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Page 1: Ultimate Guide to Photography 2016

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TheUltimateGuidetoPhotography (First edition)PcbyDigitalSLRPhotography eqs:qs@spo:.sp.c

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CONTENTS

6WildlifeEnsureyou’reup tospeedwiththeessentialtechniqueandkitadviceyouneedtohelpyoutakeonwildlife– oneofphotography’smostchallenginganddiversesubjects

8EXPERT ADVICE:BASICTECHNIQUES

10EXPERT ADVICE:ANIMALSINACTION

12EXPERT ADVICE:ANIMALPORTRAITS

14EXPERT ADVICE:CREATIVEWILDLIFEIDEAS

16MASTEROF WILDLIFE:BENHALL

18ULTIMATEKIT: WILDLIFE20PHOTOSKILLS:ADAYATTHEZOO

26CoastallandscapesLeadingUKlandscapeprofessionalsprovideexpert adviceonshootingcoastal landscapes

28EXPERTADVICE:KNOWTHE ESSENTIALS

30EXPERT ADVICE:EXPOSURECONSIDERATIONS

32EXPERTADVICE:COASTALCOMPOSITION

34EXPERTADVICE:TIMEOFDAY

36MASTEROF COASTLINES:LEEFROST

38ULTIMATEKIT: COASTLINES

40Filters for landscapesDoyouknowyourNDsfromyourpolarisers?Here’swhyyoushouldbe usingfilters…42EXPERT ADVICE:THEESSENTIALFILTERS

44EXPERT ADVICE:USINGAPOLARISER

46EXPERT ADVICE:NEUTRALDENSITYFILTERS48EXPERTADVICE:NDGRADUATEDFILTERS

50EXPERT ADVICE:EXTREMENDS

52MASTEROF FILTERS:ADAMBURTON

55TravelTravelbroadensthemind– andallowsyou totakeincredible images.Topguidancewithin…56EXPERT ADVICE:GETPREPAREDTOTRAVEL

58EXPERT ADVICE:BESMARTWITHKITCHOICE

60MASTEROF TRAVEL:JONHICKS

62EXPERT ADVICE:PORTRAITS

64EXPERT ADVICE:LANDSCAPES

66EXPERT ADVICE:CULTURE

68ULTIMATEKIT: TRAVEL

70MacroLearnhowtosee theworldin fascinatingminiature.Catch themacrobug!

72EXPERTADVICE:GETTINGSTARTED

74EXPERT ADVICE:INSECTS

76EXPERT ADVICE:FLOWERS

78EXPERT ADVICE:CREATIVECLOSE-UPIDEAS

80MASTEROF MACRO:ROSSHODDINOTT

82ULTIMATEKIT: MACRO

84RawHarnessyourcamera’sfull potentialby shootinginRaw. It’seasierthanyouthinktomaster…86EXPERT ADVICE:UNDERSTANDINGRAW

88EXPERT ADVICE:EXPOSURE

90EXPERT ADVICE:EXPOSETOTHELEFT

91EXPERT ADVICE:EXPOSETOTHERIGHT

92EXPERT ADVICE:CONTROLCOLOURWITHEASE

94MASTEROF RAW:LEEFROST

96EXPERTADVICE:RAWDETAIL

99RAW TALENT:CREATIVERAWTECHNIQUES

115UltimatekitFromourextensivenumberof testsand reviews,webringyouourpickof theultimatephotokit

116PROFIELD TEST:CANONEOS5DSR

120GROUP TEST:POLARISINGFILTERS

124GROUP TEST:NDGRADUATEFILTERSYSTEMS

128HEADTO HEAD:PREMIUMTRIPODS131PCTEST:CHILLBLASTFUSIONPHOTOOCLITE

132WHICHLENS?:HOWWETEST

134LENSTESTS:ULTRAWIDE-ANGLEZOOMS

138PROFIELD TEST:CANONEF 11-24MMF/4LUSM

142LENSTESTS:PREMIUMSTANDARDZOOMS

146LENSTESTS:PREMIUMTELEZOOMS

150LENSTESTS:POPULARTELEZOOMS

152LENS TEST:SIGMA150-600MMF/5-6.3OSHSM

154PROFIELD TEST:NIKONAF-S300MMF/4EPFED

156LENSTESTS:50MMPRIMELENSES

158LENSTESTS:MACROLENSES

162PerfectexposuresCutoutanduseourfreegreycard!

TURNTOPAGE112TOFINDOUTABOUTOURFANTASTICSUBSCRIPTIONOFFERS

TheulTimaTeGuideTophoToGraphy

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116

128

124

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120

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6   Wildlife   TheulTimaTeGuide TophoToGraphy

GoWILD!ThenaTuralworldhaslongfascinaTedphoTographers,buTiT’snoTaneasy

disciplineTomasTer.wildlifephoTographyTakespaTience,skillandadashofluck

We arefascinatedby u. W joy

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lov gwll wh ouow y,

phoogph mo o ujoy

puguhoughh l. th pobbly

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lol. Ougu wll hlp youm

h o phoogphgwll p

ougyou o pu b wllho h

you’v vk bo…

iMage:rOss HOddinOtt

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8   Wildlife   TheulTimaTeGuide TophoToGraphy

1BaitingyoursubjectOneofthemostreabeways toentcewdfe

cosetoyour ens s through ‘batng’–

usngfoodorwaterto attract brdsor

mammastoa predeinedpace.Settng

upa ‘feedngstaton’w gveyoufarmorecontro over ghtngandthe ookofthe

subject’sbackground. It s mportantto

usesutabefood– forexampe, carron

forfoxesorbuzzards;or nuts andseedsto

entce sma gardenbrds.Water s another

goodway toattractwdfe. Subjectsw

use tto etherdrnkor bathe–andyoucan

capturestrkng magesof subjectsaong

wthmrror-ke relectons.

Feedng statonscanbe very smpeto

setup. Ifyouareadyhangoutnutfeeders

forthebrds nyourgarden, youareaready

hafway there.A coupeof nutor seed

feeders onpoes nyour gardenareayou

need.Thnkaboutthesun’spostonn

AFmode:PredictiveFocus

Whenhtahnmvnsubjects,swtchtectveAF,whchmakesteasetcatueshts.Bkeenunehaf-essentheAFshutte

buttn,theensw tackthe subject,ajustnfcuscntnuatkeethesubjectshanthefame.

Exposuremode:Shutter-prioritymode

Awfehtahe’stsachevna sucentfast shuttesee.Usn shutte-t(STv)vescntveshutte

see,whethecameawseectthecesnnaetue.Manas favuusnaetue-t.

Meteringmode:Multi-segmentmetering

Mut-znemeten (Cann’sEvauatve Nkn'sMatx) ssthatuwaewanttuseanthnese.Hweve,

stmetensusefunstuatnswheeuwshtmetefasma,seccaea–keumae.

reatontoyour feedng staton– nwhch

drectonwthe ghtbe at thetmethat

youw betakngphotos?Do youwant

yoursubject tobefront-t(deadurngthe

godenhours), backt or tfromonesde?

Paceyourset-upaccordngy.Ensuretheresadstanceofat east sxmetresbetween

yoursubject andtsbackgroundtoensure

yourbackdrop sceananddused.

Poston ‘props’cose toyourfeedng

statontomake magesappearmorenatura

andnterestng.Forexampe,when shootng

gardenbrds, pace chen-cadbranches

orsprgsof bossomcoseto thefeeders.

Pre-focusyour ensontheperch soyouare

prmedandreadyto takephotoswhenbrds

momentaryreston your‘prop’between

feedng.Toconceayourwhereabouts,use

adedcatedhdeor– f takngphotos nyour

garden–shoot from thegardenshedor

even fromahousewndow.

2ResearchyoursubjectFa toprepare;prepare tofa.

Ifyouwantto capture stunnng

wdfemages,youirst need to

knowyour subject.Wthoutan

understandngand passon foryour

subject, youwnever truy capture

tscharacterorbeabe toantcpate

keybehavour.Smpyventurng

outwthyourcamera nhand, just

ontheo-chancethat youmght

indandphotograph somethng,

wproducevery mtedsuccess.

Instead, researchpotentasubjects

thoroughyonne irst.Dscover

whattypesofhabtatstheyprefer,

therdet, andany keybehavour–kecourtshp dspaysormgraton.

Aso,indoutf thercoator

pumagevares dependngon the

season, andwhendo theybreed

andhaveyoung?Theanswers to

thesetypesofquestonswgreaty

hep your pursut of the‘perfect’

pctureandpreventyoufrom

wastngtmeandeort.Onceyou

arearmedwththe rghtknowedge,

researchsutabehabtatsand

reserves.In theUK,www.rspb.org.

ukandwww.wdfetrusts.orgare

goodpacestobegn.

r  O S   S  h ODDI   n OT T 

b E nhA l  l  Basicwildlifetechniques

BEForEyoU STArTSHooTiNg,WiSE UpoN THETECHNiqUESTHATWill HElpyoUBAgSoMEgrEATSHoTS.HErEArEAHANdFUloFSTArTiNgpoiNTS…

Camerasettings

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Wldl

3Back-button focusngGoodfocusngtechnque sessentafor

wdfe.Opportuntesw beleetngwhen

photographnganmas– sothespeedand

accuracyof your focusngcanbethe

derencebetweensuccessandfaure.

Yourcamera’scentre focusngponts

typcay themostaccurateand sharpestof

a theavaabe focusngponts–

regardessofcameramakeor

mode.Therefore, ths s thepontyoupredomnateywantto use.

However, rareywyou acheve

thebestcompostonwththe

subjectpostonedcentrayn

theframe. Tophotograph

subjectso-centre usngAF you

coud focusmanuay, or shootn

sngeshot/AF-Smodeand keepthe

shutter reeasebutton sem-depressed, or

usetheAF-ockbutton.However,when

shootngwdfe, noneoftheaboveare

partcuarywe suted.Aso, youdeay

want tohave your cameraset toAF

contnuous shootngmode.A farbetter

optonforwdfephotographers s to

swtchtoback-buttonfocusng.Dongso

takes focusngaway fromthe shutterbutton

– nstead abuttonon thebackof the

camera s assgnedtothejob.Typcayths

buttons ethertheAF-ONor AE-Lbutton

–butconsutyourcamera’smanua.Whe t

mghttakeyoua shortwhetoget

accustomedto theswtch,youwind

separatng focusngandreeasngthe

shuttera farbetter technque.

Pont thecentraAF pontatyoursubject,press the

rearfocusbuttonusng

your thumb,andthen

recomposeyourshotwth

yoursubjectpacedwherever

youwantn frame.Now,when

youdepressthe shutterbutton, the

camerawon’ttry torefocusonthe

backgroundoranyothereements.

Back-buttonfocusngasomeans you

don’thave toiddearoundwthany das

shoudyouwshtoswtchtomanuafocus.

Eectvey, ayouneed todosnotpress

theback-buttonAFbutton– just adjustthe

focusngrngandtakeyourphoto.

WhiteBalance:Auto

AutoWBproducesverygood,accurateresultsnmoststuatons.IfyouareshootngRaw–whchwewouldalwaysrecommendtoensureyou

capturethemostdetalnyourmages–youcaninetunecolourtemperaturedurngpost-processng.

Releasemode:Continuous

Manycamerasarecapableofshootngupwardsof5fps (frames-per-second)–someareasfastas12fps.Byholdngyouringerdownontheshutterreleasebutton,you

cancapturelargecontnuousburstsofmages.Thssdealwhenshootngmovementoracton.

ISORATINGS:ISO40

Typcally,wldlfephotograrequreafastshutterspeedsubjectmotonortoelmnownmovementwhenshohandheld.Althoughyous

alwaysusethelowestpractcalISO,fasterISOsaltocapturefastmovementandworknlowlght.

4StalkngandieldcraftOneof themostmportant sk

wdfephotographersmust earn

siedcraft– theartofavodng

detecton. If yoursubjecthears, se

orsmes youbeforeyouarewth

pcture-takng range, twdsapp

ongbeforeyou’ve takenanyphot

Ahde s thebestdsguse,thougstakng softentheonyway to

getcose tosubjects.Wearmuted

coours,avodnosyfabrcsand

don't ceanyour‘stakng’outit–

thedrtert s,themore twdsgu

your scent!Deer, foxesandhares

haveapartcuaryacute senseof

sme–soapproachdownwnd.

Movesowyandwatch yoursubje

cosey– f tshowssgnsof uneas

or ooksdrectyat you, stopand

remanmotoness untt ooks aw

agan.Partof thesk sbengabe

to dentfyandusenatura cover–

ookfor areasof densevegetaton

bracken,treesandhedgerowsto

conceayourwhereabouts.

Whenstakng,amonopodor

beanbag s fareaser tousethan

a trpod. Trave ght– just takea

camera, teephoto ensand keep

accessores nyourpockets.

Dawn s typcay thebesttme

tostakwdfe,whenanmasare

preoccupedwthfeedng.The gh

sasobetterat ths tme,too.

     r     O     S     S     H     O     D     D     I     N     O     T     T

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10   Wildlife

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theLCDscreentoreviewyour

sequenceofshotsuntilyou

aresureallactivityhaspassed.

Takeyoureyesawayfromthe

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missingthebestshot.

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QHowdoIgetbetteratchangingmy

camerasettingsquickly?

Practce.Toensureyounevermssagreatphoto opportuntyagan, adjustISO,apertandfocussettngs.Ideally,youneedtogettpontwhereyou canalterkeycamerasettnntutvelywthouteventakngyoureyeawfromthevewnder.Themoreyouuseyou

camera,themorenstnctvetbecomeswusngtoutntheeld.

QCanIstillachievepin-sharpnatures

indarkconditionsorpoorlight?

ThankstothencredblehghISOperformaofmostdgtalSLRs,yesyoucan.Inpoororfadnglght,selectyourlens’smaxmumapertureandncreaseISOsenstvtyupwaof3200.Thswllhelpgenerateasutablyfashutter.Also,swtchonmagestablsatonand–fpossble–useamonopod.Ifyoucuseasupport,keepyourelbowstuckedntyourbodyandthecamerarmlypressedtoyourfacetohelpmnmsemovement.

Q

Whatispanning?

Pannngswhenyoumovethecamentandemwththe subject’smotondurngexposure.Correctlypannedmages shouldresultn thesubjectbengcapturedsharplyaganstablurredbackground–mplyngafeelngofmoton.UsngpredctveAFmodkeep thefocusng pontoverthesubjectansmoothlypanwthtastmoves.BykeepngtheAForshutterbuttonpressed,thelenswtrack thesubjectand contnuallyadjustfoctokeept sharp.Youonlyrequrea relatvelslowshutterspeed–typcallyntheregon1/15sec.Ideally,youwanttobeparalleltotpathofyoursubjectforpannedmages.

QHowdoIachieveperfectlycomposed

actionimages?Whentrackngfastmovement,achevngtherghtframngn-camerasverydicultandfyoutrytoframeyoursubjecttootghtn-camera,yourskcuttngobtsofthesubject,lke lmbs,wngsor feet!Instead, opforawderfocallengthandntentonallyleavextraspacearoundthesubject.Byncludndegreeof‘spareroom’,yougveyourselfmaforerror.Thssapartcularlygoodtactcwphotographngfast orunpredctablebehavYoucanthencropmagesdurngedtngtoachevetherghtcompostonandbalance.

Wildlife

ma r k b r i   d ge r 

b e nha l  l  

WildlifeQ&A

3

1

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12   Wildlife   TheulTimaTeGuide TophoToGraphy

b e nha l  l  

 s  t e v e b l   o om

Shooting animalportraits

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Proview

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WildlifeTheulTimaTeGuide TophoToGraphy

r  o s   s  h oddi   n ot t 

1)Shootfromowdowntoburtheforegroundasweasthebackdrop–twmakeyoursubjectstandout.2)Thetmeofdaysasmportantaconsderatonasany.Herethesoftevenngghtenveopestheswannbeautfupnktones.

Q Whenshootnganmalportrats,

whatsthebestvewpont?

Theresnohardandfastrue–thebestvewpontwdependonthesubject,tssurroundngsandtheeectyoudesre.However,generayspeakng,a ow,eye-eperspectvewyedthemostntmateandnatura-ookngresuts.Therefore,getdow

owandtakephotosfromyoursubject’sheNotonydoow-eveshotsookmorenatubutasotseasertosupportyourcameraset-upusngetherabeanbagoryourebo

Q Whatsanenvronmentalportrat?

Asthenamesuggests,envronmenportratscapturethesubjectwthntheconoftsenvronment–forexampe,anurbannarecognsabegardenortownsettng.Tareessgenercthantghtycroppedportraandteastoryaboutthesubjectandtsreatonshpwthtssurroundngs.Ifyoucagetcosetoyoursubject,wderfocaengtworkbestforthsstyeofnaturemage.Dosowaowyoutodstortperspectve,wtyoursubjectoomngargentheframe,buwthtsenvronmentcearyrecognsabebehnd.Envronmentaportrats canconvemuchaboutthesubject–afeengofsoatdepthandwdness–andareweworthshootngwhen theopportuntyaows.

Q HowdoIbrngmyportratstolfe?

Theeyesarethekey.Wenstnctveookatasubject’seyesrstofa,sotsmportantthattheyarebtngysharp.AncecatchghtwbrngyoursubjecttofDependngonthesun’sange,youmaynetowatunttheanmamovestsheadtoonsdeforacatchghttoappear.Ifonedoesnappearnaturay, though,tryusnga reducburstoflashtoaddone.

Q What’sthebestfocallengthtouse?

Unfortunatey,theresnosmpeanswertoths,astwdependonthesubject’ssze,yourdstancefromt,andhomuchofthesubjectyouwanttoncudentheframe–aoft,orjusttshead?Howevegenerayspeakng,thelexbtyofazoombestsutedtoshootngportrats–somethntheregonof80-400mmwprovedeasutedtomostsubjects.IfyourDSLRhasa1.5xor1.6xfactor(eanAPS-Csensor),a70-300mmzoomshoudsuice.

WildlifeQ&A

scaleorevena feelngofsolaonoporra

mages. i snormallybes oavodsoong

porraswe subjec lookngdrecly

ouof frame–composonsendo feel

crowdedanduncomforable.however,ere

arealwaysexcepons oanyrule,soalways

bepreparedoexpermen.

Lgs also key– lowmornngorevenng

lgwlladdwarmandbeauyo your

poograps.tmngsalsomporan.

Wacforyoursubjeco dosomeng

neresngor qurky,lke ls ead, yawn,

sng, sou, lookupordown,neracw

syoung,or lookaler or nqusvebefore

rggernge suer– wll elpmake

youranmalporrassandoufromoers.

2

Pro tipWhenshootngtghtanmal

portratsthatilltheframewth

theface,youshouldamforas

muchsymmetryaspossble.Keepthefaceasparalleltothe

cameraaspossbleandplacet

centrallyntheframe.

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14   Wildlife   TheulTimaTeGuide TophoToGraphy

     R     o     s     s     h     o     d     d     i     n     o     t     t

     R     o     s     s     h     o     d     d     i     n     o     t     t

     b     e     n     h     a     l     l

1SilhouettesWfc ook rkg hou. i ooy hoomwh cryrcogou– forxmp,pu,ow org.bo,rmchou

rpoyhoogowr hu’rco.bycorrcy xpogforhujc’

muchrghrckgrou,hmw rcor mpkyou. tochv

hcorrcg, k po-mr rg fromrghprof hc. sc

vwpowhr your ujc ou g ckrop–uuy hky–gcrfu

h hpo’mrgwhyhg.trggrhhurwh hujc cy

pro furcryrcog.Coour of kygr.echur

u prov uqupof coour ocor your ujc g,wh h

uow hky, ro cpur hprfchou.

3Magicalmacronurphoogrphy ’ju ouhoog

rmmm–murwf

mk forfc ujc oo. a you

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oryouyourujc.

CreativewildlifeideasChoosingyoursubjeCtisonething;Choosinghowtoshootitis

another.thesesuggestionsshouldgiveyoufoodforthought

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WildlifeTheulTimaTeGuide TophoToGraphy

i    s  t  o ck p h ot  o

4Beautifulblack&whitebk& whe fe verke frwfe

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reg ge– g w he yuuremreevemge quy.

smy uey fehekey gree uefu k & whe mge,

hkrefuy uyur m urrug.

6Shoot inbadweatherWeher hve hu

uee hek fee f yur

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rve mey we e. ny w

exeree e exrrry,u yuw

reurwhhuref freh mge,

ewk,mee ke-meee,

reurhmere mve

he wfe fu er hme

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16   Wildlife   TheulTimaTeGuide TophoToGraphy

Ibegan my full-twldlf photorphcrr 2002. Thdustr hschd

sctlscth, wthth st

dvlopt th dvt of dtl.

Thsusqutpct o photorph

dth dustr rlhs hu.

Howvr, dspt th chs, psso

forwldlfd photorph hs’tdwdld

d phlosoph rs thss t

dd thdsof shootl– splto

kpstrvfor thtprfctshot!

"m work slwsvrd.It slso vr

ssol,wth usst prod tpcll

flltwutu d spr. Wtr

s uqustol fvourt tof r,

whl sur s orll lttl qutr.Dursurt,th lht shrshfor

lo prods dwldlf tds to hd w

d co orlusv.Ths dos't

I crsto lurls, howvr,s

thrs lwsstcksof oic work to do.

Procss d cpto s, ftur

wrt,drwup vocs,swr

lsd othr rldtks up

rt dlof t,so uchso tht

sotst fls lk I hv lttltto

ctullo outd cptur frsh shots!

"althouh I stll spd rtdl of

t photorphUK wldlf,

worktks llovrthworld.I ld

photorphworkshopsdurwtr

dsprd frqutl w fro

ho.Whl I jovstxotcd w

loctos,I stll thost rwrds fro

shootthwldlfclosto ho. Lk

ost outdoor photorphrs,I pl wk

ccordto thwthrdth lht.I d

tht of fvourts rth

os tkthworstwthrcodtos!

Thtosphr tht stors,sow dv

r cojursupc trulcl. I wll

lso vst ths loctost dt

,whchhlps to coflr

wth thldscpd tshtts.Ths

masterofwildlife…

BenHall

BnHnBn'bphgph.H pcbn

phgphnhnnuunnn, ncungcgyn nhBhwPhgphyanhwnnshrcaUsa.in2009hn'GgphcPhgphhY'.HhppnnuunvnpgncungBBC'WalkOnTheWildSide nbh2020VisioNph.Hhc-nTheWildlifePhotography WorkshophrHn.HcbbyLivingEdgegzn'pnnxpncphgph,hpcn'y '.

Bn’sktbg1)LoweproFlipside500: thbgy500hcbychnxn.icnbknnghcy-n

uggg,hchu!2)CanonEOS-1Dx&EOS-1DMkIV:thdslrpccpungcn.theos-1dx ghngngh.

3)CanonEF500mmf/4LIS:Phpyun.ixcpnpc quyncu,kngpcbhpncnh.

4)CanonEF100-400mmf/4LIS:thn vyv.th c

nghpcghubjcn hncp.5)CanonEF17-40mmf/4L:thynncpn.igquynxbng.

6)CanonEF50mmf/1.4: ivynhn,hughin'uuch,pckngpyk!7)CanonExtenderEF1.4xII:Cnvy500700!

8)Gitzo3541LSSystematic:thphpccbbyn (vy) ghgh.9)NikonTraveliteEX binoculars:Uuhn kngubjc.

10)Floatinghide:ahvci uphgphng

bn.Gyngughngvpnbckgun.11)SanDiskExtremeCFcards:thcbhnb.whnhngn x

chpn.CanonEF100mmf/2.8Macro:thgpuhnpcbcc-up.Gimbalhead: iuhhhh500n;khgh

uhnhngquckjun hcpn.Beanbag: ikungun-vubjc.i

gupphgvnhnp.

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trlprt ofthpctur.b showth

sujct cotxt I d tsrto tll stor

throuh s… dulttl hlp

th to coct wth thvwr."

21

3

Biography

1) i’nuncnnngphbuhnhbnnnuicpubhvu.2)Ubnnvnnh,kpnyuhghg,pgncnnx.3)shngubjcn hcnx hnvnnhpybuh.

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WildlifeTheulTimaTeGuide TophoToGraphy

“Myfavouritetechnique...”Stngnbwt“Weather cancreateawonderfu senseofatmosphere. Images taken nharshweathercondtons suchassnowor ran canasogveapowerfunsghtntothe subject'sfe.Theycanshowthetypeofcondtons thattheanmamust face nordertosurvve.Weatherasoadds anextraeement toa shot,whchcanater thevewer’s percepton.Fangsnowandrancan ookdramatcayderentdependngontheshutterspeedused,soI aways experment toind themost sutaberesuts for each mage.I amoftenaskedhow Iprotectmyequpmentwhenshootng nwetweather condtons. Imust admt I don'tgotoanyextraordnary engths,butI permanentykeepa neoprenecoveronmyongerenses. Thshepsto protectthe enseson adaybass,andkeepswhteCanonL-seresensesnceycamoulaged!I asohaveawaterproof coverthatitsovermy camera andens–evenwth a500mmattached. Ths samustwhenshootngnearsatwater!”

Favouritesubjects

1)MountainharesIspendalotoftmenwntercapturngmountanhares.ByDecembthercoatsarealmostpurewhtemakngthelookbeautfulagansta snowybackdrop.

2)GreatCrestedGrebesOneoftheirstsubjectsI concentratedonwhenmyntereswldlfephotographystarted.Thesestunnngbrdsdsplayan amazngarrayofbehavour.

3)brownbears Seengmyirstbrownbeathewlds anexperenceI wllneverforget.

Inowteachonseveralbearworkshopseachnthe Carpathanmountansn Slovaka.

4)reddeer IlookforwardtoOctober,notjforthewarmlghtandautumnalcolour,butfthestartoftheannualreddeerruttngseasonHearngtheclashngantlersgetsmyheartra

5)orCasThethrllofseengwldorcasstruunforgettable. EachyearI headto Icelandtophotographthemaganstabreathtakngbackdropofsnow-cappedmountans.

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18   Wildlife   THEULTIMATEGUIDE TOPHOTOGRAPHY

UltimatewildlifekitIFYOU’RESTARTINGTOGETSERIOUSABOUTWILDLIFEPHOTOGRAPHYTHENYOUWILLWANTTOINVESTIN KITTHAT’SUP

TOTHEDEMANDSOFTHISCHALLENGINGCRAFT.HEREAREASMALLSELECTIONTOCONSIDER–BESTSTARTSAVING!

Sigma150-600mm

f/5-6.3DG OSHSM/S

£1,500Sigma’ssuper-telephoto

zoom isperfect forwildlife.

Thisdust- andsplashproof

beast comesequipped

withanOpticalStabiliser

(OS) functionandaarray

ofpremiumoptics. Its

HyperSonicMotor (HSM)

providesquiet andfast

AF–essential fornature

photography.Checkoutthe

testonpage152.

CanonEF 400mm

f/5.6LUSM

£920

Canonuserswhopreferaprime lengthshould

considerthis high-

performancelenswith a

constant apertureof f/5.6.Its

fastAFandportabilitymakeit

perfectly suited toshooting

wildlife.It weighsa relatively

modest1,250gandthe

tripodcollarmakes it easier

toswitchformatswhen

mountedon asupport.

CanonEF 100-400mm

f/4.5-5.6LIS IIUSM

£1,900

This isa popular lens amongnaturephotographers

whoshootonCanonEOS

DSLRs. This is the second

generationmodel– thefirst

canbepickedupusedfor far

less. It’s a lens renownedin

theindustryfor imagequality

and superbhandling inthe

field. Italsohas ahandy

minimumfocusing

distanceof 1.8m.

TamronSP150-600mm

f/5-6.3DiVCUSD

£740Ifyouwish tocapture

intimateclose-upsofbirds

andmammals,Tamron’s

high-performancesuper-

telezoommight justbe

thelensforyou. Itboasts

VibrationCompensation

(VC)and anUltrasonicSilent

Drive (USD)toaidimage

qualityandfocusing.

Italsohas ausefulmaximum

magnification ratioof1:5.

NikkorAF-S 80-400mm

f/4.5-5.6GEDVR

£1,800

This5x telephotozoomoerssuperb imagequality

forNikonusers. ItsVibration

Reduction(VR) technology

allowsphotographers

toshootatupto four

stops slower thanwould

bepossibleotherwise.

Althoughquitechunky,it

iscomfortabletouse and

smallandlight enough to

suit handheldphotography.

Sigma 70-300mm

f/4-5.6 APODGMacro

£100A truly aordable lens

forwildlife, thisSigma is

compactand lightweight,

making ita greatchoice

fortravel.70-300mmis

a reallyuseful focal range

anditsApochromatic (APO)

constructiondeliversgood

imagequality.Its impressive

1:4maximummagnification,

makes ituseful forshooting

all kindsofcreatures.

NikkorAF-S300mm

f/2.8EDVRII

£4,000

Ifyouneeda fast telephoto,looknofurther. A truly

professional,fast,quiet

telephoto lens– perfect

forshooting fastactionand

for usein lowlight. ItsNano

CrystalCoastingsuppresses

ghostingand reducesflare.

Nikon’slatest300mm,

testedonpage154, oersa

morecompactoptionthat is

alsoconsiderably cheaper.

Goodpullingpowerisessentialwhenchoosingalensfor

shootingwildlife,sobesuretopickagoodone.These

guaranteegreatresults…

WILDLIFE

LENSES

      B      E      N

      H      A      L      L

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WildlifeTHEULTIMATEGUIDE TOPHOTOGRAPHY

Giotto’sMML3270B

aluminiummonopod

£25Anexcellent andcompact

four-sectionmonopod.Fully

extended,it is 167cmhigh

and itslarge foamhandgrip

makes it acomfortable

support touse. Ithasa

weightcapacityof 12kgand

thecamera caneitherbe

mounteddirectlyto thetop

ofthemonopod,orahead

canbeattached.

Benbo2 Tripod

£150

This isa heavy-duty

aluminiumtripod.Benbo is

renownedfor its innovative

anduniquetripoddesign,whichenablesthemto be

positioned inalmost any

configuration. Theyare great

forlow levelwork andare

apopularchoiceamong

naturephotographers. The

Benbo2 oersextraheight

thanks toitslonger legs.

ManfrottoMM294C4

carbon-fibremonopod

£60Ifyouneeda monopod,you

wantone that is lightweight,

but remainseectiveand

sturdy.This four-section

design is rigidand portable.

Its leglocksmakeadjusting

height a quickandeasything

todo.Thankstoitscarbon-

fibreconstruction, the

supportweighs just0.5kg, so

it'sperfectfortransporting.

GitzoGT3532LSSeries36X

SystematicTripod

£580

Anotherheavyweight

performerfromGitzo: the

RollsRoyceof thetripodworld. TheSystematic

range isdesignedwithout

a centrecolumn,making

themquickandeasy to

position lowto theground.

Being carbon-fibre,theyare

surprisingly light andhave a

loadcapacityof 25kg.

Therearejustsomegadgetsthatwecan’t

livewithoutaswildlifephotographers.Thesearetheultimateinaccessoriestopropupyourcamera,supportthatheavy

telephotolensandmakelifeeasieringeneral…

WimberleyWH-200MkII

£520

Aspecialisedhead, designedforphotographerswhouse

long, heavy telephotos. Its

Gimbal-typedesignenables

photographers torotate

telephotosaroundtheir

centreofgravity,making

themeasier tomanoeuvre.

TheWimberleyheadhas

becomea firmfavouritewith

natureenthusiastsdueto its

buildqualityandsturdiness.

PORTABLEHIDE

Keephidden ina freestanddomehidebyWildlifeWatcSupplies.They’reeasytoerandpackaway,availableindierentcamouflagecolopatternsandaremadefromproofed,breathablemater

BEANBAG

Whentakingphotosfrom

groundleveloranothersosurface,abeanbagisamushave.Theyarecheap,butsurprisinglysupportiveintherightsituation.

MEMORYCARDS

SanDiskExtremeProSDHCcardsaresomeofthefastesonthemarket.Ideally,optf32or64GBcards–theaddcapacitywillproveusefulwshootinghigh-speedbursts

BINOCULARS

Oneofthebiggestchallengofwildlifephotographyis

locatingsuitablesubjectsithefirstplace.Nikon’sTravebinocularrangeispowerfuyetlightweight.

WI-FIREMOTE

Youdon’talwayshavetobesatbehindyourcameratocapturegreatwildlifeshotwirelesscamera control,likCamRangerorWeFe,allowyoutocontrolyourcameraremotelyfromyouriPad,iPhoneoriPodTouch.

Benbo:www.patersonphotograCamranger:www.camranger.Canon:www.canon.co.ukGiotto’s:www.giottos-tripodsGitzo:www.gitzo.co.ukManfrotto:www.manfrotto.coNikon:www.nikon.co.ukSanDisk:www.sandisk.comSigma:www.sigma-imaging-uTamron:www.tamron.eu/uk/WeyeFeye:www.weye-feye.coWimberley:www.tripodhead.c

Accessories

Contacts

WILDLIFE

SUPPORTS

      B      E      N

      H      A      L      L

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20   Wildlife   TheulTimaTeGuide TophoToGraphy

phoToGraphinG

capTiveanimalswithalittlevisionyoutoocanturnaregulartriptoyourlocalwildlifecentre intoaphotoexpedition.here'ssomeprotipsandtrickstocapturinggreatanimalportraits…

Aday at the zoo sn jusfrks– n

fc,lv frnsn fml m

nspnurwur lp

m ncmr– ’ll bmuc mr fun! Ins

fbngrgg brusr lgfrmn

nclsur nr; ucn spn ll m

uwnpgrpng nmls.

Ms fusmgbmrllsplb wl nmls

ncpvbu,wvrur snc, frmn wllfprk rs nrs 'll g

sngsspcculrcrurs. Wcs

spn zSLWpsnz nBfrsr,

wcsbnprngsnc1931 nuss

nncrbl numbrfspcsnclungbrwn

brs,cmps, grs, nafrcn ln pr,asn

lpnsn amurgr;rrll rn

nugurs n smll!Lcls

rwllfprks rlsgrpns nr fn

qur nsmllr nwlsm mlck

bggrnmls,sllv pln r.

tbuf wllfprkr s u

cnprc r cvrsnbl wllbs n

r scul.Fr nsnc,wn ’sfng

m uknw grmb prccup

ng g cns; bufr cmps ’s

bsm vsrnclsur frcls-ups.

alug um v brcnc gnggng prrsf wllfs uv cpv

unc, sll ss cllngs; suc s

sng rugr run bsclslk wr

fncs nppl,wrkngwlw rrs

nurl lg, nfrmiculvwpns. ofn

bsprrs cm w cnc,

sllw p-f-lnn -lvlvwpn

cnnc vwr;ll muc srsn

n,s w'vg fwpcsf vc….

Pro tip

w’,b

.

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22   Wildlife

EssEntialEquipmEnt:For thebestmagequaty, youneedacamerathatperformsweathghISOsand,formostanmas, a fast,ongens.Dueto the1.5xor1.6xcrop,anAPS-Ccamera(ketheNkonD7200orCanonEOS70D)wturna 70-200mmf/2.8ntoroughya 105-300mmf/2.8 forgreaterreach.Youmght asowantto consderoneofthe300mmzoomsbyNkon,Tamronor Sgma–twextendyourreach to450mmonAPS-C

butsacrcessomeof thesoft depth-of-edyougetwth thefaster f/2.8 teephotos.Whehandheds themostlexbeway toshoot,camerashakecanbea probemwhenusngongfocaengths, soconsdera monopod;a trpodcanbe restrctve na crowdedzoo.A fast 50mmens s deaforow ght andcosesubjects, keyou’ndn encosures.

CamErasEttings: Fewanmasmove fastncaptvty,so yourbggestconsderaton s tonda shutterspeedthatemnates camerashake.Therecprocarueshoudsteer yourght: fyou’reusnga foca engthof300mm,makesureyourshutterspeed sateast1/300sec, especay f shootnghandhed.

Setyourautofocus tosnge-pontso youcanfocusthroughfencesandbeprecsewthyour foca pontwhenshootngwthwdeapertures.Contnuousfocusngmayasoncreaseyour rateof sharp mages.

Useaperture-prortyormanuamode.Set

f/5.6orwderanda owISO; ncreasng tasneededtoachevea suicentshutter speed.Asyoumayben andoutof encosures,setyourWhteBaancetoAutoas a fa-safeoptonandtweak nRawedtng, fneeded.

BEars:Thesegrizzybutmajesticcreaturesareoftenin

encosureswiththickwoodand,makingiteasyforthemtohide.Theviewingpatformsareofteneevated,makinginterestingcompositionstricky.Waitfor thebears tocomeoutofthewoodedareasandgetasowasyoucan.Trytopredictthecreature'spathandgetinfrontofthebear,sowhenitstopsorooksupyoucancaptureyourportrait.

Flamingos: It'stemptingtoonyconcentrateontheargemammas,but birdsare usuayapentyatwidifeparks.Fromowsandeagestoexoticparrotsandcoourfupeacocks.Uncagedbirds,ikelamingos,areoftentheeasiestandmostphotogenicto photographthoughas

theycannotlyawayandyoucanincorporate theirbright,coourfu relections inthecomposition,too.

WHILEHandHELdIstHEmostfLExIbLEWaYtosHoot,camErasHakEcanbEabIgprobLEmWHEnusIngLongfocaLLEngtHs

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CHIMPANZEEs:You'lloftenneedalonglensforphotographingchimpanzeesoutside,buta fastportraitlensisidealfortheirindoorenclosure.Makesureyou'veafront-and-centrespotforfeedingtime,setaveryhighISO(oftenover1000)andyourwidestaperture.Thelightwillbelowwithnaturallightfallingfromabove–lookforshaftsoflightandbepatient.Oftenthechimpswillcometoyou.

Ifshootngthroughrenforcedgass

useapoarsngiter tocontroany

relectonsortry toshedyourensw

tsenshood,yourhandor–faesfas– putyourcoatoveryourhead.

Getascoseto thegassaspossbe.

Theangeofyourenscanasoado

worsenrelectons,so t'sbest tokee

paraetothegasswheneverpossb

Whenfocusngthroughthckgass,

your magesmay ooksofterthanus

especay fthegasssmurkyfrom

ingerprnts,dustandgrme.Lookfo

areasof gassthatareceanandens

yourshutterspeeds fastenoughto

avodsoftenngthe magefurther.

Howto:Shootthroughglass

tHEBEArNECEssItIELookoutforlow-levelviewingareasw

reinforcedglass:you'llhavetowaitforbeartocometoyoubutit'sworththewa

Expue:1/1000secatf/2.8(ISO20

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24   Wildlife   TheulTimaTeGuide TophoToGraphy

bigcatsarenotveryactive,butbeatthereadytocatchsomeactionandeyecontactoncethey'reonthemove

Ifyou’reusngsngle-pontautofocusandyourcameras stllndngtdiculttolockontotheanmal,andnotthefence,youetherneedtogetclosertothefencesot'scloserthanyourlens'smnmumfocusngdstanceorswtchtomanualfocus.Somelenses,lketheNIKKORAF-S70-200mmf/2.8lens,haveafocus-lmterswtchthat letsyousetthelenstoonlyfocusfromafewmetres tonnty,whchhelps.

Howto:Shootthroughfences

Lions:WhpsnadeZoohasaglassvewngareafortslonprde,whchalthoughschallengngtoshootthrough

thankstopawprnts,drtandgrubbyingerprnts,allowsyoutogetwthntouchngdstanceforstrongeyecontactanddetalshots.Bgcatsarenotusuallyveryactve,but beatthereadytocatchsomeactonandstrongeyecontactoncethey'reon themoveand theyturntherattentontoyou.Useatelezoomwthawdeaperturetozoomntoastrollngcattocaptureastrongportratwthblurredbackground.Shootngthroughcrowdsofpeoplecanalsocreatenceeects,lkethemagenthetoprght.

BACKGRoUnDs: Ifyouwantyourmagestolooklkethey’vebeentaken nthewld,angleyourcamerato avodncludngtelltalefencesandwoodenstakesaswellasusngawdeaperturetoblurthebackground.Trywatnguntltheanmalmovesnfrontoffolage,getlowerthanyoursubjectandshootuptowardstheskyand/orill theframewththeanmaltoncreasebackgroundblur.

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theliThislionkeptwalkingcircuitslargeenclosure,allwehadtodupandwaitforhimtowalkto

expsur:1/1600secatf/2.8

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CoastallandsCapesFewlandscapephotographerscanresisttheurgetoregularlyvisitthec

Foritsphotopotential.FromruggedcliFFstocrashingwaves,gentl

ripplesandglisteningboulders,it’seasytoseetheallureoFthe

C cTheulTimaTeGuide TophoToGraphy

Image:rossh

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28   Coastallandscapes   TheulTimaTeGuide TophoToGraphy

Tripodandhead

Thecoastlinecanbe

a challengingenvironment

somake sureyouhavea solid

tripodandhead tokeepyour

camerasteady instormy

weather,on wet sandor

uneven rockyground.The

biggerthebetterreally–

aluminium isheavierbut

cheaperthancarbon-fibre.

NeutralDensityfilters

NDgrads indensitiesof 0.6

and0.9help tonedownthe

skyso itdoesn’t overexpose.

SolidNDsextendexposure

timessoyoucanrecord

motion.A0.6 (twostop)

or0.9 (threestop) ishandy

forgeneraluse,whilesix to

ten-stopNDsallowdaytime

exposureslastingminutes.

Polarisingfilter

Useapolariserto eliminate

glare andreflections to

improveyourimage'sclarity,

contrastandincreaseits

coloursaturation, todeepen

blue skyandenhancecloud

detail. A polarisercanalsobe

usedto increasethe exposure

bytwostops (likea 0.6ND

filter)to blur thesea.

Scotland’sCoast£6

Nolongeravalablenew,butthereare

secondhandcopesonAmazonand

otherwebstes.Joes Brtan’s leadng

landscapephotographerandthsvolume

contansstunnngmagesofScotland’s

oftenwldandruggedcoastlne–

theperfectcompanonfyouplanto

exploretheScottshcoast.

Wide-anglezoom

A10-20mm(16-35mmon

full-frame) rangeis ideal. It

gives amassiveangle-of-view,

stretchesperspectiveand

depth-of-fieldis soextensiveyoucanget lowandclose to

emphasiselinesandforeground

interest.This is likelyto beyour

most-usedlens.

Standardzoom

An18-55mm(24-70mmon

full-frame)or similaris ideal for

generalusewhenshootingall

typesofcoastalscenery.The

wide-endcancapturedramaticviewswhile thetele-end lets

youfill theframewithdetails,

frompatterns insandand rocks

topeelingpaintonoldboats.

Telezoom

Though lessuseful than

wider zooms, a 55-200mm

(70-300mmonfull-frame)

lets youzoomin ondistant

partsof a scene, compressingperspectiveso theplanes ina

sceneappearstacked– ideal

forheadland shotsorscenes

withcrashingwaves.

WATERPROOFCOVER:

ItcanbeabascpolythenecoverlkeanOpTechRansleeveorsomethngmoresophstcated,

butyouneedtoprotectyourcameraandlensftstartstoran

orthere’sseasprayaround.

CLEANINGCLOTHS:

Usethemtokeepyourfilterscleanfromdrtandwatermarks.Checkfiltersregularlyastheyget

coatedquteeaslyandwashthemundercoldwaterfthefilm

ofspraysdiculttoshft.

SPIRITLEVEL: Buyahotshoe

-mountedsprt level (they’rencredblycheap)soyoucanensurethehorzonslevel(or

useyourDSLR’sntegraldgtallevelftoerssuchafuncton).

COMPASS:Usethstocheckthedrectonyou’refacngand

wherethesunslkelytorseandset.Youcandownloadappsfor

yoursmartphonefatradtonalcompassstoolow-tech!

TORCH:Handyforseengwhereyou’regongandwhat

you’redongwhenyousetoutorheadbackndarkness,andalsoforpantngwthlghtnlowlght.

REMOTERELEASE:Usethstotrptheshutterwthout

touchngttopreventcamerashake.Alsoforlockngthe

shutteropenforBulbexposures.

Accessories

W

EMAYCOMPLAINabout theweather,

Council Tax,thepriceof fuel andmany

otherthings, butlivingonanislandlikeBritainhas itsadvantages. Forstarters,howmany

othercountriesin theworld arethere that allow

youthechanceto reachthecoastwithina couple

ofhours’drive?Notmany, andif youcould,would

youwantto live there?

Thefact is,us Britsareincrediblyfortunate.Not

onlydowehaveanaccessiblecoastline,butlike

ourlandscape, it’salsofullofvariety:bustling tourist

resorts, picturesquefishing villages,stretches

ofgoldensand,desolateweather-beatenclis,

heart-stoppingviews,poundingsurf,tranquilcoves...Youname itandwe’veprobablygot it.

Addto that thevagaries ofourclimate, which

canchange themoodof a place inminutes,

andyou’ll seethatthecoastlineoers endless

photographicpotential. Butyouneedto be

prepared ifyouwantto comeawaywithshow-

stoppingresults, andthischapter tellsyou allyou

need tocreate yourbest ever coastal images.

Raiseatoasttothecoast!BEFOREYOUHEADFORTHECOAST,BRUSHUPONTHEESSENTIALSANDYOU’LLINCREASEYOURCHANCESOFCAPTURINGSOMECRACKINGIMAGES

Essentialreading

Coastalkit

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Coastal landscapes

TheDorsetCoast £12

Asurprsngnumberofproandscape

photographersvenDorset,ncudng

ChareWate,AdamBurton,DavdNoton,

MarkBauerandGuyEdwardes.There

aremanygoodreasonsforthat,andthe

exceentmages nAdamBurton’sbook

covermostofthem,fromTheJurassc

CoasttoGodenCap.

NorthumberlandCoast£13

Btofapatternemergnghere,butyet

anotherfantastcbookofcoastamages

byrenownedphotographerJoeCornsh.

Thsoneconcentratesonthebeautfu,

unspoedcoastofNorthumberandand

contansnsprngmagesofathekey

ocatons–BamburghCaste,

HoyIsand,Anmouthandmore.

TheNorfolkCoast £14

Norfoksrenownedfortsqueter

coastne–dunes,satmarshes,endess

shngebeaches,broadsandybaysand

pcturesquevages–sot’sagreatpace

toheadfyoufancyanaternatvetowd

andrugged!JonGbb’sbooksfuof

nsprngmagesthatwpontyouand

yourcamerantherghtdrecton.

l  e e f  r  o s  t 

Q Istworthtaknga

professonalworksho

ThereareotofworkshopscoverngUKcoastnes.ContrbutorsLeeFrostand

RossHoddnotteadnumerworkshopsnScotand,Northumberand,Dorset,

Cornwa&Devonthroughotheyearandfyoucheckth

cassiedadsnDigitalSLRPhotography magazneyouindmore.EmaLeeonnfo

eefrost.co.ukandRossonrodawn2duskphotography.co

QWhattmeofyearsb

toshootthecoast?

Regardessoftheseason,evdaybrngssomethngder

asthecoastsnaconstantsoflux.Summer’sperhapstheastfavourabeseasonasth

ghtandweathercanbeba(andtherearemoretourstsbutotherthanthatyoucan

amazngshotsanytme.

QWhatcausesthetde

advanceandrecede

Tdesoccurduetothegravtatonaforcesfromthemoonand,toaesserexten

sun.Themoon’sgravtatonpucausestheoceanstobugetowardstsonsome

partsofthewordthetdeshghandnotherst’sow.A

theearthsrotatngontsaxthsmeanstheheghtofthetdesconstantychangnga

ocatonchangesnreaton

thepostonofthemoon.

Q Istmorediculttos

thecoastthannland?

Thesametechnquescanbappedtoatypesofands

–compostonandthequaofghtshoudtakeprortyyouneedtohaveareasona

understandngofdepth-ofied,theuseofNDgrads,Nandpoarsngitersando

patence.Andabtofuck!

CoastalQ&A

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30   Coastallandscapes   TheulTimaTeGuide TophoToGraphy

ExposureconsiderationsObtainingthecOrrectexpOsureatthecOastisOneOfthemOstimpOrtantelementswhen itcOmestOgOOdincameratechnique…

Camerasettings

Exposuremode:Aperture-prorty(A/Av)

tooyoooooo-o-o.

Meterngpattern:Mult-zone

Yo'-zooo.coevvnko' m.

AFmode:SngleShot/OneShot

skossoook,oooyoo,oyoooy o.

Getting thecorrect xpsus

mpaadss f subj

yu’s, buyu d b

vm afuws asa

ssas xpsu s m ky. ts

s may baus aa fa ypa

sa ss baa va

adsapdu lvy f sa.

Sads asy lv adavy

sbassa b

pbma.Udxpsus ky

bausyuamas

d sas ‘ava’

sa abu may

asass a b

a ava sy

m u dak. t

bad s, a

s ky b,spayf

’s sul

saad a

smm s.

ts s wyabu

pvd yu’ awa a’s ky

appadady ay .

t ky s k y yupvw

mabuas sam fa

mabauspvwmamay

vyu a u df wma

asauay ddwas

sam w. Yu a usyu

xpsumpsafay asxpsu. ias 1/3sp

mss sam s

d basdwads sd–

a sam basdf usuay

das mas udxpsd,

wyusudyavd.of yu’

yd add+1/3 +2/3 sp,bu

m xmsuas– fav

– yu may d as

xpsu by+2 sps m. Asyu

dws, yu’kwxay

wa d bsfma s.

Apu mayaks py

vsuspd wsss,

baus yud suyu av

adquadp-f-d av

f--baksapss. hwv,

yu ad as, su spdsmusasb v sdaas y

amu fbu ddsa ad

s aava slu

suss fama.

tsuspdyuus w dpd

ypf s yu’sad

yu’ y av.if yuwa

apu damaf wavs as

s, fxamp,yu’

d a fas su

spdfz ly

wa dps – ay

fm 1/500-1/2000s,

dpd w

fus sas adwb s wavs a

fam. Basay,

b ads

wavsa, fas

qudsuspd.

A df a,

xpsusf ay fm a fw

sds a fwmusa f usd by

asa paps sm u

xu fsa asfm a

amsp mss assw sa

ms s, su as ps ad

 js. t aksu.

Bwsw xms ps

a mayadvadadf yu’ a fa fasapapy,’sw

xpmw d su spds

dsads sw y

away sa ds. Yuak

ama asyu ad fyu’qu

appy w , s aaus a

swfassuspd.t ‘mky’ sa

ks a,bu d’ b mpd

awaysus xpsus– smms

pays da xu sa ad

fayu may y d axpsu f

1/4 1/2sd, spay fwavs a

was ass fud adyu’

usa wd-a s.Smay,a daw

addusk,w a 30-60sd xpsu

w v yumsy bak

wavs,s wa apps w yuy

xps s fv sds.

tm s mpa, spay w

s xpsus. ifyuwaa saky

sa usuay pays p

su as a wav s d aa

appa as ‘daaway’

ds wkbpapay,

Q HowdoIstopoverexposngtheskywhenIshootcoastalscenes?

Yoondy(nd).ayoovkyky’ooovo.uy 0.6nd(o-

o)o jo kyo’y o0.9nd(-o)ooo.

Q WllanNDgradconfusemyDSLR’smeterngandcauseexposureerror?

no, o v ooo yo yodslr’- (evvoco,monko)okoov.

Q IsthereanypontnsettngmyDSLR

tomanualexposuremode?Oyyooo–ooo o,y. by,

oooyooo’oo.

Q HowcanIworkouttheexposureforaten-stopNDilter?

my o(o-o)y1000.too,yo1/30o30oyyojk oo– 1/15oo;1/8oo;1/4oooo.

Q Isacoastalsceneeverlkelyto leadtooverexposure?

uookyooo,

oooykyoyyooooooyovoooyo.ikokoo,o.

ExposureQ&A

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LiveView

UseLveVewtoadcrtcafocusngbymagnfyngth

scene. Itasoheps accuragnanNDgradfyoustr

dongtvathevewinder

WhiteBalance:Auto(AWB)orDaylight

AutoWhteBaancesreabebutyoumaypreferaixedpreset,

nwhchcaseuseDayght.ShootRawandyoucanchange

tdurngpost-processng.

ISORating:ISO100

UsethedefautowISOsettngforyourDSLR,usuayISO100,

toensureoptmummagequatyandonyncreasefyou

needafastershutterspeed.

epecally heea reakedbywheur.

Ihe huer peedyuneed acheveaceraneecn’ lwenugh, evenwh

yur lene malle(mnmum)

aperureandhe Isoa lwe, yu’ll need

ueneuraldeny(ND)iler cu he

expure. A0.6NDncreaeheexpureby

wp (1/4ecbecmene ecnd);

a0.9NDbyhreep;a 1.2NDbyurp

andn.theen-pNDilerha

becmeveryppularr caal

phgraphya ncreae heexpureby

1000x yucanpen hehuerr

everalmnuen braddaylghand urn

heeamlk. Ienparen’ que

enugh,here’evena16-pNDilernw

rmHechcalledthefrecre!

Above:Toensureperfectcoastaexposureskeths,takeatestshotandrevewthemageandhstogramonyourLCD.

RossHoddinott

“Lvngcosetothecoast,Iearntmyphotomettecapturngthebeautyof theCornshcoastne.

OneoftheirstthngsIearnedwashowachevng thecorrectexposurewasa ttemorenvovedthanwhenshootngandscapesnand.Therskofunderexposuresfargreater,duetothehghghtsbengrelectedothewater’ssurface,sogreatercareneedstobetakenntermsofensurngthescenescorrectyrecordedanddetasn’tost.Theotherkeyfactorwthexposure sthe choceof shutterspeedasthsaectshowwatersrecorded–I’mamassvefanofwaterbengcapturedasamkybur,so ove touse ongexposures.”

Proview

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32   Coastal landscapes   TheulTimaTeGuide TophoToGraphy

Composition is key acaa

adca, bu hw u ac ha

w dd a ubrf facr

– wha frgrud faur u hav

wr wh; f hr’ a fca h

c;f h d r u;hwucha

u wa cud; f h rg

r bad;whhr u’rhghu r dw a

bach v;h qua f hgh, h

fda adu ,h f ag

u’r hg rduc adh u

hav wr wh.

if u’rhadg a faar ca

u a hava car da df wha

u wa c wawh– a wd-ag

ur whad r h frgrud,

frxa, r a g xur h

wh ha wahg vr rc.Bu ua hav a d bcau

cd a b a xcdwh

uarrv,r ua h afr

a a dr h. Aug ud g

xac wha uwfr,hr aa

bh u hr ag– c

u’v gurur,d’b agr

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wg rvurbr adwrh

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g ar ad f ruhg arud

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argra r ufu,bu a z

cab ud h- crahg wav,

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c arcrwdd ghr. L a h

c fr hghrr wr vw – ju

g dw caa a bgdrc

card adg u wh c

hag frgrud.if u acur

carac hgrud, v a ad

r r rc w da hfrgrud.

Chcu drfrgrud –

rcrdg,bb,budr, r h

ad, f warrlcg h r

wavwahg fr f u. Wa frh

d c rg u ad hw ha

ac hc. Wh hd’ hgh u

ad ha hbach daar, buha rcd, rc, adhr faur

ar aar.

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ad ulw a cra rg .

pr ar a faur f h graBrh

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dwdg,hr ar arud,

ca huh ca f egad.yu cah r adr wa

– fr bachv ad d; fr

udrah caurh rca ar

fru ad;frc uwha

wd-ag r far awa wh a z;

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aga hr, buha a gd

bac & wh ubjcad ar rfcfr

gxur ag wh a -nD

r rcrd h aad.

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, chac arh frgrud

w b u-f-fcu,ad f ufcu a c hcara, dafaur

w b uhar. t avd rb,u

hrfcafcug ax dh-f-

d frh fca ghad arur u’r

ug. th vv fcug h a

Above)Hdtth–

tthdtht-t-bh.1)Ththhtttdthd,d,d.2)D'ttthtdtt!

For Full-Frame sensors

16 20 24 28 35

f/8   1.1 1.7 2.5 3.5 5.5

f/11   0.8 1.3 1.8 2.5 4.0

f/16   0.6 0.9 1.3 1.7 2.7

f/22   0.4 0.6 0.9 1.3 2.0

ForaPs-C sensors

16 20 24 28 35

f/8   1.8 2.8 4.0 5.5 8.5

f/11   1.3 2.0 2.9 4.0 6.2

f/16   0.9 1.4 2.0 2.8 4.3

f/22   0.7 1.0 1.5 2.0 3.0

A DA m

B  Ur t  on

CoastalcompositionIT’snogooDfInDIngasTunnIngsceneIfyou’renoTsureonHowTomakeTHe mosTofIT. followTHIs sImplecomposITIonalaDvIce…

aBtn

“I’ tthdbthtbtthtttt

t.f iddtt

tdd hhdtttd,t dthd tt.ettht,htht’tdttdt,’idtthdt.atd-zthbtht’t,btbtttt txtd.o btthththtttdth,hhdtxtdd dth dddt t.”

Proview1

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Coastal landscape

specic dstance – the hyperfocadstance

– sodepth-of-iedextends from haf the

hyperfocadstance to ninty. Seethetabes,

aboveeft, for popuar wde-angefoca

engths. Ofcourse,the coastnesn’taabout

sweepngvews – tcanasobe the sourceof

somefascnatngdetas.

Down on thebeach,ook forpatterns

created by pebbes,seashes, rppes n the

sand,seaweedor weatheredod drftwood

washed-up by thetde. Thecooursand

shapes n rocks makegreat natura st-fes

f youmoven cose wth a standard zoom

andi theframe. You coud whe away

hours – once you’vetaken a fewnterestng

shotst’s mpossbe to steayoursef away.

If youhappen to vst a harbour on your

traves,ook forpeeng pantworkon od

doors andboathus, relectons n thewater,

cosof rope or obster pots on thequaysde,

or cratesof ishbengo-oaded from

trawers. These knd of subjects aredea for

du days, when sceneson a argerscae ack

nterest because theght s latand thesky

drab,and wherever yougo on theBrtsh

coastne, you’re boundto indsomethng.

l  e e f  r  O S  T 

 

2

Q IstherearuletohowmuchskyIshou

includeinacoastalscene?

Notreally.Ifyouwanttoplaytsafeyoucou

dvdethemageareantothreehorzontalbandsthenplacethehorzonether1/3up

fromthebottomsotheskyoccupes2/3ofshot,orplacethehorzon1/3downfromthtopoftheshotsotheforegrounddomnate

Butftheskysamazngyoumaywantthattotakeupmostofthepctureareaandft’sborngyoumayreducettoanarrowstrp

acrossthetopoftheframe.Heavenforbd,theremayevenbeoccasonswhenyoupla

thehorzonacrossthemddleoftheframe

Q Whichisbestforcoastalshots,

landscapeorportraitformat?

Itdependsonthescene.Thelandscape

formatsmorerestfulbecausetechoesthehorzon,butfyouturnthecameraontssdeyoucan emphasseforeground ntere

especallylnes.The eyehasfurtherto travefrombottomtotop sothe compostonwl

bemoredynamc.

Q HowdoIknowifacoastalscenewil

makeagoodblack&whiteimage?

SetyourDSLRtoshootnbothRawandJP

thenselecttheMonochromecapturemodsotheshotsyoutakewllappearnblack&

whteonyourcamera’sprevewscreenandyoucanassesstthereandthen.TheRawiwllstllbecolour,soyoucanconverttlate

Q Whereshouldthefocalpointbe

positionedinashot?

The‘rule-of-thrds’s handyhere.Dvdetheframentoagrdusngtwomagnary

horzontal andvertcallnes thenplaceyourfocal ponton thetoprghtortopleftntersecton.The toprght ntersecton

generallyworksbest aswe naturallyscananmagefrombottomlefttotoprght.

CompositionQ&A

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34   Coastallandscapes   TheulTimaTeGuide TophoToGraphy

r  o s   s  h oddi   n ot t 

Whenyou’re shootingcaa

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Proview2

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CoastallandscapeTheulTimaTeGuide TophoToGraphy

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hey’ll bewhe helgh’s fsc!

1

Q Whichforecastwebsiteisthebest?

Nosngleforecastngwebstegetstrallthetmesoyourbestbetstocheckafew

comparewhattheypredcttotheactualweaanddecdeonthebest.Trymetoice.gov.u

metcheck.comandxcweather.co.uk.Cloudcoverandprecptatonarethemanfactorsthere’snopontheadngoutforadawnshoo

f98%cloudcoverandheavyransforecast!

Durngthedayyoucanseetheweatherandwatchtchangesofyou’reoutyoumghtas

makethemostoft!

Q ArethereanyappsIcanbuythatwil

helpmepredictthelight?

Thereareseveralmobleappsworthcheckout.ThePhotographer’sEphemers(photoephemers.com)tellsyouwhenand

wherethesun(andmoon)wllbe,fromanywhereonearth.Itcosts£6.99fromtheAppStoreandscompatblewthPhone,

Pad,Androdanddesktopdevces.PhotoP(photoplls.com)ssmlarbutmoretrcksy.

Takeashotofascenewthyoursmartphonandtcalculateswhenthesunwllbenprm

poston.Italsoncludesdepth-of-eld,eldof-vew,exposureandtme-lapsecalculatoandevenMlkyWaynfo,allfor£7.99.PhotopsonlycompatblewthAppleproductsatthe

momentbutanAndrodversonsontswa

TimeofdayQ&A

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36   Coastal landscapes   TheulTimaTeGuide TophoToGraphy

I’ve always beenttrctd to thcot.O hod chd, pc

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www.leefrost.co.uk

1)F-StopLokawthLargeProICU:It'sthbstbackpackI’vwd–thasladsfspac,swlladadt'scftabl.2)CanonEOS5DMkIII:Supb agqualty,xcllt

tgadaqualtyscaktajytus.3)CanonEF24-70mmf/4LISUSM:Salladlghtthathf/2.8wthIS t.A bllatall-ud.4)CanonEF16-35mmf/4LISUSM:Agatulta-wdzfCa;cuttg-dgptcswthagstablsat.5)CanonEF70-300mmf/4-5.6LISUSM: Supshapaddalfcpssgpspctvslatgdtalsasc.6)ZessDstagon21mmf/2.8T*:Abautfullyadwd-agl

p;thshapstthsadagatfcallgth.7)Samyang14mmf/2.8:Ulta-wdlsfthsbgcastalvws,gatfillgthfgud, shapad chap.

8)LeeFltersNDgrads:0.45,0.6ad0.9‘had’gadswhthhzsclaad0.6ad0.9‘sft’gadswhts’t.9)LeeFltersBgandLttleStoppers:Ilvusglgxpsusfcastalshtsadthssxad t-stpvssakthapp.10)HtechProStopIRNDilters:Ihavsx,ghtadt-stpvss.Thy’utalthathLaltatvsadalslsslklytbak!11)Helopanslmlne105mm

crcularpolarser:ScwstthftfyLFltshldvaa105thaddg.12)HoyaRevo77mmcrcularpolarser:Athsllplasthatscwsdctlyt

y16-35ad24-70.13)GtzoGT3542LSCFtrpod:Havyduty,sup-stgadwllad,thughthlglcksgtchkdwthsad!14)ReallyRghtStuBH-55Ballhead:Cpact,ck sldadqucktuswththLbackt.15)FenxE15torch:Hadywht'sdak,asusly6cbutdlvsupt170lus!16)Remoterelease: I’alwayslsgsIbuychapBay!17)SunCompass:Adspsabladfsussadsusts.

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tag.Dughsaly20shwkdas awtvausphtgaphyagazsbfbakgaflacca1992.Scthhhasadaafhslfasbthabst-sllgauthadaaccplshdladscapadtavlphtgaph.Htavlsallvthwld,ladgphtgaphcwkshpsadtus,adshtsfpctulbassuchasGttyIags.LwdvdshstbtwSuyadthnthubladcast.

Biography

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3

     l     e     e     F     r     O     s     t

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Coastallandscape

     l     e     e     f     r     o     s     t

1

1)Puttheoddsofsuccessnyourfavourby

plannngandpreparng–checktheweather

regularly,makesureyouknowthetdetmes

thearea,sunrseandsunsettmesanddrect

and,mportantly,howtogetwhereyou’rego

2)There’satendencytosteerclearofwell-

photographedvews(lkeDunstanburghCas

Northumberland)butthey’repopularforarea

Justtrytoputyourownstampontheshots.

3)Returntothesamelocatonstmeandtm

agan,nderentweathercondtons,atde

tmesofday,nderentseasons.Gettokno

themwellandseekoutnewnooksandcrann

4)Setyoursghtshgh.Don’tassumethatyo

neverbeabletotakephotographsasgooda

thosebythetopnames.Youcan–t’snotdi

Theharderyouwork,theluckeryouget.

5)Dosomethngwthyourfavourtemages

ratherthanllngupharddrves.Makebgpr

andhangthemonthewallforeveryonetose

admreandcelebrate–they’reworksofart!

LeeFrost’sprotips

1)LvngonNorthumberland'spcturesquecoast,Lehasn'tfartotraveltocaptureamazngcoastalscen2)ShootnglongexposureswthextremeNDlterproventobeoneofLee'sfavourtephototechnqu3)Thesparsenatureofsomecoastalregonsmake

themthedeallocatonformnmalstfne-artmag

“Myfavouritetechnique”Longexposureseascapes“I ardungh chnquyarago, ongborhlfrBgsopprwavna wnk n makr’ y, andI ov hc!I producbauuin-ar magandwork b ondu orcoudyday,whch grabcau hUKwahr onk ha!Myavourong-xpourcn conan ark

man-madmnuchapo,groyn, j andpr, bcauhyconrawwh honoh a and ky.thcamrahaob rpodmoundandh nocudmanuayborhNDiraachd. I aondou anNDgradon h ky and h agndirorbyunglvVw. expourrang romono15mnu and Iuuay convr hmag omono.”Youcan vra xampa:ro.co.uk/mandd.ap

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38   Coastallandscapes   THEULTIMATEGUIDE TOPHOTOGRAPHY

Ultimatekit forcoastlinesFROMLENSESTOCAMERABAGSAND FILTERS, IFYOU’RE PLANNINGAPHOTOGRAPHICADVENTURETOTHECOAST

ANDONLYTHEBESTKITWILLDO,HEREAREASELECTIONOFTOPRECOMMENDATIONSFORYOUTOCONSIDER

You’remorelikelytouseawide-anglelenswhen

shootingonthecoastthananyother,soit’swellworthequippingyourselfwithagoodqualityzoomthat

coversultra-widetomoderatefocallengths.Hereareourrecommendations

Ifyouwanttogetitrightin-camera,you’llneed

threemainphotographicfiltertypeswhenshooting

coastallandscapes–NeutralDensity(ND)grads,apolariserand

‘extreme’Neutral Density(ND)forlongexposure

photography

WIDE-ANGLEZOOMS

FILTERS

Canon

Ifyou’reafull-frameshooter,theEF

16-35mmf/4LISUSM(£700)ishard

tobeat.Itboaststhelatestopticsfor

pin-sharpimagescornertocorner

andhasimagestabilisationtoreduce

theriskofshakewhenhandholding.

ForAPS-CtheEF-S10-22mm

f/3.5-4.5USM(£420)coversthe

sameeectivefocallengthrange

of16-35mmsoit’sidealforthose

sweepingcoastalviewswithbig

foregroundsand front-to-back

sharpness. Specialcoatings reduce

ghostingand flare.

Nikon

NikonoersanAF-S16-35mmf/4G

EDVRwithsimilarspecificationsto

theCanonbutlessexpensive(£830).

It'sNikon’sfirstultrawide-angle

lenswithVibrationReductionfor

full-framecameras.Itfeaturesa

sophisticatedopticaldesign to

maximisesharpnessandminimise

aberrations.TheAF-S10-24mm

f/3.5-4.5 G DX (£640) isNikon’s

APS-Coeringwithaneective

focallengthrangeof15-36mmanda

field-of-viewof109-61°–perfectfor

dramaticcompositions.

Sigma

The12-24mmf/4.5-5.6IIDG

HSM(£600)isanaordablewide

non-fisheyezoomforfull-frame

DSLRs,soifyou’reintoultra-wide

photographyitwillsuityoudownto

theground.Thelatestincarnation

alsooersthebestimagequalityyet.

ForAPS-Cusersthere’sthe10-20mm

f/4-5.6EXDCHSM(£300)orfaster

£380f/3.5variant.Botharepopular

lensesthatdonotdisappoint,

producing crisp,contrastyimages,

soifyou’reonabudget,oneofthese

couldbetheone.

NDgrads

Ideally,buyasetofthree–0.3,0.6

and0.9(one,twoandthreestops).Hard-edged gradsare moreeective

thansoft-edgedbutyouneedto

usethemwithcareifthehorizonis

broken.Thetwomainbrandsare

HitechandLeeFilters.Asetofthree

100mm-widegradscosts£109for

Hitechand£169forLeeFilters.Cokin

arecheaper–PSystem(85mmwide)

gradscost£44forasetofthree,or

youcanbuyHitechNDgrads(£70)

andusetheminyourCokinholder.

Polarisers

IfyouhaveaLeeFiltersorHitech

100mmkityou’llneeda105mmscrew-oncircularpolarisertofitto

thefrontofthefilterholder–theLee

Filters105mmLandscapePolariser

(£215),Sigma105mmEXDGCircular

Polariser(£179)orHeliopan 105mm

slimcircularpolariser(£175).If

youscrewthepolariserontoyour

lens,lookattheHoyaRevo(£120

for77mm),MarumiDHG(£55for

77mm),SigmaEXDG(£100for

77mm)andB+W(£175for77mm).

ExtremeND

Noself-respectingcoastal

photographerwillbewithoutaten-stoporsimilarNDfilter.Slot-in

100x100mmoptions includethe

LeeFiltersBigStopper(tenstop)and

LittleStopper(sixstop)(£99each)

andHitechProstopIRNDrange

(£99eachandalldensitiestoten

stops).Hitechalsomakea16-stop

FirecrestND filter (£120).Ifyouprefer

screw-in,lookattheHitechIRND

(£150for77mm)andHoyaProND

1000(£79for77mm).

     r     o     s     s     h     o     d     d     i     n     o     t     t

     r     o     s     s     h     o     d     d     i     n     o     t     t

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CoastallandscapesTheulTimaTeGuide TophoToGraphy

Packingyourkitforacoastaladventure?Agoodqualitybackpacknotonlymakescarryingyourgearmuch more comfortablebut whenyou’reshooting onthecoast itwillalsoprovide

yourgoodswithprotectionfromtheelements.Thesethreepacksarealluptothejob

phoTobackpacks

LoweproDryzoneBP40L

£165

Ifyouliketoshootinextreme

weatherconditions(wind, rain,

roughseas)thenthisisthepackfor

you.Itfeaturesawaterproofouter

witharolltopwhich,whenused

correctly,will preventwateringress

evenifyougetcaughtbyarogue

wave.Itwillcarryapro-sizedDSLR

withstandardzoomsattachedand

twomorelensesupto70-200mm,

aswellasaccessories.

F-stopLoka

£260

Thinkhighqualityrucksackwitha

removablepaddedcameracase

insideandthat’stheLoka.Youcan

customisetheinteriorwithoneor

moreICUs(InternalCameraUnits)

anditwillswallowmassesofcamera

kitaswellasclothes,foodand

anythingelseyouneedforadayby

thesea.Weatherproofingis good

too,thoughanoptionalpull-on

waterproofcoverisworthbuying.

TenbaDiscoveryMediumPhoto

£85Thepricetagwillappealtothose

onabudgetwhostillwantaquality

pack.Thisonewillcarryuptotwo

DSLRbodiesandfourtosixlenses

inthepaddedbottomsectionand

accessoriesinthetopsection.

Italsohasawaterprooofbottom

panel,pulloverwaterproofcover

forall-weatherprotectionandthe

rearcompartmentcanbeusedto

carryahydrationbladder.

WATERPROOFJACKET

Thisall-importantouterlaywillkeepyoudryandwarmdon’tscrimpandbuyagooqualitybreathable (egGort

 jacketthat willlast foryearsAllthetopoutdoorbrandsproducethem.

MID-LAYER: Light-weig jacketscan bewornon theowninmild/dryweatherounderyourwaterproofjack

forinsulationinthecold/wFleeceischeapandlight,softshellis moreexpensivebutalsomoreeectiveanddown-filledjacketsarethewarmestbut mostexpensiv

OVERTROUSERS:

Goodqualitybreathableovertrouserswillnotonlykyouwarmwhenthecoldwblowsbutalsostopyourleggettingwetifyou’reshootitherainornearthesea.Fullengthzipsupthesideswillmakeitquickerandeasiertputthemonortakethemo

whenyou’rewearingbootGAITERS:Wearthese in

ofovertrousers to providewaterproofprotectionforylegstotheknee,butifyouwthemunderovertrousersyohaveeven betterprotectiofromroguewavesthatwasoveryourboots.

GLOVES: There’sno persolutionin termsofkeepinghandswarmandbeingableuse cameracontrols. HowethelikesofMacWet(www.macwet.com)provideglovwithdecentwarmththat alyouto operatethe camera

HAT: Preventbodyheatescapingthroughyourhea–checkouttheSealskinz’sWaterproofBeanie.

FOOTWEAR:WELLIES

arethemostpracticaloptio–lookatbrandslikeaHunteLeChameau,MuckBootorAigle.Wearthicksockstooyoupreferhikingboots,wegaiterstokeepyourfeetdry

Clothing

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40   Ff   TheulTimaTeGuide TophoToGraphy

essentialFilters

ForlandscapesWhilesoftWare,suchasPhotoshoP,mayhavetakenthePlaceofsomefilters,askanyself-resPectingdedicated

landscaPePhotograPherandthey’lltellyouthattherearesomefiltersthatsimPlycan’tbe emulated

Image:ross hoddInott

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42   Filtersfor landscapes

Screw-inScrew-infilters attachdirectly

tothelens.Theyareavailable

indierent threadsizes – for

example,58mm,67mm,72mm

and77mmareall popular sizes.You simplyneedto buya filter

compatiblewiththe diameter

ofyour lens.Circular filtersare

easy touseand,beingglass,

arenormallyhighquality. But

unlesseverylensyouown

happens tosharethesamefilter

thread, youmayneed tobuy

thesamefiltertypein dierent

sizes.UV/Skylightandthe

majorityof polarisingfilters are

circularfilters.

Slot-inSlot-infiltersaresquareor

rectangularpiecesofglass or

optical resin that attach tothe

lensviaadedicatedfilterholder.

Oneof thebiggestadvantagesofusingafiltersystemis that all

ofyour filterswillbe compatible

with allof your lensesthanks to

inexpensiveadaptor rings. Also,

somefilter types, likegrads,

areonlyavailable as slot-in.

Mostfilterholdersaredesigned

withmultiple slots,making

itpossibletocombinefilters

togetherwithoutvignetting,

whichis likelyif youattachtwo

ormorecircular filters.

Adaptor ringsIf youinvest inafiltersystem,

youwillalsoneedadaptor

rings tofit all lensesin yourkit

bagthatyouanticipateusing

for landscapephotography.Adaptorringsare available in

dierentfilter thread sizes. The

holdercanbequickly andeasily

attachedand removedfromthe

ring– usefulforwhenyouwant

toquickly swapfiltersfromone

lenstoanother.Someadaptor

ringshave beenspecifically

designedforusewithwide-

angles,being recessedinorder

tofurther reducetheriskof

vignetting spoilingyour images.

Filter systemsAfilter systemisaholder– or

bracket– thatattachesdirectly

toyour lensvia anadaptor ring.

Youcanthenslide squareor

rectangularfilters intoits filterslots. Slot-insystemsvaryin

size.Themostpopularare

84/85mmand 100mmsystems,

withCokin,HitechandLee

Filtersbeing themostpopular.

Smallerandlargersystems

areavailable,butgenerally

speakingarelesssuitedtouse

withdigitalSLRs.Somesystems,

likethe LeeFiltersholder,are

customisable, soyoucanalter

howmanyslots thereare.

Mainfiltertypes

WHENDIGITALPHOTOGRAPHY

overtookfilm,severalpeople

predictedtheeventualdemiseof

photographicfilters.Howwrongtheywere!

Whileitmaybe truethatmodernsoftware

suchasAdobePhotoshopandLightroom

hasreplacedtheneedforsomespecialist

filter types,manymorecontinuetoplayan

essential rolein photography– particularly

whenitcomesto photographinglandscapes.

Quitesimply, therearesomethingsyou

simplycan’treplicatein Photoshop–suchas

themesmerisingeectofacircularpolariser,

or thelight-absorbingandexposure-

extendingpropertiesofaNeutralDensity(ND)filter.Otherfilters,likeND grads,are

designedtobalance theexposurebetween

thelandandsky,allowingphotographersto

captureviewsauthentically in-camera.

Others,likeUV andSkylightfilters,areuseful

simplyduetothephysicalprotectionthey

oer toyourvaluableoptics – there’s no

softwareoutthere that can stop your lens

fromgettingchippedor damaged!

TheessentialfiltersforlandscapephotographyGETTINGITRIGHTIN-CAMERAISALWAYSPREFERREDTOFIXINGITDURING

PROCESSING.THELESSTIMESPENTIN FRONTOFACOMPUTER,THEBETTER…

Whilethereis a huge choiceof filters

available to thephotographertoday,

including special eect filters,coloured

gradsandsoftfocusfilters,in realitymost

ofthesefancyeectsarebestadded(if

required) duringpost-processing,where

theycan beappliedwithgreaterprecision

andtheeectcanbeeasilyundoneifyou

decidethatyoudon’tlike it.Therefore,

during thisguide,wewillconcentrateonly

onthefilter typeswefeel aregenuinely

essentialfor landscapephotography.

Filtersaregreat correctiveandcreative

tools,withthe potentialto transformyour

landscapeimagesfrom goodshots togreatones. Ifyouhavenotused filtersbefore, it

isabouttimeyoudid–you’llbe surprised

atthe results possibleandit will openupa

wholeworldofcreativepossibilities toyou.

And, bythetimeyou’ve finished reading

thischapter, youwillknoweverythingyou

need toinordertochoosetherightfilter for

thejob,use itcorrectly, andcapturegreat

filteredshotsin theprocess.

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Filtersfor landscapes

r  o s   s  h oddi   n ot t 

CreativeOptical& DigitalFilterTechniques from£10

www.amazon.co.uk 

RenownedauthorJosephMeehandetashowtouseoptcaand

dgtaitersncreatvedgta

photographyandgvesenoughnspratontoensureyounever

eavehomewthoutasetofiters

nyourktbag.

TheLandscape PhotographyWorkshop from£9

www.amazon.co.uk 

Thsbookamstotakethereaderfromtheverybascsofequpment

andexposurethroughto

advancedtechnques.Landscapeessentas,suchasitraton,are

coveredndepth,gvngyou

greaterknowedge.

TheEssentialGuide toOutdoor Photography £9.99

www.amazon.co.uk 

Thsgudetoshootngtheoutdoorsnotonydedcates

pagestousngiters,butaso

oersadvceandnspratononcapturngandscapesand

nature.Guaranteedtohepyoudeveopyoursksandpasson.

TheDigitalPhotographer’sGuide to Filters from£10

www.amazon.co.uk 

Adeintvebookonphotogencitersforthedgtaage.After

readngthsbookby

RossHoddnottyouwfeeencouragedandnspredto

exporethecreatvepossbtesofusngiters–tradtonaanddgta.

Q CanyoutellmewhatdoUVand

Skylghtiltersactuallydo?

Theyaredesgnedtoabsorbtheeectsofutravoetght.Athoughthstypeofght

nvsbetooursensorysystem,tcanreduccontrast.Whebothitertypessharethesameroe,Skyghtitersare asotntedwt

aweakpnkcoourngtoaddsubtewarmttoshadows,whchcanhaveapaebushhucausedbyrelectedskyght.However,nt

theyaremostusefuforprotectngthefroneementof enses.Bengcear,theyare de

sutedtothsroe,protectngtheensfromdrt, sand,mostureandgettngscratched.

Q Whatare steppngrngs?

Theyaredesgnedtoadaptaiterto

enswhenthe twohavederentdameterForexampe,sayyouhada77mmiter,butwanted tocombnetwtha enswtha ite

threadszeof67mm–asutabestep-dowrngwoudaowyoutodoths.Theyare

reatveycheapand avaabe na varetyofszes.Step-downrngsaowyouto attachargeriterstosmaerenses;step-uprng

enabeyoutocoupesmaeriterstoarge

dameterenses.However,dueto thernatstep-uprngsgreatyncreasethe rskof

vgnettng,soarenormaybestavoded.

Q I’veheardofsomethngcalleda

‘ilterfactor’.Whats ths?

The‘iterfactor’sanndcatonofhowmuchghttheiterabsorbs.Thehgherthefactor,thegreaterthe ghtoss.Someiter

keUV/Skyghthavenofactorata.However,apoarsngiterhasa4xfactor,meanngtabsorbsapproxmateytwosto

ofght.TTLmeterngwautomatcaycompensate fora iter’sfactor,though,

soyoudonotneedtomakeanymanuaateratonstoexposurewhenusngiters.

Q Doestreallymatterwhatsze

iltersystemIbuy?

Unfortunatey, szedoesmatter.Themajorofwde-angestodayhavea argeiter

dameterof72mmor77mm.Therefore,fyouoptforan84/85mmsystem,therskofvgnettngshgh.Duetotheszeofmodern

wde-anges,a100mmsystem–ketheLeFtersorCoknZ-Prosystem–samuchbeopton.Athoughmorecosty,theargeri

szemakestpossbetouseiterswthoutprobems,evenatutra-wdefocaengths

LandscapefiltersQ&A

Essentialreading

Whileitmaybetruethatmodernsoftwarehasreplacedtheneedofsomespecialist filtertypes,manymorecontinuetoplayanessentialrolein

photography–particularlylandscapes

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44   Filters forlandscapes   TheulTimaTeGuide TophoToGraphy

Forlandscapephotographers,

mu-vi.I u

bu iw v

m yu m

b -.

smy k,y

uf .

By,yu u

u,vyum

m,vby’m‘.

pmfm f f

mwbw

wuf . By

i mu, yuvy mu

f u.Wy

ufu?W, m m,

u ,w

u yf uf’u.

Bybk fm

, i b u

vby.

Byi muwum’vwi–

vyulcdm lvVwm

–yuw m

yf u f.

tf

f m

u.Mbj, k

r  o s   s  h oddI   n ot 

1)Raarrkrvr

arbrrra.

2)Aarraakrar,

rraravbra.

3)Bkaraarr,v

rrr‘’.

m,

mubyi.

Ui uyvy y;my

u i uyu v

yuk. F y,

imu fmkbu k

mvb.tum

90° .

tf, k90°

uw–

kw ‘Bw’’.hwv,

muw wy

ubu.

Myw v

myf bu

k.hwv, imum

b.du w b u

fmv f,u

w yuf

wu.

Withoutpolariser

Withoutpolariser

Withpolariser

Withpolariser

TransformsceneswithapolariserARguABlythelAndscApephotogRApheR’smostusefultool.heRe’swhyyouneedA polARisingfilteR…

lFst

“i aaarrarr

i’.iav

aha105rararrarrlfr’

rriandra,a

haRv77arrair-azi’r

r.i’arraair-

a,birakar,braa

rar.Aarraakarararv

vrrra,br

aaraaanradr-.”

Proview

2

3

1

r  o s   s  h oddI   n ot t 

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Filters forlandscapes

l  e e f  r  o s  t 

r  o s   s  h oddi   n ot t 

4)Boostbueskesandcontrorelectedghtusngpoarser–theeectsvsbethroughthevewind5)Usngapoarsngitercanrestorenaturasaturayourmagesby cuttngthroughrelectedght.

Q Whatsunevenpolarsaton?Thssacommonprobemyoushoubemndfuof.Theeectofapoarsersattmostpronouncedat90°tothesunandeaseectveat180°.Therefore,atcertanangeyoumayindtheeectoftheiterperformsrreguary–wththeskybengdarkernsomeareasmorethanothers.Thssknownas‘unevenpoarsaton‘.Shortfocaengths,between16-35mm,aremostpronetothe

probemduetothebroadexpanseofskytheareabetocapture.Toaevateunevenskesthebestoptonstotryaretoreducetheeveofpoarsaton,useaongerfocaengthor(fpossbe)adjustyourvewpont.

Q Canyouover-polarsea scene?Yes,youcan.Theeectofapoarsercanbeveryseductve,butover-poarsatonwcreateunnatura-ookngresuts,sobecarefunottooverdotheeect.Coudessskandphotographstakenathgherattudesaratmostrskofookngtoodark.Youshoudbeabetodetecttheprobemthroughthevewinder,butawaysrevewyourmagesacheckthatskesremannaturaookng.

Q Whatsthederencebetweenlneaandcrcularpolarsers?

Onycrcuarpoarserswworkproperywmoderncameras. Athoughboth varetesacrcuarscrew-niters,thedesgnofthetypeaectsthemeterngaccuracyofdgtcameras.Thssbecauseautofocussystempoarseapercentageofghtn-camera,stheghthasareadybeenpoarsedbyaitthemeterngsaected.Crcuarpoarsersareconstructedwthawave-retardatonpate,one-quarterof awaveengththck.Thsaowstheghtpassngthroughtheitertorotateandappearunpoarsedtothcamera’smeterng system,ensurngyouganaccuratemeterreadng.

Q Dopolarsershaveailterfactor?Yestheydo.Theyhaveaiterfactorofsotheyabsorbuptotwostopsofght.Howeyourcamera’sTTLmeterngwautomatcaadjustforths.Duetotheriterfactor,poarscanbeusefuasamakeshftNeutraDenstyinordertoengthenshutterspeedstocreatvbursubjectmoton,kemovngwater.

PolariserQ&A

4

5

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46   Filtersfor landscapes   TheulTimaTeGuide TophoToGraphy

NeutralDensity

Atfirstglance,nD ook

up.tyv

uyo, ddo

bob oou vbpum

quy.i doo,yb o

bo wou

. to,w nD d,

poop bo ow

u pdwoudvb

pobow.

so,wy youu?W, by

y xpoum,nD

owpoop ovybu

ubjmoo–movw, wy

opduddoud, oxmp,

wpodu dp mw

mo , dmop. anD

mpoomovm

– oy uyb vd

-m,wyou u.

nDpodud

od,ddo u d

umdd.tyo

r  o s   s  h oDDi   n ot t 

1)TdknNDt,tmtt.T

vtc-nndt-nt.

vb boo-dw-v.

tdky y,mo

ybob.tmoommoo-,wo-d-opnD.

howv,o,moxm-op

voopopu (p50).a

nD’ omypdo ,

o mou.howv,ouy, bd

ddydy. foxmp,

0.3o2x o w o-op

dy;0.6o4x woop;0.9o8x

op,doo.

twoomonDbombd

ov o.

howv, 0.9nD– quv o -

op duo –w ou,

WithND &polarisiNgfilter

waNTToleNgTheNexposuresiNbrighTDaylighT?aNeuTral

DeNsiTyfilTerwillDoThejob

Withoutfilters

2

1

3

aounD oudbu,

omdpy oou

oomm bdwnD

ombd.t bwy ou

yuwd omuywk oou mpu

po-po.t vyqukdy odo,puy

yourwoo.smpydju

W Bd/o tdu ud.

Protip:Colourcastsboouovu

ou .foxmp,u

ow (ud)u pdo1/8oood.t p

xpouw

poo y pp

om. tqumo

popu omkw o

wvpp mkybu.

Wd,nuDy

dk vwdmy,

o boompod ou youm

bod.Youm’ttlm

wuomydjuo ’ o,

oyououd’domkymu

djum, mpymwo.

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FiltersforlandscapesTheulTimaTeGuide TophoToGraphy

2)Ifyouwanttogeneratealongexposuretocreatvelyblurmoton,selectyourcamera’slowestISOratngtogetherwthasmallaperture.In thsnstance,ISO100and f/16sselected,buttheresultngshutterspeedof1/60secsnotlongenoughtocreateanattractveorntentonallevelofmovement.

3)Byattachngathree-stopsoldNDilter,theshutterspeedsarticallylengthenedto1/8sec.Thelongerexposurehelpscreateamoredelberatelevelofblurthatusuallyprovessatsfactory,althoughonthssceneIneededanevenslowershutterspeed.ToachevethsIalsoattachedapolarsngilter.Dongsohelpssaturatethecoloursnthescene,butalsolengthensexposurebyafurthertwostops.Theresultngshutterspeedof1/2seccreatesjusttherghtamountofmpledwatermoton,achevngarealsenseofmovement.

4)Movngwateraddsnterestandenergytomages.Inthsnstance,athree-stopsoldNDilterwasusedtolengthenexposuretmetoacoupleofseconds,whchblurredthewaterastdraggedbackoverthebeach.Indongso,thascreatedattractvetralsthatnotonlyaddnterestto thephotographbutleadtheeye ntotheframeandtowardsthebeautfullyblurredwaverollngn,alsocreatedbythearticallylongshutterspeed.

rsshntt

“Youetherlovesubjectblurorhatet.Personally,Ilovet.Ilkethefeelngofmotontcanmply–alttle

subjectblurcanmakelandscapephotographslookfarlessstatcandvsuallyfarmorestmulatng.IindIusesoldNDiltersquteabt.WhleIlkeusngextremeNDilters(turntopage50),thereectcanbetoopronouncedandkey

detalcanbelostaltogetherfyouarenotcareful.Therefore,IoftenfavouralowerdenstyND–forexamplea three-orfour-stopverson. Intherghtlght,thssenoughtocreateanntentonallevelofsubjectblur,wthoutthngsbecomngtooblurry.Ienjoyshootngcoastallandscapeswthanexposurelengthofbetween1/2secandeghtseconds,asthsslengthyenoughtocreateatmosphercresults,wthoutbengso longthatdetaland texturen thewaterdsappears.MyfavourteNDsLeeFltersProGlassthree-stopverson– extremelyhgh-qualtyglass, perfectlyneutralandoptmsedfordgtalcameras.”

Proview

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48   Filtersforlandscapes   TheulTimaTeGuide TophoToGraphy

Theskyis pcalllgran land,

w drnc nbrgnofnquvaln ovralopof xpour,

and lvlofconrabngograa

xcdournor’dnamcrang.

Forxampl,f oudcd oxpofor

brgr, our forgroundwll brcordd

oodar;corrclmrfor land,oug,

andwllboolgand glg

ovrxpod.Do oundla famlar

problm?sowa anwr?Onoluon

oa woormordrnlxpod

magandblndmogrdurng

po-procng.howvr,r aloan

n-camraoluon.BunggraduadND

lr, pobl obalanc lgn

g-conracn,allowngougngrgamomnourggr ur.

NDgradardgndo lp

poograprovrcomlmaonofa

camra’dnamc rangand rforrman

annallrp for vamajorof

r  O s   s  h ODDi   N Ot t 

Above)Thssqncfmasshwshwaddndrnt

dnstsfNDradsactsthinalma–darnnthswthachadddst.Ththr-stradsasttfar.

1)Attachnailtrhldrtrlnsallwstslt

drntNDandNDradiltrsnqclandasl.

2&3)NDradsarssntalwhrthlandandsrqr

drntsrs.It’smrtanttalnthtranstnalararcslwththhrzntnsrtarfctrslt.

landcappoograpr.tarpcall

rcangular, lo-n plr,andaralf-

clar, alf-coad–wa ranonalzon

wrm.Gradarragforward

ou.Wourlroldraacd, ld

NDgradn fromopandn– wl

loong rougvwndr,or vaLvVw

–algnlr’ ranonalaraw

orzon.Bungagradofanappropra

dn, ouarabl obalanc conra

n lgandbrngnrcnwn

nor’ dnamc rang–nurngdal

rand rougou.

Onof momporanapcof

WithoutNDgraD   oNe-stopNDgraD

tWo-stopNDgraD   three-stopNDgraD

rsshntt

“DstthmrvndnamcranfDSLRs,NDradsrmanssntaltls.Thcntrast

btwndarrfrrndandbrhtrs

canbsvralsts,swthtradstwldbmssbltachvalandscathatscrrctlsdthrht.Ilttthnsrhtn-camrawhnvrssbl,andNDradsallwmtdths.Blndnsrsdsn’taaltm,astrqrsmrtmnacmtrandlssbhndthcamra.IalwascarrafllstfhardandsftNDrads;Isahardtw-stradthmst.HardradsarartclarlsflfrthCrnshcastallandscasIshtnarb.IsLFltrs:thqaltsnrvalldandthlarr-szdsstmsncssarfrwd-anlvws.”

Proview

NDgradseSSeNTIALINANyLANDSCApepHoTogRApHeR’SkIT,NDgRADSHeLpyouBALANCeexpoSuReS

2

r  O s   s  h ODDi   N Ot t 

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Filtersfor landscapesTheulTimaTeGuide TophoToGraphy

     r     o     s     s     h     o     d     d     i     n     o     t     t

     r     o     s     s     h     o     d     d     i     n

     o     t     t

uggra carefupaceme–parcuary

weug ‘ar’gra. if youaverey

pueer oo farow eoer–

oaecoaeareaoverap egrou–

eaw beere,oo,aw erefore

ookarcayark.Equay, fyouo’ e

eerowfareoug,youw creae

aobvoubrg ‘ba’coe oeorzo

wereekyrema uere.however,

w jua epracce,correcpoogof

gra eay oo a, fyouomage

er,eerror ormayobvouweyou

revewe magevapayback.

ndgra areypcay avaabe oe-,

wo-a ree-opreg.Wcey

yourequrew epeoegg.

temoprecewayoworkouwc

ey gra oue oakea po-meer

reagfromboekyaa, a

ecacuaeeerecebeweee

wo.For exampe,f ereagfrome

ky 1/500eca eoefore a

1/15ec,e erecewoubeve

op (a‘op’ aavgoroubgofa

expourevaue).t a faryypcaeve of

cora.however, wor rememberg

aoureyeaurayperceve eky o

begera ea, oo’aemp

obaacee gevey. iea,

ormaybe o eaveaaura ookg

wo-opcorabeweee kyaa.

terefore, a uaowere ere a

ve-operecebeweekyaa, a

ree-opgrawouuce–combg

wogra,orerogeeraeveop

worofgrauao,woucreaea very

uaura ala-ookgreu,wc

beavoe.smary, oomucrao

camakeeky ookooarkor e a

arcay g.tekeyougayype

ofraooryo creaeauraa

beevabe-ookg mage.

Q Whatsasoftgrad?

GraduatedNeutralDenstyiltersareavalableastwotypes–hard-andsoft-edge‘Soft’gradshaveafeatherededgenordertoprovdeagradualtranstonfromthecoatedportonoftheiltertotheclearzone.Thsmathemwellsutedtoshootngvewswthunevhorzons,astheydon’tnotceablydarkenobbreakngtheskylne,lkehlls,mountans,tre

orbuldngs.However,onlyapproxmatelyoftheilterscoatedwththeilter’sfulldensbeforetbegnstofadetotransparent.Thscabeadrawback,asoftenthebrghtestpartoftheskywllbe justabovethehorzonwheresoft-edgedgradsattsweakest.

Q Whataboutahardgrad?

‘Hard’edgedgradsaredesgnedwtmoreabrupttranston,wththefullstrengtherdenstyspreadoveragreaterproportofthecoatedregon.Theycanbealgnedwththehorzonmoreprecselyandallowphotographersto reducethebrghtnessoftheskywthgreateraccuracythana‘soft’gTheysutvewpontswthastraghthorzo

abeachscene.Onthedownsde,theyareleforgvngshouldyoupostonthe ilterpoosouseonecarefully.

Q CanNDgradsbeusedalongsde

othertypesofilters?

Yes,theresnothngstoppngyoufromcombnngderentilters.Forexample,yomghtattachagradtobalancethelghtnanunevenlyltscene,whlealsousngasoldNDarticallylengthenshutterlengthtoblurmoDerentiltersfulilderentroles.Howeveplacngpecesofglassorresnnfrontofyoulenswllnaturallyhavesomeeectonmagequalty–themoreiltersyouuse,themorebedegraded.Therefore,tsbestnottocombmorethantwoiltersatanyonetme,anddeverusethemjustforthesakeoft.

Q Doessensorszeaect theeectve

ofNeutralDenstygrads?

Tosomeextent.WhenusngacamerawthanAPS-Csze sensor,thegraduatedareaeectvelyspansalargerareaofyourmagInotherwords,agradgrowssofterthesmathesensorsze.Therefore,‘hard‘gradsmaynotbeasabruptastheymghtseem,whleteectvenessofa‘soft‘gradcanbeslghtlydmnshed.Smallersensorswlloftengetbetterresultswth ‘hard‘grads.

NDgradsQ&A2

3

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50   Filtersfor landscapes   TheulTimaTeGuide TophoToGraphy

Overthepastcouofy,

xmNDquckybcom

‘mu-’i fondc

oog.W i fcoof uo

no, yowoogo

ngnxouo xm– n n

goodgyoub omoy u

dof condo ong.t

kyccc c yon

moon,cngu,mocnd

y-ccngu.aougx-o(1.8/64x),g-o

(2.4/256x)ndbNDi o

b, n-o(3.0/1000x)

on byfmoou.

Ungon owoogomoy

icyowud.Foxm,

nunid u dof 1/15cw

b ngndoonmnunko

ung n-oi–ono 1/8c;

wo o 1/4c; o 1/2c,

ndo on.Dungnxouof

ng,muccn : dfngcoudw

kbuok;mongww

b coddmoondg-k;w

co ndfogcnc ngung,

wyn.t ci

w byo g you oood

ofmo.t c on

ndccnnobcddung

o-ocng– ymucn

n-cmcnqu.

tdnyofxmND og

youcn, fnyng,wnyou

ougm.tfo,comoon,

focungndnyoionqud

ndodonoocngi.

any,Lvwcn o gd

wnungxmNDi.Onom

mod– ougno– wod

cnougmgonmonooow

youo wkcomoonndgnNDgd

woungo moii.

exmNDgi– funo

uwbyonfomcn.

how,knyi, yndobud

oy.Wng mgc

ndlng,xmNDbodd.

how,n connooc g,wn

oogngubjcwong,bod

k,gouogoyn, y

on onncyouo

byondcognon.tyfomyw

ngywndong-xou mg

w ofnucononobck& w.

r  O s   s  h ODDi   N Ot t 

rOsshODDiNOtt

1)AccatacntwnntNDt,attcannanct.2)TcanctwwcantakaacntnwtwtantND.

3)Candfcfattacnt.4)Watcaacawtatn-t,tt’ak’tat.Wt!

Nofilter

teNstopNDfilter

ExtremeNDWANTToshooTexposuresiNThemiNuTes,eveNiNbrighTlighT?exTremeNDsAlloWyouToreNDermoTioNAseThereAlblur

1

2

3

TanafwttntactdattacnantND.ycantcattcacattt’ct.Taaanatnacantad–fa,NDCac.Anttn ttt ntd nt ttfact,wc 1000fatn-ttNDt.

Shutterlengths

Undxu

exuwhn-ND

1/500sec Two seconds

1/250sec Four seconds

1/125sec Eight seconds

1/60sec 15 seconds

1/30sec 30 seconds

1/15sec One minute

1/8sec Two minutes

1/4sec Four minutes

1/2sec Eight minutes

One second 16 minutes

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Filtersforlandscape

     r     o     s     s     h     o     d     d

     i     n     o     t     t

Q WhatisavariableND?

It’sacrcuarscrew-ntypeNDthatsdesgnedtoabsorbghtkeotherNDs.However, unkeothersodND iters,varaNDshavearotatngfrontens–keapoariter–thataowsyoutoadjusttheiter’sstrength.Forexampe,Ten’sversonprovtwotoeghtstopsofghtcontro,gvngyo

theconvenence andlexbtyofhavngseveraNDitersnone.Hama,Heopan,Hoya,PoarodandTenarebrandstooofor.Inbascterms,theyaretwopoarsngistucktogether.Theycanbeusefu,buttheoften suerfromvgnettngand across-paeectatwderfocaengths.VarabeNDiareasoknownas‘faders’.

Q AreextremeNDs neutral?

No.AnumberofbrandsproduceextremeNDs–LeeFters,HtechandB+WDuetothedensty,theyatendtodspaysocast.LeeFtersBgandLtteStoppersbothacoobuecasttomages.Don’tworry,tho–thecastseasyenoughtoneutrasenpo

processngbyadjustngcoourtemperaturThatsad,therewbetmeswhenyouwwanttoretanthecastastcanaddextramtoyour mages.Many photographers convextremeexposureshotstoback&whte,scoourcastsarenotaconcern.

Q WhatdoIdoifshutterlengthexcee

30seconds?HowdoIexposeforlon

WthextremeNDs,therequredexposuretmmayexceedthecamera’songestautomatcshutterspeedof30seconds.Ifso,youcanseahgherISOorwderaperture,thoughnethoftheseoptonsaredea;uppngtheISOwncreasenose,wheusngawderaperturewreducedepth-of-ied.Instead,swtchycameratoBub(or‘B’)mode,cacuatetheshutterengthneeded,andtmeyourexposmanuay,usng aremotereeasetoocktheshutteropenfortheshutter’sduraton.

Q Do extremeNDs always absorbexac

theamountoflighttheysaytheydo

Notaways.Duetotherextremedensty,therstrengthcanvarysghty.Forexampe,thevaueofaten-stopNDcanrangefromanywherebetween9.5to 10.5stops.TherewhenusngextremeNDs,awaysrevewthhstogramandbepreparedtoengthenorshortentheexposureaccordngy.

ExtremeNDQ&A

4

LeeFrost

“Istartedusngten-stopNDitersyearsago,ongbeforetheLeeBgStopperappeared.

IovedtheworkofphotographerskeMchaeKennaandJosefHolehnerandwantedto achevea smareectdgtaywthoutreyngonowght.IboughtaB+W

1103.0NDiterandneverookedback.Imanyuse ongexposures forcoasta magesastheresawaysmovementntheseaandIovethecontrastbetweenthesmoothnessofthewaterandthesharpnessofobjectswhentheshutterhasbeeneftopenforseveramnutes.Iasoindtheunpredctabtyofthetechnque fascnatng– nsteadof freezngtme,wthanextremeNDiteryourecordthepassngoftmesoyouneverknowhowthemagewookunttheshuttercosesattheendoftheexposure.It’sawonderfuycamapproachto photographng the andscape.”

Proview

l  e e f  r  o s  t 

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“Myfavourteilter…”Ps“AfterNDgrads, teter I usetemost sapoarser. Terst tme I tteda poarser

androtated te fronteementI wasastonsedyteeect.Eentoday,t strngs

a smetomyfacewenI attaca poarserandtenook trougmy ewnder.

“I oete resutsyoucanaceewensootngwta poarser nsdewoodand,

especay forestareaswtrockystreams.Woodand sdicutto soot formany

reasonsandpcturescanappeardu andackng ncoour.Onereasonfor ts s gt

relectngon countesstousandsof eaes,nottomentonrgtggtsrelectng

onwtewater,wcfoostecamerantounderexposngtescene.Wensootng

ntesestuatonsI awaysattacmy poarser androtatete front eementfuyto

remoerelectons.Once tegares remoed, tecameras aeto correctyexpose

andte truemagcoftesceneecomesapparentontecamera’sLCDmontor.

“Teresuts aeautfu forestpotograpwtrccooursanderdant foageony

posseecauseof tepoarser. Apoarsngter sawonderfu tooto oost te

mpactofyourpotosandts popuarty s sureto endure; tere snodgtaaternate

orprocessngeecttat rassootngwt apoarser.“

52   Fltersfor landscapes   TheulTimaTeGuide ToPhoToGraPhy

masteroffilters…

AdamBurton

adBunnh

UK’dngndcpphgph,guyuppynggynd

undkngcnwdngcn.Hhphgphdv

hvncnnnndnwpcn

hndcphUK,pcuysuhWengnd.Hhwkdnypgu

gnn,cpnncudngBP,thaa,

TheTimesndNationalGeographic. Hguygupndn--n

wkhpndhuhdvbk,

ncudngTheSouthWestCoastPath, ndu-wd-wnnngndcpphgph.

Bography

IhAvEbEENworkngfu-tmeas a

professona andscapepotograper

snce2008.After seerayearsof runnng

mypotograpyusnesspart-tme

weasoanga dayjo, turnngfu-tme

wasanamtonofmne tat Iwas fortunate

tomake reaty.

“Ispendmucofmytmeouton ocaton

ntesout-westofEngandpotograpng

atmospercandscapestoemarketedtrougmyraresanddrectytrougmy

weste.Temages Icapturearereproduced

nmagaznes,ooksandcaendarsa oer

teword.Wen I amnotsootngforstock,

I ameterworkngoncommssonsor

carryngoutandscapepotograpytuton

ot nteUK andoerseas.

“Ftersareas essenta tomypotograpy

usnessasmycamerasor enses.

I purcasedmyrstsetoftersackn

2003soonafter I ecame nterested n

potograpy;eersnce toseeary days I

aeneereenanywerewtout tem.

“Eenn today’sageof dgtapotograpy,

I rmyeee teres stroomforters n

eery andscapepotograper'sag.In fact,farfromfacngextncton,ow stock ees

andongwatngstswoud suggesttat

tersaremorepopuartaneer!

“Forme andscapepotograpys aout

capturng teoutdoorsasautentcayas

posse.I wantmy magesto ea fatfu

rendtonof te andscapes Iwtness,te

coours representate of tegt andno

more.It seemstoe tecommonpercepton

amongstmanynon-potograpers tat

tersareusedto ntroduceartca coour

ntoanmage,ut tetrut squte te

opposte.Most potograpersutseters to

enae ter camerasto record andscapes

fatfuy,sometngteywoudeunae

toaceewt tecameraaone.

“Ofcourse, terearemanywerdand

wonderfutersout tere tatyoucan

purcase fyouketat typeoftng.but

forme, tereareonytreetypesofter

necessaryformy potograpy.In order

of mportance teseare:NDgrads,te

poarsngterand sodNDters.“

A L  L  I   MA  gE  s  :  A DA M

b  Ur T  ON

1)myudbyh0.3,0.6nd0.9‘hd’dgNDgd,whccup.2)Wdndwychupducgndnccn.3)shucnynhcnndbhdyuh.

2

1

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Fltersfor landscapesTheulTimaTeGuide TophoToGraphy

Adam’sfavourtesubjectsforlandscapeilters

1)SunriSe&SunSet:Durngdawnanddusk,the

skycanbebrghtandthelandscapedark.Cameras

alwaysstrugglen thesestuatons,andthe endresult

usuallyoverexposesthe sky,orunnaturallydarkensthe

foreground.BycarefullyalgnngoneormoreNDgrads

overthesky,Icanselectashutterspeedtocorrectly

exposethedarkforeground,whleretanngthecolours

nthebrghtersky.Icarrysxgrads:one-,two-and

three-stopsnbothsoftandhardedge.

2)BlueSkieS: Itsnosecretthatpolarsersworkwell

wthblueskes.Whenshootngatrghtanglestothe

sun,a polarsernotceablybooststhesaturaton n

thesky.Ipartcularlylkeusngonewhentheskys

illedwth puywhteclouds.Thecloudsbreakupthe

ntenseblueandtheresultsstrkng.Beawareofyour

focal lengthwhenusngapolarserforthspurpose;

fyouareshootngwthawde-anglelensyoumay

notceunevenpolarsatonacrossthe sky.

3)WaterfallS:Whenshootngwaterfalls,norder

tosmooththewaterIlketoselectashutterspeedo

severalseconds.Asmanywaterfallsarelocatedn d

woods,sometmesmycameracanachevethsslo

shutterspeedwthoutassstance,butfnotthenIw

attachasoldNDiltertoextendtheexposuretme.

Thelong-exposureeectonmovngwatersabto

aMarmtethng;somepeoplereallydonotlkethe

eect,butpersonallyIlovet!

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TravelPhoTograPhy

T   55TheulTimaTeGuide TophoToGraphy

TheworldisfullofincrediblesighTs,peopleandadvenTures,sowhylimiTyourphoTographyTo

jusToneparTofiT?prepareforanadvenTureinToTheexciTingworldofTravelphoTography…

Image:Jon hIcks

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56   Travel

1Travl guds suchasLonely Planet

andRoughGuides aralaysagood

startngpontasyoucanindout lots

of nformatonaboutdstnatons–hnto

go/hnnottogo,thxpctdathr/

clmat,currncy,vsa rqurmnts,hat to

sandgttng round,as ll ashrto

stay andhr toat.

2Vst mag-sharngbstssuch

asFlckror 500px,thnsarch your

dstnaton, stbackand admr loads

ofgratmagsthatll gvyouan daof

thscnryandsubjctmattryou’r lkly

toncountr.Youcouldvncontactsom

ofthphotographrsfor toptps.

3

Fndout thsunrsandsunst tms

forthplacsyou’ll bvstng,so you

havan daofhntogtupand

ho latyou’llndto stayout. If t’s rlvant,td tmsshouldalsob nvstgatd, andt’s

alaysorthchckngthathrforcast

thdaybforyousto.

4Usth ntrnt togathr

nformatononspcicthngs,

suchas carnvals, fstvalsand

clbratons,hrandhnthy tak

plac,hotogt thrandsoon.It may

alsoborthindnga localgudto assst

you– ths canb organsdfromhomby

contactng thrlvanttourstboard,or

hnyouarrvatyourhotl.

5Complailof rfrncmatral

that youcantakthyou. Ths can

bprntd shts, oryoucancrat

adocumntonyour laptopor tablt.Drag

anddropmagsortak scrngrabsof

nsprngmags/vsual das you’v found

onlnandputthmntoanalbumandnot

usfulnams, addrsss,tms,dats tc.

6Maksuryou takth rght clothng

and footar– youdon’tanttobtoohotor toocold,andblstrson

trdftcanhndrcratvty!Alays pack

somblstrplastrs, asll asordnary

plastrs andpankllrs.A hats ssntal for

hotclmatsplusfactor30+suncram!

7Bformbarkngon anovrsas trp,

chckthyour localGP orpractc

nursf youndany vaccnatons.

Rgular travllrs arlkly tobupto

datth jabsforthngs lkTtanus,Polo,

TyphodandHpatts B.Youmay alsond

shotsaganstMalara,YlloFvrorRabs.

THeReAReFew thngsn lf that armorxctngthanplannnga trp tosomhrn.Thorld samuch

smallrplacthan tas just a fyars ago,thrlatvly lo-costtravl accssbl toall.Thr’smorto travl photography thanshongupandpontng yourcamran thrght drcton,hovr. Prparatonshalfthbattl,andt’s noasr thanvrbfor torsarchyour dstnatonbforyour arrv. Bng nthrghtplacatthrght tmandquppdth thrghtskllsllhlp stackthoddsn your favour.Youdon’thav tobhadng tothothr

sdof thorld,or anyhrspcally

xotc, butthantcpatonof allthosnsghts andsounds s thrllngand nsprng.Asphotographrs,thr’sanxtraattractontobngabl toshootbrandnscnsandsubjcts.Ths scton spackdthvrythngyoundto prpar foryourtrp,makthmostof thopportuntsandrturnthamazngmags.

LonelyPlanettravelguidesFrom£12

www.amazon.co.uk 

LonelyPlanet travlguds

arncrdblypopular– thr

broadrangofxprtadvc

andnsght ntopopular

locatonsaroundthorld

maks thma must-hav

fortravlphotographrs lookngforaalth

of nformatonandnspratonalmags.Try

on– you'llb mprssd!

TPOTY From£7.99

www.tpoty.com

Thrarsx volums n

thTravel Photographer 

of theYear srsofbooks

– Journeys1-6. eachon

contansnnngntrs

to thTPOTYcomptton

fora spcic yar,so thy’rpackdth

amazng mags fromallovrthorldand

ara gratsourcof dasandnspraton.

l  e e F  R  O s  T 

Bepreparedforyourphotoadventure!

Beingintherightplaceattherighttimeandequippedwith

therightskillswillhelpstacktheoddsinyourfavour

Plan&prepare

Essentialreading

byfailingtoprepare,youarepreparingtofail.whenyou’re

travellingacrosstheglobe,alittleresearchcangoalongway

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Trave

DigitalSLRPhotography£5www.digitalslrphoto.com

Don’tforgetyourfavourte

photomagwhenyouhead

otodstant shores!We

areavalable nelectronc

formatfor thePhone,Pad

andKndle Fre andwe’re

currently oerngivessues forjust£5 –

gvng youplenty toread andlotsof deas

to trywhle you’re travellng theworld!

EyewitnessTravel From£7.99

www.amazon.co.uk 

Thesetravelgudesby

publsherDorlngKndersley

arewellworthcheckng

out– they’re notonly

packedwthessental

nformatonabouta

destnaton,butalsowellllustratedwth

colour magesto gve youan deaofwhat’s

there,plusmapstoindyourwayaround.

TRVLFreeitunes.apple.com

Downloadthe freePad

appforaccessto over 150

ssues packedwthfantastc

travel mages.There’s alsoa

fantastcbook avalable va

theAppbycontrbutorand

toptravelpro PeterAdamscontanng50

essays, magesandnstructonalvdeos for

 just£2.99– deal f youtravelwthan Pad.

WithinTheFrame£24.19www.amazon.co.uk 

Wrttenandllustrated

byDavdduChemn, ths

book sallaboutindng

andexpressngyour

photographcvsonwth

specic referencetotravel.

It’sa great tometo takeonyourtravels ast’s

full of deasandnsprngmagessoyoucan

refer totwhenyourcreatvty swearng thn.

 j   ohnb I   r  Ch

Q DoIneedtotakeproofthatIownallcameraequpmentItakewthme?

Itshouldn’tbean ssue,butwhenenterngs

countresyoumaybequestonedaboutwhyhavelotsofgear.Ifyou’reconcerned,takecoofyourrecepts,oralstofallthetems,tosa

tmeatcustomsfyougethassled.

Q WherecanIgetvsasfrom?

Itusedtobethatyouappledtotherelevantmnstrynyourowncountry,but

thesedaysyoucanusetheservcesofVsaHwhchtakesallthehassleoutofgettngvsasvrtuallyanycountryntheworld–headto

www.vsahq.co.ukformorenfo.

QShouldIletsomeoneknowwhereI’m

gongbeforeIseto?Ifyou’retravellngalone,especallyanywheremote,t’sworthlettngfrendsandfamlykyourtneraryandplans–gvethemacopy

ftheydon’thearfromyoutheyatleasthavedeaofwhereyoushouldbe.

Q Wllmymoblephoneworkabroad?

Itshould,butcheckwthyour

servceprovderrstasft’sanewphoneandyou’ve

neverusedtoverseastmayneedtobeactvated.Ifyou’re

gongtospendweeksnacountrytmaybe

worthbuyngasmcardlocallytosaveonphonechargesormaybeevenacheapphoneandsm.

Q HowcanIindoutnadvancefa

destnatons dangerous?

TheForegnOicessuestraveladvce fora

countresandterrtoresand thsresourceupdatedon aregularbass,especallyforplwhere there spoltcal unrestor outbreaks

ofdsease.Vst https://www.gov.uk/foregtravel-advce formore nfo.

TravelQ&A

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58   Travel

Travelphotography isbu cun

ccf cbdcumnnnnndn ccuc, und

mkuu dju . am mund u nu’ b

ndub,bcuw uku’ n

c, ndnn unndnumm

nwnundwf nddck.

luwm mdb n b

cnddf uwn dfxcb

c cck-n– nx k mn

undunun wfmnnd

dn dbf uu nd.

tdundn’ mbcuwu’

nwf wkmn,u’ ncun

mubjcnd u’ nd mqumn.snd

mwknuwc mu’ muuf.

Bekitsmart!

Essentialitems

Lenschoice

DOn’tpackeverythingbutthekitchensink

–smarttravelphOtOgrapherspacklight

anDOnlytakewhattheythinkthey’lluse…

Tripod

t mu fdwnnd

-dukwn

u’ ndnd

w. yudn’ c

wd, bu

uwnd d!gf

cmc(fb)cbn-

bmd’n

bubndqu w

b d,wcwn kw ndbukdwn.

Digital camera

anmkmdfcm

ud m

cmmnfuu’

nd.pbd bu

bu’b nd.

t’ b df

m, Dslr ndCsC

fuudcnn n

m.if uwbd,

kb ncnckudmd/n.

Backpack

adcnbckckud

ccmmd ukf

junu,nwn

uc u ucn

m muwn’

nd m ndck

m nu uc ck

mw n d.

t md

–wcmmndmf ufu n ud.

Memory cards

id,uwnnu

cd udn’

fmdun.

Fm, 16gBcd

f dzn8gBcdw b

ucnf fn-n

,wwnd

16gB+d.i dndn

ucmndw-

u!if ndub,km nunk u’u.

Ultra wide-angle zoom

inubf ccu,

ndcwuwn

m fund,nd

nubjcw mnu

n-f-wnd dn

cnbud ddmc

u. Ffu-fmw’

kn14-24mm,17-40mm

16-35mm,ndfaps-C

10-20mm 11-22mmc.

Standardzoom

Fnu,nddzm

dxndnfmmd

wd-n,f ccu

ndcnc,

f.Cfcun

mk ufufd,

nndbc.yu’u

nm nn.

a24-70mmf fu-fmnd

n18-55mmzmfaps-C.

Telezoom

tubnd, u

m nu

mmd, zm

cnbnubf cndd

nd,nd n

ccund ndc,

ndnwdfnd

cn.Fbfu-fm

ndaps-C 70-200mm

70-300mmw dck.

Fast prime lens

ac50mmf/1.8 (35mm

faps-Cn)nddn

cnb nubf n

ndd nw.t

ncmcnd

kumnmb

c,ndu’bb k

nncuzm

bcmw.pmn

ncdb.

TheulTimaTeGuide TophoToGraphy

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Trave

Q Isequipmentcoveredbyhouse

insurancewhenI’mabroad?

Itshoudbe,butmakesureyouknowt

mtsandrestrctons–youmayneedt

specfytemsofhghvaueandasocheyou’recoveredfornternatonatrave

ratherthanEuropeanony.Forspeca

cover,checkwthwww.goverhowe.co

www.towergatensurance.co.uk,

www.camerasure.co.ukand

www.aaduk.com.

QWhat’sthemaximumsizefor

handluggageon mostairlines

Youneedtocheckwthyourarneas

theszemtdoesvary,butt’susuay

56cmongx45cmwdex25cmdeep

Theweghtmtasovaresfrom6kgt

unspecied,dependngon thearne

Somearnessmpystatethatyoum

beabetoftthebagntotheoverheadockerwthoutassstance!

QWhichisthebestplaceforlens

Trywww.ensesforhre.co.uk,

www.enspmp.com,www.caumetre

co.ukandwww.hreacamera.com.

Remembertoetthehrerknowwher

you’betakngtheens,ncaseyou

needextra nsurancecover.

Q Brandedbatteriesareexpensiv

Arecheaper‘fakes’safetouse?

You’indcheapaternatvesonAma

andeBay–theyoftencostaquartero

prceofthemaker’sownandthought

maynotastasong,theyusuaywork

ineandmaketaordabetocarrysespares.Awayspacksparebatteresn

handuggageandnotnthehodwhe

lyng– ftheycauseairet’seaserto

wthnthecabn!

QMyhandluggageisoverthelim

howcanIavoidexcesscharges

Aphotographer’svestprovdesagre

waytocarryextracameragearwhen

you’recheckngnatarportsasnoon

weghsyou,andthevestwhaveots

pocketswhereyou can ‘hde’equpm

TravelQ&A

Don’tforget...

Laptop& harddrive

A aptopor netbook s

usefuas youcandownoad

yourmemorycards to t,or

ontoaportabehard drve,

soyouhavea your mages

backedup aswe ason the

memorycards.You’aso

have accessto thenternet

andema pus thefacty to

process mageswhe away.

Filters

Acrcuarpoarser sadeinte

must-have,pusacoupeof

NDgrads–0.3and0.6canbe

usedndvduayor together.

Ifyou’rentoshootng ong

exposuresasopackyour

ten-stop (orsmar)ND iter

andmaybea weakerND

wtha denstyof0.6or0.9for

moregenerause.

Cleaningkit

Cameras, ensesanditers

getgrubbywhenyou’re

traveng,anddustand

sandcanpayhavocwth

your kt, sopack somebasc

ceanng tems– anant-

statc brush, ceannglud,

sensor swabs,mcroibre

cothsandabowerto keep

everythngcean.

Pro tipTomakethechargingof

batteries,laptops,phones

etceasier,packafour-gang

extensionleadsoyouonlyneed

onewallsocket tochargefouritemsatthesametime.

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“Myfavouritetechnique...”Stitchingpanoramas“Fome,thewodaeitscomfotab to a 3:2 aspect ato. Aso,

theuseof awde-age es toecompassa expasesceecapush

eethgtoofaawawth toomuchfoegoudad sk, compaed

toshootgthesceeasapaoamawth a oge es.Befoe statg,

I esuetheotatgpatfoms eeedadthecameas settomauato

mataeeexposuesfo eachfame.WhteBaaces set foDaght,

aga tomatacosstec.Thefamesaeoeappedat east30%ad

sttchedwthPhotoshop’sPhotomege.Foa esesothe tham 70-

200mm,a oda a sittedtothe tpodheadat thecoectpostofo

theodapotof the es ad thecameaattachedpotatoetato.

Tt-shft esescaasobeused fo shootgpaosb takga fameat

eachedoftheshft, ethe upaddowosde tosde.Ths techque

gesa supe-wdeiedofewwthmCao17mmTS-E es.”

60   Travel

I’vEBEEnvEryfotuateto haehadthe

oppotut tosteecoutom

bucket stadthesome. Theumbeof

coutes stedtodatestadsat aoud

85ad twoudbecetomake t100befoe

fodgupmtpod's egsfo the ast tme.I tedtogoawa fouptoamoth,fou

tmesa ea,ad atps, egadessof

egth,aefoowedbseeaweeksof

edesspost-poducto.

"Lfeasa taephotogaphecabea e

oeexstece. Iw oftegodashad

takgto aoeapat fomhotestao

watestakgm odes estauats.

Athough thedas capassqutequck

f I’mbusshootg,t’s theogjoues

otmeswhetheweathe’sbad that

homesckesscakck. Thakfuthss

wheeSkpecabe ageatmoaebooste

whecatchgupwthhome.

"Iawas teacheatohae somepe-paedtpsto ewocatoso those

wheeaupdatetommagess equed.

The estof the eas opeadI wdscuss

cuet taetedswthmedtoat

Cobs befoemakgafuthebookgs.

"Foeas, teetsteskeFckad

mco-stockageceshaeloodedthe

maketwthcheapmagesaddedow

pces.Howee,afteecetspeakgto

apctue eseache,theeappeas tobe a

tedfohgh-edcetspagfapcesfo

excuseghtstoaodthe skof compettos

usgthe same mage.I hopehe’s ght!”

1)ShelbySeePedesianBidge,Nashille,USA.Exposue:1/160seca/10(ISO100).2)NewYokPublicLibay,NewYokCiy,USA.Exposue:1/25seca/2(ISO1250). 3)Agoodixosubjecaeinceaseshepoenialosocksales.

1

2

mAStErOftrAvEL…

JonwasboninConwallin

1962.HiswokingliebeganinHmDockyad,Deonpo,buaeeighyeasasashipwighheebakedonan oeland

ipoKahanduandlaunchedhiselasaaelphoogaphe.Hisbigbeakcaein1999whenhejoinedCobis,andaeyeasohadwokhewasableoealisehisdeaandeanaliingasaull-ieaelphoogaphe.

Biography

JonHicks

3

 j   onHI    Ck  S  

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Trave

Jon’skitbag1)LoweproVertex200AWAreaygoodbagthatsasoarnecarry-oncompatbe.2)ThnkTankRetrospectve5AshouderbagformyOympusOM-DMcroFour-Thrdskt.3)AppleMacbookProlaptopFordownoadngcardsandtakngtothefamyonSkype.Movestooon ongtran rdes.

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andtts.Incredbyusefuandmyfavourte ensforpanoramas.12)OlympusOM-DEM-5Perfectfor'gongcommando'whenshootngnsubways,museums.13)PanasoncLumx7-14mmf/4Asuper-wdezoom(14-28mmequvaent). Perfectfor nterors.14)OlympusZUIKO45mmf/1.8Afastteephoto(90mmequvaent)that'srazor-sharp.

15)PanasoncLumx20mmf/1.7(Shownoncamera)Astandardens(40mmequvaent)that’stheszeofaenscapandsharpwdeopenatf/1.7.16)Canonrght-angleinderGoodforveryoweveworkandforshootngookngstraghtup.17)Gtzocarbon-ibre trpodI'vehadtforyearsandforgottenthemodenumber,butthsGtzohasneveretmedown.

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 j   onhi    ck  s  

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lFst

“IaeysoototatseI’mteUK,utt’samajoatofatIdoeI’mtae.Ioeto

meeteoe fomdeetcutues,sedtmettemadteact,adteotatsIetuometoftemaketetfomefamoesatsfy.Teumaacesamaz!

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mysujectteestt.Sadesasafeet.Teetacetoaudsasooodfyouataackackoud,oI’osemysujectaasttetsotemaesaemoecotast.I aaystededto focusmauayomysuject’seyes,utscestctoaCaoEOS5DMkIII,cassueautofocus, I tedtousese-otAF.IoecaactefufacessoItedtoatatetoadsodeeoeadItkeyecotactseaymotat,soImaysoottmysujectookattecamea.Youcaeasomucaouta esoy ‘ead’teeyes.”

62   Travel   TheulTimaTeGuide TophoToGraphy

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QShouldIgetmysubjectstosign

amodelreleaseform?

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QShouldIsendmysubjectsphotos?

Tatoudeaeayceestue.Mayeoeaeemaosoyoucoudsedmaestatay.Otese,takeaoteofteaddessadutafetsteosteyouetackome.

TravelQ&A

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brettharkness

l  e e f  r  o s  t 

BrettHarkness

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“Mydocumentaryportratsare shot– lkmyweddngs–veryquckly.Itmaybeabreencounternthestreetoraslowerbuld-upoveracupoftea.Itendtostnaplaceforawhle,justallowngpeopletogetusedtomIuseaCanon50mmf/1.2formostofmytr

work,asIindtthebestenvronmentalporlens.I ama greatbelevernwhatI call‘slenacceptance’.Byths Imeanapproachngasubjectandjustbybodylanguageandfacagesturesthere’samutualunderstandngthapcturespermtted.Ilovethatconnectoandthe50mmlensforcesmetonvadethesubject’spersonalspacesothe portratsstronger.Ioftenplacemysubjectnthecenoftheframeasthsdrawstheeyetothem.shootpeoplewherethey’vestopped,I donturnthemntobetterlghtorposethem.Iwtobetruetothemoment.”

Proview3

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64   Travel

l  e e f  r  o s  t 

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l  e e f  r  o s  t 

l  e e f  r  o s  t 

2

3

TravelQ&A

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compostonswllbe smple, colourfuland

graphc–andyouneedthesunto below

tocastshadowsthat revealtextureand

emphasseshapes.But fyou’reheadngtoa

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whenshootngbeachscenesbeneathblue

sky.Overheadsunalsoworksforurban

landscapesn prettymucheverycountry.

Tomakethemostofany trpyouneed

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gettngupearly, stayngoutlate, donga lot

ofwalkngaroundandillngeachdaywth

asmuchphotographyasyoucan.Travel

sderentfromholdayng–holdaysare

meant toberelaxng,butaftera successful

photoadventure, you’llneeda holday.If you

don’tyou’vebeentakng t tooeasy!

1)Earystartsareoftenrequredtomakethemostofthemornngght.Asthsmageproves,t'swortht!2&3)Thesoftghtatduskanddawnshardtobeatfyouwantyourtravemagestobefuofmood.4)Asweasmoretradtonaocatons,whynotpanatrptosomewherereayamazng–keAntarctca?

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nvovedmesneakngoutat4amnthemornngwhethefamywereseepng,drvngtoaocatonnthedarkandsettngupnthepredawnght.

Standngontheedgeofawdernesscanyon,watchng thedeveopngsunrseenfod, sa fantastcfeeng–andthefamyhadagreattme,too!”

Proview

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66   Travel   TheulTimaTeGuide TophoToGraphy

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1 3

2

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LFst

“Capturnga pace’ssprt swhat

attractsmetotravephotography.

Iovethechaengeofarrvng

andtakng mages thatte a story,makng

thevewerfeeke they’rethere.Sometmest’spossbetodothatnasngemage,but

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pecesmaybeportrats,detas,textures,

street scenes, andscapes– whatevert takes.

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somethngke shadowscastacrossawacan

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mpressons. If somethngcatchesmy eyethen

I’shoott.Idondthatt’sbettertoshootand

edtaterthangnoreandhaveregrets.”

Proview

TraveTheuLTimaTeGuide TophoToGraphy

l  e e f  r  o s  t 

l  e e f  r  o s  t 

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ptas

“AsenseofpacestheessenceofwhatI’mtryngtocaptureonmytraves,toconveyaspr

oftheocaton,afeengofwhattmghtbeketobethere–toamostbeabeto‘sme

thescene.Before travengweusuayhavepreconceptonsofwhatapaceskeandwhe theycoudbe abeedas cchés,thearesomeofthekeyshotstocapture.Trave

toVetnamrecenty,myheadwasedwtmagesofrcepaddes,htrbes,tempes,lowerseersonbcycesetc,butasthewo

gets ncreasngyhomogeneoust becomehardertoseederences.Thsswherersmpressonsare mportant,beforethesens

havebecomeattunedtoanewenvronme“Getoutandstartshootngas soonas y

can,makngmentanotesofwhatyound

nterestngandspeccto thedestnaton.Trynottobecomebaséaboutthesesubjemattersandcontnuetoshootandmprov

onthemthroughoutthetrp.Itcanbedictoseeascenethatperfectysumsupapaceeementsmaybetherebuttomakethe

photographmorenterestngtneedsahueement.Askaocatowakthroughthesceandmaybecarrywthyouantemofcothn

forthem towear foradded cuturareferen

Proview

QIsitworthpayingforalocalguide?

Itcanbefyouneedtondyourwayaroundbusymarketsandmednas.Agudewknowapacekethebackoftherhand,wgetyouothebeatentrackandovercomeanguagebarrers.

QShouldIgobacktothesame

placesmorethanonce?

Thatcandenteyhepyougetafeefor

thepace–youcan’texpecttogetthebestshotsonyourrstvst.Gobackonderendaysandatderenttmesofdaysoyoucancapturethechangngmoodofapace.

QIsitworthattendinglocal

festivitiesandcarnivals?

Absoutey–theyarengranednthecutureofmanypacessoyou’haveotsofopportuntestotakephotographsthatcapture thecharacterofthepeopeandthetradtons. InBhutan,forexampe, festvasareanmportantpartofocacutureandtapacereguarythroughouttheyear.

TravelQ&A

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68   Travel

UltimatekitfortravelTravellighTandTravelsmarT ifyou’replanningaphoToadvenTureoverseasandfancyinvesTingin

somenewphoTokiT,here’saselecTionofourfavouriTeTravelTripods,bagsandaccessories

CompaCtCamera:udslrt.acscp’lxgf7fj’X-T10 tt,tc’pstg16-qttttn’aw200ttt!

polarisingfilter:mtttttxtt .bth,b+w,c,lfthT.

spudzlensClotH:ptt

tttt-qttttq.

maxellairstasH:Tttw-fsdtpp.

portableHd: i’ ttt,t-tt.Twtdtpt–tt2Tbt£80.

sparebatterY:i’tttt,tttttttj.p!

Contacts

Travelaccessories

Benro:...Giotto’s:.tt-t..Gitzo:.tz..Lowepro:...Manfrotto:.tt..Peli:..Tamrac:.t..ThinkTank:.ttt.WesternDigital:..

BenroTravelAngel II

£200

Benro’sAngel range ncludes ths

carbon-ibreC2682TB1kt,whch

hasa maxmumheghtof 1.64m.

Ituses the180°legstoragedesgn

too, gvnga storedlengthof46cm

andncludesa ball & socket head.

It’ssturdy,but heaver thanothers.

Giotto’sVitruvianVGRN9225

£160

Vtruvan trpodshavereverse

technology legsthatfold through

180°degrees tosurroundthetrpod

centrecolumnandhead,makng

themmorecompact forstorage.

Suppledwth aball & sockethead.

A greatrangeof travel trpods.

GitzoGK1580TQR5Traveler

£520

Wantthe ultmatetravel trpod?

Thscarbon-ibreGtzoweghsonly

1.1kgand s just 35cmwhenstored,

yetextendsto 1.49mandwth the

suppledball & socketheadcanhold

loadsupto5.5kg.Great stabltyand

durablty,but atamuchhgherprce.

ManfrottoBeFree

£140

Anothertravel trpodwththe

nnovatvereverse-legstorage

beneit. In tsclosedpostont sonly

40cm longyet hasamaxmumheght

of 1.4m.Madefromalumnumand

suppledwth aball & sockethead.

A goodchocef you travel regularly.

w

tt.Ttt...

TravelTripods

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TraveTheulTimaTeGuide TophoToGraphy

Ifyou’reonaserousphototrpandwantthe

convenenceoeredbyarollerbag,youwon’tget

better thanthese...

Inneedofaspacousbackpacktoholdamedum

tolargeoutit?Consderthese comfortable and

protectveoptons...

roller

baGs

phoTobackpacks

LoweproVertex200AW

£140

It’s been arounda number

of years butstipopuar

withtrave (andandscape)photographers who prefer

its conventionadesign.

Hods a coupeof DSLRs,

haf a dozen enses, aptop

andotsof accessories. It's

ruggeddesign makes it good

for use in tough conditions.

ThinkTankAirportNavigator

£175

If youdon’t need anything

toobig,thencheck out

this neat roerbag,which

despite the smaer size, can

hod twoDSLRs, ateast

four ensesand pentyof

accessories, pusaptop

too. It boastseasyaccess,

a shouder strap as we as

pu-hande.Madeto Think

Tank’s usua highstandards.

TamracAnvil23

£260

A new, ightweight and

high-quaity bag. Cabin-

friendy, accepts up to a 15inaptop and arge DSLR or

two with teezoom, severa

enses, lashguns and

accessories. Aso incudes a

utiity bet that can be worn

to support the bag, or used

separatey with pouches.

PelicanPeli1510

£170

Designedto be waterproof,

crushproof and dustproof,

Pei casesoer the utimatein

protection. The 1510meets

carry-onrequirements for

most majorairinesand oers

a retractabe extension hande

and strong poyurethane

whees. If you reguary trave

with expensivekit, this is an

option weworth considering.

ManfrottoPro50

£180

Aimedat serious

photographers, thisbo

muti-ayeredprotecand canbe used with s

or bothshouderstra

It’sspacious,hodin

two DSLRs, teezoo

severa enses, lashg

tabet, aptop, tripod

accessories.Cabin-frie

LoweproProRollerx100

£265

The smaest in Lowepro’s

x-series,yet hods a coupe

of DSLRs,up to sixenses

pusotsof accessories. Its

modern design incudes

neat wheeand ock

features, higheve of

protection pusa cever

secret – the inner section is

removabe andconvertsinto

a fuy-protected backpack!

ManfrottoRollerBag

£300

A greatchoice if yout

with ots of kit, hodin

coupeof DSLRs,at ea

a dozen enses, lashg

aptop, tabet, tripod

other accessories. A n

touch is the retainer st

that hod the frontco

openwhen accessing

Styish, exceent prote

andcabin-friendy to

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72   Macro   TheulTimaTeGuide TophoToGraphy

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haheae faeeeeaaeaeheamfeh-f-ie.

Aee-me ea fheaae.

Meteringmode:Multi-zone

AfeefeeaEaae

Maxmee.Ihhhaeaae.Hee, aeeee

aha a h e.

Camerasettings

1Apertures&depth-of-fieldDepth-of-ednormayextends

roughy one-thrd nfrontof thepont of

focus andtwo-thrdsbeyondt.However,

whenshootng cose-ups, thsratoaterssghty, wththe zoneof focus fang

moreevenyethersde ofthe pontof

focus.Depth-of-ed s nherenty shaow

at hghermagncatons,so achevng

sucentdepth-of-ed s oneof thebggest

chaenges facngmacro photographers.

Athoughfoca ength andthe eve

of magncatonaect depth-of-ed,

aperture s ts overrdngcontro. Wth

depth-of-edbengso mted,you mght

assume that theanswer woudbe toaways

seecta sma aperture– forexampe,

f/16.Therewndeed be tmes when ths

s thebestopton. However,dongso w

notaways be practcaor desrabe. Thecorrespondngshutter speedmay grow

mpractcay sow;whe a otof depth-of-

edwon’t guarantee themostpeasng

resut.Forexampe,for somesubjects,

otsof depth-of-edw be yourprorty

nordertorecordyoursubject sharpthroughout; forothers, youmght favour a

shaowdepth-of-edto pace emphass

onyour subject orfoca pont.The keys to

understand howdepth-of-edaects your

subject – your choceof f/stopshoudbe

determned by the subject,stuaton andthe

resut youwant.

LveVewcan hepdetermne whether

thef/numberseected s sutabe ornot. On

somedgtaSLRs, LveVewgves an honest

revewof theextent ofdepth-of-edatany

gvenaperture– adjustthe f/stopand the

LveVewmage water accordngy.On

othermodes, youwneedto depress the

camera’s‘prevew’buttonn ordertogeta‘ve’ vsua of the extent of depth-of-ed.

R  O S   S  H ODDi   n OT T 

R  O S   S  H ODDi   n OT T 

Gettingstarted:EssentialtechniquesIMprovEyoursuccEssrAtEsubstAntIAllybysEttIngupyourcAMErAForsHootIngclosEupsubjEctsIndEtAIl.HErEArEtHEEssEntIAltIpstHAtyounEEdtoknowtobAgyoursElFsoMEgrEAtMAcroIMAgEs

2Focusing

Depth-of-eds renownedforbeng shaow at hgher

magncatons;so there s noroom

forerrorwhen focusng. ideay, you

w be usng a trpod. A support not

ony emnates therskof ‘shake’,but

t aows photographersto pace ther

pont of focus wthgreat precson.

Youcanuse autofocus, butwhen

workng so coseto thesubject,AF

canstrugge toock onto nedeta,

‘huntng’backand forth. Manua focus

s a morereabe opton, partcuary

appedvaLveVew.

LveVews a great focusngad.

Usng the‘zoom’button, t s possbetomagnfy specc areas – for

exampe,an nsect’s eye– norder

to make veryne adjustments. Wth

some subjects you have nochoce

butto shoot handhed– forexampe,

whenstakngbutterles. When

worknghandhed,t canbe dcut

keepng subjects nfocus – nudge

even sghtyback orforthandthe

subject w drft outof thefoca pane.

To enhance your chances ofsharp

resuts, optfor a smaer aperture to

provdea arger depth-of-ed. if the

resutngshutterspeed grows too

sow, ncreaseiSOaccordngy.

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MacroTheulTimaTeGuide TophoToGraphy

WhiteBalance:Auto

LeavngWhteBalanceonAutomatcwllbeinenmostnstances.However,whenphotographngsubjectsofpredomnatelyonecolour,

tcanbefooled,soswtchtotheappropratepreset.

Shutter:Mirrorlock-up/Self-timer(withtripod)

Thetnestmovementcanaectcrtcalsharpness.Usngmrrorlock-up(wtharemoterelease)orthe

self-tmerfacltyhelpsmaxmsesharpness.

ISOrating:ISO100

Whenpractcal,keepyourcamISOattsnatvesettng–donwllkeepnosetoamnmumshootnghandheld,orphotog

asubjectwthmovement,ncreaseISOaccordn

3CompositionBenga tecncaycompetentmacro

potograperdoesn’t guaranteeyourcose-

upswbegood.Tesksof compostonare

 just as reevant tocose-up potograpy –

gnorete artstc sde, andyourmacrosots

w notbe memorabe.It's mportanttat you

reman magnatveand creatve.

Oneof tebggesttemptatonsfor

cose-up potograperss tote frame

wt tersubject. We dongsocanmaxmsempact, avodngte framefor

tesakeoft.Intentonay eavng a degreeof

negatvespace aroundyoursubjectwmore

eectvey conveyte subject’ssze andscae.

Seectve focusngcan prove a good

compostonatoo. By usnga wder

aperture,kef/2.8 orf/4, youcan

ntentonaytrow everytng out of focus

otertan your subject orfoca pont.Dong

socanreayepdrectte eyeto your

ntendedpont, wtyour subject standng

outsarpy aganst dusedsurroundngs.

Seectve focusngcan epmpy dept.

Lookfor sape, formand repetton. Macro

potograpersavete abty to ggtmnature deta andtexture.Lnes cuttng

centray troug te frame, sucas mdrb

of a eaf, canookdynamc, partcuary

wenpaceddagonay.Don’t be afrad to

be unconventonaand be orgna.

Arguaby, te mostmportant tng to

remembers tokeep tngssmpe.If you

tryto cram toomucdeta nto your sots,

tey w ook overyfussyand tesubject’s

mpact wbe duted.Smpcty s often

tekeyngredent to acevng a strkngcompostonn cose-upsots.

r  O S   S  h ODDI   n OT T 

r  O S   S  h ODDI   n OT T 

4LightingYouneed totnk about

yourpostonvery carefuy –

oterwseyou maybock gt

fromttngyour subject.A degree

of gt s naturayostat ger

magncatons, too.Ts s ess

ofanssue wen sootng statc

subjects,as a trpodcan be usedsoud sutter speeds gettoosow

however, f yoursubject s movng

ncreasng teISO s a good way to

compensate.In owgt, las s

an opton. LED, rng-or twn-las

devces wcattac toteensar

avaabe, owevera relectorused

tobounceambentgt onto your

subject ooks morenatura.

Overeadgt canookars;

we wt front-tsubjects tcan b

dicut toavodyour ownsadow

Sdegtngs better – empassn

texture anddenngedges.

Backgtngs te mostdramatc,

toug. It wggt tnydeta,

ke ary lowerstems,and s we

suted to transucent subjects ke

eavesand tewngs of nsects.

Backgtngcan ncrease te rsk

of lareand foometerngsystems

toug, soattac a ens ood and

keepa ceck ontestogram.

Withoutreflec

Withreflector

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74   Macro   TheulTimaTeGuide TophoToGraphy

Springandsummer thbt

tofyfo hotohct.g,ow,woo

hth tcyoohbtt

fohotohbof

ty.Thk toco foc ,

hotohbto ct

xtoyt. ico-,o

ct -k,wthh,

oototy, , vco jw

ot. it owotht

thy’ fvotco-bjct.

photohct’ty, thoh.

Thycov ct totco to,

tcyly ct kbttl

ol. icthv tcytolyo

cywyjtyo y tothhtt,o yowtyoftc.

a ‘t’co (105)thbtchoc,

ov woktc.

Bckochoc kycoto.

my,tctbcko ct

.Thfo,whtkhoto,

kyoowyoyto oy

wo thf.excyth

tctbyth chyo

hoot hty, oby

w t tot

howth-of-.

athoht to

oct ctyt,

wh thybybzz

bot,th owh

thyotctv.gtt

ctyco o

ct,whyoohvo

cotoovwhthy owht

thyw o.mov bt,

wh ct ctv, to

tcoto,to thowtt.

dot ctyvowyoto

t to, totyocfy

ovbckooto

ct cbcko,o t’wwoth

ttvyy.

Whhotohlhty,y

tbbjct,ty towyk

yoovtto .

Fox, thovt

ofyohjtth

foccb t tk

foyobjct tovhto

thowtho ltt

wy.Thfo, tcb

wothwhfocyo

(o bybjctof

z)thowy

fow towyobjcttt

hthohthvw.

athohcthotohycb

y, fttb, thtc

ooktyxtoy.

Tfvnsctsttg

1)Dragonfly: Lensetsttenjwetnbtts.Tenbetet,ftenetnnt tese‘pe’t estbsk.Nbestst fneenet swnttewnet.

2)Butterfly: Ptennsets, ptwenbkt.Tekns,nszeetepennntpe.Esesttptpwenfeenn net-lwes.

3)laDyBirD:Sbtf nppennsets.Teeesennpte,sn

beentpensettnstet ptp,kebntlwee.Jstbeetewtte.

4)BumBleBee:Beesettptpwe.Wtnexttbeflwes,keene,nwtftetst.Seetspete,kef/11,tepeesentspnessf sensbjet.

5)grasshopper:Fnnseewsntssesneettn.Btketsnssppeskefse-psbjets.

r  o s   s  h o

ddi   n oT T 

r  o s   s  h o

ddi   n oT T 

     r     o     s     s     h     o     d     d     i     n     o     T     T

Water droplets

aftcoo, tht, ct'wwb

oth tyotofw.if yo

hotoh th thtyof ht,

yobjctwtok.

Shoot a silhouette

shottyobjctby hoott t

o tt . sct wh

yobjct’ otwcy

cobt fo thbcko.

InsectsBugS,crEEPycraWLiES,criTTErS–WhaTEvEryoucaLLThEm,youcaN’TdiSPuTEThEiraPPEaL

ico-,fctow

tot, ooyhotoh

bjct tcoto.

photohctbhvo.

Fox, ct htch,

lht,o voty.

myo how, o’tow

t tocoyo bjct,oyoy

fhttt cywy.

gt y tyottwh

ct t ctv, c thchcof ccf hoot.

Focothct’yto thy fctyh.

Summary:Shootinginsects Creativeideasfor insects

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r  o s   s  h o

ddi   n ot t 

r  o s   s  h o

ddi   n ot t 

Try adifferentangle

insecs aremoscommony sofromeer

a sdeorovereadvewpon.tryaead-on

vew nsead ocapureamorequrky

porra,or ryan unusua crop.

Makeyourownbackdrop

Bypacngabrgycoouredcardor

bendyoursubjec,youcanaddcoo

mpac oyourcomposon.Consde

subjec’soneswencoosnga coo

Try focus-stacking

take a seresof sos,adjusngyour foca

pon sgyeac frame,anden‘sack’

emages nPoosopo exenddep-

of-ed.handyagmagncaon.

1 2

Insecttutorial:rsshntt

We ebackgngnceyggs e

wngs of s fresy-emergeddamsely,

e sadowon s bodys ugy(1). te

seecedaperureof f/16as generaedan

unnecessary argedep-of-ed,we

surroundnggrassescreanga dsracng,

fussybackdrop. tensec sasovery

cenra,and nodomnanenoug n frame.

Asmarelecors used oreevee

sadowonedamsely'sbodyandbrgene mageovera. A argeraperure

off/8wasseeced,oep rowe nsec's

surroundngsouof focus.We camera

carefuypacedparae oensec,e f/

sopsgeneraes sucendep-of-ed.

Lasy,bymovngsgy coser, ensec

scapuredarger neframe.Pacng

sgyo eefof cenresrengense

nacomposon (2).

QHowdoIindnsectsubjects?Ifyouhaveagarden,thenthssagoodpacetostart.Nodoubt,youwfndbutterles,bugsandbeeshdngamongyourlowerbeds.Summer meadows,woodand,coasta ctopsand heathandamongthebestpacestoexpore.Itswortresearchngonnewhat naturereservesyohavecosetowhereyouve.Manysteswstwhatnsectfeyoucanexpecttoind,togetherwththebesttmeofyear.

QWon’ttheymovefIgettooclose?Thatsarskwthanywdsubject.However,fyouapproachcarefuy,youwoftengetwthnpcture-takngrange.Wthysubjectocated,gentymoventoposton.Avodsudden,jerkymovements,andtrynotdsturbthesurroundngvegetaton–nsectareverysenstvetomovementandvbrato

Q Ist okaytocaptureand refrgeratensectstomakethemmoredocle?

No,thssn’tethcapractce.Wdfephotographersshoudachevetherphotographsthroughacombnatonofsubjectknowedge,goodiedcraft,patencandsk.Itsfarmoresatsfyngtocapturea

greatnsectmagenthewd.

QHowdoIkeepasmuchofmysubjectfocusaspossble?

Inordertomaxmsewhateverdepth-of-iesavaabe,trykeepngthecameraparaetothesubject.Thssbecausetheresonyonegeometrcpaneofcompetesharpnessandbykeepngthecameraparaeyouwpacemuchofyoursubjectnthspaneaspossbe

InsectsQ&A

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76   Macro   TheulTimaTeGuide TophoToGraphy

i    s  t  o ck p h ot  o

r  o s   s  h oddi   n ot t 

r  o s   s  h oddi   n ot t 

r  o s   s  h oddi   n ot t 

Flowersarea fvumng

-uhgh–nhy

hf ubjnhhhnyu k.Bhn uv

vbn, nngn

ng. Fvy muhn u,

h, z,gnnuu, hhy

hgh nv-nnguy

fhun. Fhng

– hnn mn.Yun

yu ubj b, k fuy.

if hnguvbm,kh

fyub hyuf.

Bfngyuhn

hnqu,ky h’h

nfm. lk fm ng –g

nnkun. thm

nngvnmghb fmnyvh,bu fnyu

n kh fmh

ng, 45° ngkngnnh

’n.th yf,n

h, hyufm.

in-uyunhghghnv

ky u,hf yumv

, yunb gh.

shngu,uv gv

yumn. Yunh

n,hyun’hv

nnhh n.

dungh f

f-u, y

hngn nvy, yu-unm

bjnn.

sng,gh nmy

bv–nv

v, hh ghng

unnn nugyhghgh.

ahny -uubj, hbgg

ngh-f-.

akyuf;hmuhf hubj

yun nh fu?whn

hghng, hmv,

kngu fnhugh

ung vyhznffu.

Byfungvynky

n f n,n ng

vyhng fuf

fu, bu

bufun ufu

-u.Unfuny,

h nf-ff/

h yk.if yu

unuhh u,

k f mg ung

n f/numbhm.

whn hqun,n mg

hvju hgh v fh-f-.

a,by ngh, yuunnngf

h-f-qukyg.

Dropets

ang k,

nn yu mg.

agyn yuhknu

n ngy.

Usea wideaperture

rvyhng hn h b

nf n.in,u h

h-f-. Yu f n n

ugnbuuunng.

Create a background

c bkbyng h

fbhnyuubj.wh

uf; k uh

mmnhhyu ubj.

Creativeideasforlowers

Fowersthere’snodenyingthebeauty

andvarietyofflora.here’show

tosecuregreatclose-ups…

exnvn.ovh,-ngn vk.

ovgh u,hngyuuvyn,n nu.

tyngf h– h f f, hnf ng mnmyb–ubu.

innyh, u pm–fmvy– hyuubjfy .

ay,bkgunh mn– yknynh gngnbhnyuubj.

Summary:Shootinglowers

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r  o s   s  h oddi   n ot t 

r  o s   s  h oddi   n ot t 

Flowertutorial:rsshntt

Wensnglwer cse-ups, ep-

f-es renwnefr bengsaw.

terefre, wuseemgca seece

ens’s smaesaperuren rer generae

eargespssbeznef fcus.hwever,

ngswas renereveryngese

wn eframe mucsarper, makng

backgruneemensmresracng(seeexampe,rg).in s nsance,an aperure

f f/22 prucesa ‘busy’cmpsnan

evewer’s eyesn’surewere see.

Bypng fra weraperure, s

pssbepace mucmre empass

nyur gvenpnf fcus.in eabve

exampe,f/4 generaes emsaracve,

sawznef fcus.despebengaken

 jusmmensapar, ekf ew

magesarevasyeren. Anavanage

fusnga we aperure sa fasersuer

spee,usefu frfreezng mn.one

wnse,wenempynga weaperure,

yunee fcus veryprecsey.

Createa softfocuseect

ifyur cameraas a mupeexpsure

me, akene p sarpy fcuse,an

enaner nennayefcuse.te

resuwbe a reamy, sf fcuseec.

Shootdetail&patterns

tevens ansrucuref eavesare

parcuarypgenc. ifpssbe,s

emback agans esun–s eecw

gg nvua vensn neea.

after:/4

before: /22

QWhatexactys ‘gardenng’?

‘Gardenng’satermmacrophotographersuseforseectvey‘tdyngup’thersubject’sbackground.Thepractcepartcuaryappes towd-lowerphotography,when nearbygrasses, twgsanddeadfoagecancreatemessybackdroUsngscssors,youcanremoveanycutterfromthesubject’sforegroundorbackgroun

thatsprovngdstractng.

QDoIneedtoshootonastday?

Wndmovementsacommonprobwhenshootngoutdoors.However,tseatorectfywthpants,aslowersaren’tgontorunorlyawayfyouattempttostabsethem.Forexampe,anumbreaorwndbrcanbepacedcosebytoprotectyoursubjfromtheeements.Byusngheavy,cearpoythene,hednpostonbyahandfuofaumnumorwoodenrods,youcancreatyourveryownDIYwndbreak.

QWhchpartshoudIfocuson?

Thswgreatydependontheloweryourshootngange,thedepth-of-iedavaabeandtheeectyoudesre.Howeve

goodrueofthumbstofocusonthelowecentre,orthestamenscosesttothecamer

QAnytpsformagesharpness?

Athghermagnicatons,eventhesmaestcameraorsubjectmovementsexaggerated.Byusngatrpod,andtrggertheshutterwtharemotereease,youwpreventcameramoton.Byenabngmrrorock-up(fyourDSLRhasthefacty),tspossbeto emnate anynternavbratoncausedbymrrormovement.

Q Isapoarsngiterusefufor

lowerphotography?

Yes,apoarsercanproveveryusefu,reducanygareonpetasandeavesandrestorn

cooursaturaton.Theiterabsorbsup totwstopsofght,butsoongasyouareusngatrpod–andthelowersn’taectedbywnexposureengthshoudn’tposeanyprobem

QAnytoptpsformakngow-eve

photographymorecomfortabe?

Shootngcose-upsoftennvovesotsofkneeng,crouchngoryngdown.LveVeworarght-angeinderwmakecomposngow-evemageseaser.Itsasoworthcarryagroundsheettopreventyourcothnggettnggrubby.Kneepadsmakekneengfoproongedperodsmorecomfortabe,too.

FlowerQ&A

r  o s   s  h oddi   n ot t 

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4OilandwaterabstractsYou’ indthatbymxnga tteowth

water, youcancreateabstractpatterns

toshoot.A gassorPyrexdsh s deafor

dongths. Pacea ttewater nthedshand

thenaddsomeoveo (orsmar). Aso try

addnga sma amountofwashng-upqud

–dongsocanhepgvetheodropets

moredeinton.Pace thedshonbrghty

coouredpaperorcard toaddcoour mpact

toyourabstract-ookngcose-ups.

6ColourimpactCoourwgvecose-upsmpact.Yourhomeand

gardenarefuof brghtycoouredob

Toys,pens andpencs,drnkngstraw

lowers andfoage.Whencoours th

prncpa subjectmatter, thebrghter t

better.Optfor a frame-ingcrop, so

mageappearstobeoverlowngwth

Redandyeowarepartcuarystrkn

advancngcoours.Even, shadowess

woftenhepenhancethervbrancy

5CrosspolarisationSandwchngcear pastcobjects– kethrowaway

cuteryorgeometrysets –between

twopoarsngmaterasresutsncross

poarsaton.The eectproducesa

kaedoscopeofcoourswthn thestresses

of thepastcsurface.Computermontors

andtabetsarepoarsed, sosetthe screen

towhteandpaceyourobjectn frontof

t.Attachapoarserto your ens, rotatng t

untyou acheve just theeect youdesre.

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80   Macro   TheulTimaTeGuide TophoToGraphy

N

o day isevertheme– there

nrutne ntte repettn.

Lken nturephtgrpher,m

fe revverunthe ghtnwether.apruntoctberrem buet

enfr htng ce-up;wlwer

ren bmnnect nreptere

gnctve. Fwer nnect hve hrt

fepn, echmnthpreent erent

ubjectnfrehchenge.

“argemuntf tme pent recceng

ctn nerchng frutbe ubject:

rgnlenbutterle remng m

fvurte. Thrughut prngn ummer,

i vt utbe hbttn t mrnng,

whennectre rmnt.i nrm etup

trp ceb tgveme mre cntr n

crefu cnerghtng nbckgrun.

i preferwrkngwth nturght,but tretrct me twrkngn vertcntn.

ifthe wnpee mre thn 8-10mph,

ubjectgett wnbwn tbebet

fcu rcmpemgeccurte.

"The ummermnth retrng but

rewrng: m trt t4.30m buti

vereveng the ntrcce net f

mntureubject.i penmt fm n

thecectchngup n etng,prceng

nwrtng, theght tpchrh n

nect verctve.if thewetherpermt, i'

nh the htng nthewrm,evenng

ghtunt fter10pm. itcnbe ng ,

butphtgrph ctve– ujutn’t

knw when umght cpture tht pechtu’ve w beenwtngfr…"

r  o s   s  h oddi   n oT T 

r  o s   s  h oddi   n oT T 

rss’sktbg1)F-stopgearSatorEXP:Aargebakpak,erngtsktrm.Exeptnaymrtabe.2)NkonD800EandNkonD810:ThehgerestntheD810speretraptrngmnatredeta,andtheargeiesawradegreerppng.3)NIKKORAF-S105mmf/2.8GVRMcro:Agreataengthrmar.ItsszeandVRmaketthedeaensrhandhedse-ps.4)NIKKORAF200mmf/4DED-IFMcro:Ateephtmarawsaargewrkngdstane,deartmdnatre.Ideay,thsensshdbe trpd-mnted.

5)NIKKORAF-S16-35mmf/4GEDVR:Agreataengthrwde-ange,envrnmentase-psshwngbakgrndhabtat.6)GtzoSystematcGT3541LS:Sd,strdyegs.Theak aentre-mnawsme tqkyadjst rw-evewrk.7)Manfrotto405gearedhead:Thenrvaedpresnagearedheadmakestperetrmar.8)Heopan105mmcrcuarpoarser:Aparsersgreatrphtgraphnglwersandpants,restrngnatrarsatratn.9)Rght-angeinder:Idn’tseanangeinderveryten,btIstawaysarrynenaseIneedtrw-evewrk.

10)NkonMC-36remotecord:Whensngatrpd,Iwsearemterdtpreventhavngtphysaypresstheshtterbttn.11)Lastoterelector: Isea45mreletr,whhsmrethanadeqaterse-psbjets.12)WmbereyPamp:Myextrahand!IwtenseaPamptsteadymysbjetrhdthereletrnpae.13)LexarSDcards:Itsmprtanttawaysarrypentyextrastrage.14)Battery:LveVewsngandranbatteres,sIawaysarryapeyhargedspares.15)Scssors:Greatrwhenyneedtdatte‘gardenng’tasbjet’sbakgrnd.

13

2

2

13

14

7

9

12

15

4

10

11

6

8

5

MASTERofcLoSEuPS…

RossHoddinott

Rsshasbeenwrkngasa

-tmenatrephtgrapher

sne1997andsthewnnermtpeawards, ndngthe

BrtshWdePhtgraphyAwardsn2009.Hesthe

athr sevenphtgraphybks,ndng

DigitalMacroandClose-upPhotography , samember the2020VISIoNpht-teamand s

anAmbassadrrNknuK.

Biography

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MacroTheulTimaTeGuide TophoToGraphy

“Myfavouritetechnique...”Bckgtng"I ovebackightingminiaturesubjects.Thereis nobetter ighttype forhighightingtiny, intricatedetaior asubject’sshape. Itcanbehardtomanage, though; theriskoflare isgreaty increasedbyshootingtoward theightsource,whieTTLmeteringhasa tendencytounderexposebackit subjects,so I’mreguarycheckinghistogramsandoftenappyingpositiveexposurecompensation.Backightingsuitstransucent subjects, ikebutterliesanddamselies,particuarywe. Theight’sdirectioniuminates theirwings frombehind,exaggerating theircoour,markingsandhighightingeverytinyhairontheirbodies.It isnormayeasiertoachieveaceanbackdropwithbackit subjects, too, asyouwioftenbe shootingintoanareaofshade,whichcreatesasimpedark,contrastingbackdrop.Thereis asothetemptation togoonestepfurtherandsihouetteyour subject,whichcanproduceequay strikingresuts."

r  o s   s  h oddI   n oT T 

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WIMBERLEYPLAMP:Thisflexible armboastsaclampateachendandisamustformacroenthusiasts.Clamponeendtothetripodlegandtheothertoholdanobject,suchasaplantsteminthewind,orareflector.

SMALLSILVER/WHITEREFLECTOR:Aninexpensivecollapsiblereflectorcanmakearealdierencetoyourclose-upimages.Aswellasbouncinglightontoyoursubject,youcanalsousethewhitesideasabackdropinyourshots.

RIGHT-ANGLEFINDER:Thishandydeviceallowsfor comfortableviewingofanimagewhileclosetogroundlevel.Ofcourse,ifyourcamerahasavari-anglemonitor,youdon’tnecessarilyneedone!Brandedfinderscanbeexpensive,socheckoutbudgetmodelsfromindependentmakes likeSeagull.

MACRORINGFLASH:It’scommontoshootinsituationswherelightlevelsarelowandaburstofflashisawelcomeaddition.Amacroringflashisthebestoption,usingaseriesofflashheadsthatsitaroundthelenstoprovidedecentillumination.The£320SigmaEM-140DGMacroisapopularchoice.

REMOTERELEASE:Camerashakecanbeaproblemathighmagnification,sousearemotereleasetosnagstableshots.HahnelandHamamakedecentmodels,butourfavouriteisYongnuo’s£20TC-80– averitablebargain!

82   Ultimatekit   THEULTIMATEGUIDE TOPHOTOGRAPHY

Ultimatekit formacroTHERE’SNOESCAPINGITTOCREATEAMAZINGCLOSEUPIMAGESYOUWILLNEEDSOMESPECIALISTKIT.YOUNEEDN’TBREAKTHEBANKHOWEVER,ASTHEREARENOENDOFBUDGETCONSCIOUSMACROACCESSORIESOUTTHERETOO!

VelbonGEOE635D

£265

Madefrom carbon-fibreandbasalt,

the GEO oershigh stabilityas

wellas versatility.The two-section

centre-columncan be detached

forlow-level shootingat a height of

around 24cm. It comes suppliedwith

a PHD-65Qthree-way head.

Giotto’s YTL9353&MH1311head

£190

A solidall-purpose tripod that's also

a great choice forclose-ups.The 3D

column canbe rotatedthrough180°

andalong withthe low-angle adaptor

allows forlow-levelshooting(19cm).

The1311-652 ballheadoers friction

control foraddedprecision.

GitzoSeries2ExplorerGT2531EX

£460

Madewithoutcompromise, theGitzo

Explorerseries is theultimatechoice.

Madefrom lightweightandrobust

6xcarbon-fibre,legscan beset

independently at upto90°,while the

reversible centre-column oerseven

moreversatility. Thebestthere is.

Manfrotto055XPRO3&410head

£280

The latestin the classic055series

boasts extra versatilitythatmakes

it ideal forclose-ups,includinga 90°

centre-column mechanism, built-in

bubble level andminimumheight of

9cm.Use with the pro'sfavourite410

Junior or theX-PROthree-wayhead.

Thesegeneral-purpose

tripodscanbesettoverylowshootingheights,makingthemidealfor

macrowork

TRIPODS

FORMACRO

Contacts

Macroaccessories

Canon:www.canon.co.ukGiotto’s:www.giottos-tripods.co.ukGitzo:www.gitzo.co.ukKenko:www.intro2020.co.ukLowepro:www.lowepro.co.ukManfrotto:www.manfrotto.co.ukNikon:www.nikon.co.ukRaynox:www.amazon.co.ukRing48:www.amazon.co.ukSigma:www.sigma-imaging-uk.comTamron:www.tamron.eu/ukVelbon:www.velbon.uk

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RaynoxDCR-250

£50

Acut-price route intomacrophotography. This

excellentRaynoxDCR-250

SuperMacroConversion

Lensoerspremium

performanceanda+8

dioptremagnification. The

attachmentsimplyclipsonto

lenseswithfilter threads

from52mmto67mm.

Zeikosclose-upfilterset

£10

Close-upfiltersareoneof themostaordable

accessoriesavailablefor

macrophotographers.Most

sets, likethe Zeikos, include

+1,+2,+4and+10dioptre

filters, soyoucanstart taking

close-upsstraightaway. Just

besure toorder thecorrect

size tofityour lens.

NeewerRing48MacroLED

£30

A ringflash isthebest artificiallight source forclose-ups,

but it'sexpensive. Step

forwardthisLED ringlight,

whichuses48smallwhite

LEDbulbs toprovide abright

andconstant lightto lift

coloursandadddefinition.

Itcanfit filter threadsfrom

49mmto67mm.

Kenkoautoextension

£100

Whileyoucanbuymaextensiontubes for£

theseautotubes fromK

boast electroniccont

thatretainyour came

meteringfunctionsan

somecases,AF. TheK

set includes12mm,20

and36mmtubes forC

NikonandSonyfittin

Don’tworryifyou’reonabudget, thefollowing

fantasticbitsofclose-upkit

canbeusedtoshoothigh-qualityresults

CLOSE-UP

ACCESSORIES

WANTTOKNOWWHICHDEDICATEDMACROLENSESAREWORTHYOFYOUR HARDEARNED?TURNTOPAGE15

ROSSH

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ReleasethepoweRofRawshootinginrawneedn’tbedaunting.byworkingwithyourcamera’srawdata,youareableto

extracteverylastbitofdetailoutofyourimagesanduseyourdslrorcsctoitsfullpotential

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86   Raw   TheulTimaTeGuide TophoToGraphy

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RawTheulTimaTeGuideTo phoToGraphy

EssentialtoolsCstnnsttncctn

hand. Ifyouwantto getthebest possible

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shootinginRaw isthewayto goas itoers

youmuchgreatercontrol.However, if speed

orcard space isthepriority,thenswitching

toJPEG is theobviouscompromisethat

you’llneedtomake.

R  o s   s  H oddI   n ot t 

Lenscorrection

Ifyou’veshotwthawde-anglelens, theLensCorrectontabshouldbeyourveryirstportofcallnbothLghtroomandACRtocorrectanybarrel orpncushondstorton,frngngandunwantedvgnettng.ClckEnable ProileCorrectonsandselectyourlensproilefromthedrop-downmenu.

Straightentool

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Croptool

Usethstooltochangetheaspectratoandtorecomposeyourmage.HoldShftwhleyouclckanddragtheCroptooltoconstrantheproportons.YoucanalsousetheCustomfunctonoptontoselectpresetaspectratos,suchas5x7nor8x10n,ortosetyourown.Youcanindthsnthetoolbartoo.

Zoom&Handtools

MagnfyyourmagestovewaspecicareanmoredetalbyclckngontheprevewmageusngtheZoomtool.It’susefulforretouchngmages,toevaluatenoandsharpnesscloseup.Formovnaroundamagniedmage,usetheHandtoolbyclcknganddraggntheprevewmage.

1)Getcreatvewthyourmage'scoloursbyshootngnRawandadjustngyourWhteBalance.2)Qualtycounts:Rawsarebggerbutmoredetaled.3)ChangngaRawile’sWBtoFluorescent(left)andShade(rght)bothgveanceresult.

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QWhyshouldIshootRawandJPEG?

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QWhatcanyouactuallychangewhen

processngaRawile?

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QAretherederenttypesofRawiles?

MostofthederentdgtalcamerabrandsproducetherowntypeofRawile;example,modernCanonDSLRswll produ.CR2iles,whlstNkonDSLRsgeneratea.NEFmage.Don’tworrythough,allRawiloperatenthesamewaywhentcomestoedtngthem npost-producton.

RawQ&A

R  o s   s  H oddI   n ot t 

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88   Raw

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Interface:TheBasicstab

PossiblythemostusefulpartofAdobeCameraRaw–theBasicspanelholdsmostofthepowertoadjustexposureandcontrast.

1)ExposurEMovetheslidertotherighttoincreaseexposureand theleft todecreaseexposure.Usethehistogramasaguide.

2)ContrastMovetheslidertotheleftto

decreasecontrast byincreasing themid-tonesandtotherighttoincreasecontrast.

3)HigHligHtsDragtheslidertothelefttorecoverdetailsinthehighlightsortherighttobrightenhighlights.

4)sHadowsMovetotherighttobrightenshadowsandthelefttodarkenthem.

5)wHitEsUsethisslidertolimitanyclippingofthehighlightsbypullingitleft,ormovetotherighttointroducespecularhighlights.

6)BlaCksTargetsonlypureblacksinyourimagetoadddepth.Becarefulnottolosedetail.

1

2

3

4

5

6

teCve

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youtoadjustcontrastacrossthetonalrang

adjustingthecurve.OryoucanusetheslidewhichismoreakintoLevels.

teeajmeIfworkingwithslidersisnotve

intuitive foryou,select the

TargetedAdjustmenttoolin thetoptoolbawhichallowsyoutomakeadjustmentsby

clickinganddraggingonyourimage.

geFe

Drawalineacrossyourimage

usingthistooltoapplyagradueect toany manipulations, suchas Expos

Contrast,Brightness, Saturationand Clarity

Greatfordarkeningskies!

Exposure:Essentialtools

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90   Raw   TheulTimaTeGuide TophoToGraphy

oftenunderexposinganimageisaresultofusererror,howeverprofessionalportraitphotographerdanidiamondrevealsit’shissignaturetechniqueanditcanonlybedonewhenshootingraw

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thanbownhghghts. If youookatmy

portratsand cover themode’s faceyou’

notce therestof themage sst

underexposed.Butwhenyouftyour hand,

ther sknmmedateydraws yourattenton

andthe mageregstersas weexposed.”

‘Exposetotheleft’

I   Ma  Ge  S  :  da NI   dI   a M oNd

“t’.i’jwbhw,c.fipclj ,kj’.ik ,kki’.ti .”

Processingthefile

before

after

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92   Raw

THEIMPACT OFcolour canmakeor

break an image. Rawfiles, straight

outof thecameraanddevoidofany

processing,have a tendency tolook flatandlifeless,so enhancingcolourshould be your

next port ofcall afteryou’vecorrected or

adjustedthe exposure ofyour image.The

mainadvantageof working with a Raw file

is that theprimaryand most important

adjustment, White Balance,can be made

withoutsacrificing image quality.

Furthermore,becausea Rawfile contains

more data than a compressed JPEG,it's

possible to manipulate colours to a greater

degree without the changes becoming

detrimental to imagequality. It's easy todo

too, giventhewealth oftoolsand

adjustments ACRputs at yourdisposalthat

can help youto perfect thehues andtoneswithin yourimages.

Youcanalsoconvert your Raw images

tomonochromein ACR by using the

WhiteBalance

AdjustingWhiteBalancecouldn’tbeeasierinAdobeCameraRaw,butthereareanumberofwaystogoaboutdoingit.Firsto,tryusingtheWhiteBalancemenuintheBasicpanel–itcontainsalloftheusualWhiteBalancepresetsthatyou’llfindincamera,aswellasaCustomoption.ThelatterallowsyoutoadjustWhiteBalanceusingtheTemperatureand

Tintslidersbelow.Temperatureadjuststhewarmthofyourimage,whileTintcontrolstheamountofgreenormagentapresent.Alternatively,ifyourimagecontainsa known-neutral,suchas agreycard,orevenanareaofwhiteorblack,youcansettheWhiteBalancebysimplyclickingonthatareausingtheWhiteBalancetoolinthetoptoolbar.

A DA M

B  UR T  ON

1)Rawfilescanlookflatandlifelessstraightoutofcamera.BringthemtolifebytweakingtheWhiteBalanceand

boostingcolourinAdobeCameraRaw.2) UseVibranceandSaturationtofine-tunetheimpactofcoloursinyourimage.

tools within the HSL/Grayscaletab. These

controlsallow youto tweak theluminance

ofthe individual tones inyour black & whiteimage, so quite oftenit's best toconvert

your imageto monochrome at theRaw

stage, rather thanin Photoshopitself.   1

BEFORE

AFTER

ControlcolourwitheaseRAWFILESARENATURALLYLACKING INCOLOURANDCONTRAST.BUTMASTERRAWPROCESSINGANDYOUCANGIVEANYCOLOURIMAGEMAXIMUMIMPACT

HSL/GrayscaleHSLisonethemostpowerfulpartsof

ACRwhenitcomestofine-tuningcolour,asitallowsyoutocontroltheHue,SaturationandLuminanceofeachcolourindependently.RemembertomakeanyWhiteBalancecorrectionsbeforeusingHSL.Fromhereyoucanalsoconvertyourimagetomonochrome.

ToneCurve

Moreoftenassociatedwithexposurecontrolratherthancolouradjustment,theToneCurvetoolcanalsobeusedtoadjusttheRed,GreenandBluecolourchannels.ChoosethePointtypecurvefromtheToneCurvepanelbeforeusingtheRGBmenutoselectthe

channelthatyouwishtoadjust.

VibranceandSaturation

There’sa keydierencebetweenVibranceandSaturation;the latterboostsallcoloursequally,while theformerismorerestrainedandintensifiesthe least saturatedtonesfirst.

Essentialtools:Colour

2HE L  E NDI   X  ON

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TechniquestotryColour

Black&whiteConverting your imagetomono in

ACRis similar toaddinga Black& White

adjustment layer inPhotoshop,with the

benefitofgreaterscope foradjustment

inRaw. IntheHSL/Grayscalepanel, tick

Convert toGrayscaleanduse thesliders

toeasilyadjust theluminanceofthe

varioustonesin yourimage.Simple!

Split-toningThis techniqueis used tostylise

monochromeimages.Head intothe

SplitTonepanelandusetheHueand

Saturation sliders toaddcolourtonesto

yourshadowsandhighlights. Apopular

look is to introduce a touchofblue into

theshadowsanda pinchofyellowto the

highlights.Don'tgo toofar!

PresetsIfyoufinda lookthat you like, savetime

bystoringyoursettings. Aftermaking

adjustments, clickonthePresetspane

andselectSaveSettingsfrom themen

Pick theadjustments tosave,name it

andwhenyouwant touseit simplygo

 ApplyPreset. Lightroom’sACRoers a

largemenuofpresets totry.

L  E E F  R  O S  T 

R  O S   S  H ODDI   N OT T 

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94   Raw   TheulTimaTeGuide TophoToGraphy

WHENI SWITCHED Fromfilm to

digital capturebackin 2008,

I jumpedin with both feet and

started shooting inRawfrom

theverystart. I didn’tsee there wasmuch

choice. I’d investedthousandsin top-endgear so what was thepointin notwanting

to get theverybest from it?It’svery rare that

myimages are usedin sucha way thathad

they notoriginatedfroma Rawfile you’d be

ableto tell– a JPEGat maximum quality is

every bitas good asa processedRaw file.

However, if you’ve paidfor somethingyou

might aswell useit, andfor me,shooting

Rawis thesame asdeveloping your own

films andmaking your own printsinstead

ofsendingthem oto a lab and having

automated machine prints made.

"There’s a misconception among

photographers that youneed loadsof

experience andknowledge toshoot Raw,

butit’snonsense. I hadvery littledigitalknowledge, butI took to Rawshooting with

noproblems.It’s actuallya much more

forgivingformatthanJPEG because allthe

rawdatafrom thecamera’ssensor hasbeen

recorded,so it’s much easiertocorrect

exposureerror orchangethe colourbalance

ofanimage,say, if you’restartingwith a Raw

file. This makesitbettersuitedto beginners,

whoare likelyto make more mistakes.

"While you doneedto spend more time ata computerif you shootin Raw, toprocess

each filereadyforprintingor publication,

I seethis time asan investment inmy work

toget the best from itrather than a waste.

Also,anychangesyou make toa Rawfileare

nondestructive until youmake a JPEG or,

preferably, a 16-bit TIFFcopy.Youcanalways

revert backto theoriginal Rawfileat any

stageand reprocess it– whichI oftendo.

"There areplentyof photographers who

argue infavour ofJPEG, but Rawsuits my

way ofworkingso I’ll bestickingwithit until

something bettercomes along!”

I   MA  GE  S  :  L  E E F  R  O S  T 

1)Rawfilescontainthebestqualityyourcameracancreate–sowhyshouldyouconsidersettlingforanythingless?2)WithRaw,youcanmakefulluseofyoursensor’sdynamicrange.3)ACRisnotasubstituteforgoodcameratechniqueorfiltration,butitdoesoeryoumoreopportunities.

MASTEROFRAW…

BorninYorkshirein1966,Lee’s

loveofphotographyreallytookholdwhenhemovedtoDevonasateenager.Duringhisearlytwentiesheworkedasawriter

onvariousphotographymagazinesbeforeembarkingonafreelancecareerin1992.Sincethenhehasmadeanameforhimselfasbothabest-sellingauthorandanaccomplishedlandscapeandtravelphotographer.

Biography

LeeFrost

“IprocessRawfilesusingAdobeCameraRaw(ACR)inPhotoshop.I’vealwaysuseditandseenoreasontochange.ItgivesmeresultsI’mhappywithandI’mveryfamiliarwithit,whichmakesprocessingquickandeasy.IsubscribetoPhotoshopCreativeCloud,whichautoupdatesAdobeCameraRawonaregularbasis.”

1) ItendtoleaveWhiteBalancesettoAutowhenshootinginRawasit’seasyenoughto

changetheWhiteBalanceduringRawprocessingtowhatevercolourtemperatureyouprefer–thoughIfindAWBtendstodoagreatjobmoreoftenthannot.

2)ShootinginRawdoesn’tsolveeveryproblem,sodon’trelyonitcompletely.IstilluseNeutralDensity(ND)gradsonmylenstotonedownthesky,forexample,becauseifbrightareasoftheskyblowoutduetooverexposure,no detailwill record.

3) IfyouwanttopulleverybitofdetailfromyourRawfiles,tryreprocessingthesameRawfilefivetimeswiththeexposureslidersetto-2,-1,0,+1and+2stopsthencombinethemalltocreateanexposurefusionimageusingHDR

softwaresuchasNikHDREfexPro.

4) IneverthrowmyRawfilesaway,otherthantheonesIdeletein-camera,unlessthere’sanobviousreasonto,suchasgrossexposureerror.IseethemasdigitalnegativesthatImayreturntointhefuture.Portableharddrivesarecheapsostoringthemisn’taproblem.

5) Ifyouwantthebestofbothworlds,setyourDSLRtoshootinbothRawandJPEGsoyoucanusetheJPEGsforaquickfixbutsavetheRawfilesforlater,whenyou’vegotmoretimeoryourconfidenceandexperiencehasincreased.

Softwareofchoice

Lee’sRawtips

1

2

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Raw

R  O S   S  H ODDI   N OT T 

Detail: Essentialtools

Detail

YoucanaccessSharpeningandNoiseReductionfeaturesviathistab.

Sharpeningshouldbeusedinmoderation,andcanbeusedincombinationwithClarity.Somephotographerspreferto sharpenin Photoshop,but

ACR’ssharpeningtoolworksinthesameeectivewayasthepopularUnsharpMask,withthebenefitthatyoucanre-edityourresultsforprintorweb,withoutdamagingimagequality.UsetheZoomtooltoseetheeectsofyouradjustments.Noisecanbeaproblemifyou’recorrectingan

underexposedimage,orhaveshotathighISOsorusingalongexposure.NoiseReductioncanhelpminimisethesnowglobeeectcausedbyhotpixels.WhilemostadvancedcamerashavegreathighISOperformance,thehigherthemegapixelcountoftentheheavieryou’llneedtomakeadjustments.UsetheLuminanceandColorsliders

totargetthetwotypesof noiseandzoomintoyourimage200%toseetheresults.Noisereductionisoftenattheexpenseoffinedetailandqualityasitsoftenstheimage.UsetheDetailandContrastsliderstorecoversomedetail,butbewatchfulofreintroducingnoise.Detailisoftenconsideredmore

importantthanacompletelynoise-freeimage.

Clarity

FoundintheBasictab,theClarityslideraccentuatesthelevelofvisibledetailinyourimagebytargetingedgecontrast.Itcanhavedramaticeects,sobesttousewithextremecautiontoavoidintroducinghalosandnastyedgeartefacts.

QWhatdoyousuggest formanaging

workflowand optimisingstorage?

Tryandgetintothehabitofdeletingscrapshotsto reducewastingvaluableharddrivespace.InvestinginanexternalharddriveisagoodideaasthiswillallowyoutoarchiveyRawfiles,reducingtheamountofusedspa

onyourcomputer’sharddrive.

QWhywon’tPhotoshoporLightroom

openmynewcamera’sRawfiles?

Youhavethreeoptions.Checkwhethera fupdateisavailableforyoursoftware:inAdoprogramsdothisbyclickingHelp>Checkfupdates.Ifthisstilldoesnotsolvetheproblyoursoftwareversionprobablyoutdatesyourcurrentcamerasoyouneedtoeitherbuyadigitalupdateforthesoftwarefromthprovider(dependingonhowoldyourversis),buythelateststandalonesoftwareorsubscribetoPhotoshopCC.Ifyoudon’twaspendmoremoneyonthelatestprogram,candownloadaDNGConvertorfromadobe.comtoconvertyourRawfilesintoagenericformatthatwillopeninACR.Thepitfallofthisisyoumayloseanycameraandlensprofilesastheinformationisoftennotrecognisedbythesoftware,howeverit doemeanthatin20years,ifmanufacturersdectostopproducingorsupportingtheirindivRawformats,you’llstillbeabletoaccessanedityourRawfilesasDNG.

QCanIcontinuetoeditinPhotoshop?

Absolutely.WhileyoucandomostoyourrequirededitinginACRorLightroommanyphotographerspreferthefine-tuningtoolsofPhotoshopforintricateselectiveeditingandretouchingwithLayerMasks.Oyou’vefinishededitingACR,clickOpenIm

inthebottomrightcornertoopenthefileintoPhotoshopwhereyoucanthensaveyoueditedRawimageintheappropriateforma

QHowshouldIbestsavemyRawfiles

afterprocessing?

Onceyou’vefinishedmakingyouradjustmetoaRawimageinPhotoshop,it’sbesttosavfinalresultasa 300dpiJPEG.Bydoingthis thimagecanthenbeviewedonothercomputewithouttheneedforspecialisteditingsoftwandisreadytobeprintedandsharedonline.Keepa.PSDtoo,ifyouthinkyoumightwanre-edityourPhotoshoplayersatalaterdate.

RawQ&A

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THE IDEALCOMPANION FORYOUR DIGITALCAMERA

On sale now!Orderyourcopydirectfrom

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RAWTALENTRAWFILESGIVEYOUAHUGEAMOUNTOFSCOPEFORCREATIVEPROCESSING.WETOOKAHANDFULOFRAWFILES

ANDGAVETHEMTOTHREEDIFFERENTPROPHOTOGRAPHERSTOSEEHOWTHEIRAPPROACHESDIFFERED

RawchallengeTheulTimaTeGuide TophoToGraphy

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6LensCorreCtionsI'mready to exp

themage to Photoshopfor ixng

dustspots and the wonky horzon. Ho

somethngs buggng me about theca

As t's postoned close to theedgeof t

frame,lensdstorton s causng t to le

over. InLensCorrections,IsetVertica

-21 to correct forths,and clckedCon

Crop to crop theedges. Much better!

5PreCiseAdjustments When used n

moderaton, the Clarty adjustment can

be a wonderfultoolto ncrease contrast n a

pcture.Althoughmy magehad beneited

from settng theWhte andBlack ponts,

I felta smallClarity adjustment of+13 would

help insh o themage. Fnally I appled a

smallamount ofVibrance– about+15–

to addsome polshto thepcture.

4exPosureAdjustments I darken the

Exposure slghtlyto -0.30, but wantthe

castle to be lghter,so ncrease theShadows

by+26. I usually stretch theWhte andBlack

ponts across the hstogramuntl just before

eachclppngtrangle lghts up. Here, a

substantal ncreaseof +48 fortheWhites

and-42 to theBlacks s used andnstantly

makes the pcture morepunchy.

AdAm’s finALrAwedit

Whilethechangesmadearesubtleand

sensitivetotheoriginalscene,Adamhas

addedmuchneededcontrast.

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6CLEANUPTHESHOTAsa finalstep,Iinto the imageanduse theClone

Stamp andHealingBrushtools to rem

sensordustandmarks.A smallcropo

image tightensupthecompositionan

a little sharpeningusingUnsharpMas

(Filter>Sharpen>UnsharpMask ) crisp

thedetails.I'mhappywiththeresults

Iwonderhow itcomparestotheothe

5INTRODUCECOLOURAsanycolourcasthasbeenremoved andtheBlack&White

adjustment layer hasmuted the landscape,

addingaVibranceadjustmentlayer

reintroducessometone.UnlikeSaturation,

Vibranceonly targetscoloursthatlack

saturation rather thanaectallcolours

regardlessofwhether they’reboldor not,

so tendsto producemorepleasingresults.

4ADJUSTTHE SKYRepeatingthe previousstep, I correct theskywithanother

Curvesadjustment layeranduse theLayer 

Mask tohide theeect everywhereelse but

thesky.As it’s easierto revealtheeect than

maskit, I Invert theLayerMask thenusethe

Brush toolwith theBackgroundcolor set to

White torevealthesky, varying thebrush’s

opacity todiminish theeect inareas.

CAROLINE’S FINALRAWEDIT

Theresultingimageishighincontrastwithneutraltonesandatouchofdrama

–lookatthatreflectionpop!

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6CONVERTTOBLACK&WHITEWith thchangesmade,I convert theimag

monousingaBlack&Whiteadjustme

layer (Layers>AdjustmentLayers>Bla

&White). In theAdjustments palette, I

decreasetheBlue channelandincrea

theYellow channel– thismakesthec

pop. Finally, I gobackandtweakCurv

increasecontrasta touchmore.Alldo

5ADDAGRADFILTERWe’re gettingtherenow. Iwant toover-gradthe skytomake

themostof thoseclouds, so I addanother

Curves layer. I reducetheexposurefrom the

lower touppermid-tones,makingsurethat

theshadowsandhighlights arekeptintact

soas not toreducecontrast. I thenusea

gradient layermaskso thatonly thesky is

aected,muchlikeusinganNDgrad filter.

4INCREASECONTRASTThereareseveralways toboostcontrastbutI like

usingaCurvesadjustment layer (Layers>

 Adjustment Layers>Curves) asit allows

forfineadjustments. I addan exaggerated

S-curveto theRGBchannel, before

selecting theBluechannelandremoving

blue from thehighlights– this adds yellow,

as it sits oppositeblueonthecolourwheel.

JORDAN’SFINALRAWEDIT

Ahighcontrastblack&whitewithdeepshadowsandbrighthighlights–certainly

atransformationfromtheoriginal!

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106   Rawchallenge:Flowers   TheulTimaTeGuide TophoToGraphy

Originalfile

6remOvepOllenAthiaact, I zoom

to thpta that ha yowpo

potadct thSpotRemoval too, t

toHeal. I u a bruh zthat corth

arathat I watto hdada argFeather 

tomak tbdwth thdg. ThOpacity 

dr adjut tcorag. Octh ara

cord, I cck ot aga tomoor

xpadth coragorrappy a I it.

5SharpenThoyaraof thmag

that I wat p-harp thtam

ofth forgroud lowr. I cta w

 AdjustmentBrushadcrak upth

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or th ara wtha ma bruh wth arg

Feather ,tto82% . I ao crathClarity 

dr ghty to crathcotrata w

a harpmutaouy.

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om ofthhghghtaroud th

codlowr.It’a ay ix:I ct th

 AdjustmentBrushadrducthExposure

dr, th bruh or tharato rtor

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3altercOlOurS I qut k thatura

coourof Mady’ mag, o I do’tpa

to do aythgtooradca.Itad,ug

Split Toning, I addr thhghghtad

hadow paraty.By chaggthHue

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adhftg thShadows to288add a pk

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ghty,Highlights adWhites to brght

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todpth darkrhad.Toaod

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ght xpourcraad tad op

upthhadowug thShadowsdr.

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compttothatwhad toidout hr

crt. Wakdhrtouppyoof hr

faourthotadto tak uthrough howhprochraward-wg mag,

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odyg hrphotographctat wh

ookgat thquaty ofhrRaw i.

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lora portratadhoda otof pottafor

hacmt ugbac adjutmt or

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thbacktboomadthkom mp,

ubt coour twak coud makth mag

ookfrhradoftr.

raWchallenge1:carOlineSchmidt

lightroomisidealforeffective,simpleeditsandcreativetints,whichwaswhatthisimagelacked

MA nDy DI    s  he R 

iyu'yu'u-

xyu ub,

l'hu

bu

.kyu

yu'.

raWtiph

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108   Rawchallenge:Flowers   TheulTimaTeGuide TophoToGraphy

Originalfile

TheTechnicaladvanTagesofu

Rwmkt toyo formot

potorpr. if i trtwtJPegtr

woubtt i ouowt tpot-ptur

omu formto rbytmr; Rwowm totor t

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rtrop forrtty.

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prfttoo: i mowrr to

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ummri potorptprttyowr

raWchallenge2:mandydisher

AwArd-winningflorAlphotogrApherMAndydisher

shAreshercreAtivepost-processingtechniques

Ma ndy di    s  he R 

mytmw twoft t

owrbkt, rut m ot.

i’mwyrfuto ompot m

mr tryto oroppwr

pob; i o’t k towt ubpx.i’prootof pturof t oy

owrprouy, toour

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3BOOstcOlOurandtOnes imr b yrto wyrbyoowtaltkyotoLayer>MergeVisible,

bforupttyr.Topu, i ppyguBur(Filter>Blur>GaussianBlur ) t180Pixels, ttt yr’BlendMode toSoftLighttFill r to 35% to owr ttrt.i t PhotoFilter jutmt yr,t toDeepBlue, wttoptyt25% . a, i utlyrMk torrofyow.

4dOdgeandBurnMot ofmy mbtfromtxpourjutmti uo-trut o

bur too t. i rt w yr (Layer>New>Layer ),t tBlendModetoSoftLight twt50%grey – ofwbo from tnwlyrmubox. i u oft bruotDodgeBurntoolstbout10% opty tomk tjutmt.it’quk, y torpxutou.

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Opmym acR, i ppyombjutmt: i rtExposureto+0.50, bootContrastto+0.30 ttShadowsbytktrto+100.iuacR toopTiFFJPegtoof iwtto ort opyto tstrRgBoourpforwb. For t roi oubktttoour p tto aobRgBwt 16-btpt– tm tmr' Rw–bfori xportto Potoopcs6.

2adjustcOlOur

aHue/Saturation jutmt yr byouto tu,turto tof t uoourrw toroour. ByttMaster ,i xprmtwt r totr toruturtow trtuoourut tbkrouwpbu.Ut ttt lyrMk, i tutBrushtool toromof tyowtofrom tor m.

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Mandy’SFInaLRaWEdIT

Iinshbyremovngdstractonswththe

CloneStampTool.LastyIsaveasa.psdiefor

futureedtng.AfterlattenngthemageIthenappysharpenngbeforesavngasaTIFFie.

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110   Rawchallenge:Flowers   TheulTimaTeGuide TophoToGraphy

ORIGINALFILE

6ADDSOME FLAREAsa finaltouchI decidetoaddsomeflare.I startbycreatinga

newlayerusingtheScreenBlendModeandfilling itwithBlack – thismakes theflareeditable,as opposed toapplying it toanimagelayer. I thengotoFilter>Render>LensFlareandchoosemyflarepositionandintensity. Theflareis quitecold,so I addaPhotoFilter layertotheflareto addwarmth.

5DODGEANDBURNAnotherwayto addselective contrast,and tomake your

imagepop,is dodgingandburning.I createtwonewlayers,changingtheirBlendModetoSoftLightandfillingthemwith50%grey.IusetheDodge toolat18%Exposuretobrightenthediskoftheflowers,as well as thepetals. I thenusetheBurntool todarken theshadowareas in thebackground.

4ADDCONTRASTI want toboostcontrastsubstantially, butonlyin themid-tones

sonotto risk clippingshadowsorhighlights.IuseaCurvesadjustment layer,addinganchorpoints tothecurve inthehighlightandshadowareas,beforemakingan ‘S’curvein themid-tones.This is trialanderrorandneeds tobecarefullyadjusted topreventanyof thetones lookingunnatural.

I’MA LONGTIMEFANofMandy’sethereal

flowerphotographs.Havingtriedfloral

photographymyself, I’mfullyawarethatit’s

not aseasyas youmight think,so imagine

mysurprisewhenIopenedMandy’sRawfiletofinda well exposed,near-immaculate

imagestraightoutofcamera.Hatsoto her!

Floralphotography ispretty farremoved

fromthetypes of images that I usually

process sothis shouldbe aninteresting

challenge.This is a simplecomposition,so

I’mgoing tobeconcentratingmyeorts on

adjustingthe colour,with slight tweaks to

exposurethroughdodgingandburningto

reallymakethepetals pop!WhilstMandyhas

chosennear-immaculatespecimens to

photograph, therearestill a fewareas that

couldbe tidied.Herewego…

RAWCHALLENGE3:JORDANBUTTERS

OURRESIDENTPHOTOSHOPEXPERTISLETLOOSEONMANDY’SFLORALRAWFILE.WILLHECOMEUPSMELLINGOFROSES?

MA NDY DI    S  HE R 

TheWhiteBalancepresetsoeredbyyour

cameraandACRareuseful,butnothingismoreaccuratethansettingWBfromaknownneutral

areausingtheWBeyedroppertoolinACR.Ideally,

youwoulduseagreycardtoestablishaneutral

toneeverytimeyoushoot–inrealitythisisn't

practical,butyoucanstillsettheWBbyusingthe

eyedropperonanypartofyourimagethatyou

know,orthink,tobefreefromcolourcast.Of

courseWBcanbeusedcreativelytoo–here,

therewasnoknownneutralforme,aseventhe

petalsmighthaveatint,howeverwantingthem

tobepurewhiteIusedtheeyedroppertosetthe

WhiteBalancefromthenearestpetals.

RAWTIPWhiteBalance

3ADJUSTINGCOLOURAHue/SaturationAdjustment layer (Layer>New 

 AdjustmentLayer>Hue/Saturation) isaddedandI adjusttheHue intheMaster channelto turnthebackgroundgreen. I desaturatetheCyan,Blue andMagenta channelsanddialdownSaturation ontheRedandMaster channels.A LayerMaskmasksthis fromaectingthecentral diskof theflower.

2TIDYINGUPOpening theimage inPhotoshopCC,I createa duplicateof the

background layer bypressingcmd+J (Mac),orctrl+J (PC). I thenusethePatchtoolto removeanydistractionsandblemishes– therearea fewspecksof pollenon thepetals, a glimmerof lightonthelower petalandapinkblobatthebottomoftheframe,which areeasily remediedinminutes.

1CORRECTWHITEBALANCE I start byswitchingon thehighlight andshadow

warningsin ACR tomakesure that noareasofdata arelost,whichtheyaren’t. There’s aslightbluetintto thepetals,whichcouldbecorrect,but I’dlikethemto bepurewhite,soI use theWhiteBalanceeyedropper tosettheWhiteBalance fromthepetals– thisaddsyellowtothebackgroundthough.

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Ultimatekitprepareforsomeseriousgearenvy–we’vethoroughlytestedthemostdesirableequipmentonth

planettobringyouthisguidetotheultimatephotokit.ifonlythebestwilldo,turnthepageandbeg

UTheulTimaTeGuide TophoToGraphy

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116   Full-framedigitalSLR   THEULTIMATEGUIDE TOPHOTOGRAPHY

EVERYNOWANDthen,a DSLRs

launchedthatgets everyonetalkng.

Canondd tyearsagowth theEOS5D

as twas theworld’sfirstaordableand

reasonablycompact full-frameDSLR.Nkon

hadthe forumsbuzzngwhen theD800and

D800Eappeared, boastngamazng

36-megapxelsensors.Nowt’sCanon’s

turn agan tosettongueswaggngwththe

50.6-megapxelEOS5DS.Neverbeforehas

a 35mm-typeDSLRoeredsuchhghresoluton.Onpaper t’sagame-changer,

takngmagequalty toa level that hasnever

been seenbeforen a24x36mmsensor.

TherearetwoversonsoftheEOS5DS

– the5DSandthe5DSR testedhere.Both

camerasareexactly thesamebarone feature

– the5DSRhasa low-passcancellngfilter

onthesensor.Thelow-passfilter sthereto

preventmorépatterns nyour mages,whch

canoccurn areaswheretherearefine

repeatedpatterns,suchastheweaven

textles.Thelowpassfilterhdesmoréeects

byslghtlysoftenngthemage.Byremovng

t, orcancellngt astheEOS5DSRdoes,you

getsharper mages, butthere’sanncreased

rskofmorépatterns,whch,whenthey

appear, areverydicult togetrdof.In theory,

formostsubjectsmoréshouldn’tbe anssue,

sofor just£200extrayouget the5DSR and

evenbettermagesharpnessthanthe5DS

oers(whchretalsat£3,000).

InthefleshtheEOS5DSlooksjustlkean

EOS5DMk IIIandnpractce thandles lke

onetoo,so fyoualreadyownthatcamera,

theEOS5DS mmedately feelscomfortable

andfamlar. Ithasthe sameweatherproof

magnesumalloybody(thoughwthastrengthenedbaseplateandtrpodmountso

youcanclamp ttght tothetrpodheadto

reducevbratons);t takesthesamebattery;

thasthe sameshutter speedrange,exposure

modesand61-pontAFsystem.Themenus

andcontrolsarealsovrtually dentcal.

ThemanderencebetweentheEOS5D

MkIII(whchs stll avalable)andtheEOS5DS

s theleapn resoluton,from22.4-megapxels

to50.6-megapxels–more thandouble.The

EOS5DSalsohasdualDIGIC6processors to

allowadecentshootngandburstratedespte

thencreasedresoluton(upto 510Large

JPEGsor14Rawfilesat5fpswthaUDMACF

card nstalled),whereastheEOS5DMkIIIhas

oneDIGIC5processor(managng6fps).

Themeterngsystemof theEOS5DMkIII s

fantastc,but the5DSgoesa step furtherwth

ts150,000pxel, 252-zoneRGB+IRmeterng

sensor, plus youcanshootRawat reduced

resolutonsof28-and12.4-megapxels.

Aclevernewfeature stheoptonto seta

shutterdelaywhenusngmrrorlock-up,so

nsteadof havngto presstheshutter release

twce–onceto lftandlockthemrroranda

second totrptheshutter–youpress the

shutterreleaseonce, themrror lftsandlocks,thenafterthechosendelayperod the

exposure smade.Acamcontrolsmrror

movementandreducestherecolwhenyou

trp theshutter.Thsslowsdowntheshutter

movement,whchsoundsand feelsoddto

begnwth– buttdoesmake tqueter nuse.

Inuse,theEOS5DShandles justlke aEOS

5DMkIII. It’squtelargeandfeelssubstantal

CANONEOS5DSRBoastingthehighestresolutionofanyDSLRtodate,Canon’slatestlaunchhasraisedthebarwhenit

comestoimagequality.Butisthere

moretolifethanmegapixels?TEST:LEEFROST

SPECIFICATIONS

GuidePrice(bodyonly):£3,200Imagesensor:Full-frame(24x36mm)

Resolution:50.6-megapixelsMaximumimageresolution:8688x5792pixels

AFpoints:61including41f/4cross-type,fivedualcross-typeatf/2.8andonecross-typeatf/8

ISOrange:100-6400(expandableto50-12800)Shutterspeeds:1/8000sec-30seconds&Bulb

Continuousframerate:5fpsBuilt-inflash:No

Monitor:3.2inClearViewIITFT(1,040,000Kdots)

Storage:DualslotCompactFlashType1,SD,SDHC,SDXCANDFLUSD.UHS-1supported

Size:152x116.4x76.4mmWeight:845g(withbatteryandcard)

FLAGSHIPMODEL:Externally,onlythatdistinctiveredRbadgeseparatestheEOS5DSandEOS5DSR.

ULTIMATEDETAIL(LEFT):Thelevelyoucanzoominblewmeaway–tinyobjectsatadistancecanbeviewedindetail.NOMOIRÉ(RIGHT): TheEOS5DSRdoesn'tfeatureaopticallowpassfilter.Imagesaresharper,butattheriskofmoiré.

 NIKOND810:ThesuccessortothesuperbNikonD800andD800E,thisisNikon’sbestDSLRtodate.Itoersafull-frame36.3-megapixelsensorwithnolow-passfilter.

  CANONEOS5DMkIII: It’safewyearsoldnow,butitcanstillholditsown.The22.3-megapixelsensorproducessuperbresultsandthemassiveISOrange(expandableto102400)makesitabrilliantcameraforlow-lightphotography.

 SONYALPHA7RMKII:Boaststheworld’sfirst

back-illuminated42.4-megapixelfull-framesensor(withno low-passfilterforincreasedimagesharpness),super-fast399pointAF,five-axisISand4Kvideo.

FULL-FRAME 100%ZOOM

Closest rivals

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Exposure:1/1300sec

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118   Full-framedigitalSLR   TheulTimaTeGuide TophoToGraphy

n thehand,but t’s notover-heavy andt’s

verywell balanced,whether you’reusnga

compactprme lenssuch asa featherweght

50mmorabg, heavytelezoom.Thecontrol

layout s logcalandthecontrolsthemselves

arebotha good szeandaccessble. Therear

screens bg, brghtandsuper-sharpandso

s the IntellgentVewinder II,whch shows

100%ofthemage area.There’s an

electronc levelon therearscreen ,whchsalso vsble nthevewindersoyoucan

checkthecamera s levelasyoushoot.

Lke allhgh-endDSLRs,the EOS5DShas

theusual selectonof exposuremodes–

aperture-prorty, shutter-prorty, program,

manual andBulb,plusa SceneIntellgent

Automode.MeterngpatternsareEvaluatve,

centre-weghted,PartalandSpot.Thereare

PctureStylesthatusersof ths cameraare

never lkely touse,althoughthe n-camera

HDRandmultple exposuremodesdo have

ther occasonal creatveuses.

TheAF systems fantastcfora camera

desgnedforgeneraluse.It oerssxAF Area

Selectonmodes fromsngleto61-pont,

plus youcancustomsethe focusngtosut

your needsusngivepagesofoptons nthe

AFmenusecton!LveVew sexcellent and

hghly recommendedfor crtcalfocusng

–youcanmagnfy thesubject6x or16x.

Ofcourse,what youreallywant toknow s

does50.6-megapxelsmake aderence?

Well, I’mpleasedto saytheanswers abgfat

yes! Imagequalty sstunnng.Shoot nRaw,

blow-up themages to100%onyour

computerscreenandyou’llbeamazed at

thedetal andsharpness.Imagesarecrsp,

punchyandthecoloursvbrant.Shoot ata

wdeapertureandthesharpareas lookeven

sharperbecausethecontrastbetweenthem

andtheout-of-focusareas ssogreat.I’veneverseenbetterfroma DSLRbeforeand

dynamcrangesexcellentat uptoISO3200,

matchngorbeatngboth theEOS5DMkIII

andtheNkonD810.TheISOrangeofthe

EOS5DShasbeencapped tohelpdealwth

nose–whchgetsworseasISOncreases.

ThenatveISOrange sonly 100-6400

(expandable to50-12800)whereaswth the

EOS5DMkIII t’s 100-25600(expandableto

50-102400).Inmost stuatons, ISO6400smore thanenough, andhavng testedthe

EOS5DSatall ISOsettngs,I’dbehappyto

uset atanyISO ncludng12800whenneeds

must.ButtheEOS5DMkIIIgvesbetter

resultsat thoseextreme ISOs (12800+).

in detail(RiGHt):Withgoodtechniquecomesincredibledetail,butanyshakeisemphasised.

FamiliaRlayout(BeloW):TheEOS5DSRisalmostidenticalinlayouttotheEOS5DMkIII.

iSocompaRiSon:TheEOS5DSR controlsnoisewell,up

toapoint.AreducedISOrangewithuseableimagequalityismoreuseablethanavastrangeofunusableISOvalues.

havng tested thePentax645Zmedum-

formatdgtal camera, I’dsay theEOS5DS

sn’t farbehnd t,desptecostng less than

half theprce.Thestandardoutputsze of

iles fromtheEOS5DSs almost75x50cm,

whchsdoubletheszeofiles from theEOS

5DMkIII. Ifyoulketo prntyour magesbg,

ths samassve leap forward nqualty.

Ofcourse,thereare mplcatonstocrammngsomanypxelsontoasensor

measurngonly24x36mm.Those pxelsare

smaller fora start,so there’sa greater rskof

ncreasednoseandreduceddynamcrange.

Thankfully,noseswell controlledandthe

OfcOurse,whatyOureallywanttOknOwisdOthOse50.6-megapixelsmakeadifference?well,i’mpleasedtO

saytheanswerisabigfatyes!imagequalityisstunning

iSo100

iSo1600

iSo200

iSo3200

iSo400

iSo6400

iSo800

iSo12800

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Handling

Ease of use

Features

Performance 2

Value

Overall 95/

Higher resolutionalsomeansbiggerfiles.

Rawfilesrangein size fromaround50-80Mb

(ontheEOS5DMkIII they’reunder30Mb),so

yougethalf orless imagespermemorycard.

Process thoseRawfilesand thesaved16-bit

TIFFstop300Mbeach,comparedto120Mb

forEOS5DMk IIITIFFs.You’ll needa

computerwithboth fastprocessorsand

plentyofRAMtohandlefiles. I useanApple

MacProwithdualsix-core2.4Mhzprocessors

and24GbofRAM,butif you’veonlygota

singleprocessorand4GbRAMyoumight

needtoupdateyourcomputer!

Thetwofactors that aregoing to

determinewhetheryougetthemostoutof

theEOS5DSare the lensesyouputon itand

howcarefully youuse it.Canon recommend

usingtheirownL-series lenses launchedin

thelastfouryears.I have the16-35mmf/4 IS,

24-70mmf/4 ISand70-300mmf/4-5.6IS

andall arecapableof handlingtheresolution

ofthecamera.Prime lensesfromthe likesof

Zeisswillalsoallowyougettheverybest

outof that50.6-megapixelsensor.

Intermsof howyouuse it,thecrucial

thingto rememberis thatANYerrorthat

could reduceimagesharpnesswill standout

likea sore thumb, soyouneed tofocus

criticallyandmakesurethe camerais rock

solidwhentheshutteris tripped.If youuse it

ona tripod,makesureit’sclampeddown

tight,firetheshutterwitha remote release

andusethemirror lock-up.If you’re

handholdingyoumustadopta stablestance

andusea shutter speedfastenough to

combatanycamerashake.This camera isso

sharp thatthe tiniestamountofmovement

willbe visiblewhenyoublowup theimages.

It’stotallyunforgivinganduser-error is

perhapsitsmainlimitation.Geteverything

right, though,andtheresultswillblowyour

mind.TheEOS5DS isagame-changerand

hasset anewstandard thatother

manufacturers canonlyhope tomatch.

I likedthe EOS 5DS somuchthatI bought one.Not the EOS5DS R testedhere,but theEOS5DS(see panel,above). Theimagequalone wasenoughto justifythe purchandI haven’tregretted mydecision fo

second. It's a joyto use and resultsarestunning. I’veneverseen such detaileimages from a DSLR.Useit withgreatand good glassandyou’ll beamazedresults. Fornow, it’sthe world'sbest D

Verdict

THEEOS5DSOREOS5DSR?

Isitworthspending£200moretogetthe‘R

itslow-passcancellingfilter?Personally,Idothinkitis.Theimagesproducedbythe5DS

alittlesharperthantheEOS5DS,buttheEOfilesarefantasticallysharpinthemselves,an

youfeelit’snecessaryyoucansharpenthem

matchthequalityoftheEOS5DSR,whereast

EOS5DSRfilescan’tbesharpenedsoeasily.WiththeEOS5DSR,youalsohavetheincrea

problemofmoirépatterns,andthoughitshouldn’tbeaproblemforgeneralphotogra

becausetheresolutionofthecameraissohig

someusersofthe5DSRarefindingtheygetmoirépatternsonanyshotwherefinerepea

patternsarecaptured.Ievenheardofawildliphotographercomplaininghegotmoiré

patternsonbirdfeathersinsomeimages.

IT'SALLINTHEDETAILS:ThesameviewpointsontwodierentCanonsandzoomedinto100

Thedierenceinresolutionis astounding.

CANONEOS5DSR

CANONEOS5DMKIII

Exposure:1/100secatf/8(ISO100)

Full-framedigitalSLRTheulTimaTeGuide TophoToGraphy

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1)Multi-coating: Reducesthe

possibilityofflareorghosting

2)Blackrim: Stopsinternal reflections

3)Slimprofile:Helpsprevent

vignettingwithwide-anglelenses

4) Indexmark:Rotationreference

5)Serratededge:Gripforrotating

6)Frontthreads:Allowsuserto

attachalenscaporsecondfilter

Whattolookfor..

120   Circularpolarisers   TheulTimaTeGuide TophoToGraphy

HoyaPro-1Digital

SCREW-INStreetprice:£100(77mm)

Sizes:55mmto82mmwww.intro2020.co.uk

Hoya istheworld's

biggestmanufacturerof

opticalglass andits

famousPro-1 rangehas

alwaysbeena standard-

setter, even ifHoyanow

oersanevenhigher

gradewiththeRevo

series. Street price isa

competitive£100or thereaboutsfor77mm.

Ina slim-profilemountwith indexmarking,optical

performanceisexcellent,withtop scores forzeroimpacton

sharpness,goodflare-resistanceandminimalghosting.Density

measured1.6 stopsand colourshoweda just-noticeable600K

cooltint comparedto daylight. Themulti-coatedsurfaces

cleanedupwell,withnopermanentmarks left bydried-onrain.

B+WXS-ProMRCNano

SCREW-INStreetprice: £175(77mm)

Sizes:49mmto86mmwww.bpluswfilters.co.uk

Over theyears,B+W

hasbuilt anenviablereputationfor

uncompromisingquality.

Made inWestGermany

witha slim-profilebrass

mount, theXS-ProMRC

Nanois itstop-of-the-

rangecircularpolariser,

withtoughMulti-ResistantNanoCoating. At£175, it'seasilythe

mostexpensive 77mmfilterhere.Overalldensitycheckedout

at1.6stopsandcoloureectivelyneutral,measuring just300K

cool.Opticalqualityis topdrawer,withzeroimpacton

sharpness.MRCNanomulti-coating is thebestin thebusiness

with veryhigh resistance toflare andghosting,and it's also very

easy toclean– theworstwecould throwat itjustwipedo.

Superbqualitypolariser,

withexcellentMRCNano

multi-coatingbeing

perhapstheoutstanding

feature.Topqualityfor

sure,butaveryhighprice.

Verdict

Buildquality

Performance

Value

Overall

Asexpected,high

performanceall round

andgoodvaluefor

money.That'sbusiness

asusualfortheHoya

Pro-1range.

Verdict

Buildquality

Performance

Value

Overall

Howwedid the testWeusedacombinationofcontrolledstudio testsand real-world

picture taking. Intermsofpolarising ability–darkeningblue skiesand

reducingreflections– thereis noperformancedierencebetween

anyof thesefilters. Andwe triedthemeverywhichway!

Sharpnessis notusuallya problemwithpolarisers,atleastnotwith

shorter focal length lenses thataretheirmost likelypartners.Longer

focal lengthsmagnify slight imperfectionsin filters though,soweput

themona200mmlens andrancomparisons through theImatest

MTFsharpnessprocedure.Thereweresome smalldierences.The

polarisers vary indensity,too–howmuchtheoverall exposurehastobe increased.Thedarkestneed1.9 stopsextra,andthe lighter-toned

varietyonly 1.2stops.That'sa handydierencein somesituations.

Flareandghostingarethebiggest threats to imagequalitywith

filters: it reduces contrastandmakes imageslookflatwhen shooting

into thelight,andghost imagescanformwhenverybrightlight

bouncesotheshinysensorandbackagainothe rearof thefilter.

Themostsignificantdierencewefoundwas theuseful advantage

themulti-coatedfilters showedwithreducedghosting.

Wesubjected thefilters toa varietyofabuses, andby farthehardest

thingtoremoveduringcleaningwasdried-onwatermarks.Thebest

filtershavetoughdirt-andwater-resistantmulti-coatings– rainwater

formsinto beadsandmostly runso,anddried-onmarksareeasyto

wipeaway.Thenormalmulti-coatedandnon-coatedfilters all

cleanedupeventually,but someneededa fair amountof hard rubbing

withamicrofibrecloth andopticalfluidto getthemproperlyclean.

IFYOUONLYeverbuyonefilter,make itapolariser.With theright

subjectandtechnique, resultscanbe dramaticallyimprovedand

impossibletomimicinpost-processing.Traditionallythey’rea

landscapephotographer’sfavouritefor theway theydarkenblue skies

andenrich thecolouroffoliagebyreducingpolarisedlight.Getthe

angleright,andyoucangetclearwateror glass,andenjoyvibrant

leavesandgrass.It canalsobeusedwhenshootingmotorsports,for

cuttingthroughashinywindscreen toshowthedriveror tobrighten

paintwork.Whateverthesubject, togetthe bestout ofapolarisingfilter

youneedtoknowyourangles– angleto the sun, angleto thesubject,

and thedegreeof rotation.Butif indoubt, justgiveit a twiddleandlook

throughthe viewfinder– it’seasy toseewhat’shappening.

There aretwo typesofpolarisingfilter: linearandcircular,but that

referstotheir opticalcharacteristics;nottotheir physical shape.Linear

polariserscanupset themetering andAF systemsofsomecameras,

sonowadaysthey’re almostallof thecircular typeyouneed.Thepolarisingfiltershere rangefrom£30toa pricey£175.Mostof

thebest valueonesareunder£100, andthemaindierenceis inthe

multi-coatingstosuppressflare,withdirt-resistantsurfaces. In terms

ofsheerpolarisingability, though,they allperformthe same.

1

56

4

3

2

Pricescanvarywildly, ascanperformance, sowe’ve testedawideselectionofscrew-inandsystempolarisers tofind theverybestbuys

TEST:RICHARDHOPKINS

Polarisingfilters

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CircularpolarisersTheulTimaTeGuide TophoToGraphy

MarumiDHG

SCREW-INStreetprice: £55(77mm)

Sizes:37mmto95mmwww.kenro.co.uk

Whle notthe bggest

name ntheUK, Marum

hasoptcalroots datng

back to 1937 nJapan,and

tsproductsare hghly

rated. The Marum DHG

(DgtalHgh Grade) s

exceptonalvalue at £55

n77mm fittng, wth a

hgh-grade spec, ncludng a slm-profilemount. Densty

measured1.6stops, andcolour850K onthecoolsde. Whle

thss thegreatestvarance fromneutraldaylght we tested,

practcet's more notceable thanproblematc, and easly

corrected forcrtcalwork. Sharpnesswas unaected, flareresstance hgh, anddred-onwater marks cleanedup wtha

lttle eort. Hghperformanceat a great prce.

KoodCPLSlim

SCREW-INStreetprice:£30(77mm)

Sizes:37mmto86mm

www.koodinternational.com

Koods a UKbrand

producng a multtude

of photographc

accessores, allat great

value prces. Ther filter

range s wde, ncludng

bothsquare slot-nand

screw-mount types.

ThsChnese-madeCPL

comesna good qualty slm-profilemount ands of the

lghter-toned varety, wtha denstymeasurng only1.2 stops

handy forkeepngup shutter speeds. Colour castwas vrtual

zero – just 50Kwarm. Sharpnesssuereda lttle nthe

telephoto test, butthere wasno measureableeect at short

focal lengths.Lke alluncoated filters, there wassomeflare a

ghostngn dicultcondtons.

KoodCPL

SCREW-INStreetprice:£42(77mm)

Sizes:27mmto86mmwww.koodinternational.com

Thss a completely

derentfilter to the

Chnese-madeKood CPL

Slm, butt also comesat a

great value prce. Maden

Japan,the mounts good

qualtyand slghtlydeeper

andeaser to grp, though

t mayvgnettewth

ultra-wde lenses, causngdarkenng of thecorners.Densty

checked outat 1.8 stopsandcoloura slght750Kon thecool

sde ofneutral.Lke theKoodCPL Slm,sharpness suered a

lttle n thetough telephoto testthat magnfies anyslght

mperfectons n theglass, though nota problemwth wderlenses mostly usedfor landscapes, whle theuncoatedsurfaces

could nduce someflare andghostngwhenpushed.

HoyaSuperPro-1DRevo

SCREW-INStreetprice:£120(77mm)

Sizes:37mmto82mm

www.intro2020.co.uk

Recentlyntroducedas

topof theHoyarange, the

Super Pro-1 DgtalRevos

very smlar tothe Pro-1D,

asthenamemples, wth

evenbetterSMCsuper

mult-coatng. The man

advantage heres hgh

resstance to water

markng, stansand scratches– tjust wpesclean.The cost

oftheseuseful mprovements pushesthe prceup to£120n

77mm sze fittng. There's anndexmark ontheslmlne

mount foreasyreference of rotatonsettng, densty

measured1.6stops, andcolour just 550K onthecoolsdeof

neutraldaylght. There wasno measurable mpact on

sharpnessandresstance to flareand ghostngwas hgh.

Excellentperformance,

likethestandardHoya

Pro-1D,plustheRevo's

stainandwater-resistant

multi-coatingticksthe

finalbox.

Verdict

Buildquality

Performance

Value

Overall

Intruth,optical

performanceisunlikelyto

disappointundernormal

conditions,andyoucan't

arguewiththeprice.No

slim-profilemountthough.

Verdict

Buildquality

Performance

Value

Overall

Formostusers,mostof

thetime,theoptical

shortcomingswill

probablypassunnoticed.

Andit'samazingvalueat

£30in77mm.

Verdict

Buildquality

Performance

Value

Overall

Notquitethebest,and

lackingawater-resistant

finalcoating,butitdoes

alltheimportantthings

verywell,andnothingcan

touchitfor£55.

Verdict

Buildquality

Performance

Value

Overall

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Graduatedfiltersareavailableindierentstrengths,and alsowithahard-cuttransition line,orsoft-cut.Inaddition,thefocallengthofthelenshasabigimpactonhowstronglytheeectappears,withwide-anglesshowingmostdarkening(as illustrated), reducingsignificantlyasfocallength isincreased.Withtelephotolenses,thegraduatedeectbecomesalmostinvisible.Lensaperturecanmakea dierencetoo,withhigherf/numbersshowingmorestrongly.Usethelensstop-downbutton (ifyourcamerahasone)topreviewtheeect.

1)Nofilter.2)Two-stopshard-cut.3)Three-stopssoft-cut.TheseareLeefiltersandthenatureofthecutcanvaryslightlybetweenbrands.

1 2 3

Density&transition

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126   ND graduated filters   TheulTimaTeGuide TophoToGraphy

Buildquality

Performance

Value

Overall

Buildquality

Performance

Value

Overall

FormattHitechsystem (100mm)   KoodP-system (84mm)Tested:0.9NDsoft-cutand0.6NDhard-cut

Filter:£45/Holder:£60/77mmlensadapterring:£23Contact:www.formatt-hitech.com

Tested:0.6NDand0.9NDsoft-cutFilter:£12/Holder:£6/77mmlensadapterring:£5

Contact:www.koodinternational.com

IFYOU'RELOOKINGfor 100mmfilters,butata lowercost

than Lee,Hitech isapopular option. Bothbrandshavetheir

devotees,somepreferring theHitechholder,as wellas the

prices.Hitechscome inanextensive rangeofsizes:67mm,

85mmand100mm(ashere), 150mmand theLucroit(165mm)system–forultra-widezooms like theNikon12-24mmthat

cannotuseregularfiltersbecauseof thebulbousfrontelement.

Theholderhasa solidaluminiummountingplate,rather than

theplasticusedby others. There isnopracticaladvantageto

that,andit'sslightlyheavier, butit certainlyconveysa nice

impressionofquality.Onthefront, there's a stackingsystem

that allowstheholderto becustomised fromone, twoor three

filterslotsanda kitof brassscrewsis suppliedfor that very easy

task.Ontheback, thelensadapterringdrops in,retainedbya

brasslockingscrew(asopposedtoLee's spring-loadedcatch)

that some feel iseasierandmore secure. It's a subjectivechoice

really, thoughif youhaveapreference, asa rule all100mm

filtersfit any100mmholder. Forultra-widelenses,a wide-

angle adapter (illustrated) isavailable for£32.

Thethree-stopsoft-cutND gradmeasuredexactlythree-stopsdensity,and thetwo-stophard-cutcame inat2.1 stops.

That'sprettymuchaperfectperformanceandwhile theexact

densitydoesnot usuallymatter toomuchin practice, within

reason, it's agoodsign.Colour

neutralitywasmorevariable,

withthe hardtwo-stopper

rating 'excellent'withalmost

exact neutrality,but thesoft

three-stopNDgradscored

only'fair'witha noticeable

magentacast. Sharpness

wasunaected, andflare

resistancewasgood–very

muchinlinewithothers.

KOODHASBEENstruggling tokeepupwithdemand,

awaitinga newbatchofhard-cutgradsandonly able to

supplyP-typesoft-cutfiltersfor thisreview.Noproblem

though, that'senoughto get agoodimpressionofwhat's on

oer andtheshortageswillbequicklyrectified. ThefullKoodrange includessmallerA-types andthelarger100mm-type,all

British-madeandatverycompetitiveprices.Forexample,the

Kood100mm-typeholder sellsfor £25, lens ringsare£9, and

the100mmgradsarejust£20each.That'sway less than rivals,

andthesavings addup toa substantialamountbythetime

you'vecollecteda few. Thefilterscomein retailpackagingof a

clear plasticenvelopelinedwiththincardboard.Koodsuggests

tokeep thisasprotectivestorage– functionalperhaps, just

about, buthardly ideal.Goodand easilyaccessible storage is

importantwithgradsasbytheirnature it's hardnotto leave

fingermarksthatcangetsmeared across thesurfacewhenyou

putthemaway,almostguaranteeingflareproblems.

TheKoodholdersarevery likeCokin,madeof precision-

mouldedplasticwiththe lensadapterring clippinginto the

back,andoutagain, inthe sameway.In fact, theKoodandCokinPfilters,holdersandadapterrings areinterchangeable.

TheKoodholderillustrated is thewide-angleversionwithone

filterslot,andit'sslimenoughtocleara 17mmlens (full-frame).

Thethree-stop softfiltermeasured3.2 stops, andthe

two-stopsoft2.3stops–both

acceptablyclose tospec.

Somecheaper gradshavea

reputation forpoorcolour

neutrality,yet thethree-stops

filter rated 'verygood'andthe

two-stops versionscored

'excellent'. Sharpnesswas

unaectedandresistance to

flareis asgoodasany.

AmixedperformancefromHitech,withonefilterbangon

target specificationandtheothersignificantlyo. The

aluminiumholder isa nice item,andHitechsaregreatvalue.

KeenpriceshavealwaysbeenKood'sacecard,and that

certainlystill applies.YetthecurrentKoodrangeisalsohigh

quality,competingwith thebeston thisshowing.

Verdict Verdict

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NDgraduatedfiltersTheulTimaTeGuide TophoToGraphy

Buildquality

Performance

Value

Overall

LeeFilters(100mm)Tested:0.9NDsoft-cutand0.6NDhard-cut

Filter:£80-100 /Holder:£59/77mmlensadapterring:£19Contact:www.leefilters.com

ASKALMOSTANYkeen landscapephotographer, and

they'llsay thebestfiltersaremadebyLee.Theymight

alsoadd themostexpensive, thoughthat'sbecause

they'renot justhighquality, butconsistentlyhighquality. Lee's

reputation isaboutbothmeticulousmanufactureandalsotightqualitycontrol. Thisensuresthefiltersyoubuytoday areexactly

thesameas thosea fewyears oldthatareabitworse forwear.

Leefilterscomein threesizes– theever-popular100mm-

typeillustrated, thesmallerSeven5range thatis 75mmwide,

andthegiant 150mmwideSW150range forultra-widezooms.

Lee100mm-typefilters are2.1mmthick, about 0.5mmmore

thanthe others, tohelpmaintain surfaceflatness.

TheLeefilterholder isoneofthe systemhighlights,made

fromhighqualityplasticwithbrassfittings,andthoughtfully

designedwitha lensring releasedby a spring-loadedcatch.

Theadvantagehereis theholdercanbepoppedonando very

quicklyandeasily,withoutneedingto removethefilter.Another

feature,also sharedwithsomeotherbrands, is thefilter slots

canbecustomisedto takeeitherone,twoormorefilters.

Awide-angle lensadapterring (illustrated) isalsoan optionat£37. Everythingcomesverywell packagedin toughpadded

walletswithVelcro'dclosuresand an identificationwindow.

Thethree-stopssoft-cutgradmeasured at2.8stopsactual

density, andthetwo-stopper

exactlytwo stops.Thecolour

was veryneutral too,with

boththe three-stopssoft-cut

filter andthetwo-stops

hard-cutrating'excellent'–

Lee Filters istheonlybrandon

test here toscoreanillusive

double.Sharpnesswas

unaectedandresistanceto

flarewasgoodtoo.

Trueto form,Leescoreshighest oneverything–exceptvalue!

What you'repayingforis notjustthehighquality,but also the

consistency fromfiltertofilter, andfrombatchtobatch.

Verdict

WEHAVETWOwinners,oneeach inP-typeand

100mm-type,andatbothextremesofthepricerange.Therearesomeverygoodfiltershere,

andyoudon'tneed tospenda fortune togethighquality

Asa caveatthough,it has tobe saidthat the

manufacturingprocess forgrads isa trickyone,and is

achievedmostlyby hand-dippingthe filters indye,so

someslightbatchvariation is inevitable.

LeeFilters isourBestBuyin thelarger 100mmformat,

withfirstclasscolourneutralityandgeneral imagequality.

TheLeeFiltersholderis anotherhighlightwithits

spring-loadedreleasecatchand customisableslots. You

can'treallygowrongwithLee, butat considerablecost.

Kood isourBestBuyP-type.Onthis showing, Kood

competeswell foraccuratecolourandoverall image

quality,at bargainvalueprices, andit'sonly theplastic

holderandbudgetstorageprovisionthat lowersthe score

forbuildquality.Not that there's anythingwrongwith

cheapplasticholders,nothingat all, just that they'renotas

nice touseas themoreexpensivealuminiumones.

Inouroriginalfive-waytest,alltheotherbrandshad

mixedfortunes,usuallywithonefilterscoringwell,butthe

other letting thesidedownwithawaywardcolourcast.

This canbe correctedin post-processing,butit'sanextra

taskthatshouldn'tbe necessary. It'swellworthlookingou

forstarter kitsoeredby somemanufacturers,witha

handycost saving.They includeafilterholderand lens

adapter ring,plusasmallselectionof populargrads.

Testconclusion

KoodP-system(84mm)

LeeFilters(100mm)

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Largecarbon-fibretripodsTheulTimaTeGuide TophoToGraphy

BenroSolidbuildandall-round

performanceforaveryfairprice.Itsloadcapacity

meansitwillsupportprettymuchanyoutfit.

Giotto’s

TheYTL8213isverytall,

especiallywiththecentre-columnextended,

yetislighterthanmanysmallertripods.

Giotto’s

Thethickfoampadsothelegsareavery

welcomeadditionwhecarryingthetripodin

coldconditions.

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PCcustomisedforphotographersTHEULTIMATEGUIDE TOPHOTOGRAPHY

I

STHISTHEbestphotoediting computer

that youcanbuy?Well,noactually. But

that's consideringChillblast'stopmodel

costs a jaw-dropping£13,000.But foratenthofthat price,£1,099 tobe exact,the

ChillblastFusionPhotoOCLiteisprobably

thebestpackageout there for high

performanceatanaordableprice.

Chillblast is a specialist builderofcustom

PCs,winnerofmany industryawards,andis

particularlywellknownforover-clockedprocessingchips toextractmaximum

performance,withwarranty-backed

reliability.Chillblast's other skillis building

PCswithcarefullymatchedcomponents,

selectedaccording to task, suchasgaming,

musicproductionorphotoediting.Gamers

forexample,need stacksofexpensive

graphicspower butarenotsodemandinginother areas,whereasphotographers are

almost theopposite.WithPhotoshopand

Lightroom, there's lesspressureonthe

graphicssidebuthighdemandfor sheer

processingspeedusing lotsof RAM,and

withhighmegapixelcamerassomequitenormaleditingactionsbuilduptogenerate

heavyworkloads.Photographers also

createlotsof imagedata thatneedsbig

capacitystorageandsecureback-up.

Attheheartof thePhotoOCLite is Intel's

fastest i7quad-corechip, over-clockedby

10%to4.4GHzand liquid-cooled forsafety.

There's16GBofRAManda 128GBsolid-statedrive tofurther speed thingsalong,

plus twinned1TBharddrives inRAID-1configuration. RAID-1 isa keyfeature for

photographers,withthe twoharddrives

mirroringeach other,duplicatingeverything

asyougoandcreating an instantback-up.

Ifdisaster strikes,it hasthemajoradvantage

ofautomaticrecovery, soyoucan continueworkingusing theundamagedharddrive.

Withmemorysocheapthesedays,all photo

editingPCsshouldhave RAID-1.

Inaddition, there'sa built-inmulti-card

reader,Blu-rayrewriter, andmoreUSBports

thanyoucanshakea memorystickat.In a

nutshell,performanceoutpaces thehighest

SPECIFICATION

Guideprice:£1,099Inteli7quad-corechip

Over-clockedto4.4GHzLiquid-cooledprocessor

16GBRAM128GBsolid-statedrive

Twin1TBharddrivesRAID-1configuredforback-up

Blu-rayrewriterwww.chillblast.com

TEST:RICHARDHOPKINS

ThekeytoAppleiMac-beatingspeedandprice

carefullymatchedcomponents,expertlychose

powerwhereit'sneededforoptimumphoto-ed

performance.TheChillblastFusionPhoto OCL

specifiedto perfectionand promises excellent

reliability,withextensivewarranty.

Verdict

CHILLBLASTFUSIONPHOTOOCLITE

Buildquality

Features

Performance

Value

Overall

Over-clockedInteli7quad-corechip /High-speedperformance/Optimisedforphotoediting /Built-inRAID-1bac

specAppleiMac, that somemightsay

thegoldstandard,yet a systembasedaround thePhotoOCLite iswaychea

–hundredsofpoundsless.

AllPCsarebuilt toorderandChillb

oersa wide rangeofupgraded

components tosuitpersonal needs, f

additionalRAMandmorepowerful g

cards, tobigger harddrivesandwhispquiet cases.Chillblastwelcomescust

tocalland discussmodifications too

machinesaretestedatfull loadfor24

andhavea warranty– twoyearson

everythingplus threemore labour-o

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Which lens?

TheulTimaTeGuide TophoToGraphy

whetheryou’reshootingwildlife,natureorlandscapes,ourpickofthebestopticsfrom

DigitalSlRPhotogRaPhy ‘sauthoritativelenstestsensuresyoumaketherightchoice

image: adamburton

132   Lenstests

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134   Ultrawide-anglezooms   TheulTimaTeGuide TophoToGraphy

HANDLING:Acompact andvery lightweightzoomwith smoothfocusingringsand sweethandling.Top-qualitybuild.

FEATURES:Focal lengthrangeis broadandversatile. Goodoverlapwitha standardrangezoommeans less lenschanging.Maximum

aperturesaremodest though.AUTOFOCUS: Canon'sUltrasonicMotor(USM) focusing is fast, positive andquietandoers full-timemanual override.

PERFORMANCE: Sharpnessis high,especiallyinthecentre,whereit kicksowell into the'excellent' zoneandthisis maintainedatallfocal lengths,only dippingunderat f/11.Edgesharpness isnotably lower, butstillconsistentlyaround the'verygood' leveland, unlikesome,there'snodrop-oatthelonger end. Peakresolution is thehighesthereat 129lines-per-mm.Aberrationscontrol is theusualmixedbagwithultra-wides. Barreldistortionat 10mmis+2.4%,whichratesas 'poor', thoughothers areworseand itquickly getsmuchbetterat longerfocal lengths.Vignettingis relativelyhigh,but

nevermuchof a problemevenwideopen,andchromaticaberration(CA)is about average.

 VERDICT:Versatilezoomrange, great AF,anda high standardofsharpness– very highinthecentre– ismaintainedatall focallengths andapertures. It comes ina very lightandcompactpackagewithexcellentbuildquality, andbestofall thepricehas beenreducedrecently,making it great value.

CanonEF-S10-22mmf/3.5-4.5USM   £420

DISTORTION:Strongbarrel+2.4%at10mm.Overallrating:Verygood

PEAKRESOLUTION:129lines-per-mm

atMTF20%,15mmf/4centre

CHROMATICABERRATION:Reducesat22mm.Overallrating:Fair

 VIGNETTING:Moderate1.4EVat10mmf/3.5.Overallrating:Excellent

Lens Sharpness (%): 10mm EdgeCentre

60

1020

30

40

50

70

80

90

0

100

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F

    a      i    r

      P    o    o    r       5

       4       7       9

       4       1

       6       0

       5       8

       8       2

       4       9

       7       2

       5       6

       8       2

       5       4

       7       8

f/8 f/16f/5.6 f/11f/4f/3.5

Lens Sharpness (%): 15mm EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o    o    r       5

       8       7       7

       4       5

       5       9

       6       1

       8       3

       5       4

       7       0

       5       3

       8       4

       I       I

f/8 f/16f/5.6 f/11f/4N/A

Lens Sharpness (%): 22mm EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

      E    x    c    e

      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o    o    r

       6       3

       7       5

       4       9

       5       8

       6       4

       7       8

       5       9

       6       9

       6       2

       7       9

       I       I

f/8 f/16f/5.6 f/11f/4.5N/A

CanonEF-S10-22mmf/3.5-4.5USM

HANDLING 18/20

FEATURES 18/20

PERFORMANCE 37/40

 VALUEFOR MONEY 18/20

OVERALL 91/100

HANDLING: Light,compactandwitha solidfeel. Focusandzoomcontrolsaresmoothandnicelyweighted– excellent, asyou’dexpectfromaCanonL-gradelens.

FEATURES:USMfocusing,weatherproofedconstruction, and12 elementsin ninegroups(includingexoticglass andasphericalsurfaces),takecareof theimaging.Goodlenshoodandrobustlymade. It’sunusually large–good forshading,but takesupmorespace in thecamerabag.Filter size is77mm, incommonwithmanypro-spec lenses.

AUTOFOCUS: Canon’sUSMrarelydisappoints–alwaysfast, smooth,quietandaccurate.

PERFORMANCE: Onfull-framethislensmeetsourverygoodratingat f/4, thenjumpsinto theexcellentzone from f/5.6andholdson to it,

only starting todipslightlywiththe inevitableeectsof diractionat f/16.Thesamepatternis reflectedonAPS-C,onlywiththe higherresolutiondemandsof thesmaller formatpushingnumbersdown.The standard is veryhigh atmost commonlyused apertures.

 VERDICT:Reassuringlysolid,a good lens thatdoeswellacross therange.Distortionandchromaticaberrationat thehigherend,butthese thingscanbeeither substantiallyimprovedoreliminated inpost-processing, orevenin-camerathesedays, sotherealityis nottoobad atall,all thingsconsidered.

CanonEF17-40mmf/4LUSM   £550

DISTORTION (Full-frame):PoorDISTORTION (APS-C):Poor

PEAKRESOLUTION: 110lines-per-mmatMTF20%,40mmf/8centre

CHROMATICAB (Full-frame):GoodCHROMATICAB (APS-C):Fair

 VIGNETTING (Full-frame):Fair

 VIGNETTING (APS-C):Excellent

f/4 f/16f/11f/8f/5.6

LensSharpness(%):17mm(FF)   EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o    o    r

       5       9

       8       0

       5       8

       7       4

       6       6

       8       1

       7       0

       8       5

       7       1

       8       6

f/4 f/16f/11f/8f/5.6

LensSharpness(%):24mm(FF)   EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o    o    r       5

       9       7       0

       6       5

       7       5

       7       3

       8       1

       7       7

       8       4

       7       6

       8       3

f/4   f/16f/11f/8f/5.6

LensSharpness(%):40mm(FF)   EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o    o    r

       5       7

       6       8

       6       8

       7       5

       7       1

       8       2

       7       2

       8       7

       6       8

       8       4

CanonEF 17-40mmf/4LUSM (full-frame)

HANDLING 20/20

FEATURES 18/20

PERFORMANCE 34/40

 VALUEFOR MONEY 20/20

OVERALL 92/100

APS-CONLY

APS-C/ FULL-FRAME

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138   Professionalultrawide-anglezoom   THEULTIMATEGUIDE TOPHOTOGRAPHY

WIDEANGLESAREBY farmy

favourtelenses. Alwayshavebeen,alwayswllbe.Over the

years I’ve ownedthem nallshapes and

szes,from ultra-wdezooms tofull-frameandcrcularfisheyes.I just love theway they

bendandstretchtheworldand allow meto

squeeze somuch nto theframe.Foryears,Nkonregned supremewhen

tcame toproducngthe sharpest ultra

wde-angle zoom ntheworld, n theformoftheNIKKOR AF-S 14-24mmf/2.8G ED.

I oftenwonderedwhytherewas noCanon

equvalent anddespte benga devotedCanonuser,I ddhavea brefflrtatonwth

theNkon14-24mm,adaptng t formy EOS

5DMkIII. Theromancewasshort-lved–usng twas too muchlke hardworkdueto

thelackofelectronc contacts.I then tred

theSgma12-24mm,whchat thetmewasthewdest correctedzoomontheplanet.

Agreat lensfor the money,butnot the

sharpest tool n theshed.Butnow,afteryearsofwatng,Canon

hasfinally trumped everyone na wayeven

I neverdreamed of.Therlatest optcaloerng, theEF 11-24mmf/4L USM, s the

wdestzoomlens ever made.Ever.

I’d beentchng togetmyhands ontfrom theday Canonannouncedt, and

finallytookdelveryofonea fewdaysbeforeflyngoutto Havana. It’s a shametddn’t

comeattachedto anEOS5DS, butbeggars

can’tbechoosers I suppose!Thefirst surprsecame when I opened

thebox and tookthe lensout.Man,t’s bg.

Serously. Thefrontendlookslkehalf acrystal ballandasI gazed ntot,I could see

avery exctngfuture!

Achevngsuchan ncredblefocal lengthrangetakes someserous optcal

engneerngandthat’spartly whythe front

end ofthe11-24mmsso bg,andalsowhythelens s soheavy, tppng thescales at

over 1kg. Itboasts16 glasselements n11

groups. Thefirst three(the bggest three)

andthe last oneare asphercal. If thatweren’t enough, talso hasa SuperUD(Ultra

lowDsperson)glasselement anda UDglasselement to ncreasesharpnessand

further reduce colour frngng.

Thesecond surprsecame when I peeredthrough thevewfinder andzoomed back to

11mm.Man, t’s wde.Serously. If youhave

problemswthbalance,haveconsumedalcoholorsuer from adodgytcker,

I suggest sttng down todoths,otherwse

youmghtjust fall over.The field-of-vewsenormous.Somemghteven saygreedy.

I let mywfehavea quck lookthrough the

vewfinderand herlegs turnedto jelly.

“Wow, that’sncredble,” shesays.“Youshouldbuy one”. I menton theprce. “Okay,

probablybest notrush nto these thngs”.

Fast forward 48hoursandI’m explorngthestreetsofHavanaat dawn,slghtly

 jet-lagged, slghtlysweaty n the35°heat

buteagerto startfillngmemorycards.I round a corner andstumbleuponanold

Amercancar. Notexactlydicult nCuba

– there are thousands of‘em– but I decdetoshoot tanywayandsee whatBgBertha

scapable of.

I pop tonmyEOS 5DMkIII, lockthatontomyGtzotrpod, take a deep breath

and zoombackto11mm.The car looks lke

aMatchboxtoy, even thoughI’m only 2maway.I move ncloser. Stll toosmall. Closer

stll.Nope,gongto have todobetterthan

that.Bythetmethecompostons startngtolookhalf decent, I’m soclose tothecar

that I feel lke I’veclmbed nsde theheadlamp.Whchhghlghtsan mportant

factor– 11mm svery,verywde.Toowde?

I’llletyoubethe judgeofthat.I takea shotandcheck the prevew

screen. Thecompostonlooksgoodbut

thesky’scompletelyblownout. Betterfit atrustyND grad.Whchhghlghts another

mportantfactor.Thanksto thatbulbousfrontend, youcan’tfit filtersat thefront,onlygels cut toszefora rearslot– whch

doesn’tsolvethe problem.Wth anyluck,

LeeFltersor Htechwll soon launchanadaptor fortherSW150andLucrotsystems

sograds and NDfilterscanbeusedon the

frontof the11-24mm.Butthat’sanotherfew hundred qudadded tothecostof the

lens.Kdneyanyone?

Obvously, youdon’t have touseND grads– nths case I shoota seresof exposures

that I canblendoncebackhomeusngHDR

EfexPro– butI’moldfashonedand

Canon’snewrecord-breakngzoomscausngquteastr.OnarecenttrptoCuba,LeeFrosttookoneoutfora

comprehensvefieldtest

TEST:LEEFROST

SPECIFICATIONS

Price:£2,800

Sensorformat:Full-frame&APS-CConstruction:16elementsn11groups

Maximumaperture:f/4Minimumaperture: f/22

Minimumfocus:28cmat24mm;32cmat11mmFilterthread:n/a(rearslot-n)

Imagestabilisation:NoFocusing:AFandManual

Angleofview: 126-84°dagonal;117-74°horzontal;95-53°vertcal(full-frame)

Numberofdiaphragmblades: NneDimensions:108x132mm

Weight:1,180gSuppliedaccessories:Lenshood,front&rearcaps

Website:www.canon.co.uk

CANONEF1124MMF/4LUSM

Above:MergngexposuresusngHDRsoftwareovercomesthedicultyofusngfilterswththebulbous11-24mm.Right:Theresultngmagequaltyssuperb,wthvrtuallynofall-oofsharpnessatanyaperture,evenwdeopen!

Exposure:Multiplebracketsatf/16(ISO400)

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Exposure:1/60secatf/5(ISO1600

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140   Professionalultrawide-anglezoom   TheulTimaTeGuide TophoToGraphy

preferto getmyshots ascose toinshed

n-cameraasI can.It saves tmeat thecomputer f nothngese.

Later thatdayI headto anodbudng

I’ve photographedbefore, toseehow the11-24mmcopeswth nterors.As expected,

t’s n tseement.The super-wdecapabty

aowsme tocompose shots that I’venevermanaged totakebefore, smpybecausemy

wdest ens(16-35mm)sn’twdeenough.

I turnthecameraon ts sdeandset to11mm Icancapture theloorandthe ceng

nthesameframe.Better st,wththe

cameracarefuy eveed, there’s nodstorton.Vertca nesremanvertca–

at11mm!I aso ove thedramatc

perspectve,whchemphassesthe nesandcurves beautfuy.Forarchtecture ths s

oneheckofa ens.Moreversatethanthe

Canon17mmtt-shft?Qutepossby.I evenusedt at11mmtoshoot

sequencesof magesthatwere

subsequenty sttched ntopanoramasusngPhotomerge nPhotoshop. Therewere a

fewfasestarts as thesoftwaregot togrps

wth thewdenessof themages,butI foundthat f I used theSphercaayout optont

handed themine. Imagne that–panoramasshotat11mm fu-frame! Itony

takes hafa dozen framesto cover 360°–

andthat’swth agenerousoverap.Asthedaysroby and I becomemore

accustomed, theens startsto fee famar.

It’s reayweput togetherands nceybaancedonmyEOS5DMk III.In some

stuatons I’mforced tohandhod,but

despte thesze,weght andackof IS,I conidenty shootatshutterspeedsdown

to1/60sec andthey’re tack-sharp.

Speakngofwhch,optcay,ths ens samazng. It’s qutepossby thesharpest ens

I’ve ever used,whch s saynga otgven

that t’s anutra-wde zoom. Itdoesn’tmatterwhchapertureyou shootat– from

f/4to f/22,corner-to-corner sharpness s

superb. At thewderend ofthefocaength

rangedepth-of-ied s aso enormoussoyou’neverneed tostopdownbeowf/5.6

orf/8to recordeverythng nsharp focusfrom thenear foreground to ninty.At

11mmandf/8, thehyperfocadstances

roughy 0.5m.Focusthe ens on0.5manddepth-of-iedwextendfrom25cmto

ninty!Notony that, fa-oat thecorners

snon-exstentataapertures exceptf/4,where t’s toosght toworryabout–amost

unheardof nanutra-wde zoom.

Dstorton smnma too– faress than nmyCanonEF 16-35mmf/4LIS,and I

thought thatwasgood!There s a tte

dstorton at11mm,butwe canforgvethat,andt’s easy enoughto correctusng the

LensDstorton Ftern Photoshop,though I

ddn’tbother.Canyou te?Exacty.At thetmeof testng,Adobehadn’tupgradedACR

to ncude aproiefor the11-24mm, butto

behonest, I don’t thnk the magesneedt asthey’re sogood. It’s amostas fCanonhave

stumbeduponsomemagc optca formua

byaccdentandusedt nthecreatonof thsens.Onceyousee theresuts,the £2,800

prcetagstarts toseemreasonabe.Just.

I apoogse fI comeacross asa tteover-enthusastc,but t’s rare that I getso

excted abouta ens.Theast tmewaswhen

Zessaunchedthe21mmf/2.8Dstagon.Butths swaybetter.Canonhas createda

ensthathasnorva.A ensthatw aow

youto takephotographsnoother ens can.I’dsay t’s toowdeat11mmforandscape

photography–you’dstrugge toind

sceneswheresuchamassve ied-of-vewworks.But forarchtecture andnterorst’s

competey athome,andfor genera

creatvephotography tw opendoors thatunt nowhavebeenirmycosed.

Exposure:1/400secatf/8(ISO100)

Above:Sttchngasequenceofshotsproducesamazng

panoramasthatcoverahugeield-of-vew.Right:Theultra-wdefocallengthoeredbytheCanonEF

11-24mmsperfectforshootngarchtectureandnterors.

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Professionalultrawide-anglezoomTheulTimaTeGuide TophoToGraphy

Wow,thislensisinsane!It’sthesharpestwide-anglezoomevermade,thewidestwide-anglezoomevermade.It’s virtuallydistortion-freeandsuersfromminimalfall-o.Therereallyisn’tanythingbadtosay.Okay,at£2,800it’sexpensive.Butgiventheincredible11mmminimumfocalCanonhasachievedalmosttheimpossibleandgoingtocost.It’sauniquelensthatcandothingotherlenscan.Topqualitylensesarealsoalonginvestment–there’snoreasonwhyyouwon’tusingitin20years,whereasit’shighlyunlikelykeepyournextDSLRforfive.SoinsteadofupgryourEOS5DMkIIorMkIIItothenew5DS(whicasimilaramount),whynotbuythisawesomeleinstead?Orbetterstill,whynotbuyboth!

Verdict

Buildquality

Features

Performance

Value

Overall

CANONHASCREATEDALENSTHATHASNORIVAL.ALENSTHATWILLALLOWYOUTOTAKEPHOTOGRAPHSNOOTHERLENSCAN

Exposure:Onesecondatf/8(ISO400)

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142   Premium24-70mmzooms

 VERDICT:While theCanonEF24-70mmf/2.8LMkII rules onultimateperformance, thisf/4L IS

versionoersa strongchallenge.Sharpness ishigh,wellonparwithotherrivals,theprice isvery competitive(it recentlydroppedby £400),plusit hasexcellent image stabilisation, fastAF,weatherproofingand ahandymacro feature.Onsizeandweight, it easilybeatseverything.

HANDLING 19/20

FEATURES 18/20

PERFORMANCE 36/40

 VALUE FORMONEY 18/20

OVERALL 91/100

HANDLING:Withamaximumapertureoff/4, itlooksand feels just likeasmaller versionoftheall-conqueringCanonEF24-70mmf/2.8LMk II,andit weighsasignificant25% lessat600g.Buildqualityis uptoCanon'sL-gradestandardofexcellence,includingweatherproofing.

Focusandzoomcontrolsworkastheyshould.FEATURES: Imagestabilisationclaimsfourstopsofcamera-shakereduction, a featuresharedonlywith theTamronin thisclass.Thebenefitof IS is reducedat shorterfocal lengths,thoughthere'snoquestion itcanbe extremelyuseful andthislenscanbe handheldat somecrazy-longshutterspeeds. Thedownside is ifthesubject ismoving,IS candonothingtopreventmotionblur.There'salsoa 'macro'mode;filter sizeis themorepopular77mm;lenshoodandsoft pouchprovided.

AUTOFOCUS ANDIS:AFis ring-typeUSMultrasonicwithfull-timemanualoverride. It'svery fast, recordinganaverageof under0.4secondsin thenear-to-farspeedtest, andisalmosttotallysilent.

Themacromode isengagedby pushing aswitchandzoomingpast the70mmmark.Don'texpecttruemacrolensperformance,thoughit'sundoubtedlyveryhandyandtakesthemaximummagnificationratiodownto animpressive1:1.4. It'sfine forthings likeflowerportraits,butat itsmaximumsettingit getsveryclose, just 3cm fromthe frontofthe lens,andthat'sactuallyinsidethelens hood!Imagestabilisationis veryimpressive,andwe

achieved100%sharp imagesat threestopsbelow theunaidedhandholdinglimit,and70%atfourstops.

PERFORMANCE: Onfull-frame,sharpness inthecentreis comfortablyinto the'excellent'sectorat f/4,improvingslightly at f/5.6, thendeclininggradually in linewithdiraction,only

dippingjustbelow'excellent'at f/16.Edgesharpness isnever lessthan 'very good'andimproves to 'excellent'at f/8whereitmatchesthecentre.Unusually, it'sactually strongest atlongerfocal lengths.OnthehigherAPS-Cstandard, sharpness in

thecentreis reducedmostlyto the'verygood'zone,thoughat 70mmitholdsonwell,rating'excellent' in themain. Attheedges,sharpnessisalways 'very good'witha noticeable liftwhenstoppeddown toaroundf/5.6-8.Themoremodest f/4maximumaperture

helpsachieveslightlybetterthanaveragescoreson aberrationscontrol.

CanonEF24-70mm

f/4LISUSM   £700

DISTORTION (Full-frame)VeryGood   DISTORTION (APS-C)VeryGood

CHROMATICAB (Full-frame)Good   CHROMATIC AB (APS-C)Good

CanonEF24-70mmf/4LISUSM(APS-C)CanonEF24-70mmf/4LISUSM(full-frame)

 VIGNETTING (Full-frame)VeryGood   VIGNETTING (APS-C)Excellent

Lens Sharpness (%): 24mm (FF) EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

       6       2

       8       4

f/4f/2.8

       7       2

       8       0

f/5.6

       7       3

       7       6

f/8

       6       9

       7       3

f/11

       6       2

       6       7

f/16

N/A

Lens Sharpness (%): 40mm (FF) EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

       5       9

       8       0

f/4f/2.8

       6       6

       8       2

f/5.6

       7       2

       7       5

f/8

       7       1

       7       0

f/11

       6       4

       6       6

f/16

N/A

Lens Sharpness (%): 70mm (FF) EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

       5       8

       8       4

f/4f/2.8

       6       5

       8       8

f/5.6

       7       3

       8       5

f/8

       6       9

       7       9

f/11

       6       3

       7       2

f/16

N/A

Lens Sharpness (%): 24mm (APS-C) EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

       5       4

       7       2

f/4f/2.8

       6       4

       6       6

f/5.6

       5       9

       6       0

f/8

       5       6

       5       7

f/11

       4       9

       5       1

f/16

N/A

Lens Sharpness (%): 40mm (APS-C) EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

       5       4

       6       6

f/4f/2.8

       6       2

       6       9

f/5.6

       5       9

       5       9

f/8

       5       5

       5       5

f/11

       4       9

       5       1

f/16

N/A

Lens Sharpness (%): 70mm (APS-C) EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

       5       8

       7       4

f/4f/2.8

       6       5

       8       1

f/5.6

       7       0

       7       7

f/8

       6       4

       6       7

f/11

       5       3

       5       8

f/16

N/A

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o    o    r

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P

    o    o    r

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o    o    r

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o    o    r

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P

    o    o    r

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o    o    r

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Premium24-70mmzooms

 VERDICT: Ifyouwant thebest, andyouare aCanonuserwithverydeeppockets, thenhere itis. Veryfew lensescanmatch itsstandardofsharpness,andnoother24-70mmfor sure.WhatsetstheCanonMk IIapart isfabulousperformanceat f/2.8,atbothcentreandedges,onfull-frameandAPS-C.Andalsothe

consistently highqualityat all focal lengths,withnoweakspots.Mechanicalperformance,andtheweather-resistantbuildquality is topdrawer, too.But, andunfortunately there'salwaysa but, youcan't ignore thehighaskingprice.Start savingnow!

HANDLING 18/20

FEATURES 18/20

PERFORMANCE 38/40

 VALUE FORMONEY 15/20

OVERALL 89/100

HANDLING:Canonhasknockeda handy145gotheweightof theolderMkI version, andat805gthisMk IIis inlinewith thelighterSigmaandTamronoerings.Mechanicaldesignhasalsobeen revised, andit'sno longer like theNikonwiththat cunning'zooming' lenshood

feature (seeNikonreviewoverthepage)– theMkIInowhasa moreconventionallyextendingfrontsection.It'sweather-sealedandfeelsassolidandsmoothas you'dexpectfor a lenscostingalmost£1,500,withcontrolringsnicelyweighted.

FEATURES:There'sno imagestabilisation,surprisingperhapsfor sucha recentredesign,andinsteadCanonhasoptedtoconcentrateonsheeropticalexcellence.Tothat end,thereare19 glasselements,more thanany other,arranged in13groups,and includingplentyofexoticglassesand aspherical lenssurfaces.Thefiltersizegoesup to82mm.Lenshoodandsoft pouchsupplied.

AUTOFOCUS:AFis ring-typeUSMultrasonic,withfull-timemanualoverride. It'slightningfast, eectively instant,recordingjust0.35secsaveragein thenear-to-farspeed test. If youlistenverycarefully, youmight justhear itworking, butno-oneelsewill.Closestfocus is38cm,givingamaximummagnificationratioof1:4.8at70mm– typicaloftheotherlensesinthisclass.

PERFORMANCE: Canonhasput all ofthatexpensiveopticalglassto very gooduseandthiszoom'sperformance isoutstanding.Mostsignificantly,sharpness in thecentre at f/2.8 isvery high indeed, gettingonfor90%MTFonfull-framestraight outof thetrap– veryimpressive!There'sanever-so-slightincreaseat f/4, butit'sdiraction limited from thenonout,meaningthatsharpness cannot improvewith stoppingdown,butthecentreis neverless than 'excellent'onfull-frame,atanyfocallengthor aperture, andon APS-Cit only dipsbelowthe'excellent' line at f/16.Edgesharpness is closebehind,onbothformats,againmostlyin the'excellent'zone,justdippingdown to 'verygood'onAPS-Cateither endof theaperturerange.Aberrationsreductionis also toa high standard, andCAcontrolis better thanmost.

CanonEF24-70mm

f/2.8LIIUSM   £1,400

DISTORTION(Full-frame):Good   DISTORTION (APS-C):VeryGood

CHROMATICAB (Full-frame):VeryGood   CHROMATIC AB (APS-C):VeryGood

Canon EF 24-70mmf/2.8L IIUSM (APSCanon 24-70mmf/2.8L IIUSM (full-frame)

 VIGNETTING (Full-frame):Good   VIGNETTING (APS-C):Excellent

Lens Sharpness (%): 24mm (FF) EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

       7       8

       8       8

f/4

       7       3

       8       9

f/2.8

       7       9

       8       7

f/5.6

       7       7

       8       3

f/8

       7       1

       7       8

f/11

       6       4

       7       2

f/16

Lens Sharpness (%): 40mm (FF) EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

       7       9

       9       0

f/4

       7       5

       8       6

f/2.8

       8       3

       8       7

f/5.6

       8       2

       8       4

f/8

       8       0

       7       9

f/11

       6       9

       7       2

f/16

Lens Sharpness (%): 70mm (FF) EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

       7       5

       8       7

f/4

       7       1

       8       6

f/2.8

       7       5

       8       7

f/5.6

       7       4

       8       6

f/8

       7       1

       7       9

f/11

       6       6

       7       2

f/16

Lens Sharpness (%): 24mm (APS-C) Centre

60

10

20

30

40

50

70

80

90

0

100

       7       6

       8       2

f/4

       6       7

       8       0

f/2.8

       7       4

       7       9

f/5.6

       6       9

       7       4

f/8

       6       3

       6       7

f/11

    6    0

Lens Sharpness (%): 40mm (APS-C) Centre

60

10

20

30

40

50

70

80

90

0

100

       7       9

       8       3

f/4

       6       8

       7       7

f/2.8

       7       7

       8       0

f/5.6

       7       1

       7       7

f/8

       6       3

       6       9

f/11

    6    0

Lens Sharpness (%): 70mm (APS-C) Centre

60

10

20

30

40

50

70

80

90

0

100

       7       6

       7       9

f/4

       7       4

       7       6

f/2.8

       7       4

       8       0

f/5.6

       7       2

       7       8

f/8

       6       5

       6       9

f/11

    6    0

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o    o    r

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P

    o    o    r

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o    o    r

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144   Premium24-70mmzooms   TheulTimaTeGuideTophoToGraphy

 VERDICT:TheNkon24-70mmf/2.8Gmaybe

a lttlebggerandheaver thanrvals, butthebuldqualty speerlessand there'sthe bonusofthatclever'zoomng' lenshoodtrck.Sharpnesssvery hgh, andwhle t'stechncallynot quteassharpastheCanonMk IIlensat f/2.8, that'stodebateslghtlyderng levelsofexcellence.

HANDLING 18/20

FEATURES 18/20

PERFORMANCE 36/40

 VALUE FORMONEY 17/20

OVERALL 89/100

HANDLING:TheNkon sslghtlybggerandheaverthanother24-70mmlenses, andfeaturesa reversenternal zoommechansmwhere t'slongest at24mm,andgets shorterwthncreasedfocal length.Nkonusesths tomproveshadngeicencyofthelenshood,

attachedto thefixedouterbarrel sothe frontofthelensmoves ndependently nsde.Theresult seectvelya 'zoomng' lenshoodthatmantansmaxmumshadngfrom24mmto50mm,andclosetomaxmumat70mm.Thssunque (nowthat thesmlarCanonMk I sdscontnued) andon allother zooms thehoodcanonly provdeoptmumshadngat thewdestfocal length,or twouldencroach ntothemagearea.Buldqualty s superb,weather-sealed,wth

finger-lght andslky smoothcontrolrngs,asyou'dexpect fromNkon.

FEATURES:Optcalconstructon s15elementsn11groups, ncludnga lberalsprnklngofexotcglasses. Flter szes thepopular77mm,hoodandcasesuppled.

AUTOFOCUS:Nkon'sAF sSWMrng-typeultrasoncwthfull-tmemanualoverrde. It'ssuper-fast, recordng0.38secondsn thenear-to-farspeedtest, andseectvelyslent.Focusnggoesdownto 38cm,measured fromthesensor, fora maxmummagnficatonratoof1:3.8 at70mm– smlar toother24-70mms.

PERFORMANCE: Optcalperformances veryhgh,though nthebattleof thebrands,thenewerdesgnof theCanonMkIIjusttakes thewn.On full-frame,sharpness rates 'excellent' nthecentreat f/2.8, rsesevenhgherat f/4, thendeclnesgradually, butneverdropsoutof the'excellent'zone. Edge sharpness followsasmlarpatternat a lowerlevel,butnotmuchlowerand salsomostlywellabovethe'excellent' lne.OnAPS-Cthepatterns repeated,wththe

hgherstandard requredpushngthenumbersdown. Sharpness nthecentreremans'excellent' throughout themd-rangeaperturesthough,andtowards theedgest snever lessthan'verygood'.Aberratonscontrol s typcalof theclass,

wthqutestrongbarreldstortonat thewdeend,turnngtomldpncushonatmdandlongerfocal lengths.Vgnettngs notceableatf/2.8onfull-frame,partcularly at24mm,butqucklyclearsathgherf/numbersandsneglgble nanycaseonAPS-C.There'ssomeCAtoo,butallof theseaberratonsare easlycorrected npost-processng.

DISTORTION (Full-frame):Good   DISTORTION (APS-C):VeryGood

CHROMATICAB (Full-frame):Good   CHROMATIC AB (APS-C):Good

NikonAF-S24-70mmf/2.8G ED(APS-C)NikonAF-S 24-70mmf/2.8G ED (full-frame)

 VIGNETTING (Full-frame):Good   VIGNETTING (APS-C):Excellent

NikonAF-S24-70mm

f/2.8GED   £1,200

Lens Sharpness (%): 24mm (FF) EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

       7       4

       8       8

f/4

       6       5

       8       2

f/2.8

       7       3

       8       7

f/5.6

       7       0

       8       4

f/8

       6       5

       7       9

f/11

       5       9

       7       2

f/16

Lens Sharpness (%): 40mm (FF) EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

       7       9

       8       8

f/4

       6       5

       7       7

f/2.8

       8       2

       8       7

f/5.6

       7       9

       8       4

f/8

       7       4

       7       9

f/11

       6       8

       7       3

f/16

Lens Sharpness (%): 70mm (FF) EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

       7       3

       8       4

f/4

       6       9

       7       4

f/2.8

       7       6

       8       6

f/5.6

       7       7

       8       4

f/8

       7       4

       7       9

f/11

       6       9

       7       2

f/16

Lens Sharpness (%): 24mm (APS-C) EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

       6       3

       8       0

f/4

       5       9

       7       2

f/2.8

       6       2

       8       0

f/5.6

       6       0

       7       5

f/8

       5       5

       6       9

f/11

       4       7

       5       9

f/16

Lens Sharpness (%): 40mm (APS-C) EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

       6       5

       8       0

f/4

       5       1

       6       6

f/2.8

       6       6

       7       9

f/5.6

       6       5

       7       4

f/8

       6       2

       6       8

f/11

       5       6

       6       0

f/16

Lens Sharpness (%): 70mm (APS-C) EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

       5       5

       7       4

f/4

       5       2

       6       3

f/2.8

       5       8

       7       9

f/5.6

       6       1

       7       5

f/8

       6       3

       6       8

f/11

       5       7

       6       0

f/16

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o    o    r

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P

    o    o    r

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o    o    r

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o    o    r

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P

    o    o    r

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o    o    r

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 VERDICT:Even if you'reindierent tothevalueof imagestabilisation inthis class, the

combinationof a fast f/2.8aperture,withfineopticalperformanceandhighbuildquality, isenough topressthe 'buy itnow'buttonfor only£740.Butif youdo value imagestabilisation,andthere'sno denying thebenefitsin somesituations, thenit'salmost a no-brainer.

HANDLING 18/20

FEATURES 20/20

PERFORMANCE 38/40

 VALUE FORMONEY 19/20

OVERALL 95/100

HANDLING:Verynicelymadewith solid,weather-resistantbuild. It'ssmoothoperatingtoo,with afinger-lightfocusing ring andisn'ttooheavy at825g.There'sa zoom-lock, butit'snotreallyneeded.Nocomplaints atall.

FEATURES:Theheadline isVC(Vibration

Compensation)stabilisation,a featuresharedonlywith theCanon24-70mmf/4 IS,andclaimingfourstopsofcamera-shakereduction.Opticaldesignis 17elementsin 12groups,andTamronhasn'theldbackontheexoticstuwith threeLDglasselements,twoXRandfourasphericals.Filterthread is thelarger82mmsize; lenshoodprovided.

AUTOFOCUS ANDIS:AutofocusdriveisTamron'sUSDring-typeultrasonic,withfull-timemanual override. It'snot quiteasultra-rapid assome, recording0.5secondsinthenear-to-far speedtest,butin practiceatenthofa secondmakesnodierence,andit's very quiet.Closest focusis 38cmwithareproduction ratioof 1:5at 70mm–verysimilar to rivals.

Tamron'sVibrationCompensationstabilising systemusually impressesandnochangehere, scoring90%sharpimagesatthree stops belowthe handholding limit, and70%at fourstops.Excellent.

PERFORMANCE: Tamron'sdesigners facedatoughchallengehere,with theneedfor highsharpness ata fastf/2.8maximumaperture,plus theimage stabilisation system,andall atacompetitiveprice. They'vedonereally ratherwell,all thingsconsidered.It'snot quitethe sharpest24-70mmf/2.8,

that accoladegoes toCanon,but theNikonruns itcloseand this Tamronisverymuch inthesameball-park.Sharpnessin thecentreonfull-framestartswell intothe 'excellent' zoneatf/2.8, atallfocal lengths,andstays thererightthrough tof/11.Theedges rate 'verygood'atf/2.8, thenbounceup to 'excellent' from f/4.OnAPS-C,sharpnessis inevitablyreduced,

thoughin thecentreit breaks abovethe'excellent' lineatmid-rangeapertures.At theedges,sharpness holdsonwell,also reachingthe'excellent' lineorcloseto it through themid-range, andneverless than'verygood'.Goodaberrationscontrol isnoteasyon

fast,wide-anglezoomslike these, thoughtheTamron isonpar. Thatis tosaynotparticularlygoodbutwithnonastysurprisesandnothingthatcan'tbeeasily fixed laterduringpost-processing.

TamronSP24-70mm

f/2.8DiUSDVC   £740

DISTORTION (Full-frame):Good   DISTORTION (APS-C):VeryGood

CHROMATICAB (Full-frame):Good   CHROMATIC AB (APS-C):Good

Tamron SP24-70mm f/2.8Di (full-frame) TamronSP 24-70mmf/2.8 Di(APS-C)

 VIGNETTING(Full-frame):Good   VIGNETTING (APS-C):Excellent

Lens Sharpness (%): 24mm (FF) EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

       6       8

       8       3

f/4

       6       3

       8       5

f/2.8

       6       8

       8       1

f/5.6

       6       5

       7       8

f/8

       6       2

       6       8

f/11

       5       4

       6       4

f/16

Lens Sharpness (%): 40mm (FF) EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

       7       2

       8       0

f/4

       6       1

       7       9

f/2.8

       7       6

       8       1

f/5.6

       7       2

       7       7

f/8

       6       7

       7       2

f/11

       6       1

       6       3

f/16

Lens Sharpness (%): 70mm (FF) EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

       7       0

       8       1

f/4

       5       5

       7       7

f/2.8

       7       3

       8       5

f/5.6

       7       3

       8       1

f/8

       7       2

       7       5

f/11

       6       4

       6       4

f/16

Lens Sharpness (%): 24mm (APS-C) Centre

60

10

20

30

40

50

70

80

90

0

100

       6       5

       7       3

f/4

       6       4

       7       4

f/2.8

       6       4

       7       1

f/5.6

       5       9

       6       8

f/8

       5       4

       5       9

f/11

    5    1

Lens Sharpness (%): 40mm (APS-C) Centre

60

10

20

30

40

50

70

80

90

0

100

       6       7

       6       9

f/4

       6       7

       6       7

f/2.8

       6       8

       7       3

f/5.6

       6       8

       6       8

f/8

       6       1

       6       1

f/11

    5    0

Lens Sharpness (%): 70mm (APS-C) Centre

60

10

20

30

40

50

70

80

90

0

100

       5       9

       7       1

f/4

       5       1

       6       1

f/2.8

       6       2

       7       7

f/5.6

       6       6

       7       3

f/8

       6       2

       6       5

f/11

    5    1

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o    o    r

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P

    o    o    r

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o    o    r

Premium24-70mmzoomsTheulTimaTeGuide TophoToGraphy

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146   Premiumtelezooms

 VERDICT: ForCanonusers thatwantthebest,andcanaord it,lookno further.Thisis a

wonderful lens, bitinglysharpanddeliveringexcellenceon everyaspectofperformance.Evenwhenlookinghardforanyweakness, theworstwecouldcomeupwithwasitsslighterheavierweightcompared totheothers.Arecent£350pricedropmakes itan evenmoreappealingoption.

HANDLING 20/20

FEATURES 20/20

PERFORMANCE 40/40

 VALUE FORMONEY 16/20

OVERALL 96/100

HANDLING:Big,fatandsuperblyconstructed.Chunkyzoomand focusringsareone-fingerlightand smooth. It'sslightlyheavier thanrivals,butonceit'sonthecamerathatdisappears.Greatto use.

FEATURES: Everything youwouldexpectofthemostexpensive 70-200mmf/2.8zoom,includingultrasonic focusing,imagestabilisation,weather-resistantbuild,detachabletripodcollar andanexcellentflock-linedhood.Thebestbitsare inside–23elementsin 19groups, includingfiveofUDglassandonefluorite. Fluorite isCanon'smagic dust, andwhileothermanufacturersclaimglasswith similar properties, this istherealthingproducedin a dedicatedfactory.

Oneadvantageis theCanon'scloserfocusing, downto amagnificationratioof1:4.8at200mm,comparedtorivals'1:8.Basicallyfocal length ismeasuredat infinityfocus,andatcloserrange thisoftenreduces– so-called'focus-breathing'–andatminimumdistancea

marked200mmmaybemorelikeanactual150mm.Thislens fromCanonsuersmuchlesswith this.

AUTOFOCUSAND IS:Autofocus is smoothandquiet,andlightning fast. In thenear-to-farspeed test,the Canon averaged0.45seconds–thefastestofallthe lenseshere. It focusesquickerthanyoucanthink. There's full-timemanualoverride,too, ofcourse.

Image stabilisationclaims fourstopsshake reductioncompared to thenormalhandholdingruleof thumb,withdualmodesfornormalandpanninguse.Thischeckedoutwith a60%successrateat four stopsunder,risingto 90%at threestops,whichis verymuchthestandardfor thebestimagestabilisationsystemsthesedays.

PERFORMANCE:TheMTFgraphssay itall.Onfull-frame, sharpness never dropsbelow the70%'excellent' line,atanyfocal lengthoraperture, centreoredges. It'smostly runningbetween80%and90%throughmid-rangeaperturesfromf/4 tof/8– remarkableperformance.On thehigher APS-Cstandard,it's notfarbehindeither,neverlessthan'verygood'andmostlywell into the'excellent' zone.Aberrationscontrol is notaproblem,withdistortion, vignettingandCAall scoringeither'very good' or 'excellent'. Peakresolutionmeasuredahigh 117lines-per-mmat20%MTF, recordedin thecentre at70mmf/4.

CanonEF70-200mm

f/2.8LIIUSMIS   £1,500

DISTORTION (Full-frame)Verygood   DISTORTION (APS-C)Excellent

CHROMATICAB (Full-frame)Verygood   CHROMATIC AB (APS-C)Verygood

Canon EF 70-200mmf/2.8L IIIS (APS-C)Canon EF70-200mmf/2.8L IIIS (full-frame)

 VIGNETTING(Full-frame)Excellent   VIGNETTING (APS-C)Excellent

Lens Sharpness (%): 120mm EdgeCentre

60

1020

30

40

50

70

80

90

0

100

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a

      i    r

      P    o    o    r       8

       2       8       5

       7       2

       7       4

       8       4

       8       7

       7       9

       8       1

       8       2

       8       6

       7       2

       7       6

f/8 f/16f/5.6 f/11f/4f/2.8

Lens Sharpness (%): 200mm EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o    o    r       7

       9       8       5

       7       2

       7       4

       7       9

       8       8

       7       9

       8       1

       8       0

       8       6

       7       1

       7       8

f/8 f/16f/5.6 f/11f/4f/2.8

Lens Sharpness (%): 70mm EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

      E

    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o    o    r       8

       0       8       5

       7       4

       8       1

       8       7

       7       6

       8       1

       8       0

       8       8

       7       4

       8       4

f/8 f/16f/5.6 f/11f/4f/2.8

       7       0

Lens Sharpness (%): 120mm EdgeCentre

60

1020

30

40

50

70

80

90

0

100

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a

      i    r

      P    o    o    r

       7       4

       7       5

       5       9

       5       9

       7       7

       7       8

       6       8

       6       9

       7       4

       7       6

       6       6

       6       8

f/8 f/16f/5.6 f/11f/4f/2.8

Lens Sharpness (%): 200mm EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o    o    r       7

       1       7       5

       5       7

       5       8

       7       2

       7       8

       6       5

       6       8

       6       8

       7       5

       5       5

       6       3

f/8 f/16f/5.6 f/11f/4f/2.8

Lens Sharpness (%): 70mm EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

      E

    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o    o    r       7

       1       7       5

       6       0

       7       4

       7       7

       6       5

       7       0

       7       5

       7       9

       6       8

       7       3

f/8 f/16f/5.6 f/11f/4f/2.8

       5       6

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Premium telezooms

HANDLING 20/20

FEATURES 20/20

PERFORMANCE 40/40

 VALUE FORMONEY 15/20

OVERALL 95/100

Nikon AF-S 70-200mm

f/2.8GEDVRII   £1,580

DISTORTION(Full-frame)Good   DISTORTION (APS-C)Excellent

CHROMATICAB (Full-frame)Verygood   CHROMATIC AB (APS-C)Verygood

NikonAF-S70-200mm f/2.8II (APS-CNikonAF-S 70-200mmf/2.8 II(full-frame)

 VIGNETTING (Full-frame)Excellent   VIGNETTING (APS-C)Excellent

 VERDICT:Ths sa very finelens. Apartfrommnorssueslke theclose-upfocus-breathng,t'salmost faultless.It'swonderfully sharp,wthexcellentmechancalperformanceandsuperbbuldqualty.On theotherhand, £1,600sasknga lot andwethnkt'serrngontheexpensvesde.

HANDLING:Lkeall hgh-endNIKKORlenses,ths lens just feels rght–aproper professonaltool.Smooth,finger-lghtcontrols,ruggedbuld, perfect. It'severythngwe lookfor.Therotatng trpodcollar sfixed,though the

foot sldesowtha screw-lockngclp.A smallpont,butthe lenshood snotas deepas tshouldbe,andt'snotsquaredosowon'tstandonend.

FEATURES: It's allhere– SlentWaveMotorfocusngwth full-tmemanualoverrde,VbratonReducton,weatherproofing, trpodcollar,hoodand case.Optcalconstructons21elementsn 16groups,ncludng sevenEDglasselements.All theselensessuer fromfocus-breathng,

theCanon leastand theNkonmost(SgmaandTamronareactuallyverysmlar). Thsreducesfocallengthatcloserangeandatamarked200mmtheNkon smorelke140mmwhenfocusedat 1.4m.Themaxmummagnficatonratoof 1:8meansyoucanfilla

full-framemagewthanA4magaznepage,butnothngsmaller.

AUTOFOCUSAND IS:Nkon'sSlentWaveMotorautofocus s veryquet andeicent.Notquteas fast astheCanonnsde-by-sdecomparson,averagng0.6secondsn thenear-to-fartest,but there's barelya tenth n t.More mportantly, when tcame totheservo-trackngtest t performed mmaculately.VRmagestablsatonclamsfour-stops

ofcamerashake reductonaganstthehandholdngrule,andwescored60%successat four stopsunder, rsngto 90%at threestops.Ths sanexcellentperformance fortheNkon,andpar forthecoursewthmodern top-gradelenses lkethese.

PERFORMANCE: Ifonly bythesmallest

margn, overall theNkons thesharpest70-200mmf/2.8lensyoucanbuy. Thecluestobest hgh resolutonperformanceare nthefractonallybetter figuresonAPS-C,andalsothepeakresolutonfigureof121lnes-per-mmthat sjustawhskeraheadof theothers,recordedat 200mmf/4. Inpractce, theNkon's advantages barely vsble, thoughatthe longendt bodeswellforusewthateleconverter. Lkethe Canon, sharpnessonfull-frameneverdpsbelow the70%'excellent'lne atanytme, andon APS-Ct'smostly nthe'excellent' zone,too.Aberratonscontrol s totheusual hgh

standard, though-1.8%pncushondstortonat200mms a lttlehgherthansome.

Lens Sharpness (%): 120mm EdgeCentre

60

1020

30

40

50

70

80

90

0

100

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a

      i    r

      P    o    o    r       8

       0       8       5

       7       1

       7       2

       8       3

       8       7

       7       6

       8       0

       8       4

       8       6

       6       8

       8       2

f/8 f/16f/5.6 f/11f/4f/2.8

Lens Sharpness (%): 200mm EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o    o    r       8

       1       8       5

       7       1

       7       4

       8       4

       8       9

       7       6

       8       1

       8       3

       8       9

       7       9

       8       0

f/8 f/16f/5.6 f/11f/4f/2.8

Lens Sharpness (%): 70mm EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

      E

    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o    o    r       8

       3       8       5

       7       2

       8       4

       8       7

       7       7

       7       9

       8       2

       8       8

       7       3

       8       8

f/8 f/16f/5.6 f/11f/4f/2.8

       7       0

Lens Sharpness (%): 120mm Centre

60

1020

30

40

50

70

80

90

0

100

       7       2

       7       4

     5     6

       7       5

       7       9

       6       1

       6       8

       7       4

       7       7

       6       8

       7       1

f/8 f/5.6 f/11f/4f/2.8

Lens Sharpness (%): 200mm Centre

60

10

20

30

40

50

70

80

90

0

100

       7       2

       7       5

     5     8

       7       6

       8       1

       6       5

       6       8

       7       5

       8       1

       7       0

       7       0

f/8 f/5.6 f/11f/4f/2.8

Lens Sharpness (%): 70mm Centre

60

10

20

30

40

50

70

80

90

0

100

       7       4

       7       4

     6     0

       7       7

       7       8

       6       8

       6       9

       7       7

       7       9

       7       0

       7       8

f/8 f/5.6 f/11f/4f/2.8

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148   Premiumtelezooms   TheulTimaTeGuideTophoToGraphy

 VERDICT:TheSigmalooks thepart, anddoes

thebusiness. It'ssharp,verysharp,givingnothingaway tomoreexpensive rivals,apartfromtheedgesat thelongend.AFandimagestabilisationperformverywell, too,butweatherproofingis absent. Itsbest feature,though, is theunbeatableprice–youcan'tquibbleat that.

HANDLING 20/20

FEATURES 19/20

PERFORMANCE 36/40

 VALUE FORMONEY 20/20

OVERALL 95/100

HANDLING:Although thelightestlensofthegroup, it'sstill heavy.Zoomandfocusringsarelight andsmooth,though, bothturningin thesamedirectionasCanon.They'repositioneddierently,with thefocus ringnearest the

camera,reflectingthe arrangementof focusandzoom lens groups inside. Finishis Sigma'snewer smoothmatt.

FEATURES: There'sa full featuressetwithHypersonicAF, full-timemanual focusoverride, andtwo-stageimagestabilisation.Noweatherproofingthough– a signofSigmacuttingbackoncosts.It comeswithadetachable tripodcollar andlenshoodwithanAPS-Cextension.Opticalconstructionis 22elementsin 17

groups, includingtwoofFLDglass andthreeSLD. Themodestmaximumreproductionratioof1:8is clearevidenceof theusual focus-breathingthat reducesfocal lengthwhenshootingat closedistance.

AUTOFOCUSAND IS:Themechanicalcomponents performwell.While Sigma'sHSMwasslowestof thegroup,averaging0.65 secsinthenear-to-far test, that'sstillveryswift.More importantly, itwasplenty fast enoughtodealwith thetoughAF-trackingtestoutlinedonthe openingpage.Sigma'sOS (OpticalStabilisation)claims four

stopsofcamera-shakereduction andweachieveda 90%successrateat threestops, and60%at four stops.Excellentperformance,on aparwiththe others.

PERFORMANCE:Thebigquestion is,cana£800lensbe assharpasonecostingtwiceasmuch?Andtheansweris yes. Almost.Theoneexception isedgesharpnessat 200mm,wherebelow f/8it's considerably softer thanat anyotherpoint.Thisdoesn't appeartobe'badcopy'

syndrome,buta characteristicofthedesignthataectsperformanceonbothfull-frameandAPS-Cformats. Sharpness jumpsupwithstoppingdown,andit'salsoquite likely thatsubjects towardsthe edgesoftheframeatlonger focal lengthswill beoutoffocusanyway,but theproblemis there.Apart fromthat,allother aspectsof

performanceare in linewith theother lenseshere.There'smaybea touchofdistortionapparent, butthenit'snomore than theNikon.Peak resolutionat20%MTFmeasuredarespectable112 lines-per-mm,in thecentreat200mmf/4.

Sigma 70-200mmf/2.8EXDGAPOHSMOS   £800

DISTORTION (Full-frame)Good   DISTORTION (APS-C)Excellent

CHROMATICAB (Full-frame) Verygood   CHROMATIC AB (APS-C)Verygood

Sigma 70-200mmf/2.8EX HSMOS (APS-C)Sigma70-200mmf/2.8HSMOS (full-frame)

 VIGNETTING (Full-frame) Excellent   VIGNETTING (APS-C)Excellent

Lens Sharpness (%): 120mm EdgeCentre

60

1020

30

40

50

70

80

90

0

100

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a

      i    r

      P    o    o    r       8

       2       8       3

       7       1

       7       2

       8       3

       8       5

       7       8

       7       9

       7       9

       8       4

       6       7

       8       3

f/8 f/16f/5.6 f/11f/4f/2.8

Lens Sharpness (%): 200mm EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o    o    r       7

       1       8       4

       6       9

       7       2

       5       9

       8       6

       7       4

       7       9

       4       7

       8       6

       3       5

       7       9

f/8 f/16f/5.6 f/11f/4f/2.8

Lens Sharpness (%): 70mm EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

      E

    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o    o    r       7

       8       8       2

       7       2

       7       7

       8       3

       7       6

       7       9

       7       3

       8       4

       6       8

       7       8

f/8 f/16f/5.6 f/11f/4f/2.8

       7       0

Lens Sharpness (%): 120mm EdgeCentre

60

1020

30

40

50

70

80

90

0

100

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a

      i    r

      P    o    o    r       7

       2       7       2

       5       5

       5       5

       7       5

       7       5

       6       6

       6       6

       7       2

       7       2

       6       1

       7       2

f/8 f/16f/5.6 f/11f/4f/2.8

Lens Sharpness (%): 200mm EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o    o    r       6

       4       7       3

       5       2

       5       5

       5       7

       7       6

       6       2

       6       6

       4       2

       7       7

       3       4

       6       7

f/8 f/16f/5.6 f/11f/4f/2.8

Lens Sharpness (%): 70mm EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

      E

    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o    o    r       7

       0       7       0

       5       6

       7       2

       7       3

       6       5

       6       5

       7       3

       7       4

       6       5

       6       5

f/8 f/16f/5.6 f/11f/4f/2.8

       5       6

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HANDLING:As70-300mmtelezoomsgo, theNikon isbiggerandheavier. Layout is spot-on,andcontrolsarenicelyweightedfor fast andsmoothworking.Solid buildquality.

FEATURES: A full setof features includingSWMAF, andtop-gradeVR-IIimagestabilisationwithdualmodes:NormalandActive.Opticaldesigncomprises17 elementswith twoof EDglass,arrangedin 12groups,and theaperturediaphragmhas nineroundedblades.

AUTOFOCUSAND IS:SWMAFdrive(AF-S)isvirtuallysilent, fastandpositive.VR-II imagestabilisationclaims a four-stops reductionincamerashake;weachieved80%successatthreestops,and40%at four stops.WithbothAFandimagestabilisation, theNikonprovedclose to thebestavailable.

PERFORMANCE:Afinesharp lens,particularlyat300mm.Onfull-frame, centre sharpness iswayabove ‘excellent’atalltimes, andonAPS-C, itonly dips into the‘verygood’ zoneat f/11.Edge sharpness isweaker, butstillno

lower thanmost. Aberrationscontrol is par forthecourse,withbarreldistortionat 70mmturningtopincushion atmid-rangeand longerfocal lengths.SignificantCAat thelongend,thoughvignettingis neverreallytroublesome.

 VERDICT:Thebestlens inthisclass, but ahigher price tag.Sharpness ishighthroughout,it’swellmadeandhasexcellentAF andVRimagestabilisation.

HANDLING:Mediumweight andwellfinished,

withmetalmount.Slightbarrelwobbleat300mm, though itdoesn’taect performance.Manualfocusing isvery good.Extendthezoomandpushthemacro/normal switchtoallowmuchcloserfocusing tounder1m.

FEATURES: NoISandMicro-MotorAF ratherthanUltrasonic,but focusinggoesdownto1:2magnificationratioat the longest focal length.OnAPS-C,thatfills theframewitha subject just45-50mmlongand atagenerous69cmMWD. Thebarrel rotateswhenfocusing,revealinga handymagnificationratiosscaleasitextends.Opticalconstructionis 14elements(oneSLD) intengroups.Lenshoodis provided.

AUTOFOCUS:Fairlyquiet andfast,averaging0.5secondsin thenear-to-far speed test,thoughit slowsa littleat 300mmand in lower

light.Manual focusis viaan AF/Mswitch.

PERFORMANCE:Sharpnessis remarkable fora£100 lens,performingclosetomuchmoreexpensivetelezooms.Aberrationscontrol istypicalofmosttelezooms.Vignettingis notreally aproblem,almostunnoticeableonAPS-C.There’s someCA,moresoatthelongerfocal lengths.

 VERDICT:Thoughlight onluxuries,thislenshasa coupleof strongfeatures: theprice andthatextra-closefocusingability.Overall,opticalperformancecanholditsownagainstmuchmoreexpensivetelezooms.

NIKKORAF-S70-300mmf/4.5-5.6GEDSWMVR   £420

Sigma70-300mmf/4-5.6DGMacro   £100

DISTORTION (Full-frame):Good

DISTORTION (APS-C):VeryGood

 VIGNETTING (Full-frame):Excellent

 VIGNETTING (APS-C):Excellent

CHROMATICAB (Full-frameedge):Good

CHROMATICAB (APS-Cedge):Fair

DISTORTION (Full-frame): Fair

DISTORTION (APS-C):Fair

 VIGNETTING (Full-frame):Excellent

 VIGNETTING (APS-C):Excellent

CHROMATICAB (Full-frameedge):Fair

CHROMATICAB (APS-Cedge):Fair

APS-C/ FULL-FRAME

APS-C/ FULL-FRAME

HANDLING 20/20

FEATURES 20/20

PERFORMANCE 38/40

 VALUEFOR MONEY 17/20

OVERALL 95/100

NIKKORAF-S70-300mmf/4.5-5.6(full-frame)

Lens Sharpness (%): 70mm EdgeCentre

60

1020

30

40

50

70

80

90

0

100

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a

      i    r

      P    o    o    r

       7       2

       8       3

f/8

       6       4

       7       1

f/16

       6       8

       8       6

f/5.6

       7       0

       7       9

f/11

       6       2

       8       3

f/4.5

Lens Sharpness (%): 135mm EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o    o    r       7

       6       8       3

f/8

       6       5

       7       2

f/16

       7       6

       8       6

f/5.6

       7       2

       7       8

f/11

       7       4

       8       5

f/4.8

Lens Sharpness (%): 300mm EdgeCentre

60

10

20

30

40

50

70

8090

0

100

      E    x    c    e      l      l    e

    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o    o    r       6

       5       8       0

f/8

       6       2

       7       0

f/16

       6       1

       7       9

f/5.6

       6       4

       7       7

f/11N/A

HANDLING 18/20

FEATURES 18/20

PERFORMANCE 32/40

 VALUEFOR MONEY 20/20

OVERALL 88/100

Sigma70-300mmf/4-5.6DG(full-frame)

Lens Sharpness (%): 70mm EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o    o    r       7

       6       7       7

f/8

       7       1

       7       0

f/16

       7       1

       8       1

f/5.6

       7       6

       7       4

f/11

       6       9

       7       9

f/4

Lens Sharpness (%): 135mm EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o    o    r       7

       0       8       0

f/8

       6       9

       7       0

f/16

       6       7

       8       0

f/5.6

       7       4

       7       7

f/11

       6       5

       7       8

f/4.5

Lens Sharpness (%): 300mm EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o    o    r

       5       4

       7       6

f/8

       5       8

       7       1

f/16

       5       0

       6       5

f/5.6

       6       2

       7       6

f/11N/A

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TelephotozoomsTheulTimaTeGuide TophoToGraphy

HANDLING:A smart-lookinglens, it feelsmeaty,marginally theheaviestof thisgroup,andsimilarto theNIKKOR70-300mmVR.

FEATURES: IncludesTamron’sUSDring-typeUltrasonicAF,withfull-timemanualoverride,andVCstabilisationclaimingfourstopsofcamera-shakereduction.Opticaldesignhas17elementsin 12groups,withoneLD andoneXLDglass.Minimumfocusingdistance is1.5mfromthesensorand that translates toanMWDof119cmfromthe lens front,giving amagnificationratioof 1:4at300mm.

AUTOFOCUSAND IS:USDUltrasonicAF isvery quietandlocksonpositively. It’s notthemost rapid,thoughonly a tenthorso behindmostrivals.Tamron’sVibrationCompensationissmartandhasauto-sensingofpanning

movementsodoesn’tneeda dualmodeswitch. Performanceis excellent.

PERFORMANCE:Sharpnessis high,excellentonfull-frame,justdippingat f/16.Anoticeabledropat300mmf/5.6andcentre sharpnessis‘excellent’againat f/8. Same forAPS-C,justata slightly lowerlevel.Limitedaberrations.

 VERDICT:There arehardlyanydownsides.Theupsides aregoodAF andIS,high sharpness atall focal lengths,beatingeverythingexceptthemoreexpensiveNIKKOR70-300mmVRat thelongend, andtheCanon55-250mmSTM.TheTamronoers terrificvalue at£250.

TamronSP70-300mmf/4-5.6DiUSDVC   £250

DISTORTION (Full-frame):Good

DISTORTION (APS-C):VeryGood

 VIGNETTING(Full-frame):Excellent

 VIGNETTING(APS-C):Excellent

CHROMATICAB (Full-frameedge):Good

CHROMATICAB (APS-Cedge):Fair

APS-C/ FULL-FRAME

HANDLING:Physically,the Sigma70-300mmDGAPOMacro isidentical tothenon-APOversion. It’squite light at550g.Asexpected,there’ssomemovement in thebarrelwhenextendedto 300mm,butnothingtooworrying.Manual focusingis particularlygood.

FEATURES: APOis short forapochromatic,andrefers tothree lens elementsofSLDglass,asopposed to justonein thenon-APOversion.Costing anextra£50thanthe otherSigma70-300mmon test, SLDglass focusesallcoloursof lightmoreaccurately, for lowerCAandimprovedsharpness.

AUTOFOCUS:Impressivelyfast atanaverageof0.5 seconds in thenear-to-far speedtest,slowing a littleat thelongest focal length. It’saudible,butnot intrusive.

PERFORMANCE:Onfull-frame, sharpnessinthecentreis ‘excellent’ from70mmto135mmatallapertures,and from f/8at 300mm.Edgesharpnesslagsa little,whichis typical ofmosttelezooms. Performance is thesamefor

APS-C,buttheedgesharpnessholdsup better.Basically, it’s thesameas thenon-APOversion,thoughwithfractionally sharper imagesandalittlelesschromaticaberration.

 VERDICT:Opticalperformance isgoodoverall,andwhilestill great value, it’snotsignificantlybetter thanthebargainSigmanon-APO.Nicetousewithgoodcontrolsand fastAF. Theextraclose-upmodeis abitfiddly, butveryuseful.

Sigma70-300mmf/4-5.6DGAPO   £150

DISTORTION (Full-frame): Fair

DISTORTION (APS-C):Fair

 VIGNETTING(Full-frame):Excellent

 VIGNETTING(APS-C):Excellent

CHROMATICAB (Full-frameedge):Good

CHROMATICAB (APS-Cedge):Good

APS-C/ FULL-FRAME

HANDLING 18/20

FEATURES 18/20

PERFORMANCE 32/40

 VALUEFOR MONEY 18/20

OVERALL 86/100

Sigma70-300mmf/4-5.6APO(Full-fra

Lens Sharpness (%): 70mm Centre

60

10

20

30

40

50

70

80

90

0

100

       7       8

       8       1

f/8

       7       2

f/

       7       5

       7       9

f/5.6

       7       7

       7       7

f/11

       7       3

       7       8

f/4

Lens Sharpness (%): 135mm Centre

60

10

20

30

40

50

70

80

90

0

100

       7       2

       8       2

f/8

       7       2

f/

       7       2

       8       0

f/5.6

       7       4

       7       8

f/11

       7       2

       7       8

f/4.5

Lens Sharpness (%): 300mm Centre

60

10

20

30

40

50

70

80

90

0

100

       5       1

       7       7

f/8

       7       2

f/

       4       8

       6       7

f/5.6

       5       6

       7       8

f/11N/A

HANDLING 20/20

FEATURES 20/20

PERFORMANCE 36/40

 VALUEFOR MONEY 20/20

OVERALL 96/100

TamronSP70-300mm(Full-frame)

Lens Sharpness (%): 70mm Centre

60

10

20

30

40

50

70

80

90

0

100

       7       5

       8       3

f/8

       7       1

f/

       7       4

       8       4

f/5.6

       7       1

       7       8

f/11

       7       1

       8       0

f/4

Lens Sharpness (%): 135mm Centre

60

10

20

30

40

50

70

80

90

0

100

       7       9       8       2

f/8

       6       9

f/

       8       2       8       4

f/5.6

       7       3       7       7

f/11

       7       2       7       4

f/4

Lens Sharpness (%): 300mm Centre

60

10

20

30

40

50

70

80

90

0

100

       6       7

       7       7

f/8

       6       8

f/

       6       1

       6       5

f/5.6

       6       4

       7       4

f/11N/A

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imagedetail:TheSgma'spullngpowerletsyouillthe

framewththesubjectandcapturet nncredbledetal.

indetail

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inaction:TheNIKKORAF-S300mmf/4EPFEDVRproblemtrackingfastaction.WhenmatedtoanAPSthe450mmreachandfastmaximumaperturemakperfectcompactlensforshootingmotorsportorw

ConfusedbyNikon’slensabbreviations?Here’swhatallthoselettersactuallymean

 E:Elermgedphrgm–There’mechanicaldiaphragmcontrol,whichresuinmoreconsistentexposures,especiallywshootingathighburstrates.

 PF:PhseFresel–Alenselement,origidesignedforuseinlighthouses.Thesingleelementreduceschromaticaberration,dothejobofseveraltypicallenselements.

 ED:Exr-lwDspers–Aspeciallenselementthatfurtherhelps toreducechromaberrationandcolourfringing.

 VR:VbrRedu–Reducesbluractivelycompensatingforcameramovem

Abbreviationalleviatio

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156   50mmprimelenses   THEULTIMATEGUIDETOPHOTOGRAPHY

Buildquality

Features

Performance

Value

Overall

FORMANYPHOTOGRAPHERS, the

thoughtofsubstitutingtheirstandardzoomfora 50mmlensseemsabackwardstep,withthe thoughtofswapping theversatilityofazoomforafixedfocal lengthseemingly illogical.Ofcourse,youand I knowbetter.Usinga

50mmis nothing shortof a joy,with thefastmaximumapertureand sharpopticsmorethanmakingupforthelossofazoomfacility. Therearecurrently twomaintypesof50mm– themostcommonis thef/1.8,withthe faster f/1.4 alsoprovingpopular.Thelatter typeboastsbetteroptics and

ahigherpricetagandis a favouritewithprofessionalsandenthusiastsalike.We'reinno doubtthatSigma'slatest prime, the50mmf/1.4 | Artlens, istheone thatevery

dedicated50mmuserwillwant toown.

Quitesimply, it's thesharpest50mmonthescene,barnone.OurlabtestsconfirmwhattheimagescapturedusingtheSigmaalreadytoldus– this50mmdelivers incrediblesharpness,excellentcontrastandminimaldistortion.It'sbenchmarkstu inthisregard.That's little surprisewhenyoutakeinto

accountitsmake-up–HypersonicAFprovidesveryaccurateandfast(aswell asnear-silent)focusing, thatlocksswiftlyontostatic subjectsaswell asdoinga fine jobfollowingmovingtargets,too. Theopticalset-up includesoneaspherical andthreeSLD(SpecialLowDispersion)elementstoproduceimages thatwill blowyou away.It's incredibly sharpat f/1.4 andgetsbetterasyouclosedownthe lens– f/5.6to f/8 gives

optimumresults,withdiraction reducingsharpness asyouclosedownto f/16.There isadownsideto allthisglass,but

onewe're sure usersdon'tmind,and that isthat the Sigmais biggerandheavier thananyother50mmf/1.4– infact it's not toofarothesize andweightofa 24-70mmf/2.8.It'salso expensive incomparisontoother50mmf/1.4s, too, butwhatdoyouexpect?!While around£700 isa lot topayfora

50mm,you'll knowwhereyourmoneywentassoonasyoufirst trythelens.Thedesignisstunning, themetal barrelwithwiderubberised ringhandlesbeautifullyandtheAFperformanceisexcellent. It'sthe imagequality thatgrabstheheadlines–whetherusedonfull-frameorwithAPS-C,youwon'tbedisappointed.Sharpness isveryhigh–ourtestshows it leavesrivalsin itswake.Ona moreartisticlevel, theimage fall-o

andbokehwhenusedwideopen isstunning,buttakecare–depth-of-fieldis soshallowyour focusingneedstobeprecise.Overall,we'dhavenohesitation

recommendingthis lens. It'ssimplythe best.

Guideprice:£850/Streetprice:£700Lensconstruction:13elementsineightgroups

Fiterthread:77mmMinimumfocus:40cm

Maximummagnification:1:5.6Diaphragm:NinebladesSize:85.4x99.9mm

Weight:815gSuppiedaccessories:Paddedcase,hood&caps

Fittings:Canon,Nikon,Sigma&SonyContact:www.sigma-imaging-uk.com

TEST:DANIELLEZANO&RICHARDHOPKINS

SIGMA50MMF/1.4DGHSM/APremiumstandardlens /Hypersonicfocusing/high-performanceoptics/Forfull-frame&APS-Csensors

ANOPTICALBENCHMARK(above):Sigma'slateststandardlensisoneofthefinestopticswe'veevertested.PORTRAITS(beow):Wecan'tfailtoraveaboutthequalityofimages– incrediblesharpnessand lovelydepth-of-field.

Weddingandportraitpros,aongwithmorealuententhusiasts,wiwanttogettheirhandsonthisremarkabeens.Itmaybeasargeandasheavyasapremiumzoom,butitsetsanewbenchmarkinopticaquaityandisthesharpest50mmwe'veevertested.

Verdict

Exposure:1/200secatf/2.8(ISO100)

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158   Macrolenses   TheulTimaTeGuide TophoToGraphy

HANDLING: Oneof the sweetesthandlingmacros. Everythingis justright – size, weight,

focusingand controls. Engineering-gradeplasticson the external barrel helpkeep weightdownand are warmer tothe touchin thecold.

FEATURES: Headlinestory is the Hybrid ImageStabilisation claimingfour-stops benefit atnormal distance, reducing to two stops at 1:1.Optics aretop-drawerwith 15 elementsin 12groups,including UD glass. Build of theweather-sealed barrelis excellent, andit comeswitha particularlygood anddeep lenshood,lined withblack flocking.

AUTOFOCUS: Ultrasonic AF is silent andswift,withfull-time manual override. Macros tendtobe slower focusingbecause of their longerrange mechanisms,but you'd not knowit here.

PERFORMANCE: All macrosare very sharp, but

thisis the sharpest here(just!) and recorded thehighestmaximumresolution figure at 110lines-per-mm. Excellentperformance fromf/2.8,peakingat f/4,and sharp right acrosstheframe. On APS-C,diractionhits earlierandharderthan full-frame andperformancejuststarts to dipfrom f/8.Distortionis negligible,CA wellcontrolled, vignetting minimalat f/2.8andgone by f/4. Minimum WorkingDistance isa smidge less than someat 13cm.The Hybrid ISalsocorrectslateralmovement – up-down aswellas angularpivoting– which is morenoticeable withmacro.It works verywell, andtested at exactly two-stops benefit at 1:1.

CanonEF100mmf/2.8LMacroISUSM   £640

 VERDICT: Inall key areas, this lens wins – if onlyby a short head. It'sextremelysharp,handles

beautifullyand hasthebestIS andAF. Asyou’dexpect from Canon, the build quality isexcellent and it’soptically brilliant. It’saroundathirdmorecostlythanrivalsthatrun it veryclose forimage quality at mid-range apertures.Butif you want thebest anduseCanon,thisis it.

HANDLING 18/20

FEATURES 20/20

PERFORMANCE 39/40

 VALUEFORMONEY 15/20

OVERALL 92/100

CanonEF 100mmf/2.8L MacroIS USM

DISTORTION (Full-frame):-0.1%(Excellent)

DISTORTION (APS-C):+0.4%(Excellent)

 VIGNETTING(Full-frame):Verygood

 VIGNETTING(APS-C):Excellent

CHROMATICAB (Full-frameedge):Good

CHROMATICAB (APS-Cedge):Good

Lens Sharpness (%): Full-frame EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o

    o    r

f/16f/11f/8f/5.6f/4f/2.8

       6       5

       7       1

       7       2

       7       7

       7       5

       8       2

       7       6

       8       4

       7       4

       8       5

       7       3

       7       8

Lens Sharpness (%): APS-C EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o    o    r

f/16f/11f/8f/5.6f/4f/2.8

       5       0

       5       6

       5       8

       6       5

       6       1

       7       2

       6       2

       7       4

       6       4

       7       5

       6       1

       6       4

HANDLING: Thefirst thingyou noticeis thesizeand weight. It's a bitfatterand heavierthanmost,butin usethese thingsmelt away and it'sactuallya wonderful lensto use– chunky, easyto hold, superblysmooth.

FEATURES: BoastsVibrationReduction

claimingfour-stops benefit, Silent-Wave AF anda generous lenshood. Opticalconstruction is14 elementsin 12 groups, including one EDglass.Nikon doesn'tclaim weather-sealing,though the mount hasa rubbergasket.

AUTOFOCUS: Silent-Wave AF is excellent –fast,quiet, positive– asgoodas itgets, plusfull-timemanual override.

PERFORMANCE: Sharpness is very high, andyou'd expect no less, though being picky,thepeakresolution measured99 lines-per-mm –

 justmissing outon the top grade.It's not easyto seethis in practice, andsharpness reachedexcellent levels on bothfull-frame and APS-C,onlyscoringa littlelower atf/2.8 andat highestf/numbers. As usual, distortion, vignetting and

CAareall very well controlled, andMWDis parforthecourseat 14cm.The VRmeasuredahandy 1.6-stops benefit at 1:1.One notabledierence is the wayNikon reportsaperturescompared to Canon. Whenfocusgets veryclose, theeective f/numberrises, eg fromf/2.8to f/4.8at 1:1. Allmacros dothis,butNikonchoosesto report it, whileCanonstays at f/2.8.TTL meteringcompensates automatically forthisso it makes no dierence in practice.

 VERDICT: This wasthefirstlensto bringthebenefitsof stabilisationto macro photography.Since then, other brands havecaughtup andeven edged aheadon theoptical front,withAFandstabilisation systemsto match. Though theperformance dierences are marginal, whereNikonstillscoresis inbuildqualityanda solid,reassuringfeel thatNikon users willrelish.

HANDLING 18/20

FEATURES 20/20

PERFORMANCE 38/40

 VALUEFORMONEY 16/20

OVERALL 92/100

NikonAF-S105mm f/2.8GIF-EDVR

DISTORTION (Full-frame):+0.3%(Excellent)

DISTORTION (APS-C):+0.5%(Excellent)

 VIGNETTING(Full-frame):Verygood

 VIGNETTINGAPS-C):Excellent

CHROMATICAB (Full-frameedge):Good

CHROMATICAB (APS-Cedge):Good

NikonAF-S105mmf/2.8GIFEDVR   £620

Lens Sharpness (%): Full-frame EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

      E    x    c    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o    o    r

f/16f/11f/8f/5.6f/4f/2.8

       6       3

       6       8

       6       8

       7       2

       7       3

       7       9

       7       5

       8       1

       7       5

       8       0

       6       8

       7       5

Lens Sharpness (%): APS-C EdgeCentre

60

10

20

30

40

50

70

80

90

0

100

      E    x    c

    e      l      l    e    n     t

      V .    g    o    o      d

      G    o    o      d

      F    a      i    r

      P    o    o    r

f/16f/11f/8f/5.6f/4f/2.8

       4       8

       5       2

       5       4

       5       7

       6       2

       6       6

       6       6

       6       9

       6       5

       6       8

       5       8

       6       0

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Macro lensesTheulTimaTeGuide TophoToGraphy

HANDLING:A lttle longerandheaverthansome,butnotbymuch.Swtchesareeasy,andthefull-tmemanualoverrdefocusngspartcularlypostveandwellweghted.

FEATURES:Sgmahasbeencatchnga fewheadlneswthsomeveryhgh-spec lenses,and

thsmacro soneofthem.It has 16elements n11groups,morethanany otherhere, ncludngtwoof Sgma'sSLDglass.OptcalStablsatonclamsfour-stopsbenefit,andfocusng sHypersonc.The lenshoodsunque nhavnganextenson forusewthAPS-Ccameras.

AUTOFOCUS: TheHypersoncMotorcertanlymovesfast,but canbea tadnoserandjudderyaroundthe focusedpont.Normallynotmuchofacrtcsm,butbothstandardsandprcesarehghhere.AF hasa three-stagelmter.

PERFORMANCE: Allthatglasscertanlyworks!Sharpness sveryhgh,matchngtheCanon100mmL'sMTFpeakat83%andonlyjust fallngshortonmaxmumresolutonat 108lnes-per-mm.Edgesharpness sn't qute sospectacular

at f/2.8,butstll verygoodndeed.Dstorton,vgnettngandCA aremnmal.OptcalStablsatonworkswellandwemeasuredanmprovementof1.6stopsat 1:1. Though ths salotless than thefourstopsyoumghtexpect atnormalshootngdstance, t s stll verywelcomewthmacrowhere there softenpressuretoachevesuicentlyhghshutterspeeds.MnmumWorkngDstancecheckedout at14cm, verymuchn lne forthsclass.

 VERDICT:Noexcusesatths level,notthatSgma reallyneedsany.Optcalperformancesrghtupthere,almostclass-leadng, andsotoos mage stablsatonandoverallbuldqualty.OnlytheHSMfocusng,to beverycrtcal,canbeoccasonallyhestantas t seeksperfectfocus.All round,the Sgmamakesastrongcaseandhastheedgeonprceovermarqueoptcs.

HANDLING 17/20

FEATURES 20/20

PERFORMANCE 36/40

 VALUEFOR MONEY 17/20

OVERALL 90/100

Sigma 105mm f/2.8 EX DGOS HSMMa

DISTORTION (Full-frame):+0.2%(Exce

DISTORTION (APS-C):+0.4%(Excellen

 VIGNETTING(Full-frame):Verygood

 VIGNETTING(APS-C):Excellent

CHROMATICAB (Full-frame):Excellen

CHROMATICAB (APS-C):Excellent

Sigma105mmf/2.8EXDGOSHSMMacro   £380

Lens Sharpness (%): Full-frame Centre

60

10

20

30

40

50

70

80

90

0

100

f/11f/8f/5.6f/4f/2.8

    6    8

       7       3

       7       4

       7       7

       8       0

       7       7

       8       2

       7       3

       8       3

       6       8

       7       9

Lens Sharpness (%): APS-C Centre

60

10

20

30

40

50

70

80

90

0

100

f/11f/8f/5.6f/4f/2.8

    5    3

       5       7

       6       1

       6       0

       6       8

       6       3

       7       0

       5       8

       7       0

       5       6

       6       2

HANDLING: Slghtlylghterthanyoumghtexpectandgenerallywellmade,thoughtherewassomeveryfractonalplay n themanualfocusngrngonourtest sample.Nothngatallserous, exceptthat, at thsprcelevel,everydetal sworthmentonng.

FEATURES:Thespecficatonwants fornothng,wthultrasoncAF, fourstopsofVbratonCompensatonandweathersealng(or atleasta gasketaroundthemount).On theoptcalfront, there are14 elementsn 11groups,ncludngoneof LDglass andtwoXLD.

AUTOFOCUS:UltrasoncSlentDrve sverygood– fast, smooth,quet andpostve–plustheres full-tmemanualoverrde.

PERFORMANCE: Sharpnesss excellent,thoughTamronseems tohavetakenaslghtlyderenttackhere.Whlenotqute reachng the

very hghestlevelsof someothersn thecentre,t's a veryclosecall andTamronhtsbackwthedgeperformancethat s soamaznglyclose tothecentret's almostoverlappng.Sowhle thepeaksmaybe slghtlylower, overall magequalty sexceptonalevenacross thewholeframeandatallapertures.Maxmumresolutonof91 lnes-per-mmat f/5.6doesn't trulyrepresenthowgood tstotal performances,ncludngexcellent controlof dstorton,vgnettngandCA. Tamron'str-axalVbratonCompensaton s mpressveat1.6stopsat1:1.MnmumWorkngDstancecheckedoutatahandy14cmfromthefrontofthe lens.

 VERDICT:Thslensperformsextremelywellrght acrossthe board.Andthat's tskey

strength,wthsharpnessevenlyspreadat averyhgh levelacrossall areasof theframe,at allapertures (nevtablybar thehghestf/numbers).AFandVCarebothexcellent.A bgprcedrop(thsTamronwasprcedat£569not toolongago)means ths lens sverygoodvalue.

HANDLING 17/20

FEATURES 20/20

PERFORMANCE 36/40

 VALUEFOR MONEY 16/20

OVERALL 89/100

Tamron SP90mm f/2.8Di VCUSD Mac

DISTORTION (Full-frame):-0.1%(Exce

DISTORTION (APS-C):+0.3%(Excellen

 VIGNETTING(Full-frame):Verygood

 VIGNETTING(APS-C):Excellent

CHROMATICAB (Full-frameedge):Very

CHROMATICAB(APS-C): Excellent

TamronSP90mmf/2.8DiVCUSDMacro   £380

Lens Sharpness (%): Full-frame Centre

60

10

20

30

40

50

70

80

90

0

100

f/11f/8f/5.6f/4f/2.8

    7    0

       7       5

       7       6

       7       9

       7       9

       7       8

       8       0

       7       6

       7       7

       7       4

       7       5

Lens Sharpness (%): APS-C Centre

60

10

20

30

40

50

70

80

90

0

100

f/11f/8f/5.6f/4f/2.8

    5    5

       6       1

       6       2

       6       5

       7       0

       6       7

       7       2

       6       4

       7       1

       5       8

       6       2

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On sale now!Orderyourcopydirectfrom

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MacrolensesTheulTimaTeGuide TophoToGraphy

HANDLING:Aphyscallyshort lensconsder tsfocal length,althoughnotthe lghtest. It looks

andfeelslkeascaled-downversonof the180mmSgma,andsharesthesamehghbuldqualty.Topmarks.

FEATURES:A fullhouse,ncludngHypersoncAFwthfull-tmemanualoverrdeanddual-modemage stablsaton.Optcalconstructon s19elementsn 14groups,wththreeSLDelements (comparedtothe180mmSgma'sthree FLDelements). Trpodcollar,hoodandcasearestandard.

AUTOFOCUS ANDIS:HypersoncAFsnear-slentandfast, scorngan averageof 0.4secondsn thenear-to-farspeed test(1.5mtonfinty).Mnmumworkngdstance (MWD)s18cmfromthefrontof thelensat 1:1, roughly5cmless thanthe 180mmmacros, though

usefullylongerthan100mmmacrosthataveragearound14cm.OSmagestablsatonscored90% success at threestopsbelow thehandholdnglmt, and60% atfourstops.That'saboutasgoodas tgets.

PERFORMANCE: Anothervery sharp lensfromSgma,andnotablefor howcloselyedgesharpness tracksthecentre.On full-frame,sharpness salready'excellent'acrossthe frameatf/2.8,t gets auseful legupatf/4,andstaysabove the'excellent' lneto f/16. Frst-rateperformance, andthepatterns repeatedonAPS-Cataslghtlylower level,butstll 'excellent'throughthe md-rangeapertures.

Sigma150mmf/2.8EXDGOSHSMAPO   £670

 VERDICT:OnlytheSgma180mmssharperthanths, thoughapart fromat f/2.8 there's

reallynothngn t.MechancalperformanceofAFandOSsexcellent.Very mpressvestuagan fromSgma,thoughnevtablytheMWDslessthan180mmmacros, andthatcouldbe adrawbackfor someusers.Justonemore thngtonote– t's a realbarganatunder£700.

HANDLING 19/20

FEATURES 18/20

PERFORMANCE 37/40

 VALUEFOR MONEY 20/20

OVERALL 94/100

Sigma150mmf/2.8EXDGOSHSMAP

DISTORTION (Full-frame):Excellent

DISTORTION (APS-C):Excellent

 VIGNETTING(Full-frame):Excellent

 VIGNETTING(APS-C):Excellent

CHROMATIC AB(Full-frameedge): Exc

CHROMATICAB(APS-Cedge): Excelle

Lens Sharpness (%): Full-frame Centre

60

10

20

30

40

50

70

80

90

0

100

f/11f/8f/5.6f/4f/2.8

    7    0

       7       7

       7       9

       8       1

       8       4

       8       3

       8       7

       8       3

       8       7

       7       5

       7       6

Lens Sharpness (%): APS-C Centre

60

10

20

30

40

50

70

80

90

0

100

f/11f/8f/5.6f/4f/2.8

    6    2

       6       7

       7       0

       7       3

       7       6

       7       6

       8       0

       7       4

       7       5

       6       3

       6       4

HANDLING: It'sbg andheavy,actuallyweghngmorethansome70-200mmf/2.8zooms.Superblymade,t feelssoldasa rockyetworkssmoothasbutter.Absolutelytop-gradebuld,only lackngweatherproofing–butnoneof thelongermacroshavethat.

FEATURES:Everythngyoumghtexpect for£1,300.Optcal desgn s19elementsn 14groups,and sgnficantly, threeelementsareofcostlyFLDglasswth fluorte-lkequaltes.AF sHypersonc,and Sgma'sOS magestablsatonsanotherhghlght.Hoodandcasesuppled.

AUTOFOCUS ANDIS:AFhasSgma'squetandeicentHSMdrve,wth a lmter setat 67cm,plusfull-tmemanualoverrde. It'sfast,recordng0.4secondsn thenear-to-farspeedtest (1.5mto nfinty).MWDs 22cmat 1:1,measuredfromthe frontof thelens, a coupleofcentmetresless thanrvals.Sgma'sOS magestablsatonrecorded80% sharp magesatthreestopsbelow theunadedhandholdnglmt,and50%at four stops. Evenatmacrorange,wegota two-stopsupsde.

PERFORMANCE: Very fewlenses,of anydesgnorprce,areassharpasthsone.On full-framesensorsat f/2.8,bothcentreandedgessoarhghabovethe 'excellent' lne,nudgng90%MTFatf/4,onlythenreducngn lnewthdracton.EvenatthehgherstandarddemandedonAPS-Csensors, sharpness shardlydented,and stllremans comfortablyabove 'excellent' to f/11.

 VERDICT:ThemghtySgma180mmf/2.8presents a conundrum.For sheerperformance- fromthe stunnngsharpness, tofirst class AFandOSoperaton,to superbbuldqualty- thssclearlythe bestlongmacro lensavalable,barnone.But npractcal terms,t'sonebg lumpofa lens tomanhandleona macrosafar,wthanequallyheavyprce.

HANDLING 17/20

FEATURES 20/20

PERFORMANCE 40/40

 VALUEFOR MONEY 16/20

OVERALL 93/100

Sigma180mmf/2.8EXDGOSHSMAP

DISTORTION (Full-frame):Excellent

DISTORTION (APS-C):Excellent

 VIGNETTING(Full-frame):Excellent

 VIGNETTING(APS-C):Excellent

CHROMATICAB. (Full-frameedge):Go

CHROMATICAB. (APS-Cedge):Good

Sigma180mmf/2.8EXDGOSHSMAPO   £1,200

Lens Sharpness (%): Full-frame Centre

60

10

20

30

40

50

70

80

90

0

100

f/11f/8f/5.6f/4f/2.8

    7    2

       7       6

       7       9

       8       1

       8       4

       8       5

       8       7

       8       6

       8       9

       8       1

       8       7

Lens Sharpness (%): APS-C Centre

60

10

20

30

40

50

70

80

90

0

100

f/11f/8f/5.6f/4f/2.8

    5    9

       6       7

       6       8

       7       3

       7       5

       8       0

       8       0

       8       2

       8       3

       7       8

       8       0

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