Digital SLR Photography 2013-03

CLASSICCOASTS
Capture seascapes like a pro

withour expert advice
PETS INFOCUS
Inspirational ideas for taking
great pictures of your pets
CHILDPORTRAITS
Howthe humble bathtubis
perfect for atteringresults
ANIMAL MAGIC!
Alookat TimFlachsincredible
MoreThanHumanproject
Rawrules!
PLUS
THEULTIMATEPHOTOGUIDE TOHELPYOUMAKE THEMOSTOFYOURRAWFILES
MARCH2013
ISSUE76
THEBESTFOREXPERT
ADVICE, TECHNIQUE
ANDINSPIRATION
TAKE
BETTER
PICTURES!
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SKILLS & IDEAS
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EDITORS WELCOME
Why its time to support your local camera shop
Daniel Lezano, Editor,
Digital SLRPhotography
IMAGE: ROSS HODDINOTT
WELCOMETOTHEMARCH2013ISSUEof
Digital SLRPhotography. Its aturbulent time
intheworldof photographyat themoment.
If youreaphotographyenthusiast livinginthe
UK, thenyoull nodoubt beawarethat
Jessops, thenations largest independent
retailer, has goneintoadministration. Even
thoughit has beenintroublefor anumber of
years, theannouncement still cameas
somethingof ashock. Jessops has beenon
thehighstreet for as longas I canremember andI havefond
memories of it. I bought myrst SLRfromJessops (waybackinthe
mid-80s!) andshoppedtherefor manyyears. However, I haveto
admit that whileinthepast youcouldvisit your local branchand
get aconcise, expert opinionandbuyproducts at reasonable
prices, inthelast coupleof years, theservicehasnt liveduptodays
of old. Ultimately, this (alongwiththeinternet) is what ledto
enthusiasts shoppingelsewhere. Thankfully, therearestill many
excellent independent photoretailers aroundtheUKthat ofer
expert advice, as well as providingkit at competitiveprices. Its
important that wesupport our local camerastores without them,
wherecanyougotolookat thelatest kit anddiscuss withexperts
whats best for our needs?Youll ndmanyof theUKs best photo
dealers advertisinginthebackof themagazinethelikes of
CameraWorld, Grays of Westminster, LCE, Calumet andPark
Cameras (tonamebut afew), all provideinvaluableexpertiseand
servicefor freesolets besuretoofer themour custom.
Well, that doesnt leavememuchspacetohighlight whats
insidethis months issue, whichis nobadthing, as it means youcan
discover our diversemixof phototechniques, inspirationand
expert advicefor yourself. Witheverythingfromportraits to
landscapes topets, alongwithgettingthemost fromyour Raw
les, youwont beshort of ideas! Finally, dont forget that theFocus
onImagingshowtakes placeat theBirminghamNECat thestart of
March. TheDigital SLRPhotographyteamwill bewandering
aroundtheshowlookingat all thelatest products andtakinginthe
oddseminar, soif youdoseeanyof us, dowalkover andsayhello!
Haveagreat monthtakingpictures. All thebest!
Contents
119
main
test
RegulaRs
keepingyouinthe pictuRe!
03editorspage
Daniel Lezanochampionssupport for
our local photographystores
06exposure
Packedwiththelatest newsfromthe
industrythelowdownonJessops, new
product releases, bookreviewsandmore
22Readershowcase
Shotstakenbyour readersthat couldgive
theprosarunfor their money
52expertcritique
Your imagesreviewedbyour experts
57picturesubmissions
Howtosendusyour best images!
154nextissue
Alittlelookat whatscomingupinour
April 2013issue
technique
impRove youRphotoskills
30techniqueofthemonth
Our toptenphotoideastocapture
fantasticportraitsof your pets
58mastercoastlines
All theadviceyouneedtostart taking
amazingseascapeshotstoday
71Budgetphoto
Longexposuresfor lessgrabyourself a
3weldingglasslensandget shooting
77creativeeye
Threephotographerstakeonthis
monthschallengetoshoot candles
85thecompletepicture: Rawpart1
If yourenot yet usingRaw, our in-depth
expert guideexplainswhyyoushould
97Digital Darkroom
Improveyour post-processingskills
inspiRation
the woRlDof pRophotogRaphy
104cuttingedge
Alookat theimpressiveworkof pros
TimFlachandSachaGoldberger
testcentRe
latestgeaRtesteDByexpeRts
119canoneos6D
DoesCanonsafordablefull-frameDSLR
producethegoods?Wefndout
123Digital slRandcsclistings
Up-to-datelistingsandspecifcations
128tested&rated
CaptureOnesoftware, Gitzoslatest
monopodandLexars25-in-1cardreader
getthe pictuRe
simple stepstoBetteRpictuRes
36Backlitrainyportraits
Giveyour portraitsabit of sparkleby
learninghowtobacklight rain
40mistylandscapes
Get out earlywhenmist isforecast to
capturebeautiful ethereal landscapes
43Bathtimeportraits
Natural light andbathtubsaretheperfect
combofor fatteringchildrensportraits
46capturewintervistas
Quicktipstobravethecoldandmakethe
most of snowandiceonthelandscape
48icestill-life
Get upclosetofrozenpuddlestoshoot
abstract shotsof patternsinice
50five-minutephotoshop
Howtousecolour graduatedfltersto
giveskiesmoreimpact
suBscRiBe toDay!
turntopage 114tofindout
aboutourlatestsubs offers
58
master
yourskills
4/ Digital slRphotogRaphy/ march2013
35
getthe
piCture
77
Creative eye
71
budget
photo
104
Cutting
edge
97
digital
darkroom
March2013/Issue76
LEARNFROMthE UKsLEADINGEXPERts
Ross Hoddinott is an
award-winning nature
photographer and
author of numerous
photo books. www.
rosshoddinott.co.uk
Ross
hoddinott
Regular contributor
Paul is a professional
portrait and fashion
photographer whos an
expert in lighting and
specialises in location
and studio shoots.
Paul Ward
Top fashion and
portrait photographer
Clive Arrowsmith has
photographed many of the
worlds leading celebrities.
www.clivearrowsmith.com
A leading portrait and
fashion photographer,
Bjorn runs a series of
portrait workshops in
Cornwall. www.
bjornthomassen.co.uk
Bjorn
thomassen
Hes the king of rock
photography and spent
most of 2008 on tour, as
the ofcial photographer
for Iron Maiden!
www.picturedesk.co.uk
John
McMurtrie
A creative genius,
Benedict is a
successful professional
photographer
and digital artist.
www.benedict1.com
Benedict
Campbell
Clive
Arrowsmith
A highly successful
landscape photographer,
regular contributor
Adamis the author of the
photography book
The Dorset Coast.
www.adam-burton.co.uk
AdamBurton
A pro for two decades,
Lees one of the best-
known names in the
business, with 20
books to his name and
worldwide image sales.
www.leefrost.co.uk
LeeFrost
Martyn is an award-
winning journalist and
has been involved in
photography for decades,
including working as a
pro photographer and
editing photo magazines.
MartynMoore
Helen is an immensely
gifted landscape
photographer, who has
recently made the move
to full-time professional!
www.helendixon
photography.co.uk
helenDixon
The Chief Sports
Photographer for The
Sun is one of the worlds
best and hes exclusive to
us! Followhimon Twitter
at: dickiepelham1
We catch up with one of
our oldest but youngest
Digital SLR Photography
contributors, Lara Jade,
to fnd out about her
journey to the top of the
fashion photo industry.
Richard
Pelham
Jons spent most of his
career as a successful
travel photographer,
covering the globe to
provide top stock library
Corbis with his unique
style of travel images.
Jonhicks
Brett has quickly
established himself as
one of the UKs leading
portrait and social
photographers.
www.brettharkness
photography.com
Brett harkness
One of the very best
celebrity and music
photographers in the
business and a
genuinely nice guy.
Deserves a peerage!
www.andyearl.com
AndyEarl
March2013/ DIGItALsLRPhOtOGRAPhY/ 5
LaraJade
6 Swan Court, Cygnet Park, Peterborough, Cambs PE7 8GX.
Phone: 01733 567401. Fax 01733 352650
Email: enquiries@digitalslrphoto.com
Visit us online at: www.digitalslrphoto.com
Editorial
To contact editorial phone: 01733 567401
Editor Daniel Lezano
daniel_lezano@dennis.co.uk
Art Editor LukeMarsh
luke_marsh@dennis.co.uk
DeputyEditor CarolineWilkinson
caroline_wilkinson@dennis.co.uk
FeaturesWriter JordanButters
jordan_butters@dennis.co.uk
Editorial Co-ordinator JoLezano
jo_lezano@dennis.co.uk
Designer LukeMedler
luke_medler@dennis.co.uk
Editorial contributors this month: Marc Adamus,
Tim Flach, Lee Frost, Sacha Goldberger,
Michael Grecco, Ross Hoddinott, Joey L,
Paul Ward & Donna Willingham
Contact us
If youre having trouble fnding us in your local
area, please let us know by phoning 01733 567401.
Advertising&Production
To contact advertising phone: 0207 907 6651
GroupAdvertisingManagerAlexSkinner
alex_skinner@dennis.co.uk
SalesExecutivePeterSmith
peter_smith@dennis.co.uk
Display &Classifed Sales: 0207 907 6651
Senior ProductionController
AnishaMogra02079076067
anisha_mogra@dennis.co.uk
Publishing&Marketing
Felix Dennis Chairman
James Tye CEO
Brett Reynolds COO
Ian Westwood MDTechnology
John Garewal Publishing Director
David Barker Newstrade Director
Claire Scrase Marketing Manager
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Digital SLR Photography is available for licensing overseas.
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Back issues for UK cost 5 (includes p&p).
To order by credit card, phone: 0844 249 0482 or send a
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Digital SLR Photography is published on the
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Photography is published under license from
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in the licensed material belong to Felix Dennis, Halo or
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Digital SLR Photography is a registered trademark.
First reader to come up to one of the team at Focus and
say Theres no place like home wins a goodie bag!
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Digital SLR Photography is printed in the UK.
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Photography is copyright and unauthorised reproduction
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85
RawPhOTOgRaPhy
Themagazinebyphotographers for photographers
Wetakethegreatest prideinthefact that our magazineisproduced
byleadingphotographerswhoareall passionateabout taking
great pictures. Manyof our contributorsareawardwinnersand
all areexpert digital SLrphotographers, soyoucanbesurethat
theyregivingyoutheverybest advice. Whether youlovetoshoot
landscapes, portraitsor nature, youcanbe100%certainthat our
extensiveteamof expertsisfullycommittedtogivingyouthebest
techniqueadvicetohelpyoucreateyour best ever images.
PHOTOGRAPHERSERGEYSEMENOV
GOESTOGREATHEIGHTSTOCAPTURE
ABIRDS-EYEVIEWOFTHEWORLD
IMAGE: SERGEY SEMENOV
WHATSHOTINTHEWORLDOFPHOTOGRAPHY
EXPOSURE/3.13
THEBIG
APPLE
PHOTOINSPIRATION EXPOSURE/3.13
8/ DIGITAL SLRPHOTOGRAPHY/ MARCH2013
THEWHOLE
WIDEWORLD
AIRPANOIS THECOMINGtogether of a
groupof Moscow-basedphotographers
whohavecapturedmesmerising
panoramicimages of over 120locations
worldwide. Theprojects aimis todeliver
someof themost amazingsights that the
worldhas toofer direct toyour computer
throughtheir breathtaking360 panoramic
images. Theteamshoot fromhighabove
theworlds biggest cities andbest-known
locations, beforepainstakingly stitchingthe
images together. Digital SLRPhotography
caught upwithphotographer Sergey
Semenov, whoshot thestunningaerial
panorama of NewYork City ontheprevious
page, todiscuss theproject. Wenormally
shoot fromair balloons or camera-
equippedRChelicopters togiveus a unique
aerial viewof someof theworlds iconic
landmarks. Usually panoramicimages are
shot usinga tripodandpanoramichead
wehover ina helicopter ina singleposition
andthenget thepilot torotatearounda
singleaxis tocapturetheseimages.
I usea CanonEOS 5DMk II anda
selectionof lenses, suchas theEF 16-35mm
f/2.8L, EF 24-70mmf/2.8L, EF 70-200mm
f/2.8L andSigma 10mmand15mm
sheyes. I alsousea Really Right
Stufballheadanda home-
maderotator. Theimages
arecombinedusingeither
PTGui or Autopano
software, beforenal
editinginPhotoshop.
Capturingtheimages
is oftentheeasy part, as
Sergey explains: The
techniques that weve
masteredmakes
capturingtheimages
relatively easy. Thetricky
aspect is oftengettingthe
relevant permits toshoot at a
location, suchas at UNESCOWorld
Heritagesites liketheChrist theRedeemer
monument inRiodeJaneiro,Brazil, or the
Great Pyramids inCairo, Egypt. Wevehad
somepretty intimidatingmoments
involvingpermits toshoot inother
countries, includinghavingour equipment
andmemory cards temporarily
seizedby ofcials inCairo. After
explainingour causeand
showingthemtheimages,
wewereallowedto
continueworking.
As spectacular as the
images look inprint,
they really comealive
whenviewedonthe
AirPanowebsite, which
allows youtorotate, pan
andzoomintoyour
hearts content, as well as
changingthepoint of view
completely immersingyouin
thelocation. Takea look for yourself
at: www.airpano.com.
Youcanseemoreof Sergeys personal
work at: www.sergesemenov.com.
OpeningImage: Central Park, NewYork. Sergey
shotthe843-acreparkfromahelicopter.
1: AsunrisepanoramicimageoftheChristthe
Redeemerstatueoverlookingacloud-covered
RiodeJaneiro, Brazil.
2: TheAirPano360virtual touroftheJkulsrln
IceLagooninIcelandistrulybreathtaking.
3: Sergeyshotthismind-bendingpanoramic
self-portraitfromahotel windowinNewYork.
4: TheAirPanoteamsometimesuseremote
control helicopterscapableofcarryingadigital
SLRtocapturetheirpanoramas.
1
2
3
4
WEVEHAD
SOMEPRETTY
INTIMIDATING
MOMENTS,
INCLUDINGHAVING
OUREQUIPMENT
SEIZED
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MARCH2013/ DIGITALSLRPHOTOGRAPHY/ 9
COMPETITIONNEWS EXPOSURE/3.13
THEANNUAL NATIONAL GeographicPhoto
Contest attracts entries fromall over the
world, spoilingjudges for choicewithsome
truly outstandingimages. The2012contest
provedtobeoneof thebest yet.
Thecompetitionwas split intothree
categories Nature, PeopleandPlaces
andwithover 22,000images from150
diferent countries all vyingfor thetopprize,
competitionwas erce. Thegrandprizeand
Naturecategory awardwent toAshley
Vincent of Thailandfor his captivatingimage
of anIndochinesetigress shakingherself
dry. Alongsidetheprestigeandbragging
rights of winningthecontest, Ashley nets
himself a cool USD$10,000alongwitha trip
totheNational Geographicphotography
seminar inWashington, D.C.
Thewinner of thePlaces category was
chosenas NenadSajicof Croatia for his
imageof thewindswept Matterhorn
Mountainat full moon, andMicahAlbert of
California took homethePeoplecategories
for his powerful image, Amongst the
Scavengers, depictinga womanlivingin
Kenyas Municipal Dump.
ROAR
TALENT
Theresults of the2012National
GeographicPhotoContest are
in, andherearethewinners
Controversy andphotocontests seemto
gohandinhandinrecent times. Thewinner
of thePlaces category was originally named
as Harry Fischfor his imageof peopleonthe
banks of theRiver Ganges. However, the
imagewas disqualiedas thephotographer
chosetocloneout a plasticbagat theedge
of theimage. HadFischchosetocropthe
scenetoremovetheofendinglitter, his
imagewouldnot havebeenexcluded.
Toviewall of thewinningimages, visit:
www.ngphotocontest.com
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PRODUCTNEWS EXPOSURE/3.13
NIKONS1 J1 provedtobeoneof 2012s
bestsellingCSCs andtherangeis now
bolsteredby twobrand-newmodels.
Thesuper-speedy Nikon1 J3ofers a
14.2-megapixel sensor withinanaluminium
body. It is claimedtobetheworlds smallest
interchangeable-lens camera andofers the
worlds shortest release-timelagat thetime
of its launch, whilethe10.1-megapixel
Nikon1 S1 is therst model intheS-Series
andis aimedat fuss-freephotography.
Bothhavea maximumISOratingof 6400,
canshoot upto60frames-per-second,
ofer Full HDvideoandincorporatethe
NikonEXPEED3Aimageprocessor. The
Nikon1 J3with10-30mmzoomcosts
580, whiletheNikon1 S1 with11-27.5mm
zoomcosts 480. Bothcameras are
availablenow.
Twolenses werealsoannouncedat the
show: the4601 NIKKORVR6.7-13mm
f/3.5-5.6ultra wide-anglezoomlens
(availableinMarch) andthe4801 NIKKOR
VR10-100mmf/4-5.610x zoomlens.
www.nikon.co.uk
NIKON EXPANDS ITS
MIRRORLESS RANGE
TwonewNikon1 models announcedat CES inLas Vegas
PREMIUM
COMPACTS
If yourelookingfor a high-quality
retro-styledcompact, thentwonew
models may appeal. TheFujilmX20is
anupdateof thepopular X10and
boasts a newly developed12-million
pixel 2/3inX-Trans CMOS II sensor and
EXRProcessor II, whichclaims to
increaseresolutionby 20%andreduce
noiseby over 30%. The4x zoomis
equivalent toa 28-112mmf/1.8-2.5
lens, whiletheHybridAF claims tobe
theworlds fastest at launch. TheX20is
availableinblack or silver andblack,
andcosts around500.
www.fujilm.co.uk
The400Pentax MX-1 ofers
12.1-megapixels, a 1/1.7inCMOS
sensor andintegral 4x zoom. Other
features includea 3intiltingscreen,
built-inShakeReduction, in-camera
Rawandpop-upash. TheMX-1 is tiny
at just over 12cmwideandweighs just
363g. Youvea choiceof silver or black
nish. www.pentax.co.uk
NIKONSODDCOUPLE
TWOVERYDIFFERENTlenses havebeenannouncedby
Nikon. The670FX-format 18-35mmf/3.5-4.5GED
boasts improvedoptics, aSilent WaveMotor andis
lightweight at 385g. TheAF-SNIKKOR800mmf/5.6EFL
EDVRsuper-telephotois adiferent beast entirely,
weighing4,590gandoferingtheultimateinpulling
power. Its suppliedwitha1.25xteleconverter that
boosts its focal lengthto1,000mm. If youfancyone,
start savingbeforeits launchinAprilit costs 16,000!
www.nikon.co.uk
GETSOCIAL
Get involvedwiththeteambyjoiningour
newsocial channels. Sharephotos, opinions
andkeepuptodateonthelatest news.
Facebookwww.facebook.com/digitalslrphoto
Twitter www.twitter.com/digitalslrphoto
Flickr www.ickr.com/groups/digitalslrphoto
Scan this QR code to be taken to our Facebook page
PRODUCTNEWS EXPOSURE/3.13
GIOTTOSREINVENTSTHETRIPOD!
GIOTTOSHASDEVELOPEDanewrangeof tripods that
useaY-Tubecolumnat its centrethat allows thetripodto
beupto30%morecompact whenstored. TheSilkRoad
Series YTLtripods consist of two-wayvertical-only
centrecolumns andmodels withaversatile3Dcentre
column. Availableinaluminiumor carbon-bre, thereare
threeweight-capacitybrackets 5kg, 8kgand10kg
andeither threeor four legsections. Well betestingone
of theseinnovativemodels soon.
www.giottos-tripods.co.uk
NEWSONYLENSES
USERSOFSONYSNEXrangehavetwonewoptics
tochoosefrom. The20mmf/2.8pancake(efective
focal length: 30mm) is availableinMarchandis
ideal as a lightweight standardlens, albeit witha
wider thannormal viewingangle. The18-200mm
f/3.5-6.3OSS (efectivefocal length: 27-300mm)
boasts an11x focal rangeandis optimisedfor video
as well as photography. Prices tobeconrmed.
www.sony.co.uk
SAMSUNGSLATEST
FLAGSHIPNX
SAMSUNGSSTYLISH
NX-series ofers someof
themost innovativeand
feature-packedCSCs. The
rangenowboasts the
NX300, whichfeatures a
20.3-megapixel APS-C
CMOS sensor, WiFi, 3.31in
tiltingAMOLEDmonitor, a widesensitivity rangeof
ISO100-25600anda continuous shootingrateof
8.6frames-per-second. Alsoannouncedis theNX
45mmf/1.82D/3Dlens, aninnovativeopticthat
allows stills or videotobeshot ineither 2Dor 3D.
Bothareavailablelater this year, whileprices areyet
tobeconrmed. www.samsung.co.uk
SHOOTOFFTHEGRIP
BALLHEADSwithpistol grips arent
that new, but Vanguards GH-
300Tis oneof a kindthanks tothe
built-inshutter release. It allows
youtoshoot whilepanning, which
couldhelpsports andwildlife
photographers captureimages
they might otherwisemiss. It is
availablenowfor 200(171).
www.vanguardworld.co.uk
ANINTERCHANGEABLE
-LENSANDROID!
POLAROIDHASrevealedthe
iM1836, a sleek-lookingcamera that
is therst tousetheAndroid
operatingsystem. Therearevery few
details currently availableapart from
thefact it ofers WiFi, Bluetoothand
shoots Full HDvideoas well as still
images. Lookingvery similar toNikons 1
J1 but witha neat white/black nish, theiM1836is expectedtogo
onsalewitha 10-30mmkit lens later this year. www.polaroid.com
TAMRON
SUPERZOOM
MICROFOUR-THIRDSusers
after asuperzoomshouldlookat
Tamrons 14-150mmf/3.5-5.8Di
III VC. It boasts anefectivefocal
lengthof 28-300mm, three
aspherical lens elements, a
steppingmotor for fast andsilent
AF, VibrationCompensationand
weighs only350g. Priceand
availability tobeconrmed.
www.intro2020.co.uk
PRIMETIME
FORSIGMA
SIGMAHASANNOUNCEDfour
primelenses. The30mmf/1.4
DCHSMis availableinCanon,
NikonandSigmattings and
withanefectivefocal lengthof
45mm, canbeusedas a
premium, fast-aperture
standard. The19mmf/2.8DN,
30mmf/2.8DNand60mmf/2.8
DNareprimes designedfor
mirrorless cameras. TheMicro
Four-Thirds ttings givean
efectivefocal lengthof 38mm,
60mmand120mmrespectively,
whilewhenusedwithSonyNEX,
thefocal lengthhas a35mm
equivalent of 28.5mm, 45mm,
90mm. Prices andavailability
areyet tobeconrmed.
www.sigma-imaging-uk.com
FUJIFILMX100S
FUJISX100developeda cult status
andhas nowbeensupersededby the
X100S, oferinga new16.3-megapixel
APS-CX-Trans CMOS II sensor with
in-built PhaseDetectionpixels for
improvedAF speeds. Thenewsensor
andprocessor claimtoincreaseresolutionby 25%andreducenoise
by 30%whencomparedtotheX100. TheX100S alsoboasts a new
autofocus systemthat canswitchbetweenphaseandcontrast
detection. It sports thesameretrochicexterior as theoriginal andis
availablemid-February for around1,100. www.fujilm.co.uk
SPEEDBOOSTER
WHATWOULDYOUsayif
wetoldyouthat therewas
anadaptor that couldmake
your current lenses wider
andfaster?Well, meet the
Metabones SpeedBooster!
Wewont gointothe
specics, but theadaptor
acts as afocal reducer, with
ax0.71 reductionratio
meaningthat youcanget
almost full coveragefroma
full-framelens onanAPS-C
sensor, andgainanextra
stopof light. Theadaptor is
pricedbetweenUSD$400
andUSD$600andis
currentlyonlyavailablefor
SonyNEXandFuji X
cameras inCanonEF, ALPA
andLeicaRtments.
However, aMicroFour-
Thirds versionis apparently
ontheway.
www.metabones.com
PHOTONEWS EXPOSURE/3.13
INTERNATIONALLY-ACCLAIMED
photographer Joey L has madea
namefor himself withhis unusual
approachtoportraiture. As well
as his commercial andcelebrity
work, Joey is well-knownfor applyinghis
styletoindigenous tribal subjects inplaces
likeEthiopia, Kenya andSudan. Wecaught
upwithJoey todiscuss his latest project,
whichheis currently seekingfundingfor,
calledPeopleof theDelta.
Theproject, whichis primarily movie-
based, cameabout becauseI recently had
thechancetodirect a coupleof videos and
it wouldbea great opportunity toapply this
skill-set tomy personal work. I seeit as not
only a chancetobringmy photography to
life, but Ill alsoget totell thestory of the
peopleIvemet andtheir daily struggles.
Weveall seentribal documentaries, but
Joeys approachmakes this project stand
out. My photographs arent shot ina
documentary style. I seethis as beingmore
of anart lm, shot ina very cinematicstyle
usingsimilar lightingtomy images. I havea
script writtenandthelmhas a distinct path.
However, what I discoveredfrommy recent
scoutingtripwas that thepeoplearevery
goodat improvisation. Noneof themhave
ever acted, or seena movie, but as thestory
covers everyday events for them, they dont
ndany difculty inportrayingthis
realistically. Becauseof this, I havetweaked
thescript tofollowa narrativerather than
gettingcaught upintoomuchdialogue
theresult will bemorenatural.
HavingvisitedEthiopia several times, its
clear Joeys passionis redupwhentalking
about thetribespeople. This part of the
worldis anamazingplacetovisit as a
photographer. Wedependonvisual
appearancetotell a story, sowhen
somebody displays exactly whothey are
andwhat theyvedoneintheir lives through
thescars they wear or howthey decorate
themselves, thats theperfect subject. Ona
broader scale, thesepeoples way of lifeis
increasingly under threat by changing
ecological andpolitical pressures. I hopethe
lmhighlights their struggle. Also, well be
makingpayments anddonations tothe
villages andthepeoplewework with.
Joey has chosentocrowd-fundthe
project throughtheKickstarter website, an
increasingly popular methodof sourcing
funding. This work is closetomy heart and
thelast thingthat I want is a studiostepping
inandchangingthings toglorify the
situation, hesays. Crowd-fundingallows
metomakethis project a reality without
PEOPLEOF THEDELTA
JoeyLslatest project hashimraisingfundsandawarenessinAfrica
compromisingontheendresult. Early
backers gainaccess tocool features, such
as anexclusivebehind-the-scenes tutorial
featurette, a one-to-oneportfolioreview
andcritiqueover Skypeandsigned
gallery-quality prints.
Joeys target fundis $150,000, which
hes hopingtoreachby 19March. To
support theproject, scantheQRcode
above, or visit http://kck.st/WoJ2ag
INTERESTEDINPHOTOGRAPHY?Fancyadayout?Thenstart
planningatriptoFocus onImaging, theUKs biggest photo
show. Takingplaceat theBirminghamNECfromSunday3to
Wednesday6March, it provides youwithachancetoget
hands-onwiththelatest photokit, pickupashowbargainfrom
oneof thetradestands, or benet fromseminars covering
everythingfromlightingtopost-production. If yourereally
lucky, youmight evenbumpintooneof theDigital SLR
Photographyteamwanderingaround! Tickets cost 10onthe
dayor 8onlineinadvance. www.focus-on-imaging.co.uk
VIEWTHEWORLDOF
PHOTOGRAPHYINFOCUS
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PHOTONEWS EXPOSURE/3.13
THESTARTOF 2013brought sadnews for
theUKphotoindustry. Following
disclosurethat it was inserious nancial
difculties last year, high-street
photographicretailer Jessops fell into
administrationon9January 2013, with187
UKstores closingtheir doors for thenal
timejust a fewdays later, resultinginover
1,800joblosses.
Jessops rst openedin1935as Jessop
of Leicester; by 2003it hadexpandedto
250high-street stores andhada strong
onlinepresence. However, competition
fromother onlineretailers combinedwith
thechangingphotography market saw
Jessops struggletomakea prot inrecent
years, reportedly owingHSBC30million
whenadministrators werenally calledin.
Larger manufacturers suchas Canon
andNikonwerekey toJessops business
andbothexpressedregrets regardingthe
news. Canonsaid: Canonis disappointed
tohear of thenews regardingJessops,
havinghada strongbusiness relationship
withthecompany for many years and
particularly followingour eforts to
support themduringrecent difcult
tradingconditions. Canonremained
willingtosupport, ina reasonableway, the
continuationof thebusiness. Closureof
thestores andthedecisionnot tocontinue
tradingwas that of theadministrators. Any
JESSOPS GOES BUST
actiontakenregardingJessops future
sincetheadministrators wereappointedis
thedirect consequenceof their
management of thesituation.
Nikonhas alsosaidthat despitereaching
anagreement onhowit couldsupport
Jessops throughdifcult times, it wasnt
seeingtheresults it expected. John
Walshe, ManagingDirector of NikonUK
toldDigital SLRPhotography: Nikon
sincerely regrets that Jessops has gone
intoadministration. Jessops has beena
valuedcustomer for many years andNikon
has continuously supportedJessops.
Ona personal note, Paul Reynolds of
Sigma ImagingUKsaid:Its incrediblehow
many peopleinthis industry startedtheir
career as a sales assistant at Jessops
myself included! Thenews, althoughsad,
wasnt entirely unexpectedandas such
Sigma hada prudent tradingrelationship
withJessops. Our thoughts gotothe
members of our industry whonownd
themselves seekingemployment.
TheMasters Photography Association
has ofereda years freemembershipto
former Jessops employees wishingtoturn
tofreelancephotography work.
Thenews poses thequestionof howwe
will buy photokit inthefuture. Arethedays
of try beforeyoubuy gone? Air your views
at: www.facebook.com/digitalslrphoto
WHATDO
YOUTHINK?
Joininonthe
discussionat
www.facebook.com/
digitalslrphoto
Sowherenow?
INDUSTRYUPDATE
Howareyouafected?
I recentlypaidfor anewcamera
fromJessopswhichhasnt yet
arrivedwheredoI stand?
Jessopshasstatedthat customers
will not receivetheir orders. If you
paidfor your order, inpart or full,
usingacredit card, werecommend
that youcontact your cardissuer for
advice. If not, youmaystill havea
chanceof claimingbackmoneyviaa
claimformat thefollowinglink:
http://pwc.to/WQ0TI7. Alternatively,
contact theJessopsGroupHelpline
on01132894422.
I purchasedalensfromJessops
that hasdevelopedafault amI
coveredunder itswarranty?
Checkyour lensmanufacturers
websitefor thefull detailsof its
warranty, astheseshouldstill be
honoured. If youtookout aJessops
warrantyor careplan, we
recommendthat youcontact the
helplineonthenumber above.
I haveaJessopsgift voucher
isthisworthlessnow?
Yesunredeemedcardsand
voucherswill not behonoured. Fill
out theclaimformherehttp://pwc.
to/WQ0TI7youmayget arefund.
I droppedsomelmintoJessops
tobedevelopedof-sitehowdoI
get mylmand/or printsback?
Printsorderedfor homedeliveryare
beingprocessedbyCeWe. If your
order wasbeingsent backtoJessops
for collection, youcancontact CeWe
on01926463117tondout itsstatus.
CanI get arefundonmyJessops
academycourse?
Pre-paidacademycourseswill not be
refunded, andthecourseswill not
takeplace. Contact your credit card
issuer or call 01132894422.
NickTsiatinisItsbeeninevitablefor
yearsnow. I knowof numerouspeople
whowouldvisit Jessopstoplaywiththe
equipment andget freeadvice... and
thenthankthesalespersonfor his/her
timebeforewalkingout andbuyingit
oftheinternet.
KevWarrilowThefact isthat Jessops
wasalwaysmuchmoreexpensivethan
nearlyeverywhereelse...
EmmaVanLooyI usedtoworkat
Jessopsandeveryonewasawareof the
difculties. Unfortunatelyit wasonlya
matter of timebeforethishappened.
KeithNuttall I bought myD300from
Jessops, asit waslocal, but mainlyfor
thegoodprice. Unfortunately, the
knowledgeof salesstafhasgenerally
beenpoor inmyexperience, andtheir
lenspriceswereunrealistic.
What our Facebookmembershadtosay
Aquickinternet searchwill provide
youwithyour nearest cameraretailer.
Youll alsondmanyreputablephoto
retailersadvertisinginthismagazine.
Hereisashortlist of sometoconsider:
LondonCameraExchange:
www.lcegroup.co.uk
WEXPhotographic:
www.wexphotographic.com
ParkCameras:
www.parkcameras.co.uk
Cameraworld:
www.cameraworld.co.uk
Graysof Westminster:
www.graysofwestminster.co.uk
PICKSOFTHEMONTH EXPOSURE/3.13
1) CAMERA
I wouldpackmyHasselblad
HD4D-50; I knowI canalways
count onit todeliver perfect les
everytime. Idliketothinkthat Id
spendmytimeontheisland
shootingwiththenotionthat if I
wereever toberescued, I could
haveanexhibitionfull of beautiful
largeprints, full of detail,
documentingmytimethere!
6) APHOTOTAKENBY
ANOTHERPHOTOGRAPHER
Its alittlebigsoIdhavetocheck
myluggageallowance, but my
favouriteimageis StevenMeisels
UntitledVII, fromhis series Four
Days inLA: TheVersacePictures,
2000displayedintheWhiteCube
galleryinLondon. It nowsits right
outsidemyofceandI cant live
without it.
2) LENS
It has tobetheHasselblad
50-110mmf/3.5-4.5lens soI can
cover bothwide-angleand
telephotoshots without switching
lenses. Howstrict arecustoms on
theisland?If I couldget awaywith
it Idalsotrytoslipinmy
HasselbladHCMacro120mmf/4
lens, too, sothat I couldshoot
starshtomyhearts content.
4) PHOTOACCESSORY
I wouldpackmyTifenlter kit
containinggraduatedNDlters so
that I couldmaketheskies rich
withcolour. I enjoylayering
multiplegraduatedlters and/or a
polariser toenhanceand
manipulatethesky.
3) ONEPHOTOCOMPANION
I wouldtakemyfavouritemodel in
theworld, HoudaShretah. We
haveworkedtogether for many
years, sheis always amazingly
funnyat theright timeandwould
beagoodmusetophotograph
whiledesertedonanisland!
Photocastaway: #2Michael Grecco
Wevetheoreticallypackedcelebrityandcommercial photographer Michael Greccoof
toadesert islandtospendtherest of his days. Wevebeenkindenoughtoallowhimto
takealongafewphotography-basedluxuries ndout herewhichitems hechose...
5) ONEOFYOURPHOTOS
It wouldbemyrst published
conceptual portrait, shot in1991.
Its of writer andperformer Barry
Yourgrauposingas aDodgehood
ornament. Hehadwrittena
tongue-in-cheekarticleabout
howhis 67DodgeDart was the
coolest andmost phalliccar inthe
car capital of theworld, Los
Angeles. It seemedappropriate!
Everyoneloves a goodbehind-the-scenes videoandthepeopleat Phlearnproduce
someof themost informativeout thereat themoment. Theconcept of blowinga
sparkler intoa models faceis denitely not onethat youshouldtry at home, but its
worthnotingthat themodels eyes areclosedduringtheshoot andher openeye
appears tobeclonedinlater. Thevideoillustrates howthey overcomesomeof the
challenges of theshoot, includinganintricatefour-light set-upusingcolouredgels
andhowtobest treat andinteract witha model onset. Great video! Towatchit, visit:
http://bit.ly/YkfTTGor scantheQRcodeabove.
VIDEOOF THEMONTH
Videoof themonth
1
2
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5
PHOTOOPINION EXPOSURE/3.13
Appof themonth
EYEEM
PRICE: FREE
PLATFORM: IOS/
ANDROID/ WINDOWS
WWW.EYEEM.COM
WhileInstagramstill has
thelions shareof the
market whenit comes to
retro-lter-basedsocial
imagingapps, its recent
terms of serviceupdate
has seenanewcomer
receiveasurgein
popularity. EyeEmofers
retrolters andframes in
asimilar vainto
Instagram, but indoing
soofers aninterface
andtaggingsystemthat
is not onlyeasier and
quicker touse, but looks
alot better, too! Whats
more, unlikeInstagram,
thelters andframes
canbeappliedpre-
imagecapture, soyou
canseewhat your nal
imagewill look like
beforeyousnapit. Well
wortha look!
DARRENTHORNDICK,
ENTHUSIASTPHOTOGRAPHER,
WWW.DARRENTHORNDICK.CO.UK
I feel that photography comprises
threemainaspects: composition,
lightingandsubject matter. Agood
photographhas anevenmix andblend
of thesethreeaspects that work
together inharmony toproducea
stunningimage, anda photographers roleis to
control theseaspects as best as wecan. Although
wecanstill utilisetheskills of compositionand
subject matter whenshootingwitha mobilephone,
they takeaway our ability tocontrol theexposureof
a scenefor themost part. Acamera shootingin
automodesuchas a mobilephonewill always try to
get tothemiddlegroundinterms of WhiteBalance
andexposure, whichis not necessarily what we
want. Retainingcontrol of theexposureby way of
controllingISO, apertureandshutter speedis what
separates a snapshot froma photograph. Imnot
sayingthat camera phones dont havetheir uses in
aidinga photographer I useminetoscout
locations, check sunset times andpositions and
alsotoquickly work out time-lapsescales. The
smartphones wehavetoday arevery powerful at
what they do, but beingusedas a replacement for a
fully manual camera is not oneof those. I put the
riseinpopularity of mobilephonephotography
downtoconveniencemorethananythingelse
they canproducedecent enoughquality images
andthey arealways inour pockets. For that reason,
I canseethemeventually takingover thecompact
point-and-shoot market, but as far as beingused
for what canbeconsideredserious photography?
I cant seeit happening.
DANIELLEZANO, EDITOR&
ENTHUSIASTPHOTOGRAPHER
If youthink that mobilephone
photography is not a validway of
takingpictures, thenthechances are
youvenot usedoneof thelatest
models. I consideredmobiles as only t
for snapshots until I startedusingan
AppleiPhone4a coupleof years ago. Its ve-
megapixel camera may not challengethequality of
optics of DSLRlenses, but its still very good. More
importantly, theaccess toanarsenal of apps allows
it tocapturevery creativeresults. Hipstamatic, in
particular, changedmy viewof iPhoneography and
convertedmefromsceptictofanaticwithin
minutes of usingit. Imnot aloneinhavingthis view
countless friends IveshownHipsta images to
immediately bought Hipstamaticandcontinueto
useit regularly. Havingjust acquiredtheiPhone5,
Imkeentoseehowits eight-megapixel camera
performs. Now, theres noargument that, interms
of versatility, a digital SLRoutt ofers far morethan
mobilephones ever can, but thats not anargument
against mobiles beingviabletools for photography.
My homehas several largeframedprints onthe
walls that weretakenontheiPhone4and, trust me,
youdnever knowthey wereshot ona mobile. Imin
nodoubt that interms of imagequality, thelatest
generations of mobiles deliver incredibleresults.
Thebest thingabout usingmobiles as cameras is
that they arealways closetohandandready touse
inseconds. Addthefact youcanedit images onthe
movebeforesharingthemwitheasevia email, text
or social media, andits clear themobileis the
ultimateinconvenienceandspeed. If youvenever
takeniPhoneography seriously, giveit a shot you
might bepleasantly surprisedat theresults.
FOR&AGAINST...
MOBILEPHONE
PHOTOGRAPHY
What youhadtosay...
Weaskedour Facebook fans if imagecreationusing
a mobilephonewas a validformof photography
YES: 84% UNSURE: 4%
NO: 12%
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KITTIP#1
STUCKFILTER
If youhavealter stuck
ononeof your lenses
that just wont budge,
wraptwoor three
rubber bands around
thelter ringfor extra
grip. If this doesnt work,
press theendof thelens
downintotherubber
soleof ashoeandtwist
theshoeandlens in
oppositedirections.
Problemsolved!
BOOKS EXPOSURE/3.13
Africa
25/ Michael Bright / Quercus Natural History /
ISBN978-1-78087-914-7
Part of theallureof any DavidAttenborough
documentary is thebreathtakingimagery
captured. Youcouldalmost pausethe
programmeat any moment andtheresulting
freeze-framewouldmakefor anamazing
photograph. This titleaccompanies therecent
Africa documentary andcontains equally
stunningimages alongwithall theinformation
VERDICT: Fantasticphotography and
informativecontent. Theaugmentedreality
adds tothewowfactor. Deserves a placeon
many a cofeetable...
Rating:
VERDICT: If yourea fanof funandquirky
cameras, andwant toknowmoreabout howto
useyours, pick this up.
Great Photos
SimpleCameras
26.99/ BerndDaub/ Rocky Nook
ISBN978-1-937538-02-6
Sometimes its tooeasy toget caught upinthe
technical aspect of takinga goodphotograph
andforget that sometimes simplicity works. This
book aims tostripphotography back tobasics
by coveringtheins andouts of takingpictures
withsimplecameras, likea Holga. Unfortunately
therearesomegreat basiccameras that dont
get a mention. Nonetheless, this typeof
photography, althoughniche, is growingin
popularity (werelookingat you, Instagram), soif
this is of interest toyou, its wortha read.
Rating: Rating:
Rating:
VERDICT: Well laidout andcomprehensive. If
youwant helpintakinggreat peopleportraits,
thenthis is a must!
Michael Freemans
PhotoSchool: Portrait
17.99/ Michael Freeman/ Ilex
ISBN978-1-908150-95-0
Photographingpeopleisnt easy many
variables canafect thesuccess of your images.
Thankfully, this titlegoes a longway incovering
thevarious aspects that youcancontrol duringa
portrait shoot. Fromposingtocomposition,
lightingtoprocessing, most topics arecovered
indetail. Theaccompanyingimages are
contemporary andof a highquality, andeach
chapter has a challengetohelpyouimprove
your skills. Theonly thingmissingis lighting
diagrams, especially inthelightingchapters.
VERDICT: Thebook does a goodjobof
persuadingyoutouseof-camera ash, but we
wont beusinga FlashStick anytimesoon.
TheFlashStick
16.11 / Rod&RobinDeutschmann/ Amherst
Media / ISBN978-1-608955329
Anyonewhohas dabbledinof-camera ash
will testify that theresults areoftenmuch
improvedwhencomparedtousingyour ash
on-camera. This book takes this idea and
employs therather bizarre-lookingconcept of
placingyour ashontheendof a pole
afectionately calledtheFlashStick. Theresults
areas youdexpect fromphotographers who
knowwhat theyredoingwithof-camera ash
they illustratethepoint very well. But the
questionthat keeps poppingintoyour headis:
Whats wrongwithusinga lightstand?
that youdexpect about thewonderful continent
andits incrediblewildlife.
Whats more, youcanuseyour smartphoneto
viewaugmentedreality content, suchas videos
andimages, that cometolifewhenyoupoint
your phones camera at thepage. Thewonders
of moderntechnology!
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EXHIBITIONSANDCOMPETITIONS EXPOSURE/3.13
ManRayPortraits 1
7 February to27 May / 12.70/
National Portrait Gallery, London
This exhibitionfeatures over 150prints of
inuential modernist photographer ManRays
portraiturework inAmerica andParis
between1916and1968.
www.npg.org.uk/manray
Snapshots of Mumbai
3
9February to6March/ Free/
BilstonArt andCraft Gallery, West Midlands
Regular Digital SLRPhotography contributor
Paul Wardexplores thebustlingmetropolis of
Mumbai withhis uniquestyleof photography.
www.snapshotsofmumbai.com
MigrationStories: ValentinaBonizzi
23February to22September / Free/
National Galleries Scotland
Valentina Bonizzi uses videoandstill images
toexploretheexperiences of migrants across
theages, from1850tomodernday.
www.nationalgalleries.org
Enter before30April andreceive10%ofentry
fees. Closingdate: 31 May. Entry cost: USD$15
students, USD$25non-professionals,
USD$35professionals.
www.photoawards.com
TheAestheticaArt Prize
1
Judgedby anexperiencedjury, theAesthetica
Art Prizeis oferingupto1,000incashprizes
alongsideanexhibitioninYork andcoveragein
Aesthetica Magazine.
Closingdate: 31 August. Entry cost: 18
www.aestheticamagazine.com
2013AstronomyPhotographer of
theYear awards 2
Callingall spacefans! Point your lenses towards
thenight sky andenter thefthannual
Astronomy Photographer of theYear
Competition. Thewinner nets a 1,500grand
prizewitheachcategory winner takinghome
500cash.
Closingdate: 13June. Entry cost: Free.
www.rmg.co.uk
Thames212013Annual
PhotographyCompetition
Seekingthebest andmost inspirational
images of Londons waterways, Thames21 is
ofering250for thewinner alongwitha
copy of theNational MaritimeMuseums
Ansel Adams ExhibitionBook.
Closingdate: 26March. Entry cost: Free.
www.thames21.org.uk
NikonSmall World
If yourea fanof ultra-macrophotography,
thenthis is thecompetitionfor you. Whats
more, enter andyoureinwitha chanceof
winninguptoUSD$3,000-worthof Nikon
camera kit for your troubles!
Closingdate: 30April. Entry cost: Free.
www.nikonsmallworld.com
International PhotographyAwards
AnimpressiveUSD$20,000prizefundis up
for grabs, includinga USD$10,000grand
prize. TheIPAis opentostudents, professional
andnon-professional photographers alike.
Competitions
Exhibitions
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LE VIOLONDINGRES, 1924BY MANRAY MUSEUMLUDWIGCOLOGNE,
PHOTOGRAPHY COLLECTIONS (COLLECTIONGRUBER) MANRAY TRUST/
ADAGPCOPY PHOTOGRAPHRHEINISCHES BILDARCHIVKLN
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MishkaHenner
2Marchto5May / Free/
OpenEyeGallery, Liverpool
Manchester-basedMishka Henner dissects the
valueof photography ina worldoversaturated
withvisual media. Henner uses large-scale
compositeimages madeupof elements from
various types of media.
www.openeye.org.uk
MartinParrs Liberation
22Marchto12May / 5.75/
Guernsey Museum&Art Gallery
RenownedBritishphotographer MartinParr
debuts Liberationa collectionof images
documentingGuernseys LiberationDay
Celebrations.
www.museum.guernsey.net
SebastioSalgao: Genesis
2
11 April to8September / 10/
Natural History Museum, London
Experiencethemajesty of natureinthis
collectionof landscapes, wildlifeandremote
communities by SebastioSalgado.
www.nhm.ac.uk
1
2013Photoworkshops: Lookingfor someexpert tuition?Heresaround-upof photocoursescoveringarangeof subjects
PHOTOTUITION EXPOSURE/3.13
Landscapes
Giants CausewayCoast
26-29April / 895
Enjoy NorthernIrelands Giants
Causeway Coast under the
guidanceof professional
photographer DavidClapp.
www.lightandland.co.uk
Tuscany
11-18May / 1,775
Aweek inTuscany inthe
company of photographers
CliveMinnitt andPhil Malpas is
onenot tobemissed!
LeeFrost PhotoAdventures:
Iceland
24May-3June/ 2,200
JoinDigital SLRPhotography
contributor LeeFrost ona
photographicadventureto
beautiful Iceland.
www.leefrost.co.uk
Lakes andMountains
Slovakia
6-9Juneand10-13June/ 650
JoinDigital SLRPhotography
contributor Ross Hoddinott inthe
beautiful Tatra National Park,
inSlovakia.
www.tatraphotography
workshop.com
B
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IcelandWorkshopwith
JohnGravett
16-23June/ 1,995
Eight days amongst stunning
mountainranges, icebergs and
volcanos withJohnGravett.
www.keadventure.com
Dolomites withCharlieWaite
14-20July / 1,845
This photoholiday with
landscapeproCharlieWaite
will helpyoubest capturethis
beautiful part of Europe.
LakeDistrict: YoungPersons
Workshop
21-25July / 475
Oneof thefewcourses aimedat
youngphotographers, aged11
years andolder, intheheart of the
LakeDistrict.
www.lakelandphotohols.com
Landof FireandIceIceland
2-8September / 1,899
Capturecascadingwaterfalls and
majesticmountains ona
seven-day tripwithLeePengelly.
workshop.com
OrkneywithLeeFrost
4-11 September / 1,395
Ross Hoddinott: Dorset Coastline
Nature
Europes Great Predators:
Germany
18-21 March/ 475
Yourelikely toseelynx, bears and
wolves duringthis workshopin
Germany ledby photographer
SimonStaford.
workshop.com
Eagles of Hortobgy: Hungary
5to8December / 899Spend
timeinsidespecially designed
hides withintheHortobgy
National Park withbird-expert
BenHall.
workshop.com
SpringColours at High
Beeches
18April / 95
Jointheexperts at Park Cameras
for this one-day courseon
capturingspringcolours at High
Beeches Gardens inSussex.
www.parkcameras.com
Photographyfor Beginners
10May / 150
This courseat Colchester Zoo
WrapupwarmandjoinLeeFrost
andDuncanMcEwanonthe
Orkney Islands inNorthern
Scotlandfor somestunning
coastal scenery.
www.leefrost.co.uk
Dorset Coastline
14September / 120
Ross Hoddinott andMark Bauer
leadthis one-day tour of the
magnicent Dorset coastline.
www.dawn2dusk
photography.co.uk
Colorado&Utah
AmericanHigh
27 September-8October / 3,495
JoeCornishandAntony Spencer
guideyouona journey through
ColoradoandUtah, includingthe
spectacular Rocky Mountains.
covers thebasicof photography,
andyoull get topracticeonsome
amazingcreatures, too!
www.photography
4bigcats.co.uk
LakeDistrict Nature
Workshop
19-25May / 685
Experiencethebeauty of the
Lakes inthis six-day nature
workshopwithLakeland
PhotographicHolidays.
www.lakelandphotohols.com
Photographyfor Beginners
17 August / 125
Capturesnowleopards, amur
leopards andjaguars, andpick up
thebasics of photography at the
Cat Survival Trust.
www.photography
4bigcats.co.uk
Birds of Prey
5-7 and8-10November / 499
BenHall teaches youhowto
captureall kinds of birds of prey in
intheCzechRepublic.
workshop.com
Isleof SkyewithDavidWard
5-12October / 1,695
TheIsleof Skyeis a longway
north, but its well worththetrip
for thescenery alone.
RuggedNorthCornwall
13to15October / 425
Let Ross Hoddinott andMark
Bauer guideyoutothetopspots
onthenorthCornwall coast.
www.dawn2dusk
photography.co.uk
GoldenYosemitewith
AdamBurton
19-27 October / 2,899
AdamBurtonguides youthrough
this wonderful National Park in
California.
workshop.com
Portraits
LaraJadeStudioWorkshop
20February / 400Joinrenownedfashionphotographer Lara
JadeinLondontocover theins andouts of studiophotography.
www.larajadeworkshops.com
Brett Harkness: Its All About Weddings
19March/ 462Weddingphotography is a lucrativebusiness so
why not learnfromoneof thebest at themagnicent CreweHall?
www.brettharknessphotography.com
Brett Harkness: LocationFashionFlash
29April / 510If of-camera ashleaves youfeelingconfusedthen
this one-day courseat anoldManor HouseinShropshireis perfect.
Brett Harkness: Summer WeddingFashionExtravaganza
24June/ 510This courseaims toteachyoubothnatural light and
ashphotography, but thereareonly tenplaces, sobequick!
Brett Harkness: LocationFashionFlash
DIARY EXPOSURE/3.13
Variousdatesthroughout
FebruaryandMarch
Snowdropfestivals
Look onlinefor your local
display lots of historical
houses upanddownthe
country opentheir gates
incelebrationof these
springowers, andits a
great chancetoperfect
your gardenphotography.
Afavouriteis theScottish
SnowdropFestival, with
morethan50venues keen
toshowoftheir
snowdropgardens.
www.nts.org.uk/Events/
Theme/Scottish-
Snowdrop-Festival
Until 28February
Winter birdwatching
at PaghamHarbour
Winter brings a waterbird
spectacle, withupto
20,000ducks, geeseand
waders feedingand
roostingaroundthis
glorious andpeaceful
naturereserve. Thebig
shelteredbay lls and
empties witheachtide,
whereyoull catchwild
ducks, geeseandwading
birds ightingtoandfro,
andthebeautiful
landscapes createa lovely
backdrop. Dont forget
your telezoomtomake
suresubjects ll theframe.
www.rspb.org.uk/
paghamharbour
Throughout March
andApril
Lambingseason
Thelambingseasonis the
epitomeof spring, andit
will beinfull swing
throughMarchandApril.
Nomatter whereyouare
intheUK, youshouldnd
a farmnearby whereyou
canphotographbaby
lambs tocelebratethe
beginningof spring.
9-10March
ScottishMotorcycle
Show, Royal Highland
Showground, Ingliston,
Edinburgh
Withbreathtakinglive
stunt shows anda trials
display team, therewill be
lots tosee, andbrilliant
entertainment onofer all
weekend. Get a sneak
peek at all thelatest
models of bikefor 2013,
plus thebiggest collection
of classicmotorcycles
spanningover 80years.
www.scottish
motorcycleshow.com
14-24March
FalmouthSpring
Festival, Cornwall
For tendays of March,
Falmouthbecomes a
fun-packedtown. Events
includerockpooling
sessions onCastleBeach,
brass-bandshows, spring
fest walks andpaintingthe
townyellowas nearly 100
shopwindows are
brightenedupwith
dafodils anddecorations.
www.falmouth.co.uk
15-17March
TheShireHorse
Society2013Spring
Show, East of England
Showground,
Peterborough
If youenjoy a spot of
animal andpet
photography, heres
your chancetoshoot
somefantasticimages
of majesticshirehorses.
Withmorethan200
competinghorses,
vintagedisplays, a
Victorianfunfair and
more, therell beplenty to
keepyouandyour camera
entertainedall weekend.
www.shire-horse.org.uk/
spring-show-18
16March
TheMighty
Deerstalker, Traquair
House, Peeblesshire
Giveyour night
photography a workout
by shootingtweed-
wearingfancy-dress
runners whenthesun
goes down. The10K
cross-country run
features a coursefull of
muddy streams and
obstacles, sotherell be
plenty of opportunity for
crackingactionshots.
Fireworks completethe
evening, sodont forget
your tripod.
www.notoriousnightruns.
com/deerstalker
17March
Winchester Duathlon
Thevery rst duathlonto
cometothebeautiful city
of Winchester. Try out
your panningtechniques
as thesprinters and
cyclists competeagainst
eachother inthis epic
racethesprint distance
sectionis a 5kmrunand
20kmcycle, followedby
another 5kmrun. Not for
thefaint-hearted!
www.trytri.co.uk/ 2013-
events/winchester
-duathlon
23March
Holi Celebrations,
Richmond
Joininthis springreligious
festival celebratedby
Hindus andSikhs. Just
makesureyoustandwell
back withyour camera as
everyonethrows brightly
colouredpowder and
water over eachother!
Expect anexcitingand
colourful array of dance
andmusic, including
BollywoodandBhangra.
www.richmond.gov.uk/holi
EVENTSDIARY
WHERETOGO&WHATTOSHOOTTHISMONTH
Snowdrops inbloom
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INBOX EXPOSURE/3.13
Haveyousomethingtosayabout themagazineor photographyingeneral that
youdliketosharewithother readers?Wedlovetohear fromyou, soplease
writetousat our usual addressor sendanemail to: dslrfeedback@dennis.co.uk
READER FEEDBACK
PEDALPOWER
I wantedtosendyouthis imageinresponsetotheMaster
Darkness sectionof theJanuary 2013issue. Likemany of
your readers, theweather last year conspiredagainst us and
dry days werenaturally takenupwithchild-basedactivities.
Thesectiononpaintingwithlight providedtheopportunity
for a fewmuch-neededhours of creativity inthegarageto
keepthephotographicfungoing. Pleasecontinuewith
theseencouragingsections of what is a fantasticmagazine.
CouldI alsosuggest a sectiononphotography inshing, boating, swimmingandthe
correct ways tolight theark if theweather ends upas wet in2013as it was in2012.
AdamSmith
Editors reply: Thanks for your suggestion, Adam, well keepit inmind!
@ZIADALHIJAJ
just foundmy
@DigitalSLRPhotomagazine
at thedoorstep, happy days!
@KRW80
@DigitalSLRPhotoIvefound
all theHowTo stylearticles
really useful wouldbegood
toseesomethingonurban
photography. Cheers.
@B15DVE
Anyoneliketoseeabit of
eveningsunshine? #usnp
@DigitalSLRPhoto@
peakwalkdays #photography
pic.twitter.com/0ZEKVHeT
@NORN_IRONMAN
@DigitalSLRPhotoJessops
closurenot good4stafor
industry but its beena long
timecoming. Inpart dueto
mtgstrategy adoptedover
past 15yrs or so.
@_OVEREXPOSED_
@paulwardphoto
@DigitalSLRPhotoWell done,
somegreat pictures.
TOPTWEETS
THROUGHTHEPINHOLE
I noticedwithinterest your
featureondigital pinhole
photographyintheFebruary
2013issue. Ivebeenusinga
homemadepinholelens for a
whileandI wholeheartedly
recommendit. Therearea
coupleof things I wouldpoint
out thoughfromexperience
rst, thelongexposures and
thepinhole(ahole, albeit a
small one) thats opentothe
elements seems toincrease
theamount of nedust that
accumulates onthesensor.
Theyareveryevident inthe
images becauseof thelarge
depth-of-eld. Second,
exposuretimes areaninexact
scienceandit takes afew
attempts toget things
spot-on. Dont discardthe
under-andoverexposed
frames. If youhaveanHDR
applicationlikePhotomatix,
usethemtocreateanHDR
pinholeimage. It sounds
strangebut youcanachieve
somereallyinterestingresults
heres anexampleof mine.
Mr Carl Jacques
Editors reply: Great work,
Carl, thanks for thetips.
STARTINGOUT
I readyour November 2012
issueandwas amazedat the
immensenumber of tricks
that technologyhas enabled
us todoinorder toget that
perfect shot. I was enthralled
bythePhotoshoptips from
JordanButters. Beingnewto
photography, I particularly
enjoyedExpert Critique. The
technical information(iethe
camerasettings includedin
theshots) areespeciallyuseful
andhelpful for metotakethat
shakystepawayfromthe
automode. This is clearlya
magazinededicatedtothose
passionatetolearnall thereis
about great photography. But
I wonder howphotographers
captureeetingmoments
whentheytravel, usinga
tripodandhavingtochange
betweenall thevarious
lenses?What wouldbethe
bareminimumonewould
needfor, say, atravel tripto
capturenature, landscape
andcandidshots of peoplein
actionandtheoccasional
interestingwildlifewithout
carryingback-breaking
equipment?OftenI ndthe
moment passes, which
frustrates me. I amexcitedbut
verydaunted, especiallywhen
comparingtotheeaseof the
compact I havebeenusedto.
J Hussein
Editors reply: ADSLRwitha
50mmf/1.8lens, ultra-wide
zoomanda 55-200mm
telezoommakeupa decent
kit for travel photography.
SECRETMESSAGE
Inthelast issue, our secret
messageaskedif anyone
actuallyreadthem! Shaun
Davis fromBasingstokewas
therst reader toreplyyes.
LuckyShaunwins abagof
goodies for his eagleeye!
Pinteresting
MORE ESSENTIAL
READINGFROM
THE EXPERTS AT
DIGITAL SLR
PHOTOGRAPHY.
Shaun: went toSpecsavers
Wheelygreat, Adam
Order your print or
digital copydirect
frommagbooks.com
or call 08448440053
WojciechDziadosz
Age: 24 / Occupation: Surveyor
TheSunAlsoRises: This was takennot far frommy
home, near WroclawinPoland. I awoke tothick fog
andsoonenoughthe early morning sunbeganto
burnthrough. I took twoexposures one for the
foregroundandone for the sky andcombined
the twoalongside basic colour correction, levels
andcontrast adjustments inpost-processing.
NikonD200withaTokina12-24mmf/4PRODXII.
Exposure: 1/90secat f/8(ISO100).
24/ DIGITAL SLRPHOTOGRAPHY/ march2013
HussainTarouti
Age: 30 / Occupation: Banker
TheEdgeof Glory: I took this a couple of months agoinside the Burj
Khalifa inDubai the tallest building inthe world. It was noonandthe
sunlight coming infromthe huge windows was sobright that I hadmy
camera preparedI knewa photographic opportunity wouldnt be far
away. These dark escalator steps contrastedwiththe light bouncing of
the white walls throughthe foor andsoI waitedfor the moment when
there were noshadows being cast onthe walls. InLightroom, I made
adjustments tohighlights, shadows andcontrast.
CanonEOS5DMkII withaSigma15mmf/2.8EXFisheyelens.
Exposure: 1/15secat f/3.5(ISO800).
sponsoreDBy
WojciechDziadosz(continued)
Mountains Awake: striding along the stony steps leading downthe
valley, I came upona breathtaking sight. I positionedmyself onone of
the rocks near the edge of a waterfall. The rocks were slippery andany
wrong movement couldendtragically, but I threwcommonsense to
the windI couldnt miss the shot. The mountainpeaks were shielded
by the clouds andthe light poureddownthe valley. I usedCokin0.6and
0.9nDgradflters toaddmovement tothe water andholdback the sky
whilst exposing the light spilling downthe valley. This is one of my
favourite shots fromthis trip.
NikonD200withaTokina12-24mmf/4PRODXII lens.
Exposure: Onesecondat f/20(ISO100).
GoldenAutumn: This is one of a series of photos I took this fall in
rudawy Janowickie a mountainrange inWesternsudetes, poland.
I spent the night ontopof the highest mountaininthe area andawoke
toa fantastic view. onthis morning, the weather was perfect there
was a dense sea fog andthe early morning light createda fantastic
patterninthe mist as it piercedthroughthe tops of the trees. I useda
Cokin0.6nDgradflter tocreate a gradient fromdark tolight inthe
image, andinpost-processing, adjustedonly tones, levels andcurves.
NikonD700withaNIkkORAF-S70-300mmf/4.5-5.6DVRlens.
comment
Wow! Wojciechs images
grabyour attentionusingvivid
colours andfantasticlight!
I lovetheatmospherecaptured
bythelight piercing
throughthetreetops and
mist inthis image.
JordanButters
sponsoredby
comment
Thesestunningportraits
haveaprofessional feel to
them. Agreat location, beautiful
model, expertlyapplied
make-upandsuperb
techniquecombinetogive
fantasticimages.
daniel Lezano
march2013/ DIGITALSLRPHOTOGRAPHY/ 27
AlexFilatov
Age: 30 / Occupation: Photographer
First Light at Monument Cove: This was takenat Monument Cove, a
wonderful of-the-maplocationinAcadia National Park, Maine. I
bracketedseveral exposures, using the longest exposure I couldby
stopping downtof/22. WhenI combinedthe images inPhotoshop, the
mist-like water betweenthe rocks gave the image anethereal feel.
NikonD700withaNIKKORAF-S14-24mmf/2.8GEDlens.
Exposure: Multipleexposuresat f/22(ISO200).
Bass Harbor Sunset: Bass Harbor Headlighthouse is one of the most
photographedsites inAcadia National Park, Maine. I arrivedearly, set up
andcomposedmy capture sothat the lighthouse wouldbe refectedin
a puddle of seawater left by the receding tide. Due tothe shape of the
coastline, rather thanusing NDgradflters I optedfor bracketed
exposures andmanually combinedtheminAdobe Photoshopinstead.
NikonD700withaNIKKORAF-S14-24mmf/2.8GEDlens.
Exposure: Multipleexposuresat f/13(ISO200).
MarkusOskarsson
Age: 26 / Occupation: Photography student
What Remains 1: I hadspottedthis locationbeforehandandknewI had
touse it. I sourceda model andmy friend, whois a make-upartist, andI
went about fndingsome bohemian-themedclothingfromsecondhand
stores. Onthe day of the shoot, the sky was clear sowe waiteduntil the
sunwas lowinthe sky for the best light. I useda shallowdepth-of-feld
for a dreamy feel anda refector tolift the shadows.
CanonEOS5DMkII withaCanonEF24-70mmf/2.8LUSMlens.
What Remains 2: After choosingtheimages fromtheshoot that I
wantedtowork with, I set about processingthem. I applieda subtle
cross-processedlook, withwarmtones anda bluetint totheshadows.
I carriedout somelight retouchingby dodgingandburningusingCurves
beforeaddingsomegrainusingtheAlienSkinPhotoshopplug-in.
CanonEOS5DMkII withaCanonEF24-70mmf/2.8LUSMlens.
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StefanoGranata
Age: 32 / Occupation: Business and art director
Lei: This was shot as part of a test shoot inanoldabandonedtrain
stationit was a great location, complete withdecommissionedtrains!
I hadjust purchaseda secondhandNikon80-200mmf/2.8zoomand
wantedtotry it out for some portrait work withmy model andmuse,
Laura. Inpost-processing, I convertedthe image toblack &white and
adjustedthe monochrome tones by tweaking the colour sliders in
Lightroom. I thenimportedthe image intoPhotoshopCS6tocarry out
the ner adjustments required.
NikonD700withaNikonAF-D80-200mmf/2.8lens.
Exposure: 1/320secat f/2.8(ISO250).
AlanChan
Age: 31 / Occupation: Civil engineer
TheShiningJewel: The GoldenGate Bridge is muchphotographed
however, whenever there is lowfog sweeping throughthe bay, its
something that must be seen. I wantedtoshoot a panorama where San
Franciscowouldfall betweenthe towers of the bridge. Using a spirit
level tolevel the tripod, I overlappedthe shots by around25%toensure
enoughcoverage whenmerged. These in-camera techniques helpedto
make a nice merge betweenthe images. I thenmade some exposure
adjustments before selectively dodging andburning.
CanonEOS5DMkII withaCanon70-200mmf/2.8LISUSMlens.
Exposure: 15secondsat f/11(ISO100).
Day Break: Bonsai Rock is a photographers favourite onthe Nevada
side of Lake Tahoe. I composedthis shot sothat the sunrise colours in
the sky seemedtobe radiating fromthe rock. I selectedthe narrowest
possible aperture tolengthenthe exposure andsmoothout the choppy
water. I useda SinghRay 0.9NDreverse gradlter toholdback the
horizonandthen, inpost-processing, correctedthe exposure onthe
rock andsnow-cappedmountains. www.alanchanphotography.net
CanonEOS5DMkII withaCanonEF16-35mmf/2.8LII USMlens.
Exposure: 25secondsat f/22(ISO50).
COMMENT
Great travel images make
youwant topackyour bags and
headout tothelocations. These
wonderful landscapes, packed
withatmosphere, moodand
colour, dojust that.
CarolineWilkinson
T
heybecomeourbest friends, our
surrogatechildrenandoftenour
favouriteif not most accessible
subjects tophotograph. Theycomeinall
weirdandwonderful varieties, eachwith
uniquepersonalities, andwhilenot always
willingsubjects, canmakethemost
endearingpictures. Pets, whether theyre
fuzzy, furryor feathered, ofer lots of photo
opportunities. youdont evenneedastudio
or fashfor creativeresults infact, keepingit
simplewithnatural light andconcentrating
ontheconcept, techniqueandbackground
canoftenleadtothebest images of your
beloved. Theless equipment youuse, theless
intimidatedcamera-shycharacters will be,
makingit easier tocaptureeyecontact. A
cameraandshort lenses, likeawide-angleor
50mm, is all youneedandavoidtelezooms
unless youreshootingfromadistance.
Whilewegiveyoutengreat ideas totry
herethis month, wewereoverwhelmedwith
choiceas theres reallynoendof inspirational
ideas whenit comes toshootingpets. Alot of
success, however, hinges onreactingtothe
environment. youcanorchestrateanimage
withthehopeof it workingfor instance,
enticingyour pet intothebest light withyour
cameraat thereadybut most of thetime
thebest images comefromimpromptu
moments, especiallywhenthepet is young
anduptomischief! Thereareafewfail-safe
techniques youcanapplytoanypotential
pictureidea, regardless of whether your pets
exoticor domestic: shoot withawide
aperture(f/5.6or wider) toblur distracting
backgrounds, focus ontheeyes andshoot in
rawtoallowyourself scopefor error as quick
reactions rarelyresult inexactlytheright
camerasettings everytime. Goodluck!
Technique
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WheTheryoureAcATordoGPerson, orlovehorses
overhAmsTers, hereArePlenTyofPhoToideAsToTry
petportraits
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Photographingtank-boundpets canbe
tricky but is certainly not impossible. youactually
havetheadvantageof thembeingcontained
andknowingthespaceyouhavetowork with,
givingyoua littlecontrol over thelightingand
environment. Try placinga colouredbackground
behindtheglass tank or bowl andusea macro
lens toget inclosetofll theframe. ideally, light
thesubject fromabovetoavoidcasting
refections ontheglass: shootingfroma right
angleandusinga polarisingflter may alsohelp.
As thesetypes of pets areunlikely todoas you
command, bepreparedtospenda longtime
waitingfor theeyecontact andperfect focus, as
quiteoftenyoull needa very wideapertureto
maximisethelowlight.
2
keePITLOwkeYshootingagainst ablackbackgroundis astrikingwaytocreatea
low-keyportrait (animagethats primarilyshadows anddarkintone). havingthesubject
emergefromblackcanlookartisticandbeauseful waytoeliminatedistractions fromthe
background. natural light onacloudydayperfectlycomplements this techniqueas its soft and
difuse. Placeyourself betweenyour pet andthelight sourcetocapturetheevenlightingonyour
subject. spot-meter onagreysubject inthesamelightingtoavoidthecameraoverexposingthe
image: youcouldalsodial inoneor twostops of negativeexposurecompensationtoensure
your blacks aretrue, or as youreshootinginraw, pull theexposurebackinpost-production.
dont usefashas it mayspookyour subject. if your subject is alsodark, youmayneedtouse
manual focus or single-point autofocus onanareaof contrast tostopthecamerafromhunting.
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Usewindowlight
Cats arenotoriously difcult subjects to
photographbecauseof their aloof nature. Your
best chanceof snappinga fewgoodframes is to
catchthemwhentheyrebeinglazy, bathedin
windowlight, or distractedby a toy or bird. Set
your camera toaperture-priority mode, a wide
apertureandthehighest ISOratingyoucan
beforeintroducingnoise, toblur thebackground
andgeneratea fast enoughshutter speedto
freezeany movement, lettingyoureact toa
photoopportunity eveninlowlight. Fill the
framewithyour subject tominimiseany
distractions, likethewindowpane, but to
maximiseonthebeautiful light. Dogs areslightly
easier towork withas youcancoax themtostay
still andtolook towards a window, if needbe.
5
BecreativeTheres noshortageof creativeideas totry withpets, but weloveBenHeines
Pencil Vs Camera series. By mixingdrawingwithphotography, heopens upsomuchopportunities
tobequirky andhumorous. This imageis oneexposuretakenoutdoors, withBenholdinghis sketchin
linewiththedog. Hethentweaks theimageinPhotoshopCS4toenhancethecontrast andcolours.
march2013/ digitalslrPhotograPhY/ 31
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Dogs lovetorun, andcapturingshots of
theminaction, ears andgums fappingin
thewind, canyieldfantasticimages. Start by
askingafriendtoholdthepoochinposition
whileyouset upafewhundredyards away
this allows themtoget uptospeedbefore
theyreachyou. Useatelephotozoom,
suchas a50-200mm, andget downlowto
their eyelevel. Youll needtouseshutter-
prioritymodealongwithcontinuous
autofocus inorder totrackthemas theyrun
towards you. Select ahighshutter speedof
1/500secor faster, dependingonthe
availablelight, andgivethesignal for your
assistant toreleasethedog. Makesurethat
youfreofplentyof shots inburst mode
whiletheyrunat you, but remember toput
your cameradownbeforetheyarrive
dogs tendtoacceleratealot more
efcientlythantheybrake!
IMage: JOrDanBUTTerS
Pet portraits
Technique
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SeTTHeScene
Using clothes, toys andhouseholditems as
props canhelpset a scene andgive quirky
pictures the ahh factor especially if the pets
are young or tiny, like Tobi here. This image is a
great example of howusing everyday household
items canenhance animage andbe useful for
containing a curious but fast-moving subject
long enoughwithinthe best light toget a
picture. Puppies andkittens look exceptionally
sweet inoversizedprops, too, socapitalise on
their cuteness.
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i
7
ReADYfORmYcLOSe-uP
if your pet is by nomeans camera-shy and
gives youeye contact, make the most of the
symmetry inits face witha tight crop. cats,
especially, provide striking portraits this way and
it means youdont have toworry about the
background, only that the lighting is evenon
their face. rather thanget really close witha
portrait lens, zoominfroma fewmetres away
anduse f/5.6toget the nose andeyes infocus.
youre likely toneedmore depth-of-feldfor
subjects withlong noses, suchas dogs.
9
GLORIOuSGOLDenHOuRS
Walkingyour dogearly or lateintheday can
bea peaceful, relaxingexperienceandonethat
canprovidethemost beautiful light: whenthe
sunis low, grass andtrees adopt anattractive
warmglow. Try toshoot froma distancewitha
telephotolens wideopen(approx f/4) tocapture
beautiful bokehanda relaxedsubject. as your
dogis likely tobebacklit, usespot meteringto
takeanexposurereadingfromthemtoavoid
underexposure. consider leavingyour lens hood
at home, too, tofoodtheimagewithwarmlight.
6
uSeneGATIveSPAce&cOLOuR
Whilemost peopleeither haveacat or a
dogas apet, its theunusual subjects that can
makereally interestingpictures andinspire.
Brightly colouredpets, likeparrots or reptiles,
look great against anequally colourful backdrop
of acomplementary, or evencontrasting,
colour. if possible, try spotlightingthe
backgroundfor moreinterest. Whilemost
photographers try tofll theframe, as longas the
empty spaceintheimageis freefrom
distractions andusedtobalancethesubject or
toemphasiseafeature, liketheir small sizeor an
unusual crop, negativespace (as its commonly
called) canbeusedtostrengthenanimage.
10
Changeyourview
Shakeupyour shoot by trying
diferent vantagepoints andfocal lengths.
Awide-angleor better still anultra wide-
anglezoomgives great results if usedfroma
highor a lowviewpoint, distorting
perspective. Try gettingreally lowtothe
groundandpointingthecamera upwards to
exaggeratescale, or encouragethesubject
toget withintouchingdistanceof thelens to
maketheir nosemassivewitha tapering
body. Remember, though, thecloser your
subject is tothelens, thesmaller theaperture
youll needtoget sufcient depth-of-feld.
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PLUS! PHOTOGRAPHBATHTIMEPORTRAITS, WINTERSCENES&ICE PATTERNS
Rainy-day portraits Add grads in Photoshop
Dontletraindampenyourenthusiasm
forportraiture. Useittoyouradvantage!
Flat, greyskiescanruinyourscenicsso
learnhowtoaddagradefectforimpact!
Mist opportunities
Setthealarmforaveryearlystartand
makethemostofmistymornings
Get thepicture Simplestepstocreativeimages
Get thepicture
JORDANBUTTERS: Therearea largenumber of peoplewho
viewportrait photography as a fair-weather or indoor pursuit.
Unfortunately, withtheclimateinthis country as it is, if that were
thecase, all our portraits wouldbeshot inside. Learntoembrace
therainandsnowwiththeadditionof anof-camera ashgun
anda touchof waterproongandyoucancarry onshootingnomatter the
conditions, usingthefallingdrops or akes as a sparklingnatural backdrop.
If youarelucky enoughtondyourself ina shower whenthesunis lowin
thesky, suchas just after sunriseor beforesunset, thenyoucanusethesunas
a natural backlight. Thechances of suchconditions presentingthemselves on
cueis unlikely, soanof-camera ashgunis oftena requiredback-up.
Becauseof their transparent nature, raindrops andsnowakes showupbest
whenback- or side-lit, as thelight canrefract throughthedroplets to
illuminatethem. This is why if youtry tophotographrainwithyour ash
pointingtowards thedroplets, they dont showas prominently.
Idrecommendtryingthis techniqueout under shelter or ina doorway if
possiblebothfor your subjects andyour cameras sake. Noonelooks their
best whensoakedfromheadtotoeandthelast thingyouwant is your kit
gettingdamaged. Youcanevengivethis a techniquea try whenits not raining
simply set upa gardenhoseor sprinkler tospray behindyour subject.
Rainy-day
portraits
Theresnothingmorelikelytoput paidtoanoutdoor
portrait sessionthanasuddendownpour, but adding
alittlebit of ashcanmakethebest useof theweather
Backlightingrain
1
Waterproof your kit
Animportant precautionis to
protect your camera kit fromthe
elements. Seal any ashguns and
triggers that will bepotentially
exposedtowater inclear,
watertight plastic bags. If youre
goingtobestandingout intherain
yourself thent a raincover for your
camera andlens, or ask anassistant
toholdanumbrella over you.
SET-UP: Set upyour lights oneat a timetoprevent confusion. As one
light is behindyour subject andoneis infront, neither will afect the
exposureof theother. I havechosentopositionmy model ina doorway to
prevent bothher andthecamera kit fromgettingwet, but youcanshoot
this styleof portrait outdoors, toojust remember toprotect your kit!
3
Set theexposure
Select manual mode and
choose your cameras max sync
speedanda mid-aperture of
aroundf/8for optimumsharpness
andtoretainattractive bokehinthe
background. Use a light meter to
take a reading fromyour subject
andset the ashpower
accordingly. Alternatively, take a
test shot andadjust fromthere.
2
Chooseyour key light
Your key light is the mainlight
that youll be using toilluminate
your subject. Youcanuse your
on-camera ash, but for a more
attering light consider bouncing
the light ofanother surface or
using anof-camera ash. I have
chosentouse anof-camera
ashgunina shoot-through
umbrella tothe left of camera.
4
Set upyour backlight
Place your waterproofed
ashgunthree tove metres
behindyour subject, pointing
towards them, set it to1/2 power
andits widest zoom. Take a test
shot andassess howmuchof the
rainis being illuminated. Increase
the power if necessary. Position
your subject betweenthe backlight
andyourself, thenyoure all set.
Get thepicture Backlightingrain
Picktheright aperture
Theaperturethat youchoosewill
greatlyafect theappearanceof
thebokehcreatedbytherain. Too
wideanapertureandthebokeh
blurs intoone. If youdoadjust your
apertureafter takingyour initial
exposurereading, remember to
takeanother readingandadjust
thepower of your keylight.
f/2.8: At thewidest aperturethe
bokehis toopronouncedandthe
raindrops blur together.
f/5.6: Bystoppingtheaperture
down, separationbetweenthe
raindrops begins toappear.
f/8: At amid-aperturethe
raindrops arestill pronouncedbut
remainnicelyout of focus.
Lightingset-up
f/8 f/5.6 f/2.8
1
2 3
IMAGE
DETAILS
Kit: CanonEOS 5DMk II
withEF 24-70mmf/2.8L
Mode: Manual
Exposure: 1/160sec at f/8
(ISO100)
3
ArriveonlocationOnce onlocation, mist
hadlledthe valley as predicted. I optedfor a
70-200mmzoomnot only wouldthe longer
focal lengthenhance the efect of the mist, but it
wouldalsogive me lots of diferent framing
possibilities. Using a tripod, I focusedmanually
onthe trees via LiveView. I selectedaperture-
priority mode, opting for anaperture of f/11.
The camera set a corresponding shutter of
15 seconds, but the result was toodark.
1
PlanaheadInorder tocapture great misty
images, youhave toplanyour shoot
carefully. I checkedthe weather regularly for
several days until nally I noticeda cool, clear
night was forecast, witha predictedwind-speed
of just 4mphperfect conditions for mist.
Visibility droppedtogood overnight another
indicator that mist wouldbe likely. Pack your
camera gear the night before andprepare some
warmclothing for a swift start inthe morning.
2
Dont hit snooze I decidedtovisit a location
where a rowof conifers grows upona
hilltop. It canbe photographedfromanadjacent
hill andI hopedmist wouldll the valley
between. Elevatedviewpoints like this often
work best whenshooting mist. Sunrise was just
after 7:00am. I set my alarmearly enoughto
arrive 45 minutes beforehand. This wouldgive
me time tonda goodviewpoint, set upandbe
ready toshoot any predawnglow.
Themagicof mist
Vacatingawarmbedonachillywinter morningcanseemlike
madness but not if theresult is astunningshot likethis
ROSSHODDINOTT: Why are
misty conditions soirresistibleto
photographers? Whenthe
landscapeis shroudedinmist, we
will gladly dragourselves out of
our warm, snugbeds at silly oclock inthe
morningtotakephotos. I guess theanswer
is quitesimplemist adds moodanda
feelingof mystery toour images. By
reducingcolour andcontrast, it simplies
theappearanceof objects withinthe
landscape, placingaddedemphasis on
shapeandform. Noself-respectingoutdoor
photographer canresist thelureof misty
weather, but howcanyouensureyour early
start is rewardedwithgreat images?
Autumnandwinter is traditionally oneof
thebest times of year for shootingmist, so
keepa closeeyeonthelocal weather
forecasts. It canbetricky toanticipatewhen
mist will formandwhere. Therearediferent
types of mist andfog, but themost
photogenickindis radiationfog, which
forms duringclear, still nights whenthe
groundloses heat by radiation. Theground
cools nearby air tosaturationpoint andmist
forms. It will oftenremainconnedtolow
ground, forminga thinwhitelayer at the
bottomof valleys andover elds. Weather
forecastingwebsites likewww.metofce.
gov.uk, www.accuweather.comand
www.metcheck.comarea great resource,
andtheir forecasts areoftenvery reliable.
Whencheckingtheforecast, look for clear
andcool still nights ideal conditions for
mist toform. Someforecasts will actually
predict mist, but checkingthevisibility often
gives thebest indicationif visibility drops
fromexcellent or very good tojust good
or average overnight, thereis a decent
chanceyouwill begreetedby mist inthe
morning. Set your alarmearly andallow
plenty of timetoreachyour location. It can
bedifcult todecidewhichlocations tovisit
inmisty weather, as youcannever bequite
surewhenandwheremist will form, or how
denseit will be. However, it is normally best
toopt for anelevatedviewpoint, suchas the
Get thepicture
viewfromthetopof a hill or valley, which
allows youtoget abovethemist. It is worth
visitingsomepotentially goodlocations
beforehandtoget anidea of their picture
potential. Thetypeof scenethat suits misty
conditions best areones includingstrong,
boldfocal points for example, a rowof
trees, churchtower or interestinglandmark.
Mist looks at its most atmosphericjust
beforeandafter sunrise. At this timeof day,
light levels arelowandshutter speeds
characteristically lengthy, soa tripodis
essential. It is worthcarryinga rangeof focal
lengths. Whilewide-angles oftenwork well
inmisty weather, telephotos oftenprove
equally useful. Longer focal lengths, inthe
regionof 70-200mm, will shorten
perspectiveandemphasisethemist further.
They alsoallowyoutoisolatekey points of
interest a skeletal tree, for instance, or
ruins emergingevocatively fromthefog.
As well as photographinglargeopenspaces
whenit is misty, it canalsobeworthwhile
visitingmisty woodlandinautumn. Thefog
will simplify theenvironment, enablingyou
tocapturevery graphic, eerie-looking
images of trees shroudedinmist.
Last words of advice: wrapupwarmand
bepreparedtowork quickly mist often
clears or lifts quickly andthebest conditions
will soonpass. Also, keepa lens clothclose
tohandcondensationis likely toformon
thelens, potentially ruiningimages.
5
Consider your compositionComposition
will make or break your shot. Inthis instance,
I trieda variety of compositions using diferent
focal lengths. I triedplacing the trees right of
centre andcentrally inthe frame. However, our
eyes naturally viewthe worldleft toright, soI
decidedplacing themonthe left createdthe
strongest result. However, dont be afraidto
experiment shoot a variety of compositions or
be boldwithyour arrangements.
6
Observechanges Mist canchange quickly,
drifting inandout of shot andgrowing more
or less dense. As a result, the same scene can
look radically diferent whenphotographedover
a periodof anhour or so. Shoot a sequence of
images anddecide later (whentheyre onyour
computer) whichones youprefer. Once the
light gets toobright andharsh, andthe mist
begins tolift anddisperse, it is time topack your
camera away andheadhome for breakfast!
4
Keepaneyeontheexposure Mist has a
habit of fooling metering systems. This is
because TTL metering is designedtoassume
that subjects are mid-tone (18%grey). As a
result, it tends tounderexpose bright subjects
like mist or snow. Always check the histogram
screenregularly. If the graphis biasedtothe left,
apply positive exposure compensation. Inthis
instance, I dialledinone stopof positive
compensationtobrightenthe image.
Shootingmist inlandscapes
Final image
Anearlystart is
rewardedbyaneerie
mistylandscapefull
of atmosphere.
IMAGE
DETAILS
Kit: NikonD800with
70-200mmf/2.8
Mode: Aperture-priority
Exposure: 30seconds
at f/11 (ISO200)
www.leeflters.com
micro flter system Arguably, photography has now replaced
writing and painting/sketching for recording
the stories of our lives. Some use their
phones, but I prefer digital compacts. Where
possible I prefer to shoot jpegs, and get my
images right in camera. The super compact
LEE Seven5 micro flter system is a constant
companion, allowing me to produce
personalised images without spending
ages in post production.
Joe Cornish
www.joecornishgallery.co.uk
River crossing
The Zanskar valley trek has numerous river
crossings, including some wonderfully
weathered low-tech bridges. Here I used a 0.9
ND standard flter (3 stops) to reduce the shutter
speed to a second, emphasising the water and
the fgure in motion. There is no way to do this
in post-production, plus I can rely on my Seven5
flters to be exactly the same high optical
standard as the legendary LEE 100 system.
M
onastery
interior There
was
window
light fooding
into
this
Buddhist tem
ple
in
the
Indus
valley, but not
m
uch! I needed
a
0.6
ND
grad
on
its
side
to
hold
back
the
exposure
on
the
left, and
allow
enough
light to
illum
inate
the
gold
faced
Buddha
on
the
right.
The photographer, Leh
Monkeying around with low angles is all part
of the fun of using a camera with a tilting LCD
screen. The camera was held just above the
ground while Sam
was framing a shot across
the square. His silhouette neatly blocks out
the sun. A 0.6 ND grad prevented the sky from
looking washed out.
Get thepicture Studio-esquebathroomportraits
CAROLINEWILKINSON:
Short onstudiospaceto
shoot your littleones or
troublekeepingthemstill
longenoughby awindowto
get adecent shot? Youll besurprisedat
thesolution. If bathtimeis ahappy time
inyour household, youcanusethis to
your advantageas thebathtubis agreat
localefor capturingstudio-esque
portraits unless youhaveapeachor
avocadosuite, that is. Findinganareaof
thehousewithclean, natural light
whereunatteringshadows, colour
casts andmessy backgrounds arent a
problemcanbedifcult, andgetting
your childtosit inthat spot long
enoughtocaptureanangelicportrait
makes it that muchmorechallenging.
As longas theyreoldenoughtosit up
ontheir own, awhitebathtubkeeps
themcontainedandthetubworks like
agiant softbox andreector; bouncing
natural light ofthewhitesurfaces for
bright, evenilluminationwithaclean
studio-likebackground. If your
bathroomhas limitedlight dueto
frostedor small windows, youcould
alsousethesides of thebathtobounce
ashoffor similar results.
Thetoughest part of this techniqueis
gettingthechildtointeract withthe
cameraandtocomposeagood
portrait; standardbathtubs dont leave
muchroomfor negotiation.
Bathrooms canbequitecold, too,
especially if youvenowater inthetub,
somakesuretheheatingis onand/or
your childs wearingclothes. They
might think its oddtohavenowater in
thebath, soif they start actingup, runa
shallowonefor themtoplay injust
makesureyouhaveasecondadult on
handout of frametoprevent accidents
as your attentionwill bedistractedby
thecamera. Usewhatever means
necessary toget asmilefromthem,
too: chocolatebribery works well, as
does someonepullingfaces or playing
withtoys behindyour headfor getting
eyecontact. But aboveof all, makesure
they havefun, otherwiseyoull belucky
toget morethanthreeframes of
beforebathtimeis over.
Get thepicture
1
Set upVery little is neededfor this technique: your camera, subject and
perhaps a ashgunwitha bounce functionandtilting head, if light
levels are low. Youll needa portrait lens, if not a macrolens, for this shoot,
as youll ndspace is limitedandyoull needtocropout any handrails and
the edge of the bath. For this shoot, a 50mmf/1.8workedwell, but a longer
lens, suchas a 100mmmacro, wouldhave made it eveneasier.
2
Assess theexposureAlot of white inyour image may fool the camera
intounderexposing the image. Set the camera tospot metering rather
thanmulti-zone for better results, as the exposure will be basedonwhere
youfocus: the face. Use aperture-priority mode anddial ina wide aperture
of f/2.8-f/5.6tomaximise the light andblur the background. Use
single-point autofocus andpinpoint the eye closest tothe camera.
3
Changeyour angle Depending onhowtall your childis andthe focal
lengthyouuse, youmay needtoalter your viewpoint tocropout any
unwantedelements like tiles, toys or handrails. Evenif youdont needto
change your view, try it anyway by getting lowsoyouget their eyes
peeping over the bath, highfor a more attering angle or simply alternate
betweenportrait andlandscape orientationfor dramatically diferent looks.
4
Edit theshots If youve exposedthe image well enough, very little
shouldneedtobe done, other thanbasic editing. Toimprove the
contrast, I duplicatedthe image layer (Layer>Duplicate layer) andchanged
the BlendMode toSoft Light. Asmall adjustment toLevels (Layer>New
Adjustment Layer>Levels), the additionof a HighPass lter (Filter>Other>
HighPass) set tonomore than4px anda quick cropwas all that was done.
Commonerrorstowatchout for...
INACCURATEMETERINGIf your
backgroundis renderedgrey rather than
seamless white, makesureyouveswitchedto
spot metering. If that alonedoesnt work, dial
inastopor twoof positiveexposure
compensation. Useyour cameras histogram
todetermineif theimageis underexposed:
youwant toseethepeaks biasedtotheright
andalittletotheleft of thehistogram.
BADFOCUSINGUsingshallowdepth-of-
eldmeans your focusinghas tobepinpoint.
As multi-point autofocus locks ontothe
closest subject tothecamera, whichfor
portraits is oftenthenose, manually placinga
singleAFpoint ontheeyeclosest tothe
cameraproduces thebest results. If youwant
botheyes infocus, youll needtouseat least
f/5.6for sufcient depth-of-eld.
NOTENOUGHLIGHTIf shootingwideopen
andincreasingyour ISOas highas your
cameras noisecontrol allows doesnt giveyou
ashutter speedfast enoughtofreeze
movement or illuminatethebathtub
sufciently, youll needtobringout the
ashgun. Keepit simpleby usingTTLmetering
for all ashandturntheheadsoit bounces
ofthewhiteceilingor sides of thebath.
Studio-esquebathroomportraits
IMAGE
DETAILS
Kit: NikonD800with
50mmf/1.8lens
Exposure: 1/60sec at
f/4.5(ISO200)
Final image
Whodhaveknownyour bathtub
couldbeusedas amini-persons
studio? Thebathroomingeneral
is agreat placefor utilising
natural softbox-esquelight for
anytypeof portrait.
42/ DIGITAL SLRPHOTOGRAPHY/ JANUARY2013
Get thepicture
WINTERLANDSCAPES
Winter canbeoneof thebest timesof year toheadout andshoot stunningicy
scenes. Professional landscapephotographer MarcAdamusprovideshis
favouritehintsandtipsonhowyoucantakethemost of dramaticwinter vistas
IMAGE
DETAILS
Kit: NikonD800Ewith
NIKKOR14-24mmlens
Mode: Bulb
Exposure: 74seconds
at f/14(ISO320)
Sky
If youreshooting
against a partly cloudy
sky, consider usinga
Neutral Density lter. A
Hitech1.8NDwas used
heretoprolongthe
exposureto74seconds
andcapturemovement
intheclouds.
Focusing
Usea hyperfocal
distancecalculator for
optimumdepth-of-eld.
Alternatively, youcan
taketwoexposures
onefocusedonthe
mountainandoneonthe
foregroundand
blendthemtogether.
Composition
Icemakes great
foregroundinterest as it
refracts andreects the
light andhas a natural glow
toit. Thebrokenshards of
iceact as a lead-in,
pointingyoutowards
themountain.
Winter images
Post-processing
Winter scenes by their
natureareoftenvoidof
colour. Consider toning
your imagewitha
cool-bluehueto
enhancethecoldfeel
of thescene.
Framing
Consider arrangingyour
compositiontoframe
interestingitems inthe
scene. Inthis image, the
brokeniceinthe
foregroundframes the
reectionof the
mountaininthelake.
Shootabstracticepatterns
Frozenpuddles canbeasourceof fantasticnatural patterns. Grabyour cameraandwrapupwarm
ROSSHODDINOTT: Chilly, wintry
weather canproveaparticularly
productivetimefor discovering
andphotographingnatural
patterns. For example, water will
freeze, creatingthicksheets of ice, full of
interestingshapes anddesigns to
photograph. FromNovember throughtothe
endof March, theUKis pronetospells of
freezingweather. This is notimetostayinthe
warmthof your homeinstead, put onyour
thermals andheadoutsidewithyour camera.
Photogenicandabstract-looking
patterns, detail andtextureareeverywhere
withinnaturethetrick is recognisingthem.
Infreezingweather, thesurfaceof pools,
puddles, lakes andcanals turntoice; while
alongtheedges of waterfalls andstreams,
photogenicicicles form. After a fewdays of
freezingconditions, overlappinglayers of
thick icecancreateextraordinary patterns.
Look for trappedair bubbles, lines andswirly
detail onthesurfacethat youcanisolateto
createstrong, engagingcompositions.
Pebbles, leaves or a feather trappedwithin
theiceadds further interest anda focal point
toyour photos, soit is worthwhilelooking
for this typeof detail.
Most iceclose-ups havea very abstract
feel tothem, sotheability tosee theimage
intherst placeis oftenthemost
challengingaspect. Interms of lens choice,
a macrolens is best ideally, opt for onein
theregionof 100mm, as it provides a good
workingdistance. However, youdont
always needa highdegreeof magnication
Get thepicture
whenshootingicepatterns, soa telezoom
usually sufces.
Anoverheadviewpoint is best for
revealinginterestingshapes anddetail. Try to
positionyour camera parallel tothesurface
tohelpmaximisedepth-of-eld. Bright,
direct sunlight canwashout nedetail so
wait for low-contrast, overcast light or usea
difuser if thelight is toobright. Atripodis
essential. However, placethelegs withcare
andalsotreadcarefully if youcrack theice,
your shot will beruined.
Whenit is not coldenoughfor iceoutside,
it is possibletocreateyour ownby llinga
clear, shallowdishwith6-8cms of water and
stickingit inyour freezer. Oncefrozen, take
it out andstart shooting, either indoors,
usingwindowlight, or outsideinsunlight.
5
Post-process Your ice shots will often
benet froma fewminor tweaks during
processing. Acool-blue hue will enhance the
ices coldappearance, sorather thanselecting a
technically correct colour temperature, it is
worthwhile opting for a cooler setting inthe
regionof 4500-5000K. Althoughyoucando
this in-camera using White Balance, Raw
shooters canapply this attractive cool cast with
more precisionduring processing. Similarly,
increasing contrast during editing using Levels
or Curves deepens tones andlifts highlights,
giving patterns andtexture greater denition.
4
ConcentrateoncompositionIce patterns
are very abstract, sogiving advice onhowto
compose themis difcult. There is noright or
wrong way. Look for interesting detail, like
trappedair bubbles, criss-crossing lines, shapes
andcurves. Try toisolate, highlight andarrange
theminsucha way that youcreate a visually
pleasing andcompelling composition. Your
creativity andeye for detail is key tothe success
of this style of image. Youwill oftenndyour
compositionevolves over several shots as you
make ne adjustments toyour set-up. Results
canvary greatly inlook andfeel.
2
Dial in thesettings Withicebeingaat
surface, youdonot requireawidedepth-of-
eldsolongas youpositionthecameraparallel to
thesubject. Therefore, opt for aperture-priority
modeandselect f/8or f/11. This is closetoalenss
sweet spot beingsharpandlargely difraction-
free. KeeptheISOratinglowandallowthe
cameratoselect thecorrespondingshutter
speed. Youcoulduseautofocus, but I prefer to
focus manually by zoominginviaLiveView.
3
Reviewyour exposure One thing youneed
towatchwhenphotographing ice and
other wintry subjects is that it doesnt fool your
cameras TTL metering intounderexposing
results due toits brightness. Reviewresults
regularly, checking the histogramfor gaps tothe
right of the graph. If images are dark, apply
positive exposure compensation. Inthis
instance, I hadtoapply compensationof +1EV,
whichisnt unusual for this type of subject.
1
Set upLook for ice patterns onfrozenpools,
puddles andalong the edges of reservoirs.
Using a tripod, positionyour camera directly
above the ice, positioning the tripodcarefully so
as not tofracture the ice. Overcast light is best.
If its sunny, consider casting the ice intoshade
using your shadowtoproduce cooler,
low-contrast light. Whenphotographing near
larger bodies of water, always keeptothe edges
for safety andnever stepout ontothe ice.
+1EV
0EV
Icepatterns
IMAGE
DETAILS
Kit: NikonD800with
150mmmacrolens
Exposure: Fiveseconds at
f/11 (ISO100)
Get thepicture
Learnhowtocontrol Photoshops gradients tocreateacolour
graduatedlter efect andtransformotherwiseordinaryskies
Addacolourgradfilter
Original
Experiment withdifferent filters
Youcouldalways try addingmorethanonecolour lter toyour image. Simply duplicateyour
Gradient layer by selectingit intheLayers paletteandgoingtoLayer>DuplicateLayer andchange
thegradient colour as was doneinsteps threethroughtove. Try placingthegradients at diferent
angles usingtheAngledial intheGradient Fill menufor diferent efects.
Multiplefilters
Warmingfilter Coolingfilter
Greenfilter
3
OpentheGradient Editor Double-click on
the thumbnail onthe Gradient layer inthe
Layers palette toopenthe Gradient Fill menu
again. Thenclick onthe Gradient thumbnail at
the toptoopenthe Gradient Editor palette.
2
Adjust thegradient Inthe dialogue box, click
onthe Reverse tick-box toplace the
gradient at the topof the image. Click OK. Back
inthe Layers palette, change the BlendMode of
the Gradient layer toMultiply.
1
Addthegradient Before we begin, press D
onyour keyboardtoreset your colour
palette todefault. Click onthe Addnewll or
adjustment layer buttoninthe Layers palette
andselect Gradient fromthe drop-downmenu.
JORDANBUTTERS: Inanideal
world, landscapephotographers
wouldalways carry anarray of
NDgradlters; onefor every
conceivablesituationandefect
youwant tocreate. Inreality, however, this
isnt always practical. Thankfully therearea
rangeof Photoshopefects that simulate
theresults of various lters. Gradients are
great for emphasisingexistingcolours inthe
sky or completely changingthemoodand
feel of your imageby emulatinga diferent
timeof day towhentheimagewas taken.
Five-minutePhotoshop
6
AddaPhotoFilter Back inthe Layers palette,
click onthe Addnewll or adjustment layer
buttonagainandselect PhotoFilter. Select one
of the WarmingFilters andclick OKthis will
warmthe entire image tosuit the dusk colours.
5
Alter theopacity The twoColor Stops above
the gradient scale control the opacity of the
gradient. Move the WhiteColor Stopinthe
top-right corner tocontrol the depthand
hardness of the gradient. Once done, click OK.
4
Changethecolour Click onBlackColor
Stopinthe bottom-left corner of the
gradient. Thenclick onthe Color thumbnail to
openthe Color Picker window. Select a colour
I chose pink toemulate a dusk sky. Click OK.
Final image
Caught out without your
lters? Fear not whenyou
cancreatestunningsunsets
likethis inPhotoshop, youve
always got aback-upplan!
BOATATBURNHAM
ByGlynHopping
Camera: NikonD800
Lens: NIKKOR24-120mmf/3.5-5.6VR
Exposure: 0.8secs at f/11(ISO100)
GLYNSAYS: This imagewas
takenona bright andsunny day
duringa visit tothehamlet of
BurnhamOvery Staithein
Norfolk. This is saidtobethe
placewhereAdmiral LordNelsonrst
learnedtheart of sailing.
LEEFROST: I livevery closetoa location
likethis ontheNorthumberlandcoast and
ondays liketheoneGlynfaced, its very
difcult tocomeaway withgreat
photographs. I knowIvetried. The
problemwithshootingcoastal scenes
or any kindof landscapeinsunny,
cloudless weather, is that everythinglooks
picture-postcardperfect. Theres no
atmosphereor drama, soyouhavetowork
hardtoproducesomethingdecent.
Glendidnt helphimself by choosingto
put a blueandwhiteboat intheforeground
against a bluesky. Its all too, well, blue. But
not far away I seea boat withsomered
paintwork. Maybethat wouldhaveworked
better, contrastingnicely withthebluesky.
Withnomast tocompromisethe
composition, Glencouldalsohavegot in
muchcloser tothat other boat, usingit to
ll theforeground. Youreally needtoll the
framewithcolour andinterest inweather
likethis, otherwiseyouendupwithrather
blandimages. Glynwas probably attracted
tothereectionof theboat intheshallow
water, but it isnt strongenoughandby
includingit hes just addedtothefeeling
that theres a lot of empty space.
Verdict: Neededcolour contrast anda
tighter composition.
ROSSHODDINOTT: For me, thecamera
angleis thebiggest problemwiththis shot.
Glynhas optedfor a relatively low
viewpoint, but theboat still merges with
thebuildings behind. Separationis an
important considerationwhentaking
photos anda higher or lower viewpoint
may haveprovidedthat. I cancertainly see
why Glynwas drawntothis view, though.
Maybeit wasnt possible, but if only Glyn
couldhavecapturedtheboat inbetter
prole, isolatedagainst that lovely clear
bluesky. Thebuildings andother boats
dont really addanythingtothe
compositionthey just complicateit and
detract fromthemainfocal point. I wonder
if, by shootingtheboat fromtheopposite
sideor usinga lower shootingangle, Glyn
couldhaveachieveda cleaner
composition? Alternatively, maybehe
couldhavegot closer totheboat andshot
it wide-anglesothat it lledtheframe
more, obscuringmoreof its surroundings
Verdict: Agoodsubject, but theboat
merges withthebuildings behindandthe
compositionis abit messy. If onlyGlyn
couldhavefoundanangletoisolatethe
boat against theclear sky.
Thebuildingsandother
boatsdontreallyadd
anythingtothecomposition
theyjustcomplicateitand
detractfromthemainfocal
pointROSSHODDINOTT
Quickcritique
1) Reection
Choosing touse a reectioninthe
compositioncouldhave worked, hadthe
reectionbeenstronger. As it is, it
highlights the empty space inthe image.
2) Perspective
Shooting froma lowangle wouldmake
the boat more dominant inthe frame and
separate it fromthe buildings behind. As
analternative, Glyncouldget closer and
use a wide-angle lens tosimilar efect.
3) Alternativesubjects
As Lee points out, the redboat inthe
backgroundcouldhave made for a more
suitable subject tocontrast withthe blue
sky. Always assess the surroundings to
seek out the best possible image.
1
2
3
ExpertCritique
p q
EXPERT OPINIONTOHELP YOU TAKE BETTER PICTURES
If youwant honest andconstructivecomments about your images, sendina selectionto
Expert Critique. Youshouldsupply upto25images ona CD/DVDalongwithanA4contact
sheet of thumbnail images. Enclosea stampedaddressedenvelopeif youwouldlikeyour
submissionreturned. Eachreader whoseimageis publishedreceives a fantastic Lowepro
Fastpack 250, worth60, whichholds a DSLRwithzoomattached, 2-3additional lenses or
ashguns, a 15.4inwidescreenlaptopandgeneral accessories. Visit: www.lowepro.com
EDITOR
DANIELLEZANO
Daniel has judged
national photo
competitions on
aregular basis
for several years
NATURE&SCENICS
ROSSHODDINOTT
Ross is anexpert
photographer and
writer specialisingin
wildlife, close-ups
andlandscapes
PHOTOSHOP
CAROLINE
WILKINSON
Carolineis an
experienced
photographer and
Photoshopexpert
LANDSCAPES
LEEFROST
Lees beena
professional
photographer &
photowriter for
several years
MEET
OUR
EXPERT
TEAM
SPONSOREDBY
FRUITSPLASH
ByKyleSmith
Camera: CanonEOS7D
Lens: Canon24-105mmf/4LISUSM
Exposure: 1/250secat f/14(ISO200)
KYLESAYS: I set upa black
backgroundwithmy ashto
onesideof thetank. I
experimentedwithash
settings andapertures toget the
best exposure. InPhotoshopI clonedout
thesplashmarks onthetank andused
Unsharpmask tosharpentheimage.
ROSSHODDINOTT: Technically, this is a
well-capturedshot. I cant imaginehow
many times Kylehadtotweak his set-up,
anddropthefruit intothewater before
achievingthis image. However, youdosee
quitea fewhigh-speedimages likethis
now, soI guess its fair tosay that this isnt
oneof themost excitingIveseen. That
probably sounds harshconsideringhow
well Kylehas done. However, for me, there
is a littlebit toomuchspaceat thetopof
theframe. Hadthesplashbeenlarger and
higher, it wouldwork ne, but as it is, I think
a tighter cropwouldwork. Also, withthe
fruit soclose, I think theresult looks rather
static. I wouldhavepreferredtohaveseen
thehalves at diferent depths, as this would
havecreateda morevisually balanced
result. Lastly, Imnot quitesureabout using
twodiferent types of fruit evennumbers
of objects generally dont createsuch
strongcompositions; oddnumbers
typically work best. Havingdonewell to
perfect his set-up, I think Kylejust needs to
work onproducinga stronger nal image.
Verdict: AlthoughKyles donewell, with
alittlemoreexperimenting, I thinkhewill
captureamorestrikingresult.
LEEFROST: I admirephotographers who
arewillingtostepout of their comfort zone
andtry somethingnew. Digital cameras
allowus toseetheresults immediately and,
inturn, that enables us tocorrect our
mistakes andproducegreat images as we
go. Witha subject likethis, youneedinstant
feedback a fractionof a secondcan
makethediferencebetweenanokay shot
anda great one. Kylevariedtheexposure
andtiminguntil hegot what hewanted,
andtheendresult is great. Its amazinghow
well a humbleashguncanfreezeaction
andallowus toseethings beyondhuman
visionliketheamazingshapes inthe
water. Personally, Idhavecroppedtheshot
becauseI think there's toomuchblack
spaceandthefact that thewater suddenly
comes toanendoneither sidelooks odd.
I alsothink thebackgroundis maybetoo
simplisticandsomethingmorecolourful
wouldwork better. Onthewhole, its a
great exampleof high-speedashand,
havingmasteredthetechnique, I reckonhe
couldcomeupwithevenbetter results.
Verdict: Simple, clean, well-timedand
well-executed.
Theblackbackgroundismaybetoosimplisticand
somethingmorecolourful wouldworkbetterLEEFROST
Likes&dislikes...
Likes: As high-speedshots go, it's
clear tosee that Kyle has got his
technique nailed. By patiently adjusting
exposure andtiming until he got the shot
he wanted, he's managedtofreeze the
fruit andwater at just the moment when
the splashbecomes highly photogenic.
Often, it's simplicity that makes high-
speedshots work, andthis is a good
example of a clean, well-executedshot.
Dislikes: Havingproventhat he's
capableof producinghigh-speed
shots toahighstandard, our experts feel
hemay havelet himself downslightly by
not experimentingenough. Whileit's
technically very good, it's not diferent
enoughtowarrant any fanfare. Withalittle
tweakingtothecropandslight
adjustments tothecomposition, Kyle
couldhaveproducedsomething
extraordinary, not just ordinary.
STANAGEEDGE
ByPhill Barratt
Camera: NikonD5000
Lens: Nikkor AF-S18-55mmGDX
Exposure: 1/30secat f/16(ISO100)
PHILLSAYS: This was takenon
a frosty morningat Stanage
EdgeinthePeak District just
after sunrise. This composition
was chosentoportray a sense
of depthintheimageandminimiselens
are. I used0.6NDand0.9NDgradlters to
holdback thesky andbalancetheimage."
ROSSHODDINOTT: Oneof theskills of
landscapephotography is puttingyourself
intheright placeat theright time, andPhill
has donejust that. Thesearethetypeof
conditions that landscapephotographers
wouldbitetheir armoffor. But, for me, the
resultingshot couldhavebeenbetter.
Firstly, I think landscapeformat wouldsuit
thescenebetter. Thesky is empty andthe
vertical format puts moreemphasis onit.
Incontrast, by shootinginlandscape, Phill
couldhavemademoreof a featureof
thoselovely graniteoutcrops. I alsothink
that theboulder inthebottomcorner is too
dominant. I might haveeither considered
takinga stepback sothat it didnt loom
solargeor evena fewforwardinorder to
excludeit altogether. Ona technical note,
thehorizonseems tobeslopingwhile
therearea fewspots of areintheshadow
areas. Always check that your lens is freeof
dirt particularly whenusingsmaller
apertures andusea lens hoodif possible.
Ahotshoespirit level canbeuseful for
gettingstraight horizons.
Verdict: Agreat sceneandlovely
conditions, but thecompositioncouldbe
improvedandtherearesomespots of
areintheareas of shadow.
LEEFROST: Herewehaveanimagethat
oozes atmosphere. Soft light, warm
colours, dark sky andhazecombineto
createanimagethat makes youfeel warm
just by lookingat it. Thetroublefor meis
that thereisnt enoughtolook at. I can
sensetheres a magnicent viewstretching
away intothedistancebut Imonly seeinga
small sliceof it, andthat leaves mefeelinga
bit short-changed. Phill usedhis zoomlens
at its widest focal length, but inthis caseit
just wasnt wideenoughtoreally dothe
scenejustice. Part of theproblemis caused
by theportrait format, whichhas allowed
Phill toincludelots of sky. Idprefer tosee
less sky andmorelandscape, whichwould
bethecaseif Phill hadshot inlandscape
format. I'dalsohavebeentemptedto
includeless foreground. I reckonthat if
Phill hadtakena fewsteps closer totheat
rocks andusedthemas theforeground
interest, wedseemoreof thehazy hills in
thedistanceandthecompositionwould
haveworkedmuchbetter.
Verdict: Bags of atmosphere, but not
thebest composition.
Quickcritique
1) Exposure
Ahazy andfrosty morning scene baskedinwarm
sunlight is a landscape photographer's nirvana. Phill has
usedoptical lters well tobalance the sky withthe
foregroundinorder tocreate a goodoverall exposure.
2) Composition
Phill's choice of orientationhasn't made the most of the
scene. The vertical format emphasises the sky, which
unfortunately doesn't have muchinthe way of interest.
Alandscape format image wouldmake the most of the
fantastic views andcropout some of the sky.
3) Foregroundinterest
The granite outcropadds interest andPhill has done the
right thing by including it. However the boulder inthe
lower right corner is toodominant andwouldbe better
either smaller inthe frame, or croppedout completely.
1
3
2
Helpingyoutakebetter pictures Expert Critique
Idprefer toseelessskyandmorelandscape,whichwould
bethecaseif Phill hadshot inlandscapeformatLEEFROST
SPONSOREDBY
COMBESTONETOR
ByDanMicklewright
Camera: NikonD7000
Lens: TokinaAT-X11-16mmf/2.8ProDX
Exposure: 0.6secs at f/16(ISO100)
DANSAYS: "This was takenon
CombestoneTor onDartmoor.
I'dgoneupthereearly for
sunrise, however, it was
obscuredby cloudsoI opted
insteadtotakeadvantageof thecolours in
thesky by reectingtheminthewater."
LEEFROST: I cut my teethas a landscape
photographer onDartmoor soI havegreat
afnity withthearea thewild, remote
scenery is breathtaking. I cant say Im
particularly awedby Dans shot of
CombestoneTor, though. Its actually my
favouriteTor as it commands fantastic
views andtheweirdrock shapes ofer lots
of potential for dramaticimages. Sadly,
Dans oferingfails todoit justice. Thepool
of water has beenincludedsimply because
it contains a nicereectionof thesky. But
beyondit, inthemiddledistance, theres
just empty spaceandthemost interesting
part of thescenethegranitetor is small
andinsignicant. Thecolour balancealso
appears slightly weird, witha distinct
magenta cast intheclouds. That couldbe
duetothetimeof day theshot was taken,
but it still looks strangetome. I reckon
conditions werent as badas Danfelt. The
sky over inthetopright of theshot looks
Theskyisnice, but I think
thelackof anyfocal interest
inthemiddledistanceisthe
biggest problem
ROSSHODDINOTT
Digital darkroom
quitenicetomeandthoughtherewas no
direct light onthetor, I wouldstill havegot
upcloseandusedsomeof therocks toadd
scaleandleadtheeyeintothescene. An
NDgradlter wouldhavetakencareof the
sky, retainingthosesoft colours.
Verdict: Alovelylocationbut there's too
muchemptyspaceleft betweenthe
foregroundandthefocal point.
ROSSHODDINOTT: Combestoneis a
great spot, anda placewherebothLeeand
I havevisitedmany times ourselves. It is
goodtoseeDanoptingfor a less familiar
angleof thetor and, giventhelack of light, I
think hehas adaptedwell totheconditions.
Thepool andreections makegood
foregroundinterest andI liketheway it
appears tobepointingtowards thetor. The
pool certainly helps inject a bit of depth
intoa landscapelackingincontrast andlife
duetotheat lighting. It is a shamethe
plants pokingupinfront of thepuddleare
slightly blurry, as it makes themmore
distracting. Thesky is nice, but I think the
lack of any focal interest inthemiddle
distanceis thebiggest problem. I ndmy
eyejumps directly fromthepool tothe
graniteoutcropthat largegrassy area in
betweenis just a bit boring. Hadthepool
beena littlecloser tothetor, I think this is a
compositionthat couldhaveworked,
particularly inbetter light. However, as it is, I
dont think theshot is quitestrongenough.
Verdict: Dans done well, given the
circumstances. However, the image is let
down by the at light and uninteresting
middle distance.
RECOMPOSETOOL
The Recompose Tool inPhotoshop
Elements is handy for removing areas of
empty space fromanimage quickly and
easily, without using time-consuming
stitching techniques. Click andholdon
the CropTool toselect the Recompose
Tool. Thenselect the Mark for Protection
brushfromthe toptoolbar andpaint
over the areas that youwant topreserve.
Next, select the Mark for Removal brush
andbrushover areas whichyouwant to
remove. Finally, use the side anchor points
torecompose the image. The tool will
preserve anddelete the areas as marked
perfect for changing the perspective of
your image post-capture.
Helpingyoutakebetter pictures Expert Critique
Digital SLRPhotographywelcomesitsreaderstosubmit their best imagesfor publicationinthe
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READERSHOWCASE ADVICECENTRE GENERAL
Reader submissions submissions
COASTAL
LANDSCAPES
HEREINTHEUK, WEREBLESSEDWITHTHOUSANDSOFMILESOFBEAUTIFULSTRETCHESOF
COASTLINE, BUTTOTAKEYOURCOASTALLANDSCAPESTOTHENEXTCREATIVELEVEL, YOUNEEDTO
KNOWHOWTOUSEALLTHEDETAILSTOYOURBESTADVANTAGE. OVERTHENEXTTENPAGES, LEADING
PROSLEEFROSTANDROSSHODDINOTTSHOWYOUHOWTOGIVEIMAGESTHEWOWFACTOR
HOWTOMASTER
IMAGE: HELENDIXON
HOWTOMASTER... COASTALLANDSCAPES
Coastal kit
IF YOUWANTTOTAKEGREATIMAGES
OF THECOAST, FIRSTYOUNEEDTOBE
ARMEDWITHTHERIGHTPHOTOGEAR
FILTERS
For coastal photography, threelter types
will reallybenet your images: apolariser;
graduatedNDlter; andsolidND. When
rotatedwithinits mount, apolariser helps
reduceor enhancereections andsaturate
colours, particularlyclear blueskies.
GraduatedNeutral Densitylters are
correctivelters, designedtolower the
level of contrast betweentheskyand
foregroundtowithinthecameras dynamic
rangemakingit possibletocapturedetail
throughout high-contrast scenes. Solid
NDs areamorecreativelter. Byabsorbing
light fromacross theentireframe, they
articiallylengthenexposuretime. As a
result, youcanblur water movement to
producemoreevocativeandless
static-lookingshots.
LENSCHOICE
Focal lengthwill greatly inuencethelook
of your seascapes, solens choiceis a key
consideration. Atelezoom, intheregionof
70-200mm, is a versatileandhandy lens for
coastal photography. Its longendis ideally
suitedtocapturingwaves crashingover
rocks or for shootingfaraway focal points
likeanisland, lonewalker or lighthouse.
Longer focal lengths arealsouseful for
foreshorteningperspectiveideal when
youwishtomakebackgroundelements
appear moreimposing. Afocal lengthinthe
regionof 100mmis well-suitedtoshooting
beachdetail, likesandpatterns and
interestinggeology. Again, youcouldopt for
a telezoom, but a 100mmmacrois alsoa
goodoption. Not only is a macroof this
lengthsuitedtoshootingtexture, but it also
allows youtocaptureframe-lling
close-ups of miniaturethings, likeseaweed
andbarnacle-cladrocks.
Whilea goodrangeof focal lengths is
recommendedfor coastal photography,
a wide-angleis anabsolutemust. A
wide-anglezoomofers themost exibility
andoneintheregionof 17-35mmis a good
option. Short focal lengths havean
inherently largedepth-of-eldandareideal
for capturingimages burstingwithdepth
andinterest. Youcancapturegreat
foregroundinterest usingwide-angles
likereectivepools, rocky outcrops and
wavy sandpatterns. Theonly drawback of
usinga wide-anglelens onthebeachis that
youhavetoget closetoyour subject, which
is not always safeor practical whenthetide
is rushingin. Whenyouneedtokeepfurther
away fromthesea, but still want tocapture
sweepingviews, a 24-70mmzoomis a
better choicestill beingwideenoughto
capturedynamicresults, but longenoughto
allowyoutowork froma safer distance.
R
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OuTDOORcLOTHInG
Youwont feel verycreativeif youarecoldor wet. Wear inappropriateclothing
or footwear, andyouwill soonwant toreturntothecar or headhome. Inwintry
or windyweather, qualityoutdoor clothingis essential. Start withagoodbase
layer designedtowickmoistureawayfromyour skinandkeepyour bodywarm
anddry. Inwinter, wear thermals andopt for proper walkingsocks. Althougha
goodwater-andwindproof jacket canbecostly, long-termit will proveawise
investment. Waterproof coats, likeParamos Halconjacket, areideal for
photographers, havinguseful, oversizedpockets; perfect for housinggraduated
flters. Wear ahat incoldweather doingsowill helpyouretainheat. Gloves are
alsoimportant. Theyneedtobewarm, but alsothinenoughtoallowyouto
changecameracontrols andattachflters etc, without youneedingtotake
themoftheNorthFaces rangeof Etipgloves areworthconsidering.
Footwear is alsoimportant. If youarestayingaway fromthewaves, wear
walkingboots they arecomfortable, warmandwill support your ankles
whenclamberingover rocks. However, oftenthebest viewpoints arenear the
tideline, whichmeans youll needwellies. They might not bethemost
comfortableor glamorous footwear, but they will keepyour feet dry. Although
costlier, heavy-duty, neoprenewellies, likethoseby Muck Boot, arewell worth
consideringif youintendtospenda lot of timeonthebeachincoldweather.
OTHeRuSefuLAcceSSORIeS
Remoterelease: Physically releasing
theshutter cansoftenimagesharpness,
soit is better tousea cordedor wireless
remoterelease. It is alsouseful for Bulb
mode, whenyouemploy exposures
longer than30seconds.
Skylight or uVflter: Skylight andUV
flters are designedtoabsorbultraviolet
light, but whenworking onthe coast,
are more useful for protecting the
lenss valuable front element fromsea
spray andsand.
Lens cloth: Always keepa dedicated,
cleanlens clothclose tohandwhen
working onthe beach, inorder to
quickly whisk away any moisture from
the front of the lens.
TRIPOD
Dont forget your tripodwithout one, your
creativeopportunities will beseverely
limited. Long-exposuretechniques rely on
usinga tripod. Opt for a solid, sturdy design
a lightweight tripodcouldeasily get
knockedover by a roguewaveor strong
wind. Whenshootingonthebeach, push
thetripods feet intothesandtoaidstability
if youdont, your set-upmight sink
slightly duringexposure, potentially ruining
theresult. Onceyouget home, dont forget
tocleanyour tripod. Saltwater is corrosive,
sorinselegs andcarefully removeall sand
fromsprings andjoints. Fromtimetotime,
apply a small amount of oil tonuts andbolts.
r
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EXPOSURE&SHUTTERSPEEDS
Inlandscapephotography, aperturechoice
normally takes priority over shutter speed
becauseweneedtoensurewehave
adequatedepth-of-eldtoachieve
front-to-back sharpness. However, once
weheadtothecoast, theshutter speedwe
usemust alsobegivencareful consideration
as it controls theamount of blur/motionwe
recordinthesea andthis canhavea strong
inuenceonthemoodof thenal image.
Theshutter speedyouusedepends on
thetypeof sceneyoureshootingandthe
efect yourewantingtoachieve. If youwant
tocapturethedrama of hugewaves
crashingontoclifs, for example, youre
goingtoneeda fast shutter speedtofreeze
theyingwater, soyoull belookingat
anythingfrom1/500secto1/2000sec,
dependingonhowferocious thesea is and
howbigthosewaves areintheframethe
bigger andcloser they are, thefaster the
requiredshutter speed.
At theother endof theexposurescale, a
popular techniquewhenshootingcoastal
scenes inlowlight especiallyat dawnand
duskis tousealongexposureof anything
fromafewseconds toafewminutes to
smoothout thetextureof theseasoit
contrasts withstaticelements suchas piers
andjetties. Theefect canlookstunning.
Betweenthesetwoextremes theoptions
aremany andvaried, andif youreafanof
coastal photography, its worth
experimentingwithdiferent shutter speeds
ondiferent seaconditions toseehowthey
afect theway thesearecords. Youcan
check eachimageas yougoandif yourenot
happy withtheefect, shoot againusinga
slower or faster shutter speed. Themilky sea
efect looks great, but dont betemptedto
always uselongexposures sometimes it
pays torecordalittletextureintheseaand
for that youmay only needanexposureof
1/4secor 1/2sec, especially if waves are
washingacross theforegroundandyoure
usingawide-anglelens. Similarly, at dawn
anddusk, whilea30to60-secondexposure
will giveyouamisty efect onbreaking
waves, seewhat happens whenyouonly
exposethescenefor vetotenseconds.
Timingis important, too, especially with
shorter exposures. If youwant a streaky
efect inthesea, it usually pays totripthe
shutter as a waveis recedingrather than
approachingas thedrainingaway efect
tends towork better photographically,
especially if thesea is streakedby whitesurf.
Aperture-priority is still themost practical
exposuremodetousebecauseit allows you
toset theapertureyouneedtocontrol
depth-of-eldf/11 tof/16for most
wide-angleviews andthecamera sets the
shutter speedrequiredtoachievecorrect
exposure. If that shutter speedis tooslow,
whichit may beinlowlight or if youwant to
freezecrashingwaves, youcaneither select
a wider aperture(providingit doesnt
compromisedepth-of-eld) or increasethe
ISO. This latter optionmay betheonly way
toget theapertureandshutter speedyou
need, but try not togobeyondISO400
unless its absolutely necessary as image
quality will begintosufer thoughif youre
facedby anamazingsea andyouwant to
stopit dead, set whatever ISOratingyou
needtoget theresult youwant.
If theshutter speedyouneedtoachievea
certainefect isnt slowenough, evenwith
your lens set tominimumapertureandthe
ISOat its lowest setting, youll needtoresort
tolters Neutral Density (ND) lters.
Theyrecoveredinmoredetail onpage60,
but sufcetosay, themoredensetheND
lter, themoreyouhavetoincreasethe
exposuresofor coastal photography, its
worthcarryinga coupleof NDs suchas 0.6
(twostop) and0.9(threestop), whichyou
canuseindividually or together.
Andlets not forget about theten-stop
NDlter, whichhas achievedalmost
legendary status amongcreative
photographers. Armedwitha LeeBig
Stopper (or equivalent fromB+Wor Hitech),
youcankeepyour shutter openfor minutes
andturneveryday coastal scenes into
ne-art masterpieces!
COMPARISONSETOFDIFFERENT
SHUTTERSPEEDS: This set of images shows
thediferencetheshutter speedhas onhow
movingwater records. Therst fewshots
lookrather boringas theseahas beenpretty
muchfrozenandits surfaceis clutteredwith
surf patterns, but byonesecondit is blurring
nicelyandbyeight seconds is lookingvery
soft. Thelonger exposures of 30-120seconds
havesmoothedtheseasotheoldwooden
groynestands out in3D, anefect that has
becomeverypopular but isnt everyones cup
of tea. Whichshot doyouprefer?
1/60sec
Twoseconds Eightseconds 15seconds
1/15sec
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30seconds 60seconds
1/8sec 1/2sec Onesecond
120seconds
1) Thisrst efort usesa17-40mmzoomat 17mm.
Apolariser improvestheskyandthecastleis
positionedroughlyusingtherule-of-thirds.
2) Turningmycameraonitssideandtiltingit with
thezoomset to17mmallowsmetomakea
featureof thesky. Apolariser emphasisesthe
cloudsbeautifully.
3) Convertedtob&wtheskyhasmoredrama,
whilethesemi-silhouettedcastlelooksbrooding.
4) Backingofafewmetres, zoominginto40mm
andshootinginlandscapeformat fromalower
viewpoint givesatotallydiferent lookandfeel.
5) I experiment withshutter speedstoget motion
ontheincomingtide. Evenwithanexposureof
vesecondsI still recordsometextureinthesea.
6) I headdownthebeachfor aninto-the-light
shot. Thesunisbright, but asitssmall, areisnt
toomuchof aproblem. Sandtextureaddsdepth.
7) Theresbarelyabreathof wind, soI decideto
checkout therockpools. Thereectionof thesky
isnt great, but thecalm, clear water still makesa
goodforegroundwiththat lovelyskystreaking
overheadandthecastleasafocal point.
8) For thispanI tookaseriesof four overlapping
frameswiththecameraonatripodandstitched
themusingPhotomergeinPhotoshop.
COASTALCOMPOSITION
Compositionis obviously key inany coastal
landscape, but howyoutacklethat depends
ona number of factors: what foreground
features youhavetowork with, if theres a
focal point, if thetideis inor out, howmuch
sea youwant toinclude, if thesky is
interestingor bland, thequality of thelight,
thetimeof day andsunposition, thetypeof
imageyourehopingtoproduceandthe
lenses youhave.
If youreheadingtoafamiliar locationyou
mayhaveaclear ideainmindof what you
want tocomeawaywith: awide-angle
sunrisewithsandripples intheforeground;
along-exposureshot withtheseawashing
over rocks; andsoon. But youalsohaveto
keepanopenmindbecauseconditions may
not beas expectedwhenyouarrive, or you
mayseethepotential for atotallydiferent
shot. Assumingyoudoget exactlywhat you
went for, theremayalsobethetimetoseek
out other images onceyouvegot your
sunrise, dont betooeager todashoffor a
cuppa, stickaroundfor awhilelonger.
Thegreat thingabout most coastal
locations is that they present many
opportunities for interestingimages if youre
willingtoremoveyour blinkers andwork the
scene. Spendsometimelookingaround.
Usediferent lenses tochangetheangle-of-
viewandperspective. Look at thescene
froma higher or lower viewpoint. Check out
diferent foregrounds sandripples, rock
ridges, pebbles, boulders, pools of water
reectingthesky or waves washinginfront
of you. Wait for thetidetocomeinor goout
andseehowthat afects thescene.
Togiveyouanidea, LeeFrost headedtohis
local coast andspent threehours on
BamburghBeach. Thelight wasnt great and
thetidewas low, but that didnt stophim
comingwaywithsomeinterestingimages.
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4 5
6 7
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remoteness, yet their inclusiongives the
viewer a better feelingof placeand
perspective. Compositionally, buildings
suchas this areoftenbest placedon, or
closeto, a dividingthird.
Althoughless attractive, harbour walls and
piers canproveequallyphotogenic. Strong,
structural objects likethis areparticularly
well-suitedtobeingshot witharticiallylong
exposures. ByusingasolidNDlter to
generateanexposureof several seconds
or evenminutes it is possibletosmoothout
thewater. Doingsohelps placeemphasis on
thestructures shapeandform, andresults
canhaveane-art looktothemparticularly
if alsoconvertedtoblack&white.
Finally, dont overlook rows of colourful
beachhuts. They aresuchiconicseaside
buildings and, dependingontheir location,
canbehighly photogenic. Wide-angleor
sheyeviews cancreatecolourful and
eye-catchingresults, particularly shot froma
lowangleandcontrastedagainst a blue
polarisedsky.
COASTALBUILDINGS
Buildings canaddscaleanda key point of
interest toyour coastal images, sowhen
appropriate, includetheminyour shots.
Lighthouses, castles, harbour walls, piers,
beachhuts andgroynes all havehuge
picturepotential andwill helpyour shots
look less generic.
Dottedall aroundtheUKcoastlinearea
number of lighthouses, many invery
photogenicspots for example, Portland
Bill inDorset, Godrevy inWest Cornwall,
Neist Point ontheIsleof SkyeandCorbiere
intheChannel Islands. WhileBamburghand
DunstanburghinNorthumberlandandSt
Michaels Mount inCornwall areamongthe
UKs most photogeniccoastal castles. When
includingbuildings likethis inyour
photographs, dont feel compelledto
includethemlargeintheviewnder.
Infact, buildings oftenbenet frombeing
capturedrelatively small intheframe. Doing
sohelps imply a feelingof isolationand
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COASTALDeTAIL
Dont overlooktheminiaturelandscapes at
thecoast its hometolots of interesting
detail andtexture, likewavysandpatterns,
pebbles, seaweed, shells, fshingropeand
evendriftwood. Withalittleimaginationanda
standardzoomor macrolens, eye-catching,
intriguingandabstract-lookingimages are
possible. Lookfor shapes, repetitivepatterns,
strongdiagonal lines andcolour. Low
contrast, overcast light oftensuits this typeof
imagewell, aidingthecaptureof fnedetail
andgoodcolour rendition. Selectinga
largeaperture, suchas f/2.8or f/4, inorder to
generateashallowdepth-of-feldis one
goodcreativeapproach; whilefllingthe
framewill oftenmaximiseasubjects impact.
Torecordyour subject sharpthroughout, opt
for asmaller apertureandpositionyour
cameraparallel withthesubject toplaceas
muchof it as possiblewithintheavailable
zoneof sharpness. Useatripodtoprovide
stabilityandalsoallowyoutocarefully
fne-tuneyour composition.
FILTRATIOn
Dont forget your flters whenyouheadto
thebeach. Apolariser will not only give
colours a boost andsaturateclear blue
skies, but by rotatingit inits mount, youare
abletoreduceor enhancerefections. This
is particularly helpful for revealingdetail
whenshootingrefectiveboulders, rock
pools andwet sand. Duetoits two-stop
flter factor, a polariser canalsobe
employedas a makeshift ND, lengthening
shutter speeds by a coupleof stops.
NDgrads areanother keyflter type. They
arehalf clear, half coatedwithatransitional
zonewherethetwohalves meet. TheND
coatingis designedtoabsorblight, allowing
photographers toevenout thelevel of
contrast betweenbrighter skyanddarker
foreground. NDgrads areavailableinboth
hardandsoft transitions, andindiferent
strengths typicallyone-, two-and
three-stopdensities. Grads aretheonly
in-cameramethodof achievingcorrectly
exposedresults whenshootinghigh-
contrast scenes, suchas sunriseandsunset.
Whentalkingabout flters for coastal
photography, it wouldbeimpossibleto
overlook theroleof solidNDflters. Unlike
grads, theentireflter is coated. They are
designedtoartifcially lengthenexposure,
sophotographers cancreatively blur
subject motion, likewaves andrushing
water. Athree-stopversionis a good
density for creatinganattractiveand
deliberatelevel of motion. Extreme
ten-stopversions arealsoavailable. With
oneof theseattachedit is possibleto
employ exposures of several seconds long,
eveninbright light. Whiletheshutter is
open, driftingcloudwill blur andeven
rough, choppy seawater will berendered
smoothandglassy. SolidNDflters area
key creativetool for coastal photography;
if youliketheblurry water efect, dont go
tothebeachwithout one.
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Withoutfltration
Withfltration
calculator, likeThePhotographers
Ephemeris (http://photoephemeris.com)
whenplanningyour coastal shoots. Sun
Scout is another handy app. Cleverly, it
overlays a graphical representationof the
suns futurepositiononyour smartphone.
Therefore, youcanplot exactly wherethe
sunwill riseor set onceonlocation.
Diferent times of theyear produce
diferent opportunities. Inspring, coastal
owers, likethrift, cancarpet cliftops, while
inwinter thesea canberoughanddramatic.
Great shots arepossiblethroughout the
year. However, insummer, beaches tendto
get crowdedandfootprints inthesand
makethebeachlook messy. Therefore, it is
best toavoidtourist hotspots intheholidays.
Finally, whenplanningyour visit, dont
overlook tidetimes. Certainlocations or
standpoints suit a highor lowtidebetter, so
youwill want totimeyour visit accordingly.
It is alsoimportant toknowtidetimes froma
safety aspect it is easy toget strandedby a
risingtide. Visit: www.tidetimes.org.uk.
TIMEOFDAYANDTIMEOFYEAR
Potentially youcancapturegreat seascapes
at any timeof theday andthroughout the
seasons. However, as youmight expect, the
goldenhours of light at dawnanddusk
typically providethebest light and
conditions. Aroundhalf anhour either side
of sunriseandsunset, thelight andcolours
inthesky canbemagical. Thepredawn
glowcanbewonderfully colourful, soget to
your locationingoodtime, beforethesun
has risen. Equally, dont pack uptoosoon
whenshootingtheeveninglight the
colours of sunset canintensify andbeat
their best over 30minutes after thesuns
disappearedfromview.
Diferent locations suit beingshot at
diferent times of day. For example, the
northCornishcoast is generally best suited
tosunsets. Beingabletopredict thesuns
positioninadvancewill helpyoutowork
efciently andavoiddisappointment. We
recommendyouusea sunandmoon
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10) SOUTHWOLD, SUFFOLK
Acoastal locationwithoodles of picture
potential, includingoneof thenest piers
foundanywhereintheUK. Therearealso
colourful beachhuts, groynes andrip-rap
rocks toshoot. This is a great spot for
playingwithlengthy exposures.
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7) HAPPISBURGH, NORFOLK
Happisburghis well-knownfor its decaying
andbrokensea defences, whichcreate
interestingforegroundinterest. Sunriseis
generally thebest timetovisit withyour
camera. Perchedabovethebeachis a
photogenicred-and-whitelighthouse.
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5) ALNMOUTH, NORTHUMBERLAND
Abeautiful sweepingsandy bay withdunes
andgroynes anda shallowestuary full of
photogenicshingboats. Best of all, you
canshoot stunningsunrises andsunsets
all year roundas thebeachfaces east and
theestuary faces west.
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3) EMBLETONBAY,
NORTHUMBERLAND
Bigblack basalt boulders providea dramatic
foregroundinshots lookingtowards the
hauntingruins of distant Dunstanburgh
Castle. Best at dawnor lateafternoonwith
waves washingover theboulders.
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1) LUSKENTYRE, ISLEOFHARRIS,
SCOTLAND
It was oncevotedamongthetopbeaches
intheworld. Whitesand, grassy dunes,
aquamarinesea andthedistant peaks of
theHarris Hills certainly makes it a
photographers paradise.
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4) SALTWICKBAY,
NORTHYORKSHIRE
Dramaticcoastlinewithhighclifs,
wave-washedrock slabs, theimposingrock
stack of Black Nabandeventherusting
skeletonof a wreckedshipat lowtide. Being
ontheeast coast, its a gooddawnlocation.
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9) KIMMERIDGEBAY, DORSET
Formingpart of Dorsets Jurassiccoastline,
Kimmeridgeis a great spot for shooting
sunsets. At lower tides, photogenicrocky
ledges areexposedandClavell Tower,
perchedontheadjacent cliftop, adds a
focal point towide-angleviews.
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Top10UKcoastal locations
6) DUNRAVENBAY/
SOUTHERNDOWN, GLAMORGAN
Arguably themost photogenicbeachin
Wales. Lowtidereveals a hugesandy bay,
punctuatedwithphotogenicpools
andinterestingrocky outcrops, which
createideal foregroundinterest.
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8) BEDRUTHANSTEPS, CORNWALL
Thecliftopviews of thesea stacks
stretchingacross thebeacharespectacular.
Inspring, colourful thrift carpets theclifs,
whileinwinter this is a great spot toshoot
large, crashingwaves. Thebeachis only
accessibleinspringandsummer.
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2) ELGOL, ISLEOFSKYE,
SCOTLAND
At theendof a 15-milesingletrack road.
Dramaticforeshorewithboulders, slabs
andhoneycombrock andviews across
tothesoaringCuillinHills. Agreat stormy
day andsunset location.
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www.wacom.eu/better-pictures CreativePros
The Intuos Grip Pen allows you to dene
the retouching area with complete precision,
following the curves and trimming the edges
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- The perfect match for creative software:
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- A whole palette of your favourite tools in just one pen:

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Extracting
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again and again.
Watch the video!
The easier way to better pictures.
Pick the exact area with Intuos5.
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Timesaretoughforall ofusatthemoment, sowhileourpassionforphotographymaynothavediminished,
ourphoto-expensesbudgetissuretohavetakenahit. Therefore, spendingourhard-earnedcashon
expensivenewopticsorthelatestgazillion-pixel DSLRisunlikelyforall butthemostfortunate. However,
therearemanylow-costproductsthatclaimtooferusachancetoexpandourcreativeoptionsand
captureimagesthatbelietheirrelativelylowpricetag. InBudgetPhotowetestlow-pricedphotoproducts
todiscoveriftheydeliverontheirpromiseofallowingfantasticphotographyonaverysmall budget
MISSIONSTATEMENT
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windowtoprotect thewelders eyesight.
Thelens works inthesameway as anND
lter it cuts downthelight passing
throughbut themost signicant
diferenceis theprice: youcanpick them
upfor less than1!
Googlewelders mask lenses or search
onebay, andyoull discover loads of
options, withprices rangingfrom79pto
4. Whether onebrandis better thanthe
other is hardtosay. Most aremadeof
glass, whichis goodas glass is far
moredurablethanplasticor
resinandalsolikely tobe
better optically.
All theimages herewere
shot usinga weldingmask
lens measuring5.25x4.5in
(seepanel above), but the
standardsizeseems tobe
4.25x3.25in(approximately
108x83mm). TheCokinP-series
lter holder takes lters that are
84mmwidesoyoumay managetoget a
weldingmask lens that ts intooneof the
slots samewitha Hitech85mmholder.
Weldingmask lenses arethicker than
photographiclters, soits all downto
thebrandyoubuy, thoughthosefrom
www.weldinggear.co.uk ttedcomfortably
intoa CokinP-series holder.
If youcant get yours intotheslot of a
lter holder, youll needtondanother
OVERTHELASTfewyears,
extreme Neutral Density lters
suchas theLeeBigStopper and
B+W1103.0havebecome
must-haveaccessories,
allowingphotographers touseexposures
several minutes longinbroaddaylight to
recordmotionina scene. Movingwater
turns tomilk, blowingclouds recordas
wispy streaks across thesky, swayingtrees
becomehazy ghosts inthelandscape.
Insteadof freezingtime, whichis what we
normally dowhentakingphotographs,
theselters allowus torecordthepassing
of timeandcreateamazingefects that the
humaneyewill never see.
Thedownsideof theselters is their
pricetag. ALeeBigStopper thebest
optionout therecosts a minimumof
100, but demandalmost always
exceeds supply soit cantake
months toget holdof one, or if
youreimpatient, youhaveto
pay silly money (200+) on
ebay. Hitechmakes a
cheaper alternative, but its
not as goodas theBig
Stopper andstill costs 75,
whiletheB+WND1103.0
will set youback 150+for a
77mmthreadsize.
If youregoingtousethis typeof
lter onaregular basis, thenits worththe
investment. But if its likelytobean
occasional dabble, thenyoumaystruggleto
justifyspendingsomuchmoneyonalter.
Fortunately, theres a muchcheaper
alternative. Welders wear a protective
mask that has a narrowwindowinthefront
throughwhichthey canseewhat theyre
doing. Becauseweldingproduces intense
light, a dark lens or lter is ttedinthis
ExtremeNDfilter
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Challengee: Lee Frost
Budget: 3.50
Theme: Welding mask lens as NDlter
means of attachingit toyour lens. We
startedout usingfour blobs of Blu-Tack,
eachabout thesizeof apea. By holdingthe
weldinglens against thefront of thecamera
lens thensqueezingtheBlu-Tack balls
against theouter edgeof thelens barrel and
therear surfaceof theweldinglens, youcan
holdit inplace. That said, weldinglenses
canbeheavy sotheres adanger of it falling
ofthelens andbreaking, especially incold,
dampweather whenBlu-Tack becomes
less adhesive. Amoresecureoptionis to
attacha lter holder adaptor ringtothe
weldinglens soyoucanscrewit ontothe
camera lens. Not only will this prevent it
fromfallingof, but youll alsoachievea
goodseal betweenthecamera lens and
weldinglens sotheres norisk of areor
reections beingcausedby stray light
creepinginbehindthelter andbouncing
ofits rear surfacewhileyouremakingan
exposure. Weuseda spare77mmLee
Filters adaptor ring, thoughany brandof
lter ringwill do, andattachedit tothe
weldinglens withgafer tape. It looks
crude, but works well.
Oncetheweldinglens is securely tted
toyour camera lens, its thenpossibleto
attachanNDgradtoit soyoucancontrol
thebrightness inthesky andprevent it from
overexposing. Agoodsky is oftenthekey to
a successful ten-stopper image, soyoull
ndthat youneedanNDgrad(0.6or 0.9
Above&left: Theres aknacktoattachingthe
weldingmasklens usingBlu-Tack, but onceits
rmlyinplaceyoucanget brilliant results.
Right: Dont bealarmedwhenyour shots
reveal astronggreencast youcancorrect the
colour later inPhotoshop, or convert images to
black&white, whichis what I tendtodo.
ParweldWeldingLens Glass Filter
Guideprice: 3.45
Fit: Doesnt t any available lter holder. Has
tobe attachedtothe lens by other means.
Size: 4.5x5.25in
Construction: Glass
Wepurchasedthis weldingmask lens
onebay fromBargainFixings
(bargainxings1) at a cost of just 3.45.
Postagewas freeandthelens was
deliveredtoour door twodays after the
order was placed, sowedrecommend
BargainFixings as a supplier. Most welding
mask lenses aresmaller thanthis oneat
4.25x3.25in, but wedecidedtogofor a
bigger lens soit wouldeasily cover the
front element of anultra-widezoomlens.
Weldingmasklens
DIDYOUKNOW?
If welders dont usea dark
lens ontheir mask, the
ultraviolet radiationcreated
by thewelders arc cancause
photokeratitis, whichis
basically sunburnof the
eyes. Ouch!
density) moreoftenthannot. This is where
Blu-Tack comes inhandy againsimply
press four small balls of it ontothefront of
theweldingmask lter, makingsuretheyre
outsidethelenss eld-of-view, thenpress
theNDgradagainst themtoholdit inplace.
As theres a danger of thegradfallingof
andbeingdamaged, secureit withrubber
bands. Youmight bewonderingwhy we
dont suggest usingrubber bands insteadof
Blu-Tack. Theres a goodreasonif you
sandwichtwolters together, Newtons
rings arelikely andthey will createdistorted
patterns ontheimage. By placingblobs of
Blu-Tack betweenthelters youkeepthem
apart andNewtons rings areavoided.
Oncetheweldingmask lens is inposition
onthecameralens, youwont beableto
seethroughit withyour eyetothecameras
viewnder, soaligningtheNDgradas well
as composingtheimageandfocusingwill
betricky. Youcancomposeandfocus
(manually, not withAF) beforeyouattach
theweldinglens, but theNDgradis thelast
thingtopositionbeforetakingtheshot, so
theweldinglens will already beinplace.
Fortunately, LiveViewcomes totherescue
hereif your DSLRis only twoor three
years old, its LiveViewmodeshouldbe
sensitiveenoughtoseethroughthe
weldingmask lens, soyoucanaligntheND
gradwhilelookingat thepreviewscreen.
Colourcorrected Original shot
Aquick internet or ebay searchwill reveal a
rangeof cheapweldingmask lenses. Here
aresomesuggestions.
rscsupplies (eBay)
Shade9toShade13lenses measuring
4.25x 3.25in(108x83mm) cost just 1.50
eachwithfreepostagebuy abunchand
treat your mates!
langleysteelworks (eBay)
Shade8toShade13lenses measuring
4.25x 3.25in(108x83mm) cost just 1.35
eachwithfreepostage.
www.weldinggear.co.uk
Shade9andShade11 lenses measuring
4.25x 3.25in(108x83mm) for only 79p
each, thoughpostageis 1.99plus VATso
twolenses postedwill set youback a
staggering4.28, or 2.14each!
www.ukwelder.com
Shade9toShade14lenses invarious sizes
including90x110mmand4.25x3.25in
(108x83mm), prices from1.09to1.41
(+VAT) andpostage. AsingleShade9lens
postedwill cost 3.41, but twolenses
postedcost 5.44sotheunit pricedrops as
thequantity increases.
Whichweldingmasklens?
ExtremeNDfilter
Thesameapplies if youchangecamera
positiononcetheweldingmask lens is in
place. Insteadof removingit, useLiveView
toaidcompositionandsavetime. LiveView
canalsobeusedfor critical focusing. You
needtoset focus tomanual anyway,
becauseif youuseAFwiththewelding
mask lens inplace, it confuses thefocusing
systemandyoull beunabletotaketheshot
becausefocus wont lock. Avoidit by
switchingtomanual focus and, if necessary,
enlargingtheLiveViewimagesoyoucan
focus onaspecicpoint inthescene.
If youvenever usedanextremeNDlter
before, workingout correct exposuremay
seemtricky. It is andit isnt. Youneedto
accept that your cameras meteringsystem
wont work properly withaweldinglens in
placeduetoits density, soit needs ahelping
hand. Your best bet is totakeanexposure
readingwithout theweldinglens inplace,
thencalculatetheexposurerequiredonceit
is inplace. Thedensity of weldinglenses
andthereforetheexposureyouneedto
usevaries. Whenyouorder one, youmay
begiventheoptionof Shade8, Shade9,
Shade10andsoon. As thenumber gets
bigger, thedensity increases soyoull need
togivemoreexposure. Wepurchaseda
Shade10lens andassumedit hadadensity
equivalent totenstops, likeaLeeBig
Stopper. If youassumethis, calculating
correct exposureis easy becauseyoujust
multiply theunlteredexposureby 1,000
(seeFig1 intheguideabove).
All youdothenis takeatest shot toseeif
thecalculatedexposureis correct. Tosave
time, openupyour lens toawide-ish
aperturesotheunlteredexposureis
around1/125secwhichmeans it will only
bearoundeight seconds withthewelding
lens inplace. Youwont recordmuch
motionwithaneight-secondexposure, but
it will quicklytell youif theexposureis
correct. Youcanthenmakeanynecessary
adjustments, but stopthelens downtoa
smaller apertureandincreasetheexposure
accordingly. For example, if youshoot
for eight seconds at f/4but ndthe
imageis alittletoodark, try
another onefor 12seconds at
f/4. If thats okay, youcanstop
thelens downtoasmaller
apertureandincreasethe
exposuretimeas requiredto
maintaincorrect exposure(see
g2intheguideabove).
Thewholepoint of usingan
extremeNDlter is soyoucanset long
exposures eveninbroaddaylight andrecord
motioninasceneprimarilyintheskyand
movingwater. Todothis well, youneedto
useanexposureof 30seconds or longer,
thoughtwotofour minutes is evenbetter. In
bright sunlight youmayndyoucant shoot
for morethan30seconds evenwithyour
lens stoppeddowntominimumaperture,
but onadull, cloudydayyoull beabletouse
exposures manyminutes longandthats
whenimages start totakeonasurreal look.
Windydays arealsobetter thancalmdays
becausetheres moremotionintheskyas
clouds drift overhead, andcoastal scenes
always workwell becauseof themovement
inthesea. For best results, contrast static
elements withmovingones, sofor acoastal
shot, includeapier or jetty, or partially
submergedrocks intheforeground.
Onceexposures get beyond30
seconds whichwill bemost
of thetimeyoull needto
set your camera toBulb(B)
andusea remotereleaseto
holdtheshutter openfor
therequiredduration.
Whenit comes totimingthe
exposure, someDSLRs have
a timer onthetop-plateLCD
soyoucankeepaneyeonthat.
If your camera doesnt havea timer,
count elephants inyour head, usea
stopwatchonyour mobilephonewiththe
alarmset togoofwhenthetimeis up, or
useyour wristwatch. Youdont havetobe
second-perfect, soif thecorrect exposure
is 60seconds andyouleavetheshutter
openfor 65seconds, it wont makeany real
diferencetotheimage.
Whenyoutakeyour rst shot througha
weldingmask lens, preparefor a shock.
Above: Fig1: Adjust your exposureto
compensatefor theNDlter. Fig2: These
examples showdiferent combinations giving
thesameoverall exposure.
Nofilter Weldinglens
Colourcorrected
Unfiltered
exposure
Exposure with
welding lens
1/125sec Eight seconds
1/60sec 15 seconds
1/30sec 30 seconds
1/15sec 60 seconds
1/8sec Two minutes
1/4sec Four minutes
1/2sec Eight minutes
Same exposure, diferent settings
12 seconds at f/4
25 seconds at f/5.6
50 seconds at f/8
100 seconds at f/11
200 seconds at f/16
400 seconds at f/22
Exposurereferenceguides
Fig2
Fig1
B
U
D
G
E
T
P
H
O
T
O
If youhavent alreadystartedexploringtheworldof
long-exposurephotographywithextremeNDfilters, we
recommendyoustart nowwithaweldingmasklens
GOTA
SUGGESTION?
HaveaBudget Photoidea
youdlikeus totry out?
Email your suggestions to
dslrfeedback@
dennis.co.uk, titled
Budget Photo, andwe
may try it out!
Theimages comeout withanugly green
colour cast! Initially youmay think youve
madea mistake, but its perfectly normal.
Pukka NDlters, liketheLeeBigStopper,
aremuchmoreneutral, but weldingmask
lenses havea greentingewhichthe
cameras sensor records. If youshoot in
Raw, youcanadjust thecolour during
post-processing, thoughas thegreencast
is sostrong, its almost impossibletoget rid
of it completely. WeusedACRin
Photoshop5toprocess theRawles. The
colour temperaturepresets dont really
work youhavetoadjust thetint slider to
addthemaximumamount of magenta you
canandthat does a pretty goodjob. Once
theimageis savedas a TIFF andopenedin
Photoshopor Lightroom, youcanmake
further adjustments usingColour Balance
or Channel Mixer tomaketheimage
appear morenatural.
Another optionis tocreatea custom
WhiteBalancesothecolour cast is
correctedin-camera. Check your DSLRs
manual tondout howtodothis as it varies
frombrandtobrand, but it will involve
takinga photographof a neutral tonesuch
as grey sky or whitecardthroughthe
weldinglens, thenlettingthecamera base
theWhiteBalanceonthat image. If youre
goingtousea weldinglens regularly, its
worthdoingas it will savetimeat the
computer andtheimages youseeonyour
cameras previewscreenwill look far more
natural. However youdeal withthecolour
cast, youshouldalsoseriously consider
convertingtheimages toblack &white.
Not only does this meancolour casts are
nolonger anissue, but thelook andfeel of
your long-exposurelandscapes will be
enhancednoendby b&wconversion, as
youcanseefromtheexamples here.
Earlier wementionedoptical quality.
Obviously, weldingglass lenses arent
madefor photographicuse, sodont
expect themtobeas sharpas a BigStopper.
That said, theyrereally not that badwe
werereally surprisedby howsharpour
images wereandreckontheyll easily print
to16x20in. Consideringyoucanpick upa
weldinglens for less than1, thats pretty
amazing. Infact, wedgoas far as saying
that of all thegadgets andgizmos covered
inBudget Photosofar, this oneofers far
morebangfor your buck thantherest put
together, andif youhavent already started
exploringtheworldof long-exposure
photography withextremeNDlters, we
recommendyoustart nowwitha welding
mask lens. Youmay decidetoinvest ina
proper photographiclter later, but at least
this way youcanseeif youregoingto
enjoy thetechniquewithout partingwith
toomuchcash.
1) Cleanit: Beforeuse, cleanthewelding
mask lens by runningit under warmwater
thenwipingdry withamicrobrecloth
ours was quitedirty.
2) Correct exposure: Doatest shot to
establishcorrect exposure. Assumethe
density is tenstops andwork fromthere,
but thedensity does vary.
3) Avoidare: Theweldinglens needs to
betight against thecameralens toprevent
light leakinginbehindit andcausingare.
4) Colour casts: Youalways get anugly
greencolour cast fromweldinglenses but
by shootinginRawyoucanmake
adjustments toget ridof it or createa
customWhiteBalance.
5) Useatripod: Exposures arelongwhen
usingaweldinglens (thats thewhole
point!), somount your cameraonatripod.
6) UseLiveView: Despitethedensity of
weldinglenses, LiveViewonthelatest
DSLRs will seethroughit, allowingyouto
composeandfocus withit attachedto
your cameralens.
7) Imagequality: Dont expect thesame
level of sharpness youdget fromaLeeBig
Stopper or other photographicNDlters
weldinglenses arent optical quality.
8) Trydiferent brands: Quality does vary
betweenbrands sobepreparedtotry afew
diferent ones most cost less than1
eachsotheyrehardly expensive!
Weldingmasklenstoptips
Above: Althoughweldingmasklens lenses
arent madefromoptical gradeglass, image
qualityis surprisinglygood. Anexposureof four
minutes was usedhere.
EXTRAORDINARYIMAGESUSINGORDINARYITEMS
Ifyourestuckforphotoinspiration, thenourmonthlychallengemaybejustwhat
yourelookingfor. WeselectthreephotographersfromtheDigital SLRPhotography
teamandcontributorseachmonthandtaskthemwithcapturinganimagethatusesan
ordinaryhouseholdobject. ThelatestchallengeseesPaul Ward, JordanButtersand
CarolineWilkinsonaimingtocaptureacreativeimageusingcandles...
#9CANDLES
D800panel please Creative Eye aims toprove that combining imagination
withtechnique canmake for interesting andinspiring
images, evenif your subject is as ordinary as candles! If
you'relookingtoaddcreativity toyour photography, then
you'll ndit eveneasier toget theresults youwant by using
thebest possiblekit. For theultimateimagequality, consider
theNikonD800, whichboasts anFX-format CMOS sensor
that has a class-leadingresolutionof 36.3-millionpixels,
allowingit tocaptureanunprecedentedlevel of detail.
For further informationonNikon's rangeof products,
visit: www.nikon.co.uk
Recommendedkit
pebbles tocompletethediorama.
But gettingthelighting, scaleand
perspectivespot-onwouldbevery tricky
withsucha set-upandthis typeof project
is only meant totakea coupleof hours at
most todo. InsteadI took myself oftoa
big-brandDIYstorefor wallpaper samples
tocreatea seamless backgroundand
brought a fewhometoseewhat worked
well toneandtexture-wisewiththewarm
light fromthecandle. Thelightingis what
CREATIVEEYE
CANDLE
BLAIRMATCHPROJECT
ByCarolineWilkinson
Camera: NikonD800
Lens: NIKKOR50mmf/1.8
Software: AdobePhotoshopCS5
Topleft: Previewing
thesceneonmy
NikonD800allowed
metocheckif the
lightingandscale
workedwell for the
nal shot.
Above: I went
throughawholebox
of matches before
ndingastylethat
workedfor my
matchstickmen.
Left: Afeweveryday
items wereall that
was neededtonail
theshot.
Belowleft &
bottomleft: I trieda
fewdiferent ways to
set upthescene,
beforedecidingon
thenal shot.
Right: Mynal shot
gavemoreemphasis
tothe'dead' matchin
theforeground, andI
preferredthewaythe
shadows fell onthe
scene. Asimpleidea
that's funtotryout
onafreeafternoon.
REACHINGTHIS IDEA, however
morbidit might appear, was
actually alot of fun. Ivewanted
tocreateamatchstick-man
scenefor awhilenowas they
always ticklemeandseemsocleverly
done, but I couldnever ndthetimeto
buildadiorama; therewas always
somethingbetter or quicker toshoot. But
withtheNewYear resolutiontotry the
projects Ivebeenmeaningtodo, the
candlethemewas theperfect push.
Comingupwiththeconcept was borne
fromaconversationwithmy husband, who
has awildartisticimagination. Talkingtome
about his students writingprojects where
they havetoconjureanelaborate
backgroundstory toanimage, it got my
cogs workingas tohowI coulduseasimilar
ideatoconnect acandleandmatchstick
men. Onethingledtoanother as weboth
fuelledour silly natures andafter alot of
what ifs andthey coulds mingledwith
childlikegiggles, I cameupwiththenal
ideaof this creepy bonrescene.
I sketchedout initially howI wantedit to
look, whichmeant printinganimageof a
woodlandscenetouseas a backdropand
llingintheforegroundwithmoss and
decides whether this imageworks or not
andkeepingit simplewithonecandleand
adjustingtheexposuretoget theefect
seemedtheway togo.
Tocreatethemen, I triedsculptinglegs
andarms bysplinteringlongmatches witha
jackknifebut that provedharder thanit
looked. Aboxof matches later andI resided
tosuperglueandsmaller matchsticks as the
arms. I thenwovescarves out of embroidery
threadandstuckthematches tothe
wallpaper aroundatealight. Theburnt man
was createdthesamewaybut set alight rst
toget singed. Onceinplace,
I set upmyNikonD800outt and
experimentedwithcompositions and
viewpoints, beforelightingthecandleand
takingatest shot. Set tomanual mode, I
startedwithanapertureof f/7.1 toget the
focusinganddepth-of-eldright,
eventuallysettlingonf/9, thenselecteda
shutter speedfor anaccurateexposure. In
this instance, acorrect exposurewasnt the
best exposure; toomuchlight meant alack
of atmosphere. Stoppingtheshutter speed
downfromfour totwoseconds meant
moredetail intheame, adeeper glowfrom
there andstill sufcient light toexpose
thedead matchontheground. Withall that
guredout, theonlyquestionleft toanswer
is what happened?Didheget toocloseor
was hesacricedfor warmth?Sendyour
captionideas todslrfeedback@dennis.co.uk
tobeinwithachancetowinaprize.
CREATIVEEYE
CANDLES
GIRLONFIRE
ByPaul Ward
Camera: NikonD800
Lens: NIKKOR24-70mmf/2.8
Software: AdobePhotoshopCS2
Clockwisefrom
topleft: I drilled
threeholesinthe
aluminium, whichI
thenstuckthe
candlesticksthrough
andsecuredwith
bolts; Sabinaworked
onstylingthehair
aroundthecandlesto
hidethealuminium
headbandonmodel,
FinlayPartt; the
make-upwasdoneby
artist GemmaClarke.
Belowleft: Here
youcannot seethe
thirdlight, whichis to
theleft of thesmoke
machine, but it
producedthe
highlight onthehair
andbackof the
model's neck.
Below: This was the
original imagethe
shoot was set upto
captureandis lit by
threelights: akey
light, hair light anda
Portaashto
illuminatethesmoke.
Bottom: I shot the
candles separatelyin
adarkroomandthen
superimposedthem
ontothenal image
usingtheScreen
blendingmode.
Right: As youcan
see, thewindowin
mylifestylestudio
starts about 6ft of
thegroundandruns
totheceilingbut
oods theroomwith
natural light its a
lot likethelight Id
get fromalarge
softboxpointing
down45.
Centre: I shot inRaw
anddarkenedthe
imageslightlyin
post-production
beforedesaturating
andaddingavignette.
I WASABITpanickyabout this
shoot, as whenyoureusing
models, make-upartists andhair
stylists, it onlytakes oneof them
not towant todoit ontheday
andthenyoucant. Theoriginal ideaI had
was meltingcandlewaxover amannequin
headtocreateawaxhat that themodel
couldwear, almost soit lookedlikeher head
was abigcandleandthewaxwas melting
downher face. But, after somethought
about thetimeit wouldtaketomelt that
muchwax, andthecost of needingsomany
candles, it provednot tobethebest option.
WhenI put acastingcall out for themodel
andstylists, SabinaYunusova, whoI usedto
stylehair for aprevious CreativeEye, got in
touch. Shes extremelycreative, soI knew
whenshecameonboardI couldleaveit to
her tobuildthehair aroundacandlestick
instead. Withdecidingthis, wethenhadto
gureout awayof xingthecandles toher
head. After trailingaroundafewcharity
shops I bought somestraight candlesticks,
whichhadbases that couldget screwedof,
andattachedthembydrillingholes intoa
pieceof aluminiumthat got bent intoa
headbandandsecuringthemwithbolts.
My mainidea was todotheshot withthe
smokeagainst thebackground, but my
favouriteimageturnedout tobean
afterthought anda muchsimpler set-up.
For therst one, I usedthreelights anda
smokemachine: thekey light was a large
Octobox softbox witheggcrateattached
tostopthelight fallingonthebackground;
a small Jessops portaashtoilluminatethe
smokebehindthemodel; another light
behindandtotheleft-handsideof Gemma
Clarke, themake-upartist, as shes working
thesmokemachine, whichacts as a small
hair light. Theimagewas takenat 1/60sec
at f/7.1 (ISO200).
Thecandle's ames wereshot separately
toget theright exposureanddetail, and
alsosonot toset themodels hair alight;
withtheamount of hairspray shehadin, we
might havehada Michael Jackson
moment. I actually didthreeor four
diferent ameshots sothat they didnt
look identical. I didnt usea ash, I just
turnedall thelights of, set theNikonD800
ona tripodandmeteredfromtheame. As
I shot themagainst a black background, all I
neededtodowas addthemas individual
layers inPhotoshopandapply a Screen
blendmodetoget ridof thebackground.
Whenwenishedtheshoot, wewent
back towherewedbeendoingthe
make-upthelifestylearea of my studio
andtherewas suchlovely light coming
throughthewindows that I hadtotakea
coupleof shots. I changedthecamera
settings, bumpingtheISOupto800and
openedtheaperturetof/3.2as thelight
was a lot lower. I stoodbetweenthemodel
andthewindowtoget thebest light falling
evenly onher faceandperfectedthepose
beforetakingthenal shot of theday
andwhats provedtobemy favourite.
Alternativeshot
CREATIVEEYE
CANDLES
SMOKINGSKILLS
ByJordanButters
Camera: NikonD5200
Lens: NIKKORAF-SDX18-55mmf/3.5-5.6
Software: AdobeLightroom4andCS5
I'LL BEHONESTwithyouthis
was a toughone. Aquick search
of 500px or Flickr will tell you
that, as far as photographic
still-lifesubjects go, candles are
pretty popular objects. Youcanseewhy
they look aesthetically pleasingandthey
emit a lovely warmglow. However, coming
upwitha creativeidea for animagewasn't
as easy as I thought it wouldbe.
Muchbrainstormingandinspiration-
searchingtook place, whensuddenly it
dawnedonmethecandleitself needn't
bethesubject of theimage; it just hadto
play a part increatingit. SoI settledonthe
idea of anabstract smoke-trail imageusing
thesmokefromanextinguishedcandle.
Obtainingtheimages turnedout tobe
theeasy part I set upa pieceof black
foamboardonmy kitchencounter toact
as a backdropandplaceda candleholder
infront of it. I put theunlit candleinthe
holder andset my NikonD5200upona
tripod, inportrait-orientation, toallow
roomfor thesmoketoriseinto. I selected
single-point autofocus andfocusedon
thetipof thecandle, beforeswitchingto
manual focus toensureit didn't change.
I usedmanual modeat ISO100, selected
themaximumsyncspeedof 1/200secand
chosea midapertureof f/8for a workable
depth-of-eld. I thenconnecteda wireless
ashtrigger tothecamera andplacedthe
receiver ona budget ashgun, whichI
restedonthecounter totheright of the
candle, pointingupwards at wherethe
smokewouldtrail. I selectedmanual mode
ontheashanda power of 1/32which,
after a test shot, provedtobesufcient to
illuminatethesmokehowever, someof
thelight was spillingontothebackground.
I useda small pieceof black foamboard
anda black folder toagthelight fromthe
backgroundtosolvethis problem.
BeforelightingthecandleI openedthe
outsidedoor toallowthekitchentocool
down, as smokeappears moreprominent
andlingers longer incolder environments.
After half anhour, I shut thedoor and
closedall of theblinds anddoors inthe
room. This madesurenoambient light
crept inandeliminateddrafts that could
blowthesmokeout of frame. After lighting
thecandle, I allowedit toburnfor 30-60
seconds toallowthewick toget hot,
beforeblowingit out andringofa few
shots. After repeatingthis process several
times, I foundthat whenthesmoketrailed
totheoppositesideof theframetothe
ashgun, it endedupunderexposed. To
rectify this, I placeda secondashgunon
theoppositesideof thecandleanddialled
thepower of bothashguns downto1/64
this ensuredthat thesameamount of
light reachedthesmoke, but madesure
that it wouldbecapturedequally well, no
matter whichdirectionit went. Theadded
bonus was that my rechargetimebetween
shots droppedthanks tothelower ash
power, meaningI couldreofmoreshots
beforethesmokedissipated.
Thesteps I tookinpost-processingwere
abit moreinvolvedI importedmyles
intoLightroom4andpickedout thebest
trails, whichI thenexportedover into
PhotoshopCS5. UsingtheLassoTool, I
selectedeachsmoketrail andcopiedand
pastedthemontoanimageI tookof thelit
candlewithnosmoketrails. I thenchanged
theBlendModeof eachlayer toLightento
ensurethesmokeshowedthrough.
Toaddextrainterest, I appliedacolourful
Gradient layer toeachsmoketrail and
changedtheBlendModeof eachGradient
toColor. Finally, I mergedall of thelayers
together andduplicatedthem, before
ippingthemtocreateamirroredpattern.
AquicktweaktoCurves andaspot of
sharpening, andtheimagewas complete.
I decidednot toincludethecandleinthe
compositionintheendas it detractedfrom
theabstract natureof theimage.
Aboveleft:
Composingtheshot
beforehandand
lockingtheNikon
D5200inpositionon
atripodleft mefree
toset uptheshot and
light andextinguish
thecandle.
Above: After lighting
thecandle, I left it to
burnfor ashort
periodtoensurethat
thewickgot hot
enoughtosmoke
whenextinguished.
Left: After gently
blowingout the
candle, I hadtimeto
get threetofour
shots ofbeforethe
smokedisappeared.
Belowleft:
I selectedmy
favourite-shaped
smoketrails in
Lightroomto
compositeintothe
nal image, carefully
selectingeachtrail
usingPhotoshop's
LassoTool.
THE
C MPLETE
PICTURE
RAW
ITSNEVERBEENEASIERTOCREATEOUTSTANDINGIMAGES. DIGITALCAMERASARECAPABLE
OFCAPTURINGINCREDIBLEAMOUNTSOFINFORMATION, ESPECIALLYWHENCAPTUREDAS
RAWFILES. BYFOLLOWINGOURBEST-PRACTICEGUIDELINES, NOTMANYMISTAKESARE
BEYONDREPAIRANDGOODPHOTOGRAPHSCANBEMADEGREATWITHLITTLEEXTRA
EFFORT. DOYOUWANTTOKNOWHOW?TURNOVERTOFINDOUT...
WORDS: CAROLINE WILKINSON/ MAINIMAGE: MARCADAMUS
PART 1
W
HATWOULDYOUdoif youwere
givenone-millionpounds? Buy a
newhouse? Takealuxury holiday or
two? Giveuptheday jobtobeaprofessional
photographer? Whatever youdecide, one
thingyouprobably wouldnt dois tothrow
away most of that money andtry tomake
thesamedreams cometrueonthesmall
fractionthats left sounds silly, doesnt it?
Sowhy wouldyoudothis withyour
cameras pixels? Youspendalot of
money onthelatest technology
withtheviewof gettingthe
best imagequality that your
budget canbuy, andthen
you, inefect, discarda
generous proportionof
this dataanddetail by
shootinginJPEGand
thenwonder why your
imagequality is not as
great as youimagined.
Sowhat shouldyoube
using? Inshort Raw. These
days, digital cameras capturean
extraordinary amount of imageinformation
andalargepart of achievingprofessional-
gradeimages is knowinghowtounlock and
capitaliseonthis detail. Somephotographers
believeRawtobetricky andnot aformat for
beginners, whileothers believethat if you
wereagoodphotographer andgot the
images right in-camera, theres noreasonto
not shoot JPEG. Bothcamps arewrong, in
our opinion, andtheaimof this two-part
Its soeasy: simply select the Image Quality
setting via your cameras menusystemor
topplate andchoose Rawor Raw+JPEG,
thenshoot as younormally wouldandtake
comfort inthe fact that youre capturing
maximumquality. There are a couple of
things tobe aware of, though, when
shooting Raw: rst, the image size (see Size
matters!, page 89); second, a technique
calledexposing tothe right. As the most
image informationis containedinthe
highlights, by using your histogramas a
guide toslightly overexpose your scene
(not somuchthat youlose detail inthe
highlights), youcancapture a lot more data
anddetail ina Rawle, whichyoucanthen
drawout by adjusting the exposure during
processing. For a full tutorial onthis
technique, see part twonext month.
Set your camerafor Raw
Whenyoubuy a camera,
themanufacturer provides
a CD-ROMwith
its ownRawprocessing
software. For some,
its sufcient, but many
prefer tousethird-party
processors andfor thosewhoalready own
Adobesoftware, they haveoneof thebest
available. PhotoshopCSs AdobeCamera
Raw(ACR) is by far themost popular and
powerful editingsuites, but versions of this
programarealsoavailableinother Adobe
products, suchas Lightroomand
PhotoshopElements. Infact, for themost
part, theRaweditingcapabilities of eachare
very similar or simpliedversions. Apple
Aperturealsohas a Rawconverter and
CaptureOneby PhaseOneis another
popular programfor somephotographers.
If yourecurious about howeachworks
diferently or howuser-friendly youmay
ndthem, eachprogramcanbe
downloadedas a free30-day trial.
Lightroom4106(upgrade 61)
Free trial fromwww.adobe.com/products
PhotoshopCS6660(upgrade 188)
Elements 11 78(upgrade 63)
CaptureOne 229(146)
Free trial fromwww.phaseone.com/4/
AppleAperture3.4.355
Free trial fromwww.apple.com/uk/aperture
Manufacturer software
Freewithyour camera
Rawsoftware
THELANDSCAPEPHOTOGRAPHER: LEEFROST
I want toachieveoptimumimagequality andtheRawformat does exactly
that. Whats thepoint inspendingthousands of pounds oncameras andlenses,
thenlettingthecamera deletedata fromtheimages I capturebeforeIveeven
hadthechancetoseethemonmy computers monitor? ARawlecontains
moredata thanI need, but at least by shootinginRawI get todecidewhat stays and
what goes. I canalsosaveprocessedRawles as 16-bit TIFF les, whereas JPEGs are
8-bit. Its easier toadjust things likecolour temperatureif youshoot inRaw, too, andI
canbatch-process Rawles toapply exactly thesamesettings toeachimage, whichis
useful whenI shoot a sequenceof images tostitchintopanoramas. If I forget tospecify
a WBlikeDaylight, andinsteadshoot withAWB, thecolour balanceof eachimagemay
vary shootingRawallows for this marginof error. www.leefrost.co.uk
articleis toshowyouwhy andhow, witha
fewadjustments toyour workow, youcan
dramatically improveyour images.
First, Rawis not difcultits oftenmore
involvedthanshootingJPEGs becauseyou
havetoput morethought andtimeinto
generatingtheles tohowyouwant themto
look, but its nodiferent fromshootingand
processinglm, whichis what all great
photographers didbeforedigital. Its also
themost forgivingformat, making
it ideal for beginners. The
format allows youtomake
humanerrors without
ruiningapotentially great
image(yes, professional
photographers make
mistakes too) andallows
youtoprocess the
imageinmany diferent
ways just likeyouwould
withalmnegative. Sofor
creativephotographers, its
really ano-brainer. If yourestill
not convincedthat Rawis arookies
format, too, makesureyoureadhowour
professional contributors useRawandwhy
they giveit ravereviews.
Understandingthediferencebetween
RawandJPEGmight alsopersuadeyou.
Whenyoutakeapicture, your camera
processes thedatacapturedby thesensor,
which, unaltered, is a12-, 14- or 16-bit
uncompressedRawle(actual depth
depends onthecameramodel youreusing).
SHOOT
RAW+JPEG
Not only does it allowyoutosave
timeandharddrivespaceby
reviewingJPEGs onyour monitor
beforehavingtoconvert theRaw
les, but youcanapply in-camera
styles toyour JPEGs, likeblack &
white, topreviewtheresults
without afectingtheRawdata,
whichyoucanadjust later.
Car photography
Rawphotography
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Eyes for detail
JPEGs fromRawles have
moredetail thanin-camera
JPEGs, sofor ultimate
sharpness, shoot Raw!
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UNLIKEAJPEG, YOUR
RAWIMAGEISNTPRINT-
READYITSANEGATIVE
WAITINGTOBEDEVELOPED.
ITSHOLDINGALOTOF
POTENTIALDETAILFOR
YOUTODRAWOUT
AJPEG, ontheother hand, has been
processedby thecamerabeforetheimageis
savedtoyour memory card, oftenafter
sharpening, colour andcontrast adjustments
havebeenapplied. Thecameraalso
compresses theledowntoan8-bit image
as it decides what datais neededfor thebest
photographanddeletes therest. If youve
slightly under- or overexposedyour image,
chances arethat youvelost valuable
informationthat cannot berecoveredor
corrections madewithout compromising
theimagequality. If youhadshot inRaw,
however, that informationwouldberetained
andeasily recoveredtoimprovethequality
of your exposureanddynamicrange. Raw
les containmoredatathanyouneedto
createasuccessful imageandputs youin
control of all thecreativedecision-making.
It alsomeans youcanuseyour computer to
process your images, whichhas far more
power andcontrols thanacamera.
Dowehaveyouconvincedyet? Areyou
swappingyour Quality settingfromJPEGto
Raw, as youreadnow? Great. Nowwhat?
UnlikeaJPEG, your Rawimageisnt
THENATUREPHOTOGRAPHER: ROSSHODDINOTT
For naturephotographers, theargument for shootingRawis overwhelming.
Whenshootingwildlife, youhavetoreact quickly tothesubjects movement.
Often, thereisnt timetone-tuneall theshootingparameters, likeWhite
Balance, in-camera. However, by shootinginRaw, photographers havethe
luxury of beingabletotweak suchthings later duringediting, without any loss of quality.
Duetoa Rawles great exibility, naturephotographers canconcentrateonfocusing,
compositionandbeingcreative. Rawles alsocapturemoretonal levels, soimage
quality is maximised. They alsohavegreater latitudetoexposureerror, soif youdomake
a mistake, youaremorelikely tobeabletoretrievetheimage. AlthoughRawles are
larger andthereforetakelonger towritetothecameras card, most digital SLRs have
suchlargebufers that shootingJPEGs ofers nosignicant advantagetoRaw, even
whencapturinglargebursts of images. www.rosshoddinott.co.uk
Set thetone
Shoot inRawandyoucan
easilychangetheWhite
Balancetogiveimages
themoodyouprefer.
WHATSYOUR
EXTENSION?
Every camera manufacturer
has its ownRawleformat:
Nikonhas NEF, Canonhas
CR2, Sony has ARW, for
instance. Its what will show
uponyour computer as
theleextension
insteadof .JPG.
Panoramicphotography Rawphotography
Q
WhenI openmyRawles inACRI get
areas ashingredandblue. Its really
distracting. What does it meanandhow
canI get ridof it?
ADont worry, its only the highlight and
shadowwarnings! If any of the shadow
areas are clipped(pure black withnodetail),
they will ashblue tolet youknowandif
any of the highlights are blown(white with
nodetail), the afectedareas ashred. Its
handy tohave these warnings onsothat, as
youmake adjustments tothe image, you
cansee if the clippedshadows andblown
highlights improve. If youwant toturn
themof, though, click onthe small
triangles at the top-right andleft corners of
the histograminthe ACRwindow.
Q
Ivegot PhotoshopCS5, Lightroom4
andNikonCaptureNX, whichcame
withmyNikonD700. Theycanall process
Rawles whichshouldI use?
AIts entirely uptoyou, but youre better of
sticking withone of the three soyouget
usedtoit, rather thanchopping and
changing. Many Nikonfans use Capture
NX, but LightroomandPhotoshopare
more streamlinedbecause they allowyou
todomuchmore withyour images using a
single application. Dont forget youhave
Elements, too, for a simpler andcheaper
versionof Photoshopif the bigger
softwares intimidate you.
Q
Ivejust bought anewDSLRandACR
wont openmyRawles. DoI needto
upgrademyversionof Photoshop?
ANot necessarily. Whenmanufacturers
bring out newcamera models, the Raw
format usedby those cameras usually
wont be recognisedby the versionof ACR
youre using inPhotoshopas it predated
the launchof the camera. Whenyoutry to
opena Rawle, a message says: Couldnot
complete your request because Photoshop
doesnt recognise this type of le.
Adobe issues free updates for ACRthat
allowyoutoopenRawles fromspecied
newcamera models youcandownload
themfromwww.adobe.com. However,
whether or not this will solve your problem
depends onthe versionof Photoshop
youre using andif the DSLRyoubought is a
newmodel or one that has beenaroundfor
a while. If youre running CS3 or CS4and
your camera is a recent launch, thenyoull
probably ndthat the last ACRupdate
issueddoesnt include your camera onthe
list of models covered. If youre running
CS5, youll probably be okay andif youre
running CS6thenyoull denitely be able to
downloadanACRupdate for your camera.
If nosuitable ACRupdate is available for
your versionof Photoshop, youcould
either upgrade toPhotoshopCS6or buy
Adobe Lightroom4, whichwill allowyouto
process Rawles fromyour newcamera
andstill import intoPhotoshopafter.
Q
HowshouldI savemyimagefrom
AdobeCameraRaw?
ABefore yousave your image, click on
WorkowOptions (blue writing at the
bottomof ACR) andset the Size, Depth,
Space and300pixels/inchas the
Resolution(see page 92 for full details).
If youre not opening your image into
Photoshop, click Save Image... and
preferably select TIFF as your Format as it
retains more informationthana JPEG, and
set CompressiontoNone.
RawFAQs
print-ready its anegativewaitingtobe
developed. Its tonally at, softer thanit
shouldbeandholdingalot of potential detail
inthehighlights andshadows for youto
drawout. For many photographers,
especially thosenewtodigital editing, the
ideaof processingandconvertingRawles
canbedauntingandof-putting, but it can
bemadeas simpleor as complicatedas your
skills permit. Thebeauty of Rawis that, as
your skills develop, theres alsonoreason
why youcant returntore-edit thesame
imageagainlater as longyoukeepaleinits
lossless Rawstate, as theimageinformation
is never permanently altered. Thereare
several softwarepackages youcanuse, too,
but our preferenceis Adobe: whether that be
Elements, CSor Lightroom. Eachhavevery
similar Rawinterfaces, bornefromAdobe
CameraRaw, whichwell showyouhowto
navigateover thepage.
Withincreasingmegapixels anddata
collection, onemodernchallenge
photographers arefacingis massiveRaw
les. Dependingonyour cameras lesize,
a Rawlecantakeuptoveor six times
morespacethana JPEG. Not only does this
meanhigh-capacity memory cards, or
plenty of spares, but youmay eventually
needa bigger harddriveandfaster
processor if your computer is tomanage
downloadingandeditingthesemammoth
images. Addtothis that thelesize
increases as youedit theimages until
theyrecompressed, plus thefact that you
might want tokeeptheoriginal Rawleas
well as theJPEG, andyoull beneedinga lot
morestoragespacethanif youstuck with
JPEGonly. But lets faceit, thoughthe
pros of Rawstill far outweighthesecons.
Sizematters!
THECOMMERCIALPORTRAITPHOTOGRAPHER: PAULWARD
Upuntil a year ago, my mainpriority was beingabletoget a lot moreimages
ona memory cardincaseI mademistakes. I thought JPEGs werebest. I was
wrong: Rawhas a lot morebenets. If youget theWBwrong, youcantweak it,
whereas doingthat inPhotoshopona JPEGisnt very accurateandcanbehard
todo. If I slightly overexposea shot, Raw-editingsoftwareallows metopull detail back,
whichis really handy. BeforeI movedover totheNikonD800, whenever I triedtoopen
upshadowareas toreveal detail, Idget grainy images, but theD800is amazingfor
revealingdetail intheshadowwithout introducingnoise. Its alsouseful whencreating
HDRimages. I prefer not totakemultipleexposures, as a part of thesceneor themodel
will oftenmoveslightly betweenshots. WithRawI canexpandthedynamicrangeby
outputtingthreediferent exposures froma singleRawleandmergingthemtogether
its far morecontrollableandtheresults arebetter. www.paulwardphotography.com
(Findout howtocreatea multipleexposureor HDRimagefroma Rawlenext month.)
By clicking onthis blue
informationline, youcan
select the best image space,
resolution, size anddepthto
ensure optimumquality.
See page 92 for details.
Insteadof using the Zoom
Tool, youcanmake more
precise enlargements by
selecting a percentage from
this drop-downmenuor
using the +or - buttons.
Zoom: Magnify the
imagetoseeit in
moredetail by
clickingonthepreviewimage.
Hand: Navigate
aroundthemagnied
imageby clickingand
draggingtheHandTool.
WhiteBalance: By
clickingonanimage
area thats whiteor
grey, ACRcandeterminethe
colour of thelight theimage
was takenin.
Color Sampler: Allows
youtoselect a colour
that youwant to
adjust by clickingonthat area
of theimage.
TargetedAdjustment:
Insteadof usingthe
sliders tomake
adjustments, dragthis tool on
theimagetomakeedits.
Crop: Perhaps oneof
themost useful tools,
useCroptochange
theaspect ratio, torecompose
your imageor simply remove
elements fromtheedges.
Straighten: Correct a
wonky horizonor
rotateyour image.
Spot Removal: Get rid
of sensor spots, dust
marks andother
unwantedblemishes.
Red-EyeRemoval:
Click onthesubjects
pupil toget ridof
red-eyeinportraits.
Adjustment Brush:
Usethis tool tomake
localisededits tothe
image. Seepage93for details.
GraduatedFilter:
Drawalineacross
your imagetoapplya
graduateefect. Youcanthen
adjust Exposure, Brightness,
Contrast, Clarity, Saturation,
Sharpness andColor of the
graduatetosuit your picture.
Preferences: Click
heretoaccess the
Camera Raw
Preferences dialoguebox.
Rotate
counterclockwise&
Rotateclockwise:
Click onthetools torotatein
either directionby 90.
NavigatingtheAdobe
CameraRawinterface
NewtoACRandconfusedbyall itsfeatures?Nofear, wemakeCS5clear...
Thetoolbar
Previewoptions
Click here toopenyour Save
Options. Fromhere youcan
select your image Format,
File Extensionandlevel of
Compressionbefore naming
andsaving the le.
Tosee howyour adjustments
afect your image, make sure
this Previewbox is ticked. The
buttontothe right expands or
reduces the size of your
interface onyour monitor.
Car photography
Adobe softwares have very similar
interfaces andcapabilities whenit
comes toRaw, sowhether youre
using Elements 10or Lightroom4,
the tools andtechniques we refer
towill, for the most part, translate.
Whenyouve done all the editingyouwant toinACR, youhave the
optiontoopenthe image inPhotoshopfor further processing.
Insteadof clicking OpenImage, holdAlt toopenthe image as a lt
copy its useful if youwant toapply diferent techniques tothe
same Rawle inPhotoshop. Youcanalsopress Alt tochange the lt
Cancel buttontoReset, reverting all sliders todefault settings.
Rawphotography
Basic: Arguably the
control roomof ACR,
these tools for the
most part are all youneedto
dramatically transformyour
Rawimages turnover to
ndout exactly how.
ToneCurve: It
functions ina similar
way toPhotoshops
Curves adjustment, allowing
youtomanually manipulate
the tonal graphtoafect your
images contrast.
Detail: Youcanaccess
the Sharpening and
Noise Reduction
features of ACRvia this tab.
Theyre quite simple touse,
but for more informationand
tutorials, see page 94or next
months article.
HSL/Grayscale: This
tabholds most of the
controls youneedto
alter colour. Youhave HSL
(Hue, Saturationand
Luminance adjustments) as
well as a Convert toGrayscale
box that allows youtouse the
Grayscale Mix sliders toadjust
the various grey tones inyour
image toimprove contrast.
Split Toning: Want to
be a bit more creative
withcolour? The Split
Toning tabenables youto
adjust the Hue andSaturation
of the highlights andshadows
separately for duotone results.
Lens Corrections: A
really useful feature
andone tabwe
recommendvisiting before
youdoany editing, especially
if youve useda wide-angle
lens andyour image has barrel
or pincushiondistortion,
fringing or vignetting.
FX: The Efects tab
features the more
creative adjustments.
Youcanaddgrainandapply
a vignette for artistic results.
CameraCalibration:
Use this tabtoapply
your in-camera styles,
like VividandLandscape. You
canuse the Camera Prole
sliders tohelpcalibrate your
on-screenimage tomatch
your LCDview, if needed.
Presets: Create your
ownpresets soyou
canapply creative or
routine tweaks withone click.
Simply click NewPreset and
thenrecordthe adjustments.
Snapshots: Take
snapshots of your
editing as yougoalong
tocompare the results or to
easily returntoanearlier state.
Adjustments
Clippingwarnings
Clipping is where detail is lost at the extreme ends
of the histogramspectrumthese black and
white triangle buttons, whenpressed, activate
warnings toindicate where clipping has occurred.
Areas withlost shadowdetail (right triangle) ash
blue, while highlights (left triangle) ashred.
Histogram
Just like onyour camera, the ACRhistogram
shows youthe distributionof your exposure
informationfrompure blacks topure whites. Its a
goodreference for determining what adjustments
youneedtomake. As youmove the sliders, youll
notice the histogramchanges its distribution.
In
Recovery(UptoCS5)
If youoverexposedyour imagein-
camera, thenthis tool is your fail-safe
option; useit torecover detail inthe
highlights. If youvenot clippedyour
highlights, youcanusetheslider as
generously as youneedto, but if youve
overexposedtothepoint wheretheres
nodetail torecover, ACRwill attempt to
reconstruct thedetail wheretwoor
morecolour channels arepresent. Be
watchful of highlights turninggrey as a
result of tryingtoretrievelost detail.
Thebasics: GetstartedinAdobeCameraRaw
Master Basicadjustmentsandwepromisethequalityof your photographswill never bethesameagain
If younormally shoot JPEGs, youwont
havetoknowmuchtonoticea dramatic
diferencetothequality of your edited
images onceyoustart workingwithRaw.
Just beingabletonavigatea fewbasic
settings inyour chosensoftwareguarantees
better results, simply becauseyounot only
havea lot moreimageinformation, andthus
scopefor better improvement, but youcall
theshots basedoneachimages needs
rather thanlettingthecamera apply the
sameblanket adjustments, likesharpening
andcolour saturation, toall your pictures.
Thebest part of editinginACRis that it
doesnt matter howmany errors youmake,
noamount of editingyoudotoyour Rawle
degrades theimagequality unlikea JPEG
soyourefreetoexperiment with
consequenceuntil youconvert theimageto
a JPEGor TIFF. Andevenif youdosaveyour
edits totheRawle, theedits youvemade
arestill completely reversible. Brilliant isnt it!
Most of your key editingtools arehoused
under theBasictabandareadjustableusing
sliders, makingthemfast andeasy touse.
If youreonly interestedinmakingminimal
edits toevery Rawle, thenthis pagehas all
youneedtoknow, andmore: Basicis the
powerhouseof ACR. Whileit has morethan
enoughtoget youby, andshouldkeepthe
learningcurverelatively shallow, youand
your images wouldbemissingout if youleft
it there. Thereis, after all, a reasonwe
couldnt t all this informationintoone
issue; therearejust toomany great
techniques totell youabout. But beforewe
get aheadof ourselves, heres a breakdown
of what theBasicpanel ofers andhowyou
canuseit toprocess your best ever pictures.
If youclick onthe blue text belowyour
previewimage inthe ACRwindow, a
WorkowOptions box opens. Make sure
youhave Space set toAdobe RGB(1998)
andDepthto16Bits/Channel. Click Size to
see various options: most of whichhave a
(minus) symbol after them, one that has
nosymbol andone or twothat have a +
(plus) symbol at the end. The optionwith
nosymbol is the optimumone for your
camera andsaves your images at
maximumresolution. Choose that one.
Youve paidfor those megapixels soyou
might as well use them. Theres nopoint,
generally, inchoosing a lower resolution
option, andif youchoose one thats higher
thanthe resolutionof your camera, the les
will be interpolated, whichyoudont usually
needincrease the le size later, in
Photoshop, if necessary. Also, make sure
Resolutionis set to300pixels/inch.
Workowoptions
Exposure
Out of all thecontrols intheBasicpanel,
Exposureis theoneyourelikely touse
every time. Movetheslider totheright to
increaseor left todecreasethe
exposure: muchthesameway as adding
exposurecompensationtoyour camera.
Youcanalsotypeinanexposurevalue,
like2for twostops, inthebox. If your
imageis dramatically under- or
overexposed, combineExposurewith
other sliders for thebest results andbe
careful of introducingnoise.
WhiteBalance
As thepros havealready plugged, this is
oneof themost useful tools inyour Raw
editingarsenal. WhiletheWhiteBalance
Tool is great, thesecontrols make
correctingany in-cameraWhiteBalance
errors adoddleonceyouget thehangof
it: simply select aWBpreset or usethe
sliders for acustomWB.
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AfterPresets
BeforeCustom
AfterCustom
After
Before
After
Before
Car photography
Rawphotography
Fill Light (UptoCS5)
Underexposedyour imageslightly and
want toreveal detail inyour shadows?
Thenthis is thetool youll needtogoto
after tweakingtheExposure. It works ina
similar way toif youhaduseda burst of
ll ashwhentakingtheshot, opening
uptheshadows for a brighter image. Use
inconjunctionwiththeBlacks slider to
improvecontrast, but dont overdoit or
youll start tointroducenoise, halos and
theresemblanceof animagewithugly
hyperreal dynamicrange.
Clarity
Fantasticfor increasingthelevel of detail
inyour image, Clarity is a tool tobeloved
andloathed. As it targets edgecontrast,
useit withcautionas excess canresult in
halos andartefacts. CS6, however, has
transformedthis tool sohalos aremuch
less of a problem. Zoomintotheimage
for a better viewof your adjustments,
whicharebest madeas a nal tweak.
CombineClarity withmoderate
sharpeningfor thebest results: too
muchof either may hinder imagequality.
Vibrance&Saturation
Wonderingwhy ACRhas boththeses
sliders? Its simple: Vibrancetargets areas
not already saturated, whileSaturation
enhances all colours equally.
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While the Basic tabholds
the key toyour
fundamental editing
tools, every adjustment
youmake using the
sliders afects your Raw
le globally. But what if,
after youve made those
adjustments, there are
areas of the image that
needfurther work? Do
youopenit inPhotoshop
todestruct the pixels
using the Dodge/Burn
Tools or arduously use
Adjustment Layers with
Layer Masks for selective
editing? Well, while the latter optionis still a
preference over the former, youdont even
have toleave ACRtomake these localised
changes thats what the Adjustment
Brushis for.
Once youselect the Adjustment Brush
fromthe toolbar, the Basic panel converts
tothe Adjustment Brushpanel, featuring
some of the same sliders: Exposure,
Brightness, Contrast, Saturation, Clarity,
Sharpness andColor. InCS6, youalsohave
the benet of Noise Reduction, Moire
Reduction, Defringe, Clarity, Saturation,
Shadows, Highlight, Tint andTemp.
InCS5 andCS6, theres alsoa sub-
category that afects the brushs properties
suchas Size, Feather, FlowandDensity. You
canuse the brushtotarget areas of your
image andthenthe requiredadjustment
slider toedit that sectionwithout interfering
withthe rest of your image. The AutoMask
feature is useful for helping isolate areas.
For every newarea youwant totarget or
adjustment youwant tomake, click Newat
the topof the panel. If youwant todelete
anadjustment, hover over the adjusted
area toreveal the pin(a greennode) if its
not visible, click ShowPins at the bottomof
the panel. Click onthe pinandthen
Backspace todelete. Alternatively, press
Erase andbrushover the area againto
remove the adjustment.
We have a fantastic tutorial inthis issue
for using the Adjustment Brushin
Lightroom4(page 100), whichapplies to
ACR, too, sodont forget tocheck it out.
Highlights This new
tool is incredibly
powerful: dragit to
theleft torecover
highlight detail like
Recovery inCS5or
theright tobrighten
highlights with
minimal clipping. Useincombination
withtheWhites slider for extra punch.
Shadows Usethis slider by movingit
totheright or left tobrightenor darken
shadows andmid-tones, respectively,
andtorecover detail intheshadows.
Whites Dragthis newslider totheleft
toreduceany clippingtothehighlights
similarly toRecovery inearlier CS
versions or theright tointroduce
specular highlights.
Adjustment Brushes
NewtoCS6
After
After
Before
Before
Brightness (UptoCS5)
Quitesimply, it does what it says onthe
tin. Adjust theslider toafect theoverall
brightness of your image. ACRhas more
efectivetools for doingthis, like
Exposure, whichmay bewhy its not been
featuredinthelatest version, CS6.
Blacks
Target only your darkest areas toadd
depthtoyour shadows by increasingthe
amount of pureblacks inyour image.
Watchthehistogramandthepreview
images for areas that ashbluetoavoid
clippingdetail.
Contrast
Manipulatethemid-tones, without
afectingthewhites or blacks inyour
image, toadda littleextra punchor to
softentones. Leaveit totheendof your
editingprocess andwatchfor clippingof
shadows andhighlights.
Vibrance Saturation
Advanceyourskillswiththesetoptools
Want toknowhowtousetheother highlyefectivefeaturesinACR?Hereareafew
Havingcoveredthebasics, youshouldat least beabletonowdabble
withprocessingyour Rawles andstart tonoticethediferenceto
your images. Somephotographers, after makingbasicACRexposure
andcontrast adjustments, prefer toopentheir imageinthemain
Photoshopsuitetoapplyanydistortioncorrectionandsharpening,
rather thancontinuingtoedit inACR. Its reallyamatter of choice.
If youdochoosetomakesome, or all, of your extraadjustments in
Photoshop, westronglyadvisenot compressingyour Rawlerst,
but toopenyour Rawimageas acopyor
object toensurethebest results otherwise
youll losedataandquality.
Dependingonyour preferredACRworkow, some
of thetools featuredinthis section, suchas CameraandLens
Correction, defringingandvignetteremoval, might becomeyour rst
port of call beforemakinganyedits intheBasicpanel. Whatever your
preferenceis, its worthknowingwhat theydoandhowtheywork.
Sharpening
Alot of photographers prefer toleavesharpeningtoPhotoshop, or at least after all other
editinghas beendone, as it arguably ofers morecontrol andallows youtoalter the
level of sharpeningdependingontheoutput (iewebor print). ACRs sharpening,
however, locatedinDetail, is basedonthesamealgorithmas Photoshops Unsharp
Mask, sois very efective. SharpeninginACRalsohas thebenet of beingnon-
destructiveandreversible, whereas inPhotoshopthis is a lot moredifcult toachieve.
However youdecidetosharpen, knowthat its anessential stepas, unlikea JPEG, no
in-camera sharpeninghas beenappliedtoa Rawle.
Lens Corrections
Diferent lenses exhibit various defects dependingonfactors likef/stopand
focal length, oneof whichis distortion. But this is simpletocorrect inACR.
Select theLensCorrections tabandclickProle, thenEnableLensProle
Corrections for automaticadjustments basedonthelens youveused.
YoucanalsousetheDistortionslider if its not sufcient. SeeVignetting
andFixingFringingfor moreinformationonfurther commoncorrections.
Amount: Afects edgedenition. The
higher theAmount, themoreedges are
sharpened. Becareful of addingartefacts.
Radius: Adjust thesizeof thedetails that
sharpeningis appliedto. Usea larger
radius for largedetails anda lowRadius
for nedetails.
Detail: Usetosharpenhigh-frequency
data. Set it lowtoremoveblur around
edges andhighfor makingtexturemuch
morepronounced.
Masking: Leaveset to0sotheother
slider afects thewholeimageor 100to
restrict tweaks tothestrongest edges.
Press Alt/Opt toseetheareas masked.
FURTHER
READING
For in-depthtutorials on
howtoapply thesetools
andRawprocessing
techniques inLightroom
andACR, refer toour
monthly article
Digital Darkroom.
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Before
Before
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After
Panoramicphotography Rawphotography
ToneCurve
Thenext tabalongfromBasicis
ToneCurve, andit works ina similar
way toCurves inPhotoshop. As
Rawles arenotoriously at, this
sectioncanbecomereally useful
andanalternativetosomeof the
Basicsliders onceyouvegot the
hangof it. Youhavetwooptions:
ParametricandPoint. Under the
Point sub-tabyoucanselect a
preset that afects thebrightness
andcontrast, or youcanadjust the
lineintersectingthehistogram
manually, likeyouwouldinCurves.
If Levels was moreyour style, stick
withthedefault Parametricsub-tab
as it allows youtousethesliders,
whichcanbemoremanageable, to
target Highlights, Lights, Darks and
Shadows. Movethesliders tothe
left tolighten, or right todarken
thosespecictonal bands. Youll
noticeas youchangethesliders
that thegraphlinechanges shape
thehigher youset thecontrast,
thesteeper thecurvewill createan
S shape. InLightroom4and
PhotoshopCS6, youcanalsoselect
speciccolour channels toedit
great if youonly want toafect the
contrast of Red, Greenor Blue, or
apply a creativecross-processing
techniquetoyour images.
Vignetting
Lens corrections: Oftenif youveuseda
wide-anglelens, your imagemay sufer from
slight vignetting(darkeningof thecorners). To
correct this, click ontheLens Correctiontab
andusetheAmount slider under Lens
Vignettingtolightenor darkentheedges to
reducetheamount of croppingyoumay need
todo. TheMidpoint slider is useful if your
vignetteencroaches beyondthecorners.
Artisticefect: Vignetting,
whencontrolled, canbean
artisticnishingtouch. Inthis
case, usePost Crop
Vignettingunder theEfects
tab. ChooseaStyle:
Highlight Prioritytoprotect
your highlights; Color
Prioritytopreservehues;
Paint Overlaytoblendthe
original colours withthevignette. Youcanthen
adjust thefollowingsettings: theAmount to
lightenor darkenthecorners; Midpoint to
afect thespreadof thevignette; Roundness to
decideits shape; Feather toadjust thesoftness;
andHighlights tocontrol contrast.
NEXTMONTH: MAXIMISEDETAIL RAWMULTIPLEEXPOSURES COMMONRAWFILEPROBLEMS CREATIVERAWTECHNIQUES
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Thelatest ACR(6.7) makes xingcolour
fringingincredibly easy: click onLens
Corrections thentheManual taband
select Defringe: All Edges. If grey lines
appear, select Highlight Edges instead
as this is wheremost fringingappears.
Zoomintoyour imagetoat least 100%
tojudgetheresults.
Fixingfringing
Before
Before
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Before
Before
After
After
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Stop Guessing:
inaccurate colours?
Colour Calibrate:
the process is simple.
Start Knowing:
the results are amazing!
Amazingly Simple Monitor Calibration
Smile. colormunkismile.com
WEX Photographic
Crooked Imaging
Park Cameras
Speedgraphic
London Camera Exhange
Morris Photographic
Wilkinson Cameras
Smart Images
CPC
AvAilAble from these locAl stockists:
Distributed by
PhotoshopCS Lightroom PhotoshopElements
Whatever your abilitylevel or choiceof editingsoftware, theressomethingfor everyoneinthis
monthlyseries. Weguideyouthrougheachof Adobeseditingpackagestoshowyouhowtoget
thebest fromyour images. Thismonth, weexplainthemost efectivewaytoimprovecontrast in
Elements10, howtochangeyour compositioninCSandtomakehandylocalisedadjustmentsto
your imagesinLightroom4usingtheAdjustment Brush
DIGITAL
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MASTERADOBESIMAGESOFTWARE&IMPROVEYOURPHOTOS
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FILL THE FRAME
Extendingthebackground
of yourimageisauseful
littlecheat youcanuse
whenyouneedtomake
discreet changestothe
composition
ELEMENTS
USINGLEVELS
Improvethecontrast and
colourof imagesquickly
andeasilyusingLevels
LIGHTROOM
SELECTIVE
ADJUSTMENTS
Discoverhow, byusing
theAdjustment Brush,
itspossibletomake
localisedchangeswith
theminimumof fuss
INSIDE...
PhotoshopElements
Simplecolour andcontrast adjustments
UnderstandingLevels
Levels: thesimplesecret toimprovingcontrast andcolour. Findout
howtomaster this trouble-freetool totransformyour images
CAROLINEWILKINSON: If youre
newtodigital editingyoumay not
haveheardof Levels, whichis a
useful tool whenyouwant to
improvethecontrast, tweak the
exposureandenhancethecolours of your
images. Levels is anall-in-onesolutionfor
thesebasicadjustments andit does a great
jobof it, too. This tutorial presumes that you
want toedit a well exposedJPEG, not a Raw
le, whichis best doneusingRaw
conversionsoftwaretomaximiseonthe
detail anddynamicrange(seepage90).
JPEGs carry less informationthanRawles,
sothey greatly reduceyour scopefor
rescuinganexposureandmakingedits
without damagingimagequality. Whereas
thefewer tweaks toJPEGs, thebetter.
Youmay betemptedtouseElements
Quick Edit features, but I suggest bypassing
this sectionandgoingstraight intotheFull
editingsuitetouseAdjustment Layers. The
Quick Edit one-click adjustments takethe
hassleout of editingbut rarely producethe
best results; oftenblowinghighlights to
openupshadows or makinghighlights
muddy for thesakeof deepeningshadows.
1
Access Levels Youll needyour Layers palette
open(Windows>Layers). Nowadda Levels
adjustment layer (Layer>NewAdjustment
Layer>Levels), whenthe NewLayer dialogue
box appears, click OK. Youshouldnot only see a
newlayer appear inyour Layers palette but a
large dialogue box displaying a histogramthis
is the exposure histogramfor your image; the
same as youwouldsee onyour cameras LCD.
4
Target colour If your image has a slight
colour cast, or youwant toadjust the
colours inyour image, youcanalsodothis using
Levels. One way is toselect the middle
Eyedropper tool andtoclick onanarea of grey/
mid-tone toset the White Balance. Alternatively,
youcantarget the tonality of Red, Greenand
Blue independently via the Channel drop-down
menu, whichas default will showas RGB.
2
Assess your image For anaverage scene that
doesnt bias the shadows or highlights, you
want a histogramthat runs fromthe far right to
the far left, soyour blacks are true black andyour
whites are true white. The Before histogram
doesnt look like this, causing the image tobe at
andcolours dull. Click Autotosee howit
changes your image. Our After shot shows the
shadows andhighlights more evenly spread.
5
Takethenext stepBeginners might want to
nishthe tutorial at stepfour; others may
ndthese advancedsteps worthmastering. If
youhave animage like this one, where making
the sky stronger leaves the foreground
underexposed, or vice versa, youcanuse the
Layer Mask attachedtothe Levels adjustment
layer inyour Layers palette toedit your
adjustment toafect only one or the other.
3
Takecontrol If Autoimproves the contrast
andcolour sufciently, youcouldclose the
dialogue box andleave your editing there. If not,
click the Reset toadjustment default buttonat
the bottomof the Adjustment panel andmove
the black slider tothe right soits at the edge of
the histogramandthe white slider similarly to
the left; youshouldsee aninstant improvement
tothe tonal range anddepthof the colours.
They alsotarget your images pixels sothe
efects areirreversible. AnAdjustment Layer,
ontheother hand, gives youtheexibility to
eraseyour adjustments at any time, leaving
theoriginal pixels untouchedandimage
quality thebest it canbe. Youcanalso
selectively adjust areas of your imageusing
theAdjustment Layers Layer Mask; its a
slightly moreadvancedoption, requiring
morecontrol andjudgement over editing
decisions, but onceyouget thehangof
workinginElements, its a techniqueworth
havinginyour arsenal for images that needa
bit moreattentionbeforeprint.
Original
Before After
Final image
Get everybodys good
sidebymergingyour best
groupshots intoone.
6
UsetheLayer Mask Here, the tonality of the
foregroundhas beenimprovedbut the sky
andmisty backgroundcouldlook better inareas.
Totarget the sky separately, adda newLevels
adjustment layer andtweaks by only focusing on
this section, ignoring any efect onthe
foreground. Once happy, select the BrushTool,
make sure Foregroundcolor is set toBlack, the
edges are soft andOpacity is 100%.
7
Edit thesky Click onthe Layer Mask next to
your newAdjustment Layer toactivate it, and
thenstart tobrushover the foregroundtoreveal
your rst Levels-adjustedimage. Whenyou
come tothe edges of where the foregroundand
sky meet, try lowering the Opacity slider to
40-50%, zooming intothe image andselecting a
smaller brushtoensure a smoothgraduation
betweenthe twosections.
8
Adjust your process Repeat this process for
as many parts of the image that need
individual attention. For better control, use a low
Opacity brush. If youmake a mistake, switchthe
Color fromBlack toWhite andgoover the area
againonthe Layer Mask torestore the original
state. Youcandelete the Adjustment Layers if
theyre nolonger neededor double-click on
themtore-edit the histogram.
Final image
Selections allowyou
toadjust your image
onesectionat atime.
DIGITALDARKROOM
WARNING
Wheneditinga JPEG, dont
betooheavy-handedwith
theexposureadjustments.
If youopenupthe
shadows toomuchinthe
hopeof revealingdetail,
yourisk introducing
quality-degradingnoise
andartefacts.
Lightroom
HowtousetheAdjustment Brush
1
Makeglobal changes rst Before making
any selective adjustments, make any global
changes that yousee t. Its a goodidea when
making any exposure or contrast adjustments to
enable the clipping alerts inthe Histogramso
youknowhowfar youcanpushthe settings. To
dothis, click onthe twosmall triangles inthe top
corners of the Histogramwindow.
2
Set thebrushsize Click onthe Adjustment
Brushtoopenthe Adjustment Brushpalette.
First set the brushSize, Feather, Flowand
Density using the sliders. FlowandDensity may
appear todosimilar things, however, Flow
controls howfast the adjustment is applied,
andDensity sets the opacity of the adjustment.
Leave AutoMask uncheckedfor now.
3
Brushinlargeareas rst Use the Exposure
slider toset the exposure value that youwant
toapply this canbe adjustedlater soIve
chosen-0.50for now. Click andholdonyour
image tobeginbrushing onyour adjustment,
giving a wide berthtoany obstacles. If youwant
tosee where youve brushed, hover over the
node pinonthe image tohighlight the areas red.
4
Usethemask Whenyoucome toanarea
where youhave obstacles topaint around,
switchonthe AutoMask feature inthe
Adjustment Brushpalette. Continue tobrush
aroundthe obstacles andAutoMask will attempt
tomask out any items that it doesnt think you
want topaint. It probably wont get it 100%right
rst time, but its a goodstarting point.
5
Adjust thesettings Withyour sky masked,
move the Exposure slider againuntil you
reachthe level youre happy with. Anexposure
of -1.00is just right here. Youcanalsouse the
other sliders tomake additional adjustments to
the selectedarea. Ive alsoadded+25 Saturation
toboost the blue sky. These changes are
non-destructive, sofeel free toexperiment.
6
Eraseanyover-spray If youpaintedover any
obstacles onthe horizon, or if the AutoMask
tool failedtomask anobject, simply click on
Erase inthe Adjustment Brushpalette, adjust
your brushSize andFeather as before, andbrush
back over toerase the adjustment. Making sure
AutoMask is switchedonagainwhile erasing will
helpyour brushndthe edges as before.
Makeselectiveadjustments
TheAdjustment Brushis oneof Lightrooms most powerful and
useful tools. Learnhowtouseit toselectivelyadjust your images
JORDANBUTTERS: Although
wedall obviously liketoget every
shot right in-camera rst time, it
isnt always possible. Thankfully,
therangeof adjustments
Lightroom4ofers allows youtotweak, alter
andmanipulatealmost any parameter toget
thebest out of your images.
Whilethesechanges canbemadeona
global scale, moreoftenthannot therewill
bespecicareas of your imagethat you
want totweak without afectingtherest of
theimagethis is wheretheAdjustment
Brushcomes in.
TheAdjustment Brushallows youto
selectively apply any adjustments that you
wishontoa specicpart of your image.
It canbeusedtoadjust exposure, contrast,
saturation, or pretty muchany of theother
settings that youcanmakeintheBasictabof
theDevelopmodule.
Original
Lightroomfundamentals
MULTIPLEADJUSTMENTS?
Youcanuse multiple Adjustment Brushes
ona single image tomake several diferent
adjustments at once. Simply click onNew
at the topof the Adjustment Brushpalette
eachtime youwant touse a newbrush.
Todelete a brush, click onthe node pin
for that brushonthe image toselect it and
press the Backspace key.
DIGITALDARKROOM
Final image
UsingtheAdjustment
Brush, I was ableto
recover theskywithout
afectingtherest of the
image, despitethe
obstacles onthehorizon.
PhotoshopCS
Extendbackgroundsfor better framing
2
Cropyour image Click anddrag tomake
your initial selection. At this point the tool
wont allowyoutoselect past the edges of the
existing image. Release the mouse andthen
click onone of the corner anchor points and
drag outwards, ofthe edge of the image. Press
the Enter key tocommit tothe crop.
3
Select thebackgroundToll the empty
space oneither side of your image, select the
Rectangular Marquee Tool andclick anddrag on
your image toselect as muchof the background
as possible toone side of your subject. Be
careful not toselect the edges of your subject at
all or they will distort inthe next step.
1
Select theratioFirst youneedtounlock the
Backgroundlayer; double-click onthe layer
inthe Layers palette. Inthe dialogue box that
opens up, click OK. Select the CropTool and, in
the menubar at the top, enter the newaspect
ratiothat youwishyour image totake; inmy
case, 7inWidthby 9inHeight.
4
ExtendthebackgroundWithyour selection
made, gotoEdit>Transform>Scale anduse
the side anchor point tostretchyour
backgroundtothe edge of the frame. Press the
Enter key tocommit tothis transformation. Then
repeat steps three andfour for the other side of
the image.
Extendabackground
JORDANBUTTERS: Extendinga
backgroundis anincredibly
useful technique. It canbeused
tochangetheaspect ratioof an
imagewithout resortingto
awkwardly croppingyour imageandeither
drastically alteringthecompositionor, even
worse, croppingout part of your subject. Its
alsoa widely usedtechniqueinpublishing
whenoverlayingcopy onanimage.
Theres noone-size-ts-all approachto
extendinga backgroundandquiteoften
youll ndthat a combinationof thediferent
methods mentionedhereworks best. The
general ruleof thumbis that themore
complicatedandless uniformthe
background, thetrickier theprocess
becomes. Clear anduncluttered
backgrounds witha solid, uniformtone
aretheeasiest; for example, thoseshot
against a single-colour backdrop.
Inthis example, I want toresizemy 6x4in
imagetot neatly withina 9x7inphoto
frame. If I was tosimply croptheimageI
wouldendupcroppingout either part of the
subjects heador feet not ideal. By rst
makingsurethat my entiresubject is
includedintheframe, I canextendthe
backgroundat eachsidetoll themissing
areas. Heres how
Changingtheaspect ratioof animageisoftenakintottingaround
pegintoasquarehole. Extendthebackgroundtomakelifeeasier
Original
Alternativetechniques
If your backgrounddistorts whenusing
this method, try one of these alternative
techniques. The rst twosteps remainthe
same nomatter whichmethodyouchoose.
CONTENTAWARESCALE Goto
Edit>Content AwareScale. Drag the anchor
points outwards, keeping aneye onyour
subject tomake sure they dont distort.
CONTENTAWAREFILL Select the empty
space oneither side of your image withthe
Rectangular MarqueeTool. GotoEdit>Fill
andselect Content Aware Photoshopwill
try tochoose the best content for the space.
CLONESTAMPTOOL Use the Clone
StampTool tosample the backgroundand
brushtheminplace inthe empty spaces.
COPYANDPASTE Withthe Rectangular
MarqueeTool select areas of the
backgroundandCopy andPaste themin
tothe empty spaces. Use the CloneStamp
Tool tohide any joins.
ABOVE: Applyinga9x7incropwithout
extendingthebackgroundcrops thesubject.
DIGITALDARKROOM
Final image
Extendingthebackground
has allowedmetoretain
theoriginal composition.
ACCLAIMEDPROTIMFLACHSPEAKS TO
CAROLINE WILKINSONABOUT HIS LATEST
PHOTOGRAPHICMONOGRAPHDEALING
WITHSEVERAL DEBATES ABOUT THE
HUMANANDANIMAL RELATIONSHIP
Cutting
MORETHAN
1) Thebone
structureofthe
Egyptianfruitbat
isalmostidentical
toahumans.
2) Unlikesome
othercats, Bengal
tigersareathome
inwater.
3) Chimpanzees
liveinintricately
structured
communitiesand
sharehumantraits.
4) Thethree-
bandedarmadillo
istheonlyspecies
toroll itselfintoa
ball asprotection.
5) Thefeatherless
chickenhasbeen
bredtoreducethe
economicimpact
onthefarmer.
6) TheChengdu
ResearchBaseof
GiantPanda
Breedinghasbred
morethan120
giantpandasfrom
justsix since1987.
7) Mandrillsdisplay
perhapsthe
brightestmarkings
ofanymammal.
8) TheRoyal White
Tigerhasbeen
usedtoproduce
hybridsastheme
parkattractions.
CuttingEdge gg
IF I HADtopick a photographer who
fascinates andinspires, TimFlachwouldbe
highonthelist if only for his voice. Not
his quintessentially decorous English
accent althoughthat makes listeningto
hima joybut his conceptual voice, which
goes far deeper thanexquisiteimagery andspeaks loudof
current, oftencontroversial, issues. Not many
photographers canengageandeducatethrougha single
image, but Timhas it downtoa tee. For his viewers who
enjoy photography for photographys sake, youcan
appreciatehis beautiful imagery without needingtoknow
more. But for thosewholikea goodback story, youcan
delvea littledeeper andbroachissues that youmay never
haverealisedexisted.
Imnot tryingtobemoralising, nor amI tryingtopolarise
thedebateeither, Imactuallysayingthis is whats goingon.
Its uptoyoutodecideif its right or wrong, explains Timas
hetalks tomeabout his latest project, MoreThanHuman.
Abookandexhibitionthat, intrueTim-style, combines
stunninganimal portraits withamuchless attractive
narrativediscussinganumber of debates aroundanimals,
includingcloningandcross-breeding.
Whileprevious projects havefocusedona single
species, this year-longproject comprises a mixtureof
exoticsubjects fromaroundtheworld. Thebook, More
ThanHuman, has about 180images of which80%
originatedinthelast year. Ivealsobrought inimages that
werespecial tomethat I hadtakenover theyears but have
never beenpublishedina book, but supportedtheideas
that I wantedtoexplore. I alsobrought ina fewimages
fromprevious projects Equus andDogs Gods, as I wanted
onebook that showeda goodrepresentationof my work.
Theunderlyingquestioninmyworkis howwehumans
shapenatureandhowit shapes us. Therearesomeanimals
wheretheinuenceof humans has alteredwherethey
exist, suchas ajellyshthat afects anecosystemafter
beinginadvertentlymovedbythebowof ashipfromone
oceantoanother. Or theharlequinladybirds introducedto
theUKas apest controller their cannibalisticnaturenow
threatens nativeladybirdspecies. Thats just onedebate.
Timgoes ontoexplainmanyothers, includingthe
emphasis weplaceonsavingcertainendangeredanimals
over others, thepandais oneexample. Wethinkof themas
aspecial species, but actuallytheyrenot as
important, biologicallyspeaking, as abat might beif
welost it. Oneof Tims most interestingimages inthe
bookis of afeatherless chicken, apeculiar pictureonthe
surfacebut onethat hedeliberatelywantedtoelicit
questions like: Whyis it featherless?Has it beenpluckedor
is it genetic?Thechickenis agoodexamplethat illustrates
not just howactivelywerebreedinglivestock, but alsothe
muchmoreinterestingdebateabout howweconsume
moreanimals todaythanever, yet wevenever beenso
separatedfromanimals. Webuyour headless, hairless
chickenwrappedincellophaneoftenwithout asecond
thought towhereits comefromandhowit became
featherless. This chicken, for example, has beenbred
without feathers.
For this book, Tims exploredgenetics, medical research,
conservationandtheinadvertent consequenceof humans
alot topackintoonebook, but aproject thats takenhim
aroundtheworldandledtophotographingsomeweird
andwonderful creatures, fromtheminiaturetothe
massive. Ivephotographedcockroaches beingusedfor
antibiotics, geneticallymodiedspider goats across
betweenaspider andagoat soits milkcanbeextracted
andusedfor humanligament transplants andacolonyof
ants beingusedfor anti-fungi research. Thelargest animal
was aliger across betweenamalelionandatigress the
worlds largest bigcat at 11-feet long. It begs thequestion
whywearebreedingsomethingthat cant bebredandwhy
inAmericaalonethereare5,000bigcats kept as exotic
pets, whentheres onlyanestimated3,000inthewild?
Byexploringsomanycontentious issues, its nosurprise
that Timgainedsupport alongtheway, especially
consideringhis sideproject for thelast year of exploringthe
AmazonandBorneorainforest. Bothprojects helpedeach
other andits allowedmetoset upopportunities towork
withorganisations suchas Durrel, Aspinal Foundationand
Twycross ZooWorldPrimateCentre. It not onlygaveme
access toanimals likethebonobos at Twycross Zoo, but its
put meinastrongpositiontodofurther workinAfrica, in
places liketheCongo, whichcanbeproblematic.
Timprefers not tophotographlarge, wildanimals inthe
studio, somostlyheshot theanimals insitu, evenif that
meant negotiatingthechallenges of shootingthrough
thickglass. Youneedaplanbut youcant betoomarried
1 2
THEUNDERLYING
QUESTIONINMY
WORKISHOWWE
HUMANSSHAPE
NATUREANDHOW
ITSHAPESUS
TimFlach
3
6
4 5
8 7
1) Beetlesmay
makeup25per
centofall species
onEarth.
2) Siameseghting
shwerebredwith
heightened
aggression
towardsrivals.
3) TheAxolotl is
aspeciesof
salamanderunder
threataround
MexicoCity.
4) RareBluere
jellysharemostly
foundofthewest
coastofScotland.
CuttingEdge gg
toit. Logic, techniqueandreasonareimportant, as while
youneedsomesort of structure, youneedtobeableto
recogniseimages andopportunities that emergeas more
surprising. Therst thingyoudowhenworkingwith
animals is tospeak tothosepeoplewhoknowtheanimals
best andtotakeinterest intheir behaviour; that way youre
workingwithintheparameters of what that particular
animal cangiveyouontheday.
Lighting-wise, Timgoes fromoneextremetotheother:
fromonelight shot throughglass tophotographachimpto
14lights onaBananacockroach. Abigger subject doesnt
necessarilymeanmorelights. I usedoneBroncolor Satellite
Evolutionits likeaparabolicmirror toget thebeamed
light sourcefor thegorillashots andalot of edgelights for
thesmaller subjects tocreateatmosphere. Bybeamingthe
light, I was abletoturnthebackgroundblack, takingthe
subject out of thecontext of their environment.
If I was toshowyoutheconcreteandstrawbehindthem,
thentheviewer enters awholeother series of associations
whenwhat Iminterestedinis isolatingtheir genetictraits,
not their setting. Someof thesmall guys, likethebeetles,
cockroaches, owls anddoves, weredoneinmystudio.
Oneof my favouriteimages has tobethebeetle
montageas its sotheatrical. Onceyoulook a bit closer
youseetheres biting, mating, somearebeingdragged
of. Whilemost peoplewouldbedrawntotheiconic
creatures liketheliger andpanda, its actually thesmall
majority that arereally important ecologically; beetles,
after all, account for 25%of all species ontheplanet.
Youlearnsomethingnewevery day!
ToseeTims work, visit www.timach.com. Buy his book
MoreThanHumanfromAmazonfor 25.60
1
ONCEYOU
LOOKABITCLOSER
YOUSEETHERES
BITING, MATING,
SOMEAREBEING
DRAGGEDOFF
TimFlach
2 4 3
Cutting
LIGHT-SABRES, LEVITATIONANDALOVEAFFAIRTORNBETWEENGOODANDEVIL. JORDANBUTTERS
CATCHESUPWITHSACHAGOLDBERGERTODISCUSSHISGRANDMOTHERSUNUSUALALTEREGO
1) I shotaselection
ofimageslooking
upattall buildings
inLondonandNew
York, andthen
addedinMamikain
thestudiolater.
WHENFRENCHART-director-turned-
photographer Sacha Goldberger took up
photography at theageof 38, hefound
himself inneedof a muse. Comingfroma
traditional Jewishfamily, Sacha has a very
closerelationshipwithhis grandmother,
Frederika, andsosheseemedlikethemost logical choice.
It wasnt longbeforeSachas loveof comicbooks and
Frederikas senseof humour took things inanunexpected
direction. WhenI startedphotography, my grandma was
theperfect subject after retirement shewas lonely but
shewas always interestedinmy work, sophotography
allowedus tospendtimetogether. Shewas bornin
Budapest andhas beenthrougha lot inher lifetime,
includingNazi andCommunist persecutionduringand
after thewar. Despitethis, sheis a very funny lady witha
great senseof humour, andI wantedtheimages toreect
this. Imtiredof seeingthesameportraits of elderly people
they areoftenportrayedina negativelight; alone, sad
andbored. Imalsoa hugefanof Marvel comicbooks and
sowhat startedout as a bit of funbetweenmy grandma
andI quickly evolvedandSuper Mamika was born.
Therst thingthat grabs youabout theMamika series
is Sachas seemingly endless streamof weirdandwacky
ideas for scenarios that Mamika might get herself into.
I drawinspirationfromcomicbooks, as well as the
everyday things that I seearoundme, andamusing
scenarios that comeintomy head. I workedfor many
CuttingEdge gg
years as anart director andsoamalsoabletodrawonmy
professional experienceas well as theideas of creative
friends andcolleagues withintheindustry. My grandma
alsocomes upwithsomefantasticideas for images!
After shootingtheinitial images, Sacha createda
MySpaceprolefor Mamika andbeforelongshebecame
a viral hit online, withinternational televisionand
newspaper features followinginquick succession. The
characters soonfoundtheir legs andstartedtoevolve.
Wealways shoot entirely for fun, says Sacha, but the
responseMamika receivedwas incredible. My grandma
has always beeninspiringtomebut shestartedreceiving
emails fromall over theworldwithpeoplepraisingher
andcallingher aninspiration! It evolvedfromthere
Frederika has beenmarriedfour times andsoI thought it
was about timethat Mamika hada maninher lifeI
createdMr Papika, whois actually my best friends father.
Onelover was never goingtobeenoughfor a lady like
Mamika, andsoDark Papouka was bornheis playedby
a gentlemanwhoI met whilst puttingtogether another
project about theholocaust.
Wehavejust publishedour secondbook intheMamika
series, entitledMamika &Co. Theimages tell thestory of
howMamika is tornbetweenthedark sidewithDark
Papouka andthegoodsidewithSuper Papika. Thefunny
thingis, thedark sidearent sobadwhenthey get old
they tonedowna lot inretirement.
Alargepart of Mamikas appeal is that theimages show
elderly peopleina newandpositivelight. Thescenarios
Mamika nds herself in, althoughunexpectedandoften
ridiculous, always stay ontheright sideof theboundaries
of taste. I likemy images tobeabsurdandprovocative,
Sacha explains, but theres a line. My aimisnt to
embarrass or ridiculemy grandma. Somepeoplemight
think that her dressingupas a superherois ridiculous but
I think thosepeoplearetakingit tooseriously. I mean,
superheroes get old, too, right? Sheis a great actress and
always manages tolook elegant andempoweredno
matter what scenariosheends upinas Mamika!
Asidefromtheir obvious creativity, Sachas images
arealsoof anexceptionally hightechnical standard,
thelikes of whichis usually reservedfor top-end
1
3
5
2 7
4
6
1) Itsimportant
forsuperheroesto
keept, too. Super
Mamikaspends
sometimeonher
treadmill athome.
2) Unfortunately
assuperheroesget
older, their
eyesightisntas
goodasitusedto
be. Itsoneofthe
hazardsofthejob,
I guess.
3) SuperMamikas
dog, Beurk, makes
anoccasional
appearance.
4) Besidessaving
theworld, Mamika
andPapikastill
havetimeformore
leisurelypursuits,
suchasboules.
commercial photoshoots. My typical lightingset-up
comprises betweenthreeandnineElinchromstudio
lights, dependingonthelocationandscenario. I try to
light thecharacters tosuit thecomic-book styleof the
images, somy lightingoftencomprises soft ambient light
combinedwitharticial highlights toaddcontrast. I shoot
usinga Hasselblad503CWwitha Leaf Aptus 75digital
back andwhenever I photographmy grandma, I usea
largeteamincludingtwoassistants, a model maker, a
make-upartist anda stylist. I dothis becauseI want every
imageI maketobethebest that it canbe, soI treat the
shoot thesameas if I was workingonanadvertising
campaignfor a bigcommercial client.
Sachacontinues, Someof theshoots aredoneon
locationweshot part of theseries inBrooklynas anodto
thecomic-bookinuence, whereas someareshot in
France. Theseries of images that takeplaceonthesides of
buildings wereshot inNewYorkandLondon, andthenthe
characters wereshot later oninthestudio. Thekeyhereis
tomatchthelighting, angleandperspectivefromthe
studiotothat of thebuildingtomakeit lookrealistic.
SachaGoldberger
IncreatingMamika, Sacha has takena chapter
inhis grandmothers lifethat, for most, contains
relatively fewstories totell andturnedit intoa tale
of superhumanpowers, weirdandwacky situations and
thebattlebetweengoodandevil. Sowheredoes it go
fromhere? Therearetwobigevolutions intheMamika
project a positiveanda negative. Thepositiveis that
every timeweget together for a shoot, my skills improve.
Thelightinggets better, my post-processingimproves
andtheimages evolvetechnically as a result. The
negativeis that my grandma is now93years oldand,
as wesay inFrance, at her age, theyears count double
wecant shoot as muchas weusedtoandI haveto
adapt tohowshefeels.
For now, theMamika project has cometoa natural
end, but Ivesaidthat beforemorethanonce. Its all down
tomy grandma; if shewants todomorethenwell do
more. I only doit tohavefunwithher Mamika is simply a
lovestory betweena grandsonandhis grandma.
Toorder Mamika&Coandseemoreof Sachas work,
visit: www.sachabada.com
5) DarkPapouka
takesona
well-knownmovie
villain, although
thingsarent
exactlyasthey
werewhenhe
wasyounger.
6) Beinga
well-known,
international
celebrity, Super
Mamikahasto
spendtimemaking
herselflook
beautiful, too.
7) Notaskistoo
bigortoosmall for
theoneandonly
SuperMamika!
ALARGEPARTOFMAMIKAS
APPEALISTHATTHEIMAGES
SHOWELDERLYPEOPLEINA
NEWANDPOSITIVELIGHT
I OFTENFINDmyself in
situations whereI think,
Howthehell didI endup
here? Findingmyself inthe
middleof a tribal strongman
contest innorthernVietnam
was certainly oneof thoseoccasions!
I was leadinga photography tour with
frui.co.uk. Wedcaught anovernight train
fromHanoi toa small villageinthe
highlands closetotheChineseborder.
Idbeentothis villageacoupleof times
beforeas its veryremoteandtranquil, which
makes for great photos. But onthis particular
occasion, it was total pandemonium! Menin
traditional warrior garbwerestridingaround
swinginghugewoodenclubs. Farmers on
stilts werefranticallyinpursuit of oneanother
throughpaddyelds. Andatugof war of
maybe60menwas beingfought inthe
villagesquare. I askedalocal howlongtheyd
beenat it. Herepliedtwohours.
All this was quitethecontrast tothenice,
sedatebreakfast wedjust enjoyedonthe
train. But its unexpectedtimes likethese
whenyouhavetograbyour camera, takea
deepbreathandembracetheunknown.
Eventhoughit was a littlechaotic, the
moodamongthelocals was great. I advised
thegrouptousea widelens andget right
intotheaction. Everyoneendedupgetting
amazingshots of things youjust dont seeor
readabout inguidebooks.
As a travel photographer, its important to
planeverythinginadvance, especially if
youreleadinga group. But youalways have
toexpect theunexpected, as thosearethe
times whenyoucaptureyour best shots.
Get close: Awide-angle or standardlens
encourages youtoget close. This means
youengage withyour subjects rather than
shoot themfromafar witha telephoto. A
wide-angle lens alsoshows more of the
environment aroundyour subject.
Befriendly: Its soimportant toearn
someones trust before youget your camera
out. Start by simply talking tothem, ask them
a fewquestions andsmile! Ofer toshow
people your pictures afterwards, as that
always helps tobreak downbarriers.
Essential kit: I dont believe inpaying
people totake their picture, but sometimes
a little something does help. I always carry a
plentiful supply of pens andpencils. Kids in
remote towns andvillages absolutely love
pens. Its alsosomething thatll hopefully be
put togooduse!
Useyour ISO: Increaseyour ISOtoavoid
camera shake. Oftenwhenyoureshooting
peopleintheir environment, youll beinand
out of diferent lightingconditions. Dont
forget toincreaseyour ISOas soonas youstep
intolowlight. This will leadtosharper shots.
Aprofessionalsapproach: Peopleintheir environment
Filipisatour leader withfrui.co.uk. Tojoinhim
onaphotographyholidayor toget further
informationonFruisglobal holidays, contact:
hello@frui.co.uk /02072415006/www.frui.co.uk
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W
AYBACKIN2005, Canonbegan
thefull-framerevolutionwith
theintroductionof theEOS5D
a12.8-megapixel DSLRthat
packedafull-framesensor intoarelatively
compact body, becominganinstant
favouritewithlandscapeandtravel
photographers inparticular. WhiletheMkII
andMkIII has sincebeenreleased, the
designandsizeof theEOS6Dmakes it afar
morecomparablemodel, boastingasmaller
andlighter optionthat is suretondfavour
withoutdoor andtravel photographers.
Whiletheoriginal EOS5Dhadthefull-frame
market toitself for anumber of years, thereis
nosuchluxuryfor theEOS6D, whichnds
itself upagainst anumber of verystrong
rivals, withtherecentlylaunchedNikon
D600providingits strongest competition.
Howgoodis it?Readontondout...
Handling&easeof use
SCORE24/25
TheEOS6Dis oneof thenicest handling
models onthemarket, withthedesignand
buildqualityreallydrivinghomethefact that
youreinpossessionof atop-endcamera.
WhileAPS-Cmodels aresmaller andlighter,
theEOS6Disrelativelycompact considering
it sports afull-framesensor. It feels
reassuringlysolidtohold, withmagnesium
alloyusedinits constructionanda
weatherproof sealingagainst dust and
moisture. Theergonomics of thebodyis
excellent, withthelarge, curvaceous
handgripafordingaverysecurehold. The
camerabalanceis alsoexcellent, regardless
of whether youreusingasmall primeor a
longer zoomlens. Thecontrol layout, which
is similar toprevious models, is veryneat,
withlargebuttons anddials all clearly
labelledtohelpimproveeaseof use. The
latter is improvedbytheuseof theQ(Quick)
buttonontherear abovetheeight-way
control, whichis usedalongwiththetwo
input dials toselect andchangefunctions via
theLCDmonitor. WhiletheCanonalso
boasts averycomprehensiveandeasy-to-
navigatemenusystem, youll ndthat you
canaccess most of your everydayfunctions
usingthis well thought out control system.
The3inLCDmonitor ofers asharp
1,040,000-dot screenthat is bright and
usableevenonasunnyday. However, it
lacks theswivel mount foundontheEOS
60DandtheEOS650Ds touchscreen, both
of whichwouldhavebeenuseful features.
Theviewnder is excellent, withalarge
andbright screenmakingimage
compositionenjoyableandeasy. Unlike
most other full-framemodels, though,
imagecoverageis 97%rather than100%, so
images will includealittleof thescene
aroundtheedges that isnt visiblethrough
thender. Bearinginmindthehigh
resolution, aminor cropof anydistracting
elements shouldnt proveaproblem.
Overall, theEOS6Dhandles beautifully
andis fast andeasytouse.
Features
SCORE22/25
Theheadlinefeatureof theEOS6Dis its
20.3-megapixel CMOSsensor, whichboasts
larger pixels thanfoundinAPS-Csensors,
allowingit tocapturesharper images with
lower noise. TheEOS6Dsports the
latest-generationDIGIC5+image
processor, whichhandles stills andFull HD
video. It ofers asensitivityrangeof ISO
100-25600, whichcanbeexpandedas low
as ISO50or as highas ISO102,400andcan
handlecontinuous shootingat arespectable
4.5frames-per-second.
TheEOS6Dfeatures asmall number of
innovativefeatures. It is therst EOStoofer
WiFi andGPSbuilt in. TheWiFi facilityallows
youtoquicklyuploadimages toyour mobile
or social networksites likeFacebook. It also
allows thecameratoberemotelyoperated
viaaCanonapp(seepanel). TheGPS
functionis of particular interest tolandscape
andtravel photographers, recording
locationinformationfor everyimage. For
thoselookingtobealittlecreative, HDRand
multipleexposuremodes areavailable, but
unfortunatelytheyarefor JPEGshooting
only. TheEOS6Dalsosports thesilent-
shutter modefoundontheEOS5DMkII,
whichallows for discreet shooting.
Inmost other ways, theEOS6Dofers a
strongbut unexcitingspecication. Thereis
afull choiceof exposuremodes, including
CanonEOS6D: Dimensions
LCD: 3IN
DEPTH:
71.2.MM
H
E
I
G
H
T
:
1
1
0
.
5
M
M
WIDTH: 144.5MM
WORDS: DANIELLEZANO
TESTCENTRE
Cameratest
Bodyonly: 1,800(Guide) / 1,690(Street)
24-105mmkit: 2,520(Guide) / 2,300(Street)
Imagesensor: CMOSfull-frame(36x24mm)
Imageresolution: 20.2-megapixels
LCD: 3inClear ViewTFT(1,040,000dots)
Storage: SD(SDHC/SDXC)
Weight: 755g(includingbatteryandcard)
CanonEOS6D
Inthebox
The CanonEOS 6Dis suppliedwiththe
LP-E6lithium-ionbattery, LC-E6battery
charger, eyecupEb, body cap, strap,
interface (USB) andAVcables, software CD
andowners instructionmanuals.
ABOVE: Therelativelycompact
sizeof thestylishEOS6Dbelies the
fact it sports afull-frameCMOSsensor.
TESTCENTRE Cameratest
Keyfeatures
CMOSSENSOR
The EOS 6Dboasts
a newly developed
20.2-megapixel
full-frame CMOS
sensor witha pixel
size of 6.55m.
Image resolutionis
animpressive
5472x3648pixels.
IFCLMETERING
The 63-zone iFCL
(intelligent Focus
Color Luminance)
metering system
uses colour and
luminosity
informationto
provide accurate
exposures.
AUTOFOCUS
The 11 AF sensors
are arrangedina
diamond
formationaround
the central area of
the frame. The
central AF point
uses a cross-type sensor withsensitivity
downto-3EVgoodenoughtobe able
tofocus inmoonlight!
Verdict
Enthusiasts looking for a relatively portable
andafordable full-frame DSLRwill want to
take a look at the CanonEOS 6D. It handles
beautifully, is easy touse, has a strong (if
unremarkable) range of features and
produces very highquality images. Its
certainly a camera thats easy to
recommend. However, it arrives shortly
after the NikonD600, another afordable
full-frame mode that boasts a higher
resolution, slightly better specicationand
lower price tag. Bothare superbcameras
that wont disappoint, but despite proving
highly capable, the Canonjust falls short of
matching the Nikonfor all-roundappeal.
Handling&easeof use 24/25
Features 22/25
Performance 23/25
Valuefor money 21/25
Overall 90/100
THEAUTOFOCUSSYSTEMISFASTANDRESPONSIVE
ANDCANFOCUSEVENWHENLIGHTISDIM
TheCanonEOS6D
workedfaultlessly
intemperatures as
lowas -10C.
Sceneandcustomisableoptions. The
meteringuses thetried-and-tested63-zone
dual layer iFCLsystemfoundinmost recent
models, withtheoptiontoselect spot, partial
or centre-weightedaverage.
TheAFsystemis basedaround11points,
of whichonlythecentral point uses the
moresensitivecross-typesensor. While
morethansuitablefor most needs, it falls
short of what rivals ofer for instance, the
NikonD600boasts 39AFpoints. Another
omissionis abuilt-inashif youwant to
shoot withash, youll needanexternal
CanonSpeedlite.
HDvideois anareawhererecent Canon
DSLRs haveexcelledandtheEOS6D
continues this trend, withFull HD(1080p)
recordings oferingawidevarietyof modes
andsettings, as well as theoptiontousean
external microphone.
Performance
SCORE23/25
Whenit comes toimagequality, theCanon
EOS6Ddoes not disappoint. Colours are
accurate, contrast is goodandimage
sharpness is excellent, within-camera
JPEGs deliveringverygoodsharpness and
Rawles providingevenmoredetail. The
dynamicrangeis excellent, too, as is noise,
whichonlybecomes evident at ISOratings
above1600. Evenat theveryhighsettings,
noiseis well controlledandso, if pushed, you
canshoot at highISOratings andexpect to
capturedecent images.
Theautofocus systemis fast and
responsiveandcanfocus evenwhenlight is
dim. Whentrackingsubjects, theEOS6D
does afair job, althoughof-centresubjects
doit inandout of focus. Whilenefor
general use, wednot recommendtheEOS
6Dfor shootingmovingsubjects. Whilethe
meteringsystemis veryreliable, withthe
63-zonepatterntakingcareof most
subjects, its not foolproof, withhigh
contrast andbacklit situations leading
toerror andrequiringuptoastopof
exposurecompensation.
TheEOS6Dproduces astrongoverall
performanceandproves tobeapleasureto
use, deliveringimages of aconsistentlyhigh
qualitywithrelativeease.
Viewnder
Full-frame DSLRs always provide the best
viewnders the EOS 6Dis noexception.
The screenis large andvery bright, with
exposure informationdisplayedalong the
bottom. Unlike the viewnders onother
full-frame models, the EOS 6Dprovides
97%frame coverage rather than100%.
CanonsEOSRemoteapp
Available for Androidand
Apple iOS, the EOS
Remote allows youto
shoot or check images
remotely. Youcanuse
your smartphones
screentocheck images
onthe camera, transfer shots toyour
smartphone or delete unwantedframes.
Youcanalsouse your smartphone as a
remote LiveView screenperfect when
using the self-timer. Whentaking pictures,
youcanchange exposure settings and
adjust autofocus before ring the shutter.
TESTCENTRE Cameratest
Comparisontable: CanonEOS6Dandrival full-framedigital SLRs
MODEL CANONEOS6D NIKOND600 CANONEOS5DMKIII NIKOND800 SONYALPHA99
CONTACT 08705 143723
www.canon.co.uk
0800230220
www.nikon.co.uk
08705 143 723
www.canon.co.uk
0800 230 220
www.nikon.co.uk
08705111999
www.sony.co.uk
GUIDEPRICE(RRP) 1,800 (body only) 1,960(body only) 3,000(bodyonly) 2,600 (body only) 2,300 (body only)
SENSORTYPE CMOS (Full-frame) CMOS (FX-format) CMOS (Full-frame) CMOS (FX-format) CMOS (Full-frame)
RESOLUTION
(EFFECTIVEPIXELS)
20.2 24.3 22.3 36.3 24.3
MAXIMUMIMAGE
RESOLUTION
5472x3648 6016x4016 5760x3840 7360x4912 6016x4000
EFFECTIVEFOCAL
LENGTHINCREASE
1x 1x (FX-Format)
1.5x (DX-Format)
1x 1x 1x
NUMBEROFAFPOINTS 11 39(nine cross-type) 61 51 19
MULTI-ZONEMETERING 63-zone 2,016-pixel 63-zone 91,000-pixel 1200-zone
NOMINALISORATING 100-25600 100-6400 100-25600 100-6400 100-25600
EXPANDABLEISORATING 50-102400 50-25600 50-102400 50-25600 100-25600
CARDFORMAT
SD/SDHC/SDXC SD/SDHC/SDXC
SD(HC/XC) & CF SD(HC/XC) & CF
SD/SDHC/SDXC&
Memorystick
SHUTTERSPEEDS 1/4000sec-30sec+Bulb 1/4000sec-30sec+Bulb 1/8000sec-30sec+Bulb 1/8000sec-30sec+Bulb 1/8000sec-30sec+Bulb
BUILT-INFLASH No Yes No Yes No
FLASHSYNC 1/180sec 1/250sec 1/200sec 1/250sec 1/250sec
SHAKEREDUCTION IS lenses only VRlenses only IS lenses only VR lenses only SteadyShot Inside
DUSTREDUCTION Yes Yes YY Yes Yes Yes YY
CONTINUOUSFRAMERATE 4.5fps 5.5fps 6fps 4fps 6fps
LCDMONITOR
3in Clear ViewTFT
(1,040,000-dot)
3.2in (921,000-dot)
3.2in (1,040,000-dot) 3.2in (921,000-dot)
3in(1,229,000-dot)
articulated
HDVIDEO Yes (Full HD) Yes (Full HD) Yes (Full HD) Yes (Full HD) Yes (Full HD)
POWERSOURCE Lithium-ion Lithium-ion Lithium-ion Lithium-ion Lithium-ion
SIZE(MM) 144.5x110.5x71.2 141x113x82 152x116.4x76.4 146x123x81.5 147x111x78
WEIGHT(GRAMS) 755 850 950 900 812
ISSUETESTED March 2013 December 2012 August 2012 July 2012 uly -
TESTRATING(%) 90 93 94 94 -
www.LCEgroup.co.uk
CANONEOS 600D
&18-55MMIS II LENS
18.0 MEGAPIXELS
479
.99
CANONEOS 1100D
&18-55MMIS II LENS
12.2MEGAPIXELS
349
.99
CANONEOS 650D
&18-55MMIS II LENS
CANONEOS 60D
&18-135MMIS LENS
Compact, entry-level easy-
to-use Digital SLR with
12MP sensor, on-screen
feature guide, Live View
LCD and HD video movie
capture.
UKMAILORDERNext day delivery available fromall LCE branches. Postage &Insurance 4.99 for
most items. E. & O. E. Prices quoted include VAT @20%. Prices subject to change. Goods subject to availability. 28 BRANCHES NATIONWIDE
Upgrading - we want your old camera! It may be worth
more than you think! Quality equipment bought outright!
18-megapixel CMOS
Sensor in a user-friendly
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High-quality entry-level
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Stunning stills or Full HD
Movies using the vari-
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5.3fps burst shooting
18.0MEGAPIXELS 18.0MEGAPIXELS
CANONEOS 6D
&24-105MMIS USMLENS
CANONEOS 5DMkIII
BODY ONLY
CANONEOS M
&22MMLENS &EF ADAPTER
CANONEOS 7D
BODY ONLY
20.2-megapixel DSLR
featuring a full-frame
sensor and compact
design. Ideal for portrait
&travel photography.
The power and control of a
DSLR in a handy compact
body. Its 18 megapixel
APS-C sized sensor
delivers stunning pictures
as well as full HD video.
20.2 MEGAPIXELS
18.0 MEGAPIXELS
2349
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1049
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61-point autofocus,
6fps continuous
shooting. Capture
Full HD movies, with
manual control over
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Award winning 18MP
pro spec DSLR
nowwith firmware
upgrade for hugely
improved operation.
22.3 MEGAPIXELS 22.3 MEGAPIXELS
649
.99
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TESTCENTRE Digital SLRlistings
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!CanonEOS1100D 460 12.2 1.6x 2.7 SD
(HC&XC)
HD 1/4000 100-
6400
1/200 3 495 129.9x99.7
x77.9
Aug 11 85
CanonEOS600D 685 18 1.6x 3 SD/
SDHC
Full HD 1/4000 100-
12800
1/200 3.7 515 133.1x99.5
x79.7
Jun 11 95
CanonEOS650D 800 18 1.6x 3 SD/
SDHC
Full HD 1/4000 100-
25600
1/200 5 575 133.1x99.8
x78.8
Oct 12 91
N
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W
!CanonEOS60D 1,050* 18 1.6x 3 SD/
SDHC
Full HD 1/8000 100-
12800
1/250 5.3 755 144.5x105
x78.6
Jan 11 88
N
E
W
!CanonEOS7D 1,700* 18 1.6x 3 CF Full HD 1/8000 100-
12800
1/250 8 820 148.2x110.7
x73.5
Jan 10 93
N
E
W
!Canon
EOS6D
1,800* 20.2 1x 3.2 SD/
SDHC
Full HD 1/4000 50-
25600
1/180 4.5 755 144.5x110.5
x71.2
Mar 13 90
Canon
EOS5DMk III
3,000* 22.3 1x 3.2 CF & SD/
SDHC
Full HD 1/8000 50-
102400
1/200 6 950 152x116.4
x76.4
Aug 12 94
Canon
EOS-1DX
5,300* 18.1 1x 3.2 2x CF Full HD 1/8000 50-
204800
1/250 14 TBC 158x163.6
x82.7

Nikon D3200 600 24.2 1.5x 3 SD/HC/
XC
Full HD 1/4000 100-
12800
1/200 4 505 125x96
x76.5
Sep 12 91
N
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W
!Nikon D90 600* 12.3 1.5x 3 SD/
SDHC
HD 1/4000 100-
6400
1/200 4.5 620 132x103
x77
Nov 08 90
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W
!Nikon D5200 720* 24.1 1.5x 3 SD/
SDHC
Full HD 1/4000 100-
25600
1/200 5 555 129x98
x78

N
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W
!NikonD7000 900* 16.2 1.5x 3 SD/
SDHC
Full HD 1/8000 100-
25600
1/250 6 690 132 x 105
x 77
Feb 11 91
N
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W
!Nikon D600 1,960* 24.3 1x 3.2 SD/
SDHC
Full HD 1/4000 50-
25600
1/200 5.5 850 141x113
x82
Dec 12 93
N
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W
!Nikon D700 1,988* 12.1 1x 3 CF 1/8000 100-
25600
1/250 5 995 147x123
x77
Oct 08 93
Nikon D800 2,600* 36.3 1x 3.2 CF & SD/
SDHC
1/8000 100-
25600
1/250 4 1000 146x123
x81.5
July
12
94
Nikon D800E 2,900* 36.3 1x 3.2 CF & SD/
SDHC
1/8000 100-
25600
1/250 4 1000 146x123
x81.5

Nikon D4 5,290* 16.2 1x 3.2 CF &
XQD
Full HD 1/8000 100-
204800
1/250 11 1180 160x156.5
x90.5

Olympus E-5 1,499* 12.3 2x 3 CF/SD HD 1/8000 100-
6400
1/250 5 800 142.5x116.5
x74.5

Pentax K-30 600 16.28 1.5x 3 SD/
SDHC
Full HD 1/6000 100-
25600
1/180 6 590 128.5x96.5
x71.5
Nov 12 91
Pentax K-5 II 800* 16.3 1.5x 3 SD/
SDHC
Full HD 1/8000 80-
51200
1/180 7 760 131x97
x72.5
Jan 13 91
Sigma SD1Merrill 1,840* 46
(3x 15.4)
1.5x 3 CF 1/8000 100-
6400
1/180 5 700 145.5x113.5
x80

Sony Alpha 37 420* 16.1 1.5x 2.7 SD/MS Full HD 1/4000 100-
16000
1/160 7 506 124.4x92
x84.7

Sony Alpha 57 600* 16.1 1.5x 3 SD/MS Full HD 1/4000 100-
25600
1/160 10 543 132.1x97.5
x80.7

N
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W
!Sony Alpha 65 790* 24.3 1.5x 3 SD/MS Full HD 1/4000 100-
16000
1/160 10 543 132.1x97.5
x 80.7
Feb 12 92
N
E
W
!Sony Alpha 77 1,000* 24.3 1.5x 3 SD/MS Full HD 1/8000 100-
16000
1/250 12 653 142.6x104
x 80.9
Apr 12 92
N
E
W
!Sony Alpha 99 2,485* 24.3 1x 3 SD/MS Full HD 1/8000 100-
25600
1/250 10 812 147x111.2
x 78.4

More essential reading fromthe experts at Digital SLR
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CanonEOSM 770 18 1.6x APS-C SD/
SDHC
3 Full HD 1/4000 160-
25600
Opt 1/200 4.3 298 108.6x66.5
x32.3
Feb 13 87%
FujilmX-E1 730* 16.3 1.5x APS-C SD/
HC/XC
2.8 Full HD 1/4000 100-
25600
1/180 6 350 129x74.9
x38.3

FujilmX-Pro1 1,250* 16.3 1.5x APS-C SD/
HC/XC
3 Full HD 1/4000 100-
25600
Opt 1/180 6 450 139.5x81.8
x42.5
Jun 12 89%
N
E
W
!
Nikon1 S1 480 10.1 2.7x CX-format SD/
SDHC
3 Full HD 1/16,000 100-
6400
1/60 60 197 102x60.5
x29.7

Nikon1 J2 500 10.1 2.7x CX-format SD/
SDHC
3 Full HD 1/16,000 100-
6400
1/60 60 280 106x61
x29.8

N
E
W
!
Nikon1 J3 580 14.2 2.7x CX-format SD/
SDHC
3 Full HD 1/16,000 160-
6400
1/60 60 201 101x60.5
x28.8

N
E
W
!
Nikon1 V2 800 14.2 2.7x CX-format SD/
SDHC
3 Full HD 1/16,000 100-
6400
1/250 60 338 107.8x81.6
x45.9

Olympus PEN Mini
E-PM2
500 16.1 2x Four-Thirds SD/
SDHC
3 Opt Full HD 1/4000 200-
25600
Opt 1/250 8 269 109.8x64.2
x33.8

Olympus PEN Lite
E-PL5
SDHC
3 Opt Full HD 1/4000 200-
25600
Opt 1/250 8 325 110.5x63.7
x38.2

Olympus
PEN E-P3
SDHC
3 Opt Full HD 1/4000 200-
12800
1/180 3 321 122x69.1
x34.3
Oct 11 4.5/5
Olympus
OM-DE-M5
1,000* 16.1 2x Four-Thirds SD/
HC/XC
3 Full HD 1/4000 200-
25600
Opt 1/250 4.2 425 121x89.6
x41.9

Panasonic
Lumix GF5
HC/XC
3 Full HD 1/4,000 160-
12800
1/160 4 267 107.7x66.6
x36.8

N
E
W
!
Panasonic
Lumix GX1
600 16 2x Four-Thirds SD/
SDHC
3 Opt Full HD 1/4000 160-
12800
1/160 4.2 272 116.3x67.8
x39.4

N
E
W
!
Panasonic
Lumix G5
760 16 2x Four-Thirds SD/
SDHC
3 Full HD 1/4000 160-
12800
1/160 6 346 119.9x83.6
x46.7

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Lumix GH3
1,550* 16.05 2x Four-Thirds SD/
SDHC
3 Full HD 1/4000 125-
25600
1/160 6 855 132.9x93.4
x82

N
E
W
!
Pentax Q10 380 12.4 5.5x 1/2.3in SD/
HC/XC
3 Opt Full HD 1/8000 100-
6400
1/180 5 200 102x58
x33.5

N
E
W
!
Pentax K-01 680 16.2 1.5x APS-C SD/
HC/XC
3 Full HD 1/4000 100-
12800
1/180 6 561 122x79
x58

N
E
W
!Samsung NX1000 600 21.3 1.5x APS-C SD/
SDHC
3 Full HD 1/4000 100-
12800
Opt 1/180 8 222 114x63x37
N
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W
!Samsung NX210 750 20.3 1.5x APS-C SD/
SDHC
3 Full HD 1/4000 100-
12800
Opt 1/180 8 222 117x63x37
Samsung NX20 900 20.3 1.5x APS-C SD/
SDHC
3 Full HD 1/4000 100-
12800
1/180 8 341 122x90
x40

N
E
W
!
Samsung NX300 TBC 20.3 1.5x APS-C SD/
SDHC
3.31 Full HD 1/6000 100-
25600
Opt 1/180 8.6 280 122x63.7
x40.7

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E
W
!
Sony NEX-F3 420 16.1 1.5x APS-C SD/MS 3 Full HD 1/4000 200-
16000
1/160 5.5 225 117.3x66.6
x41.3

Sony NEX-5R 670 16.1 1.5x APS-C SD/MS 3 Opt Full HD 1/4000 100-
25600
Opt 1/160 10 276 110.8x58.8
x38.9

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25600
1/160 10 345 119.9x66.9
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Sony NEX-7 1,130 24.3 1.5x APS-C SD/
SDHC
3 Full HD 1/4000 100-
16000
1/160 10 415 119.9x66.9
x 42.6

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40 Churton Street, London SW1V 2LP, England Tel: 020-7828 4925 Fax: 020-7976 5783
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TESTCENTRE Softwaretest
Price: 193/229Full / 58/69Upgrade
Versiontested: 7.0
CaptureOnePro7
WORDS: JORDANBUTTERS
RAWPROCESSINGis avital part of any
photographers workow. This stageinthe
editingprocess involves importingyour
carefullycapturedRawles andentrusting
your chosensoftwaretofaithfullyinterpret
thedataandproducetheresults that youd
hopedfor. Thebigplayers areoftenthose
bundledwithcameras, suchas Canons
Digital PhotoProfessional or Nikons
CaptureFX, or thoseincludedas part of
other image-editingsoftwaresuchas Adobe
CameraRawas built-intoAdobeElements,
LightroomandPhotoshopCS. Aless-
consideredoptionis PhaseOnes Capture
OnePro7.
PhaseOneis best knownfor producing
medium-format cameras anddigital backs.
CaptureOnePro7is its latest Raw
processingpackageandboasts afeatures
list that, onpaper, puts manyof theother
options toshameoferingfull retina
displaysupport, animprovedcatalogue
management systemandwhat PhaseOneis
claimingis theworlds most advanced
image-processingengine. Andits not just
for medium-format shooters either the
softwaresupports all kinds of Rawles on
themarket at present andofers proles for
eventhenewest cameramodels, from
compacts right uptomedium-format.
Previous versions of CaptureOnePro
oferednocataloguemanagement but
rather palmedthat responsibilityofonto
PhaseOnes MediaProsoftware, available
separately. CaptureOnePro7amalgamates
thetwo, anddoes sowithmoderate
success. Lets get this out intheopenfrom
thestart CaptureOnePro7is not as
user-friendlyor intuitiveas Lightroom4.
However, manyof thefeatures andbuttons
aresimilar toAdobes oferings, meaning
that, without consultingthemanual, youcan
Ones favour, thenewprocessingengine
handles stronghues incrediblywell and
produces colours that aremorevibrant;
blues andreds inparticular render
impressivelywell. Incomparison, the
Lightroom4lelookedsoft andslightly
washedout. However, what was also
noticeableintheCaptureOnelewas a
sizeableloss of detail inareas of shadow
theLightroomimageoferinganoticeably
wider dynamicrange. This was easily
addressedusingCaptureOnes FilmExtra
Shadowsettingrather thanthedefault Film
Standardsetting, althoughtheargument
couldbeput forththat, withenough
tweaking, either softwarehas thepotential
toemulatetheoutput of theother.
Unfortunately, CaptureOnes handlingof
noiseleaves alot tobedesired. Lightrooms
handlingof high-ISOles is oneof thebest
fumbleyour wayaroundsufcientlyenough
tostart processingyour images. Havingused
Adobeproducts for thepast fewyears, it
seems abit alienat rst tobeprocessing
images outsideof their familiarity, but I can
seehow, giventime, youcouldlearntolive
withCaptureOnes wayof working.
Sowhat about imagequality?I processed
thesameRawlethroughLightroom4and
CaptureOnePro7tocomparethe
diferences. As therearesimilar variables and
alterations oferedbybothpackages, I
processedtheimages usingeachsoftwares
default settings. What was instantly
noticeablewas that theCaptureOneimage
was muchsharper thantheLightroom
imagethePhaseOnesoftwarealso
handledcolour fringingincrediblywell right
ofthebat, withnotweaking. Colour
renderingis alsoabigplus-point inCapture
Acrediblealternativetoother Rawprocessingoptionsor onetoavoid?
Weput PhaseOnesCaptureOnePro7throughitspaces
AdobeLightroom4
SharpenedusingAdobeLightroom4
SharpenedusingCaptureOnePro7
TESTCENTRE
Softwaretest
ABOVE: Colours arenoticeablymorevibrant
whenprocessedthroughCaptureOnePro7.
TOPLEFT: CaptureOnePro7s default
sharpeningmakes Lightroomimages looksoft.
LEFT: Thelayout looks familiar but isnt quiteas
intuitiveas youmight like.
onthemarket andCaptureOnes solution
doesnt comeclose. Out of thebox, noise
reductionis heavy-handedandbest turned
down. Evenwhenheavier noisereductionis
needed, CaptureOnesimplydoesnt handle
it well, withdetail disappearingthemoment
theslider is increased.
WhileCaptureOnePro7is leaps and
bounds aboveprevious versions, thereare
still aws comparedwithother options.
At 193for thefull version, it isnt cheap
either twicethepriceof Lightroom4. For
processingastudioshoot, I canseethe
appeal; it ofers tetheredcapturefor most
cameras includingmodels not supportedby
Lightroomand, whenworkingwithasmall
number of images, its easyenoughtoget
goodresults. However, for processinglarger
batches of images, Lightroomstill has the
edge. HopefullyCaptureOnes catalogue
management systemwill improvewithtime
as, asidefromthis andits poor noise
handling, it is reallyquitegood.
Verdict
Apriceybut impressivealternativefor
thoseshootinginastudioor strictly
low-ISOsituations. Imagequalityis
excellent insomeareasandlackingin
othersandthecataloguesystemisnt
asintuitiveasit couldbe. Aworthy
alternative, but I wont beuninstalling
Lightroom4just yet.
Features
Easeof use
Performace
Valuefor money
Overall
CaptureOnePro7
WHILETRIPODSMAKEALOTof sensefor
most eldsof photography, asaprofessional
sportsphotographer, I cant remember the
last timeI usedone. Inthislineof work, one
legisdenitelybetter thanthree, witha
monopodprovinganinvaluableaccessory.
Ivetriedvariousmodelsandbrandsover the
yearsandhavenallydiscoveredonethat
tickseveryrequirement. CuetheGitzo
GM5561Tmonopod.
TheGM5561Tisacarbon-bremodel in
GitzoshighlyregardedTraveler range. Ive
beenusingit dailyover thelast four months
andit iswithout doubt thebest monopod
Iveever owned. Intermsof buildquality, it is
extremelyrobust andthankstothecarbon-
breconstruction, itsverylightweight, too.
Theleghassixsections, withthetwist-action
G-Locksbeingfast touseandverysecure
oncelocked. I havebeenusingit regularlyto
support myNIKKOR400mmf/2.8and
600mmf/4telephotos, whichweigh4.6kg
and5kgrespectively, andhavenever hada
problemwithit. TheGitzoextendstoavery
useful maximumheight of 155cm, but in
manyrespects, itshowcompact it isonce
closedthat makesit suchasuccess. When
headingonightsfor aone-dayjob, suchas
coveringaChampionsLeaguegame, I only
want totravel withcarry-onluggagetosave
timeandhassle. Thelengthof previous
monopodsIveusedmeant I neededtosend
it throughasholdluggage, but thisGitzots
neatlywithmycamerakit insidemycarry-on
bag(theexcellent ThinkTankAirport). It also
hasahandycliponthestrapsothat I can
TEST: RICHARDPELHAM, THESUNS
CHIEFSPORTSPHOTOGRAPHER
TEST: DANIELLEZANO
TESTCENTRE Product tests
GitzoGM5561TTravelermonopod
Price: 310(Guide) / 275(Street)
Material: Carbon-bre
Legsections: Six
Minimumheight: 41.5cm
Maximumheight: 155.5cm
Weight: 750grams
Loadcapacity: 25kg
Website: www.gitzo.co.uk
Carbon-bre/ Sixsections / Compact size/ Maximumheight of 155cm/ Integral belt clip
Price: 30(Guide)/ 22(Street)
Systemrequirements: Windows &Mac
Summaryof cardformats: CompactFlash; SD
(various); Mobile: microSD&MemoryStickMicro
(M2); MemoryStick(various); xD(various)
Website: www.lexar.com
LexarMulti-card25-in-1reader
Pop-updesign/ Hi-speedUSB3.0/ 25memorycardformats / Card-to-cardletransfer
WHILEITSPOSSIBLEtotransfer images
fromcameratocomputer viaaUSBlead, the
majorityof photographersremovethe
memorycardfromthecameraandslot it into
acardreader instead. Whilethisisfast and
convenient, if youhavemorethanone
camera, eachusingdiferent cardformats,
youneedeither aseparatecardreader for
eachor onethat handlesmultiplecardtypes.
Lexar isoneof theworldsleadingmemory
cardmanufacturers, soitsnosurprisetosee
it ofersarangeof cardreaders, withthis
beingitslatest. Finishedinwhiteandwitha
neat pop-updesignthat protectsthecard
slots, it scoreswell for looksanddesign. A
blueLEDindicateslesarebeingtransferred.
It alsoprovidesastrongrangeof features,
withUSB3.0providingupto5xfaster transfer
thanUSB2.0andsupport for aclaimed25
cardformats. Thisgureisactuallyabit
cheeky, asit referstovariantswithinaformat
for instance, thesupport for SD, SDHCand
SDXCisclassedasthreeformats. Wedprefer
tolookat it assupportingthevemain
formats: SD, CF, xD, microSD(popular with
mobilephones) andSonyMemoryStick,
alongwiththevariantswithineach.
Thereader provesveryeasyandquickto
use. Our test computer supportsUSB2.0, so
expect evenfaster timesif youhaveUSB3.0
ports. Atransfer of 4GBof imagesfroma
Lexar Professional 133xSDcardtoanApple
Verdict
Thelatest Lexar cardreader isa
futureproof option, supportingUSB
3.0andall themaincardformats. Its
fast andwell-designed, too. Its
denitelyworthconsideringif youuse
multiplecardformats.
Overall
iMactookthreeminutes, veseconds, while
a4GBtransfer fromaSandiskExtreme
(30MB/sec) cardtookonlytwominutes,
13seconds. A4GBtransfer fromaLexar
Professional 300xUDMACompactFlash
cardwastimedat twominutes, 25seconds.
At 30, theLexar representsgoodvalueif
youuseseveral cardformats, especiallyif you
havecomputersthat support USB3.0. If not,
lookat cheaper optionssupportingoneor
twocardformats, includingLexarsexcellent
18CF/SDreader.
BEST
BUY
hangit ofmybelt if required.
Admittedly, thisGitzomonopodisvery
expensive, but frommypoint of view, Im
usingaproduct that works, rather than
spendinglessfor amonopodthat isnt sturdy
or haslocksthat slip. Thewordongoodkit
spreadsquicklyintheworldof sports
photographyandsinceI startedusingthe
Gitzo, over half adozenother sportspros
havebought one. If youneedalightweight,
compact andsturdymonopod, thisGitzois
theonetohave.
Verdict
TheGitzoisat thetopendof theprice
spectrum, but for professionals
wantingatake-everywheremonopod
that supportsheavytelephotolenses,
itstheverybest.
Overall
HIGHLY
RATED
Voted Best Online Retailer 2002-2012
Best Specialist Retailer 2010-2012
Good Service Award Gold Winner 2011-2012
NEW!
NEW!
NEW! NEW!
NEW!
NEW!
NEW!
Nikon Lenses
Canon Lenses
7D Body 1099
7D + 18-135mm f3.5-5.6 IS 1309
7D + 15-85mm f3.5-5.6 IS USM 1559
D3200 + 18-55mm VR From 439
D3200 + 18-55mm VR + 55-300mm VR
From 713.05
NEW! D5200 + Body 649
NEW! D5200 + 18-55mm VR 719
D5100 From 349
D7000 Body RRP 899.99 642
D7000 + 18-105mm
RRP 1099.99 789
NEW! V2 + 10-30mm 749
NEW! V2 + 10-30mm + 30-110mm 929
J2 + 10-30mm 399
J2 + 10-30mm + 30-110mm 529
NEW! S1 + 11-27.5mm 479
NEW! D600 Body 1450
NEW! D600 Body + 24-85mm 1823
D800 Body RRP 2599 1929
D800E Body RRP 2899 2359
OM-D E-M5 Body 992
OM-D E-M5
+ 12-50mm 1148
Olympus Micro FT Lenses:
45mmf1.8 ZUIKO 216
60mmf1.8 M.ZUIKOED429
75mmf1.8 M.ZUIKOPWEZ
639
OM-D E-M5
Silver or Black
E-PL5 Silver,
Black or White
NEX-6
Black
GH3 A99
NEW! E-PL5 + 14-42mm
579
NEW! E-PL5 + 14-42mm +
40-150mm 729
NEW! E-PM2 + 14-42mm
475
NEW! E-PM2 + 14-42mm +
40-150mm 649
NEW! NEX-6 + 16-50mm
Power Zoom 729
NEW! NEX-6 + 16-50mm
+ 55-210mm 929
NEX-7 From839
NEX-F3 + 18-55mm 349
NEW! NEX-5R From 469
NEW! GH3 Body 1199
NEW! GH3 + 14-140mm
1599
NEW! GH3 + 12-35mm
1999
LUMIX G Micro FT Lens:
12-35mmf2.8 849
NEW! 35-100mmf2.8 Vario
Power O.I.S 949
A99 Body 2199
A99 Body + Batery Grip
+ 2 FREE Bateries worth
136 2448
A77 Body 829
A77 + 18-135mm 979
A65 From 649
A57 From 489
A37 From 509
X-Pro 1 RRP 1429 1099
NEW! X-E1 Body 669
NEW! X-E1 + 18-55mm1049
Fuji X-Mount Lenses:
Fujinon 18mmf2.0 R 429
NEW! Fujinon 18-55mm
f2.8-4.0 599
D4 Body RRP 4999 4249
5D Mk III Body RRP 2999 2335
5D Mk III + 24-105mm f4.0L IS USM
RRP 3689 2975
5D Mk III + 24-70mm f2.8 II
RRP 5298 4214
NEW! EOS M + 18-55mm f3.5-5.6 IS STM
529
NEW! EOS M + 22mm f2.0 + EF Adapter
649
650D + 18-55mm f3.5-5.6 IS II 609
650D + NEW! 18-135mm IS STM 798
650D + 18-55mm f3.5-5.6 IS II
+ 55-250mm IS II 808
60D Body 675
60D + 18-55mm f3.5-5.6 IS II 745
60D + 18-135mm f3.5-5.6 IS 849
60D + 17-85mm f4.0-5.6 IS USM 889
EOS 600D EOS 650D
EOS 7D EOS 6D EOS 5D
Mark III
EOS 60D EOS M
D3200
Black or
Red
D5200
D4
V2
Black or
White
D7000 D600
600D + 18-55mm IS II 495
600D + 18-135mm IS 639
600D + 18-55mm IS II + 55-250mm IS II
675
600D Body 425
NEW! 6D Body 1649
NEW! 6D + 24-105mm 2289
NEW! 6D From1649 7D From 1099
D3200 Body 395 NEW! D5200 From649 D7000 From 642 NEW! D600 From 1450
D800 From 1929
OM-D E-M5
From 992
NEW! E-PL5
From 579
NEW! NEX-6
Body 629
NEW! GH3
From 1199
A99
Body 2199
X-Pro1 1099
D4 Body 4249
V2 From749
5D Mk III From 2335
NEW! EOS M From 529 650D Body 535 60D From 675
35mm f1.8 G AF-S DX.......................................150
40mm f2.8 AF-S DX Micro ...............................186
50mm f1.8 G....................................................155
16-85mm f3.5-5.6 G AF-S ED DX VR ................439
18-200mm f3.5-5.6 G ED AF-S DX VR II ...........584
NEW! 18-300mm f3.5-5.6 ED VR.....................679
55-200mm f4.0-5.6 G AF-S DX VR IF ED...........241
55-300mm f4.5-5.6 G AF-S DX VR....................279
50mm f1.4 G AF-S............................................278
60mm f2.8 G AF-S ED Micro ............................404.95
105mm f2.8 G AF-S VR IF ED Micro.................629
14-24mm f2.8 G AF-S ED .................................1319
16-35mm f4.0 G AF-S ED VR............................829
18-105mm f3.5-5.6 DX ED VR..........................204
18-300mm f3.5-5.6 ED VR ...............................679
24-70mm f2.8 G AF-S ED .................................1239
24-120mm f4 ED VR ........................................810
28-300mm f3.5-5.6 G AF-S ED VR....................659
70-200mm f2.8 G AF-S ED VR II .......................1605
70-300mm f4-5.6 VR .......................................425
18.0
megapixels
24.2
megapixels
18.0
megapixels
18.0
megapixels
24.1
megapixels
36.3
megapixels
16.1
megapixels
16.0
megapixels
24.3
megapixels
16.1
megapixels
16.1
megapixels
16.2
megapixels
14.2
megapixels
16.2
megapixels
24.3
megapixels
22.3
megapixels
18.0
megapixels
4.0fps
5.0fps
8.0fps
5.0fps
4.0fps
10.0fps
20.0fps 6.0fps
8.0fps
11.0fps
60fps
6.0fps 5.5fps
6.0fps
5.3fps
18.0
megapixels
3.7fps
1080p
moviemode
18.0
megapixels
3.7fps
1080p
moviemode
1080p
moviemode
1080p
moviemode
1080p
moviemode
Full Frame
format
1080p
moviemode
1080p
moviemode
Full Frame
format
Full Frame
format
1080p
moviemode
Full Frame
format
Full Frame
CMOS sensor
1080p
moviemode
SAVE UP TO
1084
ONRRP
SAVE UP TO
670
ONRRP
SAVE
750
ONRRP
SAVE
330
ONRRP
SAVE UP TO
310
ONRRP
EF 28mm f1.8 USM .................................. 379
EF 40mm f2.8 STM.................................... 166
EF 50mm f1.2 USM ................................. 1169
EF 50mm f1.4 USM................................... 279
EF 50mm f1.8............................................ 82
EF 85mm f1.2 L II USM.............................. 1649
EF 85mm f1.8 USM .................................. 299
EF 100mm f2.8 L IS USM Macro ............... 689
EF 16-35mm f2.8 L USM MkII ................... 1099
EF 17-40mm f4.0 L USM........................... 579
EF 17-55 f2.8 IS USM................................. 749
EF 17-85mm f4-5.6 IS USM....................... 334
EF 18-135mm IS STM................................ 349
EF 18-200mm f3.5-5.6 IS........................... 389
EF 24-70mm f2.8L II USM ........................ 1899
EF 24-105mm f4.0 L IS USM...................... 822
EF 70-200mm f2.8 L IS USM II................... 1799
EF 70-200mm f4 L USM ........................... 483
EF 70-200mm f2.8L IS II USM.................... 1799
NEW! EF 70-300mm f4.0-5.6 L IS USM..... 1129
EF 100-400mm f4.5-5.6 L IS USM............. 1189
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All prices incl. VAT at 20%. Prices correct at tme of going to
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NEW!
5.0x
optcal zoom
DR-465 DL ........................... 69.95
DR-466 DL ........................... 79.95
DR-467 DL ........................... 89.95
DR-465 DL
Perfect for
carrying
a DSLR, 2
Lenses, 17
Laptop &
Accessories
NEW!
Lightng & Accessories
Digital Compact Cameras
Memory Cards
Photo Bags & Rucksacks
Tripods & Heads
Digital Compact Bateries, Cases and Accessories are available to buy on our website
430EX II
205
SB910
339
HDLED
Ringlight
From99
LEDLights
From29.99
Ezybox Speed-Lite
Sofbox 44.99
L308s
139
NEW! Plus III Set
229
NEW! Gemini Pulsar
Tx 500R Kit 949
Tx 500 Pro Kit 1189
D-Lite it 4 Kit
549
HiLite w/Train
299
NEW!
NEW!
PowerShot G15 Black
439
NEW! Coolpix P7700
RRP 499.99 389
NEW! Tough TG-2 349
FinePix X100
RRP 729.99
549
Lumix TZ30
224.95
Cyber-Shot RX100 Black
479
PowerShot S110
Black or White 366
Coolpix AW100 Black, Orange or
Camouage RRP 249.99 194
PowerShot SX50 HS Black
379
Black,
Silver, Red,
Green,
Purple,
Pink or
Blue
Coolpix S3300
RRP 99.99 79
IXUS 125 HS Silver, Red, Blue, Green or Pink
....................................................................... 134.99
IXUS 240 HS Silver, Light Pink, Pink, Blue or Black
....................................................................... 169
IXUS 500 HS Silver, Red, Blue or Black..........184
IXUS 510 HS White or Black.......................... 219.95
PowerShot A3200 Pink, Aqua or Pink ..........94.95
PowerShot A4000 Silver, Red, Blue or Pink ..104
PowerShot SX240 HS Pink, Silver or Black ...189
PowerShot SX260 HS Red, Grey, Green or Black
....................................................................... 209
NEW! PowerShot SX500 IS Black.................224
PowerShot D20 Silver, Blue or Yellow..........259
PowerShot G1X ..................... RRP 699 ......499
Coolpix L610 Silver, Red or Black..................150
Coolpix L310 Black................. RRP 149.99.119
Coolpix P310 Black or White . RRP 249.99.194
Coolpix S6400 Red, Purple, Silver,
Blue or Black........................... RRP 199.99.159
Coolpix S9300 Red, Silver, Blue or Black
................................................ RRP 249.99.194
NEW! FinePix XF-1 Black .............................. 279
FinePix F660 EXR Blue, Red, Black or White
.............................................. RRP 174.99...99
FinePix SL300 Black ............. RRP 219.99...145
FinePix F770 EXR Black, Red, Blue or White
.............................................. RRP 249.99...179
FinePix HS30 EXR Black....... RRP 324.99...219
FinePix X10 Black................. RRP 399.99...299
FinePix X-S1 EXR.................. RRP 529.99...399
Lumix LZ20 Red or Black ................................. 119.95
Lumix FT20 Red, Orange, Blue or Black........ 120
Lumix SZ7 White, Brown or Black.................. 144
Lumix FX90 Black ............................................. 202
Lumix FT4 Black, Silver, Orange or Blue........ 222
Lumix LX7 Black................................................ 349
Lumix TZ25 Black or Red................................. 184.95
Lumix FZ200 Black ........................................... 429
Opto WG-2 Red or Black RRP . 279.99.........180
Opto WG-2 GPS Orange
or White ................................... RRP 329.99 .219.99
Opto VS20 Black or White ...... RRP 199.99 .139
NEW! PIXMA Pro 100....................................... 389
NEW! PIXMA Pro 10......................................... 549
Pixma Pro 1.................................RRP 799...... 648
WG-2
SP-720 UZ Silver or Black ....... RRP 229.99...150
SZ-31 MR Silver or Black ........ RRP 299.99...179
NEW! SZ-15 White, Red, Blue or Black ...........179
NEW! TG-630 White, Red, Blue or Black.........169
NEW! TG-830 Blue, Silver, Red or Black..........249
NEW! SH-50 White, Silver or Black.................249
XZ-2 Black........................................................ 419.95
Extreme Pro:
95MB/s SDHC
8GB .................................... 27
16GB .................................. 39
32GB .................................. 64
64GB SDXC ......................... 124
SanDisk Extreme:
60MB/s UDMA C/Flash
8GB .................................... 38
16GB .................................. 64.95
32GB .................................. 118
Sony XQD
Memory Card:
125MB/s XQD
16GB.......................................109
32GB.......................................169
Sony XQD Readers:
XQD Card USB 3.0 Reader......49
XQD Express Card Adapter ....79
Sony Experience:
30MB/s UHS-I SDHC
4GB ........................................12
8GB ........................................18
16GB ......................................29
32GB ......................................49
Sony Expert: 94MB/s SDHC
8GB ........................................28
16GB ......................................42
32GB ......................................89
64GB ......................................129
AS SEEN ON
TV
SanDisk Extreme Pro:
90MB/s UDMA C/Flash
16GB .................................. 99.99
32GB .................................. 179.95
64GB .................................. 319
Eye-Fi Card with Adapter
4GB .................................... 39.95
8GB .................................... 44.95
SanDisk ImageMate USB 3.0
12-in-1 Reader
White.................................. 34.95
055XDB........................... 102
055XB.............................. 113
055XPROB......................114
055CXPRO3....................214.95
NEW! 190XPROL............144.95
NEW! 190XPROL + 496RC2
Compact Ball Head.........199.95
NEW! 190XPROL + 804RC2
3-Way Head....................204.95
055XPROB
178.5cm
Max Height
10cm
Min Height
190XPROL
164cm
Max Height
8.5cm
Min Height
Silk Road
YTL8353
171cm
Max Height
19cm
Min Height
GT2541EX
164cm
Max Height
3cm
Min Height
NEW! SILK ROAD- 3D Column:
YTL9353 Aluminium....... 114
YTL9383 Aluminium....... 124
YTL8353 Carbon Fibre.... 229
Series 2: Explorer Tripod
GT2541EX................ 529
Expediton:
4x........................................ 89
5x........................................ 129
6x........................................ 139
7x........................................ 150
8x........................................ 199
9x........................................ 219
Hadley: Canvas/Leather:
Khaki/Tan, Black/Tan, Black/Black.
FibreNyte/Leather: Khaki/Tan,
Sage/Tan, Black/Black.
Digital.................................. 109
Small ................................... 139
Large.................................... 154
Pro Original......................... 169
Tripod Strap Black or Tan.... 19
F-5XB RuggedWear........ 89.95
F-5XZ RuggedWear ........ 99.95
F-6 RuggedWear ............ 104.95
F-803 RuggedWear ........ 159.95
F-2 RuggedWear ............ 159.95
Expediton
8x
Black/Slate
Hadley Pro
Original
Canvas
Khaki/Tan
F-803
RuggedWear
Pixma
Pro 1
Gorillapod:
Compact.............................17
Hybrid (Integral Head) .......29.95
SLR Zoom...........................39.95
Focus GP-8 .........................86
SLR
Zoom
SAVE
20
ONRRP
12m
waterproof
APS-C
sizesensor
16.1
megapixels
12.1
megapixels
12.0
megapixels
12.1
megapixels
5.0x
optcal zoom
50.0x
optcal zoom
1080p
moviemode
1080p
moviemode
1080p
moviemode
42.0x
optcal zoom
NEW! RX1 Black..............................................2599
W690 Red or Black..........................................114
WX100 White, Silver or Black .........................156
H90 Silver or Black ..........................................166
HX10V White or Black.....................................134
HX20V Brown or Black....................................249
HX200V Red, White, Black..............................309
Rover Pro
AW45L
Blue.
Perfect for
carrying a
Pro DSLR,
Grip up to
5 lenses,
outdoor
equipment
and 15
Laptop
Photo Hatchback
AW22L Pepper Red,
Galaxy Blue or Slate
Grey.
Perfect for carrying
a DSLR, up to 4
lenses, 11 Macbook
Air & accessories
NEW! Photo Hatchback AW:
16L..........................................89
22L..........................................94
NEW! Rover Pro AW:
35L..................................... 219
45L..................................... 239
NEW!
NEW!
NEW!
SAVE
55
ONRRP
CALUMET
Call: 08706 03 03 03
Click: www.calumetphoto.co.uk
Visit: stores nationwide
35mm F1.8G AF-S DX 149.00
50mm F1.4G AF-S 271.00
50mm F1.4D AF 239.00
50mm F1.8G AF-S 155.00
60mm F2.8G AF-S ED Micro 404.00
85mm F1.4G AF-S 1189.00
105mm F2.8G AF-S VR Micro 609.00
14-24mm F2.8G AF-S ED 1305.00
16-35mm F4.0G AF-S ED VR 829.00
18-35mm F3.5-4.5D IF ED AF 475.00
18-200mm F3.5-5.6G AF-S VR II 580.00
18-300mm F3.5-5.6G AF-S ED VR 685.00
24-85mm F3.5-4.5G AF-S ED VR 419.00
24-70mm F2.8G AF-S ED 1235.00
28-300mm F3.5-5.6G AF-S VR 669.00
70-200mm F4.5-5.6G AF-S VR II 1579.00
70-200mm F4G AF-S VR ED 1099.00
NIKON LENSES
EF 50mm F1.4 USM 278.00
EF 50mm F1.8 II 81.00
EF-S 60mm F2.8 USM Macro 348.00
EF 85mm F1.2L II USM 1648.00
EF 100mm F2.8L IS USM Macro 688.00
EF 8-15mm F4.0L USM Fisheye 1078.00
EF 16-35mm F2.8L USM II 1098.00
EF 17-40mm F4.0L USM 578.00
EF 24-70mm F4L IS 1498.00
EF 24-70mm F2.8L II USM 1898.00
EF 24-105mm F4.0L IS USM 821.00
EF 28-135mm F3.5-5.6 IS USM 358.00
EF 70-200mm F2.8L IS USM II 1798.00
EF 70-200mm F4.0L IS USM 884.00
EF 70-300mm F4.0-5.6 IS USM 374.00
EF 70-300mm F4.0-5.6L IS USM 1098.00
EF 100-400mm F4.5-5.6L IS USM 1188.00
CANON LENSES
All prices include Vat at 20%. Prices correct at time of going to press. E&OE.
NEWfromCalumet
Nikon D600
1450.00
Nikon D600 + 24-85mm Lens
1823.00
Nikon D600
The new EOS-5D Mark III
builds on the
performance of the
legendary EOS-
5D Mark II,
offering improved
speed, greater
resolution,
enhanced
processing power
and extended creative options for both stills and Full HD
movies providing unparalleled artistic freedom for the
most demanding photographers.
EOS 5D Mark III Body 2335.00
EOS 5D + 24-105mm 2975.00
EOS 5D + 24-70mm II 4205.00
Canon EOS 5DMark III
Take your photography to another
level with the D600.
Remarkably lightweight
FX-format D-SLR with
high-resolution 24.3
megapixel CMOS
sensor, ISO 100-
6400 (extendable)
EXPEED 3 image
processing, highly-
sensitive 39-point AF
system and Full HD 1080p
D-movie. Discover the full-frame advantage.
Your entry into the full-frame world. A 20.2 megapixel
DSLR featuring a full-frame
sensor and compact
design. Ideal for
portrait
photography and
travel, offering
tight control over
depth of field and
a large choice of
wide-angle EF
lenses. Full HD 1080p resolution
movies and Ei-Fi for unparalleled
connectivity.
Canon EOS-6D Body 1649.00
Canon EOS-6D + 24-105mm Lens
2289.00
Canon EOS-6D
D4 Body 4249.00
D800 Body 1929.00
D800E Body 2359.00
D7000 Body 642.00
D7000 +18-105mm 789.00
NIKON DSLRs
D90 Body 439.00
D90 +18-105mm 565.00
D5200 Body 649.00
D5200 +18-55mm 699.00
D3200 Body 395.00
D3200 +18-55mm 439.00
EOS-1D X Body 4849.00
EOS 5D Mark II Body 1469.00 EOS 7D Body 1069.00
EOS 7D +18-135mm 1279.00
EOS 60D Body 609.00
EOS 60D +18-55mm 679.00
EOS 650D Body 529.00
EOS 650D +18-55mm 565.00
EOS 600D Body 425.00
EOS 600D +18-55mm 489.00
CANON DSLRs
DIGITAL CAMERAS
PRINTERS
Canon Pixma Pro-10 545.00
Epson Stylus Pro 3880 895.00 Canon Pixma Pro-1 649.00
Epson Stylus Photo R3000 585.00
STUDIO
Calumet Genesis 200 2-head kit 349.99
Calumet Genesis 400 2-head kit 399.99
Nikon Coolpix P7700 389.00
Nikon 1 V2 10-30mm 749.00
Canon Powershot G1 x 499.00
Canon Powershot G15 439.00 Fujifilm X100 549.00 Fujifilm X10 299.00
Creo Generators
Professional power packs with precision
performance and high-end specifications
perfect for studios and rental houses.
1200Ws 3199.00
2400Ws 3999.00
Great value lightweight,
portable softbox that produces
a soft diffused light, perfect for
portraits, events and still life images.
39.99
Calumet
10" Speedbox
CALUMETseminars
All prices include Vat at 20%. Prices correct at time of going to press. E&OE.
One Light- Photography Workshop
and Post Production Workshop
Glenn Norwood
This workshop shows how to create many classical and contemporary
lighting techniques using simply one light. This course will demonstrate
lighting portraits with both studio strobes and speedlights and will be
followed by a post production workshop to demonstrate how best to
produce your images.
Tuesday 5 March 10.30-16.00 75
Travel Photography - pay for your
holiday with your travel images
Lorentz Gullachsen
The session shall comprise of: A case study of an international
commission A shooting day - A typical day on location What the
market wants - shooting the experience, technical specification, release
for publication - what subjects sell and who buys travel images.
Good shooting practice - what kit to use, essential items for a travel
photographer Location research - what times are best to shoot
The day will provide you with an insight into producing travel images that
will improve your portfolio and possibly help pay for your holiday or even
launch a career as a travel photographer.
Tuesday 12 March 11.00-16.00 79
Location Portrait Photography
Lorentz Gullachsen
Photographing people on location is particularly challenging as it has so
many elements that require careful consideration, but often the subjects
are only available for a short time. So a great understanding of the craft,
combined with the ability to adapt quickly are just part of the skill set you
require.
Portraits on Location is a seminar designed to inform how contemporary
photography has moved into a new era of with digital capture and new
lighting technology.
Wednesday 13 March 10.00-16.00 79
An Introduction to Night
Photography
Richard Southall
An evenings walking tour the local area where the participants will gain
a basic understanding of the techniques required for successful night
photography in a city environment. A digital SLR camera and tripod will
be essential.
Tuesday 19 March 18.30 -21.00 65
BELFAST
028 90 777 770 Create Video with your DSLR -
DAY ONE
Jason Harry
This workshop will be both practical and discussion about how to produce
high quality video with your HD ready DSLR.
Topics covered: Setting your camera up, to be video ready Ideal
settings Deciding the frame rate and shutter speed ISO selection
Focusing, thinking ahead Lenses to use, my go to lens selection
Making the best quality sound Video trends creating the look.
Create Video with your DSLR to a
Commercial Quality - DAY TWO
Jason Harry
This is a more advanced workshop allowing you to build on the basics
from day one.
You will be shown how to produce videos of commercial quality.
Topics covered will include: Camera stability on the move Shoot for
output against using profiles Editing Process Output your project for
YouTube, iPad, DVD authoring. Light shaping tools Choosing
additional light sources, LED, tungsten
Thursday 14 March 10.00-15.00 85
Master Studio & Mixed Light
Photography for Makeover/Lifestyle
Jason Harry
Taken from the highly competitive and profitable makeover industry this
style of photography works to tight schedules, delivering to the client
great images and an experience that often raises self esteem.
We will work through formats to help organise your time while still
allowing you flexibility to deliver a personal experience, making the most
of your time.
Friday 15 March 10.00-15.00 85
One Light- Photography and Post
Production Workshop
Glen Norwood
This workshop shows how to create many classical and contemporary
lighting techniques using simply one light. This course will demonstrate
lighting portraits with both studio strobes and speedlights and will be
followed by a post production workshop to demonstrate how best to
produce your images.
EDINBURGH
0131 553 9979
Landscape Photography
Lorentz Gullachsen
With a series of presentations and demonstrations Lorentz will give you
an insight into the world of an advertising and fine art landscape
photographer. This seminar will help you will understand the process
of shooting landscapes for fine art as well as advertising and editorial
commissions.
Tuesday 5 March 10.00-16.00 89
Jason Harry
of your time.
Saturday 16 March 10.00-15.00 85
GLASGOW
0141 353 0875
MANCHESTER
0161 274 4455
Canon Off Camera Flash
Jayce Clarke
Working our way through 1, 2 and 3 light sets, you will have all the
knowledge to make flash part of your everyday photography.
Friday 1 March 10.00-16.00 75
Fashion Shoot & Shooting the Video
Jason Harry
This workshop will enable you to shoot with a model and produce a video
for the photo shoot.
This workshop will cover: The role of the stylist, hair and makeup in
theteam Creating the look and mood for the shoot Creating the video
for the shoot Location vs studio Lighting options Review and
image selections Post production
Jason Harry
of your time.
Creative Fashion and Beauty
Lighting Workshop
Jon Gray
Using a top professional model, Jon will be demonstrating several
different creative styles of lighting techniques for commercial and
editorial fashion and beauty images.
Friday 8 March 10.00-17.00 149
BRISTOL
0117 942 2000
Fashion Flair - Complete Fashion
Photography Workshop and Post
Production Workshop
Glenn Norwood
This workshop covers an edgy fashion shoot, covering the most
contemporary lighting techniques used today followed by Photoshop Post
production course which demonstrates many retouching & compositing
techniques.
Lightroom 4 - The Essentials
Glenn Norwood
This course introduces the Adobe Photoshop Lightroom features for
organising, enhancing, and sharing digital images and video clips.
One Light - Photography and Post
Production Workshop
Glenn Norwood
This course will demonstrate lighting portraits with both studio strobes
and speedlights and will be followed by a post production workshop.
Friday 8 March 10.00-16.00 99
BIRMINGHAM
0121 326 7636
Click: www.calumetseminars.co.uk
LONDON (Drummond St) 020 7380 1144
Be Inspired and Inspire Your Clients
Tim Wallace
The class is also very much aimed at people thinking about starting as
a professional photographer and are looking for a better idea of things
they need to focus their efforts and planning on to succeed in this
difficult market.
If you would like to know how Tim has managed to build his business from
scratch in just 6 years to where he is now then this is the seminar for you
to attend.
Friday 1 March 10.00-15.00 99
Be Inspired and Go Create
Tim Wallace
Aimed squarely at those that are seeking to learn more about photography
and gain a better understanding of light and other elements that turn good
pictures into great pictures.
These talks are not based on just understanding digital camera equipment
but more looking at the whole discipline of photography.
Shooting Interiors - A Master Class
Richard Southall
A master class in interior photography to be undertaken at location (wine
bar, hotel or night club) near to the Calumet branch.
Fashion Flair - Complete Fashion
Photography Workshop and Post
Production Workshop
Glenn Norwood
This workshop covers an edgy fashion shoot, covering the most
contemporary lighting techniques used today followed by Photoshop Post
production course which demonstrates many retouching & compositing
techniques.
Lightroom 4 - The Essentials
Glenn Norwood
This course introduces the Adobe Photoshop Lightroom features for
organising, enhancing, and sharing digital images and video clips.
H
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Soft ND Grad Set ........34.95
Hard ND Grad Set .......34.95
Landscape Kit .............37.50
Black and White Kits...39.95
Individual ND .............12.50
Individual ND Grad.....12.50
Hitech 10 Stop............60.00
Filter Holders.................. 5.00
Adaptor Rings................. 4.00
Lee Filters
Foundation Kit.........59.00
ND Grad Kits..........180.00
Big Stopper............104.95
Adaptor Rings STD ..20.00
Adaptor Rings W/A..40.00
Individual Filters from50.00
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CANON AT MIFSUDS
Part
Exchange
Welcome
300mm
f2.8 LII
IS USM
4977
400mm
f2.8 LII
IS USM
8199
500mm
f4 LII IS
USM
7699
EOS 1DX body
4849
PHONE LINES OPEN
MON -FRI 8am - 7pm,
SAT 9am - 5pm,
SUN 10am - 1pm.
SHOP OPEN
MON -SAT 9am - 5pm,
SUN 10am - 1pm.
U.K. Stock
Only
CANON AT MIFSUDS
EOS 5D MKIII body
2315
Please visit our website for more Canon lenses
& accessories. Correct 28/01/13. E&OE.
WANTED! WANTED!
Why not help fund your next purchase by letting us
PART EXCHANGEyour good quality equipment. We also
BUY FOR CASH and SELL ON COMMISSION.
Collection can be arranged - please email details of equipment to info@mifsuds.com.
Most types of cameras, lenses, studio equipment etc from all brands considered.
In particular . . . NIKON 200mm f2 ~ NIKON 200-400mm ~ NIKON 300mm f2.8
NIKON 400mm f2.8 ~ Nikon 500mm f4 ~ NIKON 600mm f4
VR and AFS versions of these lenses. Please email with details.
Mail Order :
01803 852400
Email -
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www.mifsuds.com
27-29, Bolton Street, Brixham. Devon. TQ5 9BZ.
Body only
1599
EOS 6D
Body only
637
EOS 60D
Body only
515
EOS 650D
with 18-55mm IS 799 with 24-105mm f4 L 2277 with 18-55mm IS II 569
with 18-135mm STM 829
DIGITAL SLRS
D800 body . . . . 1889
D800E body . . . 2349
D7000 body . . . . 629
D7000 +
18-105 VR . . . . . 789
D3200 body . . . . . . . . . . . 384
D3200 + 18-55 VR . . . . . . 429
EOS DSLRS
5D MKIII body. . 2315
5D MKIII + 24-105 IS . . . 2959
7D body . . . . . . . . . . . . . 1066
7D + 15-85 IS. . . . . . . . . 1589
7D + 18-135 IS. . . . . . . . 1329
60D body . . . . . . . . 637
60D + 18-55 IS 799
650D + 18-135 IS STM . 829
600D + 18-135 IS . . . . . . 599
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 IS U no box 499
17-55 F2.8 IS USM. . . . . . . . 769
17-85 f4/5.6 IS USM unboxed 379
18-55 F3.5/5.6 IS unboxed. . 99
18-135 F3.5/5.6 IS STM. . . 389
18-135 F3.5/5.6 IS U no box 279
18-200 F3.5/5.6 . . . . . . . . . 419
55-250 F4/5.6 IS II . . . . . . . 239
60 F2.8 Macro USM. . . . . . 339
EF LENSES
8-15 F4 L USM Fisheye . . 1047
14 F2.8 LII . . . . . . . . . . . . 1777
16-35 F2.8 MKII L USM . . 1077
17 F4 TSE L . . . . . . . . . . . 1847
17-40 F4 USM L. . . . . . . . . 579
20 F2.8 USM . . . . . . . . . . . 377
24 F1.4 L II USM . . . . . . . 1189
24 F2.8 IS U. . . . . . . . . . . . 577
24 F2.8 . . . . . . . . . . . . . . . . 347
24 F3.5 L TSE MKII . . . . . 1599
24-70 F2.8 L II USM. . . . . . 1689
24-105 F4 L IS USM unboxed . 799
28 F1.8 USM. . . . . . . . . . . . . . . 354
28 F2.8 IS U. . . . . . . . . . . . 569
35 F1.4 L USM. . . . . . . . . 1067
35 F2 IS USM. . . . . . . . . . . 799
35 F2 . . . . . . . . . . . . . . . . . 189
40 F2.8 . . . . . . . . . . . . . . . . 159
50 F1.2 L USM. . . . . . . . . 1189
50 F1.4 U . . . . . . . . . . . . . . 269
50 F1.8 II . . . . . . . . . . . . . . . 87
65 F2.8 MPE . . . . . . . . . . . 799
70-200 F2.8 IS USM LII . . . 1749
70-200 F2.8 non IS L USM. . . . 939
70-200 F4 L IS USM. . . . . . 869
70-200 F4 L USM. . . . . . . . 479
70-300 F4/5.6 L IS USM. . . 1077
70-300 F4.5/5.6 IS USM . . 419
85 F1.2 L II . . . . . . . . . . . . 1599
85 F1.8 USM . . . . . . . . . . . 279
100 F2.8 IS L USM macro . 659
100 F2.8 Macro USM. . . . . . . .399
100-400 F4.5/5.6 IS L USM 1177
135 F2 L USM . . . . . . . . . . 889
180 F3.5 L USM Macro . . 1129
200 F2.8 II L USM . . . . . . . 585
300 F2.8 LII IS USM. . . . . 4977
300 F4 L IS USM . . . . . . . 1069
400 F2.8 IS L II USM . . . . 8199
400 F5.6 L USM. . . . . . . . 1039
500 F4 IS LII USM . . . . . . 7699
600 F4 IS LII USM . . . . . . 10044
Ext tube 12II. . . . . . . . . . . . . . . 79
Ext tube 25II . . . . . . . . . . . . . 129
1.4x III or 2x III converter ea 369
FLASH & ACCESSORIES
Angle finder C. . . . . . . . . . . 219
BG-E5 grip (450D) . . . . . . . . 107
BG-E6 grip (5D MKII) . . . . . . 187
BG-E7 grip (7D) . . . . . . . . . . 139
BG-E8 grip (550D) . . . . . . . . .115
BG-E9 grip (60D) . . . . . . . . 129
BG-E11 grip (5D MKIII) . . . 277
BG-E13 grip (6D) . . . . . . . . 249
LP-E4 . . . 159 LP-E6 . . . . 80
MR 14EX Ringlight . . . . . . . 469
MT-24EX. . . . . . . . . . . . . . . 789
270 EX II . . . . . . . . . . . . . . . . . . 139
320EX . . . . . . . . . . . . . . . . . . . . 185
430 EX II . . . . . . . . . . . . . . . . . . 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
P5200.....479 AW110. . 395
P9400.....299 S9500 . . 359
DIGITAL ONLY LENSES
10.5 F2.8 DX . . . . . . . . . . . 549
10-24 F3.5/4.5 GAFS DX . 629
12-24 F4 DX. . . . . . . . . . . . 859
16-85 F3.5/5.6 AFS VR DX 439
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 DX689
35 F1.8 G DX. . . . . . . . . . . 149
40 F2.8 AFS G DX . . . . . . . 189
55-300 F4.5/5.6 G VR DX . 289
85 F3.5 G VR DX. . . . . . . . 379
LENSES
14 F2.8 AFD. . . . . . . . . . . . 999
14-24 F2.8 G ED AF-S. . . 1337
16 F2.8 AF-D Fisheye . . . . 699
16-35 F4 AFS VR. . . . . . . . 839
20 F2.8 AF-D . . . . . . . . . . . 459
24 F1.4 AFS G . . . . . . . . . 1589
24 F2.8 AF-D . . . . . . . . . . . 335
24 F3.5 PCE. . . . . . . . . . . 1449
24-70 F2.8 G ED AFS . . . 1219
24-85 F3.5/4.5 G ED VR . . 419
24-120 F4 G ED VR. . . . . . 819
28 F1.8 AF . . . . . . . . . . . . . 565
28 F2.8 AFD. . . . . . . . . . . . 249
28-300 F3.5/5.6 G ED VR . 666
35 F1.4 G. . . . . . . . . . . . . 1477
35 F2 AF-D. . . . . . . . . . . . . 289
50 F1.4 AF-S G . . . . . . . . . 277
50 F1.8 G. . . . . . . . . . . . . . 169
50 F1.8 AF-D . . . . . . . . . . . 129
60 F2.8 AFS . . . . . . . . . . . . 397
70-200 F2.8 VRII . . . . . . . 1579
70-200 F4 G ED VR. . . . . 1089
70-300 F4.5/5.6 VR . . . . . . 419
80-400 F4.5/5.6 VR AFD . 1377
85 F1.4 AFS G . . . . . . . . . 1175
85 F1.8 AFS G . . . . . . . . . . 377
105 F2.8 VR macro . . . . . . 629
200 F2 G VR II . . . . . . . . . 3877
200-400 F4 VR II . . . . . . . 4997
300 F2.8 AFS G VR II . . . . 4189
300 F4 AF-S. . . . . . . . . . . 1049
400 F2.8 AFS VR II . . . . . 6555
500 F4 AFS VR II . . . . . . . 5899
600 F4 AFS VR II . . . . . . . 7199
TC14EII converter . . . . . . . 319
TC17EII converter . . . . . . . 319
TC20EIII converter . . . . . . . 369
FLASH & ACCESSORIES
GP-1. . . . . . . . . . . . . . . . . . 199
MBD14 (D600) . . . . . . . . . . 239
MBD12 Grip (D800/E) . . . . 289
MBD11 Grip (D7000) . . . . . 229
MBD10 Grip (D300/D700) . 219
DR-5/DR-6 angle finder each229
SBR200 wireless rem S/Lite 199
SBR1 ringflash . . . . . . . . . . 389
SBR1CI ringflash/command539
SB-700 . . . . . . . . . . . . . . . . 229
SB-910 . . . . . . . . . . . . . . . . 319
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 . . . 87
WT-5 Wireless trans for D4 399
WU-1a wireless adapt D3200 55
NX Capture 2 . . . . . . . . . . . 169
WANTED
We want your cameras, lenses & studio equipment
WE PART EXCHANGE
BUY FOR CASH OR COMMISSION SALE
Collection can be arranged.
contact us at info@mifsuds.comor 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 January 29th 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 MKII 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 II . . . . . 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 IF 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 MKII . . . . . . . . . 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 PROLENS STOCKISTS
3 YEAR WARRANTY ALL LENSES
U.K.
Stock
ONLY
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Mail Order :
01803 852400
Email -
info@mifsuds.com
www.mifsuds.com
27-29, Bolton Street, Brixham. Devon. TQ5 9BZ.
PHONE LINES OPEN
MON -FRI 8am - 7pm,
SAT 9am - 5pm,
SUN 10am - 1pm.
SHOP OPEN
MON -SAT 9am - 5pm,
SUN 10am - 1pm.
U.K. Stock
Only
7-14mm F4..................... 949
8mm F3.5 ....................... 499
12-35mm f2.8 ................. 877
14-42mm F3.5/5.6
Power OIS X................... 350
14-140mm F4/5.8 OIS.... 579
20mm F1.7 ..................... 269
25mm F1.4 DG............... 439
35-100 F2.8 Power OIS X 999
45mm F2.8 OIS.............. 549
45-150 F4/5.6 OIS.......... 259
45-175mm F4/5.6
Power OIS X................... 319
45-200mm F4/5.6 OIS.... 269
100-300mm F4/5.6 OIS.. 419
LFV2 Viewfinder ............. 199
FL220E Flash..................115
FL360E Flash................. 187
FL500E Flash................. 347
LX7 Quality Compact ..... 349
FZ-200 Camera.............. 439
FZ-150 Camera.............. 269
TZ-30 Compact Camera 239
D4 body 4199
Tamron Lenses
18-270mm f3.5/6.3 Di II VC PZD. 389
60mm f2 Di macro NAF................299
90mm f2.8 Di macro....................339
650D body 515
650D + 18-55
IS II 569
D600 body 1439
D600 +
24-85 G 1849
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
only 1199
D5200 body 649
D5200 + 18-55 VR 699
FAMILY RUN SINCE 1954
1DX body 4849
6D body 1599
6D + 24-105
f4 L 2277
NEW - DUE MARCH
X100s.............1129
X20.................. 539
Pre-order The
Above NOW
X-Pro 1 body.. 1099
X-E1 + 18-55
f2.8/4 OIS ........ 999
X-E1 body........ 629
14mm f2.8 XF.. 769
18mm f2 XF..... 419
18-55mm
f2.8/4 OIS XF... 599
35mm f1.4 XF.. 419
60mm f2.4 XF.. 459
XFXR20 ash .. 189
EF42 ash ....... 199
X-100 Limited Edition
Black Kit........... 719
X-10 compact.....319
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01803
852400
Please follow
us on
5x4 USED
Schneider Sup Ang 90 F8 299
Polaroid back.................. 49
Toyo 6x7 RFH............... 129
Toyo quick roll slider..... 199
Fidelity double dark sl ea15
BRONICA RF USED
45 F4 + viewfinder box. 349
BRONICA ETRS 645 USED
ETRSi + 75 F2.8 E + 120199
40 F4 PE ...................... 179
50 F2.8 E........................ 99
50 F2.8 PE ................... 199
75 F2.8 E II................... 129
100 F4 PE .................... 249
105 F4.5 PE macro ...... 399
135 F4 PE .................... 279
150 F3.5 E...................... 89
150 F3.5 PE M- Box..... 179
200 F4.5 PE ................. 179
500 F8 EII..................... 499
2x extender E............... 139
E14 ext tube................... 49
120 RFH......................... 69
Polaroid Back ................. 29
Rotary prism................. 149
AEIII Prism ................... 179
AEII Prism ...................... 89
WLF Boxed..................... 59
Plain Prism E.................. 39
Angle viewfinder E........ 179
Winder ............................ 79
M bracket........................ 69
Speed Grip E.................. 49
Metz SCA 386 ................ 49
BRONICA SQ 6x6 USED
SQA + 150 + 120 RFH. 249
120 RFH......................... 79
40 F4 PS ...................... 449
50 F3.5 PS ................... 199
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
150 F4 PS M- Box........ 199
200 F4.5 PS M- box ..... 199
2x PS converter M- ...... 299
S36 ext tube................... 89
Auto bellows S box....... 199
Polaroid back.................. 49
135N back ...................... 99
120J 645 back................ 69
Waist level finder ............ 69
Plain Prism S Boxed ...... 99
AE Prism Early ............. 149
ME Prism Finder........... 129
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-............... 149
G18 Ext Tube box .......... 79
Polaroid Back ................. 39
Speed Grip .................... 89
AE Prism Finder G....... 129
AE Rotary Prism........... 199
CANON DIGITAL AF USED
1DS MKIII body M- box2299
1D MKIV body Exc++. 2699
1D MKIII body............... 999
1D MKII body......... 399/499
7D body box .......... 699/749
5D MKII body box......... 999
5D MK I body ........ 499/649
60D body M- box.......... 549
50D body.........................399
40D body.........................299
30D body.........................199
20D body.........................179
550D body.......................329
1100D body.....................219
1000D body box .............199
BG-E1 ...............................29
BG-E2N.............................69
BG-E3 ...............................39
BG-ED3.............................39
BG-E4 (5D MKI) ...............69
BG-E5 ...............................69
BG-E6 box (5D MKII) .......99
BG-E7 box ........................99
BG-E8 ...............................89
G10 compact box ...........199
SX1 IS compact M- box .149
S3 IS 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 300 body................ 20
EOS 500 body................ 20
EOS 500N body ............. 20
EOS 50E body................ 20
EOS 100 body................ 20
10-22 F3.5/4.5 EFS...... 399
15-85 F3.5/4.5 IS U...... 449
16-35 F2.8 L MKI.......... 729
17-40 F4 L box ............. 479
17-85 F4/5.6 IS U......... 199
18-55 F3.5/5.6 IS EFS ... 99
18-55 F3.5/5.6 EFS............69
18-200 F3.5/5.6 IS box... 349
20-35 F3.5/4.5 U............. 199
24 F1.4 L MKII box.........1199
24 F1.4 L MKI M- box.... 849
24 F3.5 L TSE M-..... 699/749
24-70 F2.8 LII M-........... 1499
24-105 F4 L ............. 649/699
28 F1.8 U M- ................... 299
28-90 F4/5.6 UII .................89
28-135 F4.5/5.6............... 179
28-300 F3.5/5.6 L U IS. 1699
35-70 F3.5/4.5....................69
35-135 F4/5.6 U ............. 99
55-250 F4/5.6 IS........... 139
60 F2.8 EFS box .......... 249
70-200 F2.8 L IS II M-1549
70-200 F2.8 L IS MKI . 1099
70-200 F4 IS L M- ........ 699
70-300 F4/5.6 IS U....... 299
75-300 F4.5/5.6 U .......... 99
80-200 F4.5/5.l6 II .......... 49
85 F 1.2 L U M- .......... 1349
100 F2.8 IS 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 IS U L. 2999/3299
300 F4 IS U L...........699/749
400 F5.6 L......................899
500 F4 IS L U...............4999
1.4x conv MKII ...............279
1.4x conv MKI ................169
2x ext MKII .....................199
2x extender MKI.............169
Teleplus 2x DG conv ...... 89
Kenko ext tube set DG..110
NCE2 charger............... 149
BP-200 grip .................... 20
BP-50 grip ...................... 29
PB-E2............................. 79
LC-5 kit ......................... 179
LC-4 kit ..........................119
SIGMA CAF USED
12-24 F4.5/5.6 EX DG.... 399
17-35 F2.8/4 EX...............119
17-70 F2.8/4 DC OS....... 239
18-50 F2.8 EX DC mac.. 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 Mint499
24-70 F2.8 EX DG.......... 349
50 F1.4 EX DC................ 299
50-500 F4/6.3 EX DG..... 599
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 EX
DG HSM 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
1.4x EX DG conv M-....... 149
2x EX DG conv M-.......... 159
OTHER CAF USED
TAM 17-50 F2.8 XR VC.. 289
TAM 17-50 F2.8 XR DiII . 249
TAM 28-270 VC DiII PZD329
TAM 55-200 F4/5.6............49
TAM 70-300 Di VC M- .... 239
TAM 70-300 F4/5.6............79
TAM 90 F2.8.......... 219/269
VIV 19-35 F3.5/4.5......... 69
CANON FLASH USED
270EX M- ....................... 79
380EX............................. 69
420EX............................. 89
430EX box.................... 139
580EX box.................... 239
MR-14EX...................... 349
ML-3 ring not digital........ 89
CPE-4 batt pack ............. 89
CPE-2 batt pack ............. 69
Sigma EM140G ring..... 199
CANON MF FD USED
T90 Body TO CLEAR..... 49
A1 body ................... 79/179
AE1-P chrome body ....... 69
AV1 chr body.................. 49
20 F2.8 exc++ .............. 249
24 F2.8 ........................... 79
35 F2 ............................ 169
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................ 99
50 F3.5 Mac + Tube..... 149
70-210 F4....................... 69
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.... 149
AE power winder FN...... 79
AE motor drive FN
+ battery pack............... 149
Auto bellows................. 149
CANON FLASH USED
199A............................... 59
244T ............................... 29
299T ............................... 49
300TL ............................. 49
CONTAX RF USED
G2 body Titanium......... 399
28 F2.8 Titanium........... 299
35-70 F3.5/5.6 blk box . 399
TLA200 Titanium............ 69
TLA30 flash .................... 29
CONTAX SLR USED
167MT body.................... 69
139Q body...................... 69
137MA body ................... 69
EPSON PRINTER USED
R3000 kit ...................... 549
FUJI DIGITAL USED
X-E1 + 18-55 silv M- box949
X-E1 body Mint box...... 579
X100 Ltd Ed M- ............ 649
X100 M- box................. 469
60 F2.8 R M- box ......... 429
S5 body M- box............ 299
FUJI 35MM USED
M42 & Bayonet
SEE WEBSITE
FUJI MED FORMAT USED
250 F5.6 GX680........... 199
GSW690 III M- box....... 899
GW690 MKIII M- box.... 599
GITZO USED
TRIPOD HEADS
G1077M........................ 139
G1177M.......................... 49
G1178M.......................... 79
G1570M........................ 149
G2180........................... 129
G2272M........................ 149
G2780FQR green......... 149
GH1720FQR................. 139
GH1720QR................... 149
GH1780FQR................. 129
GH1780QR................... 149
GH1781QR....................119
GH2720QR................... 159
GH2750QR................... 139
GH2780QR................... 199
GH2781T........................ 99
GH2781TQR................... 99
GH3580S...................... 169
GH3580SQR................ 179
GH3780QR................... 199
GH5380S...................... 179
GH5380SQR ................ 179
TRIPOD LEGS
G1325 MKII .................. 299
GK1580TQR4............... 389
GK1580QR5................. 399
GK1580TQR5............... 449
GK2520FT.................... 499
GK2580TQR................. 399
GT0531......................... 199
GT1541......................... 299
GT1542......................... 299
GT1542F ...................... 449
GT1542T ...................... 399
GT1543T ...................... 299
GT1840C...................... 199
GT2341L....................... 199
GT2531......................... 279
GT2531EX.................... 359
GT2531LVL................... 299
GT2532S...................... 339
GT2540T ...................... 279
GT2540F ...................... 399
GT2540FL .................... 429
GT2540LLVL................. 399
GT2541EX.................... 339
GT2542S...................... 379
GT3320BS.................... 199
GT3330......................... 249
GT3531......................... 369
GT4552TS.................... 479
GT4552GTS................. 499
GT5532LS.................... 479
HASSELBLAD XPAN USED
XPan I + 45 F4.................. 899
30 F5.6 M- box................ 1899
90 F4.................................. 299
HASSELBLAD 6x6 USED
SWCM + VF ..................1299
903SWC + viewfinder ...1999
503CW body chr........... 799
500CM + 80CF
+ A12 blk/chr .................749
PM90 prism.................. 199
WLF early....................... 49
A12 latest blk/chr.......... 199
A12 late black............... 149
E12 box ........................ 349
503CW winder box....... 299
250 F4 FE M- box ........ 699
50 F2.8 CE M- box....... 749
50 F4 CF FLE............... 749
50 F4 CF ...................... 549
80 F2.8 CF M- .............. 499
120 F4 CF .................... 649
150 F4 CFi M- .............. 799
150 F4 CFI ................... 649
150 F4 CF .................... 349
150 F4 blk T*................ 199
160 F4.8 CB M- box..... 499
250 F5.6 M- .................. 299
Vivitar 2x conv................ 79
LEICA DIGITAL USED
D-Lux 5 blk.....................399
D-lux 2 M- box................279
V Lux 20 M- box.............249
LEICA M/COMPACT USED
IIIg + 5cm f2 + erc........ 999
M4P chr body ............... 749
M3 chr d/wind + ERC.. 749
M3 chr s/wind............... 549
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
CF22 flash...................... 69
CF FLash........................ 69
SF20 flash ...................... 79
LEICA SLR USED
R7 body blk box .............. 379
R4 body chr ..................... 149
60 F2.8 R...................... 449
LIGHTMETERS USED
Gossen Lunasix III.......... 79
Gossen Sixtomat ............ 79
Minolta Flashmeter V ... 179
LOWEPRO USED
Lens Trekker 600AW...... 99
Dryzone 200 yellow/blk 179
Pro Trekker AW.............. 99
MAMIYA 645 USED
645 Pro TL + 80 + RFH
+ plain prism................. 379
645 Pro TL inc 80 F2.8 N +
FE401 Prism + Pro Winder .449
645 Pro SV Kit inc 80 F2.8 N
+ SV Prism + 120 RFH
+ Winder Box................ 379
645 Pro + 80 F2.8 N
+ 120 RFH + FE401..... 449
645E body .................... 199
645 Super + AE prism
+ RFH + winder ............ 199
645 Pro TL Body .......... 199
645 Pro Body................ 179
45 F2.8 N M- Box......... 199
55 F2.8 N...................... 129
55-110 F4.5 .................. 279
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- .. 249
Ext Tube 1, 2, 3S each... 29
Teleplus/Viv 2x conv ea.. 49
FE401 AE prism box .... 199
AE prism 645 Super ..... 149
Plain prism (645 Super) . 69
Polariod Back HP401..... 39
Polaroid back.................. 39
120 Insert ....................... 29
HA401 120 RFH Box...... 59
120 Back ........................ 39
Winder ............................ 79
MAMIYA TLR 6x6 USED
C330 S B/O + WLF....... 299
C330 F Body + WLF..... 149
80 F2.8 S...................... 149
180 F4.5 ....................... 169
Paramender.................... 89
MAMIYA 7 RF 6x7 USED
7II body.................. 749/849
50 F4.5 L + VF ............. 849
65 F4 box ..................... 499
80 F4 N......................... 549
150 F4.5 L.................... 379
Panoramic kit.................. 49
MAMIYA RB 6x7 USED
Pro S + RFH + 127 F3.8349
Pro SD body ................ 249
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
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 II + 90 + RFH. 649
RZ67 Pro II + 90 + RFH. 499
RZ67 Pro II + 110 + RFH499
RZ Pro+110 F2.8+RFH 349
RZ Pro + 90 F3.5 + RFH349
RZ Pro II 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 II Polaroid back........ 69
120 back Pro II ............... 99
120 back Pro 1............... 39
Pro shade....................... 49
Pro AE hood..................119
MINOLTA/SONY DIGITAL USED
Sony A550 body box......399
Sony A350 body.............179
Sony A200 body.............239
HVL-F36AM flash............ 129
VGB50AM grip box.........119
Nissin Di866 II ................. 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......699
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
75-300 F4.5/5.6..................89
100-300 F4/5.6................ 129
SONY LENSES USED
16 F2.8 fisheye box...... 379
18-70 box ....................... 49
24-70 F2.8 box...............1199
50 F2.8 D mac................. 299
50 F1.4 M- box................ 199
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
28-70 F2.8 EX................149
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 ................ 129
2x EX DG conv M- box 169
TAM 28-75 XR Di box .. 249
TAM 70-300 F4/5.6......... 69
TAM 90 f2.8.................. 199
TAM 180 F3.5 M-.............. 439
TOK 11-16 F2.8 ATX Pro..399
VIV 19-35 F3.5/4.5......... 69
VIV 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
D3S body box............. 2699
D3 body............. 1699/1799
D2X body box........ 399/649
D800 body M- box...... 1699
D700 body........... 999/1349
D300 body............. 399/499
D200 body box ............. 299
D90 body box ............... 349
D7000 body box ........... 549
D5100 body M- box...... 249
D5000 body.................. 199
EH-6 mains charger ....... 59
MBD-10 box ...........119/149
MBD-11......................... 169
MBD-80 box ................... 99
MBD-200 box ................. 69
Cool[pix P7100............. 199
Coolpix P100................ 149
NIKON AF USED
F6 body M- box ............ 949
F5 body M- box ............ 499
F4 body ........................ 299
F4S body...................... 169
F100 + MB-15 .............. 149
F90X body...................... 49
F801 body ...................... 49
F801s body..................... 49
F55 body ........................ 29
F601 body ...................... 29
10.5 F2.8 AF G DX M- ....379
10-24 F3.5/4.5 M- box.....549
12-24 F4 AFS DX M-.......599
16-85 F3.5/5.6 DX...........379
17-55 F2.8 AFS box 599/699
18-55 f3.5/5.6DX VR.........99
18-55 f3.5/5.6DX...............79
18-70 F3.5/4.5 AFS.........129
18-105 F3.5/6.3 VR.........159
18-135 F3.5/5.6 AFS.......149
18-200 F3.5/6.3 VRII M- .399
18-200 F3.5/6.3 VR box..299
24 F1.4 AFS M- box......1399
24-85 F2.8/4 AFD............349
24-120 F3.5/5.6 VR.........299
28 F2.8 AF N...................119
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
35 F1.8 AFS.................... 109
35-70 F2.8 AFD............... 299
40 F2.8 AF DX................. 189
50 F1.8 AFD M-................119
55-200 F4/5.6 AFS VR... 139
60 F2.8 AFS M- box........ 339
70-200 F2.8 VRI..... 999/1099
70-210 F4/5.6 AF...............99
70-300 F4/5.6 VR............ 329
70-300 F4/5.6 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
85 F1.8 AFD................. 239
105 F2.8 AFS VR......... 539
300 F4 AFS box ........... 879
300 F4 non AFS........... 369
500 F4 AFS VRII ........ 4899
TC20EII ........................ 199
SIGMA NAF USED
10-20 F4/5.6 EX DC..... 289
12-24 F4/5.6 EX DG..... 399
17-50 F2.8 EX DC OS.. 379
17-70 F2.8/4.5 DC OS . 249
17-70 F2.8/4.5 DC........ 149
18-50 F2.8 DC macro... 239
18-50 F2.8 EX DC........ 199
18-125 F3.8/5.6 DC........ 99
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 F2.8 EX DG................179
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
70-300 F4/5.6 APO mac....99
105 F2.8 EX DG box ...... 319
105 F2.8 EX box............. 249
120-300 F2.8 EX
DG HSM OS.....................1299
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 DiII ........ 149
18-250 F3.5/6.3 DiII box. 199
18-270 PZd M- box......... 319
28-200 XR Di mint box ....119
28-200 XR..........................79
55-200 F4/5.6 DiII ..............49
70-300 F4/5.6.....................69
90 F2.8...................... 219/289
TOK 11-16 F2.8 ATX.... 399
TOK 12-24 F4 ATX M-.. 399
TOK 35 F2.8 ATX Pro .. 199
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
SD-8A..................................99
SD-8 box.............................69
MB-10 (F90X).....................29
MB-15 (F100) .....................49
MB-16 (F80) .......................29
MB-40 M- box.................. 199
WT-2 box ............................99
LS5000 scanner............ 1399
NIKON MF USED
F3T body blk M- box .... 699
F3HP body.................... 299
F3 body ........................ 199
FE-2 body chr............... 249
FA body chr M- ............. 299
FM2n body chr ...... 249/299
FM2n body blk.............. 169
FM2 body chr ............... 149
FM body chr ................... 99
28 F3.5 Shift ................. 449
28 F3.5 AI ....................... 99
35-70 F3.3/4.5 AIS ......... 99
35-105 F3.5/4.5 AIS ..... 149
36-72 Series E................ 79
43-86 F3.5 AI.................. 69
50 F1.4 AIS................... 199
50 F1.4 AI ..................... 149
50 F1.8 AIS..................... 99
300 F4.5 AIS................. 199
TC14B box ................... 149
TC16A............................. 99
TC200............................. 59
MD-12 winder.....................49
SB-15.............................. 39
SB-17 (fit F3) .................. 49
DR-3 angle finder ........... 79
DW-4 (fit F3)................. 169
OLYMPUS DIGITAL USED
E1 + 14-42.................... 249
E510 body .................... 199
E500 body .................... 179
E300 body .................... 169
14-45 F3.5/5.6.............. 169
18-180 F3.5/6.3............ 299
25 F2.8 ......................... 169
40-150 F3.5/4.5.............. 99
40-150 F4/5.6................. 89
50 F2 macro................. 399
FL50 flash box.............. 179
HLD3 grip ....................... 59
Sigma 10-20 F4/5.6 DC299
Pen E-PL2 + 14-42....... 249
Pen E-P3 body M- box. 299
Pen E-PL1 + 14-42....... 199
12 F2 ............................ 439
14-150 F4/5.6............... 349
17 F2.8 ......................... 139
MMF2 4/3 adaptor .......... 69
OLYMPUS MF OM USED
OM4Ti blk body............. 249
OM-10 chr body.............. 49
21 F3.5 ......................... 249
28 F3.5 ........................... 49
35-70 F4......................... 89
35-105 F3.5/4.5............ 149
50 F3.5 macro..................129
75-150 F4...........................69
135 F3.5 ......................... 39
180 F2.8 ....................... 399
300 F4.5 ....................... 199
Olympus Auto bellows
+ slide copier M- ........... 169
T32 ash......................... 49
Man ext tube 7/14/25 ea. 24
Auto ext tube 7/14/25 ea..... 39
PANASONIC DIGITAL USED
LX3 compact M- box .... 149
G5 + 14-42 M- ................429
G3 body box................. 199
G2 body........................ 169
GX1 body M- box ......... 249
GF3 + 14-42 OIS.......... 199
GF3 body mint box....... 199
GF1 body box............... 149
14-42 F3.5/5.6................ 69
14-50 F3.8/5.6 OIS....... 299
20 F1.7 M- .................... 199
45-200 F4/5.6 OIS........ 189
LVF1 viewfinder box....... 79
FL220 flash..................... 59
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
DBG4............................ 149
DBG3 mint...................... 49
DBG2.............................. 79
PENTAX 35mm AF USED
MZ-S body.................... 179
MZ5N body..................... 69
MZ5 body ....................... 69
12-24 F4....................... 449
16-45 F4....................... 199
18-55 F3.5/5.6 WR......... 79
18-55 F3.5/5.6................ 49
24-90 F3.5/4.5 FA............ 179
28-70 F4 AL........................69
50-200 F4/5.6 DA WR.... 99
50-200 F4/5.6 DA........... 79
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
10-20 F3.5 EX DC box. 349
12-24 F4.5/5.6 EX M-... 369
17-35 F2.8/4 EX........... 149
18-200 f3.5/6.3 DC box 129
28-200 F3.5/5.6............ 139
70-300 F4/5.6 DG........... 79
150-500 F5/6.3 DG ..... 449
170-500 F5/6.3............. 379
TAM 17-50 F2.8 XR Di . 229
TAM 18-200 XR DiII ..... 139
Cosina 100 F3.5............... 79
PENTAX 35mm MF USED
K1000 body chr .............. 99
Program A body.............. 49
M42 300 F4 M-............. 279
28 F3.5 ........................... 49
28-50 F3.5/4.5 PK.......... 69
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
400-600 F8/12.............. 399
Rear converter PT62...... 69
Auto bellows including
copy attachment ........... 139
PENTAX 645AF USED
645NII 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 Insert M- box............ 49
PENTAX 67 USED
67 MU + metered prism
+ 105 F2.4 .................... 699
67 MU body.....................299
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
ROLLEI USED
Rolleiex 2.8 GX TLR Jersey
Limited Edition M- box 1899
TAMRON ADAPTALL USED
TELESCOPES/BINOS USED
SEE WEBSITE
VOIGTLANDER USED
Bessa III (667) box ..... 1299
QUALITY USED EQUIPMENT. See website for full list. Call us for condition and to buy secondhand stock. 3 Month warranty on most secondhand.
U.K. Stock
Only
27-29, Bolton
Street, Brixham.
Devon. TQ5 9BZ.
The pick of our
used items
Visit our clearance site on ebay http://stores.ebay.co.uk/Mifsuds-Photographic
Mail order used items sold on 10 day approval. Return in 'as received'
condition for refund if not satisfied (postage not included - mail order only).
Subscribe to our email newsletter - be amongst the first to learn about
special offers and promotions - ask us for details.
Prices correct when compiled January 29th 2013. E&OE.
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Canon 300 F4 L IS
USM699/749
Sigma CAF/NAF
120-300 F2.8 EX DG
HSMOS 1299
FAMILY RUN SINCE 1954
Canon 500 F4 IS L
4999
Nikon D300 body
399/499
EOS 1D MKIV body
box 2699
If what you are looking
for is not listed...
email with your
requirements & we
will advise when we
have what you want.
EOS 7D body
699/749
DSLR SENSOR
CLEANING ON
THE PREMISES
Email us nowfor
details - done
by appointment
only MON-FRI
PRO LENS
HIRE
Email for details
- Subject to
availability
This simple light
rig Has a single
handle block
with a 15mm
Cross rod and clamp to hold the shoulder
pad rod and another cross Rod The block
has two 15mm 60mm apart clamps and
a sliding quick release pad for the
Camera. Two 15mm Dia x 18com length
Rods are provided So all types
of accessories can fit and it can also be
converted into a two handle Rig
KRL 001 set as above with follow focus 1
KOOD DSLR Rig 1
A comprehensive
and versatile
Pressed steel
Rig providing
a stable platform
for Video
etc with handles and
shoulder support fantastic value and
very rigid can be used with
standard twin15mm Dia Rod 60cm
apart fitting with an extra
attachment (this enables all Follow
Focus and Matte Boxes etc)
without the attachment only the
follow focus F2 can be used
DSLR RIGS &
STEADY CAMERA DEVICES
KOOD
A complete set, with all necessary
accessories and alternatives included and
the most professional Matte Box 2 - KRL03
Supplied in Alloy Trolley Case with
extending handle
Comprises of KRLO3 Rig (as RL04 Below
but with large Battery Pack Holder)
C Bracket and over head
carry handle on twin 19
cm long rails for adjusting
to exact centre of gravity
KOOD RIG 3 SET
HEAVY DUTY ALLOY
All Kood Follow Focus units are
supplied with Gear Belt
Basic unit with gear belt for standard
15mm Dia 60cm apart rods
Adjustable height
Can be used both sides of lens but gear
wheel cannot be reversed as with all
other KOOD Follow Focus devices nor
can you use Fexi Knobs or speed crank
KOOD Follow Focus 00
KOOD Follow Focus F1
Same as Fi1 but separate L plate
provided for fitting into the base plate of
the camera
Can be used without a rig or with rig 1
by fixing directly to the camera as well as
withal rigs that have standard twin 15mm
Dia. rods 60cm apart
Matte Box 1
KOOD L bracket
Fits std. 15mm Dia rails 60 cm apart for
attaching over head carry handle etc
use with spare rail set
KOOD Over head handle use with C
Bracket and twin 15mm Spare rails
KOOD C Bracket
Matte Box 2
Slides and fixes on twin
15mm Diameter rails
60cm apart
50mm height
adjustment.
Supports long
lenses so there
is no leverage
pressure on the lens bayonet and camera
KOOD Big lens support
Mounts any
devise that has
English/continental
male screw and
clamps a 15mm
30 mm diameter
rod or other item
Jaw spread 44mm Depth from centre of
the V Jaws 15mm
KOOD Crab Clamp
18cm fixes to Camera shoe or English
male tripod thread, ball and two 55mm
arm with 360 degree lockable and fixed
joint , ends in ball with English male
thread the joint and ball ends all lock
with the joint knob
KOOD Magic Arm
Two filter holders accepting 100mm
Square filters Rear filter holders rotates
360 degrees for polarizers
Front 200mm x 120mm with
Adjustable side wings and top wing
3 Different rubber baffles o convert the
10mm Diameter lens aperture to a snug
lens fit
Mounts on Std twin 15mm Rods 60 cm
apart with 70mm height adjustment
Matte Box 3 For DSLR
and all size Video Cameras
Kood Rig 4 set is not packed in an Alloy
case, nor comprehensive accessories
supplied, Matte Box 3 is Pro DSLR type
with two filter carriers but does not swing
to one side (details under matte boxes)
Shoulder Pad
20cm pair of rails
28.cm pair of rails
Couple together to make 48cm twin rail
Sliding and lock camera platform, 3cm
height adjustment, and 3/8 tripod
threads and a 13 com sliding and lock
camera plate
29.5 cm cross rail with 2 x handles 360
degree adjustment on handles and on rail
KF3 Follow focus kit
KOOD RIG 4 SET
Camera Platform, Mounted on
15mm Dia. Cross rail
2 Handles 360 degree rotation and lock
19cm 15mm Dia. rail and shoulder Pad
Shoulder pad has Velcro strap for
attaching battery packs etc
KR002 set as above but with
Follow Focus 1
Matte Box 1
KOOD Rig 002 Plus set as above
But with 90 degree curved 15mm rod
and overhead carry handle
KOOD RIG 002 SET
KOOD RIG 001 SET
Tel: 01727 823812 Fax: 01727 823336 www.koodinternational.com
Follow Focus 4 fast snap fit - with
two flexible cable controls (plug in
control knobs on flexible cables) 24 cm and
38cm and a fast crank handle (provides 3
ways of operating - use Knurled knob, speed
crank or Knob on Flexible cable
Matte Box (see under matte box) 2 with
C Bracket and Hinge ideal for all types
of DSLR and high end video
Twin fully adjustable handles
Big Lens support fully adjustable
Mounting Block with twin 15mm Dia
60cm apart 18 cm rods has and 3/8
tripod
Cage has 34 x female threaded holes
you can hang everything on this,
incomparable for tripod work.
Supplied with overhead handle
Slip free gear driven from either side of
the lens gear wheel can be reversed
Fits Std 15mm 60 cm apart rods fully
adjustable
Focus indicator
Slip Free gear
driven (can be used either side of the lens
gear wheel can be reversed)
Adjustable stops and indicator
Use with Std twin 15mm Diameter Rods
60cm apart
Compatible to all DSLR/Video Cameras
Easy mounting and adjust
Same as F3 except that the twin
rail fitting is a snap fit adjust
and tighten
For use with Digital SLR a simple rig
mounting Matte Box which fits onto
Standard 15mm Twin rails 60 cm apart
-adjustable for height
No provision for filters
Two independently rotating filter holders
accepting 4 x 4 and 4 x 5.6 filters,
two black masks provided so that 4 x
4 filters fit perfectly
Adjustable side wings and top wing
Front 247mm x 158mm with attachable
black mask x203mm x 115mm
140mm Lens aperture with 4 Different
rubber baffles for snug lens fit to all
lens sizes
Mounts on Rig with L bracket for Std
twin 15mm Rods 60 cm apart, Rig is
hinged so you can swing it away from
and onto Lens
Serious bit of Kit
KOOD Magic Arm 28cm
Two 106mm arms detail
as above
For rails to attach matte
box 2 to the Rig rails
use with spare rails
KOOD SUPPLIES EVERY PART OF THE PHOTO TRADE - HOME AND EXPORT.
EMAIL: koodinternational@gmail.com FOR DETAILS OF STOCKIST IN YOUR AREA OR, IF YOU ARE A CAMERA EQUIPMENT TRADER,
SEND YOUR DETAILS FOR ACCOUNT APPLICATION AND TRADE SUPPLY PRICES
KOOD International Limited, Unit 6, Wellington Road, London Colney AL2 1EY
Tel: 01727 823812 Fax: 01727 823336 E-mail: koodinternational@gmail.com
www.koodinternational.com
K O O D
KOOD BRAND PRODUCTS ARE EXPORTED WORLDWIDE
CAN BE ORDERED FROM ANY INDEPENDENT RETAILER
Super smooth with slight resistance for smoother controlled
sliding by hand, far better than cranked without crank
Whole track can be mounted on a stand or tripod via central
plate with English and Continental female threads
60cm
80cm
100cm
120cm
KOOD 120cm Steady Camera Device
KOOD Single Spring Vest for
120cm fluid type contol over
15 (Steady Movement)
KOOD Single Spring vest for 120cm
fluid type control over 30 (for more
rapid jerky movement as in running,
reportage work)
KOOD Light weight Steady Camera
Device - designed for use without vest
or springs
KOOD Sliders
Carbon Steady Cam
120cm with connectors
and rods for Matte Box
190 mm plate between axels Metal plate 7mm thick for
extreme rigidity will take any weight
Wheels on both axels 177mm apart for good stability
4 x 74mm Diameter
NDFS Skate Board Wheels
2 X 75mm x 8mm Diameter
mounting towers included
KOOD for wheel Dolly 2
Triangle base plate 24cm between axle
centres
185 degree adjustment on each
wheel so it can move from a straight
line to a 360 degree spin
3 NBF 60mm Diameter Skate Wheels
English/continental male item
attachment screw
Continued on next column...
KOOD three wheel Dolly
75mm x 80mm Diameter Mounting
Towers for all KOOD Dollys (shown here
on the three wheeled dollies).
KOOD Set of Two
For 2 sets of Twin 15mm Dia. Rails, for
monitor etc
KOOD Cranked Bracket
KOOD Spare twin
KOOD Speed crank
KOOD Sliding and lock
camera platform
136 mm plate between axel centres,
Wheels on both axels are 110mm
apart, plate has angle calibration
indicators
4 x NBFS 60mm Diameter Skate
Wheels
English Male tripod screw
KOOD Small four
wheel Dolly
Tel: 01727 823812 Fax: 01727 823336
www.koodinternational.com
19cm 15mm diameter rails
KOOD Zoom gear
belt and lever
For single finger operation on all follow
focus devices
12 length for all Follow focus devices
from 01 04 ,click fit into centre of
control knob provides control knob on
a flexible cable
KOOD Flex control 18 cable
KOOD Flex control
With female tripod thread
KOOD Single rod clamp
3cm height adjustment, and 3/8
tripod threads and a 13 com large
sliding and lock camera plate and Rails
PRINTER INK CARTRIDGES
Premier Ink &Photographic, Longfield Road, Leamington Spa, CV31 1XB. 01926 339977 E&OE. Prices may be subject to change, but hopefully not!
Originals:
26.99 16ml
21.99 46ml
27.99 66ml
35.99 16ml
26.99 46ml
119.99 set of 7
14.99 17ml
17.99 17ml
17.99 17ml
39.99 set of 4
17.99 13ml
9.99 8ml
64.99 set of 6
14.99 13ml
14.99 13ml
99.99 set of 8
8.99 13ml
13.99 13ml
13.99 13ml
32.99 set of 4
8.99 8ml
8.99 8ml
92.99 set of 8
11.99 13ml
11.99 13ml
11.99 13ml
32.99 set of 4
8.99 8ml
8.99 8ml
32.99 set of 4
8.99 7.4ml
8.99 5.5ml
69.99 set of 6
11.99 10ml
11.99 10ml
49.99 set of 6
8.99 7.4ml
8.99 7.4ml
69.99 set of 8
7.99 11.4ml
8.99 11.4ml
8.99 11.4ml
69.99 set of 8
8.99 11.4ml
8.99 11.4ml
26.99 set of 4
6.99 5.9ml
6.99 3.5ml
38.99 set of 4
9.99 11.2ml
9.99 7ml
19.99 25.9ml each or 154.99 set of 8
13.99 17ml each or 99.99 set of 8
12.99 13ml each or 69.99 set of 6
39.99 80ml each or 314.99 set of 8
7.99 5.2ml
5.99 3.3ml
21.99 set of 4
14.99 11.5ml
10.99 6.6ml
44.99 set of 4
7.99 5.1ml
7.99 4.6ml
41.99 set of 6
11.99 9.8ml
11.99 8.7ml
69.99 set of 6
8.99 6.2ml
7.99 4.7ml
7.99 4.5ml
29.99 set of 4
13.99 12.1ml
12.99 8.7ml
12.99 9.7ml
49.99 set of 4
At Premier Ink Supplies, we stock two types of cartridges for Epson printers - Originals,
which are made by Epson, and Compatibles, which are made by a UK company called
Jet Tec. Using Jet Tec Compatibles is a way of saving money, without compromising on
the quality of your prints. Herere the results from two independent ink tests that agree
Jet Tecs colours were superb, with single greys and
blacks very close to Epson so Jet Tec wins!
- Total Digital Photography Magazine
What were looking at here is not only the best choice
of ink for the R300 printer, but also the best ink in this
group test, period. Theres just no getting away from
the superb combination of performance and pricing
- Computer Upgrade Magazine
Cartridge Code:
T007 Black
T008 Colour
T009 Colour
T026 Black
T027 Colour
T0341-T0347 Set of 7
T0341/8, each
T0342/3/4, each
T0345/6/7, each
T0441-T0454 Set of 4
T0441 Black
T0452/3/4, each
T0481-T0486 Set of 6
T0481/2/3, each
T0484/5/6, each
T0540-T0549 Set of 8
T0540 Gloss
T0541/2/3/4, each
T0547/8/9, each
T0551-T0554 Set of 4
T0551 Black
T0552/3/4, each
T0591-T0599 Set of 8
T0591/2/3, each
T0594/5/6, each
T0597/8/9, each
T0611-T0614 Set of 4
T0611 Black
T0612/3/4, each
T0711-T0714 Set of 4
T0711 Black
T0712/3/4, each
T0791-T0796 Set of 6
T0791/2/3, each
T0794/5/6, each
T0801-T0806 Set of 6
T0801/2/3, each
T0804/5/6, each
T0870-T0879 Set of 8
T0870 Gloss
T0871/2/3/4, each
T0877/8/9, each
T0961-T0969 Set of 8
T0961/2/3/4/5, each
T0966/7/8/9, each
T1281-T1284 Set of 4
T1281 Black
T1282/3/4, each
T1291-T1294 Set of 4
T1291 Black
T1292/3/4, each
T1571-9, each
T1591-9, each
T5591-6, each
T5801-9, each
No.18 Black
No.18 C/M/Y, each
No.18 Set of 4
No.18XL Black
No.18XL C/M/Y, each
No.18XL Set of 4
No.24 B/LC/LM, each
No.24 C/M/Y, each
No.24 Set of 6
No.24XL B/LC/LM, each
No.24XL C/M/Y, each
No.24XL Set of 6
No.26 Black
No.26 Photo Black
No.26 C/M/Y, each
No.26 Set of 4 (no PB)
No.26XL Black
No.26XL Photo Black
No.26XL C/M/Y, each
No.26XL Set of 4 (no PB)
Suitable EPSON Printers:
Photo 790, 870, 890, 895, 900, 915, 1290
Photo 790, 870, 890, 895, 915
Photo 900, 1270, 1290
Photo 810, 830 ,830u, 925, 935
Photo 2100
Chamelion Inks
C64, C66, C84, C86,
CX3600/3650, CX6400, CX6600
Parasol Inks
R200, R220, R300, R320, R340
RX500, RX600, RX620, RX640
Seahorse Inks
Photo R800, R1800
Frog Inks
Photo R240, R245,
RX420, RX425, RX520, RX525
Duck Inks
Photo R2400
Lilly Inks
D68, D88,
DX3800/3850, DX4200/4250, DX4800/4850
Teddy Bear Inks
S20, S21, SX100/105/110/115/200/205/210/215
SX400/405/415/515, D78/92/120, B40W, BX300
DX4000/4400/5000/6000/7000/7400/8400/9400
Photo 1400
Owl Inks
Photo P50, PX650/660/700W/710W/720WD,
PX730WD/800FW/810FW/830FWD/830FWD
R265/285/360, RX560/585/685
Photo R1900
Flamingo Inks
Photo R2880
Husky Inks
S22, SX125/130, SX420W/425W/445W,
BX305F
Fox Inks
SX420W/425W/445W/525WD/620FW,
BX305F/320FW/525WD/535WD/625FWD/630FW,
BX635FWD/BX925FWD/BX935FWD, B42WD
Photo R3000 Turtle Inks
Photo R2000 Kingfisher Inks
Photo RX700 Penguin Inks
Photo Pro 3800, 3880
Expression Home XP30, XP102, XP202, XP205
XP302, XP305, XP402, XP405
Daisy Inks
Expression Home XP30, XP102, XP202, XP205
XP302, XP305, XP402, XP405
High Capacity Daisy Inks
Expression Photo XP750, XP850
Elephant Inks
Expression Photo XP750, XP850
High Capacity Elephant Inks
Expression Premium XP600, XP605, XP700,
XP800
Polar Bear Inks
Expression Premium XP600, XP605, XP700,
XP800
High Capacity Polar Bear Inks
Jet Tec Compatibles:
3.99 20ml, 3 for 10.99
4.99 50ml, 3 for 13.99
4.99 70ml, 3 for 13.99
3.99 20ml, 3 for 10.99
4.99 50ml, 3 for 13.99
Check Website.
Check Website.
Check Website.
Check Website.
14.99, 3 sets for 42.99
4.99 21ml, 3 for 13.99
3.99 21ml, 3 for 10.99
19.99, 3 sets for 56.99
3.99 21ml, 3 for 10.99
3.99 21ml, 3 for 10.99
35.99, 3 sets for 99.99
3.99 21ml, 3 for 13.99
4.99 21ml, 3 for 13.99
4.99 21ml, 3 for 13.99
14.99, 3 sets for 42.99
4.99 21ml, 3 for 10.99
3.99 21ml, 3 for 10.99
Check Website.
Check Website.
Check Website.
Check Website.
14.99, 3 sets for 42.99
4.99 21ml, 3 for 13.99
3.99 21ml, 3 for 10.99
14.99, 3 sets for 42.99
4.99 13ml, 3 for 13.99
3.99 13ml, 3 for 10.99
Check Website.
Check Website.
Check Website.
19.99, 3 sets for 57.99
3.99 13ml, 3 for 10.99
3.99 13ml, 3 for 10.99
Check Website.
Check Website.
Check Website.
Check Website.
Check Website.
Check Website.
Check Website.
14.99 set of 4
4.99 13ml
3.99 10ml
16.99 sets of 4
5.49 16ml
4.49 13ml
NEW
NEW
NEW
NEW
NEW
NEW
NEW
NEW
NEW
NEW
NEW
NEW
NEW
NEW
NEW
NEW
NEW
NEW
NEW
NEW
EPSON
Lexmark Compatibles
No.1 Colour 10.99
No.2 Colour 11.99
No.3 Black 14.99
No.16 Black 11.99
No.17 Black 9.99
No.26 Colour 12.99
No.27 Colour 11.99
No.31 Photo 11.99
No.32 Black 9.99
No.33 Colour 11.99
No.34 Black 11.99
No.35 Colour 12.99
Lexmark Originals
No.1 Colour 19.99
No.14 Black 16.99
No.15 Colour 18.99
No.17 Black 17.99
No.23 Black 16.99
No.24 Colour 18.99
No.27 Colour 18.99
No.28 Black 14.99
No.29 Colour 16.99
No.32 Black 19.99
No.33 Colour 21.99
No.36 Black 16.99
No.37 Colour 18.99
No.43XL Colour 27.99
No.44XL Black 22.99
No.100 Black 13.99
No.100 Cyan / Mag / Yellow 8.99
Many more in stock!
If you cannot find the ink cartridges for your printer, please give
us a call, or check our website, and well do our best to help.
We stock what is probably the UKs largest range of ink cartridges and
photo paper, including wide format ink cartridges and roll papers.
Canon Compatibles
BCi3e Black 26ml 2.99
BCi6 B/C/M/Y 15ml 2.99
BCi6 PC/PM/R/G 15ml 2.99
PGi5 Black 29ml 4.99
CLi8 B/C/M/Y/PC/PM 15ml 3.99
CLi521 B/C/M/Y/GY 9ml 3.99
PG37 Black 12ml 9.99
PG510Black 11.5ml 13.99
CL38 Colour 12ml 12.99
CL512Colour 11.5ml 15.99
Canon Originals
BCi3e Black 26ml 10.99
BCi6 All colours, 13ml, each 8.99
CLi8 All colours, 13ml, each 10.99
CLi42 All colours, 13ml, each 10.99
CLi42 Set of 8 79.99
PGi9 All colours, 14ml, each 8.99
PGi9 Set of 10 82.99
PGi29 Set of 12 229.99
PGi72 Set of 10 99.99
PGi520/CLi521 Set of 5 41.99
PGi525/CLi526 Set of 5 41.99
PGi550/CLi551 Set of 5 41.99
PG540XL Black 21ml 17.99
CL52 Photo 21ml 18.99
CL541XL Colour 15ml 19.99
Many more in stock!
HP Compatibles
No.15 Black 46ml 4.99
No.22 Colour 21ml 11.99
No.300XL Black 18ml 14.99
No.300XL Colour 18ml 16.99
No.337 Black 21ml 10.99
No.338 Black 21ml 10.99
No.339 Black 34ml 12.99
No.348 Photo 21ml 12.99
No.350XLBlack 30ml 14.99
No.363 C/M/Y/PC/PM each 4.99
No.364XLBlack 18ml 9.99
No.364XLC/M/Y11ml each 8.99
HP Originals
No.38All Colours 27ml each 24.99
No.58 Photo 17ml 22.99
No.337 Black 11ml 16.99
No.338 Black 11ml 17.99
No.339 Black 21ml 23.99
No.350 Black 4.5ml 11.99
No.351 Colour 3.5ml 13.99
No.363 C/M/Y/PC/PM each 8.99
No.364 PB/C/M/Y 3ml each 6.99
No.364 Set of 4 19.99
No.920XL C/M/Y 6ml each 8.99
No.940XL C/M/Y 16ml each 15.99
Many more in stock!
Photo Glossy Paper 200g, A4, 20 BOGOF 7.99
Smooth Gloss 290g, 6x4, 100 sheets 17.99
Smooth Gloss 290g, 7x5, 100 sheets 23.99
Smooth Gloss 290g, A4, 25 sheets +10 FREE 10.99
Smooth Gloss 290g, A4, 100 sheets 35.99
Smooth Gloss 290g, A3, 25 sheets 27.99
Smooth Gloss 290g, A3+, 25 sheets 29.99
Smooth Pearl 290g, 6x4, 100 sheets 17.99
Smooth Pearl 290g, 7x5, 100 sheets 23.99
Smooth Pearl 290g, A4, 25 sheets +10 FREE 10.99
Smooth Pearl 290g, A4, 100 sheets 35.99
Smooth Pearl 290g, A3, 25 sheets 27.99
Smooth Pearl 290g, A3+, 25 sheets 29.99
Smooth Fine Art 190g, A4, 10 sheets 13.99
Smooth H/weight Matt 200g, A4, 50 sheets 12.99
Smooth Lustre Duo 280g, A4, 25 sh BOGOF 12.99
Gold Fibre Silk 310g, A4, 50 sheets 44.99
ICC profiles available for all Ilford papers
Sample Pack 25 sheets, 5 different papers! 11.99
NEW Ultra Pearl 295g, A4, 25 12.99
Digital Gloss or Oyster 271g, 6x4, 50 7.99
Digital Gloss or Oyster 271g, 7x5, 50 10.99
Digital Gloss or Oyster 271g, A4, 50 19.99
Digital Gloss or Oyster 271g, A3, 25 21.99
Digital Gloss or Oyster 271g, A3+, 25 29.99
Double Sided Oyster 285g, A4, 25 26.99
Double Sided Matt 250g, A4, 100 26.99
Matt Proofing 160g, A4, 150 19.99
Matt Plus 240g, A4, 25 9.99
Fibre Base Gloss 295g, A4, 25 24.99
NEW Fibre Base Distinction 360g, A4, 25 25.99
Smooth Fine Art Portfolio 200g, A4, 25 19.99
Smooth Fine Art Portrait 300g, A4, 25 26.99
Textured FineArt Artist 210g, A4, 25 19.99
Textured Fine Art Parchment 285g, A4, 25 21.99
Canvas Artistic 400g, A4, 10 14.99
ICC profiles available for all PermaJet papers
Ink Test
Winner
COMPATIBLE & ORIGINAL INK
Established in 1584, the
Hahnemuhle name is
synonymous with fine art
printing. Full range now
available at Premier Ink.
Kodak Original Ink / Paper
ESP Black Series 10 Ink 6.99
ESPColour Series 10 Ink 12.99
ESP Black Series 30 Ink 6.99
ESPColour Series 30 Ink 12.99
ESPBlack/Colour Twin Packs 18.99
Kodak Photo Paper also in stock!
Brother Compatibles
LC900 Black 3.99
LC900 C/M/Y 2.99
LC900 Set of 4 11.99
LC970 / 1000 Black 3.99
LC970 / 1000 C/M/Y 2.99
LC970 / 1000 Set of 4 11.99
LC980 / 1100 Black 3.99
LC980 / 1100 C/M/Y 2.99
LC980 / 1100 Set of 4 11.99
LC1280XL Black 4.99
LC1280XL C/M/Y 3.99
LC1280XL Set of 4 15.99
Brother originals also in stock!
PHOTOGRAPHIC PAPERS
Sample Pack 14 sheets, A4 9.99
Albrecht Durer 210g, A4, 25 sheets 22.99
German Etching310g, A4, 25 sheets 27.99
Bamboo 290g, A4, 25 sheets 27.99
Sugar Cane 300g, A4, 25 sheets 24.99
Photo Rag 308 308g, A4, 25 sheets 29.99
Photo Rag Pearl 320g, A4, 25 sheets 32.99
Photo Rag Satin 310g, A4, 25 sheets 32.99
Photo Rag Baryta 315g, A4, 25 sheets 34.99
Fine Art Pearl 285g, A4, 25 sheets 32.99
Fine Art Baryta 325g, A4, 25 sheets 32.99
As an Ilford Pro Centre, we
stock the complete range of
Ilford Galerie papers, including
A2, 17, 24 and 44 inch rolls.
Below is just a selection.
As a PermaJet Premier Stockist,
we supply the ENTIRE PermaJet
range, including Baryta, Smooth
and Textured Fine Art and Canvas.
Below is just a selection.
As an Official Fotospeed
Stockist, we can supply
the complete Fotospeed
range. Below is just a tiny
selection of their papers.
SamplePack14 sheets, 7 different papers! 9.99
Pigment FriendlyGloss270g,A4, 50 +15 FREE 17.99
Pigment FriendlyLustre270g,A4, 50 +15 FREE 17.99
Pigment FriendlySatin270g, A4, 50 17.99
Pigment FriendlyMatt Duo200g, A4, 100 24.99
NTNatural Textured315g, A4, 20 17.99
NSTNatural Soft Textured315g, A4, 20 17.99
HWSHighWhiteSmooth315g, A4, 20 19.99
NEW PlatinumBaryta300g, A4, 20 22.99
ICC profiles available for all Fotospeed papers
We are a small, family owned and run company, specialising in
photographic consumables - and proud winners of the 2011
Good Service Award. We are located in Leamington Spa,
in the heart of Warwickshire - if you are passing, please
pop into our shop, and meet Cooper - our new office dog!
01926 339977 www.premier-ink.co.uk
6.99
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Orders are shipped promptly by Royal Mail 1st class post, for which we charge just 1.99 per
order. All prices include VAT, and a full VAT receipt is provided with every order. Payment
accepted by credit/debit card, cheque or postal order. Orders accepted securely online,
www.premier-ink.co.uk, over the telephone, 01926 339977, by post, or by visiting our shop:
Premier Ink & Photographic, Longfield Road, Sydenham Ind Estate, Leamington Spa, CV31 1XB.
MEMORY BATTERIES SCREW-TYPE FILTERS SQUARE FILTERS
NB-2L/LHfor Canon 9.99
NB-3L for Canon 9.99
BP-511 for Canon 12.99
LP-E5 for Canon 12.99
LP-E6 for Canon 29.99 19.99
NP40 for Fuji 9.99
NP45 for Fuji 9.99
NP50 for Fuji 9.99
NP95 for Fuji 9.99
NP140 for Fuji 12.99
NP150 for Fuji 19.99
NP400 for Minolta 12.99
EN-EL1 for Nikon 9.99
EN-EL3/3Afor Nikon 9.99
EN-EL3E for Nikon 15.99
EN-EL14 for Nikon NEW 24.99
EN-EL15 for Nikon NEW 29.99
Li10B/12Bfor Olympus 9.99
Li40B/42Bfor Olympus 9.99
Li50Bfor Olympus 9.99
BLM-1 for Olympus 12.99
BLS-1 for Olympus 12.99
CGA-S005 for Panasonic 9.99
CGR-S006 for Panasonic 9.99
CGA-S007 for Panasonic 9.99
DMW-BCG10for Panasonic 19.99
DMW-BCJ13 for Panasonic 19.99
DMW-BCK7 for Panasonic 19.99
DMW-BLB13for Panasonic 19.99
DMW-BLE9 for Panasonic 14.99
DMW-BMB9 for Panasonic 24.99
D-Li50 for Pentax 12.99
SLM-1137Dfor Samsung 9.99
SLM-1674 for Samsung 12.99
BG-1 for Sony 19.99
NP-FM500Hfor Sony 19.99
NP-FH50 for Sony 19.99
NP-FW50 for Sony 24.99
Many more batteries in stock!
UV / Haze Filters
Used both to protect the lens of your
camera, and to absorb ultraviolet rays
that can cause photos to appear hazy.
46mmUV / Haze
52mmUV / Haze
55mmUV / Haze
58mmUV / Haze
62mmUV / Haze
67mmUV / Haze
72mmUV / Haze
77mmUV / Haze
82mmUV / Haze
86mmUV / Haze
More sizes in stock, from 24 to 86mm!
Battery Grips
A range of professional battery
grips from Hahnel. All can take
two Li-ion batteries for double
the battery power. AA
battery compartment
and/or vertical shutter
release and/or infrared
remote, depending on model.
For Canon 5DMkII: 99.99
For Canon 5DMkIII: 99.99
For Canon 7D: 99.99
For Canon 30/40/50D: 59.99
For Canon 60D: 99.99
For Canon 450/500D: 69.99
For Canon 600/650D: 99.99
For Nikon D80/D90: 59.99
For Nikon D800/D800E:99.99
For Nikon D7000: 99.99
Standard Rechargeables
High-power Ni-MH rechargeable AA and
AAA batteries - all sold in packs of 4.
AAA1000mAh Duracell 6.99
AA2450mAh Duracell 6.99
AA2500mAh GP 9.99
AA2850mAh Ansmann 13.99
AA2900mAh Delkin 14.99 9.99
P-Type Adapter Rings
49mm Adapter Ring 4.99
Ultimate Lithium
Energizer Ultimate Lithium:
The longest lasting AA and
AAA batteries in the world!
AAAUltimate Lithium (4)
AAUltimate Lithium (4)
Bayonet-Fit Lens Hoods
A comprehensive range of aftermarket
matt black bayonet-fit lens hoods for
Canon, Nikon and Sony lenses.
ES-62 Canon 50/1.8
ES-71II Canon 50/1.4
ET-60 Canon 75-300/4-5.6
ET-65BCanon 70-300/4-5.6
ET-67 Canon 100/2.8 Macro
ET-67BCanon 60/2.8
EW-60CCanon 18-55 IS
EW-73BCanon 17-85 IS
EW-78BII Canon 28-135 IS
EW-78DCanon 18-200 IS
EW-78E Canon 15-85 IS
EW-83E Canon 17-40/4.0
EW-83J Canon 17-55/2.8
HB-25 Nikon 24-85, 24-120
HB-37 Nikon 55-200 VR
HB-45 Nikon 18-55 VR
SH-006 Sony 18-70/3.5-5.6
SH-108 Sony 18-55/3.5-5.6
This is just a sample, more in stock!
Step-Up and Step-Down Rings
Stepping rings are used to step-up or step-down
from one filter thread size to another.
34-37mm
37-43mm
43-46mm
46-49mm
49-52mm
52-55mm
52-58mm
55-52mm
55-58mm
58-52mm
58-55mm
58-62mm
58-67mm
62-67mm
62-72mm
67-62mm
67-77mm
72-67mm
72-77mm
77-72mm
All just 4.99 each!
LENS HOODS & CAPS
KOOD
Japanese Optical Glass Filters
Coated to reduce lens flare and reflections.
Skylight Filters
Similar to a UV filter, but with a pinkish tinge
to add a gentle warmth to your photos.
52mmSkylight
55mmSkylight
58mmSkylight
62mmSkylight
67mmSkylight
72mmSkylight
77mmSkylight
Circular Polarising Filters
These remove reflections from surfaces
such as glass and water, as well as
increasing contrast and saturation.
46mmCircular Polarizing
Neutral Density Filters
Used reduce the amount of light passing
through the lens, reducing shutter speed
without affecting colour contrast or balance.
Available as ND4 (2 stop) and ND8 (3 stop).
52mmND4 / ND8
55mmND4 / ND8
58mmND4 / ND8
62mmND4 / ND8
67mmND4 / ND8
72mmND4 / ND8
77mmND4 / ND8
Close Up Filter Sets
Sets containing three filters, rated at +1, +2,
and +4 diopters. Increases close up / macro
ability of the lens they are fitted to.
52mmClose-Up Set
55mmClose-Up Set
58mmClose-Up Set
Starburst Filters
These add a dramatic star cross flare to
bright light sources, such as streetlights.
They also give a slight soft focus effect.
52mmStarburst x4/6/8, each
We stock many other filter types,
including multi-image, fog,
split-field, red, orange, yellow and
green filters in a range of sizes.
FaderND MkII (2-8 stop)
52mmFaderND MkII 56.99
ND500MC (fixed 9 stop)
52mmND500MC 39.99
58mmND500MC 47.99
67mmND500MC 55.99
72mmND500MC 59.99
77mmND500MC 64.99
KOOD
P-Type Filter System
The P-Type square/rectangular filter system
consists of three parts:
1) An adapter ring that screws onto the front
of your lens
2) A filter holder clips onto the ring
3) One or more P-Type (84mm wide) filters
P-Type Filters (84mm wide)
Circular Polarizing 29.99
ND2 9.99
ND4 9.99
ND8 NEW 10.99
ND2 Soft Graduated 11.99
ND2 Hard Graduated 11.99
ND4 Soft Graduated 11.99
ND4 Hard Graduated 11.99
ND8Soft Graduated NEW 13.99
ND8 Hard Graduated NEW 13.99
Light Blue Graduated 11.99
Dark Blue Graduated 11.99
Cool Blue Graduated 11.99
Light Sunset Graduated 11.99
Dark Sunset Graduated 11.99
Light TobaccoGraduated 11.99
Dark TobaccoGraduated 11.99
Light Mauve Graduated 11.99
Dark Mauve Graduated 11.99
Light Red Graduated 11.99
Dark Red Graduated 11.99
Light Green Graduated 11.99
Dark Green Graduated 11.99
Light YellowGraduated 11.99
Dark YellowGraduated 11.99
Light Fog 9.99
Strong Fog 9.99
Light Diffuser 9.99
Strong Diffuser 9.99
Starburst 4x,6x,8x, each 12.99
Close-Up +1,+2,+4, each 12.99
80A, 80B, 80C, each 9.99
81A, 81B, 81C, each 9.99
82A, 82B, 82C, each 9.99
85A, 85B, 85C, each 9.99
Red, Orange, each 9.99
Yellow, Green, each 9.99
Many more P-Type filters in stock!
P-Type Holders
Holder Standard 5.99
Holder Wide Angle 6.99
Hood Modular 6.99
P-Type Filter Wallet
A smooth cushioned filter
wallet, to protect
and store up to
8 P-Type filters
9.99
We also stock Z-Pro (100mm) and A-Type (67mm)
filters, holders and adapter rings
STEPPING RINGS
Reversing Rings - 12.99
These fit to the camera body, between the
camera and lens, leaving a screw thread
to enable the reverse mounting of lenses.
Away of obtaining a high reproduction ratio,
allowing extreme Macro photography.
Canon: 52, 55, 58, 62, 67mm
Nikon: 52, 55, 58, 62, 67mm
Pentax K: 52, 55, 58, 62, 67mm
Olympus: 52, 55, 58, 62, 67mm
Sony: 52, 55, 58, 62, 67mm
Coupling Rings - 11.99
Used to attach two lenses together via their
filter threads, achieving high magnifications
52-52mm, 52-55mm, 52-58mm
55-55mm, 55-58mm, 58-58mm
T2 Mounts - 12.99
Canon, Nikon, Sony, Oly, Pentax
MACRO PHOTOGRAPHY
Telephone: 01926 339977 or 0800 1077 211
Premier Ink, Longfield Road, Leamington Spa, CV31 1XB
www.premier-ink.co.uk
Extension Tubes
Set of 3 tubes. They contain no optics,
they simply move the lens further from the
camera body, allowing closer focusing.
Autofocus tubes available in Canon, Nikon
and Sony fittings - manual tubes are also
available in Pentax and Olympus fittings.
Manual Focus Tubes
Autofocus Tubes
Extension Bellows
Acting like an adjustable set
of extension tubes, they
allow fine control over
focusing distance. Nikon,
Canon and Pentax fit.
49.99
Series 7 Rings, Rollei Rings and
Hasselblad Rings also in stock.
This is just a tiny
fraction of our range.
Over 160 different sizes
in stock, from 25mm to
105mm. Probably
the largest selection
in the UK!
Screw-Fit Lens Hoods
52mmShaped Petal Hood
46mmRubber Hood
52mmRubber Hood
55mmRubber Hood
58mmRubber Hood
62mmRubber Hood
67mmRubber Hood
72mmRubber Hood
77mmRubber Hood
CLEANING
Bubble Spirit Levels
These simply mount onto the
hot shoe of a DSLR camera.
SPIRIT LEVELS
Lens Caps
30mm, 37mm, 40mm, 43mm,
46mm, 49mm, 52mm, 55mm,
58mm, 62mm, 67mm, 72mm,
77mm, 82mm, 86mm, 95mm
3.99 each
We also stock a range of
body caps and rear lens
caps for Canon, Nikon,
Olympus, Sony, Pentax, etc
P-Type Six-Piece
Neutral Density Filter Kit
49.99
43.99
Neutral Density filters have a multitude of
uses - from increasing detail in landscapes
and reducing over-exposed skies, to creating
stunning motion scenes by reducing shutter
speeds. Here's a kit which includes all the
popular ND filters, and everything you need
to get started! The kit contains: 1x ND2
Filter, 1x ND2 Soft Graduated Filter, 1x ND4
Filter, 1x ND4 Soft Graduated Filter, 1x P-
Type Filter Holder, 1 x P-Type Adapter Ring
of your choice (49-82mm).
Coin Cells, etc
A comprehensive range of specialist
batteries - see our website for full range.
CR123A Energizer Lithium (1)
CR2 Energizer Lithium (1)
2CR5 Energizer Lithium (1)
CRV3 Energizer Lithium (1)
LR44 Energizer Alkaline (2)
CR2025, CR2032 etc
Full range of coin cells in stock
Camera Batteries
A comprehensive range of
rechargeable li-ion
batteries.
Manufactured by
respected independent
battery manufacturers
Energizer and Blumax. All
batteries come with a 2 year guarantee.
ReCyko+ Rechargeables
New technology, combining the benefits
of Alkaline and Ni-MH rechargeable
batteries. They come pre-charged, retain
90% of their charge after 6 months, and
last 4 times as long as alkaline batteries!
AAA850mAh equivalent (4)
AA2050mAh equivalent (4)
BATTERIES & CHARGERS
Universal Charger
The NEW Hahnel UniPal
charger is able to charge
AA, AAA, Li-Ion batteries,
cameras, phones, iPods
and more! Mains power
cable, plus 12V car charger.
Full details on our website.
Dedicated Charger
Adedicated Li-Ion charger, able to charge
most camera batteries. Mains
cable, plus 12V car charger.
Right Angle Viewfinders
Adjustable eyepiece, adjustable
magnification, 360 degree rotating
body. Ideal for close-up work.
1.0X-2.0X 49.99
1.0X-3.3X 64.99
Amazing but true - by simply rotating the
outer element of the filter, the amount of
light passing through the filter can be
adjusted froma 2 stop to an 8 stop reduction.
The FaderND filter is constructed from two
opposing sheets of polarizing glass, the
outer sheet mounted in an independently
rotating frame. The new Mk II version
features both imporvied optical elements,
and a thinner, conical shaped frame to
reduce the chance of vignetting.
Also available is the highly acclaimed
ND500MC fixed 9-stop filter with ultra-thin
frame for wide angle photography.
Genuine LightCraftWorkshop filters - beware of immitations!
Sensor Cleaning
LensPen SensorKlear Loupe 6X magnification, with LEDs 39.99
LensPen SensorKlear Loupe Kit inc. Loupe, Blower, SensorKlear 49.99
Green Clean Sensor Cleaning Kit inc. Mini Vacuum, swabs, wipes 64.99
Green Clean Sensor Cleaning WetnDry Swabs pack of 4 15.99
Massive range of cleaning equipment on our website and in stock.
Lens Converters
Ideal for converting your kit lens to a
2.0X telephoto or 0.5X wide angle lens.
52mm2.0X or 0.5X converter 35.99
4GB30MB/s 21.76 13.99
8GB30MB/s 36.12 19.99
16GB30MB/s 70.06 34.99
Sandisk
Ultra
30MB/s
Sandisk
Extreme
60MB/s
Sandisk
Ultra
C6: 30MB/s
Sandisk
Extreme
C10: 30&45MB/s
4GB30MB/s 15.66 4.99
8GB30MB/s 27.85 6.99
16GB30MB/s 57.22 10.99
4GB30MB/s 21.33 7.99
8GB30MB/s 37.42 8.99
16GB45MB/s 52.02 14.99
32GB45MB/s 92.02 28.99
Sandisk
Blue
C4: 5MB/s
2GB5MB/s 8.27 3.99
4GB5MB/s 12.41 3.99
8GB5MB/s 21.10 4.99
16GB5MB/s 39.39 7.99
Light Craft
Workshop
Filters
Compact Flash
8GB60MB/s 59.99 29.99
16GB60MB/s 99.99 49.99
SD Cards
2GB 8.99 3.99
4GBClass 10 19.99 5.59
8GBClass 10 29.99 7.99
16GBClass 10 49.99 14.99
USB Pen Drives
4GBTranscend 11.99 4.19
Compact Flash: 400X
8GB60MB/s 118.46 29.99
16GB60MB/s 204.25 54.99
Compact Flash: 600X
8GB90MB/s 177.38 43.69
16GB90MB/s 271.30 77.69
Compact Flash: 1000X
16GB150MB/s 371.30 109.99
32GB150MB/s 569.56 199.99
SDHC Class 10: 400X
8GB60MB/s 130.73 14.99
16GB60MB/s 248.47 22.99
SDHC Class 10: 600X
16GB90MB/s 180.73 37.99
32GB90MB/s 329.79 69.99
Winners of the Amateur Photographer 2011 GOLD Good Service Award
E&OE. Prices may be subject to change, but hopefully not!
NEW LOWER
PRICES
Twin Axis Normal Hotshoe 7.99
Twin Axis Sony Hotshoe 7.99
Triple Axis Normal Hotshoe 9.99
Triple Axis Sony Hotshoe 9.99
Lens Cleaning
LensPen Original Carbon-tipped pen with built-in cleaning brush 7.99
LensPen DSLR Pro Kit Cloth, Pen, FilterKlear, MicroPro 24.99 17.99
Spudz 6x6 Washable microfibre cloth with neoprene pouch and belt/key clip 4.99
KOODsquare filters are manufactured
in the UK, and are fully compatible
with the Cokin P-Type filter system
8GB60MB/s 67.02 29.99
16GB60MB/s 116.19 49.99
32GB60MB/s 208.89 89.99
CAMERA BAGS
FLASH GUNS
FLASH DIFFUSERS
Inverted Dome Pro Flash Diffuser Set
Comprising a clear vinyl body that simply slips onto the head of the flash
gun, and an inverted frosted dome that clips onto the front.
In addition to diffusing the flash directly hitting your subject, the
inverted dome spreads light evenly through the sides of the clear
vinyl body, lighting up the surrounding environment, thus producing
a natural soft daylight effect. Especially useful for shooting interiors
and portraits, and is a firm favourite with wedding photographers.
Supplied with four domes, giving you a full range of natural,
cool, or warm-up tones. Available in four sizes:
Size 1: 62-65 x 39-42mmNikon SB600, SB800, etc
Size 2: 64-68 x 35-38mmCanon 420EX, 430EX, etc
Size 3: 68-72 x 46-49mm Nikon SB26, 27, 28, etc
Size 4: 73-77 x 46-49mmCanon 550EX, 580EX, etc
Bounce Flash Diffuser
These popular, simple opaque plastic diffusers simply fit onto the front
of your flash gun, creating a diffused bare bulb effect with even
coverage. Huge range available for Canon, Nikon, Sony, Olympus,
Pentax, Metz & Nissin. Below is just a sample of the range:
Canon 270EX / 380EX / 420EX
Canon 430EX / 430EXII / 550EX
Canon 580EX / 580EXII
Nikon SB600 / SB800 / SB900
Nikon SB24 / SB25 / SB26 / SB28
Sony: HVL-F42AM / HVL-F58AM, Metz: 48AF1 / 58AF1
Nissin: Di466 / Di622 / Di866, Pentax: AF-540FGZ
29.99
10.99
Nissin MF18 Ring Flash
The new Nissin MF18 Macro Ring Flash offers
an exceptionally high guide number of 16m
(ISO100), colour LCD display, power pack port,
Auto, TTL, Manual, Multi,
Wireless and Custom settings
are just some of its features,
plus an expanding ring head.
Includes mounting rings for 52,
58, 62, 67, 72 and 77mm
diameter mounting
rings.Available in
Canon and Nikon fit.
279.99
L478D LiteMaster Pro 349
L478DR LiteMaster Pro 399
L308S FlashMate
Digital, incident and
reflected, ambient and
flash light.
L208 TwinMaster
Analogue, incident and
reflected, ambient
light only.
139
The 5
Series
225 247
335 256
445 279
555 315
The 07
Range
107 247
207 270
307 288
Nissin Di622 MkII
An impressively powerful
flashgun with a guide number
of 44m, bounce and swivel head,
full TTL, wide angle diffuser.
114.99 Canon, Nikon & Sony
Nissin Di866 MkII
The worlds most powerful hotshoe flashgun! A
guide number of 60m/ISO100 and a clear, full
colour LCD panel, makes this advanced unit
simple to use. Designed for use with Canon,
Nikon and Sony digital SLRs, the Nissin Di866
fully supports full TTL functionality with the option
for full manual overrides. Covering a range of
focal lengths from 24-105mm and
including a secondary fill in flash
unit, the Nissin Di866 is the
flashgun professionals have
been waiting for. Includes built-in
USB port for down-loading upgrades.
189.99 Canon, Nikon & Sony
24 AF-1 49.99
36 AF-5 69.99
44 AF-1 129.99
50 AF-1 169.99
Canon, Nikon, Sony, & Olympus
TTL Flash Cord Coiled 24.99
TTL Flash Cord Straight 29.99
Available in Canon, Nikon, Sony, Olympus,
Panasonic, Pentax and Samsung fit.
TRIGGERS & METERS
Hahnel Combi TF
Combed wireless remote shutter
release and radio flash trigger.
2.4GHz, 100m range, 4 channels.
Receiver & Transmitter 49.99
Yongnuo CTR-301P 27.99
Extra Receivers 18.99
Yongnuo RF-602 29.99
Extra Receivers 19.99
Yongnuo RF-603 31.99
We will match or beat ANY UK Think Tank price!
Full Think Tank range in stock - below are just a few examples:
Retrospective
7
114
Airport International
V2.0
245
RAIN COVERS
Kata Elements
Covers
Protect
your
camera
against
the
elements!
E690 Small 37
E702 Large 52
OpTech Rainsleeve
Unique eyepiece opening
and drawstring lens
enclosure.
Two versions,
for DSLRs with
or without a
flashguns. 2 per pack.
Standard 6
Flash 8
Think Tank
Hydrophobia
The ultimate
protection
from the
weather!
70-200 109
70-200 Flash 114
300-600 118
STUDIO ACCESSORIES
Free batteries
with every Nissin Flashgun
Free batteries
with every Metz Flashgun
Westcott Umbrella
Flash Kit
including shoe
mount, umbrella
and light stand.
81
64.99
Westcott 5-in-1
Reflector Kit
including reflector,
reflector holder,
and light stand.
110
79.99
Westcott 28 Apollo
Flash Kit
including shoe,
mount, 28 Apollo
and light stand.
184
129.99
Apollos and Halos
The convenience of an umbrella meets the control
of a softbox. Built on an umbrella frame, they
mount to any standard umbrella receptable.
28 Apollo 99.99
Apollo Orb 119.99
Apollo Strip 119.99
Collapsible Umbrellas
Such a simple but effective idea - umbrellas with
a telescopic shaft. Perfect for travel, they open
to 43 diameter, but collapse down to just 14.5.
43 Umbrella Soft Silver 19.99
43 Umbrella White 19.99
43 Umbrella White/Black 21.99
Yongnuo YN-460II and YN-560II
flashguns also in stock!
Premier Ink &Photographic, Longfield Road, Leamington Spa, CV31 1XB. 01926 339977 E&OE. Prices may be subject to change, but hopefully not!
Mini & Flex
The worlds leading TTL
wireless triggering system.
AC3 Zone Controller 49
TT1 Mini Transmitter 149
TT5 Flex Transceiver 159
The NEW Plus III
Single Unit 129
Double Unit 249
Triple Unit 369
Airport Commuter
149 NEW
!
NEW
!
We will match or beat ANY UK Billingham price!
Full Billingham range in stock - below are just a few examples:
Hadley
Range
Hadley Small 126
Hadley Large 148
Hadley Pro 159
3-N-1
ProLight
Series
3N1-25 139
3N1-35 169
Comprehensive Kata range in stock!
Below are just a few examples:
GearPack
Range
Gearpack-60 49
Gearpack-80 59
Gearpack-100 69
NEW
!
Digital
Rucksack
Range
DR-465 65 49
DR-466 72
DR-467 79
NEW
!
Comprehensive Tamrac range in stock!
Expedition
Range
4X 89
5X 104
6X 119
7X 149
8X 169
Velocity Sling
Range
6X 29
7X 39
8X 44
9X 49
10X 59
Accessories
Water Bottle 13
Lens Case 50 12
Lens Case 100 13
Lens Case 200 14
Flash Case 11
Rain Cover 20
Comprehensive Vanguard range in stock!
Messenger
UP-Rise
UP-Rise 28 72
UP-Rise 33 82
UP-Rise 38 90
Zoomster
Outlawz
Outlawz 16Z 54
Outlzaw 17Z 63
Backpack
UP-Rise
UP-Rise 45 90
UP-Rise 46 99
UP-Rise 48 108
CAMERA STRAPS
The worlds fastest
camera straps!
RS-4 Classic 54.99
RS-5 Cargo 64.99
RS-7 Curve 59.99
RS-W1 Womens 59.99
RS-SPORT 59.99
RS-DR1 Double 119.99
SnapR-35 Large 44.99
Camera Straps
Wrist Strap 11.99
Classic Strap 16.99
Super Classic 19.99
Pro 3/8 Strap 17.99
Pro Loop Strap 18.99
Utility Sling Strap 29.99
System Connectors
Adapt-its (4) 4.99
Extensions (2) 6.99
UniLoop (2) 6.99
ProLoop (2) 9.99
LensSupport (2) 9.99
Sling Adapter 10.99
The worlds best-selling
SLR camera straps!
TRIPODS
679B Monopod
Aluminium 3-section
Weight: 0.60kg
Load: 10.0kg
Folded: 64cm
Height: 162cm
35.99
MM294A4 Monopod
Aluminium 4-section
Weight: 0.50kg
Load: 5.0kg
Folded: 49cm
Height: 151cm
34.99
234 Tilt Head
Ideal for monopods
Weight: 0.27kg
Load: 2.5kg
14.99
234RC Tilt Head
with RC2 quick release
Weight: 0.27kg
Load: 2.5kg
24.99
496 RC2 Ball Head
Weight: 0.46kg
Load: 6.0kg
49.99
498 RC2 Ball Head
with RC2 q/release
Weight: 0.67kg
Load: 8.0kg
74.99
804 RC2 Pan / Tilt
Weight: 0.79kg
Load: 4.0kg
49.99
190XPROB Tripod
Aluminium 3-section legs, aluminium
canopy, Q90 hoizontal tilting central column
Weight: 1.85kg
Load: 5.0kg
Folded: 57cm
Height: 146cm
99.99
055XPROB Tripod
Aluminium 3-section legs, aluminium
canopy, Q90 hoizontal tilting central column
Weight: 2.40kg
Load: 7.0kg
Folded: 65cm
Height: 178cm
109.99
190CXPRO3
Carbon Fibre 3-section
legs, Q90 column
Weight: 1.29kg
Load: 5.0kg
Folded: 58cm
Height: 146cm
204.99
190CXPRO4
legs, Q90 column
Weight: 1.34kg
Load: 5.0kg
Folded: 50cm
Height: 146cm
212.99
055CXPRO3
legs, Q90 column
Weight: 1.65kg
Load: 8.0kg
Folded: 65cm
Height: 175cm
232.99
055CXPRO4
legs, Q90 column
Weight: 1.70kg
Load: 8.0kg
Folded: 54cm
Height: 170cm
246.99
410 Geared Head
Weight: 1.22kg
Load: 5.0kg
142.99
MM294A3 Monopod
Aluminium 3-section
Weight: 0.50kg
Load: 5.0kg
Folded: 59cm
Height: 151cm
29.99
Massive range of Manfrotto in stock!
AltaPRO 263AT Tripod
Aluminium 3-section legs, magnesium
canopy, MACC Multi-Angle-Central-Column.
Weight: 2.00kg
Load: 7.0kg
Folded: 63cm
Height: 165cm
125.99
AltaPRO 264AT Tripod
Aluminium 4-section legs, magnesium
canopy, MACC Multi-Angle-Central-Column.
Weight: 2.10kg
Load: 7.0kg
Folded: 53cm
Height: 155cm
134.99
SBH100 Ball Head
Lightweight magnesium alloy,
twin adjuster knobs, 2 spirit
levels, quick release plate
Weight: 0.39kg
Load: 10.0kg
67.49
PH32 Pan / Tilt
3-way fluid head, magnesium,
three spirit levels, quick
release plate.
Weight: 0.42kg
Load: 5.0kg
67.49
GH100 Pistol Grip
Multi award-winning pistol grip
head with spirit level, friction
control and panoramic function.
Weight: 0.75kg
Load: 6.0kg
107.99
PRO 253CT
legs, MACC column
Weight: 1.66kg
Load: 7.0kg
Folded: 63cm
Height: 165cm
242.99
PRO 283CT
legs, MACC column
Weight: 1.70kg
Load: 8.0kg
Folded: 64cm
Height: 170cm
296.99
Comprehensive Vanguard range in stock!
Nissin Di466
Guide number of 33m. Full TTL,
adjustable bounce flash head,
wide angle diffuser.
72.99 Canon, Nikon & Olympus
BH08 Ball Head
Quick release plate,
spirit level, 360 degree rotation,
dual control knobs
Weight: 0.42kg
Load: 12.0kg
29.99
BH22 Ball Head
Sliding quick release plate,
spirit level, 360 degree
rotation, triple control knobs
Weight: 0.4kg
Load: 8.0kg
31.99
C2504 Monopod
Weight: 0.59kg
Load: 4.0kg
Folded: 47cm
Height: 153cm
59.99
Triad 30 Lite 39.99
4 section magnesium alloy
tripod, legs extendable at 3
different angles, reversible
centre column, built in spirit
level. Supplied with BH30
alloy ball head, and
carrying case.
Weight: 1.20kg
Max Load: 4.0kg
Folded: 56cm
Max Height: 142cm
Triad 60 Lite 59.99
Including 3-way fluid damped pan/tilt head.
Weight: 1.90kg
Max Load: 5.0kg
Folded: 61cm
Max Height: 162cm
An excellent value
for money tripod
Amateur Photographer
Magazine
Triad 40 Lite 49.99
Including BH40 alloy ball head.
Weight: 1.58kg Max Load: 5.0kg
Folded: 60cm Max Height: 153cm
BH30 Ball Head 19.99
BH40 Ball Head 29.99
C2804
Monopod
66.99
C3204
Monopod
74.99
BH02
Ball Head
22.99
BH05
Ball Head
25.99
BH25
Ball Head
37.99
BH28
Ball Head
45.99
A284 Tripod
Aluminium 4-section
Weight: 2.17kg
Load: 8.0kg
Folded: 56cm
Height: 154cm 73.99
GH-1P Gimbal
Superb gimbal head, with
control handle. Side mounting
for lens.
Weight: 0.8kg
Load: 12.0kg
229
GH-2 Gimbal
Heavy duty gimbal head, with
massive load rating. Flat
mounting for lens.
Weight: 1.4kg
Load: 23.0kg
329
Nivelo Tripods
A new range of lightweight, flexible, compact
tripods with heads, that fold flat in a few seconds
thanks to the unique, inverting open canopy.
204BK H:101cm, W:0.6kg 53.99
214BK H:120cm, W:0.7kg 62.99
244BK H:145cm, W:1.1kg 98.99
245BK H:161cm, W:1.2kg 107.99
NEW
!
Travel Angel 2
A1682TB0 179
A1692TB0 189
Flat Traveller 2
A1182TB0 204
A1192TB0 209
85
NEW GigaT MkII 65
NEW Tuff TTL 99
We are a small, family owned and run company, specialising in photographic
consumables - and proud winners of the 2011 Good Service Award. We are located
in Leamington Spa, in the heart of Warwickshire - if you are passing, please pop
into our shop, and meet Cooper - our new office dog! To find out more about
us (or Cooper) you can also find us on www.facebook.com/premierink
Lach
8.99
Set of 8
69.99
A4
30 sheets
1S+1S IkLL
9.99
6x4
80 sheets
40+40 IkLL
9.99
Lach
8.99
Set of 10
82.99
Set of 4
19.99
(equ|va|ent to
4.99 each)
A4
3S sheets
2S+10 IkLL
10.99
6x4
100 sheets
10 CII kk
12.99
8G8
8.99
16G8
14.99
32G8
26.99
Sand|sk CI a|so |n stock
8G8
4.99
16G8
7.99
32G8
14.99
L|ghtwe|ght,
comfortab|e,
protect|ve
dua|
compartment
photo
rucksack
40 CII kk
49.99
Canon SDMk II
Canon SDMk III
Canon 7D
Canon 60D
99.99
w|th IkLL nahne| L-L6 battery
Orders are shipped promptly by Royal Mail 1st class post, for which we charge just 1.99 per
order. All prices include VAT, and a full VAT receipt is provided with every order. Payment
accepted by credit/debit card, cheque or postal order. Orders accepted securely online,
www.premier-ink.co.uk, over the telephone, 01926 339977, by post, or by visiting our shop:
Premier Ink & Photographic, Longfield Road, Sydenham Ind Estate, Leamington Spa, CV31 1XB
Winners of the Amateur Photographer 2011 GOLD Good Service Award
Canon G|9
ro 9S00 |nks
I|ford Ga|er|e
Smooth ear|
n No.364
|nk mu|t|pack
Lpson rem|um
G|ossy aper
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Sand|sk SDnC
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en Dr|ves
kata DL-Dk-46S
Canon 8attery
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www.premier-ink.co.uk
Telephone 01926 339977 or 0800 1077 211.
Premier Ink & Photographic, Longfield Road, Leamington Spa, Warwickshire, CV31 1XB
Spec|a| Cffers
Spec|a| Cffers
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