joystick-style multi-controller make
it particularly quick and easy to adjust
shooting parameters for creative effect.
The viewfinder-based autofocus module
is adept at tracking action. It’s a 61-point
100
TOP VIEW
As you’d expect from a
‘pro’ camera, there aren’t
any scene modes but the
shooting dial does feature
three custom positions.
The rank of dual-function
buttons in front of the info
screen is good for quick
access to shooting settings.
FRONT VIEW
Here, there is a self-timer lamp,
remote control sensor, DOF
preview button and weather-
sealed accessory terminal.
system in which 41 are cross-type points,
including five ultra-precise dual cross-type. Camera specs
All 61 remain active at f/8, with 21 still 60
operating as cross-type points. As with
other recent Canon SLRs, there’s a Dual
50
Pixel CMOS AF image sensor with phase-
detection sites scattered across most of the
40
surface. This makes autofocus in live view
and movie capture vastly superior to that of
the Nikon D850, in terms of outright speed 30
and the reduction of focus hunting.
Despite being a year older than the 6D 20
Mark II, the 5D Mark IV enables 4K movie
capture rather than 1080p. However, there’s 10
a severe 1.74x crop factor for 4K shooting,
which limits wide-angle potential. Another
0
limiting factor when shooting video is that 100 200 400 800 1600 3200 6400 12800 25600
the camera has a fixed touchscreen with no
Signal to noise Dynamic range Resolution
tilt or vari-angle mechanism. While it has
two card slots, one is the all-but obsolete The relatively modest megapixel count,
at least when compared with the Nikon D850,
CompactFlash format. The battery life of brings an upside of cleaner high-ISO image
900 shots beats mirrorless cameras but the quality, but it lags behind the Nikon D780.
Nikon D850 has twice as much stamina.

FRONT VIEW TOP VIEW
The customisable The shooting mode dial has been
function buttons replaced by a button array for
and autofocus mode shooting mode, white balance,
selector match those image quality and metering mode.
of the D780. There
is also the addition
of weather-sealed
accessory terminals.
PRICE: £2,619/$2,497
Nikon D850
The D850 rules the roost for megapixel count and its excellent handling characteristics
The headline attractions of the D850 are
its 45.4MP image sensor that can capture
incredible levels of fine detail and texture,
coupled with a fast and accurate 153-point
autofocus system that features 99 cross-
type points. It manages a nippy 7fps burst
rate, rising to 9fps if you fit the optional
battery grip and a D5 battery. That’s backed
up by a buffer that can accommodate up to
29-200 RAW quality shots, depending on
size and compression settings, compared
with the 5D Mark IV’s 17-21 shots.
While the snappy autofocus system has
excellent performance for viewfinder-based
shooting, it’s sluggish and prone to hunting
in live view and movie capture modes.
That’s down to the D850 being the only
camera in this test group to lack phase-
detection sites on its image sensor. Even
so, a plus point for movie capture is that
4K UHD doesn’t come with any crop factor,
unlike the Canon 5D Mark IV. For storage,
the D850 is also better equipped with dual
GROUP TEST
REAR VIEW
The control layout
at the rear of the
camera is pretty
conventional but
adds a joystick
controller that’s
lacking in the D780.
card slots that feature ultra-rapid XQD/
CFexpress and SD/HC/XC UHS-II formats. Camera specs
While the D850 is capable of capturing 60
ultra-fine detail, it can be a challenge to
make the most of what’s on offer. Despite
50
having a smooth action compared with the
reflex mirrors of many DSLRs, vibrations
can be a problem. If timing isn’t critical, you 40
can use the camera’s exposure delay mode
with its variety of time settings, to avoid 30
any blurring from mirror-bounce.
The optical viewfinder is excellent, with a 20
full 100 percent frame coverage and higher
magnification than the others on test, at 10
0.75x. At the back, there’s the same 3.2-
inch, 2,359k, high-resolution, touchscreen
0
as featured in the newer D780, again with 100 200 400 800 1600 3200 6400 12800 25600
vertical tilt rather than full articulation.
Signal to noise Dynamic range Resolution
As expected, the high megapixel count
has a downside of increased image noise at What you gain in resolution, you lose in image
noise suppression at high ISO settings.
high ISO settings but, if you downsample In this respect, the D850 is the worst
images from the D850 to around a performing camera in the group.
comparative 25-30MP, it works out similarly.
101
REVIEWS

BEST VALUE
AWARDS

EDITOR'S
CHOICE

www.canon.co.uk www.nikon.co.uk www.canon.co.uk www.nikon.co.uk

Canon EOS 6D MkII Nikon D780 Canon 5D Mark IV Nikon D850

Name FEATURES Name FEATURES Name FEATURES Name FEATURES
Canon EOS 6D MkII The only camera on Nikon D780 Top features include a Canon 5D Mark IV It’s good overall, Nikon D850 The 45.4MP image
test to feature a vari- full-view pentaprism Price (body only) but the touchscreen Price (body only) sensor delivers
Price (body only) Price (body only)
angle touchscreen viewfinder and is fixed and the ultra-fine detail.
£1,269/$1,399 but there’s no 4K £2,099/$2,197 high-res tilting £2,799/$2,699 CompactFlash card £2,619/$2,497 Viewfinder-based
Image sensor movie capture. Image sensor touchscreen. Image sensor slot is outdated. Image sensor autofocus is excellent.
26.2MP Dual Pixel 24.5MP CMOS 30.4MP Dual Pixel 45.4MP CMOS
CMOS AF Hybrid AF CMOS AF Image processor
Image processor BUILD QUALITY Image processor BUILD QUALITY Image processor BUILD QUALITY EXPEED 5 BUILD QUALITY
DIGIC 7 Based on an EXPEED 6 Feels tougher than DIGIC 6+ Like the Nikon Max resolution Build quality is of
aluminium chassis the preceding D850, this Canon 5D 8,256 x 5,504 a fully pro-grade
Max resolution and polycarbonate Max resolution polycarbonate Max resolution Mark IV has a tough, standard, based on
6,240 x 4,160 shell, build quality D750, the D780 6,720 x 4,480 weather-sealed Video, max res a weather-sealed
6,048 x 4,024
Video, max res is good but not has a magnesium Video, max res magnesium alloy 4K at 30/25/24p magnesium alloy
Video, max res
outstanding. alloy shell. construction. LCD construction.
1080p at 60/50/ 4K at 30/25/24p 4K at 30/25/24p
30/25/24fps LCD 3.2in, 2,359k,
LCD
3.2in, 1,620k, touch touch, tilt
LCD 3.2in, 2,359k,
3in, 1,040k, HANDLING touch, tilt HANDLING Shutter speed HANDLING
Shutter speed HANDLING
There are many direct- It has Nikon’s The control layout 30-1/8000, Bulb The control system
touch, pivot access controls and Shutter speed ‘consumer’ rather than 30-1/8000, Bulb is inherited from
and Quick menu are ISO range
Shutter speed the vari-angle screen 30-1/8000, Bulb ‘professional’ control ISO range intuitive but the fixed previous Nikon
(expanded) professional DSLRs
1/4000 to 30s, Bulb is great for creative ISO range (exp) layout but handling (expanded) screen can be
shooting angles. is intuitive. a drawback. ISO 64-25,600 (32- and works well.
ISO range (exp) ISO 100-51,200 ISO 100-32,000
102,400)
ISO 100-40,000 (50-204,800) (50-102,400)
EV range AF/
(50-102,400) EV range AF/meter EV range AF/meter
metering
EV range AF/meter PERFORMANCE -7 to 19 / -3 to 20 PERFORMANCE -3 to 18 / 0 to 20 PERFORMANCE PERFORMANCE
Image quality is It has a faster Image quality is -4 to 20 / -3 to 20 Overall performance
-3 to 18 / 0 to 20 Autofocus pts (VF) Autofocus pts (VF)
excellent, however, maximum shutter fabulous, however, Autofocus pts (VF) is generally superb,
Autofocus pts (VF) the shutter speed 51 (15 cross-type) speed and drive rate 61 (41 cross-type) the RAW buffer depth apart from the fact
153 (99 cross-type)
45 (all cross-type) and continuous drive Max burst rate than the 6D Mark II, Max burst rate is limited and 4K Max burst rate that autofocus is slow
max out at 1/4000th 7fps and cleaner high-ISO 7fps movie capture for Live View and
Max burst rate 7fps
and 6.5fps. quality. is cropped. video capture.
6.5fps Storage Storage Storage
Storage 2x SD/HC/XC SDXC UHS-I, CF XQD/CFe, SDXC
SD/HC/XC UHS-I UHS-II UDMA 7 UHS-II
VALUE FOR VALUE FOR VALUE FOR VALUE FOR
Battery life MONEY Battery life MONEY Battery life MONEY Battery life MONEY
1,200 shots It undercuts the 2,260 shots This Nikon is a fair 900 shots This is the most 1,840 shots You get a whole
competing D780 bit pricier than Dimensions expensive camera lot of camera for
Dimensions Dimensions Dimensions
for purchase price, the 6D Mark II but in the group, but it’s your money with
144x111x75mm making it great value 144x116x76mm you get what you
151x116x76mm six years old and is 146x124x79mm the D850, but that
Weight for money. Weight pay for. Weight showing its age. Weight won’t come cheap.
765g 840g 890g 915g

Overall Overall Overall Overall

If you can do without 4K UHD The D780 has the lowest Delivering superb image For our money, it’s the best
video, this is an excellent megapixel count of any quality, the Canon 5D Mark IV camera in this test group,
camera that delivers camera in the group, but is still the go-to camera for if you can live with the slow
gorgeous image quality. it’s still a great camera. many pro photographers. Live View autofocus.

102
REVIEWS

Price: £1,199/$1,199

OM System OM-5
The branding may have gone but, as James Artaius discovers, the OM System
OM-5 shows that everything great about Olympus lives on better than ever
The OM System OM-5 may be the and the entry-level Olympus OM-D E-M10 paired with an updated TruePic IX processor to
first ‘Olympus camera’ not to bear Mark IV, which will be renamed as the OM-10 squeeze even more computational cleverness
the iconic brand name, but the when the next model is due out. out of the body – and this is where it shines.
familiar logo is the only thing that’s missing Where the OM-1 is the top-tier system for It boasts the brilliant Live ND filters, which
here – this is a camera that lives up to the professionals and photography experts, the offer a software-driven alternative to using
Olympus legacy and expands on it in several OM-5 is built to deliver many of the flagship’s neutral density filters up to ND16 (4 stops).
worthwhile ways. best features in a body that’s smaller, lighter, This means you can get those silky water
If you hadn’t yet joined the dots, the OM and built for those who want to go on an shots without the need for filters – or, indeed,
System OM-5 is the successor to the Olympus adventure and take some photographs, a tripod. That’s because the in-body image
OM-D E-M5 Mark III and thankfully does away rather than those who want to go on a stabilisation has been boosted by 15 percent
with the alphabet soup nomenclature. This photographic adventure. to 6.5 stops as standard, or 7.5 stops when
means it is the manufacturer’s ‘middle camera’, The OM System OM-5 features the same paired with one of the Sync-IS lenses.
sitting between the flagship OM System OM-1 20.4MP sensor as the E-M5 Mark III, but it is All this feeds into the ethos of this camera:
a body that you can take on an adventure,

Externally, the OM-5 is identical to the spot a photo opportunity, and still get those
great shots – even without taking a tripod,

E-M5 III, apart from the change of branding packing filters, or having to think about other
cumbersome accessories.

104

Other computational features include the
fantastic Pro Capture, which starts recording
images when the shutter is half-pressed
– meaning you effectively capture all the
images (up to 14 of them) in the moments
before you press the shutter all the way down.
That’s brilliant for the fast-moving butterfly or
kingfisher that you spot on your travels.
Externally, the OM System OM-5 is identical
to the E-M5 III, apart from the change of
branding on the pentaprism. This means you
get the same super-compact 125.3 x 85.2 x
49.7mm body that weighs a paltry 366g. It
means you’re also getting the same resolution
on the EVF and LCD screen, which at 2.36
million dots and 1.04 million dots respectively,
are serviceable but nothing too ambitious.
Opposite
New logo
The familiar logo is missing,
but this camera lives up
to, and even expands
upon, Olympus’s legacy
Left
Safe hands
The OM-5 is a Goldilocks
camera in terms of its size,
fitting neatly into most
pairs of hands. Its size and
weight makes it a suitable
pairing for M.Zuiko f/4
Pro zoom lenses
Below
Pressed for time
The OM-5’s fantastic Pro
Capture starts recording
images when the shutter
is only half-pressed
FEATURES
M43 MOUNT
Featuring the standard Micro Four-Thirds
lens mount, the OM-5 is back-compatible
with a huge range of lens options
20.4MP SENSOR
While this may seem modest, it helps to keep
noise levels well-managed and can be boosted
through the Handheld High-Res mode, which
combines frames for up to 80MP with a tripod
VIDEO FEATURES
The OM-5 has no limit to the recording time and
provides OM-Log400 to capture a flat image for
later colour-grading at the post-processing stage,
which is useful for pro-level videography work
TRUEPIC IX PROCESSOR
While the sensor resolution has been kept
the same as preceding cameras, the OM-5
features the latest processing engine in the
form of the TruePic IX, providing faster
throughput and feature support
x2 © OM System
IN-BODY IMAGE STABILISATION
The OM-5’s IBIS has been boosted by 15 percent
to 6.5 stops as standard, or 7.5 stops when
paired with one of the Sync-IS lenses. This
matches the best tech from competing brands
Likewise, the controls and dials, repositioned
from the E-M5 Mark II, are all in the same LIVE ND FILTERS
place as they were on the Mark III, with These software-based filters enable shutter
speeds up to 4-stops longer than otherwise
satisfyingly knurled exposure dials, a handily possible, without adding hardware
placed ISO button and a host of customizable
controls. While the externals may look the
same, the 5-series now boasts IP53 weather
sealing for the first time, matching the stellar
dust and water protection of the flagship OM-1.
The OM-5 is a good ‘Goldilocks’ camera in
terms of its size, fitting neatly into most pairs
of hands. In fact, the size and weight make it
a particularly suitable pairing with the M.Zuiko
f/4 Pro zoom lenses. The 5-series cameras
have often benefited from advances passed M43 MOUNT
down from the flagship 1-series, and the OM
System OM-5 is no exception.
105
REVIEWS

While the autofocus in the E-M5 III was

great, here we get the benefit of an even more
advanced AF system. The improved face and
eye detection make street photography, where
this camera truly shines, an absolute breeze
– locking on quicker and faster, even with
side-on faces that can often trick autofocus
systems. Again, the Starry Sky AF takes the
guesswork out of manually focusing when
shooting astrophotography. Combined with
the stellar stabilisation, it is feasible to shoot
handheld starscapes on the fly.
That stability is also supremely useful for
video, producing gimbal-like smoothness if
you know what you’re doing with the camera.
There is no longer a limit to the recording time,
footage can be captured in OM-Log400 if you
want to grade your footage later, and vertical
video can now be captured for seamless
sharing on social media.
In terms of image quality, the OM-5
manages to capture around 1EV more
dynamic range than the E-M5 III at lower
sensitivities. Even at ISO 6400 and above, the
OM-5 is still a force to be reckoned with. It is
Above Opposite, left Opposite, right also capable of resolving comparable amounts
Eye Advanced Dynamic of fine detail as its Olympus predecessor, as
detection autofocus range well as the 24MP Canon EOS R10.
The OM The advanced The OM-5
System OM-5 captures 1EV The OM System OM-5 is a magnificent
AF system
features locks on more dynamic midrange camera that offers flagship features
improved quicker and range than and all-purpose performance in a compact,
face and eye faster than the E-M5 III affordable package. It has been criticised in
detection, before, even and resolves
comparable
some quarters for not offering the same sea
which with side-on
makes street faces that amounts of change as the OM-1, but for our money, this
100% photography can trick fine detail as its offers the OM-1’s coolest tricks in a much
a breeze autofocus predecessor more pocketable body.

TALKING POINT…
Computational features
The OM-5 is an intelligent camera, featuring an appealing
set of advanced computational tools. In addition to the
Pro Capture mode, the camera also adds in-camera
focus stacking, which composites eight shots into a
single image for depth-of-field control (just as useful for
low-light landscapes as it is macro images), along with
Handheld High-Res Shot that enables you to shoot 50MP
images – or 80MP RAW files when used with a tripod.
Meanwhile, the Starry Sky AF feature makes it
easier to focus on pixel-sized stars, which makes
astrophotography even easier. The camera’s magical
Live Composite mode – for the easiest light painting,
fireworks or lightning shots you’ll ever take – resides on
the ‘B’ mode dial setting for easy access.
These make the camera feel like it punches above
its weight for value, offering next-generation tools in a
budget-friendly package. It’s good to see OM System
setting high goals and leading the pack in AI features,
which will soon become commonplace.

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

106
 OM SYSTEM OM-5

x3 © James Artaius
OM System OM-5 The OM System OM-5 is a magnificent
Megapixels
20.4MP
FEATURES
With a wide range of high- midrange camera that offers flagship
features and all-purpose performance
Max resolution end bells and whistles,
5184 x 3888 the OM-5 has plenty to
pixels offer the enthusiast
Sensor information
Micro 4/3 (17.3 x 1 2 3 4
13.0mm ) BUILD QUALITY
Shutter speed Despite its small
1/8000 - 60s size and weight the
1/3200 camera body feels
(electronic) nicely constructed
ISO sensitivity
200-25600 , 64-25600
(expanded) HANDLING
Exposure modes It’s a little small for
P,A,S, M, Bulb, HDR, big hands but
Time, Custom Olympus devotees
Metering options will love the familiarity
ESP, Centre weighted,
Spot, Highlight, Shadow
Flash modes
Auto,
QUALITY OF RESULTS
redeye, Fill, Redeye
There are no surprises in
slow sync, Manual ,
terms of image quality. It
2nd-curtain slow sync, Off
has impressive dynamic
Connectivity
range and noise control
Wi-Fi, Bluetooth, USB2,
HDMI Micro, Mic
Batteries VALUE FOR MONEY
BLS-50 lithium-ion The price puts it in line
(supplied) with the competition,
Storage and you get plenty
SD/SDHC/SDXC of camera for your cash
(UHS-II)
LCD
3” 1,040,000 dot fully
articulated TFT LCD
touchscreen
Overall
Viewfinder The perfect daily driver
2,360,000 dot EVF when you want to go on an
adventure with a camera
1 VARI-ANGLE SCREEN 3 M43 LENS MOUNT
(1.37× magnfication) As is expected today, the OM-5 The robust lens mount opens up access
Weight that doesn’t compromise on features a fully articulated rear LCD to a huge range of high-quality optics
366g image quality
(body only) 2 THIN PROFILE 4 NO JOYSTICK
Dimensions The low body depth makes the camera While control layout is similar to the OM-1,
125 x 85 x 50 mm easy to store in your camera bag the joystick is only present on the flagship

107
 REVIEWS

GoPro
Website: www.gopro.com
Price: £550 (£350 with a one-year
GoPro subscription costing £50)

Hero11 Black
The Hero11 Black features the biggest sensor we’ve seen
in a GoPro camera, Angela Nicholson takes it for a spin
GoPro launched the Hero11 Black in
September this year as its flagship
action camera. It features a new
27.13MP 1/1.9-inch type sensor that has an
aspect ratio of 8:7 and can output 5.3K (5312
x 4648) footage in the native aspect ratio or
in 4:3 (5312 x 3984) or 16:9 (5312 x 2988)
aspect ratios. Shooting 5.3K in 8:7 ratio means
there is scope to create vertical 4K 9:16 video
for TikTok and Instagram stories and 5.3K 16:9
(or 4:3) video for YouTube or large screens –
all from the same footage.
Furthermore, the Hero11 Black can shoot
5.3K 8:7 or 16:9 video at up to 60fps (frames
per second) for 2x slow motion playback, but
if you switch to 4K 16:9 footage the frame rate
can go all the way up to 120fps. If that’s not
enough, you can also shoot 2.7K 16:9 video at
up to 240fps for 8x slow motion playback.
The Hero11 Black also features 10-bit colour,
which means that the sensor now delivers
over one billion colours, up from the 16.7
x2 © Gopro
GoPro’s HyperSmooth stabilisation
technology has impressed in the past and the
Hero11 Black features its fifth iteration along
with 360° Horizon Lock that keeps the footage
steady and the horizon level as the camera
rotates. It works brilliantly.
Naturally, it’s also possible to create
Time Lapse Video and GoPro’s TimeWarp
technology, which also harnesses the
HyperSmooth system to create more
watchable high-speed video, is on hand. The
latest version of TimeWarp (3.0) sees a jump
in resolution from 4K to 5.3K. GoPro has also
added three new Night Effect Time Lapse
presets to make it easier to shoot Star Trails,
Light Painting and Vehicle Light Trails.
Like the Hero10 Black, the Hero11 Black
measures 71.8 x 50.8 x 33.6mm and at 154g,
it’s about 4g lighter. It’s also waterproof down
to 10m and there is suitable housing available
if you want to take it even deeper.
As well as having the same dimensions

million colours in the 8-bit footage from earlier as its predecessor, the Hero11 Black has the
GoPro camera models. same design and control layout. There’s a

108
 Left
1.14-inch screen on the front of the camera
Detail and colour
which is useful for checking that you are in the The Hero11 Black
frame when you’re in front of the lens, but it’s captures 5.3K video
not touch-sensitive so it can’t be used to set with decent colour,
the camera rolling, which is a shame. even in overcast light
However, the 2.27-inch screen on the back Below left
of the camera is touch-sensitive and it makes 8:7 Aspect ratio
Full-resolution still
it easy to adjust the camera settings. Swiping
images have an
left or right on the screen switches between almost square
Time Lapse, Video and Photo mode while 8:7 aspect ratio
swiping up switches to review mode to see any
Below
captured video or stills. Swiping down gives GoPro Quik
access to the camera’s controls. Here, you’ll The Quik app allows
find two options, Easy or Pro. you to edit video by
Selecting the Easy option keeps things adding music, titles
and transitions
simple and allows you to choose between
shooting the best quality video or extending
the battery life. When Pro is selected, tapping
on the Time Lapse, Video or Photo mode
at the bottom of the screen gives access to
a wealth of controls, including those in the
ProTune section, where you can opt to shoot
in 10-bit colour, set the bit rate and adjust
aspects such as the exposure compensation,
white balance and sensitivity (ISO). In Photo
mode, you can opt to shoot in SuperPhoto
mode, where the camera determines the
best processing, HDR mode for high-contrast
scenes, Standard mode, where images are
saved as JPEGs and Raw mode, in which they
are saved as JPEG and .gpr RAW files.
Although it has a larger sensor than the

x3 © Angela Nicholson
Hero10 Black, that is to enable the extra
flexibility of the aspect ratios rather than
significantly boost image quality from the
Hero11. Nevertheless, in good light, the results
from the Hero11 Black are impressive. Its 1/1.9-
inch sensor means it can’t challenge an APS-C
or full-frame camera for image quality, but it’s
good for such a small camera and the colours
are great. As usual, the quality and dynamic
The lineup Hero11 Black Mini and Hero11 Black Creator Edition
range both dip in poor light, but the Hero11 At the same time as it introduced the Hero11 Black, GoPro announced the Hero11 Black Mini
Black has the wow factor, delivering the best (£400/$400) and the Hero11 Black Creator Edition (£700/$700). Although it has the same
quality that I’ve seen from a GoPro. sensor as the flagship camera, the Hero11 Black Mini is smaller (52.4 x 51.2 x 38mm) and
Heat is also managed well and you can lighter (133g). It has a simpler interface and just one button to make it easier to use, but it
expect to get around 85-90minutes of 4K 30p can still shoot 8:7 5.3K at up to 60p.
video from a single charge of the included The Hero11 Black Creator Edition is essentially a bundle that includes the Hero11 Black,
1720mAh lithium-ion Enduro battery. However, with the Volta battery grip, Light Mod and Media Mod added to the package. The Volta’s
the camera gets hot when 5.3K video is built-in battery delivers over four hours of 5.3K 30p recording time while the Media Mod
recorded at 60p. I managed to get just under features a directional mic for better audio, a 3.5mm mic port and an HDMI-out.
18 minutes of footage before it shut down.

Summary
Ease of use
Value for money
Features
Quality of results

Overall
Although it doesn’t quite challenge your
DSLR or mirrorless camera for image quality,
the GoPro Hero11 Black is easy to use and
enables you to get footage from places where
you wouldn’t take other cameras

109
REVIEWS

DOWNLOAD
TEST SHOTS
https://bit.ly/3UhH0Ms

PRICE:
£899/$899
FOCUS DISTANCE:
0.46m
WEIGHT:
460g
Fujifilm
Fujinon XF18-120mm F4 LM PZ WR
Lauren Scott reviews this versatile long-zoom optic for the X-System
Left
Build and handling Punchy colour
Fujifilm extended its X-mount roadmap last While overall sharpness isn’t a standout feature
year with four new optics, however, the Fujinon of this lens, the colour reproduction is rather
XF 18-120mm F4 LM PZ WR lens wasn’t truly impressive with tones being rich and natural
announced until the May 2022 X-Summit Below left
event. Because it zooms internally rather than Versatility
extending, the lens barrel has an uncluttered With a maximum aperture of f/4, bokeh isn’t a real
selling point, but the focal range and focusing distance
yet rather suave exterior, keeping everything allow a dynamic variety of images to be captured
important tucked away inside. The zoom and
focus control ring feels superbly smooth to
rotate but, if we were being picky, it could be Technical specs
described as a little too slow. That said, the
zoom speed is proportional to the speed at Manufacturer Fujifilm
which you rotate the ring, giving the user a Model Fujinon XF18-120mm F4 LM PZ WR
great level of control and confidence. Web fujifilm-x.com
Elements/construction 15 elements in 12 groups
Performance Angle of view 76.5° - 13.5°
Even when shooting on busy London streets, Max aperture f/4
the rapid AF was able to keep up with our Min aperture f/22
intended targets – even when others walked Min focus distance 0.46m
in front of them or they sped across the road. Mount Fujifilm X
Centre-sharpness is generally good, although Filter size 72mm
it’s more average when shooting wide open at Length 123.5mm
f/4, as is the case throughout the focal range Diameter 77.3mm
when shooting at 120mm. Corner sharpness Weight 460g
is average at shorter focal lengths, and images
BUILD QUALITY
become progressively softer in the corners
IMAGE QUALITY
the more you zoom. Colour fringing is just
about noticeable at larger apertures when VALUE FOR MONEY
shooting at medium focal lengths, otherwise, FEATURES
it’s controlled well enough.
Overall
Verdict
Images by Hannah Rooke

The Fujinon XF18-120mm F4 LM PZ WR is Smooth video zoom

a versatile lens across many genres of stills Reasonable price
photography, but it’s an even more tempting Compact design
prospect for videographers thanks to the Softer corner sharpness
constant internal zoom mechanism. No built-in stabilisation

110
 LENSES

PRICE:
£799/$697
FOCUS DISTANCE:
0.25m
WEIGHT:
370g

Nikkor Z 35mm f/1.8 S

This stylish, high quality optic offers few surprises, apart from its price
Build and handling Left
Low distortion
The 35mm focal length is a classic choice for Out of camera RAW files display minimal
street photographers, so it will be welcome geometric anomalies, making the lens ideal
news for this group that the Z 35mm F1.8 S for travel and casual architecture photography
is discreet and easy to carry. Weight is kept Below left
to manageable levels and when paired with a Punchy contrast
Nikon Z 6II, we found the setup could quickly Centre-sharpness is impressive, as is the overall level
of contrast. It makes natural colours, such as those in
and easily be removed from a bag for rapid flowers and landscapes, appear deep and vibrant
street shots and then stowed for travel. The
barrel has a minimalist design and is nicely
balanced while being easy to grip. We liked Technical specs
that the comfortable focus ring can be
customised via an in-camera option too. Manufacturer Nikon
Model Nikkor Z 35mm f/1.8 S
Performance Web www.nikon.co.uk
Centre-sharpness is predictably high for a Elements/construction 11 elements in 9 groups
mirrorless prime lens, even when shooting at Angle of view 63°
maximum aperture. While there is some fall- Max aperture f/1.8
off at the corners, resolution is well maintained Min aperture f/16
across the frame. Vignetting is visible at f/1.8, Min focus distance 0.25m
but we quite like this as a creative aesthetic Mount Nikkor Z
and it is largely gone by f/4 and beyond. Filter size 62mm
Distortion is also minimal, probably due to Length 86mm
digital correction. We found the bokeh to be Diameter 73mm
largely enjoyable, although there was some Weight 370g
catseye ‘squeezing’ of defocused highlights
BUILD QUALITY
towards the frame edges. AF is relatively
IMAGE QUALITY
smooth, although we didn’t find this the
fastest model we’ve ever tested. VALUE FOR MONEY
FEATURES
Verdict
If you’re an existing Z-System user, you’ll Overall
find this reassuringly familiar. It’s easy to use,
Images by Peter Fenech

offers stand-out image quality and virtually Reliable image quality

fits in a pocket. It does what you might expect Ease of use
it to. It’s a little on the pricey side though, so Handling
once there is more third-party competition, it Versatility
might lose some appeal. A solid product. Comparatively expensive

111
REVIEWS

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

FUJIFILM INSTAX Above

SQUARE LINK BENRO POLARIS

Website: www.instax.co.uk
Price: £130/$140
The Instax Square Link is a smartphone
printer that produces, you guessed it,
square prints. Download the Square
Link app to your smartphone to
enable images to be personalised with
drawings, filters and stickers. You can
add a QR code to your prints to trigger
animations or add text or doodles when
the images are scanned by a phone.
ASTRO 3-AXIS HEAD
Website: www.uk.benroeu.com
Price: £1,100/$1,149
This electronic tripod head features an integrated
camera controller and as well as allowing you to set
the composition, it can be programmed to track stars
while the camera takes a series of images, shoots
long exposures or captures motion time-lapses.
A dedicated app also allows the Polaris to be
controlled remotely using a smartphone.

Left

JOBY WAVO PLUS

Website: www.joby.com
Price: £190/$200

Joby is aiming this shotgun

microphone at vloggers and
filmmakers who are looking
for a step up from an entry-
level mic. It offers full control
over the audio along with live
monitoring via the 3.5mm
headphone port. Helpfully, it
also switches on and off with
the camera and has a -10db safe
track in case of loud sounds.

Left

LEXAR 320GB
PROFESSIONAL
Above CFEXPRESS TYPE A
ZHIYUN SMOOTH 5S GOLD SERIES CARD
Website: www.zhiyun-tech.com Website: www.lexar.com
Price: £169/$169 Price: £499/$720 with card reader
The Smooth 5S is Zhiyun’s latest professional- Lexar claims its new 320GB CFexpress Type A
level 3-axis stabilising gimbal for smartphones. memory card is the world’s fastest CFexpress
It is capable of holding larger phones than Type A card. The card has read speeds of up
previous incarnations and has a built-in light to 900MB/s and write speeds up to 800MB/s,
for situations where extra illumination is while its minimum read speed is 700MB/s.
required. The battery is also claimed to give It is sold bundled with the Lexar Professional
up to 25 hours of use from a single charge. CFexpress Type A/SD USB 3.2 Gen 2 card reader.

112
 ACCESSORIES

Above
Above

URTH ND1000 DJI MAVIC 3 CLASSIC

FILTER PLUS+
Website: www.urth.co
Price: £26-£108/$34-$154
Urth, which was previously known
as Gobe until late 2020, makes an
extensive range of filters including
this 10-stop ND filter which is
available in 18 different sizes. As
part of the professional-level Plus+
range, it features 20 layers of nano-
coating for better light transmission,
easier cleaning and protection
against water, oil, and scratches.
It comes in a slim screw-top tin to
keep it safe in transport.
Website: www.dji.com
Price: £1,309/$1,469
DJI has pulled a masterstroke by introducing the Mavic 3 Classic. It’s essentially the same
as the superb Mavic 3 that we reviewed in issue 250, but without the secondary (telephoto)
camera that we wouldn’t recommend using for any serious filming or photography. The
Classic just features the 20MP Four Third type sensor behind a 24mm (equivalent) lens.
Left
ELINCHROM FIVE
Website: www.elinchrom.com
Price: £1,619/$1,850
This 500W battery-powered
monolight is capable of producing
450 full-power flashes on a single
charge. However, if you’re near
a power source, the battery can
be charged via USB-C while
you continue to use the light.
It features a similar interface to
the Elinchrom ELC 125/500, with
easy-to-use controls. The battery
is detachable and available to buy
separately if you need more than one.

Above

UGREEN NEXODE 100W

4-IN-1 MULTIPORT
CHARGER
Website: www.ugreen.com
Price: £64/$80
With an increasing number of devices featuring USB-C
connections for charging, a four-port charger like this is
incredibly useful. It has three USB-C ports and a USB-A
port, with one of the USB-C ports delivering up to 100W
(when used on its own) for fast charging. An intelligent chip
protects your device from short-circuits and overheating.
Above
F-STOP DURADIAMOND DRONE CASE
Website: www.shop.fstopgear.com
Price: Approx £70 or £88/$80 or $100
F-Stop has two drone cases in its DuraDiamond range, the small measures
26cm by 18cm while the large is 28cm by 15cm and can hold drones such as
the DJI Avata or Mavic 3. Interval dividers can be adjusted to accommodate the
drone and its controller while pockets keep essentials like cables and filters safe.

113
PRO COLUMN
#UNFILTERED
Barbara Asboth explores the effect of social media on women’s self-image
s a portrait photographer,
Barbara says she regularly
hears self-deprecating
comments from millennial and
Gen Z women. “This concerns
me on a societal level,” she
says. “Especially since the advent of Zoom,
people are staring at their own faces for
hours each day, picking their flaws apart.”
Barbara launched her #Unfiltered project,
aiming to explore this in more detail and to
celebrate women’s natural appearance. “I
asked each woman to take a phone selfie, to
compare their own chosen and controlled
angles with an unretouched portrait taken by
me,” she says. “The lens I used closely mimics
the angles and detail seen by the human eye,
which was an important aspect of the setup.”
Viewers are invited to consider the ways
in which each woman chooses to portray
herself and how they are seen by an impartial
stranger in Barbara. The only edits made
to the portraits were colour corrections,
cropping and cloning out the polyboard.
114
All images © Barbara Asboth
Barbara also interviewed each face shape. She used a large
woman about their experiences octabox on a boom 45 degrees
with selfies and whether their to camera left, raised above
self-confidence has been affected the subject’s eye level, and
by the use of filters to enhance feathered to avoid hotspots.
appearances. The final portraits She then added a white
are accompanied by poignant polyboard on camera right to
quotes from these interviews, fill in shadows on that side.
with the text and images viewed PRO BIO Barbara’s verdict is a
Barbara has been a freelance
together to tell the whole story. photographer since 2013, mixture of pride and hope.
“#Unfiltered was made possible including a variety of “For some women, it took
genres in her work. From
by the support of the amazing e-commerce marketing
real strength and bravery to
team at FujiFilm UK, who let me campaigns to street portraits, own up to their self-critical
use their House of Photography her images have been thoughts, which makes me so
exhibited and published
studio in London,” says Barbara. globally. She currently lives in grateful for their participation.
“They also lent me the fantastic Oxfordshire and works with Others were more confident
clients across the UK.
medium format GFX100S camera, in their current selves, despite
www.barbasboth.com
with the Fujinon GF 63mm F2.8 challenges earlier in their
R WR lens, which allowed me to capture lives. It was important to include a range
an excellent tonal range and details while of opinions, but it was a challenge to find
keeping the photos looking natural.” women on the less confident end of the
As for the lighting, Barbara wanted to keep spectrum. I’m hoping to create another set of
things simple to bring out as much detail as images, encouraging more reluctant women
possible while remaining flattering for any to face themselves... completely unfiltered.”
9000 9021