213:AYEAR

INPICTURE5
Memorablemoments
inworldnewsosports
CREATIVE
FLA5H5KILL5
Favouritetechniques
fromthreeleadingpros
ACHRI5TMA5
FAIRYTALE
8ehindthescenesof
The8earoTheHare
JANUARY20I4
I55UE86
EXPERTTECHNIOUE
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Perfeot|y s|zed, feature-paoked: the new fagsh|p O|YMPS OM-D g|ves you more freedom to take
a|| the shots you want, w|th a|| the |mage qua||ty you expeot.
Offer ava||ab|e t||| 15/01/14. F|nd out more at your |ooa| dea|er or v|s|t: o|ympus.co.uk/promot|ons
Editor'swelcome
Ross is an award-winning
nature photographer
and author of nunerous
photo books.
www.rossnodd|nott.co.u|
NA1URL oLANDSCAPLS
RossHoddinott
A pro for two decades,
Lee's one of the U's
nost popular outdoor
photographers.
www.|eefrost.co.u|
LANDSCAPLS o1RAvLL
LeeFrost
A pro photographer,
Paul is a creative genius
and expert on lighting.
www.pau|ward
pnotograpny.con
PR1RA1S oASHN
PaulWard
A leading portrait and
fashion photographer,
Bjorn runs workshops fron
his base in Cornwall.
www.oornohnsp|re.con
PR1RA1S
BjornThomassen
CRLA1vL oPR1RA1S
THI5MONTH'5
EXPEPTTEAM
Cat is a leading creative
pro Getty and Corbis
photographer based in
Dublin, reland. www.
catner|nenacor|de.con
atherineMacBride
WL HPLYUHADACDYLAP
ANDWlSHYUTHL LSTP2014l
'WLLCML11HLJanuary 20I4issueof D|g|ta| S|P
Pnotograpny. Withthefestiveperioduponus, it's easy tobe
distractedfronyour photography infavour of nincepies,
Christnas shoppingandtheoddnulledwineor two.
However, wehopethecontent of this nonth's issuewill inspire
youenoughtoforgosoneof thefestivities andspendtine
inprovingyour skills, tryingout soneof our techniques and
capturingsoneinpressiveresults.
'f you'rewillingtobravethecold, we'vesoneexcellent
tutorials tokeeptheoutdoor photographer busy, includingadviceon
photographingwaterfalls andtheMilky Way. f youprefer thewarnthof indoors,
thenwe'veadiverserangeof techniques totry, rangingfronstill-lifes topowder
portraits. f you'veever wantedtoexperinent usingfashguns, thenyou'll enjoy the
selectionof creativefashtechniques denonstratedby threeof our procontributors.
'Alongwithother infornativetechniquearticles andgreat gear reviews, wealso
haveanexclusivebehindthescenes look at theyear's biggest andbest 1vChristnas
advert -JohnLewis's 1ne8ear 81neHare. Wehopeyou'll enjoy theissueandon
behalf of theentireD|g|ta| S|PPnotograpny tean, wewishyouavery nerry
Christnas andahappy newyearl All thebestl
DanieI Lezano, Editor,
DigitaI 5LPPhotography
*Covers must be shut. Only in freshwater up to 1.5m for 30 min, in compliance with lP55 and lP58. See sonymobile.com/testresults. lcons are for illustrative
purposes only. Sony, make.believe, WALKMAN and WALKMAN W logo are trademarks or registered trademarks of Sony Corporation. Xperia is a trademark or
registered trademark of Sony Mobile Communications AB. PlayStation is a trademark or registered trademark of Sony Computer Entertainment, lnc. Android,
Google Chrome and Google Play are trademarks of Google lnc. 2013 Sony Mobile Communications AB.
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UYEP'5GUIDE: D5LPKIT5OVEP5
3 Editor'spage
Awarnwelconetoour Januaryissue.
6 Exposure
1helowdownonwhat'sbeengoingon
recentlyintheworldof photography
26 5howcase
Another stunningassortnent of inages
fronaselectionof talentedreaders
35 Picturesubmissions
Sendusyour best shotstodayl
54 ExpertCritique
Haveyour inagescritiquedbytheexpert
teanat D|g|ta| S|PPnotograpny
73 BudgetPhoto
We'vediscoveredabudget waytoadda
dashof colour toyour fashshots.
98 CuttingEdge
BeinspiredbyirstyMitchell's
onder|andandgobehindthescenesof
thisyear'sbiggest Christnas1vadvert
19 Nextissue
Alittletaster at what'sinstorefor the
forthconingebruaryissue.
162 Monthlycompetition
Get onthewebl We'vetwoClikpicSuper
Proportfoliowebsitestogiveawayl
115 Over-65D5LRBuyer'sGuide
Aroundupof thebest DSLRouttsthat
oher norebangfor your buck
123 Digital 5LRlistings
ull DSLRspecicationsandprices
127 35mmprimelenses
ur authoritativeconparisonlenstest
seriescontinuesasweput sixof thebest
wide-angleprinestothetest
4 5hootingwaterfalls
Learnhowtocapturebeautiful fowing
riversandcascadingwaterfalls
44 Powderportraits
Shoot high-speedportraitswithadynanic
cloudof dust -Paul Wardshowsyouhow
46 MilkyWaylandscapes
Conbineout-of-this-worldexposuresof
our galaxywithalight-paintedlandscape
5 Backlitautumnleaves
1hisfuntechniquewill haveyouscouring
thecountrysidefor colourful leavesl
52 Addmotiontostill-lifes
Ditchthetripodl Createabstract still-life
inagesusinghandheldlongexposures
LEN5TE5T5: 35MMPPIMELEN5E5
EXPEPTGUIDE: CPETIVEFL5H
GET THE PICTURE
TE5T CENTRE 5UB5CRIBE TODAY!
REGULAR5 TECHNIOUE 8 ADVICE
59 CreativeEye
Wechallengethreephotographerswith
thetaskof coningupwithcreativeinages
usingatorchasinspiration
68 Understandingshutterspeed
1akenorecontrol of your exposuretines
-weshowyouhowtouseshutter speeds
toyour advantageandobtaingreat results
78 TheYearinPictures
Werounduptheground-breakinginages
andbiggest newsstoriesof 20I3
88 ExpertGuidetoPortraits
Last issuewecoveredthebasicsof using
fash, nowit'stinetoget creativel
Get D|g|ta| S|P
Pnotograpny
direct toyour door
or nobiledevice
everynonthby
subscribingto
either our print or
digital editions.
or great ohers,
seepage86
JANUARY 20I4i DIGITAL 5LR PHOTOGRAPHY
January2014/ lssue86
Contents
78
59
27
5
88
04
68

1HRSUL1S1H20I3v|O||/|Nv|PONN|M|N1
||||||PHO1OCP/PH|PO|1H||/P//PR
N, SHCSNGM1HRN1UR1HRNS1...
MPETITIONRE5ULT5
Jasper Doest (TheNetherIands)
ML11NRLSL1S
IGITL 5LR PHOTOGRPHY JANARY 20I4
G
RACLULANDBRLA1H1ANG, yet powerful and
destructive-thenatural worldis bothdiverseand
captivatingandtheresults of the20I3veolia
Lnvironnenent WildlifePhotographer of theYear
conpetitionrefectedthis instunningfornas wildlife
photographers aroundtheworldall viedfor thecovetedawards.
Nowinits 49thyear, theannual conpetitionruns fronthestart of
Decenber throughtoMarchandis backedbytheNatural History
Museun, LondonandBBCWorldwide. 1heawardattracts theworld's
best, andthe20I3awards werenodiherent withastaggering43,000
entries fron96countries aroundtheglobe. or nost, sinplygetting
shortlistedis sonethingtoaspireto-however, eachyear anoverall
winner is crownedandtakes honeaI0,000cashprizeandanLZ
nonitor alongsidethecovetedtitleof WildlifePhotographer of theYear.
1hejudges hadtheunenviabletask of pickinga winner for eachof
theI5categories, beforeselectinganoverall winner andanoverall
youthwinner. 1hecovetedgrandprizewent toGregdu1oit for his
inage, |ssenceof ||epnants, depictingelephants at a wateringhole
inNorthern1uli GaneReserveinBotswana. Chair judgeand
professional wildlifephotographer JinBrandenburgconnented.
'Greg's inageinnediately catapults us toAfricanplains. 1his inage
stoodout for bothits technical excellenceandtheuniquenonent
it captures -it is truly a once-in-a-lifetineshot.
1heoverall YoungWildlifePhotographer of theYear 20I3went to
I4-year-oldphotographer UdayanRaoPawar for his stunninginage
of hatchlingcrocodiles sittingatoptheir nother's headintheChanbal
River inMadhyaPradesh, ndia. Udayannets hinself aI,000cashprize
alongsideanasterclass withaleadingnaturephotographer andan
LZnonitor. We'veshowcasedahandful of our favouriteinages here,
but toviewthefull selection, visit theNatural HistoryMuseuninLondon
betweennowand20March20I4. Alternativelypickupacopyof the
||d||fePnotograpner of tneear Portfo||o?Jphotobook, publishedby
theNatural HistoryMuseunfor 25fronwww.nhnshop.co.uk.
For furtner /nformat/onontne20!Jw/nn/ng/mages, a/ongw/tn
deta//s of tne20!4compet/t/on, v/s/t.
PauI 5ouders(U5)
GregduToit (5outhfrica)
JoeMconaId(U5)
onnor 5tefanison(anada)
JNURY 20I4i DIGITL 5LR PHOTOGRPHY
UdayanPaoPawar (India) IsakPretorius(5outhfrica)
P11RSUL1S
DIGITL 5LR PHOTOGRPHY i URY 20I4

Tonyennett'smagical image
evokesthespirit of theLakes-a
personal viewthat speakstomany

I
1'S SY1orget that we'reortunateenoughtoliveonanisland
that ohers sonetruly breathtakingscenes, ripeor therecording
withyour digital SLR. 1heannual 1akea viewLandscape
Photographer o theYear conpetitionillustrates this point
beautiully, andthis year's winninginages arenoexception.
owinits seventhyear, theLP1Yohers a grandprizepurseo
20,000, withI0,000goingtotheoverall winner. 1his year, judges
deliberatedover thousands o entries ronall over theUandbestowed
that honour uponerbyshire-basedphotographer 1ony ennett or his
inageo nist andrefections onrunnock Water inunbria.
ther winners includedavidreeninthedult lassicviewcategory
or his inagetakenonRannockoor inScotland, avidationinthe
etworkRail 'Lines intheLandscape' awardcategoryor his inageo the
orthridgeinScotlandandhristopher PageintheYouthcategoryor
his inageo autunncolour at PolesdenLacey, Surrey. |g|ta| S|P
Pnotograpnynagazineregular contributor danurtontookhonea
connendationor his inageo anistyautunnal Lakeistrict inunbria.
Landscapephotographer andounder o 1akea view, harlieWaite
connented, 's eachyear passes, anrenindedo thegreat talent and
connitnent o thosephotographers whonakesupreneehorts todo
justicetotheU's stunninglandscapes. 1ony ennett's nagical inage
evokes thespirit o theLakes -a personal viewthat speaks tonany.'
ll I50winningandconnendedentries ronthis year's awardhave
beenconpiledintoa book -|andscapePnotograpner of tneear
Co||ect|on -whichis onsalenow, priced25. What's nore, there's a
reeexhibitionat theational 1heatreinLondonuntil 8ebruary 20I4,
soheaddownandcheck out thestunninginages inperson.
We'vepickedout asnall selectiono our avouriteinages, but toview
all o thewinningandconnendedentries, andtondout about next
year's conpetition, visit. www.take-a-v/ew.co.uk
Tonyennett
damurton avidLyon
NATURAL
EAUTY
violent crashingwaves, vividcoastal clihtops
andtranquil autunnal landscapes shroudedin
nist -theresults o the20I31akeaview
LandscapePhotographer o theYear awards
areinanddidnot disappoint.
MNL
JNY 20I4i DIGITL 5LR PHOTOGRPHY
MirekGaIagus Davidreen
13 AUARY 20I4i GITL 5LR PHOTOGRPHY
PRDUC1 NLWS
ProfotoB1studioflash
Profotohas beenbusybehindthescenes preparingtheir latest
studiofashproduct -therevolutionaryProfotoBI. Cordless,
battery-powered, light, conpact andohering11Land500W
power, theBI certainlyticks all theright boxes andohers
near-speedlight portabilityandconveniencewithall thepower
of alarger studiofashunit, withthereassuranceof 11Lnetering
built-in. Profotoclains that theintegratedexchangeablebattery
ohers over 220full-power fashes per chargewhich, consideringthe
BI's dininutivesize, is inpressivel AddintheProfotoAir Renote11L-C(currently
Canon-only) andyoucanevencontrol andadjust your lights fronupto300nawayl All
of this technologydoesn't conecheap, eachProfotoBI headcosts just over I,500per
light andtheAir Renote11L-Cis 3I2. uchl profoto.com
Twonewwidezooms
Ricohnaginghas announcedtwonewPentaxwidezoons for its -and
-nount caneras. 1heHDPentaxDA20-40nnfi2.8-4LDLinitedDC
WRis a-nount-conpatiblelens oheringanequivalent 30.5-6I.5nn
zoonrange. 1reatedwithPentax's HDcoating, ahigh-grade, nulti-layer
coatingthat reduces refection, Ricohclainexcellent inagequalitywith
edge-to-edgesharpness. 1hePentax08WideZoon3.8-5.9nnfi3./-4
is for thetinyPentax-series nodels. heringanequivalent focal range
of I/.5-2/nnin35nnfornat whennountedtothe/, this newlens
alsoboasts uick-Shift focusingfor quickswitchingbetweennanual
andautofocus andabuilt-inlens shutter featuringaneutral densitylter.
Availabilityof thePentax20-40nnandWideZoon3.8-5.9nnareyet
tobeannounced, withthe20-40nnpricedat 850andtheWideZoon
at 430, respectively. www.r/con-/mag/ng.co.uk
ETRODREAM
MACHINE
NNRLvLALS CNCPRLSSNAL
DG1AL SLRW1HCLASSCAPPLAL
1'S1HLCAMLRAthat Nikonconnoisseurs havebeenwaitingfor
-anodel that conbines thestyleof yesteryear's classics withthe
latest cuttingedgetechnology. 1heDf is anunabashedobject of
indulgence-anagnesiun-cladluxurythat looks likenoother
nodernDSLRandcanuseanyNR-nount lens (withoneor
twoexceptions). f you'refortunateenoughtobeabletoahordone,
you'll ndits X-fornat sensor is basedontheI6.2-negapixel
CMSfoundintheNikonD4, withtheLXPLLD3processor
handlinginages at upto5.5franes-per-secondandSs fronI00
to204800. videohas beenexcluded, but prettynucheverything
youwouldexpect tondonanodernDSLR is featured, includinga
39-point Aand3.2inLCDnonitor. ntruth, thespecicationis
prettynuchirrelevant onacaneraof this type. What potential users
will betenptedbyis theold-school controls andthesheer class
andrenenent of thecanera's body.
HiroSebata, Product Manager at NikonU, says. '1heconcept
for this canerawas basedontheenotionof photographyandwill
appeal topassionatephotographers whoenjoypurephotography
andcherishtheir caneras, as well as their inages, oldandnew. 1he
stylish, classicdesignof thenewDf refects Nikon's heritage, whilst
its capabilitytoproducefagshipqualityinages allows
photographers tofocus onthecreativeaspect of photography. 1his
newcanerais inaclass of its own, it's anenotiveproduct that will
inspireyoufronthenonent youpickit up.
Availableinbothblackandchroneversions, theNikonDf is sure
tobeared-hot collectiblehit, evenwithaguidepriceof 2,/50.
or further details, visit. www.n/kon.co.uk
NIKOND:KYTURS
MOSSensor:ull-franeX-fornat
I6.2-negapixels
ocal lengthincrease:Ix
ISOrange:SI00-I2,800(Hi setting. 204800)
3.2inLCDnonitor(92I,000-dot)
LXPLLD3inageprocessor
39-pointautofocus
5.5franes-per-seconddrive
/65grans
WithverysimiIar
Iooks tomanyof
theNikonF-series
35mm5LPs of the
Iast century, the
NikonDf merges
thestyIingof oId
cIassics withthe
Iatest technoIogy.
GETCLOSERTO
THEACTION
1anronhas announceddevelopnent of a
newultra-telephotozoon. the1anronSP
I50-600nnfi5-6.3D UCUSD. 1helens
boasts vibrationConpensationand
conprises 20elenents inI3groups,
includingthreeLowDispersionelenents.
UltrasonicSilent Drivepronises responsive
autofocus andthenewlens is suitablefor
bothAPS-Candfull-franenodels -when
pairedwithanAPS-Csensor that's afocal
rangeof 233-930nn, nakingit perfect for
wildlifeandbirdphotographers. 1here's no
conrnedreleasedateor pricefor the
1anronSPI50-600nnfi5-6.3as yet, but as
soonas wehear norewe'll let youknowl
www./ntro2020.co.uk
Blackmagic Cinema Camera
ncludes Davinci Fesolve Solrware

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anu nor. For xtrn hlgh nu work, you can shoot lull
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Th worlu's nost nlnu Llowlng latur llns, tlvlslon connrclals
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1herst inaseries of lns followingphotographers Brooke
ShadenandLindsaydler as theybothtacklethesane
concept fronindividual angles. 1heinterest factor extends
further thanseeinghowthesetwoleadingpros fron
diherent elds workduringtheir respectiveshoots -each
photographer alsoruns throughtheir concept andexplains
howtheyplantoachieveit. 1heresults aresodiherent that it
goes toshowtheinportanceof aphotographer's own
creativityandhowit ahects thenal outconeof ashoot.
Great work, BrookeandLindsayl 1oviewthefull, 40-ninute
videofor yourself, headtonttp//b/t./y/!955H0L.

5hadenandLindsay
dler -TheConcept
BYRMLD NL1WR
JNURY 20I4i DIGITL 5LR PHOTOGRPHY
Photocastaway: #9rett Harkness
We'vetheoreticallypackedprosocial photographer Brett Harkness ohtoadesert island, but
beenkindenoughtoallowhintotakealongafewphoto-basedluxuries. Herearehis choices
6
CAMRA
t wouldhavetobethePhasene
i, without a doubt. would
spendall day settingupa scene
andwait for thelight tobejust
right before turnonthecanera
andallownyself just oneshot -
don't want towastethebattery
after alll t ohers theultinatein
inagequality andboasts
breathtakingdynanicrange.
ONCOMPANION
1oughone-thewifewill read
thisl f not ny wifeandbusiness
partner ristie, thenit wouldbe
SebastioSalgado. could
spenddays askinghinabout his
worldly travels andexperiences.
r naybeBear Grylls 'n
surehe'dconeinhandyl
LN5
wouldpack a Schneider II0nn
LS fi2.8. fter usingthis lens
actually went weak at thekneesl
Withleaf shutter technology
built in, this lens wouldallowne
toshoot lovely shallowdepth-of-
eldinages as thefashcansync
at higher speeds. 1hat shouldgive
neplenty todoonthoselong,
idleislanddaysl
PHOTOACC55ORY
My photoaccessory will beeither
a LlinchronRanger or ProPhoto
B4pack. Not only could light
things toperfection couldalso
usethepowerful fashtoattract
theattentionof passingplanes
or boats. Helpl
ONOFYOURPHOTO5
1herst ever inagethat took of
ny baby daughter Makenzie
beingbornwouldhaveto
acconpany ne. t wouldgivene
hopeof lifeandthat oneday
wouldget ohtheislandtosee
ny wifeandher againl
APHOTOTAKNY
ANOTHRPHOTOGRAPHR
t has tobeoneof Carl Warner's
fantasticfoodart inages. would
useit toinspireneandtorenind
neof honeandgoodfood. Who
knows - couldevenendup
nakingoneof ny ownout of
coconuts andseaweedl
4
5
2
1
3
IGIT 5R PHTGRPHY i JNURY 20I4
DvLR1SNGL1URL
NLvLRMSSSH1GNW1H1HSRLvLU1NRY4I-MLGPXLLSMR1PHNLRMN
IUI1
THIG5GT55
5
MLGRL1PH1GRPHS
areplanned, nanyarenot.
1heverybest photographers are
oftenopportunists andhen
takingphotos, spontaneityis so
oftenkey. Youneedtobenobileandable
toreact quicklytoyour subject, actionor
changinglight. 1herevolutionaryNokia
LuniaI020allos youtodoexactlythat.
Withits stunning4I-negapixel sensor, you
cannoshoot likeapro, ithjust your
phonefor conpany. Never againill you
niss 'theshot' just becauseyoudidn't have
your 'good' caneraithyou.
1his snartphoneis ainedsquarelyat the
photographer inyou. NokiaCanerais a
professional caneraappfor everyday
photography, neaningcapturinggreat photos
has never beeneasier. 1hanks toits intuitive
touchscreencustoncontrols, youcanquickly
adjust exposure, S, focus andWhiteBalance
for naxinuncreativecontrol. lternatively,
henspeedandeaseis priority, youcanleaveit
uptothecaneratodecidehichsettings are
best suitedtothesituation. t's uptoyou.
UsingtheNokiaLuniaI020's intuitive
controls, youcancapturehigh-resolution
photos at thetouchof abutton. Most
outstandingof all, theLuniaI020reinvents
zooning. 1hanks toits stunningly highpicture
quality, youareabletozoonintoyour shot
after you'vetakenit andthenrotate, refrane,
straightenandcropyour inageas nany tines
as youant. 1his neans that if your inage's
conpositionisn't quiteright, youcanquickly
perfect it afterards. UsingtheNokiaLunia
I020's Xenonfash, youcanalsocapture
close-upactioninthedark, hilethecanera's
optical stabilisationensures sharpinages tine
andtineagain. Never beforehavephotos fron
asnartphonelookedsogood. What is nost
renarkableis that all this innovationcones
frona canera thinenoughtoslipinyour
pocket andcarry anyhere.
Nothingelsecones close.
For details, visit: www.windowsphone.co.uk.
Shareyour NokiaLumia1020photos on
Twitter #WPphotos
pure edi hre
Havingcapturedand
editedyour photos, it is
tinetosharethen.
Poeredby Windos
Phone, youareableto
instantly shareyour
high-resolutioninages
ithfriends, fanily or
clients viaall your
favouritesocial
netorkingsites. uite
sinply, everyoneill be
stunnedby thequality,
colour andclarity of
your photographs.
UsingtheNokiaLunia
I020, sharinginages
couldn't bequicker or easier -ithjust the
touchof abuttonthey ill beonlineand
beingenjoyedby others. 1heLuniaI020
allos youtosinultaneously uploadand
back upnultiplevenegapixel inages to
/GBof freeSkyDrivestorage, hichyou
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PICTUPEOUALITY: OheringincredibIedynamic
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4I negapixel sensor takes naxinun3negapixel inage. pps fronWindos PhoneStore. vailability nay vary.
orSkyDrivedataconnectionrequired, netorkfeesapply. Wi-i requiredforvideoandhighresolutionphotoback-up.
Ge ogrip!
Withits dedicatedcanera gripattached,
theNokia Lunia I020feels evennore
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conbines theergononics of a SLRith
theconpact sizeandeight of a
snartphonecanera. 1hegrip's built-in
rechargeablebattery allos youto
captureuptoa further 25photographs
-it alsoallos thecanera tobeattached
toany standardtripodor support, naking
it easier toput yourself intothepicture, or
capturebeautiful longexposureinages.
1hegripis availableinblack, hiteor
yello, tonatchthecolour of your Lunia.
PCS 1HL MN1H
Price: reei Platform: S
.dubbe.e
Doubeexposures obepotorapy
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Hpstaatcaveoeredtefactyto
exposeaaetoor oretes for a
eo-oever teUadeDubbe
appcatofor Sapproaces doube
exposurepotorapyfroaderet
adreayqutefu ae. Captureaae
(or port oefroyour CaeraRo) ad
Dubbe's etor radoyatcyour
aetoeupoadedbysoeoeese.
f you'reot afaof teresuts youcaeve
'redubbe' your aeadatct upt
aoter radoexposurefroaoter
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Vedc 1s teartedttecotas
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Vedc Mucoretaacoectoof reat
pctures -Heser's touts areorttetcet
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ea e
hdea
i LseLarsooLa Capai
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Mess' avecococtedts spratoa boo
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ts tat aresabbycc retropotorapy
ters adspeda of your dayooat pretty
ts oPterest ts s tettefor you
5a
$4i Greory Heser i potoBoos
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parts of teaetat ecoscousypad
speca attetoto. 1s s't atecca tte
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a ac8
Close-upPhotograph
16.99i Ross Hoddott i otePress
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biIephotography
ver 250nillion
photos are
uploadedto
acebook and
over 40nillionto
nstagranevery
day fronnobile
devices -that's a lot of cats,
foodandseles (seeright)l
5eIes
Speakingof which,
'sele' was
recently naned
by thexford
Lnglish
Dictionary as
wordof theyear. ts
usehas increasedby a
staggeringI/,000in20I3l
Wi-Fi enabIedcameras
nages are
beconingnore
instantaneous
-eveninserting
your cardinto
your conputer is
beconinga thing
of thepast. Wi-i in
DSLRS is nowconnonplacel
NoopticaI IowpassIters
na bidtoobtain
theultinatein
inagesharpness,
canera
nanufacturers
arenowditching
noire-reducing
anti-aliasinglters left,
right andcentre.
Trends of 213
RO55 HODDINOTT
-S1PGLRS1R LXP1BG
'veaddeda fewnice
newitens tony kit
bagover thepast I2
nonths, including
theexcellent Nikon
D800eand200nnfi4Micro
lens. However, rather thenopt
for a canera or lens, 'ngoingto
stunpfor thekit bagthat houses
theninsteadl 'vebeenusingny
-stopGear Satori LXPfor just over a
year now, and havetosay 'nvery inpressed. Not only does
it holdlots of kit, extra clothing(andny sandwichesl), but it
gives thengreat protectiontoo. 1hebagis fantastically
functional andvery custonisabledueto-stop's innovative
interchangeableCUsysten. Most inportant of all, it is the
nost confortablebag'veused. Lvenafter longwalks or
clinbs, ny back andshoulders feel ne, which, giventhe
weight of ny kit bag, is quitea featl Whether 'ntravellingor
workingclosetohone, it's provingtobea great pack and
one wouldcertainly reconnend.
LEE FRO5T
NRRLDCNNLS 5D
'vehadan
experinental year
this year, bothin
terns of technique
andequipnent,
but think 'vehadnost
enjoynent fronny infrared
nodiedCanonLS 5D.
'nnostranger toinfrared
photography, but soldny previous
convertedDSLRa coupleof years agoas
got boredwithit. When fanciedgettingback intoR decided
tobuy a full-franeDSLRso coulduseny existinglenses
without theneedtobuy another widezoon. hadthe
conversiondoneby CS inNorfolk andit's a fantasticbit of kitl
'venadea fewvisits toHighgateCenetery inNorthLondon
withit andshot loads of hauntinginages of thetonbs there.
alsogot sonegreat Rshots at ewGardens -thePalnHouse
is brilliant -andother places likeDungeness andSissinghurst
CastleGardens. 'nlovingny infraredphotography norethan
ever, sotheconvertedLS 5Dis a denitekeeperl
JONHICK5
WCMN1US 5
fter years
of being
nouse-bound,
investedina
Waconntuos5
1ouchMat the20I3ocus
nnagingshow. Despite
serious attenpts towork
witha peninthepast,
couldnever quiteget the
hangof it, always revertingback tony
trusty nouseafter a coupleof frustratingdays. 1his tablet,
however, alsodoubles as a touchpad-very cool andsurely the
best of bothworlds. usethestylus for Photoshopwork andny
ngers for theother conputer stuh. 'nhappy tosay,
perseverance(andforkingout nearly 300) has nally paidoh.
annowa pen-convert andtotally nouse-freel
PAUL WARD
S1RBLMD4HSS GB1
Whileny new
NikonD800has
revolutionised
theway that
work, thepiece
of kit that's beena real
gane-changer for nethis
year is thenewStrobeanD4
HSS GB1studiofashunits. 1hey're
light, conpact andoher plenty of
power, but nost inpressively they oher
incrediblesyncspeeds of uptoIi8000secl 1hat neans not
only canyoufreezeeventhefastest actionwitha burst of fash,
but youcanalsoshoot usinga wideapertureusingfashin
broaddaylight toachievea shallowdepth-of-eld, whereas
previously 'dhavehadtostopthelens downtobetweenfi8
andfiII toget ny shutter speeddowntobelowIi250sec.
or, smaII body
teredthe
art o squeezing
bigull-rane
sensors into
conpact bodies
withthe
36.3-negapixel
/Rnirrorless andthe
24-negapixel RXI conpact.
PetrostyIing
Certainly not new
or 20I3, but the
retrostyling
trendis still
stronguji,
Panasonic,
lynpus, Nikon
andPentax all launched
retro-inspirednewnodels.

HSSLLBLD50-II0MM
Whenworkinginthe
connercial industry
shootinghigh-end
cars, quality is pretty
nucheverything.
t's not a newproduct, but ny
trusty 50-II0nnHasselbladlens
has seennethroughanother year
and really couldnot copewithout
this lens inny lieday today. t's not the
lightest andthere's another sinilar optionthat is less bulky and
tends not tonakeyoueel that your wrist has beenbrokenat
theendo a longday, but or nethequality o theoptics is
everything. 1heocal length, thedepth-o-eldit provides and
its overall perornancesit perectly withny styleo shooting.

YNGNUR-6031RGGLRS
1herehavebeensone
antasticcaneras
launchedthis year,
rontheNikonD800
throughtosone
stunninguji X-series nodels, but
or ne, theproduct that's proven
invaluabletineandagainhas been
aninexpensiveset o triggers that
werst eaturedin inthe
May 20I3issue. 1hesewireless triggers nakeshootingnultiple
fashset-ups a doddleandalsodoubleupas a renoteshutter
release. 1hey'veprovenreliableandwhilenot they'renot
perect, they dorepresent oneo thebest valuephotoproducts
'vebought inyears, witha set o our costingunder 50.

CP1URLNLCMPLL1L
1his year ny new
gear has beennininal,
just onenewlens
However, onepiece
o kit has been
invaluable. t isn't lavishor
expensive, inact it's just apieceo
whiteplastic ctually it's aUniversal
Lens Calibrator or usewithCapture
nePro. t's not until youstart usingit that
yourealisejust hownuchlenses suher roncolour casts and
light all-oh. t's sinpletousejust holdit inront o thelens and
takeashot at Lv+2, loadtheinageintothesotware, createa
lens correctionleandapply it toyour inages. You'll beanazed
at thediherencei you'reaCaptureneProuser, likene
URY 20I4i IGITL 5L HOTOGH
PNN

HLN RS1startedshooting,
wouldspendabsolutely no
tineplanningny shots.
wouldfocus tons of tineand
energy intoevery other aspect, suchas
location, wardrobe, noodetc, but insone
weirdturnof events, nust haveforgotten
that theendgoal is 'theshot'. Howthat
slippedny nindstill bahes ne. nsteadof
puttingintheehort toplanwhat ny actual
nishedinages wouldlook like,
foundanodel, foundalocation
andshoweduponshoot day witha
plantowingit. wouldput together
shots onthespot andwhen was
ready tonoveontothenext one,
would. 1obehonest, anglad
startedohthis way because
believeit gaveneastrongability
tothink onthespot whileon-set,
whichis sonething oftenput into
practice, but as startedtond
norevalueinpreparation began
toplanevery aspect of ny shoots in
order tohavethenost control of
ny nal inages. Now, insteadof
planningtowingit, createwithaconplete
shot list and already knowwhat ny nished
shoot will look likebefore stepfoot on-set.
1his switchwas ahugechangeintheway
dothings but it puts neinabetter frane
of nindonshoot day andkeeps nenore
organisedandehectivethan ever was.
Shot lists areabout thelast thing work on
beforeshoot day. t this point, already have
nost of thevisual details workedout (nood,
wardrobe, location, hair, nake-upetc) and
just needtoplanwhat ny nishedinages
shouldlook like. 1his is whereny trusty
journal cones in. My shot lists startedas a
fewscribbles andnotes of things wantedto
renenber toshoot andnowincludeafull
rundownof shots (soneareevensketched
out) that want tobringtolife. 1heseareall
shots that hadvisualised, andloved. had
already seentheoutconeinny nindand
nowall hadtodowas createthen. Making
theseshot lists left newithashoot that was
practically already nishedandensuredthat
didn't haveaninageinny headthat night
forget tocreate. Lventhoughthis neans you
haveaconpleteshoot built out, don't feel
restricted. t is absolutely okay togooh
script. always bringashot list tony sets but
spendabout 50of ny tineconpleting
thelist and50goingoh-book. 1his neans
that evenif I00of ny unplannedshots are
conpletefailures, still haveaconplete
shoot becauseof theinages hadvisualised
beforehandandbrought tolife.
Shot lists coneinall shapes andsizes. f
youareshootingatest or personal work, you
havethefreedontoincludeanythingyou
want andleaveout what youdon't. 1hejoy
intest shootingis that it is absolutely freeof
pressureandrestraint. ntheother hand, if
youareworkingfor aclient, they nay havea
shot list already nadeupfor youthat
includes alist of inages that work for the
advertisingor editorial canpaignthat you
areshootingfor. f that is thecase-easy-
peasy. Youhavethelist andyouareset togol
f not, youhaveabit norework todo. When
anworkingonashot list typically spend
about vetotenninutes freely writingevery
possibleshot that cones tony head. 1he
good, thebadandtheugly (andsonetines
thehideous). get everythingout andthen
begintonarrowit downintoalist that feel
ts exactly what anainingfor. 1ypically,
break ny lists downintothreesections.
nust-haves, details andextras. 1he
'nust-have' list includes theinages that
wouldbeabsolutely heartbrokenif forgot.
1hesewill betheshots that drivetheshoot in
thedirectionit needs togo. or exanple, ina
recent tness centreshoot, theseincluded
theshots of ny nodel running, stretching,
posing, etc. Next upis the'details' list. 1hese
aretheshots of things that drawnore
attentiontothesnaller aspects andcanhelp
solidify theshoot as awhole. nthat sane
shoot, thesewouldbetheshots of the
nodel tyingupher shoes, puttingupher
hair, her shoes onthegroundor evenoneof
her footprints onthetrail. Last upis the
'extras' list. 1hesewouldincludeall of the
other shots that wouldwant if tinepernits.
Whenon-set, anunder thescheduleof the
sun. Since shoot alnost exclusively using
natural light, needtobudget ny tineso
don't runout of light withitens still onny
list. 1his is why havean'extras' list. f havea
shot inny headthat want but isn't crucial to
theshoot, it goes here. f thereis still light left
after conpletingthe'nust-haves' andthe
'details' list, noveontothe'extras'. Having
this well-organisedshot list keeps nesane,
organisedandehectiveon-set.
t is a giventhat nost photographers are
visual people. 1hat neans that whena spark
of inspirationhits, wealready knowwhat we
want our nishedinages tolook like. 1his is
why shot lists arejust about theeasiest part
of our planningprocess. 1his is alsowhy we
don't haveany excuses for not building
thenout. Consider yourself encouragedto
spenda littlebit of extra tinetoplanyour
shots and proniseyouthat not only will
your shoots seenless chaoticandstressful,
but youwill coneout ontheother endwith
inages that nakeyouproud.
www.bensasso.com
Instagram. bensasso
BLNSSSSPRLSSNL
WLDDNGNDLLS1YLL
PH1GRPHLRND
LDUC1RBSLDN
LSNGLLLS, CLRN
ByBen5asso

22 R PHOTOGRPHY i JNURY 20I4
YURPH1MN1H
Photoevents tolookout for...
hristmasay
1his nust bupthras onof thnost
photographays of thyar -naksur
your shots arbrilliant noughfor thfanily
albunby thinkingahatothinags you'
liktogt angivingthought tothprops
anbakrops you'liktous. ftr all
howoftnoyougt thwholgang
togthr inthir nst garns Just bsurto
oit bforNanhas onshrry toonany.
5tonehavenFireball Festival
t thstrokof ninight onNwYar's Lv
60kilt-waringpartiipants light upthhigh
strt of this NorthSashingport whirling
I6-pounfaningballs attahtov-foot
longwirrops arounthir has. 1h
narhrs piprs anrunnrs nakthir
way throughtowntothharbour whr
thy throwthir faningballs intothsa.
nenaenhreba//s.o.uk
hristmasat Kew
L12.50(adlts, L8(children, nder 5s free
wGarns as you'vnvr snit bfor
-lit upaftr ark inall its Christnassy glory.
1akthfanily annjoy thon-nil-long
trail bathintwinklinganolourful fstiv
lights. You'll nhinplas ohth
batntrak anbabltointrat withth
aptivatinglight sounanlansap.
Magial. www.kew.org
TheHaxeyHood
12pm, hrchStreet, Haxey, Lincolnshire
or /00yars onay ayar has snatussl
btwntwovillags for possssionof th
Haxy Hoo. t's likrugby onngastrois
whrahugsrunof burly nnattnpt to
'sway' thhoo(for that rastuhlathr
ylinr) towarthir favouritpub. Lxpt
anusinginags anaolpint waitingfor
youat thnl www./s/eofaxno/me.net
utosport International
L31(adlts, L20(child6-15 !
TheNE,
f you'vapassionfor xotisuprars rar
anhistorinols thnhatothNLC.
1hr's alivationarnashow too soyou
anapturars ination-soon't forgt
your tlphoto. Withnillions of pouns
worthof notors onisplay thr'll blots to
kpyour anrabusy. www.tnene.o.uk
25DLCLMBLR
3I DLCLMBLR
UN1L4JNURY 6JNURY 9-I2JNURY
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bitions
International Garden
Photographer of theYear
Util 14Frury Chrtwll Kt






5ebruary. I00of the
best entries arepicked-if youlove
gardenphotography andlandscapes,
you'll get plenty of inspirationhere.
/gpoty.com
Historyof Photography
Util Jury2014! Frtry!
ThVictoridAlrt Musum Lodo
nI858, 1hevoheldthevery rst
photography exhibition, andtoday it's
chroniclingtherichhistory of
photography frontheI840s uptothe
I9/0s. t showcases soneof thenost
technically brilliant andartistically
acconplishedphotographs inthehistory
of thenediun, andincludes work by key
gures suchas Henri Cartier-Bresson,
ManRay andrvingPenn.
www.vam.ac.uk
TheTaylorWessing
PhotographicPortrait Prize
Util 9Frury2014! L3!
ThNtiol Portrit Gllry Lodo
nust-seefor lovers of portraits,
this exhibitionbrings together thebest
of this year's entries tothis prestigious
conpetition. Seewinner Spencer
Murphy's photographof jockey atie
Walshalongwith60of thetopentries
fron5,4I0subnissions.
www.npg.org.uk
5onsof the5tage:
Oasisandother 5upernovas
Util 26Jury2014!
Mchstr Photogrphic
nexhibitionbyJanes rythat celebrates
pioneeringandvisionaryacts andartists
that werepart of theBritpopculturescene
intheI990s. 1hedisplayfeatures a
selectionof superbinages of nanycult
groups andicons, sonethat verynearly
nadeit, andbigger indieacts that actually
did, suchas Saint Ltienneandhugely
popular Manchester-basedasis.
www.mancnesterpnotograpn/c.com
YURPH1MN1H
Pink-footedgoosespectacular
RSP8Sttishm
Honeyour birdphotography skills withthis
anazingspectacle-tens of thousands of
geesefy overheadinv-shapedfornations
ontheNorfolk coast. t's anearly start tosee
thebest of theshowthough-get there
beforedawntocatchthendoingtheir thing
as thesunstarts torise. t's oneof nature's
nost inpressivesights. www.rspo.org.u|
UN1LL1LJNURY
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WHT
TO5HOOT
Winter landscapes
Wrapupwarnandtakeanicerelaxing
winter stroll withthefanily -but
renenber your digital SLRl 1onost
peoplesnowis aninconveniencebut
it ohers photographers afantastic
opportunity tocapturenininalist
landscapes coveredin
ablanket of snow
andfrost.
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dback
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1WWWDG1LSLRPH1CMRNURSCLNL1WRS
KINGNIKON5
av ust cone back frona long
weekend in Paris sans ny Nikon D5000,
where it was pickpocketed fronny
canera bag on the Metro. part fron
having torethink security on ny bag,
alsohave tolook intoreplacing ny
DSLR. suppose the silver lining is that
was ready toupgrade anyway as anan
enthusiast whois ready for the next step.
My question is do gofor the D6I0or for
the D800, which costs the sane
Sabine 1illie-Davidson
Ed's repI: Sorry tohear about your loss,
Sabinel canera bag such as Lowepro's
lipside range is ideal for conbatting
pickpockets as the opening sits up
against your back. s for canera choice,
both the D6I0and D800are excellent
options. 1he D800's Rawles are
stunning, but the caveat is that you need
a lot of conputer processing power,
hard drive space and nenory cards.
f you don't need toprint big, naybe the
D6I0would be the wiser choice
PUTTHEMTOTHETE5T!
'nloving the current portraits
series in the nagazine, but howdothe
pros feel about a challenge ne lens,
notean, nofash -just one refector.
1he results would be interesting tosee
and they could pass on their best tipsl
iona Canpbell
Ed's repI: Great idea, iona -we did
cover natural light in part three of our
portrait guide (ugust 20I3, ssue 8I),
but we like the idea of a challenge.
We'll keep you postedl
DOITYOUP5ELF
irstly, great job on producing the
best photonagazine on the shelves -
every issue inspires ne totry sonething
newwith ny photographyl 'n
particularly inpressed by your 8udget
Pnotoseries and it just goes toshowthat
you don't have tospend a fortune toget
good resultsl Howabout including a
section on DY photokit rather than stuh
you've bought frona shop recently
nade ny own light tent for product
photography frona white sheet and
dowel rods -looking at the inages, you
can't tell the diherence between the
results fronny hone-nade light tent
and a shop-bought onel Just an ideal
Graene Brown
Ed's repI: You'll be glad toknowwe're
working on various 'DY' ideas for future
issues and that this nonth's article is
along the DY thene too.
DOITYOUP5ELF
PUTTHEMTOTHETE5T!
24 DIGITL 5LR PHOTOGRPHY i JNURY 20I4
PICKINGNIKON5
FEOOK
facebook.com!digitalslrphoto
FLKR
www.ickr.com!groups!digitalslrphoto
EML
dslrfeedbackQdennis.co.uk
TTTER
Qdigitalslrphoto
OeninVanackeresharedhisnderfI gIden-hr casaI imageinr FIickr grp
MJMImagesmjmimages
Hadagreat day tryingout
QDigitalSLRPhotoalphabet idea, will
nakeagreat Xnas present for sonl
priIPseMreFIY
Really excitedny rst nagazineof ny
I2nonthsubscriptionhas arrivedtoday
QDigitalSLRPhotoll
re Harknessbreharkness
Lookingforwardtowelconingtheguys
fronQDigitalSLRPhotonagazineto
SeedeldHousetodayl nother great
installnent of fashtoconel
Daid5inkeeI1and7
QDigitalSLRPhotonazingstuh.
feel inspiredl
JPpinnerj
Just orderedny brother's bday present
that havebrought hinfor thepast 3
years, adigital oprintedsubscription
toQDigitalSLRPhoto.)
5eenrbsPh
nrbsPh
Haveatoughdecisiontonake
tonight... readthelatest issueof
QDigitalSLRPhotoor watch
(eithLenon1v1heiln.....
hnnnnn
5UPVEY: WHICHPHOTOEDITING
5OFTWPEDOYOUU5EMO5T?
dobeLightroom 3X
dobePhotoshopS 23X
dobePhotoshopElements 16X
Other 7X
Nikollection 6X
Gimp 4X
NikonaptureN2 3X
ppleperture 3X
dobePhotoshop 3X
orel PaintShopPro 2X
PhaseOneaptureOnePro 1X
orel ftershotPro 1X
SerifPhotoPlus 1X
ranHeahGinp2.8rocksl use
ftershot profor pre-processingRaw
toGinp. Ginp3.0will beaone-stop
shopfor processingl
GerginaFIer Phgraph
Picasa, thenPhotoshopCS5plus the
Nik Lfex Proplugin.
PaI 5mdge useLightroon5for
sorting, Rawprocessingandany basic
edits, thenPhotoshopCS6for nore
advancedediting, if neededl
LesIenneJnes triedCapture
neProbut didn't get onwithit -
Lightroonis nucheasier touse.
rianKeII chose'ther' as use
Picasa-it's freeandit's greatl
0I4i
Ortonehect, Issue85 JimPichardson, HaIIoween, Issue84
LauraPoweII, eer rutting, Issue83
anieI Nguyen, TiIt portrait, Issue80

HLRL'S SLLLC1N
1HS MN1H'S BLS1RLDLR
11LMP1S URLXPLR1
1LCHNULS RM
PRLvUS SSULS. SLND
US YURWNMGL
NDYUMGH1JUS1
SLL 1NPRN1l
5tephenMcNaIIy, Longexposures, Issue84
Leeavison, bstract 5Iinky, Issue85

obinLowry
e: 8 i Occupation: CG Creative Director
v/s/t. www.rob/n/owrypnotogrpny.co.uk
utumnGold: 'part frontheBarnwl, the1awny wl is
oneof ny favouriteBritishowls. or this shot, a captiveowl
(calledMr orbes) was usedfronthenperial Birds of Prey
cadeny inLssex. wantedtocreatea warn, intinateportrait
of this owl, andthis was oneof thosetines wheneverything
fell intoplace. 1hewarnautunntones of theleaves onthe
trees, thenilky early norningsundihusedby light, patchy
cloudandtheowl posingsonicely. Withthefocus point xed
ontheeye, dialledin-2i3Lvexposureconpensationtosave
blowingout thehighlights. knewthat 'dhavesonelatitude
inRawtobrightenuptheinageas longas hadinfornation
theretobeginwith. nPhotoshop enhancedthewarntones
evennoreandbrightenedtheeyes slightly.
anonO5-1Xwithanon300mmfl2.8L5 U5M.
xposure: 1l250secat fl5.6(5O200).
OW5
TL 5LR POTORPY JANUARY 20I4
Malcolmndrew
ge: 6/ i Occupation: Retired university lecturer
jallsrln: '1his panorana of the glacial lagoonat the foot of the
nighty vatnajokull Glacier at jallsarlon, celand, is a conposite
panorana of six inages intotal. set the canera tonanual node sothat
the exposure didn't change betweenshots anduseda 0.9NDlter to
enhance sky detail. batch-processedthe shots inLightroon5's
Developnodule (which prefer touse rather thanPhotoshop) andthen
exportedthenas 1 les. thenstitchedthese together inPhotoshop
CS6using Photonerge, choosing Repositionas the layout option.
anonO56withanon24-105mmfl4L5U5MIen.
xpoue: 1l25ecat fl225O100.
drewpnotogrpny.o.uk
RobinLowry(cont|nued
Tolkien: ' took this shot at the Hawk Conservancy inAndover ona
photoday innidsunner. wantedtocapture a head-onshot of this
Milky Lagle wl (called1olkien) infight frona lowviewpoint soit
lookedlike couldbe its preyl positionednyself onthe owl's fight path
andprefocusedonthe spot wantedthe owl tobe photographedin.
1he owl swoopedinandout of the light withthe overheadtrees casting
shadow- wantedthe owl ina light patch, sothat he was backlit. Using
a highS, got a very fast shutter speedof Ii5000sec tonake sure
there was noblur. alsodialledin-2i3Lvexposure conpensationto
stopany highlights getting blownout.
anonO5-1Xwithanon70-200mmfl2.8L5 U5M.
xpoue: 1l5000ecat fl2.85O1600.
5unset 5tags: 'My wife and hada four-day stay at a deer park inNorfolk
as the deer rutting seasonwas getting underway. wantedtocapture a
silhouette of the stags withtheir nighty antlers infull view. 1his was
proving tobe very tricky because neededa sunset, the deer inthe right
positionandne inthe correct place all at the sane tinel nthe third
day it was looking clear so arrivedbefore sunset so couldget into
positionandacclinatise the deer tony presence. At the right tine the
deer nade their way upthe hill towards ne. Luck was onny sidel
anonO5-1Xwithanon00mmfl2.8L5 U5M.
xpoue: 1l8000ecat fl5.65O500.
NURY 20I4i IGITL 5LR PHOTOGRPH
OMMNT
Pobin's images were
submiedviaour FIickr group
andinsanIgrabbedmee.
There's ahighIeveI of echnicaI
andcreaiveknow-howon
showhere-workingwih
animaIs is never eas!
danutters
TheIntense5tare: ' wantedsonething a bit
diherent anda nore striking portrait of a birdof
prey. chose this Goshawk (nanedSanni) as ny
subject as it has the nost anazing eyes.
photographedthe whole headandcroppedin
Photoshopas couldn't get as close as needed
onthe day. nade sure the focus was onthe eye
-usingafocal lengthof 600nnwideopen, only
hadasnall depth-of-eldtowork with. 1his was
shot outsideinnatural dihusedlight against adark
backgroundtogiveit that studiolook.
CanonEO5-1DXwihCanonEF300mmfl2.8LI5II
andCanonEF2xExender.
Exposure:1l400secafl5.6(I5O800).
5OW5
T 5R POTORP
ltrnr
Occupation: cononics student
lx '1he rst thing dowhentaking portraits is look for a place where
there are interesting shadows toplace the nodel inandthenslightly
brightenthe scene using refectors. or this shoot, searchedfor a
locationwitha cleanurbanlook -a parking block was the perfect
locationtocreate a nice contrast betweenthe coldandgrey
backgroundandthe nodel's colourful clothing.
anonO55MkII with5igma5mmfl1.4GH5M.
xposure: 1l16secat fl1.8(I5O1) 1l5secat fl1.8(I5O1).
Phl orly
ge: 52 i Occupation: 1 consultant
/s/t. www.fcebook.com/mgpnoto//fe
v/s/t. www.pn//cor/eypnotogrpny.com
snyon 'nthe sle of Ligg inthe Scottishnner Hebrides, a
snall slot canyonhas beencreatedas the water frona waterfall enpties
intothe sea. Conpositions were linitedas squeezedintothe narrow
gap, so selectedthe twolarger rocks toconplenent the edges of the
canyon, whichleadthe eye tothe waterfall. useda 0.9NDlter to
capture the right anount of novenent inthe water. ater was
splashing everywhere - neededtocleanthe lter half a dozentinesl
Nikon3 withNIKKOP-516-35mmfl4GIens.
xposure: 1.3secondsat fl18(I5O1).
ht ovr wl 'Snowdonia inthe winter is always a wonderful place.
s we walkedintoCwndwal we were presentedwitha landscape
that not only felt cold, but lookedcold, too. Scouting for a conposition,
was drawntosone foregroundrocks that ledthe eye downover Llyn
dwal tothe rock face behind. useda 0.45NDhardgradlter, linedup
along the far shoreline, tobalance the exposure anda 0.9NDlter to
renove the disturbance onthe lake's surface.
Nikon3xwithNIKKOP-516-35mmfl4GIens.
xposure: 1l1secat fl8(I5O1).
OMMNT
credibI
refreshingtoseenew
viewpoints of famous UK
Iocations, especiaIIwhen
the'recapturedas skiIfuII
as PhiI's beautifuI set
of images.

IGITL 5LR PHOTOGRPH
W5
TL 5LR POTORPY RY 20I4
5tevelasper
A: 44 i Occupation: Disribuion
ut Oh: '1his one is probably one of he nos popular locaions o
shoo onhe norh-eas coas -i's S. Mary's lighhouse a Whiley Bay.
1his is sho fronhe causeway ona highide. useda ood0.6NDand
Lee 0.9NDhardgradler for a long exposure ogive ne a snooh
causeway wihhe highide. selecively sharpenedhe foregroundand
he lighhouse andusedCurves, Conras andLevels inPhooshop.
CanonEO55DMkII withCanonEF17-40mmfl4LU5MIens.
Exposure: 32secondsat fl16(I5O50).
rimsonresswell: '1akena Cresswell onhe Norhunberlandcoas.
wasn' looking very pronising onhis norning bu afer waiing and
hoping for a bi of colour, he sky li upa vividcrinsonredl was quie
lucky as hadoquickly ndsone foregroundineres andseledon
hese rocks before nissedhe colour andny only chancel ne ood
0.6NDanda 0.9NDLee hardgradler were usedogainhis exposure.
sharpenedandusedLevels inPhooshopolif he foreground.
CanonEO55DMkII withCanonEF17-40mmfl4LU5MIens.
Exposure: 32secondsat fl16(I5O50).
enceTooar: '1his was ny rs inevisiinghis srechof coas a
LonghoughononheNorhunberlandcoas and cerainly wasn'
disappoined. 1his fencegavenea niceforegroundsubjec o
conplenen hesunriseandherocks ohesideaddedohescene.
1his was sho usinga ood0.9NDler anda Lee0.9NDhardgradler
olenghenheexposureandbalanceou hesky wihheforeground.
CanonEO55DMkIII withCanonEF17-40mmfl4LU5MIens.
Exposure: Tensecondsat fl20(I5O100).
. www.stevec/aser.com
OMMNT
5tevehas managedto
captureevocativeand
atmosphericimages at every
Iocation. It's nicetoseegood
useof NDIters toensure
pIentyof detaiI andcoIour
recordedintheskies.

Readers whohaveinages publishedinSnowcasereceivease of fanasic

MagBooks, publishedby heDqta| S|PPnotoqrapny ean. 1his nonh's
selecionof MagBooks covers awiderangeof phoographicineress.
1ne|ssenta| Cude1o/dancedPnotoqrapny is oneof our laes MagBooks
andohers exper adviceonarangeof subjecs, includingporrais, infrared,
landscapes andboudoir. 1ne|ssenta| CudetoC|ose-UpPnotoqrapny
provides everyhingyouneedohelpyoucapuresunningnacroinages.
1hefhediionof 1nePnotoqrapners CudetoPnotosnopwill helpyou
edi andenhanceyour phoos. or furtner deta//s, v/s/t. www.magbooks.com
5howcaseprizes
lee oe ny nge fo e the followg tle plee tk the elevt oxe
Nne
e
otoe
hoe Lnl
Dt trpy ptursussr

If submittingimages by post,
remember toincludeyour mugshot
andcontact details (name, address,
email anddaytimenumber.
Pleasedon't sendus high-res
images by email: resizeyour shots to
1000pixels alongthelongest edge
andif weseesomethingwelike, we'll
request thehigh-res hlefromyou!
Emails exceeding8M8total size
might not arrive, sosplit your
submissiondownintotwoor more
emails toensurethey get through.
Pleasedon't sendus your entire
portfolio-as youmay appreciatewe
receivealot of submissions and
aren't abletolookthroughhundreds
of images -narrowtheselection
downandpickyour best shots only!
Ckst
35 JNUY 0I4 DIGIL L PHOOGPHY
EMIL: f yowt toenl
no ethento
s/rpotosumssonsnns.o.uk
leeoly enl nge t nxnnof
I000pxel logtheloget egeote
yo enl nght ot vef thetotl ze
of tthnet exee MB. 1ell
whhtle yo'enttgtothe
jet leleyo ne
e ytnene.
FCEBOOK: Lkeo eook
pget www.acebook.com/
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wthlototehl etl. t t ll
evelopewth oveglette
lgthenofonelow
popthenthepot to D/g/ta/ SLR
Pnotograpny, 6SwanCourt, Hampton,
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Howtoget your imagestous
3
Choosehow
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eook pge lk
gop enl o pot.
2
hortlist your
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fte owlog
thenge toyo
onpte yohol
et thennke
ewfole lg
oly yo fvote.
1
akesome
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oot tkeyo
et pte. Ueo
tehege to
helpyohooethe
ght ge theet
ne ettg.
DlGlTALSLRPHOTOGRAPHYWELCOMESITSREADERS
TOSU8MITTHEIR8ESTIMAGESFORPU8LICATIONIN
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GETTHEICTUE
L DL NDLXPL LCHNL
WDEPPOPTPITp44 MILKYWYp46 CKLIT5TPCTp50 5TPCTTPIPTYCHp52
JN 20I4i DIGITL 5L HTGH
T

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5

WTEFLL5p40
I5IDE
ANGMOVEMENTTOSENSSEASY
FYOUFOOWOUREXPERTAVE
GETTHEPICTURE
Capturing
waterfalls
hereissonethingnagical about waterfalls-especiallywhen
our canerashavetheabilitytonakethenlookevennore
beautiful. ur step-by-stepguideshowsyouhowtoshoot then
tt
Camera: Nikon800
Lens: Nikon-S24-/0nnfi2.8G

veit tthere
iteecta tyes tdebate
what it is that cects s s
csey twater. I kwis that, ike
ay htgrahers, wheever I'faced
withthe, I jst ca't resist therget
htgrahargebdies f reective
water, crashigwaves adeaderig
rivers. rgaby, waterfas arethest
htgeicfrf water adthe
UK-articary Sctad, id-Waes ad
theNrthf Egad-arehetse
stigy beatif raids adfas. Thebig
qestiis, thgh, hwdycatre
great waterfa htgrahs?
Havigcatedasitabefa -aybe
sewherecsetwhereyiver are
hidayig-csider theweather. right,
sydays arebest avided, as strg,
directia ight wi createahigheve
f ctrast, akigit dimct tavid
brt-t highights thewater.
right, vercast days arebetter, as
cdcver acts as egiat dinser.

GETTHEPICTURE
SH1NGW1LRS
i JNURY 20I4
lo, it i oftenwothwhileviitingafte
ainfall, a thi will enuewate level ae
goodandthat theei a niceanount of
novenent andinteet. 1hetineof yea
canalobea biginfuenceinyou hot.
Many of thebet watefall aefoundwithin
woodland, oinautunn, uounding
eaonal colou canaddexta inteet to
you hot, whileinping, fehfoliagewill
addvibancy anda tak winte woodland
will befull of nood. t theetine of yea,
footpath canbenuddy, owea you
wellie -theyll aloallowyoutowadeinto
thewate lightly, givingyoutheoppotunity
tocaptuenoeinteetingviewpoint.
alway, kit choicei aninpotant
conideation. elativelywidefocal length
-intheegionof 24-/0nn-i agood
choice, a it give youtheoptiontocaptue
dynanic-lookingconpoition. nediun
telephotocanalobeueful houldyouwih
toiolateyou watefall o fo whenyouhave
tohoot fonfuthe away. tipodi anut
-paticulalyif youintendtoenploylow
hutte peed. polaie andanNlte
nayaloconeinhandy. eepalen cloth
cloetohanda well, thi will beinvaluable
toquicklywipeawayanywate plahingup
ontoyou len o canea.
1hebigget deciionyoufacewhen
photogaphingwatefall i howyouae
goingtocaptueit notion-doyou
feezethewate o blu it 1hi i a vey
ubjectivething. Howeve, whateve
youdecide, younut enueit
look intentional -if thewate
int hapo bluedenough,
it will jut look ney and
a thoughyouhavent
achievedwhat youet out
todo. Mot photogaphe
favou bluingthewate
novenent, withthe
ehect geneally conideed
noeaethetically pleaing.
Bluingnotioni elatively
eay todo-inply enploy
a lowhutte peedof Ii2eco
longe. f youwouldpefe tofeezenotion,
youwill needa hutte peedexceeding
Ii500ec. Howeve, achievingucha fat
hutte peedi oftendihcult whenyouae
hootinginovecat light, unle youelect
a vey highSpeed, togethe witha lage
apetue. deally, youdont want todoeithe
of theething, though, a a highSating
will inceaenoiewhilea lageapetuewill
educedepth-of-eld. 1heefoe, unle
youeally detet thenilky-wate ehect,
you bet bet i toblu thewate notion.
Latly youneedtoconide
context andviewpoint.
Watefall canbe
photogaphedinvaiou
way andfona nultitude
of angle. 1ightly copped
hot canlook vey
ehective, but uually wide
view -captuingthe
watefall incontext withit
uounding -will ceate
a fa noetikinginage.
Wheneve poible, ty uing
thewate fowingaway fon
thefall a foegoundinteet o a
lead-inline. Uingno-coveedboulde
o fallenleave tappedby thewate
edgecanalohelptogiveyou watefall
inage noeinteet, depthandcolou.
lowviewpoint will oftenwok well, but be
caeful not toget wet feetl
1
Iocation fte a little online eeach, decide toviit
SgwdDdwli Uchaf -one of Wale not inpeive fall. opt fo
the veatility of ny 24-/0nnzoonand, uing the long end, ll the
fane withthe fall. Howeve, by conpoing ny hot otightly, the
photogaphlack context andlook tatic andboing.
3
Lengthenexposure the wate didnt look ight fozen, decide
toblu it intead. lowe the StoI00andet a nalle fitop
of fiI6-thi help lengthenexpoue tine, andinceae depth-
of-eldtoo. 1he eulting one-econdexpoue ceate a nice level
of ubject blu -ny tipodi eential tokeepny inage hake-fee.
2
Freezethemotion zoonout toinclude noe of the watefall
envionnent. want toee what the wate look like if feeze
it notion. 1ogeneate a hutte peedfat enoughtodothi, aie
the Sto6400andelect a lage apetue of fi5.6. 1hi eult ina
hutte peedof Ii500ec. Howeve, the wate look ney.
4
UseapoIariser eviewny lat inage -the hot lack colou
atuation. 1hee i a lot of glae efecting fonpat of the
foliage andthe ive. 1heefoe, attacha polaie andotate the
lte init nount until the efection andglae diappea. 1he lte
abob uptotwotop of light, oit blu novenent evenfuthe.
HNDY HINT
ecarefuI!
1ake cae whenhooting
photo by the wate edge.
Rock will be lippey andit i
eay toloe you balance
whenyouae caying a heavy
backpack andtipod. lway
put you welfae -andthat of
you valuable kit -above
taking photo.
JNURY 20I4i DIIT 5R POTORPY
Exsu 20seconds at fiI6(SI00)
Fn mg
swava ms
mam uaa
as maasu. as
aaasIer oIenghen
heexposureo20seconds. TheresuI is
anehereaI-IookingwaerfaII image.
GETTHEPICTURE
i UR 20I4

: ikonD800
Lens: ikon-S24-/0nni2.8
DDLLSLlouo
ust to shoot is retiven
unwy o ingynnisnto
portrit theresults restriking
ninpressivebut theset-upis
reltively sinple. ll tht's neeeis nopen
spe oupleo lights n hnul o
power n willingvolunteer o ourse
1his tehniqueis gret or highlighting
novenent sowhy not try it out on ner
or gynnst toshowsetheir tlent
our hoieo power isn't tooruil
just nkesuretht whtever youhoose
is rienly toyour subjet's skinnhir
or this reson'reonnenhlk tlun
power or plinfour. ut o thethree
ounfour retethebest ust lous.
t probbly goes without syingtootht
youshouln't try this inyour ront roont
honenontter howreul yourethe
power gets everywhere nthelst thing
youwnt tobeoingis vuuningfour oh
your three-pieesuiteterwrs you've
ess to grge or well-ventilte open
enpty spe thenthis is iel. lterntively
yououllwys giveit gooutoors
just nkesuretht youpik y without
toonuhbreezenon't try it whenit's
riningor npfour nixewithwter
tens tonkebre
'reonnenputting sheet or
trpulinowntothnost o the
power. ouon't neessrily neetoshoot
ginst blk bkgrouni thenbient
light isn't tooproninent puttingsone
istnebetweenyour noel nbkrop
shoulbeenoughtorkenit.
1hepower shows upbest whenbklit
soor this resonyou'll neeoh-ner
fsh. Speelights reiel s they oher st
fshurtion but stuiofshwork tooset
tolowpower i you'vegot ess tothen.
1here's noresonwhy youn't lsouse
nturl light ensurethesunis behinyour
subjet nnkesuretht you'vehigh
enoughshutter speevilble. neessry
risetheSor openupthepertureuntil
your shutter speerehes IiI000seor
higher. Shutter speeis thekey herei
you'renot usingfshthenthester the
better. ntheother hn whenshooting
withfshyou'relinitetoyour ner's
fshsynspee(usully betweenIiI60se
nIi250se) it's theburst o fshtht
reezes thenovenent here.
s nlterntiveie i your subjet
oesn't ny gettingovereronhe
totoeinpower thenyounlwys sk
thentoover their hns inpower n
lpt theright nonent torelese lou
o ust skywr. Wht reyouwitingor
rb willingvolunteer nhvesoneun
der tothepeople
onbineoh-nerfshwithpower toretenbstrt portrit withynninovenent
1
Positionyour Iights Bklighting will highlight the power 've
usetwoSpeelights onlighting stns reby wireless triggers
lthoughyounuse one fshguni tht's ll youhve. 've ple
ny fshguns tothe sies tokeepthenout o sight nnininise
fre but younhie your fshiretly behinyour subjet.
3
Get readytoshoot sk ny noel tostninpositionnuse
utoous tolok onbeore swithing tonnul ous to
prevent it ronhunting t the ruil nonent. ne one she
overs her hir nrns in lyer o four nrouhes own
being reul tolet it rest onthe sure o her skinnnot ll oh.
4
Get thetimingright 1he key tosuess is tining. l-holthe
shutter buttonnre s your subjet rehes the pek o their
novenent it ny tke ewttenpts toget your tining orret.
lsobe wre o your subjet noving towrs or wy ronthe
ner uring the novenent s they ny nove out o ous.
2
DiaI inthesettings nnnul noe selet your ner's syn
speeIi250se inny se. 've hosennperture o iII or
gooepth-o-elnS400. set ny fshguns toIi8power
tokeepthe rereshspeequik. 1ke test shot o your subjet to
hek the exposure rise or lower the Stojust the exposure.
PWRPR1R1
JNURY 20i DIGITL 5LR PHOTOGRPH
F
iththeheIpof Iight coveingof
powde, mIetocptuethi
tikingndtct potit
Expoue i20secat fi (S00)

. JNHCS

Longnightsgot youstuckfor ideasPoint your lensskyward

tocapturestunninginterplanetaryinagesof theMilkyWay.
HeIenDixon
Camera: NikonD800
Lens: Zeiss Distagon1*2Innfi2.8
5oftware: PhotoshopCS5
I'MSUREWE'VEall ogledand
marvelledat astrophotography
imagesat somepoint or another.
Thefact that youcangazeout
intothenight skyandseeworlds
that arebillionsof light yearsawayistruly
mesmerising. Thegoodnewsisthat you
don't needfancytelescopesor specialist
equipment tocaptureimagesof thedusting
of theMilkyWayfor yourself. All youneedis
theright techniqueandsomemodest kit -
your camera, awide-anglelenswitha
reasonablyfast maximumaperture, atripod,
aremotereleaseandatorch!
It goeswithout sayingthat optimal
conditionsarerequiredtophotographthe
MilkyWay. Youneedaclear night withno
cloudcover, anewor crescent moonis
ideal. Andyou'll needtohndanareawith
lowlight pollution(seeover thepage.
8ecausethedarkest skiesareoftenfoundin
moreremoteareas, I'drecommendtakinga
friendalongtoo(bothfor safetyandmoral
support!. Thehrst taskuponarrival is
locatingtheMilkyWayinrelationtoyour
position. You'll noticethat thelonger that
youstandindarkness, themoreyoucansee
-it takesyour eyesagood15-20minutesto
adjust tothedarknesssodon't expect tobe
abletojumpstraight out of acar andsee
everything! I'drecommendshieldingyour
eyesfromanybright light sources, including
your camera'sLCDscreentoallowyour eyes
toadjust. Thedustingof theMilkyWaycan
befoundinthesouthernsky(if viewingfrom
thenorthernhemisphere near the
constellationsSagittariusandScorpius-
duringthewinter monthsit isbest viewed
between9pmto12am. If, after 20minutes
of your eyesadjusting, youstill can't seethe
MilkyWay, youcanalwaysfollowmysteps
over thepageandstart takingpicturestosee
if it showsup-your camera'ssensor will be
alot moresensitivethanyour eyeswhen
usingthecorrect settings.
Whilephotographsof theMilkyWay
aloneareoftenspectacular, your imagewill
haveaddedimpact if youincludesomeform
of foregroundelement for referenceand
scale. Objectssuchassolitarytreesare
perfect, or if you'refortunateenoughto
haveaccesstoalandmark, suchasLanyon
Ouoit near MadroninCornwall asI am, then
thisisideal! Youcouldrender theobject asa
silhouetteagainst thenight sky, but I've
decidedtohaveagoat light-paintingthe
quoit'sstonesfor addedinterest.

The'500Rule' referstothemaximumshutter
speedthat youcanusetocapturestaticstars
without star trailsfor anygivenfocal length
-thelonger thefocal length, theshorter
exposurethat youcanget awaywith.
Toapplytherule, divideyour focal length
by500togiveyouyour exposurelength,
roundeddown. For example, if usinga16mm
focal lengthyou'dcalculate16!500=0.032
-thereforeyouwouldusea30-second
exposure. Tofurther confusethings, these
valueschangedependingonwhether you're
usingafull-frameor APS-Csensor, sohere's
ahandycheat sheet for quickreference.
Focal
Length
Full-frame Nikon
APS-C
Canon
APS-C
I6nn 3I 2I 20
20nn 25 I/ I6
24nn 2I I4 I3
28nn I8 I2 II
35nn I4 I0 9
50nn I0 / 6
/0nn / 5 4
85nn 6 4 4
SH1 1HL MLY WY
Dark skies

S1 1 MY WAY
DT 5 OTOY i ANUARY 20I4
1
amerasettigs nce youare inposition
withyour scene conposed, lock your
canera ohona tripodandset it tonanual
node. Select your lens's naxinunaperture
andchoose a shutter speed(see previous page).
Select S3200as a starting point. Your nal
Swill dependonyour lens's naxinun
aperture -the wider the naxinunaperture,
the lower Syoucanget away with.
1
djust WhiteaIace
nport bothyour Milky Way
andlight-painting inages into
Photoshopandadjust the White
alance -'ve adjustednine by
eye, cooling downthe inage until
the orange disappears.
2
Iedthetwimages
opy your light-paintedinage
andpaste it ontoyour Milky Way
inage as a newlayer, or vice versa.
hange the dMode of the top
layer toScreenandbothlight-
painting andMilky Way will appear.
3
ddaCurves Iayer Make sure
that the Milky Way layer is
selectedinthe ayers Palette and
gotoLayer>NewAdjustment
Layer>Curves. nthe Adjustnents
palette, addan'S' curve tobrighten
the stars anddarkenthe sky.
4
DdgetheMiIkyWayoto
Layer>New>Layer, change the
8/endMode toSoft L/gnt and
check the F/// w/tnSoft-L/gnt-
neutra/ co/or box. Use the Dodge
Too/, set toM/dtones and!5X
xposure, tobrightenthe galaxy.
Digital processing...
1heMilkyWayisbest viewedfronareasof
lowlight pollution. ur snall islandispacked
inrelativelytightly, but therearestill sone
great areasinwhichtophotographthestars.
1) receacsNatiaI Park, WaIes
www.breconbeacons.org
2) GaIIwayFrestPark, 5ctIad
www.gallowayforestpark.con
3) KieIderFrestPark, NrthumberIad
www.visitkielder.con
4) ExmrNatiaI Park, 5mersetDev
www.exnoor-nationalpark.gov.uk
5) LakeDistrictNatiaI Park, Cumbria
www.lakedistrict.gov.uk
6) NrthYrkMrsNatiaI Park, NrthYrkshire
www.northyorknoors.org.uk
7) HustattCrmer, NrthNrfIkcast
www.visitnorthnorfolk.con
2
2
5et yur fcus ocus oninnity, thenset
your lens tonanual focus. Use a renote
release totake a shot andassess the results
-younay ndthat youneedtoadjust
conpositionat this point. heck the inage
brightness tooandincrease the Sif required.
3
TryIight-paitigWhile youcanuse
silhouettes inthe foreground, 've decidedto
light paint the quoit inny inage. place a snall
torchinside the quoit anduse the sane
exposure settings as before, but the torchis too
bright andoverexposes the stones.
4
djust settigs reduce the Srating to
400andincrease the aperture tofi5.6and
try again, this tine light-painting the outside
of the quoit, too. 1he Milky Way isn't exposed,
but this inage canthenbe conbinedwiththe
Milky Way inage during post-processing.
1
6
5
4
3
7
IGITL 5LR PHOTOGRPH
osure: nds at fi2.8(S4000)
F
ThenaI resuIt is amysterious
IandmarkoverIookedbythe
mysteries of our owngaIaxy!

DT 5 OTOY i NURY 20I4

C v

amera: NikonD00
Lens: Micro-Nikkor 200nni4D-D
5ofware: ightroon5
WMHinthedepths o
winter now, but over thepast
coupleo years our seasons
havebeenrather
topsy-turvy. 'venever
knownalater autunnthanthe
last one, withthebest o the
colour not onshowuntil late
Novenber andearly
Decenber. vennow,
youcanstill ndsonenice
autunnal-lookingleaves i
youlook. allenleaves are
suchgreat subjects. hey are
particularly photogenicwhen
coveredinrost or backlit. havea
particular ondness or backlighting.
his orno light is perect or
highlightingshape, orn, colour andne
detail, andit suits translucent subjects -
likeleaves -exceptionally well.
Younay not needtogoany urther
thanyour ownback gardentondleaves.
lternatively, visit local woodland, or goto
alocal arboretun, publicgardenor stately
honewhereyouarenorelikely tond
interestingleaves. ook or leaves that are
particularly colourul or haveaninteresting
shape. rabacarrier bagull andheadback
tothewarntho honetobeginshooting.
Nowtheunbegins. rrangeyour leaves
onthelightboxtocreateapattern. Youcould
usethesanetypeo leaves tocreatean
interesting, repetitivepattern, or conbine
diherent varieties tocreatecontrast. nd
usinganunber o yellowleaves tocreate
a'backdrop' works well, andthen placea
singleredor orangelea ontopor astriking
contrast -or viceversa. nceyoubegin,
youwill soonndyoucreatesonegood
arrangenents. Whenyouarehappywith
your arrangenent, switchthelightboxon
tobacklight your leaves.
Youwant toll therane, soa nacrolens
is ideal. lternatively, convert a standard
lens intoonewithcloseocusingability by
attachingextensiontubes or a close-up
lter. rrangeyour tripodsoyoucan
positionyour canera directly above, parallel
tothelightbox. pt or aperture-priority
nodeandselect anistopintheregiono
itoiII -this shouldprovidesuhcient
depth-o-eld, as thesubject is relatively
fat. photographingcolourul, autunnal
leaves, avoidselectingutoWhitealance,
as thecanera will probably try toneutralise
thewarncolours o theleaves. Youwill
get norerealisticresults by selectingthe
daylight or cloudy preset -althoughi you
areshootinginRaw, youcantweak this
easily duringprocessing. eawarethat
backlit subjects canool neteringinto
underexposure, sokeepaneyeonyour
histogranandapply positiveexposure
conpensationi required.
5oo aaonal backlit abstract
Makeuseo all thosebeautiul allenleaves withthis creativetechniquetodoat hone.
1
Coec someeaves eore youbegin,
yourst needtocollect sone suitable
leaves. ocal parks, gardens and
arboretuns are goodplaces tovisit. ook
or leaves that are colourul or have an
interesting shape. nthis instance, popped
toa local public gardenandcollecteda
bag ull o colourul allenleaves.
3
djus hearrangemen verlaying lots o
the sane colouredleaves lookedokay,
but lackeda ocal point andcontrast. used
yellowleaves as a backdropinstead, and
placeda contrasting redlea ontop.
However, the gaps betweenleaves looked
distracting, andthe areas where the lightbox
was exposedwere blownout.
4
Tweakhena imagehis tine, took
nore care arranging the yellowleaves,
sothey properly overlapped. gain placed
the redlea ontop. he contrast between
colours gave ny inages a nore three-
dinensional eel. experinentedwith
diherent arrangenents -anddecide that
the ocal lea lookedbetter centralised.
2
5e your Whieaance nce hone,
dustedohny lightbox andcreateda
patternusing dark orange leaves. However,
utoWhite alance attenptedtocorrect
what it thought was a warncolour cast, and
neutralisedthe leaves' natural warnth.
quickly alteredWtoCloudy andreshot
or a nore natural, pleasing result.

ightboxes are a throwback

tothe days o lnphotography,
but don't worry i youdon't have
one tohand-youcancreate a
sinilar ehect by placing plainwhite
paper ona glass cohee table and
lighting it ronunderneathusing
lanps. Youcanevencreate your
ownpurpose-built lightbox
easily andcheaply -search
online or sinple steps
todothis.
Final Image
edthe5pot PemovaI tooI to
tidyupanytinyhoIes or marks
ontheIeaves. IoveIyautumnaI-
Iookingshot, takeninthe
comfort of myownhome!
Exposure: Ii8secat fiI3(SI00)

POOPY NURY 20I4

ineWiIkinson
Camera: NikonD800
Lens: Signa50nnfi2.8
HPPYCCDLN1SHPPLN
tothebest of us andsonetines
theyyieldnorecreativepictures
thanwewouldever have
conjuredintentionally. t could
bethat youcaptureanaccidental nonent,
that younisjudgethelightingor, inthis case,
nakeanexposureerror. orgettingtocheck
your exposuresettings betweenshots is a
connonnistakebut inthis casetheslow
shutter speedit providedpaidoh. nce saw
theabstract ehect of this 'nistake', it allowed
netotakeanoredeliberateapproachto
buildonnyinitial error, there's areasonwe
frequentlytell you'experinentationis key' as
unusual inages rarelyconefronfollowinga
fornula. 1heseabstract inages caneabout
whileshootingabacklit still-lifeandwhileit
requires tine, as notwoshots areever the
sane, youcanget soneveryinteresting
results that younaynever havethought of
whileshootingaconventional still-life.
OU infor a shutter speed
betweenthreeandveseconds long,
this shouldexposethesubject andthe
backgroundwell enoughandallowyou
tinetonovethecanera. f theanbient
light is toobright, youcanwait until light
levels drop, lower theSor try selectinga
narrower aperture. However, younay need
toadjust your subject-to-lens distanceto
keepdepth-of-eldshallow. Nowtakethe
picture. Younay ndthat sinply holding
thecanera introduces enoughinteresting
novenent toblur thefower, but bebold
too. try short, sharpjerks upanddownor
slowsteady sweeps duringtheexposure.
varyingthelengthof theexposureby
adjustingtheapertureor Scanchange
theresults, as candiherent fowers.
i
hi up
Longexposureswithnotripod
Surelynotl1rythisunorthodox
yetsinpletechniquewithyour
subjectagainstabright
backdroptoseewhatartistic
abstractresultsyoucanrender
1hebackdropis aniPad
utilisingtheNight Light appas a high-key
background, but youcouldalsotry sticking
a pieceof whitepaper toa windowona
bright day for a sinilar ehect. Positionyour
fower infront of thebackground, nding
thebest angleandpositionfor a strong
conposition. s you'll beusinga long
exposure, theanbient light shouldbe
suhcient but younight want tokeepa
refector handy inthefornof a pieceof
whitecardor kitchenfoil tobouncenore
light onthesubject if needed.
s your subject is backlit, set
your caneratospot neteringtooverexpose
thebackgroundandcorrectlyexposethe
subject. f youweretousenulti-zone
netering, you'dndthat thecaneratries to
averageout theexposuretoI8grey,
underexposingthebackgroundas aresult. Set
your caneratoaperture-prioritynodeanddial
inawideaperturetoensurethebackground's
not infocus, anythingbelowfi5.6shouldwork
well. eepyour Slower than400tonininise
noiseandtolengthentheexposure.
- S SS
ependingonthe
shutter speedas
well as thespeed
anddirectionthat
younovethefower
across thefrane, you
canget very diherent
results. enerally,
betweenthreeand
veseconds at
fi3.5-4.5provides
thebest ehect if
youslowly drag
thefower across
thefrane. hese
threeinages tothe
right showhowthe
shutter speedand
novenent ahect
theinage.
oparativ st
5seconds
Threeseconds 5ixseconds
Final iage
eautandintrigue-
abstract images might bethe
resuIt of amistake, but that's
not necessariIabadthing!
20I4i IGITL 5LR PHOTOGRPHY
f youwant honest andconstructve connents aout your nages sendna selectonto
. oushouldsupply upto25 nages ona ivalong wthan4contact
sheet of thunnal nages. nclose a stanpedaddressedenvelope f youwouldlke your
sunssonreturned. ach reader whose nage s pulshedreceves owepro's fantastc
new1ranst Slng 25 worth82. ts neat desgnallows fast access tokt andcanhold
your canera outt accessores anda talet. or further detals vst. www.lowepro.con
i NUR 2I4
'venever eennuchgoodat
actonphotography so always adnreand
envy photographers whoarel 1hs s a great
shot fronanes well tnedandwell
focused. 1hecar s pnsharpat thefront end
andthere's lots of dust andgravel fyngn
theackgroundtoadda feelngof speed
anddrana -youcanalnost tastethegrt n
your nouthandhear thecar skddnground
theendl 1hegprolens all those
peoplentheackground-several are
wearngfuorescent jackets sothey stand
out lkesorethunsl 1hetwo norangeare
especally dstractngas they'redrectly
ehndthecar. t's a quck andeasy
Photoshopjotoclonethenout as the
ackgrounds planandneutral -whch s
what 'vedone. s for theother peopleat
theedgeof thefrane well theeasest way
todeal wththens tocrop ntghter to
excludethenaltogether. ongsoalsogets
rdof thepatch of greengrass totheleft of
thecar andtheout-of-focus plant lfenthe
otton-left corner as well as placngnore
enphass onthecar tself andcreatnga
snpler noredranatcconposton. nally
feel that thenages a lttleonthedark sde
-'drghtent upandoost theredof the
car a lttletonaket standout nore.
Verdict: weII-executedshot that wouId
benet fromafewtweaks tocomosition

Byaneshcer
amera: Nkon9
ens: Sgna/-2nnfi2.8
xosure: IiIsecat fi3.2S64)
James says: '1hs was taken
ontherantety Rally n
erdeenshre. 'nalways tryng
dfferent angles toest capture
thespeedandactonof therally.
ere tredto showwherethecar has
conefronwththetralngdust.
1R
Z
anel has judged
natonal photo
conpettons on
aregular ass
for several years
N1URSNS
TT
Ross s anexpert
photographer and
wrter specalsngn
wldlfe close-ups
andlandscapes
P1SP
JOPDN
UTTEP5
otorsport
fanatcandan
expert at
Photoshop.
NSPS
LEEFPO5T
ee's eena
professonal
photographer
photowrter for
several years
MEE
O
EPE
EM

PR1PNN1PU1 B11RP1URS
ertCritique
CICLPOLIINGFILE
ars areessentally netal andglass
oxes full of awkwardrefectons so
any tool that youcanuseto help
renovethens a nustl henrotated
tothecorrect angle a polarser wll
renoveglarefrona wndscreen
allowngthevewer to seethedrver
andconnect wthther enotons.

Motorsport photography
isnot onlyabout capturing
themachines, but alsothe
peopletakingpart

Camera skills
WOH
82
JODNBE: otorsport
photographys toughtoreaknto-
especallyf youfancyshootng
hgh-horsepower cars andexctngacton.
1hankfully rallyngs oneof thefewforns of
notorsport that allows youtoget closeto
theactonwthout apress pass andcapture
great shots lkeanes has donehere. 1hs
nagehas all therght ngredents -thecar s
sharpandanes's tnnghas caught drt and
gravel engsprayedup. 1heshutter speed
of IiIsecwouldusuallyeconsdered
toofast toconveynovenent ut thanks to
thedrt capturednd-fght there's nodout
that thecar s fyngalongandnot parkedupl
1hat sad 'dhavelkedtohaveseenat
norenotonnthewheels, ashutter speed
of Ii25secwouldhaveachevedths and
stll capturedthecloudof drt.
otorsport photographys not onlyaout
capturngthenachnes ut alsothepeople
takngpart -'dnagnethedrver herehas a
steelylookof deternnatononhs face ut
sadlywecan't seet ecauseof therefecton
onthewndscreen. 1heanswer s snple-
thecrcular polarsnglter s anotorsport
photographer's est frend. Not onlydoes t
protect your lens frondanage ut t also
renoves glarefronglass andpant -perfectl
1henal changethat 'dnakeheres the
conposton. Placngthecar totherght of
thefranewouldhaveallowednegatve
spaceontheleft for t to'novento'. Not
onlythat ut t wouldcropout thegangof
peoplentheackground too.
Verdict: weII timed, in-sharshot
oIariser andmoredynamiccomosition
shouIdseeJames ontoawinner!

N
B
U
1
1

R
S
PRZL vLBLL 1
U-BSLDRLDLRS NLY.
20I4i DIGIT 5 HTGHY
EDIIE5
hether you'rea fanof HDor not
onethingthat ark's inagedisplays
brilliantly is theuseof lead-inlines
toguidetheviewer intotheinage.
t's a trik that nany professional
photographers favour andonethat
youshouldusetoyour advantage
whenever possible. aths traks
walls fenes rivers streans and
roks all nakefor great natural
lead-inlines. hat's nore our brain
tends tosananinagestartingfron
thebotton-left orner sostart your
linethereandguideyour viewer
towards thefoal point.
Ce
SSLDB
EEF5T: his is afantastiviewpoint
andthewideoverageof ark's I2-24nn
zoonat I2nnhas allowedhintoreally
nakethenost of it. lovethedranatisense
of perspetiveandthewaythewalls and
steps sweepdownintothesene arrying
your eyeout towards thelighthouse-whih
nakes aperfet foal point. Conpositionally
theinageis verystrong. hat 'nnot too
keenonis theHDtreatnent. t adds a
slightlyunreal looktotheshot beause
there's sonuhdetail visible espeiallyin
theforeground(norethantheeyeould
resolve. don't thinkHDwas neessary-
this is alassisituationwhereanDgrad
woulddothetrik toningdownthesky to
retaintheolour anddetail whilealso
allowingark toorretly exposetherest of
thesene. Beausethelight at dusk -one
thesunhas disappeared-is very dihused
therewouldhavebeennorethanenough
detail reordedwithout theneedtoresort to
HD. kay thelighthousewouldhavebeen
darkenedby theDgradas it breaks the
skyline but that wouldbeeasy tosort in
hotoshop. here's alsoanobvious
dihereneinolour betweentheleft and
right areas of sea andsky -nagenta onthe
left andrediorangeontheright. his nay
havebeenausedby theHDsoftwarebut
wouldn't haveourredif a gradwas used.
Verdict: dramaticseascapethat didn't
needtheHPtreatment.
55HDDITT: his is a great
loationandlovely onditions. 'nnot
surprisedark esapedthefanily inorder
toapturethis senel heonpositionis
strong and liketheidea of usingthe
foregroundsteps toehetively pull theeye
intotheshot andtowardthelighthouse.
hat said they area very proninent feature
inthephotographand wonder if all that
onreterather doninates theheadland
andlighthouse. Likeark enjoy using
extrenewide-angles as they anenhane
theinpressionof depthinlandsape
inages. However they analsoreatea
degreeof distortionandthelighthouseis
learly leaninginthis inage. wouldorret
this inproessingtoprevent thedistortion
beingsuha distration. lovethat sky and
ark is learly a very apablephotographer.
However guess thebottonlineis that you
areonly goingtolikethis photoif youarea
fanof HD. ersonally don't likeHD-
there 'vegoneandsaidit nowl
Verdict: strongcompositionandagreat
ocationshot inoveyconditions. HPjust
doesn't doit for me, though. 5orry!
BBUGHC5TE
ByarkCarline
amera: CanonLS5Dk
Lens: SignaI2-24nnfi4.5-5.6
xposure: Seveninages at fiII(SI00
: 'na fanily tripto
SouthStak innglesey
poppedaway for anhour when
notiedthesunset. t's anHD
inagetakenwithsevenshots
(L-toL+exposures andproessed
usingLightroonandhotonatix.

ally, the
imageisverystrong. What
I'mnot tookeenonisthe
HDRtreatment

S
S
H

D
D

DIGIT 5 HTGHY NUR 204

EEF5T 1hi i h
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Verdic: dramaicwide-angIeimageha
works weII inbIackwhie.
55HDDITT i h
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DghCi i ihi
1hi i ii
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igighi 1
Verdic: IoveIysho ha couIdbe
enhancedfurher bymakingafewquick
correcions inpos-processing.
DU5TBUGH
Bih Sh
amera: NiD600
Lens: NR-S6-54
Exposure: 2 6(S00
i y 1hi
h
hih
06NDg
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CECTDI5TTI
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Thisisoneof the
most popular viewson
theruggednorth
Northumberlandcoast
andalsooneof themost
dramatic

Dii ii
SPNSRY
ANUARY 0I4
a baeof Mark toask
this youngwonanif she'dnindposingfor a
fewportraits -nost photographers shy
away fronapproachingstrangers witha
canera, for fear of beingtoldwheretogol
Hechoseanattractivesubject too-Heidi's
skinis pretty fawless andtheovercast
weather producedsoft, lowcontrast light
that was perfect for fatteringportraits. like
thetight cropand likethestrongeye
contact, Heidi is clearly condent infront of
thecanera. What don't likeis thefact that
Heidi's right eyeis obscuredby a clunpof
stray hair. t's distracting, becausewe
autonatically look at botheyes but canonly
seeoneandit upsets thesynnetry of her
face. Mark saidthat theshot was takenona
windy day, whichprobably explains thehair,
but surely hewouldhavebeenawareof it
andcouldhaveaskedHeidi tonovethehair
fronher facebeforehereshot r naybe
Mark likes thehair Whoknows, but for ne
it spoils what wouldotherwisebea strong
portrait. alsothink Heidi's eyes aretoodark.
Mark couldeasily haveselectedand
brightenedthen, or at least theonewecan
seeproperly. inally, therearea fewskin
blenishes visiblethat wouldhavecloned
out tonaketheportrait norefattering-
suchas thedark spot onHeidi's neck and
thenarks onher chin.
gportrait spoiIedbstra
hair obscuringher ee.
loveshootingportraits
but havetoadnit that evenafter decades
takingpictures, still ndit dihcult to
wander uptoconpletestrangers andask if
cantaketheir picture. Sofull narks rst oh
toMark for beingbraveenoughtoask. 1he
result is a pretty decent portrait, too.
1hetight cropworks well, although'd
havelikedtoseea littlenoreroonaround
her right cheek, whilethecloudy conditions
haveprovideda naturally dihusedlight.
However, that said, thearea aroundtheeye
is a littledarker thantherest of thefrane,
whichisn't great, sothis coulddowitha little
lighteninginPhotoshop.
1heleast favouriteaspect of this inage
for neis thehair infront of theeye-a
problenthat couldhavebeenavoidedby
askingHeidi topushtheohendingstrands
behindher ear. or ne, hair infront of the
eyeonly works if it fully obscures it
deliberately. Apart fronthis, though, have
tosay that Mark dida great job.
Verdict: niceshot but removingthehair
infront of theeewouIdhaveimprovedit.

ByMarkPeers
amera: CanonLS550D
Lens: CanonL/5-300nn fi4-5.6
Exposure: Ii250secat fi4(S400)
' was shootinga
bandof buskers inCanbridgeon
a windy overcast day. Afterwards,
chattedwiththesinger Heidi
andaskedif couldtakeher
picture. Sheagreedandthis is theresult.

Becausetheeyes aretherst part of a

portrait that wefocus on, you'll want
thentolook their best. nPhotoshop
or Llenents, usetheDodge1ool set
toMidtones at aroundI5exposure,
andbrushover eacheyewitha soft
brush. Becareful not togotoofar -
youdon't want your subject's eyes to
look likecar headlightsl

ceshot, but removingthehair fromin

front of theeyewouldhaveimprovedit

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NR 204i IGITL 5LR PHOTOGRPHY
riveye
ins torovtht oniningingintion
withthniunnkfor intrstingninsiringings vn
if your sujt is s orinrys torhl f yourlookingto
rtivitytoyour hotogrhy thnyoull nit vnsir togt
thrsults youwnt yusingthst ossilkit or thultint
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Csnsor tht hs lss-lingrsolutionof 6-nillion
ixls llowingit toturnunrntlvl of til
her informationonNikon's rangeof products,
visit: www.nikon.co.uk
Recommendedkit
#19Torch
1CRP1NPR1NL1RN1CLNLNPRLl
LLLC11RLLP1RPLRR1LD1RP1RP1L
NDCN1RB1RLCN1 ND11L1CP1RNNL
11LLDBLC1 1L1L1CLNLLLPRD
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L1RRDNR L N RDNR 1L

!
ByPaul Ward
: NikonD8
Lens: NR-S24-/nni2.8
5oftware: PhotoshopCS5
NL 1Laspects o
Creat|ve|yethat really enjoy
is beingabletocreateun
inages that otherwise night
not try. 1akingoneobject and
turningit intosonethingconpletely
dierent is a rnavouriteo nine andit's
exactly this tack that took whendeciding
onaninageor thetheneo 'torch'.
took atriptony local aplins andstarted
out by pickingupaewcheaptorches ron
their selection. 1his silver torchinparticular
caught ny eyeandits appearancereninded
neo aretrospacerocket that younight
ndinanoldlow-budget sci-novieit
was withthis inspirationinnindthat started
toornulateny inage.
Back at ny studio knewthat neededa
landscaperonwhichny 'rocket' could
blast o. took anoldcardboardbox and
startedby gluingblocks o polystyrenetoit
togiveit soneheight anddenetheshape
o the'landscape'. Withny basicterrainlaid
out took a coupleo cans o expanding
oanandsprayedit over thepolystyrene
beoreleavingtheset-upovernight or the
oantoexpandandgoo. 1henext day
triedphotographingtheset-upas it was but
theoanwas toobright and
didn't look anythinglikeanalien
planet. oundhal a cano red
spray paint inthestudioand
paintedthelandscape addingin
patches o dark grey ronanother
cano paint hadlyingaround
theresult was nuchbetter.
Withnyplanet ready set it upon
asnall tableandnadearigron
which couldhangnytorch. shot
thetorchusingfashas its shiny
exterior was lost against thebackground
without it. 1hefashnadethelandscapetoo
contrastyandunnatural though so decided
tolight this inaseparateshot usingjust the
anbient studiolight. riggedupasnoke
nachinetoact as nyrocket blast blowing
snokebackdownontotheplanet. t rst
triedjanningthetorchupintothesnoke
nozzle but thespreado snokewas too
wideanddidn't lookrealistic. nstead xeda
snaller noredirect nozzletothepipeand
strappedthetorchtothebacko thepipe
this createdanoredirect sprayo snoke
whilst still lightingit as i it was beingenitted
bythetorch. BecausetheNikonD8was
onatripod usedarelativelyslowshutter
speedo Ii8sectoallowplentyo anbient
light ronthestudiotohit thelandscape and
toaddnotiontothesnoke. Withthis inage
captured it was tinetobringnyantasy
scenetogether inPhotoshop.
1henal inageis nadeupo threeshots
intotal thesnokewiththealien
landscape thetorchshot withthefashand
thena lens fareinagethat took a ew
nonths earlier. startedby selectingthe
torchusingtheLasso1ool beorecopying
andpastingit intony nal inageandusing
theLraser 1ool totidy uparoundtheedges.
Next useda black brushtopaint over the
rigandsnokepipeaboveny set tohideit
ronview. inally droppedinthelens fare
inageas a newlayer andusedtheScreen
Blendodetolet thefareshinethrough.
tendtokeepholdo any fareshots suchas
this as they'rereally handy todropintoshots
whena toucho addedatnosphereis
needed. s a nishingtouch createda new
blank layer set toScreen andrandonly
paintedonwhitespecks o varyingsizes to
ninicar-ostars andplanets.
ll done t just goes toshowthat i youlet
your inaginationrunwildyoucannake
sonethingout o anything
DIGIT 5R PHOTOGRPHY i NURY 2I4
TopIeft: I Iit thetorch
usingaashgun, but
theIandscapeIooked
toocontrasty.
Topright: I strapped
thetorchtotheback
of thesmokepipeto
iIIuminatethesmoke.
Left: ehindthescenes
of myaIienIandscape!
Inset: Theinspiration
behindmyideawas
this retrorocket-esque
torch.
eIowIeft: PoIystyrene
andexpandingfoam
was usedtocreatethe
Iandscape.
eIowright: I dropped
inthis Iens areshot to
addatmosphere.

WITHLIGHT
ByordanButters
: ikonD800
Lens: R-24-/0nnfi2.8G
5oftware: ightroon5
HGWHHLtheneof
'torch' allows for a pretty broad
spectrunof options. While
couldn't think of anything
creativetoshoot usingthetorch
itself as thenainsubject, hadplenty of
ideas that either incorporateda torchas a
prop, or useda torchtolight theinage.
knewthat either wantedtoshoot a
portrait or a long-exposurelight painting,
but it wasn't until caneacross thework of
expert light-paintingphotographer Lric
are(www.ericpare.con) that realisedthat
thetwocouldactually benergedtogetherl
Lric's nesnerisingshort videos areshot
using24caneras arrangedona 360 rigin
a dark roon, all set toreat theexact sane
tine. hesubject stands perfectly inthe
niddleof theringof caneras whileLric
light-paints thenusinga series of long
exposures. heresults froneachcanera
arethencollated, allowingLrictopanand
rotatearoundthenotionless subjects in
ananazingconbinationof stop-frane,
bullet tineandlight paintingl
Recreatingthis nethodwouldbe
anbitious tosay theleast, givenny
hunblebudget andthetinerestraints
(not tonentiontheloss of sanity 'nsure
'dsuher fronlining20-plus DRs upin
ny poky front roonl) -however, fancied
tryingny handat a singlelight-painted
portrait inspiredby Lric's technique.
irst things rst, neededtoset upthe
roonfor theshoot and, lackingstudio
spaceat hone, 'nnowa fully fedged
expert at front-roonfurnitureetrisl
Roonarranged, thenpinneda roll of
black fabrictotheback wall toact as a
backdrop. norder togiveohthekindof
light that wanted next neededtonake
a nodier for ny torch. cut a pieceof 4
paper tocreatea featheredshapeand
wrappedit aroundtheendof thetorch-
it wouldbetheilluninatedpaper that
wouldlight ny nodel, rather thanthe
direct light frontheendof thetorch.
t was tinetonoveny nodel into
place-fortunately ny long-suheringwife,
aoni, has danceexperience, soprovided
theideal candidatetonaketheright shapes
infront of thecanera. set ny ikonD800
uponatripodandttedny R-
24-/0nnfi2.8Glens andarenoterelease.
electingnanual node, choseashutter
speedof onesecond, anapertureof fi8and
800. set thecaneratoten-second
delay and, withthelights still on, asked
aoni tostrikeaposebeforefocusingthe
caneraandthenswitchingtonanual focus
toprevent it fronhunting. thenswitched
thelights oh, thetorchonandpressedthe
shutter releasetostart theten-second
countdownandnovedintoplace.
ronhereit was a natter of trial anderror
- waitedfor theshutter toclick before
startingtonovethetorchthroughthe
scene, though quickly realisedthat a
one-secondexposurewasn't longenough.
increasedtheshutter speedtoI.6seconds
andtriedagain. lthoughthis neant aoni
hadtorenainperfectly still for longer, this
nadea bigdiherenceandgaveneenough
tinetolight-paint. heother issuethat
caneacross was thedirectionof light -
hadtonakesurethat thetorchpassed
closeenoughtoaoni's facetoilluninate
her without passingit betweenthecanera
andher face, whichwouldobscureit. n
order tonakeny jobeasier hookedupny
ppleacBook roandightroon5tothe
ikonD800andshot tethered-this
enabledus totry several attenpts without
aoni breakingfronpose, whilestill being
abletoassess theresults quickly.
fter a fewattenpts tryingout diherent
poses sawaninagepopuponscreenthat
knewwouldwork, so novedit over to
ightroon5's Developnoduletostart
editing. irst darkenedtheroonaround
ny black backdropusinga conbinationof
graduatedlters andadjustnent brushes.
alsonoticedthat thelight spill fronthe
torchhadilluninatedneslightly, so also
darkenedtheseareas. ext adjustedthe
tonecurvebeforetweakingtheWhite
Balance-thelight hadbouncedohthe
nagnolia walls toeither sideof aoni
andcreateda slightly yellowcolour cast,
althoughthis was easily renoved. inally,
a spot of clarity andsharpeningandny
inagewas conpletel
his turnedout tobeatrickytechnique
withall things considered-sohats ohtoLric
arefor nanagingtodoit withnot onebut
24caneras pointingat his subject at oncel
TopIeft: 5hooting
tetheredtoLightroom
5aIIowedmetoreview
theresuIts quickIy.
Topright: I focused
withtheIights onrst.
bove: Wearingdark
cIothes hidmefrom
theexposurefor the
most part.
Inset above: MyIight
modier createdfrom
asheet of 4paper.
Far Ieft: one-second
exposurewas toofast
tocreateanicetraiI.
Left: hangingto1.6
seconds, however,
increasedtheriskof
subject movement.
IGITL 5LR PHOTOGRPHY i URY 20I4

ByCaherineacBride
: ikonD00
Lens: -S-0nn-
5oftware: dobehooshoCC
BLLLLno, when heard
ha his nonh's Creat|ve|ye
henewas 'orch', was hay
knewsraigh away wanedo
seorches oligh ny inage,
becaseor helieo ne coldn' hink o
anineresingsho o a orchisel
or he as ewyears 've been
nderakinga hooa day rojec, andone
o he advanages is ha evenally yo
have oake a sho inhe dark whenyo've
le i lae andyo've eiher orgoenyor
ashor yor baeries are dead hrogh
rial anderror 've ondha a orchis a
erec alernaive oligh aninage and
gives yor sho a conleely dieren eel,
which like a lo
Sowhen knew was goingoligh ny
inagewihorchligh, js hadohink
heerec sceneoligh was while was
ravelling canewiha lanor a
caningscenewhereany orchwoldbe
erecly a hone o beingableogoo
work onhesho sraigh away, drewa lile
doodleo ny idea inoneo helile
noebooks carry wihneeverywhereso
woldn' orge alsoskechedinwhere
hogh heorchsholdbelacedand
hegeneral conosiiono hesho
Wihheweaher akinga rnor he
worse haddecidedonakea niniare
aer caningsceneas i woldbench
easier owork wih narrivinghone rs
checkedha ny orchwas inerec
workingorder, whichi was, so se abo
nakingny scene
begannakingny rees by cinghen
ronwhie4cardandaddingsonedeail
ohebark by nakinglilehorizonal cs
sck a woodenskewer onheback o
eachsingsicky ae, allowingheoin o
heskewer osi belowhereernk
shedherees inoa shee o oanboard
whichsecredheninlace, andhense
abo nakingny en
againc i ronwhiecardb only
gavei hreesides so coldsi a orchinside
andligh ny aer eole, which c ron
black card sa everyhingogeher, rned
heorchonandcheckedha ny c-o
gres nadenicesrongsilhoees agains
heen wall beoreaddingny roo
se ny ikonD00onny riod
becaseo helowligh condiions andse
hewo-secondiner oavoidaddingshake
aachedny -0nnlens and
se heD00onanal node dialledin
S00, anaerreo aer goingo
herobleo addingdeail ony reernks,
wanedobeableoseei andasher
seedo 0seconds
hadonovebohny canera and
elenens o hescenearondnil onda
conosiion was hay wih, checkinghe
sceneonny LCDscreenaer every nove
When was hay wiheveryhingosiion-
wise, ook ny sho decidedoadda
secondorch, which sa onoo ny
canera oligh herees, whichwerea lile
dark wihjs heligh coningronheen
oenedheinageinCandadjsed
is clariy, highlighs andshadows beore
oeningi inhoosho, where clonedo
any ligh leaks ronny en andaddedwo
exres onakehehoograheel nore
likeanillsraion
addedina ewses o sooky eyes
glowingronheshadows and was done
a orchli caningscenewiho leaving
hehose
Y 204
Top: Myikon7100
was xedonatripod
toavoidshakeinthe
IowIight conditions.
boveright: The
gures insidethe
paper tent weremade
withbIackcard.
Pight: I stuckskewers
tothebackof my
trees sothat I couId
pushthemintothe
foamboardandhoId
theminpIace.
Left: I aIways carrya
notebookwithme,
sothat I candoodIe
downideas whenI'm
out andabout -this
was myoriginaI pIan.

ANAR I4 IGITL 5LR PHOTOGRPHY
RRHLLG TORH
LRLARLLRAR1L1|v|||1RRLADLRACLAN.
1.ACL.CD1AR1RDL1AN1L1NLD
retiveye
1hNkonhool t thnNkonCnto Lllnnntl
onono ngo photogph o nokhop.
L nonth th o o otCret|ve|yengn
Itnngoh tot thNkonhool. o th
tl t .nkon.o.ktnng. ont totkpt n
thnt Cret|ve|yehllng htoo ook pg
hll l nt nonth thnho tnotht o
nt t ot o ol www.fceooo|.con/d|g|t|s|rpnoto
WIR
retiveye
esiIIings
Iexrthur
PauIyPhoIwises
Chrisodycot
JimForsyth
PichardHawkins ntonyMeadIey
68 IGITL 5LR PHOTOGRPHY URY 0I4
ERYOURDIGITALSLRANDTAKEETTERPICTURES!
WYUa phoogaph he
anon o ligh eachingheeno in
yo Roachievecoec expoei
conolleinwoway by hennbe
len apee anhehe pee
hennbe eenine heizeo he
apeewhilehehe pee
eenine howlongligh i alloweo
pa hoghheapeeinacion o o
wholeecon oweve hehe
peealoeve anohe vially inpoan
olei allow yooeconovenen
eihe by eezingi o blingi anhi
cannakea hgeieenceohecce
o aileo a ho nowingwhichhe
peeoeo ieen bjec ano
achievepeciceec i vially inpoan
aninheigh han he pee can
bea powel ceaiveool
UNR5TNING5HUTTR5P5
hehe peeangeinno R i
I4000-0ec pl Bblb whichallow
yooholhehe openo a longa
yolikeinlowligh wheeheexpoe
nee obebeyon0econ
heligh iel pae hoghhe
len apeeanhenhoghheopen
he oheeno yooblehe
he pee wicea nchligh eache
heeno anhi ha heaneeec on
heexpoea openingphelen
apeeby oneop alvinghehe
peehalve heanon o ligh eaching
heeno anha heaneeec a
ecingheapeeizeby oneop o
p hi inopepecive ieen apee
he peeconbinaion colbee
oachieveheaneexpoeeeiagan
I aac ha i knowna ecipociy
UNDERSTAND
YOURCAMERA

5sec
1l15sec
.5second 1second 2seconds
1l5sec
1l6sec
1l8sec
1l25sec
1l3sec
1l4sec
Diagram1: perturelshutter speedreciprocity
1!1000sec 1!500sec 1!250sec 1!125sec 1!60sec 1!30sec 1!15sec 1!8sec
4 II I
Diagram2: I5Olshutter speedreciprocity
ISO50 ISO100 ISO200 ISO400 ISO800 ISO1600 ISO3200
I0ec I0ec IIec I0ec I00ec II000ec I000ec
HOO5INGTH5HUTTR5P
heconbinaionyochooewill epen
onhebjec yoephoogaphingan
heeec yowan oachieve oeezea
a-novingbjec yo pioiy will beo
e aa peeoII000eca o
I00eca 4wolbehebe
conbinaion B i yowan obl yo
bjec aneconoion IIeca
o Ieca will benoeiable
yocan achieveaa enogho low
enoghhe peeinply by ajing
heapee yocanalochangehe
eing yoobleheyocanhalve
hehe peeani yohalvehe
yocanoblehehe pee o i yo
weegeingI0eca I00 changing
hewolhaveheollowingeec on
hehe peeeeiagan
nceaingheoyocaneaae
he peei el i yoehooingin
lowligh en R aecapableo
anazinginagealiy a po00
oweingheoachievealowe
he peein a pacical a yocan
ally only gooneopbelowheeal
onI00owno0o 00owno
I00ohebe yoll nanagei o
obleheexpoeine Wheelowe
he pee aeeieyoebee
oingeal eniy le oece
heligh eneinghelen eepageI
5hutterspeeds
PRT8

69 URY 20I4i

1heshutter speedyouneedtouseto
freezeactiondepends uponthree
inportant factors -howfast your subject
is noving, howfar away it is fronthe
canera, andthedirectionit's travellingin
relationtothecanera. Usediagran3as a
guide. f course, youwon't always want to
freezenovenent -sonetines,
introducingblur intotheinagewill capture
thesenseof speednuchbetter. 1hebest
way todothis is by 'panning' -following
your subject withthecanera andringthe
shutter whilenovingsoyour subject stays
relatively sharpwhilethebackground
blurs. 1ry theshutter speeds indiagran4,
thenas your success rateincreases,
experinent withslower speeds. 1hekey to
success is a snoothpanningaction.
gshutter speed
eest exposuremoetouse
wensutter speeoes
rual s sutterprorty. Wen
your ameras set tots moe you
selet tesutter speeante
amerasets teaperture(!numer
requretoaeveorret
exposureautomatally. I you
angeameraposton lgt levels
angeor youal nexposure
ompensaton tesutter speeset
wll remantesameante
apertures angetomantan
orret exposure soyouan
ontrol owsujet movement s
rozenor lurre. I youpreer
sootngnapertureprorty you
neetokeepaneyeontesutter
speetat as eenset yte
ameraan t anges ajust te
aperturetoget t aktoteone
youwant. mlarly nprogram
exposuremoe youanusete
programst untontoajust te
apertureansutter spee
omnatonset untl terequre
sutter spees splaye.
1) surpriori(Tv) onhe
modediaI onheopof hecamera
2) Useheinpu diaI oseIec heshuer
speedouwan ouse
3) f usingprogrammode, urnheinpu
diaI ochangeexposurecombinaion
1) 5eIec shuer-priori(5) on he
modediaI onheopof hecamera
2) Useheinpu diaI oseIec heshuer
speedouwan ouse
3) f usingprogrammode, urnheinpu
diaI ochangeexposurecombinaion
2

2
Nikon
anon
Diagram3: Minimumrecommendedshuer speeds
5ubjec FuII frame
across pah
HaIf frame
across pah
45 ocamera Head-on
ersonjogging Ii250sec IiI25sec IiI25sec Ii60sec
Troinghorse Ii250sec IiI25sec IiI25sec Ii60sec
CcIislspriner Ii500sec Ii250sec Ii250sec IiI25sec
Carlbike40mph Ii500sec Ii250sec Ii250sec IiI25sec
Carlbike70mph IiI000sec Ii500sec Ii500sec Ii250 sec
GaIIopinghorse IiI000sec Ii500sec Ii500sec Ii250sec
Tennis serve IiI000sec Ii500sec Ii500sec Ii250sec
F1 car Ii2000sec IiI000sec IiI000sec Ii500sec
Train Ii2000sec IiI000sec IiI000sec Ii500sec
Diagram4: 5huer speeds for panning
Moorspor racing Ii250sec
Horse-racing, ccIing, sprining IiI25sec
Joggers, kids onbiccIes Ii60sec
eopIewaIkingbriskI Ii30sec
5hutter speedsfor action
Freezeacionwihafas shuer speed
TL 5L POTOP i JAAY 20I4
yuw?
youwnt tousyour Dwith
ltronifsh it portl
fshgunor norpowrul
stuiofsh yountornnr
tht your nrhs nxinun
shuttr spt whihfshn
synhronis. his vris ronnol
tonol nnnywhrron
IiI60stoIi20sthlttr
ingthnost onnon. Youn
usshuttr spslowr thnyour
nr's fshsynhronistion
sp ut i youusshuttr sp
tht's str prt o thingwill
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orthshuttr is ullyopn.
5TT5P5OLO5P5
ost los-upsujts rstti ut
nrshknrl prolni
you'rhnholings it will ngni
just likyour sujt. Lvnthslightst
nrnovnnt nrsult inunshrp
ings soxprinnt withirnt
shuttr sps nshowslowyoun
goornrshkons n
issuwithI00nnnrolns or
sinilr you'll ntost t lst
IiI2s possily Ii20swhnyou'r
shootingt I.I. Subject novenent can
beaproblen, especiallyinwindyweather
as plants, fowers andgrasses will seento
sway dranatically at suchclosefocusing
distances. Youcanfreezenovenent by
shootingat Ii250secor faster, or better
still, useelectronicfashas thebrief burst
of light will freezeall novenent whether
it's caneraor subject.
TO5TT5P5
or nanysubjects, shutter speedchoiceis
uninportant -it doesn't natter whether you
shoot aportrait at Ii60secor IiI000sec.
Sanewitharchitecture, details, patterns,
abstracts andstill-life. What natters is that
theshot turns out as required-well
exposed, withtheright anount of the
subject or sceneinsharpfocus andalso
devoidof canerashake. ftenyou'll nd
yourself shootingat Ii60secor IiI25sec-
theseareideal workadayshutter speeds for
general use, fast enoughfor handholding
withwide-angleandstandardzoons and
slowenoughtogiveyouareasonablysnall
aperture-fi8or fiII -whenshooting
outdoors indecent light soyouget suhcient
depth-of-eld. Youdon't needtobe
shootingat Ii500secor IiI000secall the
tine, andif doingsoneans youneedtoset a
highSrating, thenall you'redoingis
conpronisinginagequalitytoachievea
shutter speedthat's faster thanyouneedin
nost situations. Wespendalot of tine
thinkingabout apertures anddepth-of-eld
andgiveless attentiontotheshutter speed
-but youignoreit at your perill
or nost landscapes, theshutter speedyou
useis relatively uninportant -it's sinply
theoneyouneedtorecordacorrectly
exposedinageinthat light at that nonent.
Aperturechoicetends totakeprecedent as
depth-of-eldcontrol is crucial. 1hat said,
insonesituations youneedtothink nore
carefully about theshutter speedyouuse.
Movingwater is agoodexanple. f you
want torecordasenseof natural notion,
wherethere's soneblurringinthewater but
youcanstill detect texture, ashutter speed
of IiI5or Ii8secwill benefor awaterfall
andIi4toIi2secfor ariver. or thenilky
ehect, youneedtoslowthespeedright
down-experinent withspeeds of oneto
tenseconds for snall waterfalls andIi2to
twoseconds for bigger falls.
Withcoastal landscapes, if youwant to
recordcrashingwaves withjust alittleblur,
try Ii4toIi2secandtriptheshutter as they
burst ontheshore. 1ocapturethenotion
of theseawashingover rocks andwaves
retreatingdownthebeach, set twototen
seconds, andif youwant theseatorecord
as anist, whichcanlook anazingat dawn
anddusk, you'll needtokeeptheshutter
openfor 30toI20seconds. Longer
exposures canbeusedwiththeaidof a
strongNeutral Density lter suchas a
ten-stop. eeptheshutter openfor four or
veninutes andtheseawill beas snooth
as silk whilenovingclouds streak inthesky.
1heehect canbeanazing.
Alsoexperinent withshutter speeds of
onetotenseconds whenshooting
landscapes inwind, soblowinggrass and
swayingtrees aresoftenedandblurred.
1hestronger thewind, thefaster the
shutter speed-withtrees, ndthespeed
whereleaves andnebranches blur but
trunks andthicker branches renainsharp.
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NDERSTAND
YOURCAMERA
5utt l
ixsecondsat fl22(I5O50)
1l1000secat fl1.8(I5O200)
1l200secat fl11(I5O100)
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NURY 0I4i DIGIL 5LR HGRHY
CMER5HKE
1hehe peedoeno onl ecod
bjec novenen, b alocanea
novenen, ohewieknowna canea
hake. 1hi occ if hecaneain'
pefeclill whileakingaho. Mo
connonl, caneahakei caedb
ingahe peedha' oolowwhen
handholdinghecanea, b i canalo
occ wihhecaneaonaipodif o'e
hooinginwindweahe o heipodi
e ponof gondandheleg a o
inknid-expoehelae i noelikel
wheno'ehooingonwe andand
ingalongexpoe. Whaeve hecae,
heel i heaneannhapinage.
1oavoidcanea hakewheno'e
handholdinghecanea, adop a able
ancewiho back aigh, o fee
apa ando elbow ckedinoo
ide. loea he peedha a lea
nache hefocal lengho'ehooing
a Ii50ecfo 50nn, IiI00ecfo
I00nn, Ii00ecfo 00nnandoon.
Man zoon nowhaveinage
abiliaionS bil-in, whichhelp o
edcecanea hake. ' well wohing
wheno'ehandholdinghecanea a
ona ndocanakehapho a
nchlowe he peed hannonal.
f odon' haveS ando'eggling
oavoidcanea hake, look fo a ppo.
Reinghecanea ona ledge, leaning
again a wall o po, kneelingdown
heeaelo of wa oinceae
abili. f all elefail, inceaeheS
aingo openphelen apeeoo
canea fae he peed.
f hecanea i ona ipod, edcehe
ik of hakeb nakingeheleglock
aeece, hefee aewell beddeddown
onof gond, heqick-eleaeplaei
eceonhebaeof hecanea andhe
headi locked. Yoholdaloea
enoeeleaeoiphehe, acivae
henio lock-pohenio fip p
befoehehe open hi edce
vibaion andhieldhecanea wiho
bod if i' wind. inall, nohhelen'
abilie a hi canacall caebl
whenhecanea i ona ipod.
Soppingo len downoanalle
apeeandingalowSaingaewo
wa of lowingdownhehe peed.
Howeve, i' no agoodideaooinel
ehenininnapeeallfio
fi a inageqaliwill beaheced
epeciallwihwide-anglelene and
zoon, whichhe fondihaciona
nall apee. 1heaneapplie wih
inganSainglowe hano DSR'
defal Sa hi canedceinageqali.
bee olioni oele o
inceaeheexpoe, oocannainain
anid-angeapeefio fiII oge he
be opical pefonancefono len
andehedefal SeingI00o 00,
dependingonhecanea.
1oheigh i ali of hediheen
deniie of NDle availableandhei
ehec onhehe peedeediagan5.
YocanconbinewoNDle if
necea a0.anda0.9edogehe
will giveoaconbineddeni of ve
op, fo exanple. Polaiingle alo
edceheligh b appoxinael wo
op, whichi heanea a0.NDle.
singBulb(B) setting
nan iaionwheeoneedo
eanexpoelonge han0
econd, whichi henaxinn
xedhe peedo DSRohe,
all odoi e hecaneaoBlb
B andocanopenhehe fo
a longa olikenine, even
hol 1heBlbeingwill eihe be
nakedonhenodedial ono
canea' opplae, fonda heend
of hehe peedangeinnanal
M expoenode, o a anopion
onhenenonheea ceen.
Blbi invalablewhening
en-opo inila NDle o
exendheexpoeinonine,
fo nigh cene andlow-ligh
echniqe cha hooing
ewok, ahcail andpaining
wihligh. f ophoogaphhek
a nigh o'll aloneedoeheB
eingocapea ail a
expoe will beho long.
deall, iphehe wiha
enoeeleaeoodon' haveo
phicall pe downandholdhe
he eleaebononhe
canea. Mo enoeeleae havea
lock wich, oonceo'veopened
hehe ocanlock i openhen
inpl eleaei a heendof he
expoe. Makeeo bae i
fll chagedandohaveapae
longexpoe ealo of jice.

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Shutter speeds
Filtesshutte speed

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hect of NDters onshutter speed
NDter
density
Exposure
increase
5hutter speed
(exampe)
Noter 0 op IiI5ec
0.3 ne op IiIiec
0.6 1wo op Ii4ec
0.9 1hee op Iiec
1.2 o op ne econd
1.5 ive op 1wo econd
1.8 Six op o econd
2.1 Seven op Ligh econd
2.4 Ligh op I econd
2.7 Nine op 0 econd
3.0 1en op 0 econd
NDter
60secondsat fl16(I5O100)
Leanagainst awa for support
NURY 20I4i
B
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1inesaretoughfor all of usat thenonent, so
whileour passionfor photographynaynot have
dininished, our photo-expensesbudget issure
tohavetakenahit. 1herefore, spendingour
hard-earnedcashonexpensivenewopticsor the
latest gazillion-pixel SLRisunlikelyfor all but the
nost fortunate. However, therearenany
low-cost productsthat claintooher usachance
tocaptureinagesthat belietheir relativelylow
pricetag, aswell asitensthat canbeusedby
photographerswishingtoexperinent with
results. n weaintodiscover
if theydeliver ontheproniseof fantastic
photographyonalinitedbudget.

LL tht wturin
our dget Pnotosris gnrlly tnto
itns tht rsignwithphotogrphrs'
usginnin this nonth(npossily nxt
you'll just hvtowit ns) w'v
itotry out orl vryy
itns nshowwll thy prorninth
photogrphinvironnnt.
As you'll hvsninprvious udget
Pnotortils ninour |xpert Cu|deto
Portra|ts w'vnousingquit it on
fshphotogrphy. hilfshis light
sourtht nusll yr roun th
shortr ys ssoitwiththis tino
yr nnit's norrgulrly usinwintr
nspringtosupplnnt ylight or s th
prinry light sour. gulr rrs will
wll wro thrginfshguns n
wirlss triggrs tht w'vnountr
ovr thourso thsris longwithth
nny orlphotossoris w'v
unovrtoo.
his nonth w'rlookingt
thpotntil o low-ost
ltrntivtousingolour
gls or fshphotogrphy.
ls or usrs o oth
fshguns nstuiofsh
thopportunity toquikly
nsily olour to
thir ings. By pling
olour gl ovr fshgun's
hor inront o
stuiofsh's ul youn
trnsornthoutput ron
ylight-lnlnlight intoontht's
rihr olluor gntlgrn. ls r
nost onnonly ustoillunint
kgrounnstrongvisul inpt to
nothrwisunintrstingkrop.
nstuios fshhwithgl tth
nint whitkgrounroll to
onvrt it to prtiulr olour whil
outoors strongolours ouningo
txtursurs likrikwork ninjt
itionl intrst intolotionshoots.
ls nn't just pplito
krops younlsous
thntoillunintyour
sujt whnshooting
portrits. olour thlight
thingyour sujt to
prtiulr nooor
instnorsutl
ngntly olour thir
hir nior .
ou'rnot linitto
usingjust thonolour gl
ithr. you'vnultiplfsh
thntry irnt onintions
nxprinnt toswhihwork st.
woolours suhs lunr nwork
wll togthr s nthr lthoughon
youstrt introuingtoonny yourunth
risk o thgls provingnoristrtingthn
nil. trt withonolour thn
introu sonnsi it works
rplingit withnothr onintioni not.
hilfshgls intruth rn't prtiulrly
xpnsiv withsts ronnt rns
ostingrounth0nrk nyonwho
uss othfshguns nstuiofshrquir
st or hlight sours thy rvry
irnt insiz. Also whilnnuturto
nt qulity thr's nospingtht
tht nny will gt ngor lost nwill
nrpling. hror ning lowost
ltrntivoulsv ir nount o sh
ovr tinnnsuryou'rnvr short o
prtiulr olour whnyounit.
hihrings us nily tothis nonth's hot
topi whihoulsris nothing
Cha||engees: nil znooPaul Ward
udget: 5
Theme: lashgels
bve: he'geIs' are simpIythisheets f 4
ceIIphaeheIdipIacebyrubber bads!
Pight: Yucausethesheets tcIur theash
faIIigthesubject rather thathebackdrp.
eIw: his simpIecmparisset shws hw
theacetatecabeusedtcIur abackdrp.
ddmrethaesheet f thesamecIur t
itesifytheehect.
DIGITL 5LR PHOTOGRPHY i JANUARY 20I4
WRNING
VOGLMLOWN!
f you're going totry naking your
ownstudiofashgels, be very aware
that the heat fronthe heads caneasily
nelt plastic. 1herefore it is essential
that yourenove the nodelling lanp
before youstart. Regularly check the
headwiththe gels attachedto
ensure that the cellophane and
the CDlid(shouldyouuse
one) is not nelting.
NceIIphae GreeceIIphae PedceIIphae
B
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ashgels
'Byingfll of
pofionl qliy gl
nxpni noif
yoj lookingo
xpinn wihh
h h gl ngi
yohnhi of
llophnh i g hoi. h
h i y hinnohy nowh
n l hnoxpni
opion hy oligh ny o
y onh h lly nox
no ohk oplinppok of
yo ngfo whnhy nigh
pohny. y opipwolok
oplof lin wihyooh
yonqikly hhnoyo
fhgn -hi wy yoll lwy h
qik ny wy of gingon
ih whnyoyo
pligh. o l hn yon
gowongnif yonjoy inghn
pgoi of gl.
nohn4plih. hn
lifo l hn3 o pk ook j
o wk oinoni of ix
ihn olo wihix h of h.
oowihinfny
pkgingof gif hix olo o h
no popl olo gl hoi now
hogh whowwll hy f
phoogl. ingoi of olopli
gl in nwi -inf liy
w wpp glly p
fow gl-i fo fhgn.
h pilly fl wihh
llophnh h hylg
nningh yon l ip fo
fhgn wll folingo ingh
h fo wihiofh. h no
Our udget uy...
484sheets of assorted
colouredcellophane
rice: .5 (f liy) fonAnzon
kpl ll CAC
Website: www.nzon.o.k
5et incIudes: 4A4llophn h.
1h ix of holo ong
l gn yllownppl.
JAA 0I4 DIGITL 5LR PHOTOGRPHY
yonpll ly of hn
olo oinnify hh (li wih
onlo inligh) whihin njo
poln yoinply oo hpow of
hfhop oonpn. Alo yo
nnix oplof olo ooh
olo oo. 1h 3pk of pliin
oninglikh f i now i i
oonohnlhA4h wih
-hyyhinoyonn
. ow h poiiif yown
oinnifyholo i yofolh
h fwin ohhpyolik. ih
ixh fo holo yonnkh
oniknknowyohoh h
yonin. nhoy onA4h
ol inonohn0gl fo
Proinsight: Paul Ward
IueceIIophane

Whileflashgels, intruth, aren't particularlexpensive, with

setsfromdecent brandscostingaroundtheE5mark, anone
whousesbothflashgunsandstudioflashrequireaset foreach
light sourceastheareverdifferent insie
dardfashgun, or ahandful of gels for use
withstudiofash. However, thethickness of
eachsheet is sothinthat it wouldaddvirtually
nocolour tothelight if asinglecut gel was
used. nother words, you'll needtolayer the
sheets toensurethefashoutput is coloured.
Wefoundfoldingthesheet sothat therewere
four or velayers didthejob.
We'dsuggest foldingan4sheet into
thirds or quarters -this gives agel that
covers thefashheadandcanbeheldonthe
fashgunby anelasticband-seepanel for
details. 1his is thefastest andeasiest way to
attachasheet. Youcanalsobenore
elaboratebycuttingthesheet intorectangles
slightly larger thanthefashhead, then
attachingsnall pieces of velcroontheedges
of thegels andthefashhead, thechoiceis
yours. Whichever nethodyouuse, you've
48sheets of cellophaneat your disposal, so
giveit agoandlet us knowhowyouget on
by enailingdslrfeedback(dennis.co.uk -
withpictures if possible-we'll publishthe
best ideas inafutureissue.
Westucktousingthebasicelasticband
nethod, but cut asheet of eachcolour inhalf
(ehectivelyinto5). 1his allowedus tobeabit
norefexiblewiththedepthof eachcolour,
withthefoldedup5sheet havinghalf the
colour intensityof thefolded4sheet. You'll
beanazedat thediherenceinusingasheet
that's not foldedtoonethat is foldeda
nunber of tines. Withtrial anderror, youcan
addasubtleshadeof aparticular colour or go
for anintenseehect.
1heconbinations that arepossible
olour gels
Got your pack of 4cellophane sheets
Here's howwe turnedour sheets intogels
for your fashguns andstudiofash.
mpoil movthont iu
thnmovthmollinglmp
mkingtptotik thllophn
ht tothinio thoto
plthiu gull hk th
ht tonuit' not mlting
76 DIGITL 5LR PHOTOGRPHY i JNURY 20I4

f youdofindyouenjoyusinggels, thenit maybe

worthmakinglifealittleeasier byinvestinginaproper
set fromoneof thepopular brands listed
movthmollinglmpomth
ont o thhh ingmking
tp tik thllophnhtht
tothont o thpill to
Placea sheet of cellophaneona clean,
at surface, thenfoldover a thirdof the
4sheet inhalf, thenfoldtheother third
over. Placeit over theashheadanduse
anelastic bandtoholdit inplace.

piII reectors
5oftboxes
B
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houlyouwihtounultilfhwith
iht olou gl o ull ot of
tivoiiliti outogivit
ty f youoyoujoy uiggl th
it ny wothnkiglif littli y
ivtigi o t fonoof th
oul litiou fhl f
youot thyoull oly hvfokout
3t lt youll hvonfy
wigfo you Chitn t
lshgels
ogue niversl ridel kits
uprc: 2
st: wwwxoingigon
f you willig toy th
xt fo ul t of
gl thth log with
tho y ol woth
th xt x y
ilt twoty
vill. the retangular
Universal Gels (3x2.5in) t pretty nuhany
fashgun, while the roundGridGels are
designedfor use withthe Rogue Grid
attahnent. Bothkits have 20gels, eaha
diherent olour, witha pouhandreferene
dividers tokeepthenorganised. 1he
Universal Gels set inludes a bandthat holds
the gel inplae, while the GridGel slips inside
the Grid's bezel. Bothsets over a wide range
of olours andare very well nade.
oscotroist ollection
uprc: 9
st: www.roso.oni1vPistrobist.fn
Rosohas beenproduing
quality olour lters sine
I9I0andits Strobist
Colletionhas been
produedinassoiation
withDavidHobby, the
founder of popular fash
blog www.strobist.on. Sizedat 3.25xI.5in,
they shouldt the fashheads of nost
fashguns. 1he set of 55 lters ontains 20
diherent olours, ranging fronool towarn,
nore exoti options andNeutral Density, with
nultiple piees of eah. goodoptionif you
already have a gel holder.
stolite olour els
uprc: 20(55 starter kit)
st: www.lastolite.on
1heLastolite Strobo, for
those whohave never
heardof it, is a onpat kit
systenthat attahes to
your fashgunandallows
youtouse various Strobo
fashnodiers for reative
ehet. 1he Lastolite StroboGel Set is
designedfor use withthe Gel Holder Set and
inludes a dozendiherent olour gels,
groupedintothe following. three warn, three
ool, four olour, one NDandone dihuser.
onl olour els
uprc: I6
st: www.faghead.o.uk
Honl Photoohers an
extensive range of fash
aessories andthis
inludes six lter kits, all of
whihhave tenlters, eah
ttedwithtwovelro
edges. 1hat way they an
be ttedtothe front of any fashgun-even
older hanner-headstyle fashes -using
either the 9Honl SpeedStrapor any velro
stiky pads. 1he Sanpler lter kit withSpeed
Strapis the best optionfor newoners.
icshopet mer troist
lsholor ilter orrections els
uprc: 2
st: www.anazon.o.uk
Lvenheaper thanthe
aetatesheets we'vebased
this nonth's
onis this 2set of gels. or
this nodest sun, you
reeiveI5lters, ut toa
sizeof /5x48nn, neaning
that they just about t theheadof nost
fashguns. 1heI5gels over thenost popular
olours, soyou'renot short of options. Best
thingabout thekit is thegoodquality holder,
whihhas asheathfor thelter inuseplus
another that holds thesparegels. it the
suppliedlongvelrostriparoundyour fash
head, towhihthis holder attahes. Delivery is
freebut takes between/-23days.
osco-olourtroistelck1
uprc: 9(inluding postage)
st: www.eBay.o.uk
Whilethis set is nadeupof
Rosogels, it's atually
suppliedby eBay seller
studiokitshop. 1his kit of 45
unlabelledolour lters are
hand-ut fronRoso
L-Colour gels. 1herangeof
olours is extensiveandthegels arelarge
enough(I3.5x5n) toover thevast najority
of fashguns. Consideringyouget 45lters,
they'reexellent value. Wealsobought the5
velroStrobist Clinhit, whihhas 90velro
oins (twofor eahgel) anda30nvelro
straptowraparoundthefashgun's head.
linchrom21cmolour els
uprc: 26
st: www.thefashentre.o.uk
Leading studiofashbrand
Llinhronohers its own
sets of olour gels. 1he
2Ingels t aessory
holders for the I8nand
2Instudiofashspills.
1his set of teninludes
nagenta, red, orange, yellow, green, blue and
pairs of NDs androst Lhet gels. Sets of 20
are available for 50. 1he I2ngel set
(pituredabove) is designedfor the Ranger
uadra heads andosts I9.
owens gels
uprc: 35 to50
st: www.bowensdiret.on
f youuse Bowens
studiofashandfany tring
out gels, thenthere are a
ouple of options. 1he 50
Refetor BW-I882 kit is
nade upof six irular
(I95nndianeter) gels.
yellow, red, green, yan, blue andwhite. f
youuse Bowens Maxilite refetors, youneed
the 35 Maxilite gel set of I2 otagonal gels.
red, yellow, orange, nagenta, green, yan,
dark blue, light blue, purple, grey andwhite.
While you're not spoilt for hoie whenit ones tohoosing a budget studiofashoutt, there
is a fair seletiontopik fron. We've basedour seletiononkits withtwofashheads togive
younore reative lighting options, but nany are available inkits witha single head too.
ov: smorthnoncoour or unor
unusu rsuts. Onashgunhas abIuesheet
andis pIacedbehindthebIinds. nother witha
redsheet is heIdat waist IeveI. Whentriggered,
theresuIt is this coIourfuI andmoodyportrait.
?
veyou Buget notoie you'likeus to
try out in futureissue nil your suggestions
toslrfeekennis.o.uk, title'Buget
noto', nweny giveyour suggestion gol
JNURY 20I4i

1SMNNBUSHRLS
a aa ba
a S a a
f ab f
adaf 1aaa B
Jaa, b,
a
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aC.
1WSYLRW1HMNYMMLN1SHPL, HUMUR, HLR1BRLNDHRRR.
N1HSLGH1-PGLPC1RL, WLLBC1SML1HLMS1MLMRBLL
NDUNUSULS1RLSCvLRNGNLWS, SPR1S, CLLLBR1YoPPULRCUL1URL

HLYLP lNPlCTUPLS

JUJMLS
GNDLN
Much-lovdstr of
th hit 1vshow
ne Sopranos psss
wy t 5I followig
hrt ttck whil o
holidy iRon, tly.

CTBR
LURLLD
s nourth dth
of nusici, sigr d
sogwritr LouRd.
H pssdwy gd
/I ftr cotrctig
livr diss.

UGU5T
DvDRS1
Lgdry jourlist
dbrodcstr Dvid
rost sdly psss
wy followig hrt
ttck. H ws /t
th tin of his dth.

RILMRGRL1
1H1CHLR
Cotrovrsil fornr
UPMBross
1htchr psss wy.
Rctiotohr dth
is nixd, withny
opposdtohr idls.
4
BRURYHRSLML1UNDNRZLNBURGLRS
Burgrs dvrtisds cotiigbf wrfoudtocotiudclrdhorsnt, s nuch
s I00of thnt isoncss. urthr tsts rvldthnt tobiothr rdy-ndfood
products, nkigthwholtioqustiowht nt our foodcosistdof. Bburgr yo
15
BRURYML1LR1LCUSLSPNCvLRRUSS
1rvllig t lnost 60tins th spdof soud, th Chlybik ntor trdLrth's
tnosphr ovr Russi. 1h light ws brightr ththt of th sudit xploddith ir du to
its ornous vlocity dshllowtnosphric try gl. vr I,500popl wr ijurd.
bltuarles
15
RIL BS1N
MR1HNBMBNG
/8-yr-oldBill hrig is kockdtoth foor by
scodbonbxplosiot th ishli of
th BostoMrtho. 1wobrothrs , Dzhokhr
d1nrl1srv, wr rsposibl for
th prssur cookr bonbs tht killdthr
popl dijurdnor th2/0.
14
BRURYPS1RUS
SH1SHSGRLRLND
vlti's Dy, Rv Stknpws shot
dkilldt scr Pistorius's Prtori hon i
Southfric. Spritr Pistorius strogly dis
nurdr, protstig his iocc ddclrig
tht h thought h ws rig t itrudr ihis
bthroon. 1h tril cotius.
11
BRURYPPLBLNLDC1
Xv RLSGNS
Pope Benedict Xv was the rst leader of the
RonanCatholic Churchtostepdownand
relinquishhis post since Pope Gregory X in
I4I5. 1he reasonfor his decisionwas his
declining healthdue tooldage -he was 85
at the tine of his resignation.
JNURY 20I4i IGITL 5LR HTGRHY
24
RIL BNGLDLSH
BULDNGCLLPSLS
Despite warnings toavoidusing aneight-storey
connercial building due tothe discovery of
cracks, garnent workers were orderedtoreturn
towork the following day. 1he building
collapsedduring the norning rush-hour,
killing I,I29people andinjuring 2,5I5.
1
JUN MJRWLDRLSCRSSUS
1he wildres raging across ColoradoandDenver inJune were so
extensive that they were clearly visible fronspace. Causedby long periods
of drought, the areas danagedby the wildres coveredover II5,000acres
-or nore thanI80square niles. 1ens of thousands were evacuatedand
nany lost hones as reghters struggledtocontainthe blaze.
1
MY1RNDRPS1HRUGHLHM
Winds of upto2I0nphdevastatedhones, schools andbuildings,
leaving 23 people dead, injuring nore than3/0andleaving hundreds of
fanilies honeless. 1he huge tornadoroaredthroughthe klahona City
suburb, fattening entire neighourhoods anddestroying a prinary shool
witha direct blowas childrenandteachers huddledagainst the winds.

'
'

'

'
IGITL 5LR PHOTOGRPHY i JNURY 20I4
1S
MRHNLWPPL
NNUNCLD
Pope rancis becane the 266th
leader of the Catholic Churchand
Sovereignof vaticanCity. He
nakes history by beconing the
rst pope fronthe nericas.
1
MYSRLLX
LRGUSNRL1RLS
Manchester Unitednanager
Sir lex ergusonacknowledges
fans after his nal natchincharge
after 2/ years -the gane ended
ina 5-5 drawat West Bron.

MRHLRSvLR
NR1HRL
US andSouthoreanauthorities
were bracedfor attack following
the news that Northoreanleader
inJong-Unhadsteppedup
preparations for nuclear war.
1
MRHCYPRUS
BNBLU1
Whenthe Cypriot nancial crash
reachedcrisis point, worldleaders
bailedout Cyprus withCI0billion,
inreturnfor it agreeing toclose
the Cyprus Popular Bank.

MYMSSNGWMLN
UNDNSMLHUSL
decade since they rst
disappeared, three wonenwere
rescuedfrona house inCleveland
US. 1hree brothers hadbeen
holding thencaptive.
1STHLYLPNPCTUPL
11
JULY
SLDLRLLLRGBY
BLHLDLDNMCHL1L11C
1he wife andtwo-year-oldsonof
drunner Lee Rigby are picturedonthe eve
of his funeral. 1he soldier was nurderedon
22 May ina nachete attack inWoolwich,
south-east London, by twoMuslinconverts
as he nade his way back tohis barracks in
broaddaylight. 1he twonenaccusedof
the killing, Michael debolajoand
Michael debowale, were due
tostandtrial as we went
topress.
JANUARY 20I
ents torenenber. ootball chanplons celebratevlctory

MANHS1RUN1
L11H1RPHY
Play annanag joic a th Rvil
fat Atonvilla -0at l1ahotohoit
thi IthPni Lagu tophy infont of a
hon cow. 1h victoy can withfou
gan till toplay analonakSi Alx
guon Ithannal lagu tophy with
th nothncluaft 2 ya inchag.
5
AYRNMUNHL1S
1HHAMPNSLAGUUP
nly hot twoGnantan attling it
out tocon uopanchanpion. 1h
natchtwnival aynMunichan
ouia otnunwa th t all-Gnan
nal anpov to a upiplay of
paionanpow. AjnRon th
ninut goal gav aynMunicha 2-I win.
11
MAJRSHAS
GANNAUPNAL
Mancht ity nulti-nillionai w
lft huniliataft a lat ninut goal y n
atonawiganwinth Aupnal. t wa
iganAthltic t najo tophy ina aon
that aloawthnlgat. 1h unxpct
fat ltoMancht ity nanag
RotoMancini gtting th ack oonaft.

JUN MRHGL1SCBL
Dobe ypc odeda aee Moaraods s CBL eda, aer e
receede aardroe Prce o Waes dr aesre cereoy a BcaPaace.
araas coros e 5,000adI0,000ere races dr e Lodo 0I ypcs.
IGITL 5LR PHOTOGRPHY i JNUR 0I
THLYLPNPTUPL

UGU5TSPNLSLS1HLPL1
1e oo dspe o soerey o
Gbraar saSpae adry ros paea
o o e pra. 1e bd o aarca ree
Brsaers edocoroaos beee
Spasseraade Roya Nay, e
Spasborder ocas seeedappy opse
orss addpoas ae. Re Braa

JUNGLS1NBURRL1URNS
Woesa 0I adce saes
or 0I3 se o der oors, s
year's Gasobry as dead. s ere e
eaders, 1e Ro Soes, oared
er 50aersary o be osae ore
aI00,000peope aeredosee e
perorer os eos.

JULYHRRC1RNCRSH
speedra rae ro
Madrdoerro deras arod.5 es ro
Saaode Coposea sao. e
peope aboard, I0ere redadded.
1e ra's daa recorder reeaed crased
e rae a ce e speed. 1e
drer as caredcos o ocde.

JULYLGP1ML1RUS1MRS
Ceebraos 1ar Sqare Caro
ae pace oo e os o Moaed
Mors, oas Lyp's rs reey eeced
eader. Lypaaores orderedpresde
Mors obe deaedor I5 days ped rer
esaos ocares o cospr ocarry
o 'ose acs e cory.
rr

MYPLPLRRMNCL
as beesxy years sce Brs
expedo eader JoH eada ea
o exporers oe s o Mo
Leres. 1e es as aocedo e
or o eeLzabe's coroao.

UGU5T HvLDRLM
y years aoercaacs
MarLer , Jr. oo oe pod
ro o Waso's LcoMeora.
Hs ae a drea' speecsparede
ercaC Rs Moee.

NOJSSSSN1LD
yyears aepassedscee
assassaoo e35Presde o e
UedSaes Daas, 1exas. Cospracy
eores srrods deaares as
reodayas eyereI63.

DC1RWH
Sc soDocor Woceebraes
s eaersary. 1ere ae beeII
Docors sce e so's cepo
I63 e oo Ma Sbe
repacedby Peer Capad, 0I.

UU5THLR1SHL
naoete pae nont o te wle lae a t p
tote oet 1e l e neIII9 ae eoe ne o
ae ete nall nanaeton te lae ne ontol

UU5THL NS1vL1SPL111RS
1e ano Lononlanna atteea Powe Statonwa
tanonentoa ot o olo a ne o eelle lepaae
o t e ntote a a pat o t tatonal Hnetal
JNURY Ii DT 5R POTORP

UU5TMLYYRUS1RS
1 ea te onl tn oneeone
lp ollown 1e vM wa Mle twen
Not one o now wowonwat te
Pvn anpooate ann wtRon
1e aonpane e tone anan
oeeoanne tole teal te ow alet
not o te t eaon Mle pt t awa

OCTOBER
USGvRNMN1SHU1N
onI toI6toe te UnteState eeal
oennent enteea towna one
aletoaee onlelatono n nI
1e nn ap awoe 8enploee
toltonot epot towo 1e etnateot o
te townwa etnateat oe llon

5EPTEBER MSSMURR1
NYNSHPPNGMLL
1eot tonNao etate Mall lln
nnnatel 1 wonan woaeen
n n te nattle n o oe ate
anepole ente te nall 1e atta late
o a anlet ea nln 6I lan
ole ano attae

JU
PRNSRN
Mea tean te woloe wee
ontan o te et Roal
to o te ea te to o net
te n ll elte eata te
oo o St Ma Hoptal opene
anot teppePne llanan
ate anwe wee teateto
o t lnpe o a
Pne Geoe
IGIAL L PHOOGAPH i JANUARY 204
HYPlNPlCTUPS
11 Monens orenenber. lglnners lnspor
7
LANYMURRAYNS1H
MN'SSNGLSA1MLN
As eer, tennis feer griedthe cuntry in
June, andagainwe innedur hes n
ritishlayer, Andy Murray Agriing nal
ensuedwithNa jaic, whichended
withAndy ecning the rst ritishnanin
years tlift the inlednucue
nerrinent nMurray Mundl
1
LR1SHv1RYA1
1H1URRAN
enyan-rnritishrad racing cyclist
hris rne f 1eanSy taes rst lace
inthe 203 1ur de rance, cnleting the
2, nile series in3 hurs, 6ninutes and
40secnds rne ecnes the secnd
cnsecutie ritishcyclist twinthe eent,
fllwing radley iggins' ictry in202
7
OOv11LSURS
UR1HHAMPNSHP
At the age f 26, Redull drier Seastian
vettel ecnes the yungest eer drier t
winfur cnsecutie rnula ne titles
vettel dninates the seasn, securing the title
at the ndianGP vettel celerates y ding
dughnuts nthe trac and reciees a hefty
ne, ut we're sure it was wrthitl
17
NOM
RAMA1RUP1NS
A1MUN11NA
taly's largest actie lcan,
Munt tna, rduces dranatic
exlsins f laa as the sixteenth
arxysnal actiity was recrded fr
203 Munt tna's enissins f laa
andashshwered citizens f neary
twn1arnina, ut didnt
cause any serius injury
r danage
JANAY 204 DT 5R POTORP
29
5EPTEMBER ALYA
MNGNPAAN
APakiani nancayin a cildue away fn
e ie f a la ly afe a nexldedin
Peawa, Pakian e ca nwa e idla
i e uledciy f Peawa ina week e
n, lanedina ca infn f a nall el ine
ia wani azaa, wici ne f e ciy' ie
nake, killed43 ele andinjuin ve 00
17
5EPTEMBERHANGH
LNANA
in cle 400nillinuild, weiin ve
00,000nne andneauin cle 20nee
inlen, e a ncdia cuie line a een
weckede alianca ince 202 Afe a naj
eainincludin e cnucinf a ecially uil
aicial ea ed, e cuie iwa aiedand
aienedefe ein wedaway f ca
20
5EPTEMBERLANHAPPL'
LAPHNML
ne f e cune f Ale' lae iPne
jun f jy we'e n uie ue wyl a e leave
e e e iPne andwee declaedy
Ale e e n fwad-inkin nane
availale ile nany claine le anineed
y e lae ndel, Ale' ale ue ue a
e iPne i i e ellin ye
201STPNPTUPS
10
NOEMBER PHLLPNHYMNYPHN
aal wn ac e cenal Piliine wee lef devaaed
inealy Nvene y ynHaiyan, wicu u f windf u
2 kn0n andwave a ia n4f i n nly ne
f e ne yn eve ecdedu al ne f e deadlie, wi
a cuen einae f ve ,000dea anden f uand injued
26
NOEMBERPNLLAMNJYAYALNGNG
e uke f anide i in nae wiayl wif lef
andJnnJvi cene Pince illianwa in e ine ie
Gala a eninnPalace aie nney f e enein nele
caiy He uiedue y akin e ae andjinin e
du in nJvi' 0 i Livin' na Paye
28
OCTOBER M
HHNAN
e uena f iainwa ujec evee
n, leadin fu dea andnaj diuinf
an andwe Aeenae andanadul nan
wee killedy fallin ee, wile a nananda wnan
diedinwe Lndnafe a fallin ee caueda
ueceda exlinanda ue cllae
li andfey cin wee alaeced

DS: DNLL LLN

IGES: PUL WRD, BJRN1HMSSLNBRL11HRNLSS
DYUWN111LYURBLS1LvLRPR1R1SWL'vL1LMLDUP
W1H1HLU'SLLDNGLXPLR1S1HLLPYUMPRvLYURSLLS. 1HS
MN1H, WLLNLS11HLLXPLR1SLPRLSSNLPH1GRPHLRS
BRL11HRNLSS, PULWRDNDBJRN1HMSSLN1RLvLLSML
1HLRvUR1LCRL1vLLSH1LCHNULS

FTERSEVERLTHSprovidinexpert adviceonusindaylit inour prt
Gu/toPortra/ts, last montsawus turnour attentiontousinasuns. s we
revealed, tereis anextensivecoiceof asuns availablefor under L100tat
providepower andaoodraneof asmodes, but lackinTTLas
compatibility, rit troutomoreexpensivemodels onerineverytinyou
couldwant inaportableasun, but at aprice. Wat wealsosowedwas tat
youcanquiteappily et away witusinteceaper asuns tocapture
stunninresults, wilesavinalot of casandimprovintestandardof your
aspotorapy. Tesecret totis is by learnintouseteasuns inmanual,
rater taninTTL. Doinsoallows youtotakefull control of tepower emitted
by your asuns, allowinyoutoainconsistent results evenwenusinte
ason-cameraor inmultipleasset-ups. ver tepae, weiveabrief
introductiontoasbasics anddetails onteequipment requiredtoet started
increativeaspotorapy. Tis is followedbyaselectionof tecniques
reularly usedby treeof our maincontributors. If youhndtey elpimprove
your aspotorapy, you'll beladtoknowtat we'll avemorecreativeas
tecniques fromour trioof professional potorapers innext mont's issuetoo.
ur Exprt Gu/ToPortra/tswill runfor several montsandcover abroad
varietyof subjects, tecniquesandlocations. Everyuidewill featurefantastic
imaesandinspirational ideastotryout. Weuaranteetat if youfollowour advice,
youwill seeamajor improvement inyour portrait potorapy.
EXPERTGUIDE
TOPORTRAIT5
. CRL1vL LSHPR1 NL
90 DIGITAL 5LR PHOTOGRAPHY i JNURY 20I4
NLS1MN1H'S extensiveguide,
weexplainedtheprinciples behind
fashphotography and, inparticular,
why shootingwithyour canera and
fashguns set tonanual ohers
youthebest optionfor control
andconsistent results when
you'reshootingportraits.
1his nonth, we'll provide
youwitha selectionof
creativefashtechniques
that youcantry usingone
or norefashguns, which
will openupyour
possibilities noend. ll are
relatively sinpletodobut
producehigh-quality,
professional-lookingresults.
Beforeheadingintothetechniques, here's
a recapof thefundanentals that youshould
knowinterns of thekit youneedandhow
youshouldset upyour canera andfash.
U5INGFLA5HINMANUAL
Youneedtoset bothyour canera and
your fashgun(s) tonanual node.
1heshutter speedyouselect
deternines theanount of anbient
light recordedinaninage. Set
thefashsyncspeedto
nininiseanbient light or a
slower shutter speedto
allownoreanbient light
toreachthesensor and
lightenthebackdrop
(seepanel belowfor
exanples of this). 1he
aperturenot only controls
depth-of-eldbut alsothe
anount of fashthat reaches the
subject. 1heSratinghas an
infuenceonboththeanbient andfash
exposure. nthefashgun, select nanual
nodeandadjust thepower settings to
increaseor decreasethefashoutput.
Bepreparedfor creativeashphotography
FLA5HGUN5
Youcanusepretty
nuchany fashgun
fronbasictotop-end.
1hekey featureis that
it ohers nanual power
selection, soyoucanchoosea
particular power setting, thenlower
or raiseit by set increnents. bounce
headis a useful facility too, but not
essential. nthetechniques coveredin
this guide, weuseda selectionof
fashguns, all oheringnanual power
control. 1henodels usedinthis
nonth's guidewereas follows.
ongnuoN-560II Manual-only
fashoheringhigh-speedsyncand
slavenodes, but no11L.
anondlit550EXSophisticated
unit withnoshortageof nodes.
Calumet Genesis GF400High-
poweredfashgunainedat pros.
TRIGGER5
Whenusingyour
fashgunoh-canera,
youcanconnect via a
leador a wireless
trigger. 1helatter is far
noreconvenient as youcancontrol
several fashguns at a distancefron
thecanera. various types are
available, rangingfronstandardradio
triggers that sinply syncthefashto
thosethat oher 11L andon-canera
control. 1henodels usedinthis
nonth's guidewereas follows.
YongnuoRF-603very ahordable
andreliablenon-11L triggers -a set
of four triggers costs around50l
Pocket WizardPlus III 1hepro's
choice, ohering32channels infour
zones, andlong-rangetriggering.
LIGHTING5TAND5
f you'reshort of a
sparepair of hands,
usea 'coldshoe' to
attachyour fashgun
andtrigger toa
lightingstand. Weusedstands bought
oheBay for just 20a pair.
5OFTBOX
Slipyour fashgun
headintoa softbox
andsoftenits output
for a directional but
dihusedresult. Most
conesuppliedwitha speedring
nountingbracket andcoldshoeto
holdthefashguninplace. Weuseda
60cnsoftbox whichwepickedup
froneBay for 26, alongwitha 90
38cnLastoliteLzybox.
Basicflashequipment
TOPTIP
ower settings
Renenber that eachtine you
change a fashgun's power setting,
youare ehectively increasing or
decreasing its output by a stop. So
changing fronIi8toIi4power
increases its output by a stop(in
other words doubles the fash)
while changing fronIi8to
IiI6halves the output.
BRETTHARKNE55: SUTTLP SPLLDS ADALTT
Whenusingfashinnanual, it's theaperturethat dictates howthefashahects the
subject, but theshutter speedplays anessential part inthenake-upof thenal inage
too. By changingtheshutter speed, youahect hownuchof theanbient light is being
recordedinthenal inage. 1hefaster theshutter speed, thedarker thebackdropand
theslower theshutter speed, thelighter it is. 1heeasiest way tondthis out for
yourself is toshoot a quick sequencewiththecanera andfashinnanual. Set the
fashsyncspeed, chooseanaperturesetting, adjust thepower until thefashexposure
is correct. Nowshoot a sequencewhereyouchangetheshutter speedinincrenents.
Check out theresult andyou'll notethefashexposure(i.e. thesubject) renains
unchanged, but thebackgroundlightens thelonger theexposuretineis. Bear this in
nindthenext tineyou'reshootingonlocation, as byadjustingtheshutter speed, you
candeterninehownuchor howlittleof thebackdropis clearlyvisible.
1l250sec
1l100sec
1l200sec
1l80sec
1l125sec
1l50sec
AA 20I4i DIGIAL 5L HGAH
High-spd
lshsyn
-fshnoonnn
fshguns ws signtollowfshto
usinright onitions withwi
prtur. nright s vnwithth
rtingt its lowst stting thusof fst
fistoplikfi2.will oftnltoshuttr
sps nuhfstr thnthfshsnsp.
ingltorethefashwithfaster shutter
speeds has not onlynadeit possiblefor
sports andactionphotographers tofreeze
fast-novingsubjects withfashindaylight,
but alsoallowportrait photographers to
shoot indaylight withfashanduseawide
aperturetoretainashallowdepth-of-eld.
EHAKE55
Whilethere's nothingwrongwithusing11L
fashtocapturesinplefashshots, your
choiceof exposureis linitedby theanbient
light whenconditions arebright, duetothe
restraints inposedby thefashsyncspeed.
f your fashgunohers a high-speednode,
it's worthtryingit out by shootinginages at
a very wideapertureandconparingthen
withstandardfashshots -you'll noticea
distinct inprovenent. Ahotshoe-nounted
fashaineddirectly forwardcanbeused,
but bouncingthefashoha wall or usingit
oh-canera gives far better results. Just
renenber that becauseyou'reusinga very
wideaperture, youneedtokeepyour eye
onfocusingcorrectly toensureyour subject
is sharpintheinage. 1hesetwoinages
illustratehowhigh-speedsynccaninprove
thequality of your fashshots.
roinsight
EHAKE55 ...
LLWDLPTH--lLLD
WlTHUTHSS
Youcanof courseusefashto
captureinages witha very
shallowdepth-of-eldwhen
youdon't havea high-speed
syncnode. However, it is nore
dihcult becauseyoualways
havetowork withinthelinits of
thefashsyncspeed. What you
needtodois toset thefashto
as lowa power as possible-for
instance, Ii64or evenIiI28
power -andplacethefashas
closetothesubject as possible.
You'll alsoneedtolower theS
ratingas nuchas possible. 1he
result is subtlebut againbetter
thanusingstandard11L fash.
1his techniqueis only possible
whenanbient light levels are
relatively low.
1) his imws tknwithshnn
xposurof 1l0st fl5. It's okayinterms of
exposurebut theresuIt is abit duII.
2) This shot was takenwiththehigh-speedmode
engagedandtheashset to1l16power in
manuaI. Theapertureis set tofl2.8, givinga
shutter speedof 1l320sec. TheshaIIow
depth-of-eIdgives afar moreattractiveresuIt.
1 2
FLA5H
KI U5ED
Ix YongnuoSpeedlite
YN560- fashgun
2xYongnuo
PF-603triggers
Ix Softbox
XPERTGUIDE
TOPORTRIT5
ULS
DIGITL 5LR PHOTOGRPHY i JNURY 20I4
Coossutotonnostont
sguns sott tornour o
totr s ostontns(t
soto nront o tsut nng
sgttognsro gt
tontsonrsguns ( t
tott rt tsuts n
r r rtst sot soount
hectiveness of therimIight andmakean
necessaradjustments tothepositionand
their power settings.
3) 5witchonthemainash-becausethe
softboxdihuses theIight, ou'II needtoset
this toahigher power settingthantheother
ashguns. Firetest shots andadjust thepower
untiI ou'rehappwiththeexposure. Three
ashguns havebeenusedtocapturethis
exposure. Oneis aimedat her hair, another on
her faceandathirdonher backtoaddthe
rimIight aroundher bod.
4) Onceouhaveadecent resuIt, tr
switchingohoneof therear Iights andseeing
theehect. Inthis case, switchingohtheIight
aimedat Gemma's backsoonItwoashguns
redaIsogaveapIeasingresuIt.
USLDvLRYCRLULLY, fahcanubtly
helpinpoveaninagewithout beingvey
appaent. Sonetine it i uedtolightena
backgound, but oftena lowlevel of fahi
appliedtoa ubject tolift thenfonthe
backgoundo toninica paticula lighting
ehect, ucha lateeveningunlight.
PUL WRD
Whenhootingonlocation, 'll oftenuea
ubtleanount of fahtoepaatethe
ubject fonthebackgound. 1hi
techniquewok bet whenboththeubject
andbackgoundaeunde theanelighting
condition andtheoveall inagei elatively
dak. By gently illuninatingtheubject with
fahainedat anangle, it' poibleto'lift'
thenfonthebackdop, addingdepthand
denitiontothepotait inage.
1helightinget-up uecanefonan
idea that hadwhilewatchinga videoof a
hoot by neicanphotogaphe DaveHill.
By uingtwofahgun ainedat theeai
ideof theubject andonetolight theface,
it' not toodihcult toaddclea denition
anda ubtlebut ehectiveinlight aound
pat of theubject.
1het thingtodoi tohavetheubject
andthefahgun placedintothei
appoxinatepoition. Withthefahgun
oh, et thecanea toapetue-pioity,
depe thehutte halfway tocheck the
expouefo theanbient light. f thehutte
peedi abovethefahync, lowe the
Sandif needbe, cloedowntheapetue.
Switchtonanual, et thi expoueandtake
a tet hot toenuetheinagei coectly
expoed. nceyouhavethi, adjut eithe
theSo apetueotheinagei oneto
I.5top undeexpoed, uingthecaleon
theLCDo intheviewnde a a guide.
Lift your
subject from
thebackdrop
1
Noash Pear ashguns
2
3
Y 20I4i

3x CanonSpeedlite
550Xfashguns
4xYongnuotriggers
2x lighting stands
1xsoftbox
4
XPRTGUI
TOPORTRIT5
PR1RA1S. CRLA1vL LASH1LCHNULS
IGITL 5LR PHOTOGRPHY i JANUARY 20I4
BJORNTHOM55N
1his techniqueis very sinilar tothe
previous one, but involves lightinga
subject whois lyingdownandtryingto
separatethenronabackdropthat
they'reincontact with. Becauseyou're
careully tryingtolight theentirebody
andthebackdrop, 'dsuggest usingthree
light sources. What reconnendis that
youposeandpositionyour nodel
exactly as youwant then, thenset up
your lightingaroundthen. Lachfash
needs tobediused, ideally withsnall
sotboxes, although usedaRoguelash
Bender diuser withoneo ny fashguns.
Youneedtobevery deliberatewithhow
youshapethelight, directingthefashso
that youplaceshadows incertainareas to
helpdenethebody shapeandseparate
thenodel ronthebackdropas best you
can. All ny lightingstands arelowsothat
thefashoutput is noreparallel tothe
groundthanangled. rst start withthe
1) st ustuiokroinront roomn
snsomtimironinout thrss whih
wiII rvIythsiIihtin.
2) htwoashguns ttedwithsoftboxes are
Iaceat eachend. ThemainIight is set uhigh,
whiIetheII Iight is aroundwaist height.
3) Meter for eachashoneat atimetogivethe
most accurateresuIts. ThemainIight is at 1l8
ower whiIetheII Iight is at 1l32ower.
4) PIacingtheashguns tothesideresuIts ina
strongdimensionaI feeI that searates the
modeI fromthebackdro. InPhotosho, I Iower
thecoIour saturationtogivethenaI resuIt.
WHLNLGH1NGAsubject anda
background, it's standardpracticetouseone
(or nore) light sources toexposethesubject
andseparatesources toexposethe
background. However, it's possible, by using
fashguns placedtothesides o thesubject,
toexposeboththekey elenents inthe
rane. Sidelightingisn't oneo theeasiest
lightingtechniques tonaster as youneedto
careully positionthelight sources toavoid
unattractiveshadows, whiletheangleo the
light passingacross thebackdrop's surace
will alsopick upevery crease, dent and
crinkle. Youalsoneedtochooseyour subject
careully this techniquecannakethenost
o curves andstrongnuscledenitionbut
canbevery unfatteringi your subject is too
thin, toooverweight or has anangular ace.
BJORNTHOM55N
loveaddinga three-dinensional eel tony
inages andthis is oneo thetechniques that
usetoachievethis eect. Sidelightingis a
great nethodor revealingthecontours o
your subject andis a lightingstylethat oten
usewhenphotographingvery nuscular
nalenodels, suchas boxers or subjects
withvery 'ripped' bodies. Whenyouget it
right, thelight has a dinensional quality that
adds a degreeo separationo subject ron
backgroundandit canprovevery fattering
or thesubject. However, youdoneedto
takecareas whileit suits subjects withvery
tonedandcurvaceous bodies, theangleo
thelight is unsuitableor subjects whoaren't
inpeak physical tness or havevery strong
acial bonestructure. Becauseo theangle
o thelight, shadows areinpossibleto
exclude, soyouneedtopositionthesubject
sothat theshadows work withintheinage
shootingthesubject inproleor three-
quarters onworks well or this reason.
generally usetwolight sources with
sotboxes or this technique. 1hekey light is
theonethat exposes theace(alongwith
soneo thebody andbackdrop), whilea
secondlight, set toa stopunder thekey
light, acts a ll or accent light, ensuringthe
other sideo thesubject andbackground
don't all intodeepshadow. Withthis shoot,
thekey light is toJessica's right, exposingthe
roses, her aceandher body, as well as the
backdrop. 1hefash's angleaccentuates her
cheekbones andseparates her ronthe
background, eventhoughsheis quiteclose
toit, whilethesecondfashacts as a ll.
5idelighting
withflash
Three-dimensional flash
1
2
3
4

inlight andpositionit soit gives an
attractiveexposureonthefaceandeyes.
1hesecondfashcovers thetorsoandsone
of thelegs, whilethethirdcovers theback,
thelegs andthegroundbehindthenodel.
djust thepower settings sothat all givean
even, natural fall of light ontothesubject.

2x CanonSpeedlite
0Xfashguns

3x Yongnuotriggers

3x CanonSpeedlite
0Xfashguns

3x lighting stands
Yongnuotriggers
2x softboxes
1
2

PR1R1S. CRL1vL LSH1LCHNULS

i NURY 20I4
Theset-for ths s smIeas onIyoneIght s
se 5tart byangIngasoftboxaboethesbect
5et theashsyncseeanchooseyor referre
aertre-I chosefl Fresometest shots Note
whether themagestoobrght (asnthscase or too
aranmaeastmentstotheashgnsmanaI
ower settngs Isomoetheostonof thesoftbox
toensreanattractesreaof Ight
3 Wthexosresorte, concentrateonoses
Hangor moeIs facetrnesIghtIytowars the
Ight ensres t s freeof nattracteshaows Hae
yor sbect tryerent oses toseewhat wors
4 s weII as hoIngthesoftboxaboethesbect,
tryt at aIower angIeas ths IImnates oneseof
thesbect anthrows thescenentoarness
5UsingasingIeIight sorceinthis waycIosetothe
sbject isoIates themfromthebackgrond, giing
apoIishedandprofessionaI resIt.
FIashtoobright orrect ash
1'S PSSBLL1uea inglefahgunand
captueinage that look a i they'vebeen
takenuingtudiofah. Whileoneo thi i
downtoinpovenent inthepowe o noden
fahgun, thenajoity o theeaon why it'
nowpoibletoninictudiofahuing
Speedlight i thewide availability o fah
acceoie. 1igge nownakeit eaie than
eve touefahoh-canea, whileattachnent
ucha noot andotboxe allowyouto
bette nanipulatelight onyou fahgunthan
wa poiblebeoe. you'll dicove, thi
techniqueyield poeional-lookingeult
andi eaie toachievethanyounight think.

Uinga inglefahgunwitha otbox to

povidea 'potlight' ehect but witha gentle
peado light i a inpleyet highly ehective
ceativefahtechnique. 1hi i a ueul way o
lightinga potait whenyouwant todawull
attentiontoyou ubject andiolatethenon
thecene. o thi ehect towok, theinage
nut beexpoedpuely by thelight onthe
fahinothe wod, noanbient light nut be
includedintheexpoue. 1hat' not toay you
houldonly hoot indakne, but athe you
et theexpoueothat only thefahgun'
output i ecoded. 1hi i eaily achievedby
uinga elatively at hutte peedanda nid-
o nall apetueetting.
1heaido anaitant i ueul o thi
technique, a it involve poitioningaotbox
aboveaubject andangleddowntowad then.
1yingtodothi youel i dicult andtheangle
nean alightingtandin't uitablealthougha
booni anoptionhouldyouhaveone.
1olight ehectively, youwant toplaceit at a
height that illuninate theubject while
allowinga nucho theaea aoundthena
poibletoall away intodakne. 'll nonally
et thezoonheadonny fahgunto/0nnto
nininiethepeado light, beoettinga
/0cnotbox togivea ot yet ocuedlight.
y otbox o choiceo thi ehect i the
LatoliteLzybox a 'veoundit boldedgegive
a vey attactiveall-oho light that poduce a
vey attactivevignette.
nethingtowatchout o whenhooting
cloetowall o poliheduace aefah
hotpot. Sonetine youcanadjut you
poitiono that o theotbox toelininateit,
o coptheinagetoexcludeit. ccaionally
you'll needtoenoveit inpot-poduction.

1
3
4

x Calunet Genesis
G400fashgun
2xPocket Wizard
PIus III triggers
Ix softbox
5
uttingdge
WR
LHLHL HL' LLON|P/NH L
HL HL. HL L HL
LHGHH H-LLLGGHLHLL
Gupthnrhs
lwys rprsntspsn. tr rtng
wthstrt photogrphy nshrnghr
work onlkr shqukly rlstht hr
hrt ls nportrtur. t ws thvry t
tht sl-portrts ohrbrk ron
rlty tht hlphr tol wthth
truntht ws hppnngwy ronthlns. ' got
ll ronny nothr tht shws sngoubl n
sonthngws horrbly wrong. nthnonths tht
ollowshws gnoswthbrntunour n
trglly bntooll tooqukly or us tobrnghr
hontothronny prnts' nwhousnrn.
ws strught nlt hlplss wththstnlt
btwnus. honly wy tht oull wthny
notons ws tothrownysl onpltly nto
photogrphy t ws ny spronrl l. strt
rtngthsntsy ngs s nltrntvxstn.
y nothr ws nLnglshthr nlovtorn
stors. hpsswy soontr n tht
htoosonthngs hongtohr nwhoshws.
ht vntully gvbrthtowht bnonder|nd.
AL/st/essDawn

-foot dress
that I designed.
ThecoIour inthe
sceneisaII reaI -
I shot thisina
Iavender eIdand
addedthepurpIe
powder paint to
accent theeId's
naturaI coIours."
Wonderland. 'Noneof thecharacters areadirect relation
tosonethingthat already exists, adds irsty. '1hetitle
refers toagirl's escapisnthroughabook -this is ny
escape. 1heproject is ablur of fragnents of nenories,
enotions andstories toldtoneby ny nother - call it a
storybook without words. 1hereis anarrative, but want
peopletondtheir ownneanings andinterpretations.
nanagewherePhotoshopis connonplace, you'dbe
forgivenfor thinkingthat nder|andcontains ahefty
anount of nanipulation. However, irsty is quick topoint
out that everythingyouseeis very nuchreal. '1he
costunes andprops areall createdby nyself. Craft is an
inportant art andit adds worth. feel that we'vebecone
anX-|actor generation, whereeverybody wants
sonethingten-tines faster thanbefore. Soneof the
props inny inages havetakeninexcess of venonths to
createl prefer tocreateny scenes inreal life, rather than
conposites onaconputer -toneit's noreenotionally
rewarding. 1hegreatest parts of this project arethefriends
t thetine, irsty was pursuingasuccessful career as a
designer for fashionhousearenMillen, but onder|and
was takingover. ' was workingeight hours aday andon
theevenings andweekends headingout intothewoods to
createthesebig-scalefantasy inages. What was originally
goingtobeasnall project tohelpnecope, conpletely
consunedne. 1heinages startedtotakeohonthe
internet andit got tothepoint where hadtonakea
choice-tocontinueas afashiondesigner, or stepoha
clihintheniddleof arecessiontobeconeane-art
photographer. t was thenost terrifyingdecisionof ny life,
but whenyoulosesoneoneclosetoyouall of thethings
that usedtoscareyoubeconeirrelevant. felt that was
onthecuspof sonethingandtheonly way tondout was
tojunpfull-steanintoit. onder|andis now/0inages
strongandfour andahalf years old.'
irsty's inaginationis fuelledby thechildhoodstories
readtoher by her nother. t is thesenenories that have
craftedthenysterious characters that inhabit
lrsty Mltchell
i JNURY 20I4
) Ga/aSe//
t t20
mttmts
rss bt s
brgss
s r
2) AFogoeTa/e
bsr
rvr 20yrs
tug
bbs20yrs
rss
wsmrm
bubs
3) TheOee
Amada v
mts wrwt
ttss
sswrut rm
st trss
mrm20
ws

Klrsty Mltchell

THPROJCTISALUROFFRAGMENTSOFMEMORIES, EMOTIONSANDSTORIES
TOLDTOMEYMYMOTHERI CALLITASTORYOOKWITHOUTWORDS

4) eLaeder
Pr/cess: Therst
Wonderandshoot
andoneof the
most popuar.
purpesmoke
bombwasusedto
createthesmoke."
5) TheCadyCae
W/tch:Thecandy
canesweremade
fromcardand
chickenwireand
themode wasa
circusstit waker!"
6) TheGhost Sw/ft:
Everythinghereis
verymuchrea and
asit was-nothing
wascompositedin.
Thiswasshot using
natura ight, too."
venadeandtheextraordinary experiences we've
hadindoingthis for real. or exanple, beingintheforest
at dawnwaitingfor thesun, withanodel inanine-foot
dress andasnownachinegoingoh-theadrenalineand
enotionis unreall net nake-upartist LlbievanLeden
throughandshe's workedwithneonevery
inageandbeconeoneof ny closest friends. lso, this
project is supposedtorefect ny nother -shespent a
lifetineinvestinginneanddoingthings thehardway.
abouringover theseinages andcreatingsonething
withlovetakes tine, but refects howshetreatedne.
1his lovefor thetangiblestens fronirsty's expertise
as afashiondesigner, but this isn't theonly carry-over
skill that she's brought toher photography. '1herearea
lot of sinilarities betweencreatinganewdesignfor a
dress andcreatinganinage, explains irsty. '1herules
of conposition, balance, colour andattentiontodetail
apply toboth. 'nny ownworst eneny whenit cones
toperfection, and knowit. spendalot of tinescouting
andndingtheperfect locations. Sonetines alocation
night not beat its best at that tineof theyear, so'll visit
againandagaintoseehowit changes over tine. 1he
light has tobejust right andeverythinginthescenehas to
beexactly as want it. t's anobsessionbut whenthework
is printedbig think that attentiontodetail really pays oh.
'nnot confortableat all though-there's nobravado.
put sonuchpressureonnyself that shoot terried
andendupgoinghoneprayingl
Withsonuchworkandehort goingintothe
preparationof theinages, you'dthinkirstywouldbe
ainingtoget thenaxinunexposurepossiblefor each
costune-however, theseareone-tineuseitens, andfor
agoodreason. ' treat thephotographs likepaintings, 'll
onlyreleaseoneor twoof thenishedscenetonaintain
inpact -usuallyonewidecinenaticshot andthenone
closer croptoallowviewers toconnect withthecharacter.
1his nentalitygoes backtoproducingworkthat want
others toinvest in-if shot tendiherent inages for every
JNURY 20I4i DIGITL 5LR PHOTOGRPHY

CuttinE
Klrsty Mltchell

I'EADFDELADTFIIHADHAEAEHEALTH
FEELIGTADIT. IT'8EECHAETIALLLECATE

TheThousand
EmtyDaysOf
AFrozenHeart:
eeaboaee
-ecceaea
adeoe
2 TheGu/danceOf
StraySou/s: eo
aoe
aeade
eoa oe
TheFaraway
Tree: e
oTheOueen's
Armadaee
bacedae
adoa
eeoceae
ae
4) The8uttery
Oueen: I shot this
at areaIIywide
aperturetocreatea
soft, dreamyIook."

onder|and

irs neer
enisioned. Las ear, sheas iniedodispla
as par of heeen's DianondJbilee
celebraions onRegen Sree. 'fenonhs
afer lef arenMillensoneonego inoch
andsaidha he anedoshocasesoneof
heinages inheir fagshipsorefor heeen's
DianondJbileel Wehadheinages prined
hgeandp inlighboes inheindos. as a
diheren a of n ork beingseenandi gaenea
holeneperspecieonheprojec. 1hedispla hen
onBes WindoonRegen Sree - as blonaal
irs's sccess sor sholdsereas inspiraiono
anoneihadreanandaisionoprse. longih
hesorningsccess of onder|and, shehas also
recenl beennadeNikonU's anbassador for ne-ar
phoograph. onder|andas reachingapoin hereb
galleries anedn inages bigger andbigger, so as
consideringnakinghejnponedin-forna. fond
nself borroingaNikonD800Landsonelenses and
as anazedl 1heD800Lgaenehefreedonoork
ho likehileoheringanazinginageqali andhe
resolionoprin hge. 'esincebeconeNikonU's
ne-ar anbassador. 'nhonoredohaebeengienhis
role, i's beensoencoragingandallos neoshoo ih
hepeof ki coldhaeonl drean of before.
s irs orks onhenal inages, heplanis ogie
onder|andhesend-ohha i deseres inhefornof
a book and, ngers crossed, a oringsho.
' didanehibiionlas ear ha fearedhe
cosnes ne ohenal inages -he
isiors' reacions erea oal srprise,
irs reeals. ' hink ha peopleknoha he
cosnes arereal b seeingheninhefesh
allos henoakeinhedeail. or eanple,
hecosnefor neast oor of /utunnand
nenost w|ft ook a nind-bogglinganon
of ork oconplee. Lerhingoseeas
hand-c, hand-designedandook oanda
half nonhs onake. 1heberfies ereall
hand-dranb nebasedonvicorianscienicechings
-he ereenbroideredinsilk beforebeingcoaedo
giehenheir hard, sclpredforn. an peopleo
seeall of ha andappreciaeheleel of deail achieed.
Liseningoirs speak abo onder|and, i's clear js
honchshe's poredher hear andsol inohis projec
and, ihschahgeenoional inesnen, ask if she'll
ndi oghole i go. ''nread for onder|andonish
andhaeaer healh feelingoards i. 's beensch
anenoional roller-coaser. 's nadeneakepicres
ha na haeneer plannedoake, 'esrprisednself
and reall loei. oher ines 'efel oerhelned
becase knoha 'ego oconineoprodcehese
enornos scenes. Lnoionall 'egonehrogh
eerhing-frongrief, olearningandgroingihhe
projec -'elearn alo abo nself andno'na he
poin here'ner prodof i. B needi oend. 'e
pshednself oheedgeandback b 'nglad did-
n nnoldn' haedoneanhingless for ne.
K/rstys Wonderlandprjct, v/s/t.
www.k/rstym/tcn//pntgrapny.cm
102 DIGITL 5LR PHOTOGRPHY i JNURY 0I4
1
3

ThFa/yak
Godmoth:
Twaot
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-o de 50
JRNU11RS1LS111M11R11SSSNSS1RS1MSvR1
NSN1SNS1S1vWLN1L1SvR1SSR1S.

1'SSMPLL, heartwarningtale-oneof a
hareandhis best friend, thebear, andthegift
of Christnas -but this touchingstoryhas
captivatedthehearts of nillions aroundthe
nation. t's alsothebiggest advertisingevent
of theyear andhas beconeas nuchapart
of Christnas as nincepies, thefat guyinred
andyour relatives fallingasleepduringthe
ueen's speech. 'nreferringtotheJohn
Lewis Christnas advert, of course.
ollowingonfronthehugesuccess of
last year's tear-jerkingconnercial, it fell to
productionconpanyBlinknkanddirectors
Llliot Dear andYves Geleyntobringthetale
of neear 81neHaretolife. Uponinitial
viewingyou'dbeforgivenfor thinkingthat
thelnconprises aclever nixof 2D
aninationandCG, but you'dbewrong.
nfact, alnost everythingonscreen
was createdfor real andshot using
tine-consuningstop-notiontechniques.
Directors Yves andLlliot hadtocreatea
niniatureworldfor real, andthennot only
light it andshoot it, but alsosonehowcraft
inclassictwo-dinensional anination, too.
'Llliot andnyself bothconefronanixed
nediabackground, sowethought that it
wouldbeinterestingtonixour universes
andseewhat happened, explains Yves.
'nthebrief, theclient referredtotheclassic
Disneyaninations, suchas ano| and
1neJung|eoo|, sowecaneupwitha
concept of havingclassicaninationandthe
qualities that it brings alongsidereal sets and
real lighting. Wedecidedtousestop-notion
tobring2Dand3Dtogether seanlessly.
1heresult is ahand-craftedand
neticulouslyexecutedtwo-ninutelnthat
enbodies theheartfelt nessagethat the
storyputs across. Withtheconcept inplace,
theteanat Blinknkdraftedinthehelpof
celebratedDisneyaninator aronBlaiseand

DIGITL 5LR PHOTOGRPHY i JNURY 20I4

DIGITL 5LR PHOTOGRPHY

1ne||on||ngMu|an
-draweachandeveryfraneat their
studioinrlando, lorida. 1heindividual
franes werethensent over toClaphan
RoadStudios inLondon, wheredirector of
photography1obyHowell workedwitha
snaller teanof aninators toaddthe
nishingtouches, as heexplains. 'Because
wewerestrivingfor that seanless blend
betweenthe2Dcharacters andthe3D
worldaroundthen, liaisedwithateanof
illustratorshereintheUastonylighting
plansfor eachscene. 1heywouldthenadd
theshadowstotheillustrationsaccordingto
wherethereal light wouldbeonset. ron
therethedrawingsweresendohtobe
laser-cut froncardandarrivedbackonset
II projected
animageof theskontothewaII for thisshot.
Thebear'sreectioninthewater wasmoving, so
thiswastheonIwatomakethisshot possibIe.
CuttingEdge
DIGITL 5LR PHOTOGRPHY i JR 20I
ssereso rnes let nphysl orn.
et esner JohnLeenhstent
heppertontuosset out retnthe
nl woolnworltht theer n
thehrewoulnht eorethe
onponentsll netoether reyto
shoot. 'nsllyshootnRwstlls
2rnesor everyseono ln explns
1oy. 'shoot rnenthenthe
nntorswoulnovennpreprethe
next rne. oneo theer senestook
2030nnutestonoveetweenrnes
nehpuppet hstoenleextlythe
sne otherwsethelht htst erently
ntheexposureo tht hrter hnes
useseverl CnonLDkswth
ZeissZnanual prinesandshot tetheredto
asoftwareprograncalledDragonfrane,
whichhasbeconeanindustrystandardin
theaninationindustry. 1hesoftwareallows
netoconpletelycontrol thecanera, nuch
liketheCanonLSUtility, or Lightroon. can
set theshutter speed, S, seehistogran
readoutsandset local spot netersthat can
novearound. However, set theaperture
nanually-if yourelyonelectronicallyset
aperturesyouget ninutediherencesin
exposurebetweenfranes, whichleadsto
ficker whenplayedback. Withnanual
lenses, if set fi5.6, get fi5.6everyfrane.
1obycontinues, 1hecaneraisnounted
onatripodfor thestationaryshots, or alarge
notorisedarncalledaGazellefor notion
shots. 1heGazelleisprogrannedtonove
thecaneratinyanountsbetweenfranesso
that whenplayedbackyouget onesnooth
panasthesceneevolves. 1hereasonthat we
usenotorisedarnsrather thanananual
dollyisthat, inanination, wehavetobeable
toreplicateeverynovenent norethan
once, aswehavetouserigstoholdthe
puppetsinplace. Byshootingan'enpty'
sceneaswell aswiththecharactersinplace,
wecanessentiallynasktherigsfrane-by-
franeinpost-production.
1helevel of detail that thecrewwent tois
incredible, andbringsthebear andhisfurry
friendstolife. However, nanypeoplewill be
askingwhytheteandidn't choosetotake
the'easyroute' anduseCG. 1obyexplains
oneof thetechnical benets. negreat

USIGREA SETS ADREA IGHTIGGIVES

ITACHARADAEVE OF ITEGRITYTHAT
YOUCOUD'TREPICATE OACOPUTER

DIGITL 5LR PHOTOGRPHY
gthof aninationover liveactionisthat
canshoot usingprettynuchanyshutter
speed. 1hisneansfewer biglights, lessheat
onset andthereforetheset deterioratesat a
nuchslower rate. Soneof thescenes
requiredquitelongexposures-for exanple,
whenthebear walksacrossalogover ariver,
eachexposurewasaroundI.5seconds.
projectedaninagethat 'dtakenof an
overcast skyontothewhitebackdrop-the
light fronthat illuninatedtheset andwas
supplenentedbythreesnall low-powered
lights. achfranecanbecraftedwithcare
andcontrolledtothenthdegree.
longsidethetechnical benets, theln
has acertainaestheticthat canonlybe
achievedbyusingphysical puppets and
real light, as director Yves explains. ' think
thequalityof it shows through-usingreal
sets andreal lightinggives it acharnanda
level of integritythat youcouldn't replicate
onaconputer. t was achallenge, awayto
pushtheboundaries andtrynewthings.
What's thepoint of doingsonethingthat
you'vealreadydoneWealreadyknewthe
concept wouldworkbut welearnt alot
whilewewereworkingonit.
fter sevengruellingnonthsspent
labouringover theproject,
wasunleashedupontheGreat British
publicinatwo-ninutededicatedadvert
breakduringX-|actor. 1helnhassince
goneviral online, rackingupaninpressive/.5
nillionYou1ubeviewsat last count. '1here's
beenaverygoodreaction, saysYves.
'Wedon't seethelninthesanewayasthe
general publicaswespent solongcarefully
planningandexecutingit, but 'veheard
peoplearegettingenotional andcryingafter
theyseeitl 1hat'showweknowwe'vedonea
goodjob-thefestivetaleof 1neear 81ne
arehasreachedpeople'shearts.
h/mfor yourse/f, or toseemore
of 8/nklnkswork, vst. www.b/nknk.co.uk

ve-weekshoot at CIapham
Poad5tudios. CarefuI anddetaiIedpIanning
ensuredthat eachof thediherent production
teamsworkedintotaI harmonyandtheentire
productionwasshot instiIIsonCanonEO55D
MkIII cameraswithZeissZFPrimeIenses.
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Uuplst nonth's issue

you'll hveseeninour reviewof ten
populr outts tht younget
hell of lot withbudget of 600. his
nonthwetkelook t nerkits osting
upwrds of 650. hilefewnodels ny
not pper toodissinilr fronsoneof those
feturedthis nonth thereredistint
diherenes whenyoulook norelosely t
thespeition. hilethenegpixel ount
ny not inresedrntilly sonewill
bost full-frnerther thn-sensors.
uildqulity shouldbebetter toondgenerl
perfornne interns of speedndinge
qulity will besuperior innost respets. his
nonth's reviewhighlights eight of thenost
populr s inedt enthusists nd
seni-proipros. e'vevoidedthetop-end
nodels suhs theikon800or non
5k ndonentrtedonthenore
hordblenodels. his guideins toshow
youwheresonerebetter thnothers but
whihever youopt for younexpet to
pturenzinginges for yers toone.
What toexpect wheyoupaymoe
1 o-onIoption s youspndmor
you'll hndmrs rvillwit
suprior kit zooms sus n1-105mm
lns or ody only. lttr's ood
optionif youlrdy ownsomlnss.
t's wortonsidrin50mmf!1.
rtr tnstndrdzoom.
2 etherproo o s youspnd
mor you'll hndtt mrs rmor
roust ndinmnyss v
wtrproof sls toprott tmfrom
dust s wll s tlmnts mkintm
ttr ll-wtr oi. ddd
prottiondos mnty'rlrr nd
vir tnntry-lvl modls ut tis
usullymns improvdndlin.
3 Imgesensor t's fir toxpt ttr
qulity ims s youspndmoron
mr. s wll s suprior S-
snsors onmorxpnsivmodls you
nlsoopt for lrr full-frmsnsors
wiristr vnfurtr. ust
suryour lnss romptilsom
rsuitlfor S-snsors only not
full-frmSs. r inmindtt t
lrr snsor will ilit ny
dhinis inoptis sotot tst
fromfull-frmS youmy ndto
uprdsomof your lnss too.
4 Imgeproessor is is tunsun
roof Ss. t's tnintt ndls
stills ndvidos tttr tim
prossor tmorims it nndl
tttr tndxposursystms
ndultimtly tttr thnl qulity
of tstills!vidott youptur.
5 Viewnder: ou'll hndtsiznd
lrity of viwhndrs improvs witmor
xpnsivmodls. iltis mit not
soundnimportnt onsidrtion it
rlly lps toimprovtnjoymnt of
tkinpiturs s wll s mkinim
ompositiontt littlit sir.
6 Monitor screen: s wll s ninrs
intsizof tmonitor (onvr
younxpt 3insrn mor
xpnsivunits ost ir rsolution
ndsomtims rtiultdpltforms.
Wi-Fi: ormodls nowost i-i
willows youtowirlssly trnsmit
ims or ontrol your mrvitlt
or smrtpon.
dditionaI grip: ny modls v
riptt nttdtoimprov
ndlinndor nxtrst of ontrol
uttons nddils for wnsootinwit
tmrinnuprit position.
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PEPFOPMNCE
VLUEFOPMONEY
OVEPLL

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PEPFOPMNCE
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FETUPE5
PEPFOPMNCE
VLUEFOPMONEY
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24-105mmkit: 05Gi 000
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Imaeresoution:0nixl
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BULRSGUL SR1SvLR50

UR 0I4






Filter won't makeas
mucha dinerenceas oumight think.
Nonetheless, this is a signihcant update
andall-roundexcellent
18-105mmkit: I00Gi I000S
odyony:II00Gi 40S
Imaesensor: S-CCS5xI5nn
Imaeresoution: 4I-ngpixl
Pone:00000
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npil ow- il i b h
lko oninhI00nk hi
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ho ninvySRwv
v nonponi ing
hpn whihi onhingwv
lwy p 1h h ikonh
nnwiho onhol
nnponil jnpiningliy
hi nolbhnol h
nk ll SR ollowi So
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o b no by noiblngin
xp ng nklyhp
hnonh500 o xnpl b
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o-ypno i xlln loking
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wok wll inlowligh oo wihh
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xpo nongi xnivnl o
n lwy wihikon
vyhingonhonol lyo oh
Ci billyon obly
bil nwonl o

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Thereis nodoubt that theD600is a

brilliant camera. Its 24.3-megapixel
sensor rightl grabs theheadlines, but
it's thecompact sizeof thecamera, as
well as its price, that will alsogainit
attention. It's a wonderful camera to
useandis capableof stunningimages,
however qualit control issues andits
recent supersessionb theD610make
theD600hardtorecommend.
24-85mmkit:450Gi I499S
odyony:I00Gi I00S
Imaesensor:ll-n4xI5nn
Imaeresoution:4-ngpixl
Pone: 00000
1hikon00i billyign
wihboyboingnoohv n
nlin 1hl blnn
gnl hnling-oo
loiniblyonp oniingi
ho ll-nno in i
hnll nligh -on
nol onikony no h
hing whvonnioni i nwly
vlop-on CSno
oliono 4-nillionpixl nyb
inil oh o hny-lvl 00
b i ponnwill bhigh in
hninohlg pixl iz
1h00iwonl in hnl
billy hngingingi n
logil whilhnpin
opionnnilwyyo h
nx ho 1hooingnl i
xlln vyponivn
lokingonhbj ivviwigoo
b iill bhinhnynin
no pnpon wihh
ppinginohpo low p
1hixningynhbn
nov hyopovinibly
nowvnohingb pio
iponnongbklighingbing
hniniionh i pobln
1hLLLpoo hnl Rwl
wih wihho n no
ingnylginn oionol
i xlln no SI00n
vnS00gvbling
low S hing xhibi vyhigh
hpn wihnilyn
liiolo ConvingonRwo
LGgiv lighlyb ing b
in-nLG vygoo oo
Unonly nny00 hv
nopoblngingno i n
hi h loh00bingno
il oonnn hno low
hnnonl ing o wh i ohwi
nn 1hnol h inbn
pbyhI0 whihon
onhi iyno i

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J 0I4

II deserves todowell. It's
particularly suitablefor outdoor
photographers whowouldbeneht
fromits excellent build. s well as rival
brands, it faces competitionfromthe
cheaper K-30, whichis very similar in
specihcation. It's a great camera, but
withmodels onering18-megapixels or
more, it has a hght onits hands.
8-55mmki:00(Gide /0(ee
dI:/60(Gide 650(ee
Imagesesr:P-CCM(./I5./nn
ImageresIi:I6.-negpiel
Phe:044690I00
hePen-5 i inedilyell nde
ndlelydeignedohndleheigo
of heenhi. f yoeedohe
ligh, plikyfeel of neny-leel
nodel, yoll nodo epiedyhe
olidfeel ndeigh of he-5. he
eeio ingi oneding
ligheigh ngneinlloy, hilehe
hi i ndeof inle eel. hi
help edeheeigh of heehe-
ein nddpoof odyhile
nininingi igidiy.
hegenel lyo i eellen, ih
pononed, ell-nkedon nely
ngedinlogil poiion. njo
poiiei heinlionof oinp dil,
oneonhehndgipndheohe onhe
e yhehne, hihgely
peed phngingile like
pee ndhe peed. hene
h eendeignedoeeyonige
ndf oopee, ell iedo
eio e. nen of hndling, i one
of hee nde-I,000nodel.
ngepoeingi hndledyhe
highlyegdedPML, h llo fo
hooing eyepeleeen
fne-pe-eond, longihn
ngeof I00-I00(eendleo
0-5I00.
he-5, ihi I6.-negpiel
CMeno, pefon ineyinil
fhionoi pedeeo he-5
hih ielf eellen. henin
inpoenen i hoell heofo
yenopee inloligh i piing
hoineydinondiion i lok fo
onheje. nnonl ondiion, he
i qikndpoiie, lhoghieie
ill need inpoing. Meeingi eellen,
onlyklighinge i njo
polen. ngeqliyi eellen, ih
goodhpne ndeliiolo. Mo
inpeiei heleel of noie, hihin
h eiden nil heehe 00.
ll HDideoi inpeie, oo, ih
noohndle eoding.
K-5II
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Verdict
The77 has enoughinits arsenal to
mix it upwiththebest, withits
24.3-megapixel resolutiongivingit a
distinct sellingpoint over rivals. Inreal
terms, theadvantageof this isn't as
great as you'dexpect, soyour purchase
shouldn't bebasedonthis alone. That
said, theSony has many other excellent
features andshouldbeonevery
enthusiast's shortlist.
-5mmki: I,50(Gide I,I0(ee
dI:50(Gide /0(ee
Imagesesr:P-CCM(.5I5.6nn
ImageresIi:4.-negpiel
Phe:0/05III999
ikeohe neinonylph
line-p, he//ienedyony
Dhe hnD. he iin
efeeneohenlen nio, hih
enininedpoiion, he hn
noingpndo of heligh phding
nepoeefenio doe. hi
hhedngeof lloingfo fe
fneendnenheopil
iende nee lko. ih
.4-nilliondo diplyndI00
oege, hende oheinpeie
hpnendliy, ndhe
4.-negpiel eoliongiehe//
njo ellingpoin oe oneof iil.
heneeynnfe een o
o o hingheold nlle
ne, heolde ndhnky
ildone efehinghnge. ll he
njo onol eponinen, ell
lelledndeyoe. hene
feel o ndlne eifllyih
lge lene, hilehenne of onol
on poidenindiionof ho
heilypeiedhi nei.
Lpeienedphoogphe ill ndhi
nke i qikndeyoe
fnion, i nyeehoof
fo ll heno niio nd
deno of noie.
hendneeingyeneey
ophiiedndohe eepionl
peiion, hihhlelye o o
nee heineingdenndof he
enhi phoogphe. ngenel
hooingiion, i elype
poolyepoedingeonlyongly
kli enepeen el polen.
heyeniendeponie
innddndieie, lhogh
f-noingjedoei oggle
lileif noingeilly. Coloe
elyeodedndoneenooh
ndnl. oiein eiden lo,
highe inginoepelen hn
onCnonndikonil. nygipee
nino hogh, i delieineeykeye.
5onylpha77
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Verdict
HIGHLY
RTED

2 AA I4 IGIAL L PHOOGAPH
omrsot
Ovr vrt Mssst mot?
deI CnnEO500D CnnEO50D CnnEO5D CnnEO56D
t ce: Gudel5teet II I- III I- I4 I- 4-I
dy nIy ce: Gudel5teet 44 II II II4
5en tye A- A- A- f-fr
eIutn (eectve xeI) I-iio pis -iio pis -iio pis -iio pis
x me eIutn (xeI) I44 pis 44 pis I44 pis 44 pis
Eectve cI Ient ncee I I I I
ume F nt i cross-p I cross-p I cross-p II cross-p cr
uItzne meten
I5O ne I- I- I-I I-
Cd mt
5utte eed I4sc o scs + Bulb Ii8000sec to 30secs + Bulb Ii8000sec to 30secs + Bulb Ii4000sec to 30secs + Bulb
uItn Yes Yes Yes No
FI ync Ii200sec Ii250sec Ii250sec IiI80sec
Ime tItn S lenses only S lenses only S lenses only S lenses only
Dut eductn No Yes Yes Yes
Cntnuu me te ive franes-per-second Seven franes-per-second Light franes-per-second 4.5 franes-per-second
CD mnt 3in (I,040,000-dot) touchscreen 3in (I,040,000-dot) vari-angle 3in (920,000-dot) 3in (I,040,000-dot)
HD vde Yes (ull HD) Yes (ull HD) Yes (ull HD) Yes (ull HD)
we uce Lithiun-ion Lithiun-ion Lithiun-ion Lithiun-ion
Dmenn (mm) I33.Ix99.8x/8.8 I39xI04.3x/8.5 I48.2xII0./x/3.5 I44.5xII0.5x/I.2
Weight (grams) 580 /55 820 /55
Website www.canon.co.uk www.canon.co.uk www.canon.co.uk www.canon.co.uk
OveraII rating
ModeI NikonD7100 NikonD600 Pentax K-5II 5ony Ipha 77
Kit price: Guidel5treet I,300iI,000 (I8-I05nn) 2,450iI,499 (24-85nn) 800i/20 (I8-55nn) I,350iI,I30 (I6-50nn)
ody onIy price I,I00i840 I,800iI,200 /60i650 850i/30
5ensor type DX-fornat (APS-C) CMS X-fornat (full-frane) CMS APS-C CMS APS-C CMS
PesoIution (ehective pixeIs) 24.I-nillion pixels 24.3-nillion pixels I6.28-nillion pixels 24.3-nillion pixels
Max. image resoIution 6000x4000 pixels 60I6x40I6 pixels 4928x3264 pixels 6000x4000 pixels
Ehective focaI Iength increase I.5x (plus I.3x option) Ix (plus I.5x option) I.5x I.5x
Number of F points 5I (nine cross-type) 39 (nine cross-type) II (nine cross-type) I9 (II cross-type)
MuIti-zone metering 2,0I6 pixel 2,0I6-pixel // segnents I200
I5Orange I00-25600 I00-6400 80-5I200 50-32000
Card format SD (SDHCiSDXC) SD (SDHCiSDXC) SD (SDHCiSDXC) SD (SDHCiSDXC)
5hutter speeds Ii8000sec to 30secs + Bulb Ii4000sec to 30secs + Bulb Ii8000sec to 30secs + Bulb Ii8000sec to 30secs + Bulb
uiIt-in ash Yes Yes Yes Yes
FIash sync Ii250sec Ii250sec IiI80sec Ii250sec
Image stabiIisation vR lenses only vR lenses only Yes (Shake Reduction) Yes (Shake Reduction)
Dust reduction Yes Yes Yes Yes
Continuous frame rate Six franes-per-second 5.5 franes-per-second Seven franes-per-second Light franes-per-second
LCD monitor 3.2in (I,228,800-dot) 3.2in (92I,000-dot) 3in (92I,000-dot) 3in (92I,600-dot)
HD video Yes (ull HD) Yes (ull HD) Yes (ull HD) Yes (ull HD)
Power source Lithiun-ion Lithiun-ion Lithiun-ion Lithiun-ion
Dimensions (mm) I35.5xI06.5x/6 I4IxII3x82 I3Ix9/x/2.5 I42.6xI04x80.9
Weight (grams) /65 850 680 653
Website www.nikon.co.uk www.nikon.co.uk www.pentax.co.uk www.sony.co.uk
OveraII rating
W'vovrqut lrprrkt nts sltono SRs wtmrs rnnrom
vnntrylvl troutosmpromols. Tntx s ono tpst nour
rvwns nxllnt mr you'rppy wtts rsoluton. TnonS 700oul
vnnluwt lst mont's mols ut ts smootousn(or vo STlns
mns t sts ntovrL60prrkt nrns st uy or orn rt pkt
tmptnpr. ou'rlooknupwrs o L000or trst o tmols ut t's mony wll
spnt. ll tSmols lvr rt prormn ut tnwst mol tkon700
soops st uy y nluntltst sptonnnnrlprormnnll t
ky rs. Tr's vry lttltooostwnttwoullrmmols wtr or t
ns o mnnpotorprs ut o ttwo t's tnonS 6tt sors st
mnly utotprolms wtsnsor ust tt vomtolt wttkon600.
IGIALLKI N6
nour rvwo tnpopulr outts
tollownmols rvtr
Hly Rtor st uy wrs.
: nonS600
kon3200nkon200.
HIGHLA: nonS00
nonS00 ntx00
ntx0nSonylp6
0800 73l 2ll6
oca-uk.com
Open College of the Arts
One-off course
or a 8A(Hons)
Study at your own pace from home
and start at a tlme to sult you.
Support from a one to one tutor who
ls also a practlslng photographer.
8e part of a UK and lnternatlonal
student communlty.
MA Plne Art onllne also avallable.
Plnd out more from our webslte.
Capture your
creatlvlty
Dewald 8otha, OCA student
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HD - - 000 00-
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200 3 9 299x99
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Canon
LS 00D
20 8 x 3 SD
SDHC
u HD - 000 00-
2800
200 3 33x99
x9
Jun 9

Canon
LS 00D
80 8 x 3 SD
SDHC
u HD - 000 00-
200
200 0 8x90
x9
ug 3 92

Canon
LS 00D
900 8 x 3 SD
SDHC
u HD - 000 00-
200
200 80 33x998
x88
Ju 3 92

Canon
LS 0D
,20 8 x 3 SD
SDHC
u HD - 8000 00-
2800
20 3 x0
x8
Jan 88

Canon
LS 0D
,080 8 x 3 SD
SDHC
u HD - 8000 00-
200
20 39x03
x8
Nov 3 9
Canon
LS D
,00 8 x 3 C u HD - - - 8000 00-
2800
20 8 820 82x0
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Jan 0 93
Canon
LS D
2,0 202 x 32 SD
SDHC
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200
- 80 x0
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Ma 3 90
Canon
LS DM
3,00 223 x 32 Co
SD
SDHC
u HD - - - 8000 0-
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- 200 90 2x
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Canon
LS-D
,30 8 x 32 2x C u HD - - - 8000 0-
20800
- 20 30 8x3
x82
- -
Non D3200 00 22 x 3 SD
HC
C
u HD - - - 000 00-
2800
200 - 0 2x9
x
Se 2 9
Non D90 0 23 x 3 SD
SDHC
HD - - - 000 00-
00
200 20 32x03
x
Nov 08 90
Non D200 20 2 x 3 SD
SDHC
u HD - - - 000 00-
200
200 - 29x98
x8
3 93

Non D300 30 22 x 32 SD
SDHC
u HD - - - 000 00-
200
200 - 30 2x98
x
- -
NonD00 ,00 2 x
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SDHC
u HD - - - - - 8000 00-
200
20 3x
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June
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Non D0 ,800 23 x 32 SD
SDHC
u HD - - 000 0-
200
200 80 x3
x82
- -
Non D00 ,9 23 x 32 SD
SDHC
u HD - - 000 0-
200
200 80 x3
x82
De 2 93
Non D800 2,00 33 x 32 C o
SD
SDHC
- - - - 8000 00-
200
20 000 x23
x8
Juy
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Non D800L 2,900 33 x 32 C o
SD
SDHC
- - - - 8000 00-
200
20 000 x23
x8
- -
Non D ,290 2 x 32 C o
D
u HD - - - - - 8000 00-
20800
- 20 80 0x
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- -
yu L- ,99 23 2x 3 CSD HD 8000 00-
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20 800 2x
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- -

Pentax -00 00 28 x 3 SD
SDHC
u HD - - 000 00-
200
80 - 0 29x9
x0
- -
Pentax -30 80 28 x 3 SD
SDHC
u HD - - 000 00-
200
80 - 90 28x9
x
Nov 2 9

Pentax -0 0 28 x 3 SD
SDHC
u HD - - 000 00-
200
80 - 0 29x9
x0
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Pentax - 0 28 x 3 SD
SDHC
u HD - - 8000 80-
200
80 - 0 3x9
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Jan 3 9

Pentax -3 ,00 233 x 32 SD

SDHC
u HD - 8000 00-
200
80 - 83 800 3x00
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- -
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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
IKON IIGITAL CAMFRAS
N||or 01 3LR oody............................................................... 1,199.00
N||or 01 AF-3 11-21rr l/2.80 lF-E0 K|l......................... 5,1Z5 00
N||or 01 AF-3 21-Z0rr l/2.80 lF-E0 K|l......................... 5,399.00
N||or 01 AF-3 11-21rr & 21-Z0rr l/2.80 K|l................ ,99.00
N||or 0800 03LR oody......................................................... 1,919.00
N||or 0800 V8-012 0r|p K|l.............................................. 2,230.00
N||or 0800 AF-3 11-21rr l/2.80 E0 N|||or.................... 3,255.00
N||or 0800 AF-3 21-Z0rr l/2.80 E0 N|||or.................... 3,180.00
N||or0800AF-311-21rrl/2.80&AF-321-Z0rrl/2.80E0N|||or K|l
............................................................................................... 1,185.00
N||or 0800E 03LR oody...................................................... 2,319.00
N||or 0800E V8-012 0r|p K|l........................................... 2,30.00
N||or 0800E AF-3 11-21rr l/2.80 E0 N|||or................. 3,19.00
N||or 0800E AF-3 21-Z0rr l/2.80 E0 N|||or................. 3,5Z5.00
N||or0800EAF-311-21rrl/2.80&AF-321-Z0rrl/2.80E0N|||orK|l
............................................................................................... 1,8Z5.00
N||or V8-012 0r|p lor 0800E/0800..................................... 285.00
N||or 0l AF-3 50rr l/1.80 3pec|a| Ed|l|or...................... 2,Z19.00
N||or 010 03LR oody......................................................... 1,599.00
N||or 010 V8-011 0r|p K|l.............................................. 1,Z89.00
N||or 010 AF-3 21-85rr l/3.5-1.50 E0 vR N|||or........ 1,999.00
V8-011 0r|p lor 010........................................................... 195.00
N||or 0Z100 3LR oody......................................................... 839.00
N||or 0Z100 V8-015 0r|p K|l.......................................... 1,059.00
N||or 0Z100 18-105rr l/3.5-5.0 vR 0X lF-E0 K|l........ 995.00
N||or 0Z100 18-110rr l/3.5-5.0 vR 0X E0 K|l............ 1,299.00
N||or 0Z000 3LR oody......................................................... 5Z9.00
N||or 0Z000 18-105rr l/3.5-5.0 vR 0X lF-E0 K|l........ Z19.00
N||or 0Z000 18-200rr l/3.5-5.0 vR ll 0X lF-E0 K|l..... 1,159.00
N||or 0Z000 V8-011 K|l.................................................... Z89.00
N||or 090 3LR oody............................................................. 119.00
N||or 090 18-105rr l/3.5-5.0 vR 0X lF-E0 K|l............ 519.00
N||or 05300 3LR oody......................................................... 99.00
N||or 05300 AF-3 18-55rr l/3.5-5.0 vR 0X K|l........... Z99.00
N||or 05300 AF-3 18-110rr l/3.5-5.0 vR 0X K|l......... 999.00
N||or 03200 03LR oody....................................................... 319.00
N||or 03200 18-55rr l/3.5-5.0 vR 0X K|l.................... 3Z9.00
N||or 05200 03LR oody....................................................... 199.00
N||or 05200 AF-3 18-55rr l/3.5-5.0 vR 0X K|l........... 5Z5.00
N||or 05100 03LR oody....................................................... 315.00
N||or 05100 AF-3 18-55rr l/3.5-5.0 vR 0X K|l........... 115.00
N||or 03200 03LR oody....................................................... 339.00
N||or 03200 AF-3 18-55rr l/3.5-5.0 vR 0X K|l........... 3Z9.00
N||or 03100 03LR oody....................................................... 259.00
N||or 03100 AF-3 18-55rr l/3.5-5.0 vR 0X K|l............ 299.00
IKON 1 SYSTFM
N||or 1 v2 10-30rr K|l........................................................ 59.00
N||or 1 v2 10-30rr & 30-110rr TW|r K|l.......................... Z99.00
N||or 1 31 11-2Z.5rr K|l..................................................... 1Z5.00
N||or 1 31 11-2Z.5rr 30-110rr K|l................................ 595.00
N||or 1 Aw1 11-2Z.5rr l/3.5-5....................................... Z19.00
N||or 1 Aw1 11-2Z.5rr l/3.5-5. 10rr l/2.8................ 919.00
N|||or vR .Z-13rr l/3.5-5................................................ 125.00
N|||or vR 11-2Z.5rr l/3.5-5.............................................. 19.00
N|||or vR 10-30rr l/3.5-5................................................. 115.00
N|||or vR 30-110rr l/3.8-5............................................... 1Z9.00
N|||or 10rr l/2.8.................................................................. 1Z9.00
1 N|||or Aw 10rr l/2.8........................................................ 299.00
N|||or 18.5rr l/1.8............................................................... 1Z9.00
N|||or vR 10-100rr l/1.5-5. P0-Zoor.............................. 515.00
N||or 38-NZ 3peed||grl........................................................ 139.00
N||or 0P-N100 0P3 ur|l...................................................... 99.00
Vourl adapler FT1................................................................ 199.00
IKON COOLPIX
N||or Coo|p|x A..................................................................... 819.00
N||or Coo|p|x PZ800............................................................. 199.00
AI-S & AI IX IKKOR IFNSFS
10.5rr l/2.80 AF 0X E0 F|sreye........................................ 515.00
AF-3 35rr l/1.80 0X........................................................... 150.00
AF-3 10-21rr l/3.5-1.50 lF-E0 0X..................................... 39.00
AF-3 12-21rr l/10 lF-E0 0X.............................................. 829.00
AF-3 1-85rr l/3.5-5.0 E0 vR 0X................................... 139.00
AF-3 1Z-55rr l/2.80 0X lF-E0........................................... 1,019.00
AF-3 18-55rr l/3.5-5.0 vR E0 0X................................... 115.00
AF-3 18-105rr l/3.5-5.0 vR 0X lF-E0............................. 225.00
AF-3 18-110rr l/3.5-5.0 vR 0X E0................................. 1Z5.00
AF-3 18-200rr l/3.5-5.0 vR ll 0X lF-E0.......................... 585.00
AF-3 18-300rr l/3.5-5.0 E0 vR 0X................................. Z5.00
AF-3 55-200rr l/1-5.0 vR 0X lF-E0................................ 215.00
AF-3 55-300rr l/1.5-5.0 0X vR....................................... 2Z9.00
AI IX IKKOR IFNSFS
11rr l/2.80 AF E0......................................................... 1,219.00
1rr l/2.80 AF F|sreye.................................................. 19.00
20rr l/2.80 AF................................................................ 15.00
Prices include 2O7 VAT. Prices 8uoject to Change. E.&0.E.
I0 080I8 II|IPH0NI
21rr l/2.80 AF................................................................ 39.00
28rr l/2.80 AF................................................................ 215.00
35rr l/20 AF................................................................... 255.00
50rr l/1.80 AF................................................................ 109.00
50rr l/1.10 AF................................................................ 235.00
85rr l/1.80 AF................................................................ 299.00
85rr l/1.10 AF lF............................................................ 919.00
105rr l/20 AF-0C.......................................................... Z99.00
135rr l/20 AF-0C.......................................................... 1,025.00
180rr l2.80 AF lF-E0.................................................... 95.00
AI-S IXSILFNTWAVF IKKORIFNSFS
AF-3 21rr l/1.10 E0...................................................... 1,19.00
AF-3 28rr l/1.80............................................................ 199.00
AF-3 35rr l/1.10............................................................ 1,299.00
AF-3 50rr l/1.10 lF........................................................ 2Z5.00
AF-3 50rr l/1.80 lF........................................................ 155.00
AF-3 85rr l/1.80............................................................ 3Z9.00
AF-3 85rr l/1.10............................................................ 1,1Z9.00
AF-3 11-21rr l/2.80 lF-E0............................................ 1,310.00
AF-3 1-35rr l/10 E0 vR.............................................. 829.00
AF-3 1Z-35rr l/2.80 lF-E0............................................ 1,195.00
AF-3 18-35rr l/3.5-1.50................................................ 59.00
AF-3 21-Z0rr l/2.80 lF-E0............................................ 1,235.00
AF-3 21-85rr l/3.5-1.50 E0 vR.................................... 119.00
AF-3 21-120rr l/10 E0 vR........................................... Z99.00
AF-3 28-300rr l/3.5-5.0 E0 vR.................................. 19.00
AF-3 Z0-200rr l/2.80 vR ll lF-E0................................. 1,599.00
AF-3 Z0-200rr l/10 vR lF-E0....................................... 995.00
AF-3 Z0-300rr l/1.5-5.0 vR lF-E0.............................. 385.00
AF-3 80-100rr l/1.5-5.0 vR E0.................................. 2,115.00
AF-3 200-100rr l/10 vRll lF-E0................................... 1,8Z9.00
AF-3 200rr l/20 vR ll lF-E0......................................... 1,099.00
AF-3 300rr l/10 lF-E0.................................................. 1,029.00
AF-3 300rr l/2.80 vR ll lF-E0...................................... 1,039.00
AF-3 100rr l/2.80 vR lF-E0......................................... ,595.00
AF-3 500rr l/10 vR lF-E0............................................ 5,815.00
AF-3 00rr l/10 vR lF-E0............................................ Z,050.00
AF-3 800rr l/5.E vR FL E0 (|rc. TC800-1.25E E0 le|ecorverler)
.........................................................................................15,599.00
TC-11E ll 1.1x le|ecorverler............................................. 315.00
TC-1ZE ll 1.Zx le|ecorverler............................................. 315.00
TC-20E lll 2x le|ecorverler............................................... 389.00
AI IX ZOOM-IKKOR IFNSFS
21-85rr l/2.8-10 AF lF................................................... 515.00
AI &AI-S MICRO-IKKOR IFNSFS
AF-3 10rr l/2.80 0X V|cro............................................ 189.00
0rr l/2.80 V|cro........................................................... 35.00
AF-3 0rr l/2.80 E0 V|cro............................................ 399.00
AF-3 85rr l/3.50 vR 0X lF-E0 V|cro........................... 3Z5.00
AF-3 105rr l/2.80 AF-3 vR V|cro lF-E0...................... 09.00
200rr l/10 AF V|cro lF-E0............................................ 1,215.00
IKON SPFFDLIGHTS
38-910 3peed||grl............................................................ 335.00
38-Z00 3peed||grl............................................................ 229.00
38-100 3peed||grl............................................................ 119.00
38-R1C1 C|ose-up Corrarder K|l................................ 559.00
38-R1 C|ose-up Rerole K|l............................................ 399.00
3u-800 w|re|ess 3peed||grl Corrarder........................ 29.00
38-R200 w|re|ess Rerole 3peed||grl............................. 159.00
MANUAL IOCUS IKKOR AIS IFNSFS
20rr l/2.8 N|||or............................................................. 901.00
21rr l/2.8 N|||or............................................................. 08.00
28rr l/2.8 N|||or............................................................. 15.00
35rr l/1.1 N|||or............................................................. 1,22Z.00
15rr l/2.8P N|||or, crrore............................................ 325.00
50rr l/1.1 N|||or............................................................. 59Z.00
50rr l/1.2 N|||or............................................................. Z13.00
180rr l/2.8 E0 N|||or..................................................... Z99.00
ZOOM-IKKOR MANUAL AIS IFNSFS
28-85rr l/3.5-1.5 Zoor-N|||or ...................................... 599.00
SPFCIAL IURPOSF: IFRSPFCTIVF
CONTROL ANDMICRO-IKKOR IFNSFS
21rr l/3.50 PC-E E0 N|||or.......................................... 1,155.00
28rr l/3.5 PC N|||or...................................................... 1,195.00
15rr l/2.80 E0 PC-E N|||or.......................................... 1,395.00
55rr l/2.8 V|cro-N|||or.................................................. 511.00
85rr l/2.80 E0 PC-E N|||or.......................................... 1,325.00
105rr l/2.8 V|cro-N|||or................................................ 1,01Z.00
200rr l/1 V|cro-N|||or................................................... 895.00
PC: Perspecl|ve Corlro|. PC-E:T||l/3r|ll-Perspecl|ve Corlro|
FoIIow us on: @NikonatGrays
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Telephone no. O2O 7828 4925
for full deLails
VisiL our vebsiLe: www.graysofwestminster.co.uk
Iind us on Iacebook: www.facebook.com/graysofwestminster
I0 080I8 II|IPH0NI

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istortion: itortionnke tright
line tord therneedge er
ured t hnge ithol lengthndi
le notieleonP- rrel ditortion
line ureoutrd indited oitie
erentgelue, egI5 inuhion
ditortionure inrd indited
negtielue, eg-5 heloer the
ttedgure, theetter Ior le i good,
2or noreeinginreingl notiele
Vignetting: ignettingi drkening
tord theorner t hnge ithol
lengthndi lole roninent onP-
ignettingredue uikl theerturei
loeddon t eil renoedin
ot-roeing, ut henit trongthi
reult ingreter noie ignettingi
neuredinourelue Ieul
oneto -Ii uull not rolen
hromaticaberration: loknon
or olour ringing, i uullonl
lightlreduedt higher nuner, ndi
norenotieleonP-ornt duetothe
rotor itortion, ignettingndn
ll eutntillreduedor elininted
ithot-roeingotre
utofocus: utoou eednd
ur i gneo tohle hl
ner, hl len nthelen ideo thing,
not o thedierene reltetothe
nehni nduildulit, ndthi i
onnentedoninthereie
Imagestabilisation: euen
oilltingltorn, uton-ndetohold
odinlendninihndholding
hrteriti, ndinour tetingit h
roederreliti heltorn gret
irtuei tht it noluteltndrdtet
nedetaiI isrecorded
Distortion: 5traight IineshaveasIight curve
Vignetting: Progressivedarkeningtocorners
Howtoreadthe lens sharpness graphs
Our bar graphs provideyouwithavisual
representationof lens sharpness. ach
graphshows thecentreandedge
performanceof thelens at full f!stops from
maximumaperturetof!16at dinerent focal
lengths of thezoom. entresharpness is
showninred, edgeingreen. Thehigher the
bar, thebetter thesharpness, withratings as
follows: elow10: Poor, 10-29: air, 30-49:
ood, 50-69: Very good, Over 70: xcellent.
ll our lens test analysis is performedusing
software.
Lens5harpness(X): FuII-frame Edge Centre
60
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0
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fl16 fl11 fl8 fl5.6 fl4 fl2.8
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1
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6
5
5
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8

3MMPML L L
JAA 20I DGT 5R PHOTOGRPHY
HNDLING: Lvyyuwu xc f
Ca a uby ay
f ua 0
aay 3fI
FETUPE5: aucbac I acac
c-c c Mfcu
ubuaay fca
bu waa ca
II u cu
aca
UTOFOCU5: Mfcuwfu
aua v a afa
c0c afa
Ga fac
PEPFOPMNCE:
Ca3fIcacay w
a a w
I3I bcaby f a fIbu
wvy uabfaca avy
cu fufa
abua f2aaaa f2
wa a uway abv
xc v APC
ca u a auaI0w v
uu wca fac
axc a vy
cua a w
facwb waaa
Aba aw cwfay
yca v f vaCA
Pa u IIa 20
Mf c u c

M
110
VEPDICT: avy a vy
aff2 ac fa
aAPC uby bu wa A
aubaba
a y b c-
a3fI va uu
ca ac ccaxacy a
awy ba ca fac
HNDLING 20l20
FETUPE5 1l20
PEPFOPMNCE 3l0
VLUEFOPMONEY 16l20
OVEPLL l100
HNDLING: A 33 af w f fI
va Maua fcu xc -ua
v acy w wzac
FETUPE5: aaba uu
ca cafu b ca
cuc u
waca ufac acA
wI3cMD y c a
Bu -a 0xa
UTOFOCU5NDI5: aaba
auaby bca wwa bu
cay w w ca0ucc a
a u a a
a a a a aw
aa cazy Ic
a Maufcu xc a
ay avy fa ava03c
afa fcu
PEPFOPMNCE: A f2 y f
au Mayb u
accwf aw
ahcubc u f fcu
ayway Hwv a c uay
aby f a w abv xc
fufa a
u APCaa fa b
Pa u avII3
a 20Mf c
Davfac
yca f c au
wc f CAbb aava
axc fufa
CanonEFS5mmf/2
ISUSM
10
VEPDICT: Pu uafa
wa bu yb
f aa wu
ay a w a
aw away by ac
aac faff ww
a ww aa c ayu
ay v avfIay w
HNDLING 20l20
FETUPE5 1l20
PEPFOPMNCE 3l0
VLUEFOPMONEY 1l20
OVEPLL 0l100
CanonEF3mml2I5U5M
DI5TOPTION VeryGood
DI5TOPTION(PS-C: VeryGood
VIGNETTING(Full-frame: Fair
VIGNETTING(PS-C: Excellent
CHPOMTIC(Full-frameedge: Excellent
CHPOMTIC (PS-Cedge: VeryGood
CanonEF3mml1LU5M
DI5TOPTION(Full-frame: VeryGood
DI5TOPTION(PS-C: VeryGood
VIGNETTING(Full-frame: Fair
VIGNETTING(PS-C: Excellent
CHPOMTIC(Full-frameedge: Good
CHPOMTIC(PS-Cedge: Good
HGHY
RTED
HGHY
RTED
Ln5apn(): Fuam E Cnt
60
10
20
30
0
0
0
0
0
0
100
E
x
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6

6
6
2

A
l1 l l16 l6 l11 l l2 l2
Ln5apn(): P5C E Cnt
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10
20
30
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0
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100
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6

1
6

A
l1 l l16 l6 l11 l l2 l2
Ln5apn(): Fuam E Cnt
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10
20
30
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0
0
0
0
100
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2
6

0
6

l1 l l16 l6 l11 l l2 l2
Ln5apn(): P5C E Cnt
60
10
20
30
0
0
0
0
0
0
100
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x
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3
l1 l l16 l6 l11 l l2 l2
Test Centre
MaBookscoveaaneol!opcs, lomlT!oMo!on, andF!ness!oLles!yle
DrderyourprIntordIgItalcopydIrect!rommagbooks.comorcall08448440053
THElDEALCDMPANlDNFDRYDURDlGlTALSLR

PRL LNS 1LS1

NUR 20 DGT 5R PHOTOGRPHY
NLN Sy
u u uwu
u 1u
ww w
ww0 w
u w
u u
u
x Nu u
wuy
u
u uuy 2
v 1
uuuuy
PS u
TUP5 vw
u y N0x
u
xu v
x
S w2
u w R
PPOPMN 1 Sy
1
u u
uuu
vuy v v u
x u Sy
u vy
y uv
w P uu
2
amyangS5mmf/.4
ASUMC

VPT
uy w z
v 00 Sy
y u u u
w
u u
u y
y
NLN
TUP5
PPOPMN
VLUOPMON
OVPLL
5 5UM
5TOPTON(Full-fame: Fai
5TOPTON(PS-C: Fai
VNTTN(Full-fame: Good
VNTTN(PS-C: Ecellent
POMT(Full-fameedge: VeGood
POMT(PS-Cedge: VeGood
NLN Lx u wuu
uy u u y
00
TUP5 u200
vu w
1 y y
y vy u
wy
u vuu
uu v w
u
UTOOU5 N Su
vuy vy v
0
PPOPMN S
y
N
y
u w y
PS 1
xuuuy v w
y 2 2
vx
u 1
u PS
u 0lower level.
berrations control is typical of theclass,
withdistortionlow, andchronaticaberration
too. vignettingis onthehighsideat 2.4Lvon
full-frane, but that's only tobeexpectedwitha
wide-angleat fiI.4. Peak resolutionreachedII3
lines-per-nnat 20M1(centre, fi4).
VPT nall-roundexcellent lens,
especially for thebest part of I,500. t's sharp
for sure, very sharpindeedthroughthe
nid-apertures, thoughthenuchcheaper
SanyangandSigna35nnfiI.4s canbetter it
at thelowest finunbers. 1heNikoncounters
withaprovenrecordof ruggedbuildquality,
andis theonly onewithweatherproong.
NLN
TUP5
PPOPMN
VLUOPMON
OVPLL
N55MP
5TOPTON(Full-fame: VeGood
5TOPTON(PS-C: VeGood
VNTTN(Full-fame: Fai
VNTTN(PS-C: Ecellent
POMT(Full-fameedge:VeGood
POMT(PS-Cedge: Good
NikonAF-SS5mmf/.4
GSWMRF
HGHY
RTED
HGHY
RTED
L5 P5

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Test Centre
HNDLING: 1hebuilduality of thi t-eie
len i vey highwithnetal oute bael, unuual
theeday, andaninnaculatenihtothe
leek, nodentyling. t wok a well a it look
too, thoughi faily heavy andthee no
weathe-eitant ealing.
FTUP5: Signaha gonetotownonthe
optical deign, withI3elenent inII goup,
includingfou of SLDgla, twoapheical and
oneLDelenent withfuoite-likeualitie.
1hat noegla, andnoeof theexotictu,
thanany othe. ocuingi ultaonicHSM, len
hoodandcaeupplied.
UTOFOCU5: HypeonicHSM focuingi
alnot ilent andfat, neauinganaveageof
.5ec inthenea-to-fa tet. ull-tine
nanual oveidei niceandnooth, well
weighted, andwithnolack.
PPFOPMNC: t houldbehapwithall that
peniungla, andit cetainly i. 1hehapeof
theM1gaph i baically theanea Canon
o Nikon, that i toay ofte at fiI.4, noeoat
theedge, thenjunpinguptoavey high
tandadat fi2, andevenbette fonfi2.8. But
wheeve youlook, theSignajut nanage to
ueeeafewnoepecentagepoint ove
theCanikon. Peak eolutionneauedII4
line-pe-nnat 2M1fi4, cente.
beation contol i vey acceptable
oveall, withbael ditotionalittlelowe than
one, atingexcellent, whilevignettingand
chonaticabbeationC aefaily typical.
a S5mmf/.4DG
HSMArt
7
VPDICT: ithpefonancelikethi, it no
wonde Signa newt angei gabbing
headline. 1he35nnfiI.4i afabulou len,
beatingthenuchnoeexpeniveCanonand
Nikoneuivalent, if not by nuch. i
excellent andthebuilduality too, andthough
it not weathe-eitant, ateet piceof /
noethannake upfo that. oundBet Buy.
HNDLING l
FTUP5 8l
PPFOPMNC 7l
VLUFOPMONY l
OVPLL 5l
5igma5mmfl1.4DGH5Mrt
DI5TOPTION(Fr Ex
DI5TOPTION(C Ex
VIGNETTING(Fr Fr
VIGNETTING(C Ex
CHPOMTIC(Fr ryGoo
CHPOMTIC(C Goo
HNDLING: onSigna newt ange, it
hae tylingandinpeivebuilduality with
theBet Buy Signa35nnfiI.4, includinga
netal bael. Deignedtocove only PS-C
fonat, it ignicantly noeconpact, lighte,
andalot cheape thanit full-fanebigge
bothe, fo anevenweete-handlingpackage.
FETUPE5: Replacingthepeviou Signa
3nnfiI.4, it aconpletely newlen andi
bette all ound. ptical contuctioni
elatively nodet, helpedby theeduced
fonat coveage, havingnineelenent ineight
goup withoneapheical. ocuingi
hypeonicwithfull-tinenanual oveide, and
it cone withlen hoodandcae.
UTOFOCU5: Signa HSMi fat andalnot
conpletely ilent. Recod anaveagepeedof
.6econd inthenea-to-fa tet.
PEPFOPMNCE: t nid-angeapetue,
hapne i vey highight aco thefane-
excellent inthecenteandwell intothevey
good onetowad theedge. t ofte at fiI.4
andfi2, paticulaly at theedge, thoughbea in
nindthat theM1gaph fo PS-C
pefonanceaetetedat thehighe 36
line-pe-nnlevel toadjut fo thecopfacto.
Judgedat thi tandad, hapne i actually
alnot identical totheNikon35nnfiI.4that
cot fou tine a nuch.
beation aepetty well contolledand
peak eolutionneauedIII line-pe-nnat
2M1fi4, cente.
VEPDICT: Not uitethehapet len hee, at
leat at fiI.4, but till vey uableandalothe
cheapet -by avey longway conpaedto
one. hilehighedgehapne i alway
deiable, conide howofteno-cente
ubject will beinfocu anyway when
depth-of-eldi ohallowat fiI.4. 1hee
nodoubtingthebuilduality, o value.
HNDLING 20l20
FETUPE5 17l20
PEPFOPMNCE 34l40
VLUEFOPMONEY 20l20
OVEPLL 91l100
5igma30mmfl1.4DCH5Mrt
DI5TOPTION(Fr
DI5TOPTION(C ryGoo
VIGNETTING(Fr
VIGNETTING(C Ex
CHPOMTIC(Fr
CHPOMTIC(C Goo
SigmaS0mmf/.4DC
HSMArt
380

i JNURY 2I4

Lens5harpness(X): P5-C Edge Centre

60
10
20
30
40
50
70
80
90
0
100
E
x

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7
4
4
6
5
5
5
9
7
9
5
5
6
5
5
6
8
2
4
9
7
8
4
1
7
1
3
3
6
0
fl1.4 fl8 fl16 fl5.6 fl11 fl4 fl2.8 fl2
Lens5harpness(X): FII-frame Edge Centre
60
10
20
30
40
50
70
80
90
0
100
E
x

o
o

G
o
o

o
o
r
Ni
fl1.4 fl8 fl16 fl5.6 fl11 fl4 fl2.8 fl2
Ni Ni Ni Ni Ni Ni Ni
Lens5harpness(X): FII-frame Edge Centre
60
10
20
30
40
50
70
80
90
0
100
E
x

o
o

G
o
o

o
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r
7
6
8
1
6
3
6
5
7
7
8
5
7
1
7
4
7
8
8
8
7
5
8
8
5
9
8
7
5
2
7
6
fl1.4 fl8 fl16 fl5.6 fl11 fl4 fl2.8 fl2
Lens5harpness(X): P5-C Edge Centre
60
10
20
30
40
50
70
80
90
0
100
E
x

o
o

G
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6
4
7
1
4
7
5
0
6
6
7
7
5
8
6
1
6
4
8
0
6
1
8
0
5
4
7
5
4
5
5
9
fl1.4 fl8 fl16 fl5.6 fl11 fl4 fl2.8 fl2
Test Centre

35mmprime lens comparisontable Test conclusion
e de 3
fl2
3
fl
3
fl
e: de l teet
t tt
f et wt
efew d ull-ran, 42 PS-C 63 ull-ran, 42 PS-C 63 ull-ran, 44 PS-C
t tt 1n lnnts in ight groups II lnnts in nin groups 1n lnnts in svn groups
e eeet Ix asphrical Ix asphrical Ix asphrical
ete e i2 to i22 iI.4 to i22 iI.4 to iI6
Light roundd blads Light roundd blads Nin roundd blads
tf Ultrasonic Motor (USM) Ultrasonic Motor (USM) Silnt Wav Motor (SWM)
f ull-tin ovrrid ull-tin ovrrid ull-tin ovrrid
f 24cn (ron snsor) 30cn (ron snsor) 30cn (ron snsor)
te I3cn (ront o lns) I6cn (ront o lns) I5cn (ront o lns)
x t t I.4.2 I.5.5 I.5
et fed e Ys, iII and i22 Ys, i4, iII and i22 Ys, iI6 only
e tt our stops i pan dtction No No
te ze 6/nn, non-rotating /2nn, non-rotating 6/nn, non-rotating
eteett No No Ys
ze dete x et 80x63nn /9x86nn 83x90nn
et 335g 580g 600g
tt Canon only Canon only Nikon only
ee ed Non Hood, pouch Hood, pouch
ete www.canon.co.uk www.canon.co.uk www.nikon.co.uk
et t l 88l 8l
T
HSSN1anasyst to
judg. ll sixlnss ar
trulytopclass, aral trat
tous, andyouhavtolook
hardor dihrncs inoptical
prornanc. Sowhavon
Bst Buy, andthothr vall
HighlyRatd.
vrall, onlns dos stand
out -thBst BuySigna35nn
iI.4HSMronthinprssiv
nwrt rang. t's vrysharp
withstrongprornancat
iI.4, bautiullynad, snooth
andast oprating. t lacks
wathr-rsistant build, but
northannaks upor it witha
vryrasonabl/00prictag.
1h35nniI.4ohrings
ronCanonandNikonarso
sinilar, vndowntodtails o
spcicationandprornanc.
Bothhavxcllnt optics, and
provnruggdconstruction,
withthNikonaddingwathr-
rsistant buildthat gos son
waytojustiyingthhighr cost.
Canon's nw35nni2Sis a
littlbauty, tradingaonstop
highr inunbr or vry
hctivinagstabilisation.
t's slightlysotr aroundth
dgs at i2, but still vryusabl
andit's quitabit lightr too.
t around500, thpricis
rasonabl, but thlns hoodis
awhopping50xtra.
1hSigna30nniI.4HSM
is anothr gn. t's nador
PS-Conly, andthnainthing
thris that crop-ornat usrs
savastacko nony. Binga
Signart lns, thbuildand
nchanical prornancis
xactlylikthsuprb35nn
iI.4vrsion, thoughthlss
anbitious optical dsigncan't
quitdlivr thsandg
sharpnss at lowst inunbrs.
nonway, withth
Sanyang, w'rsavingthbst
till last -it's actuallythsharpst
lns ovrall, byawhiskr, with
particularlygooddg
prornancat iI.4. t's
conptitivlypricdtoo,
thoughbingnanual-ocus
only, that robs it o awpoints
onthscor.
B5T
BUY
JNURY 20I4i IGITL 5LR PHOTOGRPHY
e de 3
fl
3
flt
3
flt
e: de l teet 435 i 420 (Nikon +30) 500 i 380 800 i /00
t tt ull-ran and PS-C PS-C only ull-ran and PS-C
f et wt 52.5nn (56nn Canon) 45nn (48nn Canon) 52.5nn (56nn Canon)
efew d 63 ull-ran, 44-42 PS-C 5I-49 PS-C 63 ull-ran, 44-42 PS-C
t tt I2 lnnts in tn groups Nin lnnts in ight groups I3 lnnts in II groups
e eeet 2x HR, Ix asphrical Ix asphrical 4x SLD, Ix LD, 2x asphrical
ete e iI.4 to i22 iI.4 to iI6 iI.4 to iI6
Light roundd blads Nin roundd blads Nin roundd blads
tf nia (nanual ocus only) Hyprsonic Motor (HSM) Hyprsonic Motor (HSM)
f Manual only ull-tin ovrrid ull-tin ovrrid
f 30cn (ron snsor) 30cn (ron snsor) 30cn (ron snsor)
te I9cn (ront o lns) I8cn (ront o lns) I5cn (ront o lns)
x t t I.5.4 I.6.8 I.5.2
et fed e Ys, i2.8, 5.6, II, I6 and 22 No Ys, iI6 only
e tt No No No
te ze //nn, non-rotating 6/nn, non-rotating 6/nn, non-rotating
eteett No No No
ze dete x et 83xII2nn /4x63nn //x94nn
et /I2g 435g 665g
tt Canon, Nikon, Pntax,
Sansung-NX, Sony-, 4i3rds
Canon, Nikon, Signa Canon, Nikon, Pntax,
Signa, Sony-
ee ed Hood, pouch Hood, cas Hood, cas
ete www.intro2020.co.uk www.signa-inaging-uk.con www.signa-inaging-uk.con
et t l l l
CAL0HET
0all: 0870 03 03 03
0lick: www.calumetphoto.co.uk
Visit: stores nationwide
N
E
W
!
N
E
W
!
D4 Bod] 4239.00 Alpha A-99 Bod] 1999.00
D8OO Bod] 1962.00
D8OOE Bod] 2349.00
Alpha A-77 Bod] 699.00
AlphaA-77+1G-5Omm 1129.00
E08 GD Bod] 1399.00
E08GD+ 24-1O5mm 1949.00
DG1O Bod] 1549.00
DG1O+24-85mm 2018.00
Alpha A-G5 Bod] 499.00
Alpha A-G5 +18-55mm 589.00
D58OO Bod] 729.00
D58OO+18-55mm 829.00
Alpha A-58 +18-55mm 355.00
Alpha A-58 +Twin lens 529.00
E08 7OOD Bod] 485.00
E087OOD+18-55mm 585.00
E08 7OD Bod] 999.00 E08-1D X Bod] 4845.00
N
E
W
!
Niken 0 5eny A7 & A7k
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Canen E05 50 Hark III
The Exmor CN08
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size as a 85mm
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Capturing far
more light, it's the
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A retro-st]led, high-end D-8lR dedicated to the love
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Nark lll ouilds on the
performance of the
legendar] E08 5D
Nark ll, offering
improved speed,
greater resolution,
enhanced
processing power
and extended creative options for ooth stills and Full HD
movies - providing unparalleled artistic freedom for the
most demanding photographers.
2749.00
8on] A7 ood] 1299.00
8on] A7 + 28-7Omm 1549.00
8on] A7R ood] 1699.00
E08 5D Nark lll Bod] 2329.00
E08 5D + 24-1O5mm 2975.00
E08 5D + 24-7Omm ll 4099.00
Niken 05Lks 5eny 5LTs Canen 05Lks
85mm F1.80 AF-8 DX 150.00
5Omm F1.40 AF-8 289.00
5Omm F1.4D AF 244.00
5Omm F1.80 AF-8 154.00
GOmm F2.80 AF-8 ED Nicro 404.00
85mm F1.40 AF-8 1179.00
1O5mm F2.80 AF-8 VR Nicro 629.00
14-24mm F2.80 AF-8 ED 1315.00
1G-85mm F4.O0 AF-8 ED VR 829.00
18-85mm F8.5-4.50 AF-8 ED 639.00
18-2OOmm F8.5-5.G0 AF-8 VR ll 584.00
18-8OOmm F8.5-5.G0 AF-8 ED VR 679.00
24-85mm F8.5-4.50 AF-8 ED VR 419.00
24-7Omm F2.80 AF-8 ED 1245.00
28-8OOmm F8.5-5.G0 AF-8 VR 659.00
7O-2OOmm F4.5-5.G0 AF-8 VR ll 1605.00
7O-2OOmm F40 AF-8 VR ED 999.00
Niken Lenses 0iitaI Cameras
hikon Coolpix A 679.00 8on] hEX-G 1G-5Omm 589.00 8on] hEX-7 18-55mm 785.00
Canon Powershot 01X 435.00 Fujiflm X1OOs 999.00 Fujiflm X2O 419.00
EF 5Omm F1.4 U8N 305.00
EF 5Omm F1.8 ll 91.00
EF-8 GOmm F2.8 U8N Nacro 370.00
EF 85mm F1.2l ll U8N 1769.00
EF 1OOmm F2.8l l8 U8N Nacro 750.00
EF 8-15mm F4.Ol U8N Fishe]e 1099.00
EF 1G-85mm F2.8l U8N ll 1219.00
EF 17-4Omm F4.Ol U8N 645.00
EF 24-7Omm F4l l8 1079.00
EF 24-7Omm F2.8l ll U8N 1809.00
EF 24-1O5mm F4.Ol l8 U8N 839.00
EF 28-185mm F8.5-5.G l8 U8N 369.00
EF 7O-2OOmm F2.8l l8 U8N ll 1985.00
EF 7O-2OOmm F4.Ol l8 U8N 898.00
EF 7O-8OOmm F4.O-5.G l8 U8N 405.00
EF 7O-8OOmm F4.O-5.Gl l8 U8N 1239.00
EF 1OO-4OOmm F4.5-5.Gl l8 U8N 1325.00
Canen Lenses
5AE 10%0N
0lLUMFT RFNTlL
For a limited period onl], Calumet are
offering Digital 8lR Photograph] readers
1O7 discount when placing an] rental
orders online using discount code.
0SL8NA610
0ffer valid until 81st Decemoer 2O18.
Booking must oe made online at www.calumetrental.co.uk.
www.calumetrental.co.uk
Brilliant 8upreme 0loss] A8+ X25 29.99
Brilliant 8upreme Ultimate lustre A8+ X25 29.99
Brilliant 8upreme Natte A8 X25 14.99
Brilliant 8upreme Natte A8+ X25 18.99
8r||||aot N0se0m
8ilver 0loss white A8+ X25
8ilver 0loss hatural A8+ X25
8atin Natte white A8+ X25
8atin Natte hatural A8+ X25 49.99
Epson
8t]lus Pro 888O 934.00
8t]lus Photo R8OOO 545.00
Canon
Pixma Pro-1 645.00
Pixma Pro-1O 499.00
Pixma Pro-1OO 364.00
Printers
Papers
CaIumet Pre
5eries as
lightweight and protective, our new Pro-8eries oags are
comfortaole and weather-resistant with a 5 ]ear warrant].
8houlder Bags from 50.99
8ling Bags from 49.99
Backpacks from 81.99
CAL0HET
0lick: www.calumetacademy.co.uk
All prices include Vat at 20%. Prices correct at time oI going to press. E&0E. 0177-1113
L0N00N l0k0HH0N0 5T
020 7380 11
E0IN0k6R
0131 55 78
kI5T0L
0117 92 2000
ELFA5T
02890 777770
IkHIN6RAH
0121 32 73
Nikcn & Cancn FIasbes
0f Inspiraticn
Jcbn CIements
Understanding and then mastering what a hikon '8peedlight' or Canon
'8peedlite' fash can do takes time.
But if ]ou wish to come up to speed quickl], and with real world repeataole
skills, this is the workshop for ]ou.
8tarting with the oasics, out then moving signifcantl] further, this hands-on
workshop will comoine clear explanations with example images.
5aturday 11 January 10.30-1.30 119
5tudic Ligbting Frcm Tbe rcund Up
Jcbn CIements
8tudio lighting remains a highl] fexiole and desiraole tool in photograph],
out takes time to master.
8o if ]ou wish to signifcantl] shorten the learning curve, John's highl]
respected course provides the answer.
Delivered in an eas] to follow and inspirational st]le, it explains and
demonstrates exactl] how to set-up and use studio lighting.
with the added oeneft of his decades of professional shooting to draw
upon, John enaoles delegates to ask the questions relevant to them around
the common themes covered.
5aturday 18 January 10.30-1.30 119
D5LP idec Wcrksbcp - Create idec
witb ycur D5LP Intrcducticn
Jascn Rarry
This workshop will oe ooth practical and discussion aoout how to produce
high qualit] video with ]our HD read] D8lR.
Tbursday 23 January 10.00-15.00 85
D5LP idec Wcrksbcp -
Create idec Tc A CcmmerciaI
0uaIity Witb Ycur D5LP
Jascn Rarry
This workshop will oe ooth practical and discussion for those who wish to
work and produce high qualit] works of commercial qualit] with ]our HD
read] D8lR.
Friday 2 January 10.00-15.00 85
HANCRE5TEk
011 27 0500
6LA560W
011 353 0875
5tudic & Pcrtrait Ligbting
witb a HcdeI
Picbard 5cutbaII
An introductor] seminar/workshop on portrait photograph] with a model.
The attendees will oe shown the oasics of successful portrait photograph]
in a studio environment.
5aturday 11 January 10.30-1.00 120
5bccting ArcbitecturaI Pbctcgrapby:
A Haster CIass
Picbard 5cutbaII
A master class in architectural photograph] to oe undertaken a location
near to the local oranch of Calumet o] one of the UK's leading practitioners.
The session has designed to ouild on the oasics covered in the introductor]
course out this time has a much greater concentration on the technical
aspects of this genre.
Wednesday 22 January 10.00-1.00 120
Printing & CcIcur Hanagement Hade
5impIe IDay 1 - Tbe Basics!
Andy Astbury
ln this workshop ]ou will learn.
How light works
How we see light
How our camera sees light - this is the frst hurdle we have to jump over
oecause it sees the world in a completel] different wa] to us
How much colour our camera can capture, and how we can keep that
colour information
How our camera captures orightness - 0amma explained
How RAw capture works and wh] it is so oenefcial to shoot RAw
The "language of colour" - monitor additive & printer suotractive
colour models
The need for colour profles and what the] do
How to caliorate ]our monitor so that it displa]s ]our images
as accuratel]
Colour spaces - made simple so an]one can understand them!
How colour spaces dictate the colours in our images
How oit depth effects colour and tonalit] in an image
Wednesday 5 February 10.00-1.30 95
EssentiaI D5LP 5kiIIs Fcr Tbe
Hcdern Pbctcgrapber
Jascn Rarry
This workshop is aimed at those who ma]oe new or wish to get an good
understanding of what is required right now from a modern photographer.
Tbursday February 10.00-15.00 85
Urban Landscapes
Picbard 5cutbaII
A seminar session followed o] a walking tour of the unseen side of the
cit]'s industrial past (practical workshopj, where participants will gain a
oasic understanding to successful uroan landscape photograph].
5aturday 8 February 10.00-1.00 59
5bccting ArcbitecturaI Pbctcgrapby:
A Haster CIass
Picbard 5cutbaII
A master class in architectural photograph] to oe undertaken a location
near to the local oranch of Calumet o] one of the UK's leading practitioners.
The session has designed to ouild on the oasics covered in the introductor]
course out this time has a much greater concentration on the technical
aspects of this genre.
Hcnday 3 February 10.00-1.00 120
Haking Hcney Frcm 5tcck
Jenny LiIIy
Jenn] will focus on different t]pes of stock, different methods of selling,
how to shoot to sell, the legal pitfalls, and what to avoid photographing.
Jenn] will show man] examples of her own work which have sold, and
showing the end use of the images, and how much can oe earned
from stock.
5aturday 22 February 10.30-15.30 70
Hastering 0ff Camera FIasb witb
Cancn 5peedIites
Jascn Rarry
Expand ]our lighting options in this how to workshop.
There will oe discussion mixed with practical on how to produce a great
images with the Canon fash units.
The workshop is also applicaole to the hikon series as the features are
ver] similar.
Tbursday 27 February 10.00-15.00 85
5bccting Intericrs - A Haster CIass
Picbard 5cutbaII
A master class in interior photograph] to oe undertaken at location (wine
oar, hotel or night cluoj near to the local Calumet oranch. The session
will include discussions on. colour management, lighting interiors with
either fash or tungsten, location management and the correct choice of
equipment for successful results.
5aturday 25 January 10.00-15.00 9
An Intrcducticn tc 5uccessfuI
ArcbitecturaI Pbctcgrapby
Picbard 5cutbaII
A seminar session followed o] a walking tour (practical workshopj, where
participants will gain a oasic understanding to successful architectural
exterior photograph]. Course will include discussions on the legal aspects
of street photograph] and the law. A camera and tripod will oe essential.
5aturday 22 February 09.30-13.30 59
5bccting ArcbitecturaI Pbctcgrapby:
A Haster CIass
Picbard 5cutbaII
A master class in architectural photograph] to oe undertaken a location
near to the local oranch of Calumet o] one of the UK's leading practitioners.
The session has designed to ouild on the oasics covered in the introductor]
course out this time has a much greater concentration on the technical
aspects of this genre.
Hcnday 2 February 10.00-1.00 120
DigitaI Wcrkcw- Tbe Basics
Picbard 5cutbaII
Are ]ou confused o] Digital workfow and getting a consistentl] colour
managed result ever] time? Then this seminar is for ]ou.
This is a 8 hour seminar explaining the oasics of digital workfow and
colour management using either Bridge or lightroom 8/4 in comoination
with Photoshop C8G.
Tuesday 25 February 09.30-12.30 5
5c, Rcw Dc I Hake Hcney Frcm Tbis?
Picbard 5cutbaII
Have ]ou ever wondered how to work out ]our charges for ]our
photographic services and are ]ou actuall] making enough mone] from
them? Are their additional streams of income that could oe made from ]our
exiting photographs ? ln this seminar, we will oe looking at the oack offce
of running a successful photograph] ousiness, including.
How to calculate ]our da]-rate/proft margin
Basic ousiness t]pes and their advantages/disadvantages
7 ke] stages of ousiness workfow
Tuesday 25 February 13.30-1.30 55
5bccting ArcbitecturaI Pbctcgrapby:
A Haster CIass
Picbard 5cutbaII
A master class in architectural photograph]
to oe undertaken a location near to the
local oranch of Calumet o] one of the UK's
leading practitioners. The session has
designed to ouild on the oasics covered in
the introductor] course out this time has a much greater
concentration on the technical aspects of this genre.
Wednesday 29 January 10.00-1.00 120
Advanced Nigbt Pbctcgrapby
Picbard 5cutbaII
A follow-on seminar to the previous 'lntroduction to hight Photograph]
seminar' out this time more intensive with a smaller group, greater
individual feedoack and support.
The seminar will cover painting with light and other techniques involved in
lighting large oojects at night using 8peedlights and other hand held fash
units. The seminar will involve a one hour training workshop at the local
Calumet oranch followed o] a practical session at a nearo]
land-mark ouilding.
Wednesday 29 January 18.30-21.00 59
5bccting Intericrs - A Haster CIass
Picbard 5cutbaII
A master class in interior photograph] to oe undertaken at location (wine
oar, hotel or night cluoj near to the local Calumet oranch. The session
will include discussions on. colour management, lighting interiors with
either fash or tungsten, location management and the correct choice of
equipment for successful results.
Tuesday February 10.00-15.00 9
Visit our website - updated daily
www.ParkCameras.com/DSP
or phone us 7 days a week on
01444 23 70 58
CANONPRINTERS
Canon PIXMA Pro-100
The printer your images deserve
Up to A3+ prints
8-ink system
Fast printing
Quality grayscale
prints
NowOnly 339.00
Was 562.80
Visit us in store on online for special
deals with Canon paper & ink
Canon PIXMA Pro-10
The printer your images deserve
Up to A3+ prints
10 pigment inks
Wi-Fi certied
Professional colour
and mono prints
NowOnly 469.00
Was 778.80
Visit us in store on online for special
deals with Canon paper & ink
Canon PIXMA Pro-1
The printer your images deserve
Up to A3+ prints
12-ink system
Fast printing
Quality colour &
grayscale prints
NowOnly 645.00
Was 958.80
Visit us in store on online for special
deals with Canon paper & ink
Speedlite 320EX
Now200
.99
SRP 323.99
+ AA Batts & charger for 19.49
Macrolite MR-14EX
Now459
.00
SRP 814.80
+ AA Batts & charger for 19.49
Speedlite 600EX-RT
Now499
.00
SRP 815.99
+ AA Batts & charger for 19.49
14mm f/2.8L II USM 1,899.00
20mm f/2.8 USM 409.00
24mm f/1.4L Mk II USM 1,363.00
24mm f/2.8 IS USM 458.00
28mm f/1.8 USM 369.00
28mm f/2.8 IS USM 419.00
35mm f/1.4L USM 1,169.00
35mm f/2.0 IS USM 509.00
40mm f/2.8 STM 175.00
50mm f/1.2 L USM 1,259.00
50mm f/1.4 USM 305.00
50mm f/1.8 II 89.00
50mm f/2.5 Macro 229.00
EF-S 60mm f/2.8 Macro 370.00
MP-E 65mm f/2.8 899.00
85mm f/1.2L II USM 1,769.00
85mm f/1.8 USM 317.00
100mm f/2 USM 349.00
100mm f/2.8 USM Macro 444.00
100mm f/2.8L Macro IS USM 749.00
135mm f/2.0L USM 899.00
180mm f/3.5L USM Macro1,273.00
200mm f/2.0L IS USM 4,599.00
200mm f/2.8L USM/2 649.00
300mm f/2.8L USM IS II 5,339.00
300mm f/4.0L USM IS 1,139.00
400mm f/2.8L USM IS II 8,279.00
400mm f/4.0 DO L USM IS 5,399.00
400mm f/5.6L USM 1,129.00
500mm f/4.0L USM IS II 7,765.00
600mm f/4.0L USM IS II 10,479.00
800mm f/5.6L IS USM 10,199.00
TSE 17mm f/4.0L 1,959.00
TSE 24mm f/3.5L II 1,699.00
TSE 45mm f/2.8 1,099.00
TSE 90mm f/2.8 1,129.00
8-15mmf/4L Fisheye USM 1,099.00
EF-S 10-22mmf/3.5-4.5 USM 499.00
EF-S 15-85mmf/3.5-5.6 IS USM 598.00
16-35mm f/2.8L II USM 1,219.00
17-40mm f/4.0L USM 645.00
EF-S 17-55mmf/2.8 IS USM 649.00
EF-S 17-85 f/4.0-5.6 IS USM 349.00
EF-S 17-85 IS (No packaging) 299.00
EF-S 18-55mm f/3.5-5.6 IS II 189.00
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 428.00
24-70mm f/2.8L II USM 1,809.00
24-70mm f/4.0L IS USM 1,159.00
24-105mm f/4.0L IS USM 839.00
24-105mm IS (White Box) 679.00
28-135mm f/3.5-5.6 USM IS 369.00
28-300mmf/3.5-5.6L IS USM2,199.00
EF-S 55-250mmf/4-5.6 IS II 169.00
EF-S 55-250mmf/4-5.6 IS STM 349.00
70-200mmf/2.8L IS II USM 1,985.00
70-200mm f/2.8L USM 1,019.00
70-200mm f/4.0L IS USM 992.00
70-200mm f/4.0L USM 534.00
70-300mmf/4.0-5.6 IS USM 405.00
70-300mmf/4.0-5.6L IS USM1,239.00
70-300mmf/4.5-5.6 DO IS USM1,149.00
75-300mm f/4.0-5.6 Mk III 189.00
75-300mm f/4.0-5.6 USM III 219.00
100-400mmf/4.5-5.6L USM IS 1,325.00
200-400mmf/4.0L USM IS 11,999.00
1.4x III Extender 412.00
2x III Extender 409.00
EF 12 II Extension Tube 79.99
EF 25 II Extension Tube 139.99
CANONLENSES
Cashback available on selected Canon lenses.
See www.ParkCameras.com/DSP for details
Canon EOS M
EOS M + 18-55
299
.00*
EOS M + 22mm
449
.00*
18.0
MCA

3.0"
Screen
*Prices include 50 cashback from
Canon if bought before 26.01.2014
Canon EOS 600D
Body Only
349
.00*
+ 18-55 IS II
389
.00*
18.0
MCA

*Prices include 30 cashback from
Canon if bought before 26.01.2014
3.7 FPS
Canon EOS 100D
Body Only
379
.00*
+ 18-55 IS STM
479
.00*
18.0
MCA

*Prices include 40 cashback from
Canon if bought before 26.01.2014
4 FPS
Canon EOS 700D
Body Only
435
.00*
+ 18-55 IS STM
535
.00*
18.0
MCA

*Prices include 50 cashback from
Canon if bought before 26.01.2014
5 FPS
Canon EOS 7D
18.0
MCA

Body Only
1,029
.00
+ 15-85 IS
1,479
.00
FREE Canon 300EG Bag + SanDisk
8GB Extreme CF worth 139.98
8 FPS
Canon EOS 6D
20.2
MCA

Body Only
1,475
.00
+ 24-105 L IS
1,999
.00
FREE Adobe Photoshop Lightroom 5
+ Adobe Premiere Elements 11!
8 FPS
FR
EE
Software
Canon EOS 5D Mk III
Body Only
2,329
.00
+ 24-105 L IS
2,975
.00
22.3
MCA

FREE Canon LP-E6 battery + SanDisk
64GB Extreme SD worth 227.18
FR
EE
GIFTS!
Canon PowerShot S120
Expert performance in your pocket
In stock at 449.00
See website for further deals!
Add a Canon DCC-1920 soft case for
only 34 with the PowerShot S120
12.1
MEGA
PIXELS
5x
Canon PowerShot G1X
The Master Compact
NowOnly 439.00
SRP 695.99
Add a Canon DCC-1800 soft case for
only 54 with the PowerShot G1X
14.3
MEGA
PIXELS
4x
Canon PowerShot G16
Superfast and connected
In stock at 499.00*
See website for further deals!
*Includes FREE Canon DCC-1620
soft case, whilst stock lasts
12.1
MEGA
PIXELS
5x
N
EW
! 9.3 FPS
N
EW
!

4
0
cashback

5
0
cashback

3
0
cashback

5
0
cashback
Canon EOS 70D
20.2
MCA

Body Only
999
.00
+ 18-55 IS STM
1,099
.00
FREE Canon 300EG Bag + SanDisk
32GB Extreme SDHC worth 114.99
7 FPS
Canon EOS-1D X
18.1
MCA

2 years interest free credit available
between 14.10.13 & 14.01.14. See web
2
years
interest
free
credit!
In stock from4,845
.00
See website for full details
FR
EE
GIFTS!
FR
EE
GIFTS!
BG-E8 battery grip
Now124
.00
SRP 215.99
For 600D / 650D / 700D
BG-E11 battery grip
Now249
.00
SRP 329.99
For use with EOS 5D Mark III
BG-E13 battery grip
Now179
.00*
SRP 395.99
For use with EOS 6D
For the Nikon 1 range of cameras and lenses, including the new AW1
and NIKKOR AW10mmf/2.8 visit us in store, or see our website
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 58mm f/1.4G New See Web
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 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 139.00
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
Cashback available on selected Nikon lenses.
See www.ParkCameras.com/DSP for details
Nikon D3200
Body Only
289
.00*
+ 18-55 VR
339
.00*
24.2
MCA

*Prices include 30 cashback from
Nikon if bought before 26.01.2014
4 FPS

3
0
cashback
Nikon D5200
Body Only
459
.00*
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Nikon D7000
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512
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649
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16.2
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In stock from739
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See website for full details
24.1
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Nikon D800
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1,802
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2,096
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36.3
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WWW.CAMERAJUNGLE.CO.UK +44 (0|208 949 0123
2
We con collecl
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oo||eot|on serv|oe.

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on||ne takes just a few m|nutes.
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Selling us your old geor couldn'l be eosier.

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Good reasons to shop at
MlFSUD PHOTOGRAPHlC
MIFSUDS ARE CANON PROFESSIONAL STOCKISTS
EO8 D8LR8 & KT8
1DX body.................................... 4849
5D MKIII body............................. 2328
5D MKIII pIus 24-105 IS............. 2949
6D body ...................................... 1399
6D pIus 24-105 IS....................... 1949
70D body ...................................... 884
70D pIus 18-55 STM................... 1049
70D pIus 18-135 STM................. 1399
700D body .................................... 485
700D pIus 18-55 STM .................. 569
100D body .................................... 419
100D pIus 18-55 STM .................. 519
1100D body .................................. 239
COMPACT CAMERAS
SX50 . . . . . . . . . . . . . . . . . . 349
SX510HS . . . . . . . . . . . . . . 199
G1X . . . . . . . . . . . . . . . . . . 439
G16. . . . . . . . . . . . . . . . . . . 469
EF-S NON FULL FRAME LENSES
10-22 F3.5/4.5 USM. . . . . . 499
15-85 F3.5/5.6 S U no box 549
18-55 F3.5/5.6 S no box . . 129
18-135 F3.5/5.6 S STM. . . 319
60 F2.8 Macro USM. . . . . . 359
EF LENSES
8-15 F4 L USM Fisheye . . 1139
16-35 F2.8 MK L USM . . 1219
17-40 F4 USM L. . . . . . . . . 649
20 F2.8 USM . . . . . . . . . . . 389
24 F1.4 L USM . . . . . . . 1363
24 F2.8 S USM . . . . . . . . . 459
24 F3.5 L TSE MK . . . . . 1729
24-70 F2.8 L USM. . . . . 1819
24-70 F4 L S U no box . . POA
28 F1.8 USM. . . . . . . . . . . . . 389
28 F2.8 S USM . . . . . . . . . 429
35 F1.4 L USM. . . . . . . . . 1129
35 F2 S USM. . . . . . . . . . . 489
40 F2.8 STM. . . . . . . . . . . . 159
50 F1.2 L USM. . . . . . . . . 1299
50 F1.4 USM . . . . . . . . . . . 309
50 F1.8 . . . . . . . . . . . . . . . 99
70-200 F2.8 S USM L . . . 1999
70-200 F2.8 non S L USM 1049
70-200 F4 L S USM. . . . . . 992
70-200 F4 L USM. . . . . . . . 534
70-300 F4/5.6 L S USM. . . 1239
70-300 F4.5/5.6 S USM . . 429
85 F1.2 L . . . . . . . . . . . . 1769
85 F1.8 USM . . . . . . . . . . . 319
100 F2.8 S L USM macro . 749
100 F2.8 Macro USM. . . . . . 444
100-400 F4.5/5.6 S L USM1329
135 F2 L USM . . . . . . . . . . 929
180 F3.5 L USM Macro . . 1229
200 F2.8 L USM . . . . . . . 639
300 F4 L S USM . . . . . . . 1189
400 F5.6 L USM. . . . . . . . 1149
500 F4 L S USM . . . . . . 7749
600 F4 L S USM . . . . . .10399
Extension tube 12 . . . . . . . .79
Extension tube 25 . . . . . . . 129
1.4x converter. . . . . . . . . 409
2x converter . . . . . . . . . . 409
FLASH & ACCESSORIES
600EX RT . . . . . . . . . . . . . . . 449
MR 14EX . . . . . . . . . . . . . . 499
MT-24EX. . . . . . . . . . . . . . . 789
BG-E11 grip (5D MK) . . . 239
BG-E13 grip (6D) . . . . . . . . 199
BG-E14 grip (70D) . . . . . . . 219
Drop n Circ Polariser . . . 199
ST-E3 . . . . . . . . . . . . . . . . . 239
ST-E2 . . . . . . . . . . . . . . . . . 169
GP-E2. . . . . . . . . . . . . . . . . 269
MORE ON WEB8TE
MIFSUDS ARE NIKON PROFESSIONAL DEALERS
DIGITAL ONLY DX LENSES
10.5 F2.8 . . . . . . . . . . . . . . 529
10-24 F3.5/4.5 GAFS . . . . 629
16-85 F3.5/5.6 AFS VR . . . 439
18-105 F3.5/5.6 G
ED VR no box . . . . . . . . . . 149
18-140 F3.5/5.6 VR . . . . . . 579
18-300 F3.5/5.6 G ED VR . 689
35 F1.8 G. . . . . . . . . . . . . . 169
40 F2.8 G. . . . . . . . . . . . . . 199
55-300 F4.5/5.6 G VR . . . . 249
85 F3.5 G VR . . . . . . . . . . . 399
LENSES
14 F2.8 AF D One only . . . 997
14-24 F2.8 G ED AF-S. . . 1337
18-35 F3.5/4.5 G AFS . . . . 629
18-55 F3.5/5.6 VR . . . . . . . . 99
20 F2.8 AF-D . . . . . . . . . . . 489
24 F3.5 PCE. . . . . . . . . . . 1499
24-70 F2.8 G ED AFS . . . 1239
24-85 F3.5/4.5 G ED VR . . 399
24-120 F4 G ED VR. . . . . . 849
28 F1.8 AF S . . . . . . . . . . . 519
28-300 F3.5/5.6 G ED VR . 689
35 F1.4 G. . . . . . . . . . . . . 1399
35 F2 AF-D. . . . . . . . . . . . . 289
50 F1.4 AFS G . . . . . . . . . .299
50 F1.8 G. . . . . . . . . . . . . . 169
50 F1.8 AF-D . . . . . . . . . . . 129
60 F2.8 AFS . . . . . . . . . . . . 399
58 F1.4 G. . . . . . . . . . . . . 1599
70-200 F2.8 VR . . . . . . . 1649
70-300 F4.5/5.6 VR . . . . . . 389
85 F1.4 AFS G . . . . . . . . . 1175
85 F1.8 AFS G . . . . . . . . . . 377
105 F2.8 VR macro . . . . . . 649
200-400 F4 VR . . . . . . . . 4949
300 F2.8 AFS G VR . . . 4189
300 F4 AF-S. . . . . . . . . . . 1049
400 F2.8 AFS VR . . . . . . 6666
500 F4 AFS VR . . . . . . . 5777
800 F5.6 AFS VR. . . . . . 15599
TC14E converter . . . . . . . 329
TC17E converter . . . . . . . 329
TC20E converter . . . . . . . 389
FLASH & ACCESSORIES
SB-700 . . . . . . . . . . . . . . . . 239
SB-910 . . . . . . . . . . . . . . . . 349
SBR1C ringflash/command579
SU-800 no box . . . . . . . . . . 199
MBD15 (D7100) . . . . . . . . . 279
MBD14 (D600) . . . . . . . . . . 239
MBD12 Grip (D800/E) . . . . 289
MBD11 Grip (D7000) . . . . . 229
MBD10 Grip (D300/D700) . 199
MC36A . . . . . . . . . . . . . . . . 129
MC30A . . . . . . . . . . . . . . . . . 69
D8LR8 & KT8
GH3 + 12-35mm.................. 1499
GH3 + 14-140mm.................1199
GH3 body .............................. 879
GX7 + 20mm F1.7 II ............949
GX7 + 14-42mm II ...............849
GX7 body.............................769
G6 + 14-140mm.................... 849
G6 + 14-42mm...................... 579
G6 body................................. 499
G5 + 14-42mm...................... 399
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.................... 319
25mm F1.4 DG...................... 459
35-100 F2.8 Power OS X..... 929
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
FZ72.......339 FZ200........... 379
10-20 F3.5 EX DC HSM. . . 399
10-20 F4/5.6 EX DC. . . . . . 349
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
18-250 F3.5/6.3 DC OS Mac 319
24-70 F2.8 EX F DG HSM. 589
24-105 F4 DG OS . . . . . . . 699
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 . . . 799
70-300 4.5/5.6 APO DG mac 169
85 F1.4 EX DG HSM . . . . . 659
105 F2.8 EX DG OS. . . . . . . 399
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 . . . . 1199
1.4x EX DG converter . . . . 199
2x EX DG converter . . . . . . 239
SIGMA PRO STOCKISTS
3 YEAR WARRANTY
X-E2 + 18-55 OS 1199
X-E2 body..............799
X-Pro 1 + 18 f2 ......999
X-Pro 1 body..........899
X-E1 + 18-55 OS..889
X-E1 body..............589
14mm f2.8 XF........679
16-50mm XC .........329
18mm f2 XF...........419
18-55mm OS XF...489
23mm f1.4 XF........799
27mm F2.8 XF.......329
35mm f1.4 XF........419
55-200mm OS XF...549
60mm f2.4 XF........459
EF X20 fash..........189
EF42 fash .............199
X100s Compact .....989
X20 Compact.........419
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 25/11/2013. P&P Extra. E&OE.
PM QQMMIM MLIMMY PQM W IYW QMMMM Q-LI
16-35 f4 AFS
VR 819
200 f2 G VRII
3699
600 f4 AFS
VRII 6899
200-400 f4 IS L
USM 10999
300 f2.8 IS L
USM II 5299
400 f2.8 IS L
USM II 8199
17 f1.4 TSE L Shift
1959
80-400 f4.5/5.6
VR AF G 1999
70-200 f4 G
ED VR 979
D4 body ......................................4239
Df + 50 f1.8 AFS G Preorder Now.2749
D800 body ..................................1969
D800e body ................................2349
D610 body ..................................1549
D7100 body ..................................819
D7100 pIus 18-105 VR .................979
D7000 body ..................................569
D7000 pIus 18-105 VR .................699
D5300 body ..................................729
D5300 pIus 18-55 VR ...................829
D3200 body ..................................319
D3200 pIus 18-55 VR ...................369
NEW!! K3
body....1099
K3
+ 18-55 WR...1199
K50 bodyonIy............ 529
K50 + 18-55 WR........ 599
K500 + 18-55.............. 349
K5 II + 18-55 WR...... 719
K5 II + 18-135........... 999
K5II body ................. 699
K5IIS body............... 799
K30D + 18-55........... 499
K30D + 18-135......... 759
PRO DEALER
645D - DEMO 1 ONLY
body................4699
+ 55 f2.8 .........5499
1 ONLY DEMO
DA 560mm f5.6 ED AW
DA 10-17mm f3.5/4.5........................399
DA 12-24mm f4.................................749
DA 15mm f4 AL.................................585
DA 16-50mm f2.8..............................899
17-70mm fAL SDM...........................529
DA 18-135mm F3.5/5.6 WR .............329
DA 18-270mm f3.5/6.3......................449
DA 21mm f3.2 AL Limited.................459
FA 31mm f1.8 Limited.....................1049
DA 35mm f2.8 macro Limited...........379
FA 43mm F1.9 Limited......................695
DFA 50mm f2.8 macro......................399
DA 50-135mm F2.8 ..........................999
DA 55mm f1.4 SDM..........................699
HD DA 55-300mm F4-5.8 ED WR....399
DA 55-300mm F4.5/5.8 ....................269
DA 60-250mm F4 ...........................1249
DA 70mm f2.4 Limited......................459
FA 77mm 1.8 Limited........................799
DA 100mm f2.8 WR..........................579
DA 200mm F2.8................................749
DA 300mm F4................................1029
4699
MO8T TEM8 ARE
8TOCKED
Tamron
5 Year Warranty
18-270mm
f3.5/6.3 Di
VC PZD......349
Kenko Tubes
Converters
Kenko auto ext
tube set............. 119
Kenko Pro 300
1.4x DG X conv 169
Kenko Pro 300
2x DG X conv ... 169
FREE
TAMRAC
TRAVEL
PACK 71
with
Tamron
18-270mm VC PZD
(Value 30)
24-105 f4 IS L
USM no box
639
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
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.
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 25/11/2013 buI subjecI Io change w/IhouI noI/ce.
Mai| order used items so|d on 10 day approva|. eturn
in 'as received' condition for refund if not satisfied
(postage not inc|uded - mai| order on|y}. uscrie to
our emai| news|etter - e amongst the first to |earn
aout specia| offers and promotions - ask us for detai|s.
.
0Y 0hL|h (oew stock oo|y) - 0h0k LTST P8|0S - 0P0T0 0|LY (Noo-F|)
www.mlfsuds.oom
(5E0BE 55L Eh0BYPTl0h)
Connect
now w|th
your QR
app
V|s|t our c|earance s|te on ebay http://stores.ebay.co.uk/M|fsuds-Photograph|c
WE WANT Y0UR EQUlPMENT
WE PART EXCHANGE, BUY FOR CASH
OR COMMlSSlON SALE
Colleotlon oan be arranged.
oontaot us at lnfo@mlfsuds.oom
or rlng 0180S 8S2400
5x4 USED
Schneider Sup Ang 90 F8 269
Polaroid back.................. 49
Toyo 6x7 RFH................. 99
Toyo quick roll slider..... 169
Fidelity double dark sl ea10
BRONICA ETRS 645 USED
ETRSi + 75 PE + 120 back
+ AE prism.................. 349
ETRSi body .................. 139
ETRS body..................... 99
50 F2.8 ........................... 99
75 F2.8 PE ................... 139
75 F2.8 E.................... 129
135 F4 PE .................... 249
150 F3.5 E...................... 89
150 F3.5 PE M- Box..... 149
200 F4.5 PE ................. 179
500 F8 E..................... 399
2x extender E................. 99
E14 ext tube................... 49
120 RFH......................... 69
Polaroid Back ................. 29
Rotary prism................. 149
AE Prism ...................... 89
WLF................................ 49
Plain Prism E.................. 39
Angle viewfinder E........ 149
Winder E..................... 199
Winder ............................ 79
M bracket........................ 69
Speed Grip E.................. 39
Tripod adapter E............. 39
Metz SCA 386 ................ 49
BRONICA SQ 6x6 USED
SQAi complete ............. 449
SQAi body .................... 249
SQA + 80 + 120 RFH... 249
SQB + 80 + RFH.......... 349
SQ + 80 + RFH ............ 199
40 F4 ............................ 299
50 F3.5 PS ................... 199
50 F3.5 S...................... 149
110 F4.5 PS macro....... 379
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- ...... 199
Polaroid back.................. 29
135N back .....................119
SQAi 120 RFH................ 79
SQA 120 RFH................. 49
Plain Prism S Boxed ...... 79
AE Prism Early ............... 99
ME Prism Finder............. 99
Metz SCA 386 ................ 49
Lens Hood 65-80............ 20
SQAi Motorwinder ........ 179
Speed grip S................... 69
BRONICA GS 6x7 USED
G18 Ext Tube box .......... 49
Polaroid Back ................. 29
Speed Grip .................... 69
AE Prism Finder G......... 99
AE Rotary Prism........... 149
CANON DIGITAL AF USED
1DX body M- box ....... 4199
1D MKV body box ..... 2699
1DS MK body .......... 1899
1D MK body............... 899
1D MK body scruffy... 749
1D MK body................ 299
7D body box ................. 699
6D body M- box...........1199
5D MK body................ 899
50D body.........................399
40D body.........................199
20D body.........................149
450D body.......................169
BG-E2N grip......................69
BG-E2 ...............................49
BG-E3 ...............................39
BG-E4 (5D MK) ...............69
BG-E5 ...............................69
BG-E6 box ......................129
BG-E13 M- box...............169
SX40 compact box .........199
SX1 S compact M- box ...79
S3 S compact ..................69
CANON AF USED
EOS 1V HS body box... 399
EOS 1n RS body.......... 299
EOS 3 + PB-E2............ 239
EOS 3 + BP-E1............ 199
EOS 3........................... 169
EOS 1n body................ 129
EOS 3 body.................. 129
EOS 5 body.................... 39
EOS 30 body.................. 39
EOS 600 body................ 20
EOS 650 body................ 20
EOS 300 body................ 20
EOS 500 body................ 20
EOS 50E body................ 20
10-22 F3.5/4.5 M- box.. 419
17-85 F4/5.6 S U EFS. 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 EFS.. 219
18-200 F3.5/5.6 S EFS.. 299
20 F2.8 M- box................ 329
22-55 F4/5.6.......................49
24 F2.8............................. 229
24-70 F2.8 L.................... 949
24-105 F4 L M-................ 649
28-90 F4/5.6........................79
28-135 F3.5/5.6.................179
40 F2.8 STM................. 129
50 F1.2 L U box............ 999
50 F1.4 U M- box ......... 239
50 F2.5 macro.............. 199
55-250 F4/5.6 S EFS .. 139
55-200 F4/5.6 U ............. 69
70-200 F2.8 S U L box1199
70-200 F4 S U L.......... 769
70-200 F4 L U .............. 399
70-400 f4 L................... 399
80-200 F4.5/5.l6 .......... 49
100 F2.8 S U L M- box 639
100-400 F4.5/5.6 L....... 899
180 F3.5 mac L ............ 849
200 F2 S U L box ...... 3799
300 F2.8 S L U.......... 3499
300 F2.8 S L U.......... 2899
300 F4 S U L.................. 829
400 F2.8 S U L............4999
500 F4 S L U...............4999
500 F4 S L U...............4299
600 F4 S USM L.........5999
1.4x MK M- box............249
2x extender MK............199
2x extender MK.............149
Teleplus 2x DG conv ...... 89
NCE2 charger................. 99
BP-300............................ 39
BP-200............................ 20
BP-50 grip ...................... 20
BP-E1 ............................. 69
GP-E2 M- box............... 199
LC-4 wireless kit ............119
Angle finder C............... 139
SIGMA CAF USED
10-20 F4/5.6 EX DC....... 299
12-24 F4.5/5.6 EX DG.... 399
15 f2.8 EX DG................. 379
18-50 F2.8 EX DC........... 199
18-200 F3.5/6.3............... 149
28-300 F3.5/6.3 DG.......169
30 F1.4 DC HSMA........349
50-200 F4/5.6 DC............. 49
50-500 F4/6.3 EX...........399
100-300 F4 EX DG box.549
100-300 F4 EX DG........349
120-400 F4/5.6 DG OS box499
170-500 F5/6.3................ 369
500 F4.5 EX DG............ 2499
1.4x EX conv................... 129
2x EX DG conv ............... 179
OTHER CAF USED
TAM 18-250 F3.5/6.3...... 179
TAM 28-200 XR Di.............99
TAM 28-300 F3.5/6.3 XR Di 199
TAM 90 F2.8.......... 199/299
TAM 180 F3.5 Di M- ..... 419
TOK 17-35 F4 Pro FX.. 429
TOK 19-35 F3.5/4.5........ 89
Kenko ext tube set Mint 119
CANON FLASH USED
CP-E4............................. 99
SB-E1............................. 69
ST-E2............................ 129
270EX box...................... 79
430EX box.................. 169
550EX........................... 199
580EX........................... 299
580EX......................... 269
ML-3 ring not digital........ 89
Sigma EM140G ring..... 199
CANON MF FD USED
A1 body ................... 79/179
AE1 body blk/chr ............ 49
AE1-P chrome body ....... 69
24 F2.8 ........................... 79
28 F2.8 ........................... 49
35-105 F3.5.................... 99
35-105 F3.5/4.5.............. 99
50 F1.4 ........................... 79
50 F3.5 Macro................ 89
50 F3.5 Mac + Tube......119
100 F2.8 ......................... 99
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
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 box ......... 599
XE-1 body..................... 399
X-M1 body blk .............. 439
18 F2 XF R M- box....... 269
18-55 F2.8/4 OS.......... 439
27 F2.8 XF M- box ....... 269
X-M1 handgrip................ 49
EX-X20 flash ................ 149
X100 silver box............. 449
X20 + case Silv M- box 369
HS30 box...................... 149
Fuji M mount adap M- .. 149
FUJI MED FORMAT USED
GX617 + 90 + VF
+ CF box..................... 1999
G617 + 105 F8........... 1399
250 F5.6 GX680........... 149
GA645 M- ..................... 399
GSW690 MK ............. 849
GW690 ....................... 399
FUJI 35MM USED
Screw & bayonet SEE WEB
GITZO USED
LEGS
GT2331 M- box................. 239
GT2531LVL M- box.......... 399
GT2540FL M- box............ 249
GT2542S M- box.............. 479
GT2542LS M- box............ 479
GT5532LS M- box............ 649
HEADS
G1177M M- box...................59
G1278M M- box...................89
GH2720FQR M- box........ 169
GH2750 M- box................ 129
GH2780QR M- box.......... 199
GH2781TQR M- box........ 150
GH3780QR M- box.......... 249
GH 5380SQR M- box....... 249
GH5381SQRN M- box..... 299
HASSELBLAD XPAN USED
XPan + 45 F4 box....... 1499
30 F5.6 M- box................ 1499
90 F4 M-............................ 269
Cable release ....................39
Centre filter 49mm............ 149
HASSELBLAD 6x6 USED
503CX chrome body.... 499
501CM body chrome.... 399
PM45 prism box ........... 349
PM90 prism.................. 179
PME prism box............. 149
45 Prism late.............. 149
WLF early....................... 49
A16 black...................... 199
A12 latest blk/chr.......... 199
A12 late blk/chr............. 149
E12 blk ......................... 249
Polaplus back 100.......... 99
503CW winder box....... 199
50 F2.8 FE M- box ....... 649
50 F4 black T* .............. 299
250 F4 FE M- box ........ 499
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 ............ 399/499
80 F2.8 blk T*............... 299
150 F4 CF ................... 499
150 F4 CF .................... 299
150 F4 chr .................... 149
Vivitar 2x conv................ 69
LEICA DIGITAL USED
Digilux 3 box ..................349
V-Lux 30 Blk M- box ......299
Minilux ............................199
LEICA M/COMPACT USED
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
Minolta Flashmeter V ... 179
Minolta Autometer VF.. 179
Minolta Spotmeter F..... 199
Pentax digital spot M.... 299
Polaris flash meter
+ spot VF...................... 129
Sekonic L558................ 279
LOWEPRO USED
Dryzone 100 yellow/blk 139
Dryzone 200 yellow/blk 179
Lens Trekker 600AW...... 99
Pro Trekker 300AW...... 179
Rover Plus AW............... 49
MAMIYA 645 AF USED
55-110 F4.5 box ........... 499
150 F3.5 box ................ 249
Ext tube NA401.............. 99
Ext tube NA402.............. 99
Ext tube NA403.............. 99
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
645E body .................... 149
645 Super comp........... 199
645 Super body.............. 89
45 F2.8 N M- Box......... 149
45 F2.8 C........................ 99
50 F4 shift..................... 349
55 F2.8 N........................ 99
55-110 F4.5 .................. 199
70 2.8 C leaf................... 79
105-210 F4.5 ULD C....... 199
110 F2.8 N...................... 99
150 F3.5 N...................... 89
210 F4 N M- ................... 99
2x converter N................ 99
Ext Tube 1, 2, 3S each... 29
Teleplus 2x converter ..... 49
Vivitar 2x converter......... 49
FE401 AE prism box .... 179
AE prism 645 Super ..... 129
Plain prism (645 Super) . 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 139/199
C330 F Body + WLF..... 149
65 F3.5 box late............ 199
65 F3.5 serviced........... 149
80 F2.8 late serviced.... 139
80 F2.8 early................... 99
105 F3.5 ....................... 129
180 F4.5 ....................... 149
250 f4.5 late serviced ... 249
250 f4.5 early serviced . 179
Paramender.................... 49
CDS Mag Hood box........ 99
MAMIYA 7 RF 6x7 USED
7 body......................... 749
7 body................... 449/499
50 F4.5 L + VF ............. 799
65 F4 ............................ 579
150 F4.5 M- .................. 399
210 F8 + VF box M- ..... 549
Polarising filter ZE702...110
Panoramic kit.................. 49
MAMIYA RB 6x7 USED
Pro SD + 127 KL
+ RFH + WLF............... 599
Pro S body.................... 149
Pro S body scruffy.......... 99
Prism early ..................... 79
WLF. ............................... 79
Chimney ......................... 69
120 645V back ............... 99
Pro S Polaroid back ....... 39
Pro SD Polaroid back..... 69
90 F3.5 KL.................... 279
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
Handgrip GL701 box..........69
MAMIYA RZ 6x7 USED
RZ Pro + 90 F3.5
+ RFH........................... 499
RZ Pro body ................. 149
50 F4.5 W M- ............... 199
140 f4.5 W M- macro.... 319
180 F4.5 M- .................. 179
No 1 or No 2 ext tube ea 69
FE701 prism AE ........... 199
AE prism early................ 99
Pro Polaroid back........ 49
120 Back Pro 1............... 39
Pro shade....................... 49
Pro AE hood..................119
MANFROTTO USED
MT0573C3 non geared 299
055XPROB..................... 99
190XPROB..................... 69
METZ USED
45CL4 AA battery ........... 59
45CL1 AA battery ........... 45
MINOLTA/SONY DIGITAL USED
Sony A77 body...............499
Sony A550 body.............299
Sony A200 body............... 99
Sony F42AM flash .........139
Sony F43AM flash ............ 169
Sony RLAM ringlight ......179
VGC77AM grip...............139
Sigma EF530DG Super... 79
NEX3N + 16-50 M- ........249
MINOLTA/SONY AF USED
Dynax 9 body ............... 299
Dynax 800Si body .......... 49
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
28-85 F3.5/4.5.............. 129
35-70 F4......................... 69
50 F1.4............................. 149
50 F1.7................................79
50 F2.8 macro................. 199
100-200 F4.5......................59
100-300 F4/5.6................ 129
300 F2.8......................... 2299
500 F8.............................. 369
BP200 grip..........................39
SONY LENSES USED
18-55 F3.5/5.6 SAM...........49
18-70 F3.5/5.6 DT..............59
18-200 F3.5/6.3 DT......... 219
18-250 F3.5/6.3 box........ 299
50 F2.8 macro................. 269
55-200 F4/5.6 DT M- box ..99
75-300 F4.5/5.6 box........ 129
SIGMA MIN/SONY AF USED
18 F3.5 box....................129
18-35 F3.5/4.5.................. 69
18-250 F3.5/6.3 DC HSM259
21-35 F3.5/4.2................129
28-135 F3.8/5.6................ 99
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
170-500 F5/6.3 DG....... 439
600 F8 .......................... 349
1.4x EX DG conv.......... 149
2x EX conv ..................... 99
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 ........... 79
VC600 (600Si)................ 29
Min 3200i ........................ 19
Min 3600HSD flash ........ 69
Min 5200i ........................ 39
Min 5400HS.................... 49
Min 5600HSD M-.......... 149
NIKON DIGITAL AF USED
D4 body M- box.......... 3699
D3 body...................... 1699
D3 body...................... 1499
D700 body box ........... 1399
D600 body M- box...... 1099
D300s body ........... 599/649
D300 body box ............. 399
D200 body box ............. 199
D80 body...................... 199
D7000 body M- box...... 469
D3000 body...................119
EH-6 mains charger ....... 59
MBD-10 box ................... 99
MBD-11......................... 169
MBD-12 ........................ 239
MBD-80 box ................... 49
MBD-200 box ................. 49
Coolpix P7800 M- box.. 399
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 blk body................... 49
F801 body ...................... 49
F55 body ........................ 29
F65 body ........................ 29
F601 body ...................... 29
10.5 F2.8 G DX...............399
10-24 F3.5/4.5 AFS DX...529
12-24 F4 DX box.............599
16-35 F4 AFS VR............749
17-55 F2.8 AFS DX.........699
18-35 F3.5/4.5 AFD.........299
18-55 F3.5/5.6 VR M-........79
18-55 F3.5/5.6 ...................69
18-70 F3.5/4.5 .................119
18-105 F3.5/5.6 VR.........139
18-135 F3.5/5.6 AFS.......139
24 F2.8 AFD box .............279
24-70 F2.8 AFS M- box.1099
24-70 F2.8 AFS box......1029
24-120 F4 VR M-.............749
24-120 F3.5/5.6 VR.........239
24-120 F3.5/5.6 D...........129
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
28-200 F3.5/5.6 AFD..........99
35-70 F2.8 AFD............... 249
40 F2.8 AFS DX.............. 159
50 F1.8 AFD.......................99
55-200 F4/5.6 AFS VR......99
55-200 F4/5.6 AFS.............69
55-300 F4.5/5.6 VR......... 199
60 F2.8 AFD micro.......... 249
70-200 F2.8 VR M- .......1429
70-200 F2.8 VR.............. 999
70-200 F4 M- box......... 899
70-210 F4/5.6................. 89
70-300 F4.5/5.6 VR...... 329
75-300 F4/5.6................. 79
80-200 F2.8 early ......... 299
80-400 F4.5/5.6 VR...... 699
80-400 F4.5/5.6 VR...... 599
85 F1.4 AFD box .......... 679
85 F3.5 DX VR M-........ 299
105 F2.8 AFS VR......... 519
105 F2.8 AF.................. 349
200 F4 AFD mac box ... 799
300 F2.8 AFS VR M- box....
3199
500 F4 AFS VR M- ... 4999
TC20E ....................... 339
TC20E box ................... 179
SIGMA NAF USED
10-20 F3.5/5.6 EX DC.. 289
17-70 F2.8/4 DC OS HSM 249
18-125 F3.8/5.6 DC OS179
18-125 F3.8/5.6 DC........ 99
18-200 F3.5/6.3 DC OS179
18-200 F3.5/6.3 DC...... 149
18-250 F3.5/6.3 DC OS mac269
24-70 F2.8 EX DG HSM M- 499
24-70 F2.8 EX................. 349
28-70 F2.8 EX DG box... 239
28-200 F3.5/5.6............... 129
28-300 F3.5/6.3 DG........ 169
28-300 F3.5/6.3..................69
30 F1.4 EX DC box......... 199
50-150 F2.8 EX DC.........299
50-500 F4/6.3 EX DG.....499
55-200 F4/5.6 DC HSM....49
55-200 F4/5.6 DC Mint......39
70-200 F2.8 EX
DG HSM....................... 429
70-300 F4/5.6 DG OS....199
70-300 F4/5.6 APO mac DG.99
120-300 F2.8 EX............. 999
150-500 F5/6.3 DG OS... 629
170-500 F5/6.3 DG......... 369
500 F4.5 EX DG HSM.. 2499
1.4x EX DG M-................ 179
1.4x EX conv......................99
TAMRON NAF USED
18-250 F3.5/6.3 Di box. 179
24-135 F3.5/5.6 box.........119
28-300 F3.5/6.3 XR VC.. 249
55-200 F4/5.6 Di ..............39
70-300 F4/5.6............... 69/89
90 F2.8 Di box................. 269
90 F2.8............................. 199
TOK 12-24 F4 ATX M-.369
TOK 12-24 F4 ATX M-.. 319
TOK 16-50 F2.8 ATX Pro.... 399
TOK 35 F2.8 mac M-...... 169
TOK 80-400
F4.5/5.6 ATX................. 299
VOGT 20 F3.5 SL11N M-319
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-29...................................99
SB-30..................................49
SB-80DX.............................69
SB-600 box...................... 149
SB-800............................. 179
SD-8 box.............................69
MB-10 (F90X).....................29
MB-15 (F100) .....................49
ML-3 remote M- box ....... 149
WT-2 box ............................99
NIKON MF USED
F2 + DP-1 blk ............... 199
F3 body ................. 149/299
FA body ................. 149/199
FE-2 body chr............... 169
FM2n body chr ............. 179
FM2n body blk.............. 179
FM2 body chr ............... 149
24 F2.8 AS................... 199
28 F3.5 shift box........... 499
35 F1.4 A ..................... 299
35 F2 AS...................... 199
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 F1.8 AS..................... 89
50 F1.8 AS pancake.... 139
55 F2.8 AS micro......... 179
85 F1.4 AS................... 399
100-300 F5.6 AS ......... 179
105 F2.8 AS Micro....... 269
105 F2.5 AS................. 149
180 F2.8 AS ED .......... 399
200 F4 AS.................... 149
300 F4.5 A ................... 199
TC14A........................... 149
TC14B .......................... 149
TC16A............................. 99
TC200............................. 59
TC300.................................99
MD-12 winder.....................49
SB-15.............................. 39
SB-16.............................. 69
SB-17 (fit F3) .................. 49
DW-4 6x mag find fit F3129
PK-11a, 12 or 13 each ... 39
OLYMPUS DIGITAL USED
E1 + 14-42.................... 149
E500 body .................... 129
E420 body .................... 129
E410 +14-42................. 149
E300 body ...................... 99
14-42 F3.5/5.6................ 79
14-45 F3.5/5.6.............. 169
14-54 F2.8/3.5.............. 249
35 F3.5 ......................... 139
40-150 F3.5/4.5.............. 79
40-150 F4/5.6................. 79
Sigma 135-400 F4.5/5.6399
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- ... 179
14-150 F4/5.6............... 299
40-150 F4/5.6................119
45-150 F4/5.6............... 169
OLYMPUS MF OM USED
OM-4Ti body blk ........... 199
OM-4 body blk .............. 139
OM-2n body black ......... 149
OM-2 chr body............... 129
OM-1n body................... 149
OM-1 body chrome........ 129
OM-20 body..................... 49
OM-10 chr body............... 49
OM-10 blk body............... 49
24 F2.8 ......................... 169
28 F2.8 ........................... 69
28 F3.5 ........................... 49
35-70 F3.5/4.5................ 99
35-70 F4......................... 89
35-105 F3.5/4.5.............. 99
50 F3.5 macro....................99
65-200 F4 box..................149
75-150 F4...........................49
85 F2 ............................ 179
135 F3.5 ......................... 39
180 F2.8 ....................... 399
200 F4 ............................ 89
Sigma 500 F7.2............ 199
Olympus Auto bellows
+ slide copier M- ........... 169
Man ext tube 7/14/25 ea. 15
Auto ext tube 14................... 20
F280 fash....................... 69
T32 fash......................... 39
PANASONIC DIGITAL USED
FZ72 M- box...................299
FZ150 box ......................199
LX5 M- box.....................219
LX3.................................169
GH2 body box ................399
G3 Olympic kit M- box.. 349
G3 body Blk or Red ea. 149
GX1 body box............... 199
GF3 body mint- box........ 99
14-42 F3.5/5.6 X M- ..... 169
14-42 F3.5/5.6................ 69
14-45 F3.5/5.6.............. 149
14-50 F3.8/5.6 OS....... 299
45 F2.8 macro M-......... 449
45-200 F4/5.6 OS........ 169
MA2 M mount adapt..... 149
PENTAX 645 DIGITAL AF USED
645D body Mint box ... 4499
45 F2.8 AL.................... 379
45-85 F4.5 FA M- box... 749
80-160 F4.5 FA............. 599
PENTAX DIGITAL AF USED
K20D body.................... 249
K10D body.................... 199
Kr body......................... 179
Kx body box.................. 169
TR Power pack 3............ 99
DBG2 grip....................... 79
PENTAX 35mm AF USED
15 F4 M- ....................... 429
17-28 F3.5/4.5.............. 199
17-70 F4 SDM M- box.. 349
18-55 F3.5/5.6................ 49
21 F3.2 AL Limited.......... 369
28-70 F4 AL........................69
35 F2.8 Limited M-........ 299
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
560 F5.6 AW Mint box 4499
AFG200.......................... 49
AF500FGZ flash............. 79
AF540FGZ.................... 239
BG10 grip ....................... 69
SIGMA PKAF USED
8 F4 EX 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
TAM 17-50 F2.8 XR Di . 249
TAM 18-200 XR Di ......119
TAM 70-300 F4/5.6 Di .... 79
PENTAX 35mm MF USED
LX + FA1W prism......... 249
LX + FA1W prism......... 349
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.............. 349
1000 F11....................... 899
Rear converter PT62...... 69
PENTAX 645AF USED
645N body.................... 399
120 insert........................ 49
80-160 F4.5 FA............. 399
1.4x converter ..................179
PENTAX 645MF USED
645 + 70 F2.8 ............... 299
45-85 F4....................... 299
55 F2.8 M- .................... 249
80-160 F4.5.................. 299
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
Chimney ......................... 99
55 F3.5 early................. 199
55 F4 ............................ 249
90 F2.8 leaf................... 199
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
TAMRON ADII USED
300 F2.8 ....................... 499
VOIGTLANDER USED
Bessa M- box............ 799
1S% OFF LOTS OF USED EQUlPMENT PRlCES
Offer EXTENDED to 31st December. Pr|ces be|ow are g|ven BEFORE d|scount
Ma|| Order :
0180S 8S2400
Ema|| -
|nfo@m|fsuds.com
www.mifsuds.ccm
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MON -FRI 8am - 7pm,
SAT 9am - 5pm,
SUN 10am - 1pm.
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III03 00II0T wIA 00VIIl0 2'/11/13. F0I 0uIIAT II0V0TI0A3 & 0/3I8/0I3 3 w83IT. &0.
Thls ls the camera you have
dreamed ot... N|K0N 0t
0et 0Joser...
1ust Jaunched
1ust Jaunched
Nlkon Df
+ 50mm f1.8 F8 6 2749
Canon
S00mm
f4 L lS USM ll
7749
Fujl
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