Digital SLR Photography 2013-10

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interestwithheather inurbanlocations atasurprisingprice shootingshadows
www.o|ympus.co.uk
Fo||ow us on Tw|tter @O|ympusUK and Facebook www.facebook.com/O|ympusUK
P8N|8
0AL8
VhTS
A0T0Nh 2013
|h-ST08 VhTS (SPTN88):
Friday 13. |ondon Oamera Exchange - Br|sto|
Saturday 14. Park Oameras - Burgess H|||
SRS - Watford
OameraWor|d - |ondon
Wednesday 18. Ffordes Photograph|c - By Beau|y
|ondon Oamera Exchange - The Strand
Thursday 19. Jessops - Oxford Street, |ondon
Merchant O|ty Oameras - G|asgow
Friday 20. W||k|nson Oameras - ||verpoo|
Saturday 21. O||fton Oameras - Durs|ey
|ondon Oamera Exchange - Oo|chester
Harr|son Oameras - Sheff|e|d
Saturday 28. Warehouse Express - Norw|ch
UPAlMlS THLLPYU
TAKL LTTLPPlCTUPLS
'WLLCML11HLctober 20I3issueof D|g|ta| S|PPnotograpny.
As always, we'vetriedtopack inas nuchtechnique, inspiration,
expert adviceandideas tohelpyoutakebetter pictures. Withthe
days about toget colder andthenights drawingin, we'restill
tenptingyououtdoors withour Cet 1neP|cturesection(page3/),
whichhas tutorials coveringeverythingfronshootingheather inlandscapes todeer
rutting, whileinour |xpert Cu|detoPortra|ts (page/6) we'vefantasticadvicefrontwo
professional photographers onhowtoshoot portraits inarangeof urbanenvironnents.
f you'refeelingparticularly creative, this nonth's 8udget Pnoto(page8/) reveals a
fantasticsoftwarepackageat abargainpricefor convertinginages tonagical nono,
whileCreat|ve|ye(page6/) sets thechallengeof producinginterestinginages involving
shadows. or kit enthusiasts, our 1est Centrespecialists takealook at the-50, Pentax's
latest entry-level DSLR(pageII6), as well as sevenpopular ultrawide-anglezoons for
APS-CDSLRs (pageI2I) andaspecialist I5nnwide-anglefronSigna(pageI30). We
trust you'll ndplenty toinspireandenjoy inour latest issueandwewishyouanonthof
fantasticphotography. All thebestl
Editor'swelcome
Ross is an award-winning
nature photographer
and author of nunerous
photo books.
www.rossnodd|nott.co.u|
NA1URL oLANDSCAPLS
Ross Hoddinott
A pro for two decades,
Lee's one of the U's
nost popular outdoor
photographers.
www.|eefrost.co.u|
LANDSCAPLS o1RAvLL
Lee Frost
A pro photographer,
Paul is a creative genius
and expert on lighting.
www.pau|ward
pnotograpny.con
PR1RA1S oASHN
Paul Ward
An innensely gifted
landscape photographer
with a great eye for
detail. www.ne|end|xon
pnotograpny.co.u|
LANDSCAPLS
Helen Dixon
ne of the U's leading
portrait and social
photographers.
www.orettnar|ness
pnotograpny.con
LLS1YLL oPR1RA1S
Brett Harkness
DanieI Lezano, Editor,
DigitaI 5LPPhotography
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3 Editor'spage
Welconetoour ctober issue.
6 Exposure
News, viewsandtipstoget your
photographynonthohtheground
26 5howcase
Shotsfronthehottest photography
talentsthat wediscoveredthisnonth
35 Picturesubmissions
Sendusyour best shotstoday
56 ExpertCritique
nproveyour inageswithadvicefron
theD|g|ta| S|PPnotograpnyexperts
87 BudgetPhoto
We'vefoundbrilliant budget softwarefor
creatinganazingblackowhiteinages
1 CuttingEdge
BewowedbyPaul Mobley'sCe|eor|t|es
project andMitchell anashkevich's
show-stoppinginagesof largely
unexploredareasof Lthiopia
113 Nextissue
Alittlepeekat what'sinstorefor the
forthconingNovenber issue.
162 Monthlycompetition
WinaplaceonaDawn2Duskworkshopl
116 PentaxK-5
Lntry-level weatherproof nodel isahit
119 Digital 5LRlistings
ull DSLRspecicationsandprices
121 Ultrawide-anglezooms
Sevenof thebest ultra-widesonthe
narket goontest
135igma15mmsheyelens
Don't nissthisin-depthreview.
38 5hootheatherlandscapes
Learnhowtocapturebeautiful shotsof
blooningheather elds
42 Deerrutting
Shoot thisfascinatingritual at oneof the
nanydeer parksaroundtheU
46 Ahomebythesea
Whileawayafunafternoonwiththiseasy
paper project todoat hone
5 Bubbleplanets
Capturethedetail of bubblesupclosefor
enchantingplanet-likeresults
52 Actionpetportraits
Makethenost of takingthedogfor awalk
byshootingbrilliant actioninages
76
2
S7
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UDGETPHOTO: W5OFTWAPE
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TE5T CENTRE 5UB5CRIBE TODAY!
REGULAR5 TECHNIOUE 8 ADVICE
60
6 UnderstandingWhiteBalance
ControllingWhiteBalanceisaninportant
steptonanipulatelight inyour inages,
learnhowtouseit here
67 CreativeEye
Shadowsarethethenethisnonth.
threeof theD|g|ta| S|PPnotograpny
expertsreveal their interpretations
76 ExpertGuidetoPortraits
Wegoonlocationfor thefthpart of our
Portraitsseries, showingyouhowbest to
useurbansettings
93 Digital Darkroom
nproveyour post-processingskillswith
thesesinplestep-by-stepguides
Get D|g|ta| S|P
Pnotograpny
direct toyour door
or nobiledevice
everynonthby
subscribingto
either our print or
digital editions.
or great ohers,
seepage11
C1BLR20I3 i DIGITAL 5LR PHOTOGRAPHY
87
67
S8
ctober 201S/ lssue8S
Contents
NATURE 5PECIAL
NA1URL SPLCAL
DIGITAL 5LR PHOTOGRAPHY i C1BLR20I3
CLOCKWI5EFPOMAOVE: TheMasters of NaturePhotograhybook
contains someof thegreatest andmost breathtakingwiIdIifeimages ever
recorded, suchas Tw///ght of theG/ants byFrans Lanting, Pengu/ns, Iceand
L/ght byDavidDoubiIet, HorseS/r/t byJimrandenburg, Perfect Traw/ by
Chris ZiegIer andMa/u/ andthe8utter/es byAnup5hah.
WHA1DYUget when
youbringtogether tenof the
world's greatest wildlifeand
naturephotographers inone
beautifully presented
hardback book 1neMasters
of NaturePnotograpny is a
stunningfull-colour
collectionof soneof the
best wildlifephotography of thenodern
generation, publishedby 1heNatural History Museun.
All of thecontributingphotographers areprevious winners of the
highly contestedWildlifePhotographer of theYear conpetition,
nowinits 49thyear, whosework andvisionhas inspireda
generationof naturephotographers andpropelledwildlife
photography frona nethodof docunentary intoanart fornin
itself. Lachof thetenphotographers has providedaninsightful
forewordintotheir careers, beforerevealingtheteninages that
they feel best suns uptheir portfolioandthenessagethat they try
toconvey withtheir stunninginagery. Lachinageis acconpanied
by thestory behind, as pennedby thephotographer, providingyou
witha uniqueinsight intoparts of thenatural worldthat only a few
arefortunateenoughtowitness.
Naturelover or not, whether it's theethereal underwater
photography of Paul Nicklenor DavidDoubilet, theuniquerenote
canera work of rans Lantingor theartisticvisionof Jin
Brandenburgthat catches your eye, there's suretobesonething
withintonakeyounarvel at thewonder of Mother Nature.
Here, we'vechosena snall selectionof soneof our favourite
inages fronthenewbook, but we'dthoroughly reconnendthat
youpick upa copy for yourself. 1neMasters of NaturePnotograpny
by 1heNatural History Museunis availablefronall goodbook
stores. or noreinfornation, visit www.nnm.ac.uk
THE MASTERS
OF NATURE
PHOTOGRAPHY
3
1heNational History Museun
SBN9/8-0565093I50
PRDUC1 NLWS
10 DIGITAL 5LR PHOTOGRAPHY i C1BLR20I3
MIRRORLESSALPHAFROMSONY
NLWALPHAMDLL LRS BUDGL1MRRRLLSS 1LCHNLGY
BUCNG1HLCURRLN1trendof squeezing
bigsensors intotinyconpact systencanera
bodies, Sonyhas announcedthelaunchof
thenewAlphaA3000-anirrorless canera
that boasts NLX-likespecs withinanSLR-like
body. 1heA3000packs aninpressive
20.I-negapixel APS-CLxnor sensor and
ohers aI00coverageelectronicviewnder,
whichSonyhas dubbed1ru-nder. Alsoon
tapis anSrangeof I00-I6000, 3in
230,000-dot LCDnonitor andull HDvideo
recording. Perhaps nost intriguingis that the
A3000supports I080i videoat awhopping
60fps -inconparison, Canon's dedicated
C300cinenacaneraohers 60fps at a
naxinunresolutionof just /20p, which
neans that theA3000couldnakefor a
perfect conpact slow-notion
canera. 1heA3000is Sony's rst
Alphacaneratoboast anL-nount
lens ttingrather thanthetraditional
A-nount foundonother Alpha
nodels, sowe'reunsurewhySony
has chosentodropthefaniliar NLX
nanenoreoftenassociatedwiththis
typeof canera-it renains tobe
seenas towhether this couldcause
confusionfurther downtheline.
nenal point tonoteis theprice
-Sony is clearly ainingtocapturethe
budget endof thenarket withthe
A3000, whichis availableinSeptenber,
pricedaround3/0, body only.
www.sony.co.uk
5igmaconversion
Signa is nowoheringits
custoners a
revolutionary nount
conversionservice,
allowingthosewho
switchfrononebrand
of digital SLRtoanother
theopportunity toconvert
their Signa lenses over totheother
brand's tting, savingthehassleof
havingtosell your lenses, only tobuy
thenagainina diherent nount.
www.s/gma-/mag/ng-uk.com
DigitaI convert
orner professional
photographer Janes
Jacksonhas developed
aninterchangeable
digital back for 35nn
lncaneras. 1he
DigiPodis currently seeking
fundingviacrowdsourcing
websitendiegogo, andthesensor
sizeonoher depends onthenunber
of backers theproject receives. Show
your support at. www./nd/egogo.
com/projects/d/g/pod
FeeIingsmug
Photostorageprovider
SnugMughas opened
its doors toU
consuners withthe
launchof a freshly
designedwebsite. ron
just S40per year users can
enjoy unlinitedphoto
storage, whilethosewantingnore
features includinga custonportfolio
websiteor theability tosell prints have
various other avenues available
rangingfronS60toS300per year.
www.smugmug.com
News inbrief...
Nikonoffers widereach
NewfronNikonis theversatileA-S I8-I40nnfi3.5-5.6GLD
vR, a DX-fornat lens oheringeverythingfronwidetotelephoto
inoneconpact package. 1helens features Nikon's vibration
Reductiontechnology, oheringuptofour stops of inage
stabilisation, especially useful at thetelephotoendof thefocal
range. Weighingjust 490g, its ehectivefocal lengthof 2/-2I0nn
looks likeit couldnakeit a popular travel lens for Nikonshooters.
Alsoannouncedis thenewSB-300fashgun. Boastinga guide
nunber of I8(SI00, n) anda fashheadthat rotates through
I20, theSB-300is a conpact lightingsolutionfor NikonDSLRs
andCoolpix conpacts. 1henewlens andfashgunareavailable
now, priced580andI30respectively. www.n/kon.co.uk
Rumour becomes reality
Younay recall that intheSeptenber issuewereportedonrunours of a retrorangender-
styleMicroour-1hirds canera fronPanasonic, dubbedtheLunix GX/. Shortly after we
went topress, Panasonicohcially announcedthenewnirrorless nodel. 1heGX/ is therst
Lunix nodel tooher in-canera optical inagestabilisationanda tiltableelectronic
viewnder. 1henainbenet of in-canera stabilisationis that it operates thesanenonatter
what lens is used, great news for fans of older or cheaper optics without stabilisationbuilt-in.
1hetiltableLv allows for lookingdirectly downtheviewnder whilethecanera is facing
forward, althoughwe'renot surehowuseful
this will beineveryday shooting. 1heGX/ also
ohers a nagnesiun-alloy casing, enclosinga
I6-negapixel LiveMS sensor, a silent
shootingnodeandfocus peaking
functionality. 1heGX/ is availabletoorder
now, costing820body only, or 900with
I4-42nnkit lens. www.panason/c.co.uk
Theperfect companion
1ablet guruWaconhas just announceda nifty hybridtablet that
has caught our eye. 1heCintiqConpanionis availableintwo
favours -thestandardversionis a Windows-powerednobile
tablet that allows youtoedit onthego, whilethenore
intriguingAndroid-poweredCintiqConpanionHybridcanbe
usedonthenoveas a stand-alonedevice, as well as hookedup
toyour PCor Macfor useas aneditingtablet. nnovation
doesn't conecheap, though-theCintiqConpanion256Gb
costs I,650, andtheHybridI6Gbis I,200. www.wacom.com
NewCanonzoom
Canonhas announcedanewadditiontoits lens
range-theL-S55-250nnfi4-5.6SS1M
(ehectivefocal length. 88-400nn).
1hebudget telezoonboasts adecent specication,
withI5elenents inI2groups, as well as Canon's
S1MtechnologyandnageStabilisation, theL-S
55-250nncones inat averyreasonable350and
is availablelater this nonth. www.canon.co.uk
5onyrange
expands
AlongsidetheA3000, Sony has
announceda newconpact
systencanera. 1henewNLX
51sports a I6.I-negapixel
APS-Csensor, a I0fps burst
node, nulti-angle92I,000-
dot LCDtouchscreen, Wii and
NC(Near ield
Connunication) technology.
1headditional connectivity oheredby theNLX51brings withit
newfeatures, suchas wireless Liveviewandcontrol when
pairedwitha conputer or nobiledevice, andbunp-to-share
transfer capabilities whenusedwithconpatibleNCdevices.
AlsonewarethreeL-nount lenses. theCarl Zeiss vario-
1essar I6-/0nnfi4ZASS ohers theusual excellenceyou'd
expect fronZeiss optics, whileretaininga constant fi4
aperturethroughout thezoonrange, theLPZI8-I05nnfi4
GSS, another constant aperturefi4zoonwitha useful focal
range, andtheL50nnfiI.8is anexistinglens previously only
availableinsilver, but nowavailableinblack, tool 1heNLX51
goes onsalefronSeptenber costing600, including
I6-50nnfi3.5-5.6lens. Prices aretobeconrnedfor the
lenses, whichareavailablefronctober. www.sony.co.uk
TAMRON
Di Series
Focal length: 90mm Exposure: F/2.8, 1/250 sec ISO 100
Pohnod or nignor dotail and snarpor
Maoro and Portrait pnotograpns.
SP 90mm
F/2.8 D| vO SD MAORO 1:1
New 90mm Macro |ens de||vers super|or |mage qua||ty -
|ncorporat|ng state-of-the-art opt|ca| techno|ogy and
|mage stab|||zat|on.
Tamron`s c|ass|c 90mm Macro |ens |s reborn to |et you shoot exqu|s|te
|mages of outstand|ng sharpness. Oompat|b|e w|th fu||-s|ze S|P
cameras, th|s new, h|gh-reso|ut|on |ens |ets the photographer capture
the moment`s atmosphere.
Compatiblo mounts: Canon, Nikon, Sony*
Modol F004 Oi (Oigitally ntogratod) lons dosignod or digital APS-C and ull-sizo SLP oamoras, witn lons nood. Compatiblo mounts: Canon, Nikon, Sony*
* Tno Sony mount doos not inoludo vC, as Sony digital SLP bodios inoludo imago stabilization unotionality. Tno Sony lons is dosignatod as "SP 90mm F/2.8 Oi MACPO 1:1 USO".
lntro 2020 |td. Pr|ors Way, Ma|denhead, Berksh|re S|6 2HP Te|: 01628 674411
www.tamron.co.uk
www.aoobook.oom/TamronUK
PRDUC1 NLWS
Last chancetowin
aCanonEO57D!
ancy tryingyour luck at winning
a brilliant CanonLS /00Dand
L-S I8-55nnfi3.5-5.6S S1M
kit ur Septenber Canon
cover conpetitionis still open
for entry until nidnight on
1hursday I9Septenber. 1obein
witha chanceof winningit, visit
theD|g|ta| S|PPnotograpny
acebook page, click onthe
ConpetitionPoll link andvote
for your favouritecover. t
doesn't natter whichinage
wins, we'll bepickingonereader
at randontoreceivethis
fantasticprizel 1oenter, visit.
www.facebook.com/
D/g/ta/SLRPnoto
Competitionresult
Aspiretowin!
ntheAugust 20I3issue, weoheredyouthechancetowina
placeonanAspirePhotography 1rainingthree-day wedding
photography course, worthover 800l Wereceiveda huge
nunber of entries andour lucky winner was Robert McBride.
Congratulations Robertl or details onAspirePhotography
1raining, visit. www.asp/repnotograpnytra/n/ng.co.uk
CanonPower5hot G16
Lnthusiasts lookingfor a pocketablecanera oheringfeatures
andquality sinilar totheir DSLRwill beinterestedinthelatest
additiontoCanon's highly regardedPowerShot series of
preniunconpacts. Poweredby a CanonDGC6inage
processor, it ohers a resolutionof I2.I nillionpixels, anS
rangeof I00-I2800andcontinuous shootingat uptonine
franes-per-second. 1heA systenhas beeninprovedandis
now4Ifaster thantheA of its predecessor, theGI5. 1he
PowerShot ohers a widerangeof creativecontrol, includinga
full rangeof exposurenodes andRawshooting. 1hezoon
lens boasts aninpressive5x range(28-I40nn) witha fast
fiI.8-2.8naxinunapertureandanintegral optical inage
stabiliser. ull HDvideoat 60fps is available, Wii is built-inand
a choiceof Creativeilters andnodes for shootingstar trails
andtine-lapseis included. 1heCanonPowerShot GI6is
availablefronearly tonid-ctober witha guidepriceof 530.
or further infornation, visit. www.canon.co.uk
1RAvLL CMPL11NRLSUL1S
1) D/gMeR/ver (1st pIace) byWagner Araujo. "I was inManaus, Amazonas,
duringtheraziIianAquathIon(swimmingandrunning) championship.
I photographedit fromthewater andmyIens got compIeteIywet, but
therewas somuchenergyintheseboys that I just didn't worryabout that."
2) Lady/nWater (Merit) byMarceIo5aIvador. AIadycoIIects water inthe
river byaviIIageinagan, Myanmar, 2013.
3) Guanj/angShou(Merit) byChanKwokHung. Guanjiang5houtroupesare
oneof Taiwan'smost popuIar activitiesthat maybeseenaII over Taiwanat
traditionaI gatherings. Withtheir erceIypaintedfaces, protrudingfangs
andpowerfuI, choreographedperformances, theyareeasiIyrecognised.
TheyaresometimesdescribedasunderworIdpoIiceor gods' bodyguards.
4) Thunderstormat Fa/seK/va(2ndPIace) byMax5eigaI. "I hikedout to
theseruins at night hopingtophotographthemwiththeMiIkyWay, but
insteadathunderstormroIIedthrough, creatingthis dramaticimage."
5) TheTatahondaSect (Merit) byGergeIyLantai-Csont. Thephotographer
enteredanencIosedsect namedTatahondaintheDemocraticPepubIicof
theCongo. TheIadiesherearepreparingfor their reIigiousceremony.
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1HLWNNLRS the25thannual Nat|ona| Ceograpn|c1rave|er
PhotoContest havebeenannouncedand, truetoforn, theannual
conpetitionhas producedsonebreathtakingentries.
1hejudges hadtheunenviabletask of pickingout thethree
winninginages, alongsidesevennerit winners anda People's
Choiceaward, fronanincredibleI5,500entries. As always, the
prestigious contest was dividedintofour categories -1ravel
Portraits, utdoor Scenes, Senseof PlaceandSpontaneous
Monents. 1heGrandPrizewinner was nanedas Wagner Araujoof
Brazil, for his nonochroneinageD|gMeP|ver, showingBrazilian
Aquathlonparticipants enteringtheRioNegroat speed. Wagner
nets hinself andoneguest a ten-day Galapagos Lxpeditionwith
Nat|ona| Ceograpn|cLxpeditions.
Secondplacewas awardedtoMaxSeigal of Boulder, Colorado,
for his inage1nunderstornat |a|se||vaandthirdplacewent to
Yanai Bonnehof Negev, srael, for his inageof cheetahs atopasafari
truck. 1hePeople's Choiceawardwent toDodyusunafor his
inageof ashernancastinghis net inndonesia.
'Lvery year thetask of judgingthecontest gets tougher. 1he
quality of photos increasingly gets better -andtherangeof inagery
norediverse. t's excitingtoseetheenergenceof suchhuge
nunbers of inaginativephotographers, connentedeithBellows,
Nat|ona| Ceograpn|c1rave|er nagazineeditor inchief.
1hewinninginages will featureintheDecenber 20I3iJanuary
20I4issueof Nat|ona| Ceograpn|c1rave|er nagazine, andcanbe
viewedonline, at. nttp.//trave/.nat/ona/geograpn/c.com/trave//
trave/er-magaz/ne/pnoto-contest/20!J/
NATGEO
TRAVELER:
THE WINNERS
1 C1BLR20I3 i DIGITAL 5LR PHOTOGRAPHY
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Paris
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' spendhalf of nyyear in
Montreal, andtherest of the
tinetravelling-travelling,
shootingandtalkingabout
photographyfeeds nyblogand
builds interest. don't haveascheduleas
such-what usuallyhappens is that, if
needtoteachaworkshopinDetroit, say,
'll trytoshoot while'nthereandsell the
inages afterwards. liketothinkthewayit
works is likeanusicband, settingits own
schedule-that's thelifestyle.
JANUARY8FEBRUARY- TORONTO
8MONTREAL
begantheyear in1oronto, thenheadedto
Montreal for fanily celebrations. t was a
nonthof planningandcatchingupwith
post-productionafter twononths away.
MARCH- MONTREAL, LA5VEGA5,
LONDON8MANCHE5TER
My nonthbeganwiththeproductionof a
Caneof 1nrones fanlninthewilderness of
Montreal. ronthere, attendedtheWedding
andPortrait Photography conferenceinLas
vegas andshot withalocal pyrotechnician.
thenfewtoLondontoteachaworkshop
andheadeduptoManchester toshoot 6M
worthof cars inanansionfor acar clubl
APRIL- PARI5, BELGIUM, GERMANY,
VANCOUVER, KELOWNA8DETROIT
April was super crazy, beginningwitha
pyrotechnics shoot inParis, thentoBelgiunto
shoot capoeira, whichis afornof nartial arts
that conbines dance, acrobatics andnusic.
t was thenontoGernany tohelpdirect a
450-personphotoshoot for aproject called
'Whereis Waldo', nuchlikeWhere's Wally
thenheadedtovancouver, andtoelowna
andDetroit for workshops -theseprovidean
insight toworkingonlargesets. t's an
opportunity toseehowit works, how use
lightingandnotivateeveryoneon-set.
MAY, JUNE, JULY8AUGU5T-
MONTREAL, VERMONT, TORONTO
8EDMONTON
1herewas alot of back andforthhere, neeting
withclients andny agent, takingworkshops
andplanningthenext threenonths.
5EPTEMBER- 5EATTLE, VANCOUVER
8MONTREAL
'll befyingtoSeattletodosonethingfor
onlinewebinar CreativeLive, andneet with
agencies. nay drivetovancouver toneet
noreagencies anddoa creativephotoshoot
beforefyingback toMontreal.
OCTOBER- ORLANDO8TORONTO
want todoafallenangel shoot with
prosthetics inrlando, and'll conbinethat
tripwithaSnugMugshoot. Back in1oronto,
and'll host aclass onshootingpyrotechnics.
NOVEMBER8DECEMBER-
WHOKNOW5WHERE?
1wononths of questionnarks. 'll either bein
Cancun, SanDiegoor California. But wherever
'll be, youcanbet it will besuper excitingl
TOTALMILE5: 26,I64+
TPAVELTIME: 58HRS8MNS+
Manchester
London
PCS 1HL MN1H
Videoof themonth
Last nonthwebriefy featuredanastrophotographer by
thenaneof Michael Shainblunin|xposure. Michael's
beenextrenely busy and, alongsideastrophotography,
he's got a penchant for cityscapetine-lapses. Younay
think you'veseenit all beforebut you'venever seena
tine-lapselikethis -M|rror C|ty is a psychedeliclook at
inner-city life, witha kaleidoscopictwist. t took Michael an
incrediblefour nonths toedit thenal pieceandthe
results arenind-blowing. ur reconnendations -watch
this full screen, inHD, withthelights ohandyour speakers
turnedupl visit. nttp.//b/t./y/!2fNnFa
Mirror City
BYMCHALLSHANBLUM
PCS 1HL MN1H
Price: 0.69i Platform: iS
www.digitallntools.con
Doyouwant your nobilephonetobeabletocapture
atnosphericshafts of light but ndthat it rarelylives upto
thetaskr can't helpbut thinkthat ascenewouldlook
better if onlythe'God-rays' hadnaterialisedRays is a
rather clever applicationthat allows youtoaddvolunetric
lightingehects toyour existinginages. Appliedtoo
haphazardly, thesekinds of ehects havetheabilitytolook
trulyatrocious -however, Rays does asurprisinglygood
jobof creatingrealistic-lookingresults, under theright
guidance. 1heapponlyadds thelight tohighlight areas,
givingtheehect of thelight breakingintoshafts around
objects inyour scene. 1here's evenaRays Photoshopand
Lightroonplug-inavailablefor your DSLRinages, tool
Verdict: Sonegoodadviceandinspirational
inages toboot. f street photography interests
you, this is wortharead.
Verdict: Aconprehensiveguide, containing
sonebeautiful inages. Anust-havefor keen
natureandwildlifephotographers.
Verdict: 1ruly fantasticnonochroneinages but
thenindbahes as tothechoiceof portrait-
fornat layout used. Abigletdown.
Michael Freeman'sPhoto
5chool: 5treet
17.99i Michael reenani lex
SBN9/8-I908I5098I
Michael reenanhas beenkeepinghis publisher
busy again, withyet another instalnent tohis
fourishingPnotoScnoo| series. 1his titlecovers
thegenreof street photography, andis agood
nix of inspirational inages andadvice. 1rueto
PnotoScnoo| forn, this titleis less about shutter
speeds andf-stops andnoreabout
approaching, dealingwithandphotographing
strangers -useful adviceas you'll knowif you've
ever triedyour handat street photography.
TheNewArt of
PhotographingNature
19.99i Art Wolfei Anphoto
SBN9/8-0//0433I54
1here's never goingtobeany doubt inyour
nindthat abook is goingtocontainsonetruly
stunninginages whenthenaneArt Wolfe
graces thecover. Art has teanedupwithMartha
Hill anddigital photography expert 1inGrey to
providesoneexcellent adviceon
photographingnature. 1his titleis ainedat the
noreexperiencedenthusiast but that's not to
say that bothbeginners andexperts alikewon't
beabletotakesonethingaway fronreadingit.
Genesis
44.99i SebastioSalgadoi 1aschen
SBN9/8-3836538/25
ollowingonfrontherecent exhibitionat the
Natural History Museun, youcanenjoy
SebastioSalgado's Cenes|s frontheconfort of
your ownhone. Salgado's inages are
breathtakingandthecollectionis sinply
beautiful, however, this titleis hugely let down
by thelayout -thenajority of theinages are
landscape-fornat, yet thebook is presentedin
portrait, neaninginages aredisappointingly
spoiledby thesonewhat cavernous gutter in
theniddleof eachspread.
OVERALLRATING OVERALLRATING OVERALLRATING
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you'll innediately ndnyriadreasons to day, duringwhich walk ny dog, wastetine 'dlovetohear thenl
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goals, but alsoscheduletinetorelax as well. keepny sanity intact. Tw/tter. jasm/nestar
1R20I3 IGITL 5LR PHOTOGRPHY
YURPH1MN1H
Photoevents tolookout for...
AgathaChristieFestival
Pricevaries! Torquayandsurroundingareas
Callingall nurder nystery fansl 1heLnglish
Rivieraplays host toaweek-longfestival
celebratingeverythingAgathaChristie. ron
whodunnit boat cruises toin-character
gardenparties, this is agreat opportunity to
joininthefunandcapturesoneintriguing
portraits of Christiefans incostune.
www.eng//snr/v/era.co.uk/agatnacnr/st/e
BUPAGreat NorthRun
Free! NewcastletoSouthShields
nyour narks, get setl StartinginNewcastle
andtakingarouteover theiconic1yne
Bridge, throughGatesheadandontoSouth
Shields, this I3.I-nileevent sees 50,000
runners slogit out inthenaneof charity.
Pack your telezoonandheadtothestart
lineearly tocatchthepack as they set oh.
www.greatrun.org
LondonFashionWeekend
FromL17! Somerset House, London
WhileLondonashionWeek is reservedfor
thenedia, fashionbuyers andtrendy
bloggers, LondonashionWeekendis ained
at thegeneral public, allowingyoutocatcha
glinpseof next season's designs. More
inportantly, youcantry your handat aspot
of fashionandcatwalk photographyl
www./ondonfasn/onweekend.co.uk
OpenHouseLondon
reei London
1his uniqueevent ohers thechanceto
get insidesoneof London's nost iconic
landnarks andspaces. Logontothepen
HouseLondonwebsitetocheck out which
buildings areopenandpack awide-anglelens.
Also, renenber tocheck eachbuilding's
photography policy beforesettingoh.
www.opennouse/ondon.org.uk
NottinghamGooseFair
Free! Forest RecreationGround, Nottingham
Pack your tripodandheadtotheannual
NottinghanGooseair tocapturedynanic
light trails of thefairgroundlights innotion.
1heGooseair dates back sone/00years,
andwithover 500attractions tochoose
fron, alongwithahugearray of foodstalls,
there's plenty of fodder for your caneral
www.nott/ngnamgoosefa/r.co.uk
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Exhibitions Competitions
AutumnAir 5how
L21.50(advance, L23.50(gate !
Imperial War Museum, Duxford
1heannual AutunnAir Showat Duxfordsees
all nanner of historicaeroplanes taketothe
skies. 1heair display starts at aroundI.30pn,
leavingplenty of tinetoexplorethenuseun
beforehand. 1akeatelezoon, sonethingin
therangeof a/5-300nnfor anAPS-CDSLR
is ideal. www./wm.org.uk
I3C1BLR
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OnlyinEngland: Photographsby
TonyRay-JonesandMartinParr
21September-16March, 2014! L8!
ScienceMuseum, London
eaturingover I00inages fron1ony
Ray-Jones' archive, alongwithrareearly
nonochroneinages fronMartinParr's
body of work, this exhibitionis aninsight
intoLnglishcustons andidentity.
www.sc/encemuseum.org.uk
MarkNeville-DeedsNotWords
Until 29September ! Freeentry!
ThePhotographers' Gallery
or I8nonths, docunentary
photographer Mark Neville
concentratedonthetownof Corby in
Northanptonshire, focusingonits
people, cultureandongoingehects of
environnental pollutioninthearea.
tnepnotograpnersga//ery.org.uk
Michael PetoPhotographs:
MandelatoMcCartney
17September-31May, 2014! Freeentry!
National Portrait Gallery, London
1eniconicphotographs takenby
Hungarianphotojournalist Michael Peto
goondisplay at theNPG. Peto
photographed key gures inpolitics and
entertainnent inthe'50s and'60s.
www.npg.org.uk
TimHetherington: YouNever
5eeThemLikeThis
Until 25November ! Freeentry!
OpenEyeGallery, Liverpool
1woyears after his unfortunatedenisein
Libya, this exhibitionof Hetherington's
work draws oninages fronhis acclained
book, |nhde|. 1heinages depict US
soldiers' deploynent inAfghanistan.
www.openeye.org.uk
A
D
A
M
B
U
R
1
N
RP5International Print
14September-1November ! Freeentry!
TheCivic, 8arnsley
1hetouringI56thRPSnternational Print
exhibitionarrives inBarnsley. 1he
collectioncontains thewinninginages
frontheannual conpetitionand
showcases awiderangeof genres and
styles of photography.
www.rps-/nternat/ona/.org
Call for entries
HIPAPhotographyAward
heringahugeUSS390,000prizefund,
withaUSSI20,000grandprize, theHPA
Photography Awardis opentoanateurs
andprofessionals alike. Withacashprize
of this sizeupfor grabs, it's well worthan
entry or twol 1hecategories for entry are
General, Creatingtheuture, Black and
WhiteandStreet Life. Closingdate.
3I Decenber. Lntry. free. www.n/pa.ae
The2ndZebraAwards:
International BlackandWhite
PhotographyCompetition
1hesecondannual ZebraAwards is
callingfor photographers tosubnit
nonochroneentries across four
categories -Abstract andContenporary,
ineArt andpen, LandscapeandNature
andPeopleandAninals. Closingdate.
3I Decenber. Lntry. roundone. USSI per
entry, roundtwo. USS20per shortlisted
inage. www.tz/pac.com
213GoPixAwards-Round2
1hebest canerais always theoneyou
havewithyou, soif you'readabhand
whenit cones tonobilephotography,
this is theconpetitionfor you. Any inage
capturedonanobileor tablet deviceis
eligible. What's nore, thereareprizes
worthUSS3,000tobewonl Closingdate.
3I Decenber. Lntry. roundone. USSI per
entry, roundtwo. USS5per shortlisted
inage. www.tz/pac.com
Last chancetoenter
Travel Photographer
of theYear 213
Withanincredibleprizefundonoher,
includingI,500cash, arangeof uji
caneras andtrips toMarrakeshandthe
US, alongsidetheacclainedCutty Sark
Award, theprestigious 1P1Y
conpetitionis opentoall. Closingdate.
I ctober. Lntry. fronI0.
www.tpoty.com
COMPA5PhotoCompetition
213: ImagesontheMove
1heannual CMPASPhotoConpetition
ains todepict thetopicof nigrationand
peopleonthenove. Uptoveentries are
pernittedper person. Closingdate.
II ctober. Lntry. free.
www.compas.ox.ac.uk/events/
pnoto-compet/t/on/
WHAT
TO5HOOT
Changingseasons
Now's thetinethat sunner begins to
transitionintoautunn, transforning
foliageintoshades of orangeandanber.
As thenights aredrawingin, too, head
out at sunset tocapturestunning
goldenlandscapes andwoodland
views conplenentedby the
warneveninglight.
SHARNGYURvLWS oMAGLS
Feedback
GL1CNNLC1LDW1H1HLD|C|1/|S|PPHO1OCP/PHCMMUN1Y
A1WWW.DG1ALSLRPH1.CMRANYURSCALNL1WRS
DOWN5IZEME
'nquestioning if would be
better ohtrading ny DSLRgear for a
Conpact SystenCanera barely use
ny Canon LS 50Dkit these days and
can't help but see it as being 2's worth
of dust gatherer. 'nthinking a conpact
systenwould be less of a chore tocarry
around and get ne back intocapturing
light. Any reconnendations
Mark White, via acebook
Ed's repIy: Conpact SystenCaneras
oher a lightweight alternative toa
full-blown DSLRpackage and are often
capable of delivering inages of sinilar
quality, depending on what you're
shooting. However, nany lack an optical
viewnder which nay take sone getting
used to, coning frona DSLR. f in doubt,
visit your local canera store and try
sone out for yourselfl
OUNCEACK
Howdoes a refector work
've seen pictures of people holding
refectors and another person with a
canera, but what bahes ne is that the
photographer doesn't use fashl
Janie Steve Pickering
Ed's repIy: Refectors are used tobounce
available light, and that doesn't just nean
fash -photographers will use a refector
tobounce daylight back ontotheir
subject toll shadows, or toadd
catchlights toa subject's eyes.
EXPO5ETOTHEPIGHT
Great ssue /9l Always sonething
newtolearn in every issue - particularly
liked in a previous issue, the article on
exposing tothe right. have started touse
it since and have noticed less noise when
pulling detail out of shadows.
Colin Harban
Ed's repIy: Glad we could help, Colin.
eep up the good workl
COMEACPOPPEP
Reading the butterfy article in the
last issue inspired ne totake even nore
photos of these beautiful creatures, also
was lucky enough tocapture sone bee
photos using the sane technique. nd
that experinenting with cropping in
Photoshop can dranatically enhance a
photo, and often end up with several
end products fronthe sane initial inage.
AndrewPettey
Ed's repIy: With the negapixel count on
DSLRs on the increase, cropping in on
wider inages is a great way toreconpose
after the shoot has nishedl
COMEACPOPPEP
EXPO5ETOTHEPIGHT
OUNCEACK
24 DGTAL 5LR PHOTOGRAPHY i C1BLR20I3
DOWN5IZEME
5tePaeburn don't dostraps.
CoIinHarban triedwalkingaround
witha/0-200nnwithout astrap, it
wasn't longbeforenyarnstartedto
hurt, so clippedthestrapbackon-
don't carehowuncool it looksl
5haneTurner don't doNikon
straps but dousetheBlackRapidfor
weddings withtwobodies.
NathanLuckingPersonally, wrapthe
straproundnywrist for security.
DanieI Cummings useastrapto
keepnyDSLRsafe-kindawhat it's
neant todol f youdon't useastrap
you'reobviouslynot apersonwalking
vast distances without abag. useagel-
cushionedLoweprothat cost ne20.
KarenWapIesAfter nearlylosingny
caneraover thesideof ashipshootinga
seatern, nowhaveasnall wrist strap-
veryunobtrusive, but gives nesecurity.
LeeMyatt-ennett Straps donyhead
in, constantlygettingintheway. Saying
that, dohaveaneoprenestrapthat
sonetines useas it's quicktorenove.
5teve5Iimeaumont Currently
strapless but lookingtoget anafter
narket strapso'nnot awalkingadvert.
5tewart MarsdenWrapit aroundyour
wrist but never aroundyour neckincase
soneonetries tonickyour caneral
CAMEPA5TPAPOP5TPAPLE55? CA CAME MEPA PA5T 5TPA PAPPOP OP5T 5TPA PAPL PLE5 E55? 5?
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wantedQDigitalSLRPhoto
PahimMastafaPahimMastafa
f youturntopageI/intheSept issueof
QDigitalSLRPhotonagazine, youwill
seeny picl Awesonel
AngeIicaDeLaraAngiejjs
QDigitalSLRPhoto'nananateur
photographer -what lens doyou
reconnendas ny rst lens tolearn
rett Harknessbrettharkness
Pick your fav coverl QDigitalSLRPhoto
winaCanonLS/00Dl f course'd
appreciatethevotel
MJMImagesmjm_images
(brettharkness QDigitalSLRPhoto
goodluck, if wintheLS/00D'll put
it downtochoosingyours .P
EdookIessEdbookIess
Sonegoodreadinginthis nonth's
QDigitalSLRPhotofor any budding
sport photographer
NeiI GerrardneiI_g6Aug
QDigitalSLRPhotoLnjoyedyour 50nn
articlebut nowlook what havegone
anddonel pic.twitter.conix5lYS2RuH5
C1BLR20I3 i DIGIAL L HOOGAHY
enarratt, PoppyfieIds, Issue82
TeImoGiI, 5portsaction, Issue82
Peter ennett, 5portsaction, Issue82 FionaCampbeII, Frequencyseparation, Issue81
EADE
IMAGE
HLRL'S ASLLLC1N
1HS MN1H'S BLS1RLADLR
A11LMP1S URLXPLR1
1LCHNULS RM
PRLvUS SSULS. SLND
US YURWNMAGL
ANDYUMGH1JUS1
SLL 1NPRN1l
LeeDavis, CreativeEye, Issue82
1HLBLS1MAGLSRMARUND1HLWRLDPH1GRAPHY
Paul Bullen
Age: 46 i Occupation: 1inber sales
Lindisfarneboats: '1his is ny takeontheLindisfarne
boats nadefanous by DavidByrne's disqualied
LandscapePhotographer of theYear entry. likedhis
inagesonuch decidedtohavea gonyself. hada
lovely sky towork withsotriedtoincludeas nuchof this
as possible. quickly conposedtheshot usinga Lee
ilters 0.9NDsoft gradand0.6NDhardgradlter tohold
back thebright wispy clouds. 1heoveruseof NDgrads
has giventhesky theintentional over-darkenedlook.
After theusual RawconversioninLlenents, usedNik
Silver Lfex toconvert toblack owhite, andaddeda little
dodgingandburning.
CanonEO550Dwith5igma10-20mmEXIens.
Exposure: 1l30secat fl11(I5O100).
v/s/t. www.h/ckr.com/pau/sh/ckr
5HOWCA5E
DIGITAL 5LR PHOTOGRAPHY i C1BLR20I3
AndrewRay
Age: 4I i Occupation: Landscape photographer
RNLI 5tation: '1his is the RNL stationonRoa slandnear Barrowin
urness inCunbria. 1his was capturedusing a wide-angle lens fronthe
water's edge shortly before sunset. useda Lee ilters 0.9NDsoft gradto
balance the exposure. 1he castle onPiel slandis visible onthe horizon.
CanonEO55DMkII withCanonEF17-40mmfl4LU5MIens.
Exposure: 0.3secondsat fl19(I5O50).
Abbot's Bay Reections: '1his is Abbot's Bay near the southernendof
Derwentswater inthe Lake District National Park. t was capturedona
particularly still norning withvery little novenent inthe surface of the
water, whichnade for sone fantastic clear refections. ALee ilters
0.6NDhardgradwas usedtoholdback the sky here.
HighTide at 5t Mary's Lighthouse: 'St Mary's Lighthouse near Whitley
Bay onthe North1yneside coast was capturedduring hightide. chose
touse a longer shutter speedtorecordthe notioninthe water as it
swirledaroundthe foregroundrocks. Aconbinationof Lee ilters
0.6NDhardgrad, 0.9NDandBoWpolarising lters were used.
Exposure: 0.5secondsat fl19(I5O50).
v/s/t. www.andrewraypnotograpny.com
EmilyRoper
Age: 23 i Occupation: reelance photographer
Dreamer: '1his was capturedonanevening whenny nodel Jess and
were chasing the last of the day's light. My intentionwas tocreate a
dreanlike series of photographs. We waiteduntil the right nonent
whenthe light wouldbe perfect. After shooting here previously, knewit
wouldbe the perfect spot tocapture the lovely glowsurrounding her.
CanonEO55DMkII withCanonEF85mmfl1.2LII U5MIens.
Exposure: 1l2000secat fl1.2(I5O100).
v/s/t. www.c//p/c.co.nz
COMMENT
Andrewhas averycIever
eyefor composition, withhis
images boastinginteresting
foregrounds, neatIypositioned
subjects andstrongIead-in
Iines. His generaI technique
is impeccabIe.
arollneWllklnson
5HOWCA5E
KyleMoore
Age: I5 i Occupation: Student
RedDeer: '1his was takenduring the reddeer rut last year. spent about
twoweeks photographing the deer every day, andthe real shot wanted
was a deer stag roaring inthe goldennist at sunrise. Lvery norning got
upbefore dawninorder toget tothe deer before the suncane upbut
oneachnorning there was nonist. nthe last day spent withthe deer
there was a weak nist rst thing. like this shot as get the feeling the
deer is saying farewell as it walks away fronne intothe nist.
CanonEO5-1DMkIII withCanonEF300mmfl2.8LIens.
Fox: ' took this inage a fewweeks agoinLondon- love working with
urbanwildlife. t was insone longgrass so set a wide aperture, focusing
onthe fox torender the foregroundandbackgroundout of focus.
CanonEO5-1DMkIII withwithCanonEF300mmfl2.8LIens.
Damsely: '1his was takenwithinthe last I5 ninutes of daylight, when
the danselfies are quite still andsettle downfor the night. noticed
this one specinenona reedas the sunwas setting inthe background-
exposedfor the sunset, rendering the danselfy as a silhouette.
CanonEO5-1DMkIII withCanon100mmfl2.8LMacroIens.
v/s/t. www.ky/emoorepnotograpny.co.uk
JamesCause
Age: 28 i Occupation: Delivery contractor
MilkyWayMeets theOcean: '1his was capturedat Burgess Beachin
orster, NSW, Australia. 1heforegroundwas recordedbeforedark and
thesky was shot as night fell, capturedinsix vertical inages andstitched
together. npost-processing, stitchedtheMilky Way inages intoone
and, usinglayer nasks, conbinedthesky withtheforeground. then
nadeadjustnents toCurves, Gradient Maps andHueiSaturationlayers.
CanonEO56Dwitha5amyang14mmfl2.8Iens.
Exposures: Foreground: 2.5secondsat fl4(I5O640),
5ky: 30secondsat fl2.8(I5O3200)
v/s/t. www.facebook.com/JamesCausePnotograpny
XX C1BLR20I3 i DIGITAL 5LR PHOTOGRAPHY
COMMENT
KyIe's standardof
photographyis highIy
impressive, especiaIIyas he's
onIy15! If hecontinues
producingimages Iikethis,
he'II enjoyagreat career as
aprophotographer.
Da
5HOWCA5E
DonnaRivers
Age: 46 i Occupation: Part-tine book keeper
5heWalks inBeauty: '1his pretty woodanenone was covering the
foor inthe local woods. decidedthat the dark greenbackground
lackedvibrancy andcolour so placedsone pink patternedcardbehind
the fower andlater, inpost-processing, addedanverlay layer of
sone out-of-focus sequins, toprovide the bokehehect. 1he pink
backgroundconplenents the fower well, giving it a dreany softness.
CanonEO55DwithCanonEF50mmfl1.4withextensiontubes.
Circle of Light: '1hese beautiful little fowers are being grown
extensively inthe neighbouring elds anda fewnanagedtospring upin
ny garden. noticedthat the euonynus bushinthe backgroundwas
glowing inthe sunso positionednyself toget the orbof light directly
behindthe fower. White cardrefectedsone light back ontothe plant.
CanonEO55DwithIna135mmfl3.5ttedwithanM42adaptor ring.
BaskingPoppies: ' love it whenthe poppies start toappear, fooding
the elds withvibrant colour. 1his was takenearly afternoonona bright,
cloudy day. wantedtoreplicate a warnsunset so increasedthe levels
inPaint ShopProX, thenadjustedthe channel nixer toachieve a
sun-kissedlook before adding a graduatedyellowlter toaddcolour.
Purists will say that it is cheating, like tothink of it as artistic licencel
CanonEO55DwithCanonEF100mmfl2.8MacroU5M.
v/s/t. www.h/ckr.com/donna-r/
Lvery reader whohas their work publishedinSnowcaseis rewardedwitha set of fantastic photography
MagBooks, publishedby theteanbehindD|g|ta| S|PPnotograpny. 1his nonth's collectionof MagBooks
covers a wide range of photographic interests. 1he ftheditionof 1ne |ssent|a| Cu|de to|andscapes
provideseverythingyouneedtohelpyoutakestunningscenics. 1ne|ssent|a| Cu|de1oPortra|tsincludes
expert advice onhowtocapture brilliant portraits using daylight, fashandstudiofash. 1he second
editionof b0PnotoProects is packedwithideas andinspirationtohelpbroadenyour photoskills.
For furtner deta//s onour range of Mag8ooks, v/s/t. www.magbooks.com
5howcaseprizes
COMMENT
5hootingowers, whether
wiIdor inthehomeor studio, is
agreat waytopracticeIighting,
focusingandexposureskiIIs,
whiIeaIsoproducingstunning
images packedwithcoIour
andvisuaI interest.
Jordanutters
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acebook page, lickr
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2
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1
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Goout andtakeyour
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DlGlTALSLRPHOTOGRAPHYWELCOMESITSREADERS
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Lomlctc witI a ractical intcqratcu Ianqinq systcm
EcIusIveIy trom WnIteWaII.
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GETTHEPICTURE
CRLA1vL DLAS ANDLXPLR1 1LCHNULS
DEEPPUTTINGp42 PAPEPHOU5E5p46 ULEPLANET5p50 PET5INFLIGHTp52
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5
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HEATHERIN
p38LAND5CAPE5
IN5IDE
GETTHEPICTURE
Heather inbloom
HLA1HLRLANDSCAPLS
Now'sthetineof year toheadout totheU'sheathlandsand
noorlandstocapturebeautiful andvibrant heather infull bloon
GETTHEPICTURE
2
Findyour compositionUponarriving on
location, assess the possible conpositions.
Look for the nost blooning exanples of
heather that youcannd. 1ry toinclude itens of
interest inyour conposition-goodfeatures to
look out for include lone trees, landnarks or
rocky outcrops, as 've foundhere.
3
UseatripodHeather canbe surprisingly
dense andspringy, whichcancause your
tripodtonove during the exposure. Look for
rngroundandpushthe legs rnly down,
being careful not todanage the heather. Hang
a bag or weight fronthe tripod's bag hook, if it
has one, tostabilise the set-up.
1
LocationandtimingLook for clunps of
heather tofornforegroundinterest, or that
couldbe usedas a leadintothe scene. Diherent
varieties of heather indiherent positions fower
at diherent tines of year, depending onhow
nuchsunlight they receive, soreturning toa
locationweeks apart canoher freshpotential.
TOPTIP
f youdon't owna set of
NDlters, thenfear not -after
exposing for the foreground, add
betweenone tothree stops of
negative exposure conpensation
andcapture additional shots,
exposing for the sky. 1hese can
thenbe blendedintothe
foregroundinpost-processing
using Layer Masks.
HeIenDixon
Camera: CanonLS5DMk
Lens: LI6-35nnfi2.8L USM
Mode: Manual
NMA11LRWHLRLyoucall
hone, you'renever far fron
heather at this tineof year.
Heathlands, noorlands and
coastal paths aroundtheUare
honetobothvast blankets andlocalised
clunps of this colourful perennial. 1hereare
several diherent types of heather, but by far
thenost connonvarieties foundintheU
is Calluna, or lingas it's connonly known,
andbell heather. Lingfowers insunner
andautunn, whilebell heather fowers in
betweenearly sunner andlateautunn.
What does this havetodowithphotography
hear youask Well, it just sohappens that
heather, withits vibrant fowers andhabit of
growinginlargeclunps, nakes for
excellent foregroundinterest inlandscape
scenes, andknowinga bit about your
subject goes a longway whenit cones to
planninga successful inagel
As heather is a perennial, you'll likely be
abletondit inthesanelocationyear after
year, soit's worthkeepinganeyeout for it
whenyou'reout andabout. As withall
landscapephotography, thetineof day and
conditions present duringyour visit can
nakeor break a shot. 1ypically, thebest
inages canbecreatedat thestart of, or
towards theendof theday, whenthesunis
lowinthesky andthelight warner and
softer. Clunps of heather undulate
substantially, soyounay haveto
contendwithareas of shadow,
nadeworseby direct,
overheadlight. Weather
conditions arealso
inportant, too-headout
whenscatteredshowers
areforecast towards the
endof theday inthehope
of capturingcloud
fornations toaddinterest to
your inage-evenbetter, you
night witness a rainbow, which
always helps boost a scenel
Renenber totakecarewhenwalking
aroundtheheather -thebest inages can
oftenbefoundohthebeatentrack sobe
wary of steppingonandpotentially
danagingtheplants aroundyou.
5
AddaIter Shooting intothe light is tricky,
as this cancause dihculties inexposing the
scene correctly andcanwashout the colour of
the heather. Side lighting works well -you'll
probably ndthat anNDlter is still requiredto
create a balancedexposure. Start witha 0.6ND
gradandaddlters fronthere, as required.
6
Adjust theIter Be careful not toover-lter
the scene, or the results will look unnatural.
Also, take care whenpositioning your lters.
Place the lter toohighandyou'll endupwith
anoverexposedportionof sky, toolowand
yourunthe risk of underexposing part of the
foreground, as have done here.
4
DiaI inthesettings Use a wide-angle lens to
include plenty of the foregroundinyour
inage. Select aperture-priority or nanual node
andchoose anaperture that ohers a good
depth-of-eld, betweenfiII andfiI3. ocus a
thirdof the way intothe scene, take a shot and
check the screenfor exposure andsharpness.
Final image
AforegroundIIedwith
coIourfuI heather reaIIymakes this
sceniccoastaI Iandscapestandout.
Exposure: 0.5seconds at fiI3(SI00)
Capturedeer rutting
Deepintheforestsanddeer parksaroundtheU, naledeer arepreparingfor therutting
season. Lxpert MarkBridger shareshisadviceoncapturingthiswonderful phenonenon.
GETTHEPICTURE
DLLRBLHAvUR
GETTHEPICTURE
Markridger
Camera: CanonLS5DMk
Lens: L300nnfi2.8LwithI.4x1C
1HS S 1HL1MLof year whena
naledeer's ainis towinas nany
fenales as possible. 1estosterone
is punpingandwiththedeer
beingsoactive, it's a great tineto
bagyourself sonestunningwildlifeinages.
Whileyoucanstunbleacross deer in
woodlands andforests, youcanstackthe
odds of seeingtheninyour favour byvisiting
oneof thenanyUdeer parks. Not onlyis
thedeer populationdenseintheseareas, but
theyarealsonoreaccustonedtohunans,
nakingtheneasier tophotograph.
Ruttingseasonkicks ohinSeptenber,
andpeaks duringctober. Duringthepeak,
thedeer rut throughout theday, although
they arefar noreactiveduringearly
norning, sovisit early tocatchtheaction.
You'll alsobenet fronthebest light at this
tineof day, andif you'relucky, younight be
treatedtoa spot of early norningnistl
Larly nornings neancoldandoften
danpweather. Layer uptokeepwarn
-waterproof trousers andjacket are
reconnendedinneutral or dark colours.
Waterproof walkingboots area nust, too,
as thedewy grass will soak your feet in
ninutesl Lens-wise, you'll want tousea
goodfocal lengthtonaintaina safe
distance- usea 300nnfi2.8prinewitha
I.4x teleconverter, but any telezoon
between200-400nnwill work well.
nowledgeof your subject helps. f you're
hopingtocapturebucks or stags ghting,
thenlook for groups of nales, andkeepan
ear out for their bellowingcalls. Large
concentrations of fenales nearby also
indicatethat there's a goodchancethere
will bea ght. f youspot twonales squaring
up, beready as ghts last frona few
seconds toninutes at nost. Beawareof
your surroundings, as deer nay approach
fronbehindyouoncea ght starts. While
fenales nay still betinidandskittish, the
nales arechargedwithtestosteroneand
won't beafraidof you. Aboveall, keepa safe
distance, never get toocloseandnakesure
that youaren't positionedbetweennales
andfenales -they nay seeyouas a threat.
Visit a local deer park
1) PichmondPark, 5urrey
www.royalparks.org.ukiparksi
richnond-parkiabout-richnond-park
2) ushyPark, MiddIesex
www.royalparks.org.ukiparksibushy-
parkiabout-bushy-park
3) WoburnAbbeyPark, edfordshire
www.woburn.co.ukiabbeyideer-park
4) KnoIePark, 5evenoaksKent
www.nationaltrust.org.ukiknolei
5) The5cottishDeerCentre, Cupar, Fife
www.tsdc.co.uk
6) NewForestNationaI Park
www.thenewforest.co.uk
7) ExmoorNationaI Park
www.exnoor-nationalpark.gov.uk
8) GaIIowayForestPark, 5cotIand
www.forestry.gov.ukigallowayforestpark
9) LymePark, Cheshire
www.nationaltrust.org.uk
1) TheHighIands, Perthshire, 5cotIand
www.perthshire.co.uk
1
5et upSelect aperture-priority node andchoose the widest available
aperture. Select S800tobeginwith, younay needtoadjust this
depending onthe light levels. Choose AutoWhite Balance andnulti-zone
netering. As the light allows, increase your aperture andlower the Sto
naintaina shutter speedbetweenIi320-Ii500sec, or faster if possible.
2
5cout tondsomedeer Listenfor the bellowing sounds of the nales,
they canechoover quite a distance. f you're ina deer park, there are
oftenconnonplaces tondthe deer soask a ranger if you're having
trouble. nce located, look for where the best light is andpositionyourself
withthe sunbehindyoutoobserve their behaviour.
Checkout theWildlife1rust websitefor
your areafor places we'venissed. visit
www.w//d//fetrusts.org/your-/oca/-trust
1
2
8
9
1
3
5
4
6
7
DLLRBLHAvUR
Final image
Whentheactiongets frantic, raise
theI5Otoshortentheshutter
speedandensuresharpresuIts.
Exposure: IiI000secat fi5.6(SI250)
3
Taketest shots While waiting for the action, take a test shot, nake sure
that the deer are sharponthe LCDscreenand, if not, opt for a faster
shutter speedby increasing the Sor changing positionrelative tothe
light. Whenyousee a ght brewing, focus onthe heads andfollowthe
action. Use continuous shooting node tore ohnultiple shots at a tine.
4
Lookfor potentiaI Youhave tobe quite lucky tosee a ght, soif it's
looking unlikely, look for other potential inages. or instance, inages
of the does, backlit deer ona nisty norning or a groupof curious fenales
watching the actioncannake for just as interesting subjects. 1ry diherent
conpositions soyouget variedandinteresting results.
homebythesea
Shootingyour owninaginedlandscapeisincrediblyrewarding, not onlywill youhavethefunof
nakingyour scene, but theendresult will betotallyunique. t'stinetostockuponcardandpractise
your craft skillstocreateastunninglyehectiveniniaturenake-believescenefronscratch.
GETTHEPICTURE
HAND-CRA1LDSCLNLS
GETTHEPICTURE
HAND-CRA1LDSCLNLS
CatherineMacride
Camera: CanonLS/D
Lens: CanonLI/-40nnfi4L
5oftware: PhotoshopCS5
S1AR1LDMANGthings to
photographas a result of taking
ona 365, or photoa day project,
a coupleof years ago. 1akinga
photoevery day is very
challenging, especially whenyoustart to
runout of things toshoot. t didn't take
nelongtorealisethat if could
nakethings totakepictures of,
ny project wouldbenuch
easier tocontinue.
Makingyour owninaginary
scenetophotographis
soenjoyableandrather
therapeutic. Not onlydoes it
not natter what theweather is
doingoutside, but theonlylinit
is your owninagination. Your
scenecanbeof anythingyoulike,
anurbanlandscape, acarnival, aseaside
view, theskyis thelinitl Lots of peopletry
tousethe'but 'nnot arty' excuse, but that
doesn't cut it, didn't eventakeart at schooll
Withalittlepatienceandsonetine, younay
well besurprisedat howwell youdol
Lquipnent-wise, all you'll needis your
canera, astandardlens andfashand
dihuser -nyweaponof choiceis asinple
shoot-throughunbrella. or this inage,
usednyI/-40nnonanAPS-Cbody.
ndit easier not touseatripod,
allowingnetolookthroughthe
viewnder andnakeneadjustnents tony
conpositionandangle-of-view. Moving
veryslightlyinsuchasnall scenewill change
thepoint of viewdrastically. Put yourself in
thesceneanddecidewhereyou'dliketo
viewit fron. nterns of creatingthescene,
whenyoukeepthings sinpleas 'vedone
here, all you'll needis afewsheets of white
card-anywherebetweenI60-2I0gran
cardis ne-asharpcuttingblade, aruler
andacuttingnat. alsousedsonepatterned
paper for theseaandnyclihwas astackof
books. or thebackground useapaper roll,
but youcanalsouseapropped-uppieceof
whiteor colouredpaper tosinilar ehect.
1oaddlifetony scene addedtexture
overlays inPhotoshop, which acquired
fronwww.fypapertextures.con. eepinga
library of textures onyour conputer for this
useis reconnended. Alternatively, look out
for interestingtextures tophotographwhen
you'reout andabout.
1
Cut out your houseeepit as sinple as
possible by using a basic cube shape, add
triangles for bothgable ends of the house.
Draweverything out witha ruler andpencil,
renenbering toaddtabs for joining everything
together. Cut it out, andalsoscore the foldlines
tonake folding easier. Cut out the windows and
doors while your house is still fat.
4
5et upyour sceneAssenble your scene
against the backdrop. Place the house on
the topof your stack of books withyour waves
infront of andtothe side. Adjust the scene until
youare happy -snall tweaks cannake a big
diherence. Younay ndit helpful topick up
your canera andlook throughthe viewnder to
assess the arrangenent frontine totine.
2
AssembIeyour houseWithyour house
conponents ready, beginsticking your
house together using a glue stick, keeping all
pencil lines onthe inside of the house. 1ake care
witheachseannaking sure it's gluedcarefully
togive crispedges that won't cone apart. Add
a roof just a little wider thanthe house andit's
done. Allowtosit anddry fully.
5
Camerasettings Set your canera tonanual
node at SI00. Choose a nid-to-narrow
aperture of aroundfiI4andset your shutter
speedtoyour canera's fashsync speed, usually
betweenIiI60sec andIi250sec. Set your
fashgunupoh-canera, above andtoone side
of your set. Alternatively, bounce anon-canera
fashoha wall tothe side.
3
AddsomedetaiIs Cut out sone freehand
waves fronpatternedcard, eachone slightly
bigger thanthe next, nirror eachpatterned
wave witha plainwhite paper edge toadd
denition. Make a standfor eachwave to
prevent it fronfalling over, a snall sectionof
foanboardis ideal. 've alsocreatedladders
froncardtorunupthe side of the books.
6
ProcessinginPhotoshopnport your
inage intoPhotoshopalong withyour
texture of choice. Copy the texture inage and
paste it intoyour inage, before setting its 8/end
Mode toSoft L/gnt. Youcanstopat one texture,
or overlay nultiples as have done here. Adjust
the opacity of eachlayer tosuit andadda Layer
Mask tonask the textures inplaces.
TOPTIP
After going tothe trouble
of nakingyour props
three-dinensional, youat least
want toshowthenoh. f you
shoot thenstraight onyou'll
lose their depth, andendup
witha very fat conposition.
Positionyour house at an
angle tothe canera for
best results.
Final image
As anaI touchI doodIedonsome
birds andcIouds tocompIetemy
imaginaryseasidescene. Perfect!
Exposure: Ii250secat fiI4(SI00)
GETTHEPICTURE
MACRBUBBLLS
Jordanutters
Camera: CanonLS/00D
Lens: CanonLI00nnfi2.8LMacroUSM
'vLLNGBLLNafanof
deep-spaceinagery. 1he
explorationof other worlds is not
onlyshroudedinintriguebut it has
theaddedbonus of yieldingtruly
fantasticphotographs. 1echnological
advances, bothinspaceexplorationand
inagingequipnent, allowus toviewalien
planets indetail previouslyuninaginable.
Unfortunately, thevast najorityof earthlings
canonlydreanof creatingsuchinages,
however, this funtechniqueohers an
alternative-usingrelativelyhunblekit, inthe
confort of your ownhonel
Macrophotographyopens upanewworld
of possibilities whenyou'restuckindoors
andsearchingfor inspiration. Under the
closescrutinyof anacrolens, objects and
occurrences, whichyou'dusuallynot givea
secondglanceto, takeonawholenewlife-
intheworldof nacro, detail is king.
deally, you'll needadedicatednacro
lens, or aset of extensiontubes or close-up
lters. SonethinggivingaI.I reproduction
ratiois preferable, althoughalternativelyyou
cancropinonthenal inageif this isn't an
option. You'll alsoneedalight source-a
studiofash(as 'veusedhere) or fashgunis
best, thanks totheir high-power output -
althoughyoucouldalsouseaconstant light
source, suchas alanp, conbinedwitha
higher S. 1hekeythingis that youneedto
beabletoselectivelylight your bubblewhile
therest of theroonis cast intodarkness. 1he
light will needtobedihused, too-alarge
softboxor dihuser will suit -thebigger the
better as thelarger your light source, the
norecolours andswirls visible.
inally, you'll needtheright bubble
nixture. rst triedabubblenixturethat
orderedonlinebut thebubbles lacked
colour. thentriedanixtureof washing-up
liquidandwater, nixedat aroundonepart
detergent toveparts water. 1hesebubbles
werefar norecolourful, but theypopped
quickly. inally, foundaconbinationof both
thebubbleanddetergent nixtures created
colourful bubbles, whichstayedfor agood
lengthof tinebeforepopping.
Awordof warning-this techniquecan
beconeaddictiveas notwobubbles areever
alike-havefunl
Bubbleplanets
Want toknowhowtocreatehone-nadeinagesthat appear asif takeninanother world
All youneedisanacrolens, afashgun, sonewashing-upliquidandadashof inagination.
1
5et upyour equipment Youcanuse any
shallowdishtoholdyour bubbles, but the
easiest (andnost accessible) optionfor
photographers is touse a lens or body cap.
Place your capona fat surface andset your
canera upona tripod. Choose nanual node
andswitchtonanual focus, too. 1wist the focus
ring tofocus onthe edge of the lens cap.
4
IowsomebubbIes Pour the bubble
nixture inyour receptacle. 1ake a drinking
straw, dipone endintothe nixture andgently
blowtocreate snall bubbles. Gently pushthe
strawintoone of these snaller bubbles and
blowtoinfate the bubble. t night take a few
attenpts but eventually you'll have a goodsize
bubble that stands out above the rest.
2
Positionyour Iight 1he colourful swirls will
only showupwithincatchlights -therefore
a large softbox is best for lighting the bubble.
Positionthe softbox, angleddown, close tothe
receptacle, allowing space for the bubble
without it appearing inthe frane. f youdon't
have a softbox youcandrape a dihuser over the
topof your set-upandre a fashgunthroughit.
5
Composetheshot uickly nove into
positionandlook throughthe viewnder.
Adjust your conpositiontosuit the bubble,
concentrating onthe catchlight andcolours
swirling within, nanually adjust focus andstart
shooting. You'll ndthat youshouldhave tine
totry out twoor three diherent conpositions
before your bubble burstsl
3
5et your exposureSelect your canera's
fashsync speed, inny case Ii200sec, and
connect your canera andfasheither wirelessly
or using a sync cable. You'll needtoselect a
narrowaperture for gooddepth-of-eld-'ve
chosenfiI8. Put your nger intothe receptacle,
focus andtake a test shot -adjust your fash
power until youhave a goodexposure.
6
Experiment After a whileyou'll beableto
identify whenthebubbleis about toburst,
as colour disperses fronthetopof thebubble
-this is oftenwhenthey look nost planetlikel
Lxperinent withblowingupbubbles slowly and
quickly toseetheehect that has ontheshapes
andcolours within. Aquick puhof breathintoan
existingbubblecanoftenstir thecolours intolifel
Final image
ThenaI ehect is mesmerisingand
strangeIyaddictive-tinypIanets
createdentireIyfrombubbIes!
Exposure: IiI60secat fiI8(SI00)
GETTHEPICTURE
PL1S NAC1N
Jordanutters
Camera: NikonD800
Lenses: NR/0-200nnfi2.8G
Exposuremode: Shutter-priorityAL
AWARDMS1DGS the
freedonof openspaceand
they'relikely todoonething-
runl Whilecapturingstaticpet
portraits is great fun,
photographingthennid-actionas they
dashacross a eldcanleadtosone
incredibly goodresults.
Safety rst, obviously -nda largeopen
spacewhereyour dogisn't likely torun
intoany troubleor danger. f your dogcan
betrustedoh-leadthenthis will result in
thenost natural-lookinginages, but if
not don't fret -extra longleads known
as longlines areavailablefronpet stores
whichallowyour dogtorunfreeandstill
begrabbedrelatively easily beforethey
nakea break for freedonl 1heseareeasily
renovedduringpost processing, too.
As far as kit goes, you'll want touse
a telephotozoon, sonethinglikea
/0-200nn. t doesn't needtobethe
all-singingfi2.8versioneither, a lens witha
naxinunapertureof fi4or fi5.6is ne, too,
althoughyounay havetoincreasethe
Sratingtoachievea fast
enoughshutter speedtofreeze
thedoginnotion. Anything
uptoS800shouldbe
enoughtoallowfor a fast
enoughshutter speedin
daylight conditions.
1his techniquerelies
quiteheavily onaccurate
focusing. Modernautofocus
systens areabletoadjust
focus nuchfaster andnore
accurately thanyouor couldonthe
fy, however thereareacoupleof scenarios
whereby younay needtoswitchtonanual
focus. f you'reusinganolder generation
of canerafor exanple, thefocus tracking
systennight not beabletokeepupwith
thedogrunningtowards you, or, if you're
shootingthroughlonggrass, theautofocus
systennight focus ontheblades of grass in
theforegroundas your dogpasses behind
thenl Lither way, toavoidproblens youcan
switchtonanual focus andusea
techniquecalledprefocusing.
1his is whereyoufocus ona
point that youknowyour
dogis goingtocross, before
switchingtonanual focus.
As thedogapproaches this
point andstarts tocone
intofocus, start shooting
asequence-chances are
you'll haveat least oneshot
withthedogcapturednice
andsharpinfocusl
1heresults aredynanicand
striking, andoftenhunorous -withears
andguns fappinginthewindandsaliva
fyingwildly as they run. Sowhat areyou
waitingfor You'venever hada better
excusetotakethedogfor a walkl
Captureanactionpet portrait
What better waytoconveyanaction-packedportrait of your poochthanasprint frozenintine.
3
Camerasettings Positionyourself downthe pathanddial inyour
canera settings. Select shutter-priority node witha shutter speed
inexcess of Ii400sec -the faster the better. Younay needtoincrease
the Srating, depending onlight levels andyour lens's naxinun
aperture. Select single-point A withcontinuous focus.
1
ChooseaIocationinda locationthat allows for a runupbetweenyou
andyour pet -the longer the runup, the nore opportunity you'll have
tobag plenty of shots. 'dreconnendsetting upina spot that channels
the dog towards you, suchas ona path-this reduces the chances of your
dog running inevery other directionbut toyou.
4
Get readyCrouchdownlowsothat youare at your dog's eye level and
give the connandfor your dog toruntowards you. Half-holdthe
shutter as soonas your dog cones intoviewtostart the focus tracking and
start taking shots. Renenber toput the canera downbefore the dog
reaches youtoprevent a painful coning togetherl
2
ringinheIpDepending onhowwell trainedyour poochis (inny
case, he's well trainedbut just doesn't listen), younay want toenploy
the helpof anassistant toholdthe dog at the start point. f your dog
doesn't returnwhenoh-lead, thenuse a long line attachedtothe dog's
collar, as this is easily clonedout inPhotoshopafterwards.
TOPTIP
Analternative idea for
capturing dogs inactionis to
try your handat panning. Select a
shutter speedof Ii60sec or
slower, get the dog torunacross in
front of you, focus onthenand
track thenas they pass. t's a
tricky technique tonaster
but one that cancreate
dynanicresultsl
Final image
It might takeafewattempts, but you're
suretobaganactionshot withpIenty
of character. Just remember topay
your modeI generousIyinbiscuits!
Exposure: Ii400secat fi2.8(S400)
ADvLR1SNGLA1URL
!CanonUKLtd
1ALYURPH1GRAPHY1NLWHLGH1S W1HCANN'SS1UNNNGI8-MLGAPXLLDG1ALSLR
UNLEA5HYOURCREATIVITY
THECANONEO57D:
I
YU WAN1 tondyour creative
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is that canera.
Conpact andlightweight, yet built
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andusetocapturetheworldaround
youinyour ownuniqueway.
Lrgononically designedand
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Bristlingwiththelatest technology,
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picture-takingprocess but canbe
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inages inall situations thanks toits
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Liketoshoot fronunusual angles andaddan
elenent of surprisetoyour pictures 1henyou'll
lovethevari-angle3intouchscreenLCD
nonitor that allows youtoseewhat you're
shootingnonatter whereyoupositionthe
canera-ontheground, highintheair, looking
up, lookingdown, peepingaroundcorners...
eenonworkinginchangeableor lowlight
Noproblen-withanSrangeof I00-25600
youcanshoot withtheCanonLS /00Din
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SceneMode-theinages youdoproducewill
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t's acanerathat youcangrowwithandthat
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/00Dwill satisfy your needs for years tocone.
THE CANONEO5 5Y5TEM
nvest ina CanonLS /00Dandyou'll not only
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Speedliterangeis hardtobeat.
For moreonhowtheCanonEOS700Dcan
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visit: canon.co.uk/yournextstep
Keyfeatures
Imagequality
1heLS/00Dboasts aCanon
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neans youcandeliver professional quality
inages everytineyouretheshutter.
3invari-angleLCDTouchscreen
t's annoyingwhennonatter howhardyou
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LS/00Dthat's athingof thepast. 1hanks
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-great whenthecanerais at anobscure
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Creativelters
Althoughpost-productionohers endless
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Choosefrongrainy BoW, Soft ocus,
isheye, Art Bold, Water Painting, 1oy
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Makethemost of trickylight
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canera shakeinlowlight by takinga
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eIow: You'II seetheworIdwithfresheyes once
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LEEFRO5T: Dartnoor's ananazing
region-it's where cut ny teethas a
landscapephotographer a longtineago.
Neil's inagecontains all theelenents that
nakeDartnoor theplaceit is -thewild,
rollingnoorlandhills, thewonderful
shapely granitetors andlonely trees, bent
andcontortedby thewind. t really takes ne
back tony days inDevon. 1heconposition
is pretty perfect, too. 1herocks andgrassy
hunpnakeideal foregroundinterest and
leadyour eyetothebigger fornations and
thesingletreeandyoucanseefor niles into
thedistancetoget that inpressionof wide
openspace, whichis what thehighground
onDartnoor is all about. 1his feelingis also
enhancedbecausethenainelenents inthe
scenehavea bit of spacetobreathe, while
theslight blurringof thetreehints at the
windthat seens toblowincessantly. My
only, only criticisnis that thebluesky, fuhy
whiteclouds andcrispsunlight arejust too
pleasant for sucha wildandrenotescene,
sothedrana of thelocationdoesn't cone
through. knowthat Neil didshoot at rst
light, soit was a goodtineof day, but for
ne, thelight neededtobewarner andthat
sky neededtobedarker andnore
threatening. naginethis shot withthe
noodof GlennReay's inage, opposite.
Verdict: LoveIycomposition, but dramatic
Iight wouIdhavemadethis shot perfect.
RO55HODDINOTT: Noself-respecting
landscapephotographer canresist a lone
tree-they arejust sophotogenic. 1his is a
viewpoint withall theright ingredients. You
havethewindswept tree, interestinggranite
DARTMOORTREE
ByNeil Porter
Camera: CanonLS5DMk
Lens: LI/-40nnfi4LUSM
Exposure: nesecondat fiII(SI00)
Neil says: ' wantedto
photographthis lonetreeon
Dartnoor inthefirst light of day.
usedawide-angletoenphasise
theforegroundrocks leadingup
tothetreeanda 0.9NDgraduatedfilter to
balancetheexposure. All hadtodowas
wait for theoptinunlight.
LD1R
DANIELLEZANO
Daniel has judged
national photo
conpetitions on
aregular basis
for several years
NA1URLoSCLNCS
PO55HODDINOTT
Ross is anexpert
photographer and
writer specialisingin
wildlife, close-ups
andlandscapes
PH1SHP
JOPDAN
UTTEP5
Motorsport
fanaticandan
expert at
Photoshop.
LANDSCAPLS
LEEFPO5T
Lee's beena
professional
photographer o
photowriter for
several years
MEET
OUR
EXPERT
TEAM
p q
LXPLR1PNN1HLLPYU1AL BL11LRPC1URLS
ExpertCritique
5EPARATION
verlappingelenents ina scenecan
helptoadddepthtoyour inage, but
whenit cones torocky outcrops and
lonetrees against a bigsky, adjusting
your conpositiontocreate
separationbetweentheelenents can
nakea bigdiherence. Sonetines all
it takes is a steptooneside.
Camera skills
R
S
S
H
D
D
1
1
For me, thelight neededtobewarmer andthat sky

neededtobedarker andmorethreatening
outcrop, foregroundboulders andviews of

thenoor beyond-what norecouldyou
wishfor t's a great spot -one'vevisited
several tines nyself. Neil's early alarncall
was rewardedwithsonelovely light onthe
tor andsonegoodcloud, andonthe
technical front, hehasn't overlooked
anything-ltrationandfocusingareboth
spot-on. t is alsogoodconpositionally,
but arguably it couldhavebeeninproved
further. Presently, all thekey points of
interest aredowntheniddleof thefrane,
withenpty spaceleft andright of the
conposition. think a vertical conposition
wouldhaveworkednoreehectively, but as
it is, a squarer cropwouldstrengthenthe
inage. Lastly, it is a shaneoneof the
branches is overlappingthetor. HadNeil
novedvery slightly totheright, or
positionedthecanera fractionally lower,
hecouldhaveachievedseparationbetween
thetreeandtor. t night soundnit-picky,
but this typeof separationcannakethe
diherencebetweena goodandgreat shot.
Verdict: This is aIoveIyviewpoint and
technicaIIyNeiI has doneagreat job. Afew
minor compositionaI tweaks wouIdhave
enhancedtheshot evenfurther.
WORTH
82
SPNSRLDBY
LEEFRO5T: Another faniliar locationbut
at theoppositeendof thecountry toNeil
Porter's ontheprevious page. knowthis is a
very popular viewanddespitethe
appearanceof beingintheniddleof
nowhere, it was takenjust a stone's throw
frontheA82. But it is a great viewand
Glenn's versionof it is a good'un.
1heweather onRannochMoor is so
unpredictablethat youcouldgoback day
after day for a week andstill not get decent
light, soit's just as well that Glennignored
theswarningnidges andinpendingstorn
toget his shot becauseit couldwell have
beenhis only chance. dolikethedark
nood, though think Glennnaybewent a
littletoofar. 'dbetenptedtolightenthe
landscapewithsoneselectiveLevels
adjustnents -doingsowouldenhancethe
goldenlight glintingonthewater, revealing
noredetail intheforegroundrocks. Rivers
nakegreat lead-inlines becausetheeye
can't resist followingthenandthetexture
onthesurfaceof thewater herenakes a
nicechangetoslow-shutter blur. ull narks
toGlennfor gettingsoakedinpursuit of artl
Verdict: Agreat Iandscapeinneedof afew
minor processingtweaks.
RO55HODDINOTT: Glennis a bravenan
indeedtofacethehighlandnidgesl
However, withviews likethis as reward, 'n
not surprisedhenadetheehort. 1his shot
has all theingredients requiredfor a great
landscape-water, decent foreground,
colourful heather, a nountainbackdropand
a dranaticsky. t's a very niceshot, but as
Glennnentions, hehas struggledslightly
withthelevel of contrast withinthescene.
Whilethe0.6NDgradhas helpedholdback
thesky, theforegroundis still toodark. A
stronger gradnight havehelped, but with
suchanunevenhorizon, Glennnay have
foundusingonearticially darkenedthe
nountains toonuch. nstead, exposure
blendingwouldhavebeenthebest option
inthis situation. By takingtwodiherent shots
-oneexposedcorrectly for thelandand
onefor thesky -Glenncouldhavenerged
thentogether inpost-processingtocreate
oneperfectly exposedresult. However,
evenas it is, 'nsuretheinagecouldbe
processedslightly diherently inorder to
brightentheforegrounda littlenore.
Presuningit was capturedinRaw, the
foregroundcouldbelightenedtocreatea
nal inagethat lookednorenatural.
Verdict: Great potentiaI, but thecontrast
hasprovedtrickytocorrect usingIters.
AsaresuIt, theforegroundistoodark.
GLENCOE5TORM
ByGlennReay
Camera: SonyAlpha200
Lens: SignaI/-/0nnfi2.8-4.5DC
Exposure: 0.2secs at fiI6(SI00)
Glennsays: '1akenjust beforea
heavy rainstornwithnidges
swarningall aroundne. Dueto
thehighcontrast foundit
dihcult tocontrol theexposure,
despiteusinga 0.6NDgrad. Seconds later
thelandscapewas dark and was soakedl
ADJU5TINGLEVEL5
Levels is oneof thenost powerful
tools inthePhotoshoparsenal. 1o
adjust Levels, click ontheCreatenew
h// or adjustment /ayer buttoninthe
Layers paletteandselect Leve/s. 1hen,
intheAdjustments pa/ette, novethe
whiteslider tobrightenthehighlights,
theblack slider todarkentheshadows
andtheniddlegrey slider toadjust
overall brightness. Levels canalsobe
usedselectively withLayer Masks,
allowingyoutoapply theadjustnent
only totheareas required.
It'saveryniceshot, but
asGlennmentions, hehas
struggledslightlywiththe
level of contrast withinthe
scene
Digital editing
ExertCritique
LEEFRO5T: t's funny, the rst thing that
cane tonind when sawBrendan's shot
was, ' think 'd prefer tosee that in black o
white', then when read his notes realised
that was exactly what he intended hinself
when he visited the location. 1obe fair, it
works okay in colour, but nd the overall
yellowcast a bit toonuch. 'nguessing
Brendan shot it using a B+Wten-stop ND
lter as the warncast is characteristic of
that lter (a Lee Big Stopper would have
added a blue cast) and thought, 'Actually,
like that.' 've done the sane thing nyself
-warninages are alnost always
attractive -but then converted toblack o
white as originally intended and preferred
that version. By way of conparison, 've
converted the original toblack owhite and
alsocropped toa square. 1he colour
version works ne as a vertical as the soft
colour in the sky adds interest, but once
converted tononothe sky takes on a
diherent neaning and you don't need so
nuch of it. 1he tinbers in the old jetty also
work better in black owhite. More texture
is revealed and they look nore structural in
the conposition as there's nocolour to
distract. 1hat's the beauty of black owhite
-it takes us a step away fronreality and
the elenents in the conposition play a
nore inportant role. 1hough nany of you
nay disagree -because colour is soeasy
tolike - think the cropped nonoversion
nakes a stronger inage.
Verdict: Anatmosphericimagebut it works
better inbIackwhite.
RO55HODDINOTT: 1his looks likea great
'BigStopper' locationl Don't besurprised,
Brendan, if youspot Leedownat ahanpier
soonarnedwithhis ten-stopNDlterl
really liketheway Brendanhas placedthe
long, horizontal beansothat it leads into
theinagefronthebotton-left corner -
it neatly pulls your eyeintothefrane. 1he
lengthof exposuresuits thesubject and
locationperfectly -it is a nicely exposed
shot. 1hereis just about suhcient cloud
andinterest inthesky tojustify dedicatingso
nuchof theinage-spacetoit. 1hat said, 'n
not conpletely convincedthat centralising
thehorizonquiteworks inthis instance.
What is a shaneis that thereis noseparation
betweentheendof thepier andtheland
behind. suspect it night beinpossibleto
achieveananglewherethereis a suhcient
gap, but think Brendanshouldpay another
visit just tocheck. f hecouldachievea little
separationbetweenthetwo, think the
result wouldappear nuchstronger. As
Brendanoriginally intended, dothink this
viewwouldlook great innono, too.
Verdict: Averynicene-art image-
theexposureIengthsuits theIocation
perfectIy. However, for methereis aIittIe
toomuchsky. AIso, hadit beenpossibIe,
I feeI abit of separationbetweenthepier
andIandscapewouIdhavestrengthened
thecomposition.
FAHANPIER
ByBrendanMcMenanin
Camera: CanonLS5DMk
Lens: CanonLI/-40nnfi4LUSMlens
Exposure: 60seconds at fiI8(SI00)
Brendansays: '1his is the
rennants of a pier at ahan,
CoDonegal. t's oneof ny
favouritelocations andwithin
tenninutes' driveof hone.
wantedtocapturethevery hightideon
theday this was takentogether withthe
novenent of thecloudinthesky.
thought it wouldnakea great long-
exposureshot, although hada black
owhiteinageinny nindinitially.
5OUARECROP5
Square-fornat inages havenadea
bit of a coneback of lateandit suits
this inagenicely. Converting
Brendan's inagetoblack owhite
conpletely transforns it andnakes
thenost of thewoodenpier. inally, a
whiteborder gives thenal inagea
ne-art feel andnishes it ohnicely.
Thecolour version
worksfineasavertical as
thesoft colour inthesky
addsinterest, but once
convertedtomonothesky
takesonadifferent
meaningandyoudon't
needsomuchof it
Digital editing
SPNSRLDBY
DANIELLEZANO: haven't beentothe
BritishMuseunina whilebut Chris's striking
shot has renindednethat nust takea trip
thereagainwitha canera. 1heGreat Court
is a fabulous placefor photography thanks
tothat anazinglatticeroof structure, and
it's well-suitedtoblack owhiteconversion
as this adds a graphicsinplicity totheend
result -colour shots areoftenconplicated
by colour casts. Chris says heconvertedto
black owhitebecausethelight wasn't great,
but think thelight was ne. 'nguessingit
was overcast outsidebecausethere's no
detail beyondtheroof structure-that's the
sky out there. Hadit beensunny wenay
havebeenabletoseeclouds inthesky,
whichwouldhaveconpronisedthe
patternintheroof, andtherewouldalso
havebeenshadows of theroof structure
cast ontheinterior, whichwouldhavenade
theinagetoofussy. As it stands it's sinple
andevenly lit, sothesynnetry inthe
constructioncanbeappreciated.
Sonetines, dull days arebestl t's a shane
about theexhibitionbanners. Beingblack o
whitethey upset thesynnetry andthetext
is distracting. t wouldberelatively easy to
cloneout thetext andnaketheblack
banner white, as showntotheright, but is
that takinginagenanipulationtoofar na
black owhiteshot, especially, don't think
so, but that's ny personal opinion.
Verdict: AstrikingbIackwhiteimage.
RO55HODDINOTT: 1his is a very
eye-catchinginage- really likeit. love
theinage's sinplicity andthebold
conposition-dedicatingsonuchof the
inagespacetotheroof is very ehectivein
ny opinion. Chris has conposedtheinage
carefully tocreatea lovely synnetrical
result andtheconversiontoblack owhite
works a treat. My only real nigglewiththis
inageis howthesecondwindowtothe
right andthesecondtotheleft areboth
clippedinonecorner. f younakethe
decisiontocropintoa featurelikea door or
window, it needs tobeenoughtolook
intentional. don't think it does look
deliberateinthis instance. 'nprobably just
beingpicky, but ny eyes keepreturningto
wherethewindows areclipped. knowthis
night benaughty of netosuggest, but
wouldbetenptedtoquickly cloneout the
writingonthebanners betweenthe
windows just toensurethereis nothingto
distract theviewer's eyefronthewonderful
roof andbuilding.
Verdict: AreaIIygood, eye-catchingimage
that suits bIackwhite. Aspot of cIoning
totidyuptheimageis aII that's needed.
BRITI5HMU5EUM
ByChris1aylor
Camera: CanonLS600D
Lens: SignaI0-20nnfi4-5.6LXDCHSM
Exposure: Ii50secat fi8(SI00)
Chris says: ''dalways heardthe
roof over theGreat Court at the
BritishMuseunwas worth
seeing. 'nalways onthelook
out for synnetry sothe
conpositionreally worked. Black owhite
suitedthis inage, particularly as thecolour
andintensity of thelight wasn't perfect.
REMOVINGDI5TRACTION5
t night befrowneduponby sone,
andincertaingenres of photography
(suchas docunentary) it's a bigno,
but renovingdistractions canbea
great way toquickly cleanupan
inage. Here, we'veusedtheClone
Stanp1ool torenovethewritingon
theexhibitionbanners betweenthe
windows andchangedtheright-hand
banner fronblack towhite, as it was
detractingfrontheinage's
synnetry. Wethink you'll agreeit
nakes a bigdiherencel.
Digital editing
Chrishascomposedthe
imagecarefullytocreatea
lovelysymmetrical result
andtheconversiontoblack
8whiteworksatreat
PSSHDDlNTT
MASTERYOURDIGITALSLRANDTAKEETTERPICTURES!
HowtochangeWhiteBalance
5ELECTINGWHITEBALANCE
Thefact that White8alanceis oneof
thekey functions involvedwithimage
characteristics means that abutton
allowingfast access toW8is
prominent onall brands of camera.
It's normally foundonor closetothe
four-way control andSet button,
whichis usedtoselect theW8presets.
Most havethesameset of presets,
althoughsomeof themoreadvanced
models oner additional choices, such
as morethanoneformof uorescent.
For White8alancebracketing, you'll
needtoaccess themainMenu.
1) Press theWbuttononthefour-way
controI onthecamera's rear, seIect the
preset youwishtouse, thenpress 5ET.
2) Withnewer modeIs, theWhiteaIancecan
beaccessedbypressingtheObutton.
1) Press thei buttonandusethefour-way
controI andOKbuttontoseIect apreset.
2) WithoIder or advancedmodeIs, press the
WbuttontotheIeft of therear LCDmonitor
-presets areshownonthetop-pIateLCD.
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AS WLLL AS varyingenornously interns of its harshness
andintensity, light alsochanges colour. Natural daylight
canbewarnor colddependingonthetineof day and
weather conditions, whilenan-nadeilluninationcan
takeonpretty nuchany colour. ur eyes autonatically
adjust tochanges inthecolour of light soeverything
looks 'nornal' -whitealways looks whiteregardless.
But your canera isn't as clever as that, whichis why you'll
sonetines takeshots that look warner or cooler than
thescenedoes totheeye. 1oavoidthis, your DSLRhas a
rangeof WhiteBalancepresets that natchspecictypes
of natural andarticial lightingtoelininateunwanted
colour casts. 1henajority of photographers will probably
never usethenandinsteadleavethecanera set toAuto
WhiteBalance(AWB). However, it's worthexperinenting
withtheother presets, for technical andcreativereasons
-as you'reabout tondout.
COLOURTEMPERATURE
1hecolour of light is expressedas colour tenperatureand
neasuredusingtheelvin() scale. Daylight onasunny
dayis consideredneutral andhas acolour tenperature
around5500-as does electronicfash. At sunriseand
sunset thelight is warner andits colour tenperatureis
lower -around3000. Candlelight has anevenlower
colour tenperature, around2000, whiletungsten
lightinghas acolour tenperaturearound3400. When
thelight is above5500it starts toappear cool. ncloudy
weather thecolour tenperatureis around/000, for
exanple, nuchlikeshadeinsunnyweather, whileat high
altitudethecolour tenperaturecanbeas highas I0000.
f youset your DSLRtoDaylight WBandshoot in
tungstenlight your shots will coneout witha warncast
becausethesensor has beencalibratedtoproduce
natural colour inlight at around5500-tungstenlight
has a nuchlower colour tenperature. Sinilarly, if your
shots coneout witha cool cast it's becausethelight had
a higher colour tenperaturethan5500.
UNDERSTAND
YOURCAMERA
5unset Iight isaround3000K, whereasshadeisaround7000K
WhiteBalance
PART
DAYLIGHT: 1hebest preset touse
whenshootinginnornal daylight
conditions. t's balancedfor a
colour tenperatureof 5200, whichis what
you'dexpect onasunnyday-it's ideal for
outdoor photographywhatever thesubject.
f youshoot at sunriseandsunset withyour
WBset toDaylight, theinages will cone
out onthewarnside-but that's agood
thingas warnlight usuallylooks great.
5HADE: 1helight is softer inthe
shadethanit is infull sun, sowhen
shootingportraits or close-ups you
naychoosetostepintotheshadeor block
thesuntocreateyour own. Lither way, by
doingsoyounayndthat your shots look
cooler as thecolour tenperatureinshadeis
oftenaround/000-higher thandaylight
andthereforebluer. Settingyour WBto
Shadegets ridof thecool colour cast.
AUTOWHITEBALANCE(AWB):
1hedefault WBsettingusedby
nost photographers. t works by
evaluatingthecolour balanceinascene
anddecidingonthebest WhiteBalanceto
recordanatural inage. Moreoftenthan
not it does agreat jobunder scenes witha
colour tenperaturebetween3000-/000,
but inunusual or lowlight younayndyou
get better results usingaxedWBpreset.
TUNG5TEN: f youshoot under
tungstenlightingwithyour WBset
toDaylight, theinages will cone
out withayellowiorangecast as thecolour
tenperatureof tungstenis verylow-
3200-3400. AutoWhiteBalanceusually
gives decent results, but usingthe1ungsten
preset is best as it's balancedspecicallyfor
tungstenlighting-thoughanyareas inthe
shot lit bydaylight will coneout blue.
FLUORE5CENT: luorescent
lightinghas always beentrickyto
balanceas therearediherent types
of fuorescent light, thecolour tenperature
of eachoneis diherent andit alsochanges
over tineas thelight gets older. 1his preset
ohers anaverageadjustnent, intendedto
givefairlyaccurateresults withanytypeof
fuorescent. t adds nagentatoget ridof
thegreencolour cast causedbythelight.
CLOUDY: f acloudobscures the
sun, thecolour tenperatureof the
light increases alittletoaround
6000-rather likeinshadedareas, but not
quiteas nuch. 1his couldcool your shots
down, thoughas thetenperatureshift is
snall younaynot seenuchof adiherence
betweenCloudyandDaylight presets. n
overcast weather, younayndthat the
Cloudypreset gives norebalancedresults.
CU5TOM: Allows youtocreatea
WBsettingbasedonthecolour
balanceof aspecicsituation. 1his
is donebytakingatest shot of awhiteor
greycard, andthenallowingthecanerato
adjust WBtoensurethat thecardcones
out neutral. ndoingso, colour casts are
elininatedininages takeninthesanelight.
CustonWBis oftenusedunder specic
lightingwhencolour accuracyis key.
COLOURTEMPERATURE:
Another waytoachieveaccurate
colour balanceis byneasuringthe
colour tenperatureof thelight, thensetting
your caneratothat exact tenperaturein
elvin. 1his preset allows youtodoexactly
that, usuallybetween2500-I0000. 1his is
rarelyused, toneasurecolour tenperature
you'll needacolour tenperatureneter,
whichis averyspecialist pieceof kit.
FLA5H: Llectronicfash-beit your
DSLR's integral fash, afashgunor
studiofash-produces light witha
colour tenperatureverysinilar to'average
daylight' -5500-6000. Youcould
nanagenewithyour WBset toDaylight,
especiallyif you'reusingfashnixedwith
daylight. However, if fashis theonlysource
of illunination, thenit's worthusingthe
lashpreset for increasedaccuracy.
WhiteBalancepresets
Whltealance
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WhiteBalancewithmixedlight sources
U5INGTHE'WRONG' WHITEBALANCE
Althoughyour DSLR's WhiteBalancesettings aretheretoallowyouto
prevent colour casts whenshootingincertainlightingandweather, they
canalsobeusedtointentionally adda colour cast for creativeehect.
f youshoot indaylight or usefash(bothof whichhaveapproxinately
thesanecolour tenperature) andyouset WBto1ungsten, your shots will
coneout witha cool bluecolour cast. 1his is becausethecanera thinks
you'reshootingintungstenlighting, whichadds a strongyellowiorange
cast, andthe1ungstenWhiteBalancecools it downsoit looks natural.
However, daylight doesn't needcoolingdowntolook natural sothe
1ungstenWBsettingoverconpensates andyour inages coneout blue.
1his ehect canwork well onshots takeninnist andfog, ondull days, on
coldwinter days andif you'reshootinglandscapes or seascapes at night.
1heoppositeehect is tonakea scenelook nuchwarner thanit really
is, whichyoucanachieveby settingyour canera's White Balanceto
Cloudy or Shade. 1his works well if youwant tobeef upa sunriseor
sunset, or enhanceshots takenearly or lateintheday whenthelight's
naturally warn. Youcanalsousetheluorescent preset toadda nagenta
cast -this canlook really ehectiveat twilight andnight.
f youtakeshots that usebothnatural andarticial light sources, you
cancreateinterestingehects by settingyour canera's WhiteBalance
for onesourcesothat theother oneadds a colour cast totheareas it
ahects. or exanple, if youusefashindaylight andplaceanorange
gel over thefash, but thenset your canera's WhiteBalanceto
1ungsten, theareas of theshot lit by daylight will coneout bluedueto
theWhiteBalancesetting, but theareas lit by fashwill coneout
lookingfairly natural becausetheorangegel cancels thecoolness of
thetungstenWhiteBalance. 1his ehect looks great onportraits and
fashionshots. utdoors at twilight, try photographinga houseor
buildingwithall theroonlights turnedonandset your canera's White
Balanceto1ungsten. Again, any areas lit by daylight will coneout blue
but theglowof thetungstenlights inthewindows will look natural.
CustomW
AutoW Wasshot
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UNDERSTAND
YOURCAMERA
2
Import theshot Select the CustomWn/te
8a/ance optioninyour canera's nenu
theninport the shot just takensothe White
Balance data fronit is inported.
3
5eIect Custompreset Click Set thengoto
your canera's WBbuttonidial andselect
the Custompreset sothe WByou've created
will be usedonany shots youtake.
1
5hoot agreycardPlace a sheet of white or
nid-grey cardunder the lighting you're
using. Make sure the central circle inthe
viewnder covers the cardandtake a shot of it.
WBbracketing
f you'rereally picky about gettingthe
WhiteBalancefor aninagespot on,
youcanset your DSLRtobracket a
series of threeshots -oneat theWB
you'veselected(suchas AWBor
Daylight), asecondwithabluebias
andathirdwithawarnbias (or a
secondwithanagentabias anda
thirdwithagreenbias). Youcanthen
choosetheonethat works best. t
sounds clever, but inpracticeit's abit
of awasteof tineandyou'rebetter
ohshootinginRawfornat soyou
canadjust theWhiteBalanceof a
shot duringpost-processing. 1his is a
nuchnoreehectivenethodand
neans that youonly needtotake
oneshot, rather thanthree. f you
shoot inJPLGyoucanalsoadjust the
colour balanceof aninageif it
cones out toowarnor toocool.
Whltealance
ACHIEVINGPERFECTWHITEBALANCE
HowyouachieveaccurateWhiteBalance
depends howyoutendtowork andalso
howfussy youare. n90of situations you
nay ndthat AutoWhiteBalancegives you
perfectly satisfactory results -especially if
youdon't denandI00accuracy andare
happy providingtheshot looks okay. 1aking
things asteponfronthis, youcouldnake
full useof your DSLR's WhiteBalance
presets by usingtheappropriateonefor
thesituationyoundyourself in.
f youshoot inRawfornat, theWhite
Balancepreset youuseis prettyirrelevant
becauseit isn't actuallyappliedtotheinage
-all that happens whenyouopenaRawle
toprocess it is that thepreviewinage
displays theWhiteBalanceyouusedtotake
theshot (as shot), but youcanthenchange
it toanyother preset, select 'Auto' andlet
theRawprocessingsoftwaredecideonthe
best WhiteBalance, or adjust colour
tenperatureandtint usingtherelevant
sliders. As theRawlerenains unchanged,
youcan't ruinashot byexperinentingwith
diherent WhiteBalancesettings. Youcan
alsoprocess thesaneRawleusing
diherent WhiteBalancepresets or colour
tenperatures tochangeits noodand
appearance. Alternatively, youcancreatea
CustonWhiteBalancefor aspecic
situationbyfollowingthethreesteps below.
1his nethodof settingWhiteBalanceis
only practical under consistent lighting,
suchas ina studio. utdoors indaylight
youwill needtocreatea newCuston
WhiteBalanceby repeatingtheabove
steps every tinethelight changes.
S
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5hot 1
5hot 2
5hot 3
ADvLR1SNGLA1URL
P1CALUAL1YL1LRSRLNHANCLDCLURANDCLAR1Y
INFILTEROUALITY
AREVOLUTION
I
N1HS DG1AL age, nany photographers
feel that it's nolonger necessary touse
lters ontheir lenses becausewhatever
they do, Photoshopdoes better andfaster.
nsonecases this is true, but not all, andlters
still play a vital roleincreativephotography.
1akethepolariser. Younay think that it
sinply increases colour saturation-
sonethingyoucandovery quickly andeasily
duringpost-production. However, it does far
nore. Apolariser allows youtoreduceor
elininateannoyingrefections inwater, glass,
plasticandother surfaces that areoften
includedinphotographs. 1ry doingthat in
Photoshopl Apolariser alsoreduces glareon
non-netallicsurfaces by blockingout
polarisedlight. t's this property that results in
richer colours, but it alsodeepens bluesky,
whichinturnenhances clouds, andinproves
clarity sovisibility ina sceneis inprovedand
your inages appear bothcleaner andcrisper.
Placea polariser onyour lens thenrotateit
slowly whilelookingthroughyour canera's
viewnder andyou'll seewhat a nassive
diherenceit nakes. t's instant, too, whereas
nakingthesanechanges andinprovenents
duringpost-productionwouldtakeages.
Doyoureally want tospendhours chainedto
a conputer whenyoucouldbeinthegreat
outdoors takingnoreanazingphotographs
What younust renenber whenchoosing
lters is that theyareoptical accessories that
canahect thesharpness andoverall qualityof
your inages. Your DSLRis onlyas goodas the
lenses youuseonit, andthoselenses areonlyas
goodas thelters yout tothen, soif youwant
toget thenost fronyour caneraandyour
lenses, younust buythebest lters possible.
Hoya RLvis anexcitingnewrangeof Uv
(ultraviolet) andCircular Polarisinglters that
havebeennadetoexactingstandards sothat
they oher theultinateinoptical quality.
ManufacturedinJapan, they useglass that has
beencarefully sneltedandblendedtooher
thebest possibleoptical quality. 1hey arethen
carefully nulti-coatedusinga newS-HMC
fornula that elininates refections onthe
surfaceof thelter itself anddrastically reduces
therisk of fare. 1henulti-coatingis also
overlaidwitha water andstain-resistant
coatingwhichnakes thelters noredurable
andeasier toclean.
Uvlters aredesignedtoblock out soneof
theultraviolet light that's present at high
altitudeor insunny weather andcanadda
slight cool cast toyour inages. However, being
clear, they arealsofavouredas lens protection
lters andareusedtocover thedelicatefront
elenent, reducingtherisk of danagetothe
lens itself. 1hedownsideof leavinga lter
pernanently attachedtoyour lenses is that as
youaddnorelters, inagequality will be
reducedandthere's anincreasedrisk of
vignettingduetotheconbineddepthof the
lter nounts. Hoya RLvlters solveboth
problens. Duetotheir highoptical quality you
needn't worry about inagequality being
ahectedif youusetheninconbinationwith
other lters, andas thenount of theRLvUv
andPolarisinglters aresoslin, they nininise
therisk of vignetting, evenwhenusedonultra
TheREVOrange
RLvlters arethelatest andbest additions
totheHoyarange. 1herearethreetypes -
Uv, Circular PolarisingandProtector
(availableinctober). All arenadetothe
sanehighstandards andfeatureslinline
nounts that keeptheglass lter perfectly
parallel tothecanera's sensor andreduce
theriskof vignettingwithultra-widelenses.
1heUvlters areintendedprinarilyfor
lens protectionwhiletheCircular Polarisers
suit all types of digital canera. Bothtypes are
availableinarangeof standardlter thread
sizes, as follows. 3/, 40.5, 43, 46, 49, 52, 55,
58, 62, 6/, /2, //, 82(nn). 1hesnaller sizes
arefor usewithdigital conpacts andCSCs
whiletheinternediatethreads will suit
consuner standardandtelezoons andthe
larger sizes top-endzoons withfaster
naxinunapertures andalsoultra-wide
zoons. HoyaRLvlters havebeennade
solelyfor theUandGernannarket and
prices start at around35. or further details
visit. www.intro2020.co.uk
eIow: TheHoyaPEVOCircuIar PoIarisingIter
is part of anewrange, designedtooher the
uItimateinopticaI quaIity. Thediherenceit
makes indeepeningcoIours canbeseenhere.
wide-anglelenses andzoons. Whether you
useanentry-level or pro-specDSLRand
lenses fronkit zoons toexpensiveprines,
Hoya RLvlters aredesignedtooher the
very best optical quality youcanexpect fron
lters today. 1hey nay not bethecheapest out
there, but they cost just a fractionof theprice
of a decent lens. f youhavehighexpectations
of your equipnent andyour inages, only the
best will do.
HOYA'5 HERITAGE
Hoyais oneof thelongest-establishedand
best-knownnanes inthephotographic
industry, withahistory andpedigreethat goes
back over /0years. oundedinI94I, Hoyawas
Japan's rst specialist nanufacturer of optical
glass. 1oday, theconpany nanufactures
around60of theworld's optical glass and
it's usedineverythingfronlters andcanera
lenses tospectacles andseniconductors.
t's safetosay that noonenanufactures optical
glass quitelikeHoyal Lvery Hoyalter is nade
tothesaneprecisestandards toensure
consistent highquality across therange, using
techniques that havebeenperfectedover
decades. uality control is alsoinpeccable.
1hetransnissioncharacteristics of every lter
arecheckedusingaSpectro-Photoneter and
thelters areonly assenbledandnishedafter
passingnany rigorous tests -soyouknowthat
if youattachaHoyalter toyour lens it's going
togiveyouthebest inagequality possibleand,
if lookedafter, nany years of service.
Without poIariser WithpoIariser
Create depth of colour
AttachaHoyoPEVOIter
toyour Iens toenhance
images without Iosing
quaIity, makingbIueskies
andcoIours appear
deeper andmoreintense.
67 C1BLR20I3 i DIGIAL 5L HOOGAHY
reat|ve|yeains toprovethat conbininginaginationwithtechniquecan
nakefor interestingandinspiringinages, evenif your subject is as ordinary
as shadowsl f you'relookingtoaddcreativitytoyour photography, then
you'll ndit easier toget theresults youwant byusingthebest possiblekit.
or excellent versatilityandinagequalityat anahordableprice, consider the
NikonD5200, boastinga24.I-negapixel resolutionandwiderangeof
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ecommendedkit
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CreativeEye
CreativeEye
THECREATURE
ByPaul Ward
Camera: NikonD800
Lens: NR24-/0nnfi2.8GLD
5oftware: PhotoshopCS5
PS1-PRCLSSNGAND
conpositionfeatureabundantly
inny usual work, but knew
fronthenonent that heard
thebrief that was goingto
want toactually createa real shadow
without theaidof Photoshopfor this
nonth's Creat|ve|ye. Creatinga shadowin
Photoshopwouldbeeasy -anyonecould
dothat. 1hereal challengewouldbetosee
if couldnakereal objects cast a shadow
that lookedlikesonethingelse-inthis
case, aninsect or spider.
broadly knewwhat theconposition
wouldbe. wantedtoshowboththe
shadowandtheobjects castingthe
shadowso knewthat theinagewould
needtobeshot inlandscaperather than
portrait fornat. knewthat inorder tocast
thelargeshadow wouldneedthelight
quiteclosetothepileof rubbishand
reasonably lowdown. 1hough wasn't
goingtoshoot a studioinage, startedin
thestudioas it providedtheperfect
controlledenvironnent toexperinent
withlightingangles anddiherent ways of
dihusingthelight.
f thelight is tooclosetothesubject the
shadowbecones toodihused, andit's the
sanestory if youusea softbox. wantedthe
shadowbigandintinidatingsoneededit to
fall ona wall quitefar behindthesubject.
bviously, as theshadownoves further
away, it becones noredihusedas well, so
neededa snall, intensesourceof light.
useda Bowens studiofashheadwitha
snoot onit tofocus thelight, andpositioned
it directly onthefoor inorder for it tocast
theshadowupwards at thewall.
foundthelocationdownstairs fronny
studio, whichwas ideal becauseit had
anbient light enteringthefranefronone
side. 1ostart with triednessingaround
withthebox of netal toget diherent shapes.
When'dgot a shadow liked, whichlooked
likeaninsect witha headonit, beganto
experinent withdiherent exposures. knew
couldn't goupbeyondny fashsyncspeed
of Ii250sec. alsoknewthat if extended
theshutter speedout toonuchthenthe
sensor wouldreceivetoonuchanbient
light, so stuck withIi250secandcontrolled
thelight levels usingfashpower settings
andtheapertureof thelens. experinented
withtheapertureandit turnedout that
couldachievethebest exposureat fi/.I.
1hefashwas redusinga Bowens Pulsar
radiotrigger. stoppedusingleads for
triggeringfasharoundI5years agoafter a
badexperienceona shoot when actually
pulledthecanera over andsnasheda lens.
t was only a 200lens but was just starting
out and couldn't ahordtonakethat kindof
nistakeagainl Sony rst lessonwas that it's
worthpayingfor radiotriggersl
Beforeny friend, Sinon, arrivedtohelp
newiththeshot, triedout diherent poses,
usingtheNikonD800's self-tiner to
photographnyself, whichinvolveda lot of
runningtothecanera, triggeringthetiner,
andrunningback intotheshotl When
Sinonarrivedhesuggestedusinga broon
as a prop, which likedbecauseit explains
why thepileof netal is thereandnakes it
look likehe's seensonethingonthewall
andbeenfreakedout, whileweknowthe
shadow's only cast by therubbishinthebox.
capturedtheinageas a Rawletoallow
a littlebit of tweakingof theexposurein
Photoshopbecausethelight is stronger on
thebox thanonthewall. Rawles retain
noredetail thanJPLGs, neaningthat was
Top: MyNikonD800withradiotrigger attached,
thoughI quickIyreaIisedI'dneedtoshoot
Iandscape. Aradiotrigger's agoodinvestment
toavoidmishaps whiIeshootingremoteash.
MiddIe: I experimentedwiththeboxof metaI
andwithIightinginthestudiorst before
movingdowntomyIocationdownstairs. I was
Iookingfor distances andIightingthat gavea
strong, menacingshadowonthewaII.
ottom: I set thecamera's shutter speedto
theashsyncspeedof 1l250secandthen
experimentedwithdiherent apertures. Inthe
endI optedfor anapertureof fl7.1.
Above: eforemyfriend, 5imon, arrivedI used
myseIf as amodeI, settingtheseIf-timer then
runningintotheshot andcoweringinvarious
positions, thoughwhen5imonarrivedweended
upwithaposethat was quitediherent.
SPNSRLDBY
abletocapturea larger dynanicrange,
without blowingout thehighlights onthe
box of junk. nprocessing, addeda
Graduatedilter over theinageandthen
adjustedits exposuretocontrol theintensity
of thelight intheforeground. thencreated
a duplicatelayer andset theBlendModeof
this layer toverlay tointensify thecontrast
andcolours intheinage. nessedaround
withthepacity of this layer toget the
ehect wanted, thenfattenedtheinage
andsavedit as a JPLG.
t was quitea challengetoshoot the
shadowbecause wantedtoget it looking
likesonethingthat wouldscareyou. t's
very diherent fronwhat nornally doand
'nvery happy that didit for real.
Above: This is thenaI
imagethat brings aII
theeIements
together, capturinga
prettyscary-Iooking
shadowbeast anda
fearfuI 5imon!
Left: With5imonand
thebroominfront of
thecamera, I started
shooting. The
positionof theIight,
ontheoor witha
snoot, was perfect but
I decidedtochange
myshootingposition,
eventuaIIystandingto
theother sideof the
ashhead, cIoser to
themanhoIecover.
CreativeEye
CreativeEye
LOVEAGOODBOOK
ByJordanButters
Camera: NikonD800
Lens: NRA50nnfiI.8D
5oftware: Lightroon4oCS5
SML1MLS 1HLSMPLLS1
ideas arethebest. 'll openly
adnit that 'noftenonefor
over-thinkingandover-
conplicatingthings, soputtinga
techniqueintopracticethat required
relatively littleehort tocreatea rewarding
inagenadefor a refreshingchange. As per
usual, whenpresentedwiththetheneof
'shadow' ny brainwent intooverdrive
-anbitious sets andscenarios sprungto
nindand wasn't really surewhichdirection
togo. Shadowis suchanopenthenethat it
couldbeinterpretedinsonany diherent
ways, sothis nonth's Creat|ve|yereally was
anopenbook. unnily enough, ny idea did
literally endupbeing.anopenbookl
1his ehect is sinilar toa rather cliche
inagethat 'veseensonewedding
photographers createfrontinetotine.
1heusual object tousefor this ehect is an
engagenent or weddingring-when
placedinthecentreof anopenbook anda
light is shonefronbehind, theringcasts a
shadowintheshapeof a heart. 'veeven
seenit donewithphotographiclters before
-redlters beingthenost ehectiveas they
colour thecentreof theheart red, too. My
lineof thought, however, was what better
object tousetocast a heart ona book than
a pair of readingglasses
Aquick visit toa local cut-priceclothing
retail chainsawnewalk away withny prop
-a pair of glasses for a bargainous 2l A
copy of a goodbook was all that was left to
source, so choseoneof ny favouritetitles
fronthebookshelf and was all set.
startedby settingupny glasses, sans
book, ona plainwhitesheet of paper totest
for thebest angletocast ny shadowat.
foundthat placingny light sourcearound
half a netrefronny glasses cast a
well-denedshadowwithsharpedges,
whilenovingthelight sourcecloser nade
theshadowtoofuzzy andfurther away
nadeit toodull. usedthenodellinglanp
fronanLlinchronuadra studiolight to
cast theshadow-this allowednetoutilise
a shallowdepth-of-eldtorecordny
inageas eventheuadra's lowest power
settingblewthebackgroundout towhite,
obliteratingtheshadow, especially at the
anglerequiredtocast a niceshadow.
nce was happy withtheangleof the
shadow, set upfor ny nal inageusingny
NikonD800ttedwitha NRA 50nn
fiI.8Dlens. 1heuadra's nodellinglanp
enits a very cool colour tenperature, nuch
colder thanwhenthenainfashres, so
although shot inRawfornat, still choseto
set a custonWhiteBalancesothat the
previewontheD800's LCDdisplayedan
accuraterepresentationof howthenal
inagewouldlook. photographeda plain
whitesheet of paper under thelight source
andusedthis as ny referencetoset a
custonWhiteBalance. thenintroduced
thebook andtriedseveral diherent
conpositions, angles andarrangenents -
however, theinagelookedvery plainand
lackedinterest. 1heplainwhitebackground
wasn't doingthenal ehect any favours, so
renovedit conpletely, choosingtoshoot
against thetactilewornwoodof a tabletop
instead. As was usingtherelatively din
nodellinglanpas ny light source, hadto
increasetheSratingto400togivenea
workableshutter speedof Ii200secat fiI.8.
Withtheinages that 'dtakeninported
intoLightroon, pickedny favourite
conpositionandnadebasicadjustnents,
beforenovingtheinageover into
Photoshop. ncethere, addeda Curves
adjustnent layer andapplieda cross-
processedehect, introducinga hint of blue
intotheshadows. thenplacedtwovintage
photoehect textures ontopof ny inage,
andset theSoft Light BlendModeat a
reducedopacity. appliedLayer Masks to
bothlayers andbrushedover any areas
where felt thetexturewas toodoninant.
inally, sonesubtlesharpeningandny
inagewas conplete, just intinefor neto
sit downwithny favouritebook.
Pight: ThenaI image
was nishedwith
twovintageehect
textures (above).
Above: After triaIIing
adiherent set-up,
I decidedthat awood
backdropwouIdbe
morepIeasingtothe
eyethanapIainwhite
background.
MiddIefar Ieft: An
EIinchromOuadra
studioIight was used
for theshadow-I set
out tondtheright
distancefor the
perfect shadow
beforeintroducing
mybook.
MiddIeIeft: ThepIain
whitebackground
didn't createtheright
atmosphere.
ottomfar Ieft and
bottomIeft: I trieda
number of angIes
beforeI was happy
withthecomposition.
SPNSRLDBY
CreativeEye
CreativeEye
BLUEGLA55
5HADOW5
ByCatherineMacBride
Camera: NikonD5200
Lens: NRA-SI8-I05nn
5oftware: AdobePhotoshopCC
WHLN UNDout that the
thenewas 'shadows' for this
nonth's Creat|ve|ye, ny initial
thoughts wereof beautiful, dark,
noody, black owhiteinages full
of light andshadow.
hadgured'dgodownthis path, until
oneeveninginny kitchen sawthe
wonderful eveningsuncastinglong
colourful shadows throughsonecoloured
glass keeponny windowledge. 1he
colourful shadows allowednetothink it
was possibletoconeupwitha bright and
colourful inagefor this nonth's challenge,
tocontrast withthedark andnoody inages
expectedfrontheother challengees.
decided wantedtocreateaninagewhere
theshadows weretingedwithcoloured
light andwerethenainsubject natter of
ny shot. nally settledontheidea of a blue
glass andnarblearrangenent andtheir
shadows, as guredit wouldbeboth
sinpleandeye-catching.
knowfronshootingat honeona
regular basis that frona certaintineinthe
evening get sonelovely lowsunshining
throughthewindows of ny sunroon. set
upa snall tableandcoveredit withbright
whitepaper andset upny blueglass and
narbles onit... 1herewas only onething
nissing-thesunl ntypical fashionfor
weather inthis part of theworldtherewas
nosignof thesunfor threewholedays.
begantoget a feelingfor what it nust be
liketobea landscapephotographer, as
constantly checkedthelight inthesky and
ny weather apps, for thepossibility of sone
sunwithny canera ever ready togoat a
nonent's notice.
nthefourthday lost patienceandgave
upwaiting, andset about lookingintolighting
nyset-upwithnyfashor adaylight bulbso
couldget sonebeautiful bright full-
spectrunlight without thesun, andbefore
evengot it sortedthesunwas streaning
throughthewindow.Just typicall
hadset upny arrangenent of blueglass
andnarbles onny table, but it wasn't until
thesunwas shiningand hadshadows that
got anidea of howthings really looked.
Withthearrival of thesun couldnally
novethings arounduntil was happy with
theoverall conposition.
took a fewtest shots andrealised
wantedtheshadows a littlelonger, sothat
neant waitingfor thesuntoset a littlenore,
keepingny ngers crossedit wouldn't
disappear again. nfull landscape
photographer node(ninus thelandscape
andnidges), watchedthelight and
shadows noveacross ny sceneuntil the
shadows wereexactly where wantedthen
andthen begantoshoot.
Shootingtheinagewas sinpleand
straightforward, sinply stoodabovethe
set-upbeingcareful not toblock the
sunlight. Withny canera level andusing
theD5200's articulatingscreenfipped
towards neandaway fronthedirect
sunlight so couldseeit clearly, beganto
takesoneshots. set ny canera tonanual
nodeat S250andzoonedtoa focal
lengthof around30nn. dialledinan
apertureof fiI6for gooddepth-of-eldand
chosea shutter speedthat allowedneto
keepall ny highlights incheck.
As it was a cloudy day hadtostopwhat
was doingoccasionally whenthesunwent
in, andrearrangeeverythingever soslightly
whenthesuncaneout again. Lventually
witha littlenorepatience got theshot
was lookingfor.
When was happywithnyinage opened
it inACRandnadesoneninor adjustnents
includingreducingthesaturationof theblue
tones andincreasingclarityandcontrast.
openedtheinageinPhotoshopand
dodgedandburnedtheshadows alittleto
nakethenpop, and was done.
inally after four days hadny shot anda
freshappreciationfor thepatiencerequired
by landscapephotographers whenworking
withnatural lightl
Above: Onetricky
aspect was that I
couIdn't arrangemy
naI composition
untiI thesunappeared
soI couIdseehow
andwherethe
shadows feII.
Left: TheD5200's
articuIatingscreen
provedinvaIuabIefor
composingtheshot.
eIow: I set my
ornaments out ona
sheet of whitepaper
infront of aIarge
windowinmyhouse
that I knewreceived
direct sunIight inthe
evening. Thenit was
just awaitinggame!
Pight: I Iovethe
combinationof
coIourfuI shadows
andrefractedIight in
mynaI image-a
bright andcoIourfuI
takeonshadows!
SPNSRLDBY
Image by - frankdoorhof.com
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CreativeEye
1heNikonSchool at thenew
NikonCentreof Lxcellencein
central Londonohers a range
of photography courses and
workshops. Lvery nonth, the
reader of our favouriteCreat|ve
|yeinagewins a I50trainingvoucher to
useat theNikonSchool. or further details,
visit. www.nikon.co.ukitraining. f youwant
totakepart inthenext Creat|ve|ye
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SHOOTINGONLOCATIONoners far morepotential for great portrait photography
thanworkinginastudio. Themainbeneht, of course, is thesheer diversity of
backdrops available-you'vequiteliterally theentireworldat your disposal. And
we'renot talkingexoticbeaches or stunningskylines -your local highstreet has the
potential toserveas abackdropfor great portraits if you'reimaginativeandskilledin
composition, techniqueandlighting. Sothere's littleexcusefor not beingableto
hndsuitablelocations inwhichtocapturestunningoutdoor portraiture.
Inthis month's Expert Gu/detoPortra/ts, wefocus onurbanlocations andprovide
essential informationonideas, techniqueandlightingtohelpyoucapturecreative
portraits inyour local townor city. Wecover arangeof urbanlocations togiveyoua
tasteof what's possible, but thereality is that every locationpromises countless
photoopportunities, souseour guidetogiveyoutheideas, inspirationand
know-howthat youneedtomakethemost of every location.
Our Expert Gu/deToPortra/tswill runfor several monthsandcover abroadvariety
of subjects, techniquesandlocations. Everyguidewill featurefantasticimagesand
inspirational ideastotryout. Weguaranteethat if youfollowour advice, youwill seea
major improvement inyour portrait photography.
EXPERTGUIDE
TOPORTRAIT5
WORDS: DANLL LLZAN
IMAGES: BRL11HARNLSS, DANLL LLZANoPAUL WARD
DYUWAN111ALYURBLS1LvLRPR1RA1SWL'vL1LAMLDUP
W1H1HLU'SLLADNGLXPLR1S1HLLPYUMPRvLYURSLLS. 1HS
MN1H, WLLNLS11HLLXPLR1SLPRLSSNALPH1GRAPHLRS
BRL11HARNLSSANDPAULWARD1 SHWHWYUCANCAP1URL
ARANGLS1UNNNGPR1RA1SNANYURBANLCA1N
URBANPORTRAIT5
PART5
MANMAGL. PAUL WARD
EXPERTGUIDE
TOPORTRAIT5
UNLLSS YU'RLNLof thelucky fewliving
ina renotehanlet surroundedby acres of
countryside, youshouldn't befar fronan
urbanarea, whether it's a village, townor
city. 1herefore, you'rewithintouching
distanceof sonefantasticphotographic
backdrops, which, whilepossibly not
apparent at rst, canbefoundif you're
willingtospendjust acoupleof hours
wanderingthestreets, parks, waterways and
towncentres closetoyou.
nthis nonth's guide, wecover thenain
factors youshouldbeconsideringwhen
shootingportraits inurbansituations, while
alsolookingat diherent types of urban
surroundings. As you'll discover, whilethere
arenany sinilarities betweendiherent types
of locations, eachohers their ownunique
characteristics that youshouldlook to
exploit for naxinunehect.
neof thekey things toconsider is the
relationshipbetweenyour subject andthe
location. t nay bethat you'vechosena
locationsinply becauseit ohers a striking
backdropandif this is thecase, your nain
concerns will bethestandardelenents of
what nakes a goodinage, suchas
conposition, lightingandexposure. f
you'relookingfor noreof anenvironnental
portrait, wherethesubject is noreclosely
associatedwiththebackdrop, you'll also
needtoensuretheir clothing, look andpose
is inkeepingwiththelocation.
However youapproachtheshoot, you
shouldhavenoshortageof options, sotake
a look aroundyour local area, spot potential
locations andreturnwithyour subject.
nceyougainexperienceandcondence,
ventureout further todiscover fresh
locations andnoreopportunities.
PR1RA1S. URBANLCA1NS
5hootingurbanportraits
Proinsight
PAUL WARDON...
UANLCATlNS
loveusingurbanbackdrops for
nuchof ny portrait photography.
BasedinBirninghan, 'nonly a short
distanceaway froncountless
possiblelocations, sourbanshoots
arevery convenient for city-based
photographers likene. As withany
city, there's noshortageof variety, so
'nusually abletonda suitable
backdropwithinninutes fronny
studio. Whileit's a bit of a cliche, love
placingny subject infront of battered
andbruisedbackgrounds, suchas
grubby brick walls, especially when
shootingDJs or fashion. alsoenjoy
shootinginunconventional locations
suchas underpasses andtrahc
islands -this works particularly well at
night as cannix longexposures with
fashtoincludetrahctrails andsone
anbient light intheresults.
5ixtipstoscoutingurbanlocations
1) BREAK DOWNA5CENE
Urbanscenes area nix of lines, textures and
areas of shadows andhighlights, whichwill
appear clutteredandconfusingtothe
untrainedeye. Break downthesceneinto
individual conponents andseehoweach
couldbeusedindividually or together to
provideaninterestingbackdrop. Look at
buildings andexaninewalls, windows and
doorways frondiherent angles andheights.
2) THINK LIKE ALEN5!
As well as usingyour nakedeye, look
throughtheviewnder andvary thefocal
length-younay spot newangles that suit a
wide-angleor telephotofocal lengththat
nay otherwisenot havebeenobvious to
you. Usinganultra wide-anglewill suit tight
spaces wherebackdrops will distort, while
telephotos canhelpexcludedistractions in
thebackground.
3) INCLUDE TEXTURE5 ANDFORM
Urbanlocations oftenplay host tonyriad
interestingtextures andpatterns as well as
intriguingshapes andstructures whichcan
beincorporatedintoyour conposition.
Positionyour subject against a weathered
wall for a straightforwardgritty portrait, go
widetoincludesurroundingarchitecture, or
consider shootingthroughelenents of
foregroundinterest toadddepth.
TOPTIP
Avoidthecrowds
f you're shooting in
nancial areas of cities,
avoidcrowds by visiting
at weekends when
they're virtual
ghost towns.
S
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Go urban!
right coIours anda
dramaticbackdropmake
for portraits withimpact.
4) CON5IDERTHE TIME OF DAY
1hink about wherethesunwill bewhenyou
plantoshoot, especially if you'reshootingin
narrowstreets andior closetotall buildings.
f younda locationyoulike, try tovisit it at
diherent tines of theday toseehow
sunlight ahects it. Anddon't forget, the
locationis transfornedat night, when
foodlit buildings, street lightingandtrahc
canall play their part intheconposition.
5) THINK ABOUTHOWYOULIGHT
THE 5UBJECTANDTHE 5CENE
Lightingis anessential elenent toyour
inages' success. 1hereis noright or wrong
answer as towhether youcanrely on
daylight or if youshouldusefash(or a nix
of both), sotakelightingaids andfashgear
tocover every option. Withthepotential for
thesuntobeobscuredby buildings, having
fashas a back-upis reconnended.
6) REMEMBERTOKEEP IT5IMPLE!
t's all tooeasy whenshootinginurban
locations totry tocrantoonuchintothe
inagefrane. uiteoften, singlingout
individual areas of interest inan
environnent candeliver a nultitudeof
diherent inages frona singlelocation.
Renenber theshot canbejust as
successful witha nininal backdropsuchas
aninterestingwall, fencingor a noody sky.
P
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EXPERTGUIDE
TOPORTRAIT5
URBANSPRAWLS ARLN'1all about
concrete, steel andglass. Parks oher a
refreshingchangefronthevarious
architectural backdrops you'll beshooting
against andallowyoutocaptureportraits
that arenorenatural thanyour typical urban
backdrop. 1hewide-openspaces, along
withthegrass, trees andvegetation, oher
youa conpletely diherent urbanscenarioto
capture, providinga very diherent set of
pictures. Parks arerecreational areas soyou
shouldlook tobringout thefeel-good
factor inyour photographs. Happy sniling
portraits, relaxedcandids andpensive
nonents areall suitableoptions alongwith
your noretraditional fashionandlifestyle
poses. t's alsoanideal locationto
photographa coupleandadda touchof
ronancetoyour inages.
nbright days, haveyour subject lieonthe
groundandget onyour knees toshoot fron
alowperspective, Shoot towards thesunto
addanattractivebacklight onlonggrasses
andyour subject's hair, whileusingawhite
(or possiblyasilverisunre) refector tolight
uptheface. Parkbenches arealsosuitable,
youcanshoot fronbehindwithyour subject
lookingover their shoulder or havethensit
longways onthebenchwiththeir feet resting
onit andshoot this frondiherent angles. f
course, youcanfurther addhunour, funand
energytoyour parkportraits byhavingyour
subject run, junpor play. Whatever youdo,
withall theseinages trytohaveyour subject
snileandlookas happyas possible-parks
areenjoyableplaces tovisit andyouwant this
tobeapparent inyour photos.
PAUL WARD5AY5...
My local park inBirninghanprovides a
wealthof photoopportunities for great
portrait pictures. AstonPark, where shot
theseinages, is nuchlikeany other, sothe
ideas andtechniques 'vetriedout caneasily
bereplicatedby anyone. kept things sinple,
takingalongacoupleof refectors and
fashguns andshootingnainly on24-/0nn
and/0-200nnlenses. 'dsuggest before
shootingthat youtakeawalk aroundthe
park andnote(or snaponasnartphone)
locations whereyou'dliketotry shooting.
shot onaday that was overcast but with
regular breaks inthesun, whichworkedwell
inny favour. Duringcloudcover shot in
openspaces withthelight naturally dihused,
usingasilver refector tobounceback light
toll shadows. Whenthesunbrokethrough,
novedafewnetres andshot beneaththe
canopies of sonetrees. Whileyoucanshoot
beneathtrees whenit's overcast, nuch
prefer waitinguntil it's sunny as thelight
levels arehigher andthesunlight shines
throughthecanopy, liftingthecolours and
addingattractivehighlights. f thebranches
arelow, consider interactingthesubject by
havingthenpluck leaves or peer through
branches. f you'vealongrowof trees, use
theshapes of thetrunks andthecanopies
withinthebackdropas they cannakefor
very interestingbackdrops that alsoact as a
natural frane.
Bright sunlight alsoworks well if shooting
byalakeas out-of-focus specular highlights
onthewater's surfaceaddinterest. Shooting
withthesubject bathedinsunlight requires a
dihuser tosoftenthelight reachingyour
nodel, unless you'reabletousenatural
cover likeatree. f it's quitedarkbeneaththe
canopies, consider settingupanoh-canera
fashbehindatrunktothrowsonelight on
thescene. deallyswitchit tonanual anduse
alowpower settingtokeeptheehect subtle.
Urbanparks
5hootingat aparkohers pIentyof scopefor
capturingbeautifuI portraits. Usethe
surroundings toaddinterest toyour images -
Iow-hangingbranches areideaI for subject
interaction, andavenues of trees work
briIIiantIyas naturaI frames.
ACUPLL urbanlocations that oher
great potential but aregenerally overlooked
areunderpasses beneathroads andarches
beneathbridges andviaducts. 1heseoher
youtheopportunity toshoot fronbeneath
cover, nakingthenideal as shadedareas
onsunny days or shelteredspots if therain
starts falling. By shootingat theentrances to
thecoveredarea, youcanalsonakeuseof
thecontrast betweenshadeandsunlight.
Backlight your subject for a bleachedwhite
backdrop, turnthentothesidefor sone
sinpleyet ehectivesidelightingor shoot
intothecover for a noodier ehect.
You'll oftenndareas of grahti withstrong
colours andshapes that canbeexploitedto
addextravisual interest. f you'reshooting
underpasses under roads, you'll needtobe
careful withWhiteBalance-setting
luorescent usuallygives thenost natural
colours, but youcouldalsoshoot inRawand
adjust colours later, or usefash. With
archways beneathbridges, you'll nost likely
haveachoicebetweenanbient light or
fash. Usingdaylight withoneor two
refectors will givethenost natural ehect but
you'll needtoensureyouexposecorrectly
sothat thebackdropisn't toodark. Using
fashallows youtocreatenoredranatic
ehects as youhavethechancetousedirect
fashonsubjects tocreatelongshadows
behindthen, andior usesecondary
fashguns tolight upthebackdrop. Byusing
fashgels onthebackgroundlights, youcan
createcolourful ehects that addextravisual
interest tothesurroundings.
1heseareas tendtobeisolatedandcanbe
intinidating, especiallyif you'reshootinglater
intheday, soit's worthtakingalongafriend
toassist youwiththeset-ups as well as
providingalittlesecurityandpeaceof nind.
PAUL WARD5AY5...
Birninghanhas its fair shareof roadand
canal bridges and oftenheadtothis
particular locationwhen'nshooting
fashionportraits. t's a largearea underneath
railway bridges near thejewellery quarter
that has lots of spacetowork inandrarely
has peoplewanderingthrough, so canset
uplights knowing'nnot gettinginpeople's
way. Witharchways inwalls, it's worth
experinentingwithconpositions as there
area nunber of angles toshoot fron.
Youcanget incloseandlowwithanultra
wide-anglelens andexaggerateperspective
or shoot straight onfrona distancewitha
telephototohavea sectionof archblur in
thebackground. prefer toshoot at anangle
sothat thearches fall away toadddepthto
theinage. 1his works particularly well when
shootinglandscape-fornat as canplace
thesubject oh-centreandincludea series
of arches inthefrane. 1hesesettings also
oher great potential interns of lighting.
Witha coupleof fashguns or a portable
studiofashkit, it's possibletolight your
subject andbackgroundinany nunbers of
ways. However, really enjoy nakingthe
nost of anbient light, oftenusinga silver or
sunrerefector placedinthesunlight to
bouncelight back intothescene. 'll often
placesubjects beneathwherethecover
gives way tothestreet as thereis norelight
thanyounight think bouncingaround,
whichcangivea niceehect. t's worth
restinga silver or whiterefector onthe
groundtobounceupadditional light, too.
Becausethesetypes of locations are
nadeupof brownbrickwork, blackshadows
andlittleelse, they will oftenlack colour, so
try toaddvisual interest inother ways.
Shootingagainst grahti is oneoption, as is
usingred, blueor greenfashgels toadd
colour tobackgrounds, but often'll havethe
subject addtheextrainterest. 1his couldbe
by dressingtheninoutlandishgarnents or
takingonanunusual pose.
Underpasses
8arches
Underpasses andarches are
great pIaces toshoot urban
portraits, but you'II needto
workwiththeIocationtoget
theverybest out of it. 5hoot
at theentrancewherethe
sunmeets shadeandyoucan
positionyour subject for
side-Iighting, aimtowards
thetunneI for abIack
backdropor at theIight for a
bIeach-whiteehect.
EXPERTGUIDE
TOPORTRAIT5
EXPERTGUIDE
TOPORTRAIT5
1HLUHAS thousands of niles of canals so
it's quitepossiblethat youliveinoneof the
nany towns or cities that thesewaterways
pass through. f that's thecase, you'll
discover it ohers thepotential tobeusedfor
sonewonderful portrait settings.
Colourful canal boats nakefor attractive
backdrops, but youshouldalsoconsider
shootingfrontheoppositebank anduse
thecolourful refections of theboats onthe
water's surface.
Bridges over thecanal areideal, too. Have
your subject standona bridgeandusethe
handrail as a lead-inline, or insteadhave
thenstandbeneathandusethebridgeas
visual interest inthebackdrop. You'll often
ndarches, staircases andother features in
thearchitecturearoundcanals, soscout
aroundandseewhat youcannd.
BRETTHARKNE55 5AY5...
As oneof thenajor centres of theindustrial
revolution, Manchester is honetonany
niles of canals that traversethecity. Withso
nuchredevelopnent of thecity centreover
recent years, this neans that youcanoften
shoot by canals that havespectacular
nodernbackgrounds as well as nore
traditional architecture. Youdoneedtotake
care, though, as sonelocations require
pernissionrst, soit's best tocheck in
advanceof whenyouplantoshoot. 1hese
inages weretakenalonga short stretchof
canal incentral Manchester.
1hecanal hereis very well naintained
andthelocationbenets frona nix of
nodernandnoretraditional architecture,
as well as a coupleof photogenicbridges.
or theseinages, wesinply walkedalong
thecanal, stoppingwherever wespotted
interestingelenents inthescenethat could
nakefor interestingbackdrops. As it turned
out, this neant weonly nanageda few
steps beforespottinganother possibleshot,
suchwas thepotential of thescene. 'll often
havethesubject interact withthelocation,
suchas leaningagainst a post or wall, or
sittingona bench. Bridges areideal -as well
as providingnatural lead-inlines, thesubject
canrest anarnor hipontherail andtakeon
a natural stance. Stairs areanother useful
backgroundprop, as thesubject cansit on
oneandthesteps inthebackgroundcanbe
usedas visual interest.
Regardless of theweather, 'll usually take
alonganLlinchronRanger uadra portable
studiofashkit withnetoincreaseny
creativelightingoptions. 'll usually usea
nainlight withsoftbox attachedtoensure
ny subject is beautifully lit andoften'll use
another headwitha C1(orange) lter
attachedainedat her hair toreplicatethe
light frona settingsun. Havingfash
availableallows youtovary thetypes of
inageyou'reabletocaptureas you'renot
linitedtoonly usinganbient light. Another
easy way tochangethelook of your inages
is withclothingandprops -a changeof
topsijackets, a hat or sunglasses canall be
usedtochangethelook of theinage. 1his is
wherea stylist cannakea najor diherence,
too, as they'reabletotransfornthe
appearanceof your subject by changing
their hairstyleor nake-up. As you'll seefron
theset of inages here, it's not just the
backdrops that arediherent, theposes
rangefronrelaxedtonorefashiony
stances, whilethehair ranges frona
ponytail toloosetoa noreclassicsculpted
look. Usingall theselittletricks allows youto
headtoonelocationwithonesubject and
producea rangeof stunningportraits
quickly andeasily.
Canals
Location-wise, waterways canprovideavariety
of backdrops for your peopIeshots. ridges
workweII as Iead-inIines, givingfocus toyour
subject andaddingstrongstructuraI shapes,
whiIestairs bycanaIs cangiveagrittyurban
atmospherewhenyou'reshootinggIamorous
fashion-styIeshots as wedidhere.
Take a soft approach
UsingashaIIowdepth-of-
eIdcanmakethemost of
thesurroundings, but stiII
makeyour subject pop.
EXPERTGUIDE
TOPORTRAIT5
ARGUABLYNLthebest urbanlocations
is alsooneof thenost nunerous. Streets are
as diverseas theyarebountiful, nakingthen
theperfect startingpoint for urbanportraits.
Headtoolder areas of townfor nore
traditional architecture, wherebrownbrick
andornatestructures rule, or if you'relooking
for nodernlines whereglass andsteel
doninate, lookfor nancial andbusiness
areas. Lverynajor townandcityhas
nunerous districts boastingstreets withtheir
owncharacteristics, sowhether you're
lookingfor rundowndesolatestreets,
cobbledlanes or plushavenues toshoot, you
shouldn't haveanyproblens ndingthen.
Streets oher great potential as portrait
backdrops andthereis noshortageof
techniques totry. You'reabletoset upyour
subject against onesidetoincludebuildings
as abackdrop, or placethensothat the
street vanishes ohintothedistance. With
narrowstreets, useawide-anglelens with
thelatter techniquetocreatestrong
convergingverticals that adddepthand
strongvisual interest tobackdrops. Lookfor
doorways whereyoucanplaceyour subject
as theseact as anatural frane, andget close
towalls toshoot at atight angleandhavethe
foregroundwall providestrongperspective.
Alsobeawareof thepronisethat the
roads thenselves oher, or noreaccurately
thetrahc. Usea slowshutter speedduring
thedaytineandyoucancapturecars and
buses as attractivestreaks across the
backdrop. Better still, wait until night starts
tofall andusea longexposurewithfashto
capturetrahctrails witha nicely exposed
subject intheforeground.
BRETT HARKNE55 5AY5...
When'nshootingurbanportraits onvery
overcast days, addfashtoboost colours
andcontrast. 1heseinages werecaptured
ononeshort street incentral Manchester and
illustratethepotential availableinnanytown
andcitycentres if you'rewillingtolook
around. 1hebeautyof urbanportraitureis
that youshouldn't havetoventurefar as nost
buildings aredesignedtobeaesthetically
pleasing. Lventhosedesignedfor business or
industryoher visual appeal, whether it's pipes
andchroneor ornatebrickwork.
Whenshootingonstreets, takecarewith
trahcas well as pedestrians andalways
ensureyou'renot gettingintheway, prefer
thequieter sidestreets tothenainroads.
ne-way roads areideal if youwant to
standontheroadwhiletakingpictures as it's
easier tobeawareof onconingvehicles.
loveshootingfronthecentreof a roadwith
ny subject ina sinilar position-witha
wide-anglelens youcanhavebuildings in
thebackdropleaninginwards for added
ehect, whiletheperspectiveof a telezoon
at aroundI50-200nngives a lovely result.
neof ny favouritetechniques is
shootingny subject indoorways, either sat
onthestepor leaningwitharns
outstretchedandhands pressedonthe
frane. Witholder industrial buildings, 'll
look for worndoors withbatteredsigns as
thesenakefor interestingbackdrop
elenents, evenwhenslightly out of focus.
1ry diherent viewpoints -get lowwitha
wide-anglefor dranaticleaningbuildings or
get closetoa wall for accentuated
perspectiveintheforegroundwhenusinga
telephotoor skewedverticals andout-of-
sorts scaleif usinga wide-angle. With
narrower streets, lightingcanbea problen
sousefashtolight your subject andscene.
5treets
ackstreets canbeparticuIarIydramatic
Iocations -theygiveasenseof desoIationthat
works briIIiantIywhenshootingportraits.
Carryawide-angIeIens withyou-it's amust
for achievinggreat ehects withperspectiveand
you'II ndashis incredibIyusefuI as Iighting
canbeareaI probIem.
Proinsight
BRETTHARKNE55 ON...
UPANLCATlNS
'nbasedontheoutskirts of
Manchester, sothereis noshortageof
backdrops tochoosefron. Within
half anhour's drive canbeshooting
by canals, invictorianindustrial areas
or settingupny subjects against
nodernbackdrops. Despitebeinga
busy city witha largepopulation, it's
always possibletondrelatively quiet
areas toshoot in. Lvenwhenshooting
onbusy nainroads, peopleare
always insucha hurry that nost pay
littleattentiontowhat 'ndoing, soit's
nobother. 1hebiggest problenis
always ndinga parkingspacel
1'S RNC1HA1soneof thenost
rundown, desolateandundesirableurban
locations nakefor soneof thebest
backdrops for portraits. Areas of dereliction
nakefor interestingpictures inthenselves,
withthepeelingpaper, barefoors,
rennants of furnitureandsigns, broken
windows andgeneral decay provingperfect
for atnosphericandnoody inages.
Placeapersoninthefraneandall of a
suddenyouhaveanaddeddynanictothe
shot. Whether you'regoingfor afashion
look, sonethingsexyor anorestandard
typeof portrait, derelict buildings aresuitable
locations, soheadtothenorerundown
parts of townandcheckout their potential.
Needless tosay, safety is paranount,
sonever takeunnecessary risks.
As well as brokenglass, there
nay besharppieces of
netal, rottenfoors and
collapsingwalls towatch
out for.
Youshouldbeable
tostay well clear of
potential dangers andstill
nanagetoplaceyour
subject ina suitably
interestingsetting. f you
can't get tooclose, usea short
telephotofocal lengthandshoot at
a snall aperture. 1heperspective
conpressionwill nakethebackground
appear closer thanit is inreality.
nreality, though, youshouldn't encounter
anyproblens -as longas you'vegained
pernissionandaresensibleabout thesafety
of your subject andyourself, youshouldhave
noproblensettingupinteresting
conpositions. nlargeopenareas, usea
wide-anglewithyour subject relativelyclose
tothecaneratoheightentheinpressionof
enptyspaceanddesolation. Shoot on
overcast days andusefashtohighlight your
subject anddarkentheskies for powerful
nood. Haveyour subject interact withthe
location, too. f thereareanyabandoned
chairs, haveyour subject sit onone, or if
you'reinanindustrial sitewithlargechains
hangingdownor anetal reexit, haveyour
subject standandleanor holdontoit.
As well as your standardcolour shots, also
consider convertinginages toHDRor
nonotoheightenthesenseof nood.
DANIEL LEZANO5AY5...
Likenost people, withnoaccess toa
studio, nost of ny portraits areshot in
hones andgardens. Noproblenwiththat,
but after awhileachangeof scenery is
requiredtofreshenupyour shots. 1hereis
littledoubt that derelict buildings oher great
potential. My chosenbuildingis along-
closedLittleChef ontheAI just northof
Peterborough. t's abeautifully designed
buildingbut havingbeenclosedfor years,
has fallenintoastateof disrepair. However,
thefaky exterior andgrahti all addtoits
derelict charn, nakingit agoodplaceto
shoot portraits. 1heeveningof our shoot
was very overcast, whichneant thelight was
very dull andfat, soanLlinchronuadra
headwithsoftbox was usedtoilluninateour
nodel, Bethany. Aroundthefront of the
buildingwas aredstairwell that represented
anideal placefor Bethany tostand. Withthe
caneraset tonanual, anid-aperture
settingwas usedtounderexposethe
anbient light soas todarkenthesky andadd
tothenood. 1hestudiofashwas then
ainedat 45 totheleft of thecanerato
illuninateBethany andprovideasoft
spotlight ehect. Afashgunttedwithaslave
was heldabovethecaneraandainedat the
other sideof Bethany tohelprenove
shadows. AI/-40nnzoonusedat its wide
endonafull-franeDSLR(CanonLS6D)
allowedfor thefull height of thebuildingto
beincludedinthefrane.
1heother area of thebuildingthat
caught our attentionwas thenainentrance,
withits nix of brickwork andpaintedwalls.
Here, weagainusedthesinglesoftbox
ainedat 45 totheleft of thecanera to
illuninateBethany andthebackdrop. We
trieda nunber of conpositions, fronfull
lengthtoheadandshoulders, withBethany
standingagainst thewall andsittingonthe
steps, all includingtheinterestingtextures
andpatterns onthewall behind.
Dereliction
Lookpast your rst impressions of dereIict
buiIdings andyou'II discover they'reamazing
pIaces tophotographpeopIe. FIakingpaint,
crumbIingwaIIs andbrokenwindows areideaI
ingredients toshoot interestingportraits. Just
remember toapproachwithcautionandthat
your safetycomes beforebriIIiant pictures!
TOPTIP
Notrespassing!
As tenpting as a locationnay
seen, donot trespass onprivate
property. Not only is it against the
law, but shouldyouhave an
accident, especially if it's a derelict
or renote location, younay be
unable togainhelp.
Seek pernissioninwriting
inadvance, or stick to
public areas.
EXPERTGUIDE
TOPORTRAIT5
8white software
1inesaretoughfor all of usat thenonent, sowhileour passionfor photographynaynot
havedininished, our photo-expensesbudget issuretohavetakenahit. 1herefore,
spendingour hard-earnedcashonexpensivenewopticsor thelatest gazillion-pixel DSLRis
unlikelyfor all but thenost fortunate. However, therearenanylow-cost productsthat
claintooher usachancetoexpandour creativeoptionsandcaptureinagesthat belietheir
relativelylowpricetag. n wetest low-pricedphotoproductstodiscover if
theydeliver ontheir proniseof allowingfantasticphotographyonalinitedbudget.
C1BLR20I3 i
Peader query...
reallyenjoyblackowhitephotographyand
sofar havebeenconvertinginages toblack
owhiteusingPhotoshop-withlinited
successl 'veheardthat NikSoftwareSilver
LfexProis brilliant but nybudget won't
stretchtoit. s thereacheaper optionworth
consideringor should start saving
| Payner. Cunor|a
1HLRLARLMRLways to
convert acolour digital inageto
black owhitethanthereareto
skinacat, fronPhotoshop,
LightroonandAperturetofree
plug-ins andexpensivestandalone
applications likeNik's Silver Lfex Pro. All are
intendedtodothesanejob, but theway
they doit dihers enornously, as does the
level of inputiexperiencerequiredfronyou.
1henost connonproblenweseeis that
convertedinages oftenappear rather grey
andlacklustre, theylackinpact, as if the
creator was scaredtobebold. 1his doesn't
just applytobeginners either -nany
photographers withyears of experienceand
whoproduceawesonecolour inages just
can't get togrips withblackowhite. Maybe
it's becausenonois astepawayfronreality
andnost of us strugglewiththat -it gives us
toonuchartisticfreedonandwedon't
knowwhat todowithit.
Whatever thereason, boringblack owhite
is far toowidespreadfor our liking, sowe're
always keentoexploreways of naking
nonochronenoreexciting. Nik Software's
Silver Lfex Prois perhaps thebest solution
andis favouredby nany nonofans.
However, despiteapricedrop, you'restill
lookingat thesharpendof I00tobuy it as
it's nowonly availableas part of theentireNik
Collection(whichis fantastic, but only if
you'regoingtousetheother applications
likeColour Lfex ProandHDRLfex Pro).
ortunately, werecently discoveredan
alternativethat works inasinilar way toSilver
Lfex Probut costs afractionof theprice. t's
calledPerfect BoWandit's nadeby onne
Software(www.ononesoftware.con).
Cha||engee: Lee rost
udget: 20
Theme: BoWconversionsoftware
FiIter Presets:
Thesepresets aIIow
youtochange
tonaI baIanceby
Iighteningcertain
tones anddarkening
others. Thered
preset gives the
most dramatic
ehect, turningbIue
skyaImost bIackand
increasingcontrast.
HDPLandscapepreset
PedIter
DefauIt setting OriginaI
Budget B8Wsoftware
onOne5oftware
Perfect B8W
Price: S29(Standard),
S99(Preniun)
AvaiIabiIity:
As download
PIatforms: Mac S XI0.6, I0./, I0.8,
Windows vista, /, 8, ntel Core Duo, Xeon
or better processor, 4GbRAMnininun,
I.5Gbharddrive space for installation
AppIications supported: (for Preniun
Ldition) PhotoshopCS4, 5, 6, Llenents 9,
I0, II, Lightroon2, 3, 4, 5, Aperture 2.I, 3
Website: www.ononesoftware.con
f you'renot surewhether Perfect BoWis
for you, check out theonlinetutorial video
anddownloadafreetrial soyoucantry
beforeyoubuy -thoughwe'resurethat
by thetinethetrial runs out you'll benore
thanhappy topart withS29.
B
U
D
G
E
T
P
H
O
T
O
8lack8whitesoftware
1hePreniunLditioncosts S99, but the
StandardLditionis anabsolutebargainat just
S29(less than20) andthoughit lacks sone
of thefeatures of thePreniunLdition, it has
everythingyou'll ever needtocreate
stunningblack owhiteinages. t also
operates as astandaloneapplication, rather
thanas aplugin, soyoudon't need
Photoshoptouseit.
ncethesoftwarehas beeninstalledand
theapplicationlaunched, thePerfect BoW
windowopens onyour desktop. Clickingon
Browser allows youtotrawl throughyour
inages tondtheoneyouwant toconvert,
thoughit's quicker if younakeaselectionof
inages andplacetheninonefolder sothat
oncethefolder has beenselected, youcan
scroll throughtheinages init whilein
Perfect BoWandconvert oneafter theother.
Double-clickinganinageontheBrowser
paneopens it inthenainpreviewpane, then
if youclick onBoWat thetop-right corner of
thewindow, that inageis convertedtoBoW
usingthedefault settings.
Downtheleft sideof thewindowyou'll
ndthepresets -loads of then, in
categories suchas Basicundanentals, I9th
Century Processes, 20thCentury Classic
Silver, 2Ist Century ModernDigital andsoon.
Clickingthetabnext toonecategory reveals
all thepresets inthat category, or youcan
click theAll tabandit reveals every preset.
1heinageyou'veselectedis shownas
thunbnails downtheleft sideof thescreen
withthepresets appliedanddouble-clicking
apreset will addit tothenainpreviewinage.
t's worthtryingall of this toseewhichyou
prefer as they oher aquick andehective
solutioninnany cases. Recently used
presets arerenenbered, plus youcanfag
your favourites sothey'requicker tondand
use. Whennewpresets arecreatedyoucan
alsodownloadthenfor freeandaddthen
toyour collection.
Whether youchooseapreset or not, on
theright sideof thewindowyou'll nda
rangeof controls andehects. 1one, Colour
Responseand1oneCurvearethenost
useful as they allowyoutoadjust the
contrast, exposureandtonality of theinage.
f you'reainingfor afairly straight conversion
but youjust want totweak theinage, you'll
5oftwareinterface: Themaininterfaceof Perfect
Wiseasytonavigate-presetsareshownon
theIeft side, appIiedtothumbnaiIsof themain
previewimage, whiIetheadjustment andcreative
tooIsareshownontheright andthebrusheson
thetop-Ieft corner of thepreviewimage.
order Presets: Addingaborder toyour imageis
adoddIe-just turntheorder tooI onbycIicking
theOnlOhtab, chooseacategory, thenseIect a
specicborder fromthedrop-downmenu.
OriginaI MediumFormat border
probably ndthat youcanusethesecontrols
aloneandnot bother withapreset.
Next cones Glow, ilnGrain, 1oner,
vignetteandBorder. 1hey'reall self-
explanatory really. Glowis abit likeDihuse
GlowinPhotoshop. ilnGrainallows youto
addthecharacteristics of aspeciclnto
theinage. vignettelets youlightenor
darkenthecorners andedges of theinage
andcontrol thebrightness of thevignette
either way, its size, feathering, roundness and
style. Border allows youtoaddoneof nany
diherent borders toyour inagetonishit
oh, withcategories suchas Antique, Canera,
Lnulsion, iln, SinpleandSloppy, witha
rangeof borders withineachcategory.
Again, sonearevergingontheridiculous,
but others look great. 1here's alsoa
1exturecategory that allows you
tochooseatexturesuchas ld
Parchnent or Scratchediln,
thenvary theopacity and
blendingnodetocontrol
thestrengthof that texture
ontheinage. 1his works
really well andis worth
experinentingwith.
1helast twocontrols on
this sideareSharpeningand
Blending. 1heforner gives you
threeoptions -Progressive, High
Pass andUnsharpMask plus various other
sliders tocontrol thelevel of sharpening
applied, includinganLthnicity optionthat
lets youchoosefronvarious ethnicgroups
toset sharpeningaccordingtoyour
subject's skintonel inally, blendingohers
theusual rangeof blendingoptions sothat
youcanvary theehect theblack owhite
conversionhas ontheoriginal colour inage
andchangetheopacity of thelayer -
theblack owhiteconversion
is autonatically nadetoa
duplicatelayer, whichyoucan
fattenwhenyou'redoneif
youchoose, or retain.
Consideringthepriceof
Perfect BoW, this is a lot of
bangfor your buck. But
we'renot done. 1here's
norel By thetop-left
corner of thenainpreview
inageyou'll seeanother set of
tools. 1hesearetheBrightness
Brush, Contrast Brush, Detail Brush,
1argetedBrightness, SelectiveColour Brush,
plus theHand1ool tonavigatetheinage
andtheZoon1ool toenlargeit. 1he
Brushes canbevariedinsize, featheringand
strengthandallowyoutoselectively adjust
Toner: Therearedozens of presets avaiIabIein
Perfect WandmoreareavaiIabIetodownIoad
freefromtimetotime. Theyoher aone-cIick
conversionandinmanycases youwon't needto
doanythingeIseonceapreset has beenseIected.
HANDYHINT
Always nake a copy of the
original colour inage for
conversiontoblack owhite soif
youness it upyou'll have the
naster le tofall back on. Youcan
alsonake several copies of the
sane inage thenconvert each
one ina diherent way -this is
a great way todevelopskill
andbuildcondence.
OriginaI
FIatiron
asic
HighContrast
ogart CooI
Ambrotype
DarkGritty
PIatinum
DramaticLight
TarnishedIron
B
U
D
G
E
T
P
H
O
T
O
ConvertingtoB8W
1here's nuchnore toblack owhite
conversionthansinply renoving colour
fronthe original inage -it ohers endless
scope for creative expressionand
personal interpretation.
Black owhite photography takes youa
stepaway fronreality, sonake the nost
of that andlet your inaginationrunwild.
Study the work of great black owhite
photographers andask yourself what it is
about their inages that youlike -thentry
toreplicate that feel inyour ownwork.
We have it drilledintous that blocked
shadows andblownhighlights are bad,
but inblack owhite youneedtrue blacks
andwhites togaincontrast andinpact.
Be bold-try sonething diherent
anddaring. Youcanalways delete any
changes younake if they don't work.
1he presets oheredby Perfect BoWare
a quick x andcanproduce great results.
1ry thenall, tosee what they do, and
note your favourites. 1hat said, don't use
presets for the sake of it -they won't turn
a sow's ear intoa silk purse soyoustill
needa decent shot inthe rst place.
Use the black owhite lter options to
change the tonal relationshipina shot.
Sone colours cone out as sinilar grey
tones -suchas redandgreen-but lters
let youdarkenandlightenthose tones so
they look diherent inblack owhite.
Acreative border canaddanextra
elenent toaninage. Check out the
options inPerfect BoWthennaybe stick
withone togive your inages consistency.
Don't just rely onthe presets -play
aroundwiththe other controls suchas
the Brushes, 1one Curve andblending
nodes tone-tune the endresult.
8lack8whitesoftware
GOTA5UGGE5TION?
Haveyoua Budget Pnotoidea you'dlikeus totry
out ina futureissue Lnail your suggestions to
dslrfeedbackdennis.co.uk, titled'Budget Pnoto',
andwenay giveyour suggestiona gol
Other budget options
brightness andcontrast or strengtheni
subduedetail inspecicareas. 1hey'relike
dodgeiburntools really -by zooninginto
theinageyoucanwork onsnall areas with
precisiontoget exactly thelook andfeel that
youwant. 1here's alsoa Perfect Brush
optionthat adds edge-detectiontothe
brushsothat it will recognisetheedges of
thearea you'reworkingonandnot goover
then-this is really handy if youwant to
darkenthesky, for exanple, andneedto
work arounda buildingontheskyline.
t's all fairly intuitive, soevenif you'venever
usedsoftwarelikethis beforeyou'll soonnd
your way aroundit. Youcanalsohit Reset
withnost of thecontrols, soif youadda
border that youdon't likeyoucanget ridof it.
As thechanges aresavedas aLayer youcan
alsoscrapwhat you'vedoneandstart again
as theoriginal colour inagewill be
unahected. 1hat said, you'll probably nd
that innost cases, oneof thepresets will
giveyoutheresult you'relookingfor, soyou
won't usenany of theother controls, such
as thebrushes. 1hey'reintendedfor nore
preciseadjustnents, whichwill coneas
your experiencegrows.
1hat's thegreat thingabout Perfect BoW
-whether you'reaconpleteblackowhite
noviceor anonochronenaster, you'll nd
that it suits your needs andgives youwhat
youwant. Withapricetagof just S29, that's
prettyawesoneinour book, andif youfancy
gettingintoblackowhitephotography, you'll
denitelybeinpressedbyPerfect BoW.
Topaz B8WEhects
Price: S59.99
Visit: www.topazlabs.con
Aversatile application
that will allowyouto
doeverything you
couldever want to
dotoa black owhite
inage -andnuch
norel Choose fron
over 200one-click presets, use the Zone
Systentocontrol contrast, nake localised
adjustnents tocontrast andexposure,
enhance detail, apply snoothing, add
grainandnore. ree 30-day trial available.
5napseed
Price: RLL
Visit: www.snapseed.con
Made by Nik Software
(whichis ownedby
Google), this is one of
nany apps available
for snartphones and
tablets that allowyou
tocreate brilliant black
owhite inages. Youcanconvert inages
shot withyour phoneitablet or inport
inages intothe device thenconvert
then. 1here usedtobe a desktopversion,
too, but sadly this has beendiscontinued.
Power Retouche
Price: CI9
Visit: www.powerretouche.con
Power Retouche is
evencheaper than
Perfect BoW. t's not
quite as 'polished' or as
easy touse, but all the
controls you're likely
toneedare there tolet
youcontrol contrast andexposure, add
the characteristic of diherent black
owhite lns, lters andnultigrade lters
(tochange contrast) andnore. Windows
andMac conpatible witha free trial.
BWWorkowPro
Price: SI2.90
Visit: www.fredniranda.con
redMiranda was one
of the rst tocreate
Photoshopactions and
plug-ins. BWWorkfow
Proohers tons of
options andfeatures
including over /0
presets covering toning, dynanic range,
lngrainandlters. Conpatible with
PhotoshoponbothMac andPC.
t evendoes a danngoodpseudo
infraredehect -all for less thana tennerl
Perfect BoWohers a brilliant solution
toblack owhite conversionat a bargain
price. 1hat said, it's not unique andas well
as the preniunedition, there are other
options available. 1here are alsoloads of
nobile apps that are cheapor cost nothing
at all. Apps aren't as versatile as conputer
software but they canproduce anazing
results -andyoucaninport high-res
inages intoyour device toconvert then
usingapps suchas Snapseed.
Contrast andGIowadjusted
PhotoshopElements
ADDN1LRLS11ASCLNL
Lightroom
PRN1ACN1AC1SHLL1
PhotoshopCS
CRLA1LAPH1CLLAGL
Digital Darkroom
E
X
P
E
R
T
T
U
I
T
I
O
N
Whatever your abilitylevel or choiceof editingsoftware,
there'ssonethingfor everyoneinthisnonthlyseries.
Weguideyouthrougheachof Adobe'seditingpackagesto
showyouhowtoget thebest fronyour inages. 1hisnonth,
weexplainhowtocollateandprint acontact sheet in
Lightroon, addinterest toasceneinLlenentsandshowyou
howtocreateadynanicphotocollageinPhotoshopCS.
MAS1LRADBL'SMAGLS1WARL8MPRvLURPH1S
GETEDITING!
DIGITAL
DARKROOM
Digital Darkroom
Elements
6
Maskthereection1he refectionrequires a
little nore blur tolook natural, sogoto
F//ter>8/ur>Gauss/an8/ur andincrease the blur
- found4.0pixels worked. inally, click onthe
Layer Mask thunbnail onyour refectionlayer in
the Layers palette, select the 8rusnToo/ with
8/ack as your ForegroundCo/or, andnask areas
where the refectionwouldn't appear.
3
Maskthebirds 1here nay still be areas of the
sky fronyour birdinage visible, depending
onhowgooda jobyoudidof silhouetting it. f
so, gotoLayer>Layer Mask>Revea/ A//. Select
the 8rusnToo/, set 8/ack as your Foreground
Co/or andbrushover the areas of sky still
renaining. 1here are sone birds croppedonny
inage, sobrushover these tootorenove then.
JORDANBUTTER5: Photoshop
Llenents is a fantastictool for
tweakingandperfectingyour
digital inages. However, it's also
incredibly funtousetoaddextra
elenents of interest intoa scenethat
weren't actually therewhenyoucaptured
theinage. 1his is noreconnonly referred
toas a conpositeinage.
Conposites areconnonplacein
professional advertisingphotography, as it's
oftenthecasethat thecanpaigncalls for
either aninpossiblescenariotobeshot, or
whenlogistically it's expensiveor dihcult to
placetheitenor personthat youwant
photographedintheplaceyouwant then
tobeseen. 1hesetypes of conposites are
very conplex andoftentaketeans of
Basiccompositing
Get togripswiththeverybasicsof conpositingandstart adding
inaginaryelenentsof interest intoyour photographs
4
AddsomebIur Your birds nay look a bit too
crispinrelationtothe inage. f so, goto
F//ter>8/ur>Gauss/an8/ur. ncrease the blur
until the sharpness of the birds natches up
withother elenents inthe scene. 1his nay be
all that is requiredfor your inage -however, as
ny inage contains a refectionthere are a
couple nore steps that are requiredrst.
1
CreateasiIhouetteirst, your birdinage
needs tobe as near tosilhouette as possible.
Withthe inage open, gotoEnnance>Convert
to8/ack andWn/te. nthe Convert toBlack and
White box that opens, increase the Contrast to
darkenthe shadowandlightenthe highlights.
've alsoincreasedthe 8/ue slider torender the
blue sky alnost conpletely white. Click OK.
5
AddareectionRight-click onyour birds'
layer inthe Layers palette andselect
Dup//cate Layer.Gotolmage>Rotate>F//p
Layer vert/ca/. Using the Move Too/, holddown
the sn/ft key anddrag the birds downintothe
refectioninthe correct position. Reduce the
Opac/ty of this layer inthe Layers palette to
betweenJ0-70X, depending onyour inage.
2
5caIethebirds tot GoSe/ect>A// andthen
Ed/t>Copy. penyour landscape inage
andgotoEd/t>Paste. Select the Move Too/ and
click anddrag one of the corner anchors to
scale the birds tot your inage -naking sure
that Constra/nProport/ons inthe topnenubar
is checked. nce done, change the 8/end
Mode of this layer toMu/t/p/y.
retouchers tens of nanhours toconpile.
Whilethis tutorial doesn't gotothese
lengths, it serves as agoodintroductionto
theworldof basicconpositing, usingoneof
thesinplest types of inagetoconposite-
asilhouette. norder togivethis techniquea
go, you'll needanaininage, suchas the
landscapeshot 'vechosenandanobject to
addtotheinage-'veoptedfor afockof
birds infight. neof thenost crucial aspects
of conpositingis that thedirectionof lighting
inyour twoinages arecloselynatched. Both
of nyscenes arebacklit, sobasicadjustnents
tothebirdinageareall that's required.
1heonly linit is your inaginationwhenit
cones toconpositing, sogiveit a go-start
withthebasics as havedonehereandsee
what creativescenes youcanconeupwithl
Original
Digital Darkroom
Digital Darkroom
Digital Darkroom
PhotoshopCS
3
Transformyour seIectionGotoEd/t>Free
Transformanduse the anchor points to
adjust your selection. Scale androtate the
selectiontoenphasise that area of the inage.
Holdthe sn/ft key whenscaling tokeepthe
selectioninproportion. Press enter whendone.
4
AddanAdjustment Iayer nthe Layers
palette, click onthe Create newh// or
adjustment /ayer buttonandselect either Curves
or Leve/s. nthe Adjustnents palette, clipthe
adjustnent tothe layer belowusing the c//p
button(shown) before clicking the Autobutton.
5
5eIect moreareas Repeat steps twotofour,
selecting a diherent area eachtine. vary the
rotationandscale andalternate the Adjustnent
Layer betweenCurves andLevels. 1oggle the
Backgroundcopy layer onandohfrontine to
tine tocheck for any areas you've nissed.
JORDANBUTTER5:
Younayrecall that
afewissues back,
photocollageexpert
AdrianBrannan
(www.adrianbrannan.con)
showedyouhowtocreate
stunningphotocollages
without theuseof Photoshop.
Creatingthis typeof collage
usingAdrian's nethods is
guaranteedtoget yougreat
results, but what if youaren't
abletospendthetineshooting
at alocation, or want to
replicatetheehect onaninage
that you'vepreviouslyshotor that we'regoingtoneedalittlebit of Photoshopassistance.
Carryingout this process inPhotoshopis fairlystraightforward-it's as sinpleas selecting
anareaof aninage, tweakingtheselectionslightlyout of kilter andapplyinganehect or
adjustnent tothat area. Youcannaketheprocess as conplicatedor as sinpleas youlike-
thesnaller theareas youselect, thenoreinterestingandinpactful thenal inagewill be, but
thenorelayers you'll beworkingwith, thenoretine-consuningthetaskbecones. Best of
all, as this is anabstract techniquetherearenohard-and-fast rules ontheappearanceof the
nal inage, soplayaroundwithrotatingandscalingyour selectedareas as well as withyour
choiceof Adjustnent Layers tovarythenal ehect.
ollowour sinplestep-by-stepguidetocreateastylishdisjointed
abstract landscapeinPhotoshopfronasingleinage.
Createadigital photocollage
1
DupIicatetheoriginaI Iayer Loadyour inage
intoPhotoshopandnake a duplicate of the
Backgroundlayer by going toLayer>Dup//cate
Layer. 1hen, inthe Layers palette, switchohthe
visibility of the Backgroundlayer by clicking on
the eye icontoprevent confusion.
2
5eIect anareaof theimageUse the
Rectangu/ar Marquee Too/ toselect a
rectangular area of interest fronyour inage to
nanipulate. Withyour selectionnade, goto
Layer>New>Layer v/a Copy topaste this
selectionintoa newlayer.
Original
Digital Darkroom
Digital Darkroom
6
Makeadvancedadjustments Youcanapply
nore advancedCurves adjustnents by
tweaking the individual Red, GreenandBlue
channels inthe Adjustnents palette. Always clip
the Adjustnent Layer tothe layer below, or the
adjustnent will ahect the whole inage.
7
Addadropshadowehect nce your collage
ehect is done, right-click onone of your
selectedlayers inthe Layers palette andchoose
8/end/ngOpt/ons. Adda DropSnadowtothis
layer -'ve optedfor /5pacity, /px Distance,
0px Spreadand2Ipx Size. Click OK.
8
DupIicatethedropshadowRight-click on
this layer againandselect Copy Layer Sty/e.
1hen, holddownthe sn/ft key andselect all of
the layers inthe Layers palette. nce done,
right-click againandchoose Paste Layer Sty/e
tocopy the dropshadowtoall layers.
Digital Darkroom
Lightroom
JORDANBUTTER5: 1heuseof
contact sheets dates back tothe
days of lnphotography,
whereby reels of processedln
werepositionedontophoto
paper, whichwas thenexposed, creatinga
gallery of inages for thephotographer, or
their client, tolook throughquickly and
easily. ast forwardtodigital photography
andwhenweperuseour inages inthe
Library nodule's gridviewinLightroon,
weareehectively lookingat a digital contact
sheet -sowhy wouldweneedtheability to
print a contact sheet still
1henainadvantageof printedcontact
sheets is that they canbeeasily passedonto
other peoplefor nakinginageselections.
1his is especially invaluablewhenshooting
events at whichyouarelikely totakea lot of
pictures (suchas at a wedding, for exanple),
whichyouwant theclient tobeableto
choosetheir favouriteinages fron. Your
client isn't likely towant tosit infront of
Lightroonwithyouwhileyousort through,
andsoa printedor enailedcontact sheet
provides thenwithanexcellent way of
viewingandreferencinginages. Contact
sheets alsoconeintotheir ownif you're
keenonprintingyour owninages. Aprinted
contact sheet at thefront of eachcollection
of inages canbeusedas a sinplereference
tool sothat youknowwhichinages are
containedwithinthat collection.
norder tocreatea contact sheet, yourst
needa collectionof inages towork fron.
Youcanloadanentirefolder of inages into
thePrint noduleif youwish, but we'd
reconnendsortingthroughrst andusing
Lightroon's faggingsystentopick out your
favouriteinages, especially if you'reworking
witha lot of photographs. Alternatively, you
cansort theinages intoa uick Collection
towork witha norespecicset of les.
Contact sheets
Got a selectionof inages towhittledown Contact sheets area
quick andeasy way tochoosewhichinages youkeepandwhich
youditch. Here's howyoucreatetheninLightroon.
Toptip
If you'velots of images, your contact sheet
will likely runover several pages. Usethe
arrows at thebottomof themodule, or
cmd(Mac or ctr/ (PC andthe/eft and
r/ght arrowkeys tocyclethroughpages.
1
ChooseatempIateWithyour inages
chosen, click onPr/nt at the toptoopenthe
Print nodule. Use the Temp/ate 8rowser onthe
left toselect one of the preset contact sheet
tenplates. At the bottonof the preview
window, select whichinages will be used, either
All ilnstripPhotos, selectedPhotos or lagged
Photos, if you've already pickedyour favourites.
2
Customisetheoptions Use the nenutothe
right tocustonise your contact sheet. 1he
lmage Sett/ngs taballows youtoadjust howthe
inages sit withineachcell. reconnendleaving
Zoontoill uncheckedas this crops intoyour
inages andyoucan't adjust where it crops. 1he
Stroke Border options are usedtoadda border
of any colour andsize toeachinage.
3
Adjust theIayout 1he Layout tabcontrols
nost of the nainalterations that canbe
nade tothe appearance of your contact sheet.
Use the Marg/nsliders toadjust the borders
aroundthe edge of your grid, andthe Page Gr/d
sliders belowtocontrol hownany rows and
colunns are included. Renenber, the nore
inages yousqueeze in, the snaller they get.
4
Useguides Guides are visual narkers that
don't showupwhenthe contact sheet is
printed, but helpyouwhenassenbling it, handy
if you're tweaking the cells toyour liking. 1ick the
relevant check boxes under the Gu/des tabto
display or hide the guides. Unchecking Snow
Gu/des at the topgives youanidea of what the
nal printedsheet will look like.
5
AddinfoAdding a nane toeachinage is
essential ona contact sheet. Check the
Pnotolnfobox inthe Page tabandset it to
F//ename -this allows those viewing the inages
toreference thenby lenane, naking then
easier tond. Youcanalsouse the Page tabto
addwaternarks, addanidentity plate tothe
overall page, or change the BackgroundColor.
6
Print settings Choose your print settings in
the Pr/nt Jobtab. 'dreconnendprinting in
Draft Mode, keeping ink usage toa nininun.
Shouldyouwant higher quality prints, uncheck
Draft Mode Pr/nt/ngandinput the desiredvalues
below. Youcanalsochoose toprint toa JPLG
le by selecting this fronthe Pr/nt Tonenu
-handy if sending the contact sheets via enail.
Digital Darkroom
Digital Darkroom
Final
contact sheet
Oncedone, click
toquickly
print a singlesheet,
or toprint all
of thesheets.
W1HANACRBRNGNGHS
SUBJLC1SU11HLRSHLLL,
PR1RA1PH1GRAPHLR
PAULMBLLY1ALS1JRDAN
BU11LRSABU1HSC|||8P|1||S
PRJLC1, ANDHWAL11LL
CUR1LSYGLSALNGWAY.
CLLLPlTY
STATUS
CuttingEdge
"I FINDTHAT8EINGnicestill counts for a
heckof alot. Youcan't winanegowar with
acelebrity. That said, at theendof theday,
most of themarejust real people. Famehas
madethemsoincrediblybusythat they
cancomeacross rudejust because
everyone's pullingat themandwants somethingfrom
them. WhenI get myone-hour of their lifetotrytodo
somethingwith, theleast I candois beapolite, courteous
humanbeingandgivetheexperiencevaluefor them.
I hndthat most peopleappreciatethat."
NewYork-basedphotographer Paul Mobleyhas found
his groove. His unashamednice-guypersonalityand
refreshinglypositiveoutlookonlifeis as evident as his
lovefor portrait photography, andit's his most recent
work-in-progress project, Ce/ebr/t/es, that hehas to
thank. Althoughnostranger tophotographingpeople
(previous projects haveseenhimcriss-crossingthe
USphotographingbothfarmers andeverydayheroes,
this project sees Paul takeonthecomplexandclosely
guardedworldof thecelebrity. "This project cameabout
after beingcommissionedtoshoot acomedianfor a
movieposter. It inspiredmeandmademerealisethat
I coulddosomethingdinerent," reveals Paul. "I started
contactingthepublicists andagencies of celebrities that
I wantedtophotographandthemoreI photographed,
theeasier it becametoget themtoagree."
Gainingaccess tobig-namestars suchas AliceCooper
DannyTrejo. Dannyisan
intenseandintimidating-
Iookingguy, butheaIways
tookthetimetogreetfans
duringbreaksinshooting."
CuttingEdge
andDaveGrohl isn't always easy, althoughthebiggest
part of thebattleis oftenbreakingdownthebarriers that
exist betweenphotographer andsubject, as Paul explains.
'Alot of thetine'll just sit withny subject andtalk. Many
peopledon't likehavingtheir picturetaken, even
celebrities, sotheworst thingtodois tostart shooting
whenyou'venot eventakenthetinetoget toknow
then. 1alkingallows netoreacha confort level withny
subject that brings thenfronbehindtheir defences.
Paul continues, 'neexanplethat springs tonindis
Roger Daltrey, leadsinger of 1heWho. t took nea long
tinetoget his nanager toagreetoa shoot. Wewere
grantedjust twoninutes backstageat a giginWindsor.
Roger walkedin, westartedtalkingand, pressedfor tine,
1
2
3
1DaveGroh/:
Ahugestar, but
couIdn'thavebeen
morehumbIe, and
professionaI."
2ScottWh//eand:
Thiswasan
unpIannedshotI
grabbedquickIyat
theendofavery
dimcuItshoot."
3Chr/sD'E//a:
I'II aImostaIways
haveaconceptin
mind beforegoing
intoashoot."
Pau Mobey
suggestedhavinghintwirl thenicrophone, as hewas
fanous for doing. Heshut theidea downinnediately so
took a bunchof inages of hin, still chattingaway -after
I5ninutes, couldseeRoger was havingfun. inally, he
suggestedgivingthenicrophoneidea a goandwegot
theinagethat 'dvisualised. Most of thetineny subjects
arewillingtolet nedony thing, as they knowwhat
they'relettingthenselves infor. Roger just neededtoget
toknowneandeaseintotheshoot.
Paul's early career was spent assistingfor thelikes of
SteveSteignanandAnnieLeibovitz andit was thenthat
herealisedvery early onthat heonly wantedtoshoot
portraits. ' liketobearoundpeople. 1heability to
connunicate, interact withandbestinulatedby
soneonealways intriguedne, says Paul. 'Havingthegift
of thegabis vital, inheritedthat fronny father -he
couldtalk toanyoneandwithinninutes it was likehe'd
knownthenhis wholelife. Conversationis nore
inportant thananything-it's noreinportant thanthe
canera youpick upandthelenses youchoose. t's nore
inportant thanyour lightingset-upandtheprops you're
shootingwith. Apicturehas toconefronyour headand
fronyour heart, thecanera is just aninstrunent, a device
torecordwhat your subject is feeling. t's ny jobtostir up
thosefeelings anddrawthat out of ny subject.
WithC|orts boastingover I25inages at last count,
theproject has giftedPaul withsonenenorable
encounters. ''venet sonereal characters alongtheway
MANYPEOPLEDON'T
LIKEHAVINGTHEIR
PICTURETAKEN, EVEN
CELE8RITIES, SOTHE
WORSTTHINGTODOIS
TOSTARTSHOOTING
WHENYOU'VENOTEVEN
TAKENTHETIMETOGET
TOKNOWTHEM
CuttingEdge
1A//ceCooer:
Ce/ebr/t/eshas
putmeinagreat
pIaceinmycareer.
I'mveryexcited
aboutthisproject."
2Steve-O: I
aIwayswanttotry
todosomething
diherent,
somethingthat
makespeopIestop
andIook."
3RogerDa/trey:
Ittooksixmonths
oftryinganda4am
cross-AtIantic
interrogationby
hismanager
beforetheshoot
wasagreed."
4Penn8Te//er:
DigitaI artistMike
Campau(www.
m/kecamau.com)
takescareofthe
nishingtouches."
sofar, reveals Paul. '1akeactor Danny 1rejo, for exanple
-he's a very serious guy. Heplays sonetoughcharacters
andlooks very intinidating. photographedhininthe
snall townhegrewupinjust outsideof Los Angeles and,
let netell you, this guy is a herothere. Whilewewere
shootingwekept gettingpeopleaskingfor photos and
autographs -hedidn't say notoanybody. was worried
that wouldn't beabletoget hintofocus ontheshoot
but henanagedtogivenefull intensity for a fewninutes
at a tineandwouldthenbreak away togreet a fan.
'ntheother hand, therewas Scott Weilandof the
Stone1enplePilots andvelvet Revolver, Paul continues.
'Hewas twotothreehours lateandwhenhewalkedinyou
couldtell that hedidn't want tobethere. Hespent the
wholetinetryingtopokefunat ne-hebrought along
this snall caneraandkept takingpictures of neand
wouldn't listen. ntheend endedupwithjust twogreat
inages out of hundreds taken-that's cuttingit close.
t illustrates theinportanceof agoodrapport -when
shot DaveGrohl frontheooighters, everysingleinage
caneout great becausewejust hit it oh. He's probablythe
nicest guythat 'veever photographed.
As nentionedearlier, C|orts is very nucha
work-in-progress, withnoendgoal insight, as Paul
explains. '1heintentionwas always tonakea book
frontheproject. t's a coupleof years away at this point
-'nenjoyingit toonuchtostopandtherearestill too
nany great folks that want tophotographtocall it a day.
'ndeterninedtophotographSir Paul McCartney -he's
ny unicornat present. 'veenvisionedexactly how'll doit
too. seeit as a black owhiteinageandit'll probably be
shot onlnfor that tineless feel.'
Sohowdoes dealingwiththehighandnighty conpare
tothenorehunblecharacters fronPaul's previous
projects 't's funny, weall havea preconceivednotionof
what a celebrity will belikebeforeweneet then-weput
thenuphighona pedestal, but at theendof theday,
whenyou'reoneonone, they'rejust real people.
Tov/ewPau/s work, v/s/t. www.pau/mob/eystud/o.com
Pau Mobey
I'MDETERMINEDTOPHOTOGRAPHSIRPAUL
MCCARTNEYHE'SMYUNICORNATPRESENT. I'VE
ENVISIONEDEXACTLYHOWI'LLDOITTOO
1 3
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WLLLTPAVLLLLD
CuttingEdge
1RAvLLANDDCUMLN1ARYphotographer
Mitchell anashkevichis nostranger when
it cones tophotographingplaces, people
andcultures infar-fungcorners of the
globe. His insatiablewanderlust has seen
hindocunent lifefrontheshernenin
theidyllicwaters of vanuatuintheSouthPacic, toniners
workinginthetoxicsulphur nines of awahjeninJava,
ndonesia, creatingoutstandinginages alongtheway -
however, it was his inages frona recent triptoLthiopia
andnorespecically therenotenorthernregionof
1igray whichcaught our attentionthis tine.
'1his was therst tine'dvisitedLthiopia, but 'vealways
beenfascinatedbythe1igrayregion, explains Mitchell.
'1hepeopleof 1igrayarelargelyrthodoxCoptic
Christians, whichis theprinaryreligioninBelarus where
was born. foundit intriguingthat thesepeoplehavesone
of thesanecultural elenents as nybirthplace. 1igrayis
alsofanous for therockchurches, soneof whichare
locatedinhigh, inaccessibleplaces -naybeit was theboy
innethat wantedtohavethis adventureandexplorethen.
1heother attractionwas that largeareas of this regionare
incrediblyisolated-insoneplaces was theonlywhite
personever tohavevisitedthat villageor nonastery.
CuttingEdge
1Thisimagewas
takenintheAbba
Yohani church in
theAbi Adi region.
Here, adevotee
readsfromthe
hoIybook."
2ThisIeather-
maker wasnearing
100yearsoId.
Hereheisseenin
hishomeintheAbi
Adi regionmaking
babycarriersfrom
IeathertoseII."
3Theheadpriest
readsthemorning
massatAbuna
YemataGuh
church, oneofthe
oIdestintheworId,
datingbacktothe
4thCenturyAD."
4I cameacross
thiseIderIynun
inaremote
monastery inthe
mountainous
regionofEnderta."
As anyonewhohas ever travelledcanattest, getting
togrips withthelocal nannerisns is a largepart of
integratingintoanother culture. WhiletourisninLthiopia
is ontheincrease, theareas that Mitchell desiredto
docunent weresonewhat ohthebeatentrack. 'When
preparingfor thetrip, it was dihcult toresearchsoneof
thelocations as they aresorenote, connents Mitchell.
' foundinfornationabout soneof thechurches but it
wasn't until was therethat net a local guidewhowas
abletohelpneget totheplaces wanted. Hebecanea
very goodfriend- purchasedtwonotorcycles toget
aroundonandintheendlet hinkeephis as way of
paynent. Without a guideandyour owntransport, you're
linitedtotheusual tourist haunts, whicharen't usually the
best representationof thecultureandlifeinthat region.
t's clear that Mitchell's nethodology works. His inages
fron1igray sit onthenoreintinatesideof travel
photography. ronquiet, candidnonents captured
insideancient candlelit places of worshiptoshafts of
natural light illuninatinga wonanas sheprepares dinner,
it quickly becones apparent that thereis a level of nutual
respect betweenphotographer andsubject. 1his not only
cones fronbridgingthegapbetweencultures, but also
fronunderstandingandrespectingyour subject's way of
life. 'My backgroundhelpednetorelatetothepeoplein
rural 1igray -surprisingly, their beliefs aresinilar tothose
sharedby theBelarusianrthodox Church. or exanple,
webrought candles tothechurches wevisited. 1helocals
saidthat weweretherst outsiders todothis and, as
candles areusedinevery cerenony, it was greatly
appreciated. 1hesesnall gestures helpedestablish
relationships andseparatedus fronjust another tourist
whodoesn't careabout their way of life, says Mitchell.
'Wefoundthelocals tobeextrenely acconnodatingto
us, too. Wechancedupona snall settlenent whereone
elderly nan, clainingtobeclosetoI00years old, invited
us intohis honetowatchhinwork. Hewas crafting
leather intobaby carriers, whichhesoldanongst the
connunity toearna living. 1hesepeoplehaveno
electricity, norunningwater andthey surviveby farning
andlivingohthelandandaninals. t's a sinpleway of life,
but it's alsovery tough-nothingis takenfor granted.
1herapidriseinthepopularityof photography, along
withconsuner products beconingincreasinglyahordable
totravellers, nakes Mitchell's jobever noretricky.
However, takethecorrect tackandpeoplearenore
welconing. 'Sonecultures aresonewhat oblivious toyou
takingphotographs. Rural 1igraywas onesuchplace-
theydidn't nindthat was takingtheir photograph, as long
as theyknewthat didn't poseathreat, explains Mitchell.
' always chat topeoplerst, andexplainwhat 'ndoing
beforeaskingif theynindif takesonephotographs. then
1
3
5
2
7
4
6
5AIocaI stands
beneathan
astonishing
500-year-oId
paintedfrescoin
theAbunaYemata
Guhchurchin
GeraIta, Tigray."
6Amother
preparesfresh
coheeoverareat
herhomein
GeraIta, Tigray.
Coheeproduction
inEthiopiaisvery
importanttothe
Ethiopian
economy."
7ATigray
womancooksthe
EthiopiannationaI
dish, aspongey
atbreadknown
asinjera. The
smokefromthe
reisiIIuminated
byashaftofIight
enteringthrough
oneofthe
windows."
Mltchell Kanash
quietlyandrespectfullynovearoundandgoabout ny
work. Youalways havetoaskrst andestablishtherules.
Mitchell's 1igrayexperienceofteninvolvedworkingin
trickylightingconditions, whichis enoughtosendnany
photographers reachingfor thenearest 6ft softbox, but
Mitchell relishes theatnospherebrought forthbylow-light
environnents. ' ndthesesorts of situations exciting-a
loneshaft of light burstingintoadarkroonfrononeside,
or piercingthroughthesnokefronanearbystoveor re.
When'npresentedwiththosescenarios 'nlikeanexcited
kidand know'ngoingtoget sonethingspecial. ndif
'npresentedwithatrickylightingsituationthat exceeds
nycanera's dynanicrangethen always exposewith
post-processinginnind. Soneof thetineif thecontrast is
toogreat, thenyouhavetodecidewhat's noreinportant
totheinage-savingthehighlights or theshadows.
Withhis Lthiopia tripconpleteandsonestunning
inages capturedfrona cultureandregionless often
explored, ask whether thecountry liveduptoMitchell's
expectations. ' spent therst nonthof ny tinethere
incredibly frustrated. t's a very dihcult country for an
outsider tounderstand, heelaborates. '1hepeopleare
extrenely proud, tothepoint of sonetines being
xenophobicandnot acceptingof anoutsideinfuence.
1hat's part of what's nadethenincredibly fascinatingand
has kept their beliefs andtraditions intact. 'venever had
sucha hardtinereadingpeopleas didinLthiopia, and
that's crucial for peoplephotography. However, withthe
helpof ny guideit quickly clickedandintheendit went
beyondall expectations -quitefrankly didn't believethat
a placesountouchedby nodernworldstill existed. 1he
frustrations that foundwerequickly alleviatedby the
experiences that hadandthepeoplethat net.
Mitchell is alreadyplanninghis next adventure-drivinga
LandRover fronSenegal toSouthAfrica. Alongsidehis
travels hesonehownds tinetowritee-books, andhas
startedaventurecalledLyevoyage(www.eyevoyage.con),
whichsets out tosharetravel stories as well as aiding
aspiringtravel photographers increatingstunninginages.
Sowhat's his advicefor anyonewantingtofollowinhis
footsteps andbeconeafull-tinetravel photographer
'Mybest advicewouldbenot tojunpinandthinkof it as
acareer -tryit, seeif youlikeit andbuildupastrong
portfolio. 1henseewhat other peoplethinkof your inages
-askfor feedback, askfor critiqueandsendthento
nagazines. Don't obsess withnakingnoneyuntil you
haveastrongportfoliotostandbehind. Aboveall, besure
that youhavethedrivetotravel theworld. ewexperiences
arenorerewardingthandiscoveringanddocunentingan
interestingcultureanddiherent wayof life.
Toseemoreof M/tcne//s work, v/s/t.
www.m/tcne//kpnotos.com
I'VENEVERHADSUCHAHARD
TIMEREADINGPEOPLEASI DIDIN
ETHIOPIA, ANDTHAT'SCRUCIAL
FORPEOPLEPHOTOGRAPHY
LAND5CAPE5
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Imagequality
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Master your D5LR
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GLARAWARDS
K-50II6 D5LPLI5TING5pII9 ULTPA-WIDE5pI2I 5IGMA15MMFl2.8pI30
C1BLR20I3 i DIITA 5R POTORAP
1HLLN1RY-LLvLLSLC1Ris without
doubt thetoughest areaof thedigital SLR
narket inwhichtosustainanarket share.
Models arereplacedwithinI2-I8nonths as
rivals trytooher theverylatest innovation
andcapturerst-tineDSLRbuyers whowill
nost likelystickwiththebrandas theyadd
lenses totheir systenandeventually
upgradetheir canerabody.
t's fair tosaythat Pentaxdeserves alarger
chunkof thenarket thanit has currently
acquired. ts caneras arewell nade, reliable
andboast decent features. ts relatively
nodest shareis aconsequenceof launching
its rst DSLRyears after thelikes of Canon
andNikonandthenonlyoheringtwoor
threeAPS-Cnodels intherangeat anytine.
However, it has beennoreproactiveinthe
last coupleof years andfar noreaggressive
interns of pricing. 1his nonth's test looks at
the-50, anear-twintothe550-500
releasedat thesanetine, but boastingthe
additionof aweather-sealedbody.
HandIingeaseof use
1herearefewsurprises whenit cones to
general handling, withthe-50lookingand
feelinglikenanyother entry-level DSLRs.
t's certainlyoneof thenoresolid, witha
reassuringweight toit andalargeangular
handgripthat ahords asturdyhold. 1hereare
rubberisedpanels onthegripandfront of
thecanera, but nonewheretheright thunb
rests, which'dliketohaveseen.
Ainedprinarilyat novices, it'snosurprise
that thelayout hasbeensinpliedtonake
operationaseasyaspossible. 1hetop-plate
nodedial iswell narkedandthenajorityof
buttonsareneatlyarrangedontherear tothe
right of the3inLCDnonitor. All areclearly
labelledsoit'seasytondwhat youneed
quickly. PressMenuandyou'reabletoaccess
all thecanera'sfunctions, whiletheN
buttonohersseveral of thekeyfunctions,
suchasneteringandinagequality. f likene
youndthedefault colours alittletoogarish,
acustonfunctionohersnoreneutral tones.
Whileeasytonavigate, oneaspect of the
on-screensysten'nnot keenonistheicons,
suchasthoseusedontheCustoninage
settings, whichfor nenaybringconfusion
rather thanclaritytobeginnerstryingto
understandwhat thefunctionsnean.
1hat said, 'venoconplaint withthequality
of thescreen, whichissharpandbright.
1hekeydiherencebetweenthe-50and
thecheaper -500is theweather-and
dustproof body. 1he-50features 8Iseals
that allowit tobeusedwithout problens in
adverseclinaticconditions -and
tenperatures as lowas -I0C. neother
standout featureof the-50is its viewnder,
whichis larger andbrighter thanwhat you
conetoexpect fronanentry-level nodel
andboasts I00coverage.
nenal niggle, though, is theSDcard
slot, whichisn't theeasiest toextract cards
fron, althoughif youpress andreleasethe
cardquickly, youcanspringit fronthebody
likeapieceof toast fyingfronatoasterl
nall other respects the-50operates and
handles well andshouldn't beaproblento
use, evenfor thenost inexperiencedof
photographers. 5core23/25
Features
As hintedat earlier, thePentax-50boasts a
conprehensiverangeof features that stand
it upverywell against rivals inasinilar price
bracket, althoughit's fair tosaythat's not the
casewithinageresolution. At I6.28-nillion
PentaxK-5
SPECIFICATIONS
Imagesensor:APS-CCMS(23./xI5./nn)
Resolution: I6.28-negapixels
Maximumimageresolution: 4928x3264pixels
Number of AFpoints: II(ninecross-types)
Multi-zonemetering: //segnents
ISOrating: I00-5I200
Shutter speeds: Ii6000sec-30seconds +Bulb
8uilt-inash: Yes, GuideNunber I2(SI00, n)
Storage: SD(SDHCiSDXC)
Continuousframerate: Sixfranes-per-second
LCDmonitor: 3in(92I,000dots)
Size: I29x96.5x/0nn
Weight: 650g(includingbatteryandcard)
Contact: 08/0/368299, www.pentax.co.uk
Pentax K-5: Dimensions
LN1RY-LLvLL DG1AL SLR
Test Centre
8odyonly:530(Guide) i530(Street)
INTHE BOX
1he Pentax -50is suppliedwith
a Li-onbattery (D-LiI09), battery
charger (D-BCI09), body cap,
strap, interface cable, software and
nanual. 1hree kits are available.
body only, witha weather-resistant
(WR) I8-55nn, or withI8-55nn
WRand50-200nn
WRzoons.
Lookingfor anodestlypriced
digital SLRthat boasts a
weatherproof bodyanongst its
arsenal of featuresDaniel Lezano
tests andrates thelatest entry-
level nodel fronPentax
18-55mmISSTMkit:600(Guide) i600(Street)
TEST: DANLL LLZAN
pixels, the-50is lower thanthe
I8-negapixels of nost Canons andthe
24.3-nillionof theNikonD3200. 1hat said,
thereis astrongargunent tosaythat
I6-nillionpixels is norethanenoughfor the
vast najorityof anateurs, especially
beginners, sothis gureshouldn't dissuade
potential purchasers. 1heCMSAPS-C
sensor works inconbinationwithPentax's
PRMLMinagingprocessor toallowull HD
videoandinages shot usingawide
sensitivityrangeof SI00-5I200. An
inpressivefeatureis thecontinuous frane
rateof sixfranes-per-second(JPLGonly).
1hesensor boasts ananti-dust systenandis
housedinaplatfornthat provides Shake
Reduction(SR) withvirtuallyeverylens.
1heautofocus is basedaroundPentax's
respectedSAXXi+Anodules and
features anarrayof IIApoints. All but the
Apoints furthest left andright inthe
arrangenent boast thenoresensitive
cross-typesensor, whichis inpressive
consideringthecanera's price. Youcan
select all, agroupof veor individual points
andset single-shot, continuous-Aor
Auto-Anodes. AnAassist LLDbeanaids
focusinginlowlight. Liveviewis available,
withcontrast andfacedetectionoptions.
Afull set of exposurenodes, including
several seni-andfull-autonodes, provides
options for all levels of photographer. 1hree
neteringpatterns (//-segnent, centre-
weightedandspot) areavailable, alongwith
anAiAL-Lockfacility, bracketing(+i-3Lv)
andexposureconpensation(+i-5Lv).
1hebuilt-infashsyncs at IiI80secand
boasts afull set of nodes includingwireless
control of external fashguns.
1hoselookingtotryin-caneracreative
options havethechoiceof IIcustoninage
functions as well as I9digital lter ehects to
experinent with. t's worthnentioningthat
as well as thesuppliedlithiun-ionbattery,
anoptional AAholder is availableoheringa
convenient back-upshouldyourunout of
power. Andwhilethereis nobuilt-inWii,
the-50is conpatiblewithLye-i SDcards.
inally, if you'reafanof colour
custonisation, younaybeinterestedto
knowthat as well as thered, whiteor black
versions, you'reabletochoosefronI20
colour conbinations andorder acanera
built toyour individual tastes (visit thePentax
websitefor details). 5core22/25
Performance
1heautofocusisnoticeablyfaster than
previousgenerationsandlockspositivelyon
subjects, althoughit nust besaidthat thekit
lensisoneof theloudest we'veheardfor
sonetine. MeteringandWhiteBalance
systensarebothveryreliableandcanbe
reliedupontodeliver excellent resultsthe
vast najorityof tines. Noiseisverywell
controlled, evenat SI600theinagesare
norethanusable. Sharpnessisveryhightoo,
withthekit lensboastingsoneof thebest
opticswe'vefoundonanI8-55nn. verall,
averystrongperfornance. 5core23/25
TheK-50features8sealsthat allowit tobeusedin

adverseconditions andtemperaturesaslowas-0C
Verdict
WhilethePentax
K-50isn't perfect, it
remains oneof the
best choices for beginners looking
for ananordableandwell-specihed
DSLR. Whilethenear-twinK-500is
availablefor aroundL100less, the
inclusionof weatherproohng, which
allows theK-50tobeusedinrainand
snowas well as sunshine, is areal
bonus. It's aneasy cameratooperate
andthelargeviewhnder makes it
enjoyabletouse. Its pricepoint is
attractive, too, althoughit faces very
stincompetitionfromthelikes of the
NikonD3200, CanonEOS600Dand
Sony Alpha57, as well as various
CSCs. However, anyoneoptingfor
thePentax K-50will besatishedwith
theexcellent quality of theimages it
is capableof producing.
Above: The16.28-megapixeI sensor andPPIME
MimagingengineworkincombinationtodeIiver
images withexceIIent coIour reproductionand
IownoiseIeveIs, evenat higher I5Oratings.
BE5T
BUY
HANDLING 23l25
FEATUPE5 22l25
PEPFOPMANCE 23l25
VALUEFOPMONEY 23l25
OVEPALL 91l100
Exposure: 1l100secat fl8(I5O200) Exposure: 1l50secat fl5.6(I5O800)
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LSII00D
460 I2.2 I.6x 2./ SD
(HCoXC)
HD - - Ii4000 I00-
6400
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LS I00D
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LS 60D
900 I8 I.6x 3 SDi
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25600
Ii250 / /55 I39xI04.3
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LS /D
I,/00* I8 I.6x 3 C ull HD - - - Ii8000 I00-
I2800
Ii250 8 820 I48.2xII0./
x/3.5
Jan I0 93
Canon
LS 6D
I,800* 20.2 Ix 3.2 SDi
SDHC
ull HD - Ii4000 50-
25600
- IiI80 4.5 /55 I44.5xII0.5
x/I.2
Mar I3 90
Canon
LS 5DMk
3,000* 22.3 Ix 3.2 Co
SDi
SDHC
ull HD - - - Ii8000 50-
I02400
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x/6.4
Aug I2 94
Canon
LS-ID
5,300* I8.I Ix 3.2 2x C ull HD - - - Ii8000 50-
204800
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XC
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I2800
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x/6.5
Sep I2 9I
Nikon D90 600* I2.3 I.5x 3 SDi
SDHC
HD - - - Ii4000 I00-
6400
Ii200 4.5 620 I32xI03
x//
Nov 08 90
Nikon D5200 /20* 24.I I.5x 3 SDi
SDHC
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25600
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Apr I3 93
NikonD/I00 I,I00* 24.I I.5x
(plus
I.3x)
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- - - - Ii8000 I00-
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25600
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LAS1MN1HWLlookedat agroupof ultra
wide-anglezoons suitablefor full-frane
andAPS-Csensors (seeissue82toread
noreabout it) andnowit's theturnof their
counterparts for APS-CDSLRs only.
1hekeydiherencebetweenthetwo
breeds is theseultra-wides aredesigned
specicallyfor APS-Ccaneras. Because
their sensors aresnaller, lenses for APS-C
canbenadewitha'reducedinagecircle'
andthis has sonebigadvantages.
Lensdesignisanixtureof conpronises,
andtherearelotsof then. 1henainonesthat
designershavetojugglewitharezoonrange,
naxinunapertureandinagecircle-
andthey'reall inconfict. Youcan't, for
exanple, havebothahugezoonrangeand
averyfast naxinunapertureat thesane
tine, thoughthereareother considerations,
too, likesizeandweight, andoverlaying
everythingis cost. ntheother hand, with
thereducedinagecircleof APS-Ccaneras,
designers havenorefreedontoexploit
theseother benets.
All thelenses inthis grouparegreat
exanples of what canbedoneonAPS-C.
Afocal lengthof I0-24nnis not aproblen,
thoughthat wouldbeinpossibleon
full-frane. Certainly, nobodyhas triedit yet,
andif theydid, thelens wouldbehuge, very
costlyandoptical perfornancewouldn't be
verygood. Not onlyis afocal lengthrange
likethat achievableonAPS-C, it canbedone
inaconpact andahordablepackage, witha
highstandardof sharpness.
1heoptical upsides of thesnaller fornat
areat their nost benecial withwide-angles,
andtheytendtodininishwithlonger focal
lengths. or this reason, bothCanon's L-S
rangeandNikon's DXarelinitedtonostly
shorter focal lengths.
But not everythinginthegardenis rosy.
LvenonAPS-Cfornat, ultra-widezoon
designis not easy, andall theselenses are
stuhedwiththelatest optical technology.
Lots of conplexelenents, nanynadeof
exoticandcostlyoptical glass, conputer-
craftedwithaspherical surfaces.
Perfornanceisn't perfect, andthough
sharpness is oftenveryhigh, there's always
strongbarrel distortionpresent, particularly
at thewideend. vignettingisn't sobad,
helpedalot bythesnaller fornat, but there's
plentyof chronaticaberrationtobefound.
ortunately, nodernsoftwareconesto
therescuehere, andall thesethingsareeasily
correctedinpost-processing, or at least
dranaticallyreduced. Withsoneof thelatest
DSLRs, theycanevenbexedin-canera.
Thelenses ontest.
1)CanonL-SI0-22nnfi3.5-5.6 E500
2)NikonA-SI0-24nnfi3.5-4.5GDXLDE640
3)NikonA-SI2-24nnfi4GLDE840
4)5igmaI0-20nnfi4-5.6LXDCHSMES70
5)5igmaI0-20nnfi3.5LXDCHSME460
6)TamronSPI0-24nnfi3.5-4.5Di LDES70
7)TokinaSPI2-28nnfi4A1-XProDX E500
Test Centre
1LS1 DLSCRP1N
Lens terminology
AF motors
Micro-notors aretheolder andnore
conventional typeof systenusedto
focus lenses andrenaina fast and
reliableoption. Better still arenotors
using'sonicwaves' torotatethelens,
whicharefaster andquieter. Most
brands oher lenses that boast sonic
notors, including. CanonUltrasonic
(USM), NikonSilent WaveMotor
(SWM), Signa Hypersonic(HSM),
Sony Super SonicMotor (SSM) and
1anronUltrasonicSilent Drive(USD).
Aspherical lens element
High-quality elenents designedto
inproveperfornance, particularly
towards franeedges. Aspherical lens
elenents areusually nadefronglass,
but therearealsonany noulded
glassiplastichybridelenents, too.
Imagestabilisation
Many lenses havea 'foating' elenent
linkedtosensors that noveit to
counteract novenents when
handholding. Most brands oher
lenses withlens-basedstabilisers,
althoughwithsoneit's canera-
based. 1hey include. Canonnage
Stabiliser (S), Nikonvibration
Reduction(vR), Signa ptical
Stabiliser (S) and1anronvibration
Conpensation(vC).
Internal Focusing(IF)
Alsocalledinner focusing, this systen
rotates elenents withinthelens
duringA sothat thefront of thelens
doesn't rotate. 1his is useful when
usinglters as youdon't haveto
adjust thelters followingfocus.
Premiumglass elements
High-quality elenents ensurethe
best possibleinagequality, delivering
naxinunsharpness, superior colour
reproductionandcontrast, and
nininal chronaticaberration.
Connontypes include. Canon
luoriteoUltra LowDispersion(UD),
NikonLD(Lxtra-lowDispersion),
Signa Lxtraordinary LowDispersion
(LLD) oSpecial LowDispersion(SLD),
1anronLxtra Refractive(XR).
Howwetest
thelenses
UR1LS1SLat thekeyfactors
infuencinginagequality-sharpness,
distortion, chronaticaberrationand
vignetting. Wealsotest perfornanceof the
Aandinagestabiliser (S) systens. or S, we
useanoscillatingplatforncuston-nadeto
ninichandholdingthelens. 1heplatforn's
great virtueisthat it'sanabsolutelystandard
test, soall lensesaretestedinexactlythe
sanewayfor accurateconparisons.
5harpness: What wecall sharpness is a
conbinationof resolution(theneness of
details) andinagecontrast (howclearly
thosedetails areshown). Resolutionand
contrast aredirectly linkedandwhenone
goes up, theother goes down. Weuse
Modulation1ransfer unction(M1) analysis
toneasuresharpness, as dolens
nanufacturers. Results areshownas M1
at 24lines-per-nnfor full-franelenses and
at 36lines-per-nnfor APS-Ctoadjust for
thecropfactor, sosharpness is generally
slightly lower thanfull-frane, inlinewith
actual use. Multiplereadings aretakenand
averaged, andedgereadings aretakenfron
points I-2nnfronthesensor edge. Peak
resolutionshows naxinunlpnnat 20
M1, whichis thelowest level wherelight
anddark tones canbereliably neasured,
thoughthediherenceis faint.
Unlikenost lens test procedures that use
arelativelysnall test target that oftenhas to
beshot at verycloserange, egwide-angles,
weusenultipleindividual targets of diherent
sizes tokeepdistances realistic. Afocusing
wedgeensures absoluteaccuracyand
autonaticallyadjusts for eldcurvatureand
focus shifts that canskewother nethods.
ANikonvIis usedwhenpossible(all Canon
andNikonlenses) withaprecisioncuston
adaptor topositionanyareaof thetest
inageover thecentreof thesensor. 1his
provides bothalevel playingeldandalso
anextrenelyhighresolution(equivalent to
/4negapixels onfull-frane) toensurethe
canerais never thelinitingfactor.
Distortion: Distortionnakes straight
lines towards thefraneedges appear
curved. t changes withfocal lengthandis
less noticeableonAPS-C. Barrel distortion
lines curveoutwards (indicatedas a positive
percentagevalue, eg+I.5), pincushion
distortioncurves inwards (indicatedas a
negativevalue, eg-0.5). 1helower the
statedgure, thebetter. Ior less is good,
2or norebeingincreasingly noticeable.
Vignetting: vignettingis darkening
towards thecorners. t changes withfocal
lengthandis alsoless proninent onAPS-C.
vignettingreduces quickly as theapertureis
closeddown. t's easily renovedin
post-processing, but whenit's strongthis
results ingreater noise. vignettingis
neasuredinLxposurevalues (ILvequals
onestop). -ILvis usually not a problen.
Chromaticaberration: Alsoknown
as CAor colour fringing, is usuallyonly
slightlyreducedat higher finunbers, andis
norenoticeableonAPS-Cfornat duetothe
cropfactor. Distortion, vignettingandCAcan
all besubstantiallyreducedor elininated
withpost-processingsoftware.
Autofocus: Autofocus speedand
accuracy is a ganeof twohalves -half
canera, half lens. nthelens sideof things,
nost of thediherences relatetothe
nechanics andbuildquality, andthis is
connentedoninthereviews.
Imagestabilisation: Weusean
oscillatingplatforn, custon-nadetoholda
DSLRbodyinplaceandninichandholding
characteristics, andinour testingit has
provedveryrealistic. 1heplatforn's great
virtueis that it's anabsolutelystandardtest.
5harpness: HowcIearIynedetaiI isrecorded
Distortion: 5traight IineshaveasIight curve
Vignetting: Progressivedarkeningtocorners
Howtoreadthe lens sharpness graphs
Our bar graphs provideyouwithavisual
representationof lens sharpness. Each
graphshows thecentreandedge
performanceof thelens at full f!stops from
maximumaperturetof!16at dinerent focal
lengths of thezoom. Centresharpness is
showninred, edgeingreen. Thehigher the
bar, thebetter thesharpness, withratings as
follows: 8elow10: Poor, 10-29: Fair, 30-49:
Good, 0-69: Very good, Over 70: Excellent.
All our lens test analysis is performedusing
lmatest software.
Lens5harpness(X): FuII-frame Edge Centre
60
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Test Centre
UL1RAWDL-ANGLL ZMS
HANDLING: Sweet handling, withvery light
weight andlightly weightedzoonand
focusingrings. 1opquality build.
FEATUPE5: ocal lengthrange is broadand
versatile, andgoodoverlapwitha standard
range zoonneans less lens changing.
Maxinunapertures are nodest though.
AUTOFOCU5: Canon's Ultrasonic focusingis
fast, positive andquiet andohers full-tine
nanual override.
PEPFOPMANCE: Sharpness is high, especially
inthecentre, whereit kicks ohwell intothe
'excellent' zoneandthis is naintainedat all
focal lengths, only dippingunder at fiII. Ldge
sharpness is notably lower, but still consistently
aroundthe'very good' level andunlikesone,
there's nodrop-ohat thelonger end. Peak
resolutionis thehighest hereat I29lines-per-
nn. Aberrations control is theusual nixedbag
withultra-wides. Barrel distortionat I0nnis
+2.4, whichrates as 'poor', thoughothers are
worseandit quickly gets nuchbetter at longer
focal lengths. vignettingis relatively high, but
never nuchof a problenevenwideopen, and
chronaticaberration(CA) is about average.
VEPDICT: versatile zoonrange, great A,
anda highstandardof sharpness -very high
inthe centre -is naintainedat all focal
lengths andapertures. t cones ina very light
andconpact package withexcellent build
quality, andbest of all the price has just been
reducedby over I00.
HANDLING: Conpact, light withsnoothand
well-weightedcontrols. Goodquality build-
nadeinNikon's China plant.
FEATUPE5: Best zoonrangeinthesuper-wide
class for greatest versatility, thoughnaxinun
apertures areaverage. Has a rain-seal nount
gasket, andcones witha lens hood.
AUTOFOCU5: Silent WaveMotor is excellent as
usual, withfull-tinenanual override.
PEPFOPMANCE: 'Lxcellent' levels of sharpness
inthecentreat all focal lengths, fronfi3.5-4.5
anddippingdownto'very good' aroundfi8as
dihractionbegins tobite. Ldgesharpness is
lower, thoughconfortably withinthe'very
good' bandat all tines, apart fronat thelonger
24nnendthat doesn't really get goinguntil
fi8. Peak resolutionis a littlelower thansone
at III lines-per-nn. Distortionis highat
I0nnwitha hefty +3.9, thoughit inproves
dranatically at longer focal lengths andis close
tozerothroughnost of thenidrange.
vignettingis low, rating'excellent' overall, and
chronaticaberrationcontrol is typical of nost
ultra wide-angles, inother words always
present andrating'fair'.
VEPDICT: Sinilar totheCanonL-S I0-22nn
innany ways -sharp, conpact andlight, great
A, sanenaxinunapertures andevennore
useful focal lengthrange. Ldgesharpness at
24nnis theonly weak spot, andthepeak
resolutiongureis slightly lower. t's quite
expensiveat 640though.
HANDLING 18l20
FEATUPE5 18l20
PEPFOPMANCE 37l40
VALUEFOPMONEY 18l20
OVEPALL 91l100
HANDLING 18l20
FEATUPE5 18l20
PEPFOPMANCE 36l40
VALUEFOPMONEY 17l20
OVEPALL 89l100
CanonEF-510-22mmfl3.5-4.5U5M
NikonAF-510-24mmf3.5-4.5DXGED
CanonEF-S0-22mm
f/S.5-4.5USM
500
NikonAF-S0-24mm
f/S.5-4.5GDXED
640
BE5T
BUY
DI5TOPTION:Strongbarrel +2.4at10mm.
Overall rating:Verygood
PEAKPE5OLUTION:129lines-per-mm
atMTF20, 1mmf!4centre
CHPOMATICAEPPATION:Reducesat
22mm. Overall rating:Fair
VIGNETTING:Moderate1.4EVat10mmf!3.5.
Overall rating:Excellent
DI5TOPTION:Severebarrel +3.9at10mm.
Overall rating:Good
atMTF20, 10mmf!5.6centre
VIGNETTING:Mild0.9EVat10mmf!3.5.
HIGHLY
RATED
Lens5harpness(X): 10mm Edge Centre
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fl8 fl16 fl5.6 fl11 fl4 NlA
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fl8 fl16 fl5.6 fl11 fl4.5 NlA
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I I
Test Centre
Test Centre
HANDLING: Lhectively identical tothe Nikon
I0-24nn. Conpact, snooth, high-quality
build-very nice.
FEATUPE5: Sinilar tothe NikonI0-24nn,
but at I2nnit's not quite sowide. Maxinun
aperture is a constant fi4. Hoodsupplied.
AUTOFOCU5: 1he Silent Wave Motor is as
goodas ever -swift, quiet andaccurate,
plus full-tine nanual override.
PEPFOPMANCE: 1his is a ten-year-oldoptical
design, Nikon's rst DXultra-wide. Basedon
our reviewsanple, it displays 'classic'
characteristics of highsharpness at the wide
end, steadily reducingas focal lengthis
increased, withedge sharpness always
lagging. At I2nn, sharpness inthe centre is
'excellent' at fi4, the edges 'very good', anda
highstandardof inage quality is naintained
throughout the aperture range. As focal length
is raisedthough, bothcentre andedge
sharpness falls -todisappointinglevels at
lower finunbers, especially at 24nn.
Stoppingdowninproves sharpness quite
dranatically andat fi8, it's 'excellent' to'very
good' across the frane at all focal lengths.
Peak resolutionneasuredII3 lines-per-nn
andaberrations control is par for the course.
VEPDICT: Maybe we got a rogue test copy, but
basedonthese results it's hardtosee why this
lens shouldcost a very substantial 840-
200nore thanthe NikonI0-24nnthat is
sharper andhas anextra 2nnat the wide end.
HANDLING: Highbuildquality andnger-light,
super-snoothcontrols. Lxcellent, but Signa's
velvet-natt nishcanshowscuhnarks.
FEATUPE5: I0nnis as wideas they cone, but
20nnis a bit less thanaverage. Maxinun
aperturefi4-5.6is alsonodest. Lens hoodand
casesupplied.
AUTOFOCU5ING: Signa's HypersonicMotor
(HSM) autofocus driveis as goodas any, ie
excellent, andthereis full-tinenanual
override, too.
PEPFOPMANCE: Sharpness inthecentreis
always high, well intothe'excellent' zoneupto
fiII beforedihractiontakes hold. As always,
edgesharpness is lower, thoughnever less
than'very good' withtheexceptionof I0nnat
fi4that stands out a bit as beingdisappointing.
However, it ranps upvery quickly andby fi5.6
it's 'very good' andfronthereonwards
sharpness is unifornly highacross thefrane.
Peak resolutionhits I2I lines-per-nn. Barrel
distortionis a high+3.5at I0nn, but falls
quickly andturns to-0.6nildpincushionat
nid-rangeandlonger focal lengths. vignetting
is a littlehigher thanaverage, but still 'very
good' overall, whileCAcontrol is a littlebetter
thansone, rating'good'.
VEPDICT: Noprizes for low-light perfornance,
but fronfi5.6tofiII -probably thenost
useful rangefor anultra-wide-sharpness is
very highat all focal lengths. At only 3/0, the
priceis evensharper.
HANDLING 18l20
FEATUPE5 17l20
PEPFOPMANCE 33l40
VALUEFOPMONEY 15l20
OVEPALL 83l100
HANDLING 18l20
FEATUPE5 16l20
PEPFOPMANCE 35l40
VALUEFOPMONEY 20l20
OVEPALL 89l100
NikonAF-512-24mmfl4DXGED5WM
5igma10-20mmfl4-5.6EXDCH5M
NikonAF-S2-24mm
f/4DXGED
840
Sigma0-20mmf/4-5.6
EXDCHSM
370
DI5TOPTION:Strongbarrel +2.8at10mm.
Overall rating:Good
CHPOMATICAEPPATION:
Highthroughout. Overall rating:Poor
VIGNETTING:Mild0.7EVat12mmf!4.
Overall rating:Good
CHPOMATICAEPPATION:Highestat
10mm. Overall rating:Good
VIGNETTING:Moderate1.3EVat10mmf!4.
Overall rating:VeryGood
HIGHLY
RATED
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I I I I
fl8 fl16 fl5.6 fl11 NlA NlA
UL1RAWDL-ANGLL ZMS
HANDLING: ractionally larger andheavier
thanthe Signa fi4-5.6variant, otherwise like
twopeas ina pod. 1he test sanple's zoon
control was heavier andslightly less snooth.
FEATUPE5: Mainfeature is the constant fi3.5
naxinunaperture, one thirdof a stop
brighter thanfi4, two-thirds nore thanfi4.5.
Hoodandcase included.
AUTOFOCU5: Signa's Hypersonic focus
works quickly, but a little less quietly here.
Manual focus is full-tine override.
PEPFOPMANCE: Sharpness is unusually high
inthecentre, always 'excellent' at all focal
lengths uptofiII. Ldgesharpness is lower,
thoughnostly never out of the'very good'
zone. At I0nn, theedges arenoticeably less
sharpanddon't respondnuchtostopping
down. At I5nn, theedges perk upand
throughout thenid-rangefocal lengths,
sharpness is highat all apertures. At 20nn
though, edgesharpness drops away again.
Peak resolutionneasuredI22lines-per-nn.
Barrel distortionis a decidedly 'poor' +3.5at
I0nn, but quickly drops tozerothroughthe
nid-rangebeforeturningtonild-0./
pincushionat 20nn. vignettingcontrol is
never less than'excellent', CA'fair' overall.
VEPDICT: Always sharpinthe centre, andthe
edges tooat nid-range focal lengths, less so
at either endof the zoon. Mainappeal is the
constant fi3.5 naxinunaperture, thoughthe
cheaper Signa fi4-5.6versionlooks favourite.
HANDLING: Conpact andlight, well nade,
too. Mainhandlingdiherenceis thefocusing
ringturns duringA, andhas tobeswitched
over for nanual.
FEATUPE5: Great focal lengthrange, broadest
inthis class, for highversatility. Maxinun
apertures less soat fi3.5-4.5. Hoodprovided.
AUTOFOCU5: Noultrasonicfocusing, andthe
nicro-notor is a littleslower as it whirrs along,
but works well enough.
PEPFOPMANCE: Sharpness is lower thannost
others here. naverage, ultra-wides tendtobe
'excellent' inthecentreand'very good' towards
theedges, whilethe1anronI0-24nnruns
onesteplower -'very good' inthecentre, and
'good' at theedges. Peak resolutionis alsothe
lowest of this group, reachingI0/lines-per-
nn, recordedat 24nnfi8inthecentre.
Distortionlevels are'fair' overall, withstrong
+3.2barrellingat I0nn, rating'poor', steadily
reducingto+I.6barrel at 24nn. vignettingis
well controlled, never norethan0.9Lvat
I0nnfi3.5, rating'excellent', andusually less
thanthat. CAis proninent, higher thanaverage,
rating'poor' overall.
VEPDICT: 1hefocal lengthrangeis excellent,
natchingthebroadest inclass. 1henaxinun
apertures arenodest, but perfectly workable,
andtheA nechanisn, whilenot quiteas
sophisticatedas theother ultrasonics, does the
job. t's only theoptics that disappoint, and
therearebetter buys, evenat 3/0.
HANDLING 18l20
FEATUPE5 17l20
PEPFOPMANCE 35l40
VALUEFOPMONEY 17l20
OVEPALL 87l100
HANDLING 17l20
FEATUPE5 17l20
PEPFOPMANCE 32l40
VALUEFOPMONEY 15l20
OVEPALL 81l100
5igma10-20mmfl3.5EXDCH5M
Tamron5P10-24mmfl3.5-4.5Di II LD
Sigma0-20mmf/S.5
EXDCHSM
460
TamronSP0-24mm
f/S.5-4.5Di II LD
370
DI5TOPTION:Severebarrel +3.5at10mm
Overall rating:Good
CHPOMATICAEPPATION:Moderateto
high. Overall rating:Fair
Overall rating:Fair
CHPOMATICAEPPATION:Highestat
10mm. Overall rating:Poor
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I I
HANDLING: Slightly larger andheavier than
nost, thebuildquality is obvious. Stylingis very
Nikon-esque. SwitchingfronA tonanual
focus is by pullingtheclutch-ring, thoughthis
usually noves theexact distanceslightly.
FEATUPE5: t's anall-newlens, sitting
alongside the acclained1okina II-I6nn
fi2.8, tradingconstant fi4naxinunaperture
for nuchgreater I2-28nnzoonrange.
Hoodincluded.
AUTOFOCU5: 1okina's SD-MSilent Drive-
Module works quickly andquietly. 1opnarks.
PEPFOPMANCE: 1okina has a reputationfor
highinage quality, sonosurprises here. nthe
centre, sharpness is well intothe 'excellent'
zone at all focal lengths uptofiII. Ldge
sharpness is lower, but never less than'very
good'. Perfornance is consistent at all settings
-nopeaks, andnonasty surprises either. Peak
resolutionneasureda highI23 lines-per-nn.
Barrel distortionis +3.2at I2nn, rating
'poor', thoughit quickly drops to+0.4at
I8nn('excellent') andhovers aroundzeroto
28nn. vignettingis ehectively insignicant
throughout, CAis a little higher thanexpected,
rating'fair' overall.
VEPDICT: Ane lens. t feels goodandworks
great, withconsistently highinage quality at
all settings. 1he extra focal lengthat 28nnis
useful, but at the expense of a couple of nns
less at the wide end. Beingsonew, the biggest
questionconcerns the currently highprice.
HANDLING 18l20
FEATUPE5 18l20
PEPFOPMANCE 37l40
VALUEFOPMONEY 18l20
OVEPALL 91l100
TokinaAT-X12-28mmfl4ProDX
TokinaAT-X2-28mm
f/4ProDX
570
Overall rating:Good
VIGNETTING:Mild0.8EVat12mmf!4.
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CanonEF17-40mm
fl4LU5M580
HANDLING: Light, conpact and
withareassuringly solidfeel.
FEATUPE5: Weatherproofed,
withI2elenents inninegroups,
includingexoticglass and
aspherical surfaces.
AUTOFOCU5: Canon's USMis
fast, snooth, quiet andaccurate.
PEPFOPMANCE: At full-frane
this lens neets our 'very good'
ratingat fi4, thenjunps right into
the 'excellent' zone fronfi5.6and
holds ontoit. Muchthe sane
patternis refectedonAPS-C,
only withthe higher resolution
denands of the snaller fornat
pushingthe nunbers down.
VEPDICT: Launchedtenyears
ago, this is still a great lens. neof
thecheapest L-gradelens andis
built likea tank, whileboasting
excellent optics.
Ultra-wide favourites: Inlast month's issuewetestedfour ultra-widezooms designed
for APS-C8full-framesensors. 8elowis asummaryof our test comments andscores.
NikonAF-518-35mm
fl3.5-4.5GED650
HANDLING: very light, especially
whenconparedtotheI6-35nn.
FEATUPE5: I2elenents ineight
groups, sinilar totheCanon, with
LDglass andasphericals.
AUTOFOCU5: Silent WaveMotor
focusingis quiet andehcient.
PEPFOPMANCE: 1his lens excels.
nfull-frane, thecentrestarts
well intothe'excellent' zoneand
never goes belowthat standardat
any tine, whiletheedges just dip
under it at thehighest finunbers
duetodihraction. nAPS-C,
resolutionis very nuchinlinewith
theother lenses here.
VEPDICT: ntroducedjust afew
nonths ago, this is aconplete
overhaul of theolder I8-35nn
D-version, withall-newoptics and
integral SWMautofocus. ptically
it's certainly topdrawer.
NikonAF-516-35mm
fl4GEDVP830
HANDLING: Handles beautifully
andis extrenely well nade.
FEATUPE5: vRstabilisationis arst
for alens of this type. I/elenents
inI2groups, withpreniunglass
andaspherical surfaces. Aperture
is aconstant fi4.
AUTOFOCU5ANDVP: Nikon's
SWMAis inpressivewhilevR
gives afour-stopbenet.
PEPFOPMANCE: very sharp,
recordingthehighest peaks here.
nfull-franeat I6nnand
24nn, thecentreis nudging90
at fi4withedges alsowell intothe
'excellent' zone. Sharpness drops a
littleat 35nn, particularly at the
edges, thoughit's still very high.
VEPDICT: Without any doubt,
Nikonhas doneanejobwiththis
lens, includes vRandavery
high-gradeoptical package.
5igmaDG12-24mm
fl4.5-5.6II H5M650
HANDLING: Well-nade, with
Signa's newsnoothblack surface
nishthat's noreresistant to
narkingthantheolder natt black.
FEATUPE5: Standout featureis the
nega-widezoon, whichgoes
downtoanincredibleI2nn. 1he
fipsideof that is thelonger end
only extends to24nn.
AUTOFOCU5: Withsonuch
depth-of-eldavailable, theA
systendoesn't havenuchtodo,
but works quietly andehciently.
PEPFOPMANCE: Under thehood,
there's awholestack of exotic
glass andaspherical surfaces,
totallingI/elenents inI3groups.
Signahas donearenarkablejob
-perfornanceis alot better than
younight expect, infact it stands
shoulder toshoulder withthebest,
despiteits relatively lowcost.
BE5T
BUY
OVEPALL 92l100 OVEPALL 86l100 OVEPALL 94l100 OVEPALL 90l100
HIGHLY
RATED
HIGHLY
RATED
HIGHLY
RATED
BE5T
BUY
Test Centre
Ultra wide-angle zoomcomparisontale
Test conclusion
F
URLLNSLSstandout here, all
worthyof your close
considerationandcash. Canon's
L-SI0-22nnfi3.5-4.5USMtakes one
of our covetedBest Buyawards, witha
bit of helpfrontherecent I00price
dropto500. 1hat aside, it's agreat lens
-snall andlight, well nade, withgood
Aandahandyfocal lengthrange. And
it's sharp, oneof thesharpest ultra
wide-anglezoonss out there, andnow
it's verygoodvalue, too. ur other Best
Buygoes tothe1okina. theI2-28nn
fi4is awelconenewaddition,
replacingtheI2-24nnversion, and
addingaslightlylonger focal length
optiontothenarket. t's avery
high-perforningpackageall round, no
doubt about that, althoughit renains tobeseenwhether the
pricewill dropbeforelongas it's currentlyabrand-newlaunch.
Nikonusers havesonethingverysinilar intheI0-24nn
fi3.5-4.5. 1heclass-leadingfocal lengthrangeis veryversatile,
whileeverythingelseis top-drawer, too, thoughit's not quite
as sharpas theCanonandslightlynoreexpensiveat 640,
but wegiveit aHighlyRated.
Lookingfor abargain1hentheHighlyRatedSigna
I0-20nnfi4-5.6will donicely, andis availabletot all DSLR
canerabrands. 1hefocal lengthrangeis not thegreatest, nor
thenaxinunaperture, but botharewell uptothejob. t's
plentysharpwhereit natters nost, Ais good, it's well built and
thestreet priceis thelowest hereat averyconpetitive3/0.
UL1RAWDL-ANGLL ZMS
Lens ModeI CanonEF-510-22mm
fl3.5-4.5U5M
NikonAF-510-24mm
fl3.5-4.5DXGED5WM
NikonAF-512-24mm
fl4DXGED5WMVP
5igma 10-20mmfl4-5.6
EXDCH5M
5igma 10-20mmfl3.5
EXDCH5M
Price: PPPlstreet /00i500 834i640 I,044i840 550i3/0 650i460
CompatibiIity APS-C (I.6x) APS-C (I.5x) APS-C (I.5x) APS-C (I.5x and I.6x) APS-C (I.5x and I.6x)
Ehective focaI Iength I6-35nn I5-36nn I8-36nn I5-30nn (I6-32nn Canon) I5-30nn (I6-32nn Canon)
AngIe-of-view(diagonaI) I0/-63 I09-6I 99-6I II0-/I (I0/-68 Canon) II0-/I (I0/-68 Canon)
OpticaI construction I3 elenents in ten groups I4 elenents in nine groups II elenents in seven groups I4 elenents in ten groups I3 elenents in ten groups
PremiumeIements Ix USD, 3x aspherical 2x LD, 3x aspherical 2x LD, 3x aspherical 3x SLD, 3x aspherical 2x LLD, Ix SLD, 4x aspherical
Aperture range fi3.5-4.5 to fi22 fi3.5-4.5 to fi22-29 fi4 to fi22 fi4-5.6 to fi22-32 fi3.5 to fi22
Diaphragm Six rounded blades Seven rounded blades Seven rounded blades Six rounded blades Seven rounded blades
Autofocus Ultrasonic Motor (USM) Silent Wave Motor (SWM) Silent Wave Motor (SWM) Hypersonic Motor (HSM) Hypersonic Motor (HSM)
ManuaI focus ull-tine override ull-tine override ull-tine override ull-tine override ull-tine override
Minimumfocus 24cn (fron sensor) 24cn (fron sensor) 30cn (fron sensor) 24cn (fron sensor) 24cn (fron sensor)
Min working distance 9cn (front of lens) 8cn (front of lens) I5cn (front of lens) I2cn (front of lens) I0cn (front of lens)
Magnication ratio I.6 I.5 I.8.3 I.6./ I.6.6
Focusing scaIe Yes Yes Yes Yes Yes
Image stabiIisation No No Yes No No
FiIter size //nn, non-rotating //nn, non-rotating //nn, non-rotating //nn, non rotating 82nn, non-rotating
Weatherproof No Mount gasket only No No No
Dimensions WxL 84x90nn 83x8/nn 83x90nn 84x8Inn 8/x88nn
Weight 385g 460g 485g 465g 520g
Fittings Canon only Nikon only Nikon only Can, Nik, Pent, Signa, Sony Can, Nik, Pent, Signa, Sony
Accessories suppIied None Hood, soft case Hood Hood, case Hood, case
Website www.canon.co.uk www.nikon.co.uk www.nikon.co.uk www.signa-inaging-uk.con www.signa-inaging-uk.con
Test rating 91l100 89l100 83l100 89l100 87l100
Lens ModeI Tamron5P10-24mm
fl3.5-4.5Di II LD
Tokina 5D12-28mm
fl4AT-XProDX
Price: PPPlstreet 5I5i3/0 5/0i5/0
CompatibiIity APS-C (I.5x and I.6x) APS-C (I.5x and I.6x)
Equiv. focaI Iength FF 1.5x I5-36nn (I6-38nn Canon) I8-42nn (I9-45nn Canon)
AngIe-of-view(diagonaI) II0-6I (I0/-59 Canon) 99-55 (9/-52 Canon)
OpticaI construction I2 elenents in nine groups I4 elenents in I2 groups
PremiumeIements Ix HD, 2x LD, 4x aspherical 2x SD, 2x aspherical
Aperture range fi3.5-4.5 to fi22-29 fi4 to fi22
Diaphragm Seven rounded blades Nine rounded blades
Autofocus Micro-notor Silent Drive Module (SD-M)
ManuaI focus AiM switch AiM pull-clutch
Minimumfocus 24cn (fron sensor) 25cn (fron sensor)
Min working distance 9cn (front of lens) I2cn (front of lens)
Magnication ratio I.5.I I.5
Focusing scaIe Yes Yes
Image stabiIisation No No
FiIter size //nn, non-rotating //nn, non-rotating
Weatherproof No Mount gasket only
Dimensions WxL 83x8/nn 84x90nn
Weight 406g 530g
Fittings Canon, Nikon, Pentax, Sony Canon, Nikon
Accessories suppIied Hood Hood
Website www.intro2020.co.uk www.daynen.co.uk
Test rating 81l100 91l100
ANALADDIN'SCAVFOFSFCOND-HANDIKON
40 Churton Street, London SW1V 2LP, EngIand TeI: 020-7828 4925 Fax: 020-7976 5783
info@graysofwestminster.co.uk Mon-Fri 10am - 5:30pm, Sat 10am - 1pm
FoIIow us on: @NikonatGrays
"ThIs Is Gras oj Wcs!mIns!cr,
!hc jamous NIkon dcalcr In London
~ a pcrjcc! cxamplc oj uha! a !op
class camcra shop should bc,
run b cn!husIas!Ic,
knoulcdgcablc s!ajj."

by rian Long
Iublished by Crovood Iress
VisiL our vebsiLe: www.graysofwestminster.co.uk
Iind us on Iacebook: www.facebook.com/graysofwestminster
SHLYLLLNSLSGL1their nanefronthe
convexfront elenent, whichresenbles the
bulgingeyeball of ash. 1herearetwotypes
-the'circular' sheye, whichcreates a
circular inagewithintheinagearea, andthe
'full frane' sheyewhich, as thenane
suggests, uses theentireinagearea.
1heSignaI5nnfi2.8falls intothelatter
category. Likeall truesheyelenses, it also
boasts aravenous I80 angle-of-viewwhen
usedonafull-franeDSLR(it becones a
22i23nnultra-widewithcropsensors),
and, beinguncorrectedfor rectilinear
distortion, it takes barrel distortiontonew
heights andbends straight lines likebananas.
nnyquest for sonethingdiherent, took
aSignaI5nnonnytravels. Sofar this year
it has beentoBurna, Cubaand1hailand.
1heI80 angle-of-viewandextrene
distortionarethenaincharacteristicsof the
lens. 1onakefull useof thenyouneedan
interestingsubject intherst place. ndit
ideal for architecture, bothinsideandout,
cityscapesandnonunentsasthedistortion
createsastrikingehect. Lookupwhenyou're
surroundedbytall buildingsor treesandthe
ehect isanazing. isheyelensescanalsobe
usedfor portraitsif youwant sonething
reallyohthewall, andwithanininun
focusingdistanceof I3.5cnit'salso
well-suitedtoclose-upphotography-try
placingyour canera, backdown, inafower
bedwiththesheyepointingskywardsl
Depth-of-eldis alnost endless onceyou
stopdownbeyondfi5.6andthis, conbined
withthenininunfocusingdistance, neans
youcanget upcloseandpersonal with
foregroundinterest tocreatehead-spinning
conpositions that aresharpfronfront to
back. Whenyouthinkyou'vegot close
enough, keepnovinginandyou'll be
astoundedbytheehect.
nagequalityfrontheSignaI5nnis
fantasticoverall. t'ssuper-sharpinthecentre
at all tinesandthoughthecornersdostart to
softenalittleif youshoot wideopenor stop
right down, it'snever badconparedtosone
lensesandat fi8tofiI6issuperbacrossthe
frane. wasalsosurprisedbyhowwell it
handlesfare. Shootingdirectlyintothesun
inCuba, therewasnosignof fare-just a
bright starburst. Autofocusisfast andreliable
eveninlowlight, thoughwithsonuch
depth-of-eldavailable, accuratefocusing
beconesalnost unnecessaryl
Youcan't uselters inthenornal waydue
tothebulbous front elenent andbuilt-in
netal lens hood. Despitebeingaregular ND
graduser, didn't ndthis tobeaproblenat
all -it's easyenoughtotaketwoshots at
diherent exposures andnergethenif
necessary, though'veyet todothat when
usingthis lens. don't niss not beingableto
useapolariser either as thecolour rendition
of theSignais fantasticanyway, andaquick
tweakof vibranceworks atreat.
1oget thenost fronthis lens, youneedto
handleit withcare. 1heangle-of-viewis
suchthat whenyouraisethecaneratoyour
eye, everythingseens todisappear intothe
distanceandit's easytoendupwithenpty
conpositions. verconethat bynovingin
closeor shootinginconnedspaces where
asheyelens cones intoits own. Don't
assunethat thedistortioncanbeusedto
turnasow's ear intoasilkpurseeither -
useit toaddinpact tointerestingsubjects,
rather thantryingtonakeboringsubjects
interesting. Scenes andsubjects that contain
aproliferationof straight lines always work
well becausetheyshowohthedistortion.
inally, trytokeepthecaneraupright and
square, especiallywhenshootingscenes
that aresynnetrical, suchas architecture.
All it takes is for thecaneratobeslightly
wonkyandit cannakeabigdiherenceto
thenal inage-andrequireyoutocropand
level later, whichnayspoil theconposition.
Whereprecisionis necessary, nount your
caneraonatripodanduseaspirit level.
You'renot goingtousealens likethe
SignaI5nnsheyeonadailybasis, but
pairedwiththeright subject it produces
stunningresults that canshockthesenses.
5igma15mmf/2.8EXDGFisheye
SPECIFICATIONS
Optical construction Sevenelenents insixgroups
Maximumaperture fi2.8
Minimumaperture fi22
Filter thread Nia. Gel lters insertedinrear of lens
Imagestabilisation No
AngleofviewI80(Nikon),I6/(Canon),I54(Signa)
Number of diaphragmblades Seven
Minimumfocus I5cn
Dimensions Dianeter /3.5nnxLength69nn
Weight 3/0g
SuppliedaccessoriesLenshood,frontandrearcaps
Fittings Canon, Nikon, Signa, Sony, Pentax
PRLSSNAL LLD1LS1
Test Centre
Price630(Guide) i4/5(Street)
Professional photographer
Leerost has anewadditionto
his kit bag, andit appears tohave
earnedits placewell.
HANDLING
FEATUPE5
PEPFOPMANCE
VALUEFOPMONEY
OVEPALL
I lovethislens! I always
avoidedsheyes
becauseI thought
theyweretooextremeandgimmicky,
but havingtakentheSigma15mmon
afewtrips, I'mhooked. The180
angle-of-viewand'bendy' distortion
worksbrilliantlyontheright subject.
It'sinvaluablefor creatingunusual,
strikingimagesineverydaysituations.
It takesalot for alenstoearna
permanent spot inmybackpack, but
thisonealreadyhasandI'mlooking
forwardtousingit onfuturetravels.
Verdict
BE5T
BUY
Exposure: 13secondsat fl11(I5O200)
The5igma15mmf2l8sheyehas provedtobe
aninvaIuabIepieceof kit. Interestingsubjects
aregivenaheftydoseof impact withthe
distortionthis Iens creates, andimagequaIity
is fantastic, particuIarIyfromfl8tofl16.
Exposure: 1l50secat fl5(I5O800)
Visit our state of the art
showroomin West Sussex, less
than 15 miles fromBrighton
York Road, Victoria Business Park,
Burgess Hill, West Sussex, RH15 9TT
All prices include VAT @ 20% Opening times Mon-Sat 9:00am-5:30pm; Thursday 9:00am-7:30pm; Sunday 11:00am-4:30pm. Store address : York Road, Victoria Business Park, Burgess Hill, West Sussex RH15 9TT.
Figures in Brackets indicates stock level held at unrepeatable prices at time of going to print. All products are UK stock. E&OE. * = Please mention Digital SLR Photography for this special price
Prices correct at time of going to press; Prices subject to change; check website for latest prices.
CAMERAS LENSES BAGS TRIPODS PRINTERS
CANONPRINTERS
14mm f/2.8L II USM 1,899.00
20mm f/2.8 USM 415.00
24mm f/1.4L Mk II USM 1,325.00
24mm f/2.8 IS USM 499.00
28mm f/1.8 USM 399.00
28mm f/2.8 IS USM 459.00
35mm f/1.4L USM 1,139.00
35mm f/2.0 225.00
35mm f/2.0 IS USM 529.00
40mm f/2.8 STM 179.00
50mm f/1.2 L USM 1,245.00
50mm f/1.4 USM 299.00
50mm f/1.8 II 85.00
50mm f/2.5 Macro 245.00
EF-S 60mm f/2.8 Macro 379.00
MP-E 65mm f/2.8 889.00
85mm f/1.2L II USM 1,759.00
85mm f/1.8 USM 319.00
100mm f/2 USM 375.00
100mm f/2.8 USM Macro 421.00
100mm f/2.8L Macro IS USM 725.00
135mm f/2.0L USM 939.00
180mm f/3.5L USM Macro1,229.00
200mm f/2.0L IS USM 4,929.00
200mm f/2.8L USM/2 659.00
300mm f/2.8L USM IS II 5,599.00
300mm f/4.0L USM IS 1,199.00
400mm f/2.8L USM IS II 8,969.00
400mm f/4.0 DO L USM IS 5,645.00
400mm f/5.6L USM 1,149.00
500mm f/4.0L USM IS II 8,149.00
600mm f/4.0L USM IS II 10,479.00
800mm f/5.6L IS USM 10,679.00
TSE 17mm f/4.0L 2,015.00
TSE 24mm f/3.5L II 1,789.00
TSE 45mm f/2.8 1,159.00
TSE 90mm f/2.8 1,159.00
8-15mmf/4L Fisheye USM 1,139.00
EF-S 10-22mmf/3.5-4.5 USM 499.00
EF-S 15-85mmf/3.5-5.6 IS USM 609.00
16-35mm f/2.8L II USM 1,175.00
17-40mm f/4.0L USM 619.00
EF-S 17-55mmf/2.8 IS USM 739.00
EF-S 17-85 f/4.0-5.6 IS USM 369.00
EF-S 17-85 IS (No packaging) 289.00
EF-S 18-55mm f/3.5-5.6 IS II 149.00
EF-S 18-55mm IS II (No packaging) 85.00
EF-S 18-135mm IS STM 369.00
18-135mm IS (No packaging) 299.00
EF-S 18-200mmf/3.5-5.6 IS 389.00
24-70mm f/2.8L II USM 1,839.00
24-70mm f/4.0L IS USM 1,269.00
24-105mm f/4.0L IS USM 855.00
24-105mm IS (White Box) 679.00
28-135mm f/3.5-5.6 USM IS 389.00
28-300mmf/3.5-5.6L IS USM2,219.00
EF-S 55-250mmf/4-5.6 IS II 219.00
70-200mmf/2.8L IS II USM 1,949.00
70-200mm f/2.8L USM 1,049.00
70-200mm f/4.0L IS USM 909.00
70-200mm f/4.0L USM 495.00
70-300mmf/4.0-5.6 IS USM 409.00
70-300mmf/4.0-5.6L IS USM1,219.00
70-300mmf/4.5-5.6 DO IS USM1,175.00
75-300mm f/4.0-5.6 Mk III 199.00
75-300mm f/4.0-5.6 USM III 245.00
100-400mmf/4.5-5.6L USM IS 1,345.00
200-400mmf/4.0L USM IS 11,999.00
1.4x III Extender 419.00
2x III Extender 419.00
EF 12 II Extension Tube 79.00
EF 25 II Extension Tube 139.00
CANONLENSES
Cashback available on selected Canon lenses.
See www.ParkCameras.com/DSP for details
Canon EOS 6D
20.2
MCA
| | / | | :
3.0"
Screen
4.5 FPS
1080p
PULL HD
EOS 6D Body
1,329
.00*
EOS 6D + 24-105 L
1,849
.00*
*Prices include 150 cashback from
Canon UK if bought before 31.10.13
Canon EOS 7D
18.0
MCA
| | / | | :
3.0"
Screen
8 FPS
\||\
1080p
PULL HD

card
EOS 7D Body
994
.00*
EOS 7D + 15-85 IS
1,404
.00*
Canon EOS 60D
18.0
MCA
| | / | | :
Body Only
548
.00
+ 17-85 IS
789
.00
5.3 FPS
Canon EOS 5D Mk III
Body Only
2,329
.00
+ 24-105 L IS
2,975
.00
22.3
MCA
| | / | | :
FREE Adobe Photoshop Lightroom 5
+ Adobe Premiere Elements 11!
Canon EOS-1D X
Body Only
4,845
.00*
See website
for deals!
18.1
MCA
| | / | | :
Read Will Cheungs review on the
EOS-1D X at blog.parkcameras.com
12 FPS
Canon EOS M
EOS M + 18-55
389
.00
EOS M + 22mm
499
.00
18.0
MCA
| | / | | :
3.0"
Screen
Add an Acme Made Union messenger
bag for only 32.49 with the EOS M
Canon EOS 600D
Body Only
379
.00
+ 18-55 IS II
435
.00
18.0
MCA
| | / | | :
Add a spare battery and battery grip
for only 143.99 with the EOS 600D
3.7 FPS
Canon EOS 70D
Visit blog.parkcameras.com
for our rst thoughts on this new camera
N
E
W
!
20.2
MCA
| | / | | :
3.0"
Screen
7 FPS
card
1080p
PULL HD
NEW& NOWIN STOCK!!
Visit our website for full details
AF-G 10.5mm f/2.8G ED DX 549.00
AF-D 14mm f/2.8D 1,099.00
AF-D 16mm f/2.8D Fisheye 619.00
AF-D 20mm f/2.8 459.00
AF-D 24mm f/2.8D 369.00
AF-S 24mm f/1.4G ED 1,469.00
PC-E 24mm f/3.5D ED 1,465.00
AF-D 28mm f/2.8 245.00
AF-S 28mm f/1.8G 505.00
AF-S 35mm f/1.4G 1,299.00
35mm f2 AF Nikkor D 259.00
35mm f/1.8 AF-S DX 155.00
AF-S 40mmf/2.8G ED Micro 179.00
PC-E 45mm f/2.8D ED 1,289.00
AF 50mm f/1.4D 244.00
AF-S 50mm f/1.4G 289.00
AF-D 50mm f/1.8 109.00
AF-S 50mm f/1.8G 155.00
AF-S 60mm f/2.8G Micro ED404.00
AF-S 85mmf/3.5G DX Micro 375.00
AF-D 85mm f/1.8D 299.00
AF-S 85mm f/1.8G 369.00
AF-S 85mm f/1.4G 1,179.00
AF-S 105mmf/2.8G VR IF-ED 619.00
PC-E 85mm f/2.8D ED 1,299.00
AF-DC 105mm f/2 Nikkor 799.00
AF-D 135mm f/2.0D 1,029.00
AF-D 180mm f/2.8 IF ED 689.00
AF-D 200mm f/4D IF ED 1,179.00
AF-S 200mm f/2G ED VR II 4,099.00
AF-S 300mmf/2.8G ED VR II 3,999.00
AF-S 300mm f/4 D IF-ED 1,029.00
AF-S 400mm f/2.8G ED VR6,589.00
AF-S 500mm f/4G ED VR 5,849.00
AF-S 600mm f/4G ED VR 7,069.00
AF-S 800mmf/5.6E FL ED VR See web
AF-S 10-24mmf/3.5-4.5G DX 639.00
AF-S DX 12-24mmf/4 G IF-ED 839.00
AF-S 14-24mm f/2.8G ED 1,315.00
AF-S 16-35mm f/4G ED VR 829.00
AF-S 16-85mmf/3.5-5.6 DX VR 439.00
AF-S 17-35mm f2.8 IF ED 1,499.00
AF-S 17-55mmf/2.8G IF-ED 1,049.00
AF-S 18-35mmf/3.5-4.5 G ED See web
AF-S DX 18-55 f/3.5-5.6G II 127.00
AF-S 18-105mm f/3.5-5.6G VR 234.00
AF-S 18-200mm ED DX VR II 599.00
AF-S 18-300mm ED VR DX 669.00
AF-S 24-70mm f/2.8G ED 1,235.00
AF-D 24-85mm f/2.8-4 549.00
AF-S 24-85mmf/3.5-4.5 ED VR 429.00
AF-S 24-120mm f/4G ED VR 799.00
AF-S 28-300mm ED VR 659.00
AF-S 55-200mm f/4-5.6G 199.00
AF-S 55-200mm f/4-5.6 VR 129.00
AF-S DX 55-300mm VR 239.00
AF-S 70-200mmf/2.8 VR II 1,579.00
AF-S 70-200mmf/4.0 VR 1,099.00
AF-S 70-300mm IF ED VR 395.00
AF-D 80-400mm ED VR 949.00
NIKONLENSES
For the Nikon 1 range of cameras and lenses, visit us in store, or see our website
Nikon D600
24.3
MCA
| | / | | :
3.2"
Screen
5.5 FPS
1080p
PULL HD
D600 Body
1,369
.00
D600 + 24-85 VR
1,749
.00
Learn more about your Nikon D600
with an Expanded Guide. Only 14
.99
Nikon D3100
14.2
MCA
| | / | | :
3.0"
Screen
3 FPS
\||\
1080p
PULL HD

card
D3100 Body
259
.00
D3100 + 18-55 VR
289
.00
Learn more about your Nikon D3100
with an Expanded Guide. Only 14
.99
Nikon D5200
Body Only
549
.00
+ 18-55 VR
599
.00
24.1
MCA
| | / | | :
Add Adobe Photoshop Lightroom 4.0
for only 79
.99
Nikon D7000
Body Only
583
.00
+ 18-105 VR
719
.00
16.2
MCA
| | / | | :
Add a Nikon EN-EL15 spare battery
for only 54
.99
6 FPS
Nikon D4
Body Only
4,239
.00
See website
for deals!
16.2
MCA
| | / | | :
See our website from July 2013 for a
special oer with the Nikon D4!
12 FPS
Nikon D5100
Body Only
349
.00
+ 18-55 VR
389
.00
16.2
MCA
| | / | | :
Add a Nikon ML-L3 remote control
for only 19
.99
4 FPS
1080p
PULL HD
Nikon D7100
In stock from839
.00
!
See website for full details
24.1
MCA
| | / | | :
Add a Nikon MB-D15 battery grip
for only 279
.99
6 FPS
Nikon D800
Body Only
1,962
.00
+ SB-910 Flash
2,316
.00
36.3
MCA
| | / | | :
Seeking absolute denition? Why not
consider the D800E at 2,299.00*?
For a range of refurbished Nikon lenses at very low
prices, visit www.ParkCameras.com/DSP
Canon EOS 100D
Body Only
442
.00
+ 18-55 IS STM
525
.00
18.0
MCA
| | / | | :
Add a Canon gadget bag 300EG for
only 69.99 with the EOS 100D
4 FPS
Canon EOS 700D
Add a Canon gadget bag 300EG for
only 69.99 with the EOS 700D
18.0
MCA
| | / | | :
3.0"
Screen
5 FPS
card
1080p
PULL HD
EOS 700D Body
499
.00
EOS 700D + 18-55 IS
586
.00
FR
EE
Software!
Sony Alpha a58
20.1
MCA
| | / | | :
2.7"
Screen
5 FPS
\||\
1080p
PULL HD

card
A58 + 18-55
379
.00
A58 Twin lens kit
529
.00
Add Adobe Photoshop Elements 11.0
for only 49.99
Sony Alpha a57
16.1
MCA
| | / | | :
2.7"
Screen
8 FPS
\||\
1080p
PULL HD

card
A57 Body
349
.00
A57 + 18-55
379
.00
Purchase the a57 this Summer and
receive a 1/2 PRICE LCS-BP2 backpack
Sony NEX-6
NEX-6 Body
529
.00
NEX-6 + 16-50
595
.00
Purchase the NEX-6 this Summer and
receive a FREE LCS-U11 soft carry case
Sony NEX-7
24.3
MCA
| | / | | :
3.0"
Screen
10 FPS
1080p
PULL HD

card
NEX-7 Body
729
.00
NEX-7 + 18-55
795
.00
Purchase the NEX-7 this Summer and
receive a FREE LCS-U11 soft carry case
16.1
MCA
| | / | | :
3.0"
Screen
10 FPS
1080p
PULL HD

card
XCA
0LD
\||\||N|||
Canon PIXMA Pro-100
The printer your images deserve
Up to A3+ prints
8-ink system
Fast printing
Quality grayscale
prints
NowOnly 289.00*
Was 469.00
*Price includes 50 cashback from
5
0
Cashback
Canon PIXMA Pro-10
Up to A3+ prints
10 pigment inks
Wi-Fi certied
Professional colour
and mono prints
NowOnly 384.00*
Was 649.00
7
5
Cashback
Canon PIXMA Pro-1
Up to A3+ prints
12-ink system
Fast printing
Quality colour &
grayscale prints
NowOnly 545.00*
Was 799.00
1
0
0
Cashback
1
5
0
Cashback
F
R
E
E
Softw
are!
8
5
Cashback
5
0
Cashback
Panasonic DMC-GX7
16.0
MCA
| | / | | :
3.0"
Screen
1080p
PULL HD

card
NEW& NOWIN STOCK!
FREE batt. & case by redemption - ends 30.09.13
FR
EE
C
A
SE
&
B
A
TT!
Panasonic DMC-GH3
16.0
MCA
| | / | | :
3.0"
Screen
1080p
PULL HD

card
GH3 Body
899
.00
GH3 + 12-35
1,649
.00
Add a battery grip for only 239.00!
16.2
MCA
| | / | | :
3.0"
Screen
4 FPS
1080
Movie
Pentax WG-3
16.0
MCA
| | / | | :
3.0"
Screen
1080p
PULL HD

card
WG-3
240
.00
Add a Neoprene case for only 4.99!
4\
Panasonic DMC-GF6
Add Adobe Lightroom 4.0 for only 79.99!
Panasonic DMC-G6
Visit blog.parkcameras.comfor our rst thoughts
16.0
MCA
| | / | | :
3.0"
Screen
1080p
PULL HD

card
N
E
W
!
16.0
MCA
| | / | | :
3.0"
Screen
1080p
PULL HD

card
NEW& NOWIN STOCK!
N
E
W
!
Panasonic DMC-TZ40
18.1
MCA
| | / | | :
3.0"
Screen
1080p
PULL HD

card
LUMIX TZ40
239
.00
Add Adobe Photoshop Elements 11.0 for 49.99!
Panasonic DMC-LF1
12.1
MCA
| | / | | :
3.0"
Screen
1080p
PULL HD

card
Add Adobe Lightroom 4.0 for only 79.99!
20x 7.1x
| | | 0|I
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N
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| | | 0|I
f / 2. 8
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Everything is big, except the size
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Pentax MX-1
12.7
MCA
| | / | | :
3.0"
Screen
card
1080p
PULL HD
MX-1
325
.00
Add a spare D-Li106 battery for only 44.99!
4\
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See website for
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Tamron 10-24mm
f/3.5-4.5 Di-II LD Asph
Add a Hoya 77mm Pro-1 UV lter for 49.99
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.00
Tamron 18-270mmVC
f/3.5-6.3 Di-II PZD
Add a Tamron 62mm UV lter for only 15.99
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Lowepro Adventura 140
A lightweight DSLR
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For more bags at LOWPRICES, see our website
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Tamron 70-300mm
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Add a Hoya 62mm UV lter for only 16.99
In stock at only 89
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Tamron 24-70mm
f/2.8 Di VC USD
Add a Hoya 82mm Pro-1 UV lter for 49.99
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Lowepro Slingshot 302
All weather sling
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GF6 + 14-42
399
.00
GF6 + 14-42 + 40-150
599
.00
Add an 8GB SDcard
&case for FREE!
F
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Olympus E-PM2
16.1
MCA
| | / | | :
3.0"
Screen
1080p
PULL HD

card
E-PM2 + 14-42 II
399
.00
E-PM2 Twin lens kit
489
.00
Add a 8GB Flash Air Card for only 40.00
12
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| | |I | | :
Olympus E-PL5
16.1
MCA
| | / | | :
3.0"
Screen
1080p
PULL HD

card
E-PL5 + 14-42 II
485
.00
E-PL5 Twin lens kit
598
.00
Add a 8GB Flash Air Card for only 40.00
12
||I
| | |I | | :
Olympus XZ-2
12.0
MCA
| | / | | :
3.0"
Screen
1080p
PULL HD

card
XZ-2 - Black
314
.00
+ VF-3 Viewnder
453
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Also available in white - See website for details
4\
Olympus E-P5
16.1
MCA
| | / | | :
3.0"
Screen

1080p
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card
NEW& COMING SOON!
Visit blog.parkcameras.com for our rst thoughts
16.1
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| | / | | :
3.0"
Screen
9 FPS
\||\
1080
Movie
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795
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OM-D E-M5 Body Only
now only
949
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OM-D E-M5 +12-50mm lens
Still not sure about choosing
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Pentax K-50
16.2
MCA
| | / | | :
3.0"
Screen
6 FPS
1080p
PULL HD

card
Also available in 120 dierent colours!
Pentax K-5 II
16.3
MCA
| | / | | :
3.0"
Screen
7 FPS
1080p
PULL HD

card
K-5 II Body
679
.00
K-5 II + 18-55 WR
749
.00
Visit us in store or online for details of the K-5 IIs
NEW!!
K-50 Body
529
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K-50 + 18-55 WR
599
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FujilmX100s
16.3
MCA
| | / | | :
2.8"
Screen
1080p
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card
X100s
999
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X100s + NP-95 batt.
1,033
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Add a X100 premium leather case for only 80.00
HYRID
\ | | \
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FujilmX-Pro 1
16.3
MCA
| | / | | :
3.0"
Screen
1080p
PULL HD

card
X-PRO 1 Body
899
.00*
X-PRO 1 + 35mm f/1.4
See web
Add a X-Pro1 leather case for only 129.00
HYRID
\ | | \
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FU1IFILM
/- M0NI
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sales@parkcameras.com
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Samsung NX300
NX300 + 20-50
529
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FREE 50-200mmfromSamsung! See website
Samsung GALAXY NX
20.3
MCA
| | / | | :
4.8"
Screen
1080p
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card
8.6 FPS
Includes Adobe Lightroom 5.0!
NEW& NOWIN STOCK!
20.3
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| | / | | :
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Un|t 8, Irenbury Lstate, Norw|ch. Nk6 SD.
YTL8353
171cm
Max Height
19cm
Min Height
SiIk Road - 3D CoIumn:
YTL9353 Aluminium................... 114
YTL9383 Aluminium................... 124
YTL8353 Carbon Fibre............... 229
YTL8354 Carbon Fibre............... 229
YTL8383 Carbon Fibre............... 259
YTL8384 Carbon Fibre............... 269
Transit Backpack
350AWSlate Grey
D4 Body ......................... 4239
D3X Body....................... 5249
D800 Body ...........................1962
D800E Body.........................2349
Recommended D800 Accessories
Nikon MB-D12 Batt. Grip....296
+ 24-85mm VR......................1749
Recommended D600 Accessories
Nikon MB-D14 Batt. Grip....... 249
D7100 Body ........................839
+ 18-105mm VR..................1019
D7000 Body......................... 583
+ 18-105mm VR................... 719
+ 18-105mm VR + 70-300mm
............................................1158
5D Body........................... 2329
+ 24-105mm f4.0L S USM
.............................................. 2975
New 12.1MP Sensor 5x Optical
Zoom up to 9.3fps
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D4 D800 D600
D7100 D7000
5D Mark III G16
D4 Body 4239 D800 Body 1962 D600 Body 1369
D7100 From 839 D7000 From 583
EOS 1D X Body 4845
G16 529
NEW! Transit AW:
Sling 250 AW..........................82
Backpack 350 AW..................98
055 Series:
055XB................................. 113
055XPROB......................... 129
055CXPRO3 ...................... 249
055CXPRO4 ...................... 259
Rover Pro AW:
35L......................................219
45L......................................239
Series 3 Systematic 6X Tripod:
GT3532S............................579
GT3532LS..........................589
GT3542LS..........................649
GT3542XLS.......................699
GoriIIapod:
Compact.............................17
Hybrid (ntegral Head)........29
SLR Zoom..........................39.95
Focus GP-8........................89
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Expedition:
4x............................................. 124
5x............................................. 144
6x............................................. 162
7x............................................. 205
8x............................................. 230
9x............................................. 249
HadIey: Canvas/Leather: Khaki/Tan,
Black/Tan, Black/Black.
FibreNyte/Leather: Khaki/Tan, Sage/Tan,
Black/Black.
Digital .................................. 124
Small ................................... 154
Large................................... 174
Pro Original ......................... 189
Tripod Strap Black or Tan.... 19
RuggedWear:
F-5XB................................. 76
F-5XZ ................................. 99.95
F-6...................................... 104.95
F-803.................................. 145
F-2...................................... 159.95
35mm f1.8 GAF-S DX..................................150
40mm f2.8 GAF-S DX Micro........................185
50mm f1.4 GAF-S........................................289
60mm f2.8 GAF-S ED Micro........................404
105mm f2.8 GAF-S VR F ED Micro............ 629
10-24mm f3.5-4.5 GAF-S DX.......................639
14-24mm f2.8 GAF-S ED.............................1315
16-35mm f4.0 GAF-S ED VR.......................829
16-85mm f3.5-5.6 GAF-S ED DX VR.......... 439
18-105mm f3.5-5.6 G EDAF-S DX VR........ 204
18-200mm f3.5-5.6 G EDAF-S DX VR ..... 599
18-300mm f3.5-5.6 AF-S ED VR..................679
24-70mm f2.8 GAF-S ED.............................1245
24-85mm f3.5-4.5 AF-S G ED VR ................ 419
24-120mm f4 GAF-S ED VR........................810
28-300mm f3.5-5.6 GAF-S ED VR .............. 659
55-200mm f4.0-5.6 GAF-S DX VR F ED.... 241
55-300mm f4.5-5.6 GAF-S DX VR .............. 279
70-200mm f2.8 GAF-S ED VR ..................1605
70-300mm f4.5-5.6 GAF-S F ED VR.......... 439
Canon Lenses
Photo Bags & Rucksacks
Tripods & Tripod Heads
Nikon Lenses
5D Mk III From 2329
24.2
megapixels
16.2
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36.3
megapixels
24.1
megapixels
16.2
megapixels
FuII Frame
Sensor
FuII Frame
Sensor
1080p
movie mode
1080p
movie mode
1080p
movie mode
22.3
megapixels
FuII Frame
Sensor
6.0 fps
4.0 fps
11.0 fps 4.0 fps
6.0 fps 6.0 fps
+ 18-55mm S
629 Inc Cashback*
Price you pay today 679
+ 18-135mm S
749 Inc Cashback*
EOS 60D
60D Body 598
18.0
megapixels
1080p
movie mode
5.3 fps
18.0
megapixels
5.0 fps
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Rover Pro
AW45L
Blue
Perfect for
carrying a
Pro DSLR,
Grip, up to 5
Lenses,
Tripod,
outdoor
equipment &
15 Laptop
Expedition 8x
Black/Slate Grey.
Perfect for
carrying 2 DSLRs,
7-8 Lenses,
Tripod, 17 Laptop
& Accessories
GT3532LS
149.5cm
Max Height
10.3cm
Min Height
SLR Zoom
Flexi-Tripod legs
25cm
Closed Length
3Kg
Max Load
HadIey Pro
OriginaI
Canvas
Khaki/Tan
F-803
RuggedWear
Perfect for
carrying a
Pro DSLR
with Grip, up
to 3 Lenses,
Compact
Tripod, 15
Laptop &
Accessories
We seII Tripod Accessories incIuding PIates and Spiked Feet on our website!
DR-465 DL .......................... 89.95
DR-466 DL .......................... 69.99
DR-467 DL .......................... 74.99
Dk-46S DL
Perfect for
carrying a
DSLR, 2
Lenses, 17
Laptop &
Accessories
293A3 + D3Q2
147.6cm
Max Height
37.9cm
Min Height
293 Series + D3Q2 3-Way Head:
293A3................................. 109
293A4................................. 124
293C4................................. 219
NEW!
+ 18-55mm S STM............. 525
+ 18-55mm S STM
+ 40mm STM...................... 679
18.0
megapixels
4.0 fps
+ 18-55mm S STM............ 1199
+ 18-135mm S STM..........1399
EOS 70D
70D Body 1079
20.1
megapixels
7.0 fps
NEW!
NEW!
+ 18-55mm S STM..............586
+ 18-135mm S STM............759
+ 18-55mm S .....................419
+ 18-55mm S + 55-250mm S .
...............................................619
EOS 700D EOS 600D EOS 100D
700D Body 499 600D Body 379 100D Body 442
18.0
megapixels
3.7 fps
+ 18-55mm VR...................399
+ 18-55mm VR
+ 55-200mm.......................593.1
D5100
D5100 Body 336
16.2
megapixels
4.0 fps
Black
+ 18-55mm VR...................... 619
D5200
D5200 Body 549
24.1
megapixels
1080p
movie mode
5.0 fps
Black, Red
or Bronze
EF 100mm f2.8 L S USM Macro
640 Inc 85 Cashback*
EF 8-15mm f4.0 L USM Fisheye
EF-S 10-22mm f3.5-4.5 USM
EF 16-35mm f2.8 L USM
EF 17-40mm f4.0 L USM 519 Inc 60 C/back*
EF-S 17-55mm f2.8 S USM
EF 24-70mm f2.8 L USM
NEW! EF 24-70mm f4.0 L S USM
EF 70-200mm f2.8 L S USM
EF 70-200mm f4.0 L S USM
V2 10-30mm 659
V2 10-30mm + 30-110mm 799
V2
V2 From 659
14.2
megapixels
60 fps
Black or White
D3200 Body......................... 319
+ 18-55mm VR..................... 373
D3200
Black or
Red
D3200 From 319
24.2
megapixels
4.0 fps
1080p
movie mode
Visit www. wexphotographic.comfor the full range of Nikon Accessories
L|ghnng & Accessor|es
430EX
205
SB910
339
Light Stands
From10.99
LED Lights
From29.99
Ezybox Speed-Lite
Softbox 44.99
L308s
139
Plus Set
199 Inc 30
Cashback*
You pay today 229
PocketWizard Cashback* ends 11.10.13
Gemini Pulsar
Tx 500R Kit 949
Tx 500 Pro Kit 1189
D-Lite 4Rx
Softbox Kit 629
Urban Collapsible
Background 165
NEW! NEW!
3
CA5HBACK*
5
CA5HBACK*
+ 18-135mm S1204 Inc C/back*
+ 15-85mm S USM
1454 Inc Cashback*
EOS 7D
7D Body 1079
18.0
megapixels
1080p
movie mode
8.0 fps
85
CA5HBACK*
6D Body 1329 Inc Cashback*
+ 24-105mm S
1849 Inc Cashback*
EOS 6D
6D From 1479
20.2
megapixels
1080p
movie mode
4.5 fps
15
CA5HBACK*
Canon Cashback* ends 31.10.13
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Mon Collopslble Lens Hood
Lens Cops
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Flller Accessorles,Rlngs
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Flller Rlngs wllh Rel olso con be
used os dlslonce rlngs block
Dork Room
Flosh Accessorles
Body Cops
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Comlorl Slrops
30mm38mm Vlde Slrops
Loop Fllllng Slrop
Fllm llems
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1op HondIe Kf 1, KM1
Scropbook 3L
SlDlC
Flexlble Grlp Pods
Complele Rlgs
KCCD Sleod Com
lrocked Sllder
Skole Vheeled Dollys
KCCD DSLR Rlgs
Follow Focus Devlces
Molle Boxes
Supporl llems
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8-15 F4 L USM Fisheye . . . . . . . 1139
16-35 F2.8 MK L USM . . . . . . . 1199
17 F4 TSE L . . . . . . . . . . . . . . . . 1799
17-40 F4 USM L. . . . . . . . . . . . . . 629
20 F2.8 USM . . . . . . . . . . . . . . . . 379
24 F1.4 L USM . . . . . . . . . . . . 1329
24 F2.8 S U . . 589 24 F2.8 . . . 347
24 F3.5 L TSE MK . . . . . . . . . . 1729
24-70 F2.8 L USM. . . . . . . . . . 1797
24-70 F4 L S U unboxed . . . . . . 1099
24-105 F4 L S USM unboxed. . . . 749
28 F1.8 USM . .389 28 F2.8 S U 579
35 F1.4 L USM. . . . . . . . . . . . . . 1129
35 F2 S USM . .639 35 F2. . . . 219
40 F2.8 . . . . . . . . . . . . . . . . . . . . . 169
50 F1.2 L USM. . . . . . . . . . . . . . 1199
50 F1.4 U. .289 50 F1.8 . . . . . . 85
70-200 F2.8 S USM L . . . . . . . . . 1879
70-200 F2.8 non S L USM . . . . . . 1039
70-200 F4 L S USM. . . . . . . . . . . 899
70-200 F4 L USM. . . . . . . . . . . . . 499
70-300 F4/5.6 L S USM. . . . . . . . . 1169
70-300 F4.5/5.6 S USM . . . . . . . 429
85 F1.2 L . . . . . . . . . . . . . . . . . 1619
85 F1.8 U . . . . . . . . . . . . . . . . . . . 319
100 F2.8 S L USM macro . . . . . . 719
100 F2.8 Macro USM. . . . . . . . . . . . 419
100-400 F4.5/5.6 S L USM . . . . . . 1349
135 F2 L USM . . . . . . . . . . . . . . . 929
180 F3.5 L USM Macro . . . . . . . 1179
200 F2.8 L USM . . . . . . . . . . . . 639
200-400 F4 S L U DEMO . . . . 10999
300 F4 L S USM . . . . . . . . . . . . 1089
400 F4 S USM DO . . . . . . . . . . . 5298
Ext tube 12....79 Ext tube 25. . 129
1.4x or 2x converter each . . 389
FLASH & ACCESSORIES
600EX RT . . . . . . . . . . . . . . . . . . . . . 449
MR 14EX . .499 MT-24EX. . . . . 789
BG-E6 grip (5D MK) . . . . . . . . . . 187
BG-E7 grip (7D) . . . . . . . . . . . . . . 129
BG-E9 grip (60D) . . . . . . . . . . . . . 109
BG-E11 grip (5D MK) . . . . . . . . 229
BG-E13 grip (6D) . . . . . . . . . . . . . 199
Drop n Circ Polariser . . . . . . . . 219
ST-E3 . . . . .269 ST-E2. . . . . . . 199
MIFSUDS ARE NIKON PROFESSIONAL DEALERS
DIGITAL ONLY LENSES
10.5 F2.8 DX . . . . . . . . . . . . . . . . 529
10-24 F3.5/4.5 GAFS DX . . . . . . 629
16-85 F3.5/5.6 AFS VR DX . . . . . 439
18-105 F3.5/5.6 G ED VR DX . . . . . . 159
18-300 F3.5/5.6 G ED VR DX . . . . . 689
35 F1.8 G DX. . . . . . . . . . . . . . . . 169
40 F2.8 AFS G DX . . . . . . . . . . . . 199
55-300 F4.5/5.6 G VR DX . . . . . . 289
85 F3.5 G VR DX. . . . . . . . . . . . . 399
LENSES
14-24 F2.8 G ED AF-S. . . . . . . . 1337
16-35 F4 AFS VR. . . . . . . . . . . . . 829
18-35 F3.5/4.5 G AFS . . . . . . . . . 649
18-55 F3.5/5.6 VR . . . . . . . . . . . . . 99
20 F2.8 AF-D . . . . . . . . . . . . . . . . 489
24-70 F2.8 G ED AFS . . . . . . . . 1239
24-85 F3.5/4.5 G ED VR . . . . . . . 429
24-120 F4 G ED VR. . . . . . . . . . . 849
28 F1.8 AF . . . . . . . . . . . . . . . . . . 519
28-300 F3.5/5.6 G ED VR . . . . . . 659
35 F1.4 G. . . . . . . . . . . . . . . . . . 1399
35 F2 AF-D. . . . . . . . . . . . . . . . . . 289
50 F1.4 AF-S G . . . . . . . . . . . . . . 299
50 F1.8 G. . . . . . . . . . . . . . . . . . . 169
50 F1.8 AF-D . . . . . . . . . . . . . . . . 129
60 F2.8 AFS . . . . . . . . . . . . . . . . . 429
70-200 F2.8 VR . . . . . . . . . . . . 1649
70-200 F4 G ED VR. . . . . . . . . . 1029
70-300 F4.5/5.6 VR . . . . . . . . . . . 418
80-400 F4.5/5.6 VR AF G. . . . . . 2199
85 F1.4 AFS G . . . . . . . . . . . . . . 1175
85 F1.8 AFS G . . . . . . . . . . . . . . . 377
105 F2.8 VR macro . . . . . . . . . . . 649
300 F2.8 AFS G VR . . . . . . . . . 4189
300 F4 AF-S. . . . . . . . . . . . . . . . 1049
800 F5.6 AFS VR. . . . . . . . . . . 15599
TC14E or TC17E converter ea. . 329
TC20E converter . . . . . . . . . . . . 389
FLASH & ACCESSORIES
SB-700 . . . 239 SB-910 . . . . . . 339
SBR1C ringflash/command. . . . . 579
MBD15 (D7100) . . . . . . . . . . . . . . 279
MBD14 (D600) . . . . . . . . . . . . . . . 239
MBD12 Grip (D800/E) . . . . . . . . . 289
MBD11 Grip (D7000) . . . . . . . . . . 229
MBD10 Grip (D300/D700) . . . . . . 219
MC36A . . 129 MC30A . . . . . . . . 69
DSLRS & KITS
D800e
body
2329
D800
body
1989
D7000 body 579
D7000 pIus
18-105 VR 719
D3200 body 349
D3200 pIus
18-55 VR 429
D5200 body 579
D5200 pIus
18-55 VR 679
D7100 body 839
D7100 plus 18-105 VR 999 D7100
D4
body
4239
D600 body1369
GH3 + 12-35mm.................. 1679
GH3 + 14-140mm................ 1299
GH3 body .............................. 899
GX7 +
14-42mm II...........................899
GX7 body.............................819
G6 + 14-140mm.................... 949
G6 + 14-42mm...................... 629
G6 body................................. 549
G5 + 14-42mm...................... 429
G5 body................................. 379
7-14mm F4..1049 8mm F3.5 ...499
12-35mm f2.8 ........................ 849
14-42mm X............................ 269
14-140mm OS no box.......... 469
20mm F1.7 MK.................... 345
20mm F1.7 ............................ 269
25mm F1.4 DG...................... 459
35-100 F2.8 Power OS X..... 979
45mm F2.8 OS..................... 589
45-150 F4/5.6 OS................. 229
45-175mm F4/5.6 OS X....... 319
45-200mm F4/5.6 OS........... 269
100-300mm F4/5.6 OS......... 449
LFV2 Viewfinder .................... 199
10-20 F3.5 EX DC HSM. . . 459
10-20 F4/5.6 EX DC. . . . . . 369
12-24 F4.5/5.6 EX DG mac 599
17-50 F2.8 EX DC OS HSM499
17-70 F2.8/4.5 DC OS . . . . 349
18-35 F1.8 DC HSM. . . . . . 649
18-50 F2.8/4 DC OS . . . . . 169
18-250 F3.5/6.3 DC OS Mac 369
24-70 F2.8 EX F DG HSM. 589
35 F1.4 DG HSM . . . . . . . . 679
50 F1.4 EX DG CAF/NAF . 319
50-500 F4/5.6 OS HSM. . . . 999
70-200 F2.8 EX DG OS . . . 879
70-300 4.5/5.6 APO DG mac 169
85 F1.4 EX DG HSM . . . . . 659
105 F2.8 EX DG OS. . . . . . . 549
120-300 F2.8 DG OS HSM 2799
120-400 F4.5/5.6 APO OS . 629
150 F2.8 EX DG OS. . . . . . 689
150-500 F5/6.3 DG OS. . . . 749
180 F2.8 EX DG OS. . . . . 1299
1.4x conv...199 2x conv. . 239
SIGMA PRO STOCKISTS
3 YEAR WARRANTY
X-Pro 1 body......... 947
X-Pro 1 + 35mm..1199
X-E1 + 18-55 OS..888
X-E1 body..............629
X-E1 body demo....539
X-M1 + 16-50.........669
X-M1 body .............589
14mm f2.8 XF........685
16-50mm XC .........359
18mm f2 XF...........419
18-55mm OS XF...489
27mm F2.8 XF.......379
35mm f1.4 XF........419
55-200mm OS XF...579
60mm f2.4 XF........459
EF X20 fash..........189
EF42 fash .............199
X100s Compact .....977
X20 Compact.........429
HS50 Camera........389
Tamron
5 Year Warranty
18-270mm f3.5/6.3
Di VC PZD......349
60mm f2 Di macro
NAF only ............ 299
70-300mm F4/5.6
Di VC USD........ 299
90mm f2.8 Di VC
macro................ 499
90mm f2.8 Di
macro................ 369
Kenko Tubes
Converters
Kenko auto ext
tube set............. 149
Kenko Pro 300
1.4x DG X conv 199
Kenko Pro 300
2x DG X conv ... 199
K50 body
onIy....... 529
K50
+ 18-55 WR................ 599
K500 + 18-55............. 449
K5 + 18-55
WR..........779
K5
+ 18-135 ..................989
K5S body.........789
K30D
+ 18-55...529
K30D + 18-135 ........759
W WY YQMM MIMY
WE PART EXCHANGE, BUY FOR CASH OR COMMlSSlON SALE
Colleotlon oan be arranged. oontaot us at lnfo@mlfsuds.oom or rlng 0180S 8S2400
Ma|| Order :
0180S 8S2400
Ema|| -
|nfo@m|fsuds.com
www.m|fsuds.com
27-29, Bo|ton Street, Br|xham. Devon. TQ5 9BZ.
PHONE LINES OPEN
MON -FRI 8am - 7pm,
SAT 9am - 5pm,
SUN 10am - 1pm.
SHOP OPEN
MON -SAT 9am - 5pm,
SUN 10am - 1pm.
U.K. Stock
Only
Fam||y Run Pro Dea|ersh|p w|th Fr|end|y, Know|edgeab|e Staff. Open 7 days per week. Pr|ces |nc vAT - correct 23/08/2013. P&P Extra. E&OE.
FOr UezIs Of cUrreHz csHUcR Offers HU prOnOzOHs pIese see OUr WeUsze.
200-400 f4
VRII 4949
200 f2 G VRII
3849
400 f2.8 AFS
VRII 6499
500 f4 AFS
VRII 5777
600 f4 AFS
VRII 6899
PRO DEALER
645D - N 8TOCK
body.............. 5499
+ 55 f2.8 ........ 6299
N 8TOCKl
DA 560mm f5.6 ED AW......5999
MOST ITEMS ARE IN-STOCK - CHECK
DA 10-17 f3.5/4.5..............................439
DA 15mm f4 AL.................................585
DA 16-50 f2.8....................................799
DA 21mm f3.2 AL..............................459
FA 31mm f1.8 .................................1049
FA 43mm F1.9..................................695
DA 50-135 F2.8 ................................869
DA 55mm f1.4...................................609
DA 60-250F4 ..................................1079
FA 77mm 1.8 ....................................799
DA 200 F2.8......................................749
DA 300mm F4..................................929
200-400 f4 IS L
USM 11999
FREE 1.4x CONVERTER
300 f2.8 IS L
USM II 5388
FREE 1.4x CONVERTER
400 f2.8 IS L
USM II 8288
FREE 1.4x CONVERTER
500 f4 IS L
USM II 7749
FREE 1.4x CONVERTER
600 f4 IS L
USM II 10479
FREE 1.4x CONVERTER
BUY WITH CONFIDENCE - FAMILY RUN SINCE 1954
EXPERT ADVICE COUPLED WITH QUALITY SERVICE
VALUE FOR MONEY PRICING ON UK SOURCED STOCK
HUGE RANGE OF NEW & USED PRODUCTS
SPEEDY DELIVERY FOR MAIL ORDER
FULLY AIR CONDITIONED SHOWROOM
LIMITED FREE PARKING AVAILABLE
WE WANT Y0UR EQUlPMENT
If what you are looking
for is not listed...
email with your
requirements & we
will advise when we
have what you want.
DSLR SENSOR
CLEANING ON
THE PREMISES
Email us now for
details - done
by appointment
only MON-FRI
PRO LENS
BODY
HIRE
Email for details -
Subject to availability
MIFSUD
Highlights
USED stock
Canon 600mmf4
L IS U 5999
Sigma 500mm
f4.5 EX DG 2499
Nikon 200-400mm
f4 VRI 3499
Nikon 200mmf2
AFS VR1 2699
Nikon 400mm
f2.8 VR M- box
5899
WE PART EXCHANGE, BUY FOR CASH
OR COMMlSSlON SALE
Colleotlon oan be arranged.
oontaot us at lnfo@mlfsuds.oom
or rlng 0180S 8S2400
QUALITY USED EQUIPMENT. See webs|te for fu|| ||st. Ca|| us for cond|t|on and to buy secondhand stock. 3 Month warranty on most secondhand.
5x4 USED
Cambo Wide Super Angulon
65 F5.6 kit see web........ 1299
chneider Sup Ang 90 F8...299
Polaroid back.................. 49
Toyo 6x7 RFH............... 129
Toyo quick roll slider..... 199
Fidelity double dark sl ea10
BRONICA ETRS 645 USED
ETRSi + 75 PE + 120 back
+ AE prism.................. 349
ETRS + 75 E + 120 back
+ AE prism.................. 299
ETRSi body .................. 139
ETRS body..................... 99
50 F2.8 PE ................... 199
75 F2.8 PE ................... 139
75 F2.8 E.................... 129
100 F4 PE .................... 229
105 F4.5 PE macro ...... 369
135 F4 PE .................... 249
150 F3.5 E...................... 89
150 F3.5 PE M- Box..... 149
200 F4.5 PE ................. 179
500 F8 E..................... 449
2x extender E............... 139
E14 ext tube................... 49
120 RFH......................... 69
135N back .................... 129
135W back ................... 249
Polaroid Back ................. 29
Rotary prism................. 149
AE Prism ................... 179
AE Prism ...................... 89
WLF................................ 49
Plain Prism E.................. 39
Angle viewfinder E........ 179
Winder E..................... 199
Winder ............................ 79
M bracket........................ 69
Speed Grip E.................. 49
Tripod adapter E............. 59
Metz SCA 386 ................ 49
BRONICA SQ 6x6 USED
SQB + 80 + RFH.......... 349
SQ + 80 + RFH ............ 249
SQAi comp ................... 449
SQAi body .................... 249
65 F4 PS Boxed........... 149
110 F4 PS macro... 279/399
135 F4 PS M- ............... 249
150 F3.5 S...................... 79
150 F4 PS ............. 149/199
200 F4.5 PS M- box ..... 199
2x PS converter M- ...... 219
Polaroid back.................. 39
120 RFH......................... 79
Waist level finder ............ 69
Plain Prism S Boxed ...... 79
AE Prism Early ............... 99
ME Prism Finder............. 99
45 prism........................ 139
Metz SCA 386 ................ 49
Lens Hood 65-80............ 20
Pro shade S box............. 49
SQAi Motorwinder ........ 199
Speed grip S................... 79
BRONICA GS 6x7 USED
150 F4 PG M-............... 129
G18 Ext Tube box .......... 69
Polaroid Back ................. 39
Speed Grip .................... 89
AE Prism Finder G....... 129
AE Rotary Prism........... 169
CANON DIGITAL AF USED
1D MK body............... 899
1D MK body scruffy... 749
1D MK body................ 299
7D body box .......... 749/799
5D MK body ............... 499
50D body.........................399
40D body.........................199
20D body.........................149
600D body box................299
450D body.......................199
1100D body Mint box......199
BG-E2 ...............................49
BG-E2N.............................69
BG-E3 ...............................39
BG-E4 (5D MK) ...............69
BG-E6 box ......................129
BG-E8 box ........................99
G11 compact...................239
G9 compact.....................169
SX40 compact box .........199
SX1 S compact M- box ...79
S3 S compact ..................69
CANON AF USED
EOS 1n RS body.......... 299
EOS 3 + PB-E2............ 169
EOS 3 body.................. 129
EOS 5 body.................... 39
EOS 30 body.................. 39
EOS 650 body................ 20
EOS 300 body................ 20
EOS 500 body................ 20
EOS 50E body................ 20
17-40 F4 L.................... 499
17-85 F4/5.6 S U......... 199
18-55 F3.5/5.6 S EFS ... 79
18-55 F3.5/5.6 EFS............59
18-135 F3.5/5.6 S.......... 219
18-200 F3.5/5.6 S.......... 349
20 F2.8 M- box................ 329
22-55 F4/5.6.......................69
24-70 F2.8 L MK M-....... 949
28-80 F3.5/5.6 U V............79
28-135 F3.5/5.6.................249
40 F2.8 STM M- box .... 159
50 F1.4 U...................... 239
50 F1.8 MK................... 69
55-200 F4/5.6 U ............. 69
60 F2.8 EFS................. 299
70-200 F4 S U L.......... 769
70-300 F4/5.6 S U....... 299
80-200 F4.5/5.l6 .......... 49
85 F1.8 U...................... 249
90 F2.8 TSE................. 749
100-400 F4.5/5.6 L M- 1099
100-400 F4.5/5.6 L....... 999
300 F2.8 S L U.......... 3499
300 F4 S U L.................. 799
500 F4 S L U...............4999
600 F4 S L U...............5999
2x extender MK.............149
Teleplus 2x DG conv ...... 89
NCE2 charger................. 99
BP-300............................ 39
BP-200............................ 20
BP-50 grip ...................... 20
LC-4 wireless kit ............119
Angle finder C............... 139
Tripod mount ring A W . 79
SIGMA CAF USED
8-16 F4.5/5.6 DC M- .... 479
10-20 F4 EX DC box ...... 299
10-20 F4/5.6 EX DC....... 299
18-50 F2.8 EX DC........... 199
18-125 F38/5.6 DC OS... 179
18-250 F3.5/6.3 DC OS.. 219
30 F1.4 DC HSMA........399
30 F1.4 EX......................249
35 F1.4 DGA M- box.....579
50-200 F4/5.6 DC............. 49
50-500 F4/6.3 EX...........549
100-300 F4 EX DG box.599
100-300 F4 EX DG........449
105 F2.8 EX DG.............319
120-400 F4/5.6 DG OS box499
170-500 F5/6.3................ 399
300-800 F5.6 EX DG.... 3499
500 F4.5 EX DG............ 2699
1.4x EX DG conv ............ 169
1.4x EX conv................... 129
2x EX DG conv ............... 189
OTHER CAF USED
CZ 35 F2 ZE box.......... 499
TAM 10-24 F3.5/4.5 Di.. 269
TAM 18-250 F3.5/6.3...... 179
TAM 18-270 VC PZD...... 279
TAM 18-270 F3.5/6.3...... 229
TAM 28-200 XR Di.............99
TAM 70-300 F4/5.6............69
TAM 90 F2.8.......... 219/269
TAM 180 F3.5 Di M- ..... 439
TOK 19-35 F3.5/4.5........ 89
Kenko Pro 300 1.4x DG149
Kenko Pro 300 2x DG X149
Kenko Pro 300 2x DG...119
Kenko ext tube set Mint 119
CANON FLASH USED
ST-E2............................ 129
270EX box...................... 79
420EX............................. 89
430EX ........................ 169
550EX........................... 229
580EX........................... 299
580EX......................... 339
ML-3 ring not digital........ 89
Sigma EM140G ring..... 199
CANON MF FD USED
T90 Body........................ 49
A1 body ................... 79/179
AE1 body blk/chr ............ 49
AE1-P chrome body ....... 69
AV1 chr body.................. 49
24 F2.8 ........................... 79
28 F2.8 ........................... 49
35-70 F3.5/4.5................ 39
35-105 F3.5.................... 99
35-105 F3.5/4.5.............. 99
BL 50 F1.4...................... 49
50 F3.5 Macro................ 89
50 F3.5 Mac + Tube......119
100 F4 Macro + tube.... 199
2X A Extender................. 99
2X B Extender ................ 69
TOK 60-300 F4/5.6......... 69
Motor drive MA............... 69
Winder A......................... 29
Angle finder B................. 69
AE power winder FN...... 79
AE motor drive FN
+ battery pack............... 149
Auto bellows FD............. 99
Auto bellows FL + slide
duplicator ........................ 89
CANON FLASH USED
199A............................... 59
244T ............................... 29
300TL ............................. 49
CONTAX RF USED
G2 body Titanium box .. 399
28 F2.8 Titanium........... 299
35-70 F3.5/5.6 tit box ... 399
90 F2.8 titanium............ 299
TLA30 flash .................... 29
FUJI DIGITAL USED
X-Pro 1 body M- ........... 749
18 F2 XF R M- box....... 289
18-55 F2.8/4 XF OS.... 429
35 F1.4 XF R................ 349
60 F2.4 XF R M-........... 369
ERC for X-Pro1 .............. 99
X-Pro 1 grip.................... 49
X100 M- box................. 449
XS1 M- box................... 299
HS30 box...................... 149
FUJI MED FORMAT USED
GX617 + 90 + VF
+ CF box..................... 2199
180 F6.7 GX617 box.... 999
250 F5.6 GX680........... 149
GA645 M- ..................... 399
GSW690 MK ............. 849
GW690 ....................... 399
FUJI 35MM USED
Screw & bayonet SEE WEB
HASSELBLAD XPAN USED
XPan + 45 F4............... 1499
XPan + 45 F4.................. 799
30 F5.6 M- box................ 1699
90 F4.................................. 299
HASSELBLAD 6x6 USED
SWCM + VF chrome.....1199
503CX chrome body.... 499
500CM + 80CF F2.8
+ A12 blk/chr .................699
500CM body................. 199
PM90 prism.................. 199
PME prism box............. 149
45 Prism late.............. 149
WLF early....................... 49
A12 latest blk/chr.......... 199
A12 late blk/chr............. 149
E12 blk ......................... 249
Polaroid 100 back box.... 69
503CW winder box....... 249
50 F2.8 FE M- .............. 699
50 F4 black T* .............. 299
250 F4 FE M- box ........ 599
50 F2.8 CE M- box....... 699
50 F4 CF FLE............... 699
50 F4 CF ...................... 499
50 F4 black T* .............. 299
80 F2.8 CF M- .............. 499
150 F4 chr .................... 169
150 F4 CF ................... 549
150 F4 CF .................... 349
Vivitar 2x conv................ 69
LEICA DIGITAL USED
Digilux 3 box ..................349
Minilux ............................199
LEICA M/COMPACT USED
g + 5cm F2 + erc....... 999
M6 chr body.................. 799
21 F2.8 blk ASP M- box . 1899
28 F2.8 M- box............. 899
35 F2 blk ASP M- box 1499
50 F2 chr ...................... 999
CF fLash............................69
SF20 flash .........................79
LEICA SLR USED
R4 body chr ..................... 149
LIGHTMETERS USED
Gossen Lunasix .......... 79
Minolta Flashmeter V ... 179
Minolta Autometer VF.. 179
Minolta Spotmeter F..... 199
Sekonic L558................ 279
Pentax digital spot M.... 299
Polaris flash meter
+ spot VF...................... 129
LOWEPRO USED
Pro Runner 450AW........ 79
Lens Trekker 600AW...... 99
Dryzone 100 yellow/blk 139
Dryzone 200 yellow/blk 179
Pro Trekker AW.............. 99
MAMIYA 645 AF USED
55 F2.8 AFD M- box..... 349
55-110 F4.5 M- box ...... 499
MAMIYA 645 USED
645 Pro + 80 F2.8 N
+ 120 RFH + prism....... 349
645 Pro TL + 80 + RFH
+ plain prism................. 349
645 Pro TL inc 80 F2.8 N
+ AE Prism + Pro Winder ...449
645 Pro SV kit .............. 299
645 Pro TL Body .......... 199
645E body .................... 169
645 Super comp........... 199
645 Super body.............. 99
45 F2.8 N M- Box......... 179
50 F4 shift..................... 399
55 F2.8 N........................ 99
55-110 F4.5 .................. 249
70 2.8 C leaf................... 99
105-210 F4.5 ULD C....... 249
110 F2.8 N...................... 99
110 F2.8 C...................... 79
150 F3.5 N...................... 99
210 F4 N M- ................. 129
300 F5.6 N ULD-C M- .. 199
2x converter N...............119
Ext Tube 1, 2, 3S each... 29
Teleplus/Viv 2x conv ea.. 49
FE401 AE prism box .... 179
AE prism 645 Super ..... 129
Plain prism (645 Super) . 69
WLF (Super/Pro TL) ....... 69
WLF 645N/1000S/J........ 79
Polariod Back HP401..... 39
Polaroid back.................. 39
120 nsert ....................... 20
HA401 120 RFH Box...... 49
120 Back ........................ 39
Winder ............................ 79
MAMIYA TLR 6x6 USED
C330 S B/O + WLF....... 269
C330 F Body + WLF..... 149
65 F3.5 box late............ 199
65 F3.5 serviced........... 169
80 F2.8 late serviced.... 139
80 F2.8 S serviced........ 169
135 F4.5 serviced......... 149
180 F4.5 ....................... 169
250 f4.5 serviced.......... 199
Paramender.................... 89
CDS Mag Hood box...... 129
MAMIYA 7 RF 6x7 USED
7 body......................... 849
7 body.......................... 499
50 F4.5 L + VF ............. 849
65 F4 box ..................... 599
150 F4.5 M- .................. 449
210 F8 + VF box M- ..... 599
Polarising filter...............110
Panoramic kit.................. 49
MAMIYA RB 6x7 USED
Pro SD + 127 KL
+ RFH + WLF............... 599
Pro S + 90 F3.8
+ 120 RFH.................... 399
Pro S body.................... 149
Pro S body scruffy.......... 99
Prism early ..................... 99
WLF....79 Chimney...... 69
120 645V back ............... 99
Pro S Polaroid back ....... 49
Pro SD Polaroid back..... 69
50 F4.5 C...................... 269
55 F4 C......................... 199
65 F4 KL....................... 399
90 F3.5 KL.................... 299
180 F4.5 KL M-............. 249
180 F4.5 C...................... 99
250 F4.5 KL M- box ........ 249
45mm tube SD M-..............99
Ext tube 2............................69
MAMIYA RZ 6x7 USED
RZ Pro + 90 F3.5
+ RFH........................... 649
RZ Pro body .............. 299
RZ Pro body ................. 149
50 F4.5 W M- ............... 269
50 F4.5 ULD M- box..... 699
65 f4 M- box ................. 329
140 f4.5 W M- macro.... 349
180 F4.5 M- .................. 179
No 1 or No 2 ext tube ea 69
FE701 prism AE ........... 249
AE prism early................ 99
Pro Polaroid back........ 69
120 Back Pro 1............... 39
Pro shade....................... 49
Pro AE hood..................119
MANFROTTO USED
055XPROB..................... 99
055CXPRO3................. 179
190XPROB..................... 79
190CXPRO4................. 149
METZ USED
45CL4D mint box unused 279
45CL4 AA battery ........... 59
45CL1 AA battery ........... 45
MINOLTA/SONY DIGITAL USED
Sony A580 body.............349
Sony A550 body box......329
Sony A200 body............... 99
Sony RLAM ringlight ......179
Sigma EF530DG Super... 79
MINOLTA/SONY AF USED
Dynax 7 body M- box ... 149
Dynax 800Si + VC700.... 69
Dynax 7xi body............... 49
Dynax 700Si + VC700.... 69
Dynax 700Si body .......... 49
Dynax 5 body .................... 39
Dynax 505Si body ............. 29
Dynax 500Si Super body .. 29
Dynax 400Si body ............29
20-35 F3.5/4.5.............. 229
24-105 F3.5/4.5............ 149
28-85 F3.5/4.5.............. 129
35-70 F4......................... 69
50 F1.4............................. 149
50 F1.7................................79
50 F2.8 macro................. 199
70-210 F4...........................99
70-210 F4.5/5.6..................69
100-200 F4.5......................59
100-300 F4/5.6................ 129
300 F2.8......................... 2299
500 F8.............................. 369
BP200 grip..........................39
SONY LENSES USED
18-70 F3.5/5.6 DT..............69
18-200 F3.5/6.3 DT......... 239
18-250 F3.5/6.3 box........ 319
30 F2.8 SAM.................. 119
50 F2.8 macro................. 269
70-300 F4.5/5.6 G SSM.. 549
SIGMA MIN/SONY AF USED
18 F3.5 box....................129
18-35 F3.5/4.5.................. 69
21-35 F3.5/4.2................129
50 F1.4 EX DG M- box..269
50 F1.4 SAL...................229
55-200 F4/5.6................... 69
70 F2.8 EX DG................ 279
600 F8 .......................... 349
1.4x EX DG conv.......... 149
2x EX conv ..................... 99
TAM 55-200 F4/5.6 di..... 49
TAM 90 f2.8 Di box....... 269
TAM 90 f2.8.................. 199
Teleplus 1.4x conv.......... 69
Teleplus 2x conv............. 99
Kenko 1.4x Pro 300DG 149
Sony angle finder ........... 89
VC600 (600Si)................ 29
Min 3200i ........................ 19
Min 3600HSD flash ........ 69
Min 5200i ........................ 39
Min 5400HS.................... 49
Min 5600HSD M-.......... 149
NIKON DIGITAL AF USED
D3X body.................... 2699
D3 body M- box.......... 1699
D3 body...................... 1299
D2XS body ................... 499
D2X body box............... 399
D700 body......... 1299/1399
D300s body ........... 549/599
D300 body.................... 349
D200 body box ............. 199
D100 body...................... 69
D50 body........................ 69
D40 body........................ 69
D90 body box ............... 249
D80 body...................... 199
D5100 body M-............. 249
D3100 body M-............. 179
D3000 body box ............119
EH-6 mains charger ....... 59
MBD-10 box ................... 99
MBD-80 box ................... 89
MBD-200 box ................. 69
Coolpix P5000................ 79
NIKON AF USED
F6 body M- box ............ 999
F5 body M- box ............ 399
F5 body box.................. 299
F5 body scruffy............. 199
F100 + MB-15 .............. 149
F80 body black............... 69
F90X body...................... 49
F801 body ...................... 49
F55 or F65 body each.... 29
F601 body ...................... 29
10.5 F2.8 GDX......... 319/429
12-24 F4 DX....................499
14-24 F2.8 AFS M- box.1099
16-85 F3.5/5.6 AFS VR...379
17-55 F2.8 AFS DX.........749
18-35 F3.5/4.5 AFD.........299
18-55 F3.5/5.6 VR M-........79
18-55 F3.5/5.6 ...................69
18-105 F3.5/5.6 VR.........139
18-135 F3.5/5.6 AFS.......149
20 F2.8 AFD box .............429
24 F2.8 AFD box .............429
24 F2.8 AF.......................199
24-70 F2.8 AFS M- box.1099
24-70 F2.8 AFS box......1029
24-85 F3.5/4.5 VR...........329
24-120 F4 AFS M-...........749
24-120 F3.5/5.6 VR.........269
24-120 F3.5/5.6 D...........149
28 F2.8 AF N...................119
28-80 F3.5/5.6 G................49
28-100 F3.5/5.6 AFD..........69
28-200 F3.5/5.6 G........... 149
28-300 F3.5/5.6 VR M- box 529
35 F1.4 G M- box.......... 1049
35 F1.8 AF G................... 139
35-70 F2.8 AFD............... 299
50 F1.4 AFD box............. 179
50 F1.8 AFD.......................99
55-200 F4/5.6 AFS VR......99
55-200 F4/5.6 AFS.............69
60 F2.8 AFS micro.......... 339
60 F2.8 AFD micro.......... 279
70-200 F2.8 VR............ 1099
70-300 F4.5/5.6 VR...... 329
75-300 F4/5.6................. 79
80-200 F2.8 AFD N...... 699
80-200 F2.8 AFS.......... 699
80-200 F2.8 early ......... 299
80-400 F4.5/5.6 VR...... 699
85 F3.5 DX VR M-........ 299
105 F2.8 AFD Micro ..... 399
105 F2.8 AF.................. 369
180 F2.8 AFD M- box... 429
200 F2 AFS VR M- .... 2699
200-400 F4 VR .......... 3499
300 F4 AFS M- box ...... 899
300 F4 AFS grey body . 849
400 F2.8 VR M- box... 5899
500 F4 AFS VR.......... 4999
TC20E .......................... 199
SIGMA NAF USED
17-70 F2.8/4 DC OS HSM 249
18-125 F3.8/5.6 DC OS199
18-125 F3.8/5.6 DC........ 99
18-200 F3.5/6.3 DC OS199
24-70 F2.8 EX DG.......... 349
28-70 F2.8 EX DG box... 239
28-200 F3.5/5.6............... 129
28-300 F3.5/6.3..................99
30 F1.4 EX DC box......... 199
50-500 F4/6.3 EX DG.....549
55-200 F4/5.6 DC HSM....69
55-200 F4/5.6 DC Mint......49
70-200 F2.8 EX DG .....429
70-300 F4/5.6 APO mac DG.99
105 F2.8 EX DG OS M- . 399
105 F2.8 EX.................... 249
120-400 F4/5.6 APO....... 499
170-500 F5/6.3 DG......... 399
300 F2.8 EX serviced ....1199
300 F4 AFS grey body.... 849
500 F4.5 EX DG HSM.. 2699
1.4x EX DG M-................ 179
1.4x EX conv......................99
TAMRON NAF USED
18-250 F3.5/6.3 Di box. 199
24-135 F3.5/5.6 box.........119
28-300 F3.5/6.3 XR Di .... 269
55-200 F4/5.6 Di ..............49
70-300 F4/5.6............... 69/89
90 F2.8....................219 / 289
TOK 12-24 F4 ATX M-399
TOK 12-24 F4 ATX M-.. 349
TOK 16-50 F2.8 ATX Pro.... 439
TOK 35 F2.8 mac M-.......... 199
TOK 50-135 ATX Pro...... 369
VOGT 20 F3.5 SL11N M-349
FLASH / ACCESSORIES USED
DW-30 (WLF for F5)........ 139
SB-24...................................49
SB-25...................................69
SB-26...................................69
SB-27...................................49
SB-28...................................69
SB-28DX..............................69
SB-29...................................99
SB-30..................................49
SB-80DX.............................69
SB-600............................. 189
SB-700 box...................... 199
SB-800............................. 199
SD-8A..................................99
SD-8 box.............................69
MB-10 (F90X).....................29
MB-15 (F100) .....................49
MB-40 fits F6 M- box ...... 179
ML-3 remote M- box ....... 169
WT-2 box ............................99
NIKON MF USED
F2 + DP-1 blk ............... 199
F3 body ................... 99/199
FA body ................. 179/249
FE-2 body chr........ 199/249
FM2n body chr ............. 199
FM2n body blk.............. 169
FM2 body chr ............... 149
35-70 F3.3/4.5 AS ......... 99
35-105 F3.5/4.5 AS ..... 149
36-72 Series E................ 79
43-86 F3.5 A.................. 69
50 F1.2 AS................... 399
50 F1.8 AS..................... 89
50 F1.8 AS pancake.... 139
55 F2.8 AS micro......... 199
85 F2 A ........................ 179
105 F2.5 AS................. 149
135 F3.5 AS................... 99
200 F4 AS.................... 129
300 F4.5 A ................... 199
TC14A...149 TC14B.. 149
TC16A............................. 99
TC200............................. 59
MD-12 winder.....................49
SB-15.............................. 39
SB-16.............................. 69
SB-17 (fit F3) .................. 49
DW-4 (fit F3)................. 149
NOBLEX USED
135UC .......................... 449
OLYMPUS DIGITAL USED
E1 + 14-42.................... 149
E510 body .................... 179
E500 body .................... 129
E420 body .................... 129
E410 +14-42................. 179
E300 body .................... 129
14-42 F3.5/5.6................ 79
14-45 F3.5/5.6.............. 169
35 F3.5 ......................... 139
40-150 F3.5/4.5.............. 79
40-150 F4/5.6................. 79
Sigma 10-20 F4/5.6 DC239
Pen E-PL3 + 14-42 ... 249
Pen E-PL2 + 14-42 ... 199
Pen E-PL1 + 14-42....... 149
Pen E-PM1 body .......... 149
12-50 F3.5/6.3 EZ M- ... 199
14-150 F4/5.6............... 329
40-150 F4/5.6................119
70 F2.8 LTD M- ............ 379
HLD-6 M- box............... 149
MCON-P01..................... 49
OLYMPUS MF OM USED
OM-4 body blk .............. 139
OM-1n body................... 149
OM-2 chr body............... 129
OM-10 chr body............... 49
OM-10 blk body............... 49
24 F2.8 ......................... 169
28 F3.5 ........................... 49
35-70 F3.5/4.5................ 99
35-70 F4......................... 89
35-105 F3.5/4.5............ 129
50 F1.4 ........................... 99
50 F3.5 macro....................99
65-200 F4 box..................149
75-150 F4...........................49
135 F3.5 ......................... 39
180 F2.8 ....................... 399
200 F4 ............................ 89
Sigma 500 F7.2............ 199
F280 fash....................... 69
T32 fash......................... 39
Olympus Auto bellows
+ slide copier M- ........... 169
Man ext tube 7/14/25 ea. 15
Auto ext tube 14................... 20
PANASONIC DIGITAL USED
GH2 body box ................449
G3 Olympic kit M- box.. 369
G3 body box................. 169
G1 body.......................... 79
GF6 + 14-42 mint ......... 349
GF3 body mint box....... 149
GF2 body box................. 79
7-14 F4......................... 799
14 F2.5 ......................... 149
14-42 F3.5/5.6 X M- ..... 199
14-42 F3.5/5.6................ 69
14-45 F3.5/5.6.............. 169
14-50 F3.8/5.6 OS....... 299
14-140 F4/5.6 M- box... 329
45 F2.8 macro M-......... 469
45-150 F4/5.6............... 179
45-200 F4/5.6 OS........ 219
100-300 F4/5.6............. 379
MA2 M mount adapt..... 149
FL360 flash................... 149
PENTAX 645 DIGITAL AF USED
45 F2.8 AL.................... 379
45-85 F4.5 FA M- box... 749
80-160 F4.5 FA............. 599
PENTAX DIGITAL AF USED
K5D body...................... 349
K30 body ...................... 329
K7D body...................... 299
K20D body box............. 249
Kx body box.................. 169
DBG4 grip..................... 149
TR Power pack 3.......... 129
PENTAX 35mm AF USED
MZ-6 body ...................... 39
MZ-10 body ..................... 29
12-24 F4........................ 599
15 F4 M- ....................... 429
16-50 F2.8 M- box........ 599
17-70 F4 SDM M- box.. 349
18-55 F3.5/5.6 WR......... 69
18-55 F3.5/5.6................ 49
21 F3.2 AL Limited.......... 369
28-70 F4 AL........................69
35 F2.8 Limited M-........ 299
35-105 F4/5.6................. 79
40 F2.8 Limited M-........ 279
50-135 F2.8 SDM M- box699
50-200 F4/5.6 WR M-..... 99
70 F2.8 Limited............. 379
70-200 F4/5.6................. 79
70-300 F4/5.6................. 79
80-200 F4.7/5.6.............. 49
100-300 F4/5.6............... 99
DBG2 grip....................... 79
AFG200.......................... 49
AF500FGZ flash............. 79
AF540FGZ.................... 239
SIGMA PKAF USED
8 F4 EX M- box ............ 279
17-70 F2.8/4 DC M- box 279
18-250 F3.5/6.3 OS...... 249
28-200 F3.5/5.6.............. 79
50-200 F4/5.6 WR.......... 99
70-300 F4/5.6 DG........... 79
105 F2.8 EX DG M- box329
Samyang 8 F3.5 M- box179
TAM 17-50 F2.8 XR Di . 249
TAM 18-200 XR Di ..... 139
TAM 70-300 F4/5.6 Di .... 79
PENTAX 35mm MF USED
LX + FA1W prism......... 249
LX + FA1W prism......... 349
K2 body chrome............. 79
K1000 body chr .............. 79
M42 300 F4 M-............. 279
28 F3.5 ........................... 49
35-70 F3.5/4.5 PK.......... 49
40-80 F2.8/4 PK............. 69
50 F1.7 ........................... 59
50 F2 .............................. 49
55 F1.8 ........................... 49
80-200 F4.5.................... 49
135 F3.5 ......................... 49
400-600 F8/12.............. 399
1000 F8 ........................ 999
Rear converter PT62...... 69
PENTAX 645AF USED
645N + 75 F2.8 ............ 499
120 insert........................ 49
75 F2.8 FA.................... 149
80-160 F4.5 FA............. 399
1.4x converter ..................179
PENTAX 645MF USED
55 F2.8 M- .................... 249
135 F4 Leaf .................. 199
150 F3.5 EX++ ............. 149
200 F4 ......................... 149
1.4x converter ..................199
120 nsert M- box............ 49
Ref conv (angle fnder) . 169
PENTAX 67 USED
67 MU + metered prism
+ 105 F2.4 .................... 699
67 MU body.....................299
Chimney ......................... 99
55 F3.5 early................. 199
55 F4 ............................ 249
90 F2.8 leaf................... 239
135 F4 late.................... 299
135 F4 mac early............ 99
165 F4 leaf.................... 299
200 F4 latest................. 169
300 F4 early scruffy......... 99
300 F4 late.................... 249
Auto ext tubes................. 99
Vivitar 2x conv ................ 69
VOIGTLANDER USED
Bessa M- box............ 799
A/Ihough we are Ihe besI sIocked dea/er /n Ihe WesI CounIry, we cannoI a/ways have every /Iem //sIed /n sIock aI a// I/mes, so we are happy Io reserve new
& used /Iems for cusIomers p/ann/ng Io v/s/I. Pr/ces correcI aI I/me of comp//aI/on AugusI 23rd 2013 buI subjecI Io change w/IhouI noI/ce.
Mai| order used items so|d on 10 day approva|. Return
in 'as received' condition for refund if not satisfied
(postage not inc|uded - mai| order on|y}. Subscribe to
our emai| news|etter - be amongst the first to |earn
about specia| offers and promotions - ask us for detai|s.
E&OE.
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NEWCANON
CASHBACK
OFFERS
AVAILABLE -
please see
our website
for details
27-29, BoIton Street, Brixham.
Devon. TQ5 9BZ.
TeI: 01803 852 400
Web: www.mifsuds.com
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Prices correct when compiIed 23rd August 2013 and are shown BEFORE cashback - cIaim via CANON direct
300mm f2.8
L 8 U8M
400mm f2.8
L 8 U8M
EO8 1DX b/o
FREE 600EX RT
EO8 7D body
c/w 15-85 8
EO8 6D body
c/w 24-105 8
500mm f4
L 8 U8M
200-400mm
f4 8 L U8M
EO8 70D body
c/w 18-55 8TM
c/w 18-135 8TM
EO8 5D MK body
c/w 24-105 8
NEW CASHBACK DEALS ANNOUNCED
600mm f4
L 8 U8M
CA8HBACK AL8O AVALABLE ON THE8E LEN8E8...
Cashback amount in red, our price before cashback in white
8-15mm f4 L USM Fisheye-------------- 170 ----------- 1139
10-22mm f3.5/4.5 USM EF-S ----------- 40 --------------- 669
16-35mm f2.8 L II USM------------------- 170 ----------- 1199
17-40mm f4 L USM------------------------ 60 --------------- 629
17-55mm f2.8 IS USM -------------------- 85 --------------- 849
24-70mm f2.8 L II USM------------------- 200 ----------- 1797
24-70mm f4 L IS USM-------------------- 85 ------------- 1099
70-200mm f2.8 IS L II USM-------------- 200 ----------- 1879
70-200mm f4 L IS USM------------------- 60 --------------- 899
100mm f2.8 IS L USM macro----------- 85 --------------- 719
600EX RT FIash---------------------------- 60 --------------- 449
FREE 1.4X Converter
FREE 1.4X Converter
FREE 1.4X Converter
FREE 1.4X Converter
FREE 1.4X Converter
We may be the best stocked dealer in the West Country
BUT WE 8TLL WANT YOUR EOUPMENTl
PART
EXCHANGE
BUY FOR
CA8H
COMM88ON
8ELL
Collection can
be arranged
CANON - NKON - PENTAX - 8ONY
PANA8ONC - LECA - OLYMPU8
MNOLTA - CONTAX
BRONCA - ETR8, 8O, G8 & RF
FUJ, HA88ELBLAD,
MAMYA - 645, RB, RZ, 6/7, TLR
PENTAX - 645MF / AF, 6X7
LARGE FORMAT
8TUDO EOUPMENT ETC.
In the rst instance pIease emaiI detaiIs to info@mifsuds.com
27-29, BoIton Street, Brixham. Devon. TQ5 9BZ.
TeI: 01803 852 400 Web: www.mifsuds.com
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FAMILY RUN SINCE 1954
kIN1Lk INk CAk1kIDGLS
Premier nk &Photographic, Longfield Road, Leamington Spa, CV31 1XB. 01926 339977 E&OE. Prices may be subject to change, but hopefully not!
OriginaIs:
29.99 16ml
23.99 46ml
29.99 66ml
39.99 16ml
29.99 46ml
126.99 set of 7
15.99 17ml
18.99 17ml
18.99 17ml
49.99 set of 4
21.99 13ml
11.99 8ml
69.99 set of 6
16.99 13ml
16.99 13ml
109.99 set of 8
8.99 13ml
14.99 13ml
14.99 13ml
34.99 set of 4
8.99 8ml
8.99 8ml
99.99 set of 8
12.99 13ml
12.99 13ml
12.99 13ml
34.99 set of 4
8.99 8ml
8.99 8ml
34.99 set of 4
8.99 7.4ml
8.99 5.5ml
74.99 set of 6
12.99 10ml
12.99 10ml
51.99 set of 6
8.99 7.4ml
8.99 7.4ml
74.99 set of 8
7.99 11.4ml
9.99 11.4ml
9.99 11.4ml
74.99 set of 8
9.99 11.4ml
9.99 11.4ml
29.99 set of 4
7.99 5.9ml
7.99 3.5ml
42.99 set of 4
10.99 11.2ml
10.99 7ml
20.99 25.9ml each or 164.99 set of 8
14.99 17ml each or 107.99 set of 8
13.99 13ml each or 74.99 set of 6
41.99 80ml each or 329.99 set of 8
24.99 set of 4
7.99 5.4ml
5.99 3.1ml
44.99 set of 4
14.99 12.9ml
11.99 6.5ml
22.99 set of 4
7.99 5.2ml
5.99 3.3ml
46.99 set of 4
14.99 11.5ml
11.99 6.6ml
44.99 set of 6
7.99 5.1ml
7.99 4.6ml
69.99 set of 6
11.99 9.8ml
11.99 8.7ml
30.99 set of 4
8.99 6.2ml
7.99 4.7ml
7.99 4.5ml
54.99 set of 4
14.99 12.1ml
13.99 8.7ml
13.99 9.7ml
At Premier nk Supplies, we stock two types of cartridges for Epson printers - OriginaIs,
which are made by Epson, and CompatibIes, which are made by a UK company called
Jet Tec. Using Jet Tec CompatibIes is a way of saving money, without compromising on
the quality of your prints. Here're the results from two independent ink tests that agree.
"Jet Tec's coIours were superb, with singIe greys and
bIacks very cIose to Epson .so Jet Tec wins!"
- Total Digital Photography Magazine
"What we're Iooking at here is not onIy the best choice
of ink for the R300 printer, but aIso the best ink in this
group test, period. There's just no getting away from
the superb combination of performance and pricing"
- Computer Upgrade Magazine
Cartridge Code:
T007 Black
T008 Colour
T009 Colour
T026 Black
T027 Colour
T0341-T0347 Set of 7
T0341/8, each
T0342/3/4, each
T0345/6/7, each
T0441-T0454 Set of 4
T0441 Black
T0452/3/4, each
T0481-T0486 Set of 6
T0481/2/3, each
T0484/5/6, each
T0540-T0549 Set of 8
T0540 Gloss
T0541/2/3/4, each
T0547/8/9, each
T0551-T0554 Set of 4
T0551 Black
T0552/3/4, each
T0591-T0599 Set of 8
T0591/2/3, each
T0594/5/6, each
T0597/8/9, each
T0611-T0614 Set of 4
T0611 Black
T0612/3/4, each
T0711-T0714 Set of 4
T0711 Black
T0712/3/4, each
T0791-T0796 Set of 6
T0791/2/3, each
T0794/5/6, each
T0801-T0806 Set of 6
T0801/2/3, each
T0804/5/6, each
T0870-T0879 Set of 8
T0870 Gloss
T0871/2/3/4, each
T0877/8/9, each
T0961-T0969 Set of 8
T0961/2/3/4/5, each
T0966/7/8/9, each
T1281-T1284 Set of 4
T1281 Black
T1282/3/4, each
T1291-T1294 Set of 4
T1291 Black
T1292/3/4, each
T1571-9, each
T1591-9, each
T5591-6, each
T5801-9, each
No.16 Set of 4
No.16 Black
No.16 C/M/Y, each
No.16XL Set of 4
No.16XL Black
No.16XL C/M/Y, each
No.18 Set of 4
No.18 Black
No.18 C/M/Y, each
No.18XL Set of 4
No.18XL Black
No.18XL C/M/Y, each
No.24 Set of 6
No.24 B/LC/LM, each
No.24 C/M/Y, each
No.24XL Set of 6
No.24XL B/LC/LM, each
No.24XL C/M/Y, each
No.26 Set of 4 (no PB)
No.26 Black
No.26 Photo Black
No.26 C/M/Y, each
No.26XL Set of 4 (no PB)
No.26XL Black
No.26XL Photo Black
No.26XL C/M/Y, each
SuitabIe EPSON Printers:
Photo 790, 870, 890, 895, 900, 915, 1290
Photo 790, 870, 890, 895, 915
Photo 900, 1270, 1290
Photo 810, 830 ,830u, 925, 935
Photo 2100
Chamelion Inks
C64, C66, C84, C86,
CX3600/3650, CX6400, CX6600
Parasol Inks
R200, R220, R300, R320, R340
RX500, RX600, RX620, RX640
Seahorse Inks
Photo R800, R1800
Frog Inks
Photo R240, R245,
RX420, RX425, RX520, RX525
Duck Inks
Photo R2400
Lilly Inks
D68, D88,
DX3800/3850, DX4200/4250, DX4800/4850
Teddy Bear Inks
S20, S21, SX100/105/110/115/200/205/210/215
SX400/405/415/515, D78/92/120, B40W, BX300
DX4000/4400/5000/6000/7000/7400/8400/9400
Photo 1400
Owl Inks
Photo P50, PX650/660/700W/710W/720WD,
PX730WD/800FW/810FW/830FWD/830FWD
R265/285/360, RX560/585/685
Photo R1900
Flamingo Inks
Photo R2880
Husky Inks
S22, SX125/130, SX420W/425W/445W,
BX305F
Fox Inks
SX420W/425W/445W/525WD/620FW,
BX305F/320FW/525WD/535WD/625FWD/630FW,
BX635FWD/BX925FWD/BX935FWD, B42WD
Photo R3000 Turtle Inks
Photo R2000 Kingfisher Inks
Photo RX700 Penguin Inks
Photo Pro 3800, 3880
Workforce WF-2010W, 2510WF, 2520NF,
2530WF, 2540WF
Fountain Pen Inks
Workforce WF-2010W, 2510WF, 2520NF,
2530WF, 2540WF
High Capacity Fountain Pen Inks
Expression Home XP30, XP102, XP202, XP205
XP302, XP305, XP402, XP405
Daisy Inks
Expression Home XP30, XP102, XP202, XP205
XP302, XP305, XP402, XP405
High Capacity Daisy Inks
Expression Photo XP750, XP850
Elephant Inks
Expression Photo XP750, XP850
High Capacity Elephant Inks
Expression Premium XP600, XP605, XP700,
XP800
Polar Bear Inks
Expression Premium XP600, XP605, XP700,
XP800
High Capacity Polar Bear Inks
Jet Tec CompatibIes:
3.99 20ml, 3 for 10.99
4.99 50ml, 3 for 13.99
4.99 70ml, 3 for 13.99
3.99 20ml, 3 for 10.99
4.99 50ml, 3 for 13.99
Check Website.
Check Website.
Check Website.
Check Website.
14.99, 3 sets for 42.99
4.99 21ml, 3 for 13.99
3.99 21ml, 3 for 10.99
19.99, 3 sets for 56.99
3.99 21ml, 3 for 10.99
3.99 21ml, 3 for 10.99
35.99, 3 sets for 99.99
3.99 21ml, 3 for 13.99
4.99 21ml, 3 for 13.99
4.99 21ml, 3 for 13.99
14.99, 3 sets for 42.99
4.99 21ml, 3 for 10.99
3.99 21ml, 3 for 10.99
Check Website.
Check Website.
Check Website.
Check Website.
14.99, 3 sets for 42.99
4.99 21ml, 3 for 13.99
3.99 21ml, 3 for 10.99
14.99, 3 sets for 42.99
4.99 13ml, 3 for 13.99
3.99 13ml, 3 for 10.99
Check Website.
Check Website.
Check Website.
19.99, 3 sets for 57.99
3.99 13ml, 3 for 10.99
3.99 13ml, 3 for 10.99
Check Website.
Check Website.
Check Website.
Check Website.
Check Website.
Check Website.
Check Website.
14.99 set of 4
4.99 13ml
3.99 10ml
16.99 sets of 4
5.49 16ml
4.49 13ml
14.99 set of 4
4.99 18ml
3.99 13ml
14.99 set of 4
4.99 18ml
3.99 13ml
14.99 set of 4
4.99 18ml
3.99 13ml
14.99 set of 4
4.99 18ml
3.99 13ml
NEW
NEW
NEW
NEW
NEW
NEW
NEW
NEW
NEW
NEW
NEW
NEW
NEW
NEW
Lexmark CompatibIes
No.1 Colour 10.99
No.2 Colour 11.99
No.3 Black 14.99
No.16 Black 11.99
No.17 Black 9.99
No.26 Colour 12.99
No.27 Colour 11.99
No.31 Photo 11.99
No.32 Black 9.99
No.33 Colour 11.99
No.34 Black 11.99
No.35 Colour 12.99
Lexmark OriginaIs
No.1 Colour 22.99
No.14 Black 18.99
No.15 Colour 20.99
No.17 Black 20.99
No.23 Black 19.99
No.24 Colour 22.99
No.27 Colour 22.99
No.28 Black 18.99
No.29 Colour 19.99
No.32 Black 22.99
No.33 Colour 24.99
No.36 Black 19.99
No.37 Colour 20.99
No.43XL Colour 29.99
No.44XL Black 25.99
No.100 Black 15.99
No.100 Cyan / Mag / Yellow 9.99
Many more in stock!
If you cannot find the ink cartridges for your printer, please check our website, or give us a call, and we'll do our best to help.
We stock what is probably the UK's largest range of ink cartridges and photo paper, including wide format ink cartridges and roll papers.
Canon CompatibIes
BCi3e Black 26ml 2.99
BCi6 B/C/M/Y 15ml 2.99
BCi6 PC/PM/R/G 15ml 2.99
PGi5 Black 29ml 4.99
CLi8 B/C/M/Y/PC/PM 15ml 3.99
CLi521 B/C/M/Y/GY 9ml 3.99
PG37 Black 12ml 9.99
PG510Black 11.5ml 13.99
PG540XL Black 21ml 13.99
CL38 Colour 12ml 12.99
CL512Colour 11.5ml 15.99
CL541XL Colour 15ml 15.99
Canon OriginaIs
BCi3e Black 26ml 11.99
BCi6 All colours, 13ml, each 8.99
CLi8 All colours, 13ml, each 10.99
CLi42 All colours, 13ml, each 10.99
CLi42 Set of 8 79.99
PGi9 All colours, 14ml, each 9.99
PGi9 Set of 10 89.99
PGi29 Set of 12 269.99
PGi72 Set of 10 99.99
PGi520/CLi521 Set of 5 46.99
PGi525/CLi526 Set of 5 46.99
PGi550/CLi551 Set of 5 42.99
PG540XL Black 21ml 17.99
CL52 Photo 21ml 19.99
CL541XL Colour 15ml 19.99
Many more in stock!
HP CompatibIes
No.15 Black 46ml 4.99
No.22 Colour 21ml 11.99
No.300XL Black 18ml 14.99
No.300XL Colour 18ml 16.99
No.301XL Black 15ml 14.99
No.337 Black 21ml 10.99
No.338 Black 21ml 10.99
No.339 Black 34ml 12.99
No.348 Photo 21ml 12.99
No.350XLBlack 30ml 14.99
No.363 C/M/Y/PC/PM each 4.99
No.364XLBlack 18ml 9.99
No.364XLC/M/Y11ml each 8.99
HP OriginaIs
No.38All Colours 27ml each 26.99
No.58 Photo 17ml 23.99
No.337 Black 11ml 18.99
No.338 Black 11ml 18.99
No.339 Black 21ml 25.99
No.350 Black 4.5ml 11.99
No.351 Colour 3.5ml 14.99
No.363 C/M/Y/PC/PM each 9.99
No.364 PB/C/M/Y 3ml each 6.99
No.364 Set of 4 22.99
No.920XL Set of 4 46.99
No.932XLBlack 22.5ml each 21.99
No.933XL C/M/Y 8.5ml each 9.99
No.940XL Set of 4 69.99
No.950XL Black 53ml each 24.99
No.951XL C/M/Y 24ml each 17.99
Many more in stock!
NEW GoId Mono SiIk 270g, A4, 25sh 19.99
NEWGoId Raster SiIk 290g, A4, 25sh 25.99
GoId Fibre SiIk 310g, A4, 50sh 44.99
NEWMetaIIic GIoss 260g, A4, 25sh 34.99
NEWFine Art Smooth 220g, A4, 25sh 26.99
NEWFine Art Textured 220g, A4, 25sh 26.99
Smooth H/weight Matt 200g, A4, 50sh 14.99
Smooth Lustre Duo 280g, A4, 25sh 14.99
NEWPrestige Smooth GIoss 310g, A4, 25sh 12.99
NEWPrestige Smooth PearI 310g, A4, 25sh 12.99
Smooth GIoss 290g, 6x4, 100sh 12.99
Smooth GIoss 290g, 7x5, 100sh 18.99
Smooth GIoss 290g, A4, 25sh 10.99
Smooth GIoss 290g, A3, 25sh 24.99
Smooth GIoss 290g, A3+, 25sh 29.99
Smooth PearI 290g, 6x4, 100sh 12.99
Smooth PearI 290g, 7x5, 100sh 18.99
Smooth PearI 290g, A4, 25sh 10.99
Smooth PearI 290g, A3, 25sh 24.99
Smooth PearI 290g, A3+, 25sh 29.99
SampIe Pack 25 sheets, 5 different papers! 11.99
NEW UItra PearI 295g, A4, 25sh 12.99
NEW Titanium Lustre 280g, A4, 25sh 22.99
DigitaI GIoss or Oyster 271g, 6x4, 50sh 7.99
DigitaI GIoss or Oyster 271g, 7x5, 50sh 10.99
DigitaI GIoss or Oyster 271g, A4, 50sh 19.99
DigitaI GIoss or Oyster 271g, A3, 25sh 21.99
DigitaI GIoss or Oyster 271g, A3+, 25sh 29.99
DoubIe Sided Oyster 285g, A4, 25sh 21.99
DoubIe Sided Matt 250g, A4, 100sh 24.99
Matt Proofing 160g, A4, 150sh 19.99
Matt PIus 240g, A4, 25sh 9.99
Fibre Base GIoss 295g, A4, 25sh 24.99
NEWFibre Base Distinction 360g, A4, 25sh 25.99
Smooth Fine Art PortfoIio200g, A4, 25sh 19.99
Smooth Fine Art Portrait 300g, A4, 25sh 26.99
Smooth Fine Art Omega 310g, A4, 25sh 23.99
Textured FineArt Artist 210g, A4, 25sh 22.99
Textured Fine Art Parchment 285g, A4, 25sh 21.99
Textured Fine Art Museum310g, A4, 25sh 25.99
Ink Test
Winner
COMPATIBLE & ORIGINAL INK
Established in 1584, the
Hahnemuhle name is
synonymous with fine art
printing. Full range now
available at Premier nk.
Kodak OriginaI Ink / Paper
ESP Black Series 10 nk 6.99
ESP Colour Series 10 nk 12.99
ESP Black Series 30 nk 6.99
ESP Colour Series 30 nk 12.99
ESPBlack/Colour Twin Packs 18.99
Kodak Photo Paper also in stock!
Brother CompatibIes
LC900 Black 3.99
LC900 C/M/Y 2.99
LC900 Set of 4 11.99
LC970 / 1000 Black 3.99
LC970 / 1000 C/M/Y 2.99
LC970 / 1000 Set of 4 11.99
LC980 / 1100 Black 3.99
LC980 / 1100 C/M/Y 2.99
LC980 / 1100 Set of 4 11.99
LC1280XL Black 4.99
LC1280XL C/M/Y 3.99
LC1280XL Set of 4 15.99
Brother originals also in stock!
nC1CGkAnIC ALkS
SampIe Pack 14 sheets, A4 9.99
AIbrecht Durer 210g, A4, 25 sheets 26.99
German Etching310g, A4, 25 sheets 30.99
Bamboo 290g, A4, 25 sheets 32.99
Photo Rag 308 308g, A4, 25 sheets 34.99
Photo Rag PearI 320g, A4, 25 sheets 39.99
Photo Rag Satin 310g, A4, 25 sheets 39.99
Photo Rag Baryta 315g, A4, 25 sheets 42.99
Fine Art PearI 285g, A4, 25 sheets 37.99
Fine Art Baryta 325g, A4, 25 sheets 38.99
As an Ilford Pro Centre, we
stock the complete range of
lford Galerie papers, including
17, 24 and 44 inch rolls.
Below is just a selection.
As a PermaJet Premier Stockist,
we supply the ENTRE PermaJet
range, including Baryta, Smooth
and Textured Fine Art and Canvas.
Below is just a selection.
As an Official Fotospeed
Stockist, we can supply
the complete Fotospeed
range. Below is just a tiny
selection of their papers.
SampIePack14 sheets, 7 different papers! 9.99
Pigment FriendIyGIoss270g, A4, 50sh 17.99
Pigment FriendIyLustre270g, A4, 50sh 17.99
Matt UItra240g, A4, 50sh 14.99
Matt Duo200g, A4, 100sh 24.99
NTNaturaI Textured315g, A4, 20sh 17.99
NSTNaturaI Soft Textured315g, A4, 20sh 17.99
HWSHighWhiteSmooth315g, A4, 20sh 19.99
NEWPIatinumBaryta300g, A4, 20sh 22.99
NEW PIatinumLustre370g, A4, 20sh 19.99
We are a small, family owned and run company, specialising in
photographic consumables - and proud winners of a 2013
Good Service Award. We are located in Leamington Spa,
in the heart of Warwickshire - if you are passing, please
pop into our shop, and meet Cooper - our new office dog!
01926 339977 www.premier-ink.co.uk
SAVL
70
SAVL
20
SAVL
60
SAVL
120
SAVL
1S0
SAVL
4S
SAVL
20
SAVL
20
SAVL
81
SAVL
81
SAVL
10
SAVL
1S
SAVL
2S
SAVL
2S
SAVL
140
SAVL
100
19.99
Orders are shipped promptly by Royal Mail 1st class post, for which we charge just 1.99 per
order. All prices incIude VAT, and a full VAT receipt is provided with every order. Payment
accepted by credit/debit card, cheque or postal order. Orders accepted securely online,
www.premier-ink.co.uk, over the telephone, 01926 339977, by post, or by visiting our shop:
Premier nk & Photographic, Longfield Road, Sydenham nd Estate, Leamington Spa, CV31 1XB.
MLMCk 8A11LkILS SCkLW-IN IIL1LkS
Professiono/ 8ottery 6rips
Arange of professional battery
grips from Hahnel. All can take
two Li-ion batteries for double
the battery power. AA
battery compartment
and/or vertical shutter
release and/or infrared
remote, depending on model.
For Canon 5DMk: 84.99
For Canon 5DMk: 84.99
For Canon 7D: 84.99
For Canon 60D: 84.99
For Nikon D600: 84.99
For Nikon D800/D800E:84.99
For Nikon D7000: 84.99
44 & 444 kechorqeob/es
AA1300mAh Lloytron (4) 4.99
AA2050mAh GP Recyko (4) 7.99
AA2300mAh Energizer Extreme (4) 8.99
AA2500mAh GP (4) 8.99
AA2900mAh Delkin (4) 9.99
AAA850mAh GP Recyko (4) 5.99
AAA950mAh Duracell (4) 6.99
AAA1100mAh Lloytron (4) 4.99
49mm Adapter Ring 4.99
Standard HoIder 5.99
Wide AngIe HoIder 6.99
FiIter WaIIet (hold 8 filters) 9.99
8oyonet-lit Lens noods
A comprehensive range
of aftermarket matt black
bayonet-fit lens hoods
for Canon, Nikon and
Sony lenses.
ES-62 Canon 50/1.8 9.99
ES-71II Canon 50/1.4 9.99
ET-60 Canon 75-300/4-5.6 9.99
ET-65BCanon 70-300/4-5.6 9.99
ET-67 Canon 100/2.8 Macro 9.99
ET-67BCanon 60/2.8 9.99
EW-60CCanon 18-55 S 7.99
EW-73BCanon 17-85 S 9.99
EW-78BII Canon 28-135 S 9.99
EW-78DCanon 18-200 S 9.99
EW-78ECanon 15-85 S 12.99
EW-83E Canon 17-40/4.0 12.99
EW-83J Canon 17-55/2.8 12.99
HB-45 Nikon 18-55 VR 7.99
SH-006 Sony 18-70/3.5-5.6 9.99
5tep-up ond 5tep-uown kinqs
Stepping rings are used to step-up or step-down
from one filter thread size to another.
34-37mm
37-43mm
43-46mm
46-49mm
49-52mm
52-55mm
52-58mm
55-52mm
55-58mm
58-52mm
58-55mm
58-62mm
58-67mm
62-67mm
62-72mm
67-62mm
67-77mm
72-67mm
72-77mm
77-72mm 4.99 each!
kOOu P-1ype li/ter 5ystem
The P-Type square/rectangular filter system
consists of three parts:
1) An adapter ring that screws onto the front
of your lens
2) A filter holder clips onto the ring
3) One or more P-Type (84mm wide) filters
CircuIar PoIarizing 29.99
ND2 9.99
ND4 9.99
ND8 NEW 10.99
ND2 Soft Graduated 11.99
ND2 Hard Graduated 11.99
ND4 Soft Graduated 11.99
ND4 Hard Graduated 11.99
ND8 Soft Graduated NEW 13.99
ND8 Hard Graduated NEW 13.99
Light BIue Graduated 11.99
Dark BIue Graduated 11.99
Light Sunset Graduated 11.99
Dark Sunset Graduated 11.99
Light Tobacco Graduated 11.99
Dark Tobacco Graduated 11.99
Light Mauve Graduated 11.99
Dark Mauve Graduated 11.99
Fog (strong or light) 9.99
Diffuser (strong or light) 9.99
Starburst (x4, x6 or x8) 12.99
CIose-Up (+1, +2 or +4) 12.99
Red, Orange, YeIIoweach 9.99
keversinq kinqs 12.99
coup/inq kinqs 11.99
Canon, Nikon, Sony, Olympus and Pentax.
Sizes from 52mm to 77mm.
xtension 1ubes 17.99
Canon, Nikon, Sony, Olympus and Pentax.
1elephone: 01926 339977 or 0800 1077 211
remler lnk, Longfleld 8oad, LeamlngLon Spa, Cv31 1x8
www.prem|er-|nk.co.uk
Over 160 different sizes in
stock, from 25mm to 105mm.
The largest selection in the UK?
5crew-lit Lens noods
52mmShaped Petal Hood 6.99
46mmRubber Hood 3.99
Lens cops
Lens CapsCentre-Pinch Style 2.99
Lens Caps White Balance 9.99
Body Caps Ni/Ca/Px/Ol/So 3.99
Rear Caps Ni/Ca/Px/Ol/So 3.99
5ix-Piece
Nu li/ter kit
43.99
Here's a kit which includes all the popular
ND filters, and everything you need to get
started! The kit contains: 1x ND2 Filter, 1x
ND2 Soft Graduated Filter, 1x ND4 Filter,
1x ND4 Soft Graduated Filter, 1x P-Type
Filter Holder, 1 x P-Type Adapter Ring of
your choice (49-82mm).
coin ce//s & Lithiums
AAEnergizer Ultimate Lithium (4) 5.99
AAAEnergizer Ultimate Lithium (4) 6.99
CR123A Energizer Lithium (1) 1.99
CR2 Energizer Lithium (1) 1.99
2CR5 Energizer Lithium (1) 3.99
CRV3 Energizer Lithium (1) 5.99
LR44 Energizer Alkaline (2) 1.99
CR2025, CR2032 etc 1.99
comero 8otteries
A comprehensive range of
rechargeable li-ion
batteries.
Manufactured by
respected independent
battery manufacturers
Energizer, Hahnel and Blumax.
All batteries come with a 2 year guarantee.
universo/ chorqer
The NEW Hahnel UniPal
charger is able to charge
AA, AAA, Li-on batteries,
cameras, phones, iPods
and more! Mains power
cable, plus 12V car charger.
Full details on our website.
kiqht 4nq/e viewfinders
Adjustable eyepiece, adjustable
magnification, 360 degree rotating
body. deal for close-up work.
1.0X-2.0X 49.99
1.0X-3.3X 64.99
4GB30MB/s 13.99
8GB30MB/s 19.99
16GB30MB/s 34.99
5ondisk u/tro
compoct l/osh
l0M8/s
5ondisk xtreme
compoct l/osh
0M8/s
5ondisk u/tro
5unc c/oss
l0M8/s
Nw 5ondisk xtreme 80
4GB30MB/s 5.99
8GB30MB/s 6.99
16GB30MB/s 10.99
32GB30MB/s 19.99
8GB80MB/s 12.99
16GB80MB/s 19.99
32GB80MB/s 36.99
64GB80MB/s 74.99
5ondisk 8/ue
5unc c/oss 4
5M8/s
2GB5MB/s 3.99
4GB5MB/s 4.49
8GB5MB/s 4.99
16GB5MB/s 8.99
ue/kin Professiono/
compoct l/osh
500x, 75M8/s
8GB75MB/s 16.99
16GB75MB/s 27.99
32GB75MB/s 46.99
woterproof
Memory cord
5toroqe 1otes
SD ToteHolds 8 SD cards 6.99
CF ToteHolds 4 Compact Flash 6.99
universo/ Memory
cord keoders
USB2.0 Reader 30MB/s 9.99
Lexor Professiono/
5unc c/oss 10, un5-1
400x, 0M8/s
8GB60MB/s 11.99
16GB60MB/s 19.99
32GB60MB/s 32.99
Lexor Professiono/
compoct l/osh
800x, 120M8/s
8GB120MB/s 24.99
16GB120MB/s 42.99
32GB120MB/s 71.99
Lexor Professiono/
uuo/ 5/ot keoder
5u & compoct l/osh
01926 339977 www.premier-ink.co.uk
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