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February 2017
Creative
Portraits
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Welcome
Learn
from
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best
Meet this months
world-class experts
Mikko Lagerstedt
If you love epic
landscapes and a
whole lot of solitude,
Mikkos depictions
of Finlands beautiful
Ekatarina Marinenko
countryside will
blow your mind.
Turn to p50
W
30 Start the new year with
hat better way to get a creative portrait project
the new year off to the
perfect start than with a
head full of ideas and the
drive to get out there and
be creative? And whether
Bella Kotak
your passion is for portraits, landscapes, wildlife
Bella is no stranger
to these pages and or still life, weve got all the winter-themed
we never tire of her inspiration you need right here. Starting on
fairytale-inspired p30, our portrait special includes a diverse array 58 Discover the beauty
portraits. Were even of styles and techniques to embrace, still life gets a 21st century of still life photography
giving away six of makeover on p58 with three envelope-pushing projects, and British
her Actions worth wildlife is at its most accessible in our seasonal guide on p76. In even
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Ben Hawkins, Group Editor 110 Find the best wide-

angle zoom for landscapes
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PRACTICALPHOTOGRAPHY.COM 3
February
On the cover
006 Free disc! 44 minutes of videos
110 14 wide-angle zooms tested
030 How to shoot creative portraits
058 Three brilliant still life projects
076 Accessible winter wildlife
070 Construct a Hockney collage
Features
008 Beyond the lens
A gallery of the most amazing
pictures we found this month.
016 10 clicks
Brilliant project ideas to fuel
your winter photography.
030 Creative portraits

15 new and exciting ways to
shoot dynamic people pics.
050 Beauty in solitude

Mikko Lagerstedt shares the
beauty of the Finnish landscape.
058 21st century still life

Frozen flowers, scanner art
and deconstructed objects.
066 Lady in the lavender

Bella Kotak reveals the secrets
behind her exquisite portrait.
50
070 Capture & create
Turn a standard portrait into
a Hockney-inspired joiner.
088 Delicate designs

Magda Indigos project is
dedicated to floral beauty.
130 Student showcase

Alice Gough documents one
of the UKs last cattle markets.
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Photo Skills See p48
076 Know your stuff

Winter wildlife advice, focal length
108
simulators, smartphones and fine art.
082 Feedback
Pro Dan Mold takes a closer look at
your landscape and wildlife shots.
Editing Suite
096 Improve skies
76 Capture winter wildlife shots
Use Layers and Selections in
Elements to banish bland skies.
098 Tighten compositions

Get to grips with Elements Crop Tool
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102 FREE Photoshop Actions

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108 Photo news

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110 Wide-angle zooms

We test 14 full-frame and APS-C
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Nikon 14-24mm f/2.8G ED, Sigma
12-24mm f/4 ART, Tamron 15-30mm
f/2.8, Canon 17-40mm f/4L, Nikon
30
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Pentax 12-24mm f/4, Sigma 10-20mm
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10-24mm f/3.5-4.5G, Tokina 12-28mm 110 Find out which wide-angle
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120 Carbon fibre tripod kits

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026 Ross Hoddinott
028 Lisa-Marie McGinn
048 Subscribe & save money
108
Multimedia Content
YourFreeCD
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Over 40 minutes of hands-on camera and editing
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1
Shoot urban architecture
Dan shows how to add dynamic
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with a few simple camera techniques.
2
Make a home studio
Tim turns his living room into
Expert tuition a photo studio for less than 100
and shoots a series of stylish portraits.
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Got a new camera? Georgie talks
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4
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Louise embraces the winter chill by
Projects putting her freezer to good use with
a bunch of frozen roses and an ingenious
way to turn still images into floral fine art.
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The stories behind the worlds greatest shots
The photographer
by Nicholas Roemmelt
l im indebted to my friend niki for this
shot. It wasnt easy for him to literally freeze
for over 10 seconds on the top of that sand
dune, but he did it. We seemed to be plagued
by problems that night. The wind reached
aspeed of 25 metres per second and we kept
being hit by blizzards, which made it almost
impossible to take any shots. However, when
it briey died down we could see the Northern
Lights. These gaps only lasted for a few
minutes though, so we had to work quickly.
Canon EOS-1D X | 14mm | 15sec | f/2.8 | ISO 6400
Dr Nicholas Roemmelt is an
award-winning photographer
based in Tyrol, Austria. He has
been published internationally
in both books and magazines.
venture.photography
McLaren P1
by George F Williams
l i shot the prototype of the mclaren p1
out in Bahrain, using my car rig. This
contraption attaches to the car and the
camera hangs on the end of a 6m carbon pole.
The camera will always move perfectly
relative to the car, which means that the body
will remain nice and sharp while theres still
movement in the background and wheels.
Nikon D800 | 20mm | 6sec | f/11 | ISO 50
George F Williams is a creative

automotive photographer from
London who has won acclaim
throughout the world for his
original images.
gfwilliams.net
Bubbles in snow
by Don Komarechka
l soap bubbles are an enigmatic
subject. Theyre unpredictable and
constantly changing, so they pose quite
a challenge to shoot. The ideal conditions
are absolutely no wind and a temperature
of between -10C and -20C. I use my
camera handheld in order to obtain the
proper angle quickly, and the colour
comes from a custom-made colour lter
thats placed in front of a ashlight. The
light is then further focused down onto
the subject using a cheap sheet magnier.
Canon EOS-1D X | 65 mm | 1/160sec | f/2.8 | ISO 800
Don Komarechka is
a nature, macro and
landscape photographer
based in Ontario, Canada.
Exploring the world we
cant see with our eyes is
a common thread in his work.
donkom.ca
Green door by Alfonso Novillo Trigueros Alfonso Novillo
Trigueros is based
l i always enjoy photographing abstract objects and putting together in Madrid, Spain and
beautiful compositions. I love shooting staircases, windows, doors, facades and buildings enjoys taking abstract
that are lled with lots of colour. I had the idea of presenting these different colours and minimalist
together, in a deceptively simple composition. It was quite difficult to get this framing architectural images.
right, but I managed it in the end. Nikon D7000 | 18mm | 1/250sec | f/11 | ISO 200 500px.com/alfonsonovillo
Andreas Lundberg
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10Clicks
What to shoot with your camera right now
1 Hone your editing skills

Create a truly original image in post-production
l Getting your shot right in-camera is of post-production. In this case, the
always an understandably satisfying background buildings have been
feeling, but post-production opens up removed and replaced with a dramatic
a world of possibilities. Adrian Donoghue sky. The tram stop was shot at a different
took parts from different photos to create location and edited into the scene. The
one incredible final image. multiple umbrellas are, in fact, just copies
This picture formed a part of my of the same umbrella, modified slightly
multiple umbrella series, which is made each time so as not to appear obvious.
up of shots taken in a variety of different I achieved the overall toning effect with
urban settings. The background here is the Nik Colour Efex Pro plug-in,
a staircase that links Melbournes iconic specifically the cross-processing filter.
Princes Bridge to the Yarra River below.
I used an ISO of 800 so that I could
Adrian Donoghue is an
have a shutter speed of 1/250sec and award-winning photographer
an aperture of f/11. This shot sat on my based in Melbourne, Australia.
computer for quite a while until I found He is best known for his creative
the inspiration to take it in this direction. urban landscape photography.
Like most of my work, there was a lot 500px.com/adriandonoghue
What you need
Editing software
Wide-angle lens
How to do it
If you spy something
spectacular for your shot,
make sure you can capture
it in its entirety with a
wide-angle lens. British cities
often have narrow streets, so
using a telephoto lens can put
you at a disadvantage and
stop you from getting the raw
ingredients for your
composite. Use a wide-angle
lens at a narrow aperture like
f/16, which will ensure that
you capture your whole
subject in perfect focus.
10Clicks
2 Harness the magic of reflections

Incorporate action into your photography for jaw-dropping results
l shooting what you know can be the best way to
create engaging photos, especially when your passion is as
exciting as Lukas Vandliceks skateboarding hobby.
I come from Teplice, a little town not so far away from
Prague. When I was 14 years old, I fell in love with
skateboarding and the incredible tricks you can do. Eight
years later, I discovered the magic of photography and
I started to combine my two passions together. Now that Im
26, I love experimenting and creating images that show how
fun both arts can be.
My most frequent subject is probably my friend Peter.
Hes a skateboarder who lives in the same town as me.
Unfortunately, there isnt a skate park in Teplice, so we have
to take photos in the street. However, I nd that this often
makes the images more spontaneous and interesting.
We took this shot on a rainy day. We were both looking
for a big puddle with a striking background. It took an hour
of driving around the town before we found the perfect
place. I set myself up opposite the yellow wall with my
Canon 6D and used my favourite lens, the Sigma 35mm Art, What you need
to capture Peter as he performed tricks over the brilliantly Fast shutter speed Wide-angle lens
How to do it
reective puddle of water.
Its fairly common knowledge that if youre using your camera
Lukas Vandlicek is a self-taught handheld you need to ensure that your minimum shutter speed is at
photographer from Teplice in the Czech least 1/60sec. However, if you want a blur-free image where youve
Republic. He particularly enjoys shooting frozen someone mid-motion, your shutter speed needs to be much,
skateboarding, dramatic landscapes, much faster. As a rule of thumb, to photograph someone running,
portraiture and animal photography. playing a sport or skateboarding, youll need a shutter speed of
instagram.com/vandlis between 1/500sec and 1/1000sec.
3
Pair up for
fun results
Get creative with colour
l if you ever find yourself losing
interest in your work, why not try
a creative collaboration, just like
German photographer Frederik Sens.
This image shows my girlfriend
Maya. She used to be a professional
dancer when she lived in her native
Israel, but was forced to give it up when
she was conscripted into the army. She
moved to Berlin in 2012 and rediscovered
her passion for dancing. I was inspired
by her movements and wanted to
capture the beauty of them.
I took this photo in her studio and I
used my Olympus OM-D E-M1 with a
45mm portrait lens at f/14. The 0.4sec
exposure time allowed me to capture
Mayas movements as she danced. I set
my ISO to 1600 to compensate for the
low light.
Whenever I photograph her it
always seems to turn into a disaster.
Ihad a very precise idea about what
Iwanted to shoot, but so did she.
After the first 100 shots we were
both exhausted and started fighting.
That was the turning point, when we
were full of passion. She started dancing
like theres no tomorrow and I got my
shot. It wasnt the image Id originally
wanted, but it was innitely better.
Frederik Sens is a German
photographer based in
Berlin. He shoots for local
businesses, fashion
companies and musicians.
instagram.com/freddybln
What you need

Long exposure Colour-changing bulbs
How to do it
To replicate this fun technique youll need to invest in a
couple of colour-changing light bulbs, like the remote-
controlled Auraglow GU10 LED Light Bulb. Frederik
placed them either side of Maya, turned them on and
shot her while they continuously changed colours. I
found the light bulbs in an electronics store, ended up
taking loads of shots and then I just chose my favourite
combination of the colours and movements. Frederik decided to have
the light bulbs on a program that randomly selected the colours but, if
youre after a more precise shoot, you can always choose which
colours you want beforehand. Try looking at a colour wheel to see
which shades would complement each other the best.
10Clicks
Capture incredible misty landscapes

4 Rise before dawn to shoot a blue hour drenched with mysterious fog
l getting up early for golden hour is apossibility, I have to be ready to wake up viewers eye to follow a visual path that
the go-to move for landscape photographers, when its still night and be there before meandered across the image. I used my
but why not try shooting the pre-dawn blue sunrise. The blue hour is that beautiful time Nikon D800 for this shot, with a 70-200mm
hour instead, just like Riccardo Lucidi. before dawn, which is characterised precisely zoom lens set at f/11 with a 50sec exposure.
I wasnt very far from where I live when by a cold sunlight of low intensity. This photo
I took this shot. The bridge is a section of the was taken at that exact moment. The faint
Riccardo Lucidi is self-taught
highway that leads from Rome to LAquila. light is sufficient to illuminate the scene, landscape and street
Its not the rst time Ive shot the viaduct, but while the long shutter speed allowed me to photographer. He enjoys
to nd it in such foggy conditions is rare, as capture the rear lights of the cars perfectly. shooting the areas where he
the valley has a particularly dry climate. To get these traffic trails I used a tripod goes mountain hiking.
I know that the moment mist becomes and remote trigger. I really wanted the 500px.com/riccardolucidi
Shoot tasty treats
5 Get creative in the kitchen for great shots
l With a huge proportion of Instagrams and rustic serving boards that had
images being quick snaps of peoples been used for years. Everything was
dinners, its not surprising that food so simple, welcoming and honest.
photography has become so popular And thats how itll remain, regardless
in recent years. Anna Ivanova has of time and modern trends. Thats
created a beautiful portfolio based what inspires my photography.
solely around food.
Im always excited to get Anna Ivanova is a Russian
acquainted with new cultures and food photographer who
cuisines and bring their personality has been travelling around
What you need into my work. Wherever I travel I draw Europe and the Middle
Telephoto zoom inspiration for my food shots. I mostly East for inspiration.
Tripod like to shoot foods that are from older 500px.com/2enroute
Long shutter speed eras. We mostly know houmous as a
How to do it vegetarian dish that has become very
While a wide-angle lens is typical fare for popular around the world over the What you need
landscapes, a telephoto zoom lens can also past few years. However, its definitely Narrow aperture
be a useful addition to your kit bag. Being able not a new discovery, as foods like Standard lens
to focus in on specific details is particularly houmous were created centuries ago. How to do it
helpful when youre in a mountainous region This shot was inspired by my Depending on your sensor size,
with incredible sights stretching in every travels around the East Mediterranean different lenses mimic the human
direction. To capture traffic trails youll want to region, where I encountered lots of eye best. If you have a full-frame
ensure that your shutter speed is long enough small family-run restaurants. It was camera, use a 50mm lens for as
that all of the individual cars trails merge into often hot during the daytime, so Id little distortion as possible. Use
one, especially if youre shooting before dawn head into the cooling darkness of an 85mm lens for an APS-C. Avoid
when there will be less traffic. The best shutter these tiny places to have a bite to eat. a wide aperture, as this may leave
speed will be between 30sec and 1min. There were old shabby table surfaces parts of the image out of focus.
6 Create stunning wildlife portraits
React quickly to make the most of fleeting opportunities
l amazing wildlife images can be like polar foxes, wolves and lynxes. They
taken anywhere, even in captivity. have a very large area of natural habitat What you need
Cecilie Sonsteby (500px.com/nemi1968) to roam around in and Im lucky enough Telephoto zoom lens Fast shutter speed
took this shot at a nature park. to be able to go inside the fences. How to do it
My love for wildlife photography I took this shot in January, which is Even if youre in a wildlife sanctuary, that wont
make the animal any more tame. Your subject
began when a friend suggested a trip to my favourite time of year to photograph
will likely be skittish and move quickly. In order
Langedrag Nature Park, in our native lynx. I cropped this image quite a lot to get your shot, use a telephoto zoom lens like
Norway. This is a place where they toget a better composition and to get a 70-200mm. This will let you get closer to the
protect many different Norwegian close enough to give the eyes the viewers action without spooking the animal. Use a fast
animals, including endangered species full attention. shutter speed to minimise the risk of blur.
7 Shoot colour
...against a night sky
l Capture the excitement of New Year fireworks, just
like photographer Dan Mold (danmoldphotography.
com). Hanoi in Vietnam puts on amazing fireworks
displays for the Lunar New Year around the Hoan Kiem
Lake. I knew it would be busy, so I set up my tripod
hours before they were due to start. To create this image
I took several shots using the black card method and
then stacked them in Photoshop using the Lighten
blending mode.
What you need

Tripod Piece of black card
How to do it
Use the bulb setting on your camera and hold a piece
of black card in front of the lens until a firework goes
off. Then simply remove the card to expose for it.
10Clicks
8 Photograph frost-bitten flowers

Enchant your viewer by using a macro lens to capture wintery sights
l clearing the ice off your standing still. I found myself
car may be the first thing you thinking that nature is especially
think of when it comes to winter beautiful in this kind of weather.
frost, but it can also create I used a macro lens to take this
incredible photographic shot, but I didnt use a ash, or
opportunities. Michaela Ihrig even a reector, just natural light.
took advantage of a wintery In Camera Raw I adjusted
morning to create these images. the contrast and the colours.
In 1988 I completed my I then used a dark vignette to
apprenticeship as a portrait focus attention onto my subject.
photographer, but never actually I did quite a lot of Photoshop
worked in the profession. While work on these images, but Id
my passion for photography love these frosty flowers even
faded, the spark never truly went without all the post-production.
out. A few years ago it reignited
and now Im almost never What you need
Michaela Ihrig is a Photoshop Vignette effect
without a camera.
German landscape, How to do it
I love shooting landscapes, macro and portrait Select the Elliptical Marquee Tool from the left-hand toolbar, then
wildlife and macro. I took this set photographer based go to the Options bar at the top and enter between 50 and 100
of images when the rst winter in Landau in der pixels into the Feather box. Draw a circle around your subject.
frost appeared. The weather Pfalz, Germany. Navigate to the top and press Select>Inverse. Then go to
made it seem like time was 500px.com/bymila Image>Adjustments>Brightness/Contrast.
10Clicks
Capture magnificent sights

9 Photograph the magic of sunset over untouched snow
What you need
Wide-angle lens
Golden hour app
How to do it
l the unique beauty of the with the camera in such a season f/18. I edited the RAW in In the winter, shooting
sun setting over a snow-dusted can be thrilling. When the light is Lightroom, then enhanced the a sunset becomes a late
landscape is hard to deny. Ole good you nd yourself forgetting mood, colours and light in afternoon activity, rather than
Henrik Skjelstad shot this image about the blistering cold. Photoshop to give it my own an evening one. To make the
in Norway last year. The days are short this far personal touch. most of incredible scenes,
We had two weeks of north in the winter, so this image use an app like PhotoPills
Ole Henrik Skjelstad to be able to predict when
temperatures below -10C last is from a late afternoon, when the
is a Norwegian sunsets begin and end.
January. The trees were adorned sun was peeking through the photographer who Capture the beauty of the
with an ample amount of snow on clouds and adding even more mainly specialises golden light with a wide-angle
the branches and the landscape magic to the lake landscape. in landscape lens, in order to pack as much
completely transformed, taking I shot this image with a Tamron photography. of your landscape into the
on a magical quality. Being out 15-30mm lens, at ISO 100 and 500px.com/olehenrikskjelstad shot as possible.
10 Use bokeh
...for magical results
l Sometimes the simplest techniques can provide the best
images. Ivan Vukelic (500px.com/ivovuk) took this photo
from one of the highest buildings in his town. This is one
of the most beautiful views around and it always inspires
me to take photos. I set my glasses on the light stand in
front of my camera and started experimenting with
different shutter speeds. After several shots I got an image
with a good combination of bokeh and the night sky.
What you need

Long shutter speed Tripod
How to do it
The beauty of a long exposure and a stationary
object is that you can afford to use a low ISO. Ivan
used an ISO of 200 for a great quality image.
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Ross Hoddinott
Adventures of a natural world photographer Garden safari
Y
oull often hear me sleigh! My plans to shoot seasonal views of regularly, spending as much time as I could
banging on about the Dartmoor and Exmoor were dashed and I felt laying out in the snow in our garden
benets of shooting close to really frustrated. I quickly came to my senses photographing the resident birds. My poor
home. I take a good number though. Did I actually need to go anywhere? little girls would peer out at me from the patio
of my wildlife shots within a This was an opportunity to practice what windows, desperate to get out and play, but
15-20km radius of where I preach. Our backyard was alive with bird banished indoors while daddy was taking
I live. Im not being lazy, I just believe that by activity, with the feeders hanging in our photos. It all sounds pretty bonkers, but do
getting to know your local wildlife and garden providing a welcome lifeline in the you know what? I thoroughly enjoyed the
reserves intimately youre more likely to freezing conditions. experience. Its easy to overlook the wildlife
achieve unique and interesting shots. However, Wildlife gets more tolerant of people in on your doorstep, but being so close to the
a couple of winters ago, I had to take my own cold weather, their need for food residents of my garden renewed my
advice very literally we got snowed in! overwhelming their wariness of us. So I got appreciation for them.
Im a big kid at heart, so I I took a lot of shots. Many
love snow making snowmen
and having snowball ghts with
Every hour or so Id go indoors to were average, but a few were
okay. In fact, one of a robin
the kids is always a good day in
my eyes. Of course, wintry
thaw out and eat a mince pie strutting territorially was later
commended in the Wildlife
we a t h e r i s a l s o h u g e l y Photographer of the Year comp.
photogenic. Snow transforms the landscape my camera and a big lens, wrapped up extra It proved a fruitful couple of days, yet I barely
into a winter wonderland, creating endless warm, and went outside in the garden and lay walked more than a few steps from my front
photo opportunities. The problem is, I live in in the snow. Using seed and oats helped door. It just goes to show that you dont
Cornwall and we rarely get a dusting of the entice subjects close to me. I had to keep still always have to travel to far-ung places to
white stuff. Winters come and go, and I in order not to disturb the birds feeding just capture good nature shots this winter, why
seldom get the conditions I long for. However, a couple of metres in front of me, but given not take yourself on your own garden safari?
when I nally got my wish, the damn stuff that it was -7C and bloody freezing, that
just never stopped falling. And by the time it didnt present much of a problem. Every hour Ross Hoddinott is an award-winning natural
did, it was obvious I was going nowhere. or so, I would go indoors to thaw out by the world photographer based in Cornwall. Hes
We live right in the sticks and the little fire and eat a mince pie or two another written eight books on the subject and has won
country roads were like an ice rink. Even benet of working so close to home. the inaugural British Wildlife Photography
tractors were struggling. If only I had Santas For the next couple of days I did this Awards. rosshoddinott.co.uk
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Lisa-Marie McGinn
Lisa
Adventures of a fashion photographer Opening doors
I
ve been shopping at my local camera light shooter, the Elinchrom Octabox gives photo with a little bio on myself. I couldnt
store for just under seven years. Theyre me a large enough light source to mimic stop beaming! My butteries disappeared at
the only store in town that sells sunlight in the studio. After a few phone calls that moment I knew what I had to do. Im
Elinchrom lighting and modifiers. and emails back and forth, the camera store not a public speaker, I never have been, but
When an ad popped up on my social invited me to speak at the ProFusion Expo, Im proud of myself for going out there and
media announcing a photo contest, a massive photo show for professionals held showing people the love I have for
I gured Why not? and entered one of my in Toronto every year. As someone who uses photography. I had four seminars throughout
images. The rst image didnt go through for Elinchrom, they wanted me to present the two days of the Expo and had an incredible
some reason. I look back now and think it a creative lighting seminar showcasing how team both days. We gave two fashion
must have been fate. I tried a second image I shoot in the studio using minimal gear. Just seminars and two beauty seminars. Thank
and it went through right away. I didnt think three years out of university, I couldnt believe you ladies, it was a pleasure.
Id win but thought it would be fun to enter what an amazing opportunity this was. Quite a few people stopped to watch my
the contest. Id never entered a seminars, and I had people
photography comp before, but
I woke up one morning to an
Just three years out of university, come by once I was done to ask
questions. There were even a
e m a i l t h a t my Tw i s t e d
Fairytale image, which I spoke
what an amazing opportunity... few people who knew who I
was and wanted photos with
about in my last column, had me. Ill never forget the
won the contest. I was speechless Id never During the months leading up to the Expo, experience. Thank you so much to the camera
won a competition and there were so many I focused mostly on studio work. store and Elinchrom for believing in me and
wonderful entries from other artists. I experimented with different lighting, giving me the opportunity, Ill be forever
Winning this competition really opened focused mostly on beauty and fashion grateful. The ProFusion Expo is held in
doors for me. I was contacted by the camera editorials and worked with some fabulous Toronto every autumn, so if youre in the
store who were ecstatic theyd found me, as local talent. As I sat on the plane ready to take area, make sure you check it out.
they loved my work and some of the off to Toronto, I had butteries in my stomach.
employees even recognised my image from Questions and doubts ran through my mind: Lisa-Marie is a Scottish-born fashion and
social media. They asked what gear I used, What if I mess up? What if no one watches beauty photographer based in Alberta, Canada.
lighting equipment etc. Ive used Elinchrom my seminar? What if I let people down? I told Her work is regularly published in glossy
gear since I was in university and absolutely myself to breathe and not to worry. magazines, and clients include Elinchrom,
love their lights and modiers. As a natural As we arrived at the centre, I saw my Canon and Vistek. lisamariemcginn.com
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Creative
ideas for
dynamic
Portraits
Complete
technique
guide!
The New Year is the perfect

time to spice up your portraits
portfolio. We know that finding
the time and inspiration to
shoot eye-catching images
isnt easy, especially at this
time of year, so here are 15
creative projects that are
quick to complete and can
produce standout results.
All of them are winter-friendly,

so theres nothing to stop you
getting out there and shooting
right away. You dont need
any specialist gear, and no
project should take you more
than an hour. And where there
are tricky camera or editing
skills involved, youll find
a handy step-by-step guide
to walk you through it.
If you can complete even

a few of these projects well,
youll have evolved a new set
of skills, freshened up your
personal style, and started to
Mike Monaghan
build a vibrant and up-to-date

body of work. Lets do it...
START TAKING BETTER SHOTS NOW!
1
Shoot a creative
self-portrait
l unlike landscape or your subject well, theres always So if youre new to it. Obviously handholding your
wildlife photography, shooting pressure to get results, which can photographing people, why not camera isnt possible, so youll
portraits can be a nerve-racking stifle your creativity and leave start with yourself? This way you need to work from a tripod. To
experience. Even if you know you ustered over settings. can experiment with different actually take your shot, your best
ideas, angles, focal lengths and bet is to invest in a set of remote
apertures without feeling you triggers. Any that use a radio
have to get a decent shot of out it. signal will allow you to be at least
No one ever has to see any of the 100m away. If youre on a budget,
images, so you dont have to feel you can always use the cameras
self-conscious about what you or self-timer instead, where you set
your image looks like. You can a 10sec delay on your shutter
even turn away from your camera button, and run into position
so your face isnt in shot, as in before the camera res.
Elizabeth Gadds image above.
Remember, the only way to get Increase confidence
better at photography is through Once youve tried a few self-
practice and experimentation portraits, you should feel more
theres absolutely no shortcut. condent photographing other
Perhaps the biggest challenge people, which is what the other
with self-portraiture is how to 14 projects here are all about.
trigger your camera, given that Follow the advice for each
Above Wireless radio triggers are the best way to shoot self- you cant be behind the camera at project and youll be surprised at
portraits as they allow you to fire your camera from a distance. the same time as being in front of the quality of work youll achieve.
Dynamic Portraits
Elizabeth Gadd
Pro advice
Flashpop
Master focus
Another tricky problem youll
need to overcome when
shooting self-portraits is
2
Create a quirky Tip
Create
eate the right
how to focus your shots,
which is much harder without collage of your kids atmospher
atmosphere
a subject in frame. The
High-energy background
easiest way is to decide Theres an old photography adage that you image shape by
music creates a party feel,
exactly where youre going should never work with children and animals. joining two or
which will make your kids
to be standing, focus on that Ignore it. Children are the most expressive three shots more confident on
spot using autofocus, then and energetic subjects you can shoot and, together in a row. camera.
switch to manual focus using unlike adults, are totally unselfconscious in Find a suitable
the AF/MF switch on the front of the lens. This enables you to get truly background a plain
lens. This is to stop the natural shots with genuine expressions. If white wall will do the job and
camera trying to refocus there are children in your family, or if you have use an off-camera flashgun with softbox.
every time it takes an image. a upcoming birthday party, shoot a collage of Work in manual mode and set an ISO of 100,
Improve your chances of fun and jaunty images for the wall. Get the an aperture of f/8 and a shutter speed of
securing a sharp shot by kids all together at the same time, and ask 1/160sec. Set your flash to 1/4 power.
using a mid-range or narrow them to bring along a fancy dress costume. Alternatively, you can use window light and
aperture. This will give you You can then photograph each one in turn, add a reflector to fill in any harsh shadows.
a relatively wide depth-of- and join the shots together into a grid that In natural light its easiest to work in aperture-
field so more of the scene you can frame. If you want to keep your final priority mode, keeping an eye on your shutter
will be in focus. This ensures image in the 3:2 aspect ratio (the same shape speed to ensure its faster than 1/125sec to
youll still appear acceptably as a regular photo), youll need four, nine or avoid blur. Ask your subjects to dance, pull
sharp if your focusing is 16 kids, as this will produce a 2x2, 3x3 or 4x4 faces and jump around in front of the camera
slightly inaccurate. grid. Or you could go for a less standard for shots with lots of energy and movement.
3 Before
Pro advice
Know your
Capture attractive glass
bokeh backgrounds Not all lenses produce
the same quality of
l bokeh (pronounced wide aperture, such as a 50mm atest shot. If the bokeh is too bokeh. It all depends
boh-keh), comes from the f/1.8. This will ensure an ultra- bright or dark, adjust the shutter on the optical design
Japanese word boke, which shallow depth-of-field for the speed. If the subject is too bright of the elements, and on
means blur. It refers to the visual blurriest background. or dark, adjust ash power. Focus the number and shape
quality of the out-of-focus Whenever youre shooting on the subject so that the of the blades that make
highlights that you often see in portraits at night, youll need background falls out of focus. up the aperture opening.
the blurry backgrounds of some form of light source to If there are only five or
night-time portraits, as in the illuminate the subject. This Create fake bokeh six blades, the bokeh
shot above. could be your cameras built-in If you have some existing may appear polygonal,
but if there are eight or
Bokeh is a superb way to add flash or, for a more flattering portraits that could benet from
nine it generally appears
colour and interest to after-dark result, an off-camera flashgun a colourful bokeh background, circular. You can even
images and is easy to achieve with a softbox. Working in you can easily add some in make bokeh stencils
in-camera. The trick is to nd a manual mode, set the widest Photoshop. Just shoot an out-of- that fit over the end of
background with lots of colourful aperture your lens will allow, ISO focus night-time shot using the lens, allowing you
lights. A city centre is ideal, or use 100 and a shutter speed of awide aperture, then overlay it to have highlights in
some festive fairy lights to do the 1/125sec. Set your ash to manual onto your portrait. We explain any shape you like.
job. Youll need a lens with a very and start at half power. Take how its done below....
1
Tweak your bokeh
2
Layer your images
3
Adjust blending mode
Open your after-dark image in Press Ctrl+A then Ctrl+C to copy your In the Layers panel, change the
Photoshop, and in the Camera Raw bokeh, then open your portrait. Press blending mode of your bokeh Layer
window make some basic changes to your Ctrl+V to paste, and adjust the size and to Screen. Then select the Eraser Tool from
image, including a Saturation and Clarity position of the bokeh as required using the Tools panel and erase some or all of the
boost, and a white balance adjustment. Ctrl+T. Press the Return key to place. bokeh shapes that cover the subjects face.
Dynamic Portraits
4
Use negative space for a Tip
Wait for
contemporary minimal look a clear sky
According to Leonardo da Vinci, Simplicity more powerful and visually arresting If theres going to be lots of
is the ultimate sophistication. If you can results. So the next time youre out sky in your frame, a clear,
blue-sky day will help
remember that phrase every time you take shooting, try to find a clean backdrop
keep your shot clean
your camera out to shoot a portrait, you with very little detail or distraction. In and minimal.
wont go far wrong. By eliminating as much some locations, such as forests or cities,
clutter and detail from the background as this isnt always easy, but if you hunt around
possible, youll separate your subject from you should be able to find the side of a shed
their surroundings and really help to keep the or a colourful brick wall that could work well.
eye focused on the subject. If there simply isnt a background free of Below Keeping
Inexperienced photographers are often excessive detail at your location, try shooting your subject
afraid of leaving negative space in their your subject from above, as the ground is very small
within a minimal
images, because they feel they should be usually clutter-free, or from below to frame
frame might not
filling every part of the frame with detail to them against the sky. You could also try other seem intuitive,
offer more to the viewer. But virtually all techniques for simplifying your scene, such but it produces
great portrait pros employ a less-is-more as using a much tighter crop, or setting very effective
approach, and it almost always produces a wide aperture for a shallow depth-of-field. results.
5
Silhouette
a subject
for mystery
& drama
l most portrait techniques a bonfire, as in the shot above.
Mark Holland
rely on the photographer Silhouettes are easy to get right in

achieving a perfectly accurate terms of settings and technique,
exposure on the face, even if that but youll need to think quite
means other areas of the frame differently about how you direct
appear too bright or too dark. But your model. Facial expressions,
for this technique youll need to make-up, hair and clothes are
turn that approach on its head, more or less irrelevant, so the
instead exposing the background success of the image relies
correctly and allowing the subject entirely on your models outline.
to underexpose. The goal is to If you want the viewer to be able
eliminate virtually all of the detail to identify the person, ask your
from the subjects face and model to stand side on so that
clothes, leaving just their shape their prole is visible. If possible,
outlined against the background. its also worth keeping the limbs
You can only shoot asilhouette slightly away from the body to
w h e n yo u r s u b j e c t i s i n create a more dynamic shape.
arelatively dark location, but is With practice, you should be
set against a bright background, able to achieve some really Above Sunrise and sunset are the ideal times to shoot silhouettes,
such as a sunset, a window, or dramatic images. as your subject will be much darker than the sky behind.
Dynamic Portraits
Srdjan Vujmilovic
6
Focus on the eyes for emotive results
The eyes are undoubtedly the This will help focus the plane of focus to ensure theyre
most expressive and engaging viewers whole attention on the both sharp.
part of the face, so are usually eyes without any distractions. Cameras have a habit of
the focal point of a portrait. Portraits where the subject autofocusing on the lashes,
If your model has very is looking directly at the which can leave the iris slightly
striking eyes, you might opt camera are often much more soft, so check that this isnt
to go close up so that only part captivating than if they are not. happening. A good way to
of the face is in frame and no If youre using a wide aperture, avoid this is to have one active
Mike Monaghan
background is showing at all. try to keep both eyes on the focal point rather than a group.
Pro advice Most portraits are

Nail your 7 shot with a head-and-
exposure
exposur shoulders composition with
the subject square-on to
There are lots of ways to
expose a silhouette correctly, the camera. Theres nothing
including using metering
modes and exposure
wrong with this, but if thats
compensation. But the most the only way you work your
reliable method is to shoot in
manual mode, adjusting ISO,
portfolio will look rather
aperture and shutter speed monotonous. Get creative
settings until the background
is perfectly exposed but the with how you pose your
subject is near-black. The model and where you
advantage of working in
manual is that once the right position your camera. The
exposure has been found, you more unusual your angle,
Nina Masic
dont need to worry about it

again, even if you recompose the more unique your shot.
or the light changes.
Dynamic Portraits
Tip
Avoid stark
trees
winter tr
If you use a tree for one of your
images, choose one with
thick foliage. Spindly
winter trees dont
really work.
Take a
double
exposure
l back in the days of film, potential of double exposures, double exposures combine
some cameras, including most and over the past couple of years a head and shoulders portrait
SLRs, required you to wind your many DSLR and CSC with a cityscape or tree, as in the
lm on before you could take a manufacturers have started image above. For best results,
shot, ensuring that a fresh section adding a digital double exposure shoot both images against
of film was exposed each time. functionality to their cameras. abright sky, and adjust exposure
Other cameras, though, had no All you have to do is activate it in compensation so that the sky
such mechanism, meaning you the menu and then shoot your burns out to white. This will
had to remember to do it every two images, which the camera ensure that the information in
time you pressed the shutter. If will automatically blend the second image is contained
you forgot, youd get a double together. Some models will even within the shape of the head.
exposure, where two different let you blend any two shots on Double exposures are very much Pro advice
images would appear in the same
photograph. Photographers have
your card, so they dont have to
be shot consecutively.
atrial and error technique, so the
more you experiment the better
Do it in
long exploited the creative The most commonly taken the results youll achieve. Photoshop
Exposure 1 Exposure 2 If your camera doesnt
have a multiple
exposure function, you
can achieve the same
effect in Photoshop.
Open both your images,
copy the first one by
pressing Ctrl+A and
Ctrl+C, then paste it
onto the second with
Ctrl+V. Change the
blending mode of the
Above A double exposure merges two images into one for an abstract and graphic result. top Layer to Lighten.
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Dynamic Portraits
9 Create a
cinematic
image
l if youre an avid movie fan, you means they complement each other
Before
may have noticed a visual style that well. They could equally have used red
has become increasingly popular over and green, or purple and yellow, but
the past 15 years or so, where orange happens to work well for skin,
everything in the frame takes on and blue for skies and shadows, so
adistinctive orange or blue hue. If these have become the colours of
youre not sure what we mean, take a choice. By adjusting the colours of
few minutes and go to YouTube to your portraits you can give them that
watch a trailer of Transformers 2 or Hollywood look, and ensure that your
Iron Man 2 (both particularly extreme colour palette is attractive to the
examples). Pretty noticeable when viewer. Its important not to overdo
you know its there, right? Editing the effect (remember those trailers!),
teams colour-grade their movies in but a subtle tweak can inject your
this way because orange and blue work with a high-end cinematic look. Above Nudging your colours towards orange and
(actually its more of a teal), are Below we check out a quick and easy blue hues can help to give your portrait images
opposites on the colour wheel, which way to achieve this effect in Photoshop. a high-end Hollywood movie look.
1 2 3
Open two versions Create a Layer Mask Brush in your orange
Open your RAW image, and in the Press Ctrl+A then Ctrl+C on your Carefully brush over any area you
Camera Raw window adjust the cool image, then bring up the warm think would work better warm. In the
Temperature slider towards blue for a cold image and press Ctrl+V. At the bottom of shot above, we brushed over the face, hair
look. Click Open Image. Now open the same the Layers panel, click Add Layer Mask and and wooden trim in the car. If it looks
RAW but this time move the slider towards select the Brush Tool from the Tools panel. unnatural, feel free to adjust the Saturation
orange for a warm tinge. Click Open Image. Set Opacity to 100% and Hardness to 95%. of either Layer by using Ctrl+U.
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10
Make a fun
album with
a difference
l the period between it will work with as few as four
Christmas and New Year is the or ve. Consistency is the name
one time of year that youre most of the game here, so pay plenty of
likely to have your entire attention to detail as you shoot.
extended family all together in Set up your camera on a tripod
the same place for a while, making and connect an off-camera
this the ideal opportunity for flashgun or studio light. This
aquirky family portrait project. should be positioned in front of
The basic idea is to the subject, and ideally with a
photograph a head and shoulders light modier such as a softbox
portrait of each family member or reector. Work against a plain
in exactly the same position white background, and place
using identical camera settings astool in front for your subjects
and lighting. Youll then print out to sit on. This will ensure they
your portraits and compile them remain a constant distance from Pro advice Choose
into a plastic binder album.
Alternatively, you could get
the camera. Make sure the lens is
at eye height for each subject,
your camera settings
aphotobook made. which means carefully adjusting Set your camera to output of the light. You
Next, each face is sliced into the tripods central column manual mode so that you should leave the settings
thirds, with one cut above the depending on the height of the control all of the settings. on both the camera and
eyebrows and the other across subject. Take a portrait of each This will keep your the light exactly as they
the bridge of the nose. Provided person, ensuring you focus on portraits consistent. are for every portrait.
the cuts are made in the same the eyes. For more on camera Choose an aperture of f/8, Work in RAW and keep
a shutter speed of white balance set to
place on every page, each of the settings, see right.
1/160sec and an ISO of Flash. If you edit your
three sections can be turned over
100. Turn on your flashgun shots afterwards, ensure
individually to create new and Choose your focal length or studio head, connect it that any global changes
hilarious Frankenstein-esque The most attering focal length to your camera via you make, including
family members. for head and shoulders portraits triggers, and switch to brightness, contrast,
on APS- C sensor DSLRs is manual. Try a shot, and if white balance and
Take your shots 50mm, so stick to this if possible. its too bright or too dark, saturation, are applied
Ideally youll shoot around 10-20 If you have a full-frame camera, simply adjust the power equally to each shot.
people for this project, although work at 85mm.
Dynamic Portraits
Tip
Carefully align your images Match
face width
Although the concept for
this project is relatively Its much more important for
simple, getting your the width of the head to be
consistent across all
portraits perfectly lined up
images than the
before you print is actually
length.
quite tricky. The best
method is to open each
portrait as a Layer in the
same Photoshop
document. Turn off all the
Layers except the
Background Layer and
Layer 1. Click on Layer 1 to
select it, and reduce the
Opacity to 50%. You should
now be able to see both
faces. Press Ctrl+T and
adjust the size of the Layer 1
face so that the eyes and
mouth roughly line up with
the Background Layer face.
Once youre happy, restore
Layer 1 to 100%, and
repeat for all other Layers.
Print and create your book

Your shots should now be fully
aligned, so you can go ahead and
print them out. Its best to use a
paper with a semi-gloss finish,
preferably with a weigh of around
280gsm. You can use any size
paper, but A4 is recommended.
1
Mark your cuts
Using a pencil, mark two cut
points on your first portrait
one above the eyebrows and
one halfway down the nose.
Measure the position of these
marks with a ruler, then make
them in exactly the same place
on the other pages. Make sure the
lower cut doesnt bisect anyones
glasses. Dont slice the pages yet.
2
Bind your images together
3
Cut your pages
The best format for your album is as Now your album is complete, you can
a ring binder, preferably one with around make your cuts along the marks you
Above By combining details of 20 rings as less than this just wont work. made in Step 1. Use a craft knife and steel
three different faces you can Many people have access to a 20-hole punch ruler, and cut each page individually. Its
create quirky, fun portraits that at work. Be as accurate as possible when important to be as accurate as possible here,
everyone will love. punching your holes so everything lines up. or else the individual sections wont turn.
11
Work in
snow for
perfect light
l achieving perfectly exposed portraits in
natural light is considerably more challenging than
in the studio. Constantly changing weather means
you can be faced with bright sunshine one minute
and dark storm clouds the next, so youre constantly
having to keep an eye on settings. Additionally, for
most of the day, the light comes from above so in
direct sun you tend to get harsh shadows under the
chin and nose that have to be lled in with a reector
or flash. But there is one type of weather that
produces some of the best portrait lighting youll
ever work in. A blanket of snow combined with an
overcast sky is rare in the UK, but when it occurs
your landscape doubles up as a gigantic 360
reector. With light coming in at all angles, there are
no notable shadows or highlights anywhere on the
face, helping to hide wrinkles, pores and blemishes.
Work in RAW
Its good practice to shoot everything in RAW
format, but its crucial for snowy portraits. This is
because large parts of your frame are going to be
close to pure white, and RAW files contain much
more image information in bright highlights. This
will give you more scope to adjust these areas at the
editing stage. Dont forget that when working in cold
conditions, battery life is signicantly reduced so
make sure you have at least one spare in your kit bag.
Also be sure to wrap up warm as youre likely to be
standing relatively still for a long period of time.
Ekaterina Marinenko
Right Snow produces extremely soft and even light,

which means virtually no shadows or highlights on
the face. This gives particularly flattering results.
Pro advice How to

o adjust your
exposure compensation
Snow is the most reflective way to deal with this is to switch to spot metering,
natural surface on Earth, to adjust exposure where the camera only
absorbing around only compensation by 1-2 stops takes light levels into
20% of the light that hits it. to brighten up your image. account for a tiny area
This can throw off your Keep your eye on the of the frame around the
cameras metering system histogram though, or focus point. If you focus
and cause any darker activate the highlight alert, on the face, the camera
objects in the frame, as you dont want the snow will expose this area
including your subject, burning out to pure white. correctly without taking
to appear significantly An alternative to the rest of the frame into
underexposed. The best exposure compensation is account.
Baranozdemir Dynamic Portraits
Pro advice
Converting
ing
to mono
There are a million and
one ways to convert an
image to black & white in
Photoshop, depending
on the look you want to
achieve. For younger
female faces where you
dont want to exaggerate
skin detail, a quick and
effective mono
conversion is to create
a new Channel Mixer
Adjustment Layer, then
check the Monochrome
box. For grittier results,
which work better for
older men, try nudging
the clarity and contrast
sliders to the right in the
Adobe Camera Raw
12 window, and moving the

Saturation slider all the
way to the left.
Get emotive results with gritty monos

The medium of monochrome when photographing older men. black & white on your cameras
lends itself brilliantly to portrait Black & white tends to be screen. But even when this style
photography. Not only does it a good option in harsh, uneven is selected, colour information is
tend to produce more lighting where there are extreme still stored inside your RAW file,
expressive and dramatic highlights and shadows. In this so is available to you should you
images, but it helps draw the case, you should expose for the decide the image works better
viewers attention to the lines highlights, letting the shadows in colour. If you work in JPEG,
and textures in the subjects burn out to pure black. shoot everything in a colour
face, and the quality of light If you shoot in RAW, its best Picture Style, then convert it
within the frame. Black & white to set your cameras Picture afterwards on your computer.
generally suits both male and Style to Monochrome. This will If you dont do this, you wont
female faces of any age, but is allow you to see immediately be saving any of the colour
perhaps most commonly used what the image looks like in information at all.
Marianna Armata
Were all used to looking

13 through a lens, but why not
try shooting through two! Ask
your model to hold a lens 1-2ft in front
of their face. You should be able to
make out an upside down image of
them if you look through it. Focus on
the end of the lens, and shoot using
a wide aperture so your subject drifts
out of focus. Most lenses work for this
technique, including old film lenses,
though with newer Nikon glass youll
have to hold the aperture open using
the moveable clip on the lens mount.
Dynamic Portraits
14
Shoot through
glass for artistic
reflections
Nina Masic
Next step
l as photographers we tend give your shot that creative edge, face. The less perpendicular Find a
to like our glass to be as glare-free helping to lower contrast and (straight on) to the window you
and as non-reective as possible, introduce interesting shapes into are, the weaker the reflections model
as this gives the clearest image the frame. Youre effectively will be, so try to shoot from an
quality. The blue or green sheen combining two different scenes angle. Rainy days work well as If you dont have friends
or family willing to pose
that you may have noticed on into one, which can make for a therell be droplets of water on
for you, there are lots of
your lens front and rear elements particularly eye-catching image. the glass, and try working at night websites designed to
is in fact anti-reection coating, Shop or cafe windows are for colourful bokeh within your help photographers find
and it comes as standard on ideal and urban areas are the best reflection. You could even try models. Most are free to
virtually all modern lens models. places to find them. Ask your using a car window. use, and you can often
Photographers will also use a subject to sit or stand in the Shoot your pics at around arrange a TFP shoot ,
polarising filter to remove window, then adjust your 50mm, which is a attering focal where no money changes
unwanted reections within the position until the reection looks length for portraits, and use your hands you just have to
scene itself. Sometimes, though, right. Ensure that any strong widest aperture for a shallow give the model a copy
reections are the ideal way to reections are not obscuring the depth-of-eld. of the images.
During winter, the sun takes

15 a low arc through the sky,
which makes it easier to
backlight your model. This
causes lens flare for a warm,
flattering light. With the sun
behind the subject, it also
means no harsh shadows on
the face and no squinting.
Shoot near the start or end of Above Model
the day often termed golden Mayhem is one of
the best free sites
Srdjan Pav
hour for the best results. to find models.
THE WA I T I S OV ER.
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BEAUTY IN
SOLITUDE
Pro Showcase Mikko Lagerstedt
Inspired by Finlands magical Mikko Lagerstedt is a fine art

photographer based in Finland.
landscape and his emotional He captures simplistic, atmospheric
response to it, Mikko Lagerstedts landscapes, and has a particular flair
for night photography.
epic portfolio is truly beguiling. mikkolagerstedt.com
E
pic is a seriously asense of solitude. Together, this almost Finland its beautiful in that region and
overused word these alchemic triumvirate help Mikko turn his was driving through the countryside after
days. But when we native countryside into a place of aparticularly rainy evening. The weather
stumbled upon this otherworldly enchantment and wonder. was just starting to clear, the sun was setting
particular portfolio, Yet Mikkos career as a photographer and the clouds were vanishing from the sky,
brimming with images didnt take the route were all familiar with. but I could see a carpet of fog gracefully
that are so jaw- You know, hobbyist grafts for years and hanging over the eld that ran next to the
droppingly impressive, nurtures talent into something incredible. road. The evenings golden hour treated me
and, well, large, it His entry ticket into photography was as to light that looked like it could only exist in
seems perfectly justied. But what makes magically unconventional as the pictures he a fairytale. It cast a stunning glow that
shots like these? What creates the wizardry/ now produces. dappled through the trees across the misty
X factor/undenable but undeniable quality Previously a graphic designer, Mikko landscape. I stopped for a second to take in
that makes us reach for the biggest word readily admits he never had any inclination this work of natural art, astonished by the
we can think of? that he wanted to go into photography. No, way such a view could move me, and it was
Well, when it comes to Mikko Lagerstedt, for Mikko the about-change was more like at that precise moment I realised I wanted
the photographer behind this stunning body an epiphany a virtual bolt from the blue of to start capturing these spectacular instances
of work, its the combination of a discerning pure inspiration. in our world through photographs.
photographic eye, the beauty of the Finnish I was on my way to visit relatives at their The experience lingered in Mikkos mind
landscape, and the ability to encapsulate holiday cabin at Tampere in southern for a few months until he bought his first
Above To take this image, on a beautiful autumnal night near Tampere, Mikko set his
cameras self-timer then ran into the frame to act as the figure in the shot.
Above This panoramic image shows

a smoke cloud that Mikko saw by chance
on a journey back to Meri-Pori from Helsinki.
DSLR, a Nikon D90. As soon as I got it,

I started to shoot everything and I really do
mean everything. It was never out of my
hands. I just shot images of every aspect of
life and the world around me. Anything
I could possibly think of, I shot it.
Through this relentless practice, his skills
improved dramatically, but more importantly
he realised what had ignited the spark of
motivation hed felt at the side of that road
in the Finnish countryside. I started to
gure out the subject that inspired me the
most atmospheric landscapes. I just love to
capture low light and intense conditions in Above Captured on Halloween in Finlands Tuusulnjarvi region, the vibrant green
nature, such as foggy nights. tones in this photograph make it particularly spooky and atmospheric.
Above Mikko shot this image of the aurora borealis in Porvoo in Finland, as its great for
images of the Northern Lights. He positioned himself in the image to provide scale, setting
his cameras self-timer and running into the scenery to stand against the lights.
While some photographers take years to and one which he uses to great effect to
hone and develop their style, Mikko evolved emphasise this sense of solitude, is placing
his almost immediately, by simply gravitating human gures within the landscape. I love
towards what had awakened his creative to make the viewer stop and think about an
mind. When I shoot, I try to capture the image, and adding a person to ascene can
atmosphere and translate the unique aura make it extremely striking.
that each location offers. Ever since I was A human element gives a regular
achild, Ive loved the outdoors, particularly landscape a different dimension, making you
in wintry weather, so its only natural that see the scene in a different way. It also makes
Iutilise my emotions and let nature become it easier for people to nd a connection with
my muse for my photographic work. the image, as the gure can anchor the image
No surprise then that it is intense to reality. Incorporating a person into
ambience and strong alandscape is also a
atmosphere that great way to make the
really dene Mikkos I try to translate the epic even more epic,
portfolio. When Im
at a location, I try
feelings I have in the by putting something
next to it to give the
to translate the moment through viewer some context
feelings I have in the and an idea of scale.
moment through my my images Mikkos love of
photographic work. low light, and night
I take the emotions I feel at that place and shots I really cant resist astrophotography
channel them into my images. I love the feeling I get when Im out
With so much time spent on his own in photographing stars. Theres something so
remote and uninhabited locations, the magical and beautiful about it means long
feelings of loneliness and solitude rate highly shoots, often through the night and into the
in many of Mikkos compositions. I often following morning.
feel like this when Im out shooting alone at When I shoot night photography, Ileave
night. I channel these emotions into my home after sunset and head to a location Ive
images and they help me create extremely previously scouted. If its a long drive I plan
powerful shots. a few spots to stop and do some shots on the
Another common theme to Mikkos work, way to the main shooting location.
This shipwreck is near
Emsalo in Finland. The
fog and stars really
capture the mystical
atmosphere.
A pigeon flew
straight into
my head...
Working alone in the dead of night
means Mikko spends a large
proportion of his time alone.
Or so he would believe...
Recently, I was photographing
near some old castle ruins called
Raasepori in Finland. Id been
shooting right though the night so
I moved inside the ruined buildings
to take some shots looking out of
the windows. I started to set my
tripod up and suddenly a pigeon
came out of nowhere and flew
straight into my head. It scared
the life out of me. It sped off into
the distance looking just as shocked
as I was. Luckily, it was unharmed,
and I didnt have a heart attack.
If I see something interesting en route,

I always stop and see if theres a shot there.
I try to get home before the sun rises, but
morning light can be so beautiful that I cant
resist staying up sometimes and going home
after rst light.
In terms of gear, Mikko usually takes his
trusty Nikon D810 with the Nikkor 14-24mm
f/2.8 lens and a tripod. The full-frame sensor
on the DSLR is ideal for getting his great
astro-shots, as the bigger pixels will allow for
much more detail in those dark skies.
And as for post-processing? I mainly edit
my shots in Lightroom, adjusting the tones
and contrast and so forth. Occasionally I use
Photoshop. Post-processing is something
Ienjoy, and experimenting can enhance your
photography skills as it makes you think of
the whole process when taking your shots.
Itry to get the image as good as possible
in-camera but I often do some editing. Most
of the time I have a clear vision of how Im
going to edit my shots as I shoot them.
I try to get home

before sunrise, but
morning light can
be so beautiful...
This forethought stretches to formats too,
as Mikko readily admits to giving due
consideration to the shape and size of the
end product. I enjoy making images in
asquare format and its something that runs
throughout my work. I use lots of techniques
that involve combining two horizontal
images to create one scene, so cropping into
a square is the natural progression. I also
think through to how Im going to market my
images and this format works really well on
Mikkos top five photography tips
social media, which is a great place to get know the area where youre shooting in
your work out there and seen by the world. 1 Plan your locations
order to see the small details that will
For professional photographers, getting You must make sure that youre aware make an image stand out. Use a narrow
work noticed is crucial, especially these days of the conditions where you shoot, in aperture to ensure that every detail
when the digital landscape means images are order to get the best shot. For example, included in your image is in focus.
when doing night photography, ensure
shared so easily and quickly around the
that where youre going is far enough from
world. Social media is absolutely key to 4 Use a tripod
a city for no light pollution, and check the
marketing your work, acknowledges Mikko. moon phase and cloud forecast. For longer exposures, particularly with
Ive been lucky and gained a large number landscapes, you need to make sure that
of followers on social media. 2 Leave extra time your camera is completely still and you
So, with a to-die-for portfolio, along with dont have any camera shake. If youre
a sizeable audience keen for the next batchof If youre trying a new location that youve using ND filters for creative effects, having
never been to before, arrive with plenty of a tripod to hand is essential.
his ethereal images to admire, what does the time to spare. Its the worst moment when
future have in store for Mikko? At the time you realise that youve missed a shot
of writing, he divulged, Unfortunately, 5 Experiment
because you didnt arrive soon enough.
Icant talk openly about my future projects Try to be at your locations at least an hour Youve got to try new things to figure out
yet because Im planning a really big reveal before sunrise or sunset to allow yourself what works and what doesnt. Capture
in late December. However, I can say that in plenty of time to set up. the prominent subject in your frame, then
check out the other elements of the
the coming year I have a lot of travel plans,
image. Check behind you to see if there
so watch this space... 3 Learn your landscape
are some details there that you want to
We certainly will. And were sure we Taking a great landscape is often down to include. Move around your location to
wont be the only ones! noticing the details at your location. Get to find new, unique views of a subject.
Reinvent
the art of
Still life
The Art Of Still Life
The beauty of photography is

that no matter where you are,
from the highest snowy peaks
to your very own living room,
an incredible shot is always
possible. However, theres
little else that stretches your
creative boundaries in quite
the same way as still life
photography. Even if youre
lucky enough to have
stunning vistas outside your
window, sometimes the best
photos come from a little time
spent in communion with your
own imagination.
The best part of the genre is

that it requires minimal kit. All
you need is a little light and a
way to record your image. Still
life gives you the opportunity
to capture the delicacy of
flowers, the intricacies of
mechanical devices and the
stunning simplicity of everyday
objects. You can open up
amazing possibilities by
embracing your imagination
and letting it lead you down
new, untravelled roads.
CREATE INCREDIBLE STILL LIFE SHOTS
Create an icy masterpiece
Capture the beauty of frozen flowers
T
he bitter winds of is your camera, a selection of
winter may be flowers, pins, cling film, some
blowing in full force, food containers and a freezer.
but this fun project Choose vibrant owers thatll
lets you recreate the shine through the ice and really
icy effects of the season in the capture your viewers attention.
comfort of your own kitchen, by Place them face down in the
simply freezing owers in a block container, as youll nd it easier
of ice. Once shot, the resulting to control their placement once
images show off the delicate the water has been poured in.
nature of each and every petal. This will also mean that the
Everything you need for this petals are closer to the edge of
project can be sourced from your the ice, ensuring better visibility.
local supermarket and your Dont put too much water in, as
kitchen, making this the perfect it wont add anything to your
way to dip your toes into the image and will take longer to
winter season without running freeze. The ideal amount to use
the risk of frostbite. would be between 5-8cm, which
will freeze over completely Above Match the colours of your flowers to your background
Freeze flowers when left overnight. by planning your shots beforehand.
If youve been looking for a To keep the owers in place
refreshingly simple and low-cost after the water has been added, it will keep the owers roughly the ice, cloudiness and slightly
project, then look no further. place some cling lm over the top where you want them to be. off-centre flowers are not only
Theres no need to mess around and then stick the pins into the Part of the fun of this project expected, theyll help give your
with filters, triggers or tripods owers through the lm. While is that youll always be leaving images unique quirks and
with this technique. All you need this wont ensure total accuracy, some of it to chance. Cracks in individual character.
Tip
Watch the video
Transform your flowers into frozen wonders on your CD
Before you start on your own
icy images, watch Louise
creating these photos
in this months Learn
Photography Now
show.
1
Double-boil the water
2
Create your composition
One of the most potentially frustrating parts of this project Dust off your colour wheel and give your inner florist its
is cloudiness in the ice. While it can provide an interesting chance to shine. The flower bouquets you can buy in
dynamic to your image, you still need to be able to see the actual shops will come pre-arranged with complementary colours, but
flower. Cloudiness comes from additives in the water, so boil the dont be afraid to buy a few different bouquets and create your
water youre going to use twice in order to purify it. own colourful masterpieces.
3
Choose your background carefully
4
Set up your camera
A colourful background will make all the difference To ensure the minimum amount of distortion, select
with this project. Not only will it be more interesting than a focal length of 50mm. Choose a wide aperture to allow
a plain white or black background, but the viewer will be able as much light in as possible. If youre working handheld, set
to see it through the ice. Try choosing contrasting colours a minimum shutter speed of 1/125sec. This will reduce the risk
such as green and red to create a vivid and striking shot. of camera shake so theres no unwanted blur in your image.
5
Shoot your icy still life images
6
Edit the shot in Photoshop
For a soft and even light in your photograph, natural Open the image in Photoshop and bring up the Layers
light works best. All you need to do is position yourself panel. Click on Create new fill or adjustment layer (the
next to a window and have a reflector handy. Place your reflector half-black/half-white circle icon) and select Levels, then adjust
perpendicular to the window in order to bounce back the natural appropriately. Use the Spot Healing Tool to get rid of
light and soften any shadows. imperfections on the ice or paper.
Tip
Set up your scanner Clean the

scanners surface
Scanner glass can get dirty
for successful images

quickly. Before you scan, use
a lens cleaner and a lint-free
polishing cloth to remove
T
oil, dust and
smears.
he scanner, a own right, scanography is a perfect photographic project, no side on to
humble piece of fantastic way to spend a creative matter whether youre an i t . If yo u
technology usually afternoon. The scanner doubles experienced pro, enthusiastic were to try
resigned to digitising up as both camera and light amateur or complete beginner. shooting the objects with your
documents, can also source, which means that its DSLR, youd notice that the
create surprisingly beautiful art. literally the only piece of gear Know your scanner closer an object is to the edge
Now a well-known genre in its you need. This makes it the Theres a distinct advantage to of the frame, the less top down
using a scanner over a regular appear
it would appear.
camera, and its to do with the
way it collects light. Scanners Arrange your still life
work by moving a scan head over The nature of scanner
the top of the subject, which photography is that your subject
collects image information as it is lit with a strip of light that runs
goes. This is why scans take along the scan head. This light
several seconds to complete. might look bright, but it drops off
DSLRs, on the other hand, very quickly, so objects that are
expose every part of the frame at just 2-3cm from the glass will be
the same time. underexposed. Theyll also start
The moving scan head system to drift out of focus. This means
is advantageous in that it means that its best to use low-profile
the scanners effective sensor subjects that will sit comfortably
size is the same as the size of the against the scanners surface,
whole frame, and so a scanner such as feathers or leaves.
captures every part of the subject Flowers are another great subject
directly from above. In other for scanner art, but its best to
Above Scan dried poppy heads for a rustic look. The scanners words, its always looking down press them gently against the
lighting will create soft and visually appealing shadows. at an object, and never slightly glass to let the light capture as
Make a perfect scan

One of the most important settings for creating amazing
scanner art is the DPI (dots per inch). This is a critical variable
that will determine your image detail, image size and file size.
While it wont affect the image quality, it will control what size
you can print your images at.
1
Set the resolution & settings
Resist the temptation to set your DPI as big as possible, Exper
Expertt advice Create
as this will create a massive file size. Its best instead to
work out how large you want your image to be printed. If you glitched images
use 300dpi then your picture can be printed at A4. However,
if you use 600dpi then you can print it at A3. The way that a scanner Scanners work in a
records images isnt that fairly similar way, except
far removed from how a much, much slower. If you
camera with an electronic want a completely crisp
shutter works. While a image then youll simply
mechanical shutter will need to ensure that the
snap instantly shut and subject stays still during
capture a unique point in the scan. However, if you
time, an electronic shutter want to experiment with
works by capturing a line the scanner art genre, then
of pixels at a time. If youve take advantage of this fun
ever used your smartphone quirk by creating heavily
to take a picture of the distorted images. While
outside world rushing past this picture looks a little
while on a train, you may complicated, the technique
have noticed that straight is actually very easy. All
objects appear slanted. you need to do is set up
This is because the the scanner in a dark room
electronic shutter has and then slowly wave your
2
Clean up your shot in Photoshop
No matter how careful you are, dust attached to your recorded pixel information subject across the frame
subjects can often cause imperfections in your image. at the top of the screen as it scans. Use an object
If this is the case, load your picture into Photoshop and select before the pixel with a recognisable pattern
the Spot Healing Brush Tool. Then simply click on the information at the bottom. for the best effect.
offending articles and the tool will get rid of them.
much of the bloom as possible. change the colour of your

All that said, you might background from pure white to
choose to use the light fall-off pure black all you need to do is
to your advantage. By leave the lid up in a dark room.
experimenting with 3D objects If you dont want white or
such as pot pourri, dried poppy black, just lay a sheet of A4
heads or sweets, you can allow coloured paper or card on top of
the parts of the object furthest your subject. This only really
from the scanner surface to go works with flatter objects
black, creating a real sense of though. Stationery shops such as
depth in the image. WHSmith or Hobbycraft have
You can also use this light a wide range of coloured paper Above Ensure the dollar bill is completely flat against
fall-off to quickly and easily to choose from. the glass as you move it across the scanner.
Tip
Share your
shots with us
Deconstruct Wed love to see what youve

created, so post your images
on our Facebook page, or tag
retro technology
us on Instagram. Well
repost the best
ones!
C
reate an engaging 30 years old, you may find that
still life image by some of the screws remain
destroying a piece stubbornly in place despite your
of old technology. best efforts. There will also be
This project can be parts that are pretty much Expert advice
shot with any mechanical impossible to get off without
product, such as a radio or some form of brute force, so be How to create the
non-digital watch, but why not prepared to relieve some
shoot something that reflects aggression! Dont worry if some
perfect deconstruction
your passion instead? Film of the parts arent wholly intact
Shoot your deconstruction in order to use the flash
cameras are wonderful pieces of after youve taken the camera
against a white background off-camera.
technology that are easily apart, as that will just add to the to make sure that all of the Setting up your still
recognisable even when pulled charm of the image. camera parts show up life on the floor will give
apart. If you have an old, broken Once youve wrestled with clearly. If you have access you plenty of room to
film camera laying around, its your camera, its time to arrange to studio kit, then position physically move up and
time to put it to good use by it into an interesting composition. two flashes either side of down to frame the image,
creating a deconstructed still life. This part is really up to you, and the deconstructed camera. and, just as with the frozen
what you find aesthetically This will ensure that your flower still life, a 50mm
Destroy to create pleasing, but youll want to image is evenly lit and focal length will ensure that
that there are no harsh your image isnt distorted.
A screwdriver with a selection of position the larger pieces of the
shadows. If youre working Set an aperture of f/11, just
heads and sturdy pliers will be camera, such as the chassis, rst.
with less kit, set up a to ensure that everything is
your best friends for this project. Once youve set out the main flashgun on one side and in focus, especially if there
In a perfect world youd be able shape of the image, ll in the gaps a reflector on the other to are parts that are higher
to take the camera apart solely with the cogs, wires and screws act as your second strobe. than others. Select a
using a screwdriver, but given to create a fun and visually You will need a trigger for shutter speed of 1/125sec
that your camera may be 10, 20 or engaging image. both of these techniques and set ISO 100.
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Lady in the
lavender
Delve into the art of
portraiture with Bella Kotak,
Bella Kotak is
a London-based
fine art and fashion
photographer.
as she explains exactly how She predominantly
works with nature
she creates her fairytale- as her inspiration, and finds magic
in the ordinary and everyday.
inspired fashion images. bellakotakphotography.com
Pro Insight
Pro Insight
T
o create an image that your model and coax these out of them. You
transports the viewer to simply dont get that chance with any other
adifferent world is quite the genre of photography.
challenge, but Bella Kotak I also love to create stories, especially
has made this her craft. fairytales. Creating these concepts is where
With her elaborate, mystical my creativity really shines. I channel my
images, she takes portraiture daydreams of magical stories into all my work,
to a whole new dimension one of fairytales so my portraits may not be the most
and the beauty of nature. Her work has really conventional but are rather a reection of my
turned heads, with hundreds of thousands of imagination and artistic mind.
online followers from across the globe, but
what does it take to become a rising star in the Who are the biggest influences
world of ne art portraiture? in your work?
How did your photographic Tim Walker is someone who has had a huge
career begin? inuence on my work. His work is so unique,
with creative, quirky concepts. It inspired me
Photography was a hobby that turned into to explore my ideas and discover what I want
afull-blown obsession. While I was training my photographic voice to be like and to
Above Bella created this atmospheric image
to become an architect, I started a self- pursue my own visions. His images really at a retouching retreat that she co-hosted.
portrait a day challenge, which is something speak about him as an artist, and I strive to be
I cant recommend enough for aspiring as authentic and playful in my work too. the shape or their hands, or certain angles on
portrait photographers. I took on the their face and so on. I use this as a starting
challenge to try to improve my Photoshop How do you come up with point for the image and build my concept
skills and apply them in my architecture your concepts? around that feature.
work. It worked, as my prociency came on
really quickly, but in the meantime I start with a little spark of inspiration, which Whats your planning process
Icompletely fell in love with the medium of is usually something mundane. I love to nd for your shots?
capturing light and moments and I havent beauty and wonder in the everyday. Most of
looked back since. my concepts grow out of a moment that we Once I have an idea I start to think of every
After that, I started to pursue my might pass by and not even notice, like the element of the shot and prepare all the details.
photography more, drafting in my friends as vibrancy of the world following the rain, the That means pricing up all the various elements
models for shoots. The more work I did, the soft, golden light at the end of each day, or the of clothes, make-up, hair, model, location and
more I started to get bookings and it unfurling of owers during spring. so on. This process can take anything from
snowballed my career into what it is today. When I shoot I want to create an image aday to a month, or even longer depending on
thats otherworldly, like something out of your the weather or season. Sometimes my ideas
What drew you to portraiture deepest imagination or from folklore. Simple need to be shot at a particular time of year, so
in particular? ideas are the building blocks for my concepts, I have to hang re until the right time.
and these come from many different directions
From the beginning of my photography they can be from the model, the location, or How did you create this
endeavours, I was portraying faces. I was asong. Anything can be acatalyst for a creative features main image?
capturing my own in a series of self-portraits, spark. I keep my mind open and let my
or those of my friends. thoughts merge, grow and develop into one of I had my eye on shooting at this specific
I have always been drawn to faces. Our my portraiture creations. location for a while as I loved the lavender.
expression is the window to our emotions and, I nd Im drawn to a particular feature on I was planning a shoot with this model and
as a photographer, its your duty to work with somebody, such as their eyes the colour or designer, Ophelia Overdose, and she showed
Three key techniques Bella uses in this shot

Create a horizontal panorama
1 Taking a number of images around your subject then
1
stitching them together will give you a lot more scope in
post-processing to make changes to your composition.
Shoot with a prime lens

2 Prime lenses are perfect for portraits. They offer you wide
apertures for a shallow depth-of-field and lots of bokeh combined
3
with pin-sharp subjects.
Use natural lighting

2 3 Flash can give you complete control of your lighting,
however natural light can contribute to a very different look.
Cloudy days are perfect, as they act as natural diffusers, and
will help provide a lovely, soft light across your subject.
me an outt shed made that I knew would t
this shot perfectly. And I knew exactly how I
was going to shoot it.
Natural light alone lit the scene. It was
agrey, rainy day and the clouds diffused the
light from the sun so well that it was lovely
and soft with no harsh shadows. Although
overcast isnt always the best for photography,
clouds can act as a fantastic natural softbox
and give you beautiful light for portraiture.
Do you work with a team?
Sometimes I do, but more often than not

I prefer to have a small, intimate setup.
Usually it would just consist of myself, the
model and perhaps a make-up artist. I like to
follow my own inner vision and take control
of every aspect of the image. I feel more
comfortable working when I have total
control over every element of the shoot.
Talk us through the camera equipment

and techniques you used...
I used a Canon 5D MkIII with the 50mm f/1.4

lens. The clouds diffused the sunlight perfectly,
so I didnt need to use external ash. I took
afew shots to capture the wider scene then What Bella is doing now
created a horizontally stitched image in
Photoshop to give myself a bit more exibility Ive often been asked about the colours I use and how I colour tone. Its such an
intricate part of my process and something that Ive developed over a long time. So I
for the nal crop of the picture.
teamed up with renowned retoucher Pratik Naik from Solstice Retouch to create a
collection of beautiful Photoshop Actions for photographers who want to add a bit of
How did you edit this image? extra magic to their work with just one click. Ive been so touched by the feedback from
photographers that have downloaded and used them, so were releasing two brand
I spent around an hour on this image. I began new collections before Christmas, which can be downloaded if you enjoy the free ones
by stitching some of the shots together on the in this issue. Just go to my website fineartactions.com
left to make it a little longer and more
cinematic. Once I start my main editing,
I spend a long time contemplating the colour
Free! Photoshop Actions on the disc
direction. I was inspired by the purple hues of Bella is giving away six
the lavender so I offset this with grey and Actions, worth $89, to all PP
moody tones. I create lots of Adjustment Layers readers this month. Just open
and play with them until I get the perfect tones. your Learn Photography Now
disc, and youll find The Royal
Sometimes I can make over 20 before Im
Collection. Save them,
happy. Its a long process, but its totally worth
it and it creates my signature look.
select Install on the
Actions tab in 6
VINTAGE
Photoshop, and
ACTIONS
How do you feel about post- take your colours ON THE
processing generally? to the next level... DISC
I think its incredibly important to get things

right in-camera, but its just as crucial to know
how to post-process. If your image is captured
beautifully then the post-processing will
Bella talks gear
For this particular shot, I used a basic
enhance that. You work with what you capture, setup. It always astounds me that you
so you must ensure its a good foundation from dont actually need the best, most
which to build on. I think post-processing is elaborate, or incredibly expensive gear
also a great tool for you to add another level of to get a striking shot.
artistic uniqueness and style.
Cameras and lenses
Canon 5D MkIII & 50mm f/1.4.
What advice would you give to an
aspiring portrait photographer? Accessories
Vanguard 204AB tripod & reflector.
Just keep working on your craft...
CAPTURE
CRE ATE
Make a quirkky
Hockney-insp pired
photo colllage
This classic Polaroid-based technique can be
brought right up to date with your digital camera
and Photoshop, as Kingsley Singleton explains.
I
f ever there was a type The separate te shots of the
of picture thats greater subject and the location are then
than the sum of its parts, its combined as Layers in
a photo joiner. A joiner is Photoshop. Once you get used to
acollage thats made up of it, its similar to sliding actual
separate exposures. This photos around on a piece of
technique can be used on any paper, just like a real collage or
subject, and it works particularly joiner. And while you could get
well on portraits. a similar effect from a single
Shooting a joiner is a bit like digital image, cutting it up and
taking the pics required for overlapping it in Photoshop, by
apanoramic stitcher, except that investing more time youll get
we dont want to create a afar better nal image.
seamless blend, we want to Weve used the technique on
literally see the joins. So while a portrait. To get the best out of
shooting a pano you would it, try twinning it with an
rightly be interested in keeping environmental
onmental portrait ait style,
tyle
angles and focus consistent, with wheree you pick a subject and
a joiner the imperfections are alocation
location thats full of detail and
actually a benet. meaning to them.
Three new skills youll learn...

HOW TO PLAN HOW TO PIECE
1 A SUCCESSFUL
PHOTO JOINER
3 YOUR JOINER
TOGETHER IN
Pick a good subject and PHOTOSHOP
location for your joiner, and Arguably, its in Photoshop
make sure you know that most of the work for this
everything you need to make technique takes place, but by
a great collage composition. following the simple
step-by-step
THE CAMERA guide youll
2 SETTINGS YOU
WILL NEED
quickly see how
to put the basic
Photographing a joiner isnt collage together
the most exacting of tasks, using Layers,
but knowing how many and how to edit
images youll need and how and refine their
to get some variety in the position for the
shots will send you on the best-looking
path to success. composition.
Capture & Create
What
youll learn
How to process multiple
RAW files ready for use
How to add Layers to an image
How to re-order Layers easily
Software Photoshop
Do it in 30 mins
Capture the shots IN FOCUS DEFOCUSED
that you need

This is quite a free-form technique, but there friendly telephoto focal length when you
are lots of things to keep in your mind while start shooting the segments. For this reason,
shooting for it to be successful. The most you can shoot on a standard zoom, like an
important is coverage. You need to be sure 18-55mm or 24-70mm, using both the long
that you have the number and variety of shots and short ends. Or, start on the wide end of
that will make up an interesting collage, so your zoom, and then switch to a fast prime
that youre not left with blank areas or telephoto lens like an 85mm f/1.8.
regretting a lack of interest in the content. Beyond that, there is exposure, lighting,
To make things easier and to provide and focus to juggle and, as variety is helpful
asafety net in case you do miss some element in the collage look, its best to keep the point
of the scene, its sensible to shoot awide-angle of sharpness moving, sometimes on the Above Changing the angle or focus as you
view first, then switch to a more portrait- subject and sometimes on the details. shoot is a great way to get the cut-up look.
Lighting Location
You can shoot in available In many ways, this technique
light if you want, but this can works best in an environmental
be tricky if the location is style, so choose a location that
dimly lit, like a regular home means something to the
interior. Adding some flash subject, or tells a story about
will help. For my image, them for a good character
I positioned a flash behind study. Places with lots of
the subject to add some details, textures or lines, are
hair lighting, and fired it with good too, as the collage-look
a simple radio trigger. I also will break them up in an
took care to position my attractive way.
model away from the kitchen
spotlights, which would have
caused heavy shadows. Shooting position
For once in Capture & Create,
you can leave the tripod at
home. Instead, this technique
is all about moving around the
scene, changing your shooting
angle slightly so that the
separate pieces of the collage
have subtle differences. Just
make sure you shoot enough to
cover the scene, as explained in
the step-by-step opposite.
Expert advice What sort

of joiner do you want?
If you shoot enough pictures in the location youll
have lots of options to work with. And as well as
covering you for filling all parts of the scene, it will
allow some different styles of joiner to be made.
Heres an alternative example created from the same
set of starting images. As youll see, compared to
the main image, this version uses more elements
from around the scene to reinforce the composition
objects that wouldnt have been visible from the
original shooting position. This can add even more
personality to the scene.
Right As well as using further objects from around

the location you can vary the construction of the
joiner, giving it a more lined up look or frames
between the pics.
Capture & Create
1
Set up and shoot wide
Once youve found the right location, get your
subject in position and set up any lighting you
want to introduce. I set a flashgun up on a stand
behind my model, Brenda, for a backlighting effect,
and then set it to Manual mode, with power at 1/8.
I also fitted a grid to the flashgun to stop it flaring
into the lens and fitted a lens hood. Then I added
a radio rreceiver
eceiver to the flash and a trigger to the camera,
setting them to the same channel
and group. That done, I framed up
the scene as a whole, composing
a little wider than the height and
width of the intended collage. To do
this I set the lens to its shortest
focal length, which was 24mm.
I then set the camera to Manual
mode (M), and, using the exposure
bar in the viewfinder as a guide,
dialled in settings of 1/80sec at
f/2.8, ISO 400. Finally, I focused Above Shooting in Manual keeps the exposure consistent, but
on BrBrenda and took the wide shot. for variety in the brightness of each frame try aperture-priority.
2
Zoom in to a cropped view
3
Focus on the subject and shoot
With the wide shot taken, change the focal length to a longer Make sure Autofocus (AF) is switched on and your
youre
setting like 55mm or 70mm. If youre using a zoom with in Single (rather than Continuous/Servo) mode. Then,
a variable aperture, you need to adjust the shutter speed or ISO through the viewfinder, position the active AF point over the subject
to compensate. So, for example, say the aperture at the long end falls and half-press the shutter release button or the AF-On button to
from f/3.5 to f/5.6, youll need to drop the shutter speed from 1/100sec lock focus. Holding the button, you can now recompose and shoot,
to 1/40sec. Or you could raise the ISO from 400 to 1000. Either way will concentrating on different parts of the subject in turn face, hair,
ensure the brightness of the exposure is consistent. neck, shoulders and so on.
How to fix shooting problems

THE SHUTTER SPEED
ISNT FAST ENOUGH
If youre working indoors without much
light, the shutter speed can get low
enough that images will be blurred by
camera shake. If so, push the ISO
setting up to 1250 or 1600 to
compensate. Well be reducing the
size of the images to go into the
collage, so noise will be hidden anyway.
HOW DO I KNOW IF I HAVE ENOUGH

PICTURES FOR THE COLLAGE?
4
Turn attention to the rest of the scene If youve worked around the scene methodically, youll
With the subject taken care of, youre free to concentrate on the probably have it covered. To be certain, make a mental note of
rest of the scene. Using the same technique as before, focus on where the end of one frame is then check its still visible on the
a part that you know is at the edge of the composition and shoot, then other side of the next shot. That way youll have some overlap.
shift the view slightly and shoot again. Work across the scene in this And if all else fails you can use the safety-net wide shot from
way until the whole of it is covered. Vary the point of focus and the the first step to fill in parts.
perspective and itll add to the cut-up look.
Create the image
in Photoshop
As previously mentioned, this technique uses Layers a lot of
Layers. My final collage contained 35 pieces, plus a white
Background Layer and a wide shot to use as a guide, so 37 Layers in
total. And because part of the editing involves fine-tuning the
composition by re-ordering and shifting the position of these
Layers, you need to make sure youre in full control.
Something that helps enormously is switching the Move Tool
to Auto Select Layer mode. In this mode, it activates the Layer
1
you click on. So all you need to do is click on the part of the picture
Convert your RAW files
If youve shot in RAW mode, go to File>Open, highlight the shots
you want to edit, and that Layer will become active in the Layers to make up your collage, including the wide pic, then click Open to
palette you dont need to nd it manually. launch them into Camera Raw. Process the first of the shots, controlling
Well start by processing the multiple images that make up the the exposure as desired, then press Ctrl+A to select all the files.
collage, ready for use, which also involves resizing them as theres Right-click (Ctrl-click on a Mac) on the first file and choose Sync
no point working with pixels you dont need. Settings. In the panel, click OK and the settings will be applied to all.
2
Save and resize as JPEGs
3
Make a blank page to work on
Now click on the Save Images button, choose a destination for In Photoshop, go to File>New, set Document Type to International
the files (a new folder is best), set the format to JPEG and Quality Paper, and choose A3 from the menu (or whatever print size you
to 10 or 12. Under Image Sizing, next to Resize to Fit, choose Long Side, want to make the final image but its best to make it the largest youll
and set it to 2000 pixels. Next, under Output Sharpening, set to Screen need). Call it Joiner and set the Background Contents to White. See that
(Standard) and click OK to start the saving process. Depending on your the Resolution is set to 300ppi, and then click OK. Now, if working in
PC and the number of files, this can take a few minutes. landscape format, go to Image>Image Rotation>90 Clockwise.
4
Add the wide image as a guide to the joiner
5
Add the first of the joiner pieces
Open the wide shot you took, press Ctrl+A, then Ctrl+C and Open the joiner piece with the face and pick the Rectangular
close it down. Back on the blank page, press Ctrl+V to paste it Marquee Tool (M). In the Options bar, set Feather to 0px, and, for
in. Now press Ctrl+T to enter Free Transform mode, hold Shift, and pull square pieces set Style to Fixed Ratio, entering 1 for Width and Height.
the corner handles to resize it, leaving a bit of a border around the Drag a selection over the part of the image you want to use, press
edges of the frame. Once youre happy with the size, click the tick and, Ctrl+C to copy, and then close it. Back on the joiner, press Ctrl+V, then
in the Layers palette (Window>Layers), drop Layer 1s Opacity to 50%. Ctrl+T. Resize the piece to suite the scale and click the tick.
Capture & Create
7
Add more pieces in Layers
Taking note of the pieces youve
already added to the collage, open the
6
Add another piece and reposition next section to add, Copy and Paste it in as
Open another shot from the collage and copy the part of it you before, then Transform and reposition it in the
want, then close it as before. Paste the new part in as in Step 5, joiner. Continue adding pieces. If you want
and then resize it to roughly the same size as the first piece. Now pick a more scattered look, click and drag outside
the Move Tool (V), and in the Options bar, set it to Auto Select: Layer. the piece while Free Transforming to rotate it
Click on the new piece and move it into position, overlapping the first, slightly. Keep adding pieces until the scene
then in the Layers palette click and drag it down, so its underneath. is covered.
8
Assess the collage and check for gaps
9
Improve the lighting
When youre done, assess the composition. If a piece doesnt With the joiner complete, use File>Save As and pick PSD as the file
look right, click on it with the Move Tool and, in the Layers palette, type (so you can edit later). Go to Layer>Flatten Image and then
click and drag that Layer to the bin icon, then replace it. Also check the Layer>New Adjustment Layer>Curves. Drag the curve down, then in the
overlap, making sure there are no gaps. To see better, switch off the attached mask use the Brush Tool to paint Black, hiding the effect on the
visibility of the wide shot (Layer 1) using its eye icon. If a Layer needs to subject. Add another Curves Layer, push the Curve up, and paint black to
be moved above another, drag it up or down in the Layers palette. hide the effect at the edges. Finally, Flatten Image again and save.
How to tell youve got the technique right

A quirky but flattering look
1 Theres nothing to stop you from really going to town on
your subject and splitting their face over multiple pieces of the
1 collage, but its more flattering if you avoid cutting their features
too much.
A good fit throughout

2
3 After all the pieces are in place, examine the collage
2 closely, watching out for areas that jar, like slivers of one picture
left behind another. You can fix this by clicking on the Layer and
using the arrow keys to nudge them one pixel at a time.
An attractive finish
3 Like most montaging techniques, the use of Layers isnt
the end of the process. Once complete, make sure you lavish
some attention on the contrast and colour before sharpening
the final image, ready to share and enjoy.
Know
YourStuff
All your technique and gear questions answered by
our team of experts knowyourstuff@bauermedia.co.uk
What winter
wildlife can
Tim Berry
PPs deputy
editor has a
masters degree
I shoot?
This winter Id love to have a go at photographing some
in photography animals in the snow. Which species are out and about
and has taught at this time of year, and where can I go to find them?
undergraduates. Ben Meddings, Berkhamsted
Tim says: We often think of the Photography Now show on next

cold months of winter as a time months free disc.
when the natural world lies
dormant. But you may be surprised Starlings
to know that this is one of the best A lone starling might not get you an
Dan Mold
times of the year to photograph award-winning image, but when

Britains wildlife. Many species are there are thousands swooping
forced out into the open in the near- around in unison, theres a chance
Georgie Rastall constant search for food, so your of bagging an incredible image. Grey seals
Specialising in odds of stumbling upon some This is the time of year to see Head to the coast in January to see
portraits and event otherwise rarely seen creatures amurmuration, and you can see grey seals with their new pups.
photography, increase dramatically. one at lots of sites around the UK. Theyre not scared of humans, so
Georgie is the Here are ve animals that make The RSPB recommends Gretna you can usually get relatively close,
teams expert ideal winter subjects. If you can Green in Dumfries and Galloway, and therefore dont need a long
technique writer. capture them in the snow to add a and Brighton Pier in Sussex. telephoto lens. At Blakeney Point
sense of season, even better... in North Norfolk, for example, they
Hares often bask on the beach just metres
Red squirrels Your best chance of photographing from the path (the beach itself is
This well-loved species has been one of Britains three species of fenced off to keep the public out).
making a remarkable comeback in hare comes around the end of winter Other excellent grey seal locations
the UK after being out-competed and the start of spring, when their include Anglesey in North Wales
by the American grey. Theres now breeding season is in full swing. In and Donna Nook in Lincolnshire.
a population of 140,000, many of March, you might see the males and
which can be found in the forests of females boxing, which can help you Garden birds
Louise Carey Northumberland. Prince Charles, achieve dramatic images injected There are lots of colourful garden
PPs features who has supported efforts to with plenty of energy. Hares are birds to photograph in the winter
writer is an reintroduce red squirrels, calls skittish, and can run at up to 40mph, months, including robins,
experienced them the most charming and so a long lens and fast reactions are woodpeckers, goldnches and blue
fine art and irresistible of animals so you can useful. Lyme Park in Cheshire, tits. Food is scarce in winter, so
documentary be sure of captivating images. For Anglesey in North Wales and the regularly putting out peanuts, seed,
photographer. more on photographing red Dark Peak Moors in Derbyshire are mealworm or fat balls can attract
squirrels, watch the Learn great places to see them. all sorts of different species.
Tip
Bait your subject
Try to get your local wildlife
into the habit of visiting the
same spot every day by baiting
an area with food. You can
then set up your camera
in a certain position
and wait.
try Choose the right gear for the job

this! The vast majority of winter with a 2x teleconverter.
wildlife subjects have to be A camera with a fast
photographed from a shooting speed is also
distance, so its really handy useful. This will allow you to
to have a long telephoto lens fire off several frames in a
in your kit bag. Most short space of time, which
pro-quality wildlife lenses, can be essential for
such as Canons 800mm fast-moving subjects. Most
f/5.6L, are very expensive, entry-level DSLRs can shoot
often costing in excess of 3-5fps, whereas some
10,000. Fortunately, both enthusiast and pro models
Sigma and Tamron make can manage 10-15fps. Youll
very affordable 150-600mm also need a memory card
f/5-6.3 models for around with a fast write speed to
849, and Nikon has recently keep up. Dont forget that
released a 200-500mm f/5.6 APS-C cameras, such as
for 1179. If youre on an Nikons D500 and Canons
even tighter budget, a 7D MkII, give you about 50%
70-300mm can be bought more reach than full-frame
for around 100. Another models owing to the
Above A long telephoto lens is needed for most wildlife subjects. option is to use a 70-200mm sensors crop factor.
Which camera bag should I buy?
carry around with you on a shooting trip you might opt for a wheeled bag, many of
Im in the market for a new
cameras, lenses, ashguns, triggers then buy which are airline carry-on friendly. Or if your
bag but have no idea which one
a bag about 50% larger. This will give you gear is likely to take serious punishment,
to get. Do you have any buying advice
extra space should you buy more kit in the ahard plastic case might be the best bet.
before I part with my money?
future. Remember, youre likely to use your Its also well worth thinking about looks as
Carol Adlington, Hove
bag for at least three years. well as practicality. Travel back in time 10
The next step is to decide which type of years or so and everything was plain black, but
Georgie says: There are hundreds of kit bags bag would suit you. If you own lots of gear, these days there are a wide range of colours,
on the market and, once you start looking at abackpack is the best option, as twin shoulder styles and designs to choose from. Many are
all the types and sizes, picking the right one straps make for more comfortable carrying. even fashioned to look like regular, smart
can be a pretty involved decision. Single strap bags are usually smaller, but leather handbags.
The first job is to decide on how much swing around your body for easier access Finally, have a think about the features you
space you need. A good rule-of-thumb is to without removing from the shoulder. might want your bag to have. Below we take a
gather together everything you might want to If you travel abroad regularly with your kit, look at some of the most important options.
Seven useful features to consider... Laptop or

tablet pocket
Anti-theft devices Many larger bags now have
a padded space for a tablet
If youre working in a busy or laptop, which can be
urban environment, its worth useful if youre a travel
buying a bag with anti-theft photographer, or if you want
features, including anti-slash to do editing on the go.
fabric, steel-lined straps, and
even a tamper-proof barcode.
Rear opening
Anyone concerned about
security should consider
a bag that opens from the
back rather than the front,
as this means the kit cant
be accessed while the
bag is on the back.
Tripod holder
For outdoor photographers
who carry their kit over long
distances, a bag with a tripod
Padded Accessory pocket or holder is a good idea.
dividers pockets This allows you to keep both
hands free as you walk.
Generously padded Space for your
dividers are the best camera and lenses
way to keep your is one thing, but
gear safe. Most are make sure there
All-weather cover
moveable so you are smaller pockets The vast majority of bags are not
can change the for essentials too, waterproof, but many come with
internal layout of such as memory a waterpr
waterproof
oof cover to keep your
your bag depending cards, batteries kit dry in bad weather. This is often
on your kit. and lens cloths. stowed in the base of the bag.
Know Your Stuff
How do 360
-
cameras work?
Im interested in buying a
360 camera. Could you
explain to me how they work?
Katie Sutcliffe, London
Ian Bramham
Tim says: 360 photography and
videography have started to
become much more mainstream,
with several affordable consumer-
What is meant by level 360 cams now on the market.

Perhaps the most notable are Nikons
Key Mission 360 and Ricohs Theta S.
fine art photography? Most 360 devices use two

cameras back-to-back, both of
which are fitted with lenses that
have an angle-of-view larger than
Ive been shooting some really photographers who have a unique vision. 180. This creates overlaps that
artistic photographs lately, but They can show us a different way of viewing allows the two separate image or
Im not really sure whether or not I can the world in which we live. In my own work video files to be seamlessly stitched
call them fine art. Would it be possible Im most interested in expressing ideas about together to create a perfect sphere.
for you to define this genre for me beauty and simplicity it makes me feel On compatible platforms (now
please? Ken Simmons, Stirling happy and at peace with the world. You can including Facebook and YouTube)
the user can click and drag on the
check out Ians extensive portfolio at
still or video to control the viewing
Louise says: Most photographic genres, ianbramham.com direction. On some smart devices,
including portraits, landscapes, sports and So to answer your question, Ken, if youve its even possible to change this
wildlife, are fairly easy to define, as they taken an image in a creative way to capture viewing direction simply by
generally feature specic subject matter. But the aesthetic value of an object, then you changing the angle of the device.
fine art photography doesnt really have a should absolutely label it as ne art.
widely agreed denition, and isnt associated
with any particular theme. Its also not bound
together by a denite technique, focal length,
aperture setting or compositional device. But What is a focal length simulator?
despite the difficulty in pinning down a precise
denition of ne art photography, there is one I want to buy a 600mm lens but cant picture
thing that all ne art images have in common how long that is. Is there any way I can see
they have a stronger focus on aesthetics than a practical example of how it compares to other
realism. This means the photographer has focal lengths? Thomas Harris, Aberdeen
creatively interpreted the person, place or
object in the frame for its visual beauty rather Georgie says: Yes, a lens simulator is the tool you
than to document it in a realistic way. Its for want. These are especially useful if youre deciding
this reason that ne art shots are often labelled between, say, a 20mm and a 24mm, but cant quite
abstract or artistic. visualise how much difference that 4mm makes.
Ian Bramham is one of the UKs Several websites offer a lens simulator, including
best-known fine-art photographers, and Sigmas (sigma-imaging-uk.com/focal-length-
specialises in producing emotive black & simulator/) and Nikons (imaging.nikon.com/lineup/
white images. lens/simulator). Just select the focal length you want to see, and the
We were interested in how he denes the example image will adjust to the approximate angle-of-view youd get
genre, so asked him for his interpretation: with that lens. The simulators are pre-set for full-frame cameras, but on
The best ne art images connect with us on both you can also see what a lens would look like on APS-C bodies.
an emotional level and are produced by
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Know Your Stuff
How do I take better

shots on my smartphone?
I tend to use my smartphone
more than my DSLR for
day-to-day photography. Do you What is
have any advice for getting the best
out of it? Ben Meddings, Berkhamsted a grey card?
Tim says: Smartphones now offer a unique I sometimes struggle to
blend of impressive image quality, get my white balance
exceptional ease of use, and instant online accurate. Ive heard a grey card
connectivity, and as theyre always in your could help. How do they work?
pocket theyre the most convenient camera Martin Evans, Nuneaton
youll ever own.
Georgie says: A grey
Over the past decade, the huge increase in
card is a sheet of paper,
phone ownership has completely shaken up card or fabric in non-
the consumer imaging industry, in particular reflective mid-grey, and its
completely destroying the budget compact designed to help you achieve
camera market. the perfect white balance by
Although on paper smartphones have removing colour casts. We know
aless impressive spec than DSLRs and CSCs, the card is a pure grey without any
the technology now crammed into these tiny colour casts, but when viewed under
pocketable devices is good enough that their different light temperatures, it might
take on a colour tint, even though the
images can be used for all sorts of professional
cameras auto white balance tries to
applications. In 2012, for example, an iPhone
compensate for this. Photoshop can
4S shot by photographer Ben Levy made the use the card as a point of reference
front cover of Time magazine. And to compare what the card should
organisations like the BBC equip their look like against how it actually
journalists with smartphones for shooting appears. It can then accurately
images and video out in the eld. estimate any colour casts, and adjust
However, many photographers still use the white balance to compensate for
their smartphones as simple point-and-shoot them. To do this in Photoshop, open
your RAW image and, in the Adobe
devices, without making the best of the Use HDR mode Camera Raw window, select the
camera functionality that now comes built in.
Smartphone cameras have a relatively White Balance Tool at the top. Click
Below we check out four of the best and most
small dynamic range, so are often unable once on the grey card in your image
underused functions and nd out how they to capture both very bright and very dark to remove the cast. You can then
can get you better images. We used an iPhone areas in the same photograph. HDR mode apply this to all of the other images
6 for the example images here, but almost all takes two shots of the same subject at by clicking Select All in the top left,
s m a r t p h o n e s h av e n e a r- i d e n t i c a l different brightnesses, then merges them followed by Synchronize.
functionality. for a better overall exposure.
Adjust exposure comp Use pano for wider angles Lock focus for close-ups
If you feel your scene is a little under or iPhones have a fixed 35mm (equivalent) Youre probably aware that you can focus
overexposed, you can easily adjust lens, which isnt always wide enough for on a certain object with a simple tap on the
exposure compensation. Simply lock landscape photography. For a slightly screen, although focus generally reverts
focus, as above, which also locks wider angle-of-view, use the pano back to auto if you recompose. But by
exposure. Then slide your finger up or function, but only pan far enough that the tapping and holding, you can lock focus in
down on the screen to brighten or darken. image is in a 3:2 aspect ratio. a certain position until you take the shot.
F dback
Fee
Wildlife pro Dan Mold
analyses and critiques
your best images. Send
them to ppsubmissions
@bauermedia.co.uk
Dan Mold
UK-based wildlife
and travel pro Dan
has a keen eye for
detail and has loads
of advice and
insight to help you
improve your shots.
The final
glimmer of
light from
the sunset
injects a
strong kick
of warmth
Kirkjufell
by Jackie Tran Anh Dan says: When it comes to stunning although the sky could potentially do with
Tucked away at the top locations for landscapes you could do much a little more motion. A 2-minute exposure
of Icelands Snfellsnes worse than Iceland. In Jackies shot theres would create dynamic streaks and mix the
peninsula sits the stunning a good juxtaposition of textures, from the blues with the oranges in the sky. But youd
Kirkjufell mountain. uffy clouds to the gritty rocks. The grass in need a strong ND lter to do this.
Its snow-capped top, the foreground arches around the bottom The original image is slightly panoramic
conical shape and edge a little bit like a vignette, guiding the and Id be tempted to crop the sides into a
nearby waterfalls
eye towards the middle of the frame. more standard 2:3 ratio. You wont lose
make it a popular destination for many
The final glimmer of light from the anything by doing this, but it would
photographers, including myself when
I took this photo in October
October. I love how sunset and fiery orange clouds injects a strengthen the composition fractionally.
you can see the mountains, waterfall, strong kick of warmth, balancing out the Theres a lot to like about this landscape
sea and vegetation all in one photo. colder blues and greys within the pic. and Jackie should be congratulated for
jackietrananh.com Jackies 20-second exposure was perfect for making such a well-photographed location
turning the waterfalls into an eerie blur, look completely different and otherworldly.
Canon 5D MkIII | 24mm | 20sec | f/13 | ISO 400
Three tips for better landscape pictures

2
Invest in filters
3
Set up on a tripod
1
Use a wide-angle
These special lenses Anyone interested in Handy for all avenues
have a wider angle-of- landscapes should own of photography, a tripod
view, so you can pack more of a good set of filters. Polarisers makes it a breeze
eeze to level
your landscape into the frame. can be used to darken blue skies up and fine-tune your
For APS-C cameras youll and reduce reflections, while compositions. They also
want a focal length of around ND filters will help you achieve remove
emove camera shake
10-20mm, while its more like longer exposures. Graduated when handholding your
15-30mm for a camera with NDs help you to get a balanced camera, and are e an essential
a full-frame sensor. foreground and background. tool for long exposures.
Feedback
A narrow Dan says: What a cracking shot of LA! Its

great to see Brandon nding a fresh view of
this very photogenic city. The striking pink and
amount of light coming into the camera, and
gave Brandon a shutter speed of 3sec. Not
that this deterred him, as he was still able to get
aperture has blue two-tone creates a vibrant colour palette

reminiscent of an 80s lm or album cover.
This composition is really strong and has
a pin-sharp picture by setting up on a tripod
to remove camera shake. Theres hardly any
fog or haze around the buildings, and this
created a a great level of depth that leads the eye into

the heart of the city. His high viewpoint and
gives them a great level of clarity too. A low
level of haze behind the buildings helps them
70-200mm telephoto lens has compressed to pop out prominently against the mountains.
huge zone the mountains, buildings and trees to make
them appear closer together.
If I was being picky, Id say the snow on
the mountains would look more striking if it
of focus Brandon used a narrow aperture of f/16.

This has created a huge zone of sharp focus
and the whole pic is sharp, from the houses
was a little brighter an easy feat with the
Adjustment Brush in Lightroom. But this is a
minor blip on an otherwise awless cityscape.
at the front to the mountains in the back. I can see this pic happily sitting within the
Closing the aperture down has reduced the glossy pages of a travel magazine.
Pretty in pink
by Brandon Yoshizawa
This shot of Los Angeles
combines two elements
Break the rules with a long lens
that I love to shoot Classic landscapes like those taken by Jackie Tran
landscapes and Anh on the previous page, require a wide-angle
cityscapes. Conditions lens to pack in expansive vistas. But you can get
needed to be perfect. some very different results by breaking the rules
I wanted the San Gabriel and shooting with a telephoto lens. Youll need
mountains to be capped with snow, as to take your shot from a distance and preferably
well as a strong sunset to top it all off. a high vantage point to compress the scene and
I travelled 15 miles away from downtown make everything look a little closer together. Camera
LA and used a telephoto lens to compose. shake is more prominent when using a telephoto lens, so put your
I exposed for the sky to retain its pink camera on a tripod to take the shot and use the 2sec self-timer to make
colour detail and lifted the shadows in sure you dont jog the camera when you press the shutter button. Youll also
Lightroom to balance the exposure. need to turn off any image stabilisation, as these can sometimes correct for
bay-photography.com motion which isnt there and actually this introduces blur into your pictures.
Nikon D750 | 200mm | f/16 | 3sec | ISO 50
Feedback
Canon 400D | 100mm | 1/200sec | f/5.6 | ISO 200
Getting Dan says: I have to start by congratulating

Edwin on capturing such an intimate and
colourful shot of this hummingbird its
right edge, following the rule-of-thirds for a
strong composition. The birds beak is arched
towards the top left corner and this leads the
super close fantastic! Aside from the photo, its really
important to note Edwins strong sense of
eye towards the red background, which has
been blurred using a wide aperture of f/5.6.
revealed the ethics, as he only started to take pictures after

releasing the bird outside I urge all
photographers to follow in his footsteps.
One slight niggle is the pic is quite dark,
and something like a reflector could have
been used to bounce some light in and soften
feathers in all Befriending his subject allowed Edwin to

get super close and take a frame-lling shot
with a macro lens. This has revealed the
those harsh shadows. Understandably,
however, this probably wasnt an option at
the time. But the shadows could be reduced
their glory shimmering feathers in all their glory, and

as such theres a huge amount of detail.
a little in RAW editing software such as
Lightroom (see panel).
Focusing on the eye has made this the The lighting is by no means a deal-breaker
focal point. This has also been placed Edwins pic is packed with detail, colour
Hummingbird one-third of the way in from the bottom and and is certainly not short of character.
by Edwin Bran
A hummingbird found
its way into my house in
Guatemala City and was
trying to get out through
Retain details in Lightroom
the window. Being a If you shoot RAW youll have much more
photography enthusiast, exposure information to work with when
I quickly got my camera, editing back at your computer. Your images
carefully caught the bird and let it out next will have much more detail if the shadow and
to some colourful flowers in my garden. highlight areas dont burn out to pure black or
Luckily, it didnt fly away instantly and white. In Lightroom you can pull the Highlights
I was able to get this picture. I love the slider to the left to restore detail in the bright
light and colours, as well as my reflection areas, and push the Shadows slider to the
in its eye. I dont think Ill ever get an right to soften shadows in the dark parts of
opportunity quite like it again! your pic. Doing so will reduce contrast and
500px.com/edwinbran give your shots a larger tonal range.
Canon 5D MkIII | 50mm | 1/200sec | f/2.2 | ISO 100
You end up Dan says: Using the Brenizer method is a

really clever way to give an image a medium-
when stitched together. Thats 1000
megapixels! It makes total sense to start with
format look without forking out several the face, as Ellie did, and then shoot more and
with a hugely thousands of pounds. Its essentially a
panorama, constructed from multiple images
more of the surrounding frame to build up
the shot. The huge resolution provides
detailed file taken close to the model. Ellie has done well
to keep the focus and exposure consistent
throughout each frame and has seamlessly
countless opportunities to crop the pic. For
me, the wide framing is quite loose. The
composition would be stronger with a
usually one stitched the pics together. Holding blossom

close to the lens to create blur is also inventive
and resourceful.
portrait crop, where the model fills much
more of the frame. This would make the
models face more prominent in the shot and
gigapixel! One great thing about this technique is
that you end up with a massively detailed le
reveal the extraordinary amount of detail
Ellie has captured.
you usually require 40 images to create the This pic is vibrant, packed with detail and
pic and if each shot is 25MP youll end up screams out winter. For me a slight crop
Last breath of winter with a whopping resolution of one gigapixel would be the icing on the cake. Great job!
by Ellie Victoria Gale
I stumbled across this
Use the Brenizer technique

location at the very start
of spring, and I instantly
visualised the image
I wanted to capture. My Add an arty, shallow depth-of-field effect to your pictures
idea was to symbolise by following the Brenizer method. Ellie used this technique
the changing seasons to capture her winter portrait and to achieve similar results
by surrounding my model with blossom. you need to focus close to your subject with a 50mm lens
I followed the Brenizer technique where on a full-frame camera or 35mm on APS-C. Then shoot a
you shoot lots of close-up images with series of photos covering the whole scene and stitch them
a wide aperture and stitch them together together in software. The result makes your images look
in software. I also positioned a branch full like theyve been taken on a telephoto lens with a wide
of blossoms in front of the lens to increase aperture, or on a medium-format camera. For more info,
the amount of blur. ellievictoriagale.com check out our video at tinyurl.com/q9m6o7t
Feedback
Marks pic Dan says: Marks done a great job at

transporting the viewer to Central London by
including two iconic landmarks St Pauls
or deep, the actual zone of sharp focus begins
at the point you focus on. Its best to focus on
the foreground of a cityscape or landscape, as
effortlessly and the Millennium Bridge. The telephoto

composition is strong, and works better here
than trying to squeeze everything into shot
then the background will be sharp. But if you
focus on the background, the foreground will
always be out of focus. Its not a huge issue,
transports with a wide-angle lens. Camera shake

becomes more prominent when using a long
but something to bear in mind when shooting
this type of image in the future.
zoom, as tiny vibrations from handholding For me the glass barrier is one element too
the viewer your camera are amplified. Mark expertly
avoided camera shake by increasing his ISO
many, and the railing is a little distracting
it doesnt lead the eye anywhere. A cleaner
to London and opening his aperture to get a rapid

shutter speed of 1/1250sec.
Placing the focus point over the Cathedral
composition could be taken from the other
side of the barrier, where just the crowd and
the buildings are in the frame.
has resulted in a slightly out-of-focus Putting these small issues to one side,
St Pauls Cathedral foreground. Whether your aperture is wide Marks taken a brilliant travel shot that
by Mark Caldon or narrow, and your depth-of-eld is shallow effortlessly transports you to Central London.
I wanted to get an
interesting image of
St Pauls Cathedral
from the Tate Modern and
noticed a great opportunity
Go incognito for great street stills
while walking down the For the best candid photos its best not to draw
Millennium Bridge. I used attention to yourself. Wear plain-coloured casual clothes
a telephoto lens to make the pedestrians in an urban setting and shoot handheld rather than with
appear much closer to St Pauls. At first a tripod, as this will attract attention. If your cameras
I was tempted to use a slow shutter speed LCD tilts up you can shoot and compose at waist-level,
to blur the people, but I wanted to keep which is much more inconspicuous. Its also a good
them sharp so that you could see their idea to shoot from a distance by using the long zoom
expressions. Finally, I opened my of a telephoto lens. To find out more about what you
aperture for a fast shutter speed. can and cant shoot in a public place, watch our
500px.com/markcaldon exclusive video at tinyurl.com/p9m55n2
Nikon D7000 | 70mm | f/4.5 | 1/1250sec | ISO 250
MY PHOTO
PROJECT
Delicate
designs By creating exquisite portraits of intricate
blooms, Magda Indigo reveals the true
beauty of flowers to her audience.
Factfile
Photographer:
Magda Indigo
Full-time occupation:
Photographer
Aim of project:
To create moments of
visual beauty and a
thoughtful experience to
truly enrich the lives of
the people who view
my images
Location:
I find that
I mostly work
in my home studio
22
Duration:
Ive been
working on
this project for 20 years
Time spent:
I spend eight
hours a day on
it, and often a couple of
hours each night as well!
Images taken:
I must have
taken thousands
of images over the years
Website:
indigo2photography.com
My Photo Project Magda Indigo
Y
ou could be industries have taken notice, from Apple to was always a camera around, so I became
forgiven for Avon. The intricate curves and delicate lines familiar with photography from a very young
mistaking Magda of thoughtfully chosen owers tell Magdas age. Being surrounded by so many diferent
I n d i g o s w o r k audience a story that is simultaneously both genres of art inspired me to take up painting.
for that of a enthralling and beautiful. In a typical Flemish farmhouse you could
Renaissance often find the walls adorned with black
painter. The subtle borders with owers painted onto them, and
light wraps around Sometimes Ill wake I loved seeing how the colours of the blooms
each of her subjects
so gently that its almost as if theres no
up at 3am to shoot stood out. I started to create soft oil paintings
of flowers on a black background. As my
tangible source, its just innately there. But no a flower when its interest in photography grew I started to
oil paints were used in the creation of these experiment. We always had black velvet paper
images, even though painting is exactly where reached perfection and fresh owers in our home, so I started
Magda first began her visual journey. Her photographing them together, which is when
photography is the result of hours spent the journey really started. Flowers were the
behind the camera, perfecting her lighting What first inspired this project? perfect subject matter for me, because I loved
and composition. Every single ower portrait their diferent colours, shapes, textures and
is crafted with the love and care of a I was born in Flanders, Belgium, into an their individual characters. My biggest
photographer that knows their subject artistic family. My father painted, played the advantage was that Id had a garden and had
intimately well. Her work is so instantly piano and wrote poetry. Whenever we went experience growing my own owers, so I had
recognisable that art directors across all out for the day with my grandparents there an intimate knowledge of my subject matter.
How did this project evolve?
Ive always loved owers and plants, so I set

out to photograph as many different varieties
as I could. But its not about documenting
every ower on the planet. I only shoot those
that enthral me with their beauty. Ultimately,
I dont think my project is truly about owers
and plants. Its about light, and using that light
to show my subjects character. I nd that the
owers often tell a very human story.
What is it about flowers that you

find interesting and what makes you
want to photograph them?
Its undoubtedly the sheer variety of them.

There are so many different shapes, textures
and colours. They never cease to amaze me.
Each time I think, Thats it, theres only so
much you can do with owers, they prove me
wrong and Ill see something new.
How important is lighting in your work?
Lighting is the essence of photography and

my fascination with light is right at the centre
of this project. I shoot flowers against my
signature black background, mostly using
continuous light sources. I guide the light so
that it softly wraps around my subjects,
bringing them gently to life. Its taken me a
lifetime to develop my lighting style. For years
the goal Ive been working towards is to
perfectly imitate Flemish painters light. I was
born in Flanders, so it must be in my blood.
Your popularity keeps growing and

growing has this ever impacted on
you or your work?
No it hasnt, I make sure that I never cater for

any audience. Im just fortunate that what I
do out of passion is liked by so many people.
For almost 10 years now, people having been
raving about my images and asking me how Above By steadily developing her project over the years, Magda has been able to create
I do it. But theres no magic formula. a signature lighting style that sets her work apart from that of her contemporaries.
The image that took a year

Each year I eagerly studio as usual, but scabiosa season was
await the different then for some reason unfortunately over, so
types of flowers as I ended up forgetting I decided to put my
they come into season. about them for a while. dried blooms away and
Its hard to pick They started to dry, carefully preserve them
favourites, but I must and as they did they for the next year.
say that I particularly became interesting The result of my
love the interesting in an entirely different forethought is this
feminine shapes and way. It struck me that image. I think it goes
beautiful rich colours the dried and fresh beyond the obvious
of the scabiosa. flowers complemented and shows that beauty
I bought a few and each other. However, really can be found
shot the flowers in the by this time the everywhere in nature.
My Photo Project Magda Indigo
Each ower is unique and is treated as such. How do you choose which flowers you happen, so I wake up and go to the studio at
Its really wonderful to be recognised for my want to use? 3am to shoot it. Some may call that madness,
work. Seeing my images displayed on but Im driven by a passion to create the
billboards, book covers and used in advertising I closely follow the ower seasons so that I images I have in my mind. Ill never tire of
campaigns is sometimes strange, but its know which ones are in bloom. Each one I shooting owers.
a denite thrill. shoot has something special about it that
catches my eye. When Im choosing which Is there ever a deeper meaning to
Why did you choose a black ower I want to photograph I always think your photographs?
background? about how itll develop. If you pick one thats
perfect when you see it, then you have to rush I think there very often is, and not just
The black background is my signature style. to the studio and shoot it immediately, or the meaning too. I use owers to reect the broad
It works because it makes the owers stand moment will have passed. I know my subjects spectrum of human emotions. Theres also
out in all their colour and detail. Black is a so well that I can predict exactly when theyre the sensuality of flowers, and a certain
void. It doesnt assert a presence, so viewers going to be at their peak. Sometimes a ower eroticism. I feel that they often relate to each
are left to concentrate on the subject and give reaches the perfect moment during the other in the composition like people do. As I
it their full attention. middle of the night. I know its going to always say: I dont talk to owers, they talk
to me and I gladly listen. Thats why so many
of my photos have so much attitude.
Where do you find the flowers?
I buy owers from growers, orists, market

stalls, nurseries, supermarkets or get them
from my garden or friends. Wherever you can
nd owers, you can nd me there.
How much post-processing do you do?
I usually dont like extreme post-processing,

as I prefer to get everything perfect in-camera.
Ive noticed that clients prefer owers that
are closer to perfection, so Ill occasionally
repair the owers digitally. However, in my
personal work, Ill usually only x elements
that could be visually distracting. I think that
owers that are too perfect have little to say.
How important is your gear to you?
Equipment isnt that important to me. I make

the photograph, not the camera. These days,
a good quality sensor, a sharp lens,
a reasonably high resolution and the ability to
control exposure is all I need. Cameras are
just the tools of my trade. I dont distinguish
between types and brands, as its my firm
conviction that its the person using the tools
thats responsible for the result. I believe that Above By focusing so closely on a singular subject, Magda is able to portray the maximum
a great image taken in 1920 is no less visually amount of detail and show her audience how stunningly beautiful flowers are up close.
appealing just because it was taken on an
old-fashioned camera. consistent elements to hold it together, and your project, you force yourself to delve more
the square format is one of them. I feel that it deeply, both into your project and yourself.
Why do you use the square format? suits my compositions perfectly.
Whats next for you and this project?
I started shooting on a Hasselblad film Why should PP readers start a
camera. I wanted to use full-frame, as image personal project? At the moment Im hoping to have a book
quality is very important to me, and I fell in published. I would also like to put on another
love with the Hasselblads square format. Personal projects provide a clear focus for exhibition and show my work to a wider
I also find that a project needs to have creative effort. By using the parameters of audience that havent encountered it yet.
Magda Indigos 5-step guide to better personal projects

Theres that old idiom audience. You have to enjoy theory. They forget that what
1 that you should
always write about
what youre doing. If youre not
passionate about the project,
really counts is how you tell
your story. Just remember that We want
what you know, and the same then itll show in your photos the camera is the vehicle, not to see your
thing applies to photographic and youll find that they leave the destination.
projects. Concentrate on your audience cold.
photo projects!
something you know and Study the basic If you have a unique body of
care passionately about. Work Choose a camera that 4 photographic rules work youd like to share with
hard on every single project
that you undertake. Your
3 feels good when you
hold it and make sure
until they are second
nature to you. Then, when you
the world, drop us a line at
practical.photography@
bauermedia.co.uk
knowledge and understanding that you like working with all of feel like youve mastered them,
of your subject will show itself your equipment. This helps to youre free to know when and
through subtle nuances in your remove technical barriers and how you can break them. The
photographic work. allows you to focus on being most important thing is to keep infinite creative solutions to
creative. Beware of camera experimenting and trying new any project, and just because
Create your project marketing trends. So many things. Youll slowly start to youve found one doesnt
2 for yourself and dont
try to cater for an
photographers get hung up on
equipment and photographic
find that one idea will always
lead to another. There are
mean that theres not another
lurking on the horizon.
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ADOBEEditing
ELEMENTS
Suite
BACK TO BASICS
SPECIAL
PART 2
Quick and easy
tutorials to improve
skies, crop images &
remove distractions
Improve skies p96

Improve landscapes
by using Layers and
Software guide
Selections to add Photoshop CS
detail and drama to Photoshop CS is the
washed-out skies. ultimate pro image
editing software for
photographers, and
has more tools and
features than youll
know what to do with.
Before Photoshop Elements

After
With streamlined
functionality, Elements
Use the Crop Tool p98 is Photoshops little
brother but still a
Improve loose powerful editing tool
framing, remove capable of meeting
minor distractions photographers needs.
and straighten wonky
horizons with one of
Elements main tools. Photoshop Lightroom
Lightroom provides a
creative editing solution
for those who need
RAW files converting
and enhancing. It has
loads of brilliant, useful
Before After editing functions.
Remove blemishes p100

Clean up your images
and fix imperfections
with Elements trio of
powerful cloning and
healing tools.
Plus Free Actions

Use this months bundle of 20 ND Grad
Filter Effects presets and transform your
Before scenic images. Turn to page 102
After
Basic Skills
Improve skies using What

youll learn
Layers & Selections How to make Selections

with the Lasso Tool
How to Feather Selections
How to darken with Levels
Say goodbye to bland, washed-out skies thanks to a
Software Elements
couple of simple tools in Elements. Kingsley Singleton Do it in 10 mins
demonstrates how to get it right every time.
l washed out skies are the curse of many landscapes,
and the reason for them is just as commonplace set to expose Before
a dark landscape and a bright sky, the camera has to choose
between the two. So, if the landscape is well exposed, its a good
bet the sky will be too light. If you use graduated neutral
density (ND grad) lters when shooting you can solve the
problem in-camera, but if that isnt practical or possible, there
are ways to get the same effect in Elements.
This technique uses a simple Selection to make sure only
the sky is edited, then darkens that area using Levels. If youre
experienced using ND grads, you can think of it in the same
way and draw on your experience. For example, just as you
dont want your ND grad to sit too low or high in the frame,
or for the gradation between ltered and unltered areas to
be too hard or soft, the same is true of the digital version. This
technique cant help pics where the sky is completely
overexposed, but it does have other advantages, such as being Above In the original image the sky is a bit washed-out, so the picture is
able to follow the shape of the land with the Selection Tool. lacking in drama. Making it darker will strengthen the composition.
After
Kingsley Singleton
Video
ideo Lesson On The Disc Editing Suite
1
Select the sky
Pick the freehand Lasso Tool
(L) and in the Tool Options set
Feather to 0px. Draw just above
the point where sky meets the land,
following the contours (which the
Rectangular Marquee cant), but
dont go too low or youll darken the
landscape too much. Run the tool
around the rest of the sky and back
to the start to make the selection.
Hit Refine Edge and press F until the
preview shows whats selected and
what isnt (in red).
Increase Feather until theres
a broad, soft join too little and the
darkening will look unnatural. The
Left The position and
amount needed depends on the
the Feather of the
images pixel dimensions, so hi-res Selection are vital.
pics need the maximum 250px If you start off in the
Elements offers. Set the Output To wrong place, results
setting to Selection and click OK. can look odd.
2
Darken the sky
using Levels
Go to Layer>New Adjustment
Layer and pick Levels. Now, in the
Levels palette, move the Midtone
slider to the right to darken the
midtones. The amount used
depends on the image, but dont
push it too far (here I set it to 0.67),
or youll add too much contrast and
the effect will look unnatural.
If further darkening is needed,
move the White Output Level slider
to the left to darken the lightest
tones. Take a look in the Layers
palette (Window>Layers) and youll
see the Selection you made is now
being used as a mask, so only the
sky is darkened. You can add more Above Although some
Levels Layers in the same way as darkening improves the sky,
before, selecting just the top of the if you push the sliders too
sky, which is what I did here. far it can look false.
Control sky colour

You can use the same system of Selections and Levels
Adjustment Layers to change the colour of the sky too.
Why would you need to do this? Well, in darkening it the
colour may shift in a way you dont want, for instance
becoming too warm. Or you might want to add warmth
to a sunset scene. In the Layers palette (Window>Layers),
double-click the Levels Adjustment Layer thumbnail to
open the palette. By default, youll be working on the
combined colour channels that make up the image. But
click next to Channel where it says RGB and youll be
able to pick the individual channels.
To make the sky more blue, I picked Blue and pushed
the Midtone slider to the left to about 1.15. Then I picked
Red and moved the Midtone slider to the right to about
0.90. Just as when darkening the sky, dont push the
sliders too far or, rather than getting a subtle effect, the
colours will have an unnatural cast.
Intermediate Skills
Use the Crop Tool to What

youll learn
tighten composition The best way to

crop an image
How to use the Crop Tool
How to use the Straighten Tool
Digital editing is a very modern device but, as Kingsley
Software Elements
Singleton explains, the less-is-more roots of good Do it in 10 mins
composition are timeless when using Elements Crop Tool.
l while its tempting to think of digital cropping
Rohappy
as an alternative to good composition skills when Before
shooting, in fact both are vitally important to successful
photography. Yes, a poorly composed starting point can
often be saved in editing, but its not an ideal approach
as aggressive cropping will reduce image quality when
making enlargements.
On the ip side, as good as your composition skills
might be, minor distractions and loose framing can
occasionally creep in and the ability to remove them
and concentrate attention on the subject, or to see an
image within a wider scene that you didnt spot at the
time of shooting, is a great ability to have. Cropping is
actually as much of an art as composition.
Here the example image is a portrait, so it gives us
a wealth of options, as outlined below, and while
theres nothing too far wrong with the starting point,
cropping away some of the pixels will increase the Above Shot with plenty of the room around the subject, theres a little too much
impact, and also provide some creative options. headroom and space to camera-right in the original photo.
Basic crop Portrait crop
Panoramic crop
Above The basic crop uses roughly the same ratio as the
original but tightens the framing, giving the picture more
impact. The panoramic crop adds a filmic look and the
traditional upright route is more focused on the face.
Editing Suite
1
Select the
Crop Tool
Pick the Crop
Tool from the Toolbox,
or press C on the
keyboard to toggle
between it and the
Cookie Cutter Tool.
Once active, click on
the Tool Options
button at the foot of
the interface to reveal
the options shown below right.
2
Choose the
Crop settings
Click where it says No
Restriction to pick an Aspect
Ratio or size of crop. The
presets are useful if making
prints to exact sizes, and you
can input manual sizes too.
No Restriction gives complete
freedom, while Use Photo Ratio
locks the dimensions and
resolution to the original file, so
any crop will be resized to that.
Click and drag out a crop box
Crop box Confirm the crop
Everything inside the crop will be Use the Commit (tick) icon to
over the parts of the pic you
kept in the resulting image, and the confirm the crop youve set, or the
want to keep, then fine-tune it
greyed areas outside will be lost. Use Cancel sign to abandon it and go
with the control handles. You
the corner and side handles to resize back to the uncropped state. Even
can drag within the box to
the crop box, and click and drag after making the crop you can, of
reposition it too. The Rule of
outside the box to rotate it. course, go to Edit>Undo.
Thirds overlay is helpful here, as
it helps align the focal point (the
subject) with an intersection, for
a more powerful composition.
3
Make the crop
and Save
Before cropping, check
the edges to make sure you
havent cut off something you Aspect ratios Auto cropping Resolution Grid Overlay
wanted to keep, and resize if Pick a preset size, set Hover the cursor over If you want to increase Use these icons to
necessary. Click the tick or hit to No Restriction for these thumbnails and or decrease the swap between no
Return to crop, then use File> complete freedom, or youll see them on the images resolution, overlay, a rule-of-
Save As to save the cropped pic enter the dimensions image. Click one to enter a number here, thirds overlay and
as a copy, so you can return to manually in the Width choose it and you can like 300ppi for printing, a grid, which is useful
the original if required. and Height boxes. still refine the crop. or 72ppi for web use. when rotating.
Stand up straight
You can also crop an image as part of straightening it up, as you
would do when editing a landscape to make sure the horizon is on
the level. The tool to do it is found in the same Modify section of the
Toolbox as the Crop Tool, and its called the Straighten Tool (you can
also activate it by pressing P on the keyboard).
To use the Straighten Tool, click and hold on the image and drag
out a line that follows something you know should be horizontal, like
a waterline or the horizon. Release the mouse button again, and the
image will automatically straighten up based on that measurement.
There are three options to how the image will react to this: Grow or
Shrink Canvas to Fit, Crop to Remove Background, or Crop to
Original Size. The best of these to pick is Crop to Remove
Background, which will automatically snip off any awkward empty
areas left by rotating the image.
Advanced Skills
Fix imperfections and What

youll learn
blemishes in Elements How to use the Clone Stamp

How to use the Healing Brush
How to use the Spot
Healing Brush
Elements has several easy-to-use tools to help clean up
Software Elements
your images. Here Kingsley Singleton shows how to use Do it in 10 mins
them while avoiding common errors.
l simple retouching can improve most images,
whether its removing elements of the composition that Before
are distracting, like the groyne stumps here, tidying up
sensor dirt or removing imperfections from a portrait.
And there are several ways to do it in Elements, all of
which involve copying new pixels over the old ones you
want to remove. Here well look at the Clone Stamp Tool,
the Healing Brush and the Spot Healing Brush. But why
does Elements have so many? Its all about greater
options. For instance, if you try one tool and it doesnt
look right, you can press Ctrl+Z to Undo and try again
with another.
The Clone Tool is better for precise work, as it offers
the most manual, so predictable, route. The Healing
Brush is a bit like asmart version of the Clone Tool,
because while you still sample what pixels to copy, the
tool will blend them with the hue and tone of the
original. The Spot Healing Brush is the most automated.
In each case well add the new pixels to a new Layer,
as this method provides the most control you can just Above & below By removing some of the old groyne stumps, as well as other
delete what you dont want. distractions in the sand, the scene is simplified and gains greater impact.
After
Kingsley Singleton

Editing Suite
1
Clone Stamp
Press S and check the tool
options, making sure its set to
Sample All Layers, Opacity is at
100%, Mode is Normal, and the tip
has a soft edge. Tick Aligned, which
will help avoid repeating patterns, by
moving the source point between
strokes of the tool. Also check the
Clone Overlay, ticking Show Overlay, Above Avoid repeating patterns,
then set the Opacity of the preview as this will usually look false.
(50-70% is good) this helps you line
up the cloning to follow edges or
patterns, like the sand textures here.
Add a new Layer (Ctrl+Shift+N) and,
holding the Alt key, click to set the
Sample point. Now paint over the area
you want to hide. Here I cloned over
a stump in the background, and then,
having cloned onto Layer 1, used the
T to blend it neatly with the
Eraser Tool Above Also avoid fuzzy edges
foreground. around complex shapes.
2
Healing Brush
Press J on the keyboard to find
the Healing Brush Tool (or to
toggle between it and the Spot
Healing Brush Tool). The Healing
Brush works in a similar way to the
Clone Tool, as you need to set
a Sample point before using it, but as
one of the Healing Brushes it will also
blend the new pixels based on the Above Sampling the wrong area
underlying colour and shade of the in your shot looks unnatural.
original photograph.
Set the Source to Sampled (rather
than Pattern), tick Sample All Layers,
then Alt-click just as with the Clone
Tool to sample a point. Make a new
Layer as before, and paint over the
imperfection.
Take care to sample an area thats
in keeping with what youre cloning
over, especially if youre seeking to Above Mismatched perspective
work around defined edges. can also look wrong.
3
Spot Healing Brush
Press J to find the Spot Healing
Brush (its grouped with the
Healing Brush and looks similar). If
removing large objects like the stumps
here, set Type to Content Aware.
Working onto a blank Layer (as is
advisable), click Sample All Layers,
and paint closely around the object to Above While the tool is automatic,
remove it painting wider than required be aware objects can still repeat.
invites errors. After painting watch out
for a smudgy loss of detail, bad edges
or repeated objects. If required, paint
over the area again, but if you dont get
the result you want after a few tries,
delete the Layer and start over. If youre
working on smaller areas like pebbles,
blotches on skin, or sensor dirt, using
Proximity Match can give better
results, as it creates a smoother look Above Painting over too wide
after healing. an area causes problems.
Free Actions on the disc Editing Suite
Add a graduated filter

effect to your landscapes What
youll learn
From neutral to How to add an ND grad effect
coloured, soft to How to use the Move Tool
How to tweak Opacity
hard, weve created
a batch of Actions that will Software Photoshop
& Elements
transform your scenics. Do it in 5 mins
Ben Hawkins explains...

l graduated neutral density filters
We used the Orange Grad Soft
have to be one of the most useful (Color) Action to warm up the
accessories ever invented. You cant call
Before sky and enhance this landscape.
yourself a serious landscape
photographer unless youve got at least
one or two stashed away inside your kit
After
bag. But if youre ever caught short and
nd yourself without, or simply want to
experiment with coloured grads, weve
got the perfect post-processing solution.
On this issues Learn Photography
Now disc youll find a batch of 20
Graduated Filters presets that include
soft and hard versions of a wide variety
of colours, contrasts and effects, and they
couldnt be easier to use. Simply follow
the instructions below, then drag the
Opacity slider in the Layers palette to
increase or decrease the grads intensity,
and use the Move Tool (found in the main
tools palette) to carefully position the
grad effect according to the landscape
youre enhancing.
You could even combine two or three
Actions for a unique effect. Over to you...
Elements Install and apply the Actions Photoshop Install and apply the Actions
Insert the Learn n Photography Now disc into your PC or Mac, Double-click the Learn n Photography Now disc icon, drag the
double-click the disc icon and drag the PP Collection Graduated PP Collection Graduated Filters file onto your desktop and double-
Filters file onto your desktop. Open Elements, select the Photo Editor click on it. This will automatically import the Actions into Photoshop CS.
module and click the Expert tab. Go to Window>Actions, click on the Now open Photoshop and go to Window>Actions to open the Actions
drop-down menu top-right in the Actions palette and select Load palette. The PP Collection Graduated Filters file should be visible. Go
Actions. Locate the PP Collection Graduated Filters file and click to File>Open, locate your image and click Open. Now simply select the
Open. Your Actions will appear in the Actions palette. Open your image, Action you want to apply and click the Play icon (grey triangle) at the
select the Action you want to apply and click the Play icon. bottom of the Actions palette.

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INCORPORATING
Get the New Year off to the perfect
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of Practical Photography...
32 EXTRA PAGES OF n The largest image editing section
THE BEST PHOTOSHOP in the market, with Photoshop tutorials
TUTORIALS IN for all levels of ability and experience
THIS ISSUE!
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contributors own favourite photos
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& compact cameras under 1500
Free book!
Camera skills guide
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Get into
The most in-depth Georgie Rastall

and unbiased Technique writer Georgie
is an experienced
reviews of the photographer and
latest products passionate about gear.
She specialises in events
and portraits.
About our tests

Our ratings explained
Every product is rigorously tested in the field
to bring you the most thorough reviews. Look
for these ratings to find our concise opinion...
Outstanding
Excellent
14
Solid
Poor
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IN
OF THE BEST TEST
WIDE ZOOMS
RATED Our product awards
These accolades are reserved
for exceptional products with
unrivalled performance, build
HIGHLY
RATED
108 Gear news
Get 2017 off to a cracking
quality and value for money.
start with our pick of the

hottest new photo gear. Were TIPA members
Practical Photography is
110 Wide-angle zooms

14 wide-angle zoom lenses
a founding member of TIP
TIPA,
the largest international
photography awards ds body.
body
for APS-C and full-frame
tipa.com
cameras go head to head.
120 5 of the best tripods

We round up the best-value
Download
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your free
guide now!
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Photo News
2017
BEST NEW
PHOTO KIT
ROUND-UP
Kick
Kick off the new year in style with some exciting new kit...
Nikon D5600 799

This upper entry-level DSLR sits improvement is the addition
above the D3400 and below the of SnapBridge functionality
functionality..
D7200 in Nikons line-up. It has This uses Bluetooth low-energy
a 24.2MP APS-C sensor (with technology to maintain a
no anti-aliasing filter for slightly constant connection between
better resolving power) and an the camera and a smartphone
EXPEED 4 image processor. or tablet. SnapBridge then
Incidentally this engine is also automatically transfers low res
found in the pro-level D750 and versions of your images from
D810, so packs plenty of punch. your camera to your phone as
The D5600s spec sheet isnt you shoot, which means you
hugely different from its can share them online quickly
predecessors, with both sharing and easily.
the same 5fps shooting speed, Also new to the D5600 is Above The D5600 is
compatible with the
the same 100-25,600 ISO range, a more advanced in-camera
Nikkor range of lenses,
the same 39 focus-point AF time-lapse function, a slightly giving you endless
system, the same 3.2in touch/tilt lighter body, and frame advance creative freedom.
LCD, and the same 1080p video touch interface for easier image
at 60fps. The most notable review. europe-nikon.com
Above The D5600s LCD is a vari-angle touchscreen,

making it much easier to compose at awkward angles.
Leica TL 1450
The TL is Leicas second touchscreen-
controlled mirrorless camera. It has a 16MP
APS-C sensor, and uses the T-series lens
mount, for which there are six models
available, plus seven compatible SL lenses.
The stylish body has virtually no controls, and
instead has a 3.7in touch-LCD. New to the TL Above The Leica TL
is 32GB of in-built memory, improved Wi-Fi is available in three
and a better AF system. leica-camera.com different colours.

Get Into Gear
Fuji X-A10 499

For lovers of self-portraits, the new Fuji X-A10 has to be the Sony 99 II 2999
best thing since the selfie stick, as its 180 slide-and-tilt LCD
literally flips over the top of the camera to provide users with 2017 marks the 10th anniversary of Sonys Alpha series, and
a clear and unrestricted view of the screen. Fuji has also the latest in the line-up is a fitting tribute. The 99 II boasts
designed the grip to be just as comfortable holding the outstanding autofocus potential, with 79 phase-detection AF
camera facing towards the user as it would points including 15 cross-type in the central area. The central
be in the more traditional hold, while the point is also extra sensitive with wide aperture lenses and can
Eye Detection mode activated by tilting the function down to light as low as EV -4.
LCD by 180 automatically adjusts focus The 42.4MP back-illuminated CMOS sensor has been
onto the subjects eyes. designed to produce high resolution
Compact and images with minimal noise and
stylish, with a retro, a wide dynamic range,
trendy design, the while the burst rate of
16.3MP camera 12fps, and up to 8fps in
boasts Portrait Live View with AF/AE
Enhancer for natural tracking, makes the
skin tones, and is 99 II ideal for fast-
super portable at just action and sports
331g with battery and photographers.
card. fujifilm.com sony.co.uk
Slik Lite 122-440

The Slik Lite takes tripod innovation to
the next level, thanks to a simple LED
flashlight built into the central column to
make setting up your gear in the dark far
less challenging. No more searching in
your bag for your flashlight!
The range comprises five models,
from super-portable aluminium ones
weighing just 776g to more robust
carbon fibr oducts.
fibre products.
slik.com
Sony RX100 V 999

Building on the huge success of Sonys
Metz M400 239 RX line-up of prestige compacts, the
21MP RX100 V boasts the fastest AF
This compact but powerful TTL flashgun system of any 1in sensor compact ever.
is designed for mirrorless cameras, and The camera has a phase-detect and
is available in every major fit. Its swivel contrast-detect system that sports no
head tilts horizontally and vertically, and fewer than 315 AF points, which cover
you can zoom from 24-105mm to alter 65% of the frame. The camera can shoot
the angle-of-view to match your focal at a blistering 24fps with AF, and will
length. Also built in is an adjustable LED record 4K movies. Also built in is a 180
video light, a bounce card and a diffuser. tiltable LCD, a silent shooting mode,
High-speed flash and master functionality Wi-Fi and NFC, and super slow-mo
are both included. metz-mecatech.de video at 960fps. sony.co.uk
14
WIDE-
OF THE VERY
BEST MODELS
RATED
ANGLE
ZOOM
LENSES
TESTED

Get Into Gear
If you like to shoot street,

landscapes or architecture
images, a wide-angle lens
is an absolute must. These
optics allow you to pack
more of a scene into the
frame, and can help create
a feeling of depth. But their
ultra-wide angle-of-view isnt
their only appeal theyre
also fairly compact and
lightweight, making them
perfect for outdoor
photography, plus they have
a close minimum focusing
distance. To help discover
which is the perfect wide-
angle optic for your camera,
weve tested 14 of the best
for APS-C and full-frame.
LENS MOUNT COMPATIBILITY

Ca Ni Pe Si So
Canon Nikon Pentax Sigma Sony
WHAT WE TESTED
FULL-FRAME LENSES
P112 Canon EF 16-35mm f/2.8L III USM
P113 Nikon AF-S 14-24mm f/2.8G ED
P113 Sigma 12-24mm f/4 DG HSM | ART
P114 Tamron
amron SP 15-30mm f/2.8 Di VC USD
amr
P114 Canon EF 17-40mm f/4L USM
P115 Nikon AF-S 16-35mm f/4G ED VR
P115 Tokina
okina A
AT-X 16-28mm f/2.8 PRO FX
APS-C LENSES
P116 Pentax DA 12-24mm f/4 ED (IF)
P117 Sigma 10-20mm f/3.5 EX DC HSM
P117 amron SP AF 10-24mm f/3.5-4.5 Di II LD
Tamron
amr
P118 Canon EF-S 10-22mm f/3.5-4.5 USM
P118 Nikon AF-S DX 10-24mm f/3.5-4.5G ED
P119 Tokina
okina A
AT-X 12-28mm f/4 PRO DX
P119 Sigma 8-16mm f/4.5-5.6 DC HSM
CHECK OUT THE WIDE-ANGLE LENSES...
Wide-Angle Lenses
FULL-FRAME
WIDE-ANGLE
ZOOMS
I
f you own a dslr with a full-frame sensor
then you need a wide-angle lens to match this
format. The main reason for this is that lenses Ca
designed for APS-C sensor cameras have a smaller
image circle the circle of light that is transmitted
from the end of the lens onto the sensor. The
diameter of this circle is smaller than the width of
Canon EF 16-35mm
afull-frame sensor, which means the corners of the f/2.8L III USM 2020
image simply appear black. On full-frame Nikon, Sony
and Pentax cameras theres a crop mode that The EF 16-35mm f/2.8L III USM
automatically chops off these corners so you can still belongs to Canons flagship L-series,
useAPS-C lenses, albeit with a lower resolution and which uses premium materials for
aless wide angle-of-view. But on Canons the mount is superior build and image quality. It
different, so crop lenses wont t onto full-frame bodies. offers a constant wide aperture of
Full-frame lenses also tend to offer superior image f/2.8, making it ideal for low light
quality and more advanced features. shooting or creating background
On the flipside, full-frame lenses are heavier and blur, and a near-circular 9-bladed
bulkier than their APS-C cousins. Theyre also pricier, aperture diaphragm designed for The 16-35mm offers
due to their high-quality manufacture, although the smooth bokeh. Inside the lens there an impressive range
with over 2x zoom.
sturdier components do increase their durability. are 16 elements in 11 groups,
When using a full-frame lens on a full-frame body, including large-diameter double-
the effective focal length is identical to the one surface Glass Moulded (GMo) lenses
printedonthe lens body. And as theres no crop factor, and Ultra Low Dispersion elements
its possible to t more of a scene into your composition, to reduce distortion and chromatic
making full-frame wide-angles perfect for landscapes aberration. Theres also Advanced Air
and architecture. Sphere and SubWavelength coatings
on the glass to control ghosting and
How many lens options for each mount? flare. For focusing the lens uses
Each camera manufacturer has its own mount system, so Canons Ultrasonic Motor (USM) You can set the
you can only use lenses that are compatible with your which operates with impressive focus manually,
brand of camera. Canon users have 10 EF wide-angle speed in near silence. Full-time even in AF mode.
optics to choose from. Nikon produces nine FX manual control is also available,
wide-angle lenses, and all Nikon lenses work on all its so you can adjust the focus without
cameras, so you can also use DX lenses, at a 1.5x crop. leaving AF mode, with a minimum PROS
Third-party manufacturers, like Sigma, give consumers distance of 0.28m. Theres an older Constant f/2.8
aperture
more variety than own-br
own-brand makes. MkII version of this lens available,
Lightweight
priced at 1199.
compared to rivals
Canon L-series
Image quality CONS
Canons EF 16-35mm f/2.8L III USM No built-in image
delivered very impressive results stabilisation
during testing. At the wide end of the Most expensive
zoom we detected a small amount of lens in our test
barrel distortion, but this is a
one-click fix when you process your SPEC
RAWs. With the aperture wide open Min aperture: f/22
there was some vignetting Elements: 16/11
Filter size: 82mm
throughout the zoom range, but it
DxL: 89x128mm
wasnt present when stopped down Weight: 790g
to f/5.6. Our test images were
impressively sharp from the centre of
RATING
the frame to the corners.
OUR PICK OF FULL-FRAME WIDE-ANGLE LENSES...
canon.co.uk

Get Into Gear
HIGHLY
Ni RATED Ca Ni Si So
Nikon AF-S 14-24mm Sigma

g 12-24mm f/4
f/2.8G ED 1619 DG HSM | ART 1649
From Nikons range of professional The widest lens on our test is the
lenses, the AF-S 14-24mm f/2.8G 12-24mm f/4 DG HSM | ART, which
ED is the second widest full-frame belongs to Sigmas premium-quality
optic on test. Its constructed from Art range of optics. It boasts a solid
top-quality materials, making it construction, with a rubber seal
tough and resistant to dust and around the mount to protect the
moisture. A Nano Crystal Coat electronics from dust and moisture,
suppresses ghosting and flare, while while a fluorine-like coating on the
2 ED (Extra-low Dispersion) glass A bulbous front front and rear elements repels water Its not possible to
elements reduce chromatic element means you and grease. To focus the light there use filters due to the
cant use lens filters. bulbous front element.
aberration. Three aspherical are 16 elements in 11 groups, and
elements work together to minimise Sigmas Super Multi-Layer Coating
distortion and the lens consists of reduces flare and ghosting when
14 elements in 11 groups. The length shooting backlit scenes. The lens
of the lens never alters, as it uses offers a constant aperture of f/4 and
Internal Focusing (IF), but its not a 9-bladed rounded diaphragm
possible to use filters with this lens delivers smooth out-of-focus areas.
due to the bulbous and protruding To set a quick and quiet focus
front element. Because of this, the theres Sigmas Hyper Sonic Motor
14-24mm lens features an integrated A rubber mount seal (HSM), which has been newly Sigmas Art range
lens hood to reduce flare and protect makes it resistant to designed to provide 1.3x more offers premium build
the front element. A Silent Wave dust and moisture. torque, and it has a minimum and image quality.
Motor (SWM) offers super-fast and focusing distance of 0.24m. Its
quiet focusing, with full manual available to fit Canon, Nikon and
override. The constant f/2.8 aperture PROS Sigma mounts, and will also work PROS
makes it suitable for low light Ultra wide-angle with Sony E-mount cameras via the Wider field-of-
Constant f/2.8 view than rivals
shooting and the 9-bladed, rounded Sigma MC-11 mount converter (sold
aperture Excellent build
diaphragm delivers smooth bokeh. separately for 199).
Impressive and image quality
image quality Weather-sealed
Image quality CONS Image quality CONS
The Nikon 14-24mm f/2.8 lens Expensive Theres a minor amount of barrel Second most
boasts a very impressive image compared to rivals distortion at the wide end of the expensive in test
quality. At the widest end of the No built-in image zoom, but this is easily remedied Heavier than all
zoom with the aperture set to f/2.8 stabilisation when you process your images, and its rivals
theres some minor vignetting and theres no distortion at the 24mm end
the corners are slightly soft, but SPEC of the focal range. At f/4 we detected SPEC
once stopped down to f/8 these Min aperture: f/22 a small amount of vignetting in the Min aperture: f/22
small issues vanish. Shooting at Elements: 14/11 corners but no discernible chromatic Elements: 16/11
Filter size: n/a Filter size: n/a
14mm also creates a bit of barrel aberration. We found the Sigma
DxL: 98x132mm DxL: 102x132mm
distortion, but at the long end of the Weight: 1000g
12-24mm Art lens to be sharp across Weight: 1150g
lens the performance is flawless with the frame, at all apertures and at
impressive corner sharpness even both ends of the zoom. It produced
RATING RATING
at f/2.8. the best image quality of any on test.
nikon.co.uk sigma-imaging-uk.com
Wide-Angle Lenses
Ca Ni So Ca
Tamron SP 15-30mm Canon EF 17-40mm

f/2.8 Di VC USD 929 f/4L USM 549
The SP 15-30mm f/2.8 Di VC USD is Another from Canons professional
available to Canon, Nikon and Sony quality L-series, the EF 17-40mm f/4L
shooters from Tamrons Super USM is a bargain at 549. It offers the
Performance lens series. It features biggest zoom of any wide-angle lens
built-in image stabilisation, and this in our test, making it very versatile,
Vibration Compensation system lets and produces a focal range of
you handhold up to 4 stops slower 28-70mm when fitted to a DSLR with
for sharper low light shooting. The an APS-C sensor. It uses 3 aspherical
lens also offers a constant f/2.8 Built-in Vibration elements and Super UD (Ultra-low A flush front element
aperture throughout the zoom range, Compensation for Dispersion) glass to combat makes it possible to
low light shooting. use screw-in filters.
and a 9-bladed, rounded diaphragm distortion and chromatic aberration.
delivers smooth background blur. The elements also have a Super
To beat distortion and chromatic Spectra coating to eliminate flare and
aberration the lens uses XGM ghosting when shooting towards the
aspherical elements and LD (Low light source. All in all, the lens is
Dispersion) glass, comprising 18 comprised of 12 elements in 9
elements in 13 groups and taking the groups, making it the lightest
weight to 1100g, which makes it the full-frame lens on test at 500g. It
second heaviest lens here. On the offers a constant aperture of f/4
front element theres a fluorine A special coating throughout the zoom range and L-series quality
coating to repel moisture and dirt, repels water from 7 rounded diaphragm blades create offers premium
while eBAND and BBAR anti- the front element. a smooth bokeh. A ring-type build and materials.
reflective coatings counteract Ultrasonic Motor (USM) drives the
ghosting and flare. The USD autofocus quietly and quickly, while
(Ultrasonic Silent Drive) operates PROS full-time manual override is available, PROS
smoothly and discreetly, offers 4-stop Vibration with a minimum focus distance of Most affordable
Compensation full-frame wide-angle
full-time manual override and has a 0.28m. Like other L-series lenses, its
Constant f/2.8 Most versatile
minimum focus distance of 0.28m. build makes it highly resistant to
Excellent image zoom range
quality moisture and dust. Lightweight
Image quality CONS CONS
We found the Tamron 15-30mm f/2.8 Heavier than all Image quality Least wide
to be a pleasingly sharp lens, both at but one of its rivals The Canon 17-40mm f/4 lens field-of-view in test
the centre and the edge of the frame, Not possible to delivered good sharpness from the Not quite as sharp
even with the aperture wide open. At use lens filters centre of the frame to the corners as some others
the wide end of the zoom we found throughout testing. With the zoom set
a fair amount of barrel distortion, and SPEC to 17mm we experienced some barrel SPEC
when zoomed to 30mm the image Min aperture: f/22 distortion, and when pulled to 35mm Min aperture: f/22
suffered from some pincushion Elements: 18/13 the image suffered from some minor Elements: 12/9
Filter size: n/a Filter size: 77mm
distortion. There was some minor pincushioning, but both are easily
vignetting at f/2.8, but this was no Weight: 1100g
fixed in software. With the aperture Weight: 500g
longer present when the aperture wide open there was some vignetting,
was stepped down. We didnt detect but this disappeared at f/8. We
RATING RATING
any signs of chromatic aberration. encountered some green and red
tamron.eu fringing in test images. canon.co.uk

Get Into Gear
Ni Ca Ni
Nikon AF-S 16-35mm Tokina AT-X 16-28mm

f/4G ED VR 1019 f/2.8 PRO FX 579
The Nikon AF-S 16-35mm f/4G ED For Canon and Nikon owners, the
VR is a versatile wide-angle lens Tokina AT-X 16-28mm f/2.8 PRO FX
with a tough magnesium body offers a constant maximum aperture
and a rubber seal to keep out of f/2.8 for faster shutter speeds in
dust and moisture. When paired low light and increased background
with an APS-C Nikon DSLR it blur. Nine rounded aperture
offers a zoom range of 24-52mm. diaphragm blades create a smooth
It features Nikons Vibration blur on the defocus areas. Inside
Reduction (VR) II image stabilisation Vibration Reduction there are 15 elements in 13 groups, Due to the bulbous
system, which provides 2.5 stops lets you shoot 2.5 and these weigh up to a fairly hefty front element you
stops slower. cant use lens filters.
of blur-free handheld shooting. It 950g. Three aspherical elements
offers a constant f/4 aperture, while counteract distortion while 3 SD
9 rounded diaphragm blades deliver (Super-low Dispersion) elements
a smooth blur to out-of-focus areas. minimise chromatic aberration.
Its light on the scales at only 680g, Multi-layer coatings on the glass are
despite featuring 17 elements designed to limit ghosting and flare.
arranged in 12 groups. Two ED To focus theres a newly developed
(Extra-low Dispersion) elements silent DC motor that allows the lens
and 3 aspherical elements work to to work faster and more quietly than
keep distortion and chromatic A rubber seal keeps previous models. The DC motor A fixed f/2.8 aperture
aberration to a minimum. The dust and moisture coupled with a new GMR magnetic is ideal for low light
glass features a Nano Crystal out of the lens. AF sensor work together to increase photography.
coating to keep flare and ghosting AF speed, and theres a minimum
at bay when light is directly entering focus distance of 0.28m. The
the lens. To set a fast and whisper- PROS one-touch focus clutch mechanism PROS
quiet focus theres Nikons Silent Built-in Vibration allows the user to switch between Constant f/2.8
Reduction system aperture
Wave Motor (SWM), which has a full AF and MF simply by snapping the
Impressive Value for money
manual override and a minimum focus ring forward and back.
image quality Good image
distance of 0.29m. Lightweight quality
CONS Image quality CONS
Image quality Expensive price This third-party lens boasts Heavier than
In testing, the Nikon 16-35mm f/4 for f/4 aperture impressive image quality, especially many other lenses
performed admirably, with pleasing Not as wide as when you consider its price-tag. At Not possible to
sharpness across the frame and some competitors the wide end of the zoom we found use lens filters
throughout the zoom and aperture some very minor barrel distortion
range. We encountered some minor SPEC and, at f/2.8, some vignetting, softer SPEC
vignetting at the wide end of the lens, Min aperture: f/22 corners and subtle chromatic Min aperture: f/22
but this disappeared by the time the Elements: 17/12 aberration, but those problems Elements: 15/13
Filter size: 77mm Filter size: n/a
lens was stopped down to f/11. entirely disappear at f/8, with
There was also noticeable barrel Weight: 680g
fantastic centre-to-edge sharpness. Weight: 950g
distortion at 16mm, but nothing that The lens performs even better at the
couldnt be fixed in post-processing. long end of the zoom, with sharp
RATING RATING
We detected minimal chromatic corner detail even at f/2.8.
aberration. nikon.co.uk tokinalens.com
Wide-Angle Lenses
WIDE-ANGLE
ZOOMS FOR
APS-C
I
f you own a dslr with an aps-c sensor, youre
usually best of with a wide-angle lens that is built
for your format. At a glance, it seems as though Pe
lenses designed for APS-C cameras tend to ofer
the widest focal lengths, going as low as 10mm, but
dont forget that theres a crop factor to think about,
so the efective focal length is always roughly 1.5x longer.
Pentax DA 12-24mm
This means you have to multiply the focal length stated f/4 ED (IF) 739
on the lens body by around 1.5x, so a 20mm lens on an
APS-C camera is always the approximate equivalent of The DA 12-24mm f/4 ED (IF) is
a 30mm lens on a full-frame body. Pentaxs only dedicated wide-angle
The advantage of using lenses specically designed lens for its APS-C DSLRs, although
for APS-C cameras is that they tend to be much cheaper, users of this system also have the
much smaller, and much lighter, owing to the fact they choice of the Sigma and Tamron
contain far less glass. However, theres nothing to stop lens featured in our test. This lens
you using full-frame lenses on any APS-C camera if you has a full-frame equivalent focal
wish, bearing in mind youll still experience the same length of 18-34mm when the 1.5x
1.5x crop factor. There are, however, some distinct crop factor has been applied, and The 12-24mm is
advantages to doing this. The rst is that because your features a maximum constant designed for the
Pentax K-AF mount.
sensor is much smaller than the image circle the area aperture of f/4. Inside the lens there
of light collected by the lens youre actually only using are 2 aspherical elements and
light from the central area of glass, where image quality 1 ED (Extra-low Dispersion) element
is at its best. This means youre guaranteed sharp results to reduce distortion, and the 13 lens
even in the very corners of your frame. Secondly, elements are arranged in 11 groups.
full-frame lenses tend to be sharper, and usually boast The 12-24mm has no internal AF
better build quality. And, nally, should you ever upgrade motor and so the autofocus
to a full-frame camera, youll already have a collection generates a moderate degree of
of compatible lenses. In other words, youll be future- noise, but still operates with
proong your entire lens collection. satisfying speed. Theres a Quick Quick Shift focusing
Shift focusing system that allows for for instant manual
How many lens options for each mount? instant manual override. As the lens override.
Canon tops the charts with eight lenses available for the achieves focus internally the front
EF-S mount system, exclusively used by its APS-C element of the lens doesnt rotate,
DSLRs. Nikon users have access to six wide-angle optics, so its possible to use polariser filters PROS
while Sony shooters have a choice of five different that match the 77mm filter thread. Constant f/4
aperture
lenses. There are four wide-angles available for Pentax Priced at 739, its the most
Pleasing image
DSLRs, and two for Sigma bodies. expensive APS-C lens in our test.
quality
Lightweight
Image quality CONS
The 12-24mm performed well. With More expensive
the zoom set to 12mm detail is very than rivals
sharp across the entire frame, at all Focusing noisy
aperture settings. When zoomed in as no AF motor
to 24mm, the centre remains sharp
but the corners become a little more SPEC
fuzzy. The lens was at its sharpest at Min aperture: f/22
f/11. We did detect a fair amount of Elements: 13/11
Filter size: 77mm
chromatic aberration and some
DxL: 84x88mm
barrel distortion in test images Weight: 430g
more pronounced at the wide end of
the zoom and some vignetting with
RATING
the aperture wide open.
OUR PICK OF APS-C WIDE-ANGLE LENSES...
ricoh-imaging.co.uk

Get Into Gear
Ca Ni Pe Si So Ca Ni Pe So
Sigma
g 10-20mm f/3.5 Tamron SP AF 10-24mm
EX DC HSM 329 f/3.5-4.5 Di II LD (IF) 377
The Sigma 10-20mm f/3.5 EX DC Available for Canon, Nikon, Pentax
HSM is available for Canon, Nikon, and Sony mounts, the Tamron
Pentax, Sigma and Sony mounts, 10-24mm f/3.5-4.5 offers a full-frame
and is the most affordable wide- equivalent focal length of 15-36mm.
angle optic in our round-up at just At the widest end of the zoom the
329. Once the APS-C crop factor maximum aperture setting is f/3.5,
has been taken into consideration, but should you zoom to the longer
the lens offers an effective focal end of the focal length the aperture
range of 15-30mm. The aperture A Hyper Sonic Motor reduces to f/4.5. Inside youll find Available in mounts
can be set to a maximum of f/3.5 sets the focus 12 elements in 9 groups, including for Canon, Nikon,
quickly and quietly. Pentax and Sony.
throughout the zoom range and a glass aspherical lens element and
creates a pleasing background blur. 3 hybrid aspherical elements to
Sigmas internal HSM (Hyper Sonic counteract distortion. There are also
Motor) offers quick and quiet 2 LD (Low Dispersion) elements and
autofocus, while the focusing itself a HID (High-refractive Index) element
can be set as close as 0.24m with to keep chromatic aberration to
full-time manual focus override. The a minimum for better colour
lens houses 4 aspherical lens accuracy. To combat ghosting and
elements, 2 ELD (Extraordinary Low flare, the glass features multi-layer
Dispersion) elements and an SLD Constant f/3.5 and internal surface coatings, while Internal focusing
(Special Low Dispersion) element to aperture allows for the included flower-shaped lens so you can use
keep distortion and chromatic faster shutter speeds. hood keeps out stray light. Theres polarising filters.
aberration to a minimum. The glass a minimum focusing distance of
also features Super Multi-Layer 0.24m, and the internal AF motors
coatings to keep ghosting and flare PROS work fairly quietly without much PROS
at bay. This 10-20mm lens boasts Most affordable hesitation. Priced at 377, its the More affordable
wide-angle lens than most others
13 elements arranged in 10 groups, second most affordable wide-angle
Constant f/3.5 Tamrons Super
and weighs 520g. lens in our test.
Lightweight Performance range
CONS CONS
Image quality Not as sharp as Image quality Variable
With the zoom set to its widest some others The Tamron 10-24mm creates maximum aperture
setting, the Sigma produces a slight Larger thread a small amount of barrel distortion at Some rivals in
amount of barrel distortion, but this size makes filters the wide end of the zoom, and there the test offer better
is easy to fix when editing. At f/3.5 more expensive is still a traceable presence when image quality
we found the corners of test images fully zoomed out to 24mm. With the
to be slightly soft, along with some SPEC aperture wide open at f/3.5 we found SPEC
subtle vignetting. At f/8 the image Min aperture: f/22 the centre to be pin-sharp but detail Min aperture: f/22
was sharp and bright across the Elements: 13/10 in the corners to be slightly soft, and Elements: 12/9
Filter size: 82mm Filter size: 77mm
frame, but instances of chromatic the edges were gently darkened by
aberration appeared throughout Weight: 520g
a vignette. Results improved when Weight: 406g
testing. The performance was better the aperture was stopped down to
at 20mm, with sharper results and f/8, but we did detect chromatic
RATING RATING
less coloured fringing. aberration across our test images.
sigma-imaging-uk.com tamron.eu
Wide-Angle Lenses
Ca Ni
Canon EF-S 10-22mm Nikon AF-S DX 10-24mm

f/3.5-4.5 USM 469 f/3.5-4.5G ED 729
Canons EF-S 10-22mm f/3.5-4.5 For Nikon shooters the AF-S DX
USM is only compatible with EF-S 10-24mm f/3.5-4.5G ED offers
mount Canon APS-C DSLRs, and a versatile 2.4x zoom, equivalent to
the 1.6x crop factor gives this lens 15-36mm in 35mm format. It can
an effective focal length of 16- also be used with FX format Nikon
35mm. At just 385g its the lightest cameras. The optical design features
lens in our line-up, making it well 3 aspherical and 2 ED (Extra-low
suited to travel. It has a variable Dispersion) glass elements to keep
maximum aperture ranging from The Ultrasonic image distortion to a minimum. In This DX format lens
f/3.5-4.5 depending on the focal Motor sets the AF total there are 14 lens elements is compatible with
quickly and quietly. FX format cameras.
length selected, and 6 circular organised in 9 groups, and this glass
blades create smooth background contributes to the 460g weight,
blur. Depending on the zoom which is approximately 25% heavier
setting, the 10-22mm lens also has than Canons equivalent lens. It also
a variable minimum aperture has a variable maximum aperture of
between f/22-27. Inside there are f/3.5-4.5 and variable minimum
13 lens elements in 10 groups, and aperture of f/22-29, depending on
the glass features a Super Spectra the focal length selected. The focus
coating to keep ghosting and flare is set internally (meaning the front
to a minimum. The ring-type USM Its the lightest lens element doesnt rotate as the AF is The Silent Wave
(Ultrasonic Motor) works to provide in our group test, locked), making it possible to use Motor sets the
rapid and precise autofocus, with full weighing only 385g. polariser filters with the 77mm focus rapidly.
manual override available at any thread. Focusing is achieved with
time. It operates in near-silence and the SWM (Silent Wave Motor) with
has a minimum focusing distance of PROS impressive speed and in near- PROS
0.24m. Focusing is internal so the Lightest lens in silence, with a minimum focusing Bright maximum
our round-up aperture of f/3.5
front element doesnt rotate as the distance of 0.24m. Full-time manual
Versatile zoom Full-frame
AF operates, allowing for filter use. focus override is also available.
range compatible
Competitive price Versatile zoom
Image quality CONS Image quality CONS
At both ends of the zoom the Canon Variable max and The 10-24mm lens produces some More expensive
EF-S 10-22mm f/3.5-4.5 struggled to minimum aperture barrel distortion with the zoom set to than rivals
render sharp detail towards the Not compatible 10mm, but its nothing that cant be Out-performed
corners of the frame, throughout the with full-frame fixed. With the aperture set to its on image quality
entire aperture range. We also maximum of f/3.5 we found detail in
encountered some chromatic SPEC the corners of test images to be soft, SPEC
aberration in our test images too. Min aperture: f/27 along with some mild vignetting, but Min aperture: f/29
With the aperture wide open, there Elements: 13/10 both of these were untraceable when Elements: 14/9
Filter size: 77mm Filter size: 77mm
was some vignetting but this faded stopped down to f/5.6. We detected
once stopped down to f/5.6. At Weight: 385g
chromatic aberration throughout the Weight: 460g
10mm we found a small amount of aperture range at the wide end.
barrel distortion but this can easily Results were much improved at the
RATING RATING
be fixed from the RAW file. long end of the zoom.
canon.co.uk nikon.co.uk

Get Into Gear
BEST IN
TEST
Ca Ni Ca Ni Pe Si So
Tokina AT-X 12-28mm Sigma

g 8-16mm f/4.5-5.6
f/4 PRO DX 449 DC HSM 499
The Tokina AT-X 12-28mm f/4 PRO With mounts for Canon, Nikon,
DX is built for both Canon and Nikon Pentax, Sigma and Sony, the Sigma
cameras. On a Canon EF-S DSLR it 8-16mm f/4.5-5.6 DC HSM is the
operates with an effective focal widest APS-C optic on the market.
length of 19-45mm, and on a DX It offers a full-frame equivalent focal
format Nikon its slightly wider at length of 12-24mm and has a
18-42mm as a result of the different variable maximum aperture of
crop factors. It offers a constant f/4.5-5.6. Internally there are 15
maximum aperture of f/4 and 9 A 77mm filter thread elements in 11 groups 4 FLD A protruding front
aperture blades help create smooth allows for use of (F Low Dispersion glass, which element means you
polarisers and UVs. cant use lens filters.
bokeh in out-of-focus areas. A new performs akin to fluorite) and 3
optical design includes 2 glass aspherical elements working together
aspherical elements and 2 SD to keep chromatic aberration and lens
(Super-low Dispersion) elements distortion at bay. A Super Multi-Layer
working together to reduce coating on the glass reduces flare
distortion and control chromatic and ghosting. At 555g, this is the
aberration. In total there are 14 lens heaviest APS-C wide-angle lens on
elements in 12 groups, and multi- test, and measuring 106mm its also
layer coatings help to limit ghosting the longest too. Focusing is set with
and flare. Theres a new AF GMR One-touch focus the HSM (Hyper Sonic Motor) and it Available in five
magnetic precision sensor and a clutch switches has a minimum distance of 0.24m. mounts, including
new SD-M (Silent Drive-Module) that between AF/MF. Due to the front element, its not Canon and Nikon.
has lowered the sounds emitted by possible to use filters with this lens.
the autofocus system, allowing for
much quieter AF, and with pleasing PROS Image quality PROS
speed. Manual focus is set through Constant f/4 This super-wide lens boasts Widest APS-C
aperture setting optic available
the one-touch focus clutch AF/MF impressive image quality, capturing
Pleasing image Impressive
mechanism, rather than full-time sharp detail across the frame even
quality image quality
manual override. Competitive price with the aperture wide open. There Solid build
CONS was a slight amount of barrel CONS
Image quality Second heaviest distortion when the zoom was set Heaviest APS-C
The Tokina performed well during in our group test to 8mm, but this is simple to rectify lens in our test
testing. At 12mm, we detected a mild Not as wide-angle when editing. We didnt detect any Variable
vignette but stopping down to f/5.6 as competitors chromatic aberration in the test maximum aperture
negated this entirely. There was a images we shot, and found test
modest amount of barrel distortion, SPEC pics sharp across the aperture SPEC
but less than most rivals, and we Min aperture: f/22 and zoom range. Min aperture: f/22
didnt detect any distortion at 28mm. Elements: 14/12 sigma-imaging-uk.com Elements: 15/11
Filter size: 77mm Filter size: n/a
Our test images were satisfyingly TESTED
sharp across the zoom and aperture NEXT
Weight: 530g Weight: 555g
range, however at f/4 the corners of We round up every
MONTH
the frame were fractionally soft. We prosumer mirrorless
RATING RATING
detected some chromatic aberration camera under 1500 to
throughout testing. tokinalens.com find the perfect DSLR alternative.
Buying Guide
5
Best value
carbon fibre
tripod kits
Need a strong, light
tripod that ticks all
the boxes? Tim Berry
checks out the best
MeFOTO RoadTrip
C1350 249
HIGHLY
RATED
Vanguard
VEO 265CB 250
carbon models on At 249, the MeFOTO RoadTrip carbon The extremely affordable 265CB kit folds
is the cheapest tripod in test, and also down to just 39cm, making it the joint
the market... the lightest, weighing in at just 1.4kg. most compact tripod in test. Vanguard
The tripod is available in five colours has achieved this by combining a rapid
black, grey, blue, red and green and column rotation feature, where the legs
F
rom landscapes to
macro, a solid tripod comes with MeFOTOs 5-year warranty. fold upwards against the central column,
is an indispensable Given that the RoadTrip folds down and no fewer than ve leg sections.
tool for virtually every to a very compact 39cm, it offers a Having so many sections can have an
genre of photography. respectable maximum height of 156cm, impact on stability, but its not the case
But with literally hundreds of although the minimum working height of here the 265CB is rock-solid even at
models to choose from, finding 39cm could be an issue for macro full extension. The trade-off to this
the right set of sticks is no easy photographers. For sports and wildlife portability is a slightly limited maximum
task. In this round-up, we take enthusiasts, one of the legs can be detached working height of 150cm (including the
a closer look at carbon fibre and used as a monopod, which extends to head), though for shorter photographers
tripod kits, which are around 163cm. The tripod supports 8kg of this wont be an issue. Build quality is
30-40% lighter, and 10 times equipment, so can handle a DSLR and long solid, and the Arca-Swiss ball head is
stronger, than their aluminium telephoto lens. An aluminium version of very sturdy with a smooth, uid-like
counterparts, albeit slightly the RoadTrip is also available, which has panning action. The tripod can support
more expensive. This makes an identical spec, but is 226g lighter. 8kg of equipment, which is impressive
carbon a great option if youre Overall, a very versatile and well-specced for a travel tripod. At 250, the stylish
an outdoor or travel tripod/monopod combo with a great 265CB is excellent value for money.
photographer and have to carry price-tag. mefoto.com/uk vanguardworld.co.uk
your kit around over long
distances. We check out the Specifications Specifications
Max height (with head): 156cm Max height (with head): 150cm
key spec of five of the best
Closed length (with head): 39cm Closed length (with head): 39cm
carbon fibre kits (legs and Weight (with head): 1.4kg Weight (with head): 1.7kg
head) to help you decide which
will suit you best.

Get Into Gear
BEST IN
TEST
Benro Velocity Manfrotto Gitzo Series 1 Traveler

FVY18CIB0 269 190 Go! 359 Carbon eXact 700
Benros Velocity is a four-leg-section Ideal for advanced enthusiasts and pros, Aimed at pro shooters with larger
travel tripod with an Arca-Swiss type the Italian-built 190 Go! kit offers budgets, Gitzo is a premium all-carbon
ball head. As with the MeFOTO exceptional build quality and oozes style. brand that is part of the same company
RoadTrip and Gitzo Traveler, it sports The legs extend to a very respectable that owns Manfrotto. The four-leg
reverse folding legs, which ip up 180 maximum height of 157cm, which, with section GK1545T-82TQD Series 1
against the central column. This the added height of a camera on top, Traveler Carbon eXact kit offers an
facilitates a closed length of just 41cm, allows a 6ft photographer to look impressive spec in a very compact
making it easier to carry and store. The through the viewnder without package, utilising a 180 leg folding
Velocity also has well-designed low stooping. The four leg sections have twist system that gives a closed length of just
prole twist-lock legs that add virtually locks rather than lever locks, and their 43cm. This, and its 1.5kg weight, makes it
no width to the tripod. The maximum rubber grips and uid-like movement ideal for outdoor and travel shooters who
extended height of 150cm is slightly make them very easy to operate. For need ultra-portable kit. Fully extended,
underwhelming compared with the extra stability, there are four leg angles to the Traveler boasts a height of 164cm
other models in test, as is the minimum choose from, and by combining the the tallest in test and using the widest of
working height of 43cm. The Benro kit is widest angle with Manfrottos unique the two leg angles, a minimum working
also a little on the heavy side at 1.7kg, 90 central column, you can position the height of 32cm. The legs have twist locks
though lighter than the 68 aluminium camera at 8cm above ground-level. The rather than lever locks, and the action is
version by around 200g. The maximum 190 Go! folds to 56cm, so is less compact smooth and comfortable to use. Although
weight the Velocity can support is 6kg, than the other tripods in test, and its also relatively expensive, the Gitzos build
which is more than enough for most quite heavy at 1.8kg, so may not be the quality is exceptional, its the tallest
users, but its available with a beeer best option for travel. Also available with tripod in test, and it sports a stylish
head (IB1) for 50 more. benroeu.com a three-way head. manfrotto.co.uk gun-metal nish. gitzo.co.uk
Specifications Specifications Specifications

Max height (with head): 150cm Max height (with head): 157cm Max height (with head): 164cm
Closed length (with head): 43cm Closed length (with head): 56cm Closed length (with head): 43cm
Weight (with head): 1.45kg Weight (with head): 1.8kg Weight (with head): 1.5kg
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For speediest response please email your equipment details to... info@mifsuds.com
70-200 F4 L USM . . . . . . . . . . . . 648
Canon EOS 1DX MKII Canon EOS 7D MKII Canon EOS M5 CANON EF-S
70-300 F4/5.6 L IS USM . . . . .1199
APS-C NON FULL FRAME LENSES
APS-C Body only 10-18 F4.5/5.6 IS STM . . . . . . .228 70-300 F4/5.6 IS USM II . . . . . . 498
70-300 F4/5.6 IS USM. . . . . . . . 397
Full Frame Body only 1049 18-55 F3.5/5.6 IS STM no box 169
18-135 F3.5/5.6 IS U Nano . . . 448 85 F1.2 USM L II. . . . . . . . . . . .1679
Plus 15-45 1149 18-135 F3.5/5.6 IS STM no box 349 85 F1.8 USM . . . . . . . . . . . . . . . . 297
Body only 1349 Plus 18-150 1399 24 F2.8 STM . . . . . . . . . . . . . . . . 138 100 F2.8 IS L USM macro . . . . 849
CANON EF 100 F2.8 Macro USM . . . . . . . . 448
price Canon EOS 80D Canon EOS M3 FULL FRAME LENSES 100-400 F4.5/5.6 IS LII U . . . .1997
ASK APS-C APS-C 8-15 F4 L USM Fisheye. . . . . . . 999 200-400 F4 IS L USM . . . . . . .9444
Body only 11-24 F4 L USM . . . . . . . . . . . .2679 200 F2.8 II L USM . . . . . . . . . . . 727
M3 + 15-45 16-35 F2.8 L USM MKIII . . . . .2348 300 F2.8 IS L USM II . . . . . . . .5248
998 16-35 F4 L IS USM. . . . . . . . . . . 977 300 F4 L IS USM. . . . . . . . . . . .1138
478 17-40 F4 L USM . . . . . . . . . . . . . 648 400 F2.8 IS L USM II . . . . . . . .8388
Canon EOS 5D MKIV Plus 18-55 STM 1079
Plus 18-135 STM 1298 20 F2.8 USM . . . . . . . . . . . . . . . . 448 400 F4 DO II IS USM . . . . . . . 6777
Full Frame Canon EOS 750D Canon EOS M10
24 F1.4 L II USM. . . . . . . . . . . .1478
24 F2.8 IS USM . . . . . . . . . . . . . . 439
400 F5.6 L USM . . . . . . . . . . . .1098
500 F4 IS L U II . . . . . . . . . . . . 7589
APS-C APS-C 24-70 F2.8 L II USM. . . . . . . . .1998 600 F4 IS L USM II . . . . . . . . . 9598
Body only Body only 24-70 F4 L IS USM. . . . . . . . . . . 798 1.4x III converter . . . . . . . . . . . . 348
Body only 24-105 F3.5/5.6 IS STM . . . . . . 368 2x III converter. . . . . . . . . . . . . . 318
price 528 199 24-105 F4 L IS USM MKII. . . .1128 12mm EF MKII ext tube. . . . . . . 69
ASK
Plus 18-55 STM 628 28 F2.8 IS USM . . . . . . . . . . . . . . 398 25mm EF MKII ext tube. . . . . . 119
Plus 18-135 STM 798 Plus 15-45 288 35 F1.4 USM LII . . . . . . . . . . . .1798 CANON FLASH & GRIPS
35 F2 IS USM. . . . . . . . . . . . . . . . 418 430EX III RT Speedlight . . . . . . 218
Canon EOS 760D Canon EOS M LENSES 40 F2.8 STM . . . . . . . . . . . . . . . . 168 600EX-RT II Speedlight . . . . . . 499
Canon EOS Full Frame Bodies 11-22 f4/5.6 IS STM ....................... 319 50 F1.2 L USM . . . . . . . . . . . . .1278 600EX-RT Speedlight . . . . . . . . 399
APS-C 15-45 f3.5/6.3 IS STM .................... 229 50 F1.4 USM . . . . . . . . . . . . . . . . 348 BG-E20 (fit 5D MKIV) . . . . . . . . 297
EOS 5DsR body ..................................2699 18-55 f3.5/5.6 IS STM .................... 199
50 F1.8 STM . . . . . . . . . . . . . . . . 109 BG-E16 (fit 7D MKII) . . . . . . . . . 179
EOS 5Ds body ....................................2499 Body only 18-150 f3.5/6.3 IS STM .................. 429
70-200 F2.8 IS LII USM. . . . . .1997 BG-E18 (fit 750/760D) . . . . . . . 115
22 f2 STM ....................................... 198
EOS 5D MKIII body ............................2498 548 28 f3.5 Macro IS ............................. 294 70-200 F2.8 non IS L USM. . .1179 BG-E14 (fit 80D). . . . . . . . . . . . . 137
EOS 6D body ......................................1447 55-200 f4.5/6.3 IS STM .................. 268 70-200 F4 L IS USM. . . . . . . . .1018 BG-E13 (fit 6D) . . . . . . . . . . . . . . 147
Nikon D5 Nikon D500 NIKON DX

NON FULL FRAME LENSES
60 F2.8 AFS . . . . . . . . . . . . . . . . .498
70-200 F2.8 AFS VRII . . . . . 1898
70-200 F4 AFS G ED VR . . . . 1178
Full Frame APS-C 10.5 F2.8 DX Fisheye . . . . . . . .599
10-24 F3.5/4.5 AFS G . . . . . . . .729 70-300 F4.5/5.6 AFS VR . . . . . .497
10-20 F3.5 EX DC HSM . . . . . .329
12-24 F4.5/5.6 II DG. . . . . . . . .529
Body only price 16-80 F2.8/4 AFS ED VR. . . . . .858 70-300 F4.5/6.3 AFP VR. . . . . .349 17-50 F2.8 EX DC OS. . . . . . . .279
Body only
ASK
16-85 F3.5/5.6 AFS VR . . . . . . .568 70-300 F4.5/6.3 AFP non VR .299 18-35 F1.8 DC HSM Art . . . . .549
price 18-105 F3.5/5.6 AFS G no box 239 80-400 F4.5/5.6 AFS G VR . . 2079 18-300 F3.5/6.3 DC mac OS .349
18-140 F3.5/5.6 AFS VR . . . . . .458 85 F1.4 AFS G . . . . . . . . . . . . . 1347
ASK
20 F1.4 DG HSM Art . . . . . . . .629
18-300 F3.5/6.3 AFS VR . . . . . .628 85 F1.8 AFS G . . . . . . . . . . . . . . .428 24 F1.4 DG HSM Art . . . . . . . .599
35 F1.8 AFS G . . . . . . . . . . . . . . .178 105 F1.4 AFS E ED . . . . . . . . . 2048 24-35 F2 DG HSM Art . . . . . . .699
Nikon D5600 40 F2.8 AFS G macro . . . . . . . .238 105 F2.8 AFS VR macro . . . . . .748 24-70 F2.8 EX DG . . . . . . . . . . .549
APS-C NIKON FX 200-500 F5.6 AFS E ED VR. . 1178 35 F1.4 DG HSM Art . . . . . . . .598
Nikon D750 FULL FRAME LENSES 300 F2.8 AFS ED VRII . . . . . . 4897
Plus 18-55 AF-P 799 14-24 F2.8 AFS G ED. . . . . . . 1638 300 F4 AFS E PF ED VR. . . . . 1497 50 F1.4 EX DG
Full Frame Plus 18-140 VR 989 16-35 F4 AFS VR . . . . . . . . . . 1018 400 F2.8 G E FL ED VR . . . . 10398 HSM Art .579
Body only 18-35 F3.5/4.5 AFS G . . . . . . . .618 500 F4 E AFS FL ED VR . . . . . 8147
Nikon D3400 20 F1.8 AFS G ED. . . . . . . . . . . .647 600 F4 E AFS FL ED VR . . . . . 9699 50-100 F1.8 DC HSM Art . . . .829
1698 APS-C 24 F1.4 AFS . . . . . . . . . . . . . . . 1788 TC14EIII converter. . . . . . . . . . .428 70-200 F2.8 EX DG OS . . . . . .729
24 F1.8 AFS G ED. . . . . . . . . . . .628 TC17EII converter . . . . . . . . . . .347 105 F2.8 EX DG OS HSM . . . .329
Plus 24-120 f4 VR 2297 150 F2.8 EX DG OS. . . . . . . . . .649
Body only 348 24-70 F2.8 AFS G ED VR. . . . 1598 TC20EIII converter. . . . . . . . . . .394
150-600 F5/6.3 OS Cont. . . . .739
24-85 F3.5/4.5 AFS VR . . . . . . .428 NIKON FLASH & GRIPS
Nikon D810 Plus 18-55 AF-P 438 24-120 F4 AFS G ED VR . . . . . .797 SB500 flash . . . . . . . . . . . . . . . . .194
Full Frame Nikon DSLR Cameras APS-C Format 28 F1.8 AFS . . . . . . . . . . . . . . . . .598 SB700 flash . . . . . . . . . . . . . . . . .238
28-300 F3.5/5.6 AFS VR . . . . . .828 SB5000 flash. . . . . . . . . . . . . . . .489
D7200 Body only ..............................848
35 F1.4 AFS G . . . . . . . . . . . . . 1578 MBD-17 (fit D500). . . . . . . . . . .327 150-600 F5/6.3 OS Sport . . 1199
Body only D7200 + 18-105 VR .........................1087
D5500 Body only ..............................578 35 F1.8 AFS G . . . . . . . . . . . . . . .438 MBD-16 (fit D750). . . . . . . . . . .249 TC1401 converter. . . . . . . . . . .229
2398 D5500 + 18-55 VRII ...........................679 50 F1.4 AFS G . . . . . . . . . . . . . . .377 MBD-15 (fit D7200). . . . . . . . . .229 TC2001 converter. . . . . . . . . . .269
D5500 + 18-140 VR ...........................848 50 F1.8 AFS G . . . . . . . . . . . . . . .188 MBD-12 (fit D810/800/E) . . . .329 USB Lens dock CAF/NAF . . . . . 39
X-T2
Body Black
1398
Plus 18-55
X-T10 + 18-55mm .................. 715 23mm F1.4 XF ......................... 788
SYSTEM
90mm F2 R LM WR ................ 828
16-300 f3.5/6.3 Di II VC PZD .... 428
18-200 F3.5/6.3 Di II VC............. 189
150-600 F5/6.3 VC USD G2 ....1350
X-T10 body Blk/silv................ 449 23mm F2 XF R WR ................. 418 100-400 F4/5.6 OIS WR ......... 1397
1647 X-E2S + 18-55mm .................. 729 27mm F2.8 XF ......................... 348 1.4x XF TC WR .......................... 299
X-E2S body ............................... 548 35mm F1.4 XF ......................... 498 2x XF TC WR ............................. 349
10-24mm F4 XF ...................... 828 35mm F2 R WR........................ 368 11mm Extension tube ............64
14mm F2.8 XF R ..................... 788 50-140mm F2.8 R OIS .........1328 16mm Extension tube ............64
X-Pro2 16mm F1.4 XF ......................... 828 50-230mm F4.5/6.7 XC OIS 269 VPB-XT2 Vertical grip............ 297 150-600 F5/6.3 SP VC USD ....... 828
Body only 16-55mm F2.8 ......................... 949 55-200mm F3.5/4.8 OIS XF. 618 EF-20 TTL Flashgun ..................98 Kenko Converters
18mm F2 XF............................. 498 56mm F1.2 R APD ................1158 EF-42 TTL Flashgun ............... 168 1.4x Pro 300 converter .............. 159
1347 18-55mm F2.8/4 OIS ............ 618 56mm F1.2 XF ......................... 828 EF-X20 TTL Flashgun ............ 168 2x Pro 300 converter ................. 159
18-135mm F3.5/5.6 XF......... 649 60mm F2.4 XF ......................... 578 EF-500 TTL Flashgun ............ 449 Auto ext tube set ..................109.99
Family Run Pro Dealership With Friendly, Knowledgeable Staff. Open 7 Days Per Week. Prices Inc VAT - Correct 27/11/2016. P&P Extra. E&OE.
FULL PRODUCT LISTINGS AVAILABLE ON WEBSITE - UPDATED DAILY. FREE COURIER DELIVERY FOR NEW ITEMS ORDERED ON-LINE (U.K. Mainland only)
Although we are the best stocked dealer in the West Country, Website altered daily inc. manufacturers cashback & promotions
we cannot always have every item listed in stock at all times, so
we are happy to reserve new & used items for customers
planning to visit. Prices correct 27/11/2016 but subject to
change without notice. See website for up to date prices. E&OE.
www.mifsuds.com
Subscribe to our newsletter - send your email address to info@mifsuds.com.
QUALITY USED EQUIPMENT. See website for full list. Call us to check condition. 6 Month warranty on most secondhand.
BRONICA ETRS 645 USED 18-200 F3.5/6.3 HSM OS..149 MAMIYA RB 6x7 USED NIKON AF USED 50 F1.8 AIS pancake.........139
Used Canon 40 F4 MC ..............................149 18-250 F3.5/45.6 DC OS...149 Pro SD + 127 KL + WLF F4E body ..............................299 50 F1.8 E.................................59 Used Nikon
EOS 5D MKIII
body box
50 F2.8 E...............................149
75 F2.8 PE ............................149
105 F3.5..................................99
135 F4 PE M- box ..............249
24-70 F2.8 HSM....................469
28-135 F3.8/5.6 ...................... 99
50 F1.4 EX DG Art................499
50 F1.4 EX DC........................249
+ back M-.............................649
Pro S + 90 + WLF + back 449
Pro S body ...........................149
Pro S body scruffy ..............99
F65 body ................................39
F801 body ...................... 29/59
F601 body .............................29
F55 body ................................25
55 F2.8 AIS...........................199
85 F1.8 AI ...............................99
105 F2.8 AIS macro ..........199
180 F2.8 AIS ED scruffy ...179
D4s body box HOYA Filters
NEw STOCK
150 F3.5 E ..............................99 50 F2.8 EX macro ............... 149 Plain prism late..................199 10.5 F2.8 AFS DX box ......399 500 F4 AIS.........................1499
150 F3.5 PE M- Box...........149 50-500 F4/6.3 EX DG .......399 WLF.......79 Chimney........99 10-24 F3.5/4.5 AFS DX ....549 500 F8 mirror early...........279 HOYA PRO 1D
200 F4.5 PE..........................199 70-200 F2.8 EX DG ..........399 120 645V back .....................99 14-24 F2.8 AFS M- box .. 1099 TC200 ......................................49 Circ ular Polariser
E14 or E42 ext tube ea......49 105 F2.5 EX DG OS box ..269 50 F4.5 ..................................199 14-24 F2.8 AFS ................999 TC301 ....................................149
120 RFH ..................................69 120-300 F2.8 DG OS 90 F3.5 KL ............................299 16 F2.8 Fisheye AFD .....499 SC-17 TTL lead .....................25 52mm .... 49 67mm..79
Polaroid Back .......................39 Sport box ..........................1899 127 F3.5 KL..........................299 16-35 F4 VR.......................799 DW-3 WLF find fit F3 .........99 55mm .... 49 72mm..89
AEIII prism ...........................199 120-300 F2.8 EX DG .........749 180 F4.5......................................149 16-85 F3.5/5.6 AFS VR ...399 DW-21 fits F4 ......................149
Plain prism ............................59 120-400 F4/5.6 DG ...........399 Pro SD ext tube 2 82mm..... 99 17-55 F2.8 AFS ......................499 Nikon bellows II box ..........89 58mm .... 69 77mm..99
1599/1799 Rotary prism .........................99 150 F2.8 EX DG OS mac ...499 Pro SD ext tube 1 45mm..... 99 18-35 F3.5/4.5 AFS ..............479 OLYMPUS DIGITAL USED 62mm .... 69 82mm134
A workhorse full frame
Angle viewfinder E...........129 150-500 F5/6.3 HSM ..........499 Ext tube 2.................................... 49 18-35 F3.5/4.5 AFD .............299 E10 MKII body ....................349 3699
Winder early .........................79 150-600 F5/6.3 DG OS ........999 MAMIYA RZ 6x7 USED 18-55 F3.5/5.6 AFS VR..........99 E10 body..............................279 UV
camera ideally suited Speed Grip E.........................39 170-500 F5/6.3 APO DG.....299 RZ ProII + 90 + WLF 18-70 F3.5/4.5 AFS ..............119 12-60 F2.8/4 SWD .............379 Dazzling levels of speed
to both amateur and Tripod adapter E .................39 180 F3.5 EX DG HSM mac.399 + 120 RFH ............................499 18-105 F3.5/5.6 AFS VR .....169 14-42 F3.5/5.6 ......................49 and low light performance 37mm .... 30 62mm..43
professional users Winder early .........................49 1.4x or 2x EX DG conv ea ..149 RZ Pro body ........................149 18-200 F3.5/5.6 AFS VRI ....249 14-45 F3.5/5.6 ......................79 make this a great buy 40.5mm . 30 67mm..50
Metz SCA 386 .......................49 1.4x or 2x EX conv ea ............ 99 120 RFH Pro II.......................99 20 F2.8 AF................................279 14-50 F3.8/5.6 ....................199
BRONICA SQ 6x6 USED Kenko Pro 300 1.4x conv..... 99 120 RFH Pro I ........................49 24 F2.8 AFD ............................299 14-54 F2.8/3.5 ....................149 46mm .... 30 72mm..52
Used Canon SQA + 80 + back + prism .249 Kenko ext tubes....................... 79 Polaroid back .......................79 24-70 F2.8 AFS box .............849 35 F3.5 ....................................99 Used Nikon 52mm .... 30 77mm..55
EOS 1DX 40 F4 S ..................................299 OTHER CAF USED FE701 prism ........................299 24-85 F3.5/4.5 VR ..................329 35-100 F2 M- box..............999
50 F3.5 PS ............................299 TAM 18-270 F3.5/6.3 VCII .169 WLF.........79 Winder II ......69 24-120 f4 AFS VR ...................699 40-150 F4/5.6 .......................49 D4 55mm .... 35 82mm..69
body 50 F3.5 S...............................149 TAM 28-75 F2.8 XR Di ......199 50 F4.5 W .............................249 24-120 F3.5/5.6 AFD ............199 50 F2 macro ........................279 58mm .... 38
110 F4.5 PS macro ............399 TAM 28-300 F3.5/6.3 PZD .399 65 F4 box M- ......................399 28 F1.8 AFS G ..........................479 25mm ext tube....................79 body
box Softener A
135 F4 PS M-.......................229 TAM 70-300 F4/5.6 ............... 99 90 F3.5 W M- box ..............299 28-100 F3.5/5.6 AF G ............. 69 FL-36 Flash ..........................119 box
150 F3.5 S ..............................79 TAM 90 F2.8 ...........................249 180 F4.5 W...........................199 28-105 F3.5/4.5 AFD ............149 OLYMPUS PEN USED 52mm .... 20 67mm..39
150 F4 PS ................... 149/199 TAM 150-600 F5/6.3 USD 649 Pro shade...............................49 35 F1.8 DX.................................139 OMD-EM1 body M- box .499
2999 180 F4.5 PS..........................399 TAM 200-500 F5/6.3...........449 MINOLTA/SONY DIGITAL USED 35 F2 AFD .................................199 OMD E-M5 MKII b/o box 599 2499 55mm .... 20 72mm..39
200 F4.5 PS M- box ..........199 CANON FLASH USED Sony RX10 MKII box.............949 35-70 F3.3/4.5 AF .................... 59 OMD E-M5 body box.......299 58mm .... 39 77mm..49
2x PS converter M- ...........179 ST-E3 transmitter box .....199 Sony A7RII body box......2399 50 F1.4 AFD.........................199 OMD-EM10 MKII body ....369
Used Canon 135N back ...........................119 ST-E2 transmitter ................79 Sony A6300 body .............. 799 50 F1.8 AFD...........................99 OMD-EM10 body ..............299 Used Nikon 62mm .... 39 82mm..49
SQA Polaroid back..............59 MR-14EX ringflash ............349 Sony A77 body ................... 399 50 F1.8 AF ..............................79 12-50 F3.5/6.3 ....................149
EOS 5D SQAi 120 RFH .......................79 MT-24EX ringflash ............549 Sony A200 body................. 129 55-200 F4/5.6 AFS VR ........99 14-150 F4/5.6 .....................399 Star 4
D3X
MKIV SQA 120 RFH ........................49 380EX ......................................69 Sony VGB30AM .....................79 55-200 F4/5.6 AFS ..............79 45 F1.8 box .........................199 52mm .... 29 67mm..39
SQAi prism late ..................299 430EXII..................................169 Sony VG-C70AM................. 139 60 F2.8 AFS .........................349 40-150 F2.8 Pro .................949 body
body 45 Prism box .....................129 550EX ....................................149 Sony HV56AM ..................... 169 60 F2.8 AFD.........................249 60 F2.8 ..................................299 55mm .... 29 72mm..39
box Plain Prism S Boxed ...........69 580EX box ...........................179 SONY NEX USED 60 F2.8 AF ............................199 75-300 F4.8/6.7 MKII........299 box 58mm .... 39 77mm..49
AE Prism Early ......................79 600EX RT box .....................279 A6000 body .............................329 70-200 F2.8 AFS VRI .........899 1.4x converter ....................249
62mm .... 39
2999 ME Prism Finder ..................69
Metz SCA 386 .......................49
CONTAX 645 AF USED
45 F2.8 ..................................499
NEX 5 body ..............................129
FE 16-35 F4 ZA OSS E..........999
70-300 F4/5.6 VR ...............369
70-300 F4/5.6 AFD ...........129
FL600R flash box...............199
HLD-8 grip...........................149
1999
Protector
Pro shade S ...........................59 CONTAX 35mm AF USED FE 16-50 F3.5/5.6 EZ ............149 70-300 F4 G...........................79 HLD-7 grip box ..................109
Used Canon Lens Hood 65-80.................20 90 F2.8 ..................................299 FE 55-200 F4.5/6.3 ................149 80-200 F2.8 AFD................349 HLD-6 grip...........................119 Used Nikon 55mm .... 20 67mm..30
SQAi Motorwinder ...........149 CONTAX MF USED FE 90 F2.8 macro ...................799 85 F1.4 AFD.........................499 VF-2 viewfinder .................179 58mm .... 20 72mm..35
1D MKIV Speed grip S .........................69 28-70 F3.5/4.5 MM ...........169 Samyang 100 F2.8 macro .229 85 F1.4 AFS .........................329 OLYMPUS OM USED D3s
body CANON DIGITAL AF USED FUJI DIGITAL USED MINOLTA/SONY AF USED 85 F1.8 AFD.........................249 OM-4T body .......................249 62mm .... 30 77mm..49
1DX MKII body ................4599 X-Pro2 body box ............1099 Dynax 9 body box ............299 85 F3.5 DX M- box ............269 OM-1n body chr................169 body Twin packs: UV + Circ Pol
box 1DX body box .................2999 X-T1 body graphite box .599 800Si body ............................69 105 F2 AFD..........................649 OM-2SP body .....................149
1D MKIV body ..... 1299/1499 X-T1 body black....... 499/599 7xi body .................................49 105 F2.8 AFS VR.................579 OM-2n body blk or chr ...149 box 40.5mm . 49 62mm..69
1Ds MKII body....................699 X-T10 body box .................379 7000i body ............................39 105 F2.8 AFD ......................399 OM-1n body .......................149
49mm .... 49 67mm..79
1299/1499
1D MKIII body ....................699
7D body ...............................499
X-E2s body silver...............369
X-M1 body blk box...........149
300Si body ............................19
20 F2.8 ..................................199
180 F2.8 AFD M- box .......449
200 F4 AF .............................999
28 F3.5 ....................................49
35-70 F3.5/4.5 ......................79 1499/1799 52mm .... 55 72mm..89
5D MKIV body box ........2999 16-55 F2.8 box ...................699 20-35 F3.5/4.5 M- box .....249 200-400 F4 AFS VRII ......3799 35-105 F3.5/4.5....................79
55mm .... 59 77mm..99
Used Canon 5D MKIII b/o box 1599/1799
5D MKII body ..............599/799
18-55 F2.8/4 XF .................399
27 F2.8 XF box ...................199
24 F2.8 AF ............................199
24-50 F4 .................................99
300 F2.8 AFS VRII M- .....3199
300 F2.8 AFS VRI ............2699
50 F3.5 macro ......................79
200 F4 .....................................79
Used Nikon 58mm .... 65
5D MKII body 5D MKI body box ................499 35 F1.4 R box ......................399 24-85 F3.5/4.5 ....................149 300 F4 AFS M- box ...........699 14 or 25 auto ext tube ea 29
60D body ................................399 50-230 F4.5/6.7 XC box ..169 28 F2.....299 28 F2.8 ........99 300 F4 AFS box..................599 PANASONIC DIGITAL USED D3 HOYA
50D body ................................299 56 F1.2 R ..............................599 28-80 F4/5.6..........................39 400 F2.8 AFS VR serviced 5899 FZ200 Bridge camera ......199 body Close up +2, 3 or 4 (each)
30D body ................................129 60 F2.4 macro box............429 28-85 F3.5/4.5 ......................99 400 F2.8 AFS non VR.....3999 G6 body black....................299
500D body .............................199 1.4x converter ....................269 35-70 F4 .................................39 600 F4 AFS VR serviced ....5999 G3 body box .......................129 box 52mm .... 18 67mm..25
450D body .............................149 X-T1 vertical grip...............129 35-70 F3.5/4.5 ........................... 25 600 F4 AFS II non VR GX7 body.............................399 55mm .... 18 72mm..27
HASSELBLAD XPAN USED
599/899
BG-E2...........39 BG-E2N .....49
BG-E4 box..69 BG-E5 ........49 Centre filter 49mm.................129
35-80 f4/5.6 ................................ 25
35-105 F3.5/4.5 ........................ 99
grey serviced ...................3499
TC14EII. .................................299
GX1 body box ....................149
GF7 body silver box .........199 1199 58mm .... 20 77mm..27
BG-E6...........89 BG-E7 ........89 HASSELBLAD 6x6 USED 50 F1.4 AF .................................169 TC20EIII M- box .................249 GF3 body black ...................99 62mm .... 20
Used Canon BG-E8. .........................................69
BG-E9 box .................................79
500C body chrome ..........199
WLF late ...............................110
50 F1.7 AF ................................... 89
50 F2.8 macro .........................149
TC20EII....199 TC20E.......149
SIGMA NAF USED
GF1 body ................................. 79
12-35 F2.8 ............................549
Used Nikon Softener A, Diffuser (each)
BG-E11.....199 BG-E13 ....139 WLF chrome late.................99 75-300 F4.5/5.6 ........................ 99 10-20 F4/5.6 EX DC ..............239 14 F2.5 ..................................199
16-35 f2.8 BG-E16 box ............................149 WLF early ...............................49 85 F1.4 ........................................549 15 F2.8 EX DG .........................399 14-42 F3.5/5.6 ......................79 D800 49mm .... 15 62mm..29
CANON AF USED Sports viewfinder ...............69 100-300 F4.5/5.6 APO .........149 18-50 F2.8 EX DC Mac.........149 14-45 F3.5/5.6 ....................149 body 52mm .... 20 67mm..29
USM EOS 1V body M- box .......699 Chimney.................................89 VC700 grip.................................. 39 18-200 F3.5/6.3 DC OS ......199 20 F1.7 ..................................199
EOS 3 body M- box ..........299 A12 chrome latest ............299 RC1000S/L cord ....................... 15 18-250 F3.5/6.3 DC OS ......149 35-100 F4/5.6 .....................199 55mm .... 25 72mm..29
LII
EOS 1n body.......................149 A12 late blk/chr .................129 AW90............................................. 49 24-70 F2.8 EX DG .................249 100-300 F4/5.6...................349 58mm .... 29 77mm..29
EOS 30/5 body each ..........69 Polaroid back tatty .............79 MD90 + BP90-M ...................... 79 28-300 F3.5/6.3 early..........129 LVF2 box ..............................149
899 EOS 650 body ......................39 50 F4 CF FLE .......................849 Angle finder VN........................ 79 30 F1.4 EX DC ........................199 BG-GH3 grip .........................99 1299 Infra Red
EOS 600 body ......................39 80 F2.8 CF ............................479 SONY LENSES USED 35 F1.4 Art...............................499 PENTAX DIGITAL USED 62mm .... 59 67mm..59
Used Canon EOS 50E/300V body each 29
EOS 500N/1000 b/o each 29
140-280 F5.6 CF.................799
150 F4 chrome...................199
16-80 F3.5/4.5 ZA DT...........499
18-55 F3.5/5.6 SAM ................ 59
50 F1.4 Art M- box...............499
50-500 F4/6.3 DG.... 399/499
K3 body ................................499
Km body ..............................149
Used Nikon 77mm .... 69
70-200mm f2.8 LI 10-18 F4.5/5.6 IS STM......159 250 F5.6 CF .........................399 18-200 F3.5/6.3 DT ...............199 70-200 F2.8 OS DG ...........599 PENTAX 35mm AF USED 14-24mm f2.8 AFS Variable Neutral Density
IS USM 10-22 F3.5/4.5 U ................279 Ext tube 21, 55 each ..........39 55-200 F4/5.6 DT SSM .......... 69 70-300 F4/5.6 APO DG......99 MZ5N body ...........................69 M- box
16-35 F2.8 USM LII............899 Vivitar 2x conv .....................49 75-300 F4/5.6 ..........................129 80-400 F4.5/5.6 DG OS ...399 10-17 F3.5/4.5 ED .............239 67mm ..119 72mm129
16-35 F2.8 USM LI.............749 Pro shade 6093....................99 SIGMA MIN/SONY AF USED 105 F2.8 EX DG OS ...........269 16-45 F4 ...............................199 77mm ..129
17-40 F4 L ............................449 Lens hoods various ..... 20/50 10-20 F4/5.6 EX DC ........... 229 105 F2.8 EX .........................199 17-70 F4 SDM M- box .....299
17-55 F2.8 EFS IS USM ....449 LEICA SLR USED 18-35 F1.8 Art...................... 449 120-300 F2.8 DG OS .....1199 18-55 F3.5/5.6 ......................29 Centre Spot
17-85 F4/5.6........................199 R7 body black ....................299 28-135 F3.8/5.6 ......................79 120-400 F4/5.6 DG ...........399 28-80 F3.5/5.6 ......................49
1099 40.5mm . N/A 58mm..17
899 24 F3.5 TSE MKI box.............749 R5 body black ....................179 28-300 F3.5/6.3 macro..... 149 150-500 F5/6.3 DG OS ........499 50-135 F2.8 SDM...............379
24-70 F2.8 L USM box .........799 LEICA OPTICS USED 50 F1.4 .................................... 149 1.4x or 2x EX DG conv ea ..149 55-300 F4/5.8 HD DA 46mm .... N/A 62mm..17
Used Canon
24-85 F3.5/4.5 USM..............149
24-105 F4 L...............................599
Televid APO 77 + eyepiece799
Televid 77 + 20x60 ...........649
50 F2.8 EX DG macro ....... 149
55-200 F4/5.6 .........................69
1.4x or 2x EX conv each ....... 99
TAMRON NAF USED
ED WR ...................................249
55-300 F4/5.8 ED box......229 Used Nikon 49mm .... 15 67mm..17
28 F1.8 USM box ...............259 Trinovid 10x42 ...................699 70-300 F4/5.6 DG OS ...... 169 10-24 F3.5/4.5 DiII .................239 70 F2.8 Limited ..................349 200-400mm f4 AFS VRII 52mm .... 15 72mm..20
100-400mm f4.5/5.6 L 28 F2.8 ..................................129 Ultravid 8x32 HD ..............899 70-300 F4/5.6 APO DG ...... 99 11-18 F4.5/5.6 .........................219 70-300 F4/5.6 .......................79
IS USM 28-90 F3.5/5.6 ......................79 LIGHTMETERS USED 150-500 F5./6.3 DG ..........499 18-250 F3.5/6.3 ......................149 100-300 F4.5/5.6 .................89 55mm .... 15
28-135 F3.5/5.6 IS USM ..199 Minolta Flashmeter V ......199 170-500 F5/6.3...................299 19-35 F3.5/4.5 ........................... 99 SIGMA PKAF USED Star 6, Star 8 (each)
50 F1.2 L USM box............999 Polaris .....................................99 500 F4.5 APO ......................799 24-70 F2.8 USD.......................599 10-20 F4/5.6........................229
50 F1.4 USM........................239 Sekonic L308 ........................99 1.4x EX conv .........................99 70-300 F4/5.6 ............................ 79 18-250 F3.5/6.3..................199 52mm .... 20 67mm..29
50 F2.5 macro ....................149 Sekonic L478DR ................279 TAM 10-24 F3.5/4.5 DiII ..239 OTHER NAF USED TAM 70-300 F4.5/5.6 Di ....79 55mm .... 20 72mm..29
899 60 F2.8 USM EFS mac ......279 MAMIYA 645 MF USED TAM 18-200 F3.5/6.3..........99 TOK 10-17 F3.5/4.5 ATX ..249 PENTAX 645AF USED 3799
70-200 F2.8 IS USM LI......899 645 Prol TL + 80 + prism TAM 70-300 F4.5/5.6 TOK 11-18 F2.8 ATX Pro..329 645N body ..........................399 58mm .... 29 77mm..39
70-200 F2.8 USM L ...........799 + winder box ......................399 Di box......................................79 TOK 12-28 F4 ATX DX ......399 AF500FTZ flash ....................79 62mm .... 29
Used Canon 70-200 F4 U L .....................399 Plain prism (645 Super) ....39 TAM 90 F2.8 .............. 179/249 TOK 80-200 F2.8 ATX Pro 299 PENTAX 645MF USED Used Nikon
300mm f2.8 LI IS USM 70-300 F4/5.6 L IS U699/849 Polariod Back HP401 .........29 Teleplus 1.4x conv ..............69 FLASH / ACCESSORIES USED 645 + 75 F2.8 ......................249 300mm f2.8 AFS VRI SIGMA
70-300 F4/5.6 DO IS U.....399 Polaroid back .......................29 Teleplus 2x conv .................79 SB-24.........49 SB-25..............49 645 body + insert .............199
70-300 F4.5/5.6 IS USM ..299 120 Insert...............................20 Kenko 1.4x Pro 300DG ....149 SB-28 ............................................. 69 55 F2.8 ..................................249 UV WR
75-300 F4/5.6 MKII .............99 HA401 120 RFH Box...........49 Min 5200i...............................29 SB-80DX....................................... 79 150 F3.5 EX++ ....................149
85 F1.8 M-............................219 120 Back.................................39 Min 5400HS ..........................39 SB-500 box ...............................149 200 F4 ...................................149 86mm .............................99
100 F2.8 USM box.............319 Winder ....................................79 Min 5600HSD M-.................99 SB-600.........................................169 300 F4 ...................................249 95mm .......................... 119
100-400 F4.5/5.6 L IS U... 899 45 F2.8 N ..............................199 NIKON DIGITAL AF USED SB-800.........................................149 1.4x converter ....................199
105mm ........................ 149
2999 135 F2 L M- box.................549
180 F3.5 L mac .................... 899
55-110 F4.5 box.................299
120 F4 macro .....................269
D4s body box ..................3699
D4 body box....................2499
SB-R1C1 kit...............................499
SD-8 batt pack.......................... 49
120 Insert M- box................49
PENTAX 67 USED
2699
Circular Polariser WR
300 F2.8 LI IS U..................2999 150 F2.8 A............................199 D3X body box .................1999 SU-800 commander box...199 67 II + AE prism box .........999
Used Canon 300 F4 L IS USM box ......... 849 150 F3.5 N .............................79 D3s body box ...... 1499/1799 DR-3 angle finder.................... 59 45 F4 latest ..........................399 Used Nikon 86mm .......................... 129
300mm f4 L IS USM
400 F4 DO ISII L U ............5799 150 F3.8 NL leaf.................299 D3 body box....................1199 MB-10 (fits F90) ........................ 29 105 F2.4 latest ....................449 400mm f2.8 AFS VR 95mm .......................... 159
400 F5.6 L box ..................... 799 210 F4 N M- ..........................79 D2xs body ...........................399 MB-23 (fits F4)........................... 69 135 F4 macro late .............249 serviced
box 500 F4 LI IS USM...............4499 Ext Tube 1, 2, 3S each .......29 D2x body .............................349 MC-36 remote .......................... 79 165 F2.8 latest ....................399 105mm ........................ 199
600 F4 IS LII ........................7499
Lifesize converter..................99
Teleplus 2x converter ........49
Vivitar 2x converter............39
D800 body .......................1299
D700 body box..................699
MC-30 remote .......................... 39
MF-23 (date back F4) ............ 79
200 F4 latest .......................169
200 F4 early .............................99
COKIN
12mm ext tube II box .........59 MAMIYA TLR 6x6 USED D600 body box..................799 NIKON MF USED 300 F4 early scruffy ............. 99 P Series Nuance Kits
25mm ext tube II box .........99 C330 F Body + WLF ..........149 D300 body box..................299 F3 body ................................199 Pentax rear conv 1.4x ........ 249
ND1024 10 f stops ...69.99
849
2x extender MKII ................ 219
2x extender MKIII..............299
55 F4.5 ..................................199
65 F3.5 box late .................199
D200 body box..................149
D7000 body .............. 299/349
FM2n body box .................349
FM2n body chr ..................249
2x rear converter...............179
Auto ext tubes .....................49
5899 ND256 8 f stops ........69.99
2x extender MKI ................169 65 F3.5 serviced.................149 D5500 body box ...............479 F301 body .............................99 Vivitar 2x conv .....................49
Used Canon Teleplus 2x DG conv ..........89
Kenko ext tube set DG ......... 89
80 F2.8 late serviced ........139
180 F4.5 ................................149
D5000 body ........................169
D90 body .............................199
20 F3.5 AI .............................199
24 F2.8 AI .............................199
TAMRON ADII USED
90 F2.5 SP ............................149
Used Nikon ND32 5 f stops ..........69.99
600mm f4 AFS VR P Series Grad ND Kit
500mm f4 LI IS USM PB-E2 drive M- box...........199 250 f4.5 late serviced.......249 D50 body ...............................79 28 F2.8 AIS...........................199 VANGUARD SCOPES USED
PB-E2 drive fits EOS1/3 ...149 250 f4.5 early serviced .179 MBD-15 grip .......................169 28 F3.5 AIS.............................99 Endeavour HD65A............269 serviced H270A .........................54.99
SIGMA CAF USED Paramender ..........................49 MBD-14 grip .......................179 28 F2.8 E box ........................69 Endeavour HD82A............339 Z Series Grad ND Kit
10-20 F4/5.6 HSM box .219 Porrofinder ............................59 MBD-12 grip .......................229 28-85 F3.5/4.5 AIS.............199 VOIGTLANDER USED
12-24 F4.5/5.6 EX DG ..........399 MAMIYA 7 RF 6x7 USED MBD-10 grip M- box ........149 35-70 F3.3/4.5 AIS.............129 15 F4.5 + VF M- box .........269 U960................................99
17-70 F2.8/4 DC .....................129 50 F4.5 L + VF .....................699 MBD-10 grip .........................89 35-70 F3.5 AIS ......................99 ZEISS USED For full list of filters see
4499 18-50 F2.8/4.5 DC OS .......... 99
18-125 F3.8/5.6 OS DC .....149
80 F4.5 L M- box................699
150 F4.5 M- .........................399
MBD-100 ................................39
Coolpix P900 compact ...399
35-105 F3.5/4.5 AIS ............79
50 F1.4 AI .............................199
Victory Diascope 85 T* FL
+ 20x60 box .....................1499 5999 WWW.MIFSUDS.COM
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BRAND
NEW
SERIES!
STUDENT SHOWCASE
Fading
traditions
Alice Gough captures one
of the last cattle markets
in the UK, documenting
the end of an era.
l every saturday i visit the local cattle market, which
is usually only frequented by the farming community. Cattle
are bought and sold, either for slaughter or breeding, and the
farmers make or lose money depending on the uctuating
prices of the market. With livestock markets all over the
country closing, Thrapston, in Northamptonshire, is drawing
farmers from far and wide. While this initially seems like
agood thing, its becoming increasingly likely that the market
will get relocated to larger, more modern premises outside
the town. This means the end of an environment where
generations of farmers have met to talk and do business.
There are carefully orchestrated activities designed to
unload the animals and get them into the sale ring as
efficiently as possible. The whole market is a rich texture of
activity that reveals amazing insights into human character
and animal behaviour, which I feel really represent a unique
community and demonstrate the interdependence between
farmers and their livestock. When I wandered around the
market I noticed that the scenery and the people all had avery
used and tired look, which fascinated me and ended up
becoming the central theme of my work. I contrasted this
worn feeling with the liveliness of the scene. There were
bright-eyed and fresh-nosed livestock, farmers with brows
furrowed in concentration and the general hustle and bustle
that gave a particular energy to the days proceedings.
Being a regular visitor really helped me to get my shots.
Because I was always there, the people began to take less
notice of me and I just blended into the crowd. This also
meant that I started to be able to predict what was going to
occur and pre-empt the best photos before they even
happened. The people I photographed often asked me to
show them what Id taken. I would watch the expressions on
their faces as they came to terms with the textured images on
my camera screen. They looked at the shots intently, but they
all recognised that I was serious about my subject matter.
They would smile knowingly, and often say thats a good
animal. When they said that I knew, on some level, I had
captured something important to them.
Alice Gough studied A-level Photography at Sharnbrook

Upper School, Bedford. Shes passionate about capturing
a subjects true essence in her photos. alicegough.co.uk

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