Photography For Beginners

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Essential guides for
Great shots with any camera
No. 1 for beginners
Cameraphone | Compact | DSLR | Compact System Camera | iPad
GOLDEN
RULES
FOR BETTER SHOTS
Candid
Portraits
10
Fantastic
Projects
Learn new skills & try fun ideas
Capture Great
Wildlife Shots
Top tips for amazing animal images
5
MASTER EXPOSURE
HOW TO
COMPOSE
KEEP IN FOCUS
BALANCE COLOURS
EASILY EDIT
STEP-BY-STEP GUIDE
ONLINE SHARING
Back up photos and send
them to friends & family
TWEAK COLOURS
Add a creative colour cast
for a truly fantastic effect
LATEST KIT RATED
The best camera reviews,
action kit and more inside
Tricks for natural shots
ISSUE 024
Learn the photo rules with
Photography for Beginners
Welcome
Issue 24
Welcome!

Meet the team...
Annabelle Sing
Photoshop expert
Annabelle designs the
mag and provides you
with editing advice to
enhance your shots
Jo Stass
Our staff writer Jo is
on hand to give you
the best tips and
shooting tricks to
improve your images
Ella Carter
Ella is our resident
wordsmith, here to
make our tutorials as
simple as possible for
you to follow
3
For more great photo tips, head to photoforbeginners.com
Get in touch with us Ask questions, leave feedback on the magazine or share your shots via the following social sites
For more great photo tips, head to photoforbeginners.com
@PFBMag PFBMag PFB Magazine pfbteam@imagine-publishing.co.uk photoforbeginners.com
There are rules that every good photographer knows, so
we are here this issue to let you in on the secret. Turn
to p54 to discover the best tips for stronger shots, and
how to break them so you stand out from the crowd!
This issue we also have a Beginners Guide to Wildlife
Photography on p22, fantastic water projects on p32
and great ways to edit shots starting on p60. Inside
youll also nd some amazing sharing ideas, from
using on Nikons new storage website on p78 to
creating animations from your stills on p80!
Whether you stick rigidly to the imaging
rules or decide to go your own way, weve
got all the tips and tricks you need to
take your shooting to the next level.
I hope you enjoy this issues projects
and features.
Amy Squibb
Editor
Follow us at @PFBMag
Hayley Paterek
Digital Photographer
features editor Hayley
breaks things down
and gives great advice
in Camera School
C
o
n
t
e
n
t
s
Issu
e
2
4
CAMERA SCHOO
Learn how to use your
camera and take your
best photos ever!
O
Get to know your camera

O
5 golden photo rules

O
How geotagging works

Practical starter section! p52
Shutter speed: The
time your shutter is
open for, in seconds
Cameraphone:
Smartphones that
are always with you
Compact: Small,
low-cost and easy-
to-use cameras
Compact system
camera: Good image
quality, lightweight
Aperture: The depth
of field of an image,
as an f-number
4
22
Tips for tracking wildlife, setting up and shooting
techniques to get your best-ever animal images
Wildlife
photography
Beginners guide to
32
10 water
projects
How to take amazing images and
learn new skills with our fun ideas
Discover the
perfect wildlife
settings and
camera skills
Essentials
06 Your photos
A showcase of photos sent in by PFB
readers for you to be inspired by
11 How to share your photos
Discover the best ways to share your
photographs with the PFB team
12 Readers Challenge
Win some slideshow software by getting
involved in our monthly shooting
challenge
14 Need to know
Learn about the latest kit and join in our
debate over black-and-white methods
18 Ask the team
Your questions answered and problems
solved by our panel of photo experts
44 10 great images of plant life
Capture great shots of owers and
leaves using our tips and inspirational
photos
72 Subscribe!
Save money on your copy of Photography
for Beginners with our exclusive offer
84 Camera reviews
The latest models get rated, from a
full-frame DSLR to some great compacts
94 Accessory reviews
Find out our recommended kit for action
and a group test of remote releases
98 The great photo hunt
Send us your photos using natural light
and win a Forex print of one of your
shots!
Edit with Facebooks app
Shoot, edit and share shots in one go on p68
DSLR: Usually more
expensive but good
image quality
Your quick-start guide to all the icons youll see in Photography for Beginners What the icons mean
Hands-on guides
to create some
great images
Subscribe to...
72
Get money off issues!
5
Contents
Issue 01
HANDS-ON
PROJECTS
INSIDE
Shoot
22 Beginners guide to
Wildlife photography
Compose, master settings and more
30 5 tips for amazing eyes
in portraits
Easy tricks for sharp and bright eyes
32 10 fantastic projects
Get creative and have fun with water!
38 Create this shot: Panning
Capture the speed of your subject
40 Shoot, edit & share a
fantastic panorama
Shoot a wide vista to print on canvas
46 Capture candid portraits
Get natural images in ve steps
48 5 tips for shooting on
a bright day
How to do battle with harsh light
50 The story behind a
dramatic seascape
Learn how we took this great photo
54 5 golden rules for
better shots
How to compose, focus and more
Edit
60 Improve images with
Perfect Photo Suite 7
Retouch, resize and more with ease
64 5 tips for giving dull
shots more impact
Learn to boost colours and exposure
66 Add creative colours
Use a colour cast for a warm effect
68 Edit with Facebook
Shoot, edit and share in just one app
70 Add impact to your
images using Camera MX
Our multi-purpose app of the month
Share
74 Stream media to your TV
A great device for sharing shots
76 5 tips for sharing
photos with apps
Get more from your smartphone
78 Share and store
photos online
Back up your images
80 Animate
your stills
Get creative!
54
Golden
rules
The essential lessons to help
you get images with impact

Candid portraits p46
Latest kit reviewed p84
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Tips for focusing,
composing and more
66
Your photos
Be inspired by these reader images and send us
your best shots for a chance to see them here
W
IN
!
A Sam
sung 16GB
m
em
ory card
Every issue, one winner will recieve a Samsung 16GB HDSC memory card or a prize of equal value
www.samsung.com/uk
Full terms and conditions
available online
Your photos
Readers gallery
77
Reader : Ken Wilson
Industrial Sunset
Anticipating a welcome sunset I wanted
to be in a place where there was good
foreground interest together with an
interesting horizon. This shot was taken
from South Gare by Redcar.
Shot on: Nikon D90 at f16, 1/8sec, ISO 200
Sent in via: Website
Winner!
Your photos
Readers gallery
8
Reader: Wiwit Boen
Take A Rest
The photo was taken in our
front yard. I took a walk around
and saw this cute buttery
looking tired under the sun.
Shot on: Nikon D5000 at f1.8,
1/4000sec, ISO 200
Share
your shots at...
photoforbeginners.com
Or search for PFBMag on...
Reader: Emily Leonard
Tree Backlit
The photo was taken at Fleet
Dyke, Norfolk Broads. The sun was
behind the tree and gave it a
silhouette effect. When I returned
home I processed the photo in
grayscale in Photoshop.
Shot on: Sony Cyber-shot
DSC-W610 on Auto
Reader: Lynn Bolt
Barca Dalva
This photograph was taken in
October while we were taking a
night-time sail on the River Douro
in Portugal. The lit-up bridge
makes a wonderful reection
against the inky-black river
Shot on: Panasonic DMC-FZ45, at
f2.8, 1/13sec, ISO 800
Reader: Richard Tucker
Mambo Sunset
The photograph was taken at
Cafe Mambo in Ibiza at the end
of this Ibizan season.
Shot on: Fujilm FinePix
SD2500HD on Sunset mode
Reader: Ma Trevillion
Alfa Romeo Spider
We hired this 1971 Alfa Romeo
Spider to drive around the Alma
Coast in Italy. It was 20 degrees
and sunshine all the way!"
Shot on: Canon EOS 500D at f4
1/200sec
8
9
Reader: Mark Andrew
Lindsay
Light Trails
I used a Nikon camera charger in
my dark bedroom, only moving
the camera to get light trails.
Shot on: Lumix DMC-FN18 at f3.1,
60sec, ISO 100
Reader: Neil Botham
Lily Pond
I was on a trip to the Isle of Wight
and while we were there we
visited an exhibition. This pond
was one of the centrepieces. I
took three exposures and merged
them to make the nal image.
Shot on: Canon EOS 400D at f10,
1/50sec, ISO 100
9
10
Reader: Andy Clark
Reader: Sabrina Qua
Title: Tunnel
Win cameraphone kit!
Send us your cameraphone shots and you could win a Manfrotto
KLYP kit worth 95/approx $150. For more info head to www.
manfrotto.co.uk. Full terms and conditions available online.
ENTER NOW: Send your shots to pfbteam@imagine-publishing.co.uk
Reader: Jemma Greef
Title: Sunny Hunny
Reader: Josh Gorton
Title: Paw Print
Reader: Carole Benson
Title: Helmsley Castle
Reader: Jack Davison
Llandudno
It was a grey rainy day and the colours
just caught my eye. I don't think it
wouldve had the same effect without
the rain drops but I grabbed a
cameraphone and took a snap.
Shot on: iPhone
Winner!
10
Share on our social sites Join the Facebook, Twier and Flickr communities
@PFBMag
Click the Compose New Tweet box then select
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Write some text, include @PFBMag then click
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Also share on our website Head to www.photoforbeginners.com now
Share your shots at...
Search for PFBMag on...
Share your shots
Heres how to show us your stunning snaps
Become our favourite!
We pick our favourite shots to
highlight in our Featured Image
section. This could be you soon,
so get uploading!
Create a gallery
You can showcase your favourite
images by creating your own
gallery page on our website. Its
quick and simple to set up.
The best of the rest
on our great website
Also online
Enter the Face-Off
Your shots are entered into our
Face-Off section and pitted
against other peoples have fun
watching your score rise!
Be inspired
Browse through all the different
categories to be inspired by
other readers photos and get
ideas of your own.
Tips and tutorials
Our website is piled high with step-by-step
tutorials and useful tips to help you take
better photos of any subject.
News and debate
We help you keep up to date with the latest
industry news and releases. You can also get
stuck into hot topics with our debates!
Competitions
Head to www.photoforbeginners.com and
enter our weekly competitions to win some
really fantastic prizes!
11
Just because the sun is setting, does not mean
you need to pack away your camera. Dusk and the
hours that follow open up a whole host of new and
exciting shooting opportunities. The city lights
captured using a slow shutter speed and a tripod
look magical at night, or you could re your ash to
take beautiful night-time portraits.
There are plenty of fun projects for you to try as
the light fades too. Capturing light trails from the
trafc, painting an object using creative washes of
coloured light or taking photos of fantastic rework
displays are just some of the options open to you
at night. In Issue 23 of Photography For Beginners,
we showed you the tips and techniques behind
mastering low-light photography for all sorts of
subjects. We also challenged you to send us your
best low-light shots. As always, you
rose to the
challenge and
captured some
truly beautiful
images. Here
are just a few of
our favourites.
Low-light photography
Our Beginners Guide to shooting in
low light can be found in PFB Issue
23. Get back issues from
We challenged, you delivered
12
The OWL At Night
I saw the new Observation Wheel in
Leeds as an opportunity to practice
with long-exposure low-light shots
Shot on: Nikon D5100 at 100mm
and f32, 30sec, ISO 100
Sent in via: PFB website
Winner!
Reader: Andy Brown
WIN!
PhotoStory on
DVD software
Send us your shots for a chance to win a copy
of MAGIX PhotoStory on DVD, courtesy of www.
magix.com. This software, which allows
you to turn your photos into fantastic
slideshows, is worth 70/$70.
12
Readers challenge
13
Reader: Debbie Murray
Title: Concert
Reader: Pinar Tuncbilek
Title: Light Painting
Reader: Tony Woodward
Title: Just Chillin
Your photos
Readers challenge
Send us your shots at...
Your next
photo challenge:
Wildlife photography
Follow the tips in our Beginners Guide to Wildlife
Photography and send us your best shots by
02/05/2013 for a chance to win MAGIX PhotoStory
on DVD 2013 Deluxe.
Prize may be substituted for an item of equal
value. Full T&Cs available online.
Reader: Paul Cobb
Title: Liverpool
Reader: Sco Viggars
Title: Lamp
13
Self-portraits made
easy with the NEX-3N
Put yourself in the frame with Sonys all-new CSC model
The new NEX-3N has a 180-degree tiltable LCD
screen which allows you to compose shots of
yourself with ease. There is also a textured grip
and zoom lever on the camera body two
features that make this model ideal for one-
handed shooting. Many photographers may
prefer to stay behind the camera, but self-
portraits are an unavoidable necessity of life.
Whether you need a new passport photo or a
prole picture on Facebook, we all have to get in
front of the lens at some point. Sony has taken
this into consideration
and saved you the hassle of having to ask
someone else to take the shot.
This camera is lightweight and compact, so
youll have no trouble holding it at arms length
while you pose. With 16.1 megapixels and a
maximum ISO of 1600, your new prole picture
will be high quality too. Sonys model joins the
likes of Samsungs MV900F, which also has a
tiltable LCD screen ideal for framing self-portraits.
The NEX-3N is available now with a 16-55mm
power zoom lens for 399/$500, or with
16-50mm and 55-210mm lenses for 599/$TBC.
Need to know
A snapshot of whats exciting us this month
Reasons why we cant
wait to get our hands
on this camera
01
The 180 degree tiltable LCD
screen, easy-to-hold textured grip
and zoom lever make taking
stunning self-portraits easy.
02
Auto Object Framing automatically
crops your shot for stronger
composition based on what
appears in the scene.
03
We cant wait to see how the
NEX-3N performs in low light. Will
automatic noise reduction help
produce quality images at a max ISO of 1600?
The top three
14
Colourful playback
Experience vivid, ultra-
realistic colours when
images are played back on
any BRAVIA TV supporting
TRILUMINOS Display.
Capture crisp
low-light shots
Noise reduction and
sharpness are auto-
adjusted to ensure you get
sharp low-light images
without a tripod or ash.
Plenty of lenses
With a range of 13 great
E-mount lenses to choose
from, including telephoto,
zoom, wide-angle and
macro, you will be able to
shoot in any situation.
Smart composition
Auto Object Framing mode
judges what is in the scene,
one person or two people, and
crops the shot to create more
powerful compositions.
Sony A58
450/TBC
A 20.1-megapixel
interchangeable-lens
camera with tiltable LCD
screen and electronic
viewnder that can shoot
8fps for fast shooting.
This month on photoforbeginners.com
Plus all this
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Top tweets
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@PFBMag
How to photograph indoor events
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www.worldphoto.org/2013exhibition
@uppbeat
@PFBMag Lumix GF1.
Wicksteed Park in Kettering
Top new talent gets unveiled in Sonys imaging competition
Beginners get noticed
in prestigious awards
The top three
The latest models that have caught our aention this month
New beginner cameras
Fujilm F900EXR
310/TBC
Super-fast autofocus,
start-up time and time
between shots make this
20x optical zoom camera a
speedy shooter and a great
option for capturing action.
Nikon CoolPix A
1,000/$1,100
Nikon introduces the
worlds smallest camera
with a DX-format sensor,
allowing for DSLR-style
photo performance in a
pocketable, compact body.
15
Metering modes explained
-
@PFBMag just brought

Issue 22 sitting in the ofce
reading through it now
@CB_Photographs
@PFBMag happy to see my
city shot in last months
issue of PFB!
@FidaiAzeem
@beesknees
@PFBMag [Heres a
photograph of] one of
my favourite places
@PFBMag Reading my PFB
mag thats just arrived in
the post
@Claire Knighton
-F-
Which should you shoot in?
Black and white vs colour
Monochrome images are classic, beautiful and
hugely popular to shoot. When taking black-and-
white photographs, the main dilemma that faces
many photographers is whether to shoot using
in-camera black-and-white mode, or shoot in
colour and then use editing software to transform
the shot later on. Join in the debate on Facebook,
Twitter or the PFB website.
Things we love
Rik Freeman
99 per cent of images I
take are colour, however, I
do sometimes take a
shot knowing it will be
better in black and white.
Sent in via PFB website
Our poll stands at 12% shoot in black and white, 88% shoot in colour. Add your vote now!
16
Our sta writer Jo says:
When I want to take black-and-white shots, I
always shoot in colour and then convert the
shot later on. It is sometimes difcult to tell if a
scene will look good in black and white before
you take the shot, so by shooting in colour I can
make sure I have a colour shot to fall back on if
the converted photo doesnt work. This also
means that I get both versions of the shot for if I
decide I actually want the colour photo later.
What do you think?
What Photography For Beginners readers have to say
Join the debate at...
James Steadman
Capturing in colour is
much better, so you have
options. Then you can
use colour selectively,
which looks really cool.
Sent in via email
Robert Dickinson
Shoot RAW colour so
then it can be converted,
but on some occasions
monochrome is a good
option for great results.
Sent in via PFB website
Angela Brown
I shoot in black and
white as its much quicker
than converting. I often
switch to colour to do a
backup, though.
Sent in via email
01
Kata Revolver-8 PL
Revolving backpack
Web: www.katabags.co.uk
Price: 235/$275
This cool bag has a revolving
section at the bottom for quick
access to up to ve lenses.
02
Giottos YTL8213
vertical column tripod
Web: www.giottos-tripods.co.uk
Price: 349/approx $520
With a Y-shaped centre column
instead of a circular one, this
tripod is much more compact.
03
Diddpix kids
camera club
Web: www.diddipix.com
Price: Free
Didipix is an online camera club
for kids aged 6-16, allowing
them to create a gallery, get
tips, enter contests and more.
04
Cokin Pure
Harmonie filters
Web: www.cokin.co.uk
Price: From 40/$55
These UV, polarising and ND
lters are lightweight and thin,
with a coating to protect them
from dust, scratches and more.
Join the debate
Need to know
Join the debate
#PFBLoves
Search for #PFBLoves on
Twitter to see what we love
15x
ZOOM
270
mm
18
mm
18-270mm f3.5-6.3 VC PZD Lens
The Ultimate
Travel Lens
*Lens shown for illustration purpose only, sizes may vary. E&OE
Lens shown
Actual Size
*
Travel Light!
Intro 2020 Ltd. Priors Way, Maidenhead, Berkshire SL6 2HP Tel: 01628 674411 New eyes for industry
Available from all fine camera stores
www.tamron.co.uk
The new small and lightweight lens from Tamron
is the ideal one solution lens for travelling.
Its jam packed with features including our new
piezo ultrasonic motor for superfast and silent
autofocus, plus built-in Vibration
Compensation (VC). It also
comes with a 5 year guarantee,
not that we think youll need it!
Just put it in your bag and this
lens can handle almost any
situation you can throw at it.
Possibly the only lens
youll ever need!
The worlds lightest, most compact 15x Zoom
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18-270mm F/3.6.3 Di II VC PZD
i) For SLR camera high-zoom-ratio lenses with 15x magnification capability. Current as of December 2010. (Source: Tamron).
Available for Nikon, Canon and Sony DSLR cameras.
18
Amy Squibb
PFBs editor Amy
is here to help out
with our readers
shooting concerns
Annabelle Sing
Photoshop expert and
PFB designer Annabelle
is on hand to solve any
photo-editing issues
Jo Stass
PFBs staff writer Jo
is at the ready to
answer your camera
tech questions
04
Add highlights
Youll notice that some parts
of real clouds are whiter and others
wispier. Create this effect with the
Dodge tool and using a smaller brush
to draw in loose, swirling motions.
C
pfbteam@imagine-publishing.co.uk
Photo needs rescuing?
Email it to our experts
You have the makings of a good
shot here; its correctly exposed
and sharp and we like how the
reection creates a contrast
between old and new
architecture. The main element
that detracts from the striking
buildings is the not-so-
interesting expanse of blue sky.
No one can help the weather
but there is a little trick in
post-production that can create
a more exciting backdrop. You
can also remove distracting
things like the lamp post quickly
and easily.
I took this shot when the
pattern of the building caught
my eye. I also really like the
distorted reection of the
opposite buildings in the
glass. However, I do feel it
looks a little dull. Is there
anything I can do?
John Barry via Facebook
Dull sky
There is a lot of empty space
in the picture due to the lack of
clouds. Cheat Mother Nature
using image-editing software
A
Closer crop
A tighter crop would cut out
part of the blank space and
bring the focus back to the
main subjects: the buildings
B
Distracting elements
The lamp post juts into the
picture at an odd angle and
there is part of a building
intruding in the corner
C
03
Add depth
Pick up the Dodge tool again
and draw a second cloud shape over
the rst one. Make it slightly smaller
than the rst shape in order to add
depth. Use the Smudge tool again.
02
Smudge
Select the Smudge tool and
click and drag around the edges of
the makeshift cloud to soften the
edges and make it look natural.
Change the brush size in the Toolbox.
01
Dodge
Click File> Open and select
your image. Then select the Dodge
icon from the Toolbox and create a
rough cloud shape by making circular
motions with the mouse.
Painting clouds Fill your blue skies with clouds in four simple steps in GIMP
How do I capture architecture?
A
B
Questions & answers,
tips & photo- xes
Ask the team questions at
Post questions to the PFBMag
group at www.facebook.com
Tweet any quick questions or tips you
may have to @PFBMag
Upload your problem pics to our Flickr
pool at www. ickr.com/pfbmag
Amy Squibb
PFBs editor Amy
is here to help out
with our readers
shooting concerns
Annabelle Sing
Photoshop expert and
PFB designer Annabelle
is on hand to solve any
photo-editing issues
Jo Stass
PFBs staff writer Jo
is at the ready to
answer your camera
tech questions
19
Ask the team questions at photoforbeginners.com
Ive always used my camera on auto mode but now
Im beginning to feel condent enough to experiment
with manual settings. Im slowly getting to grips with
aperture and shutter priority modes but using full
manual mode still intimidates me. Ive read that you
must think about the exposure triangle when changing
the settings but I have no idea what that means. Can
you talk me through it please?
Isabelle Wiggins, via Facebook
The exposure triangle consists of three vital factors in image
making: ISO, aperture and shutter speed. Exposure is how
light or dark an image will be and its a case of juggling those
settings. Changing one will affect the others. For example, if
you have a wide aperture, plenty of light will enter the lens so
you need a fast shutter speed and a low ISO so the picture
isnt completely white. Its often a case of getting to know your
camera and testing settings to see what works best. On bright
days, it can help to use a lter, like those in our sidebar here
4 of the best
Ways to tidy up
shots using the
Clone tool
Use the rubber stamp
In GIMP, nd the Clone tool which is located in
the Toolbox down the left-hand side; it looks like
a rubber stamp icon. This is perfect for getting rid
of things like lamp posts and, in this case, the
corner of a building.
Change the size
In the Tool Options (below the Toolbox), you can
change the size of the Clone stamp by dragging
the Size slider across, or increasing the number
by clicking on the up arrow. This can make
cloning larger areas much easier.
Hit the Control key
To clone out an unwanted area of your image,
drag your mouse to a clean part of the picture
nearby to the subject you wish to remove. Then
hold down the Control key on your keyboard and
left-click your mouse button.
Click, click, click
Now repeatedly click over the unwanted subject
and it will quickly be replaced with more pleasing
pixels. You can change the size of the brush as
you go and its also a good idea to hit Control
again as the colour changes slightly.
What is the exposure triangle?
Camera lters
for perfecting
your exposure
3 of the best
Avoid over- or underexposed images by
learning about the exposure triangle
Polarising lter
Polarisers aid your exposure as they combat
harsh reections and glare from the sun. These
lters can also help to boost the contrast and
saturation in your photos for vibrant images, so
are great for punchy landscape shots.
Graduated Neutral-density
(ND-grad) lter
Balance a bright sky and darker land by using an
ND-grad lter. It will be dark one end so place
this area over the sky to reduce the amount of
light coming through in this section only.
Sunset lter
Transform a bright sunny day into a beautiful
sunset by slotting a sunset lter over your lens.
Its tinted with a natural warm-orange glow
which translates into sunset-style hues for a
beautiful evening vista.
20
I really like the hazy, retro look that photos
have when they are taken and edited with
the Instagram app. Although smartphone
shooting is very popular, and very handy as
everyone has one these days, personally I
prefer taking photos with my digital camera.
Landscapes are my favourite genre to shoot,
and Ive seen some great Instagram vista
shots that Id love to recreate. Im relatively
new to image editing but I would like to know
how to do these retro-style photo effects
using iPhoto can you help?
Mark G via Facebook
The retro lm camera look is so popular right now,
thanks in large part to Instagram. For the
uninitiated, its a free app that applies a lter to
your photos and gives them the coveted vintage
appearance. However, its really easy to replicate
this effect in any editing software. In Photoshop,
for example, just click Image> Adjustments>
Colour Balance and experiment by dragging the
sliders to create some interesting effects. Just
make sure you save the le separately so you dont
copy over the original image. Using iPhoto
(software that comes with your Mac) is even
easier. Read on to nd out just how simple it is.
How can I recreate Instagram effects?
Like
This month we
Post your photo to
our Facebook page
and well share it
with the world
Search for PFBMag
Make digital pics look like lm Follow these steps to transform your shots in iPhoto
Apply the Antique lter
Open your image in iPhoto via File> Import To
Library and click Edit. Then select the Antique
lter to apply an instant dated appearance.
Warm up
Click the Warmer button to inject some colour,
and Lighten/Darken for the desired effect. Click
Vignette for the ultimate retro look.
Val Stone Brill
An amazing camouage capture! Wildlife
shots look great with natural backdrops.
Carl Surry
The tilt-shift effect has been used in this
beach scene for a great miniature look.
Susan Hurst
This macro makes us squirm! The punchy
colours and the level of detail is impressive.
Lisha Foster
A beautifully detailed shot of a bird enjoying
breakfast. We love the blurred background.
Adjust exposure
Lastly, click on the Adjust tab at the top and drag
the sliders to alter the Saturation (how punchy
the colours are) and Contrast until youre happy.
21
A beautiful landscape shot with a
great foreground! @sonsational
Let us recommend
Twitpics
The best photos
tweeted to us
@pfbmag
Exotic bird captured in Queensland,
Australia @NathBrayshaw
W
estm
inster Abbey looks visually
striking at night @
needlesbeckett
A fast shutter speed has frozen this
strawberry splash. @Cobs74
Do you want wow-worthy pics without
a bulky DSLR? Try a premium compact
Best professional compact
camera models
Id like to upgrade from my little compact point-and-shoot camera to
a newer model that comes with more manual features. Im hoping to
expand my photography skills and so Im very interested in purchasing
a higher-end compact camera for its portability and high image quality.
Im not really fussed about having to change lenses on my camera, so
a xed lens is just ne. Can you suggest some good recommendations
that are available please?
Mark Hunt via email
Whats good about it

Theres a great variety of digital filters on board,
including a neutral-density (ND) filter for sunny days

It comes with full-manual control and an aperture
ring that can be adjusted from f1.4 to f8.0
What could be better

It lacks a touch screen and exible LCD screen,
which can be found on rival premium models

Other competitors are opting for larger sensors;
this one has the same size as 2010s LX5 model
The build quality of the Panasonic LX series
is excellent; its light and comfortable to hold
and looks the business. Highlights include
the Leica lens that opens up to f1.4.
Panasonic Lumix DMC-LX7
450/$500
Whats good about it

Theres an optical viewnder and a vari-angle
LCD screen for improved composition

Take advantage of manual control, HDR mode and
the ND lter for better high-contrast images

Its heavier than others so users might nd it
uncomfortable shooting for long periods

The 4x optical zoom could feel restrictive if you
prefer close-ups, consider a superzoom model
Available much cheaper online, this premium
compact has lots of external controls for
easy operation and it offers impressive
images thanks to the large sensor.
Canon PowerShot G1 X
700/$800
Whats good about it

A control ring around the lens lets you alter the
aperture and ick a switch to manually focus

Theres a touch-screen LCD and this model is
also available in white for stylish shooting

The LCD only tilts horizontally, which is a little
restrictive and doesnt help with self-portraits

There is no macro mode for close-ups and full
manual control isnt available for video capture
The ultra-fast 28-112mm zoom lens comes
with image stabilisation for steady shots
under a variety of lighting. It also has HD
video and lters can be added to footage.
Olympus Stylus XZ-2
480/$600
Wildlife
photography
Over the next eight pages: Learn the simple tips and tricks
for getting great photos of wildlife, no matter where you are
Beginners guide to
22
Use natural light
Set up near to areas that
are well lit to make use of
natural light. You could try setting
up a bird table in the most well-lit
part of your garden, for instance
Kit for wildlife photography

TELEPHOTO LENS REMOTE SHUTTER RELEASE
CAMOUFLAGE COVER POLARISING FILTER
Wildlife can be found almost anywhere, and
is a great subject for practising your photo
skills. You dont have to go on a trip to the
zoo or a safari park to get excellent images
of animals either, as lots of species can be
found in your back garden or local park.
Patience is important to master with
wildlife photography, as you cannot direct an
animal to pose for you. Capturing those
one-off eeting moments is what makes it
so exciting, so dont be put off if you have to
wait around! There are also steps you can
take to boost your chances of a great shot,
such as putting out food to entice animals
like birds, hedgehogs and badgers into view.
Just keep a safe distance so you dont scare
them off. Of course, taking photos at the zoo
also comes with challenges, but there are
easy tricks to ensure you get brilliant shots.
Follow our guide for the best way to plan
and take your animal shots, and learn the
best times of day to nd certain species out
and about. Also check out our tips for editing
your images to make them truly stunning.
Discover when, where and how to
capture amazing photos of animals
Use a long lens to get close-ups while keeping your
distance so the animal isnt aware of you.
Hides and other camouage can help you to blend
in with the scenery and not scare off your subjects.
Use a tripod and remote release to take a shot a few
steps back, leaving your camera among the animals.
Prevent capturing your reection when youre
shooting through glass by using a polarising lter.
1/50sec F4
Discover w
hich areas of your
garden attract w
ildlife, such
as a particular tree or a
ow
erbed, so you know

w
here to set up.
O
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Shooting
Beginners guide
23
Master our top techniques for solving common
wildlife-photography problems over on p26
Shooting
Beginners guide
Discover when and where to nd your wildlife
subjects and our tips for shooting on p24
Turn to p28 to learn how to edit the images that
you didnt quite get right the rst time around
Shooting
Beginners guide
Setting up
Planning is a good idea if you want to capture your
best-ever animal shots. If you want to photograph
certain animals, it helps to know what time of day they
are usually most active, or what kind of food you might
be able to lay out to entice them, for instance. Having
the right settings prepared also makes it easier to get
great animal shots when the creatures arrive. In this
guide we will help you with these aspects of your
shoot, and also highlight the key environments to look
out for when wildlife spotting in your local area.
1. Be prepared
Where to nd wildlife
and get set up
Look for bird hides and see what unusual
species you can spot. Rest your arms on
the viewing gaps for steady shots.
Get a clear view of underwater creatures
both great and small. Place your lens close
to the glass to avoid nasty reections.
Go in search of animals in their natural
environment for shots in a stunning setting.
Keep quiet and still so you can get up close.
Follow animal tracks in snow or mud to nd
wild critters. Remember to look up in the
trees as well as down on the ground.
Get to the zoo early. The animals
are often more active at this
time and there will be fewer
people about to get in the way of shots.
G
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th
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p
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n
in
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tim
e

Get shots
of exotic
animals that
you wouldnt
otherwise
see at home
Get yourself and your camera ready to shoot
Do your research
01
If you are looking to capture a particular animal,
research their habits and feeding times. This
will help you plan the best time to photograph them
and give you an idea of the type of shot to aim for.
Chose your position
02
Position yourself so that the background of
your shots will not be distracting. Green plants
or trees make a suitably plain backdrop. You can
also crop in close to cut out any distractions.
Keep quiet
03
Move slowly and quietly around wildlife so you
do not scare them off. Also be sure to turn the
sound off on your camera as this could startle
animals and cause them to run away.
1/1000sec F5.6
24
Shooting
Beginners guide
Different species of animals are more active
at certain times of day. It may be because
this is when they hunt for food, for example
butteries are more likely to nd owers to
pollinate in the day. Or it could be that they
are best suited to certain conditions, such as
bats which use sonar to be able to nd their
way in the dark. It is useful to know when the
species you are looking to photograph is
most active, as this is when you are likely to
bag the shot. Use our chart to see what time
of day some popular animals to photograph
come out at. Use this to plan your shoot and
the settings you will need for the lighting
conditions that will be available at that
particular time.
The best time of day to nd certain animals
ANIMALS
ACTIVE AT DUSK
DAYTIME
SPECIES
ANIMALS ACTIVE
AT DAWN
NOCTURNAL
SPECIES Perfect settings
Continuous autofocus will help to keep your
subject in focus, even as they move around
Zoom right in to get great shots while
staying at a distance from subjects
Continuous shooting will take several shots
in one burst to guarantee a brilliant image
Select shutter priority and a fast shutter
speed for a sharp shot of animals in action
Turn off your ash
04
If daylight is fading, avoid using your ash as
this will scare the animals. Try raising your ISO
to make your camera more sensitive to the available
light, or wait for them to move into ambient light.
Camouage yourself
05
Keep a safe distance from the animals and
avoid wearing bright clothes that will make you
stand out. Wear greens and browns to blend in with
the natural habitat and try to keep quiet and still.
Be ready to go
06
If you are shooting a fast-moving animal, they
may be gone before you manage to get your
camera out of the bag and the lens cap off. Always
have your camera out and ready to shoot.
25
Moose
R
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its

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S
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l s P r i m
a t e s C o y o t e
s
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B
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F
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K
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aroos
26
Shooting
Beginners guide
1/200sec F4
Get the right angle Eliminate fences
Use a small f number

and zoom in to make
fences disappear!
Keep your lens close

to the glass to avoid
harsh reections
Shoot at eye level

for more natural,
majestic images
Shoot through glass
Positioning your
subject in the
centre of the frame can
make for a dull shot
Whether you are in your back garden or at the zoo, there are a few things that you
need to think about before you take your shot. Its easy to forget about composition
when you are trying to capture a split-second of action, but it can still help turn a
good shot into a brilliant one. By remembering a few simple tricks you can make it
easier to increase your chances of coming away with the perfect snap.
You also need to consider obstructions such as fences and glass windows which
make it tricky to get good shots of animals in captivity. However, it is easy to
overcome the problems they cause by implementing a few simple tricks.
2. Techniques
The skills and tricks you need
when you start to shoot
26
27
Leave some active space
in front of a subject so that
the viewer can see where they
are looking or moving towards
Use a strong
composition
The benets
of photo tours
Zoom in close Focus on the eyes
Zoom in so the subject

lls the frame, avoiding
distracting backgrounds
Move your AF selection
point over their eyes to
focus in that spot
27
Shooting
Beginners guide
Where did you go on
your photo tour?
I went on a seven-day photography tour to
Tanzania, visiting Ruaha National Park and the
Selous Game Reserve.
How did the tour benet
you as a beginner?
It was very benecial to have someone there in
the eld with you, pointing out potential
photography opportunities, getting you into
prime position and also coaching you while
taking photos. It was also great to have
someone to critique my photos at the end of
the day. To be able to see where you went
wrong and then put lessons learnt into practice
the next day was great.
What sort of things did
you learn on the tour?
How to form a strong composition (eg get low
and dont leave dead space above the subject)
was a major aspect, and also how to use light
to your advantage.
Do you have any advice for
others thinking about
booking a photo tour?
Dont be afraid of going on a tour if youre a
beginner. Its amazing how much you can learn
in a week. I would also suggest renting a long
lens for the trip and taking the time to
understand how your camera works before you
go so that you can spend more time taking
great shots.
For more info, visit www.capturesafaris.com
PFB reader Rob Unwin describes
his Capture Safaris Photo Tour
Sports scene m
ode is handy
as it selects the best
settings for fast-m
oving
subjects, so you dont
m
iss a shot.
M
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On a tour youll get access to amazing animals
RobUnwin
Tour guides will help you with photo techniques
RobUnwin
Getting the perfect shot when your subject is moving
can be difcult and often a bit of post-production is
needed for wildlife photos. You may not have had time to
select the correct settings or think about composition if
the moment the animal pulled the perfect pose was fast
and unexpected. There may have also been some
unavoidable distractions in your shot, such as the fence
that was protecting you from a dangerous creature.
There are ways to clear up these issues, however,
which we will show you using Photoshop Elements 11. A
lot of the edits will also work in free software such as
GIMP, though, if you do not have Elements.
3. Editing
Enhance your
creature captures
Getting colours
true to life will
really make your
shot stand out
Boost colours and sharpen Adjust levels and colour curves for a more eye-catching shot
Colour casts and
dull colours can
spoil an otherwise
brilliant shot
Remove colour cast
01
If your image has an
unusual colour tint to it,
then go to Enhance> Adjust
Colour> Remove Colour Cast.
Then select a part of your shot
that is either black, grey or white,
and Elements will correct the
colour cast for you.
Adjust the levels
02
Go to Enhance> Adjust
Lighting> Levels. Select the
black, white or grey Dropper tool
and click on the corresponding
colour in your shot. This will
automatically alter your Levels, but
to boost them further, move the
arrows under the histogram.
Adjust colour curves
03
Go to Enhance> Adjust
Colour> Adjust Colour
Curves and select Default from
the Select a Style menu. Move
the Highlights, Shadows and
Brightness sliders until you are
happy with how your shot looks in
the preview box.
Sharpen up
04
Shooting moving animals
can sometimes leave you
with slightly blurry shots. To
sharpen them up, go to Enhance>
Adjust Sharpness and preview a
blurry area of your shot. Move the
Amount and Radius sliders until
your shot looks a little sharper.
Shooting
Beginners guide
You m
ay nd the free editing
software, such as Picasa or
GIM
P easiest to use, so
research what you need
before buying.
F
in
d
th
e
p
e
rfe
c
t
e
d
itin
g
s
o
ftw
a
re
AFTER
BEFORE
28
Two methods for removing distracting fences
Remove the fence
02
Now drag your cursor over
the fence in your shot
and the editing software will
remove it. This works by
blending the area to the rest of
image as best as possible, and
this method works really well in
most situations.
Remove a fence
Spot healing tool
01
The simplest way to
remove a distracting
animal-enclosure fence from
your shot is to use the Spot
Healing Brush tool. Select it from
the toolbar on the left-hand side
of the screen in Elements and
adjust the brush size.
Clone out the fence
04
The Clone Stamp tool
works by copying a
specic area of the image and
pasting it over another area.
Select an area similar to that
which is covered by the fence
(Alt+click on it), and then draw
over the fence to paste it on top.
Clone Stamp tool
03
If your fence is in a slightly
trickier position, then you
may wish to use the Clone
Stamp tool. Select it from the
toolbar on the left-hand side of
the screen in Photoshop
Elements and adjust the brush
size to suit.
AFTER
29
Recompose
Straighten and crop your shot for stunning composition
Automatic straighten
01
Photoshop Elements 11 has
a great tool to automatically
straighten your image. Go to
Image> Rotate> Straighten Image
and wait for Elements to work its
magic. It is usually pretty accurate,
but if it doesnt look quite right
you can straighten it yourself.
Straighten manually
02
If you want to straighten
your image yourself, then
in Elements head to Image>
Transform> Free Transform. Now
hover your cursor over the corner
of your image until you see a little
curved-arrow icon, then drag the
image around until it is straight.
Crop in
03
Now you need to crop your
shot in order to straighten
up the edges. Select the Crop tool
from the toolbar on the left-hand
side, drag your cursor over the
image to highlight the area you
want to keep, then click the green
tick to make the crop.
Recompose
04
Using the Crop tool again,
improve the composition
of your shot. Use the gridlines to
position your subject off-centre in
the frame, leaving some active
space in front of them. When you
are nished, click the green tick to
complete your shot.
AFTER
For more great guides head to www.greatdigitalmags.com
Shooting
Beginners guide
5 tips for amazing
eyes in portraits
The eyes are the most important part of a
portrait, as they are what we are instantly
drawn to. As such, the quality of the eyes in
an image can make or break your shot. The
success of your portrait could hang in the
balance, so here are some hints on how to
get an image with perfect peepers!
Get sharp, bright eyes with these easy tricks
Sharpen up
Use Unsharp Mask in editing software to
sharpen up the eyes in the post-production
stage. You could even use a layer mask to
select just the eyes and sharpen these while
keeping the skin nice and soft.
Create catchlights
Catchlights are the light source reected in
the eye, and they can help make a portrait
truly shine. Simply place a small white piece
of card at the top of your ash to achieve
this with ease.
Use ll-in ash
If you dont have enough available light and
your subjects eyes are in shadow, simply
set your ash to re this will ll in any dark
areas. This works particularly well on bright
days when your model is backlit.
Think about light
When youre lighting your shot, whether youre
working with natural light or ash, make sure
the eyes are brightly lit. This may mean
repositioning your model or using a reector
to bounce some light back up.
Focus on the eyes
Make sure the eyes of your subject are
perfectly sharp by setting your focus point
over them. You could also try manually
focusing for ultimate control, making sure
they are crystal clear on the LCD screen.
30
Shooting
Quick tips
All youve got to do is take great pictures and then make them even better using
Perfect Photo Suite 7! With brand new Perfect Black and White, new versions of Perfect
Portrait, Perfect Efects, Perfect Resize and the amazing Perfect Layers (oh and the new
Perfect Brush!) you decide what you want to do and where you want to work
...Photoshop, Lightroom, Aperture or Photoshop Elements and of course stand-alone
A
l
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t
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n
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P
h
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s
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o
p
!
call us for our latest reader ofer: 01604 881735
,

a
n
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y
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t

Everything You Need to Realize Your Photographic Vision
A
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t
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P
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!
,

a
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t

The uidity and versatility of water has made it an
incredibly popular subject for photography. There are so
many ways to incorporate it into your photos, whether
you are out and about, or stuck inside on a rainy day. In
fact, even going out on a rainy afternoon will give you the
chance to take great water shots. It doesnt matter what
camera you have either, as compacts and
cameraphones, as well as CSCs and DSLRs can capture
fantastic images of water.
Water can be incorporated into almost any genre of
photography that you choose to shoot. If you come
across a lake or a river you can capture it as part of a
landscape shot, or if you are near the coast you can
shoot some stunning seascapes. Water also makes a
great subject for shooting abstract close-up
photographs. Using just a few common household items
you can get creative with water or ice and produce some
beautiful and colourful images. Even portraits can be
given a watery touch by shooting them as reections in
lakes or puddles.
Of course, it is important to remember that your
expensive camera equipment and water are not the
best of friends. Make sure that you are careful with your
photo kit and keep it at a safe distance from the water
that you are shooting. Alternatively, if you really love
capturing the wet stuff you could invest a waterproof
case for your camera, or even a waterproof camera
model. This will open up even more opportunities for
capturing interesting water shots.
In this guide, we will tell you what you need, and how
to go about taking cool water photos. We will also
explain some of the photography jargon that is likely to
come in useful for water photography. Take inspiration
from our guide of ten stunning yet easy-to-achieve
water-photography projects and have fun taking some
watery photos yourself.
Have fun and get creative with these watery photo ideas
Jargon
explained
The top terms to
understand for
shooting beautiful
water photos
32
Neutral-density lter
Blocks some of the light from entering
your lens and allows you to use a long
exposure in daylight.

10 WATER
PHOTOGRAPHY
Long exposure
The shutter is open for a long time using
a slow shutter speed and shows the
movement of the water in your shot.
Shooting
10 water projects
PROJECTS
33
Macro
Extreme close-ups of a subject so that
they appear larger than life. Usually
requires a special macro mode or lens.
Continuous shooting
An option available on many cameras to
take several shots in quick succession
when you press the shutter.
Shutter priority
A mode on most mode dials. You set
the shutter speed and the camera will
then work out the correct aperture.
Use continuous shooting to capture action
In shutter priority, select a fast shutter
Pour water into a glass and snap away!
Shooting
10 water projects
Magically magnify objects in droplets of water
It may look like a pro technique, but it is very easy
to shoot these images! The spherical water drops
act as an organic lens, magnifying whatever is
behind them. You simply need to position and
focus your camera just right. Remember that your
subject will appear upside down in the droplet, so
choose a symmetrical object or turn it up the
other way. You can try this anywhere, it just takes
a bit of patience and experimentation.
Water
droplets
Focus and shoot
Use a tripod and self-timer to avoid
shake. Position yourself so that
you can see the refracted object,
focus on the droplet and shoot.
Go macro
Use macro mode or a macro lens
and set a wide aperture (low
f-number) to keep the droplet in
focus but the background blurred.
Pick your subject
Your subject could be already
nearby, or you could put a subject
in place. Ideally it should be around
three inches behind the droplet.
Find a droplet
Look for a droplet of water or dew
on a plant, or create your own.
The bigger the water droplet the
easier it will be to get a great shot.
01
A rainy day may not seem like a
great time to go out shooting,
but you can capture great
shots in bad weather. Just be
sure to keep your kit wrapped
up in a cover or plastic bag if
its not waterproof! To capture
the rain, use a shutter speed of
around 1/50sec and a high
f-number to keep the entire
scene in focus. Also make sure
that your shot is backlit to
illuminate the rain. You may
need a high ISO to make your
camera more sensitive to light
on darker days. Shooting after
the rain is also great for
capturing raindrops on owers.
Dont be put off by wet weather
03
Reections
The reective nature of water
gives you the chance to take
creative shots. Try capturing
reections of trees or buildings
in lakes for an interesting vista;
either shoot just the reection,
perhaps disturbing the water to
distort the subject, or you could
include the original subject in
the frame too. If you want an
exact mirror image, wait for a
calm day with no wind so that
the water is still. If there are
ripples, use a slow shutter
speed to prevent them showing
up in your image. You can also
take unique portrait shots by
shooting someones reection
in a lake, puddle or even your
bath at home.
Shoot beautiful mirrored images in water
02
Raindrops
34
Use macro mode to get in close
The increasing number of
waterproof cameras and cases
available has opened up a host
of new opportunities, allowing
you to take photos from a new
perspective underwater.
Capture your family as they
splash around the pool on
holiday or try photographing an
object submerged in a bath for
a unique still life shot. You
could try taking a photo of an
object at water level, capturing
it half-submerged so you can
see the distortion from the
water. Hold it in the liquid, so
that water line is halfway up
the lens and take a shot.
05Seascapes
Shoot subsurface for a new perspective
06
Underwater
Shutter priority
Set your camera to shutter
priority and use a fast shutter
speed. This will enable you to
capture the splashes as it will
freeze the action.
Fill your glass
Find a transparent glass or cup
and ll it three-quarters full
with water. Make sure there
will be nothing distracting in
the background of your shot.
Shooting mode
Use your cameras continuous
shooting mode to take a series
of photos when you press the
shutter. This will increase your
chances of getting a great shot.
Fire the shutter
Use self-timer to take the shot
and time it so that the shutter
will re as the object hits the
water. You may need a few trial
runs before you get it right.
Splashing
04
Splash around for dramatic water shots
It is incredibly simple to create dramatic water shots at home. All
you need is a see-through container and an object to drop into
it. A really colourful object, such as a piece of fruit, will make for
a more eye-catching shot, but make sure that the object you
use is waterproof.
35
The coast is fantastic for landscape photos as
it is ever-changing and theres plenty of scope
for creativity. Just be sure to stay safe and
check the tide times. A great time to shoot
seascapes is at dawn or dusk for a lovely
golden light. Set your camera to shutter
priority and use a slow shutter speed to
for smooth water. Use a tripod and
self-timer to prevent camera shake.
Composition-wise, look out for some
foreground interest such as rocks,
a boat or a pier and position them
off-centre in the frame.
Take stunning coastal-landscape shots
Using shutter priority and a fast
speed will capture the action
Make moving water look silky and smooth
As an incredibly versatile
substance by nature, of course
water does not just have a liquid
state. You can have plenty of fun
with it when its frozen. For a
really colourful abstract shot, ll
a transparent container with
crushed or cubed ice and then
drip food colouring over it. Set
your camera to macro mode, or
if you are using a CSC or DSLR,
experiment with a macro lens.
This will allow you to get
close-up shots of the colour as
it travels through the ice.
Experiment with using more
than one colour and shoot from
different angles, including
top-down and side-on.
Another great abstract ice
project that you can try is to
freeze objects into ice cubes
and shoot them suspended in
the frozen water.
Get creative with frozen water
When capturing waterfalls on
camera, it is great to try using a
long exposure. Set your camera
on a tripod or place it on a
sturdy surface, select shutter
priority and choose the slowest
shutter speed. To avoid camera
shake, you may want to use
your cameras self-timer or a
remote shutter release to take
the shot so you do not jog the
camera. Also, keep your ISO as
low as possible to ensure your
shot is crisp and grain-free. The
long exposure will capture the
movement of the water in your
shot, making it look silky and
smooth. When shooting in
daylight, you may also need to
use a neutral-density lter, or
hold a pair of sunglasses in
front of the lens to block out
some of the light and prevent
your shot from overexposing.
08
09
Waterfalls
Ice
Set up your shot
Fill a shallow, plain-glass dish
with water and place it on top
of a colourful piece of
wrapping paper or perhaps a
page from a magazine.
Add your oil
Dip a straw in some cooking oil
and drip it into the water.
Space out the drops to create
clearly dened circles, and
nudge them into position.
Light your subject
If you're shooting in the daytime,
position your glass dish by a
window for a naturally lit shot.
Alternatively, use a desk lamp to
illuminate your subject.
Take the shot
Use your cameras macro mode
or use a macro lens to get close
to the water and take your shot
from above, using a tripod if you
need to.
Oil &
water
Create colourful and abstract shots
When oil is dropped into water, the two do not combine,
leaving perfectly circular droplets in the water. This provides
a fantastic subject for macro photography, and you can
personalise the background to achieve truly unique effects.
07
Add coloured backgrounds
for extra interest in your oil
and water images
36
Ripples
Capture perfect ripples in your bath at home
The circular shapes of ripples in water make fantastic abstract
shots. It is really easy to capture this effect in your bathroom at
home using just a torch, a cloth and your bath. Follow our simple
steps below to recreate the effect.
Unless you have a waterproof camera, remember to be really
careful when you're working with water. You may wish to secure your
camera to a tripod to reduce the risk of dropping it in the bath. Also
be careful with splashes around electrical equipment.
10
Use a torch
Place a torch near the bath and
angle it so that it lights the water
from the side. This will help you
capture clearly dened ripples in
your photos.
Fill the bath
First off, ll your bath with a few
inches of water and wait until the
water is calm and still so that only
the ripples you intentionally create
later will be visible in your shot.
Create ripples
Soak a cloth in water, hold it over
the bath and gently squeeze to
create water drops that create
ripples. Then hit the shutter. It may
take a few attempts to get it right!
Select settings
Use aperture priority and a narrow
aperture (high f-number) to keep
ripples sharp. Use continuous
shooting mode to take a series of
shots, then you can pick the best.
37
Shooting
10 water projects
Capture the speed of your subject
38
What youll need
A camera with
manual settings
A monopod
We used
Samsung NX200
You could use
A tripod
A smooth surface
to lean on
What youll learn
Smooth panning
Shutter speed tips
How to keep your
subject in focus
Consider the background
Even though the background will be
blurred, it is still important to ensure
there are no distractions visible. You
may need to reposition yourself to get a
better backdrop.
Create this shot!
Panning
Shooting
Panning
With continuous
autofocus your
camera can
track your
subject and
keep it in focus
as it moves in
the frame
Account for shutter lag
Some cameras have a short delay
between the time you hit the shutter
and when it res. Try taking your shot a
second or two before your subject
enters the frame.
Shooting
Panning
39
S
P
A
AUTO
Aperture: f8 ISO: 200 Shutter speed: 1/30sec
Take the shot
When you press the shutter, gradually
turn your camera with your subject,
keeping a steady pace. Continue
panning for a short while after the
shutter has closed for a smooth shot.
Pre-focus
If your camera does not have
continuous autofocus, select manual
focus or selective focus and focus
your camera on the area where you
subject will enter the frame.
Secure your
camera to a
monopod or a
sturdy tripod to
ensure smooth
panning and a
sharp subject
Get into position
Find a safe place to take your shot
from, making sure that you will not
get in the way of the path of your
subject. Also make sure that you will
get a clear shot with no obstructions.
Select shutter priority and choose a slow shutter speed
try around 1/30sec - 1/50sec and adjust from there
Shooting
Big project
Capture a sweeping scene on your cameraphone and turn
it into a canvas print to take pride of place in your home
A panorama on
your cameraphone
40
Shooting
Big project
Get rid of obstructions
04
Before you take your panorama shot,
make sure there are no obstructions in
the way. Wait for any people to move,
otherwise they could appear at several points
in your image. Also stand clear of any pillars or
posts that will obstruct your view.
Sweep smoothly
05
For a steady panorama, hold your phone
with your elbows tucked in. Slowly
swivel your body around; the iPhone 5 will tell
you if you are moving too fast. Keep moving for
a while after you have taken the photo to
ensure it is smooth from start to nish.
Use your smartphone
01
If you have an iPhone 5, open the phone
camera, tap Options and then select
Panorama. If you have a different phone, then
download a panorama app. They are all really
easy to use, just sweep your camera across
the scene and it will stitch it all together.
Panoramas involve stitching several photos of the same
scene together to include more in the frame than is
possible with a normal photo. This is great for landscape
or group shots as you dont have to cut anyone or
anything out of the photo.
It is possible to take a panorama with any camera,
even your cameraphone, and many will even stitch the
photos together for you. Some cameraphones, such as
the iPhone 5, come with a panorama mode built in. But if
yours does not, then there are a huge number of free
and paid-for apps that you can download to do the job. If
you are using a digital camera that does not have a
panorama mode, simply take a series of shots that line
up and overlap each other slightly, then use software
such as Photomatix or Photomerge in Photoshop to
stitch the photos together.
Panoramas make for great wall art, and in this tutorial
we will show you how to turn yours into a canvas using
Print Panoramics. This company specialises in panorama
prints, with a wide range of canvas and print dimensions
available. Due to the increasingly good-quality images
produced by cameraphones, their size specications are
in fact optimised for panoramas taken on iPhone
cameras, which we will use for this tutorial. However, you
can use shots taken on any smartphone or camera and
even create non-panoramic prints of various sizes.
Shoot! Take a smooth and sweeping panorama with your smartphone
Dont forget composition
02
Think about the composition. Look for
foreground interest, such as trees or
buildings, and position skylines a third of the
way up or down the frame. It is also important
to get the horizon straight, so activate your
gridlines to line it up along them.
Choose your direction
03
Select which direction you want to take
your panorama in, left to right or right to
left. If you are using the iPhone 5 then simply
tap the screen to change the direction. If you
are using an app, check the instructions of
how to change it.
It is possible to take a panorama with any camera, even your
cameraphone, and many will even stitch the photos together
Take your shot
06
You can either keep moving until the
camera automatically stops taking the
picture, or tap Done when you have captured
as much as you want. The phone will then
stitch your panorama together and save it to
your Camera Roll
41
What youll need
A cameraphone
A photo-editing app
Printing service

We used
iPhone 5
Adobe Photoshop
Express
Print Panoramics
You could use
A digital camera
Adobe Photoshop
photo-canvas.com
What youll learn
How to take a
panorama on your
smartphone then
print it and display
it for all to see
Shooting
Big project
Sharpen up
11
Tap the next icon along on the toolbar
and select Sharpen. Drag your nger up
or down the screen to sharpen or soften the
look of your shot until you achieve the results
that you want. This menu also allows you to
reduce noise if theres some grain present.
Adjust the colours
10
You can also select Hue/Saturation or
Tint/Temperature from the Exposure
menu. These will allow you to adjust the
colours of your photo by either warming or
cooling them or making them brighter and
more saturated.
Recompose a shot
08
You can crop and straighten up your
shot in the Crop menu on the toolbar.
Print Panoramicss size specications are
optimised for the iPhone camera, so you may
come into difculty when uploading your shot
to the website if it has been cropped.
Correct the exposure
09
Tap the Exposure icon on the toolbar
and select Exposure. Drag your nger
upwards if your shot is underexposed (too
dark) and drag your nger down on the screen
if the shot is overexposed (too bright). Keep
going until you are happy with the results.
Edit! Perfect your panorama with Adobe Photoshop Express
Add an effect
12
By tapping the Effects icon on the
toolbar and selecting Effects, you can
choose from a number of different creative
options and lters. You may wish to select a
Vintage lter or convert your shot to Black &
White. When you have nished, tap the tick.
Get the app
07
Download the free Adobe Photoshop
Express app onto your phone and then
open up your panorama photo by selecting it
from your Camera Roll. Once it is open, tap
the pencil icon at the bottom of the screen.
You are now ready to start editing.
42
5 of the best
Smartphone
apps for easy
panoramas
360 Panorama 0.69/$0.99
Pan your camera in any direction and
360 Panorama will stitch in seconds
to capture the entire scene. You can
than instantly share your shot.
Photaf Panorama Free
This app has an orientation sensor
that knows the exact angle each
picture was taken, allowing it to
stitch together shots seamlessly.
AutoStitch Panorama 1.49/$1.99
This app helps you take panoramas,
and stitch together photos taken
with any camera app. You can then
crop the results and share.
Wondershare Panorama Free
Take a great panorama and then add
effects, such as Crossprocess, Old
Photo and Sketch, to make it stand
out. Then share it with one tap.
Panorama ++ 0.69/$0.99
Take or build 360-degree panoramas
then share them instantly. You can
also merge more than one to create
vertical overlapping panoramas.
Buy your canvas
17
You will now go through to view your
shopping cart, where you can see what
you are about to purchase and how much it
will cost. You can also select the quantity you
would like to order. Next, click Proceed to
Checkout and purchase your canvas.
Fix it to the wall
18
Once your canvas arrives, x it to the
wall of your choice. Make sure there is
enough room for it as it will be very wide, and
avoid placing it on coloured walls that will
clash with the colours in your photo. You may
wish to consider this when taking the shot.
Upload your photo
16
Now click on Upload a le! and select
your panorama photo from your
computer. It may take a little while to upload,
but when it does you will be able to view a
preview of what your canvas will look like on a
wall. When you are happy, click Add to Cart.
Shooting
Big project
Share! Turn your smartphone panorama into stunning wall art
Select your canvas size
14
Now select the size and type of print you
want. There are three different canvas
sizes to choose from, as well as six poster
print sizes, all at varying prices. You can also
select a non-panoramic canvas if you want to
upload a regular photo.
Choose canvas options
15
Once you have selected your chosen
canvas, choose whether you want your
image to wrap around your canvas or whether
you would like to leave a white or coloured
edge on each side. Simply click on the circle
next to the option you would like to choose.
Head to Print Panoramics
13
First you need to open up the website.
Type www.printpanoramics.co.uk into
the address bar of your internet browser.
Once you have found the home page, click
Purchase in the top right-hand corner of the
screen to go through to the next stage.
43
Contrast
Use a panoramic scene
with plenty of contrast and
interest to avoid a at or
dull piece of wall art
Colour
Bright colours will really
make your canvas print
stand out on your wall
and enhance the room
Personal
Choose a location that is
special to you. It will make
a great talking point for
visitors and friends
Edges
Unless you add a white
border, allow for some space
at the edge to be wrapped
around the canvas
Technical tip
Print Panoramicss products
are optimised for the iPhone,
but you can use a panorama
taken on any camera.
02
02
10
Inspirational
images of...
Plant life
01
44
Shooting
Inspirational images
04
03
04
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e

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r

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o
t
s

a
t
.
.
.

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e
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r
s
.
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r
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f
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P
F
B
M
a
g

o
n
.
.
.
05
01
Draw on the weather
Try and capture frost on
plants during the winter or go out
to shoot after it has rained to
capture the water drops.
02
Keep in focus
For sharp shots, use a
tripod to steady your camera and
put up a piece of paper near the
ower to stop the wind moving it.
03
Blur the background
Use a wide aperture (low
f-number) to create a nice, blurry
background and make the plant
really stand out.
04
Capture texture
Keep an eye out for plants
with interesting texture and colour
and make sure the light is softly
hitting it to capture these.

05
Get up close
Many plant species are full
of detail, which is amazing for
macro shots switch your camera
to macro mode and get up close.
45
46
Shooting
5 minute project
Master the art of taking natural shots under cover
five
minute
project
Learn how to capture
candid portraits
What youll need
A fun event
to attend
Camera
We used
Sony NEX-6
You could use
Any camera
What youll learn
The best settings
for sharp shots
To compose
candid photos
Face detection
This feature locks onto faces and concentrates
its autofocus to ensure they are sharp. Once a
face is detected it will track it around the frame.
47
Shooting
5 minute project
Think about composition
01
Include foreground interest such as
doorways, decorations or other people
in a crowd. This will add interest and help the
shot to tell a story, while also adding to the
candid feel of the shot. Also, always leave
space for your subject to look into.
Shoot from the hip
02
Hold your camera at waist level and
shoot upwards. You can take photos
discreetly like this and it lends images a
low-angle perspective. Compositions can look
a little messy, but this can actually boost the
spontaneous feel of your shots.
Kill the ash
03
Be sure to turn off the ash. It will give
the game away and spoils the relaxed
atmosphere like a shark in the water. If the
room is pretty dark, boost your ISO setting to
400 or more to increase your cameras
sensitivity to light.
Use your burst mode
04
A great candid photo captures people in
the moment and burst mode can help
with this. Turn this function on, then hold
down the shutter button to re multiple shots
in seconds. Youll capture the moment, and
the moments before and after too.
Switch to aperture priority
05
The easiest way to blur the background
and keep your subject in focus is to use
aperture priority. Select a low f-number (wide
aperture), which will throw the background out
of focus so that we only focus on the subject.
Its a simple way to de-clutter busy backdrops.
Paparazzi-style photography is no longer
reserved for shots of celebrities falling out
of clubs at 4am. Its now one of the most
popular approaches to portraits and event
photography, as it captures the true story of
what happened. A candid image isnt posed
or staged in any way, its spontaneous and
ideally the subject wont suspect theyre
even having their photo taken. This creates a
beautifully natural image as the person will
be completely at ease.
Parties and weddings make great
backdrops for candid photography for this
reason. The guests will be distracted and
having fun, which will come across in your
images. To slip under the radar, you need to
learn how to shoot from the hip and frame
pictures quickly. Use covert camera settings
by turning the ash off and using the zoom
to take photos from a comfortable distance.
That also means leaving bulky equipment at
home such as tripods and reectors, as
theyll only draw attention to yourself.
Bring a spare memory card along and hit
the shutter button until your nger hurts,
since youre bound to capture a few closed
eyes or blurred movements. Look out for
groups of people talking and laughing, or
even posing for formal photos, and then
zoom in on faces. As a candid photographer,
you need to blend in with the crowd so
people feel comfortable around you, but
there are plenty of other tips to come armed
with. In these steps, were going to show you
how to easily replicate this candid feel in
your own shots of friends and family.
Becoming invisible Capture candid portraits
On-camera
features for
candid shots
3 of the best
Telephoto lens
The further you are away from your subject, the
less likely they are to spot you taking a photo.
Use the zoom and shoot from a distance.
Tilting screen
A tilting LCD screen enables you to compose your
shots without looking through the viewnder. It
helps with shooting from the hip.
5 tips for shooting
on a bright day
Bright sunny days are lovely for going out
with your camera, however there are some
problems that can arise when you are
shooting in glaring sunlight. Sometimes it is
better to wait for the sun to set for more
golden light. However, if this is not possible,
follow these helpful tips.
Combat the issues caused by shooting in the sun
Shoot a silhouette
Why not have a go at making the most of
the sunlight by taking a silhouette shot?
Position yourself so that your subject is
directly in front of the sun and be sure to
turn off your ash.
Use a lter
If your shots are too bright, or you wish to
use a slow shutter speed or wide aperture
(low f-number) for your sunny-day shots,
use a polarising or neutral-density lter to
block out some of the light.
Find shade
It may sound like an obvious suggestion,
but simply moving into a bit of shade can
solve your problems. Or you could even use
yourself to shield your subject by standing
in the way of the sun.
Fill in shadows
Shooting in bright sunlight can cause harsh
shadows, which are particularly unattering
for portrait shots. Use a reector or re your
ash to ll them in for a more even
distribution of light.
Avoid glare
Shooting in the sun can cause lens glare to
creep into your shots. To prevent this, get
hold of a lens hood or make your own out of
card. Alternatively, just use your hand to
shield the end of your lens.
48
Shooting
Quick tips
Check our website www.castlecameras.co.uk or call us
on 01202 526606 for our latest prices and event details
Canon
PowerShot G1 X 499.00
PowerShot G15 439.00
EOS 1D X Body: free bag 4,849.00
EOS 5D Mk III Body: Half price Battery grip
BG-E11 - please phone for details 2,335.00
EOS 5D Mk III, 24- 70mm MkII: Half price Battery grip
BG-E11, ask for details 4,029.00
EOS 5D Mk III, 24-105mm: Half price Battery grip BG-
E11, ask for details 2,975.00
EOS 6D Body Only 1,599.00
EOS 6D, 24-105L 2,199.00
EOS 7D Body 1,059.00
EOS 7D EF 17-40L 1,639.00
EOS 7D EF-S 15-85, EF 70-300 IS USM1,945.00
EOS 7D EF-S 15-85 f3.5-5.6 IS USM 1,569.00
EOS 7D EF-S 17-55 1,785.00
EOS 60D 17-55 IS 1,359.00
EOS 60D 17-85 IS 849.00
EOS 60D 17-85 IS, 70-300IS 1,199.00
EOS 600D Body 419.00
EOS 600D 18-55 IS MkII/EF 70-300IS 855.00
EOS 600D 18-55 IS, 55-250IS MkII 695.00
EOS 650D 18-55 IS II 599.00
EOS 650D 18-55ISII+55-250ISII 785.00
EOS 650D 18-135 IS STM 795.00
EOS1100D 18-55 IS 349.00
Speedlite 600EX-RT 469.00
EF 8-15mm f/4L Fisheye USM 1,059.00
EF 16-35mm 2.8 II L U 1,099.00
EF 17-40mm f4 L USM 599.00
EF 24-70mm f2.8L II USM 1,749.00
EF 24-105mm f4 L IS USM 799.00
EF 24-70mm f4 L IS USM 1,299.00
EF 24mm f1.4 LII U 1,249.00
EF 24mm f2.8 IS USM 589.00
EF 28mm f2.8 IS USM 559.90
EF 35mm f1.4L U 1,089.00
EF 35mm f2 209.00
EF 35mm f2 IS 779.00
EF 50mm f1.2L USM 1,179.00
EF 70-200mm f2.8 L USM 979.00
EF 70-200mm f2.8L IS II USM 1,829.00
EF 70-200mm f4 L USM 499.00
EF 70-200mm f4.0 L IS USM 929.00
EF 70-300mm f/4-5.6L IS USM 1,099.00
EF 70-300mm f4-5.6 IS USM : 369.00
EF 85mm f1.2L II USM 1,679.00
EF 100-400mm f4.5/5.6L IS USM 1,229.00
EF 100mm f2.8 USM Macro 415.00
EF 100mm f2.8L IS USM Macro 709.00
EF 180mm f3.5L USM Macro USM 1,179.00
EF 200mm 2.0L IS USM 4,499.00
EF 200mm f2.8 L/2 USM 599.00
EF 300mm f2.8L IS II USM 5,099.00
EF 400mm f/2.8L IS II USM 8,249.00
EF 400mm f5.6L USM: Special low
price while stocks last 1,049.00
EF 500mm f4.0L IS II USM 7,749.00
EF 600mm f4.0L IS II USM 10,590.00
EF-S 10-22mm f3.5/4.5 USM 619.00
EF-S 15-85 f3.5-5.6 IS USM 529.00
EF-S 17-55mm f2.8 IS USM 769.00
EF-S 17-85mm f4/5.6 IS USM 299.00
EF-S 18-135 f3.5-5.6 IS 279.00
EF-S 18-135mm f/3.5-5.6 IS STM 349.00
EF-S 18-200 f/3.5-5.6 IS 389.00
EF-S 60mm f2.8 Macro USM 349.00
Extender EF 2x III 399.00
TS-E 24mm f3.5L MkII 1,579.00
TS-E 45mm f/2.8 1,079.00
EF-M 18-55mm f3.5-5.6 IS STM 244.00
Fuji
X100S 1,149.99
X20 Black 519.00
X-E1 Body Black 629.00
X-E1 Kit Black 949.00
X-Pro1 Body Only: Special offers in-store
Please phone for details 1,079.00
XF-18-55mm f2.8-4 R LM OIS : 599.00
XF-18mm f2 429.00
XF-35mm f1.4 429.00
XF-60mm f2.4 469.00
Nikon
D4 body: With Tamrac Explorer 400 4,249.00
D90, 18-105VR 579.00
D3100, 18-55VR 319.00
D3100, 18-55VR, 55-300VR 579.00
D3200, 18-55 VR, 55-300VR, Black 699.00
D3200, 18-55 VR, Black 429.00
D5100, 18-55VR 419.00
D5100, 18-55VR, 55-300VR 659.00
D5100, 18-105VR 549.00
D5200 Black, 18-55VR 699.00
D600 Body 1,449.00
D600 Body, 24-85 1,849.00
D7000 Body 649.00
D7000, 18-105VR 799.00
D7100 Body due on 21st March 1,099.00
D7100, 18-105VR due on 21st March 1,299.00
D800 Body 1,959.00
D800e Body: With NX2 software 2,349.00
SB-910 Speedlight 339.00
AF-S 2x Teleconverter TC-20EIII 369.00
AF-S 14-24mm f2.8 G ED 1,329.00
AF-S 16-35mm F/4G ED VR 829.00
AF-S 24-70mm f2.8G ED 1,249.00
AF-S 24-120mm f/4G ED VR 819.00
AF-S 24-85mm f/3.5-4.5G ED VR 419.00
AF-S 24mm f1.4G ED 1,479.00
AF-S 28-300mm f/3.5-5.6G ED VR 669.00
AF-S 50mm f1.4G 279.00
AF-S 60mm f2.8G ED Micro 409.00
AF-S 70-200mm f2.8 G IF-ED VR MkII 1,629.00
AF-S 70-200mm f4G ED VR 1,079.00
AF-S 70-300mm f4.5-5.6 G IF-ED VR 429.00
AF-S 85mm f1.4G 1,159.00
AF-S 85mm f1.8G 379.00
AF-S 105mm f2.8G IF-ED Macro VR II 619.00
AF-S 200mm f2.0G IF-ED VR II 4,099.00
AF-S DX 18-300mm f3.5-5.6G ED VR 679.00
AF-S DX 55-300mm f/4.5-5.6G VR 279.00
Panasonic
Lumix DMC-LX7 349.00
DMC-G3 14-42, Black 299.00
DMC-G5 14-42X, Black 629.00
DMC-GH3 14-140 1,579.00
DMC-GH3 Body 1,179.00
DMC-GX1 Body, Black 349.00
Pentax
K-30 Black, DA 18-135mm WR 749.00
K-30 Black, DA 18-55mm WR 529.00
K-5 II DA 18-135 WR Lens kit 1,049.00
K-5 II DA 18-55 WR Lens kit 799.00
AF 540 FGZ 349.00
SMC DA* 16-50mm f/2.8 ED AL (IF) SDM 799.00
SMC DA* 60-250mm f4AL SDM 1,059.00
SMC FA 43mm f/1.9 Limited, Black 699.00
EM-140 DG Macro EOS 299.00
Sigma
10-20mm f3.5 EX DC HSM 459.00
120-300mm f2.8 EX DG APO OS 1,799.00
120-400mm f4.5-5.6 DG APO OS HSM 629.00
150-500mm f5-6.3 DG APO OS HSM 749.00
150mm f2.8 EX DG Macro IF HSM OS 679.00
Sony
DSC-HX200VB with genuine LCJ-HJB
case and spare NPF-H50 Battery 315.00
DSC-HX200VB, Black 289.00
DSC-HX20VB, Black 239.00
DSC-HX20VB, Black with case 249.00
DSC-RX1: With Free spare
DSC-RX100 449.00
Alpha 37, 18-55 SAM, 75-300 D 449.00
Alpha 57, 18-55 SAM 529.00
Alpha 57, 18-135 SAM 749.00
Alpha 65 Body 599.00
Alpha 65 18-55 SAM 659.00
Alpha 65 18-135 SAM 799.00
Alpha 77 Body 799.00
Alpha 77 with 16-50mm f2.8 1,169.00
Alpha 77, 18-135 SAM 899.00
Alpha 99 Body: With Free Holdall 2,149.00
Alpha 99 Body with grip and Batteries 2,249.00
DSLR Lens, 2X Teleconverter 339.00
DSLR Lens, 11-18mm f4.5-5.6 (D) 449.00
DSLR Lens, 18-250mm f3.5-6.3 (D) 449.00
DSLR Lens, 24-70 F2.8 ZA T* 1,399.00
DSLR Lens, 55-300mm SAM 299.00
DSLR Lens, 70-200mm F2.8 G 1,519.00
DSLR Lens, 70-300mm f4.5-5.6 689.00
DSLR Lens, 70-400 F4-5.6 G SSM 1,329.00
DSLR Lens, 100mm f2.8 Macro (D) 549.00
NEX-5R Double lens kit with 16-50 compact power zoom
and 55-210 telephoto zoom 899.00
NEX-5R, Black with 16-50 699.00
NEX-5R, Black with 18-55 zoom 459.00
NEX-6 Body 599.00
NEX-6 double Lens kit with 16-50 and
55-210 zoom Lenses 929.00
NEX-6 zoom kit with 16-50 zoom Lens 729.00
NEX-7 Black Body 774.00
NEX-7 with Black 18-55 Lens 859.00
NEX-F3 with Black 18-55 Lens 349.00
E 10-18mm F4 OSS 729.00
E 16-50mm F3.5-5.6 OSS 299.00
E 18-200mm F3.5-6.3 OSS 569.00
E 18-200mm F3.5-6.3 OSS LE Black 569.00
E 35mm F1.8 OSS 379.00
E 55-210mm F4.5-6.3 zoom Lens 239.00
Tamron
AF 18-270mm f3.5-6.3 Di II VC PZD EOS 389.00
SP 70-200 f2.8 VC USD EOS 1,379.00
SP 90mm Macro f2.8 VC USD EOS: Please phone for
availability 649.00
SP AF 10-24mm f3.5-4.5 Di II EOS 349.00
SP AF 24-70 F2.8 Di VC USD EOS 849.00
SP AF 28-75 F2.8 XRDi EOS 359.00
Canon EOS 5D
Mk III Body
2335
www.castlecameras.co.uk
329 Wimborne Rd, Bournemouth, BH9 2AD (01202) 526606
11 Endless Street, Salisbury, SP1 1DL (01722) 339909
or email enquiries@castlecameras.co.uk
BOURNEMOUTH & SALISBURY
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Sony A 77,
18-135mm SAM
Was 949
899
Canon EOS 6D
New entry level full
frame DSLR
24-105 Kit
2199
Canon 24-70mm
f/2.8L II EF Lens
Was 1769
1749
Canon Speedlite
600EX-RT
469
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Join us at the Dudsbury Golf Club, Ferndown for our
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Battery, 16GB card and satchel case 2,549.00

What time of day did you shoot
this image at?
I took the shot at around 4pm when the sun
had started to set, meaning the light was
low to add to the drama. This was also the
ideal window to shoot in as less people were
be on the beach and the tide was out, giving
me a great view under the pier usually it
impossible to get underneath.
50
Shooting
Story behind the shot
Whats the story behind this
dramatic photo?
I was inspired to take this shot by watching
the tide pull inland while walking my dog
along the beach front, and quite simply
wanted to capture it. The sense of scale and
serenity of this beach is captivating and I
wanted to catch that on camera, so I came
back with my kit another day.
Did you have to do any planning
before you took the shot?
I had been keeping an eye on the weather
during the week prior to the shoot to make
sure I would get moody clouds rather than
just a flat blue sky. A bright sunny day would
have not been ideal, as I wanted to capture
a sense of drama and movement in the sky
rather than your usual sunny beach image.
behind
Photographer James Sheppard
shares the secrets behind this
moody seascape image
theshot
Story
51
Shooting
Story behind the shot
What kit and settings did you
use for this final image?
I used my Canon EOS 50D and a Sigma
10-20mm lens. I set an aperture of f11 and a
shutter speed of 6sec, which meant I
needed a tripod to keep my camera steady. I
also used an ND filter to block out some
light, meaning I could leave the shutter open
for longer without overexposing the shot.
What do you like about your
final image?
I like the lead-in line of the pier it really
draws your eye into the frame and towards
the dramatic sky. I also like the small
amount of grain present, which adds to the
moody look. When I walk the dog on the
beach now I'm always looking for more ideas
and inspiration!
What tips would you give for
shooting moody seascapes?
I would definitely recommend wearing
wellies, bring an umbrella and watch out for
the water and where it is pooling around you!
I would also recommend keeping an eye on
the sands moisture as it will make the tripod
sink even just a fraction can cause
problems when using slow shutter speeds.
Keep safe
When shooting seascapes,
especially in low light, watch out
for things like slippery rocks and
incoming tides and keep safe
6sec F11
52
Get to know
C
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Learn about your camera and take your best photos ever!
Contents
Mode dial
Change the settings
on the camera using
the mode dial
Hotshoe
The hotshoe allows you
to attach an external
ash to the camera
Lens release
Press this button to
remove the lens from
your camera
Lens
The light enters the
camera here. Lenses
can be changed on
some camera models
Different types of camera
Dont know a superzoom from a CSC? Read on
Pros
Great image quality
Fast shooting speed
Manual and Auto
Cons
Can be expensive
Can be complex
Can be heavy
Interchangeable
lens
Refers to DSLR cameras
and Compact System
Cameras (CSC) as they
both offer the ability to
switch lenses
Pros
Easy to use
Light and versatile
Lots of features
Cons
Fewer manual options
Can be slow
Less adaptable
Fixed
lens
Includes compact
cameras and
superzooms. As the
name suggests, the
lens cannot be changed
making them simpler
Pros
Light and compact
Cool app add-ons
Share instantly
Cons
Small lens and sensor
Flattens perspective
Fewer features
Cameraphones/
smartphones
The main contenders
are currently Apples
iPhone and Android
smartphones. You can
buy accessories and
apps for achieving
different effects
p52-53 Get to know your camera
Get to grips with the buttons, dials and icons on your
camera and youll soon be taking fantastic shots
p54-57 5 golden rules for better shots
Familiarise yourself with the imaging rules that
will guarantee you a great photograph every time
p58 How geotagging works
Learn about how a camera can tag the location of
your photos and the benets of using this data
Great shot
secret!
Use continuous
autofocus mode to
track fast subjects
as they move across
the frame, making
sure they are kept
perfectly sharp.
Shutter release
This button is used to
take the picture. On
most cameras,
pressing it halfway
in Auto will focus
the image
Flash
If your camera has
an on-board ash,
press this button
to use it
52
53
your camera
If youre using a compact camera, then most of your controls
will be on the back. A DSLR or Compact System Camera will
usually have a mode dial on top. Either way, the icons for
setting the camera to shoot in different conditions and for
basic operation such as deleting images are usually universal.
Jargon buster
Aperture
Affects the amount of your
image that is in focus the
depth of eld
CSC
Compact system camera
DSLR
Digital single lens reex
camera
Drive mode
Continuous or burst mode,
single shot and self timer
Dynamic range
The term used to refer to the
amount of detail in the
highlights and shadows
Exposure
A balanced exposure has
detail in light and shadow
areas alike
Exposure
compensation
Adjusts the tonal range of
your photo, lighter or darker
Focal lengths
Wide-angle a wider angle of
view than normal, eg 28mm
Telephoto a magnied view
of distant subjects, eg
200mm
Focus
Autofocus means your
camera focuses for you;
manual puts you in control
ISO
Refers to how sensitive the
sensor is to light and affects
the visible grain or noise in
a photo
LCD
The display screen on the
rear of the camera used to
compose images
Live view
An electronic view of the
scene in front of the lens
Metering
Refers to the way the camera
reads the light in the scene
Megapixels
Number of pixels on the
sensor, in millions
Noise
Refers to the visible digital
grain in a photo
Shutter speed
Fast speeds freeze action
while longer ones blur
any motion
Viewnder
Optical shows you the view
through the camera lens and
is good for accurate framing
Electronic shows the view
on an LCD in the viewnder
White balance
Affected by the ambient light
around you, your camera can
alter this to ensure a natural
colour result
Zoom
Optical the magnication
provided by the camera lens
Digital a camera crop factor
Viewnder
An optical viewnder
shows the image
through the lens
Controls
Use the control panel to change settings,
scroll through menu options or move
around a photo when in Playback mode
LCD screen
Displays an electronic
view of the scene in
front of the lens
Camera icons explained
Make sure your camera is always on the correct
seing by following this guide
S
P
A
AUTO
Landscape
Boosts saturation in
blues and greens for
vivid outdoor shots
Auto
If all else fails, let
your camera do the
hard work for you
Macro
For shooting
close-ups such
as owers and
insects
Sports
Uses a fast shutter
speed to capture
action without blur
Portrait
For super-attering
shots of your friends
and family
Aperture
Select the aperture
while the camera
chooses shutter speed
Program
Customise your most
used settings in
Program
Shutter
priority
Select the
shutter speed
and the camera will
change the aperture
Zoom
Zoom in on your
image to check
its in focus
Menu
For options such as
formatting your
memory card
W
+
Delete found
on all cameras
Playback use
to review photos
Flash switch it
on or off
Night-time/
low-light scenes
Zoom in on
your photos
Zoom out of
your photos
Drive modes
including burst
Metering
modes
Exposure
compensation
Video mode on
stills cameras
Macro or close-
up modes
Sports or
action mode
Self timer for self
portraits etc
Image
stabilisation
Landscapes for
wide angles
Portrait perfect
for people
Manual mode
for control
Function button
for shortcuts Fn
53
KEEP IN FOCUS
C
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Focus on the eyes
Whether youre shooting portraits, pets or wildlife, your
subjects eyes should always be sharp. This is where the
viewer will be drawn to rst. If your camera has face or
eye-detection modes, use them for accuracy.
Keep landscapes sharp
With a narrow aperture, your landscapes should appear
sharp edge-to-edge, but youll still need to ensure its all
in focus. The best technique is to focus one third of the
way up the frame for front-to-back sharpness.
Freeze movement
Ensure fast-moving subjects appear sharp with the
correct focus mode. Use continuous or tracking AF so
that once youve focused on your subject, the camera
can track their movement and adjust focus continually.
Focus up close
Autofocus is incredibly accurate but it can
sometimes struggle up close. Switch to manual
focusing mode to take more control. Simply
rotate the focus wheel around the lens until the
subject appears sharp.
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5
DISCOVER THE RULES AND THEN LEARN HOW TO BREAK THEM
1
54
GET THE RIGHT
EXPOSURE 2
Avoid camera shake
If youre shooting handheld and in low-light conditions,
you may need to slow down your shutter speed. As a
rule, prevent any camera shake appearing in your shots
by always using a tripod when you're working with
shutter speeds of 1/60sec or slower.
Avoid over or underexposure
Use the meter dial on your camera to get the exposure
spot on the dial should fall in the middle. You can also
use your histogram after youve taken a photo to see if
its exposure is correct, as the peak shouldnt be
bunched to either side.
Think about depth of eld
In aperture priority mode, select the aperture and the
camera will pick the shutter speed. A high f-number will
keep the shot sharp from front to back, whereas a low
f-number will separate your subject from an artistic
blurry background.
Set your shutter speed
Using shutter priority mode on your camera allows you to
control your shutter speed while the aperture is selected
automatically. Use a slow shutter speed to capture
motion blur to illustrate movement, or a fast shutter to
freeze the action.
Control low light
Up your ISO setting if youre working with little natural or
ambient light. Higher ISO numbers will boost your
cameras sensitivity to light so you wont need slower
shutter speeds or wider apertures. Be sure to watch out
for noise in your shots though.
Avoid colour casts
To avoid unwanted colour casts, always ensure youve
set the correct white balance mode. Most auto settings
are pretty accurate, but a specic mode can be more
effective if youre working under mixed lighting conditions.
Stick to three tones
Avoid capturing too many colour hues in your images as
this can be distracting. As a rule, stick to framing no
more than three dominant hues in one photograph to
create a harmonious palette.
Use complementary hues
Command attention with contrasting colours. For
example, a red ower will stand out against a green
backdrop because these hues appear on opposite
sides of the colour wheel.
55
BALANCE
COLOURS
3
Be bold with colour
Include bold colours for striking images. Try adding
impact by embracing just one colour in the frame. Youll
need to ensure your subject is well lit so it appears
three dimensional as apposed to at.
USE A STRONG
COMPOSITION
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Try the golden spiral
Imagine a seashell spiral overlaid on the
scene. The subject should appear in one
of the four corners of the frame while the
rest of the scene spirals up to that point.
Use the rule of thirds
Employ the rule of thirds to balance out your composition.
To do this accurately, check your camera menu for an
optional grid display then simply place the most important
subject in the scene along one of the third lines or at an
intersecting point on the grid.
Include lead-in lines
Lead-in lines are a great way to guide the
viewer through the frame. Think carefully
about the camera angle youre shooting
from and where youre focusing.
Think about the angle
Add energy into the frame by shooting
from more dynamic camera angles.
Adjust your perspective continually while
shooting to get a fresh take on a subject.
Frame the scene
Be experimental, explore your location
and nd unique ways to frame the scene.
Use archways, branches, windows and
door frames to lead into the image.
56
4
Get creative
Dont be afraid to experiment.
Once youve got the correct
image, shoot creatively. Try out
zoom-burst effects by setting a
slow shutter speed and zooming
once you hit the shutter.
5
Process les
RAW les almost always need
contrast and sharpening tweaks.
Then save as a JPEG for printing,
storing and sharing.
Crop in close
Cropping in-camera cant be
undone, but its easy to do it in
editing software. Just be wary of
reducing size and quality.
Brighten up
Use the Brightness/Contrast or
Levels features in Photoshop to add
in some punch. Use the Preview
button to check your results.
Sharpen shots
Use the Unsharp Mask tool for
global adjustments or the Sharpen
tool for control over select areas in
your image.
Centralise your subject
You dont have to use the rule of
thirds. Try centralising a subject
to emphasise importance. You
can use the background and
surrounding elements to draw
the eye to the focal point.
Overexpose the shot
Once youve mastered your
exposure settings, you can
experiment with more creative
effects. Although overexposing
isn't recommended, this bright,
blown-out effect can look great.
Shoot with harsh light
Midday sun is generally too harsh
for outdoor shoots. Set yourself
the challenge to get some great
shots though by embracing the
dark shadows cast by the
stronger light.
Use depth of eld
Landscape photography isnt
generally associated with wide
apertures. However, try
experimenting with a shallow
depth of eld effect to challenge
the way you compose a vista.
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EDIT TO
ENHANCE 5
Brought to you by
How It Works magazine,
on sale now from all
good newsagents
Global Positioning Systems, otherwise known as GPS, can
now be found in a range of consumer products including
digital cameras. Its designed to help you record the exact
location that an image was taken in, which is known to
photographers as geotagging.
Geotagging only works if your camera has a built-in GPS
receiver. This receiver is able to establish the cameras
location on Earth thanks to GPS satellites, which orbit the
planet and transmit signals. The light-fast signals help the
camera to determine its location based on the distance
between it and the orbiting satellites. The data is then
embedded within the metadata of your image. In the same
way your camera is able to tell you the time that your image
was taken, its also now able to tell you the longitude,
latitude and altitude coordinates that it was taken at. In
order for GPS to work effectively, you need a full battery
charge, accurate time settings in your camera and a clear
view of the sky.
With this technology, youre able to keep track of your
travels and organise your images easily on photo-sharing
sites like Flickr, which use location tags to lter image
searches. GPS is still a relatively new kind of camera
feature, and although it was rst popular in compacts, its
now beginning to be incorporated within DSLR systems too.
Itll be interesting to see how this technology develops and
what impact itll have on cameras in the future.
How do cameras
geotag images?
We take a closer look at the technology behind geotagging
and discover how it tags the location of you and your shots
58
YOU ARE HERE
Geotagging captures your location coordinates and
embeds them into the metadata of your images so
that you know exactly where in the world it was taken
Cameras for logging locations
Panasonic Lumix DMC-TZ40
www.panasonic.co.uk
329/$400
Panasonics TZ40
comes with built-in GPS
and GLONASS, which
enhances the cameras
accuracy to pinpoint
exact locations. Your images can also
be displayed on a featured Google Earth
application within the camera.
Nikon Coolpix AW110
www.europe-nikon.com
330/$350
On top of its in-built GPS
system, the Coolpix
AW110 has a world map
display so you can see
where you took your
images or view saved routes in a GPS log.
You can also record the altitude you took a
shot at and measure your water depth.
Canon PowerShot S110
www.canon.co.uk
430/$450
The Canon S110 is
a high-performance
compact camera that
offers GPS capabilities,
but by connecting to
your mobile and using that devicess GPS.
You can synchronise it with your camera
using Wi-Fi to add this data to your shots.
Pentax WG-3 GPS
www.pentaximaging.com
330/$350
This tough compact
is waterproof up to
45 feet while it tracks
your position and
adjusts the built-in
clock accordingly. You can also check your
direction, altitude and water depth with
the on-board compass.
L
u
l
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o
rth
C
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West Lulworth
East Lulworth
Not just for
dummies
A clear, comprehensive series for people who want to start learning
about iPhone, iPad, Mac, Photoshop, photography and more
TM
BUY YOUR COPY TODAY
Print edition available at www.imagineshop.co.uk
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Editing
Improve images with
60
Make easy edits and quickly apply creative eects to your
photographs with this great image-editing software package
What youll need
Mac or PC
We used
Perfect Photo
Suite 7 from
onOne Software
You could use
Exposure 4
What youll learn
Edit photos using
ve of the seven
programs within
Jargon buster
What is a Plug-in?
As well as being a standalone program,
the Premium edition of Perfect Photo
Suite can work as a Photoshop plug-in.
You can make edits here then return to
Photoshop for further adjustments.
Editing
Retouch tool
04
Click the Retouch tool icon. You just
need to click and drag this over an area
for some digital magic to happen. We used it
to wipe over the worst of the deep lines to get
rid of them. Again, use the top bar to control
the brush size.
Enhance eyes
05
Click back on the Face Edit tool. As is
the case with many photos, the eyes in
our image are a touch dull. This is xed with a
trip to the Mouth & Eyes area. Increase the
Whitening slider to 91 and Detail to 75. This is
a good start for most images.
Sparkly teeth
06
Most people have a yellowy cast to
their teeth. Sort this out by using the
Mouth section of Mouth & Eyes. Switch
Whitening up to 75 and Vibrance to 60. The
trick is to whiten without making them glow!
Click Apply and then Save to exit.
Easy retouches with Perfect Portrait Corrections with a few clicks
61
Smooth the skin
02
Skip to the right-hand panel and access
the Skin Retouching area. Tick the Face
Only box and slide the Smoothing slider to the
right. Increase the Texture value to prevent a
super-smooth effect.
Dene the edit areas
01
Open your image and click the Portrait
tab. Pick the Face Edit tool and use Ctrl/
Cmd and + to zoom in. Click and drag on the
points to follow the shape of the eyes and
mouth. Dont worry if it isnt exact.
Bring back detail
03
This might smooth other areas, such as
eyebrows. With the Face Edit tool
selected, move the cursor over the eyebrows
and click and drag to remove areas from the
edit. Ensure the Mode is Not Skin.
62
Create effortless black & white Make high-impact monochrome edits
Increase the grain
04
We want to emphasise the grain in the
image. Go down to Film Grain and click
where it says Off to turn it on. Increase the
Amount to 92 and the Size to 153. Click Apply
and then Save to exit.
Add a lter
03
On-camera lters are often used to
enhance areas of a shot. The Color
Response section does this with a range of
lters affecting different parts of the image.
For a general contrast boost, hit Infrared.
Adjust tone
02
To get the exact look you want, use the
panel on the right to adjust the preset.
In the Tone area, set Brightness to 6, Blacks
to 21, Whites to 16 and Detail to 19. Slide the
sliders or type the number into the box.
Pick a preset
01
Open your image and click the B&W tab.
As with many of the other programs in
the suite, there are a range of presets to get
you started. Go to the Effects panel on the left
and pick True Film> 400 Kodak TRI-X.
Select the print area
02
The crop box signies the print area.
Click and drag over your image to select
the area that you want to print. Because the
original photo is much smaller than the 24 x
36 ratio, it has to be enlarged for it to work.
Quickly resize images Use Perfect Resize to prep an image for print
Resize preset
01
Open your image and click the Resize
tab. This program is excellent for resizing
an image for set print dimensions. Go to the
Preset drop-down menu and then select
Photographic> 24 x 36. A crop box will appear.
Extra options
03
Use the Sharpening options if your
image is a bit soft; simply increase the
Amount and Radius sliders. If youre printing to
canvas, enable the Gallery wrap option to
allow for the image to wrap around the canvas.
Editing
63
Control the bug
02
Control the effect with the FocusBug.
Drag the middle area to where you want
the central focus to be. Each spindle is a
different control. Hover the cursor to see what
they control. Move out or in to set the effect.
Pick the blur effect
01
Open your image and click the Focus tab.
A good place to start is the Lens option
in the Blur section. This replicates the look of
camera lenses. For our task here, the Canon
100 2.8 Macro at 2.8 is perfect.
Edit for free
You dont have to spend the earth
on expensive software to make
great tweaks to your images. The
makers of Perfect Photo Suite 7
have also bought you Perfect Effects
4 Free, which gives you 70 effects
for no cost at all. You can combine multiple
effects and blend them with masks and more.
Its a great tool set for those on a budget.
Apply a retro effect Use Perfect Eects to transport an image back in time
Try out a border
04
Each effect layer has an Amount slider
to control the intensity. This is not
needed here but if you do want to add another
layer, click Add again. To add a frame, go to
Borders Film and pick 35 Contact Sheet.
Paper texture
03
Now head back to the Effects list. Click
the arrow next to All to close up the list.
We can be more specic about the types of
effects to pick. Go to Textures and then Paper.
Click the Recycled Paper option to apply.
Layer up
02
You may nd that the effect is all you
need, but it is possible to combine
multiple effects. Move over to the right-hand
area and look in Effects Stack. Click the Add
button to add another layer.
Add the rst lter
01
Pick the Effects tab and click the All
arrow. You will see all of the lters
applied to your image. By viewing all lters, you
can see exactly whats on offer. For a retro
vibe, the Holga Cross Process option is ideal.
Here you have multiple effects at your ngertips
You can stack effects for extra enhancement
Make macro-style blur Using Perfect Focal Point
Editing
5 tips for giving dull
shots more impact
Boost colours and exposure with these quick editing tips
When you review your shots and a
photograph seems a little lacklustre, dont
despair because all is not lost. With a little
bit of know-how and a few small tweaks, its
easy to rescue your image. Use the
following tips to turn a dull photo into a
standout capture in no time at all.
Boost brightness
Sometimes all a shot needs is brightening
up a little bit. Simply move the Brightness
slider to the right, but dont overdo it and
blow out the highlight areas of your capture.
You could also try the Exposure slider too.
Lift colours
Use the Vibrancy or Saturation sliders in
editing software to give your colours some
punch. Move them in small increments, as
you dont want to overdo this and end up
with unrealistic hues.
Sharpen up
Use the Unsharp Mask tool to add extra
denition to your subject. Be sure not to go
too far or you may start to see grain appear
in your image. A good starting point is 90%,
a Radius of 1.8 and Threshold of 2.
Add contrast
The Contrast slider expands or shrinks the
tonal range of the image. Increase contrast
using the slider and youll add extra depth to
the tones in your shot. You can also use the
Levels and Curves tools to help here.
Use a lter
Adding lters and effects can be a great way
to spice up a dull shot. Filters such as
Snapseeds Drama lter can also increase
the contrast and brighten up shots at the
same time, with just one tap.
64
Editing
Quick tips
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Editing
Add colour casts
01
With the program open, go to
File> Open and select your
start photo. Ensure your Layers
palette is visible, if not go to Windows>
Dockable Dialogs> Layers. Press the Duplicate
Layer button at the base of the Layers palette.
Add creative
colour tones
Add a vintage eect to your photos
with a retro-inspired colour cast
Vintage and retro styling is very popular of late and
one of the best ways to show this effect off is in your
photos. Usually a colour cast is considered a negative
aw, something that can ruin not transform a great
shot. However, there are times when the effect can
be really striking and effective, and adding in a colour
cast is far easier than removing one!
We are using Photoshop Elements to create our
nal retro effect, and are utilising Adjustment Layers
and the Layers palette. Other programs host almost
identical features, which we will cover within the mini
tutorials. If Adjustment layers arent available then just
make sure each effect applied is on a separate layer
in the Layers palette. Doing this will ensure that each
layer is easily editable and the overall impact of the
effect can be as subtle or strong as desired, allowing
you total control over the end result.
Once the colour cast has been applied, nish your
photograph off by boosting light levels to complete
the vintage transformation.
How to...
01
Go to File> Open and select
your start image. Go to Layer>
New Adjustment Layer> Hue/
Saturation, name it colour cast and hit OK.
Click the new adjustment layer in the Layers
palette and see the features dialog box.
01
Press Load Photo, from the
right menu hit Photo Library
and choose your start photo. On the
right side of the screen press Layers, hit the
plus button to duplicate the background layer.
Press the top photo thumbnail to edit.
Photoshop Elements
Available on: Mac/PC Price: 60/$90
Filterstorm
Available on: iOS devices Price: 2.49/$3.99
GIMP
Available on: Mac/PC Price: Free
Apps to add
a vintage
colour tint
3 of the best
66
Vintage-style
Join the vintage
craze with these
easy editing techniques
for a retro effect
What youll need
A start photo
One or more of
our featured
editing programs
We used
Photoshop
Elements
You could use
GIMP
Filterstorm
Photoshop CS
What youll learn
How to add in
a colour cast
Light-boosting
editing effects
Masks
Layers
Fotor iOS: 1.99/$2.99, Android: Free
Available on all devices, this app allows
you to shoot and edit, adding on some
vintage effects and colour tints before
sharing your nal shot.
Instagram Free
One of the biggest photo-editing apps
available worldwide and its perfect for
adding on those vintage colour effects.
The best thing about it is that its free!
Adobe Photoshop Express Free
Add a Tint, play with Hue, Saturation,
Contrast, Brightness, Temperature and
more when youre on the go in this
Photoshop-based program.
Editing
Add colour casts
02
Click onto the top layer in the Layers
palette, go to Colors in the top bar
and select Colorize. Move the Hue slider left
to select a sepia tone, reduce the
Saturation levels and boost the overall
Lightness, then hit OK when youre done.
03
Return to the Layers palette and lower
the top layers opacity to 70%,
lightening the overall effect. Still working on
the top layer go to Colors> Brightness-
Contrast, increase both sliders, hit OK when
happy. Go to Layer> Mask> Add Layer Mask.
04
Move the middle and right-side
sliders to add a vintage feel. If the
effects are too strong on either adjustment
layer, then lower Opacity. To edit the effects
at any time, simply click onto the layer in
question, bringing up the palette controls.
02 03
This time, select Curves. Move the line
in the diagram upwards to give the
highlights a boost and then press the tick
button when youre done. Back in the Layers
window, press the top-left mini slider icon on
the top layer visible.
04
Within this menu, lower the layers
opacity, adding an aged effect. Press
the back arrow at the top of this menu to
return to the Layers palette. To Save the
image press the top-right arrow within the
square icon.
67
Search for on...
02
Check the Colorize option, your image
will now be fully coloured. Reduce the
adjustment layers Opacity in the top of the
Layers palette to 60% so you can see the
underlying colours through. Return to the Hue/
Saturation palette.
02
A new menu will appear on the right.
Select Hue/Saturation. Using your
ngers, move the individual sliders to add a
colour cast, lower the Saturation levels too.
Hit the tick button when happy. Press the top
photo thumbnail to edit once more.
03
Move the Hue slider to select the colour
of your colour cast. Tweak the
Saturation slider, controlling the strength of
the effect. Moving the bottom Lightness slider
will change the overall light levels. Go to
Layer> New Adjustment Layer> Levels.
04
Select White, the Mask will show on
the top layer in the Layers palette.
Select the Brush tool, soft edged, 50%
Opacity, at least 300 in size. Set foreground/
background colours to black/white. Paint
over the image to bring back some colour.
68
Shoot, edit and share shots straight
away using just your smartphone
Edit shots with the
Facebook app
What youll need
Smartphone or
tablet device
Editing app
Photos
We used
iPhone 3G
Facebook app
You could use
Any compatible
portable device
What youll learn
How to edit images
using just the app
Editing
5 minute project
five
minute
project
Touch to edit
With just a few
taps on your
phone, you can edit and
share in the same app
Technical tip
Swipe left or right to bring up
the next image in your camera
roll. As usual you can pinch to
zoom in on iPhones.
Crop the shot
02
Select the Crop tool. Crop marks will
appear on the edges of your photo.
Drag these in to better compose your shot
and use the tick icon to conrm.
Select your photo
01
Load up the app and select the Photo
button. Youll be taken to your Camera
Roll. Select a shot and it will appear with the
editing options beneath.
Add art effects
03
Theres a whole host of effects to try
via the magic-wand icon. Simply tap
one to see the effect on the photo. We like
the retro-lm effect created by Boost.
Tag it
04
You can apply a name tag to your
image. Just click on the screen and a
list of your contacts will appear. Scroll
through and choose the right name.
Pixel-perfect pics Make your photos look their best
Upload and go
05
When youve nished editing, click the
notepad icon to be taken to your
Facebook photo-status page. Tag the
location, write a message, then upload!
69
Apps for
editing and
uploading
3 of the best
Twitpic Free
Share your photos on Twitter from your
phone with this app that, like its
Facebook rival, also allows you to edit
them rst before displaying to the world.
Viddy Free
This is a really great app if you like to
shoot videos as well as stills. Viddy
allows users to edit and share their
movies and its ideal because its all for free.
Touchnote postcards Free
Share your photos, but with a super
twist. This cool little app turns your
photos into amazing digital postcards
before you hit share!
Editing
5 minute project
Editing
App of the month
Shoot and edit great
shots with Camera MX
Give your smartphone captures a new lease of life thanks to
the Camera MX app available for Android
Over the past few years, the built-in
cameras found in smartphones have
improved dramatically, as have the
tools that allow people to edit and
enhance their images directly on their device. Even
with the top-end smartphones, though, it can be
difcult to capture that perfect shot. If you really
want to get the most out of your images, youll
need to look to third-party apps. Android users are
fortunate enough to have the Play Store at their
ngertips, and with just a few taps a wealth of
photo-editing apps are at your disposal. One of the
best of these is Camera MX.
Upon opening the app, youre greeted with a
simple interface. Tapping the central camera
button will open up the apps viewnder, allowing
you to capture shots in an instant. From here there
are a number of basic options, including a self-
timer, zoom, ash and the ability to record video.
Tap the FX button and you can add real-time
effects, overlays and frames to any images you
take. Back at the main interface, the
Media Manager option is where the
app really comes into its own. Select
any image youve taken with the app,
or thats stored on your device, and
add effects such as Lomo and
Kaleidoscope, or build your own
effect preset to apply. Selecting the
paintbrush icon opens up an array of
editing options, from cropping and
rotating to white balance and
sharpening. Once youre happy with
your edits, you can share your image
or upload it to your online album.
On top of all this you can create an
animated slideshow of your images
as well as trim and edit video clips.
And if that wasnt enough, for an
extra 0.79/$0.99, you can unlock a
wealth of extra effects, frames and
overlays to enhance your shots.
70
Available on: Android Price: Free
01
Tap the paintbrush icon
to bring up options
including Brightness, Contrast
and Saturation. Use the slider
to tweak the effect.
02
In the FX menu youll
nd overlays such as
Vignette Black and Scratches.
Choose one and use the slider
to make it subtle or prominent.
After
Shooting options
There are plenty of
great shooting
modes available,
including self-timer and
real-time photo effects
03
The app has a range of
one-touch effects.
From Lomo and Drawing to
8-bit and Pop Art, theres
plenty here to transform pics.
04
Add a frame then share
your image with the
world. There are seven basic
frames, but for 0.79/$0.99
you can unlock plenty more.
What youll need
Android phone
Images
We used
Camera MX
You could use
Snapseed
PicsArt
Pixlr Express
What youll learn
To enhance your
images and make
them stand out
+App of the month +
Editing
App of the month
Free apps
to enhance
images
3 of the best
71
Apps for iOS
Adobe Photoshop Express
Free
A trimmed-down
version of the
desktop photo-
editing suite, this free app
offers plenty of essential
edits and effects including
removing red eye, cropping,
adding borders and one-
touch enhancements. Extra
camera packs, effects and
borders can also be
purchased from within the
app to give images a boost.
Start editing
Tapping the paintbrush
icon brings up ten editing
options which you can use
to improve and enhance
your image
Add effects
The FX button is where
youll nd the range of
effects, overlays and
frames, and where you can
build your own preset
Snapseed Free
Offering both basic image adjustments
and fun, creative enhancements, this
popular app can transform your dull and
boring photos in seconds.
Pixlr Express Free
Whether you want one-touch xes or
more in-depth editing options, this is a
great app for beginners to tinker around
with and see what editing options are available.
PicsArt Free
The PicsArt app allows you to apply
effects, lters and masks, add
annotations and stickers and much
more to create standout images.
Store online
Once youve signed up
for an online album with
Camera MX, you can
upload your images to
store and share
Delete
If you wish to delete an
image youve taken or have
stored within the Media
Manager, tap this button
and then conrm
Share
Select the scale you wish
to use, then youre free to
share your shot via
Bluetooth, Gmail, and all
the social-media platforms
Be random
If youre feeling
adventurous and wish to
apply a random effect to
your image, tap here and
see what happens
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Never miss an issue!
Digital photographers are always looking for new and
exciting ways to share images. With this in mind its
worth checking out Honestechs nScreen Deluxe.
The nScreen Deluxe operates using the nScreenBOX
(available for 130/150) which you plug into a screen,
such as a TV or projector. You can then link up this box to
a variety of devices and control it remotely to display and
share that devices media contents. Setting up is simple,
and then you can instantly share photos and other
media content with friends on multiple types of display.
The advantages of nScreen Deluxe are determined by
the type of display used, and limited only by the reaches
of your Wi-Fi connection. If you want to display shots at
home, you can plug the nScreen Deluxe into your TV or
projector then stream content from a desktop, laptop or
mobile device, which is great for showing off slideshows
of your photos.
The most useful element of this technology is that it is
compatible with iPhone, iPad and Android systems. A
free app means that theres no further expense and lets
you stream photos, movies and music from your mobile
device to any of the previously mentioned screen types.
We will showcase this great product by showing how to
set up and stream from an iPad to share shots instantly.
Stream media to your
TV with the nScreen
Tech
focus
What youll need
nScreen Deluxe
TV
Wi-Fi connection
iPad
nScreen app
iTunes/iMac
You could use
Wi-Fi projector
PC
What youll learn
Streaming shots
from iPad to TV
Upload and share your favourite photos and movies quickly
and easily using nScreen Deluxe, your iPad and the free app
74
Sharing
Tech focus
nScreen Deluxe
This device plugs
into your TV and
you can then link it to
your iPad or computer
Sharing
Tech focus
Install the app
01
The rst step to sharing photos is a
simple one and thats plugging the
nScreen Deluxe into your TV set and switching
it on. Now re up the iTunes App Store, type
Honestech nScreen, and install it. You can
also get the app from Google Play for Android.
Sync to iTunes
02
Sync your iPad to your desktop/laptop
iTunes account. Simply pair the two
devices and wait for iTunes to recognise the
portable device. Click iPad> Sync. Activate the
Apps tab in the iTunes interface and scroll
down to the File Sharing menu.
Upload to the app
03
Youll see the nScreen app appear in
your list. Activate this and click the Add
option to browse your computer and upload
your media content instantly. Here you can
drop in photo les, video les including MKV
les and even music les.
Sync the les
04
One youve uploaded your media les in
iTunes, hit Sync once more, making
sure your devices are still paired. You
shouldnt have to wait long. Now open the
nScreen app in your iPad and nd your content
in the related folder waiting for you.
Connect to Wi-Fi
05
To pair your iPad to the nScreen Deluxe,
activate Settings on your iPad and click
Wi-Fi> On. Give it a few seconds then select
Choose a Network> nScreenBOX. This means
that what you select from your nScreen app
interface will be displayed on your TV.
Display shots Stream content from an iPad to a TV
Operate the app
06
The nScreen app interface is easy to
use. Press the option related to the
media you want to share in our case Photo.
Press and select (tick) the images to share
then hit play. Scroll through, stop and play
images like you would using a remote control.
Mirror your
desktop
01
Start by plugging in the nScreen Deluxe
then select nScreenBOX on your Mac.
Launch the Honestech nScreen driver and run
installation. This takes no more than a minute.
75
02
You will need at least 16MB of space to
install the driver. Youll be prompted for a
product key. Once entered, a Honestech
nScreen dialog box will appear automatically.
03
Youll know if everything worked correctly,
as the dialog box will say Ready to project
Mac screen. Simply click the Play button to
launch mirroring in your TV set.
Streaming
online content
01
Start by activating nScreenBOX from your
wireless connection options. Now enter
http://192.168.55.1/ in your web browser. This
will activate the nScreen web console.
02
Enter the password then set Network Type
to Wi-Fi Client. Apply your Wi-Fi account
(SSID) name and password. Click the tick button
to save changes.
03
All you now have to do is activate your
home Wi-Fi, which nScreen has been
added to. You can now browse and stream online
from a local wireless network .
5 tips for sharing
photos with apps
Cameraphone photography is becoming
more and more popular. One reason for this
is that these devices make it so quick and
easy to share your photos with others. There
are thousands of apps that you can
download for sharing your shots, and they
each have really useful extra features.
Let the world, or just family and friends, see your snaps
Capture and share
Youll see that the Flickr, Facebook and
Instagram apps include cameras as part of
the app. This means that you can take your
shot and then share it instantly, with just a
few easy steps.
Get creative
Many apps allow you to get really creative
with your photos before you share them,
turning them into collages, slideshows or
even drawing all over them in the case of
Pics Play Pro.
Edit and display
There are lots of apps that you can use to
edit your photos, as well as share them.
Even Facebook and Twitter are introducing
editing options to their apps so you can
perfect your shots before others see them.
Showcase albums
Some apps, such as Share.Pho.to and
PictShare, allow you to share entire albums
of photos with just a few taps of your nger.
This saves you having to upload each of your
shots individually.
Tagging images
Tagging your shots with words, people or
places makes your photos even easier to
nd by others. Apps such as Twitter and
Instagram implement this so that followers
can search for specic types of shots.
Technical tip
Some apps are available that
let you easily share and sync
your photos with your other
devices for free, such as
Dropbox and Google Drive.
76
Sharing
Quick tips
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78
Backing up your precious photos onto an external hard
drive is a great way to ensure your pictures are kept
safe regardless of whether your computer is stolen or
breaks down. However, an external hard drive could also
be misplaced, stolen or broken. Because of this, many
photographers are choosing to back up images online.
Saving images online keeps les safe and secure with
a third party, and they are always just a few clicks away.
This means you can download your photos from
anywhere in the world at any time. Many of these sites
also allow users to share their albums with friends
through email or social networks. Most websites will
offer these services at a fee, but one place that doesnt
charge is Nikon Image Space (nikonimagespace.com),
which offers users a generous basic account with 2GB of
online storage space for free. You dont even need to
own a Nikon camera to become a member.
If you are an owner of Nikon camera however, you can
upgrade your membership and get a titanic 20GB of free
storage space, plus you will qualify for extra benets
such as being able to upload a maximum of 2,000
photos simultaneously, hold 10,000 albums, share
original and high-resolution les with friends, and even
share albums with a specic password. Unlike a few of
the websites out there that offer a similar service, there
are no image-editing tools available on this site, but with
a vast volume of free upload space available thats not
likely to put many people off.
Share and store photos
with Nikon Image Space
What youll need
Computer or
mobile device
Images
We used
Nikon Image Space
You could use
Flickr
Picasa
Photoshop.com
What youll learn
How to use Nikon
Image Space to
store and share
your images
Save, store and share your favourite photographs using
Nikon Image Space from your computer or mobile device
Sharing
Nikon Image Space
Saving images online keeps
les safe and secure with
a third party, and just a
few clicks away
79
Sharing
Nikon Image Space
Sign up
01
As with most websites, you need to sign
up and become a member rst. On the
opening page of nikonimagespace.com hit the
Sign Up button that can be found at the top of
the page. Once youve completed the
registration process you are ready to begin.
Upload your photos
02
Hit the Upload button at the bottom-left
of the screen. When prompted, nd the
images on your computer that you wish to
upload to the website. A progress panel will
appear and once an image is safely uploaded
to the site a green tick will appear.
Organise your images
04
By right-clicking on an image you can
access handy options such as Add to
album, Slideshow, Share, Rotate image, Enter
name and Delete. There is a drop-down menu
on the right-hand side that allows you to sort
your les by date, name, size, type or rating.
Share your album via email
05
When you would like to share an album
or image, select Share, which is at the
bottom and in the centre of the web page. A
pop-up panel will allow you to send an album
as an email or issue it as a URL that your
recipient can simply click on to access.
Share via a social network
06
When you select a thumbnail on your
display page, two small blue icons will
appear. One is for Facebook and the other for
Twitter. Simply select which network you wish
to publish the photo on, then complete a
short message and post it.
Store and share Keep images safe and share online
Download your les
07
Right-click on the image or album that
you wish to download and select
Download from the list of options. You can
access the images at the original size right
down to a lower resolution of 320 x 240,
perfect for blogs and uploading to the web.
Display your images
03
Your frames will be displayed using a
default grid formation. You can alter this
to a carousel or list view at the left of the
image. You can also increase the thumbnail
size, change the interface colour and show
aspects like ratings within the Settings box.
Apps for
looking after
your shots
7 of the best
SmugMug Free
Acting as an all-in-one service, users
can take photos using the app, store
them online with SmugMug and share
them with friends or networks.
Web Albums 2.49/$3.99
Doing exactly what it says in its title,
this neat little app brings you quick and
easy access to your Picasa online library
for safe shot storage.
Phanfare Free
This handy app allows subscribers to
gain instant access and upload images
directly to their Phanfare albums, plus it
can play musical slideshows.
Zenfolio Free
Marketed at serious shooters as the
elegant photo host, Zenfolio, when
used with a subscriber account, allows
photographers to upload new images directly.
Photobucket Free
Photobucket (or Photobucket Mobile for
Android users) extends to users the
opportunity to shoot, store and share
with an online gallery account.
Instagram Free
Over 80 million users love this retro
imaging app for capturing, storing and
sharing shots. Theres no limit and you
can use creative lters to enhance your photos.
Shuery Free
Here users arent just treated to free
web storage and the ability to share
frames with friends, theres also the
facility to order photo gifts and prints.
80
Shoot images Capture stills and get started
Moquu is an animation
created using the free iOS
app of the same name. By
using up to ten images taken via your
camera or using the Camera Roll on
your iPad, you can use the
combination of shots it creates as an
animated GIF. By merging them into a
short sequence, they give the
appearance of movement. With a bit
of patience and some creativity you
can create and edit some amazing
moving images.
To help take away much of the
strain, Moquu comes complete with
some handy Timelapse and Burst
features. The former lets you lay down
a set time limit between shots and
then takes each image automatically.
The Burst feature records a
continuous, set number of images.
Once these images have been
taken, you can begin to edit them.
There are built-in lters which add
many effects and you can also speed
up or slow down the animation to suit.
The good thing is that effects can be
applied to one or more frames, or
across the board. And when you have
nished, you can save it as a GIF and
share it on social media or even
embed it within your own website.
Create an animated
sequence from stills
No need for expert coding knowledge, Moquu gives you
the tools to create amazing animated GIFs on your iPad
Sharing
Animate your stills
What youll need
iPad
Moquu app
A selection of
starting images
We used
Moquu
You could use
GifBoom
Cinemagram
Camera GIF creator
Gifture
What youll learn
How to create
your own animated
GIF images using
your photographs
and your iPad
Find a subject
01
Line up a subject and press the camera
icon. This is where you can set up
Moquu to take a series of stills. Press the
button beneath the camera icon to select the
shooting mode, including Timelapse.
Use your images
02
Once you have taken a series of images
using the camera, tap Use in the top-right
corner. You can now begin to edit your GIF le.
Here we can see our frames. You can have up to
ten separate shots.
Manipulate the animation
03
You can change the speed of the
animation by using the Speed scroll bar.
By pressing Play to the right, you can start the
animation. The number of the frame you are
viewing is displayed.
81
Sharing
Animate your stills
Add in effects
04
Press the Effects tab. You can cycle
through a host of different effects from
Sugar to Sunspots. Each alters the image
according to the one you tap. Tapping Normal
reverts to the original picture.
Adjust the strength
05
When you select the effects, you can
also see a new slider appear, this time
for strength. It enables you to alter the
intensity of the image you want to use for your
animated GIF.
Shufe the frames
06
Tap the Frames tab. Press and hold the
frame you wish to change. Press the x
button to delete the frame or tap the arrow to
move the frame left or right, repositioning it in
the timeline.
Share the image
07
The Save & Share option in the top
right-hand corner of the screen lets you
share just the frame you are on, or in our case
the project we are working on, as a GIF le.
Tap Animgif to do this.
Upload to social media
08
It is possible to upload to Moquus
servers. You can also upload to
Facebook, Twitter and Tumblr. There is an
embed code option and the ability to send
by email. Select one and hit Share.
View your GIFs
09
Your Moquu projects appear on the
main page together with a tutorial and
some other GIFs from which to draw
inspiration. You can create a new folder and
place GIFs within it.
Edit the sequence Bring your captures to life
Share your GIF Show your work to the world
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U.K.
Stock
ONLY
MIFSUDS ARE NIKON PROFESSIONAL DEALERS
COMPACT CAMERAS
G1X . . . . . . . . . 479 G15 . . . 439
SX50 . . . . . . . . 369
EF-S NON FULL FRAME LENSES
10-22 F3.5/4.5 USM. . . . . . . . . 614
15-85 F3.5/5.6 S U no box . . . 549
17-55 F2.8 S USM. . . . . . . . . . . . 769
17-85 F4/5.6 S USM unboxed. . . . .379
18-55 F3.5/5.6 S unboxed. . . . 129
18-135 F3.5/5.6 S STM. . . . . . 347
18-135 F3.5/5.6 S U no box . . . 279
18-200 F3.5/5.6 . . . . . . . . . . . . 419
55-250 F4/5.6 S . . . . . . . . . . 239
60 F2.8 Macro USM. . . . . . . . . 339
EF LENSES
8-15 F4 L USM Fisheye . . . . . 1079
14 F2.8 L . . . . . . . . . . . . . . . 1769
16-35 F2.8 MK L USM . . . . . .1119
17 F4 TSE L . . . . . . . . . . . . . . 1847
17-40 F4 USM L. . . . . . . . . . . . 599
20 F2.8 USM . . . . . . . . . . . . . . 377
24 F1.4 L USM . . . . . . . . . . 1189
24 F2.8 S U. . . . . . . . . . . . . . . 577
24 F2.8 . . . . . . . . . . . . . . . . . . . 347
24 F3.5 L TSE MK . . . . . . . . 1599
24-70 F2.8 L USM. . . . . . . . . . 1749
24-105 F4 L S USM unboxed . . . . . 699
28 F1.8 USM. . . . . . . . . . . . . . . . . . . 354
28 F2.8 S U. . . . . . . . . . . . . . . 569
35 F1.4 L USM. . . . . . . . . . . . 1067
35 F2 S USM. . . . . . . . . . . . . . 729
35 F2 . . . . 189 40 F2.8 . . . . 159
50 F1.2 L USM. . . . . . . . . . . . 1169
50 F1.4 U .269 50 F1.8 . . . . 87
65 F2.8 MPE . . . . . . . . . . . . . . 799
70-200 F2.8 S USM L . . . . . . . 1799
70-200 F2.8 non S L USM. . . . . . . . 939
70-200 F4 L S USM. . . . . . . . . 869
70-200 F4 L USM. . . . . . . . . . . 479
70-300 F4/5.6 L S USM. . . . . . . 1129
70-300 F4.5/5.6 S USM . . . . . 419
85 F1.2 L . . . . . . . . . . . . . . . 1599
85 F1.8 USM . . . . . . . . . . . . . . 299
100 F2.8 S L USM Macro . . . . 689
100 F2.8 Macro USM. . . . . . . . . . . 429
100-400 F4.5/5.6 S L USM . . . . 1177
135 F2 L USM . . . . . . . . . . . . . 889
180 F3.5 L USM Macro . . . . . 1149
200 F2 L S. . . . . . . . . . . . . . . 4499
200 F2.8 L USM . . . . . . . . . . 597
300 F2.8 L S USM. . . . . . . . 5077
300 F4 L S USM . . . . . . . . . . 1089
400 F2.8 S L USM . . . . . . . 8199
400 F4 S U DO . . . . . . . . . . . 5199
400 F5.6 L USM. . . . . . . . . . . 1039
500 F4 S L USM . . . . . . . . . 7699
600 F4 S L USM . . . . . . . . . . 10499
Ext tube 12. . . . . . . . . . . . . . . . . . . 79
Ext tube 25 . . . . . . . . . . . . . . . . . 129
1.4x converter. . . . . . . . . . . . . .399
2x converter. . . . . . . . . . . . . . 399
FLASH & ACCESSORIES
Angle finder C. . . . . . . . . . . . . . 219
BG-E5 grip (450D) . . . . . . . . . . . . 107
BG-E6 grip (5D MK) . . . . . . . . . . 187
BG-E7 grip (7D) . . . . . . . . . . . . . . 139
BG-E8 grip (550D) . . . . . . . . . . . . 115
BG-E9 grip (60D) . . . . . . . . . . . 129
BG-E11 grip (5D MK) . . . . . . 277
BG-E13 grip (6D) . . . . . . . . . . . 249
LP-E4 . . . 159 LP-E6 . . . . . . . 80
MR 14EX Ringlight . . . . . . . . . . 469
MT-24EX. . . . . . . . . . . . . . . . . . 789
320EX . . . . . . . . . . . . . . . . . . . . . . . . 185
430 EX . . . . . . . . . . . . . . . . . . . . . . 199
600EX RT . . . . . . . . . . . . . . . . . . . . . 459
CP-E4 compact battery pack . . . . . . 149
Off camera shoe cord OC-E3. . . . . . .59
LC5 Wireless set . . . . . . . . . . . ..449
GP-E2 GPS receiver . . . . . . . . 299
RS-80N3. . . . . . . . . . . . . . . . . . . 49
ST-E3 Transmitter . . . . . . . . . . 309
ST-E2 Transmitter . . . . . . . . . . 239
TC-80N3. . . . . . . . . . . . . . . . . . 149
COMPACT CAMERAS
AW110 . . . . . 329 P520 . . . . 399
S9500 . . . . . 299 P7700 . . . 419
DIGITAL ONLY LENSES
10.5 F2.8 DX . . . . . . . . . . . . . . 549
10-24 F3.5/4.5 G AFS DX . . . . 629
12-24 F4 DX. . . . . . . . . . . . . . . 859
16-85 F3.5/5.6 AFS VR DX . . . 469
17-55 F2.8 DX . . . . . . . . . . . . 1099
18-105 F/3.5-5.6G ED VR . . . . . . 197
18-300 F3.5/5.6 G ED VR DX . . . 669
35 F1.8 G DX. . . . . . . . . . . . . . 169
40 F2.8 AFS G DX . . . . . . . . . . 189
55-300 F4.5/5.6 G VR DX . . . . 289
85 F3.5 G VR DX. . . . . . . . . . . 399
LENSES
14 F2.8 AFD ONE ONLY . . . . . 999
14-24 F2.8 G ED AF-S. . . . . . 1337
16 F2.8 AF-D Fisheye . . . . . . . 699
16-35 F4 AFS VR. . . . . . . . . . . 859
18-35 F3.5/4.5 G AFS . . . . . . . 669
18-55 F3.5/5.6 VR . . . . . . . . . . . 99
20 F2.8 AF-D . . . . . . . . . . . . . . 489
24 F1.4 AFS G . . . . . . . . . . . . 1589
24 F3.5 PCE. . . . . . . . . . . . . . 1499
24-70 F2.8 G ED AFS . . . . . . 1239
24-85 F3.5/4.5 G ED VR . . . . . 429
24-120 F4 G ED VR. . . . . . . . . 849
28 F1.8 AF . . . . . . . . . . . . . . . . 519
28-300 F3.5/5.6 G ED VR . . . . 659
35 F1.4 G. . . . . . . . . . . . . . . . 1399
35 F2 AF-D. . . . . . . . . . . . . . . . 289
50 F1.4 AF-S G . . . . . . . . . . . . 279
50 F1.8 G. . . . . . . . . . . . . . . . . 169
50 F1.8 AF-D . . . . . . . . . . . . . . 129
60 F2.8 AFS . . . . . . . . . . . . . . . 429
70-200 F2.8 VR . . . . . . . . . . 1599
70-200 F4 G ED VR. . . . . . . . 1029
70-300 F4.5/5.6 VR . . . . . . . . . 418
80-400 F4.5/5.6 VR AF G. . . . 2449
85 F1.4 AFS G . . . . . . . . . . . . 1175
85 F1.8 AFS G . . . . . . . . . . . . . 377
105 F2.8 VR Macro . . . . . . . . . 629
200 F2 G VR . . . . . . . . . . . . 3877
200-400 F4 VR . . . . . . . . . . 4997
300 F2.8 AFS G VR . . . . . . . 4189
300 F4 AF-S. . . . . . . . . . . . . . 1049
400 F2.8 AFS VR . . . . . . . . 6555
500 F4 AFS VR . . . . . . . . . . 5997
600 F4 AFS VR . . . . . . . . . . 7199
800 F5.6 AFS VR. . . . . . . . . 15599
TC14E converter . . . . . . . . . . 329
TC17E converter . . . . . . . . . . 329
TC20E converter . . . . . . . . . . 389
FLASH & ACCESSORIES
GP-1. . . . . . . . . . . . . . . . . . . . . 199
MBD14 (D600) . . . . . . . . . . . . . 239
MBD12 Grip (D800/E) . . . . . . . 289
MBD11 Grip (D7000) . . . . . . . . 229
MBD10 Grip (D300/D700) . . . . 219
DR-5 Angle finder . . . . . . . . . . . . . 229
DR-6 Angle finder . . . . . . . . . . . . . 229
SBR200 Wireless rem S/Lite . . . 199
SBR1 ringflash . . . . . . . . . . . . . 389
SBR1C ringflash/command. . . 579
SB-700 . . . . . . . . . . . . . . . . . . . 239
SB-910 . . . . . . . . . . . . . . . . . . . 349
SC-28 . . . . 59 SC-29 . . . . . . . 69
SU-800 flash slave no box . . . . 199
MC36 . . . 129 MC30. . . . . . . . 69
EN-EL3E . .67 ENEL4A. . . . . . 89
EN-EL15 . .59 EN-EL18. . . . . 99
ME-1 Stereo Microphone . . . . . 109
WT-5 Wireless trans for D4 . . . 399
WU-1a Wireless adapt D3200 . . . 55
NX Capture 2 . . . . . . . . . . . . . . 169
WANTED
We want your good quality cameras and lenses
WE PART EXCHANGE
BUY FOR CASH OR COMMISSION SALE
Collection can be arranged.
contact us at info@mifsuds.com or ring 01803 852400
Family Run Pro Dealership with Friendly, Knowledgeable Staff. Open 7 days per week. Prices inc VAT. P&P Extra. E&OE.
We are happy to reserve new & used stock for customers planning to visit. Prices are based on current stock at time of compilation March 8th 2013.
Prices are subject to change without notice so please check availability to avoid disappointment. We keep the website updated daily (Mon-Fri) - latest prices on-line. E&OE.
MIFSUDS ARE CANON PROFESSIONAL STOCKISTS
8-16 F4.5/5.6 DC HSM NAF only . . . . . . 479
10-20 F3.5 EX DC HSM. . . . . . . . . . . . . 459
10-20 F4/5.6 EX DC CAF/NAF . . . . . . . 369
12-24 F4.5/5.6 EX DG Mac MK . . . . . . . 669
17-50 F2.8 EX DC OS HSM . . . . . . . . . 499
17-70 F2.8/4.5 DC OS . . . . . . . . . . . . . . 299
18-50 F2.8/4 DC OS . . . . . . . . . . . . . . . 169
18-200 F3.5/6.3 DC OS . . . . . . . . . . . 279
18-250 F3.5/6.3 DC OS Macro . . . . . . . 399
18-250 F3.5/6.3 DC OS NAF only . . . . . . . 299
24-70 F2.8 EX F DG HSM. . . . . . . . . . . 589
30 F1.4 EX DC HSM NAF only . . . . . . . 299
35 F1.4 DG HSM . . . . . . . . . . . . . . . . . . 769
50 F1.4 EX DG. . . . . . . . . . . . . . . . . . . . 365
50 F2.8 EX DG . . . . . . . . . . . . . . . . . . . 249
50-150 F2.8 DC MK . . . . . . . . . . . . . . . 799
50-500 F4/5.6 OS HSM CAF/NAF. . . . . . . . 999
70-200 F2.8 EX DG OS . . . . . . . . . . . . . 879
70-300 4.5/5.6 APO DG Mac . . . . . . . . . 149
85 F1.4 EX DG HSM . . . . . . . . . . . . . . . 669
105 F2.8 EX DG OS. . . . . . . . . . . . . . . . .549
120-300 F2.8 EX DG OS CAF/NAF. . . . . . . .1649
120-400 F4.5/5.6 APO OS NAF only . . . . . . . . 629
150 F2.8 EX DG OS. . . . . . . . . . . . . . . . 699
150-500 F5/6.3 DG OS CAF/NAF . . . . . . . .749
180 F2.8 EX DG OS. . . . . . . . . . . . . . . 1299
1.4x EX DG converter . . . . . . . . . . . . . . 189
2x EX DG converter . . . . . . . . . . . . . . . . 219
EM140DG Macro ringflash. . . . . . . . . . . 349
MIFSUDS ARE SIGMA PRO LENS STOCKISTS
3 YEAR WARRANTY ALL LENSES
U.K.
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Email - info@mifsuds.com
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U.K. Stock
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U.K.
Stock
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DIGITAL SLRS
D4 body . . . . . . . . . . . . . 4249
D800 body . . . . . . . . . . . 1919
D800E body . . . . . . . . . . 2349
D600 body . . . . . . . . . . . 1469
D7000 body . . . . . . . . . . . 639
D7000 + 18-105 VR . . . . . 799
D5200 body . . . . . . . . . . . 639
D5200 + 18-55 VR . . . . . . 679
D5200 + 18-105 VR . . . . . 799
D3200 body . . . . . . . . . . . 384
D3200 + 18-55 VR . . . . . . 429
599
650D body 515
650D + 18-55
8 569
650D + 18-135
8 8TM 829
D7100 body 1099
D7100 +
18-105 VR 1299
1DX body 4849
6D body 1599
6D + 24-105
f4 L 2179
NEW!
7-14mm F4 ......................... 949
8mm F3.5 ........................... 549
12-35mm F2.8 .................... 849
14-42mm F3.5/5.6 OS X ... 350
14-140mm F4/5.8 OS ........ 579
20mm F1.7 ......................... 269
25mm F1.4 DG ................... 439
35-100 F2.8 Power OS X .... 999
45mm F2.8 OS .................. 549
45-150 F4/5.6 OS .............. 259
45-175mm F4/5.6 OS X .... 319
45-200mm F4/5.6 OS ........ 269
100-300mm F4/5.6 OS ...... 419
LFV2 Viewfinder ................. 199
FL220E Flash ......................115
FL360E Flash ..................... 187
FL500E Flash ..................... 347
LX7 Quality Compact ......... 349
FZ-200 Camera .................. 439
FZ-150 Camera .................. 259
TZ-30 Compact Camera..... 219
Tamron & Kenko Lenses
18-270mm f3.5/6.3 Di II VC PZD ............357
60mm f2 Di Macro NAF ......................... 299
90mm f2.8 Di Macro.............................339
Kenko auto extension tube set ..........149
Kenko Pro 300 1.4x DG .......................199
Kenko Pro 300 2x DG ..........................199
X System Cameras & Lenses Micro 4/3rds system
GH3 + 12-35mm .................1999
GH3 + 14-140mm ...............1589
G5 + 14-42mm X ..................669
G5 + 14-42mm ......................549
G5 body ................................519
GX1 + 14-42mm X ................539
GX1 + 14-42mm ...................429
GX1 body ..............................349
GF5 + 14-42mm X ................479
GF5 + 14-42mm ....................379
GF5 body ..............................319
GH3 body
onIy 1199
X100s ............ 1099
X20 .................. 499
X-Pro 1 body.. 1079
X-E1 + 18-55
f2.8/4 OS ........ 939
X-E1 body ........ 629
14mm f2.8 XF .. 749
18mm f2 XF ..... 419
18-55mm
f2.8/4 OS XF ... 579
35mm f1.4 XF .. 419
60mm f2.4 XF .. 459
XFXR20 fash .. 189
EF42 fash ....... 199
X-100 Limited Edition
Black Kit........... 699
Gitzo
CIothing
Photoeece M/L/XXL .........129
Four Seasons Jacket M ...129
7D + 18-135 S. . . . . . . 1329
7D body . . . . . . . . . . . . 1066
7D + 15-85 S. . . . . . . . 1589
5D MK + 24-105 S .. . 2959
5D MK body. .2315
EOS DSLRS
MF8UD 8PECAL
600D + 18-135 8 . . . . .
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5x4 USED
Cambo Wide Super Angulon
65 F5.6 kit see web ............. 1499
chneider Sup Ang 90 F8....... 299
Polaroid back .......................49
Toyo 6x7 RFH....................129
Toyo quick roll slider ..........199
Fidelity double dark sl ea ....15
BRONICA ETRS 645 USED
ETRSi body .......................139
40 F4 PE ...........................179
50 F2.8 PE ........................199
100 F4 PE .........................229
105 F4.5 PE Macro ...........369
135 F4 PE .........................249
150 F3.5 E ...........................89
150 F3.5 PE M- Box 149 200
F4.5 PE .............................179
500 F8 E ..........................449
2x extender E ....................139
E14 ext tube ........................49
120 RFH ..............................69
Polaroid Back ......................29
Rotary Prism ......................149
AE Prism ........................179
AE Prism ...........................89
WLF .....................................49
Plain Prism E .......................39
Angle viewfinder E.............179
Winder E ..........................199
Winder .................................79
M bracket .............................69
Speed Grip E .......................49
Tripod adapter E ..................59
Metz SCA 386 .....................49
BRONICA SQ 6x6 USED
SQA + 150 + 120 RFH ......249
120 RFH ..............................79
40 F4 PS ...........................399
50 F3.5 PS ........................199
50 F3.5 S .............................99
65 F4 PS Boxed ................149
110 F4 PS Macro........279/399
135 F4 PS M- ....................249
150 F3.5 S ...........................79
150 F4 PS ..................149/199
200 F4.5 PS M- box ..........199
2x PS converter M- ...........249
Polaroid back .......................49
135N back ...........................99
120J 645 back .....................49
Waist level finder .................69
Plain Prism S Boxed ...........79
AE Prism Early ....................99
ME Prism Finder ..................99
Metz SCA 386 .....................49
Lens Hood 65-80 .................20
Pro shade S box ..................49
Motorwinder .......................199
Speed grip S........................99
BRONICA GS 6x7 USED
150 F4 PG M- ....................129
G18 Ext Tube box ...............69
Polaroid Back ......................39
Speed Grip .........................89
AE Prism Finder G ............129
AE Rotary Prism ................169
CANON DIGITAL AF USED
1DS MK body box ......... 1699
1DS MK body box ...........699
1DS MK body box ............499
1D MKV body ........2699/2999
1D MK body....................899
1D MK body .....................399
7D body box ...............749/799
5D MK body box .......799/999
5D MK body ....................499
60D body M- box ...............499
50D body ............................. 399
40D body ............................. 299
20D body ............................. 149
550D body ........................... 299
500D body ........................... 279
400D body ........................... 149
1000D body box ................. 189
BG-E2N ................................. 49
BG-E3 ................................... 39
BG-ED3 ................................. 39
BG-E4 (5D MK) ................... 69
BG-E5 ................................... 69
BG-E6 box (5D MK) ........... 99
BG-E7 box ............................ 99
BG-E8 ................................... 89
BG-E11 M- box ................... 239
G10 compact ...................... 199
G1X compact ...................... 379
SX30 compact box ............. 179
SX1 S compact M- box ..... 149
S3 S compact ...................... 69
CANON AF USED
EOS 1n RS body ...............399
EOS 3 + PB-E2 .................169
EOS 3 body ..................79/199
EOS 5 body .........................39
EOS 600 body .....................29
EOS 300/500 body ea .........20
EOS 500N/ 50E body ea .....20
10-22 F3.5/4.5 EFS ...........479
15-85 F3.5/5.6 EFS ...........449
16-35 F2.8 L MK ...............599
17-40 F4 L box ..................479
17-85 F4/5.6 S U ..............199
18-55 F3.5/5.6 S EFS ........99
18-55 F3.5/5.6 EFS ................ 69
18-135 F3.5/5.6 S ............... 239
18-200 F3.5/5.6 S box ........ 349
20-35 F3.5/4.5 U .................. 199
24 F1.4 L MK box ............. 1199
24 F1.4 L MK M- box ......... 849
24-70 F2.8 L MK M- .......... 1099
24-105 F4 L ..................649/699
28 F1.8 U M- ........................ 299
28-90 F4/5.6 U ..................... 89
28-135 F3.5/5.6 S U............ 199
35 F2 box .............................. 159
35-70 F3.5/4.5 ........................ 69
35-135 F4/5.6 U ..................99
50 F1.8 MK ........................69
60 F2.8 EFS box ...............249
70-200 F2.8 L S .... M-1499
70-200 F2.8 L S MK ........999
70-200 F4 S L M- .............699
70-200 F4 U L ...................379
70-300 F4/5.6 S U ............299
75-300 F4.5/5.6 U ...............99
80-200 F4.5/5.l6 ...............49
85 F 1.2 L U M- ...............1299
85 F1.8 U ................................ 249
100 F2.8 S L U Mint ................ 579
100 F2.8 U box ..................329
100-400 F4.5/5.6 L M- box .......1099
100-400 F4.5/5.6 L ............999
180 F3.5 L box ..................879
300 F2.8 S U L .............4499
300 F2.8 S U L ...............3299
300 F4 S U L ....................... 799
400 F4 DO ........................ POA
500 F4 S L U .......... 4799/4999
12mm ext tube M- ............. 59
1.4x conv MK ................... 279
1.4x conv MK .................... 169
2x ext MK M- ................... 349
2x ext MK ......................... 199
2x extender MK ................. 169
Teleplus 2x DG conv ...........89
NCE2 charger ....................149
BP-200 grip .........................20
BP-50 grip ...........................29
PB-E2 ..................................79
LC-5 wireless kit ................179
LC-4 wireless kit ................ 119
Angle finder C.................... 119
SIGMA CAF USED
12-24 F4.5/5.6 EX DG ......... 399
17-70 F2.8/4 DC OS ............ 239
18-50 F2.8 EX DC................ 199
18-125 F38/5.6 DC OS ........ 229
18-125 F38/5.6 DC ................ 99
24-70 F2.8 DG HSM Mint .... 469
24-70 F2.8 EX DG ............... 349
28-70 F2.8 EX DG box ........ 219
50 F1.4 EX DC ..................... 299
50-500 F4/6.3 EX DG .......... 599
70-200 F2.8 EX DG OS....... 699
70-300 F4/5.6 APO DG Mac ....... 99
70-300 F4/5.6 DG Mac ...........69
105 F2.8 EX DG ..................319
120-300 F2.8 DG OS ............1299
120-300 F2.8 EX DG HSM......849
135-400 F4.5/5.6 .................. 199
150-500 F5/6.3 OS box ....... 599
170-500 F5/6.3 ..................... 399
500 F4.5 EX DG HSM ....... 2699
1.4x EX DG conv M- ............ 149
OTHER CAF USED
TAM 18-270 F3.5/6.3 PZD .....329
TAM 28-270 VC Di PZD .... 329
TAM 28-300 F3.5/6.3 VC ..... 299
TAM 55-200 F4/5.6 ................ 49
TAM 70-300 F4/5.6 ................ 79
TAM 90 F2.8 ...............219/269
TAM 200-500 F5/6.3 Di...... 439
TOK 11-16 ATX Pro ........... 399
TOK 12-24 F4 ATX Pro .....399
VV 19-35 F3.5/4.5 ..............69
Teleplus 2x VG ....................89
Kenko Pro 300 2x DG X ....149
Kenko Pro 300 2x DG ....... 119
CANON FLASH USED
430EX MK M- box ...........169
430EX box .........................139
540EZ ..................................59
580EX box .........................239
MR-14EX ...........................349
ML-3 ring not digital .............89
CPE-2 batt pack ..................69
ST-E2 box ............................99
Sigma EM140G ring ..........199
CANON MF FD USED
T90 Body .............................99
A1 body ........................79/179
A1 body blk/chr....................49
AE1-P chrome body ............69
AV1 chr body .......................49
35-70 F3.5/4.5 .....................39
35-105 F3.5 .........................99
35-105 F3.5/4.5 ...................79
50 F1.8 ................................20
50 F3.5 Macro .....................89
50 F3.5 Mac + Tube .......... 119
70-210 F4 ............................69
85 F1.2 L ...........................499
100 F2.8 ..............................99
100 F4 Macro + tube .........299
100-300 F5.6 .......................99
135 F3.5 ..............................29
200 F4 .................................49
2X A Extender......................99
2X B Extender .....................69
TOK 60-300 F4/5.6 ..............69
Winder A ..............................29
Angle finder B ......................69
Action finder for F1N .........129
AE power winder FN ...........79
AE motor drive FN
+ battery pack ....................149
Auto bellows ......................129
CANON FLASH USED
199A ....................................59
244T ....................................29
299T......49 300TL ............49
CONTAX RF USED
G2 body Titanium box .......399
28 F2.8 Titanium................299
35-70 F3.5/5.6 blk box ......369
35-70 F3.5/5.6 tit box ........369
TLA200 Titanium .................69
TLA30 flash .........................29
CONTAX SLR USED
167MT body.........................69
139Q body ...........................69
137MA body ........................69
FUJI DIGITAL USED
X-E1 body Mint box ...........579
X100 Ltd Ed M- .................599
X100 M- box ......................429
HS10 box .............................99
18-55 F2.8/4 Mint ..............549
60 F2.8 R M- box ..............399
FUJI 35MM USED
M42 & Bayonet SEE WEB
FUJI MED FORMAT USED
GX617 + 90 +VF
+ CF box ..........................2599
180 F6.7 GX680 box .......1399
250 F5.6 GX680 ................199
GSW690 MK M- box ......869
GITZO USED
CLOTHING (UNUSED)
Photofleece (M/L/XXL) ........99
Four Seasons Jacket (M) ....99
TRIPOD HEADS
G1077M .............................139
G1177M ...............................49
G1178M ...............................79
G2180 ................................129
G2272M .............................149
G2780FQR green ..............149
GH1720FQR......................139
GH1720QR ........................149
GH1780FQR......................129
GH1780QR ........................149
GH2750 .............................139
GH2750QR ........................139
GH2780QR ........................199
GH2781T .............................99
GH2781TQR........................99
GH3780QR ........................199
GH5380SQR .....................179
TRIPOD LEGS
GT0531..............................199
GT1840C ...........................199
GT2341L ............................199
GT2531..............................279
GT2531EX .........................359
GT2532S ...........................339
GT2540FT ....................... POA
GT2540T ...........................279
GT2540F ...........................399
GT2540FL .........................429
GT2540LLVL......................399
GT2541EX .........................339
GT2542S ...........................379
GT3320BS .........................199
GT3330..............................249
GT3531..............................369
GT4552TS .........................479
GT4552GTS ......................499
HASSELBLAD XPAN USED
XPan + 45 F4....................... 849
30 F5.6 M- box..................... 1799
90 F4 ....................................... 299
HASSELBLAD 6x6 USED
SWCM + VF ...................... 1199
903SWC + viewfinder ....... 1899
503CW body chr................699
500CM + 80CF F2.8
+ A12 blk/chr .....................699
500CM body ......................199
PM90 prism .......................199
45 Prism late ....................149
WLF early ............................49
A12 latest blk/chr ...............199
A12 late black ....................149
E12 box .............................349
503CW winder box ............249
40 F4 early ........................699
50 F2.8 FE M- ...................699
250 F4 FE M- box .............649
50 F2.8 CE M- box ............699
50 F4 CF FLE ....................699
50 F4 CF ...........................499
80 F2.8 CF M- ...................499
120 F4 CF .........................599
120 F5.6 chr ......................199
150 F4 chr .........................169
150 F4 CF ........................549
150 F4 CF .........................349
150 F4 blk T* .....................199
160 F4.8 CB M- box ..........399
Vivitar 2x conv .....................69
LEICA DIGITAL USED
Digilux 3 box ..................... POA
D-Lux 5 blk ......................... 399
V Lux 20 M- box................. 249
LEICA M/COMPACT USED
g + 5cm f2 + erc .............999
M4P chr body ....................699
M3 chr d/wind + ERC .......699
21 F2.8 blk ASP M- box ...... 1999
28 F2.8 M- box ..................699
35 F2 blk ASP M- box .....1599
50 F1.4 blk M- box ..........1899
CF Flash ..............................69
SF20 Flash ..........................79
LEICA SLR USED
R7 body blk box ................... 379
R4 body chr ..........................149
LIGHTMETERS USED
Gossen Lunasix ...............79
Minolta Flashmeter V ........179
LOWEPRO USED
Lens Trekker 600AW ...........99
Dryzone 200 yellow/blk .....179
Pro Trekker AW ...................99
MAMIYA 645 AF USED
645 + 80 + 120 RFH .........599
55 F2.8 AFD M- box ..........399
55-110 F4.5 M- box ...........599
MAMIYA 645 USED
645 Pro TL + 80 + RFH
+ plain prism ......................349
645 Pro TL inc 80 F2.8 N + AE
Prism + Pro Winder ..................449
645 Pro + 80 F2.8 N
+ 120 RFH + prism ............349
645E body .........................169
645 Pro TL Body ...............199
45 F2.8 N M- Box ..............179
55 F2.8 N.............................99
55-110 F4.5 .......................249
70 2.8 C leaf ........................99
105-210 F4.5 ULD C............249
110 F2.8 N ...........................99
110 F2.8 C ...........................79
150 F3.5 N...........................99
210 F4 N M- ......................129
300 F5.6 N ULD-C M- .......199
Ext Tube 1, 2, 3S each ........29
Teleplus/Viv 2x conv ea .......49
FE401 AE prism box .........179
AE prism 645 Super ..........129
Plain prism (645 Super) ......69
WLF Super + Pro ................69
Polaroid Back HP401 ..........39
Polaroid back .......................39
120 nsert ............................20
HA401 120 RFH Box ...........49
120 Back .............................39
Winder .................................79
MAMIYA TLR 6x6 USED
C330 S B/O + WLF ............299
C330 F Body + WLF ..........149
180 F4.5 ............................169
Paramender .........................89
MAMIYA 7 RF 6x7 USED
7 body ..............................849
50 F4.5 L + VF ..................849
80 F4 box ..........................649
210 F8 + VF box M- ..........599
Polarising filter ................... 110
Panoramic kit .......................49
MAMIYA RB 6x7 USED
Pro SD + 127 KL
+ RFH + WLF ....................649
Pro S body.........................149
Pro S body scruffy ...............99
Prism early ..........................99
WLF .....................................79
Chimney ..............................69
120 645V back ..................149
120/220 6x8 motor ............149
Pro S Polaroid back ............49
Pro SD Polaroid back ..........69
50 F4.5 C...........................269
180 F4.5 C...........................99
250 F4.5 KL M- box ............. 249
45mm tube SD M- .................. 99
Ext tube 2................................ 69
MAMIYA RZ 6x7 USED
RZ67 Pro + 90 + RFH ......649
RZ67 Pro + 90 + RFH ......499
RZ67 Pro + 110 + RFH .....499
RZ Pro + 90 + 120 RFH ....399
RZ Pro body ...................299
RZ Pro body ......................149
50 F4.5 W M- ....................269
50 F4.5 ULD M- box ..........699
65 f4 M- box ......................329
75 F4.5 shift M- .................549
140 F4.5 W M- Macro........349
180 F4.5 M- .......................179
No 1 or No 2 ext tube ea .....69
FE701 Prism AE ................249
AE Prism early .....................99
Pro Polaroid back .............69
120 back Pro ....................99
120 back Pro 1 ....................39
Pro shade ............................49
Pro AE hood ...................... 119
METZ USED
45CL4D mint box unused .....279
MINOLTA/SONY DIGITAL USED
Sony A550 body box .......... 369
Sony A350 body ................. 179
Sony A200 body ................. 199
HVL-F36AM flash ................. 129
VGB50AM grip box..............119
Nissin Di866 ...................... 129
Sigma EF530DG Super ....... 99
Minolta VC7D grip ...............119
Sony RLAM ringlight .......... 219
MINOLTA/SONY AF USED
Dynax 9 body box .............249
Dynax 7 body ......................79
Dynax 7xi body ....................49
Dynax 5 body box ...............39
Dynax 700Si + VC700 .........69
Dynax 700Si body ...............49
Dynax 600Si ........................69
Dynax 505Si Super b/o .......29
Dynax 505Si body ...............29
Dynax 404Si body ................ 29
17-35 F3.5 G M- box .......... 649
24-105 F3.5/4.5 .................149
28-105 F3.5/4.5 ...................99
35-105 F3.5/4.5 M- ..............99
50 F1.7 .................................... 79
70-210 F4.5/5.6 ...................... 69
75-300 F4.5/5.6 ...................... 89
100-300 F4/5.6 ..................... 129
SONY LENSES USED
18-70 box ............................49
24-70 F2.8 box ................... 1199
50 F2.8 D Mac ...................... 299
75-300 F4.5/5.6 .....................119
SIGMA MIN/SONY AF USED
12-24 F4.5/5.6 EX DG ....... 399
15 F2.8 EX DG box ........... 329
17-35 F2.8 EX .................... 149
18 F3.5 box ........................ 129
18-35 F3.5/4.5 ...................... 69
24-70 F2.8 EX DG Mac ..... 269
30 F2.8 SAM .......................119
55-200 F4/5.6 ....................... 69
70 F2.8 EX DG ..................... 299
600 F8 ...............................349
1.4x EX DG conv ...............149
1.4x EX conv ..................... 119
2x EX DG conv M- box .....149
TAM 28-75 XR Di box .......229
TAM 90 f2.8 .......................199
TAM 180 F3.5 M-................... 439
TOK 11-16 F2.8 ATX Pro...... 379
VV 19-35 F3.5/4.5 ..............69
VV 100-400 F4.5/6.7 ........149
Teleplus 1.4x conv ...............69
Teleplus 2x conv ..................99
Jessops ext tubes................69
Kenko 1.4x Pro 300DG .....149
VC-9 (Dynax 9) M- box .....129
VC700 (700/800Si) ..............29
VC600 (600Si) .....................29
VC-7 (Dynax 7)....................69
Min 3600HSD flash .............79
Min 5200i .............................49
Min 5400HS .........................69
NIKON DIGITAL AF USED
D3 body ..................1499/1799
D2X body box ....................549
D700 body ................999/1349
D300 body ..................399/499
D200 body box ..................299
D7000 body .......................529
D90 body box ....................329
D80 body ...........................199
D70s body box ..................129
D70 body box .................... 119
D40 body ...........................129
D3000 body box ................169
EH-6 mains charger ............59
MBD-10 box ............... 119/149
MBD-80 box ........................99
MBD-200 box ......................69
Coolpix P100 .....................149
NIKON AF USED
F6 body M- box .................899
F5 body M- box .................499
F5 body box.......................299
F5 body scruffy ..................199
F4 body box.......................249
F4S body ...........................149
F100 + MB-15 ...................149
F80 body black ....................69
F90X/F801 body ea .............49
F801s body ..........................49
F55 or F601 body each .......29
10-24 F3.5/4.5 M- box ......... 549
12-24 F4 AFS DX M-........... 599
14-24 F2.8 AFS M- box ..... 1199
16-85 F3.5/5.6 AFS VR ....... 379
17-55 F2.8 AFS box ..... 599/699
18-55 F3.5/5.6 VR M-............ 99
18-70 F3.5/4.5 DX ............... 149
18-105 F3.5/5.6 VR ..............319
18-135 F3.5/5.6 AFS ........... 149
18-200 F3.5/6.3 VR M- ......399
18-200 F3.5/6.3 VR box ...... 299
24 F1.4 AFS M- box .......... 1399
24 F2.8 AFD ........................ 219
24-70 F2.8 AFS box .......... 1149
24-120 F3.5/5.6 VR ............. 299
24-120 F3.5/5.6 D ............... 149
28 F2.8 AF N ........................119
28-80 F3.5/4.5 D .................... 69
28-80 F3.5/5.6 G .................... 49
28-100 F3.5/5.6 G .................. 49
28-105 F3.5/4.5 AFD............ 169
28-300 F3.5/5.6 G ................ 149
40 F2.8 AF DX ...................... 189
50 F1.8 AFD ........................... 99
55-200 F4/5.6 AFS VR ........ 139
60 F2.8 AFS M- box ............. 339
70-200 F2.8 VR ................ 1399
70-200 F2.8 VR ................... 999
70-210 F4/5.6 ......................99
70-300 F4.5/5.6 VR ...........439
70-300 F4.5/5.6 AFD .........149
75-300 F4/5.6 ......................79
80-200 F2.8 AFN M- ..........799
80-200 F2.8 AFS ...............699
80-200 F2.8 early ..............299
80-400 F4.5/5.6 VR ...........799
85 F1.4 AFD M- box ..........699
85 F1.4 AFD ......................579
300 F2.8 AFS VR ..........3599
300 F2.8 AFS VR ...........3199
TC20E .............................199
SIGMA NAF USED
12-24 F4/5.6 EX DG ..........399
17-70 F2.8/4.5 DC .............149
18-50 F2.8 EX DC .............199
18-125 F3.8/5.6 DC .............99
20-40 F2.8 EX DG ............... 199
24-70 F2.8 EX DG HSM ...... 449
24-70 F2.8 EX DG ............... 349
28-200 F3.5/5.6 .................... 129
28-300 F3.5/6.3 ...................... 99
30 F1.4 EX DC box .............. 249
50-500 F4/6.3 DG OS ......... 799
50-500 F4/6.3 EX DG ......... 599
50-500 F4/6.3 EX ................ 499
55-200 F4/5.6 DC Mint .......... 49
70-200 F2.8 EX DG ............. 429
70-300 F4/5.6 APO Mac ........ 99
150-500 F5/6.3 EX DG OS ..... 599
170-500 F5/6.3 ..................... 179
1.4x EX DG M- ..................... 149
1.4x EX conv .......................... 99
2X EX conv ........................... 109
TAMRON NAF USED
18-200 F3.5/6.3 Di .............149
18-250 F3.5/6.3 Di box ...... 199
18-270 F3.5/6.3 Di PZD ..... 319
28-200 XR Di mint box .........119
28-200 XR .............................. 79
55-200 F4/5.6 Di .................. 49
70-300 F4/5.6 .................... 69/89
90 F2.8 .................................. 219
TOK 12-24 F4 ATX M- .......379
TOK 28-70 F2.8 Pro SV ....199
TOK 100 f2.8 ATX Pro D .... 279
Teleplus Pro 300DGX 2x ......... 149
FLASH / ACCESSORIES USED
DW-30 (WLF for F5) ............. 139
SB-24 ....................................... 49
SB-25 ....................................... 49
SB-26 ....................................... 69
SB-27 ....................................... 49
SB-28 ....................................... 69
SB-29 ....................................... 99
SB-30 ...................................... 49
SB-80DX ................................. 69
SB-800 ...........................199/249
SB-900 M- box ..................... 269
SB-910 M- box ..................... 299
SD-8A...................................... 99
SD-8 box ................................. 69
MB-10 (F90X) ......................... 29
MB-15 (F100) ......................... 49
MB-16 (F80) ........................... 29
MB-40 fits F6 M- box ........... 179
MC-30......49 MC-36 ........... 99
WT-2 box ................................ 99
LS5000 scanner ................. 1299
NIKON MF USED
F2 + DP-1 blk ....................199
F3T body blk M- box .........699
F3HP body.........................299
F3 body ........................99/199
FA body chr M- ..................299
FE-2 body chr .............199/299
FM body chr ........................99
FM2n body chr ..................199
FM2n body blk ...................169
FM2 body chr ....................149
FT3 body blk......................129
F301 body ...........................39
28 F3.5 Shift ......................449
28 F3.5 A ............................99
35-70 F3.3/4.5 AS ..............99
35-105 F3.5/4.5 AS ..........149
36-72 Series E.....................79
43-86 F3.5 A .......................69
50 F1.2 AS........................399
50 F1.4 AS........................199
50 F1.4 A ..........................149
50 F1.8 AS..........................99
50 F1.8 AS pancake .........139
80-200 F4 A ........................99
85 F2 A .............................149
135 F2.8 AS......................149
180 F2.8 AS M- ................399
500 F8 late mirror ..............399
TC14A................................149
TC14B box ........................149
TC16A..................................99
TC200 ..................................59
MD-12 winder ......................... 49
SB-15...................................39
SB-17 (fit F3) .......................49
DR-3 angle finder ................69
DW-4 (fit F3) ......................149
NOBLEX USED
135UC ............................. POA
OLYMPUS DIGITAL USED
E1 + 14-42 .........................199
E510 body .........................199
E500 body .........................179
E300 body .........................149
14-42 F3.5/5.6 .....................79
14-45 F3.5/5.6 ...................169
18-180 F3.5/6.3 .................279
40-150 F3.5/4.5 ...................99
40-150 F4/5.6 ......................89
24 F2.8 ..............................169
35-70 F3.5/4.5 .....................99
50 F1.4 ................................99
50 F2 Macro ......................379
70-300 F4/5.6 ....................249
FL50 Flash box ..................149
HLD3 grip fit E300 ...............49
Sigma 10-20 F4/5.6 DC ....279
Pen E-P3 body M- box ......279
Pen E-P3 + 14-42..............429
Pen E-PL3 + 14-150..........649
Pen E-PL2 + 14-42............249
14-150 F4/5.6 ....................349
17 F2.8 ..............................139
VF-2 viewfinder .................129
FL-14 Flash .........................59
MCON-P01 ..........................59
OLYMPUS MF OM USED
OM4Ti blk body..................249
OM-4 body blk ...................139
OM-2SP body ....................149
OM-2N chr body .................129
OM-10 chr or blk body ea .....49
21 F3.5 ..............................249
28 F2.8 ................................69
35 F2.8 shift M-..................269
35-70 F4 ..............................89
35-105 F3.5/4.5 .................129
50 F3.5 Macro ........................ 99
75-150 F4 ............................... 49
135 F3.5 ..............................39
180 F2.8 ............................399
200 F5 .................................59
300 F4.5 ............................199
Olympus Auto bellows
+ slide copier M- ................169
T32 fash ..............................49
Man ext tube 7/14/25 ea ......15
Auto ext tube 14/25 ea ............. 20
Power bounce GR2 .................. 49
PANASONIC DIGITAL USED
G5 + 14-42 M- .................... 429
G3 Olympic kit M- box .......449
G3 body box ......................199
G2 body .............................169
G1 body ............................. 119
GF3 + 14-42 OS ...............199
GF3 body mint box ............199
GF2 body box ....................169
GF1 body box ....................149
GX1 body box....................249
14 F2.5 ..............................199
14-42 F3.5/5.6 .....................69
14-45 F3.5/5.6 ...................239
14-50 F3.8/5.6 OS ............299
20 F1.7 ..............................219
45 F2.8 DG Macro .............469
45-200 F4/5.6 OS .............189
LVF2 finder M- ...................159
LVF1 finder ..........................79
FL360E flash M- ................149
PENTAX 645 DIGITAL AF USED
45 F2.8 AL .........................379
45-85 F4.5 FA M- box........749
80-160 F4.5 FA ..................599
PENTAX DIGITAL AF USED
K7D body ...........................349
K20D body box ..................349
K10D body box ..................199
PENTAX 35mm AF USED
MZ-S body .........................149
MZ-5N body .........................69
12-24 F4 ............................449
18-55 F3.5/5.6 WR ..............69
18-55 F3.5/5.6 .....................49
24-90 F3.5/4.5 FA................. 179
28-70 F4 AL ............................ 69
28-90 F3.5/5.6 FA ................69
50-200 F4/5.6 DA WR .........99
70-300 F4/5.6 ......................79
80-200 F4.7/5.6 ...................49
100-300 F4/5.6 ....................99
AF200G Mint .......................49
AF500FGZ Flash .................79
SIGMA PKAF USED
8 F4 EX M- box .................279
12-24 F4.5/5.6 EX M- ........369
18-200 F3.5/6.3 DC box ....129
28-200 F3.5/5.6 .................139
70-300 F4/5.6 DG................79
TAM 18-200 XR Di ..........139
TAM 70-300 F4/5.6 Di .........79
Cosina 100 F3.5................... 79
PENTAX 35mm MF USED
MX body ..............................79
K1000 body chr ...................99
Program A body ...................49
M42 300 F4 M- ..................279
28 F3.5 ................................49
35-70 F3.5/4.5 PK ...............49
40-80 F2.8/4 PK ..................69
50 F1.7 ................................49
50 F2 ...................................49
80-200 F4.5 .........................49
135 F2.5 ..............................69
135 F3.5 ..............................49
400-600 F8/12 ...................399
Rear converter PT62 ...........69
PENTAX 645AF USED
645N body .......................549
645N body .........................299
120 insert .............................79
45 F2.8 FA .........................379
45-85 F4.5 M- box .............699
80-160 F4.5 FA ..................499
PENTAX 645MF USED
55 F2.8 M- .........................249
120 F4 Macro ....................349
135 F4 Leaf .......................199
150 F3.5 EX++ ..................149
200 F4 .......................129/179
1.4x converter ...................... 199
2x converter ......................... 179
120 nsert M- box.................49
PENTAX 67 USED
67 MU + metered prism
+ 105 F2.4 .........................699
67 MU body ......................... 299
55 F3.5 early......................199
55 F4 .................................279
75 F4.5 latest box ..............249
75 F4.5 shift .......................449
135 F4 Mac early ...............129
165 F2.8 ............................149
165 F4 leaf.........................299
200 F4 latest ......................269
300 F4 early scruffy ........... 149
300 F4 late.........................349
Auto ext tubes......................99
Vivitar 2x conv .....................79
TAMRON ADAPTALL USED
TELESCOPES/BINOS USED
SEE WEBSTE
YASHICA TLR USED
124G 6x6 ...........................199
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Canon EOS 6D
1,799/$2,099 | 20.2MP full-frame sensor | Built-in Wi-Fi options | Weather-sealed body
Megapixels | 20.2MP
A high value of megapixels means you
can make larger, high-quality prints
Zoom | By lens
Compatible with Canon EF lenses,
we used the 24-70mm kit lens
Shutter speeds | 30-1/4000sec
A great range for shooting both long
exposures and quick action shots
ISO sensitivity | 100-25600
(expandable 50-102,400)
A massive range, ideal for shooting
high-quality low-light photographs
Exp. modes | Seven scene modes,
plus P, M, AP, SP, Scene Intelligent
Auto, Creative Auto and Bulb
Great auto settings and plenty of
manual options to get stuck in with
Aperture...............By lens
Flash modes....N/A
Weight....................755g (with battery)
Dimensions.......144.5 x 110.5 x 71.2mm
Batteries..............Lithium-ion
Storage..................SD / SDHC / SDXC
Screen.................... 3 inches
The info
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Reviews
Canon EOS 6D
84
Is this high-quality, high-end camera worth the
weighty investment for beginner photographers?
The Canon EOS 6D is an extremely high-quality product
with a 20.2MP full-frame sensor. This type of sensor is
normally reserved for the pros, with high asking prices
and often without any auto settings. The 6D, however, is
a much more affordable full-frame model with some
starter features, making it much more beginner friendly.
Its still priced high when compared to beginner DSLRs
but its a long-term investment that will take you from
beginner to pro without the need for an upgrade.
For the money you get a huge range of features; as
well as being able to capture at 4.5fps for fast shooting,
a great ISO range of 100-25600 (expandable to 50-
102400) for shooting in low light, and 1080p full-HD
video, there are also plenty of modes to choose from.
Manual modes will help you progress, but you also have
seven scene modes and a Creative Auto mode that lets
you control how blurry the background is. As well as RAW
shooting and GPS, you can also link the camera to your
smartphone to control it remotely, which is great for not

Features............................................................. +++++
Design and handling.. +++++
Build quality........................................ +++++
Image quality................................... +++++
Value for money....................... +++++
Great image quality and a range of
features makes this a fantastic
camera. Its not cheap but it will
stay with you as you progress so
its a great investment
Our final verdict
Whats good about it
+++++

The image quality is exceptionally
high, with vivid colours and detail

The EOS 6D is great in low light,
with only slight noise at ISO 6400
Theres no built-in ash so youll have to

purchase and carry one separately
Above Images have an amazing amount of
detail, saturated colours and are well
exposed straight out of the camera
Hands-on The pronounced, textured grip makes it easy to grasp and
its currently Canons smallest and lightest full-frame camera, meaning its
ne to hold for longer shoots compared to others of this type.
How good is the 6Ds focusing ability?
We answer your questions
It may take a while to get used to using the
AF-On button to focus in manual, but in
auto you still half-press the shutter. The 6D
uses 11 points to focus, which is less than
its smaller-sensor brethren the 7D, but its
quick to nd focus and accurate too.
How good
is it for
Portraits You can create
nice soft backgrounds in
Creative Auto mode
Landscapes Vivid colours
and long exposures make for
amazing vistas
Sports Quick focusing and
4.5fps shooting is great for
freezing movement
Low light The camera
handle noise well, even when
shooting at high ISOs
Macro Youll need a macro
lens to get close but images
are detailed and sharp
Have you used this camera? Share
your shots at photoforbeginners.com

It might seem a bit intimidating, but
theres plenty of modes for beginners
jogging the camera during long exposures. The Wi-Fi on
board can connect you to your computer or a printer for
instant sharing. However, theres no built-in ash on this
model and the LCD screen is xed too.
The menus are easy to navigate, but the many buttons
on the back may confuse beginners until they get used
to it. You can, of course, pop it in auto and ignore these
options for now. The build quality is high, with its tough,
weather-sealed body tting nicely into your hands. Shots
are sharp and detailed and it handles noise well, with it
only starting to appear at ISO 6400. So for fantastic
image quality and a wealth of features to discover as you
progress, the Canon 6D is a great long-term investment
that wont disappoint.
Reviews
Canon EOS 6D
85
Sony NEX-6
829/$1,000 | 16MP | 11 art effects | Built-in Wi-Fi & apps
Megapixels | 16.1MP
Enough megapixels for printing your
favourite images at larger sizes
Zoom | By lens
A variety of lenses are available
we tested the 16-50mm kit lens
Great for shooting action images
and creative long-exposure shots
An impressive sensitivity range
that is good for low-light shooting
Exp. modes | Nine scene modes,
plus A, A+, P, M, AP and SP
Excellent modes for both beginners
and those who want more control
Aperture...............By lens
Flash modes....A, Foff, Fon, FF, SS, RS
Weight....................287g without battery
Dimensions.......119.9 x 66.9 x 42.6mm
Storage..................SD / SDHC / SDXC / MS
Screen.................... 3 inches
The info
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Reviews
Sony NEX-6
86
Sonys new CSC has lots of features in a small
body, but is it a good model for beginners?
The CSC market is rapidly expanding with a whole host
of exciting new models released already this year.
Sonys offering manages to pack a lot into its compact
casing, making it a fantastically portable option for
beginners looking to advance their skills. The NEX-6 is
very easy to use, with two auto modes Intelligent Auto
and Superior Auto, which reduces blurring and noise
and two control wheels for changing manual settings.
The button for popping up the ash can be a little ddly,
but apart from that, it handles smoothly.
Both auto modes perform well, and users can opt to
view which exposure settings the camera selects before
it takes the shot, which is a helpful feature for beginners
who want to learn more. The NEX-6 has only the basic
scene modes but has an extensive array of creative
options that can be previewed instantly.
The body of the camera looks quite boxy and plain, but
feels well-made and sturdy. If shooting in bright light, a
simple button allows you to switch to using the

Features............................................................. +++++
Build quality........................................ +++++
Image quality................................... +++++
Value for money....................... +++++
Sonys NEX-6 is a CSC that is very
simple to use and produces great
image quality. With a range of
features on offer, it will suit a
beginner shooter perfectly
Our final verdict
Whats good about it
+++++

It is easy to navigate through the
menus and change settings quickly

The ability to download apps improves
the already great range of features
The cameras slow autofocus could

cause you to miss a great shot
Above Colours appear bright, vibrant and true
to life and a great range of creative effects
allow you to produce some unique shots
Hands-on A grip on the front and thumb grip on the back mean
this camera is comfortable to hold. The buttons are well placed but a little
plasticky and the ash button is a bit ddly.
Is it good for a night out with friends?
The NEX-6 performs really well in low light,
with a powerful ash that doesnt produce
red-eye. It has Face Detection and Smile
Shutter that takes a shot when a smile is
detected. Then you can instantly share
shots on Facebook with the built-in Wi-Fi.
How good
is it for
Portraits Theres a scene
mode and plenty of other
settings for attering results
Landscapes Theres a
vista mode and an on-screen
spirit level for straight horizons
Sports Theres continuous
shooting mode but it struggles
to focus on fast subjects
Low light Handles noise
well up to ISO 1600 for clear
night-time shots
Macro The kit lens
struggles focus at close range
but other lenses are available

More scene modes tailored to certain
situations would be useful for beginners
viewnder to frame your shots, and you can tilt the LCD
screen horizontally to aid creative compositions.
The image quality produced by the 16MP sensor is
excellent, with bright, vivid colours and noise only
appearing at ISO 1600. When shooting moving subjects,
the autofocus sometimes struggles to cope, but mostly
shots appear sharp.
Sharing your images via your smartphone or tablet is
possible thanks to the built-in Wi-Fi capability. You can
also download apps to open up your shooting options
even further.
Although the price tag is quite hefty, the NEX-6 gives
you a lot for your money and is ideal for those looking for
a more portable alternative to a DSLR.
Reviews
Sony NEX-6
87
Nikon Coolpix
P7700
450/$500 | Full manual control | 3 vari-angle LCD | Bright & fast f2-4 lens
Megapixels | 12.2MP
A good amount for the size of the
sensor a high value isnt always best
Zoom | 7.1x optical, 4x digital
The lens-shift vibration reduction is
great over the 28-200mm range
The extremes of this range are only
accessible shooting in manual mode
Without the Hi 1 feature, the camera
is limited to a top setting of 1600
Exp. modes | 19 scene modes,
plus A, P, M, AP and SP
All of this, as well as auto scene
selection and special effects
Aperture...............f2-4
Flash modes....A, RE, M, RC, SS,
Commander
Weight....................392g with battery
Dimensions.......118 x 72 x 50mm
Storage..................SD / SDHC / SDXC
Screen.................... 3 inches
The info
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Nikon Coolpix P7700
88
A pro compact with a fast f2 lens thats capable of
stunning images. Is the P7700 too good to be true?
For so long, manufacturers have tried to lure consumers
with more and more megapixels. With the new Nikon
Coolpix P7700 however, the selling point has clearly
been focused on the lens. The bright f2-4 glass is ideal
for portraits, macro and low-light work as wide apertures
let in more light and create pleasing background blur.
The exible zoom range of 28-300mm will also be useful
in landscapes, distance and in fact almost any scenario.
The P7700 is heavier and bigger than most compacts,
but that is due to all that it packs on board. Aimed at
beginners and more advanced users, the Nikon offers a
full range of automatic, scene and manual controls.
Theres also a selection of Effects to sink your teeth into.
The screen is clear and bright, even on sunny days and
the range of buttons make it quick to alter settings, with
oft-used options all given their own quick-access points.
Start up takes a few seconds, though.
Images straight out of the camera are clean, crisp and
with great colour reproduction. The on-screen spirit level

Features............................................................. +++++
Build quality........................................ +++++
Image quality................................... +++++
Value for money....................... +++++
It may be pricier than some models,
but the range of features for
beginners and advanced shooters,
as well as the image quality, means
the P7700 scores top marks
Our final verdict
Whats good about it
+++++

There are manual modes to grow into
and automatic modes while you learn

On-body dials and buttons means you
dont have to dip in to menu systems
Start up could be slightly quicker,

though its by no means poor
Above In bright light, the camera copes well
with colours, although there is some fringing
at the edges in high-contrast areas
Hands-on The camera takes a few seconds to start but after that it is
quick and intuitive to use, with all the key features having their own button or
dial position. For any that dont theres the user-customisable Fn buttons.
Can I get creative with the P7700?
The Special Effects menu gives you the
option of applying arty effects in-camera.
The Creative Mono setting adds a nice
grain, perfect for overcast days, while the
Zoom Exposure and Defocus modes add
the look of a creative lens effect
How good
is it for
Portraits The colour
reproduction suits skin tones,
and eyes are sharp and bright
Landscapes Blue skies
are accurate and exposure
compensation comes in handy
Sports Use the dedicated
scenes or even Auto for good
results of fast subjects
Low light That bright lens
is perfect for low-light,
although a tripod is a must
Macro Macro mode is good,
the close-focusing distance
without it is 50cm though

An on-camera viewnder would help
this appeal to more photographers
means that wonky horizons are a thing of the past. You
can switch this, the histogram (again a useful addition)
and the thirds lines on and off, depending on your needs.
We used the camera on some bright days, and the
exposure compensation dial proved invaluable, not
having to access the menus to alter this setting. The
plethora of on board dials and buttons means the menu
system is clean and uncluttered.
All of this does come at a price though. At just under
500, the Nikon Coolpix P7700 doesnt come cheap.
But, as the saying goes, you get what you pay for, and
with the P7700, what youre paying for is a feature-
packed compact thats capable of producing some
stunning images.
Reviews
Nikon Coolpix P7700
89
Megapixels | 16.1MP
File sizes are large so you can print
big images without losing any detail
Zoom | 20x optical, 4x digital
This model has a focal range of
24-480mm (35mm equivalent)
The Starry Sky mode offers a
maximum exposure time of 30sec
The ISO can be extended to 6400
using the High Sensitivity mode
Exp. modes | 18 scene modes,
plus A, P, M, AP and SP
Aperture...............f3.3-6.4
Flash modes....A, A/RE, On, Off, SS/RE
Weight....................171g without battery
Dimensions.......104.9 x 58.9 x 28.7mm
Storage..................90MB built-in / SD /
SDHC / SDHX
Screen.................... 3 inches
The info
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300/$300 | 20x optical zoom | 16.1MP sensor | Creative panorama function
Panasonic
DMC-TZ35
The new Creative
Panorama function gifts
photographers with 12
stunning lters
90
Reviews
Panasonic DMC-TZ35
Sporting a 20x optical zoom, this shiny new shooter
looks dressed to impress, but what else is on offer?
Features............................................................. +++++
Build quality........................................ +++++
Image quality................................... +++++
Value for money....................... +++++
On the whole the TZ35 is more than
capable of capturing some strong
stills and even stronger creative
captures and will appeal to a broad
range of photo enthusiasts
Our final verdict
Whats good about it
+++++

Plenty of features here and great
creative options to get creative with

The maximum exposure time of 30sec
sets it above your regular compact

Macro lovers may be disappointed with
a distance of 3cm from their subjects

Shots captured at the far reaches of the
Extra Optical Zoom wont be keepers
How good
is it for
Portraits The camera
offers several handy scene
modes for perfecting portraits
Landscapes The
interesting Panorama Shot
includes 12 lters to add
Sports The fastest shutter
is 1/2000sec and it can shoot
5fps for action and wildlife
Low light With a 30sec
max exposure time in Starry
Sky mode, low light is a joy
MacroThere are two macro
modes, but the minimum focus
distance is 3cm
Left There are plenty of creative options with this
Panasonic compact, such as this Impressive Art
lter which adds extra contrast for a striking look
Hands-on Like most Panasonic compacts, the TZ35 handles
intuitively. In-camera menus are accessible and comprehensive,
while on-body controls are straightforward to master.
If youve been looking for a camera that does all of the
work so you dont have to, then youre in luck. The
Panasonic DMC-TZ35 could well be the camera you
need. Although this new compact model does offer
manual and semi-manual features for those wanting to
adapt their skill set down the line, the TZ35 is also
crammed full of enhanced automatic shooting DNA. For
example, pictures taken with the exciting iAuto mode are
sure to impress.
Other highlight areas of the camera are contained
within its creative palette. In particular, the new Creative
Panorama function gifts photographers with a
kaleidoscope of 12 stunning lters that can be applied to
distinctive horizontal and vertical panoramic pictures.
What is also nice here, which consumers wont nd
tucked away in camera menus everywhere, is that the
Panasonic compact provides in-camera editing. You can
shoot with lters as well as apply digital effects to stills
after the picture has been taken.
Thanks to its impressive 20x optical zoom function,
the camera is perhaps a little chunkier than the svelte
and pocket-friendly compacts that we became used to
seeing a few years ago. However, the TZ35s feature set
more than makes up for the little extra weight and girth.
It feels solid and reliable in the hand, while a well-
proportioned grip on the right aids comfort and accuracy
when shooting. On-camera dials and buttons are kept to
a minimum, but all the necessary commands and
actions have been catered for, making streamlined
shooting a breeze. Without having to delve into ddly
menu systems, all you need to focus on is your subject.
The quality of the DMC-TZ35s images when shooting
in iAuto mode is relatively solid. Although, we would have
liked to have seen stronger contrast in images and
perhaps punchier colours too. This would have
culminated in a more honest interpretation of the scene.
The images snapped at both ends of the focal range
presented a little softening and in high-contrast scenes
there was evidence of chromatic aberration, but thats
typical of a camera of this calibre and can easily be
corrected in image-editing software.
While there are cheaper units out there putting in a
similar standard of performance, the TZ35 still has a lot
of clout when it comes to creative features. These will no
doubt appeal to beginners and advanced users alike.
How good is the cameras LCD screen?
The screen is relatively good at 7.5cm
(3) with 460k dots, however most other
LCDs are double this resolution. Thats
not to say the monitor isnt clear, in fact
captures are presented well but on
occasion users may have to zoom in to
better inspect the ner detailing.
91
Reviews
Panasonic DMC-TZ35
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LARGE FORMAT
8TUDO EOUPMENT ETC.
In the rst instance pIease emaiI detaiIs to info@mifsuds.com
27-29, BoIton Street, Brixham. Devon. TQ5 9BZ.
TeI: 01803 852 400 Web: www.mifsuds.com
MANUAL FOCU8
LEN8E8 N CANON/
NKON FT8
8mm f3.5 Fisheye CAF ..................... 275
8mm f3.5 Fisheye NAF ..................... 295
14mm f2.8 CAF.................................. 330
14mm f2.8 NAF.................................. 350
24mm f1.4 CAF.................................. 555
24mm f1.4 NAF.................................. 580
35mm f1.4 CAF.................................. 425
35mm f1.4 NAF.................................. 455
85mm f1.4 CAF.................................. 285
85mm f1.4 NAF.................................. 320
500mm f6.3 Mirror T Mount .............. 155
T Mounts from ..................... 11.99~20.99
VDEO LEN8E8 - CAF/NAF FT8
8mm T3.8 ........................................... 315
14mm T3.1 ......................................... 350
24mm T1.5 ......................................... 565
35mm T1.5 ......................................... 450
85mm T1.5 ......................................... 315
AUTOFOCU8 LEN8E8 N
CANON/NKON FT8
10-17mm f3.5/4.5 AT-X DX
*
................... 590
11-16mm f2.8 AT-X PRO DX II
*
.............. 650
11-16mm f2.8 AT-X PRO DX
*
................. 530
12-24mm f4 AT-X PRO DX II
*
................. 450
16-28mm f2.8 AT-X PRO FX..................... 750
17-35mm f4 AT-X PRO FX........................ 600
100mm f2.8 AT-X PRO D .......................... 400
*
Denotes non fuII frame Iens
AII prices correct 08/03/13. E&OE.
MORE CHOCE AT MF8UD8
CLASSIFIED ADVERTISING 01202 586430
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020 7138 2909
Learn Photography in
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www.lovetolearn.co.uk/digital-beginners
Kit for action
01
02
Never miss a shot with this gear to help you
capture fast-paced movement with ease
94
1 Scout Shoulder Action Camera Bag Price 49/approx $74
Keeping your camera safe and secure
when on the move is important. This
camera bag sling from Coordinate
Gear can be worn over your shoulder
with an strap that goes under your
arm to prevent it from slipping off. It
can carry your CSC with room for an
extra lens, or your compact with room
for your wallet and keys. The bag is
well made and lined with 10mm foam
for extra protection. There are also
pockets for memory cards and you
can adjust the removable padded
inserts to suit the kit you are carrying.
This versatile sling can also attach
onto other bags as part of a wider
system available from www.
coordinategear.com.
Best for: Carrying your camera
2 Canon PowerShot SX50 HS Price 449/$450
Superzooms are excellent for
capturing action as you can get
close-up shots from a safe distance.
The PowerShot SX50 HS has a huge
50x optical zoom, as well as 100x
digital zoom (although image quality is
reduced using this). The quality when
using the optical zoom of this 12.1MP
camera is excellent, even at longer
focal lengths, and Image Stabilisation
works well to keep shots steady and
free from blur. High-speed shooting is
great for getting the best shot of the
action and the ip-out LCD screen
lets you shoot from any angle. The
fantastic range of features on this
camera make it good value for money
for action photographers.
Best for: Action close-ups
Reviews
Kit for action
03
95
Monopods make
portability and
stability possible
while shooting fast-
moving action
Reviews
Kit for action
04
3 Nikon AF-S DX NIKKOR 55-300mm f4.5-5.6G ED VR (5.5x)
Price 378/$400 Or try: Canon EF 75-300mm f/4-5.6 III, Tamron AF 55-200mm f/4-5.6 Di II
A telephoto lens gives Nikon DSLRs
the extra reach needed for getting
close-up shots of the action and this
well-built yet lightweight and compact
lens has a 5.5x zoom for doing just
that. The zoom ring is wide and ridged
for easy operation and the zoom itself
is smooth. Even at long focal lengths,
Vibration Reduction helps to keep
shots sharp, and the image quality is
impressive with little chromatic
aberration. This lens does allow
autofocus operation on Nikon DX
camera bodies, however it is very
slow which is problematic when
shooting fast-moving subjects.
Best for: Zooming on a DSLR
4 Induro Alloy 8M AM25 Monopod Price Approx 50/$78
Unlike tripods, monopods make
portability and stability possible while
shooting fast-moving action, and also
allow you to get shots from high
angles that you would normally be
unable to reach. The Induro AM25
monopod has a max height of 57.9
but can fold down to 16 to t in your
kit bag. Made from aluminium alloy, it
is lightweight and has a grip and strap
to allow for secure handling. The
AM25 is dust and moisture resistant
so that it can be used in all
environments and the leg can be
quickly extended or retracted by
twisting the leg locks. This monopod
is suitable for use with DSLRs, but the
head is not included.
Best for: Steadying a camera
96
Reviews
Remote shuer releases
Take control from a distance with these clever devices
Remote shutter
releases
1 Phottix TR-90
Price 35/$52
The TR-90s shutter release
cable is 90cm long so you can
still stand a distance away.
This remote control can trigger
your cameras shutter at
regular timed intervals, which
is great for time-lapse
photography, and also features
self-timer mode. The timer
functions can be set from 1
second to 99 hours, 59
minutes and 59 seconds,
giving you plenty of exibility.
This device in incredibly easy
to use, and it feels both well
made and lightweight, but is
quite long so not as portable
as it could be.
+++++
2 Hama DCCS System Base Wireless
Remote Release Price 60/approx $91
This remote release from
Hama works using an infrared
beam that is passed between
the transmitter (in your hand
or on a tripod) and receiver
(attached to the hotshoe).
When the beam is broken, the
shutter res, and you can also
adjust shooting modes
remotely. This is excellent for
wildlife photography, or for
capturing the nishing line of a
race. This product is good
value, but the adapter cable is
available separately. However
this means that you wont have
to replace the entire system if
you get a new camera.
+++++
01
03
02
97
04
Imagine Publishing Ltd
Richmond House 33 Richmond Hill
Bournemouth Dorset BH2 6EZ
+44 (0)1202 586200

Web: www.imagine-publishing.co.uk
www.photoforbeginners.com
www.greatdigitalmags.com
Magazine team
Editor Amy Squibb
amy.squibb@imagine-publishing.co.uk
01202 586210
Designer Annabelle Sing
Sub Editor Ella Carter
Staff Writer Joanna Stass
Editor in Chief Dan Hutchinson
Photographer James Sheppard
Head of Publishing Aaron Asadi
Head of Design Ross Andrews
Contributors
Debbi Allen, Jo Cole, Natalie Denton, Dani Dixon,
Hayley Paterek, Adam Smith, Jodie Tyley, Jon White
Advertising
Digital or printed media packs are available on request.
Head of Sales Hang Deretz
01202 586442
Advertising Manager Jennifer Farrell
01202 586430
jennifer.farrell@imagine-publishing.co.uk
International
Photography for Beginners is available for licensing.
Contact the International department to discuss
partnership opportunities.
Head of International Licensing Cathy Blackman
+44 (0)1202 586401

licensing@imagine-publishing.co.uk
Subscriptions
Head of Subscriptions Lucy Nash
subscriptions@imagine-publishing.co.uk
For all subscription enquiries
Email: p4bsubs@servicehelpline.co.uk
(UK) 0844 245 6957
(Overseas) +44 (0)1795 592 815

13-issue subscription (UK) 41.50
13-issue subscription (Europe) 70
13-issue subscription (ROW) 80
Circulation
Head of Circulation Darren Pearce
01202 586200
Production
Production Director Jane Hawkins
01202 586200
Founders
Group Managing Director Damian Butt
Group Finance & Commercial Director Steven Boyd
Group Creative Director Mark Kendrick
Printing & Distribution
Printed by Wyndeham Heron, The Bentall Complex,
Colchester Road, Heybridge, Maldon, Essex CM9 4NW
Distributed in the UK & Eire by Seymour Distribution, 2 East
Poultry Avenue, London, EC1A 9PT
0207 429 4000

Distributed in Australia by Gordon & Gotch, Equinox Centre,
18 Rodborough Road, Frenchs Forest, NSW 2086
+ 61 2 9972 8800
Distributed in the Rest of the World by Marketforce, Blue Fin
Building, 110 Southwark Street, London, SE1 0SU
0203 148 8105

Disclaimer
The publisher cannot accept responsibility for any unsolicited material
lost or damaged in the post. All text and layout is the copyright of
Imagine Publishing Ltd. Nothing in this magazine may be reproduced
in whole or part without the written permission of the publisher.
All copyrights are recognised and used specifcally for the purpose
of criticism and review. Although the magazine has endeavoured
to ensure all information is correct at time of print, prices and
availability may change. This magazine is fully independent and
not affliated in any way with the companies mentioned herein.
Imagine Publishing Ltd 2013 ISSN 2046-9845
4 ioShutter Camera Remote
Price 65/$70
ioShutter allows you to control
your camera with your iPhone,
iPod touch or iPad. Connect
your iDevice to your camera
with the cable, then download
the ioShutter app and use it to
re the trigger. The free app
allows you to control the
shutter, self-timer and bulb
mode and can also be used for
time-lapse photography. It also
has clever functions such as
sound triggering and
ShakeToTake. You can unlock
even more control with the Pro
app for 6.99/$9.99. Its a very
portable product but the price
for just a cable is quite high.
+++++
3 Hahnel Giga T Pro II Remote Control
Price 73/$100
Hahnels Giga T Pro II can be
used as both a cable or
wireless shutter release.
Wireless operation works by
way of radio frequency, and the
signal can travel up to 100m,
even through walls. As well as
ring the shutter, you can also
control plenty of functions and
timers with the remote.
This is a quality product, with
clever features such as a
backlit LCD for shooting in the
dark. It is relatively easy to use
although you may need to read
the instruction manual in order
to get to grips with some of
the settings.
+++++
Using natural light is often the most attering way to illuminate your shots.
Natural light is also great because its free, readily available for you to make
the most of and using it in the proper way can result in some stunning
images. Follow our tips and then send us your best photos that use natural
light. You could be in with a chance of winning an 18x12 Forex print of one of
your photos. This print is on a light, rigid foam board and has a matte nish.
Face your model
with the sun
behind them so
they dont end up
squinting in a shot
The hour just before
sunset is when
natural light is at its
best, so time your
photo accordingly
Send us three of your best shots
today for your chance to win!
Ph
o
to
h
u
n
t: N
atural light
WIN!
To be in with a chance of winning, send us three of your best
shots using natural light by 02/05/13. Winning entries will
receive an 18x12 Forex print of one of your photos from Pixum.
Check out www.pixum.co.uk for more info.
A Forex print of one
of your shots!
Please note, Imagine Publishing has the right to substitute the prize for a similar item of
equal or higher value. Full terms and conditions available on request.
a
en
ho
W
Using a wide
aperture can create
nice patterns in the
light behind
your subject
98
For further details contact us:
Tel: 01280 827492
email: uksales@general-imaging.com
www.ge.com/digitalcameras
Capture all your precious
memories with the GE X600.
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Get to know your camera

5 golden photo rules

How geotagging works

@PFBMag just brought

Kit for wildlife photography

Use a small f number

Keep your lens close

Shoot at eye level

Shoot through glass

Zoom in so the subject

Theres no built-in ash so youll have to

The cameras slow autofocus could

Start up could be slightly quicker,

+44 (0)1202 586200

+44 (0)1202 586401

(UK) 0844 245 6957

(Overseas) +44 (0)1795 592 815

0207 429 4000

0203 148 8105

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