Improve

every shot
you take

47

PROJECTS
TIPS & IDEAS
TO DO NOW!

ISSUE 204 MARCH 2016 4.99

SHOOTING

TARS

MASTER
CURVES IN
PHOTOSHOP
Take expert control

Enhance your landscapes

with glorious night skies

of contrast & colour

CAPTURE AMAZING
IMAGES
AT
HOME
Simple props. Smart camera skills
Learn off-camera flash
Get better lighting the easy way

Think in threes

MARCH 2016 ISSUE 204 4.99

Present pics in a new

way with 30 exclusive
triptych templates

INSPIRING TECHNIQUES FOR STUNNING IMAGES!

Get long exposure skies

Shoot striking close-ups

Achieve dreamy sunsets in Photoshop Freeze moments the eye cant see

Create elegant abstracts Pep up portraits in Lightroom

Make photo art in minutes!

Enhance mood with the power of RAW!

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PHOTOGRAPHERS
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WELCOME
FROM THE
EDITOR

Improve every
shot you take

ways to get better

photos this month

Creative shooting ideas

to boost your skills

See how to get colourful portraits with a twirling

brolly and a slow shutter speed on p48.

lthough photography is often

seen as an outdoor pastime, you
wouldnt believe the fun you can
have in the warm and dry!
Theres a huge raft of creative shots you
can take around the house, and this
issue serves up a great selection of tips
and techniques thatll keep you fuelled
no matter what the weathers doing.
From dramatic close-ups and colourful
abstracts to light-painted orals and
dreamlike self-portraits, theres a
wonderful mix of absorbing new
projects that everyone can do.
Many of these shots were captured
using a table-top tripod, and to help you
join in the fun, were throwing one in
with this months fantastic subscription
deal. Turn to p20 for the lowdown, and a

Manfrotto Pixi Evo will be yours when

you sign up for a years supply of the
UKs most creative mag!
When youve had your ll of the great
indoors, make good use of the cold,
crisp conditions of the long winter
nights this month as its the perfect
time to shoot the night sky. Youll see
the special camera setup you need for
this on p32, and youll also discover
the how you can merge your star-lled
skies with landscapes to create aweinspiring images.
Enjoy tackling the
projects, and Ill see
you next month...

FREE
TRIPTYCHS
ON THE CD

Inspiring Photoshop
projects for better pics

Think in threes & present themed shots together

using our free triptych templates on p64.

Jon Adams, Editor

jon.adams@bauermedia.co.uk

ONOURCOVER
This months cover image was captured by Daniel Greenwood using a
Canon EOS 6D. He merged his shot of Fraser Valley in British Columbia
with an image hed taken of the Milky Way. Find out how you can do this
on p32, and see more of Daniels work at 500px.com/danielgreenwood

GIFT
WO
44

Reviews you can trust

on the latest gear

Change the light reaching your cameras sensor

with a variable ND. We test three filters on p105.

ET
A
MANFROTTOPIXIEVO
When you subscribe to the UKs best mag
see p20

JOINUSON
FACEBOOK!

www.facebook.com/digitalphotouk
DIGITAL PHOTO 3

CONTENTS
THE

TS
A
E
GRINDOOR

54

22
Create stunning
images at home
with ve easyto-shoot projects!

46

50
Inspiring Ideas

Camera Techniques

8 Planet photo

86 Your pictures

22 The great indoors

Fuel your passion with our gallery of pics and

stories from the worlds best photographers.

Constructive critique of readers images from our

expert duo, with tips and suggestions for making
them even better.

Six fantastic projects you can shoot at home thatll

sharpen your skills, expand your creativity and reward
you with stunning pics! Whats not to like?

92 Photo answers

32 Something for the weekend!

Expert advice on using the Levels command,

cleaning up battery chemicals in a ash,
repairing dented hotshoes, checking for
sharpness while you shoot, and much more!

Combine your shooting and Photoshop skills to create

amazing night landscapes with star-lled skies.

40 Get more from flash

99 Next month

All you need to know to re your ashgun off camera

for improved lighting in your shots.

A sneak peek at whats coming up in the next

great issue of Britains favourite photo mag.

46 Bucketlist locations

16 It works for me!

Readers share the images theyve created
after being inspired by Digital Photo projects.

20 Subscribe today!
Take advantage of this fabulous offer and
get a Manfrotto PIXI Evo tripod thrown in
when you sign up for a years supply of the
UKs top photo magazine!

54 Why this shot works

Expert insight on the composition, shooting
skills and ingenuity used to create a stunning,
colour-packed portrait.

48 Shoot it now!
Capture a striking, colour-rich portrait using a longer
shutter speed and a twirling brolly as a prop.

56 The big interview:

Tom Anderson
The globetrotting co-founder of Myspace
shares his passion for photography, and
reveals how it determines where he travels.

4 DIGITAL PHOTO

NEW

Discover one of the UKs best spots to take stunning

shots, with a visit to Ashness Bridge in the Lake District.

56

50 Out of the ordinary

Take on the challenge of turning a kitchen utensil into
a creative image. Our experts share their approach...

105

76

78

68

82

Gear Focus

Photoshop Skills

102 Gear news

64 Free triptych templates

Our roundup of all the latest photo news and

announcements from the digital world.

How to add your images to the 30 exclusive

designs on the CD to create superb, three-ina-row presentations.

105 Variable ND lters

Want to force a longer exposure time in conditions that
are too bright? Three sub-90 Neutral Density lters
with dial-in darkness levels go up against each other
in our group test. We nd out which is the best.

116 Gadgets
& gizmos
Manfrottos Street backpack
the Ezybox Speed-lite 2
softbox and Gitzos new
Series 0 Traveller tripod go
under Digital Photo scrutiny

116

ON THE CD

82 Enhance portrait pics

in Lightroom
Give your people pics a digital makeover
direct from RAW les using the controls
in Lightroom.

130 1 minute Photoshop

Create streaking clouds in a static scene to

create a long exposure effect in Photoshop.

72 Photoshop masterclass

112 Sony RX 100 Mk IV

The latest prestige compact from Sony offers
a 1in sensor, a RAW capture mode and a full
suite of creative controls. We assess its
performance and value.

68 Create a long exposure

look for your landscapes

VIDEO
LESSONS

NEW

Darken skies and warm colours to get

glorious sunsets it only takes a minute!

NEW

Discover the advantages of using the Curves

command and take precise control of
contrast and colour in your images.

76 Make a photo joiner

Use our exclusive templates to create a
striking, Hockney-style photo joiner effect
from just a single picture.

78 Add new skies

Liven up your architectural shots by adding
new skies and an extra point of interest using
Layers in Photoshop or Elements.

ON YOUR

CD
64 FREE
30 TRIPTYCH
TEMPLATES

DIGITAL PHOTO 5

PLANET
PHOTO
Your fresh fix of inspiration from
the worlds best photographers

THE BIG PICTURE

A sea of stars
Low-light landscapes can be brought to life
by including the stars in the skies above.
This was exactly the case for Scott McCook
when he was trying to bring a fresh angle
to a coastal landscape shoot. I set out with this vision to
create a unique setting in one of Western Australias most
beautiful coastal areas Wyadup Rocks, he explains.
With dark skies at this location, the Milky Way can be
captured in its true glory, but to include the glow of the
night sky in the rock pool foreground, Scott had to shoot
multiple images at various exposures before blending the
frames together in Photoshop. The image took hours to
fine-tune, but the result is somewhere that exists not only
on this planet but also partly in my mind. For me, thats
what photography is all about.
SCOTT MCCOOK

What was used

Camera Nikon D810 & 14-24mm lens
Exposures Various Software Photoshop
Visit 500px.com/scottmccook

8 DIGITAL PHOTO

GET THIS SHOT

You can discover a simple
technique to shoot and
add star-filled skies to any
landscape on page 32, but
to get the best Milky Way
images, you need dark skies.
In the UK theres lots of light
pollution, but the darkest
area is in Northumberland
visitnorthumberland.com

By merging multiple
les in Photoshop,
Scott could include a
dramatic starry sky
in his landscape.

DIGITAL PHOTO 9

PLANET
PHOTO

NICOLAS ETIENNE

A short telephoto
focal length of
70mm helped
Seksan make the
most of this
stunning scene.

CREATIVE WILDLIFE

A family portrait to remember

Capturing a wild
animal in its native
environment is surely
the purest form of
nature photography and its a passion
Seksan Srikasemsuntorn holds deep
in his heart. The pro shooter lives
in Thailand, a country blessed with
visual wonder, but theres one animal
10 DIGITAL PHOTO

Seksan loves lining up with his lens

most of all. This image was taken at
the elephant camps in Kanchanaburi.
The elephant is our national animal
and a symbol of Thailand. During
one shoot, Seksan was gifted with
this once-in-a-lifetime moment as
a mother and calf played under a
beautiful sky. This was more than

a cute snapshot you could see the

love that existed in their relationship.
In Photoshop, Seksan increased the
Saturation to boost the sunset and
applied a Levels Adjustment Layer to
lighten the elephants dark skin.
Camera Nikon D750 & 70-200mm lens
Exposure 1/250sec @ f/7.1, ISO 320
Software Photoshop Visit 500px.com/keangs9

GET THIS SHOT

When shooting wildlife,
you cant always predict an
animals movement and
this can make focusing a
challenge. By switching to
continuous focus (AF-C or AI
Servo), the camera will track
the movement and increase
your chances of a sharp result.

MICHAEL WIEJOWSKA

Michael used an
ultra wide-angle
lens to capture the
architectural beauty
of Milans Galleria.

STORYBEHINDTHESHOT

I felt like a kid in a candy shop and

I wanted to photograph everything!
Austrian-based photographer and traveller Michael Wiejowska shares the story of one of his favourite images...
Tell us about your photography?
I was introduced to the art at the age
of nine by my father, but never truly
embraced the camera until I took a
trip through Europe. Travelling opened
my eyes. With my camera
I felt like a little kid in a candy shop,
just wanting to see and photograph
everything! Im self-taught. My rst
catalogue folder in Lightroom is from
2009, when I became more serious
about my photography, and since then
Ive travelled and shot a great deal.

What was the biggest challenge with

capturing this image?
The photo was taken during a visit to
in Milans Galleria Vittorio Emanuele
II, one of the worlds oldest shopping
malls. The main challenge was
nding the right angle to ensure
perfect symmetry.
How did you enhance the image in
post-processing?
As I used the widest focal length of my
10-18mm lens, some lens correction

in Lightroom was necessary. Even

though I had taken the time to line up
the scene, some additional rotation
was needed to get all the lines
absolutely perfect. Other tweaks
included adding some Clarity and
Vibrance to the image. I prefer to add
my vignetting manually, so used the
Radial Filter to darken the edges of
the frame a little.
Camera Sony NEX6 & 10-18mm lens
Exposure 3.2secs @ f/8, ISO 100

GET THIS SHOT

Lining up a perfectly
symmetrical composition can
prove to be a little tricky when
youre squinting through a
small viewnder. To make life
simpler, activate Live View so
you get a bigger view of the
scene. Turn on grid overlays,
which will make balancing the
elements in the frame easier.

Software Lightroom Visit 500px.com/miwifoto

DIGITAL PHOTO 11

PLANET
PHOTO

MICHAL TOMCZAK

Drones help give

photographers a
unique, high-angle
view of a subject.

CREATIVE PORTRAITS

High on colour

GET THIS SHOT

With safety barriers

aplenty, live events can
prove restrictive for
photographers. Polish
photographer Michal Tomczak found
a novel way around these challenges
when shooting a Colour Explosion
festival in his home town of Kutno.
Ditching the DSLR for a drone, Michal

Aerial images arent always

dependent on drones. If you
are photographing an event,
try finding a high vantage
point like a footbridge where
you can carefully hold the
camera over the edge for
a similar image. A flip-out
screen will help you compose
from awkward angles.

12 DIGITAL PHOTO

was able to hover over the stampeding

feet of the powder-covered revellers
and capture an aerial view of the
chaos. I was controlling the drone
over the mass of colour and, all of a
sudden, one girl looked up. I knew that
would really make the shot, explains
Michal. Because his DJI Phantom 3
drone shoots RAW images, Michal

was able to make the most of

the colours in the scene after
importing the file into Lightroom.
Along with a Saturation boost, the
White Balance was corrected and
the Sharpness increased.
Camera DJI Phantom 3
Exposure 1/320sec @ f/5.6, ISO 400 Software
Lightroom Visit www.filmynieba.pl

PLANET
PHOTO
BEHIND THE SCENES

Snow White
turns dark
As fairytales go,
Snow White is
perhaps the purest,
but thanks to
the creative vision of Brazilian
photographer Fernando Filho,
the story took on a dark twist. The
idea came about when he was
invited to bring an illustration of a
rather down-on-her-luck Snow
White to life with a real photo
version of the artwork.
After I saw the illustration by
Renan Porto, I shot the street
scenes and then captured the
portrait elements in the studio as
this would give me more control
over lighting, says Fernando. The
biggest challenge was finding
a location that matched the
illustration and also replicating
the perspective of Snow White in
the frame. This was a project with
high-production values. Fernando
brought in a professional makeup artist to give his subject that
distressed look, and he even
used expert animal handlers
to enable the model to interact
with the mouse. To merge all
the elements, Fernando worked
with a professional retoucher
called Milton Menezes, who
painstakingly cut out the studiobased images and resized them
in Photoshop to match the
perspective of the street scenes.

FERNANDO FILHO

What was used

Camera Canon EOS 5D MkII &
24-105mm lens Exposure Various
Software Photoshop
Visit www.fernandofilhofoto.com

From a graphic illustration to

reality, Fernandos fantasy
portrait is a work of art.

GET THIS SH
Shooting images in a
offers more control ov
lighting because your
not at the mercy of tim
or weather. A good stu
substitute is to shoot a
a white wall in your ho
Plain backgrounds ma
any cutouts much eas
to achieve during the
editing process.

14 DIGITAL PHOTO

Heavy eyeliner helped give

Snow White a makeover.

Placing his model on a plain

background made cutouts easier.

Animal handlers
look after the
furry talent.

Fernando used white card to

bounce light onto his model.

Shooting the street scene required

an ultra-low camera angle.

The original artwork

that inspired
Fernandos project.

ILLUSTRATION: RENAN PORTO

DIGITAL PHOTO 15

IT WORKS
FOR ME!
Show us what youve been doing with
Digital Photos creative techniques & win
great Lexar prizes! Send your best shots
to us at dpimages@bauermedia.co.uk

Nickys impressive
innite tunnel
portrait was only a
ve-minute project!

Inception

Original pic

by Nicky Rochussen
From Cobham, Surrey
Tell us about your image
Using my son as a model,
and my Nikon D810 and
105mm lens, I shot my own version of the
Create an infinite tunnel portrait in the
January 2016 issue of the magazine.
With my original pic open in Photoshop
CS6, I duplicated it and used Free
Transform to shrink the image on the new
Layer until it sat within the limits of the
iPad screen in the first image. I then made
a Selection around the screen area of the
iPad with the Quick Selection tool, and
masked it out by adding a Layer Mask.
I went on to duplicate and resize the
new Layer twice more, with the images
16 DIGITAL PHOTO

St Annes jetty
by Steve Mclellan

becoming smaller each time, before

placing them within the smaller iPad
screens to complete the effect.
I keep a daily photo journal and so I
always look for inspiring ideas to try out in
the pages of Digital Photo. Following the
step-by-step instructions in the magazine,
the editing process for this image took no
more than five minutes its ideal as a
quick, daily project.

From Blackpool, Lancashire

Tell us about your image This image had
been lurking on my hard drive since I
shot it last August with my Nikon D7000
and 11-16mm lens. When I saw the Get stylised HDRs
with Photomatix in the January 2016 issue, along with
the free Photomatix Essentials plugin, I started to mess
around with this picture and a few others. They were all
shots of the old jetty which now stands separated from
St Annes pier, and were taken on the same day.
Id shot in RAW, so was able to create three different
exposures of the scene in Camera Raw before saving
each as a JPEG. After loading the Photomatix plugin
into my Elements 11 software, I opened the three new
versions of my original RAW file into Photomatix and
followed the steps in the magazine to ramp up the
dynamic range in the scene.

Steve extracted
hidden detail from his
shot of an old jetty
using the Photomatix
HDR software
supplied with the
January issue.

Original pic
Photomatix automatically combined my exposures,
and all that was left was to try out the preset HDR effects
to find the best one for my image. With my HDR effect
chosen and bringing out so much hidden detail from
the data in my RAW file, I added some sharpening and
contrast for a punchy result.
I was taken aback by the level of detail in the image and
Im now looking for more interesting subjects, such as
Blackpool Towers 158 metres of iron and steel, or old boat
yards nearby along the Fylde coast.

IWASTAKENABACKBYTHELEVEL
OFDETAILINTHEIMAGE&IMNOW
LOOKING FOR MORE SUBJECTS
DIGITAL PHOTO 17

Snowy scene
by Jean Waring

From Kirkby
in Ashfield,
Nottinghamshire
Tell us about your
image I created this seasonal
image with the help of the
Miniaturise a winter pic in a
snowglobe video lesson in the
January 2016 edition of Digital
Photo. Inside the supplied
snowglobe template,
I added an image Id taken of
the old market cross in Bonsall,
Derbyshire with my Canon EOS
1100D and 18-55mm lens.
With my picture pasted
into the template, I applied
the Spherize filter to give
the appearance of the scene
bending around the globe. I
finished my image by adding a
flurry of snow from a separate
picture, merging it in at 50%
Opacity with the Screen
Blending Mode.

Original pic

Jeans quaint village scene gets

a wintry treatment inside our
snowglobe template.

Displaced

by Eduard Betz
From Tangerang, Indonesia
Tell us about your image
Taking up the Make art with
a wine glass challenge from
the November 2015 issue, I created this
image composite that really is out of the
ordinary, and a bit of fun, too! Ive been
passionate about photography for eight
years so the idea of getting creative shots
from everyday subjects is a refreshing
source of inspiration for me.
I shot my original images on a Canon
EOS 5D MkII, with a 16-35mm lens for

Original pics

Adding a surreal
element to an everyday
object has given Eduard
a striking composite.

the frog and 100mm macro for the glass.

I have a studio at home, so I was able to
capture a clean, professional-looking shot
of the glass using my studio lights and a
dark background.
In editing, firstly I made a Selection
around the frog before copying and
pasting him onto the wine glass image in
Photoshop CS6. Luckily the lighting and
angle of the shots made combining them a
breeze. Only small adjustments to the size
and position of the frog were needed to
place him realistically within the glass.

Original pics

Doggy in the window

by Bernard Booth

From Warrington, Cheshire

Tell us about your image When I saw the
Discover the Filter Gallery technique for
making a condensation effect in the August
2015 issue, I wanted to recreate it. I have a dog Ruby and a
window, but not a picture of the two together. I took separate
shots with my Nikon D610 and 24-85mm lens, before cutting
out Ruby from her background and adding her into the window
picture. Then I had my image to work on.
Following the steps in the magazine, I made a Selection
around the pane of glass with the Polygonal Lasso tool and
created the condensation effect by applying the Distort Glass
option in Photoshops Filter Gallery. I blurred the condensation
effect using the Gaussian Blur filter and then added a Layer
Mask. Painting into the Mask with the Stipple Brush tool,
I wiped away areas of the condensation effect around Rubys
face for a realistic finish.

Bernard created his pic

from two separate images
and then added the
condensation in Photoshop.

LEXAR KIT
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PRIZES
WORTH
UP TO

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your best
shots now!

Brian combined two

elements for an out of
the ordinary result.

My other home

Original pics

by Brian Elliot

From Portishead, Somerset

Tell us about your image Heres
my take on the Building art by the
brick challenge from the January
2015 issue, taking an ordinary brick and giving
it a creative spin. I borrowed the brick from a
neighbour and took the shot with my Panasonic
Lumix GF6. For the mouse, I went to a local pet
shop and shot the image there.
I began by making a feathered Selection around
the mouse in Photoshop to remove it from its
cluttered background, before copying and pasting
it onto the brick image. I then used the Free

Theres a superb Lexar Professional

memory card and a Lexar Professional
25-in-1 USB 3.0 Card Reader for every
reader featured in It Works For Me, so
make sure you send your pics in to us at
dpimages@bauermedia.co.uk At 101.99,
the 16GB Lexar Professional 1066x
CompactFlash memory card delivers read
speeds of up to 160MB/s. Alternatively, at
41.99, the 16GB 633x SDHC UHS-I card
gives a massive 95MB/sec read/write
speed. Each winner also scoops a Lexar
Professional USB 3.0 25-in-1 Card Reader
a professional-level, portable USB
reader providing high-speed le transfer,
worth 30.99.
See more at www lexarcom

Transform command to resize the mouse to fit

into one of the small holes in the brick. I added
a Layer Mask and painted into it with the Brush
tool to hide the mouses back legs and feet. It
then looked as though it nestled snugly into the
brick. Lastly I added a blurred vignette effect to
the edges of the image. This framed it and helped
draw the viewers attention squarely into the brick
and its new inhabitant.

DIGITAL PHOTO 19

ENJOY A YEAR OF
DIGITAL
PHOTO
AND
GET A MANFROTTO
PIXI EVO
The Manfrotto PIXI EVO supports a wide
range of camera and lens systems
weighing up to 2.5kg. The tripod boasts twosection legs which are adjustable in five
different steps, and offers two different leg
angles via a sliding selector, enabling lowangle shooting. The fitted ball head allows
you to shoot in landscape or portrait format,
and an exposed dial under the 1/4in thread
makes attaching your camera easy. Great
for table-top shots and highly portable for
outdoor use, its a fantastic accessory for
every photographer.

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THE

TS
A
E
GRINDOOR

DISCOVER THE
WONDERS OF...
Whatever the weathers doing, you can take
stunning, creative shots in the warm and dry.
Here are six great projects to get you underway
WORDS & PICS BY THE DIGITAL PHOTO TEAM

PROJECT ONE

Make a message in your meal for a

tasty kitchen-based still-life

MATTY GRAHAM / BAUER

This fun idea looks fantastic, can be set up in your kitchen and the only
cost involved is 50p for a tin of alphabet spaghetti! A little prep work
is needed and this starts by emptying the spaghetti onto a plate. Sift
through with a fork to find the letters you need, before pouring the leftover sauce onto a second plate. Arrange the letters into a message, and
place the plate on a textured background like a wooden chopping board
or a gnarly old table. Set up your camera and tripod so you can shoot
directly down on your subject. Switch the camera to Aperture priority
mode (Av or A on the mode dial) and select a mid-range aperture of f/8
to get the sharpest results from the lens. Place a desk lamp low to one
side to accentuate the shapes and create highlights in the pasta, and use
Live View mode to assess the results before you shoot.

22 DIGITAL PHOTO

TAKE
SELFIES WITH
A DIFFERENCE
OVER THE PAGE

DIGITAL PHOTO 23

THE

TS
A
E
GRINDOOR
PROJECT TWO

MAKE A DREAM
BECOME A REALITY
Introduce some magic into a self-portrait with some
common household items and a dash of imagination
WORDS & PICS BY ANDY HEATHER

To create a dreamy
portrait with cotton
wool clouds, just add
a jar, some fairy lights
and an LED light.

24 DIGITAL PHOTO

THE

TS
A
E
GRINDOOR

PROJECT THREE

CREATE
CURLS
OF COLOUR

Get absorbed in vibrant shapes by

arranging paper sheets into a still-life
WORDS & PICS BY JON ADAMS

26 DIGITAL PHOTO

SCULPTING PAPER

ABSTRACTS GIVE YOU

THE FREEDOM TO THINK
ABOUT HOW LINES &
COLOURS INTERACT
Make a colourful abstract from sheets of paper
Abstract images arent about showing off the reality of a subject instead theyre about creating
a satisfying arrangement of colours, shapes and tones. This takes some getting used to if your
photography is usually more literal, but it gives you tremendous freedom to think simply about
the way lines and colours interact, how you can compose shots to reect this, and how you can
use sharp and defocused areas in harmony.

Focus in Live View

Get three or four sheets of A4 coloured

paper from your local art shop or
stationers, and arrange them so you have
about an inch of overlap between each
sheet. Hold them all together just below the
rst overlap, and then push the other ends
together so all the sheets are lined up on
one side. Now fold the ush end round to
meet the overlapping ends, taking care not
to make any creases, and clamp them all
together with a clothes peg. This will give you
an elegant set of curves.

By using a large aperture

setting and lighting with
a torch, shapely abstracts
can be created from a few
sheets of paper.

Accurate focusing is vital, so switch

to Manual Focus, then turn on your
Live View mode. Zoom in on the screen to
magnify the image and use the D-Pad to get
the edge of the paper large in the display.
Turn the focusing ring to get the image sharp
right on the edge. Attach a remote release,
or set the Self-timer to 2secs. This will avoid
you nudging the camera and causing any
blur from camera shake when you press the
shutter. Take your rst shot and check the
results on screen.

Compose your shot

Adjust your lighting

Use Blu-Tack to x the peg to another

sheet of paper and place your subject
on a worktop. With your camera on a tripod,
focus on the edge of the paper and frame up
loosely on the curls. Once youve done this,
you can reposition the base sheet rather
than the camera to get the best angle and
composition. Switch to Aperture priority
mode (A or Av) and dial in the lowest f/
number available. This will be f/3.5 to 5.6 on
a kit zoom. Set the ISO to 100 (or its lowest
value) to get the best image quality.

Now youre set up, try lighting the

paper from different angles using a
torch, or the light from a smartphone. How
you direct the light at your paper will make
a huge difference to the end result, and by
using a torch, you can control the effect
quickly and easily. Light from above, behind
and from the side to see the different effects
that occur on your paper curls. Shoot the
various options as you go, and youll have
a great set of images to choose from when
you open them on your computer.

DIGITAL PHOTO 27

JON ADAMS / BAUER

Curl your paper

THE

TS
A
E
GRINDOOR

PROJECT FOUR

SHOOT A
STRIKING
CLOSE-UP
Spark up a great shot by
capturing a moment that
happens too quickly
for the eye to see
WORDS & PICS BY JON ADAMS

How to capture the moment a lighter ignites

This fun project requires a fast shutter speed, a quick frame rate and a high ISO setting. Its easier to shoot a friends hand as they
do the striking, but its also possible to operate the lighter with one hand while ring the camera with the other.

worktop. Use a dark background (we chose a

shiny blue bag to reect the sparks) and place
your hand on the table, holding a lighter. Frame
up and switch to Manual Focus this will prevent
the AF from hunting. Set your minimum focus
and move your hand until the lighters sharp.

28 DIGITAL PHOTO

and an aperture value of f/3.5. Set your ISO

to 1600 to make the sensor more sensitive to
light. Its now time to get your camera to shoot
a sequence of shots as quickly as possible, so
set your fastest burst mode. This will usually be
between 3 and 5fps, depending on model.

JON ADAMS / BAUER

Get the shot!

With your free hand, press the shutter
button (or use a remote release, as above)
and quickly spark the lighter while the camera
is rattling off its shots. Once youve shot a few
bursts, check your pics on screen to see if youve
captured the moment. Delete the ones that
havent worked. Itll take a few goes, but keep
shooting and youll soon get a great result.

GET ARTY WITH GLASSES

PROJECT FIVE

CAPTURE AN
UNEXPECTED
ANGLE
Use clever lighting and careful
composition to create a
startling still-life thatll turn
simple glasses into fine art
WORDS & PICS BY ANDY HEATHER

Arrange the glasses

Dial in the camera settings

Use Aperture priority mode (A or Av on the mode

dial), and dial in a small aperture of f/20 to keep all
the glasses sharply focused. Not much light is getting
through that tiny
aperture, so your
camera will select a
slow shutter speed.
With a tripod though,
that wont be a
problem. Switch to
Manual Focus and
focus on the second
glass. Set your
Self-timer to 2secs
to prevent camera
shake, then press the
shutter to get the shot.

ANDY HEATHER / BAUER

Line up a set of identical wine glasses on a

reective surface like a glass table, and use a
straight edge to arrange them precisely. Behind the table
youll need a brightlycoloured wall for a
backdrop. Place a
desk lamp on the oor
out of shot, and tilt it
up so it lights the wall
directly behind the
glasses. Attach your
camera to a tripod,
level with the glasses,
and carefully adjust
the position so each
glass is framed inside
the one in front.

A small aperture
and a desklamp
were used to make
eye-catching art
from four simple
wine glasses.

DIGITAL PHOTO 29

THE

TS
A
E
GRINDOOR
BY USING A TABLET AS
A LIGHT SOURCE, YOU
CAN CREATE ABSTRACT
BACKGROUNDS UNLIKE
ANY OTHER

PROJECT SIX

SHOOT
FUNKY
FLORALS

Use a tablets screen and a long

shutter speed to create amazing,
hand-crafted backgrounds in
your still-life scenes
WORDS & PICS BY MATTY GRAHAM

30 DIGITAL PHOTO

CREATE BEAUTIFUL BACKGROUNDS

6 FREE
BACKGROUNDS
TO DOWNLOAD
AND TRY

Get abstract backgrounds in an instant

With textured petals, striking colours and many varieties to pick from all year round in your
local supermarket, owers make great subjects. But nding a suitable background isnt always
so easy, especially if youre after a bespoke, creative nish. The solution is to use technology!
By moving a tablets screen behind the subject and using a torch to light the owers, you can
create an abstract, owing background. Its great fun to do, and every shot will be different!

tool in Photoshop, or you can use the camera

in the tablet to take a picture of anything
colourful around the house. Alternatively, if
your tablets online, go to www.photoanswers.
co.uk/dpdownloads and tap the Tablet Screens
option. Once your colourful pic is displayed,
lock the screen if your tablet has the
facility, so the picture wont disappear if you
accidentally tap it during the exposure.

Add a second light

for the flowers

Switch off the lights, then press the

shutter to start the Self-timer. When the
exposure starts, move the tablet around in
the background to create the colour abstract
pattern. Your owers will need to be lit too, so
use a second light source (a torch or even the
LED on a phone) to paint some light over the
petals. For better control, you might nd its
easier to use one light source at a time rather
than both together. Review the image and, if
necessary, extend the shutter speed to give
enough time for your painting effects.

EXPERT TIP
Try alternative
backgrounds
There are six screens to try in our download,
but theres no limit to the patterns you can
shoot or create. From ags to t-shirts,
anything colourful will work, and the more
you move the tablet, the blurrier it will be!

DIGITAL PHOTO 31

MATTY GRAHAM / BAUER

exposure to give you enough time to paint in

the coloured background using the tablet.
To do this, place the camera on a tripod and
switch to Shutter priority mode (S or Tv). Dial
in a starting exposure of 8secs and an ISO
valuer of 100. Youll need to shoot in a dark
room, but while the lights are still on, focus
on the subject and then switch to Manual
Focus (MF). Now set the Self-timer mode.

SOMETHING FOR
THE WEEKEND

CAPTURE
THE SKY
AT NIGHT
Create stunning starlit scenes with
a clever blend of camera skills
and Photoshop techniques
WORDS & PICS BY JON ADAMS

dding some drama in the heavens is a sure-re way to

improve any landscape and architectural image, and if
you always carry a camera, youll never miss out on
the opportunity to shoot your own stock of inspiring
star-scapes. Capturing great skies during daylight hours is
point-and-shoot easy, but the night sky presents much more
of a challenge. Looking up at the stareld on a clear night is
an awe-inspiring sight, and next time you see it, take a
moment to capture its glory a picture incorporating a night
sky invokes that same sense of wonder in your viewer. Unlike
daytime skies though, night skies require a little more
camera knowledge, and a specic setup.
In this technique, well show you how to capture a great
night sky, and how to process the picture to make it really
shine. This bit requires RAW conversion software youll nd
Adobe Camera Raw built in to Photoshop and Elements, and
it involves nothing more than adjusting a few sliders.
With your night sky captured and enhanced, well then
reveal a seamless way to blend it into other pictures. These
can be true night scenes youve recorded with a long
exposure, but with a few processing tricks, you can even use
pictures youve taken during the day. From start to nish, no
highly specialised kit is needed, so provided you have a DSLR
or CSC and a tripod, youre all set to head into the dark and
capture the celestial wonder of the night.

Required kit
DSLR or CSC

Tripod
A 30secs exposure is needed,
so a sturdy tripod is essential to
keep your camera still.

32 DIGITAL PHOTO

JON ADAMS / BAUER

Any camera that can shoot

in Manual exposure mode is
perfect for this project.

Combine capture and

Photoshop skills to
suspend a dramatic,
star-speckled sky
over a scene.

TECHNIQUE
STEP-BY-STEP
GUIDE OVER
THE PAGE
DIGITAL PHOTO 33

SOMETHING FOR
THE WEEKEND

SET UP AND
SHOOT YOUR
NIGHT SKY
Pick a clear, cloud-free
night, and ideally, nd a
spot away from cities and
street lights. Your garden is
likely to have too much light
pollution, so if possible, get
out to a dark area free of any
man-made lighting. Lay-bys
on country roads are often
good, and shooting from
these means you wont have
to go far from the car to get
your shots.
In shooting a night sky,
the challenges youre taking
on are the very dim light
levels emanating from the
stars, and the fact that the
earth is rotating at about
1000mph! Take an exposure
long enough to record the
starlight, and the earths
rotation will turn your stars
into short streaks rather
than pinpoints of light. To
avoid this, youll need to use
a high ISO setting. This will
make your camera more
sensitive to light, but will
also introduce some Noise.

Camera and lens

Any creative camera
with a RAW option
and Manual
exposure mode can
be used. A DSLR or
compact system
camera is ideal.
If you have a fast
lens with an f/2.8
aperture, use this.

A dark, clear night

If its cloudy, youre
out of luck, so wait
for a clear night, and
get away from
civilisation to avoid
light pollution.

Tripod
A sturdy set of sticks
is essential at night,
as you need the
camera to be locked
firmly in position
throughout the long
exposure times.
This allows the sensor
to stay motionless
and record the
faint starlight.

Frame up then focus with Live View

Once youve found your dark location, set up your tripod and compose
your shot. Itll be hard see anything through the viewnder, so keep
the camera turned off to avoid glare from the viewnder display. Frame up
as best you can, lock off the tripod head, and switch to Manual Focus mode.
Now power up and switch on Live View mode. Zoom in on the screen, scroll
around to pick out a bright star, and tweak the focus ring until its sharp. You
can now turn off Live View, as your focus is set for the night. Use a weak torch
so you can see your camera settings. A headtorch with a red LED is ideal as
this wont affect the night vision your eyes are adapting to. If your camera or
lens has an image stabiliser (an IS, VR, OS, OIS or VC mode), make sure it is
switched OFF, as it will cause blur when using a tripod.

34 DIGITAL PHOTO

Night vision
headtorch
To see your camera
settings in the dark,
youll need a torch.
A headtorch is best
to leave your hands
free, and one with a
red night vision LED
option is ideal as it
wont dazzle you.

Dial in your main camera settings

Set your main mode dial to Manual (M) and dial in a shutter speed of
30secs and an ISO of 1600. Now set the aperture value to the lowest
f/number. On a kit lens like an 18-55mm, this will be f/3.5, but if you have
a faster lens, use an aperture of f/2.8. Make sure the zoom is at its widest
setting, as this will allow the maximum aperture to be used. The other
reason for using the widest focal length is it will show less of the earths
rotation over the 30secs exposure. This will keep your stars as points of light
rather than short streaks. Set your camera to record in its RAW format. This
is important as extra processing is always needed to make night skies look
good, and RAW gives the essential exibility you need over the exposure,
brightness, contrast and colour.

Capture your creativity

- The event for everyone passionate about photography -

BOOK YOUR TICKETS AT: PHOTOGRAPHYSHOW.COM

Discount available for adult entry tickets. Quote DPHTPS16 to claim.

SOMETHING FOR
THE WEEKEND

Set the Self-timer

and disable NR

Attach a remote release to re

the shutter if you have one. If not,
set the Drive mode to its Self-timer
setting and select a delay of 2secs.
This prevents camera shake occurring
and allows the camera to settle after
youve pressed the shutter button. In
the cameras menus, make sure Long
Exposure Noise Reduction is switched
off. This is a special mode that helps
to remove Noise from the shot at the
time of capture. The trouble is, it takes
too long to process with a 30secs
exposure, so its better to do any Noise
control in RAW processing later.

Take your shots

Take a test shot and keep your

hands off the camera and tripod
while its recording the exposure.
After 30secs (itll seem like an age!)
check the shot on screen. Zoom in to
check your stars are clear and sharp.
You may see very short trails rather
than points, but any fuzziness means
that either your focusing is inaccurate
or your camera has moved during
the exposure. Adjust the focusing if
needed, and reshoot until you have a
good result. Once youve nailed one
part of the sky, youre all set up, so
take the time to shoot more angles,
capturing different parts of the
stareld arcing above you.

ASTRO TIPS
Dont underexpose
Because your eyes will be
adapting to night vision and
your camera is in a very dark
environment, your LCD screen
will look much brighter than
usual. This may lead you to
think youre overexposing, but
30secs and f/2.8, ISO 1600 will
not overexpose a night sky
so stick with it!

Power down to frame

The glare from your viewnder
display will wash out contrast
and make it impossible to see the
stars through the nder. Switch
off the camera when youre
composing, as itll allow you to
pick out the brighter stars and
frame up your shot.

Increase ISO setting

if you zoom in
To get tighter crops of
constellations, youll need to
zoom in. The increase in focal
length will make the earths
movement more apparent, so you
need a shorter shutter speed to
combat the earths rotation and
avoid the stars becoming streaks.
By increasing your ISO to 3200
and setting your shutter speed to
15secs, youll get better results.
This will create more Noise, but
you can suppress this in RAW.

Convert your RAWs to create great-looking starelds

Open your stareld shot into Adobe Camera Raw,
and adjust the Exposure slider to get a reasonable
result. Push the Contrast to its maximum
setting to help get a better separation between
stars and sky. To address the colours, move the
Temperature slider until your stareld looks
natural a setting around 3000 is usually about
right. If you can see orange light pollution spilling
into the lower half of the sky, reduce the Vibrance
slider to suppress it. Nudging up the Clarity will
boost the denition, and taking the Shadows and
Blacks all the way to the left will help darken the
sky and help the stars stand out.
Once the shots looking good, click on the Detail
tab to access the Noise Reduction features. Adjust
the Color rst to suppress any coloured speckling,
and then tweak the Luminance sliders to get the
best trade-off between detail and electronic grain.
Click Open Image to load the pic into the regular
Photoshop or Elements interface. Here, you can
save the shot as a JPEG via FiletSave As. To apply
the same settings to your other RAW starelds,
click on the yout menu at the top right of the
Basic tab and select Previous Conversion.

36 DIGITAL PHOTO

NOW
COMBINE
YOUR
PHOTOS

SOMETHING FOR
THE WEEKEND

COMBINE &
BLEND YOUR
SHOTS IN
PHOTOSHOP
Make daytime
scenes look moonlit
and merge your
starfield shots with
them. Its easy to
do in Photoshop or
Elements - just follow
the step-by-step!

VIDEO
LESSON
ON THE CD

Select the sky

Skies are less detailed than the scene theyre above, so theyre often
quicker to select. You can make a Selection manually by clicking with
the Polygonal Lasso tool, or you can do it automatically using the Magic
Wand or Quick Selection tool. Often youll need a combination of methods
to get a good Selection. Start with the Quick Selection tool and with a brush
size of about 80px, drag it along the top of the sky. This will select most of it,
but will include areas of the buildings. To remove these from the Selection,
reduce the brush size with the [ key, then hold Alt and drag over the parts
you want to exclude. Once youve done this, switch to the Polygonal Lasso
tool. Zoom in tight with Ctrl+Plus, and tidy up the Selection. Hold Alt while
clicking around areas you want to exclude, and hold Shift to add areas of sky.
The result will be a line of marching ants around your sky.
38 DIGITAL PHOTO

Convert your
stareld RAW le

Open your own starfield RAW file,

or for practice, use Starfield.dng from
the Start Images folder. Itll load into the Camera Raw interface. Adjust your
settings, following the advice in the RAW panel on the previous page. For this
particular file, we used settings of 2900 in Temperature, -11 in Tint, and
+1.10 in Exposure. Contrast was increased to +100, Highlights were left
on 0 and Shadows were pulled to -100. Whites were pushed up to +55 and
Black were reduced to -83. Finally Clarity was increased to +45 and because
there was no real evidence of light pollution, Vibrance and Saturation were
both left on 0. With this done, click Open Image and itll load into the regular
Photoshop or Elements interface. Leave it on screen as its now time to work
on the next part of the image.

Reveal the
new sky &
recompose

You need to have the foreground

selected, rather than the sky, so to
get the inverse of the Selection, hit
Ctrl+Shift+I. Now go to the Layers
panel (WindowtLayers) and
click on the Add Layer Mask icon.
The sky will be replaced with the
starfield from the Layer beneath. With your shots together, nows the time
to rearrange the composition. Select the Move tool (V) and drag the docks
scene downwards until the horizon is at one-third height. If you want to move
the sky, hold Alt and double-click on the name of the Background Layer to
unlock it, then use the Move tool to drag it into the position you want.

Convert your
daytime RAW
into night

Go to FiletOpen and load the RAW

le you want to use as the base for
your stareld, or use Docks.dng from
the Start Images folder. We chose this
shot, taken in Southampton, as the
structures give the scene a great sci-
feel. With the pic open in Camera Raw,
rst reduce Temperature to 3000 to give it a blue, night-time colour balance.
Next, take Shadows to -100 and Blacks to -80 to thicken the darker tones,
and then, to give a little more denition, take Clarity to +30. Apart from the
sky, the shot looks almost as if it has been taken at night, so click on Open
Image to load it into the regular Photoshop or Elements interface.

Merge the
pics together
into the same
document

Hit Ctrl+A to select the Docks

pic, then Ctrl+C to copy it. You
can now close it down with
Ctrl+W. With your stareld back
on screen, hit Ctrl+V to paste the
docks over the top. The le is a little bit smaller than the stareld as it was
taken on a different camera, so to match them up, hit Ctrl+T to go into Free
Transform mode and pull out the handles so the pics are the same size. Once
youve resized the image, hit Return to apply the changes. If youre using your
own shots taken on the same camera, you wont need to do this, but its worth
knowing in case you want to mix landscapes and skies from different sources.

Blend
the
Layers

To get a natural join,

make sure the top
Layer is active, then
copy it with Ctrl+J.
This is for safety in case anything goes wrong. Now
turn off the eye icon on the middle Layer, and click
on the Mask on the copy Layer at the top of the stack.
Hit D to make the foreground colour white, then select
the Brush tool. In the Tool Options bar, choose a softedged brush sized to 800px and reduce the Opacity
to 10%. Paint into the horizon area to make a gradual
blend. Skies are brighter here, and this will also give a
glow over the buildings. If youre not happy with your
rst attempt, delete the top Layer and Mask, then copy
the Layer beneath once more before trying again.

Refine the colour palette to finish

To get your starry sky to look fully at home above its new scene, some colour matching
will be required. To do this, click on the sky Layer at the bottom to make it active, and
then click the Adjustment Layer icon. Select Levels from the dropdown list, and when the
palette appears, click where it says RGB and select the Red Channel. There are three sliders
under the Histogram graph, and by moving the middle one to the left or right youll add more
or less red to the stareld. A setting of 0.85 works well with the blue toning of the foreground.
If you nd your image is now a little too blue, you can add a patch of celestial colour to break up
the tones. Make a Selection around an area of the stareld with the Lasso tool, and then go to
SelecttRene Edge. Move the Feather slider to 140px to soften the edge, and click OK. Make
another Levels Adjustment Layer, and after selecting the Red Channel as before, move the
middle slider to the left to get a subtle swathe of colour. We used a setting of 1.50. You can also
introduce a little Noise over the entire image to help disguise any mismatch in grain between
the shots. See the extra tip on the in-depth video lesson for more detail on this.
DIGITAL PHOTO 39

GET MORE
FROM
FLASH

UNDERSTAND
& USE CREATIVE
LIGHTING
EFFECTS

REMOTE FLASH
a n ultimate control of your lighting by taking your flash off-camera

TECHNIQUE & PICS BY BEN DAVIS

f youre looking to get truly creative with

the way your images are lit, then you need
to master of-camera ash. Few
techniques will revolutionise your
photography more, as it allows you to take
total control of your lighting and unlocks the
creative potential of your ashgun. Such a
reward might sound like its going to be costly
to the pocket and complex to conquer. But in
reality its afordable to even the most modest
of budgets and its simplicity is guaranteed to
turn you into an accomplished ash fanatic!

The benets of off-camera ash

Freeing your ashgun from the restrictions
of being xed to your cameras hotshoe is
certain to transform your photography. The
ability to place your ash anywhere assigns
you control over the light in your frame, and
lets you decide what is directly illuminated
and where the shadows will fall. This allows
you to create more depth in your images, add
extra texture to surfaces and produce a more
professional feel to your pics.
The possibilities really are endless, and
considered lighting has an enormous impact
upon the mood of an image. A side-lit shot
with lots of contrast and shadows will create
an air of mystery and intrigue, while
positioning your ashgun within your frame

Firing your flash remotely means you can position it

anywhere giving full control over light and shade.

40 DIGITAL PHOTO

will add a dynamic twist with a cool starburst

efect. Theres real pleasure to be had in
experimenting with your lighting, and once
you master the basics youll see that ofcamera ash is intuitive as well as great fun!

Taking control of your

off-camera ash

How does it work?

Theres a variety of ways you can re your
ashgun remotely. The simplest and most
budget-friendly is a ash sync cable, and they
can be purchased online for around 3. You
attach one end to your camera either directly
to a dedicated port or via a hotshoe adapter
and the other end connects to your ash.
Running a cable between the two isnt ideal
though, so its best to seek a wireless solution.

THE POSSIBILITIES ARE

ENDLESS & ARE CERTAIN
TO HAVE A HUGE IMPACT ON
THE MOOD OF AN IMAGE
You might already have all you need. Both
Nikon and Canon have released cameras and
ashes that can be triggered wirelessly using
infrared technology, which means you dont
need any further investment. Also, lots of
speedlights have an optical slave built in. This
will re the ash when another ash burst is
detected, so you can use your cameras pop-up
unit to re another ashgun remotely.
However, optical slaves and infrared triggers
require a clear line of sight to be efective. This
can be limiting when it comes to positioning
your ash, so the best way to re it remotely is
to use a radio trigger. A transmitter
sometimes called a commander unit xes to
your hotshoe, and the receiver also known as
a slave clips to your ashgun. Prices start at
around 15, so it wont break the bank.

Youll need a
flashgun that allows
you set the power
output manually.

Usually, a flashgun is set to operate in TTL

mode. This stands for through-the-lens
metering, and is how your camera decides
on the required power settings for a good
exposure. With more advanced wireless
flash systems its possible to use TTL mode,
but for the most part youll need to set the
flash power manually. This might sound
like a daunting proposition, but in fact its
incredibly easy and intuitive. There are no
tricky calculations involved, and you dont
need any grounding in complex-sounding
concepts like the inverse square law.
Instead, its much easier to think of using
off-camera flash manually as cooking, and
the light is the seasoning. Start off by adding
a little say 1/64 power and increase the
power of each test shot until you find the
perfect blend. It only takes a few moments
to find the right settings, and with a little
experience, deciding on the correct power
for a shot will become second nature.

USING OFF-CAMERA FLASH

With direct ash

A pop-up ash illuminates a subject effectively, but
because its attached to the camera, it doesnt allow
any control over the direction of the lighting.

With off-camera ash

By placing the ashgun to one side of the subject, far
more control over the angle of the lighting and the
shadows that it casts is obtained.

What do I need for off-camera ash

Just the basics
Aside from a DSLR
or CSC, all you
need is a flashgun
any brand will do)
nd a set of radio
iggers that are
ompatible with
our camera.

Optional extras
A light stand
will allow you to
position your flash
accurately, and a
device to soften
the light like an
umbrella will
give more options.
More on these
over the page...

WHY ITS
BEST TO
USE RADIO
TRIGGERS
Radio ash triggers are by far the most
effective way of ring a ashgun remotely.
For starters theres no cable to trip over,
and unlike infrared and optical slave
units, theres no reliance on line-of-sight
communication. This means they will always
re, even if you hide your ashgun in the
scene or place it behind a wall. Radio units
work over much greater distances too, and
provided you have enough receivers, you can
use multiple ashes at once. To set them
up, just ensure that your transmitter and
receiver units are set to the same channel,
and youre ready to go.
There are dozens of different options
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triggers. The most advanced setups like
Pocketwizards can cost in excess of 150,
but budget units start at around 15 from
auction sites and are a perfect starting point
for your journey into off-camera ash.

DIGITAL PHOTO 41

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GET MORE
FROM FLASH

How to modify
your light for more
flattering results
For more professional-looking pics using
of-camera ash, youll need to modify your
light. Direct light from a ashgun is generally
considered quite unattering. This is because
the light is emitted from a very small surface
area, which makes the light harsh with a
strong contrast and hard-edged shadows.
It also produces blown-out specular highlights
especially on skin which is why portrait
shooters always difuse the light.
There are numerous ways you can modify the
light from a ash to make it softer and more
attering. A white shoot-through umbrella
will cost you around 10-15 and will create a

Softening the light

with a softbox or
umbrella will give
more flattering results
for your portraits.

much softer light source. Umbrellas are

sometimes referred to as a light bomb,
because of the way they spread the light and
throw it in every direction. To use one, youll

UMBRELLASMODIFYTHELIGHT
TOMAKEITSOFTERWITH
MOREFLATTERINGRESULTS

Invest in a light stand

To make life easier for yourself when using off-camera flash, it makes sense to
invest in a light stand. These are lightweight extendible devices that are designed to
hold a flashgun so you can position it anywhere. Low-cost options are around 10-15,
while more expensive models offer a more robust build quality and air-cushioned
legs. They all work in the same way, though three legs splay out to keep the stand
upright, and a number of extendible sections allow you to adjust the height.
Tripods can also be used for flashguns, as the 1/4in screw thread will attach to a
wireless receiver or flash shoe, but they tend to be heavier and more cumbersome.

also need a bracket to attach the brolly to your

ash, and these can be picked up online for
around 5.
For more directional control over your
lighting, a softbox is a good investment. These
difuse the light through a large white panel,
and the bigger surface area produces a softer
light with gentle shadows. They cost
anywhere from 5 to 50, depending on the
size, functionality and build quality, and take
up a little less room than an umbrella.
Once you really get into modifying the light
from your ashgun, there are lots of other
accessories that will help sculpt and add
character to the light. A snoot is designed to
direct the light into a tight beam like a
spotlight ideal for adding a backlight to hair
in a portrait. You can buy them, but they can
be easily made by rolling a black paper sheet
into a cone and taping it to your ash.

Using multiple speedlights remotely

As you develop your skills with of-camera
ash, youll likely want to add second and
third speedlights to your setups for extra
creativity. While this requires more outlay,
using multiple ashguns means you can
create extra depth and interest in your shots,
as well as light a wider area. If you do expand
your lighting setup, make sure you purchase
the same model of wireless ash receiver, so
all your gear will communicate. It doesnt
matter so much about the ashgun, as you

can use diferent makes and models in the

same system.
With a multi-ash setup, if you nd that
one ashgun isnt ring, check that the
receiver unit is set to the same channel as
your transmitter. Most devices ofer multiple
channels. These are set to diferent radio
frequencies so photographers can work close
to one another without triggering the others
ash. You need all of yours to be set the same
to ensure a seamless performance.

Adding a second flashgun to your lighting kit will

help expand your creative potential.

Blending your flash with ambient light by adjusting shutter speed

When you shoot an image using flash, theres
essentially two exposures taking place
at once. Theres the light from
your flash which lasts a tiny
fraction of a second and the
ambient light in the scene.
The exposure for the ambient
light is controlled by the
shutter speed, aperture and
ISO, whereas the exposure for

the flash is only governed by the aperture and

ISO, as the burst of light is too short to be
affected by the shutter speed.
This means that if you want
to adjust the mix of flash and
ambient light, you simply adjust
the shutter speed. If you want
to increase the ambient light,
perhaps to lift some darker
shadows, then dial in a slower

shutter speed, from say 1/125sec to 1/60sec.

On the other hand, if you want the flash to
play a bigger role in the shot, then increase
the shutter speed to reduce the amount of
ambient light in the exposure. An image
captured indoors at 1/200sec will often cut back
the ambient light to dark shadows for moody
shadows. Remember though, most cameras
have a maximum flash Sync Speed of 1/250sec,
so you cant set a faster shutter speed than this.

DIGITAL PHOTO 43

GET MORE
FROM FLASH

Better lighting with

off-camera flash
Its easy to get more interesting and flattering
light when using your flashgun remotely
follow these steps for pro-quality portraits!

Input your camera and flash settings

Switch your camera to Manual mode (M on the mode dial) to take full
control of the settings. Start by setting the shutter speed to 1/200sec.
This will ensure youre within the ash sync speed, and also cut back on the
ambient light in the room, so your ashgun is responsible for the majority
of the lighting. Dial in an aperture of f/5 for a reasonably shallow depth-ofeld, and set the ISO to 100 for the best image quality. Attach your wireless
transmitter to your cameras hotshoe, and the receiver unit to the foot of
your ash, ensuring both are set to the same channel so they are able to
communicate. Set your ashgun to its Manual mode, and start off with the
power set to 1/32. Attach your ash to a lightstand or tripod, so you can move
it to different positions around your subject, to create different lighting effects.

Position your flash and set the power

Begin by positioning your ash 45 to the side of the subject, and take
a shot. At this angle, the light produces pleasing shadows on the far
side of your subjects face, and adds extra depth and interest to the image. Its
best to soften your light, so use a softbox or a shoot-through umbrella if you
can. If your shot is too bright, simply decrease the power on the ashgun to
1/64, or move it further away from your subject. If the image is a bit too dark,
increase the power to 1/16, or move the ash closer to your subject.

Experiment with
different positions
for your flashgun

Once youre happy with your exposure,

try moving the ash to different positions
around your subject. Youll be amazed at
the dramatic effect subtle adjustments
can make to the light and shadows in your
image, and how different angles alter the
mood. Positioning the light high and in
front of your subject (often called buttery
lighting due to the shape of the shadow
created under the nose) gives a attering
look that enhances the cheekbones.
This is a popular lighting style for fashion
portraits, and is good for evenly lighting
the face but still creating some depth.
Now move your ashgun to one side of
your subject, so the side away from the
light falls into deep shadows. This is great
for creating more moody images that are
packed with intrigue. Keep trying new
positions for your ash, to nd a lighting
style that suits the story you want to tell.

DIGITAL PHOTO 45

BUCKETLIST
LOCATIONS
Follow us to one of the best
places in the UK to capture
truly amazing photos
WORDS & PICS BY JON ADAMS

ASHNESS BRIDGE,
CUMBRIA
Why its a gem
A shallow, flowing beck and textured rocks in the
foreground lead through to a stone, packhorse
bridge in the middle ground. Beyond this, the
majestic bulk of Skiddaw rises above to dominate
the skyline. Its right next to a car park, its easy to
photograph, and the view will take your breath away.

How to get there

Take the B5289 south from Keswick towards
Borrowdale. After about 2 miles, a minor road on the
left is signposted Ashness Br/Watendlath. Turn up
here and continue until you cross the bridge. Theres
a car park on the right just after the bridge, giving a
very short stroll to the action. Head upstream from
the bridge itself for the best views.

When to shoot
Skiddaw and the bridge face roughly south, so if
theres any sun when you get there, the scene will
pick it up right through the day. Morning or evening is
best, and a sprinkling of snow on the tips is a bonus.

Take a wide-angle lens the short end of a kit zoom

is fine. A tripod will allow the use a small aperture
like f/16. This will hold the whole scene in focus, and
the slower shutter speed will force the moving water
to blur out. A pair of wellies is a smart idea, as you
may find the best angle can be found standing in
the stream itself. Regarding the weather, if its clear
enough to see Skiddaw, theres a shot to be had!

46 DIGITAL PHOTO

JON ADAMS

Local Knowledge

BEST SPOTS FOR PERFECT SHOTS

ITS NEXT TO A CAR PARK, ITS

EASY TO SHOOT, AND THE VIEW
WILL TAKE YOUR BREATH AWAY

DIGITAL PHOTO 47

NEW
SERIES

SHOOT
IT NOW
A spinning brolly will
turn into a fusion of
blurred colours if
you carefully set up
your camera with a
slow shutter speed.

SHOOT A
RAINBOW
BLUR PORTRAIT
TECHNIQUE & PIC BY MATTY GRAHAM

ts not every day you see a technique that

encourages you to get more blur into your
portrait photos! However, in this instance thats
exactly what were recommending. Always keen
to innovate, weve devised a way to add motion blur
to a spinning umbrella so it creates a gorgeous
fusion of colour to frame your subject.
All you need is a friend, an overcast day and a
colourful brolly. With these and the right camera
settings, you too can create a rainbow blur portrait

48 DIGITAL PHOTO

thatll dazzle your friends and have them wondering

how you did it. The key to the shot is nding the right
balance between fast and slow shutter speeds.
Leave your shutter open too long and the model
will move, causing blurred features. Use too fast a
shutter speed and the umbrellas colourful details
wont blur out at all. But nd the sweet spot in the
middle, and youll have your models face looking
sharp while the colours behind will fuse together
into a set of soft, attractive curves.

How to frame a portrait with a colourful blur

Set up your
camera & tripod

Prepare some
colourful props

Take the shot

To blur the umbrella youll

need to keep your shutter open
for much longer than you usually
would. If you hand-hold your
camera, your entire image will
blur, so its vital you attach it to
a tripod. Switch your camera to
Manual mode and use a shutter
speed of 0.5sec. Use an ISO of 100
and an aperture of f/22 to limit the
amount of light hitting the sensor
throughout the exposure.

Find a highly-coloured
umbrella that you can spin. We
used a golf umbrella, which is a
little larger than average. You want
to see the colours blurring into
each other as the umbrella spins,
so the brighter the colours, the
better the shot will appear. Prepare
some colourful clothes for your
model that will increase the impact
of your shot and, on an overcast
day, nd a nice spot outdoors.

Set your Self-timer to

2secs so you can keep your
hands off the camera when the
shutters open. This avoids the
blur that comes from camera
shake. Have your model stay as
motionless as possible while they
spin the umbrella. Make sure it
pivots cleanly on their shoulder
so it doesnt swing from side to
side. Take a shot and check your
results. For more blur, slow the
shutter speed. For less blur,
speed it up.

EXPERT TIP How to prevent

unwanted subject blur
The key to ensuring the blur is contained within a neat
oval is stopping the umbrella from swaying left and
right. One way to do this is to rest the handle of the
umbrella in your models palm and use a scarf to
support the stem that rests on a shoulder. By spinning
the handle with one hand and supporting it in the other,
the umbrella will stay in position throughout the
longer-than-normal exposure.

DIGITAL PHOTO 49

OUT OFTHE
ORDINARY
3 EXPERTS
1 EVERYDAY SUBJECT

CUTTING EDGE
CONCEPTS
Take our creative challenge today!

ome photographers say that to take

better shots, youve got to stand in
front of more interesting things.
However, we here at Digital Photo
believe you dont need to travel to
far-ung locations to create an innovative
image. Every month, three members of
the DP team take up the challenge to
create striking, creative images using
more mundane objects the kind of
things youd normally pass by. In doing
so, we show you how to make creative
thinking part of your photography
toolkit. Then, with the brief set, its
entirely up to them to bring their
creativity to the front to capture an image
thats more than the sum of its parts.

They can use as much or as little image

editing work as they like all thats
important is to make a great picture.
With the inspiration from our experts
still ringing in your ears, its then over to
you to put your own spin on the ideas
theyve used, or go a step further and
create your own image from scratch.
Be sure to keep in mind that you dont
need rucksacks full of fancy gear to
capture creative imagery. Working with
what you have will force you to think
outside the box and shoot things in a way
that no-one has ever even thought of.
And the great thing about creativity is
that youll never use it up: the more you
use, the more youll get!

THE SUBJECT

OUR THREE PHOTOGRAPHERS

Take a knife and see what

you can cook up...

The team share their creative approach to making pics

When I heard this months subject

was knife my rst idea was to make
a creative composite involving a
circus knife-thrower. I started on the comp,
but partway through I decided it didnt have
the clever twist that I usually try to nd in my
images. It was too straightforward as an idea.
I was mulling it over in the kitchen, when my
eyes wandered to the knife block. Thats
when the idea for the twist struck me... what
if my knife throwers board, complete with
unfortunate volunteer, was miniaturised and
transformed into an everyday kitchen knife
block? This was just what Id been looking for,
so I got to work with my camera.
First I shot the knives thrust into a
cardboard box, making sure the angle of each
lined up. I included my hand gripping one of
the knives in the shot, to establish a sense of
scale and make it clear that the viewer was
SHOT

Shot 1

Andy merges a
surreal composite
image together
Shot 2

Dan unsheathes his

polarising filter to
make arty abstracts
Shot 3

Matty butters up
some toast for a
tasty creation!

50 DIGITAL PHOTO

Andy creates a

Elements from three

separate shots were
fused together to
create a knife block
with a difference!

kitchen knife block with a surreal twist

looking at a knife block. I then shot the
kitchen without the cardboard box from the
same angle. By opening both shots in
separate Layers in Photoshop, I was able to
mask out the box, leaving just the knives
and the hand.
I then shot two more elements a
chopping board and myself, spread-eagled
against a wall. I tried to shoot each one at
the same angle Id used to shoot the knives.
The chopping board would become my knife
throwers board and I would be the
unfortunate victim in the middle.
By cutting out each subject and
placing them on top of the

I DECIDED I WANTED
TO CREATE A FAIRLY
SURREAL COMPOSITE IMAGE

background I was able to create the

impression that the knives were sticking out
of the knife block with a miniaturised man
in the middle. Each of the four
elements had slightly diferent
lighting, so I had to do some extra
work to blend them together.
I used Free Transform to change
the angle of the chopping
board until it lined up with
the gure. I created a new
Layer, changed the
Blending Mode to Soft
Light and reduced the
Opacity to 20%. I then used
a black brush to paint some
shadows under the chopping
board and behind the gure,
ensuring each element had the
right weight and presence.

Andy shot the knives, the model and the kitchen

separately, then combined the elements in Photoshop.

Lessons learned
Making all the Layers blend naturally took a
bit of ne-tuning. First, I used the Photo Filter
to unify the overall colour scheme of the
image. Next, I merged all the Layers to a new
Layer on top of the stack (Shift+Ctrl+Alt+E)
and applied the Add Noise lter to that Layer
to give everything the same Noise pattern.
This helped to merge the elements and sell
the illusion.

DIGITAL PHOTO 51

OUT OFTHE
ORDINARY

Cheap plastic cutlery

becomes a work of art
with an LCD monitor and
a polarising lter.

Dan polarises opinion with plastic cutlery

I wanted to give macro a go for this
challenge and thought a repeating
pattern of knives would work
strongly. Later, when I was tucking into my
lunch, I realised the plastic cutlery I was using
could be used to add an abstract spin.
Cross-polarisation requires both a polarised
light source, and a polarising lter which can
be turned to allow in diferent amounts of
polarised light. Put a clear plastic object
between the two and you can create some
wonderfully colourful abstract pictures.
A tablet or computer LCD screen is the most
readily available polarised light source, and
you need the screen to be completely white
for it to work. You can do this on a computer
by creating a new blank le in Photoshop, and
zoom in until the whole screen is white (see
the panel on the right). You can also transfer
SHOT

THE PLASTIC CUTLERY

IN MY LUNCHBOX GAVE
ME A COMPLETELY
ABSTRACT IDEA
52 DIGITAL PHOTO

this white image to a tablets screen if it

makes the shot easier.
I cleaned the screen and gently positioned
the knives in the repeating pattern I originally
imagined. I then set up my camera on a tripod,
composed and focused. I switched the camera
to MF to lock the focus, set it to Aperture
priority, dialled in an aperture of f/8, ISO of
100 and engaged the 2secs
Self-timer. The next step was to
attach the polarising lter. If you
dont have one, theyre both
afordable and versatile, and are
commonly used to increase
contrast in skies. Make
sure you get the circular
type which refers to the
polarised pattern rather
than the round shape, as
linear ones can interfere
with metering and AF.
I screwed the polariser
on and turned it until the
screen went black. I then
pressed the shutter to take
this colourful shot.

Dan used a polarising lter so that only the

colourful effect of the plastic knives stress points
were transmitted to the imaging sensor.

Get a white screen

Whether you use a computer screen or a
tablet, your LCD needs to be completely
white. In Photoshop go to FiletNewtBlank
File and input a Width of 1200px, a Height
of 800px, set Background to White and hit
OK. Press Tab to lose your palettes and hit
Ctrl+Plus until the screen is lled with white.
If you have the full version of Photoshop, hit F
to get the Full Screen mode.

Possibly the
most creative
idea since
sliced bread?

SEND US
YOUR PICTURES!
Now youve seen what the
team has produced, have a go
yourself. Send us your shots
and they could appear in the
UKs top photo mag!
Email pics to dpimages
@bauermedia.co.uk

Matty toasts to a cutting-edge knife idea

Now Im of a certain age, and Im
happy to admit that when this
months subject of knife was
announced, my thoughts turned straight to
food and my rumbling belly, rather than any
macho, Rambo-based connotations. Initial ideas
were based around slicing fruit, but as I popped
on the kettle to help the creative process,
I glanced at the toaster alongside. A lightbulb lit
up in my head and the idea formed of burning a
message into some buttered toast.
Now, I could have put any message
into the toast, but I opted for a
little shameless self-promotion for
the best mag you can get! To burn the
logo onto the toast, some Photoshop
would be needed, but rst, I had to
capture the live elements.
To set the scene, I placed a
chopping board next to the window
to ensure even light would be cast
SHOT

RATHER THAN ANY RAMBO,

NINJA-STYLE CONNOTATIONS,
MY THOUGHTS TURNEDTO
MY RUMBLING BELLY

over my subjects. The trick was to pop the bread

in the toaster for a minute or so just long
enough for it to brown a little so it didnt look
like a fresh loaf, but not so long that it would be
completed toasted. If it was too burnt, it would
be diicult to make any message stand out.
With the image opened in Photoshop,
I selected the Digital Photo logo, then copied
and pasted it onto the toast picture.
Using Free Transform mode (Ctrl+T),
I positioned the logo over the toast and resized
it to give the best t. Obviously a
sharp, black logo wouldnt look
natural, so I added a little
Gaussian Blur to soften it
slightly and then changed the
logo Layers Blending Mode
to Colour Burn.
For a nal touch I altered
the edges of the logo Layer
using the Wind lter (under
FiltertStylize). The last job
was to lower the Opacity of
the logo Layer to help the
toasted efect look more
natural. All that was left was for
me to chomp down on my
subject. Yum, yum!

With the plain toast

image captured, some
simple Layer blending
and lter work in
Photoshop helped the
toasted message
come to life.

Lessons learned
One challenge I found was that the logo
was harder to read with the texture
of the seeds in the bread. I solved this
by using the Clone tool to remove the
seeds and this really made a difference
to how legible the message in the bread
appeared. If you nd your message is
hard to read, try duplicating the logo
Layer with Ctrl+J to make it stronger.

DIGITAL PHOTO 53

WHY
THIS SHOT
WORKS
Learn what makes
Jo Simoes colour-filled
powder portrait a studiobased masterpiece
WORDS BY MATTY GRAHAM

A Use of symmetry

Symmetry is a powerful compositional tool. It brings an automatic

sense of balance to the frame so the viewers eye doesnt have to work
too hard to decipher the scene. Using symmetry with head-on portrait
shots creates strong, very direct images that place the viewer face-toface with the subject.

B Eye contact with the viewer

There are times when no eye contact from the model can create
a sense of mystery or melancholy in a frame. But in portraiture, the
general rule is to keep eye contact between the model and the lens.
This allows the viewer to connect with the subject and get a better
understanding of the expression or emotion portrayed.

C Studio lighting

Jo has amazing lighting skills and has illuminated this scene

beautifully. A black background has been used, and with stark contrast
and no distractions, this helps the model to stand out in the frame. The
use of softboxes has cast even, gentle light thats free from any hard
shadows and the catchlights in the subjects eyes add depth.

D Complementary colours

A simple portrait of this models strong features would have been

powerful enough, but Jo has gone a step further and added a creative
dimension by throwing in coloured powder. Whats more, hes been
clever with the choice of colours. Blue and yellow are opposites on
the colour wheel, so complement each other and make this portrait
explode with dynamic energy.
What was used
Camera Canon 5D MkIII & 24-70mm lens
Exposure 1/200sec @ f/8, ISO 100
Software Photoshop Visit www.josimoes.com

54 DIGITAL PHOTO

PHOTO INSIGHT

The clever use of

blue and yellow
powder brings
complementary
colours to this
exciting portrait.

DIGITAL PHOTO 55

Life is one big opportunity to

reinvent yourself. No one knows
this better than Tom Anderson...
WORDS BY MATTY GRAHAM

hotography is a lifestyle for me because

its interwoven with virtually
everything I do. Its taken over and, in
many ways, guides my life. So says Tom
Anderson a man whos enjoyed a deep,
globe-trotting journey with imagemaking. For those who dont recognise the
name, Tom was a founder of Myspace, the
original social media website and a byword for
noughties pop-culture. After retiring, the
inuence of a talented buddy sparked a fresh
passion in Toms world, and his photos are now

INTERVIEW

WHERE I AM AT ANY
GIVEN TIME OF THE
YEAR IS BASED UPON
THE BEST PHOTO
OPPORTUNITIES

DIGITAL PHOTO 57

I WANT TO SHOOT
SCENES THAT ARE
JAW-DROPPING
AND OVER THE TOP

seen by over six million followers on

social media platforms around the
world. I became friends with Trey
Ratclife and as a consequence of
hanging out, I decided to pick up a
camera. In the beginning it was just
something for us to do together Trey
has such a passion for what hes doing,
he really got me excited about taking
photos. I cant thank him enough,
because it changed my life in a
profound way.
Not having to work every day is a
positive goal many aspire to, and this
freedom opened up new opportunities
for Tom to express himself creatively
with photography... and to travel.
Where I am at any given time in the
year is based on the best photo
opportunities. Its the organising
principle for my daily routine.
Having one photography genius as a
mentor is great enough, but Tom didnt
stop there, and took a workshop with
pro wilderness photographer, Marc
Adamus. Although the workshop lasted
58 DIGITAL PHOTO

just a few days, Tom admits it had a big

impact on both himself and his quality
of work and proved to be a jumping
point in his journey.
Although he briey experimented
with ne-art composites, Tom never
shared any of his images from this
genre. Instead, his real passion is
landscapes (a glance at his popular
Instagram page @myspacetom looks
like a Nat Geo contact sheet) and hes
learnt to look for specic elements to
create amazing images. Generally I
want something jaw-dropping and
over-the-top. Subtlety is not a big part
of what Ive done so far. I want people
to think Wow, I cant believe this
place exists, he explains.
Tom takes a perfectionist approach to
his scene selection. If a rock or tree
seems out of place, it bothers me and I
wont use the image. In a way, this kind
of thinking sets the bar too high its
getting more and more diicult to nd
things I can photograph and share.
Tom says this is partly because the

Previous page
Tom paired his
Nikon D4 with a
14-24mm lens to
capture this scene
at Lone Pine,
California.
Above Festival
goers climb a
sculpture at the
Burning Man event
in the desert in
Nevada.
Top right This
image of the Wat
Arun temple in
Bangkok was given
an HDR treatment.
Right Tom says the
old town area in
Daux, China is like
going back in time.

main way he shares is online, and

particularly on the mobile app
Instagram, as it ofers such a small
space to make a big impact.
Travel and photography are
intrinsically linked and the Los
Angeles native has embraced the
globe-trotting lifestyle
wholeheartedly. From the Far East to
the Arctic North, youll struggle to
nd a passport as well-stamped as his.
Of course, there are locations that
stand out more than others. Bagan
in Burma is one of my top places.
I arrived there pre-dawn after days of
travel and hired a local to bring me to
the temples in a taxi a horse-drawn
wagon. It was such a memorable
experience: the bumpy ride, my legs
swinging of the back, the clip-clop of
the hooves, and then arriving at this
amazing 11th century temple,
remembers Tom. In most places
thered be a fence or rope to keep you
away, but in Bagan they encourage
everyone to climb right up to the top

INTERVIEW

DIGITAL PHOTO 59

of the temples. From there, I watched

a sunrise lled with hot-air balloons.
The valley sat in near silence except
for the sound of the balloons ring.
Just talking about it makes me want to
go back.
While Tom has experienced many
highs, there have also been some
unfortunate lows, mostly involving
gear mishaps and the occasional
broken bone. When visiting the
dramatic jords of Lofoten in Norway,
Tom slipped on some icy rocks and
fractured his ankle. Luckily, he was
found by a local doctor and was dosed
up with morphine before being
shipped of to the nearest hospital.
At least three of Toms DSLRs have
met a worse fate. I wouldnt say Im
clumsy, but I have totally destroyed
cameras and broken more lenses than
I can count, he recalls. The rst time
was on a pier in Long Beach. I had sand
in my tripod legs and my camera fell
of the pier. It smacked onto a
concrete platform below then
bounced into the ocean. The three
tripod legs were sticking up out of the
water and slowly sinking. It was
unreal, like a scene from a cartoon!
60 DIGITAL PHOTO

Above Tom had to

endure a climb up
a wet and slippery
hillside to capture
this magical view
of rural Guilin in
China. He stayed at
the scene post
sunset and saw
the valley lit up
by reies.
Top right A golden
sunset inspired
Tom to shoot this
image of
Manhattan Beach
Pier in Los
Angeles using his
workhorse
14-24mm lens.

That was a 3000 Nikon and a 1000

lens right there.
With a background in computers,
its no surprise Tom wholly embraces
image editing. He says his photos
rarely escape heavy enhancements
using both Photoshop and Lightroom.
Although Tom used to use dedicated
HDR software, he now nds the
existing features in Adobes software
can recover all the detail needed from
his Nikon D810s RAW les. All the
software sits on his laptop which
accompanies him around the world.
Toms open to trying new software
but says very few programs make it
into his workow. Along with the
D810, which Tom upgraded to after
starting with a Nikon D7000, theres a
D4 in his kit bag. These are paired with
his two workhorse lenses the
Nikkor 14-24mm and 28-300mm, but
he also has a 16mm sheye and 12mm
lens in the bag too. I think some are
surprised I used the 28-300mm, since
its not a pro lens, says Tom. Maybe
I would notice some diference in
quality if I were doing giant prints, but
right now I process mostly for
computer and phone screens. Tom

believes he will go mirrorless to cut

down on the weight, but is waiting for
CSCs to improve in weather-sealing
and battery life.
There must be a little room left in
Toms passport as he admits there are
locations he has yet to cross of the
list. These include Antarctica and
Alaska both of which were chosen
after catching the sub-zero bug
shooting an Icelandic winter.
In the future, Toms uploads could
see fewer landscapes and more
portraits perhaps with a leaning to
ne-art composites. Ive been
travelling for four years and sometimes
just want to be home, says the
45-year-old. Tom reckons this genre
initially inspired by the work of Miss
Aniela would keep him shooting
when hes not travelling. But his six
million followers may have to wait a
while before a diferent style appears
on screen, as Toms perfectionist ethic
kicks in again. Im not satised with
the results at this point, but I think its
coming. Its what I expect to be the
next phase of my photography life.
Based on his achievements so far,
well look forward to it.

INTERVIEW

Above Tom used his

16mm sheye lens to
capture the trafc
trails under Big Ben
in London.
Left Tom discovered
the taste for cold
weather photography
when visiting ice
caves in Iceland.
Right A road trip
through Arizona gave
Tom the opportunity
to capture the beauty
of Antelope Canyon.
DIGITAL PHOTO 61

PHOTOSHOP
ESSENTIAL
IMAGING
TECHNIQUES
MADE EASY

EXCLUSIVE

VIDEO
LESSONS

exclusive videos show you how to enhance any photo!

O
O

Get the long exposure look O Learn Layers & Masking O Master Curves
Make a photo joiner O Retouch portraits in RAW PLUS 30 triptych templates

H M

PhotoSkills

M TTY

On your exclusive PhotoSkills CD

youll find video lessons on all the
projects. Watch them come to life
on your computer screen

a triptych using our

64 Create
exclusive free templates

the long exposure look for

68 Get
dreamy landscapes

portraits direct from

82 Retouch
RAW les in Lightroom

how to use Curves in Photoshop to take precise

72 Discover
control of contrast and colour balance in any shot

Use Layers in Photoshop or Elements to

add new skies and extra focal points p78

Make an arty Polaroid photo joiner from just

one pic using our free templates p76
DIGITAL PHOTO 63

PHOTOSHOP GENIUS

THINKING
IN THREES
Use your free triptych templates
in Photoshop or Elements to
create a trio of connected images
TECHNIQUE & PICS BY JON ADAMS

At a glance
Youll learn How to
use the free triptych
templates to create
fresh presentations
Youll need
Photoshop or
Elements
Time required
10 minutes
Difficulty level Easy

On the disc
Video lessons
Watch on screen
as Jon guides you
through this tutorial,
and see how to
assemble connected
pics into a trio.
Start images The
templates plus the
images Jon used can
be found in the Start
Images folder.

hy settle for a single image

when you can create three
times the impact? A
triptych is the art worlds
name for a set of three images in a
row that are presented together.
Although you could use any three
pictures, the idea is that theyre
bonded by a shared connection. This
could be three shots of the same
person or location, three images
with a common colour, or three pics
of the same subject in a diferent
place. When you start to think about
the way you can connect images
with a common bond, the creative
options are endless.
And to keep the presentation as
fresh and creative as the ideas youll
use, weve supplied no less than 30
great triptych templates for you to
enjoy. Theyre simple to use, so
follow the technique and youll soon
nd yourself thinking in threes!
The templates all work in the
same way, so once youve got the
hang of the technique, youll be
fully equipped to get creative.

Before

ON YOUR

FREE CD
30 TRIPTYCH
TEMPLATES

These three colourful shots were all taken in or near Edam in Holland. Thats
the theme that connects the pictures, and they can be displayed together in a
triptych presentation using the free templates in the Start Images folder.

64 DIGITAL PHOTO

USE YOUR FREE TRIPTYCH TEMPLATES

After

With our templates, a trio of shots connected by

a common theme can be presented together.

NOW
COMBINE
YOUR
PHOTOS
DIGITAL PHOTO 65

PHOTOSHOP GENIUS

Open the triptych template you want

and paste in your first picture

Mask out the

excess image

Open the triptych template you want to use from the 30 free options
in the Start Images folder (Triptych 15.jpg was used in the example image).
All the templates are in landscape format, so are suitable for vertical
images, but theres no law against having your triptych the other way
round. If you want to do this, go to ImagetImage Rotationt90 CW
(ImagetRotatet90 Right in Elements). Once your template is in the
preferred orientation, go to FiletOpen and nd the image you want to place
in the centre window. We used Edam 2.jpg, which is also in the Start Images
folder. Once its on screen, hit Ctrl+A to select the picture, Ctrl+C to copy it
and Ctrl+W to close it down. With the template back on screen, hit Ctrl+V to
paste the image over the top.

Some of the image will

likely be hanging over the edges
of the frame. Its best not to
remove these with the Eraser
tool as that will delete the pixels
and deny you the chance to adjust
the composition later. So instead,
select the Rectangular Marquee
tool and drag out a Selection around the aperture, making sure you include
any fuzzy edges if using one of the arty templates. With this done, click the
Add Layer Mask icon in the Layers panel and all the overhanging parts will
be hidden from view. Once youve masked off the image, click on the link icon
between the Layer thumbnail and the Mask in the Layers panel. This will let
you use the Move tool to shift the picture without moving the Mask.

66 DIGITAL PHOTO

Blend in the pic and

resize it to fit

Add your other pics

in the same way

The image will obscure the template,

so its time to change the Blending Mode. To
do this, open the Layers panel (WindowtLayers) and youll see that Layer 1
(your pic) is highlighted and oating above the Background (your template).
Click on the box that says Normal and change the Blending Mode to Screen.
The image will show through the apertures within the template. To scale the
image to t, hit Ctrl+T to enter Free Transform mode, and pull the corner
handles to reduce its size and arrange it how you want in the centre frame.
To keep the pic in proportion, tick the Constrain Proportions box in Elements
(its in the Tool Options bar) or hold Shift as you drag a corner in Photoshop.
Once its neatly framed, hit Return to conrm the changes.

Now go to FiletOpen and choose

the pic you want to feature in the left-hand
window (we used Edam 1.jpg). Use the
same sequence of shortcuts to select,
copy, close and paste it in, and then
change the Blending Mode to Screen and
resize it to suit the aperture with Free
Transform. Once youve done this, remove the overhanging areas with a
Selection and Mask as in the previous step. Click on the link to detach the
Mask. Now run through the same technique again to add, resize and mask
your third pic (Edam 3.jpg), so you have your three shots in the template.

USE YOUR FREE TRIPTYCH TEMPLATES

6
5

Fine-tune your
composition

With the basic effect complete, you

can now adjust the position of the individual
images. Because youve detached the
pictures from their Layer Masks, you can
move them how you like, or even readjust
their sizes using Free Transform (Ctrl+T).
To do this, click on the Layer thumbnail of the image you want to move.
Dont click on the Layer Mask alongside it, because if its active you will move
this, rather than the picture. To check whether you have a Layer or a Mask
active, look in the Layers panel and youll see that the relevant component is
outlined. If you dont want to resize the image in the frame, you can use the
Move tool (shortcut V) to move the pic, rather than Free Transform.

Finish off your

triptych

The image is now

complete, but to tie it all
together, you may wish to apply
a global enhancement like a
contrast or colour adjustment
that affects all three images
in exactly the same way. To
do this, click on the top Layer
thumbnail to make it active,
and then click the Adjustment
Layer icon. Choose the adjustment you want to make (such as Levels for
contrast, or Hue/Saturation for colour), and when the palette appears on
screen, any changes you make will affect all the Layers and hence all the
images in your triptych. In the example image, we created a Hue/Saturation
Adjustment Layer, and moved the Saturation slider to +30 to give all the
colours a boost. Once youve made your changes, go to LayertFlatten
Image, and save your completed triptych under a new name.

OTHER IDEAS TO TRY Create a triptych from a single image

Although a traditional triptych will display
three different images, you can also use the
templates to create an instant triptych from just
one image. This effect is really quick and easy
to apply and it provides a completely new take
on a picture by separating it into three panels.
Any image can be used, but youll often
nd that the best results come from more
symmetrical compositions where your key
subject is placed in the centre of the frame.
This makes landscape format pictures more
suitable for the technique, but theres nothing to
stop you from trying vertical images, as all you
have to do is rotate the triptych template to the
left or right before pasting in the picture. Heres
how to do it...
Open the image you want to turn into a
triptych and when its on screen in Photoshop
or Elements, hit Ctrl+A to select it, and Ctrl+C
to copy it. Now hit Ctrl+W to close it down.
Go to FiletOpen and load the triptych
template you want to use from the Start Images
folder. When its on screen, rotate it if youve
used a vertical pic by going to ImagetImage
Rotationt90 CW (ImagetRotatet90 Right
in Elements). Once your template is the right

Turn one pic

into three with
this quick &
easy technique.

way round, hit Ctrl+V to paste your picture into

the same image document.
In the Layers panel, click where it says
Normal and change the Blending Mode to
Screen, and then hit Ctrl+T to enter Free
Transform mode.

Pull the corner handles to resize your image

to t the triptych presentation, and press
Return when youre done.
Go to LayertFlatten Image, then go to
FiletSave As and save it under a new name
in a format of your choice.

DIGITAL PHOTO 67

PHOTOSHOP GENIUS

RECREATE LONG
EXPOSURE
LANDSCAPES
Get dynamic streaked clouds
from sharp shots all thanks to
Photoshops Radial Blur filter
TECHNIQUE & PICS BY MATTY GRAHAM

At a glance
Youll learn How to recreate
a long exposure effect on
skies in landscapes
Youll need Photoshop
or Elements
Time required 5 minutes
Difficulty level Easy

On the disc
Video lessons Watch as
Matty runs through this
innovative Photoshop
technique on your
computer screen.
Start images Try out the
project using Lake.jpg it
can be found in the Start
Images folder.

ith clouds scudding across

the frame in an other-worldly
manner, the lure of a long
exposure landscape is strong.
All static elements remain xed and
sharp, but anything moving blurs out
to reveal the passing of time.
To get this look in-camera, you need
a strong Neutral Density lter to
reduce the light entering the lens. You
also need some time as each exposure
can last in excess of a minute. But with
Photoshop or Elements, you can
emulate the effect of this optical lter
by using a digital one. The Radial Blur
lter doesnt just add circular motion
blur to an image as its name suggests
it can also add a zoom blur effect.
It unlocks the potential to create the
drama of a long exposure with just
a few clicks.

Before

This shot was taken with a Canon EOS 100D DSLR using a focal length of 18mm. The
camera was set to Aperture priority mode and an aperture of f/8 was used.

68 DIGITAL PHOTO

EMULATE A LONG EXPOSURE

After
In just minutes, the clouds
can be turned into blurred
streaks, giving the look of
a long exposure.

DIGITAL PHOTO 69

PHOTOSHOP GENIUS

Open the image

& duplicate the
background Layer

Add a Layer Mask

& hide the effect

Choose a landscape image youd like

to add a long exposure effect to, or use
Lake.jpg from the Start Images folder.
With Photoshop or Elements on screen, go to FiletOpen, navigate to
your image and load it by double-clicking on it. Its best to add the Radial
Blur lter to a new Layer in case you make any errors along the way, so
duplicate the Background Layer by hitting Ctrl+J. The new Layer will appear
in your Layers panel (go to WindowtLayers if you cant see it). It will be
automatically highlighted as the active Layer, ready for you to work on.

The whole image will now be

blurred from the centre out, but parts
of the blurred Layer need to be hidden to show the static areas on the
Background Layer beneath. In the example pic, the trees and shoreline
need to be sharp as they wouldnt move during a long exposure. Click on the
Add Layer Mask icon in the Layers panel and a white rectangle will appear
alongside the Layer thumbnail. This is the Mask. Select the Brush tool (B),
set its Hardness to 0% (hold Shift and tap [ repeatedly) and make sure it
is set to black (hit D then X). Change the size of the brush with the square
brackets keys and then brush over areas where you want to remove the blur.
If you make a mistake, hit X to get a white brush and paint over the error.

70 DIGITAL PHOTO

Add Radial blur

Add Lens Flare

& boost colours

Go to FiltertBlurtRadial
Blur. In the dialogue box drag
the Amount slider to 12. Change the
Blur Method to Zoom and, nally,
change the Quality option to Best. If
your horizon is not placed centrally
in the frame, you can change the
anchor point for the blur by clicking
on the Blur Center box and dragging. Its not too precise, so it sometimes
takes a few goes to get the right position. Hit OK and if you want to move the
blur centre, hit Ctrl+Z to undo the effect and try again.

For an arty extra touch, you

can add atmosphere by introducing
some Lens Flare. To do this, go to
LayertFlatten Image then go to
FiltertRendertLens Flare. A dialogue box will appear with a preview
window. Use the mouse to position the Lens Flare exactly where you want
it and then click OK. To nish off, you can boost the colours with a Hue/
Saturation Adjustment Layer. To do this, Click on the Adjustment Layer
icon in the Layers panel and select Hue/Saturation from the list. When the
adjustment panel appears, increase the Saturation slider to +30. Flatten the
image once more, then save your pic under a new name via FiletSave As.


        



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PHOTOSHOP

MASTERCLASS

USING CURVES

VIDEO
LESSONS
ON THE CD

Learn how to give an image

a complete overhaul with the
far-reaching power of Curves
TECHNIQUE & PICS BY ANDY HEATHER

heres an amazing tool in

the full version of
Photoshop that ofers a
wide range of enhancement
options. Its related to the Levels
command, in that it controls
contrast and colour balance, but
its far more versatile. Used
extensively by professionals,
Curves allows you to make
nuanced exposure and colour
adjustments that simply wouldnt
be possible in Levels. Accessed
directly through the Imaget
Adjustments menu or applied
via an Adjustment Layer, the
Curves command ofers you a

diagonal line that represents the

highlights, midtones and shadows
present in your image. By
dragging it up and down you can
increase or decrease the
luminosity values in any tonal
area you like. This can be used to
create any kind of exposure
adjustment your shot may need,
from cool, low-contrast nishes
to moody, high-contrast efects.
Its interface may look complex
but once youve followed this
tutorial, using Curves will
become second nature. Lets get
started by having a look at the
Curves dialogue box.

Before
This shot was taken in the Kyoto shrine used in the movie Memoirs of a
Geisha. Sadly, its underexposed, lacks contrast and has a green tint.

CURVES THE CORE FEATURES & FUNCTIONS

CURVES/MASKS
These buttons give you the option to see the
curve or the Layer mask.
ON-IMAGE ADJUSTMENT TOOL
This lets you drag directly in the image,
rather than pull the diagonal line around.
Its useful if you dont know where your
highlights end and your midtones begin.
EYEDROPPER TOOLS
These allow you to click anywhere in the
shot that should be black, neutral grey or
white, respectively. Doing so will correct the
colour balance in the shot, setting all the
other colours to their correct values.

RGB
This dropdown menu gives you the option
of altering all three colour channels at
once (RGB) or to alter the red, green and
blue channels individually to change the
colour balance.
AUTO
This feature attempts to create a full
histogram with a good balance of
highlights and shadows.
HIGHLIGHTS
The right-hand side of the grid (weve
made it yellow) represents the brightest
tones present in the image.

EDIT POINTS TO MODIFY THE CURVE

This is the default mode for editing Curves.
Every time you click and drag the line, an
edit point will be created.

MIDTONES
The two centre columns (weve made them
red) show the midtones, with the darkest to
the left and the brightest to the right.

DRAW TO MODIFY THE CURVE

This mode lets you draw a curve freehand.
No-one on the DP team has ever used it, so
you probably wont need this!

SHADOWS
The left-hand side of the grid (blue in our
diagram) represents the shadow data
the very darkest tones in your shot.

72 DIGITAL PHOTO

PHOTOSHOP MASTERCLASS

After
The exposure,
contrast and
colour balance
have been xed
with Curves
Adjustment
Layers

CURVES WHAT YOU CAN DO WITH IT

Increase Exposure
Pulling the centre of the diagonal line
upward causes it to curve (hence the
name). The midtones have been brightened,
but the black and white points remain the
same. The extreme highlights and shadows
have changed a little, but not as much as the
midtones. This has the effect of blending the
midtone adjustment with the rest of the shot.

Improve Contrast
By pulling the highlights (that is to
say the top-right of the line) upward
and shadows (the bottom left of the line)
downward, you can brighten the highlights and
deepen the shadows. This S-shaped curve has
the effect of increasing the contrast. Curving
the line in the opposite direction (a reverse S
curve) would decrease the contrast.

Alter Colour balance

Each colour channel can be edited

individually when chosen from the RGB
dropdown menu. Pushing the red curve up
increases the strength of the reds in the shot
and pulling it down has the opposite effect. If
your shot has a green colour cast, as our start
image did, pulling the green curve down will
counteract this and restore natural colour.

DIGITAL PHOTO 73

NEW
SERIES

PHOTOSHOP

MASTERCLASS

Increase the
exposure in the
lower half

Edit each
colour curve
individually

Open a shot in need of a little improvement

into the full version of Photoshop (CS5,
CS6 or CC). If youd like to practise with
our example shot, youll nd it in the Start
Images folder. Its called Shrine.jpg. Once its open, youll see the bottom
of the shot is underexposed, so lets start by increasing the exposure in
this area. Click on the Create new ll or adjustment layer icon. From the
dropdown menu, select Curves. Click on the middle of the diagonal line and
drag to push it upward. This will increase the brightness of the midtones
across the entire image, and youll see the changes happen immediately on
the picture as you adjust the Curve.

Now create a new Curves

Adjustment Layer in the same way
as you did in the last step. Click
on where it says RGB and from
the menu, select Green. Pull the
diagonal line down slightly to remove that green colour cast a little. Now
select Blue and pull the line down again. Finally select Red and push it up a
touch to boost the vermillion colour of the gates behind the model. Go back
to RGB, and youll now see the different Curves for each colour channel.

74 DIGITAL PHOTO

Mask off the top

of the frame

The bottom of the frame

now looks good, but the top is
overexposed. To x this, add a Mask
to the Adjustment Layer to limit
the effect to the bottom of the frame. This can be done by clicking on the
Add Layer Mask icon at the bottom of the Layers panel. Hit D to return your
colours to their default values of black and white. Click on the Gradient Tool
(G). Make sure your gradient is set to Linear, Reverse is not ticked and Mode
is on Normal as above. Draw a gradient by clicking and dragging upward
in the centre of the image. Hold down the Shift key as you drag to keep the
gradient in a straight line and perfectly horizontal.

Set the grey point

to further refine
the colour balance

To further rene the colour balance

and make everything look as natural
as possible, create another Curves
Adjustment Layer. This time, click the
Sample in image to set grey point
icon (thats the grey eyedropper in the
middle of the three). Now click on the
grey button on the models denim jacket. Photoshop will make the buttons
grey and will shift all the other colours according to this instruction, making
the skintones look more natural in the process.

USING CURVES

6
5

Improve the contrast

with an S-shaped curve

To improve the contrast in the shot, create

another new Curves Adjustment Layer and bend
the line into an S shape. Push the highlights up
so they get brighter and pull the shadows down
so they get darker. Dont increase the contrast so
much that you lose natural tonal gradations. If the
image is still a little on the dark side, increase the midtones and highlights a
little more than the shadows to brighten it up.

Brighten the eyes

Finally were going to highlight each

of the eyes and make the irises more
visible. Create a fth Curves Adjustment
Layer and push the middle of the line
upwards. Itll brighten the entire image, but
just watch the eyes, as thats where well
limit the effect. To do this, make sure the
Layer Mask is active, and hit Ctrl+I to invert
the Masks colours, changing white to black.
This will hide the brightening effect completely. To show the effect in the
eyes, zoom in tight on the eyes (Ctrl+Plus), select the Brush tool (B) and,
with white as your foreground colour, paint into the irises with a small softedged brush. With the irises nice and bright, hit X to switch to black and after
decreasing brush size, paint into the pupil to ensure it remains black.

EXPERT TIP Setting white points

Oh, and one more thing...

Save your photo with a new filename

The nal step is to save your shot and give it a new name, so go up
to FiletSave as and title your shot. If you want to share your shot
online or send it via email, its best to use JPEG as the le format. Thatll
compress the image and result in a small le size. If you plan to return to
the shot and continue editing your Curves adjustments in the future, select
Photoshop (PSD). This is a lossless format, so no cpmpromises are
made. It results in a larger le too big to email but it doesnt compress
your shot so the image quality doesnt degrade. The Adjustment Layers and
Layer Masks you created will remain intact in the PSD format so you can
come back and edit them at any time.

Another useful tool in the Curves dialogue box

is the white eyedropper. Its labelled Sample
in image to set white point. Selecting this
eyedropper allows you to click anywhere in your
shot to set that as the white point of the image.
The shot above left is underexposed and has
a purple colour cast because the stage lighting confused the cameras
automatic White Balance. By clicking once on the models white T-shirt,
Photoshop made that the white point of the image, immediately xing
both the exposure and the colour balance in a single click. Try it out on
any image that contains a white object and is in need of a pick-me-up!

DIGITAL PHOTO 75

PHOTOSHOP GENIUS

At a glance
Youll learn How to
split a shot into an
arty joiner montage
Youll need
Photoshop or
Elements
Time required
10 minutes
Difficulty level
Easy

CREATE AN ARTISTIC
POLAROID JOINER
Make a single photo look like
a montage of multiple shots
with this easy project
TECHNIQUE & PICS BY GAVIN HOEY

On the disc
Video lessons
Watch as Gavin runs
through this entire
technique on your
computer screen.
Start images
The pics Gavin used
can be found in
the Start Images
folder so you can try
the technique for
yourself.

s the name suggests, a joiner

is an image made up of lots
of smaller photos placed
next to each other a bit
like a jigsaw. Traditionally these
were made by taking lots of closeup shots of a scene and arranging
the prints to form the montage.
Check out the work of artist David
Hockney to see joiners by a master
of the analogue form.
For this technique, were going
to keep the number of photos you
need to just one. Thanks to our
custom-made templates, youll be
able to quickly slice it up into 12

squares to complete the project.

Part of the appeal of a joiner is
the little imperfections, for
example how the individual
photos slightly overlap and how
the alignment of each is subtly
diferent. This happens naturally
when shooting lots of photos to
make a real joiner, but here youre
going to get the chance to add these
imperfections yourself!
When choosing an image to use,
nd a shot that has a recognisable
shape to be fragmented. Any framelling, man-made structures and
portrait shots can be efective.

Open the template and grid, then

paste in your main image

To speed you through this project weve got some templates youll
want to use. The rst one to open is Polaroid-Frames.jpg which is the main
template for this project, then open Polaroid-Grid.jpg immediately after. Now
youll need the photo you want to slice up, so open Polaroid-Wheel.jpg or use
a photo of your own. Press Ctrl+C to copy the photo and then close the image
with Ctrl+W. Press Ctrl+V to paste the photo onto the grid. If your photo is too
big press Ctrl+T and pull the handles to resize it so it ts the grid. If it helps,
lower the Layer Opacity temporarily to ensure every square has something
inside. The photo weve supplied will t perfectly without resizing.

76 DIGITAL PHOTO

Before

From architectural shots to street scenes

and attractions, any man-made structure
can be broken down into a photo joiner.
Portraits can work well too, so dont be
afraid to experiment with different images.

Arrange the Layers & slice up your pic

In the Layers panel, double-click the padlock next to the Layer called
Background, click OK and the name will change to Layer 0. Now drag
your photo Layer under the grid Layer. Select the Magic Wand tool (W) and
in the Tool Options bar, tick the Sample All Layers and Contiguous boxes.
Check that the lower Layer is highlighted and therefore the active Layer,
then click in the top-left square of the grid. Youll now have a square-shaped
Selection. Press Ctrl+C to copy the selected area and then go back to the
document with all the Polaroid frames in it. Select the black area in the
top-left frame by clicking somewhere in the middle and press Ctrl+Shift+V
(Photoshop users press Ctrl+Shift+Alt+V) to paste into the Selection. The
copied portion of the Ferris wheel photo will appear in the frame.

MAKE A PHOTO JOINER

After

GAVIN HOEY

When arranged
into our
custom-made
joiner template,
a scene is given a
brand new twist!

BONUS VIDEO Create a 3D joiner

The overhead view of the joiner works really well, but why stop there
when you can turn the relatively at shot into a picture that feels 3D?
In the Technique of the Month Extra youll discover how to use the
Transform tools and the Liquify lter to change the perspective of
your joiner image. You can catch the bonus video, which is completely
free to watch, on our website.
All you have to do is sign up to our Technique of the Month Extra
mailing list online at www.photoanswers.co.uk/extra. Register now,
and youll get a fantastic free video to boost your skills every single
month, so youll never be short of new digital techniques to try.

Align your sliced-up pics with the

template and complete the joiner

Although the photo is in the frame it probably wont be aligned the

same as the frame. To x this, press Ctrl+T and the Free Transform handles
will appear. Move your cursor outside the Transform bounding box and it
will change to a curved arrow, allowing you to rotate the image until it aligns
with the photo frame. When youre happy with the alignment, press Enter.
Return to grid image and click inside the next square with the Magic Wand
tool. Press Ctrl+C to copy the Selection. Go over to the template, click inside
the corresponding frame and press Ctrl+Shift+V (Photoshop users press
Ctrl+Shift+Alt+V). Press Ctrl+T and rotate as required. Continue copying,
pasting and rotating until all 12 squares are lled.

Follow our free Technique of the Month Extra video on the website, and
youll discover how to adapt your joiner and give it a 3D look.

DIGITAL PHOTO 77

PHOTOSHOP GENIUS

At a glance
Youll learn How
to use Photoshop
Layers to build up a
realistic composite
Youll need
Photoshop or
Elements
Time required
15 minutes
Difficulty level
Easy

ACHIEVE SPLIT-SECOND
TIMING IN PHOTOSHOP
Combine multiple pictures
using Layers to perfect your
architectural compositions

Before

TECHNIQUE & PICS BY DAN MOLD

On the disc
Video lessons
Watch as Dan runs
through this entire
technique on your
computer screen.
Start image
The City.jpg, Sky.jpg
and Plane.jpg pictures
Dan used can be
found in the Start
Images folder.

hether youre new to

Photoshop or an old hand
in need of a refresher,
heres a fantastic, fun
technique that will not only help
you gain some essential editing
skills, but also show you how to
recompose a shot after youve
pressed the shutter. In this guide,
youll become a master of making
Selections and youll discover how to
use Layers to seamlessly stack your
shots together. The image were
going to build could have been
captured in camera, but it would

Open your city pic and add a new sky

image to the document

In Photoshop or Elements, go to FiletOpen and open City.jpg from the

Start Images folder. Once its on screen, go to FiletOpen once more and
open up a shot of a cloud-laced sky. If you dont have one, youll find the Sky.
jpg pic in the Start Images folder, too. With the clouds on screen, hit Ctrl+A to
select the pic, followed by Ctrl+C to copy it. You can now hit Ctrl+W to close
the image down as you no longer need it. Back in the city picture hit Ctrl+V
to paste in the new sky. The sky pic is much bigger than the city shot and
obscures it. Youll need to restrict the clouds to cover only the sky area and
not the buildings.

78 DIGITAL PHOTO

have required a long wait for a

moodier sky to appear, and for a
plane to y overhead in exactly the
right position. But in Photoshop, you
can combine components separately
the buildings, the sky and the
plane, and merge them together to
get the exact composition for the
ideal shot. To nish it of, well also
reveal how to add a gritty, sepiatoned efect that ties it all together
and gives a powerful, retro look.
Follow the steps below and watch
the in-depth video lesson to see how
you can achieve it.

A new sky, a plane and a low-angle

shot of some skyscrapers can be
merged together to create a striking,
atmospheric image.

Select the sky and

soften the edge

In the Layers panel (WindowtLayers), hide the cloud Layer by

clicking the eye icon alongside it. Now select the Polygonal Lasso tool from
the Toolbox. Zoom in by hitting Ctrl+Plus a few times, then click all the way
around the edge of the buildings in the city shot. When you get to the edge of
the screen, hold down the Spacebar to temporarily bring up the Hand tool.
You can then drag to scroll around the image and get to the next portion of
the sky before continuing to click around the edge. When youve finished
making this Selection, youll see marching ants. Now go to SelecttRefine
Edge, enter a Feather of 1px and hit OK. This will soften the edge a little.

MAKE COMPOSITE IMAGES

After
Three different
shots make up
this image, but
theyre seamlessly
combined to give a
great composition.

DIGITAL PHOTO 79

PHOTOSHOP GENIUS

Move the clouds into the right position

Turn the plane

into a silhouette

In the Layers panel, click the eye icon once again to make the new sky
visible. Click on Layer 1 to make it active, then click on the Add Layer
Mask icon. This will hide everything except the area youve just selected,
making the new sky obscure the old one. You can further rene the skys
position by clicking on the chain icon between the Layer image thumbnail
and the Layer Mask. This will allow you to resize and move the sky image
independently of the Layer Mask. To do this, click on the Layer thumbnail
and hit Ctrl+T to activate Free Transform mode. In Elements, make sure
Constrain Proportions is ticked in the Tool Options bar, or in Photoshop, hold
down the Shift key. This will prevent you from distorting the clouds when you
pull the corner handles. Hit Return when youve repositioned the sky.

In the Layers panel, click

the eye icon alongside the planes
Layer to hide it, and youll be left with
just the marching ants. Now go to
LayertNewtLayer followed by
EdittFill Selection. In the dialogue
box, under Contents set Use to Black, and make sure the Blending Mode
is Normal and the Opacity is set to 100%. Click OK to ll the Selection with
black, followed by Ctrl+D to lose the marching ants. Now hit Ctrl+T to put
the planes silhouette into Free Transform mode, then resize it by dragging
the corner handles, and move it into the desired position. Hit Return when
youre done to set it down, then reduce the Layer Opacity to 85% to make the
plane look a little lower in contrast and more natural in the image.

80 DIGITAL PHOTO

Paste the plane into your city shot &

select it with the Polygonal Lasso tool

Add grain and a stylish sepia tint

To get the plane into the shot, use one of your own shots of a
aeroplane in ight, or go to FiletOpen and double-click on Plane.jpg from
the Start Images folder. When its on screen, hit Ctrl+A to select it, followed
by Ctrl+C to copy it and Ctrl+W to close it down. Youll return to your main
picture of the city and to paste in the Selection of the plane, hit Ctrl+V. Now
zoom in a little with Ctrl+Plus and use the Polygonal Lasso tool again to
click carefully around the plane, staying right on the very edge. When youre
nished youll see marching ants appear around the plane, indicating that
the Selection is complete.

Youll now have a natural-looking composite and can stop there if

you wish. But for a striking nish you can add a subtle colour tint, a
little extra brightness and some grain to ramp up the visual styling. To add
the brightness and grain go to LayertNew Fill LayertSolid Color. In the
dialogue box, drag the reticule in the Color Picker to white, and click OK.
Now go to FiltertNoisetAdd Noise. In the dialogue, set Amount to 120%,
Distribution to Gaussian, and tick Monochromatic before clicking OK. Back
in the Layers panel, change the Blending Mode of this Layer to Overlay, then
go to LayertFlatten Image. To add the colour tint, hit Ctrl+U to bring up the
Hue/Saturation panel. Tick Colorize, and for a sepia nish set Hue to 30 and
Saturation to 25. Hit OK and save your pic via FiletSave As.

TRY DIGITAL PHOTO

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PHOTOSHOP GENIUS

At a glance
Youll learn
How to create
flattering portraits for
that high-end look
Youll need
Photoshop or
Lightroom
Time required
15 minutes
Difficulty level Easy

RETOUCH PORTRAITS
LIKE A PRO IN LIGHTROOM
Master the Adjustment brush and Spot Removal
tool to give your people pics a professional finish
TECHNIQUE & PICS BY BEN DAVIS

On the disc
Video lessons
Watch as Ben runs
through this entire
technique on your
computer screen.
Start Image The pic
Becca.dng can be
found in the Start
Images folder, but itll
work just the same if
you use one of your
own portraits so
long as its a RAW file.

ould you be surprised to hear

that you can carry out a full
portrait overhaul using nothing
but Lightroom? Well, believe
it or not, you can! A lot of photographers
think Lightroom is just for organising
your les, but Adobes software has come
such a long way that its now possible to
do a professional-level retouching job
without opening Photoshop.
This tutorial will arm you with the skills
you need to make your people pictures
look like they belong in the pages of
a glossy fashion magazine. Well be
sharing with you the tips and techniques
professionals use, such as adjusting
Contrast and Clarity to soften the skin

Import your RAW

le and apply any
Lens Corrections

To start youll need to Import a portrait

into Lightroom by pressing Ctrl+Shift+I. Select your own RAW file or use
Becca.dng in the Start Images folder. Once its imported, click on Develop to
enter the editing module, and scroll down to the Lens Corrections tab. Tick
Enable Profile Corrections and Remove Chromatic Aberration to fix any
lens distortion problems. Click on Profile and confirm that Lightroom has
correctly detected the lens with which the image was taken. This particular
image was shot with a Sigma 85mm f/1.4 EX DG HSM.

82 DIGITAL PHOTO

and using the Spot Removal tool to get

rid of stray hairs or smooth out wrinkles.
By following our simple step-by-step,
youll learn how to think like a master
retoucher and pay attention to the most
minute of details all the way down to
the catchlights in the models eyes.
The best thing about doing this in
Lightroom is how easy it is. Lightrooms
Adjustment Brush comes with a number
of Presets designed for improving your
portraits. In the drop-down Effect menu
youll nd Soften Skin, Iris Enhance
and Teeth Whitening brushes to make
editing a breeze. Youll be amazed how
quickly and easily you can transform your
photography so give it a go now!

Before

While a technically competent

portrait to begin with, a few
subtle adjustments to the skin,
hair and facial features will
take this shot to the next level
and give it a pro look.

Control the Tone

and Presence in
the Basic tab

Open the Basic tab to start adjusting

the tones and colour of the image. Set
Contrast to -45 as harsh shadows can be
unflattering. Pull Highlights to -100 and
push Shadows to +100 to restore detail
in these parts of the image. Increase
Whites to +40 and reduce Blacks to -40 to fill out the histogram. Hold down
the Alt key as you do this to see a Clipping Mask. This will show you when
something is too bright or too dark. Set the Clarity slider to -40 to reduce
contrast on the edges of midtones. This helps to smooth the skin for a more
flattering look. Set Vibrance to +10 to give the more muted colours a boost,
and take Saturation down to -10 to hold back the more intense colours.

RETOUCH YOUR PORTRAITS

After

BEN DAVIS

The nished portrait

is more attering
the skin has been
smoothed and the
eyes have been given
some added shine.

DIGITAL PHOTO 83

PHOTOSHOP GENIUS

Adjust the colour

and contrast in the
Tone Curve tab

Open the Tone Curve tab and click the icon at the bottom right to manually
edit the Point Curve. With the Channel set to RGB, click to add a Control
Point in the centre of the Point Curve, and another at the rst quarter mark.
Pull the leftmost Control Point up (as shown in the diagram above) to lighten
the blacks. Drag the Control Point on the rst quarter mark down two
squares to make the shadows darker. Change the Channel to Blue, and lift
the leftmost control point up two squares to increase blues in the shadows.
Pull the end of the Point Curve down two squares to warm the lighter tones.

Remove blemishes
with the Spot
Removal tool

Select the Spot Removal tool from the

toolbar (Q) and make sure its set to Heal. Set Feather to 24 and Opacity
to 100, and adjust the Size of the tool to suit the area you wish to smooth
out. To remove round blemishes, click once on the imperfection in question
and Lightroom will select a source to sample pixels from. If it doesnt quite
match, you can click and drag the source to reposition it. To remove linear
blemishes like stray hairs or wrinkles, click and drag the tool to paint over
the area. Again, Lightroom will automatically select a source. Keep these
edits subtle and natural. Click Done to exit the tool.

84 DIGITAL PHOTO

Tint the Highlights and Shadows for

stylish effects in the Split Toning tab

Use the Adjustment

Brush to enhance the
facial features

You can improve the colour palette by adding a coloured tint to the
Highlights and the Shadows in the Split Toning tab. Choose a warm hue for
the Highlights as this will predominantly affect the skintones; in the example
pic the Hue was set to 38, and the Saturation set to 20. Adding a tint to the
shadows will mostly alter the darker background of the image. Set the
Shadows Hue slider to 205 to add a blue tint, and set Saturation to 20. Pull
the Balance slider to -60 to add priority to the Shadows tint.

Choose the Adjustment Brush from the

toolbar (press K) and from the Effect menu
select Soften Skin, and below in the Brush
controls tick Auto Mask. Paint the brush over
the skin to soften it. Press O to see an Overlay
Mask. If you need to delete any brush strokes,
hold Alt on the keyboard to access the Erase
brush. Click New and choose Iris Enhance from the menu and paint over
the irises to enhance their colour. Click New again and this time select an
Exposure brush set to 0.25. With this brush, paint over the catchlights in the
eyes to make them a little more prominent. Click Done to exit the tool.

Apply Sharpening
to boost detail

Open the Detail tab and use the

Target tool at the top right to adjust the
detail zoom area. Its best to select the
nearest eye which should be the sharpest
area of the frame. Push the Amount slider to 90 to set the Sharpening
strength. Hold Alt as you move the Masking slider to view a detail edge
mask. Leave Radius at 1.0 and Detail at 25. Set Masking to 80 so only
the stronger edges have Sharpening applied. Under Noise Reduction, set
Luminance to 15 and leave Detail at 50 to smooth out some of the Noise.

Add a Vignette
in the Effects
tab and Export the image as a JPEG

To add a Vignette, open the Effects tab and under Post-Crop Vignetting pull
the Amount slider to -50 to add a dark edge to the frame. Set Midpoint to
30, Roundness to -43 and Feather to 100. To create the nal version of the
image, you need to Export the le. Press Ctrl+Shift+E to open the Export
window, and choose an Export Location such as your Desktop. Under File
Naming, tick Rename To and choose Custom Name, then type in something
that will help you identify the le. In File Settings, set Image Format to JPEG
and set Quality to 90. Hit Export to tell Lightroom to create the le, and in a
matter of moments it will be saved to your Desktop.

EXPERT TIP How to enhance the contours by Dodging and Burning

Professional image retouchers employ a
technique known as Dodging and Burning
to enhance the contrast of an image. It
gives complete control over which areas
are brightened (dodging) and which areas
are darkened (burning). This is great for
improving the contours of the light, and can
also be used to emphasise bone structure,
which can make for a more attering image.
To do it, select the Adjustment Brush
from the Toolbar (K) and choose Dodge
(Lighten) from the drop down Effect menu.
Set Feather to 100 to give the brush a soft
and subtle edge, and paint the areas you
wish to make brighter. Its useful for adding
highlights to the hair, emphasising contours
and even for removing unattering shadows
from under the eyes.
If you feel an area has become too bright,
simply set the brush to Erase and reduce
the Flow to 50. Paint over the area to reduce
the effect and restore the original shot.
It works just the same when you click New
and change the brush to Burn (Darken),
but this time its wise to paint areas like
under the cheekbones. This enhances the
shadows, which emphasises bone structure.

This diagram shows you the areas to lighten with a Dodge brush. Its easy
to improve the contours of the light to make a more interesting image by
using the Dodge (lighten) and Burn (darken) brushes in Lightroom.

DIGITAL PHOTO 85

YOUR
PICTURES
Get some friendly, constructive advice from our experts!
We pay for every pic published, so send your best shots
to dpimages@bauermedia.co.uk

YOUR EXPERTS
Digital Photos technical editor Dan and assistant editor
Matty are on hand to help with insightful shooting
and editing tips. To have your work shown and
assessed in Your Pictures, email a selection of
no more than five images to the address above, and put
Your Pictures in the subject box

The Main Attraction by David Ball

What was used
Camera Canon EOS 6D & 17-40mm lens Exposure 1/13sec @ f/11, ISO 160 Software Photoshop

This shot was taken on my rst

trip to London as a
photographer, not just a tourist.
As a result, I wanted to get
something special and diferent a diicult
task in a location thats so popular. While
waiting for a gap in the crowd, all of whom
were trying to get their own perfect picture,
I had an idea why not make them an
important part of the image, too? For me, its
the gures combined with the light trails that
make this a success, showing the way tourists
are fascinated by London. There wasnt much
editing required to the RAW le as I think it
came out of the camera so well.
OMatty says David has achieved a great shot
of a well-known location here. As he says, the
view is so common that you can almost see
the holes worn into Westminster Bridge by
tripod feet, but thats no reason to be put of
shooting, especially if you have a mind to put
your own spin on things as hes done. Before
we come to a few minor improvements Id
suggest, Id like to commend him on some
low-light techniques that hes really nailed.
First, hes captured the shot at the right
time of night. One of the biggest killers of
low-light images is shooting in full night,

86 DIGITAL PHOTO

rather than the twilight hour, that brings life

to the sky. Imagine this shot with nothing
but inky blackness behind the Palace of
Westminster and it just wouldnt have the
vibrancy and the exciting mix of warm and
cool tones. Id guess this is down to David
going to London and looking for shots as a

Before

DEDICATION MEANT HE
COULD SET UP WHEN &
WHERE HE WANTED,
LIKE A PHOTOGRAPHER,
NOT LIKE A TOURIST

After
A panoramic-style
framing crops out the
empty space at the
bottom of the original,
and gives a stronger
composition.

photographer, rather than grabbing snaps

where he could as a tourist. Dedication meant
he could set up when and where he wanted,
and get the shot he desired, and while the lack
of lighting on the north east section of the
Palace is unfortunate, its not the end of the
world, and the image is still a strong one.
The length of light trails are also good,
streaking unbroken right across the frame,
just as they should. Thats down, in part, to
the 13secs shutter speed, but also in waiting
for a continuous ow of traffic stop-start
cars and buses would have produced poor
trails in comparison. Regarding the use of
people in the composition, it works really
well, adding life and a sense of scale.
In terms of improvements, I would
certainly crop this to a more panoramic
framing, as all of the action is in the middle
third of the scene. The traffic trails run nicely
from left to right as a horizontal lead-in line,
too, so the empty bottom third can be
removed. Although the natural vignette in
the foreground works to take the eye into the
centre a little, the only reason to leave all that
empty space is if the picture is going to be
used editorially with a big headline to ll the
void! Its worth noting that picture editors
often hate photographers cropping out these

areas but as a standalone image it needs to go.

You could go closer still with the crop, losing
the lights at either side of the shot and making
the Palace ll the frame, but I think the lights
bookend the scene well.
Of course, one of the many advantages of
shooting and editing in RAW, as David did, is
that you can reassess decisions like cropping at
any point in the process, producing multiple
versions if your intentions change. In our
version I also straightened the picture using

the Straighten tool in Camera Raw. A nal

tweak I made was to address the greyness on
the clock face. This often happens when using
low negative values in the Exposure, Whites or
Highlights sliders during a RAW conversion,
and while it can work well on some parts of a
pic, it can look unnatural on others. I tackled
this with the Adjustment Brush in Camera
Raw (see panel), while also increasing the
Vibrance and Saturation across the frame to
make the colours even more inviting.

EXPERT ADVICE Using the Adjustment Brush

The Adjustment Brush is one of the most valuable
tools in Adobe Camera Raw (and Lightroom, too).
It lets you make selective edits to a picture, which
other tools dont allow because they work globally
across the entire image. With the Adjustment
Brush, you can change the Exposure, Whites,
Saturation or any of the other settings on just a
small part of the image.
On Davids picture, the highlights of the street
lamps and the clock face lacked brightness, so,
using the Adjustment Brush, I set the Exposure
slider to a positive value and painted in some extra
brightness where required. The Size and Feather
of the Adjustment Brush can be controlled just like
a regular brush in Photoshop.

DIGITAL PHOTO 87

After
Tightening the shot
and warming up the
colours increases
the impact.

Sunset stroll on the beach

Before

by Kevin Taylor
What was used
Camera Nikon D5100 & 50mm f/1.8 lens
Exposure 1/50sec @ f/22, ISO 100 Software Google Picasa

During this beautiful sunset in

Malaysia, I was trying to capture
the happy-go-lucky feeling of this
carefree couple taking a stroll on
the beach. The colours and light were changing
so fast that I played around with diferent
exposure settings until arriving at 1/50sec at
f/22. In Google Picasa, I increased the contrast
a little, but no more editing was done to the
picture than that.
ODan says Kevin has caught the holiday
mood in this shot. The sunset sparkling on the
surf and the warm tones ooding the image
tell you all about the heat of the fading day,
and the anonymity of the silhouettes makes it
easy for viewers to imagine themselves in that
position. Its certainly inviting, so for me, its a
success from that point of view.
There are some aspects Id look to improve

THE SUNSET SPARKLING ON THE

SURF TELLS YOU ALL ABOUT THE
HEAT OF THE FADING DAY
88 DIGITAL PHOTO

however rstly, the composition. In Kevins

original, all the important elements of the
picture (the gures, the reection and the
sun) are positioned down the centre of the
frame, and that means the image reads from
top to bottom. Therefore, the large expanses of
space to the right and left of the couple are
serving little purpose. Thats why Id crop in on
the couple and lose the dead areas at either
side, tightening the composition and giving it
more impact. The gures would also benet
from being moved slightly of-centre, so they
have some room to move into.
Taking a closer look at the gures, you can
see a little motion blur. This is down to the
1/50sec shutter speed that Kevin has used
too slow to freeze even this strolling pair. Is
this a problem? Well, it depends on Kevins
original intent. If he wanted them stock-still,
then a faster speed would have been required.
Shooting in Aperture priority, and opening
from f/22 to f/11 would have raised the shutter
speed to 1/200sec.
Alternatively, increasing the ISO to 400
would have had the same efect with the f/22
setting. I dont mind the blur in this case
though it gives some energy to their
direction and also a dreamy, indistinct look
that matches the idyllic surroundings well.

EXPERT ADVICE
Warming up the
colours with Levels
For sunset shots, warm colours are vital.
You can liven them up by manually setting
the White Balance at the time of shooting
(for instance by switching from Daylight to
Cloudy), or shoot in RAW and adjust the Temp
and Tint sliders in Camera Raw or Lightroom.
There are plenty of ways to control colour
in Photoshop, too. Here we used Levels
(Ctrl+L), picked the Red channel, and moved
the midtone slider to the left to add more red.
The Photo Filter is another good option for
enhancing sunsets. To see how to do this,
turn to our 60 second fix on p130.

YOUR PICTURES

Hurricane Desmond
by Dan Lane

What was used

Camera Canon EOS 5D Mark II & 24-105mm lens
Exposure 1/250sec @ f/4, ISO 100 Software Lightroom & Photoshop

Diving into Porthcawl to go

shopping, I noticed waves lashing
the lighthouse and immediately
wished I had my camera. So I
nished shopping in double-quick time,
rushed home to grab it and returned to
capture the full force of nature. I shot in
Manual mode so I could get exactly the
shutter speed I wanted. I had to time the shot
just right, waiting for two waves to meet and
explode. I adjusted Exposure and White
Balance in Lightroom, and increased Clarity
and Sharpness. In Photoshop I used Shadows/
Highlights to add detail, increased contrast
with Levels and dodged and burned a little.
OMatty says Dan has caught a wonderful
moment here, and the energy of the sea is
brutally obvious. As he points out, timing was
crucial, and the size of the wave versus the
lighthouse is amazing. But its worth noting
the efort involved on Dans part. Its all too
easy to pass up opportunities like this, and Im
glad he had the drive to brave the elements.
Theres a lot to applaud here, such as the

After
With a mono conversion
and a darkened sky,
contrast is boosted to
increase the drama.

shutter speed hes used for the water, which

gives a nice mix of blurred and sharp
elements, again illustrating the energy
involved. I think Dans processing is good too,
and the dodging applied to the water in
particular makes the frothing mass stand out.
Theres also some nice colour contrast
between the water and the cooler sky beyond.
I do think the picture could benet from
cropping at the top, as removing the waves
headroom will make it seem to tower even

THERES SOME NICE COLOUR

CONTRAST BETWEEN THE
WATER & THE SKY BEYOND
higher. Aside from that, Id be tempted to try
this in black & white. While I dont dislike the
earthy colours, you can push contrast much
higher in mono and really boost the drama.
There are multiple ways to do this, of course,
and as Dan shot in RAW, it can even be
achieved in Lightroom or Camera Raw. As
described on the right, I used a Black & White
Adjustment Layer in Photoshop, before using
the Burn tool (Range: Shadows, Exposure: 4%)
on the sky to darken it against the wave.

EXPERT ADVICE
Converting to mono

Although desaturating an image is as simple

as pressing Ctrl+Shift+U there are much
better ways to do it. For instance, a Black &
White Adjustment Layer (which youll find
via the Adjustment Layer icon in the Layers
panel) allows you to control how each colour
in the image is rendered in mono. Here, a
High Contrast Red Filter preset was used.
This subtly darkens the Blues and Cyans
and brightens the warmer Reds and Yellows
of the wave, but you can adjust the sliders
manually too, to get the perfect mix.

Before

YOUR PICTURES

After
By lowering the
shooting height
or resizing the
subject in
Photoshop, more
of the market
background can
be included.

Borough Market portrait

Before

by David Somerville
What was used
Camera Canon EOS 600D & 17-50mm lens
Exposure 1/80secs @ f/2.8, ISO 800 Software Photoshop

Id taken lots of pics of my wife

in Borough Market on this day, as
l liked the subdued lighting and
vibrant atmosphere. I was very
pleased with this one, where shed stepped
into a pool of light the look seemed to sum
up her personality. In Photoshop, I took it to
mono, sharpened her eyes and darkened the
background to make her stand out.
ODan says This portrait has a lot going for it.
For starters, David should rightly be pleased
with the lighting, the focus, the catchlights in
his wifes eyes and, above all, the expression,
which is natural and unafected, as though
caught on the spur of the moment. Thats no
easy thing to achieve, so all those factors
deserve praise. What detracts, for me, is the
framing, and I can see how it became a

90 DIGITAL PHOTO

problem. The original looks like it was shot

from Davids height, above his other half, and,
in trying to include some of the atmospheric
market background, hes been caught
between two stools, leaving too much
headroom. Conversely, if hed composed with
her head closer to the top of the frame, it
would have cut out the signs and the other
shoppers the very fabric of the setting.
To x this try shooting from the eye-level of
the subject, as shown in the after version. This
would have allowed more background and a
better placement for her in the frame.
Pictures like this which, like candid street
photos, are impossible to repeat, can be

DAVID SHOULD BE PLEASED

WITH THE LIGHTING, THE
FOCUS & THE CATCHLIGHTS

recomposed in software. Here it was a case of

duplicating the original as a Layer (Ctrl+J),
resizing that copied version using Free
Transform (Ctrl+T), so the subject lled the
height of the frame, and then removing
unwanted parts of the background using a
Layer Mask via the Layers panel. The shallow
depth-of-eld and mono treatment in Davids
image actually makes this easier than would
otherwise be the case, as there are very few
hard edges and no conicting colours to cause
a problem between the old and new Layers.

YOUR PHOTO EXPERTS

PHOTO
ANSWERS

JON ADAMS For shooting

and Photoshop queries, Jon
is on hand to help solve any
problems you have.
DAN MOLD With a background
in photographic retail, Tech Ed
Dan can advise on all aspects
of camera kit.
MATTY GRAHAM Assistant
Editor Matty is never seen
without his DSLR, and is
brimming with shooting tips.

Your problems solved by our expert team

If youd like to benefit from our expert advice email your query to
dp@bauermedia.co.uk and put PhotoAnswers in the subject box

ANDY HEATHER Andy worked

as a commercial photographer
in Japan, and is overflowing
with advice.

SOFTWARE SKILLS

What are Levels in Elements used for?

Im new to Elements and am trying
to get to grips with the basics.
I understand that Levels is a great
way to brighten or darken an image, but
having searched through the menus, I can
only nd Auto Levels in the Enhance menu at
the top of the screen. The problem is this
doesnt let me control the brightness as its
automated. Can you help?
Arthur McGee

OMatty says There are several ways of

adjusting the brightness of a shot in Elements or
Photoshop. You can do this globally where the

92 DIGITAL PHOTO

whole image is brightened or you can do it

selectively, where just particular areas of the
picture are adjusted. In either situation, Levels is
the best starting point, as it lets you control both
brightness and contrast using three sliders.
In Elements, youll find Levels by going to
EnhancetAdjust LightingtLevels or hitting the
shortcut Ctrl+L (this works in Photoshop, too). In
most cases though, a Levels Adjustment Layer is
the best route to take. This puts the Levels
changes on a separate Layer, and allows you to
turn the effect on and off as you please, and even
mask off areas so you only affect a specific part of
the shot. This is ideal if you want to darken skies,

brighten foregrounds, or lift the eyes in a portrait.

In the Levels palette itself, theres a Histogram
graph that shows you the distribution of tones
within your shot. At the left are the darkest tones,
and these get gradually brighter until you get to
white at the right side of the graph. The three
sliders under the Histogram allow you to set the
black, midtone and white points in the image, and
by moving these, you can change the brightness
and contrast of the image.
What follows is a three-step guide that tells you
all you need to know about using Levels. Load up
an image and follow it to change brightness, boost
contrast and control colour.

YOUR PROBLEMS SOLVED

Learn how to use Levels to control the exposure,

contrast and colour within your photos

Adjust the exposure

and control contrast

In the Layers panel (WindowtLayers)

click on the Create new ll or Adjustment
Layer icon. From the dropdown menu, choose
Levels. Youll see a Histogram graph showing
you the tonal range of your pic. Move the
middle Midtones slider to the left or right to
lighten or darken the shot respectively. Pull
the Shadows slider on the left in a little to make the darkest areas darker,
and the right Highlights slider in to make the brightest parts brighter. Pulling
the Shadows and Highlights sliders in together will increase the contrast.

Boost or reduce colours

in your pic by adjusting
the colour channels

Above the Levels Histogram youll see a box that

says RGB. This means youre currently changing
the Red, Green and Blue colour channels
equally, so dragging the Shadows, Midtones and
Highlights sliders will only make the image brighter or darker. But click on the
RGB box and you can choose Red, Green or Blue from the list to adjust these
specic colours. When youve selected the colour channel youd like to work
on, move the sliders just like in the previous step to make the reds, greens and
blues of the pictures more or less dominant.

Expert tip! Use Curves in the full

Photoshop for greater control
If you have the full version of Photoshop youll have access to Curves
as well as Levels. Like Levels, Curves allows you to change the
brightness, contrast and colour in your shot, and also shows a
Histogram of the image. Curves is closely related to Levels, but can be
used to make more advanced tonal adjustments and colour changes.
For example, with Curves you can darken the lower midtones and
brighten the upper midtones of an image in one adjustment. This cant
be achieved in Levels, so the versatility of Curves makes it the tool of
choice for many professionals. You can nd out all about it on p72.

Restrict the Levels

adjustment to a
specific area

Back in the Layers panel youll see a

white rectangle thats part of your Levels Adjustment Layer. This is a Layer
Mask. When its white, any adjustments to your Levels will be revealed over
the whole image. Paint it black however, and the changes will be completely
hidden. The different shades of grey between these two extremes will
progressively hide the effect of the Adjustment Layer as the grey tone gets
darker. This ability to mask off selective parts of the shot is brilliant if you
want to restrict your Levels changes to specic areas.
The pre-loaded Mask is white by default, so the Levels effect is applied to
the whole image. To add black to it, make sure the mask is active by clicking
on it, then select the Brush tool. Now paint black directly onto the image to
mask the effect youll see black appear on the Layer Mask.

DIGITAL PHOTO 93

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YOUR PROBLEMS SOLVED

KNOW-HOW

How do I
shoot wide
open with
flash?

Help! My ash batteries have leaked

I dont use my Canon flashgun too often
so it had been sat in a drawer for a few
months. When I went to use it the other
day it wouldnt power up, and when I opened the
battery door I realised the AAs inside had leaked.
Do you know of a good way to clean the internal
cavity and contacts?
Andy Scott

ODan says AA batteries come in two main types

alkaline and rechargeable NiMH. The latter rarely
leak, whereas single-use alkalines can often shed
their contents if left too long. Theres a whole bunch
of nasty chemicals in batteries that can irritate your
skin, eyes and lungs. It may sound excessive but its
best to wear protective gloves, safety goggles and
even a dust mask when dealing with the residue.
With the correct safety kit on, carefully remove and
clean up the spillage weve laid out a thorough
step-by-step below to help you do this.
Its easily said, but prevention is always better than
cure. To stop battery leaks occurring in the future,
remove the batteries from the unit and store them
separately if youre not using your ash for a few
weeks. Also, dont mix diferent brands or diferent
states of charge together. Use batteries of the same
brand and type, and replace all four at once with a
fresh set never replace just one. Finally, never use
batteries with dents or visible defects because
damaged cells are far more likely to leak.

I want to shoot at
f/1.8 and light the
scene with flash, but my
images are overexposed
even on the lowest power.
Can this be achieved?
Mike Bamborough

OAndy says Youll need a

3-stop Neutral density lter
to do this to restrict some of
the light and get a correct
exposure. A screw-in ND
costs as little as 14 from
srb-photographic.co.uk
Just make sure you
set your camera to its
fastest sync speed and
use an ISO value of 100
before shooting.

Batteries left in your ashgun can leak and cause misres or a

total failure. If your batteries leak youll need to clean out the
residue to stop the corrosion and restore performance.

Expert advice how to clean battery chemicals off your flashgun

The leaked uid can calcify and cause the

batteries to jam. If this happens, pry the loosest
battery out with a athead screwdriver or tap
the ashgun lightly against a table to try and free
them up. When youve got one battery out, there
will be more room to get your screwdriver in to
lever out the others. Batteries cant be thrown
in the bin so put them to one side and take them
to your local battery disposal bank. Most major
supermarkets have a place to deposit dead cells.

When batteries leak youll nd a white

calcied substance. To remove this from the
battery door and inner battery compartment
walls you need to dip a cotton bud in some
white vinegar and rub it over the affected
area. The contacts at the bottom of the battery
compartment can be hard to reach but your
cotton bud should be long enough to get there.
Vinegar is acidic and neutralises the alkali,
preventing it doing any more damage.

Mop up the residue and

leave it to air dry

Lightly run a tap over a kitchen towel and

wring it out. Now carefully wipe the inside cavity
of your ashgun to dilute and absorb all the uid
from the previous step. When youre nished,
you can bin the towel and your gloves. Leave the
ashgun open to air dry for a few hours. When
its fully dry, insert a fresh set of batteries of the
same brand and type, and power it up. Provided
the alkali hasnt corroded anything deeper, it
should be restored to its former glory.
DIGITAL PHOTO 95

PHOTO
ANSWERS
KNOW-HOW

Can my dented hotshoe be rescued?

The weather has been miserable of
late, though the stormy skies have
been fantastic for taking long
exposures. I set out to shoot some coastal
landscapes in Sheringham, when to my
horror, my tripod toppled over with my
DSLR on it! Luckily, the hotshoe took the
brunt of the damage and the DSLR appears to
function just ne. However, the metal
hotshoe has been dented and I can no longer
attach a ashgun. Do you know of a x or
will I need to send it off to be repaired?
Phil Davis

A dented hotshoe
prevents your
ashgun and
triggers from
being tted...

ODan says That sounds like a lucky escape.

If it had landed differently your DSLR could
have been written off altogether. The good
news is, a bent metal hotshoe can often be
xed with a few simple tools, though youll
need to take great care not to cause more
damage. If this isnt a risk youre prepared to
take then wed advise you pay for it to be
serviced at a certied repair centre.
If you want to try and remedy the problem
yourself, and dont fancy paying out, then
weve outlined the steps youll need to follow
below. The kit required for this is pretty basic.

A athead screwdriver is used to gently ease

the metal ange up, and some pin-nose pliers
will allow you to sculpt it back into shape.
Youll also need a hotshoe accessory such as
your ashgun to see if it slides in correctly
when youre done.
If, after following these steps, your ashgun
ts the hotshoe but wont re, then its likely
that the impact from the fall has damaged an
internal component. Check the ash on
another DSLR to make sure this isnt at fault.
If the ash works properly, then youll need to
ship your DSLR off to a service centre.

...but if theres no
internal damage,
its easy to x with
a steady hand and
a few basic tools.

Expert advice How to x a dented hotshoe

Create a small gap

Take the battery out of your camera.

If the hotshoe is bent to the extent
you cant get a pair of pliers in, use a small
athead screwdriver with a twisting motion to
carefully bend the metal and create a gap.

96 DIGITAL PHOTO

With a large enough gap insert some

needle-nose pliers and bend the metal up very
gently in small increments. Lever against the
hotshoe metal, rather than the camera body.

As you pry the metal into position, try

attaching your ash. If it ts too tightly, bend
the hotshoe a little more so that it slots in and
out without too much resistance.

YOUR PROBLEMS SOLVED

DSLR SKILLS

How can I tell if my images are sharp?

I was out on a shoot
recently and I thought
Id taken some
fantastic shots. The location and
light were incredible. But when I
got back to my computer to edit
the pictures, some werent quite
as sharp as Id hoped. Whats the
best way to ensure this at the
location? I cant take my laptop
with me on every shoot to check
the details on a large screen.
Robert Clack

O Jon says The best way to check

sharpness is by assessing the
image on your cameras LCD
screen. The image will look quite
small when played back on a 3in

screen, so its best to zoom in and

inspect your image closely. All
digital cameras have this feature,
and its accessed by a zoom
button or control wheel. When
youve zoomed in, use the D-Pad
to scroll across your image to nd
the point you focused on. If its
blurry, you need to reshoot.
When you do, make sure you
place the active AF point over
your focal point, then half-press
the shutter to set the focus. With
focus established, maintain the
half pressure, and press the
shutter home to take the shot.
Use a tripod to reduce camera
shake whenever possible and use
a smaller aperture (a higher f/

number) for a deeper zone of

sharp focus.
When shooting hand-held,
make sure your shutter speed is
suiciently fast. Ideally you want
it to be at least the same as the
reciprocal of your focal length.
That means at least 1/50sec for a
50mm lens, or 1/300sec for a
300mm lens.

Once youve taken a shot, zoom in on

the screen to ensure its pin sharp at
the point you focused on.

KNOW HOW

What lter should I use to protect my lens?

When I bought my
DSLR, I was advised to
get a lter to protect
my lens. I didnt do it at the time
to keep costs down, but in
hindsight, I probably should
have. Whats the best option?
Hugh Smith

O Andy says The most common

lter for lens protection is an
Ultraviolet (UV) lter. This cuts

No lter

Your images will be at their sharpest

without a lter, but the front element
will also be exposed to dust and dirt,
and also susceptible to damage.

out UV light and is designed to

reduced haze in your images.
Many DSLRs already have a UV
lter on the sensor however, so
an extra lter on the lens will
have little or no efect. As the
impact of a UV is so slight, its a
good choice for protecting your
lens. It keeps dust and scratches
at bay, and if it gets damaged, its
easy to replace. Also popular are
Skylight lters. These are slightly

pink in colour and add a hint of

warmth to images. You can easily
change the colour temperature of
a RAW le, however, so theres
very little technical reason to use
them other than as protection.
Filters can introduce are when
shooting into the light, but you
can always remove them for
specic shots. Below youll see
the subtle diferences they make.
Buy whichever one you prefer.

UV lter

Skylight lter

A UV lter protects the front element

of your lens and a good quality one
such as this Hoya HMC UV maintains
good sharpness across the frame.

Does CS4 have

Rene Edge?
I need to place a portrait
on a new background. I
remember seeing a video on
using Refine Edge, but I only
have Photoshop CS4 and am
having trouble making a good
cutout. Is there a way I can get
the Refine Edge tool in my
version of Photoshop?
Phil Hughes

O Jon says Rene Edge is only

on CS5 and above. It can also
be found in Elements 11 and
above though, so thats a
cost-effective solution. The only
other alternative is to go for
Photoshop CC. This comes
bundled with Lightroom CC for
8.58 per month on
subscription,
if you go for
Adobes
Photography
Plan. More
details can be
found at
www.adobe.
com/uk

Learn more
in Practical
Photography
Control depth-of-eld,
sharpness and blur with the
complete guide to Aperture
in the latest issue of Practical
Photography. Plus, if youre
looking to dip into the world
of ash, the best entry-level
ashguns under 150 are
tested. Whats more, free with
this issue, theres an exclusive
retro-themed Photoshop
Actions bundle from FilterGrade
featuring 21 stylised presets.
Its on sale now, priced at 4.99.

A Skylight lter like the Hoya HMC 1B

used here, is slightly pink in colour to
warm up cooler tones taken outdoors
in areas of shade.

DIGITAL PHOTO 97

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NEXT MONTH
CONTACT US
Address Digital Photo, Bauer Media, Media House,
Lynch Wood, Peterborough, PE2 6EA
Email dp@bauermedia.co.uk

> If you are aged between 16 and 24 and are

interested in work experience opportunities at
Bauer Media, go to www.gothinkbig.co.uk

EDITORIAL
Phone 01733 468546
Editor Jon Adams
Art Editor Andrew Beswick
Production Editor Marie Marsh
Assistant Editor Matty Graham
Technical Editor Dan Mold
Technical Writer Andy Heather
Editorial Assistant Emily Thorpe
Contributors Gavin Hoey, Ben Davis,
Tom Anderson

ADVERTISING
Phone 01733 395013
Email simone.daws@bauermedia.co.uk
Group Commercial Director Charlie Brookes
Group Sales Manager Iain Grundy
Key Accounts Simone Daws
Display/Classi Sales Exec Zaher Khan
Email zaher.khan@bauermedia.co.uk

MARKETING
Phone 01733 468329
Brand Manager Charlotte Walsh
Product Manager Lynne Fairburn
Direct Marketing Manager Julie Spires
Direct Marketing Executive Rebecca Lambert
Head of Newstrade Marketing Leon Benoiton
Newstrade Market Manager Samantha Tomblin

PRODUCTION
Phone 01733 468341
Print Production Manager Colin Robinson
Advertising Production Mehnaz Murad
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Composition is the key ingredient in successful

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105
Why you can trust
our reviews &
verdicts

Variable
ND filters
under 90

Technical editor Dan Mold

oversees rigorous tests
in the field and the studio,
and after years advising
on gear and technique
in photographic retail he
has an unrivalled eye for
what photographers want.
All reviews are thorough,
unbiased and objective.

Quality assured
tests & awards
since 1997
Our tests are recognised by
TIPA (the Technical Image
Press Association), a highly
respected international
body of 28 technical photo
publications, so you can
be sure only the very
best products receive the
coveted Digital Photo Gold
and Silver awards. Weve
been providing the best
tests in photography
since 1997.

102 Pro Nikons launched

116
Sony RX1000 IV rated

Gadgets
gizmos
DIGITAL PHOTO 101

The D500 and D5 are

Nikons top-spec APS-C
and full-frame DSLRs.

DSLR BODIES & LENSES

new
5mm lenses
on a fast
ping Motor

Flagship Nikons announced

ikon recently sent out a minimalist press

release, stating the rm was working
on a new pro-level D5 DSLR body. No
specications, price or availability info was
included, but these details have now come to light,
and cover not only the D5, but the D500 too a
new pro-spec APS-C format DSLR.
The D5 is the brands agship model, sitting
above the D4s, and its all-new 20.8Mp FX-format
CMOS sensor is 28% greater in resolution. The
autofocus has been enhanced, providing 153 AF
points, 99 of which are fast cross-type sensors.
In comparison, the D4s has a total of 51 AF points,
with 15 cross-types. It can shoot as fast as 12fps
with AF engaged or 14fps without, and has the
ability to record 4K UHD movies, for slick DSLR
lms that you can extract 8Mp stills from.

The D500 is a pro-level DSLR boasting an

sensor. As Nikons top DX offering, it has a 2
sensor and the ability to shoot RAWs contin
at 10fps. Like the D5, the D500 boasts a 153
AF system and can record 4K movies, too.
Lastly, Nikon revealed its new, enhanced
55mm kit lenses. The AF-P DX Nikkor 18-5
f/3.5-5.6G is available in standard and Vibra
Reduction (VR) models. Both take on a new
Stepping Motor which promises a smooth a
fast AF performance. The AF motor is also
be practically silent in operation, so shouldnt be
picked up by a cameras internal microphone.
The D5 and D500 are available to buy from
March. The D5 costs 5199 and the D500 is
1729.99 body only. The new AF-P DX Nikkor
18-55mm f/3.5-5.6G lenses are available to buy

straight away,
costing 149.99
or 199.99 for t
VR version.
www.nikon.co.uk

COMPACT SYSTEM CAMERA

Fujilm X-Pro 2 released

Fujilm has launched the latest model in
its X-series of digital rangender cameras.
The X-Pro 2 is described as an evolution of
the successful X-Pro 1 model and features
an enhanced autofocus system with 273 AF
points, 169 of which are the faster phase
detection points. At the heart of the weatherresistant body sits an APS-C format 24Mp
X-Trans CMOS III sensor, and the camera
sports an Advanced Hybrid Multi Viewnder
that combines an EVF with an optical

102 DIGITAL PHOTO

viewnder. A new processor gives higher

image quality and delivers a fourfold boost
in speed and performance, and a new focal
plane shutter offers a top speed of 1/8000sec.
The ISO range covers 200-12,800 but can be
expanded to 100-51,200, and a newly-designed
menu system along with enhancements to the
ergonomics offer improved operability.
The X-Pro 2 should be on the shelves by the
time you read this, with a body-only launch
price of 1349. www.fujilm.eu/uk

NEWSBYTES
Lastolite by
Manfrotto
EzyBounce card

DSLR LENS

Tokina goes wide

oom lenses with a constant, fast aperture are becoming

increasingly popular, and Tokina is the latest rm to offer one. Its
wide-angle 14-20mm f/2 lens is designed for APS-C DSLRs, and
since the sensors in these camera are smaller than full-frame
models, the focal length appears more zoomed in. This translates to
21-30mm on Nikon models and 22.4-32mm on Canon DSLRs.
Inside the 106mm long barrel, the 14-20mm f/2 takes on 13
elements in 11 groups. A plastic aspherical element with an antireection coating is said to reduce ghosting and are, while its dual
super low dispersion glass elements are said to reduce and correct
chromatic aberration. The lens weighs in at 725g, and features a Onetouch Focus Clutch Mechanism to switch between auto and manual
focus modes. It can also focus as close as 28cm.
The lens will be available from March, but as we go to press, the
price is still to be conrmed. www.tokinalens.com

The pocket-sized
EzyBounce from
Lastolite by
Manfrotto is a
bounce card that
re-directs the light
from a ashgun.
The Ezybounce
mounts to the head
of a ashgun via a
silicon strap, then its
six hinged panels can
be adjusted to bounce
ash light in
all manner
of angles. Its
available to
buy now at
24.95.
www.
manfrotto.co.uk

CSC LENS

One lens, three world-rsts

Good things are said to come in threes, and Olympus latest
M.Zuiko Digital ED 300mm f/4 IS Pro lens claims a trio of world
rsts in its spec and performance.
Although its actually a 300mm telephoto lens, its focal
length is effectively doubled to 600mm when mounted on an
Olympus Compact System Camera. This is due to the 2x crop
factor thats created by Micro Four Thirds sensors. With this
in mind, Olympus claims are made in relation to 600mm fullframe lenses, rather than 300mm ones.
Its primary feat is portability. Its said to be the worlds
lightest and most compact telephoto lens with a lm equivalent
of 600mm and f/4 maximum aperture. It weighs 1270g, or
1475g with the tripod collar attached, making it around 67%
lighter than Nikon and Canon 600mm f/4 DSLR models.
It also claims to be the steadiest 600mm, taking on a sixstep combined Image Stabilisation system when paired with a
stabilized 5-axis Olympus body. If these claims hold true, thats
a whole two stops steadier than both Nikon and Canons fullframe primes. It also claims to be the most versatile 600mm,
focusing around three times closer than the aforementioned
DSLR lenses, with a minimum focus distance of just 1.4m.
The dust, freeze and splash-proof optic is
available to pre-order now with
an RRP of 2199.99, and will
be available from spring.
www.olympus.co.uk

Sigma gets tough

BRIDGE CAMERAS

Canon bridge a gap

Canon has expanded its xed-lens
PowerShot range with two new superzoom
bridge cameras. The PowerShot SX540 HS
has an impressive 50x optical zoom, giving
users a 24mm wide-angle at the short end
and a whopping 1200mm at the long end,
bringing distant subjects into view. It also
boasts a 20.3Mp CMOS sensor and Digic 6
processor. HS stands for High Sensitivity, and
the camera has been designed to capture
images with low-light situations in mind.
The PowerShot SX420 IS has a slightly less
powerful 42x optical zoom, creating a still
very impressive 24-1008mm focal range. It
boasts a 20Mp sensor and Digic 4+ processor.
Wi-Fi and Dynamic NFC which makes it easy
to share pictures.
Both models feature Intelligent Image
Stabilisation to tame camera shake when
shooting hand-held at the long end of the
zoom range.
The pair are available to buy now with the
PowerShot SX540 HS costing 299.99 and
the SX420 219.99. www.canon.co.uk

Sigma has launched its Clear

Glass Ceramic WR lter, the
rms strongest protective
lter to date. It features a WR
coating to repel oil, water
and dust. The new range is
available now in popular lter
thread sizes between 67mm
and 105mm and the lters are
up to 50% thinner and 30%
lighter than previous Sigma
lters. Prices start at 69.99.
www.sigma-imaging-uk.com

New Hoya
Fusion filters
Hoyas new Fusion series
includes a Circular Polariser,
UV and Protector lters. They
feature an antistatic coating
to repel dust, ink, water and
oil. Theyre also scratch
resistant and feature a 9
layer Super Multi-coating to
reduce reections.
The low-prole
frame is also
said to eliminate
vignetting. Theyre
available to buy
now with prices
starting at 26.99.
www.intro2020.co.uk

DIGITAL PHOTO 103

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Types: ND Soft, ND Hard, Full ND

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from 20.00
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from75.00
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CHANGING LIGHT

Variable Neutral Density filters are highly versatile exposure control accessories,
and this month we assess three kit lens-friendly models under 90
TEST BY DAN MOLD

WHAT TO LOOK FOR

Filter thread

enerally, to change your exposure, you

have three options. You can make the
shutter speed faster or slower, increase
or decrease the size of the aperture, or
adjust your cameras ISO to make it more or
less sensitive to light. But what do you do
when you dont want to change these
parameters, or youve reached the maximum
setting and still arent getting the desired
exposure? Well, an accessory called a Variable
Neutral Density, or VND for short, can be
attached to the front of your lens and rotated
to let in the amount of light you want.
A ND3-ND400 reduces the amount of light
by around 1-8 f-stops. The minimum setting
is good for when you want to reduce the light
by a touch, while the maximum makes it
possible to create ultra-long exposures,
turning moving elements into a smooth blur.
While its possible to use several standard
ND lters to block out diferent amounts of

light, a VND is more portable and less hassle,

as you only have to attach a single lter.
The VNDs we looked at are all circular
screw-in types, so they attach directly to the
lter thread of your lens. This means you
dont have to buy or carry around an
additional lter holder the norm with
regular ND lters. There are two types of
lters on test, Variable Neutral Density
(VND) and Variable Density (VD). VND
lters claim a completely neutral colour cast
so shouldnt cause White Balance issues,
while VD lters dont make this claim.
These versatile lters are also extremely
useful for anyone with an interest in DSLR
videography. Its best not to change the
aperture to control the light in a video as
this will change the depth-of-eld and lead
to inconsistent sharpness. Instead, attach a
VND and turn the outer ring to get the
correct exposure both indoors and out.

The circular lters on test are available in

different lter threads to t all manner of lenses.
Generally speaking, the larger the lter thread,
the higher the price. Check the lter thread of
the lens you want to use it with before buying.

Light-stopping power
The lters reduce the amount of light hitting
the sensor by different amounts. The lower the
minimum number the more light youll be
able to let in, while the higher the maximum
number, the more light you can block out.

Neutrality
Check whether the lter is Variable Neutral
Density (VND) or Variable Density (VD). The
former shouldnt introduce colour casts at any
strength setting, while a Variable Density lter
doesnt promise to give consistent colour.

Included accessories
Extra accessories, such as a case to store your
lter, or handles that can be screwed into the
front lter ring to help you smoothly adjust the
strength level are of benet, so look out for them.

DIGITAL PHOTO 105

HOYA 52MM

VARIABLE DENSITY
X3-400 89
Sizes available 52, 55, 58, 62, 67, 72, 77, 82mm
Price range 89-169

oyas x3-400 is the only light-control

lter we looked at to be billed as a
Variable Density (VD), rather than
Variable Neutral Density. This means it
makes no promises about offering consistent
colour transmission, though in our tests, it still
gave good results (see page 110).
Its available in eight sizes, ranging from
52-82mm. We looked at the smallest 52mm
version and it was the most costly lter of
the bunch. With a street price of 89 its three
times the cost of SRBs 52mm ND fader.
For your outlay, you get a 1.5-8.6 stops of
light control in a portable package. If your
camera requires a shutter speed of 1/250sec
for a standard exposure, Hoyas Variable
Density would take this to 1/90sec at the
minimum setting, and increase it to 1.6secs
when set to its full strength.
Its black Almite frame feels hard-wearing
and durable, and it has a slender width of
9.45mm. It slim when mounted too, protruding
by just 7mm. Although thin, you can still get
a good purchase on the adjustment ring as

Two gauges around

the lters rim show
you the amount of
light restriction.

1.5-8.6 STOPS
The adjustment ring
sits ush with the lter
barrel which makes it
easy to nd and turn.

UNLIKEITSCOMPETITORS,THE
CONTROLRINGONHOYASVD
FILTERSITSFLUSHWITHTHE
RIMMAKINGITEASYTOTURN
unlike its rivals, this sits ush with the lter
rim. This was a bit of a double-edged sword
it made it a little trickier to remove as it was
harder to get a grip on the rim itself.
Hoyas VD lter has the smallest diameter
on test of 54.3mm making it highly portable,
but the provided hard case is quite large,
possibly to accommodate all of the sizes Hoya
makes in this range. The case measures
96x16mm which occupies much more space in
your camera bag.
A quarter turn takes Hoyas Variable
Density lter from its maximum setting to
the minimum, though it was the only lter
here to label the minimum and maximum
with regards to light transmission rather than
stopping power. This was a little counterintuitive and took some getting used to.
There are two 90 gauges on opposite sides
of the lter rim which take up a total of 180 of
the lter rim. This means the remaining 180
area is a no-go zone where results are hard
106 DIGITAL PHOTO

to measure and image quality is compromised

drastically. Each gauge is divided up into 12 small
notches, though it would have been more useful
for the gauge to show eight notches at full stop
intervals like we found on Kenkos PL fader.
Because the lter is the smallest we looked at, we
found it to be quite tricky to ne-tune the gauge to
an exact setting.
Hoya claims the VD x3-400 will take a clip cap,
but the 52mm lens cap from the lens we used
only just sat on the lter, so youll need the next
cap size up to protect the lter properly.

Verdict
Pros: Lightweight, compact, easy to use the
control ring when looking through the viewnder
Cons: Image quality compromised when not set
to the gauge, hard to set in full stop increments

HANDLING
IMAGE QUALITY
VALUE FOR MONEY
OVERALL VERDICT

----
-------- 

VND FILTER GROUP TEST

KENKO 52MM

PL FADER VARIABLE
ND-3-ND400 59.50
Sizes available 52, 55, 58, 62, 67, 72, 77, 82mm
Price range 59.50-104.99

enkos PL Fader is available to t eight

different lens lter threads, ranging
from 52mm to 82mm. We tested the
52mm version which has a street price
of 59.50. This places it in between the most
expensive Hoya model, and most affordable
SRB lter reviewed here.
The PL Fader has the ability to reduce light
by 1-8 stops, so this will turn a standard shutter
speed of 1/250sec into 1/90sec at the minimum
setting or 1.6secs at the maximum setting.
The ND part of Kenkos VND lter stands
for Neutral Density so colours shouldnt be
affected in your images, but well look at its
image quality a little later (page 110).
The Kenko PL Fader was the heaviest lter
of the three we assessed. Tipping the scales at
33g, its 10g heavier than the SRB model and
7g heavier than Hoyas VD. This is hardly a huge
amount in the grand scheme of things, and it

THEPOWERGAUGEWASTHE
ONLYONETOWORKALLTHE
WAYAROUNDTHERIMAND
SHOWFULLSTOPINTEGERS
does feel well-built and solid. The Kenko PL
Fader isnt as discreet as the others here.
With a larger depth of 12.6mm, it also
protruded the furthest, adding an extra
9.97mm to the front of our lens. This wasnt
necessarily a bad thing, as it did make it easier
to nd and tweak the control ring, and also
meant the strength-setting gauge was larger
and therefore easier to read.
The supplied storage case is frustratingly
large likely designed for the biggest 82mm
VND lter in the series. The lter measures
59.9x12.6mm, but the case requires
113.5x19.8mm of kit bag space. The outer ring
was also a little too large to take the same
52mm lens cap as our test lens, so youll need
an additional cap to protect it if you plan to keep
it attached to your lens for longer periods.
These minor niggles were soon forgotten
with the PL Faders excellent handling. Its lter
gauge is the only one which worked all the
way around the rim. A 90 turn takes the lter
from maximum power to minimum, and there
are four 90 gauges around the rim which
clearly show the strength settings. Each gauge
has eight bars so its easy to adjust the light

Kenkos PL fader
comes with a handle,
allowing you to control
the light transmission
really smoothly.

1.5-8.6 STOPS
The gauge is clearly
labelled and can be
set to eight different
full stop values.

ow in full stops. A recessed front lter ring is

offered, which hampered the handling on SRBs
VND model, but the PL Fader cleverly includes a
control handle. This screws into the front ring and
offers an easy way to make adjustments.
Not only does the handle make it easier to
change the lters density when your eye is
concentrating on the viewnder image, it also
makes it really easy to get a smooth exposure
shifts when shooting videos. For belt and braces,
theres even a spare handle supplied in the box
should you misplace it.

Verdict
Pros: Comes with a handle for easy adjustments,
can be used all the way around the rim, gauge is
clear and easy to use
Cons: Hard case is oversized on smaller lters

HANDLING
IMAGE QUALITY
VALUE FOR MONEY
OVERALL VERDICT

--------
----
DIGITAL PHOTO 107

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VND FILTER GROUP TEST

SRB PHOTOGRAPHIC 52MM

VARIABLE NDX
ND4-ND400 27.50
Sizes available 46, 49, 52, 55, 58, 62, 67, 72, 77mm
Price range 26-39

he ND4-ND400 Fader from accessories

manufacturer SRB Photographic has
the most tempting price on test, costing
as little as 26. Its available in nine
different sizes ranging from 46-77mm. We
assessed the 52mm version, which at 27.50
was the most affordable lter we looked at.
So whats the catch? Well, the SRB VNDs
minimum power setting is about half a stop
higher than the others at ND4, so you cant let
as much light in. But its maximum setting of
ND400 matches the others for light-blocking
duties, so if your main interest is reducing
light to achieve long exposures, you neednt
worry too much. If you needed a shutter speed
of 1/250sec on a regular shot, SRBs VND
would reduce this to 1/60sec at the minimum
strength setting, or 1.6secs at the maximum.
The Variable NDX is the lightest model we
looked at, weighing 23g, but it has the largest

SRBS VND MATCHED ITS

RIVALS FOR MAXIMUM POWER
MAKING IT JUST AS USEFUL
FOR LONG EXPOSURES
diameter on test at 60.3mm. It boasts a
thickness of 9.6mm, and projects out by just
7.66mm when attached to a lens. We liked the
supplied hard case which, unlike the others,
is bespoke to the size of the lter. Measuring
71.8x15.6mm its much more compact than
the hard cases included with the other two.
The gauge on the Variable NDX lter covers
half the outer ring, so results in the remaining
half are unpredictable and hard to measure. In
this no-go zone, we found serious vignetting
and white balance inconsistencies, but well
discuss image quality in more detail later.
We also noted the maximum 8-stop
reduction setting was located just outside of
the stated Max marking, which made it a little
counter-intuitive to use. To nd the maximum
light reduction setting quickly, youd have to
mark the exact point yourself. The gauge is
also divided into 18 notches, which doesnt give
any indication over each full stop. This made
it very difcult to dial in a Manual exposure
accurately, and a few test shots were required
to get the exposure just right.
Another issue with the handling is that the
front lter ring is quite thin. Measuring 3.3mm,

SRBs Variable NDX

was the lightest
model we looked at,
weighing just 23g.

2-8.6 STOPS
The large power
gauge takes up half
of the control ring.

its 1.4mm shallower than Kenkos PL Fader, so

it was a little harder to get a nger on it to turn it.
The ring is as large as Hoyas version, but because
the SRB models ring is recessed, its not as easy
to turn. It was also much stiffer than the others,
and this slowed down operation in the eld.
The SRB lter happily accepted the standard
lens cap from the 18-55mm kit lens it was
attached to. Although the cap was a little gappy
at the sides, it still offered a reasonable t, so you
wouldnt have to buy an additional lens cap for
protection when leaving the lter in place.

Verdict
Pros Very affordable, hard case is portable
Cons Gauge can only be set along half the lter
and isnt labelled in full stops, max power
setting is located outside the stated area

HANDLING
IMAGE QUALITY
VALUE FOR MONEY
OVERALL VERDICT

-------
DIGITAL PHOTO 109

Image quality
To test the lters, we took them out to a location with a owing stream to see
how they performed in a real-life situation, and compared these to our studio
lab tests. The original image taken without the lter was compared to the
images produced by each lter at the maximum and minimum power settings.
We assessed the colour temperature of each shot to see if the lters had any
warming or cooling effects. We kept a keen eye on sharpness, to see if the
additional glass noticeably reduced sharpness across the frame and we noted
any vignetting, where corners appear darker than the centre of the image.

HOYAVARIABLE
DENSITYX3-400

MINIMUM POWER

MAXIMUM POWER

MINIMUM POWER

MAXIMUM POWER

MINIMUM POWER

MAXIMUM POWER

Image quality
The images produced by Hoyas VND were
very impressive. At the minimum power
setting the exposure was correct, and the
edge and corner details were only slightly
softer than without the lter attached.
At the maximum, the exposure was a
little underexposed and again we saw a
fractional amount of softness. A slight
vignette was also introduced. Colours
were a little warm, but easily xed.

KENKOPLFADER
VARIABLEND3-400
Image quality
Kenkos PL Fader delivered the next
best results after Hoyas VND. Its corner
and centre sharpness was just a touch
less sharp at full and minimum settings,
and had slightly less contrast. At the
minimum setting, images were slightly
underexposed and a little warm. At the
maximum setting, pictures were a little
overexposed. Colours were a little warm
throughout, though we saw no vignetting.

SRBVARIABLE
NDXND4-400
Image quality

SRBs NDX gave run-of-the-mill results,

but that may be expected considering
it is up against more expensive rivals
costing two or three times more. Centre
and corner sharpness was less keen
than the others at both the minimum and
the maximum strength settings, and we
also noted some slight vignetting and a
warmer colour cast in the results.

110 DIGITAL PHOTO

VND FILTER GROUP TEST

VND lter comparison

HOYA
VARIABLE
DENSITY
X3-400

KENKO PL
FADER
VARIABLE
ND3-ND400

SRB
NDX
ND4-400

STREET PRICE (52mm)

89

59.50

27.50

SIZES AVAILABLE

52, 55, 58, 62, 67, 72, 77, 82mm

52, 55, 58. 62, 67, 72, 77, 82mm

46, 49, 52, 55, 58, 62, 67, 72, 77mm

PRICE RANGE

89-169

59.50-104.99

26-39

LIGHT CONTROL

x3-400

ND3-ND400

ND4-ND400

LIGHT REDUCTION IN
STOPS

1.5-8.6 stops

1.5-8.6 stops

2-8 stops

FRONT RING SIZE (52mm)

3.3mm

4.7mm

3.3mm

DEPTH (52mm)

9.45mm

12.6mm

9.6mm

DEPTH WHEN MOUNTED

(52mm)

7mm

9.97mm

7.66mm

DIAMETER (52mm)

54.3mm

59.9mm

60.3mm

WEIGHT (52mm)

26g

33g

23g

-----------

-------------

------- 

Verdict
SRBs ND fader will
certainly appeal to snappers
on a tight budget or those
looking to experiment
without a big outlay, but its
less-rened handling made
it more awkward to use.
Its image quality certainly
wasnt bad, but it gave
softer results and showed
more vignetting than its
rivals. As a result, and
despite its fantastic price, it
was prevented from taking
the top slot.
Hoyas Variable Density
lter put in a solid
performance. Image quality
was marginally better
than our winner, as it gave
slightly sharper corners at
maximum strength. But,
with no handle to adjust the
density and a much higher
price, it was beaten on
handling and value.

DIGITAL PHOTO 111

SONY RX100 IV / PRESTIGE COMPACT / 759

HITTING THE MARK

Boasting more features than ever before,
Sonys palm-sized RX100 Mark IV compact
makes a promising addition to your pocket
BY DAN MOLD

he RX100 has evolved over

the years, and Sonys fourth
rendition is a far cry from
the original model launched
in 2012. The main update to note
is a stacked Exmor CMOS sensor,
integrating a layer of DRAM to
handle large amounts of data.
This additional bufer grants
access to a blistering maximum
shutter speed of 1/32000sec,
16fps burst rate and can record
HD movies in 40x slow motion.
So its easy to see why Sony

has billed the new Mk IV as a

speed master.
With some big features lying
within a pocketable shell, we
wanted to know whether its
worth buying. At 759, the Mk IV
is steeply-priced for a compact,
and costs about the same as an
enthusiast DSLR. But does the
cameras small size make it easier
to shoot candids, and make it
more likely to accompany you,
wherever you go? We put it
through its paces to nd out.

Features & Build

At rst glance youd be hard
pushed to tell the new model
from its predecessor, because the
exterior is almost identical. Its
dimensions of 101.6x58.1x41mm
means its just 3mm deeper than
the Mk III. The major
adjustments have taken place
under the bonnet, with the new
sensor headlining its raft of
updates. The 1in chip may not be
any larger, but its now
augmented by an extended
hi-speed processing layer and an
additional DRAM memory bufer.
The DRAM, paired with the Bionz
X processor paves the way for the
slow motion and fast burst rate,
plus theres 4K video recording.

Test shot

On the top youll nd the OLED

Zeiss T* Electronic Viewnder
(EVF) which can be popped up by
pressing a button. Its the same
size as the EVF found on the
previous model, but its resolution
has been doubled to 2359k-dot.
Impressively, Sony has
managed to nd space for a
pop-up ash and Mode dial with
MASP modes. The shutter button
has a lever built around it to
control the zoom and theres a
power button, too. Popping up
the EVF turns the camera on, and
pushing it back down turns the
RX100 IV of by default; this
feature can be disabled if you
decide you want to continue
shooting with the LCD screen.
Turn to the back of the Mark IV
and youll nd the 3in TFT LCD
which can be tilted up 180 and
45 down to assist with awkward
angles and shooting self-portraits.
It also has a resolution of
1228.8k-dots. To the right of the

THEHEADLINE
FEATURE OF SONYS
RX100IV IS THE SPEED
BOOSTING, 20.1MP
STACKED EXMOR
CMOSSENSOR
1/640sec @ 35mm, f/7.1 ISO 800

Image quality Lens detail

The 8.8-25.7mm lens has a lm equivalent of 24-70mm. Its
maximum aperture widens to f/1.8 at 24mm and f/2.8 at 70mm,
though this refers to its light-gathering ability, as depth-of-eld
is much deeper than the equivalent f-stops on a DSLR. RAWs
were much softer than JPEGs due to the lack of any in-camera
processing. Edges on the latter also had a slight halo around
them from oversharpening. There was a slight vignetting at
24mm, and this became more pronounced at 70mm. Chromatic
aberration (fringeing) was controlled very well throughout.

112 DIGITAL PHOTO

LCD is a D-Pad with a scroll

wheel for adjusting the exposure.
The Zeiss Vario-Sonnar T* lens
is xed, but its versatile with a
lm equivalent of 24-70mm and
a wide maximum aperture of
f/1.8 at 24mm, which narrows to
f/2.8 at 70mm. Theres a Control
Ring built around the lens which
proves useful for changing
exposure settings quickly too.
If you like the idea of
composing on a smart device or

SONY RX100 IV REVIEW

Sonys RX100 IV
stacks up the
features with a
new layered
sensor, clearer
viewnder and
4K video.

Key features of the Sony Cyber-shot RX100 IV

Quickspec
Street price 759

Electronic
Viewfinder
Push a button
to pop-up the
Zeiss T* OLED
EVF, then use
it to compose if
you cant see the
screen clearly.

Function and Custom buttons

Resolution 20.1Mp (5472x3648px)

The Function (Fn) button brings up a menu for fast

access to core settings such as focus and ISO. The
Custom (C) button can be set to one of 51 different
settings including Drive Mode and White Balance.

Format RAW & JPEG

Sensor 1in Exmor RS CMOS
ISO 125-12,800 (Expandable to 80)
Shutter 30-1/32000sec & Bulb
AF system Contrast detection
Focusing modes Single-shot AF,
Continuous AF, Direct Manual
Focus (DMF), Manual Focus
Metering Multi-segment,
Centre-weighted, Spot
Burst rate 16fps JPEG
Monitor 3in, 1228.8k-dot tilting
TFT LCD

Fixed lens

Viewnder 2359.3k-dot 0.39-type

The lens has a

lm equivalent of
24-70mm and an
wide maximum
aperture of f/1.82.8. It also boasts
a Control Ring to
change shooting
settings quickly.

Electronic XGA OLED Tru-nder

Pop-up ash Yes Hotshoe No
Video 4K 3840x2160 & Full HD
Connectivity Wi-Fi & NFC
Write speeds 1.4secs RAW, 1sec
Extra Fine JPEG
Storage SD, SDHC, SDXC, Memory

Tiltable display
The majority of scenes will be composed via the 3in
1228.8k-dot display which sits on the rear of the camera. It
can be tilted up 180 and 45 down to help you frame-up.

Stick Pro Duo

Weight 271g (body only)
Dimensions (WxHxD)
101.6x58.1x41mm
Visit www.sony.co.uk

DIGITAL PHOTO 113

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The new Nissin i40 mini lash.

Introducing Nissins new pocket size lashgun,
the i40. Weighing in at just 203g and measuring
only 85mm high, this high speciication lash
is ideal for travelling.
Although compact, the i40 packs a real punch with
a guide number of GN40 at ISO100. It boasts an
auto zoom range of 24 105mm (16mm with built
in diffuser) and supports up to 1/8000th second
shutter speed. Other features include LED video
light function, Wireless TTL and a bounce and swivel
head - all wrapped up in a stylish design with easy
to use intuitive controls.
The i40 is available in Canon, Nikon,
Sony, Four Thirds and Fuji it.
Visit www.kenro.co.uk to ind out more.

The art of light

Supplying the photographic industry for over 40 years

www.kenro.co.uk

Kenro Ltd, Greenbridge Road, Swindon, SN3 3LH

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t: 01793 615836 f: 01793 530108 e: sales@kenro.co.uk

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SONY RX100 IV REVIEW

Image quality JPEG & RAW

ISO performance

immediately uploading your

shots directly to social media, you
can, because the Mk IV comes
with Wi-Fi and NFC.

Noise was more prominent in the Mk IVs JPEGs due to

in-camera sharpening. This meant details looked much
more crisp, but could only be used up to an ISO value
of 400, after which they became very gritty. The RAWs
gave a cleaner performance, though detail was notably
softer. ISO 800 was the highest we could comfortably
shoot, applying a small amount of Noise Reduction and
selective sharpening to the RAW le.
ISO 125

ISO 800

ISO 3200

ISO 6400

Performance
Its best to hold the Mk IV with
two hands as the grip is slight.
The front of the Mk IV is sheer
metal, though theres a small
thumb grip on the rear which
houses a movie record button.
The metal Control Ring around
the 24-70mm lens is crosshatched
and this gives added purchase
when changing settings.
The 3in 1228.8k-dot display is
sharp and clear, though wed have
liked to see touchscreen
functionality on the bill. This
would have made it easier to set a
focus point diving into a menu
and using the D-Pad to set a point
felt a little long-winded.
Sony has doubled the resolution
of the pop-up EVF, taking the
total to 2359k-dot. Its supersharp and a joy to compose with.
You pop up the EVF and then pull
a section out, and the EVF is then
automatically turned on when
brought up to your eye. Flipping
the screen up while the EVF is set
up will push it back in, but this is
a minor issue. Overall, its a great
addition, and its ability to be
pushed down ush with the body

If bright sunlight is hindering your

ability to compose with the screen,
you can pop-up the Electronic
Viewnder (EVF) to frame up.

ISO 400

THERESOLUTIONOFTHEELECTRONIC
VIEWFINDER HAS BEEN DOUBLED ITS
SUPER SHARP AND A JOY TO COMPOSE WITH
gives a streamlined feel. The
buttons dotted around the Mk IV
are a little on the small side, so
perhaps its best-suited to those
with more dexterous ngers. But
a function (Fn) button makes it
quick to change key shooting
parameters, and you can assign
one of 51 functions to a Custom
button too.
We found the AF to be a little
pedestrian and it occasionally
hunted for subjects low in
contrast. When it came to write
times, the Mk IV took 1sec to
clear an Extra Fine JPEG and
1.4secs for a RAW. Switching over
to continuous shooting, 45 JPEGs
could be shot at 16fps before
lling the bufer, and these took
13.7secs to write to card. Shooting
multiple RAWs slowed the frame
signicantly, and 28 frames could
be taken before it slowed further.
These took 18secs to write.

Value for money

759 buys you a lot of camera
these days, so the Mk IV faces
some stif competition. Canons
G5 X also has a 1in sensor, but
sports a larger 24-100mm zoom

and a touchscreen. The downsides

are it can only muster 5.9fps and
its less compact. Ricohs GR II
ofers a DSLR-sized APS-C sensor,
but has a xed 28mm f/2.8 lens
and non-tilting LCD. Those after a
prestige compact will need to
weigh up the features of each, but
if portability isnt the most
important factor, you could also
get an enthusiast-level DSLR for
the same outlay.

Verdict
An EVF, 16fps shooting and 40x slow
motion are desirable features, but
wed have liked a touchscreen to
speed up focusing, so its four stars
for Features & Build.
We were impressed by the Mk
IVs ability to record 4K video and
shoot at 16fps, but write times were
fairly average. The AF was also quite
pedestrian so its four stars here, too.
Image quality is better than
most smartphones, but is beaten
by prestige compacts that feature
a much larger APS-C sensor. Its
ISO performance meant we could

only award three stars for Image

Quality a larger sensor may have
significantly boosted the score.
The RX100 IV delivers acceptable
images for most uses, and its
portability means youre more likely
to have it with you. But 759 is a lot
to spend on a camera, so the unique
features need to be high on your list.

Features & build

Performance
Image quality
Value for money
Overall score

----
----
---
--- 
----

DIGITAL PHOTO 115

GADGETS GIZMOS
We review the latest photo accessories to hit the shelves

TESTS BY DAN MOLD

CAMERA BAG / 99

Manfrotto Street
Backpack

The bottom of the

Street is dedicated to
camera gear, while
the top is for stowing
personal belongings.
You can also remove
the camera insert
altogether, to turn
the Street into a
regular rucksack.

Features Takes DSLR with lens attached, two extra

lenses and a 15in laptop Visit www.manfrotto.co.uk

n a sea of predominantly black camera

bags, Manfrottos Street Backpack stands
out. Its styling is sure to turn heads as well
as divide opinion the patchwork denim
and orange trim on the exterior, alongside the
camouaged interior wont be for everyone,
but will suit those looking for a colourful bag.
The Street isnt just about chic looks, it
holds its own on the functionality front too.
Many camera bags provide little or no room
for personal accessories, but the upper half of
the Street is dedicated to this.

THE STREET MIXES STYLE &

SUBSTANCE, WITH PLENTY OF
ROOM FOR CAMERA GEAR
Zip open the bottom half and youll nd the
camera compartment. A padded insert is
secured to the interior with two strips of
Velcro and can be removed entirely, turning
the Street into an everyday rucksack. To do
this, you just unzip the middle dividing panel.
However, access is a little hindered, so this
can be a little bit ddly to do.
The padded camera insert comes with two

116 DIGITAL PHOTO

large dividers and three smaller ones, so you

can customise the layout to best suit your
gear. DSLR users will be able to pack a camera
body with lens attached, plus two additional
zoom lenses, or one lens and a ashgun.
Alternatively, you could load up a CSC and up
to four additional lenses, or swap one of these
out for a diminutive CSC ashgun.
There are two zip pockets on the front of the
bag and one more on each side for storing your
belongings, but wed have liked to see a
zip-fastened pocket adjacent to the camera
insert to store memory cards and camera
accessories. The lack of one means its a good
idea to have an SD card wallet to keep your
memory cards safe and easy to nd.
One of the side pockets sits below a tripod
attachment belt. You can put two tripod feet
in this pocket to stop the tripod swinging as

you walk. But this means the pocket is likely

to become grubby and will need cleaning if
you decide to store accessories in it instead.
Theres an old-school double D-ring to
fasten the sternum strap, though the rings
clang against each other if you leave it
undone. Padding is good, so the pack is
comfortable to wear, and the laptop
compartment will swallow a 15in laptop. Its
not fully waterproof, but after dousing the
bag with water, we had no qualms with
Manfrottos claims of water resistance.

Verdict
The colourful Street Backpack from Manfrotto
is a breath of fresh air and is a great everyday
photographic backpack. But at 99, you do pay
for its unique, stylish charm.

Rating

----

TRIED&TESTED
Used. Abused. Rated
SOFTBOX / 49.95

Ezybox
Speed-lite 2
Features 22x22cm diffusion area, universal ashgun
mount Visit www.manfrotto.co.uk

he Ezybox Speed-lite 2 is designed

soften the harsh light from a ashg
and is the debut product from Last
by Manfrotto. It has a new xing
mechanism that makes it compatible wi
nearly all strobes, too. All you have to do
twist the locking wheel until the silicon
strap grips your ashguns head securely
When it comes to difusion, the bigger
white panel the better. The front difus
panel measures 22x22cm, so its surface a
21x larger than the front screen of the av
ashgun. In testing we found the Ezybox
provided lovely soft light and great difusion,
though its dual difusers restrict the ash
output power by 2 stops, so youll need to dial
in some positive Flash Compensation. The
internal difusion layer is smaller and a little
more ddly to attach than the outer one.

A ash
diffuser is a
great way to
soften the light
from your strobe.

Hhnel UniPal Extra

29.99

A great feature is the ability

to collapse the Ezybox at,
which makes it very portable.
The softbox is also designed so
that it doesnt obstruct your
ashguns AF or metering
systems, and at under 50,
its reasonably priced.

Verdict
If youre an avid ash user looking for a
portable softbox, you neednt look any further.

Rating

----

Visible Dust Arctic

Buttery SL 707 70

TRIPOD KIT / 749.95

Gitzo Series 0
Traveler tripod

on says Any interchangeable lens

ystem is susceptible to dust, and if this
ets onto your sensor it can result in
nsightly dark spots appearing on your
mages. The SL 707 Arctic Buttery
om Visible Dust has Super Charged
bers to lift the dust off your sensor
nd has been keeping mine spick and
pan for months! www.visibledust.com

Features Weighs 1.29kg, max payload 10kg, max height

133cm, minimum height 30.5cm Visit www.gitzo.co.uk

itzos GK054T-82TQD Traveler kit

includes the Series 1 GH1382TQD ball
head and Series 0 GT0545T tripod,
which at 1.29kg is the rms lightest
model. Included in the box is a shoulder
strap, drawstring bag, short centre column
for ground-level shooting and a set of hex
keys for maintenance.
The tripod boasts four leg sections made
from new carbon eXact tubes with a tighter
weave. The new twisting G-locks are grippy
and easy to operate, too. Its rock-solid
when three leg sections are extended, and
theres not much whip evident when fully
extended to all four sections either.
The legs fold back by 180 to achieve a
minimum height of just 30.5cm, and the
four-section tripod can reach an impressive
maximum height of 133cm. The new,
snappily-named GH1382TQD ball head is

Matty says Instead of a drawer full of

chargers, I use Hhnels UniPal Extra
which has adjustable contact pins and
USB charging to power-up my camera,
phone and other electronics. It has
automatic polarity detection and an LCD
screen displaying the charge level. Its
built-in power bank gives me juice on
the go too! www.hahnel.ie

one of
weve
slick W
boasts
quickthis is
to a D
small,
handl
Its lov
very p

Lightroom 6.3 110

Verdict
Theres no doubting Gitzos top-draw quality,
but you pay a hefty premium for it.

Rating

----

ndy says I keenly use Lightroom to

dit my RAWs, but noted a few bugs
version 6.2. Im glad to say that
rsion 6.3 (2015.3 for CC users) has
een running very smoothly as Adobe
as xed several glitches. The Import
tool has also returned which makes it
easy to get started, and new cameras
including Canons EOS M10 are now
supported. www.adobe.com/uk

DIGITAL PHOTO 117

JANUARY SALE

ON
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FOR A LIMITED TIME ONLY

TREAT
YOURSELF
OR A
FRIEND!

Get your New Year off to a great start

Until 31st January 2016, you can try a new magazine from a choice
of over 40 titles in print and digital and get up to 4 issues from
just 1. Kick start your New Year now!

Great read. Even better with

discount. I used to buy about 4
times per year, now I get it every
month at a great discount.

Visit: www.greatmagazines.co.uk/jansale
or call us on: 01858 438884 (quote Z601)
Terms and conditions: From 1 price applies to selected titles across our magazines. Prices for Digital Photo are 3 issues for 3 and Practical Photography 3 issues for 5. See www.greatmagazines.co.uk/jansale for our complete
range and prices. Offers are only available to UK residents paying by Direct Debit and are available until 31st January 2016. Cost from landlines for 01 numbers per minute are (approximately) 2p to 10p. Cost from mobiles are
10p to 40p per minute (approximately). Costs vary depending on the geographical location in the UK. You may get free calls to some numbers as part of your call package - please check with your phone provider. Order lines
are open 8:30am - 9pm Mon - Fri; 10am - 4pm Sat. Your subscription will start with the next available issue, unless you specify otherwise. For full terms and conditions, please visit greatmagazines.co.uk/terms.

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Originals:
27.99 No.18 6HWRI
3.99 No.18 %ODFNPO
No.18 &RORXUVPOHDFK
No.18XL 6HWRI
No.18XL %ODFNPO
No.18XL &RORXUVPOHDFK
74.99 Compatibles:
9.99 No.18 6HWRI
No.18 %ODFNPO
27.99 No.18 &RORXUVPOHDFK
3.99

PGi9
Pixma Pro 9500
Originals:
Set of 10
Colours POHDFK
Compatibles:
Set of 10
Colours POHDFK

0XOWLSOH
GLHUHQW
GHVLJQV
DYDLODEOH

42.99
9.99
8.99
42.99
9.99
8.99
37.99
9.99
7.99
54.99
11.99
10.99
10.99
15.99
13.99
15.99
13.99
15.99
4.99
3.99
19.99
4.99
3.99
19.99
4.99
3.99
19.99
4.99
3.99
19.99
2.99
12.99
16.99
12.99
14.99
13.99
15.99
13.99
15.99
13.99
14.99
11.99
12.99

Originals:
No.24 6HWRI
No.24 &RORXUVPOHDFK
No.24XL 6HWRI
No.24XL &RORXUVPOHDFK
Compatibles:
No.24 6HWRI
No.24 %ODFNPO
No.24 &RORXUVPOHDFK

41.99
7.99
64.99
11.99
22.99
3.99
3.99

No.26
Polar Bear Inks
Originals:
No.26 6HWRI
No.26 %ODFNPO
No.26 &RORXUVPOHDFK
No.26XL 6HWRI
No.26XL %ODFNPO
No.26XL &RORXUVPOHDFK
Compatibles:
No.26 6HWRI
No.26 %ODFNPO
No.26 &RORXUVPOHDFK

29.99
8.99
7.99
49.99
14.99
13.99
14.99
3.99
3.99

T0481-T0486
Seahorse Inks
69.99
16.99
19.99
3.99

T0541-T0549
Frog Inks

27.99
3.99

Originals:
Set of 4
Black 7.4ml
Colours POHDFK
Compatibles:
Set of 4
Black 7.4ml
Colours POHDFK

32.99
8.99
8.99
14.99
4.99
3.99

T0791-T0796
Owl Inks
Originals:
Set of 6
Colours POHDFK
Compatibles:
Set of 6
Colours POHDFK

72.99
12.99
19.99
3.99

T0801-T0806
Hummingbird Inks
Originals:
Set of 6
Colours POHDFK
Compatibles:
Set of 6
Colours POHDFK

49.99
8.99
19.99
3.99

Originals:
Set of 8
Colours POHDFK
Compatibles:
Set of 8
Colours POHDFK

66.99
9.99
27.99
3.99

Originals:
Set of 8
Colours POHDFK
Compatibles:
Set of 8
Colours POHDFK

69.99
8.99
27.99
3.99

T1571-T1579
Turtle Inks

T0591-T0599
Lily Inks
Originals:
Set of 8
Colours POHDFK
Compatibles:
Set of 8
Colours POHDFK
More Epson inks >>>

E&EO. Prices may be subject to change, but hopefully not!

T0711-T0714
Cheetah Inks

T0961-T0969
Husky Inks
105.99
14.99

6LPSOH
EDVLFGHVLJQ
DYDLODEOHLQD
KXJHUDQJH
RIVL]HV 
FRORXUV

Plastic Bevel, Glass Front:

Frisco 6x4 VHYHQ FRORXUV
1.99
Frisco 7x5 VHYHQ FRORXUV
2.29
Frisco 8x6 VHYHQ FRORXUV
2.79
Frisco 9x6 VHYHQ FRORXUV
3.49
Frisco 10x8 VHYHQFRORXUV 3.79
Frisco 12x8 VHYHQFRORXUV 4.59
Frisco A4 VHYHQFRORXUV
3.99
Frisco A3 VHYHQFRORXUV
8.99
Wood Bevel, Glass Front:
4.99
Emilia 6x4 WZRFRORXUV
Emilia 7x5 WZRFRORXUV
5.99
Emilia 8x6 WZRFRORXUV
6.99
Emilia 10x8 WZRFRORXUV
7.99
Emilia 12x8 WZRFRORXUV
8.99
Rio 6x4 IRXUFRORXUV
5.99
Rio 7x5 IRXUFRORXUV
6.99
Rio 8x6 IRXUFRORXUV
7.99
Rio 10x8 IRXUFRORXUV
8.99
Rio 12x8 IRXUFRORXUV
9.99

More Ink Cartridges...

T0871-T0879
Flamingo Inks

Originals:
Set of 6
Colours POHDFK
Compatibles:
Set of 6
Colours POHDFK

Originals:
Set of 8
Colours POHDFK
Compatibles:
Set of 8
Colours POHDFK

Memo Style Albums:

Grace 6x4  SKRWRV
5.99
Grace 6x4  SKRWRV
9.99
Grace 6x4  SKRWRV
14.99
Grace 7x5  SKRWRV
7.99
Grace 7x5  SKRWRV
13.99
Grace A4 SKRWRV
15.99
Grafton 6x4 SKRWRV
9.99
Grafton 7x5 SKRWRV 13.99
Baby 6x4 SKRWRV
9.99
Travel 6x4 SKRWRV
8.99
Traditional Style Albums:
Grace 29x32cm SDJHV 14.99
Grafton 29x32cm SJV 14.99
Baby 29x32cm SDJHV 12.99
Accessories:
Photo Corners 3DFNRI  2.99
Photo Stickers 3DFNRI 1.99

Frisco Frames

89.99
11.99

Originals:
Set of 8
Colours POHDFK

27.99
3.99

T7601-T7609
Killer Whale
Originals:
Set of 9
Colours PO HDFK

149.99
18.99

169.99
18.99

Originals:
No.38 &RORXUVPOHDFK
26.99
No.62XL %ODFNPO
21.99
No.62XL &RORXUPO
23.99
No.300 %ODFNPO
10.99
No.300 &RORXUPO
12.99
No.301 %ODFNPO
9.99
No.301 &RORXUPO
11.99
No.301XL %ODFNPO
18.99
No.301XL &RORXUPO
18.99
No.350 %ODFNPO
11.99
No.351 &RORXU PO
14.99
No.363 %ODFN PO
13.99
No.363 &0<3&30 HDFK 9.99
No.363 6(7 2) 
39.99
No.364 %ODFN PO
7.99
No.364 3%&0< PO HDFK 6.99
No.364 6(72)
21.99
No.364XL %ODFN PO
13.99
No.364XL 3%&0< PO HDFK 12.99
No.364XL 6(7 2) 
49.99
No.920XL 6(7 2) 
46.99
No.932XL 6(7 2) 
43.99
No.950XL 6(72)
69.99
Compatibles:
No.15 %ODFNPO
4.99
No.21 %ODFNPO
7.99
No.22 &RORXUPO
11.99
No.45 %ODFNPO
4.99
No.56 %ODFNPO
9.99
No.57 &RORXUPO
12.99
No.78 &RORXUPO
9.99
No.110 &RORXUPO
10.99
No.300XL %ODFNPO
14.99
No.300XL &RORXUPO
16.99
No.301XL %ODFNPO
14.99
No.301XL &RORXUPO
16.99
No.337 %ODFNPO
10.99
No.338 %ODFNPO
10.99
No.339 %ODFNPO
12.99
No.343 &RORXUPO
12.99
No.344 &RORXUPO
14.99
No.348 3KRWRPO
12.99
No.350XL %ODFNPO
14.99
No.351XL &RORXU PO
16.99
No.363 %ODFN PO
6.99
No.363 &RORXUV PO HDFK
4.99
No.363 6(7 2) 
24.99
No.364 %ODFN PO
4.99
No.364 &RORXUV PO HDFK
3.99
15.99
No.364 6(7 2) 
No.364XL %ODFN PO
8.99
No.364XL &RORXUV PO HDFK 7.99
No.364XL 6(7 2) 
31.99
No.920XL 6(7 2) 
19.99
No.932XL 6(7 2) 
29.99
No.940XL 6(7 2) 
29.99
No.950XL 6(7 2) 
29.99
Many more in stock!

Photo Glossy 160gsm:

6x4  VKHHWV  )5((
3.99
A4  VKHHWV
12.99
Photo Satin 200gsm:
6x4  VKHHWV  )5(( 9.99
A4  VKHHWV  )5(( 19.99
Photo Glossy 200gsm:
6x4 VKHHWV )5(( 9.99
A4  VKHHWV
6.99
Premium Pearl 270gsm:
6x4  VKHHWV  )5((
6.99
A4  VKHHWV  )5((
8.99
Premium Gloss 270gsm:
A4  VKHHWV 2))(5
8.99
A3  VKHHWV 2))(5
15.99
A3+ VKHHWV2))(5
19.99
Smooth Pearl 310gsm:
6x4 VKHHWV
14.99
7x5 VKHHWV
17.99
A4VKHHWV
12.99
A4 VKHHWV
39.99
A4 VKHHWV
84.99
A3VKHHWV
25.99
A3+ VKHHWV
35.99
17 Roll PHWUHV
69.99
24 Roll PHWUHV
96.99
Smooth Gloss 310gsm:
6x4 VKHHWV
14.99
7x5 VKHHWV
17.99
A4 VKHHWV
12.99
A4 VKHHWV
39.99
A3 VKHHWV
25.99
A3+ VKHHWV
35.99
Premium Matt Duo 200 gsm:
A4 VKHHWV
12.99
A3+ VKHHWV
34.99
Heavy Duo Matt 310gsm:
A4 VKHHWV
17.99
A3+ VKHHWV
44.99
Gold Fibre Silk 310gsm:
A4 VKHHWV
37.99
A3+ VKHHWV
89.99
Gold Mono Silk 270gsm:
A4 VKHHWV
16.99
A3+ VKHHWV
42.99

Smooth Pearl 290gsm:

6x4 VKHHWV
12.99
7x5 VKHHWV
16.99
A4 VKHHWV
17.99
A3VKHHWV
34.99
A3+ VKHHWV
25.99
Panoramic VKHHWV
26.99
17 Roll PHWUHV
68.99
24 Roll PHWUHV
85.99
PF Lustre 275gsm:
6x4 VKHHWV
12.99
7x5 VKHHWV
16.99
A4 VKHHWV
17.99
A3 VKHHWV
35.99
A3+ VKHHWV
47.99
Panoramic VKHHWV
26.99
17 Roll PHWUHV
69.99
24 Roll PHWUHV
86.99
PF Gloss 270gsm:
A4 VKHHWV
17.99
A3 VKHHWV
35.99
47.99
A3+ VKHHWV
Panoramic VKHHWV
26.99
Matt Ultra 240gsm:
A4 VKHHWV
12.99
A3 VKHHWV
26.99
A3+ VKHHWV
35.99
Fine Art / Fibre Base Papers:
Baryta A4 VKHHWV
21.99
Bartya A3 VKHHWV
42.99
Etching A4 VKHHWV
19.99
Etching A3 VKHHWV
34.99
Smooth Cotton A4  VK 24.99
Smooth Cotton A3  VK 51.99

PP-201 Plus Glossy II 275gsm:

6x4 VKHHWV
9.99
7x5 VKHHWV
11.99
A4 VKHHWV
11.99
A3 VKHHWV
27.99
A3+ VKHHWV
36.99
PT-101 Pro Platinum 300gsm:
6x4 VKHHWV
7.99
A4 VKHHWV
16.99
A3 VKHHWV
37.99
A3+ VKHHWV
24.99
SG-201 Semi-Gloss 260gsm:
9.99
6x4 VKHHWV
A4 VKHHWV
11.99
A3 VKHHWV
27.99
A3+ VKHHWV
42.99
LU-101 Pro Lustre 260gsm:
14.99
A4 VKHHWV
A3 VKHHWV
32.99
A3+ VKHHWV
49.99

Smooth Pearl 280gsm:

6x4  VKHHWV
12.99
7x5  VKHHWV
18.99
A4  VKHHWV
18.99
A4 VKHHWV
18.99
A3 VKHHWV
35.99
A3+ VKHHWV
28.99
17 Roll PHWUHV
64.99
24 Roll PHWUHV
89.99
Ultra Pearl 295gsm:
6x4 VKHHWV
14.99
7x5 VKHHWV
20.99
A4 VKHHWV
12.99
A3 VKHHWV
22.99
A3+ VKHHWV
30.99
13 Roll PHWUHV
21.99
17 Roll PHWUHV
68.99
24 Roll PHWUHV
92.99
Titanium Lustre 280gsm:
A4 VKHHWV
22.99
A3 VKHHWV
44.99
A3+ VKHHWV
62.99
Oyster 271gsm:
6x4 VKHHWV
12.99
7x5 VKHHWV
18.99
A4 VKHHWV
18.99
A3 VKHHWV
22.99
A3+ VKHHWV
28.99
13 Roll PHWUHV
26.99
17 Roll PHWUHV
64.99
89.99
24 Roll PHWUHV
Gloss 271gsm:
6x4 VKHHWV
12.99
7x5 VKHHWV
18.99
A4 VKHHWV
18.99
A3 VKHHWV
22.99
A3+ VKHHWV
28.99
13 Roll PHWUHV
26.99
17 Roll PHWUHV
64.99
24 Roll PHWUHV
89.99
Matt Plus 240gsm:
6x4 VKHHWV
10.99
7x5 VKHHWV
13.99
A4 VKHHWV
13.99
A3 VKHHWV
17.99
A3+ VKHHWV
22.99
13 Roll PHWUHV
24.99
17 Roll PHWUHV
42.99
24 Roll PHWUHV
58.99
0DWW3URRQJJVP
A4 VKHHWV
18.99
A3 VKHHWV
22.99
17 Roll PHWUHV
26.99
24 Roll PHWUHV
36.99
Double Sided Matt 250gsm:
A4 VKHHWV
24.99
A3 VKHHWV
27.99
Fine Art / Fibre Base Papers:
FB Gold Silk A4 VK
23.99
FB Gold Silk A3 VK
47.99
FB Distinction A4 VK 25.99
FB Distinction A3 VK 48.99
FB Royal A4 VKHHWV
28.99
FB Royal A3 VKHHWV
56.99
FB Gloss A4 VKHHWV
26.99
FB Gloss A3 VKHHWV
51.99
FB Matt A4 VKHHWV
19.99
FB Matt A3 VKHHWV
38.99
Artist A4 VKHHWV
22.99
Artist A3 VKHHWV
39.99
Museum A4 VKHHWV
25.99
Museum A3 VKHHWV
48.99
Parchment A4 VKHHWV 22.99
Parchment A3 VKHHWV 39.99
Omega A4 VKHHWV
24.99
Omega A3 VKHHWV
46.99
Portrait A4 VKHHWV
26.99
Portrait A3 VKHHWV
53.99
Portrait White A4 VK 26.99
Portrait White A3 VK 49.99

Premium Gloss 255gsm:

6x4  VKHHWV  )5((
9.99
7x5  VKHHWV
9.99
A4  VKHHWV  )5((
9.99
A3  VKHHWV
29.99
A3+ VKHHWV2))(5
24.99
Ultra Gloss 300gsm:
6x4 VKHHWV
9.99
7x5 VKHHWV
12.99
A4 VKHHWV
11.99
Premium Semi-Gloss 251gsm:
6x4 VKHHWV
8.99
A4  VKHHWV
14.99
A3  VKHHWV
29.99
A3+ VKHHWV2))(5
24.99
Archival Matte 192gsm:
A4 VKHHWV
14.99
A3 VKHHWV
33.99
A3+ VKHHWV
44.99
Heavyweight Matte 167gsm:
A4 VKHHWV
11.99
A3 VKHHWV
34.99
A3+ VKHHWV
44.99

www.premier-ink.co.uk Telephone: 01926 339977 or 0800 1077 211 Premier Ink & Photographic  /RQJHOG 5RDG /HDPLQJWRQ 6SD :DUZLFNVKLUH &9 ;%

Lowering the cost of photography

2UGHUVDUHVKLSSHGSURPSWO\E\5R\DO0DLOVWFODVVSRVWIRUZKLFKZHFKDUJHMXVW~SHU
RUGHU$OOSULFHVLQFOXGH9$7DQGDIXOO9$7UHFHLSWLVSURYLGHGZLWKHYHU\RUGHU3D\PHQW
DFFHSWHGFUHGLWGHELWFDUGFKHTXHRUSRVWDORUGHU2UGHUVDFFHSWHGVHFXUHO\RQOLQH
ZZZSUHPLHULQNFRXNRYHUWKHWHOHSKRQHE\SRVWRUE\YLVLWLQJRXUVKRS
3UHPLHU,QN 3KRWRJUDSKLF/RQJHOG5RDG6\GHQKDP,QG(VWDWH/HDPLQJWRQ6SD&9;%

01926 339977 www.premier-ink.co.uk

Memory

Batteries

Filters

7KH IXOO UDQJH RI 6DQGLVN DQG

/H[DU PHPRU\ FDUGV DW YHU\
FRPSHWLWLYH SULFHV

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:HFDUU\VL]HVIURPPPXSWRPPDQGRHU&OHDU
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1'V1'V1'V1'V9DULDEOH1'V6WDUEXUVWV&ORVH
8S6HWVDQGPRUH%HORZDUHMXVWDIHZH[DPSOHV

SDHC & SDXC

Lexar Professional
633X (95MB/s)
16GB
8.99
32GB
15.99
64GB
27.99
128GB
54.99
1000X (150MB/s)
16GB
14.99
32GB
22.99
64GB
35.99
128GB
63.99
2000X (300MB/s)
32GB
51.99
64GB
95.99
Sandisk Blue
33X (5MB/s)
4GB
3.49
8GB
3.99
16GB
5.99
Sandisk Ultra
266X (40MB/s)
8GB
4.99
16GB
6.99
32GB
12.99
64GB
24.99
Sandisk Extreme
400X (60MB/s)
16GB
10.99
32GB
17.99
64GB
34.99
Sandisk Extreme Pro
633X (95MB/s)
16GB
17.99
32GB
23.99
64GB
42.99
128GB
82.99
1866X (280MB/s)
16GB
49.99
32GB
79.99
64GB
129.99

Compact Flash
Lexar Professional
800X (120MB/s)
8GB
19.99
16GB
27.99
32GB
36.99
64GB
56.99
1066X (160MB/s)
16GB
33.99
32GB
56.99
64GB
99.99
128GB 192.99
Sandisk Ultra
333X (50MB/s)
8GB
11.99
16GB
15.99
32GB
24.99
Sandisk Extreme
800X (120MB/s)
16GB
26.99
32GB
32.99
64GB
47.99
128GB
94.99
Sandisk Extreme Pro
1066X (160MB/s)
16GB
33.99
32GB
47.99
64GB
82.99
128GB 149.99

XQD Cards
Lexar Professional
1333X (200MB/s)
32GB
69.99
64GB
99.99

MicroSDHC & SDXC

Lexar Professional
633X (95MB/s)
32GB
21.99
64GB
43.99
Delkin Professional
375X (56MB/s)
32GB
16.99
64GB
32.99
Sandisk Ultra
320X (48MB/s)
16GB
6.99
32GB
12.99
64GB
24.99

Readers & Cases

Lexar USB3 &DUG5HDGHU 22.99
Lexar HR1:RUNRZ+XE 49.99
Delkin USB2 &DUG5HDGHU 9.99
Delkin USB3 &DUG5HDGHU 19.99
Delkin 6'&DUG[&DVH 6.99
Delkin &)&DUG[&DVH 6.99

NB-2L/LH IRU &DQRQ

NB-4L IRU &DQRQ
NB-5L IRU &DQRQ
NB-6L IRU &DQRQ
NB-7L IRU &DQRQ
NB-9L IRU &DQRQ
NB-10L IRU &DQRQ
NB-11L IRU &DQRQ
BP-511 IRU &DQRQ
LP-E5 IRU &DQRQ
LP-E6 IRU &DQRQ
LP-E8 IRU &DQRQ
LP-E10 IRU &DQRQ
LP-E12 IRU &DQRQ
NP45 IRU )XML
NP50 IRU )XML
NP95 IRU )XML
NPW126 IRU )XML
NP400 IRU )XML
EN-EL3E IRU 1LNRQ
EN-EL5 IRU 1LNRQ
EN-EL9 IRU 1LNRQ
EN-EL10 IRU 1LNRQ
EN-EL11 IRU 1LNRQ
EN-EL12 IRU 1LNRQ
EN-EL14 IRU 1LNRQ
EN-EL15 IRU 1LNRQ
EN-EL19 IRU 1LNRQ
EN-EL20 IRU 1LNRQ
EN-EL21 IRU 1LNRQ
Li10B/12B IRU 2O\PSXV
Li40B/42B IRU 2O\PSXV
Li50B IRU 2O\PSXV
BLM-1 IRU 2O\PSXV
BLN-1 IRU 2O\PSXV
BLS-1 IRU 2O\PSXV
BLS-5 IRU 2O\PSXV
CGR-S006 IRU 3DQDVRQLF
CGA-S007 IRU 3DQDVRQLF
DMW-BCG10 3DQDVRQLF
DMW-BCM13 3DQDVRQLF
DMW-BLB13 3DQDVRQLF
DMW-BLC12 3DQDVRQLF
DMW-BLD10 3DQDVRQLF
DMW-BLG10 3DQDVRQLF
DMW-BMB9 3DQDVRQLF
D-Li90 IRU 3HQWD[
D-Li109 IRU 3HQWD[
SLB-1137D IRU 6DPVXQJ
SLB-1674 IRU 6DPVXQJ
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BY-1 IRU 6RQ\
NP-FM500H IRU 6RQ\
NP-FH50 IRU 6RQ\
NP-FW50 IRU 6RQ\

9.99
9.99
9.99
9.99
9.99
9.99
12.99
12.99
12.99
9.99
16.99
12.99
12.99
12.99
9.99
9.99
9.99
12.99
12.99
14.99
9.99
12.99
9.99
9.99
9.99
19.99
24.99
12.99
12.99
12.99
9.99
9.99
9.99
12.99
24.99
12.99
15.99
9.99
9.99
19.99
19.99
27.99
23.99
23.99
22.99
22.99
12.99
12.99
9.99
12.99
19.99
14.99
12.99
19.99
19.99
24.99

Battery Grips
3URIHVVLRQDO EDWWHU\
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5DMkII IRU &DQRQ
5DMkIII IRU &DQRQ
6D IRU &DQRQ
7D IRU &DQRQ
70D IRU &DQRQ
650D/700D IRU &DQRQ
D600 IRU 1LNRQ
D800/D810 IRU 1LNRQ
D3300/D5300 IRU 1LNRQ
D7100 IRU 1LNRQ

84.99
84.99
84.99
84.99
84.99
84.99
84.99
84.99
74.99
84.99

Battery Chargers
Universal Chargers
Unipal ORIGINAL
19.99
Unipal PLUS
24.99
Unipal EXTRA
29.99
AA & AAA Chargers
Hahnel TC Novo LQF [$$ 8.99
Energizer Pro LQF [$$ 14.99
Energizer 1 Hr LQF [$$ 22.99

Other Batteries
Pre-Charged Rechargables
AA *3 5HF\NR  )5((
5.24
AAA *3 5HF\NR  )5(( 5.24
AA (QHUJL]HU ([WUHPH  8.99
AAA (QHUJL]HU ([WUHPH  6.99
Standard Rechargeables
AA *3 P$K 
9.99
AA /OR\WURQ P$K  3.99
AA /OR\WURQ P$K  6.99
AAA /OR\WURQ P$K  3.99
Lithium Batteries
AA (QHUJL]HU 8OWLPDWH  5.99
AAA (QHUJL]HU 8OWLPDWH  5.99
CR123A (QHUJL]HU 
1.99
CR2 (QHUJL]HU 
1.99
2CR5 (QHUJL]HU 
3.99
CRP2 (QHUJL]HU 
3.99
CRV3 (QHUJL]HU 
5.99
A544 (QHUJL]HU $ONDOLQH  1.99
A23 (QHUJL]HU $ONDOLQH  1.99
LR44 (QHUJL]HU $ONDOLQH  1.99
CR2025 CR2032 HWF
1.99

KOOD Slim Frame

UV Filters
37mm
4.99
40.5mm
4.99
46mm
4.99
49mm
4.99
52mm
4.99
55mm
5.99
58mm
6.99
62mm
7.99
67mm
8.99
72mm
9.99
77mm
11.99
82mm
14.99
86mm
19.99
KOOD Slim Frame
Circular Polarisers
37mm
12.99
40.5mm
12.99
46mm
12.99
49mm
12.99
52mm
14.99
55mm
15.99
58mm
17.99
62mm
19.99
67mm
22.99
72mm
26.99
77mm
29.99
82mm
34.99
86mm
39.99
KOOD
ND4 & ND8 Filters
52mm
26.99
58mm
34.99

Straps & Accessories

Marumi DHG Slim

Frame Multi-coated
Clear Protectors
37mm
10.99
43mm
10.99
46mm
10.99
49mm
10.99
52mm
10.99
55mm
11.99
58mm
12.99
62mm
14.99
67mm
15.99
72mm
17.99
77mm
19.99
82mm
22.99

Hoya HMC
Slim Frame
UV Filters
37mm
40.5mm
46mm
49mm
52mm
58mm
62mm
67mm
72mm
77mm
82mm

12.99
12.99
12.99
11.99
11.99
14.99
16.99
18.99
21.99
25.99
29.99

Marumi DHG Slim

Frame Multi-coated
UV Filters
52mm
13.99
58mm
15.99
17.99
62mm
67mm
19.99
72mm
21.99
77mm
24.99

HOYA Pro-1D Slim

Frame Multi-coated
Clear Protectors
52mm 63(&,$/ 16.99
58mm
28.99
62mm
31.99
67mm
35.99
72mm
39.99
77mm 63(&,$/ 29.99
82mm
49.99

Marumi DHG Slim

Frame Multi-coated
Circular Polarisers
52mm
31.99
58mm
35.99
62mm
39.99
67mm
44.99
72mm
49.99
77mm
54.99
82mm
69.99

HOYA Pro-1D Slim

Frame Multi-coated
Circular Polarisers
52mm
52.99
58mm
60.99
62mm
67.99
67mm
75.99
72mm
90.99
77mm 63(&,$/ 79.99
82mm
120.99

Square Filters
:HVWRFN WKUHH ZLGWKV RI VTXDUH OWHUV
$W\SH PP ZLGH 37\SH PP ZLGH
DQG=7\SH PP ZLGH 0DGH LQ WKH 8. .RRG VTXDUH OWHUV
DUHRSWLFDOO\ DW ZLWK H[FHOOHQW FRORXU GHQVLW\ QHXWUDOLW\ DQG
VWDELOLW\ 7KH\ UHFHLYHG D PD[LPXP  VWDU UDWLQJ IURP 'LJLWDO
&DPHUD 0DJD]LQH
37\SH PP ZLGH OWHUV
Standard Holder
5.99
Wide Angle Holder
6.99
Filter Wallet IRU  OWHUV 9.99
Adapter Rings 49-82mm 4.99
Circular Polariser
27.99
ND2 6ROLG
12.99
ND2 6RIW *UDGXDWHG
13.99
ND2 +DUG *UDGXDWHG
13.99
ND4 6ROLG
12.99
ND4 6RIW *UDGXDWHG
13.99
ND4 +DUG *UDGXDWHG
13.99
ND8 6ROLG
14.99
ND8 6RIW *UDGXDWHG
15.99
ND8 +DUG *UDGXDWHG
15.99
Light Blue *UDGXDWHG
12.99
Dark Blue *UDGXDWHG
12.99
Light Tobacco *UDGXDWHG 12.99
Dark Tobacco *UDGXDWHG 12.99
Light Sunset *UDGXDWHG 14.99
Dark Sunset *UDGXDWHG 14.99
Starbursts [ [ [
17.99
Red/Green/Yellow HDFK 14.99
Six-piece ND Filter Kit 59.99

=7\SH PP ZLGH OWHUV

Pro Holder
24.99
Adapter Rings PP 8.99
ND2 6ROLG
16.99
ND2 6RIW *UDGXDWHG
17.99
ND2 +DUG *UDGXDWHG
17.99
ND4 6ROLG
16.99
ND4 6RIW *UDGXDWHG
17.99
ND4 +DUG *UDGXDWHG
17.99
ND8 6ROLG
18.99
ND8 6RIW *UDGXDWHG
19.99
ND8 +DUG *UDGXDWHG
19.99
Light Blue *UDGXDWHG
17.99
Dark Blue *UDGXDWHG
17.99
Light Tobacco *UDGXDWHG 17.99
Dark Tobacco *UDGXDWHG 17.99
Light Sunset *UDGXDWHG 18.99
Dark Sunset *UDGXDWHG 18.99
$7\SH PP ZLGH OWHUV
Standard Holder
4.99
Adapter Rings 37-62mm 8.99
ND2 6ROLG
10.99
ND2 *UDGXDWHG
11.99
ND4 6ROLG
10.99
$SRSXODU NLW FRQWDLQLQJ DQ 1' 1'
11.99
6RIW*UDG 1' 1' 6RIW *UDG )LOWHU ND4 *UDGXDWHG
ND8 6ROLG
11.99
+ROGHUSOXV $GDSWHU 5LQJ RI \RXU
ND8
*UDGXDWHG
12.99
FKRLFHPP

6OLQJ 6WUDSV
IURP 29.99
7KH LQJHQLRXV
3HDN 'HVLJQ
&OXWFK 6OLGH
/HDVK &X
&DSWXUH &OLS
6\VWHP (QWLUH
UDQJH LQ VWRFN
)URP
15.99

Neoprene
6WUDSV
IURP11.99

Tripods & Monopods

EVO3

IS HERE

0DQIURWWR
&DUERQ )LEUH 0RQRSRG
2QO\ 59

9\Y
149
5LFN 199
%ULDQ 349

0DQIURWWR
;352
:D\
+HDG99

7ULDG 
7ULSRG ZLWK
%+
%DOO +HDG
2QO\ 39

1(: 0DQIURWWR
  WULSRGV
IURP MXVW 149

Camera Bags
0LQG 6KLIW EDJV
IURP 27
$ ELJ UDQJH RI %LOOLQJKDP EDJV
VWDUWLQJ DW 109

(QWLUH UDQJH RI
7KLQN7DQN EDJV
LQ VWRFN IURP
MXVW 25.99

Lens Accessories
Screw-Fit Lens Hoods
37mm 5XEEHU +RRG
40.5mm 5XEEHU +RRG
43mm 0HWDO +RRG
46mm 5XEEHU +RRG
46mm 0HWDO +RRG
49mm 5XEEHU +RRG
49mm 6KDSHG3HWDO+RRG
52mm 5XEEHU+RRG
52mm 6KDSHG3HWDO+RRG
55mm 5XEEHU+RRG
55mm 6KDSHG3HWDO+RRG
58mm 5XEEHU+RRG
58mm 6KDSHG3HWDO+RRG
62mm 5XEEHU+RRG
62mm 6KDSHG3HWDO+RRG
67mm 5XEEHU+RRG
67mm 6KDSHG3HWDO+RRG
72mm 5XEEHU+RRG
72mm 6KDSHG3HWDO+RRG
77mm 5XEEHU+RRG
77mm 6KDSHG3HWDO+RRG
&DQRQ1LNRQ6RQ\2O\PSXV
DQG3HQWD[
9.99-19.99 Lens Caps
Lens Caps &HQWUH3LQFK
Coupling Rings
49mm-77mm
9.99-11.99 Body & Rear Lens Caps
Bayonet-Fit Lens Hoods
ES-62 &DQRQ 
9.99
ES-71II &DQRQ 
9.99
ET-60 &DQRQ  9.99
ET-65B &DQRQ  9.99
ET-67 &DQRQ  0DFUR 9.99
ET-67B &DQRQ 
9.99
7.99
EW-60C &DQRQ,6
EW-63C &DQRQ,6670 9.99
EW-73B &DQRQ,6
9.99
EW-78BII &DQRQ,6 9.99
9.99
EW-78D &DQRQ,6
12.99
EW-78E &DQRQ,6
EW-83E &DQRQ 12.99
HB-32 1LNRQ95
7.99
7.99
HB-45 1LNRQ95
Stepping Rings
25mm to 105mm
GLHUHQWVL]HV 4.99-5.99
Reversing Rings
52mm to 77mm

3.99
3.99
5.99
3.99
5.99
3.99
6.99
3.99
6.99
3.99
6.99
3.99
6.99
4.99
7.99
4.99
7.99
5.99
9.99
5.99
9.99
2.99
3.99

Action Cameras
Genuine GoPro

$ PDVVLYH UDQJH RI *R3UR

&DPHUDV %DWWHULHV 0HPRU\
&DUGV DQG $FFHVVRULHV LQ VWRFN
DW FRPSHWLWLYH SULFHV

www.premier-ink.co.uk Telephone: 01926 339977 or 0800 1077 211 Premier Ink & Photographic  /RQJHOG 5RDG /HDPLQJWRQ 6SD :DUZLFNVKLUH &9 ;%

Hero
Hero+
Hero3+ Black
Hero4 Silver
Hero4 Black
Hero4 Session
Battery Hero3+
Battery Hero4
Dual Charger Hero3+
Dual Charger Hero4
Battery BacPac
LCD Touch BacPac
Blackout Housing
Tripod Mounts
Chest Harness
Head Strap
Helmet Strap
Handlebar Mount
The Handler

CALL US
CALL US
CALL US
CALL US
CALL US
CALL US
14
14
25
39
39
59
39
7
29
14
12
14
21

E&EO. Prices may be subject to change, but hopefully not!

Finance example: 12mths, 0% APR: Cash Price 1475, 10% Deposit 147.50, Monthly Payment 110.62, Total Amount Payable 1475. 24mths, 9.9% APR: Cash Price 1475, 10% Deposit 147.50, Monthly Payment 60.93, Total Amount Payable 1608.82
36mths, 19.5% APR: Cash Price 1475, 10% Deposit 147.50, Monthly Payment 47.95, Total Amount Payable 1873.70 See website for details: www.uttings.co.uk/Information/Finance. Finance is subject to status, terms & conditions apply.*
*Consumer credit service provided by Pay4Later in association with Close Brothers Retail Finance. Pay4Later is licensed by the Financial Conduct Authority (Consumer Credit Licence: 0616240) Finance provided byClose Brothers Retail Finance is a trading name of Close Brothers Limited10 Crown Place, London EC2A 4FT.

See our website for full details & specifications

See website for Remotes, Batteries & Chargers

E+OE Prices subject to change. Goods subject to availability

See website for more lenses

WANTED NOW
Try us

! now
StT
FdIeR
us
tails o

m
Email
suds.co
f
i
m
@
o
inf

Single
items to
large
collections

Your Quality
Used Equipment

WANTED

PART-EXCHANGE WELCOME
WE PART EXCHANGE,
BUY FOR CASH OR
COMMISSION SALE
FAIR PRICES OFFERED ~ QUOTED QUICKLY
COLLECTION CAN BE ARRANGED
For speediest response please email your equipment details to...

info@mifsuds.com

Tel:

01803
852400
info@mifsuds.com

PHONE LINES OPEN

MON -FRI 8am - 5pm,

SAT 9am - 5pm,
SUN 10am - 1pm.

Email -

www.mifsuds.com

U.K. Stock
Only

EOS 1DX
Full Frame
Body
only

*Part-ex bonus is over and

above our normal quote
for your gear

4198

Body
only

Body
only

2697

2949

*Ask about 200 part-ex bonus

BG-E13 Grip

129

APS-C

1177
BG-E16 Grip

198

*Ask about 200 part-ex bonus

549

722
928

BG-E14 Grip

125

2198

Plus 24-105 f4 IS U L

2699

BG-E11 Grip

215

APS-C

Body
only

689
Plus 18-55 STM
Plus 18-135 STM

Body
only

EOS 760D
APS-C

Body only

Body
only

1119

Plus 24-105 f3.5/5.6 IS 1498

MON -SAT 9am - 5pm,

SUN 10am - 1pm.

EOS 5Ds
EOS 5D MkIII
EOS 5DsR
Full Frame
Full Frame
Full Frame

EOS Full
6D
EOS 7D MkII
Frame
APS-C
Body
only

SHOP OPEN

Mifsuds Photographic Limited

27-29, Bolton Street, Brixham. Devon. TQ5 9BZ.

Plus 18-135 STM

899

Body
only

459

Plus 18-55 STM

Plus 18-135 STM

529
709

100-400mm
F4.5/5.6
LII IS
USM

300mm F2.8
LII IS
USM

400mm F2.8
LII IS
USM

400mm F4
DOII IS
USM

500mm F2.8
LII IS
USM

1789

4499

7399

6799

6499

Full Canon listing on website along with details of current cashback and trade in bonus offers

D4S
Full Frame

4189

D5500
APS-C

Body only

Body only

749

498

Plus 18-105 VR

897

MBD-15 Grip

228

200mm F2 AFS
G VRII 4099

Plus 18-55 VRII

Plus 18-140 VR

569
749

300mm F2.8 AFS

ED VRII 3489

2189
MBD-12 Grip (D810/800/E) 279

D610
Full Frame

D750
Full Frame

Body
only

Body
only

Full listing of Nikon

products on our website

D7200
APS-C

D810
Full Frame

Body only

Body
only

1397
Plus 24-120 f4 VR
MBD-16 Grip

969

1997
228

MBD-14 Grip (D610/600)

198

D3300
APS-C
Body
only
329

24-70mm F2.8 AFS

G ED VR 1839

400mm F2.8 G E
FL ED VR 8899

500mm F4 E AFS
FL ED VR 7989

249
Plus 18-55 VR

200-500mm
F5.6 E AFS ED VR

1177

600mm F4 E AFS
FL ED VR 9648

Full Nikon listing on website along with details of FREE grips and trade in bonus offers

X-T1 body Graphite ............... 997

X-T1 blk + 18-135mm .........1098
X-T1 blk + 18-55mm ...........1048
X-T1 body Black ...................... 799
X-T10 blk/silv + 18-55mm... 723
X-T10 body Black/silver ....... 448
10-24mm F4 XF ...................... 698
14mm F2.8 XF ......................... 647
16mm F1.4 XF ......................... 698
16-55mm F2.8 ......................... 739
18mm F2 XF............................. 349
18-55mm F2.8/4 OIS no box 349
18-135mm F3.5/5.6 XF......... 549

23mm F1.4 XF ......................... 628

27mm F2.8 XF ......................... 309
35mm F1.4 XF ......................... 366
35mm F2 R WR........................ 299
50-140mm F2.8 R OIS .........1048
55-200mm F3.5/4.8 OIS XF .. 477
56mm F1.2 R APD .................. 998
56mm F1.2 XF ......................... 698
60mm F2.4 XF ......................... 407
90 F2 R LM WR ........................ 635
1.4x XF TC WR .......................... 329
X100T Black/Silver ................. 815
X30 Black/Silver ...................... 319

LATEST
COMPACTS
FROM

G3X

ALL IN STOCK AT MIFSUDS

G5X

G9X

Dont leave home without one of these!

10-20 F3.5 EX DC HSM . . . . . . . . . .379

10-20 F4/5.6 EX DC HSM
CAF/NAF only . . . . . . . . . . . . . . . . . .249
18-300 F3.5/6.3 DC OS mac . . . . . . . 379
24 F1.4 DG HSM Art . . . . . . . . . . . .679
24-35 F2 DG HSM Art . . . . . . . . . . .719
35 F1.4 DG HSM Art . . . . . . . . . . . .599
50 F1.4 EX DG HSM Art . . . . . . . . .599
120-300 F2.8 DG OS Sport . . . . . 2499
150-600 F5/6.3 OS Contemp . . . . . . . . . 799
150-600 F5/6.3 OS Sport . . . . . . 1248

More Sigma on website

16-300
f3.5/6.3 Di
II VC PZD

389

150-600
f5/6.3 SP
VC USD................779
18-200 f3.5/6.3
Di II VC.................................. 169
28-300 f3.5/6.3 Di
VC USD ................................ 449
Kenko Converters
1.4x or 2x Pro 300 ea ...... 149
Auto ext tube set................99

Family Run Pro Dealership with Friendly, Knowledgeable Staff. Open 7 days per week. Prices inc VAT - correct 04/01/2016. P&P Extra. E&OE.

FREE COURIER DELIVERY FOR NEW ITEMS ORDERED ON-LINE (U.K. Mainland only)

Tel:

01803
852400
info@mifsuds.com
Email -

www.mifsuds.com

U.K. Stock
Only

Mifsuds Photographic Limited

27-29, Bolton Street, Brixham. Devon. TQ5 9BZ.

PHONE LINES OPEN

MON -FRI 8am - 5pm,

SAT 9am - 5pm,
SUN 10am - 1pm.
SHOP OPEN

MON -SAT 9am - 5pm,

SUN 10am - 1pm.

Below is a selection of desirable pre-used items we have in stock right now

USED CANON

USED CANON

USED CANON

EOS 5Ds body

M- box
2399

EOS 1DX body

M- box
3399

USED CANON
24mm f1.4 LII
M- box
949

EOS 1D MKIV
body
1399/1799

USED CANON

USED CANON

24-70mm f2.8 LII

USM M- box
1199

USED CANON
300mm f2.8
L IS USM

USED CANON
400mm
f2.8 L
IS USM
3799/3999

2999

USED NIKON
D3s body
box
1999

USED NIKON

USED CANON

USED CANON

400mm f4
DOII Mint
unused
5999

500mm
f4 L
IS USM
3499/3799

USED NIKON

80-400mm
f4.5/5.6
AFS
1499

70-200mm
f2.8 AFS
VRII
1299

USED CANON

85mm f1.2 LI
USM
899

D800 body
box
999/1199

USED NIKON

USED NIKON

EOS 5DMKIII
body box
1499/1699
100-400mm
f4.5/5.6 L
IS USM
699/899

USED NIKON

D3 body
box
1299

USED CANON

85mm f1.4
AFS Mbox
999

USED NIKON
14-24mm f2.8
AFS
999

USED NIKON
200-400mm f4 AFS VRI
2999

USED CANON
14mm
f2.8 L
799

USED CANON
300mm f2.8
LII IS USM
3999

USED NIKON
D4 body
box
2799

USED NIKON
24mm f1.4
AFS M- box
899

USED NIKON
300mm
f2.8
AFS VRI
2699

Head Over To Our NEW LOOK Website!

 Latest U.K. cashback and promotion ofers
 Improved search facility & features  Cleaner, easier to read pages
 Main product areas accessed from title bar drop-down menus
 New and used products can be ordered directly from the site

USED NIKON

USED NIKON
400mm f2.8
AFS grey
Non VR
3399

300mm f4
AFS
599/699

USED HASSELBLAD USED HASSELBLAD

XPan 90mm
f4 M249/299

40mm f4
FLE
1199

USED SONY
16-35mm
f2.8 ZA
SSM box
899

USED SONY
24-70mm
f2.8 ZE SSM
799/899

USED VOIGTLANDER
15mm f4.5
+ VF Mbox
269

Its easy to
contact Mifsuds:

USED NIKON MF
600mm f5.6 ED AIS
799

USED NIKON
500mm
f4 AFS
VR
4699

USED SONY
A7 RII body
box
2299

USED SONY
FE 35mm f1.4
T* ZA
999

USED LEICA
35mm f2
M- box
M39
1999

USED NIKON
500mm
f4 AFS
MKI
2699/2999

USED SONY
RX10
MKII Mbox
899

USED OLYMPUS
OMD-EM1
body Mbox
699

USED LEICA
50mm f1.4
M1999

USED FUJI
GSW690
MKIII
649

USED SONY
FE 70-200mm
f4 G OSS
799

USED PENTAX
K5 II body
box
399

USED LEICA
Trinovid
10x40
749

T: 01803 852400 E: info@mifsuds.com W: www.mifsuds.com

Although we are the best stocked dealer in the West Country, we

cannot always have every item listed in stock at all times, so we
are happy to reserve new & used items for customers planning to
visit. Prices correct 04/01/2016 but subject to change without
notice. See website for up to date prices. E&OE.

Website altered daily inc. manufacturers cashback & promotions

www.mifsuds.com
Subscribe to our newsletter - send your email address to info@mifsuds.com.

QUALITY USED EQUIPMENT. See website for full list. Call us to check condition. 6 Month warranty on most secondhand.
BRONICA ETRS 645 USED
ETRS body ..................................... 99
40 F4 MC ......................................149
45-90 F4/5.6 PE box .................449
50 F2.8 E.......................................149
100 F4 PE macro .......................249
105 F3.5.......................................... 99
135 F4 PE .....................................199
150 F3.5 E ...................................... 99
150 F3.5 PE M- Box...................149
200 F4.5 PE..................................199
E14, 28 or 42 ext tube ............... 49
120 RFH .......................................... 69
Polaroid Back ............................... 39
Plain prism .................................... 59
Rotary prism ...............................129
AEII Prism....................................... 79
Angle viewfinder E...................129
Winder early ................................. 79
Speed Grip E................................. 39
Tripod adapter E ......................... 39
Winder early ................................. 49
Metz SCA 386 ............................... 49
BRONICA SQ 6x6 USED
SQA complete ............................279
40 F4 S ..........................................299
50 F3.5 S.......................................149
135 F4 PS M-...............................249
150 F3.5 S ...................................... 79
150 F4 PS ............................149/199
200 F4.5 PS M- box ..................199
2x PS converter M- ...................179
36mm ext tube............................ 79
135N back ...................................139
SQAi Polaroid back .................... 79
SQAi 120 RFH ............................... 79
SQA 120 RFH ................................ 49
Plain Prism S Boxed ................... 69
AE Prism Early .............................. 79
ME Prism Finder .......................... 69
Metz SCA 386 ............................... 49
Pro shade S ................................... 59
Lens Hood 65-80......................... 20
SQAi Motorwinder ...................149
Speed grip S ................................. 69
CANON DIGITAL AF USED
1DX body box ......................... 3399
1D MKIV body box ................ 1799
1D MKIV body ......................... 1399
1D MKIII body box....................699
7D MKII body M- box ..............899
7D body ..............................399/469
6D body box...............................849
5DsR body
Mint box unused ................... 2599
5Ds body
Mint box unused ................... 2399
5D MKIII b/o box .........1499/1699
5D MKII body box .............699/999
5D MKI body box ...............299/399
50D body box ............................... 279
BG-E1 ...................................................29
BG-E2 ...................................................39
BG-ED3................................................39
BG-E5 ...................................................49
BG-E6 ................................................ 119
BG-E7 ...................................................99
BG-E8 ...................................................79
BGE-16 ............................................. 169
G1X MKII M- box.......................... 379
CANON AF USED
EOS 1V HS body ........................499
EOS 1HS body ............................149
EOS 3 + PB-E2 ............................239
EOS 3 + BP-E1 ............................199
EOS 3 .............................................149
EOS 1n body...............................129
EOS 3 body .................................129
EOS 600/650 body ea ............... 39
10-22 F3.5/4.5 U ........................299
12-24 F3.5/5.6 ............................399
14 F2.8 L .......................................799
17-40 F4 L ....................................399
17-85 F4/5.6................................199
18-55 F3.5/5.6 IS EFS ................. 89
18-55 F3.5/5.6 IS STM......................99
18-55 F3.5/5.6 EFS ............................59
24 f1.4 LII M- box ............................949
24 F2.8 IS USM.................................369
24-70 F2.8 LII M- box .................1199
24-70 F2.8 box .................................699
24-105 F4 L........................................499
28 F1.8 USM box .......................299
28-70 F2.8 L ................................499
28-90 F3.5/5.6 .............................. 79
28-135 F4.5/5.6..........................199
35-135 F3.5/4.5..........................129
40 F2.8 STM .................................. 89
50 F1.4 U box .............................199
50 F1.8 MKI ..................................149
50 F1.8 MKII ................................... 49
50 F2.5 macro box.....................129
55-250 F4/5.6 ISII M- box .......... 129
60 F2.8 EFS mac .........................229
70-200 F2.8 LII IS box ........... 1199
70-200 F2.8 LI IS box ...............899
70-200 F4 IS U L ........................649

70-200 F4 U L .............................299
70-300 F4/5.6 IS U ....................279
75-300 F4/5.6 MKIII .................... 89
85 F1.2 L MKI ..............................899
85 F1.8 M-....................................199
100 F2.8 IS U L ...........................499
100-300 F4/5.6 USM ................129
100-400 F4.5/5.6
L IS U ......................................... 699/899
135 F2 M- box ............................599
200 F2.8 LII U ................................ 449
200-400 F4 box.........................7499
300 F2.8 LII IS U ........................3999
300 F2.8 LI IS U..........................2999
300 F4 L IS USM box ..................699
400 F2.8 L IS U............... 3799/3999
400 F4 DO II Mint unused ........ 5999
400 F4 DO ...................................2699
400 F5.6 L box ..............................699
500 F4 L IS U .................. 3499/3799
1.4x extender MKIII ....................259
1.4x extender MKII .....................199
2x extender MKIII........................259
2x extender MKII .........................199
Teleplus 2x DG conv .................. 89
Kenko ext tube set DG ...................89
Jessops ext tubes ....................... 69
LC-4 wireless kit .......................... 89
PB-E2 drive .................................... 99
PB-E1 drive .................................... 69
Tripod mnt adapt A (W)........... 59
SIGMA CAF USED
8-15 F4.5/5.6 DC box....................399
10-20 F4/5.6 HSM box ..........199
15 F2.8 EX DG ...................................379
15-30 F3.5/4.5 EX DG ....................199
17-70 F2.8/4 DC OS HSM............ 239
17-70 F2.8/4.5 DC ..............................149
18-35 F1.8 DC M-................................469
18-50 F2.8/4.5 DC OS ...................... 149
18-50 F3.5/5.6 DC box ................. 49
24-35 F2 DG Art box...................649
24-70 F2.8 HSM.............................469
24-70 F2.8 EX DG mac ...................349
50 F1.4 EX DC.................................249
50-150 F2.8 DC HSM....................299
70-200 F2.8 EX DG HSM............ 429
105 F2.8 EX .................................219
120-300 F2.8 EX DG .................799
120-400 F4/5.6 DG OS ...............449
150 F2.8 macro..............................429
150-600 DG Sport.......................1179
180 F3.5 EX macro.........................399
300-800 F5.6 EX DG ...................2999
600 F8 mirror....................................249
1.4x EX DG conv .............................149
2x EX DG conv .................................149
Kenko Pro 300 1.4x conv...............99
OTHER CAF USED
TAM 10-24 F3.5/4.5 DiII ............. 199
TAM 18-270 DiII .........................179
TAM 28-300 box ........................199
TAM 70-200 F2.8 Di VC USD......... 549
TAM 70-300 F4/5.6 ........................ 99
TAM 90 F2.8 Di...............................249
TAM 180 F3.5 Di............................369
TAM 200-500 M- box.................479
CANON FLASH USED
CP-E3 ............................................... 49
SB-E2 bracket ............................... 99
ST-E3 box .....................................199
ST-E2 transmitter ........................ 89
ML3 non digital ........................... 49
MT24 EX ringlight.....................499
430EXII..........................................149
430EZ non digital ....................... 39
580EX box ...................................179
600EX RT box .............................329
Sigma EM140DG .......................199
CONTAX MF USED
40-80 F3.5 AE .............................199
FUJI DIGITAL USED
X-E1 body silv box....................199
X-M1 body blk box...................189
16-50 F3.5/5.6 XC M- ................. 179
18 F2 M- box ..............................199
18-55 F2.8/4................................279
27 F2.8 XF ....................................249
55-200 F3.5/4.8 OIS..................379
Samyang 8 F2.8 .........................199
X-E1 grip box................................ 39
X100s silver box ........................449
X100 silver box ..........................399
X20 black box ............................229
X10 black box ............................179
FUJI MED FORMAT USED
GSW690 III ...................................649
HASSELBLAD XPAN USED
90 F4 M- .................................................299
Centre filter 49mm...........................129
HASSELBLAD 6x6 USED
PM5 prism 45............................149
PME prism box...........................149
45 Prism late .............................149
45 Prism early ............................. 69
NC1 prism...................................... 69
WLF late .......................................110

WLF chrome late......................... 99

WLF early ....................................... 49
A12 chrome latest ....................299
A12 late blk/chr .........................129
40 F4 FLE................................... 1199
50 F4 blk T* .................................349
60 F2.8 chrome..........................249
250 F5.6 chrome .......................199
Vivitar 2x conv ............................. 69
Polariser - 60mm......................... 79
LEICA M COMPACT USED
35 F2 M- box (M39) ............... 1999
50 F1.4 M-................................. 1999
50 F1.4 6 bit ............................. 1199
90 F2 black E55 .........................799
LEICA SLR USED
R6.2 body chr box ..................... 449
70-200 F4 (3 cam) .....................249
250 F4 (3 cam) ...........................399
Angle finder R ............................149
LEICA BINOCULARS USED
Trinovid 10x40 ...........................749
Ultravid 8x42 HD........................ 849
LIGHTMETERS USED
Minolta Flashmeter V ..............199
Minolta Spotmeter M..............199
Sekonic L308 ................................ 99
Sekonic L508 ..............................199
Sekonic L558 ..............................249
MAMIYA 645 MF USED
Plain prism (645 Super) ............ 39
WLF 645N/1000S/J..................... 49
WLF Pro TL etc ............................. 79
Polariod Back HP401 ................. 29
Polaroid back ............................... 29
120 Insert....................................... 20
HA401 120 RFH Box................... 49
120 Back......................................... 39
Winder ............................................ 79
50 F4 shift ....................................399
55-110 F4.5 box.........................299
150 F2.8 A....................................249
150 F3.5 N ..................................... 79
210 F4 N M- .................................. 79
Ext Tube 1, 2, 3S each ............... 29
Teleplus 2x converter ................ 49
Vivitar 2x converter.................... 39
MAMIYA TLR 6x6 USED
C330 F Body + WLF ..................149
55 F4.5 ..........................................199
65 F3.5 box late .........................199
65 F3.5 serviced ........................149
80 F2.8 late serviced ................139
180 F4.5 ........................................149
250 f4.5 late serviced ..............249
250 f4.5 early serviced .........179
Prism ............................................... 99
Paramender .................................. 49
MAMIYA 7 RF 6x7 USED
50 F4.5 L + VF .............................699
80 F4.5 L M- box........................699
150 F4.5 M- .................................399
210 F8 + VF box M- ..................499
Panoramic kit ............................... 49
MAMIYA RB 6x7 USED
Pro SD + 127 KL
+ RFH + WLF ...............................549
Pro SD comp M- ........................649
Pro S body ...................................149
Pro S body scruffy ...................... 99
WLF .................................................. 79
120 645V back ............................. 99
90 F3.5 KL ....................................249
127 F3.5 KL..................................299
Ext tube 2..............................................49
MAMIYA RZ 6x7 USED
RZ ProII + 90 + WLF
+ 120 RFH ....................................499
RZ Pro body ................................149
120 RFH Pro II............................... 99
120 RFH Pro I ................................ 49
Chimney. ......................................199
WLF .................................................. 79
FE701 AE prism .........................179
Winder II......................................... 69
50 F4.5 W .....................................199
65 F4 box M- ..............................399
90 F3.5 W M- box ......................299
127 F3.5 box ...............................299
180 F4.5 W box ..........................199
Pro shade....................................... 49
MINOLTA/SONY DIGITAL USED
Sony RX10 MKII M- box............ 899
Sony A7 RII body box.............2299
Sony A7 body...............................639
Sony A99 body box ................1099
Sony A330 body..........................199
Sony VGB30AM ............................. 79
Sony VGC70AM ...........................139
Sony VG- C99AM box................... 169
Sony HVL-F58AM ........................... 199
Sony HV56AM ................................. 199
Sony HVL-F32X ..................................79
Sony F20AM........................................59
SONY NEX USED
FE 16-35 F4 ZA OSS ......................899
FE 24-70 F4 ZA OSS ......................599

18-55 F3.5/5.6 ................................ 99

FE 35 F1.4 ZA M- box ...................999
FE 70-200 F4 G OSS.......................799
FE 90 F2.8 G OSS M- .....................699
MINOLTA/SONY AF USED
9000 body ..................................... 79
800Si body .................................... 69
700Si + VC700 .............................. 69
700Si or 7xi body ea .................. 49
Dynax 5 body................................... 39
505Si Super ..................................... 25
300Si or SPXi body ea ............... 19
11-18 F4.5/5.6 box ...................269
20 F2.8 ..........................................299
20-35 F3.5/4.5 M- box .............249
24 F2.8 ..........................................169
24-50 F4 .......................................149
28 F2.8 ............................................ 99
28-75 F2.8 box ...........................279
28-80 F4/5.6.................................. 39
28-85 F3.5/4.5 .............................. 99
28-100 F3.5/5.6 D ....................... 49
35-70 F4 ......................................... 39
35-70 F3.5/4.5 .....................................25
35-80 f4/5.6 ..........................................25
35-105 F3.5/4.5 ..................................99
50 F1.7 AF .............................................89
50 F2.8 macro ..................................169
75-300 F4.5/5.6 ..................................99
85 F1.4 box........................................599
100-300 F4.5/5.6 APO ........169/179
500 F8 mirror....................................349
VC9 grip...............................................149
VC700 grip............................................49
RC1000S/L cord .................................15
AW90.......................................................49
MD90 + BP90-M ................................79
SONY LENSES USED
16-35 F2.8 ZASSM box ...................899
16-50 F2.8 SSM................................349
16-70 F4 ZA OSS M- box ............. 599
16-80 F3.5/4.5 ZA box..................399
18-55 F3.5/5.6 SAM ..........................59
18-200 F3.5/6.3 DT ........................199
18-250 F3.5/6.3 DT ........................299
24-70 F2.8 ZE SSM ...............799/899
50 F1.4 box........................................249
70-300 F4.5/5.6 SSM box............549
1.4x conv M- box............................249
SIGMA MIN/SONY AF USED
28-135 F3.8/5.6 .............................. 79
28-300 F3.5/6.3 mac ..................149
50 F1.4 .............................................149
50 F2.8 EX DG mac.....................149
55-200 F4/5.6 ................................. 69
70-300 F4/5.6 DG OS ...............189
105 F2.8 OS box ........................319
600 F8 ...........................................299
1.4x EX DG conv ........................149
TAM 18-270 F3.5/6.3
DiII PZD box ................................199
TAM 60 F2.8 mac.......................239
TAM 70-200 F2.8 Di ..................399
TAM 70-300 F4.5/5.6
Di box.............................................. 89
TAM 90 F2.8 .......................199/249
TOK 17 F3.5 ATX Pro ................299
Teleplus 1.4x conv ...................... 69
Teleplus 2x conv ......................... 79
Kenko 1.4x Pro 300DG ............149
Min 3600HSD ............................... 39
Min 5400HS .................................. 69
Min 5600HSD M-......................... 99
NIKON DIGITAL AF USED
D4 body box............................ 2799
D3s body box .......................... 1999
D3 body box............................ 1299
D2Xs body box ..........................399
D2X body box ............................299
D800E body box ...........999/1199
D800 body box..............999/1199
D700 body box.................599/699
D600 body M- box ..........699/799
D300 body box..........................299
D200 body box..........................199
D7200 body box .......................599
D7100 body box .......................399
D5000 body ................................169
MBD-15 M- box .........................169
MBD-10 grip M- box ................149
NIKON AF USED
F4 body ........................................349
F4E body ......................................299
F4S body .............................249/399
F801s body ................................... 39
F801 body .............................. 29/59
F601 body ..................................... 29
12-24 F4 DX.....................................449
14-24 F2.8 AFS ........................ 999
16 F2.8 AFD M- box .....................529
16-35 F4 AFS VR ............................739
16-85 F3.5/5.6 AFS VR ............299
17-35 F2.8 AFS ...............................849
17-55 F2.8 AFS ...............................449
18-55 F3.5/5.6 VRII...........................99
18-70 F3.5/4.5 AFS .......................119
18-135 F3.5/5.6 AFS DX .............149

18-140 F3.5/5.6 VR DX M- .........299

18-200 F3.5/5.6 AFS VRII............399
18-200 F3.5/5.6 AFS VRI .............299
20 F2.8 AF............................... 299/329
24 F1.4 AFS G M- box .................899
24 F2.8 AFD .....................................299
24-50 f3.5/4.5 AF...........................129
24-70 F2.8 AFS box ............ 799/999
24-120 F3.5/5.6 AFS VR ...............299
28-80 F3.3/5.6 G.................................69
28-85 F3.5/4.5 AF ...........................119
28-100 F3.5/5.6 AF G .......................69
28-105 F3.5/4.5 AFD box............149
35 F1.8 AFS G M- box...................119
35 F2 AF ..............................................149
40 F2.8 AFS DX M- box................149
50 F1.8 AFS .................................109
50 F1.8 AFD................................... 99
50 F1.8 AF ...................................... 79
60 F2.8 AFD.................................249
70-200 F2.8 AFS VRII ............. 1299
70-200 F2.8 AFS VRI ...................749
70-300 F4/5.6 VR M- ................329
70-300 F4/5.6 AFD ...................149
80-200 F2.8 AFD N ...................599
80-200 F2.8 early .............249/329
80-400 F4.5/5.6 AFS .............. 1499
80-400 F4.5/5.6 VR ...................599
85 F1.4 AFS M- box ..................999
85 F1.8 AFD M- box .................269
85 F1.8 AF ....................................169
105 F2.8 VR .................................479
105 F2.8 AFD ..............................399
180 F2.8 AFD M- box ...............499
200-400 F4 AFS VRI ............... 2999
200-500 F5.6 ED VR box .........999
300 F2.8 AFS VRI .................... 2699
300 F4 AFS M- box ...................699
300 F4 AFS box..........................599
400 F2.8 AFS E FL ED VR........ 7499
400 F2.8 AFS non VR Grey........ 3399
500 F4 AFS VR ......................... 4699
500 F4 AFS Mk1...........2699/2999
600 F4 AFS VR ......................... 4999
TC14EIII.........................................389
TC14EII box .................................239
TC17EII ..........................................269
TC20EIII M- box .........................279
TC20E box ...................................149
Kenko MC7.................................... 69
SIGMA NAF USED
10-20 F4/5.6 DG HSM .................199
12-24 F4.5/5.6 DG box................399
18-50 F2.8 EX DC Mac..................199
18-125 F3.5/5.6 ..................................99
18-250 F3.5/6.3 box.....................199
28-300 F3.5/6.3 early...................129
50 F1.4 DG Mint .................. 199/239
50 F2.8 EX ....................................119
50-150 F2.8 EX OS M- box ......... 399
50-500 F4/6.3 DG OS ...............649
50-500 F4/6.3 DG......................499
70 F2.8 EX Macro ......................149
70-300 F4/5.6 Apo DG .............. 99
105 F2.8 EX DG ..........................229
120-400 F4/5.6 DG OS ............449
1.4x EX DG M- ..................................139
1.4x EX conv ........................................99
2x EX DG conv .................................159
TAMRON NAF USED
10-24 F3.5/4.5 DiII ..........................229
17-35 F2.8/4......................................169
17-50 F2.8 XR Di .............................199
18-250 F3.5/6.3 ...............................169
18-270 F3.5/6.3 ...............................189
24-70 F2.8 DC...................................499
70-300 F4/5.6 ......................................79
OTHER NAF USED
TOK 11-16 F2.8 ATX Pro..........349
TOK 12-28 F4 ATX DX ..............399
TOK 80-400 F4.5/5.6 ATX ..........249
FLASH / ACCESSORIES USED
SB-24 .........................................................49
SB-25 .........................................................49
SB-28 .......................................................69
SB-800 box ........................................169
SB-700 M- box .................................199
SB-900..................................................269
SB-910 box ........................................279
SD-8 batt pack....................................49
DR-6 angle finder...........................149
DR-3 angle finder..............................69
MB-16 M- box .....................................89
MB-23 (fits F4).....................................79
MC-30 remote ....................................39
MF-23 (date back F4) ......................79
NIKON MF USED
F3HP body ..................................199
F3 body ........................................149
FM2n body chr ..........................179
28 F3.5 AI ....................................... 99
28-85 F3.5/4.5 AIS.....................199
35 F2.8 AI ....................................... 99
35-70 F3.3/4.5 AIS.....................149
35-105 F3.5/4.5 AIS .................... 99
45 F2.8 E silv M-.........................269
50 F1.8 AIS..................................... 89

50 F1.8 AIS pancake ................139

50 F1.8 E......................................... 59
85 F2 AI ........................................149
180 F2.8 AIS ED scruffy ...........199
200 F4 AIS macro ......................279
200 F4 AIS....................................149
200 F4 AI ........................................ 99
500 F8 ...........................................299
600 F5.6 ED AIS .........................799
TC14A............................................129
TC14B ............................................149
TC200 .............................................. 49
TC201 .............................................. 69
TC301 ............................................199
PN-11 box...................................... 99
SC-17 TTL lead ............................. 25
DW-4 6x mag find fit F3 ........... 99
PK-13/PK-12 ext tube ea .......... 29
OLYMPUS DIGITAL USED
E3 body box ...............................349
E520 body ...................................149
11-22 F2.8/3.5 M-......................399
12-60 F2.8/4 SWD .....................399
14-42 F3.5/5.6 .............................. 49
14-45 F3.5/5.6 .............................. 89
14-50 F3.8/5.6 ............................199
14-54 F2.8/3.5 ............................179
35 F3.5 ............................................ 99
40-150 F4/5.6 ............................... 49
50 F2 macro ................................299
25mm ext tube............................ 79
Sigma 105 F2.8 EX DG M_ ......... 249
OLYMPUS PEN USED
OMD-EM1 body M- box .........699
OMD E-M5 body box...............349
OMD-EM10 body ......................329
Pen E-PM1 + 14-42 M- ............149
Pen E-PM1 body.......................... 99
Pen E-P3 body ...........................169
HLD-6 grip..................................... 99
PANASONIC DIGITAL USED
LX5 compact ..............................129
LX5 viewfinder............................. 99
G3 body box ...............................129
GF1 body .......................................... 79
14 F2.5 ............................................... 169
14-42 F3.5/5.6 .............................. 79
14-45 F3.5/5.6 ............................149
20 F1.7 ...........................................179
100-300 F4/5.6...........................349
BG-GH3 grip ...............................149
PENTAX DIGITAL AF USED
K5 II body box ............................399
DBG2 grip ...................................... 69
PENTAX 35mm AF USED
16-50 F2.8 .......................................... 499
17-70 F4 SDM M- box .................. 349
18-55 F3.5/5.6 .............................. 29
18-135 F3.5/5.6 WR ..................299
20-35 f4 box ....................................269
28-70 F4 AL ..........................................59
28-80 F3.5/5.6 .............................. 49
28-90 F3.5/5.6 FA ........................ 69
40 F2.8 Limited M- ....................249
50-135 F2.8 SDM.......................499
55 F1.4 SDM M- .........................499
55-300 F4/5.8 ED box..............229
70 F2.8 Limited ..........................349
70-300 F4/5.6 ............................... 79
SIGMA PKAF USED
10-20 F4/5.6 EX DC ..................239
12-24 F4/5.6 EX DG Mint .......... 499
35 F1.4 Art box ..........................499
70-300 F4/5.6 DG........................ 79
105 F2.8 EX DG M- box ...........329
TAM 17-35 F2.8 XR Di ..............199
PENTAX 645AF USED
645N body ..................................399
120 insert....................................... 49
PENTAX 645MF USED
645 + 75 F2.8 ..............................249
645 body + insert .....................199
45-85 F4.5 ....................................299
55 F2.8 ..........................................249
150 F3.5 EX++ ............................149
200 F4 ..........................................149
120 Insert M- box........................ 49
PENTAX 67 USED
45 F4 ..............................................249
165 F4 leaf latest .......................249
200 F4 latest ...............................169
200 F4 early ..................................... 99
300 F4 early scruffy ..................... 99
Pentax rear conv 1.4x .................249
2x rear converter.......................179
Auto ext tubes ............................. 49
Vivitar 2x conv ............................. 49
ROLLEI USED
2.8F + case................................. POA
SAMSUNG USED
NX30 + 18-55 blk ......................329
NX10 + 18-55 .............................199
30 F2 pancake M- box .............129
50-200 F4/5.6 III M- box ..........119
60 F2.8 SSA M- box...................289
VOIGTLANDER USED
15 F4.5 + VF M- box .................269

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1 MINUTE
PHOTOSHOP

VIDEO
LESSON

NEW
SERIES

ON THE CD

Make your
sunsets bold
and vibrant
with this quick
& easy fix.

BOOSTDRAMA
INSUNSETS

Before

For most scenic shots, the skys the brightest part of the scene. Often its too bright, and
can give your shots a washed-out look. For better results, do this it only takes a minute!

Select the sky area

you want to darken

Open the picture into

Photoshop or Elements,
and when its on screen select
the Lasso tool from the Toolbox.
Draw over the image, taking
in the area of sky you want to
darken. Make sure you go right
to the edge of the pic at the top
and sides. Click on the Refine
Edge button, and move the
Feather slider to the right to
a value of around 200px. This
softens the edge of the Selection
youve made. Click OK and the
feathering will be applied.

200

Add mood to the sky

In the Layers panel, click on

the Adjustment Layer icon
and choose Brightness/
Contrast from the list. Dont adjust
anything in the palette instead
go back to your Layers, click on
Normal and choose the Multiply
Blending Mode to darken the sky.
To make sunset colours richer,
create another Adjustment Layer,
choose Photo Filter and select
Warming (85). Increase the
Density to get the effect you want,
then go to LayertFlatten image
and save your pic under a new
name via FiletSave As.

ANDREW BESWICK

After

Winner of the TIPA Award

Best Photo Lab Worldwide

Awarded by the editors of 28 leading international photo magazines

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