Digital Photographer 170 - 2016 UK

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WELCOME © Fabio Antenore“This issue we’ve pulled together 10 little-known tricks to take your photography that extra mile” Think back to the first tips you Like wildlife, photojournalism is all about fleeting were given to improve your moments. Over on p48 our Features Editor has jumped photography – rule of thirds? in at the deep end, speaking to the professionals to find Shoot in RAW? Avoid your pop-up out exactly how they tell stories in one photo, from the flash? This issue we’ve pulled kit you need to the mindset you have to be in – and together 10 little-known tricks to everything in between. take your photography that extra mile. From three experts – Lee The age-old debate of Nikon versus Canon has been Frost, Ben Davis and Andy Farrer resurrected this issue as we’ve pitted the Nikon D7200– you’ll learn how pre-visualising, optimising image against the Canon EOS 7D Mark II. Two exceptionalquality and stitching shots can give you better results. crop-sensor cameras, but which one comes up Elsewhere this issue, we’ve got pro tricks for wildlife trumps? Turn to p88 to find out.photography with a difference. Whether that meanscomposing your frame for an abstract interpretation If you don’t already subscribe to Digitalor exposing for impact, you’ll learn to take your animal Photographer, now is your chance! With 30% off thepictures to new heights. usual price, you’ll also bag yourself a free bookazine Speaking of wildlife photography, on p70 successful too. Subscribers even get their copies days before thephotographer David Yarrow speaks candidly about how issue hits the newsstand! Check it out on p64.to make a name for yourself in such a competitive field. As always, I sincerely hope you enjoy the issue! Philippa Grafton, Deputy EditorGET IN TOUCH Ask a question, share your thoughts or showcase your photos…@DPhotographer Tweet www.facebook.com/ Email: Website:your opinions or images and DigitalPhotographerUK [email protected] Share your images for free atsee them printed Share your thoughts and shots Have the subject clearly marked www.dphotographer.co.uk 3



SHOOT REPORTAGEImagine Publishing LtdRichmond House 33 Richmond HillBournemouth Dorset BH2 6EZ% +44 (0)1202 586200Web: www.imagine-publishing.co.uk www.dphotographer.co.uk www.greatdigitalmags.comMagazine teamDeputy Editor Philippa [email protected]% 01202 586219Features Editor Matt BennettProduction Editor Rebecca GreigDesigner Kym WintersPhotographer James SheppardEditor in Chief Amy SquibbSenior Art Editor Will ShumPublishing Director Aaron AsadiHead of Design Ross AndrewsContributorsTom Calton, Kevin Carter, Amy Davies, Ben Davis,Andy Farrer, Lee Frost, Callie Green, Fiona Hudson,Andrei Oprinca, Lauren Scott, Katy Sheen,Simon Skellon, Gavin StokerCover imagesMain image © Javier de la Torre GarciaInset image © Saud AlOtaibiFileSilo.co.ukAssets and resource les for this magazine can be foundon this website. 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Head to page 48 Lauren Scott has returned this issue shared his top 10 career secrets overEstate, Poole, Dorset, BH16 5SN now to discover how you can capture with a handy guide to capturing unique on p70. Discover how he makes himselfDistributed in the UK, Eire & the Rest of the World by: show-stopping photographs in a single photographs of animals. From panning stand out from the crowd, and find out hisMarketforce, 5 Churchill Place, Canary Wharf, London, frame. Elsewhere, he’s uncovered the to compositional tricks, turn to p38 to advice for getting your name out there.E14 5HU (www.marketforce.co.uk) techniques for recording perfect audio to take your wildlife captures from great You’ll also find an exclusive code for 10% go alongside your videos on p76. to exceptional. off Nikon School courses until March!% 0203 148 3300 FABIODistributed in Australia by: Network Services (a division of ANTENOREBauer Media Group), Level 21 Civic Tower, 66-68 GoulburnStreet, Sydney, New South Wales 2000, Australia Website: facebook.com/urbandustpix% +61 2 8667 5288 Having only pickedDisclaimer LEE KERNVILLE up a camera for FROST the first time threeThe publisher cannot accept responsibility for any unsolicited material Website: years ago, landscapelost or damaged in the post. All text and layout is the copyright of Imagine Website: 500px.com/kernville photographer Fabio Antenore’s skillsPublishing Ltd. Nothing in this magazine may be reproduced in whole or part leefrost.co.uk Portrait photography know no bounds. We’ve spoken to Fabiowithout the written permission of the publisher. All copyrights are recognised can be whatever this issue on p20 about how he gotand used speci cally for the purpose of criticism and review. Although the Author of several the photographer started in photography, how he waits formagazine has endeavoured to ensure all information is correct at time of best-selling envisions; seductive, the right light, and about what the futureprint, prices and availability may change. This magazine is fully independent photography innocent, playful and everything in holds for him.and not af liated in any way with the companies mentioned herein. books, Lee Frost between. Kernville’s captures are no has returned this issue with 10 ways different, so turn to p78 to see the pick ofIf you submit material to Imagine Publishing via post, email, social network or to improve your images over on p26. his portfolio and to find out what it is thatany other means, you automatically grant Imagine Publishing an irrevocable, From using your neutral density filter for keeps him passionate. Share your ownperpetual, royalty-free license to use the images across its entire portfolio, in long exposures to pre-visualising your portraits at www.dphotographer.co.uk!print, online and digital, and to deliver the images to existing and future clients, captures, Lee sheds light on how to takeincluding but not limited to international licensees for reproduction in international, your best ever photos.licensed editions of Imagine products. Any material you submit is sent atyour risk and, although every care is taken, neither Imagine Publishing nor itsemployees, agents or subcontractors shall be liable for the loss or damage.© Imagine Publishing Ltd 2016 ISSN 1477-6650 5

YOUR FREE In Focus ASSETS 14 Story Behind The Still Turn to p112 to get hold of your bonus Find out how Bill Ward captured content his stunning shot ContentsIssue170 16 News Your Images Our favourite reader imagery from this issue Check out the latest news and releases in the industry 8 106 Kit focus© Tarja Porkkala Get to grips with gimbal heads for Techniques Improve your shooting and editing skills steady shooting 26 © Lee Frost 38 48 Shooting SkillsGuide to better Wildlife photographyshots in 2016 with a difference Shoot 56 Shoot light trails one-shot storiesFollow our ten simple Discover our pro tips to Discover how to capturesteps to improve your Be in the right place at the incredible light trails from a carskills and produce your shooting stunning wildlife right time and capture thebest imagery yet essence of a story with 62 Fake a captures that will stand just one single image dark backgroundReviews out from the crowd Apply the inverse square rule Discover the latest cameras, lenses and much more Image Editing 88 96 100 104 108 110 66 Stunning astro shots Head to head Sony a7R II Panasonic Lenses Software Accessories with Dehaze GX8 See who comes How does this The latest Our views on Some fun yet Learn how to enhance your astro out on top, Sony camera Does this the latest editing shots in Lightroom CC Canon or Nikon fare in our test? CSC deliver? lenses are put tools available functional 68 Master to the test kitbag extras local adjustments Use the Adjustment tool in ACR Go Pro 70 Find success as a wildlife photographer David Yarrow with the honest facts for shooting on the wild side 74 Career advice Follow our guide to managing your expenses as a freelancer 76 Video skills series Make the most out of audio for the best results Portfolio 20 Light and colour Landscape photographer Fabio Antenore’s stunning images 78 Kernville’s captures Appreciate the female form with boudoir pro Kernville 6

4246 Gshuoidtse itno2b0e1t6ter © Lee Frost20 aLnigdhtcolour © Jackson Carvalho 48 Sonheo-osthot stories © Fabio Antenore Wwiitlhdliafedipfhfeorteongcreaphy © Andrew Nelles 38 88 96 to Hheeaadd Sony a7R II Subscribe 30%and save Turn to page 64, or go online and buy direct from 7

YOUR IMAGES: SHOWCASE WIN! Frozen waves of SAMSUNG 32GB garden pond PRO PLUS SDHC CARD “On the first frosty Finnish Every issue’s reader showcase entry autumn night, these sharp ice wins a Samsung 32GB Pro Plus SDHC formations emerged into our card worth £50.99, boasting write speeds of up to 90MB/s – perfect for garden pond” DSLRs and 4K camcorders. To find out more information, visit samsung.com/memorycards. For your chance to win, share your photos online at dphotographer.co.uk!8

THE MAGICOF MACRO Tarja Porkkala captures the small and often unseen wonders of the natural world in her stunning imagery Ice crystal world Looking at ice crystals through a macro lens opens a whole new world. Shot on a Finnish lake covered by ice and snow in February All Images © Tarja Porkkala 9

YOUR IMAGES: SHOWCASE10

Tarja Porkkala DP Gallery name: Tarjuska Day job: Trained nurse, specialised in children. [I am] now pensioned after eight back operations, but have found more meaning and new interesting content in my life through [my] photography. What’s your long-term ambition? To get closer and closer. [And] take super-macro shots, but for that a serious gear update should be done! I also want to define my photographic style towards more artistic impression, still maintaining the magic of macro. How long have you been shooting digitally? I started with a compact digital camera some five years ago, but moved to SLR in 2013. Have you been interested in macro photography for long? More and more all the time, but it wasn’t technically possible for me in the way I wanted until I changed to SLR. What’s in your kit bag? Canon EOS 60D and EOS 70D bodies. For shooting insects I usually use Canon 50mm lens with extension tubes of various lengths. For flowers and plants, [the] Tamron SP 90mm macro is my favourite. Tripods of various size and weight. Handheld reflectors. What’s the most important thing to consider when shooting macro? Select a location, which is not windy and there is enough light to be able to use [a] small aperture. For final success, you have to be very patient to build a confident relationship between you and your tiny models! What advice would you give to aspiring macro photographers? Use manual settings and try different combinations of aperture and shutter speed values. Because of the shallow depth of field, take lots of versions! Always use a tripod or other sturdy support. Opposite-top-left Opposite-top-right Opposite-bottom Above What editing tricks do you use? I shoot in natural outdoor settings and Fairy’s magic wand Far-away space colony Drops in pink flower Pearls of Christmas respect my models as much as I can. I try to make both the subject and the“Snow crystals on a conifer “Water drops with colourful “After a sudden shower, “Water drops in a spider’s background as ready as possible already reflections create an illusion sunlight entered our garden web are like silver Christmas in the camera. tree needle make it seem like of space colony settlement and filled the water drops on a [baubles]. The background domes in far-away galaxy” pink flower” comes from autumnal leaves” Of course common actions like a fairy’s magic wand” brightness and saturation adjustment and selective sharpening are usually needed for post-production. No focus stacking is used in my photos! Also rotating and clever cropping may bring something extra to the composition. 11

YOUR IMAGES Left12 Yuliy Vasilev Image title: Slaves of time DP Gallery address: JV It was taken in November 2014 in Canary Wharf, London. I used a compact Sony Nex-C3 camera with a Sony E 18-55mm lens at 51mm, f32, 1.6sec, ISO 200. In fact the image is a composite of three consecutive shots taken with the same settings… Slaves of time is a multiple award- winning image, [including] Gold Medal of the Bulgarian Academy of Photography, and Silver FIAP medal. Opposite-top Bibiana Ruzickova Image title: Perfume DP Gallery address: Ruzickova The photo was shot indoors using only one light. I was trying to get a vintage look from make-up, styling, to location – a beautiful old house full of antiques. [The] model was my favourite Kristina Steis, and make-up by Rea Polakovic. Opposite-bottom Victor Sinden Image title: The piano player DP Gallery address: Victor J Sinden I originally asked for my friend’s son to dress up in the early-1900s’ style, and when I saw they had a piano I envisioned this image right away. I set up a speedlight with a snoot behind the model and used a bare head speedlight to my left bouncing off the ceiling as a fill light. The image was always going to be processed black and white.

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IN FOCUS All images © Bill Ward STORY BEHIND THE STILL Photographer: Bill Ward Website: www.billwardphotography.co.uk Location: Kisdon Force, near Keld, Yorkshire Dales Type of commission: Personal work Shot details: Pentax K3 with Pentax DA 17-70mm lens at 33mm, ISO 100, f18 and 1/6 secAbout the shot: Forget kit and actual technique for onemoment; perhaps one of the most important parts ofcapturing a stunning shot is visualising it to begin with,as landscape photographer Bill Ward did during oneparticularly wet shoot in the Yorkshire Dales. “When I got to the falls, I was struck first of all bythe unusual colour palette… On one particular stretch:reflected blue from the sky above, green from the leaves,yellow from the rock, [and] red from the churned-up soilin the water.” Ward also noticed a tiny standing wave,which came and went intermittently, and looked tobalance this element in the composition with the spraycoming off. “It took a fair few goes at different shutterspeeds, but this was the one that made the most senseto me in the end.” Along with a tripod to compensate forthe slower exposure, “[I used a polariser to] cut throughto the riverbed, without completely losing the reflectedsky and leaves in the surface of the water.” Ward hadunderexposed the shot to preserve the water’s highlights,and after the shoot, took a gentle approach in Lightroomto develop the RAW file, tweaking the Clarity, Vibrance,and Saturation levels. Unlike many landscape lovers, Wards doesn’t like toplan his adventures in the field meticulously. “I (almost)always find the photographs I’m most fond of tend not tobe the ones I imagined I might take beforehand, but theones that occurred to me while I was there.” Right Rainbow Falls “Water is a big thing for me. I very nearly didn’t drop by Kisdon Force, as the light was starting to go and it meant retracing my steps, but I’m very glad I did”14

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IN FOCUSPanasonic’s Abovecompacts get 4K tech Improved engine The premium TZ100 is the first in Panasonic’s TZ range to house a 1-inch sensor. It also features Wi-Fi and a 20MP sensorTwo 4K-equipped models have been added to Panasonic’s TZ range Panasonic has revealed two new the TZ70’s 12.1. Externally, users will also find Seemingly keen to upgrade across the range, compact models in the form of the that the three-inch 1040k-dot LCD is now the company has also introduced a new 100- TZ80 and the TZ100 premium super- conveniently touch-responsive. 400mm f4-6.3 Leica lens that comes with dualzoom. While both substantially build upon what image stabilisation. It’s quite likely to pleasethe existing TZ70 and TZ60 have to offer, they The 20.1-megapixel TZ100 premium super- dedicated wildlife and action users who wantaren’t going to be a direct replacement. zoom will be the company’s second release, high performance in a compact design, thanks The TZ80 is the less expensive offering in and the introduction of its one-inch MOS to its light weight of just 985g and advancedthe new line up, but will become the world’s sensor makes it the largest sensor in the TZ weather sealing. Optimised for 4K videofirst compact camera with 4K technology. range. The all-new 4K features are the name shooting, the zoom operation is also silent.The camera is equipped with a Leica lens, the of the game again, with the shooting rate Retailing at £1,349 (approx $2,024), it’ll also bemodel has been designed “for travellers who matching that of the TZ80. ISO sensitivity can available in March 2016.want to enjoy easy 4K videos and photos,” and now be extended to 25600, and there’s alsolike its predecessor, features a 30x zoom that’s a Starlight AF mode on offer, which should Top-left Above-leftimpressive for its compact weight of just 282g theoretically apply a smaller AF area and(with battery and card). detect contrast even for tiny subjects such Low-light shooting High resolution The most notable improvement is the as stars. compactaddition of 4K burst shooting, which peaks at Low-light AF and Starlight30fps, alongside video recording at a maximum Similarly styled to their predecessors, the AF modes complement the The new model also30p/25p. The sensor too has seen an overhaul, TZ80 will be available February 2016, while model’s ISO increase to 25600, houses an improvedupgraded to 18 megapixels compared with the TZ100 will follow swiftly after in March. increasing the sensitivity sensor, and it’ll be the Both new offerings are priced at £359 (approx and focus acquisition when first compact camera to $535) and £529 (approx $788) respectively. shooting in moonlight feature 4K technologyOther new releases SEALIFE EXPANDS BOUNCE LIGHT WITH EASE WATERPROOF RANGEDUST-REPELLENT FILTERS Lastolite’s EzyBounce Card has SeaLife introduced the Micro 2.0 to been designed to create a softerHoya’s new FUSION Antistatic filters their permanently sealed camera line. light for portraits. When collapsed,have been designed for use in dusty At just four inches wide, the durable it’s small enough to be carried in aenvironments and are water and stain model features a 16MP Sony CMOS shirt pocket and secures to standardproof. The protective circular filters sensor and 130-degree fisheye lens. It flashguns with a silicon strap.have a nine-layer coating that’s also can be used down to 200 feet. Perfect for event photography.scratch resistant. They start at 37mmand £27 (approx $40).16

NEWSSamsung leaves In otherUK camera market news…Does the decision cast any doubts on the mirrorless industry? More snippets of photo news from Although rumours began in September Consumers who appreciated the innovation and Top-left © Paul Mellor around the world 2015, Samsung has now confirmed originality of Samsung’s mirrorless NX-series that it will begin phasing out its will be the most affected, as the company Disappointed AERIAL FESTIVAL LANDSrange of photography products in the UK. has withdrawn development plans for any loyal users IN UKThe decision has simply been attributed to new professional-grade lenses in the future.decreased demand for these products, and Samsung has been keen to emphasise however, The decision to DRONEFEST will take place oncomes after the company has already pulled the that “this is a local decision, based on local stop producing 27 January 2016 at the Businessplug in other areas such as Germany. market conditions,” leaving a chance that it will cameras and Design Centre, London. The “We quickly adapt to market needs and continue its camera lineup in successful areas. lenses in the UK evening will showcase the best indemands. In the UK, we have seen a gradual will particularly aerial cinematography, includingand sustained decline in demand for standalone It’s easy to see the exit of one major brand upset users who winners from the DRONESFESTdigital cameras and camcorders and related as an indicator of the wider market, but growth have invested in competition. Visit www.accessories,” a spokesperson for Samsung from other manufacturers still seems healthy. the NX-series dronefestival.co.uk for ticketsexplained. “For this reason, we have taken the Sony’s a7-series mirrorless system has received and more information.decision to phase out the sales and marketing plenty of attention in the professional sector, for Top-rightof these products.” example, and the Panasonic Lumix G range is COMMUTERS ENJOY The news is likely to come as a surprise and forging the way with future-forward 4K features. Brand LANDSCAPE EXHIBITIONdisappointment to many existing loyal users. Share your opinions and thoughts with us now alternatives on the DP Facebook page. The 2015 Landscape The market holds Photographer of the Year winners plenty of diverse are now on show at London’s opportunities for Waterloo Station. The images are consumers, and displayed on the train station’s systems such as 40m wide LCD screen, as well as Sony’s a7-series stunning prints on the balcony look to be thriving until 7 February 2016.Win tickets for GOPRO’S NEW APPLEthe Adventure WATCH APPTravel ShowDiscover the event that showcases The latest iOS update from GoProtravel experiences with a difference sees the integration of a new Apple Watch app. This will enable The Adventure Travel show, now offering specialist advice on everything from Above owners to use their Watch as a celebrating its 20th year, is once again travel photography to adventure filming. remote control when it’s paired returning to Olympia, London on 23-24 Photography with Wi-Fi-equipped cameraJanuary 2016. Described as the only We’re even giving four lucky readers the exhibition models, and start recording withevent “dedicated to discovering chance to win a pair of tickets to the one tap.the world off the beaten track,” show, and the competition couldn’t Shortlistedit’s the UK’s largest exhibition be simpler. Simply correctly images from the KEEPdesigned to please those answer a question online at 2016 Strange INFORMEDlooking for expeditions news.dphotographer.co.uk/ World photo For more news andoutside of the mainstream. competitions/ats by the contest will be updates, be sure to pay For travel photographers closing date of 18 January. displayed at the a visit to our website, www.in particular, discovering As an offer to our readers, show in January dphotographer.co.uk, andnew locations and subjects we’re also offering reduced if you’ve got a story foris all part of the thrill, and price tickets to the show Left us, you can email us atplanning can be tantamount to when you book in advance. [email protected] successful shooting trip. With this Simply quote ‘DP’, and you’ll only Ticket bargainin mind, visitors to the show will be able pay £6. To find out more about the co.uk.to choose from over 100 talks and seminars, Visit the show’s show and to pick up your own tickets official website 17 visit www.adventureshow.com. now to book your tickets in advance, and pay the bargain price of just £6

PRO COLUMN WINNING VIEWS 2015’s winner of the Landscape Photographer of the Year competition Andy Farrer explains what it takes to capture an award-winning image All images © Andy FarrerI’ve seen firsthand the positive effect winning and the current National Trust much so that I upgraded to the a prestigious photography competition has on someone’s career. I was with Antony guidebook. Conversely, my EOS 5D Mark III soon after its Spencer in Norway as his win of Landscape Photographer of the Year was announced in Wistman’s Wood image won a launch and it’s been a workhorse 2010. It was incredible to see his inbox flood with magazine requests, print orders and commended place in LPOTY since then. It was the camera other bookings. Antony has worked tirelessly since then, capturing incredible scenery, and this year, but didn’t make the behind my LPOTY image. I’ve really established himself as one of the top photographers in the world, in my opinion. shortlist in IGPOTY last year. It recently invested in the EOS 5DS; Since winning Landscape Photographer of the Year this year, I have been asked quite a didn’t mean either shot was no I produce a lot of large prints and lot about what strategy I had for choosing my entries. It’s a subject I’ve discussed at length good. They are both images I was PRO BIO having a colossal megapixel body with friends and other photographers. What is excited to get home and see on a is very exciting. I’m only a few clear is that none of us are mind readers, and big screen when I shot them. I think Andy is a professional hundred images in, but loving the none of us know how the judges will feel on the an image with something unique landscape photographer detail. My second-hand EF 100- day, let alone know what they will like. about it, or something dramatic or based on the Dorset Coast 400mm was my favourite lens so As an example, my image Summer Mist bold, might help it get to a second in Swanage. With locations I was excited to upgrade it to the At Corfe Castle didn’t reach the shortlist for round, but an image should hold such as Durdle Door, Old new version. I’m blown away by LPOTY a couple of years ago, but went on to the viewer’s attention, be engaging Harry Rocks and Swanage the image quality, especially when win in International Garden Photographer of and technically excellent. Pier within easy reach, Andy paired with the EOS 5DS. I can’t the Year the following year. It’s my bestselling isn’t short of inspiration. wait to look through the images print to date and is on the cover of a book Overall image quality is of course He recently won the title of I’ve captured with this combination important and something the Landscape Photographer and see what will turn the judges’ judges will look at. I was frustrated of the Year with an image of Bat’s Head, a cliff on the Jurassic Coast. www.andyfarrer.co.uk with an early APS-C model I had, so bought heads next year. a Canon EOS 5D Mark II and invested in the It’s impossible to predict what judges will go EF range of lenses, including the EF 16-35mm for. My advice is simple: enter your best work. and EF 24-105mm. The benefit of shooting Don’t try and guess what the judges will like; in full frame was instant and my love of enter what you like. If you win, you can be sure photographing landscape relentless – so you will see a lot of it!18



INTERVIEW20

FABIO ANTENORELIGCHOTLOANUDR Landscape photographer Fabio Antenore shares his breathtaking vistas Left In the Middle of Colours “This picture was taken at the Gries Glacier. It was a really special sunset. No clouds, but the fog behind the mountains began to glow in amazing colours” All images © Fabio Antenore 21

INTERVIEWBased in Switzerland, half-Italian Did you always want to photograph How do you decide where you are going to photographer Fabio Antenore is a landscapes? take your photos? relative newcomer to the professional No – I like to photograph macro too, and I Sometimes I know a spot from a friend or from photography scene. Having only like to do model [shoots] or architecture. But the Internet and other times I just go to a spot picked up a camera for the first time three yes, mostly I like to be in nature to shoot the to find something. Mostly, [I will] Google it. I years ago after working as a musician, audio beauty of our world. like mountains and I like lakes or rivers, and advisor and audio engineer, apart from I like stars. We have to be in the right Moon teaching Thai boxing once a week, Antenore’s Who inspires you? phase to catch the stars, we need the right mind is now completely focused on his First of all, Mother Nature! I’m inspired by weather on the spot (we have lots of apps to photography career. other photographers, but no one in particular. know that) and we need the perfect spot. To I like to look at some pictures on 500px or find the location I use mostly Google Maps and What was your introduction to photography? ViewBug, but I try to avoid looking at pictures Google Earth. I look for lakes in the mountains, I’ve only been photographing for about three of spots [that] I want to shoot before I go there, then I Google the lake to find out how it looks years, and only intensively for about a year and [so that I can] do what I want without any on the spot. I’ll use hiking apps to find the a half. In the beginning I photographed mostly picture in my head. place, and [then I] go for it! lost places, but now I do mostly landscapes or sometimes macro or fashion. I spend every What camera models and kit do you tend I don’t often go back to the same place, second I have on photography. Someday I to use? but I spend a longer time in the same place. would like to be one of the best, and for that I I use a Canon EOS 5D MK III. I use the Canon Sometimes we sleep at a location, so we have to work as hard as I can! For my whole EF 16-35mm f2.8, Canon EF 70-200mm f2.8, have the light from the day, the light from the life [up until now] I was something else – I Tamron 90mm Macro, and [more recently] a sunset, the stars, the Moon and the sunrise. was a plumber, a quality-assurance manager, Zeiss Distagon 15mm. a musician, an audio engineer, a Muay-Thai What do you want to achieve with fighter, and I have done many other things, but The Distagon was a big wish for a long time, your photography? it all felt wrong. Photography is the first thing but it is really expensive. Fortunately I had my My goal is to show with my photographs the in my life that feels 100 per cent right – so I first workshop with 20 people [recently], and perfect spot in the perfect condition – but I just want to be a photographer. with the money I earned from the workshop I don’t want to show just that which we can see bought the Distagon. with our eyes; I want to show the feelings I22

FABIO ANTENORE Anatomy of a shot Deconstructing the incidental elements of his composition, Antenore points out the elements that make up his favourite shot in his portfolio In the corner I [was] sitting on top of a ten metre abyss down to the lake… It was not the safest place “I took this shot at the Greis Glacier in the to take a picture… But I love this shot. I love Swiss Mountains. [In the run up to] taking the gap between the red moss on the stone this shot I walked a while forward and and the white of the snow and the colours of backward, until I [found] the right position the sky,” explains Fabio Antenore. [that included the lake and the mountain in the picture]… After I finished I realised that Above 1I like the colour of 5Generally I like the contrast the Milky Way between all elements In Swiss or Not in Swiss 4I like the texture 2I like the softness of the snow“It is taken at the Fälensee in the Swiss Alpstein of the water Mountains. It was the first snow this year, that 3I like the contrast of the 23 [is] why not everything is covered white.” red moss on the rock Opposite Swiss Wild West“This is the lake Wildsee in the Swiss mountains during sunset. One of my favourite places. I like the rocks at the other side of the Lake, they looks like in a wild west movie” have when I look at these wonderful places. I want show the most perfect reality that I can possibly imagine! Humanity is destroying the whole planet and the whole of nature is branded with our devastation. I want to show with my pictures how nature can be without [the presence of] humans. It might look like another planet, or just like in a dream, but that’s the feeling I have when I sit somewhere in nature, miles away from civilisation. What is your favourite time of day to head out and take photos? [I like] sunset and the hour after the sunset. [As well as this, I like] the times when the Milky Way is in the right place at my [chosen] spot, and the sunrise. What do you think is the most important thing to remember is when you are photographing outdoors? First is planning. You can’t use a flash to shoot a mountain, so you need the right light at the right time. Secondly, if you want to take really breathtaking shots, you have to do everything without compromise. Maybe you have to hike for many hours to find a spot deep in the mountains, or you have to stand for hours in muddy, deep water to find the right perspective. Whatever it is, you have to give 120 per cent. But at the end, no matter how tired you are, the feeling [you get] after you have the perfect shot on your card is better than anything.

INTERVIEW LEARN FROM FABIOFabio Antorene runs workshops for those keen to learn from him. To find out when the next workshop is, check out his Facebook page at www.facebook.com/ urbandustpix. 24

FABAIORTANSTREENIOBERREHas anything gone wrong when you were on exposures to work like Dodge and Burn. If youa shoot? do really long-exposure shots, it isn’t possibleUp to now, everything has been fine. Of course, to brighten some really dark parts because ofmaybe sometimes I’ll walk in water and have the extreme noise of a long-exposure shot.to spend the rest of the day with water inmy shoes, or a filter falls to the ground and What does the future hold for you? Aboveshatters, or I’ll try to make an image in the surf That’s a good question! I don’t know, the lastand the waves catch me and the camera and year has been really interesting, it’s changed Rakotzbrückemy remote control stops working. That’s all not so many things in my life. Now photographyreally bad, so I’ve been a lucky photographer is the most important thing in my life – I try “This shot is taken in East Germany, it showsfor now! to do just that, I just want to travel and take the Famous Rakotz Bridge in autumn during a photos of nature. That means I have to make spectacular sunset. It is one of the most specialWhat kind of post-production do you use on all the money I need through photography. I spots because of the perfect reflection”your images? hope to do more workshops, maybe photoMostly I work with multiple exposures. I tours and personal coaching, and I want to sell Opposite-topuse different exposures to set all the parts more photos. Actually, a well-known landscapeof the shot and I’ll change the focus point photographer in Switzerland has asked me Glowingfrom the foreground to the midground to the to work on a book with him and four otherbackground. I also use exposures of different landscape photographers – that’s a big honour “This is a shot of probably [the] mostlengths to have the right brightness on every for me and that’s my first big plan. photographed mountain on earth, thepart of the picture. Matterhorn, with a reflection in the lake Stellisee. But in the end, my plan is to become big in We stayed for one night there, with [a] minimum Firstly, I use Lightroom to process the photography – and I mean worldwide big! I [of] 30 other photographers”RAW files and after that I move all my shots want to send my work all over the world andinto Photoshop in one project to blend I want to shoot all over the planet. When I Opposite-bottomthem manually with masks. I never use HDR do something, I usually want to be the best.software, because I don’t like to give the most I know there are so many big landscape Inside Outimportant part to a computer. First I blend photographers in the world, and it’s notthe sharp parts of my pictures together, and possible to be the best, but my goal is “I shot this picture at the Lake Göscheneralpsee.after that I try to use my brighter and darker always to be the best, so I have to try it! DP Normally this five-meter-high tube is under water. I used a flash to lighten the metal from inside, then different exposures to catch the rest. Some exposures were longer then six minutes” 25

TECHNIQUESGUIDE TOBETTER2016SHOTS INIf taking better photos isone of your New Year’sresolutions, this issue’stop techniques are justwhat you needPhotography is a continual learning process. No matter how good you think you are, or how many years you’ve been shooting, you can get better. There will always be new subjects to shoot, techniques to try and technology to master. However, that’s no bad thing, because if it were easy, everyone would be a master photographer and we’d lose interest very quickly. What makes photography so inspiring and challenging is that it’s actually quite difficult to take great pictures. Despite the amazing digital technology we all have access to these days, photography will always be a creative process. You can buy the best camera in the world, equip yourself with an arsenal of lenses and every gizmo that’s out there, but at the end of the day, the success of every photograph you take is down to you, and your equipment is only there to record what your eye sees. To reach the top of your game, you need to work hard, hone skills that maybe never existed before, absorb lots of information, take failure on the chin and persevere. You need to re-assess and evolve, and develop your own style and vision so your work stands out from the crowd. That’s a tall order for anyone, and it can take years to progress from producing half-decent snaps to works of art. However, it’s worth every morsel of effort because the sense of satisfaction gained from taking great photographs is immense, and once you’ve got there, the skills amassed will never leave you – a bit like riding a bike! Right Lead-in lines The use of the road and glowing light trails enhance and draw the viewer into this stunning frosty capture © Javier de la Torre Garcia 26

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TECHNIQUES1 fFoilrlethgeroundForeground interest leads the viewer’s eye into ashot and creates a strong sense of depth One of the main elements in a landscape Shooting from a low camera angle will allow composition is the area closest to the camera you to really make a feature of the foreground,– the foreground. Emphasising it will not only as you don’t have such a clear view of the help to give your images a strong sense of middle ground, whereas shooting from distance, depth and scale, but it also provides chest height or eye-level give a more natural an entry point into the image for the viewer. perspective. Composing in portrait format also gives you more space to work with. The strength of the foreground is controlled mainly by lens choice – the wider the lens, the What can be used as foreground interest? more foreground you can include. Moderate Pretty much anything really – rocks, rivers, wide-angle focal lengths around 15-18mm paths, walls, puddles, driftwood, fences – there (24-28mm full frame) are ideal as they’re are always plenty of natural or man-made wide enough to let you make a feature of the options in the landscape to choose from. foreground, but not so wide that the rest of the scene pales into insignificance. If you go wider How much foreground should you include?– down to 10mm (15/16mm on full-frame) – There are no hard and fast rules here. A ratio you can create really strong images, but you of 1/3 sky to 2/3 landscape is a nice balance, need to get in really close to the foreground but if you want to really exploit the foreground, otherwise the composition will look empty. you can reduce the proportion of sky to just a narrow slice across the top of the frame.Foreground considerations All images © Lee FrostThere are many different features, both natural and man-made, that youcan utilise in your landscape image as effective foreground interest 1Man-made 2Colour 3Subtle subject separation features matter Boats The colour of Sometimes, such as these the seaweed potentially not only feature at the bottom effective appealing of the frame foreground colours but, contrasts subject matter with careful with all the can be easily composition, other tones overlooked – their curves can in the scene, experience is key be used to direct and therefore in identifying and the eye into makes for ideal utilising features the landscape foreground that will work beyond it. interest. photographically.28

4Fleeting foreground When shooting 5Get down low Many foreground options Above-left coastal scenery, you may be able to make only make themselves apparent if youuse of the tide as foreground interest by adopt a low shooting position, without Portrait orientationcarefully timing your shots. extending out the tripod legs. Many professional landscape photographers favour using their camera in a portrait orientation, as this enables them to take better advantage of foreground subject matter Top Landscape format Shooting in the landscape format can make it difficult to make effective use of foreground Above Fill the foreground The glowing foreground draws the viewer into this image and leads the eye around to the lighthouse in the distance 29

Left Above Below Focus on a pattern Reduce the colour palette Less is more The more effective composition Avoiding the temptation to include By omitting both the sky and the tufts identifies an appealing pattern – everything that’s on offer often of grass, the scene is reduced to its though it shows less of the subject, the ultimately results in more bare bones and the image is even more image is more successful as a result effective compositions effective for itAll images © Lee Frost 2 If your compositions are looking Simplify your clutteredandconfused,adopta composition morestreamlinedapproach One of the trickiest aspects of photography once you start stripping away unnecessary overcomplicates it. The longer the focal length, is composition. This is mainly because it’s details, you’ll quickly realise how little is really the narrower the angle of view and the more completely down to you. Only you can decide required to create a photographic masterpiece. selective you can be – the top end of a what to include in a shot, what to leave out, 70-200mm, or 75-300mm is ideal for isolating. and how to arrange the elements in a scene so Weather conditions can help when it comes they form a visually interesting whole. to compositional de-cluttering. On clear, sunny The key is to think about what you’re doing. days our senses are bombarded with colour Ask yourself why you’re including certain The temptation is usually to try and cram and detail. But throw some mist or fog into elements and see if the composition is too much into the frame, on the basis that the equation and it’s a different story. Scenes improved by excluding them. As well as using the more you give the viewer to look at, the are simplified. Fine detail is lost and only the your lenses, physically move closer to your more they’ll like the shot. Unfortunately, the boldest features stand out. subject. Don’t be afraid to simplify during post- opposite often applies. Cluttered compositions production by cropping the image. A square are confusing. They lead to sensory overload, Zoom lenses are your ally too, allowing you crop can work really well, adding a sense of and lose our attention instead of holding it. But to home in on selected areas and exclude balance and harmony to the composition. anything else from the composition that 30

10 WAYS TO IMPROVE YOUR IMAGES3 MNDakfieltuesrse ofUsing extreme ND filters to extendexposures allows you to record the Standard exposure Insetpassing of time, not freeze it This image was taken with Potential problemsOne of the most popular techniques to emerge in recent years is a shutter speed of 1/60sec,the use of extreme ND filters like the Lee Big Stopper to record capturing all the detail in Be aware that you need to use amotion in a scene. Attach one to your lens and the exposure the water very stable tripod and a solid ballincreases by 1,000 times. Even in broad daylight this means you head when shooting exposurescan be using exposures of several minutes instead of fractions of Long exposure longer than around one second,seconds. Result? Moving water turns to milk, drifting clouds to particularly in windy conditionsdelicate streaks of colour. Swaying trees and grass become ghosts A 60-second exposurein the landscape while people and traffic moving along busy with the Lee Big Stopper in Belowstreets often don’t record at all! It’s amazing – and addictive. place has turned the water into what looks like a mist Simplify through To get the best from your ten-stopper you need to bear in mind exposurea few factors. First, don’t use it all the time, just because you can. Moderate optionIt won’t make a silk purse out of a sow’s ear and like all creative Using a long exposure time is aneffects, it can get tiresome when overused. Second, vary exposure With a Lee Little Stopper effective means of simplifying yourtimes to suit the scene. On a windy day you may find that 60 in place instead, a four- overall composition by decreasingseconds is long enough because the clouds are drifting nicely, second exposure has been detail in skies and oceanswhereas in calmer conditions you may need to expose for ten achieved, enabling someminutes to achieve the desired effect. Use the first shot as a test of the detail in the water toshot then adjust exposure as required. Don’t automatically reach be preservedfor your ten-stopper either – a lower density such as a six-stopND may work better. If you keep the shutter open for too long, youcan lose the sense of motion you were trying to capture. Light leaks can be a problem with ND filters. Avoid them byclosing the viewfinder blind and covering the distance scalewindow on your lens. Ensure the ND filter is closest to the lens,with the foam gasket facing the lens. Drape a cloth over the filterholder if necessary to stop light creeping in. 31

TECHNIQUES4 Far-left Underexposed file By underexposing, you are relying on being able to retrieve shadow detail Middle Expose to the right Doing so preserves plenty of shadow detail while avoiding clipping highlights Left The final file This is the final image processed by the RAW software application Use the If you want the best RAW files then you histogram needtoensurethey’reexposedcorrectlyGetting the exposure right is easier now than If you want to produce the best RAW file, RAW files shot this way tend to lookever before thanks to the amazing metering you need to use a technique that is known as overexposed but provide you with the mostsystems in digital cameras. That said, exposure exposing to the right. This involves giving the versatile digital negative to work from. You canerror still does occur, and it’s usually in those image as much exposure as you can without then adjust the exposure during processing toextreme situations that produce the best clipping the highlights, and is so named correct it, or interpret it creatively to achieveimages – so you need to be on your game. because when you do that, the tonal graph for the effect you had in mind when the shot was the image shifts over to the right side of the taken. For example, you may want to go for a The most accurate and reliable way to histogram, which is where the sensor records dark, dramatic look, or conversely, brighten theassess exposure is by using the histogram for most of the tonal information. Use your image even more for a delicate high-key effectan image. It’s more useful than the preview camera’s exposure compensation to gradually – this works well on backlit scenes. The greatimage because it shows you the distribution increase the exposure in 1/3 stop increments thing about shooting in RAW is that you canof tones in the digital file, from the darkest until the highlights start to clip, then use the process it in as many different ways as you likeshadows on the far left to the brightest frame before. and you’ll always have the original file.highlights on the far right. 5 Uligshetwcrinedatoivwely You don’t need fancy studios to create stunning portraits, as daylight can be far more evocativeAll images © Lee Frost Of all the different forms of illumination you approach, especially with men and older can use to shoot indoors, window light is people, as the bold side-lighting reveals the considered by many photographers to be the texture of the skin, while the gradual fall-off most effective, mainly because it’s so versatile. in light and shade emphasises modelling. If you don’t want dense shadows, position a Generally, the larger the window is, the softer large white reflector opposite the window. and more even the illumination. Small windows Another option is to ask your subject to face such as skylights produce a small ‘pool’ of the window so the light floods over their face. light, whereas large windows tend to flood your This can produce beautiful results in overcast subject with light so contrast is lower, shadows weather, when the light is naturally soft. are less harsh and the light softer. To soften the light coming through a window, Most portrait photographers prefer bright tape a sheet of white muslin or net curtain over overcast weather for window-light portraits as it. This will produce more flattering illumination the light is much softer, shadows are weak and and take the hard edge off direct sunlight. you can produce beautiful results. Left Where you position your subject in relation to the window should be given careful Window light only consideration. If your subject is side on to it, one half of their face will be lit and the Many photographers think they need to other half in shadow. This is the most popular use speedlights to create artistic effects, but window light is often all that’s required32

6 fCoormimppoascet FINAL IMAGEInject some excitement into your Work in progressphotographs to get your capturesleaving you with goosebumps Photographer Lee Frost Putting a finger on exactly what elevates an image from average knew that he wanted to to amazing is difficult, simply because there are so many factors involved, but these simple steps are a good place to start: create a low-key black Get closer Winding compositions impress no one, so don’t be and white portrait – this afraid to get up close and personal with your subject, whether it’s a landscape or a person. Use your feet or your zoom to crop out sequence of images unwanted detail and fill the frame. shows the original RAW Change your viewpoint Shooting at normal eye level gives us a realistic view of the world. However, realistic rarely means exciting, file, the initial RAW and by intentionally shooting from a lower of higher viewpoint, you can add a sense of surprise and drama to your images. RAW CONVERSION conversion and the final 7 monochromeresult Go wider Wide-angle lenses are exciting. They stretch and yPoreu-rvwisouraklise distort, swallow vast areas whole with their ravenous angle of view, Pre-visualising an image can mean the offer seemingly endless depth of field and capture the world in a difference between success and failure way the eye naked eye never could. If digital imaging has a downside, it’s might work by showing the preview Into the light If you want drama, nothing beats shooting that it tends to make photographers image in black and white, even though contre-jour. Contrast is increased, solid shapes turn to silhouettes, adopt an, ‘Oh, I can sort that later’ the RAW file will be colour. Similarly, shadows rush towards the camera… You might get lens flare, but mentality. True, post-production makes if you intend the final image to be so what – it can add interest. The highlights may blow out too – it possible to deal with a multitude of cropped, you need to make sure no shock horror – but be a devil and run with it! Throw some backlit sins, but if you want to realise your full important elements are going to be lost. smoke or mist into the mix and you’ve got the ingredients for potential as a photographer, you need winning images. to be more disciplined. That means not ND grad filters are usually essential only thinking about what you’re doing when shooting landscapes, to ensure Frame your subject A great way to draw attention to your main when the shot is taken, but also about detail is recorded in the sky. But if subject is by putting a frame around it. That could be a natural how you want the edited image to look, you pre-visualise the sky in the final feature – overhanging branches, the mouth of a cave, a rock arch as it could sway your approach behind image as being bright and washed– or man-made, everything from doorways to bridges work. Adding the camera. It’s called pre-visualisation. out, then you can dispense with the a vignette during post-production works well too. grad, or if you want the sky to be dark You may want to convert to black and and dramatic, you may decide to use a Below white, for example, in which case you stronger grad than normal. need to make sure the scene you’re Scene within a scene shooting will translate well. Setting your A great benefit of pre-visualisation camera to Monochrome mode will let is that it forces you to engage more Stepping back and using a wider-angle you pre-visualise how the final shot with the whole picture-making process, optic has enabled a more intriguing, rather than firing away in ignorant bliss. impacting effect to be created 33

TECHNIQUES A digital camera is only as good as the BEFORE Optimise lensesonit.Howyouusethoselenses 8 image quality willdictatehowsharpyourshotsare DSLRs offer higher resolution, wider dynamic There are hyperfocal charts online and apps range and better noise control than ever for your smartphone and tablet, but to give before, while optical technology is so good you an idea, if you stop your lens down to now that the latest generation of lenses have f11, the approximate hyperfocal distances for never been sharper. Despite these advances, different focal lengths are: however, you still need to use your equipment carefully and considerately if you want to get APS-C Sensor DSLR Full-frame Sensor the best from it. (at f11) (at f11) Part of the problem is that DSLRs are so good now that they show up the slightest Focal HF Focal HF optical flaws. Wide and ultra-wide zooms suffer Length Distance Length Distance from diffraction, an optical aberration that reduces image sharpness. You can minimise it 10mm 0.5m 16mm 0.7m by buying the best lenses you can afford and also shooting at f8 or f11 whenever possible, as 12mm 0.7m 20mm 1.1m these are usually the sharpest apertures. 16mm 1.2m 24mm 1.6m Achieving front-to-back sharpness without stopping down to f16 or f22 may seem 20mm 1.8m 28mm 2.2m impossible, but if you use hyperfocal focusing, you’ll often find that you get enough depth of 24mm 2.5m 35mm 3.5m field at mid-range apertures. This technique involves focusing on a specific distance (the 28mm 3.5m hyperfocal distance) to maximise depth of field for a given focal length and aperture. For example, if you’re shooting at 16mm FINAL IMAGE Basically, when you focus on the hyperfocal with a crop-sensor camera and you focus on distance, depth of field will extend from half the hyperfocal distance of 1.2 metres, depth of that distance to infinity. field will extend from 60cm to infinity. After you’re done shooting, when you get around to processing your RAW files, applying lens corrections is also advised to optimise optical quality. This is in addition to other obvious steps, such as keeping your lens elements and filter clean. Left Below Above © Lee Frost The flawed third Front to back sharpness To infinity Merely focusing a third of the way Failing to achieve maximum depth The final image is pin sharp into the scene is an approach that of field will inevitably undermine the from foreground to infinity will often let you down, especially success of images such as this, with both at a focal length of 45mm, when making big prints very near and very far subject matter captured at 1/8 sec at f8© Lee Frost 34

10 WAYS TO IMPROVE YOUR IMAGESMaximise sharp focus 9 Arimdd-lightingUse a perspective control lens for no- Give your portraits a more professional finishcompromise front-to-back sharpness by using a flashgun to add a cool rim-light effect 1Set up a tripod The One quick and easy way to pep up your more control and can use it anytime and adjustments you will portraits is to place a light source behind anywhere. Of course, you’ll need a set need to make to the your subject. This will add a bright rim of wireless radio flash triggers too. For lens to maximise the to their outline, and their glowing edges truly high-end results, it’s best to use two sharpness are so fine produce separation from the darker flashguns: one for the key light to illuminate that it is only possible background. It’s commonly used in portrait the face, and the other to be positioned to do with the camera photography to back-light the hair, and is behind for the rim light. attached to a tripod. especially useful at providing a halo effect when the edges of your subject merge into If you’re indoors, pick an uncluttered and 2Reset and compose the shadows of the frame. dark background – such as a hung curtain Ensure movements or bedsheet – to provide a good separation on the lens are reset You can use anything for your rim light. If effect. You’ll need your camera set to Manual to zero. Compose you’re shooting outdoors in bright daylight, mode, with your ISO set to 400, your shutter your image. Tilt-shift you can position the Sun behind them to speed at 1/160sec and your aperture set to lenses are good if your add golden glowing edges for a more pro- f11. With your flashguns manually set to 1/8 foreground subject is looking finish. To get a good exposure, either power, position one a few feet behind your very close to the camera. use a reflector to bounce light back towards subject pointed towards their head. Place the face, or your camera’s pop-up flash to the other in front and to one side, with a 3Identify focus lift the shadows and reduce contrast. modifier – like a softbox – to diffuse the points Check around light. The use of flashguns tends to provide your composition for A flashgun is a better option to light the a much more high-end feel. the key elements that back of your subject, as you’ve got much require sharp focus. Tilt movements for FINAL IMAGE landscape photography usually need a small amount of downward tilt.4Focus Find the BEFORE optimum near and farfocus. This will normally Abovebe at, or close to, thehyperfocal distance. The Without a rim-lightDOF preview button is auseful tool if your camera With only one light source, the edgeshas one. of the subject get lost in the dark shadows of the background, and the5Tilt Release the lack of separation makes the image a unlocking knob and feel a bit flatgradually tilt the lensuntil better near-to-far Rightfocusing is seen. Whenyou think you are close, Add a rim-lightlock the tilt in position. By positioning a second light source6Refine Review the behind the subject, it’s easy to back- key areas from front light the hair. This lighting effect willto back for sharpness give your subject glowing edges andand fine tune the tilt. has a more accomplished finishedIt’s common to ‘back look than without itoff’ the first adjustment.Remember to make final Insetadjustments to exposureand filters. Shoot. Use off-camera flash Get a set of wireless radio triggers to fire your flashguns remotely. Attach the receiver to your flashgun and fit the transmitter to your camera’s hot- shoe. Once they’re set to the same channel, you’re ready to shoot

TECHNIQUES10©BenDavis Stitch your shots Apicbtigugreer Use Lightroom and Photoshop together to put together yourShoot multiple frames and stitch them together to super-resolution capturescreate ultra-high super-resolution photographsEver increasing mega-pixel offerings are scene you want to include, and then meter 1Process your RAWs Open your files injust one of the temptations to upgrade your from a brighter part of the total frame to Lightroom or Adobe Camera Raw andcamera. But with the right approach, it’s easy set your exposure, so you don’t blow your apply the Lens Corrections to all the images.to create images with a super-resolution – of highlight detail. You’ll also need to set your Export the files as JPEGs.say 90MP – when your camera has a 24MP White Balance and focus manually too, so eachsensor. Having a higher resolution allows you image has identical settings.to cram in even more detail to your images,and gives the option to make even bigger Your frames should overlap by a third toprints. The other key benefit of this technique provide the software with plenty of informationis it allows you to put more of the scene into to make a good stitch. As you shoot you needa single image, beating the restrictions of your to pivot the lens around its optical centre –lens’s minimum focal length. also referred to as the ‘nodal point’ – so take care as you compose between shots. If the This super-resolution is achieved by camera doesn’t rotate on this vertical axisshooting a number of overlapping frames, and you’re likely to encounter parallax error, andthen stitching them together with specialist your component frames won’t quite match up.software. But before you shoot, you need A dedicated panoramic tripod head will keepto make sure all your camera settings are your sensor positioned for seamless stitchingswitched to manual. Decide how much of the to guarantee consistently perfect results. DP FINAL IMAGETop 2Load your images Open up all your images in Photoshop, and go toBeginning and end File>Automate>Photomerge to load up the stitching controls.Before you shoot you needto work out where you 3Create your stitch Click Add Openwant your final image to Files, select Auto and make sure Blendstart and finish, so have it Images Together is ticked. Click OK andmapped out in your mind wait for your image to be created.as you take each shotRightFit it all inThis shot is comprisedof 29 overlappingframes, and has beenstitched together usingthe Photomerge toolin Photoshop to createan image with a super-resolution of 90MP. Itwas shot with an 85mmlens. It would have beenimpossible to fit theentire cathedral into asingle frame36

10 WAYS TO IMPROVE YOUR IMAGES FINAL IMAGE Get the medium format look Master the Brenizer method to capture a super-shallow depth of field in your people pictures You can use the same technique of shooting overlapping images and stitching them together to create a wider angle of view in tandem with a shallow plane of focus to mimic the look of medium-format cameras. It’s called the Brenizer method – named after wedding photographer Ryan Brenizer, who developed the technique, and gives results otherwise impossible to achieve in a single shot with a DSLR and a standard lens. Stand close enough so that only their head and shoulders fill the frame, meaning you’ll need at least nine frames to completely capture your subject. If you want to include more of the background you’ll have to shoot even more overlapping frames – so you’ll end up with about 20 shots to stitch together in Photoshop. Inset Set your camera manually Meter from a brighter part of your final image and set the exposure manually so you keep the settings consistent. You’ll need to set the focus and white balance manually too Left The medium format look This final image is made up of 15 separate frames stitched together to create an exaggerated depth of field with a wide angle of view, giving you the sought-after medium-format look by just using a standard DSLR1Switch to Manual You’ll need to set 2Fill the frame Use a longer focal 3Edit and stitch Load your overlapping everything manually so the settings stay length so your subject fills the frame, files into Photoshop or Elements andthe same. Once you’ve set your focus on and shoot down the body taking in some use the Photomerge tool to blend youryour subject’s nearest eye, switch the AF/ background. Ensure each shot overlaps images. Once it’s done, use the Crop toolMF button to the manual position. by about 30 per cent. to trim the edges and save it as a JPEG. 37

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Delve into our fauna-filled feature and discover how to take your most expressive images of animals yetFor some photographers, the call of the wild is always strong, and the atmospheric conditions to achieve the most results. Learning more about animal behaviour challenge of capturing subjects in artistic effects. From highlighting a subject patterns might sound complex, but will help their natural environment is endlessly using rim lighting to silhouetting it against a to ensure you can capture your subject at its misty backdrop, you’ll find that nature provides most dynamic.inspiring. Whether you’re shooting in your local plenty of inspiration. Although to succeed in this genre you needcountryside or on a once-in-a-lifetime safari, While long lenses are generally an important patience in abundance, when the action doesover the next few pages we’ll show you how to part of a professional kitbag, understanding happen it can unfold at lightning speed. We’llmake your images stand out from the rest as field craft is also essential for getting close show you how to capture movement from youryou take a more creative approach to capturing to subjects. We’ll explore the importance subjects, setting up your camera for a panningyour wild subjects. of researching a shoot and your chosen motion that’s sure to generate creative results.Out in the field you’ll be working with natural species, where to look for locations and how Trust our advice and become truly immersed inlight, and there’s plenty of scope for using to perfect the timing of your visit for the best the wild world. Below Build your skills Creative wildlife photography often requires the skills necessary for typical animal photography, plus plenty more © Jackson Carvalho 39

TECHNIQUESUNDERSTAND YOUR SUBJECTResearch animal behaviour and capture images with more dynamismThough packing up your bags and heading help you to predict their next move and also in its natural environment is essential for improving your photographic instincts. Just asstraight into the wilderness might sound like therefore be prepared to capture it. Behaviour our ancestors were in tune with the animals they hunted for food, a professional wildlifean exciting prospect, in truth, you should be patterns are infinite, and can include mating photographer needs to become familiar with the habits of their quarry too. Look for signsdoing an extensive amount of research rituals, courtship displays, feeding, flying and of activity such as tracks, tufts of hair, and obvious pathways that the animals have used.before you even leave the front hunting, to name a few. Keep a small diary or journal to hand, and note down any important signs of activitydoor. Without being equipped SEASONAL Specialist books, journals and of that you can refer back to later. When you dowith the knowledge needed VARIATION course the internet play host to come across your subject, record the time andnot only to find your weather conditions. a myriad of information on any While this initial level of research soundssubject in the first place, As the seasons change, animals given species, but when you less glamorous as testing out a new technique or lens, it’ll definitely save you time when itbut approach it without must adjust their behaviour to need to locate particularly really counts, and avoid tracking subjects in the field only to watch them fly off as soonscaring it off, your survive. Take the time of year into elusive wildlife, don’t be afraid as you appear. As with all worthy endeavours, account, and consider how your the more time and effort you put in, the moretechnical skills and kit to contact someone studying you’ll discover.will be useless. subject may adapt, migrate the animal full time. For © Jaco Marx First, narrow down or even hibernate inwhat animals you’re likely response to shifting example, countryside wardens,to focus on in your chosen scientists and even ecology temperatures. students are passionate aboutlocation, and find out as much their subject, experts in their areas,as you can about their ecology and and usually only too keen to share theirbehaviour beforehand. When your aim is to best sighting spots and times with you.capture intimate and natural images, reading Of course, no textbook can prepare youthe subtle signs an animal displays can for the real world and observing the animalLONG SHOT KNOW YOUR SUBJECTFor shots of behaviour, it’simportant that you don’t It’s important to researchcause a disturbance. A the reasons behind500mm lens was used here animal behaviour. Theseto hone in on the subject playful leopards are displaying natural social interactions, unaware of the photographer’s presence PATIENCE IS KEY BECOME FAMILIAR As with all wildlife By observing a species over photography, you should be a long time, you’ll gradually prepared to wait a long time become accustomed to before any action happens their habits, and should40 be able to capture more intimate images

Above © Elsen Karstad Fleeting moments Left Researching an animal’s Time it right behaviour will help you know what they’re going to do next Creatures may visit one spot at the same time each day – keep an eye out for these patterns© Elsen Karstad Iinmvpeostrmtaenntts Get the kit that will aid your artistry SPECIALIST APPS There are hundreds of free apps available, such as Project Noah, that will enable you to search for recorded wildlife sightings near you. Many apps are also educational, and provide useful behavioural information on specific species. RIGHT-ANGLED VIEWFINDER These L-shaped accessories are ideal for use when the camera is low to the ground and it’s awkward to look through the viewfinder. They attach easily to the eyepiece of a DSLR, making it more comfortable to compose shots. PRIME LENSES Fixed focal lengths, such as Nikon’s 58mm f1.4 lens, generally offer the greatest optical clarity, a factor that becomes important when images are destined for large fine art prints. This prime is used by the prestigious David Yarrow. PRACTICAL CLOTHING Durable clothing is essential for shooting wildlife, and muted colours are preferable. Invest in a quality brand such as Billingham or Páramo, who produce waterproof jackets, reinforced trousers, and pocketed vests for carrying accessories. BINOCULARS Binoculars are useful when scouting locations for your subject, enabling you to plan your approach without startling them. When choosing a model, aim to strike a balance between performance and weight, and opt for a water-resistant coating.

TECHNIQUESLOW KEYMaking use ofpredominantly dark tones isa sure way to add drama toyour shots. The blacks andshadows were amplified atthe edit stage to completethe look LIGHT DIRECTION As with portraits of people, side lighting generates strong highlights and shadows, which work to make your subject look three-dimensional METERING SUCCESS MOVE YOURSELF For a low-key result like this, Remember to experiment either spot meter from the with different shooting animal’s face or use negative angles, and move yourself exposure compensation to in relation to your subject to tell your camera’s meter how alter the spread of light to expose the scene correctly CLOUD COVER© Saud AlOtaibi Overcast days are good for photographing animals with EXPOSE WITH bright markings, and the naturally IMAGINATION diffuse lighting should enable you to capture a greater tonal range. You could also experiment with shooting inForget balanced lighting and interpret monochrome mode.the natural conditions for creative effectsThe greatest landscape photographers Regardless of the season, when the Sun isrecognise how to work with natural light for low in the sky, backlighting is a fantastic waythe most expressive outcomes, and there’s to make your subject pop. For silhouettedno reason that wildlife scenes should be portraits, shoot towards the brightest part ofapproached any differently. Whether it’s light the sky, and take a meter reading from the sky.streaming in through a forest glade or a dark Dawn and dusk will give you the best chance ofand stormy morning, Mother Nature plays host a colourful, warm backdrop.to a stunning range of atmospheric conditions.Convey these and your shots should be During the golden hours, you can add dramatransformed from being just technically to your backlit shots by shooting towards theaccurate to visually sublime. Sun, timing the shot to coincide with when the Sun is closest to the horizon. At brief periods in Light quality varies from season to season, the day, the Sun can produce a warm rim lightso you will need to practice in every new around your subject, particularly if you shootsituation. During winter for example, the light from a low angle.has a greater clarity to it, and introduceselements such as frost and mist. In snowy There’s nothing wrong with taking animalscenes, the light is generally more even and portraits on a bright day, but the light is likelyflat, but it’s important to keep an eye on your to be harsh and can cast distracting shadowsexposure, as the camera meter can be fooled onto the subject. If you can’t avoid shooting atinto underexposing scenes. this time, expose for the face first, switching to spot metering if you need more accuracy.42 © Simon Roy

WILDLIFE PHOTOGRAPHY WITH A DIFFERENCEGet in tight XTry showing only specific details in the frame Use shapes Go for a graphic result by focusing on figureAlthough in some contexts it’s important to show an animal Fine art photographs work with visuallywithin its environment, less can often be more when you want simple ideas, but they also need to bea more original image composition. If you’re able to get close incredibly well executed if they’re toenough to your subject and use a tight crop, the results can display a professional level of finesse.be truly intimate and mesmerising, working well to engage Silhouetted shots of animals are athe viewer into an image. By focusing on rarely seen body good example of this concept, wherebyparts, you’ll be introducing an element of intrigue, as the a dark outline is captured against aviewer works out what they’re looking at. This is also a useful brighter background. The approach istechnique to employ when you’re using a prime lens, and aren’t particularly effective for animals that haveable to move further away from your subject. a recognisable or attractive profile, such as deer antlers, but you’ll need to position When framing the shot, think about the animal’s position in yourself so that you photograph thethe frame, what you’re trying to convey, and therefore which subject from the right angle and capturedetails you can exclude. Using a wide aperture will help to draw its outline effectively.attention to the main focal point, which will often be the eye. For a successful silhouette, use spot © Elsen Karstad metering and aim your camera at the sky © Simon Roy or a brighter background. You’ll probably need to manually focus on the subject Above itself, and will get the best results by using a mid-telephoto lens such as a 200mm Stag in fog or longer to compress the perspective and isolate the subject. If the scene Shooting during a misty sunrise or sunset will contains unavoidable elements such as enable you to capture strong silhouettes in the overhanging trees, use them to frame image, as Roy demonstrates your subject. Opposite Left Below Red deer stag Big foot Edited light at sunrise By choosing to exclude the While pure wildlife photography Silhouettes, such as this deer by elephant’s face, photographer relies on minimal post-processing, Simon Roy (simonroyphotography. Elsen Karstad has drawn the it’s possible to take editing much co.uk) work as a two-dimensional viewer’s attention to a lesser-seen further in a fine art context, such as depiction of a recognisable subject part of the animal, adding intrigue this example by Jackson Carvahlo © Jackson Carvalho

TECHNIQUESEMBRACE MOVEMENT Capture motion blurYour images will instantly gain impact when they Set up your camera for panninginclude dynamic perspectives and motion with an extended shutter Arguably the greatest challenge for any wildlife to continuous shooting to capture the full 1Choose your settings On your DSLR, set photographer is depicting animal movement, range of animal movement. the Focus to S-AF or AI Servo. Choose a low either by using lightning fast shutter speeds ISO such as 100, and switch to Shutter Priority. to freeze the motion, or longer exposures for Although there are some image makers that Start shooting with a speed of 1/30sec, expressive and abstract blur. To truly excel, believe the entire frame should be pin-sharp, tweaking the duration for faster subjects. you’ll need to be prepared to fire the shutter experimenting with slower shutter speeds at any moment, and this starts by having your and panning is a great way to attain a more camera on the correct settings ready to go. abstract result in your imagery. The most obvious perspective isn’t always the best one, While most scenarios will benefit from a fast but it’s usually easy to alter your shooting shutter speed, it’s clear that when shooting angle and make your imagery stand out. When a leopard, you’ll need a much faster setting shooting birds and small animals, for example, to freeze motion than for example, a sloth. If if you get down to their eye level you’ll soon pin-sharp results are your aim, keep in mind notice how intimate the image can become. also that long lenses are more susceptible to camera movement, and unintended motion Many professionals even build their own can cause blur. Generally speaking, avoid houses or employ tech to attain otherwise shutter speeds that are slower than your impossible images, such as Will Burrard- lenses focal length, for example using a Lucas’s self-made BeetleCam (www.burrard- 400mm lens you’d need to keep your speed lucas.com/beetlecam). His remote-control above around 1/400sec. camera buggy was used in Africa to take close- up, wide-angle shots of many dangerous wild Switch to Aperture Priority and tweak the animals, and while it might be unnecessary for ISO for the available light, as this will give you many smaller species, it certainly highlights less to think about when the action does occur. that there’s nothing wrong with tailoring your It’s also worth setting the camera’s drive mode kit and techniques for innovative results. 2Stabilise the camera Use a tripod or beanbag to keep the camera anchored. Practise the panning motion, standing with your feet apart and knees slightly bent. If shooting handheld, rotate from the waist.© Flickr Creative Commons – Carlo Scherer 3Track and tweak As your subject moves, press the shutter and follow with the camera in a smooth motion, aiming to keep it in the same position in the frame. Check the results and experiment with shutter speeds. 44

Cperersaptievcetives Take a different viewpoint when shooting familiar animals © Lauren Scott TAKE © Flickr Creative Commons – Tom Koerner USE A WIDE APERTURE CLOSER SHOTS Subjects such as birds can look particularly striking when WITH A PRO captured in sharp focus between blurred foregrounds and backgrounds. For an intimate portrait, position Dedicated hides such as Simon yourself at their level, and if possible look to incorporate Roy’s Little Owl Hide (www. bands of complementary or contrasting colours. simonroyphotography.co.uk) give you the opportunity to get close to your subject and create a varied portfolio of images. © Simon Roy GET DOWN LOW Wide-angle and low-down perspectives will often produce more unusual views than when using a telephoto lens. If you know where an animal is likely to appear, set up your camera in position and then use a remote to fire the shutter. © Elsen Karstad © Elsen KarstadOpposite Top Above USE REPETITIONSlow it down Experiment with speed Group activity Repeating elements and patterns can be used to great effect in composition. Look for animal markings suchYou can hint at movement, rather than When the light is low, it can sometimes be Herds of animals are fantastic subjects as stripes, or include animals lined up in formation, for to capture on the move, and can benefit example. As illustrated here, incorporating reflections arefreezing it, by panning the camera with an impossible to freeze fast-moving subjects from a longer exposure to effectively blur another way to add visual interest. each animal into one larger massextended shutter speed. Aim to keep the such as birds. Don’t be afraid to dial down 45subject in the same position in the frame the shutter and embrace motion blur

TECHNIQUESPERFECT YOURBACKGROUNDIncorporate a naturalenvironment that trulycomplements your subjectThanks to the revolution in camera technology, © Simon Roycapturing photos of animals in their natural environmenthas become much more of an art form than the science © Elsen Karstadit once was. Taking a fine art approach to wildlife Aboveimagery is as much about focusing your attention on Distracting backgroundthe backdrop, colour palette and tonal quality of the When images have a cluttered backdrop, it generally causes yourimage as the subject itself. subject to become lost in the scene TopA minimalist approach often works most effectively, Successful backgroundwith a good place to start being to use out of focus Very simple backgrounds usuallyforegrounds and backgrounds. This is an easy technique © Flickr Creative Commons – Tambakoproduce the most dramatic wildlife photos, highlighting your subjects soto master when you’re using a long telephoto lens, and that they stand out Rightobviously by setting a wide aperture, the consequence Fill the framewill be a shallower depth of focus. What you can control If your position and lens providehowever, is the select point of focus, your subject’s you with enough reach, ignore the background completely and capture aposition in the frame, and what you choose to include in full-frame shot of your subjectthe frame.Always aim for a background that complementsyour subject, rather than distracts from it. Shootingfrom a low angle, for example, even lying down on theground itself, will enable you to bring the foregroundcloser to the camera and accentuate the blurred effect.While selective focusing is a great method to explore incluttered settings, a similar end result can be achievedwhen the surroundings themselves are tidy. Snow andcalm water are both typically neutral backgrounds, andenable you to use negative space creatively while stillkeeping the subject as the key point of interest.The key to minimalism is to concentrate on oneor two elements or colours, and above all keep thecomposition simple. Try zooming to include repeatingpatterns, such as feathers or striped fur, and crop toremove any distractions. Keep in mind that what youexclude from the frame can be just as important as DPwhat you leave in.Get creative with editing Delve into the post-processing stage for captivating end results1Replace dull skies Create a composite, 2Convert to monochrome Some 3Remove distractions Foliage using a dynamic sky image to add images work better in black and white and glimpses of other animals caninterest. Purists can feel uncomfortable when there’s a strong tonal range. Convert detract from your main subject. Use theabout this, but it’s generally acceptable if using an adjustment layer, and slide the Healing Brush and Clone Stamp tools inthe image isn’t intended for a competition. colour channels for a finely controlled edit. Photoshop to remove unwanted elements.46

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SHOOT SOTNOE-SRHIEOST Discover how the pros communicate messages through their shots and let their photos do the talking Documentary photographers, press photographers and street photographers have a tough job to do. Their stock-in-trade is the unpredictable, the spontaneous and, often, the controversial. Landscape photographers can check the weather forecast or consult an app to gain a sense of the shooting conditions to expect, but when you don’t precisely know what you’ll be photographing you need to have the confidence to think on your feet and adapt to what is unfolding in front of you. Developing an instinct for identifying the type of image that can tell a story is an important skill, but so too is the ability to make your camera an extension of yourself so that you can reliably react to what’s happening in front of you and achieve a fairly high success rate. When your subject matter is hard to second guess and highly fleeting, you will inevitably miss the occasional opportunity, but photographers who endeavour to convey a message about what’s happening in the world need to minimise this. Over the next few pages, you’ll discover how Left to capture pictures worth a thousand words, from how to recognise the images that will Focus on the job have the maximum possible impact to the camera skills you need, with guidance fromPress and documentary photographers professionals who’ve managed to master this often have to put their own feelings, asparents and human beings, aside when capturing emotive subjects© Andrew Parsons / i-Images challenging type of photography. 49

2x © Andrew Parsons / i-Images RGCEAETMAYEODRUYAR If you are not ready when the moment presents itself, forget it! Cameras have become better and better in recent years. Exposure, focusing and drive capabilities have advanced year on year, and the ability to shoot in very difficult low-light situations has advanced incredibly – but it’s a mistake to think that you can rely on technology to enable you to capture great story-telling images. There’s still plenty that the photographer has to do for his- or herself and most of the top professionals do not rely on autofocus or auto exposure modes to do the thinking for them. Andrew Parsons (www.i-images.co) says that with quicker cameras your brain has to be that much quicker, too. “It’s a little bit quicker than it probably used to be in the days of film because the pace is different, the cameras are moving quicker, so your brain has to be a little bit quicker,” he says. “To be able to get the best pictures, or the most reactive pictures, your brain has got to work in coordination very quickly with your hands, with your camera – it’s got to be so instant. It’s milliseconds sometimes that you get a picture. You need to know what your camera can do.” Always be prepared Adhere to the same routine as Peter Macdiarmid to ensure you’re always ready for the next shoot 1Reset Don’t get caught off-guard on 2Charge I hear people saying “oh, I forgot 3Pack a zoom “If you have an f2.8 24- the next shoot by leaving your previous to charge that last night.” Thirty years ago 70mm and nothing else, that will suffice. camera settings active. “I reset to ISO 800, you had to make sure you had film in your You’ve got a moderate wide angle, a 50mm 1/500sec shutter priority with no exposure camera, nowadays it’s making sure that all and a 70mm for a short length telephoto and compensation. They’re my default settings.” your batteries are charged.” everything in between,” says Macdiarmid.50