get our verdict on

the canon 750d/760d

discover how to take

control of your af system

t h e w o r l d s b e s t-s e l l i n g d i g i t a l p h o t o m a g a z i n e
27 augu s t - 2 s ep t ember

i s s ue 153

stop the

action!

shoot dr amat ic water

sport images

t h e w o r l d s b e s t-s e l l i n g d i g i t a l p h o t o m a g a z i n e
13-19 augu s t

printers vs
photo labs

i s s ue 151

Find new angles

For your photos

t h e w o r l d s b e s t-s e l l i n g d i g i t a l p h o t o m a g a z i n e
6 - 12 Augu s t

37

i s s ue 150

things youre

probably

doing wrong

and how to

stop doing them!

the ultimAte
Pre-shot CheCklist!
get set up to shoot any
subject or scene

nikon 1 J5 review: learn how to shoot from

unusual perspeCtives

is this nikons best CsC?

JOIN THE CLUB...

Welcome to the worlds
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features interactive galleries of the
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CONTENTS
Find out whats inside this issue
NEwS

F E aT U r E

the weeks headlines

Find out whats happening in

the world of photography
F E aT U r E

the trouble shooter

watersports are tough to shoot.

we show a reader some tricks
pHOTOS

gallery

The very best reader images

from around the world
I N S p I r aT I O N
gallEry

its cool, that

I N S p I r aT I O N

This will change your image of

Californias beaches forever
SKIllS

crash course

Take charge of your autofocus

mode and get it spot on
pHOTOSHOp

lightroom

Mimic cross-processing just

like in a darkroom, but easier!

SKIllS

lIgHTrOOM
gEar

canon 750d
and 760d

The full test and

verdict of Canons
first 24Mp apS-Cformat cameras

Jus t
39c/39p
Per issue!
when you subscr ibe
see t he subs c r i P t ion

Pagetofor
e i nfo
turn
ourmor
subscribe
http://tiny.cc/dudisx
page
to learn more

w h at s h o t
The weeks Top headlines in phoTography

See through the e yeS of a ferre t

w i th thiS animal v iSion Simul ator
New digital imaging software makes it possible to see the world as animals see it
image credit: university of exeter // CC By 2.0

esearchers from the University

of exeter have developed new
software that converts digital

photos into animal vision.

as you probably remember from
school, different animals see light in
different ways, and some can see far
more than humans can. our eyes are
sensitive to three colors red, green
and blue, but most other mammals can
only see blue and yellow.
Birds, reptiles, amphibians, and
many insects, however, see the world
in four or more primary colors. they
have vision in the ultraviolet spectrum
essentially light thats bluer than what
we perceive as blue.
now, however, you can get a glimpse
of what the world might look like
to a variety of animals by using the

of ultraviolet-pass and visible-pass

measuring colors and patterns in nature,

researchers software to transpose the

filters, but with these you can see a

but until now it has been surprisingly

colors of images from a digital camera

rough approximation of how blue tits,

difficult to use digital photos to make

into ones that can be seen by humans.

peacocks, honeybees, and ferrets

accurate and reliable measurements

It still requires some specialist

might see the world with their more

of color, said Jolyon troscianko, who

equipment a camera converted to

or less advanced vision systems.

helped develop the program.

full-spectrum sensitivity and a pair

Digital cameras are powerful tools for

our software allows us to calibrate

images and convert them to animal
vision, so that we can measure how the
scene might look to humans and nonhumans alike.
the team described how the
software works in a paper in an issue of

Methods in ecology and evolution, and

you can download it free for windows,
Mac and Linux. Visit the website for
the download link, plus more images.
The process requires a camera converted to full-spectrum sensitivity and a range of filters

http://tiny.cc/8nnt1x

the tROUBLe ShOOteR

Reader Gladys loves photographing kitesurfers, but she struggles with exposure
and composition. Can Paul Grogan steer her in the right direction?

heL P Me S tAY
COMPOSeD
I get a big thrill out
of photographing
kitesurfing, but
theres so much to
think about and time
is invariably against
me. I feel my shots
are almost there,
but its frustrating
when the surfers
are under-exposed
because my
cameras light meter
has been thrown
by the brightness
of the sea. Id also
like some advice
on improving my
compositions.
Gladys Perrier,
Berkshire

eader Gladys is lucky enough to own a

beach hut near Worthing, a popular
spot for watersports enthusiasts, so its
no surprise that this is one of her favorite
subjects. Having photographed waterskiing
and windsurfing, shes recently tried her hand
at shooting kitesurfing, and while she loves to
capture the dramatic turns and gravity-defying

leaps of her subjects, shes not confident shes

using the right settings, and feels she could do
with a few composition pointers.
With that in mind, I meet up with her at her
beach hut on one of the windiest days of the
summer. Will I be able to help her make more
of a splash with her kitesurfing photography,
or will I be exposed as a windbag?

BACkGROUnD InfORMAt IOn

t he t ROUBL e ShOOt eR S AYS...

Gladys is doing almost

everything right: shes worked
out that its best to select a
specific focus point on her
Canon EOS 30D rather than
use auto AF point selection;
she shoots in manual to give
greater control over both
shutter speed and aperture.
Now Gladys wants some help
balancing bright seas with
dark, neoprene-clad surfers.
But her biggest stumbling

block is her old Canon 100300m f/3.5-5/6 lens, which

sometimes fails to autofocus.
Because of this, shes never
tried using AI Servo (Canons
focus-tracking mode) or
shooting in continuous, both
of which would maximize
her chances of getting sharp
shots. If she had more trust in
her lenss autofocus system,
shed be able to concentrate
on framing and composition.

Gladyss previous attempts

In the shot above, the exposure is spot
on, but because the surfer is so central
the composition isnt very dynamic. In
the image on the right the composition
is better, but because the crop is so tight
you cant see how high the surfer is

THE TROUBLE SHOOTER

PhOtO f I x #1
L ighten up!

PhOtO f I x #2

Shoot into the Sun

Once Gladys has got her focus settings sorted, the first
thing we need to take a look at is exposure. Because its a
sunny afternoon, the light is fairly constant, so the thinking
is that once shes set her exposure, she can put it out of her
mind and concentrate on composition.
Before we get started, I lend her a Canon 300mm f/4.0L
IS uSM, so she doesnt have to worry about her own lens
playing up. Because shes used to shooting in manual, we
stick with that. Before she even takes a shot, I suggest that
she sets her ISO to 100 (to ensure grain-free images), and
her aperture to f/4 (to minimize depth of field and make
the surfers stand out from the background).
With the exposure level needle in the middle, this gives a
shutter speed of 1/3200 sec, but a quick test shot shows
that this setting is under-exposing the sea slightly (inset).
the histogram confirms that there are no bright highlights,
so I suggest halving the shutter speed to 1/1600 sec, so
that the exposure level needle is at +1. this is fast enough
to freeze the action, and results in a spot-on exposure.

Having shot some traditional poses and a few more

creative compositions, Gladys is keen to capture what she
calls the tin-foil effect, which is achieved by shooting
into the sun to silhouette the kitesurfer against a bright,
shimmering sea. to do this, we have to wait until the
evening, when the sun is low enough in the sky to produce
the effect were after.
As before, I encourage Gladys to take a few
test shots first to evaluate her exposure. Shooting at the
shutter speed shes been using until now results in very
over-exposed shots, because the low sun reflecting off
the waters surface is just so bright. Instead, I suggest
decreasing the shutter speed a stop to 1/3200 sec. the
resulting shot looks much better on the LCD, and a quick
look at the histogram suggests that the exposure is now
spot on theres a peak at the far right representing all
the brighter midtones and highlights of the water, as well
as a smaller peak at the shadow end representing the
silhouetted kitesurfer.

Left to its own devices, the camera makes the sea mid-gray, resulting in
under-exposure (inset). Solve the problem by over-exposing by a stop

the shimmering sea silhouettes the kitesurfer nicely, and the histogram
(inset) shows that the highlights are bright but not clipped

S hoo t ing a dv ice

ge t Se t up

THE TROUBLE SHOOTER

PhOtO f I x #3
S tay compo Sed

Focus
trackinG
(ai servo)

the kitesurfers head and body have been

severely cropped out, but this focuses attention
on the board, which is perfectly framed against
the huts in the background

Because Gladys never

uses focus tracking,
she really struggles
to achieve sharp
shots of subjects that
are moving towards
or away from her.
By setting AI Servo,
she can ensure that
the camera will
adjust its focusing as
the subject moves
towards her.
Problem solved!

continuous
shootinG
Focus tracking
works best when
youre shooting in
the continuous drive
mode, because it can
often take a frame or
two for your camera
to figure out how fast
your subject is moving
and to subsequently
start tracking it.
Setting the maximum
frame rate will also
increase your chances
of capturing the
moment.

Back-Button
FocusinG
So-called back-button
focusing enables you
to track the focus
using your thumb and
release the shutter
with your forefinger.
this will help to keep
the two separate,
so you can track the
focus continuously
and only release the
shutter at the peak of
the action.

Whats clear from Gladyss

portfolio is that shes
happy shooting surfers in
a classic, straining-on-thelines pose, so once shes
got a few of these in the
bag, I encourage her to try
something else.
We start by getting
down as low as possible,
right at the waters edge,
and shooting vertically,
with the kitesurfer at the
top of the frame. this
obviously means selecting
the focus point so that
the focus is on the surfer
and not the waves. At an
aperture of f/4, this has
the effect of blurring these
waves, which directs the
viewers attention to the
surfer in the background.
I also suggest making the
kitesurfer smaller in the
frame to provide a sense of
the size and power of the
open sea.
Another challenge is
capturing the huge jumps

Including a thin strip of sea

and a lone windsurfer in the
distance emphasizes the height
of the kitesurfer in the
foreground. It helps that the
composition is nicely balanced,
with nothing but empty sky
between the two elements

kitesurfers make when

the wind lifts them clear of
the water. Its challenging
because its difficult to
provide a sense of scale
even if you include a strip
of sea at the bottom of the

frame, it can be hard to tell

if the kitesurfer is 10ft up or
50ft up.
the answer, as Gladys
illustrates brilliantly with a
shot of a kitesurfer poised
in mid-air (left), is to include
something else in the
frame for sense of scale.
And finally, because
kitesurfers move so fast
(especially when its windy
enough to do tricks and
jumps) it can be hard to
get really tight, framefilling shots. this comes
down to experience, but
you can maximize your
chances by tracking
the surfer through your
viewfinder, anticipating
the action and shooting
in long bursts when the
action unfolds. this can
be a bit hit and miss, but
as Gladyss extreme crop
of a kitesurfers legs shows,
sometimes the misses
are more interesting than
the hits.

THE TROUBLE SHOOTER

PHOTO OF THE DAY

this is a straightforward composition, but its brilliantly

executed: the exposure is spot on, the droplets are pin-sharp,
and the kitesurfer has been captured at the peak of the action

MAk InG A SPL A Sh

t he t ROUBL e ShOOt eR SAYS

Having struggled
with her own lens,
Gladys made the
most of having
a lens that not
only worked, but
that was capable
of locking onto
her target in
milliseconds. She

got the hang of

using focustracking, and
once shed set her
exposure, there was
no stopping her.
Composition-wise,
it took her a bit
longer to get her
eye in, and her
subjects were a
bit small in the
frame, but as her
confidence grew,
she soon got
tighter crops.
the only thing

she needs to
keep an eye on is
her settings a
couple of times
she knocked her
lenss focus button
to manual without
realizing, and
ended up with a
series of out-offocus shots. And
although the light
was fairly constant,
in more changeable
conditions shell
need to check her
exposure regularly.

Gladys says
Pauls tipon tackling everything one step at a
time was extremely helpful. the whole process
feels so much less daunting now I know to select
AI Servo and Continuous to help with tracking and
focusing, before going on to check my histogram
and determine my exposure.
I especially liked Pauls suggestion of shooting
from a low vantage point to really emphasize
the power of the sea and the vulnerability of the
surfers. I may not have got a particular winning
shot on the day, but its really exciting to know that
Ive got that challenge to take into future forays.

SubScr ibe today and enjoy

Photogr aPhy week For
juS t 39 c /39 P an iSSue
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XPOSURE
The weeks mosT inspiring reader phoTos

Dunwich heath

neil almond
By going down low, neil got a great
composition with the tree in the upper third
and lots of detail in the foreground
http://tiny.cc/vnft1x

The weeks mosT inspiring reader phoTos

coming Back!

Bernard Palate
a simple and beautiful
composition using the rule of
thirds. the precise focus makes
this a great macro shot
http://tiny.cc/rvft1x

after Dark

kike esquina
this eerie image shows how the
mood and colors in a scene can
change completely after dark
http://tiny.cc/2zft1x

The weeks mosT inspiring reader phoTos

marshall Point lighthouse

michael Ver sPrill

a mind-blowing astro shot of the milky way
at marshall Point lighthouse in maine.
if the lighthouse looks familiar, its
because it was used used in the forrest
gump movie
http://tiny.cc/2ggt1x

skyview Panoramic

aaron Fuhrman
aarons interpretation of the lines, shapes and
colors of the lower antelope canyon, arizona,
makes for a stunning, almost abstract image
that would look good on any wall
http://tiny.cc/kngt1x

The weeks mosT inspiring reader phoTos

sPike Ball

roBin raj
composition is everything in this
image. shot from an unusual
angle, we get a sense of the action
from the thrower and the net in
the center. the players waiting
for their turn add interest and
perspective to the background.
a fun way to depict a fun game!
http://tiny.cc/k6gt1x

fishermans Pier

justin holding
a great juxtaposition of
architectural lines and calm,
ethereal water, captured with a
long exposure, leading the eye to
where the pier meets the horizon
http://tiny.cc/p8gt1x

The weeks mosT inspiring reader phoTos

we are the city

raul gomez Fernandez

now this is cool! instead of being put off by the reflections of other snappers
in the window, raul has incorporated them into his image, telling a story
of the moment and capturing three scenes in one frame. very clever!
http://tiny.cc/9ilt1x

PhotograPhy week wants your Photos!

FaceBook
http://tiny.cc/bljpjx

Flickr
http://tiny.cc/8kgpjx

taken a portrait youre particularly proud of? shot a sensational sunset youd like to
show off? then join the Photography Week facebook community and share your best
photos today! youll get feedback from fellow readers and the Photography Week
team, plus the chance to appear in Xposure, or even on our cover!

I T S C O O L , T H AT
The besT Thing we ve seen This week

thrills and spills

A trip to a Los Angeles beach brought home the reality of pollution
to photographer Michael Dyrland. The result was Hazmat Surfing
nyone whos never been to
Californias beaches may still
harbor fond visions of the
Beach Boys, Big Sur and surfing, but
when Washington-based photographer
Michael Dyrland visited Los Angeles he
was taken aback by just how polluted
the sea is. A night of heavy rain revealed
the true horror of whats in the sea, a
mixture of sewage, garbage, oil, and
shit (literally, human faecal matter), as
he explains to Featureshoot.com. Gross
it may have been, but the oceanic mess

gave Dyrland the inspiration for his

Hazmat Surfing project, where he
imagines a dystopian future where the
seas are so polluted, surfers have to wear
biohazard gear.
Michael shot part of Hazmat Surfing in
Venice Beach, but he notes that there
are many spots in the ocean that are
worse off than Los Angeles. He plans
to expand the project across the globe.
We just need to address the current
issues, and work together towards
improving ocean pollution, Michael adds.

see t he g a l l ery
h t t p: // t iny. cc / t h 8 q1 x

crash course
ESSENTIAL PHOTO SKILLS MADE EASY

Find your Focus in

a Field oF Flowers
Sometimes your autofocus system seems to have a mind of its own.
Rod Lawton shows you how to make it focus the way you prefer
Most of the time, your
cameras autofocus makes
the right decisions and
min
produces perfectly sharp
pictures. But really it can only guess
at your intentions. Thats why its
important to know how it works and
what its going to do, so that you can
take charge of focusing in situations
where the camera might make the
wrong guess.
Taking control doesnt mean you
have to focus manually; autofocus
systems are both faster and more
accurate than trying to focus by eye.

30

The trick is to set the camera up so that

it does what you want in the way you
expect. The range of autofocus modes
and options can look daunting, but they
are quite simple when you break them
down. In fact, there are just two things
you need to know.
First, you need to know when the
camera is going to focus. In continuous
aF mode it keeps focusing all the time
you keep the shutter half-pressed.
Thats fine for action sequences, but
unpredictable for regular photography
for this, you need the single-shot aF
mode. second, you need to know what

its going to focus on. In auto-area

aF mode, the camera decides on
your behalf. Its quick and simple, but
sometimes wrong. single-point aF
mode is simpler and cruder, but its
the one most experts prefer because
you can make the camera focus
exactly where you want.
Different cameras use different
autofocus systems, and some look
fearsomely complex. But the same
principles apply across all cameras,
and in a matter of moments you
can tame even this super-complex
system to work simply and clearly.

STEP bY STEP: TAKE cONTrOL Of YOur AuTOfOcuS

1
Let the
camera choose
The auto-area aF mode on our
camera copes perfectly well
with this shot, because sarah
is more or less in the middle
of the frame and theres
nothing in the foreground to
confuse the autofocus system.
But if we get lower down to
shoot, its another story

2
ProbLematic
foregrounds
auto-area aF mode will
automatically focus on objects
nearest the camera, and here
its picked out some blooms
lower in the frame, leaving
sarah out of focus. Thats the
problem with automatic focus
point selection: it doesnt
always focus on what you
want it to.

3
singLe-shot
mode
There are two steps you need
to take to gain control of
your autofocus. First, set your
camera to single-shot aF
mode. This means it focuses
once when you half-press
the shutter button, and stays
focused on that point until you
press it the rest of the way to
take the picture.

STEP bY STEP: TAKE cONTrOL Of YOur AuTOfOcuS

4
singLe-Point af
you now control when the
camera focuses, and the next
step is to take control of
what it focuses on. For this
you need to set it to singlepoint aF mode. The camera no
longer chooses the aF point
automatically. instead, youre
forcing it to use the focus
point youve selected.

5
focus Lock
There are two ways to use
single-point aF mode. The
quick way is to stick to the
center aF point, place your
subject in the center, halfpress the shutter release to
lock the focus, then reframe
the shot and press the shutter
button the rest of the way to
take the picture.

6
set your af Point
The other way is to compose
your shot, then use the multiselector on the back of the
camera to position
the focus point over the
critical part. in this shot its
our models eye the most
important thing in a portrait.
This is the best method when
youre using a tripod.

lightroom
LEARN ESSENTIAL EDITING SKILLS FAST!
AFTER
bEFoRE

W AT cH T He V iDeO
h t t p : // t i n y. c c / b a d r1 x

D OW nl OA D T He
prOjec T f i l e s
h t t p : // t i n y. c c / 0 7c r1 x
On A pc Or mAc

HOW TO...

crOss-prOcess in l igHTrOOm
Produce selective shifts in color by mimicking a classic darkroom technique
he term cross-processing refers
to a developing technique
used in pre-digital chemical
darkrooms. it involved deliberately
developing print negatives using
chemicals that were designed for use

with slide film (or visa versa). the use of

incorrect chemicals resulted in a shift in
color and an increase in contrast.
in the days of the traditional
darkroom the results could be a bit hit
or miss, so you had to experiment to

get the desired shifts in color and tone.

But lightrooms Color panel enables
you to tweak and adjust individual
color channels to replicate almost any
chemical combination you might desire,
making the process a lot easier.

WANT To LEARN hoW To usE LighTRoom FAsTER? gET ThE WhoLE couRsE NoW!
if you dont want to wait a whole year to learn how to use lightroom, you can download our whole course
from the photography Week app for just $19.99/11.99. Well be including one part of the course every week
until the end of the year in the magazine, so the choice is yours: wait and take the course for free, or buy it
now and learn faster, with all the videos in one place!
http://tiny.cc/0bxaqx

ThE BIg REvIEW

ExpErt opinion on thE l atEst kit

C AnOn 750D/760D
We put Canons first 24-megapixel APS-C format
D-SLRs through our full testing procedure

w aT C H T HE V IDEO
h t t p : // t i n y. c c / j l d r 1 x

Canon 750D (REBEL T6i) 545 / $750 Canon 760D (REBEL T6s) 650 / $850 www.canon.com

760D
750D
ith three cameras in its
entry-level range, Canon
already had plenty to interest
novices and enthusiast photographers
on a budget. Now the company has
replaced the 700D with two models,

the EOS 760D and the EOS 750D. As the

700D continues in the line-up (for now
at least), this means that there are five
cameras in what Canon calls its
beginners range. The new 760D and
750D, known as the Rebel T6s and T6i in
the USA, sit at the top of this group
above the Canon EOS 700D, Canon EOS
100D and Canon EOS 1200D.
The Canon EOS 750D could be
considered the more logical upgrade to
the 700D, but the 760D is designed with

more experienced photographers in

mind, and has a few features from
Canons high-end cameras. Inside,
however, both cameras have the same
sensor and processing engine.
Because the cameras are so similar,
were reviewing them together to help
you decide which is the most suitable
model for you. Well also take a look at
how the two cameras compare with
some of Canons existing models.
Watch the video via the link above.

SenSor 24.2MP APS-C (22.3 x 14.9mm) CMOSsensor Focal length converSion 1.6x MeMory SD/
SDHC/SDXC viewFinder Optical, 95% coverage, 0.82x magnification video reSolution Full HD
(1,920 x 1,080 pixels) at 30, 25 or 24fps iSo range 100-12,800 (expandable to 25,600) autoFocuS pointS 19 Max burSt rate
5fps lcd Screen Size Three-inch; 1,040,000 dots Shutter SpeedS 1/4,000-30 sec, Bulb weight 565g (including battery and
memory card) diMenSionS 131.9 x 100.9 x 77.8mm power Supply LP-E17 Li-ion battery (supplied with the camera)
750D SpecificationS are the Same aS for the canon760D except:
weight 480g (including battery and memory card) diMenSionS 131.9 x 100.7 x 77.8mm

MORE GREAT MAGA ZINES FROM

THE MAKERS OF PHOTOGRAPHy wEEK

n-Photo

PhotoPlus

N-Photo is a monthly
magazine for Nikon
photographers, and is
packed with technique
and Photoshop video
lessons every month.

pOp-Up VideOs

O
View the Vide

pLUs BUYeRs GUides

issue 103 August 2015

CAnOn 5ds & 5ds R tests

meGApiXeL

mARVeL

PhotoPlus is a monthly
magazine for Canon
photographers that
features expert advice,
tips and video tutorials
on all things Canon.

the pros (and cons) of Canons big-sensor dsLR

revealed in our essential eight-page lab test

a birDs
eYe view

the nO.1
mAGAzine
FOR

Aerial photography ace

Vincent Laforet on his
sky-high city shots

http://tiny.cc/cllrjx

free canon
citY guiDe
no.2

pariss hot photo spots

free!

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166

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Issue 53 July 2015

The definitive guide

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AUGUST 2015

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