Digital Photographer 170 - 2016 UK

SHOOT ONE-SHOT STORIESBoth Parsons and fellow press photographer Aperture often playing second fiddle, unless when you are capturing a moment in time. “You’re not there to worry about it technically;Peter Macdiarmid (www.petermacdiarmid. a specific, shallow depth of field is desired. “I you’re there to worry about what’s in front of you,” says Parsons. “You’ve got to keep yourcom) feel that they need to shoot at 1/500sec shoot Shutter Priority,” says Macdiarmid. “I’ve wits about you. You don’t want to be fiddling around with your camera, looking down everyor faster whenever it’s possible to do so. “You got used to that over the years, [although] two seconds, changing this, that and the other. You want to be focused on what’s around you.”have to be very cautious now with some people still swear by shooting “We all mess things up and miss things,” saysthe new digital cameras,” says Manual.” Parsons is one such Macdiarmid. “But you minimise the chances of that happening if your equipment is ready toParsons. “A lot of the time LEAVE THE photographer who likes to be shoot without you having to fiddle with it.”you have to be shooting LENS CAP OFF in complete control of theover 1/500sec, which is camera whenever possible: Oppositevery difficult inside. We Peter Macdiarmid says that leaving “A good 90 per cent of the Know your subject a lens cap on is one of the biggestdon’t always achieve it time, if not more, I use Familiarity with your subject can helpinside, but as much as mistakes you can make, as the couple manual… You get used considerably, as it can help you to predictyou can you try and get of seconds required to remove it is the unpredictablethat shutter speed up long enough to make you miss the to knowing what yourbecause of the [number of] moment. Instead, use a clear filter camera can do – and what Belowpixels.” Macdiarmid agrees it can’t do.”that “Before, it used to be or a lens hood to protect your Having complete, almost Seconds count front element. instinctive, confidence in Be ready to shoot – this situation unravelled in seconds. Within minutes1/250sec for everything – now, your camera and your ability to Parsons had sent it all around the worldit’s 1/500sec minimum.” operate it effectively is the essentialBecause of this, Shutter Priority is first step for any photographer looking toan exposure mode favoured by many capture story-telling images because there’sphotographers working within this field, with no time to concern yourself with key settings © Andrew Parsons / i-Images 51

TECHNIQUESAMNTOICMIPATEENTHTE have firm ideas about the type of shots you of time. “Some people miss more [shots] than anticipate being able to capture. “You don’t others because they’re not thinking it through,” know what’s going to happen [on a shoot] says Parsons. and you’ve got to have that in your mindset,” explains Parsons. Similarly, Macdiarmid agrees Don’t ignore the key ingredients that engage people’s emotions, as photographer Drew Bird Settings mastered, the that, in this genre of photography, familiarity (www.drewbirdphoto.com) explains. “For most can often tend to breed contempt. “You go to people, an image is compelling when they next step is to know events that you’ve been to maybe six times find an emotional connection to the content – what to shoot and when before, yearly events that you go to, and you that connection may very well happen in the have in your mind what happened last time realm of the subconscious,” he says. “Powerful and that can be a bad thing…it can make you emotion often includes expressiveness (laughter, anger, sadness, love, compassion,It’s tempting to think this sort of photography a bit stale. Go open-minded and prepared etc.) of the subjects. Interactions between people can be particularly moving. Conveyingis all about capturing as many frames as for things to be different and you’ve got a the appropriate amount of energy can also be powerful. For example, if you are on a crowdedpossible, relying on the law of averages to much better chance as a photographer of city street, allowing for some motion blur of people moving through the scene can help toensure that you get that one frame that coming up with a unique, different, communicate the energy of that scene.”tells the story, but this is not the interesting, amazing image. You can Opposite-topapproach the professionals take. USING preconceive what something’s Simple but effective “In your mind you’ll quite AUTOFOCUS going to look like and you have to be open to the fact that it Tense situations and dramatic action. Here,often go ‘what’s the picture, Andrew Nelles has told a story through a simple compositionwhat’s the picture, what’s Use the centre AF point when won’t look like that.”the picture?’ You’re trying shooting in landscape format, for Photographer Andrew Belowto wade your way through its accuracy and responsiveness. Nelles (www.andrewnelles. Emotion mattersthe nonsense,” says When shooting portraits, move com) says that remaining The emotional power of this image, coupled with its sense of perspective, is what makesParsons. “You get a lot of the focus point to the upper alert is vital. “The key to it worknew people now that have part of the frame so it anticipating key momentscome on the scene that are covers the subjects is fairly simple; you have to Opposite-bottomlike [makes machine gun noise face. constantly be observing your Reveal realityto illustrate a fast continuous burst surroundings. The people, the There’s no movement or eye contact with theof frames]… I’ve slowed it right down, environment, the mood, etc. If you’re camera, but the image conveys something about the existence of the subjectsbecause I don’t want to put my [memory] card focused, alert and knowledgeable about yourin and have 500 images of David Cameron subject matter, you’ll see the moments beginwalking out of Downing Street – I just want to to take shape before they do.”have a look at, say, 50 images.” When it comes to press, street and It’s important not to begin a shoot with very documentary photographers, they must makefixed expectations about what will happen or many careful decisions in very short spaces© Andrew Nelles52

SHOOT ONE-SHOT STORIES © Drew Bird 5 tips for better shots Improve your work with these key tips from the pros Find the key ingredients ”Find humour in an image… Look for symmetry… Look for something that’s a pattern. Look for the placard that doesn’t have too many words on.” Peter Macdiarmid Make it spontaneous ”[With the best images], you can see straightaway that it’s just happened in front of [the photographer] and they’ve captured the moment. Most great pictures have been captured where events have literally just unfolded… It’s happened in split seconds and they’ve caught the image.” Andrew Parsons Have a goal “Set yourself targets in your brain…you’re not just floating around with a camera taking a few pictures. You should set yourself a target, when you go out to shoot, of [capturing] a maximum of ten or 12 pictures that show spontaneous reaction real life.” Andrew Parsons Back button focus ”Through the camera settings menu I can set the autofocus button to one of the buttons on the back of the camera. Doing so is one of the best changes I’ve made to my camera settings – as it prevents accidental re-focusing and decreases the likelihood of missing your focus point. This is especially true if you focus on your subject and then re-frame the shot.” Drew Bird Consider the wider context ”The photograph should be able to communicate to the viewer more than just something about the subject. While the subject alone may have a very compelling story to tell, if the image is able to communicate relevant information about the situation (who, what, where, why, when?) in a compelling way, the subject is then regarded in a context that can really shape the way a viewer of the image will perceive and understand both the subject and the scene.” Drew Bird© Andrew Nelles 53

© Andrew Parsons / i-ImagesABNEDBBROAVLDE © Drew BirdBeing in the right place Above connect with readers, and if you’re lackingto tell the story is a vitalingredient of success Be part of the storytelling content, then it serves no purpose. actionWithout doubt, the hardest skill to master for You want the viewer to feel something whenthis type of photography is the art of knowing Parsons had to placewhere you need to be. This can come with himself in a very they look at your image. So you need toexperience, but photographers who want tocapture story-telling images need to have the precarious situation in capture action and/or emotion, and a senseconfidence and the nerve to put themselves at order to maximise thethe heart of the action. “[Getting the photo] is of place. You have to get into the story, literally.like a rugby scrum and you’ve got to get the impact of this imageball – that’s what it is,” says Parsons. “You’ve You can’t shoot from the margins. If you do,got to get the ball and you’ve got to get out. RightThat’s the way you’ve got to look at it.” your audience will know it and feel it.” Get up close But it’s not always merely a matter of getting Bird agrees with this. “Most of the time, Ias close as possible. Sometimes you may need Bird believes in the powerto find a different vantage point and you’ve got of getting in close, often prefer to be a little closer to the subjects,to make some careful decisions because you with a 35mm prime lensgenerally don’t get a chance to change your using a prime 35mm lens. Being closer to mind subsequently. “You’ve got to look at all your options. You’ve got to say, ‘hold on, is this the subjects and the action tends to give the going to be better [from] up high?’ But then, if you go up high, sometimes it’s going to restrict viewer of the image a more intimate and DP you; you’re stuck up there and that’s it.” connected experience.” Nelles says that your proximity to the main event in the image has a big impact on the way the viewer will respond to the image. “Boiling it down to the basics, there are two key ingredients for a successful photojournalism picture: a visually striking image and content that tells a story. If you’re lacking one or the other, the image will be a failure. If you don’t have a visually interesting image, it won’t54

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SHOOTING SKILLS56

CAPTURE LIGHT TRAILSlCigahpttturraeilsTransform your car into anintergalactic spaceship withsome creative shooting During the winter months, the days get shorter and the nights get longer – this makes it the best time of year to head outside and capture some low-light photography. One of the most common techniques is that of capturing traffic trails by using a long exposure. But what happens if you take the principles of this popular technique and use them inside the moving vehicle? Well, as you’ve probably seen from our final image, it can result in some pretty amazing photography. What’s more, it’s incredibly easy to do and doesn’t require any expensive equipment – just a digital camera (preferably one with full manual controls like a DSLR or CSC), a sturdy tripod and a car (of course). You’ll also need to wrangle the help of a willing volunteer who can drive the car for you while you’re busy taking the shots from the rear seat. If you’ve never dabbled in long-exposure photography before, don’t worry as our easy- to-follow guide will lead you through the whole process, from setting up your camera and capturing the shot, to adding the finishing touches in Photoshop. Simply read on find out how to get started. Left Traffic trails For dramatic results, using a long exposure of around 15 seconds while travelling in a car will cause passing street lamps and car headlights to transform into captivating trails of light What you’ll need Camera Wide-angle lens Tripod Shutter release cable Photoshop 57

SHOOTING SKILLSShooting 1 2steps 41Go wide To ensure that you can 3 6 fit the entire front windscreen in 5your shot, it’s a good idea to attacha wide-angle lens to your camera.We took our shot at a focal length of24mm, but you could always shooteven wider than this for a moredramatic effect.2Full manual control Switch the camera over to Full Manualmode (M on the mode dial) and startoff by setting the shutter speed to aslow exposure – around 15 secondsshould be fine. Close the aperturedown to f11 and then finally reducethe ISO to the lowest possible setting(usually 100).3Use a tripod Place a sturdy tripod on the back seat of thecar, ensuring that the legs are widelyspread to anchor it in place andthat your camera has a clear viewof the front windscreen. Once inplace, attach your camera and begincomposing your shot by lookingthrough the viewfinder.4Pre-focus Activate manual focus by turning the switch onthe lens barrel to MF. Then, whilelooking through the viewfinder, pre-focus on the windscreen by turningthe focus ring until it falls into sharpfocus. Keep the lens at MF to stop ithunting when you take the shot.5Go hands-free In order to minimise the chance ofaccidentally knocking the cameraduring the long exposure, attach ashutter release cable. This will allowyou to fire the camera’s shutterremotely without having to physicallytouch the camera, practicallyremoving any chance of camerashake ruining your shot.6Bag the shot While the car is driving down the street, fullydepress the shutter release cable totake a shot. Wait for the exposureto complete, then review the shot.If it’s too bright, reduce the shutterspeed and try again. If it’s too dark,increase the shutter speed instead.58

Get the setup CAPTURE LIGHT TRAILSSECURE YOUR TRIPOD WIDE-ANGLE LENSPlace two of the tripod legs on the Shooting with a wide-anglefloor and the remaining leg so that lens is ideal as it’ll allow youit’s on the middle rear seat. This to fit much more of the car’sshould securely anchor the tripodin place interior in the shot SHUTTER RELEASE CABLE Using a shutter release cable will allow you to bag the shot without touching the camera, reducing the chance of the camera being knocked during the long exposureHands-free shootingTake every precaution to reduceshake for sharper shotsWhen shooting with very slow shutter speeds, eventhe slightest of movements of the camera during theexposure can be enough to create blur and result ina soft image. When you’re trying to shoot in a movingvehicle, this can be a somewhat tricky task, but thereis one simple thing you can do to help reduce thechances of shake ruining your shots. Using a shutter release cable is invaluable and willallow you to fire the shutter without actually havingto touch the camera, removing any chance of youaccidentally knocking the camera or tripod. If youdon’t own a release cable, the next best option wouldbe to set the camera to self-timer mode, which willproduce similar results. 59

SHOOTING SKILLSEdit the 1 2shot 41Clone out distractions Grab the 3 Clone Stamp tool and removeany distractions by sampling anarea. Hold Cmd/Alt or Opt/Altand left click, then brush over theobject you wish to remove.2Remove any dirt Zoom in a little closer using the Zoomtool, then grab the Spot Healingbrush and carefully brush overany smaller dirt marks on thewindscreen to clean up the photo.3Boost the contrast Head up to Image>Adjustments>Brightness/Contrast. In thewindow that appears, move theContrast slider to the right to avalue of around 40 to give theimage more punch. Click OK.4Sharpen to finish Go up to Filter>Sharpen>Unsharp Mask.In the window, set the Amount to50%, the Radius to 2.0 pixels, andthe Threshold to 0 Levels. Click OKto save.BelowMinor tweaks make allthe differenceDon’t underestimate Photoshop – evenjust a few simple adjustments in postprocessing can make a huge differenceto the overall quality of your final image BEFORE AFTER60

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SHOOTING SKILLSFake a darkbackgroundUse the inverse square law to produce a darkbackdrop in-camera in brightly lit environments Off-camera flash provides a relatively suitable for low-key portraiture. You need to convenient means of producing much make sure that there is a sufficient distance more effective portraiture. The inverse between your flash and the background, suchsquare law means that light will inherently ‘fall that it is not illuminating the background.off’ dramatically over distance, meaning that Indoors, this can be a little trickier; white wallsan object several metres away from your flash and ceilings will naturally reflect the light, sowill receive only a fraction of the output of you will need to angle your flash carefully andlight that your flash is emitting, perhaps the consider using a modifier that restricts theequivalent of only 1/32 or 1/64 power, if your spread of light.flash is set to full or half power, for example. This means that, to create a dark Follow these basic steps to achieve a similarbackground you need to have fuller control low-key effect for yourself without any need forover the lighting. Often, the power output post-processing.limitations of a speedlight can create problemsfor photographers, but they can also be used FINAL IMAGEto your advantage when you want to producea dark background in a room with white walls Change the background Take advantage of off-camera flash and the inverse square law to create a dark background even in a room with white walls1Adjust your settings To ensure that you 2 Make it black Shoot a test frame 3Tilt the flash When shooting indoors, tilt have a dark background, first set the and check the results to see if your the flash downwards onto your subject tocamera’s shutter speed to the maximum flash background is sufficiently dark. Close the limit the amount of stray light that’s able tosync speed (1/200sec or 1/250sec, depending aperture down until you have a very dark reach the ceiling, as this will reflect back. Seton your camera) at your camera’s base ISO. background. Here, f11 was required. the flash to 1/4 power as a starting point.62

FAKE A DARK BACKGROUND4Feather the flash Try to avoid pointing 5Position the subject The greater the 6Shoot RAW Shoot using the RAW file the flash directly at the wall behind your distance that you are able to get between setting, as a RAW processor like Adobesubject. Instead, position it so that you are the flash and the background the better. Camera Raw or Lightroom makes it easy tousing the feathered light from the flash, Increase the flash power if the subject needs refine the effect. If you have monochrome inreducing the light reaching the background. light and decrease it to lower the exposure. mind, set your camera’s style accordingly. 63

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IMAGE EDITINGStunning astroshots with DehazeGet to know this exciting latest addition toLightroom CC to make your night skies gleam Astrophotography isn’t easy at BEFORE the best of times and it certainly doesn’t come without a number of Abovecomplications. You may find yourself outdoorslooking up at a cloudless night’s sky, so Dealing with a hazy atmosphereyou prepare for what could be a great nightshooting. But, as luck would have it, your view Often atmospheric fog prevents us seeing theis being hampered by a hazy atmosphere or stars. This can be a real spoiler for a potentiallysurrounding lights from neighbouring buildings stunning shot, but Lightroom should helpor street lamps. Putting all these obstacles aside, the goodnews is that Lightroom CC has an adjustmentthat will solve all your astrophotography woes.Called Dehaze, it does just that. By reducingthe amount of haze that appears in theatmosphere, details in the sky and surroundingareas can appear much more defined andcontrast is bumped up to reduce the intrudinglight sources. This just so happens to be theperfect solution for fixing astro shots that lackdetail in what is a captivating star trail. Followour simple steps to put it to the test.1Import your hazy image Import your hazy 2Find Dehaze Along the top, move into AFTER image into Lightroom CC’s interface using the Develop Module to access the editingImport, or simply drag and drop it on top of features. Locate the second drop-down Stars that glowLightroom. You’ll be taken back to the Library panel named Effects. Inside is the newmodule to view all imported images. Dehaze adjustment just under Grain. For a simple slider, the Dehaze feature brings a number of changes with a single click – improved definition, contrast and colour3Get rid of haze As soon as you boost up 4Experiment As with all adjustments, there 5Take it further With the Dehaze slider set the Amount slider your hazy image will are two ways to take Dehaze. Going to the to +100, go to the Tone Curve adjustmentsbecome punchier in tone and colour. A high other end of the Dehaze slider and you are and set Highlights to +50, Lights to -25, Darkssetting of +50 or above is desirable in most essentially adding haze to your image. The to -20 and Shadows to -80. The aim is tocases – for astro shots +100 is fitting. results aren’t always perfect. brighten the star streaks and darken the sky.66

STUNNING ASTRO SHOTS WITH DXEXHXAXZXE6Increase Clarity If your stars are looking 7Reduce noise If your image is showing 8Adjust colour and Export To reduce any lost in the dark sky, locate the Clarity slider signs of noise as a result of these changes, over-powering blue tones, reduce the Blueunder the Basic tab. Increasing this slider will go to the Detail options and locate Noise slider inside HSL>Luminance. Save your editednot only add impact to the black regions, but Reduction. Increase the Luminance slider as astro shot by going back to the Library modulealso help to define star trails. well as the Color slider until noise is reduced. and clicking Export. 67

IMAGE EDITINGMaster local AFTERadjustments inCamera Raw A Raw injectionUnderstand theTargetedAdjustment tool and Regions of colour and tone havenever worry about colour and contrast again been tweaked separately using the simple-to-apply Targeted Adjustment tool in Camera Raw Adobe’s Camera Raw partly prides BEFORE itself on having local editing tools. The Targeted Adjustment tool is one such Abovetool, and will do most of the hard work for you.The tool is used to tweak individual areas of An ordinary exposurecolour, lightness and tone without having toplay around with a dozen or so sliders. If no filters are used at the time of shooting the The Camera Raw filter, found inside image, overcast landscapes can lack contrastPhotoshop, has a treasure trove of editing and impactadjustments. Harnessing Camera Raw asa filter means you’re able to work withPhotoshop’s Layers while being able to enjoyeverything that’s great about Camera Raw atthe same time. What’s more, you can edit JPEGimages, not just RAW files. This makes the filtera perfect companion to any workflow. So graba RAW or JPEG image that needs a boost ofcontrast and colour, and follow these steps.1Locate the Camera Raw filter Open up 2Grab the Targeted Adjustments tool Photoshop and go to the Filter menu and Search for the Targeted Adjustment toollocate Camera Raw Filter if you’re working with (T) along the top of the interface. Click anda JPEG image. With a RAW file, Camera Raw hold over the tool’s icon to open the editingshould load upon opening Photoshop. options. Select Parametric Curve to begin.3Deepen shadows Deepen the shadows 4Brighten highlights To boost the 5Alter Hue Within the Targeted Adjustment of your image by clicking and dragging to brightness and impact of the highlights, tool, select Hue. Click on an area of colourthe left over a shadowy region. Look to make click and drag to the right over a lighter subject and drag to the left or right to alter its colour.the very darkest regions near-black in order to in your image such as the sky. Be careful not For example, to give the sunset an orange glowensure good contrast. to create overexposed highlights. instead of a yellow one, drag to the left.68

MASTER LOCAL ADJUSTMENTS IN CAMERXAXRXAXWX6Boost colour To increase the saturation of 7Illuminate subjects Change to Luminance 8Reduce colour noise Areas of solid colours, change the tool to Saturation. Give to affect the brightness of a colour. Boost colour can become blotchy, such as in thekey subjects added colour, such as grass and colour in some of the more important subjects clouds. Go to the Detail section and increasewater, by clicking on them and dragging the by clicking and dragging to the right. Moving to the Color slider to around 15, and Color Detailslider to the right. the left will darken colour in your image. and Smoothness sliders to 50 each to finish. 69

GINOTEPRRVOIEW WAYS TO10SUCCEED AS A WILDLIFE PHOTOGRAPHER Hugely successful photographer David Yarrow reveals the business secrets behind his success70

IN ASSOCIATIAORNTWSITRHEIBER01 Pursuit of excellence big seller, the cost of flying to Jakarta then DAVID YARROW’S Be very tough on yourself and be getting to Komodo is unlikely to be recouped NIKON KIT constant in the commitment to the by sales. So unless photography is your hobbypursuit of excellence. I took probably four really or you are good enough to work for National My two biggest pictures in terms ofstrong images in 2015. If I honestly felt I had Geographic, this is a poor destination choice, sales were taken on the D810 –taken 100 [strong images], I’d be deluding even if you are lucky enough to get a big image, which is testament to themyself and [decreasing] the value of [the very which could take weeks. In other words, always power of the resolution. best] images. [consider] which animals people can relate to and care about. All other things being equal, I will always sacrifice comfort for content, the more popular the animal, the more likelysleep for content and occasionally my own any image of that animal being of value. I don’tsafety for content. Why bother to do this at know many people that can afford school feesall, if you don’t pursue it with single-minded from photographing bats, rats or seagulls.focus? For someone else to want an image ofa moment in time when they were not privy to 03Know your buyerthat moment is a huge honour and it is for the In sales, remember that we are nowphotographer to respect that. Do not accept in a world of content overload. Moreaverage or banal or you will go nowhere. pictures are taken in a week than in the whole history of film. Photography enfranchises02Show good fiscal husbandry and everyone – even those with just a camera on common sense their phone – look, for instance, at the Apple My experience is that, in the fine artmarket, images with serenity sell better than Belowdecisive action moments. For instance, imaginetaking a picture of a Komodo dragon attacking Long marcha deer – this may have some stock value, butdoes anyone really want to put it on their wall? Many of Yarrow’s images take a fine artI would doubt it. Even if the stock image is a approach and he carefully researches the market whenever he is not away shooting All images © David Yarrow 71

INTERVIEW GET CLOSE David Yarrow’s images are often characterised by his ability to get close to his subject matter, filling the frame and creating a sense of impact and drama.iPhone adverts parading photographs from Meet the pro Most importantly, however, interior designersusers. This has resulted in the price for stock love black-and-white photographs – they fitpictures falling markedly. Very few people can Get to know more about Nikon into any room in the world. Colour imagesmake a career out of selling stock images of ambassador David Yarrow do not – they can be loud and too attentionwildlife, which is unfortunate as there are many grabbing. But each to their own – this is athat deserve to. London-based personal view. photographer David Yarrow The problem is simply that there is huge was named the Young 05Invest in qualitysupply competing against static demand. If Scottish Photographer It absolutely baffles me that someit is your intention to photograph stock, be of the Year at the age of photographers will fly club classvery wary of going to a place where there are just 20. Yarrow made his and stay in good hotels, travel long distancesphotographers next to you. How can you take name photographing events such as and show admirable patience and yet, whensomething that they can’t? Of course, talent the World Cup, snapping such iconic the moment comes, they are not using theand equipment ensure that it is not a level moments as Diego Maradona with the very best equipment. Surely this is pure folly?playing field, but think smart. Does anyone trophy. Subsequently, He has turned If cash is tight and money needs to be saved,really need to see another picture of a river his attention to wildlife, developing a travel economy and have the very bestcrossing during the East African migration? strong reputation as a world-class fine Nikon gear. art photographer of the natural world. If your goal is to build a portfolio for a His style is marked by his love of getting My 58mm lens has made me several millionbook or a show, you can perhaps afford to close to his subjects. “My view is that you dollars of sales, but it is the price of an upgradeoccasionally go on assignment to the more have to be close or there’s no point. The on long haul from economy to club. Do notestablished destinations, but again remember great war photographer Robert Capa compromise on equipment if you want to beto try and be different and not accept said, ‘If the picture is not good enough, the best you can be – just take hits elsewhere.generic results. you are not close enough.’ A 400mm flattens everything; you need proximity 06Be a salesman04Consider black and white to get the soul. I generally use wide- In 2015, I have photographed for I shoot in colour, but only ever angle lenses, including the 24mm f1.4 55 days and spent a further 25 release [my images] in black and the 35mm f1.4… I also really love the travelling to places for assignments… Thatand white. This is my personal decision and 58mm f1.4, my ‘warrior’ lens – it’s very leaves 80 per cent of the year without mythank goodness most chose not to do this. expensive, but very high performance, cameras. In that time I am doing two things:Monochrome prints have a timelessness that and with the D810 it’s a great research for future trips and selling.can be both evocative and visceral. Black and combination… If I do need the reach –white is also an abstraction of reality and since which you do if you feel the animal, such I find the false pride some photographerswe live our lives in colour, some degree of as a polar bear, is a fatal threat – I tend to take in not being salesmen quite astonishing.abstraction allows for perception and a sense use the 200mm f2.” We are all salesmen in life, unless we just don’tof art. care. The president of America is a salesman and, at an art level, so too is Banksy. What Andy Warhol once said: “my favourite colour gives photographers the right to hide behindis black and my other favourite colour is white.”72

IN ASSOCIATION WITHsome vain, bohemian cloud of commercial 08Use the Internet – it’s free Master theindifference? I sold 4 million pounds of Before I go away I will spend hours D810photographs in 2015, but none to Russian exploring every aspect of where Iclients and none to the Middle East. So that’s am going – logistics, daylight hours, the work The Nikon School in London runs awhere I will be going in the gaps that appear in of others etc. course dedicated to David Yarrow’sQ1 2016. The great thing about this market is favourite camera, the D810that it is global. There is no money to be made Before I spend time in South Sudan, I didin taking pictures of a badger in Somerset and hours of research on the region and examined The Nikon School in London has twothen selling it to people in Taunton. As much every picture online that had been taken there. courses designed to help Nikon D810 usersas I love a good squirrel in Hyde Park, one has I felt that many of the photographs I saw get the most from their camera – Gettingto have a global perspective on [both] content suffered from the camera being too low to offer Started with D810/D800/D800E Part 1and selling. any sense of scale – the topography around and Part 2, on 28 January 2016 and 25 the banks of the Nile is very flat. That is why February 2016. Digital Photographer users07Have an understanding partner – I took a ladder to South Sudan and Mankind can get 10% off any course at the Nikon or be single became a million-pound picture. School using the code ‘acddfhpnny’ before Do not go away with your partner 31 March 2016.and compromise. To excel means being selfish 09Be precise on timingwith time and mental allocation. This is not a I try to have military precision in all Opposite top-right Opposite bottom-rightjob to do after a nice big breakfast – forget that I do. On the Equator, 6.45am breakfast; on the Equator, you have been up is very different to 7am – the light is at least Heaven can wait The circle of lifesince 5am, so it’s nearly time for lunch. At three stops different, so don’t be casual:my lodge in Amboseli, Kenya, where I spend 6.45am means 6.45am, not even 6.50am. If Yarrow believes in being Yarrow believes in usinga great deal of time, I have not been seen you have flown a long way, don’t lose a sense extremely precise with his the very best Nikonat breakfast for years – it would be deeply of precision when you arrive. timings, aiming to shoot equipment possible,embarrassing! Also, I do believe in getting in when the quality of the enabling him to achievethe zone and being extremely focused. This 10Take fewer pictures light is at its absolute peak the maximum qualityis work, not play. I can seem miserable on On my last trip to Africa I took justassignment; I am not, I am just thinking. Do 11 pictures. One of them will become Opposite-left Abovenot let anyone get in the way of your helicopter a huge winner for me – Gold. Don’t use themind. In other words, be very selfish – it’s a job The puzzle Goldnot a holiday! motor drive as a toy – use it when it’s really Images in Yarrow’s Over the course of a year, necessary. Less is more and the world does DP portfolio are often graphic Yarrow takes relatively in approach and make few images. His aim is to not need pulp, it needs new material. skilled use of a black-and- achieve quality rather white presentation than quantity 73

GO PROCareer advicePhotographer Claire Beveridge writes for online accounting firm Crunch.Sheoffers advice on claiming expenses as a freelance photographer in the UK How to claim Where do I start? I’ve been freelancing for the last year, but I’m thinking about freelancing, but I’m like cameras, lights, computers and software, I’m unsure of the procedure relating to terrified of the bookkeeping process. I’m as well as telephone and internet usage (of business expenses. How do I go about not even sure where to start. Can I claim my course you must retain a copy of your itemised actually making a claim? equipment as business expenses? telephone bill). If you wanted to kit out an Sharon Tate Bethan Pike office space, you can also claim reasonable relief towards the cost of chairs, bookcases To do your expenses properly and receive Congratulations on taking the first steps and things like that. your due tax reliefs, hopefully you will to being your own boss! Don’t worry, it’s have kept accurate records of every daunting at first but the advantages are HMRC define allowable expenses as transaction as proof of your costs. The plentiful. Regarding business expenses, the being “wholly and exclusively” incurred in the Self Assessment tax return deadline day answer is yes – you can receive tax relief on performance of your duties, so as long as the is 31 January, so you have until that date anything that is necessary and essential for items aren’t too frivolous (no coffee machine, to get all your paperwork in order. fulfilling your duties. This covers equipment I’m afraid!), you won’t have to pay National Insurance or income tax on it. When it comes to filling in your Self Assessment details, add up all your allowable expenses for the tax year and insert the total amount. You don’t need to send in proof of expenses, but always keep records as proof. Bear in mind that you’re legally bound to keep company records for six years in case HMRC need to see them. What expenses can I claim against? I’m hearing all sorts of conflicting information about what tax reliefs I’m entitled to as a freelancer. What is deemed an acceptable business expense? Barry Kline© Crunch © Crunch Above As a freelancer you’ll often fork out for travel, It is best practice to keep records regarding accommodation and subsistence, which are expenditure throughout the year organised, making all claimable as business expenses alongside your Self Assessment tax return a stress-free task payments relating to your business for services like accountancy or advertising. For example,Top-right Right many freelancers are only able to do their workExpenses relating to Freelance photographers if they have somewhere to leave their kids, soequipment required for are able to claim on any HMRC deem childcare vouchers acceptablethe fulfilment of your expenses that are required to claim on. You’re also entitled to tax relief onduties qualify for tax relief to carry out their work expenses relating to your physical wellbeing, like medical insurance and eyesight tests.74

CAREER ADVICEThe pro’sinsight© CrunchLearn the tricks of the trade from Gavin Alexander, freelance photographer and video executive at Crunch Accounting What are good ways of keeping costs down? When you’re starting out, you’ll probably be most concerned with minimising your expenses, which means you’ll most likely be doing a lot of your editing and admin from home. If staring at the same four walls starts to drive you nuts, you could try working in a park or at a friend’s house rather than in a pricier cafe or co-working space – although these can also be great places to knuckle down. It’s pretty common and sensible to buy items like flashes, lights and backdrops second hand, although you still need to provide proof of purchase if they are to be logged as business expenses. How do you travel to freelance jobs and how much can you claim as expenses? I get the train to most clients, so it’s just a case of making sure I keep my receipts. If you use your car (or a van) on the other hand, you can claim 45 pence per mile on the first 10,000 miles of business travel in the tax year. After that, it goes down to 25 pence per mile. Motorbikes differ slightly with a blanket rate of 24 pence per mile. It may come as a surprise to many, but you can also claim 20 pence for each mile travelled on a bicycle. But a word of warning: HMRC are hesitant to accept excessive use of taxis, so try to avoid that. Tolls, congestion charges and parking fees (not fines!) are all allowable, but as always make sure you keep all your receipts and a mileage log. Above, inset Don’t forget to consider the little everyday expenses, which count towards your overheads Above There’s no shame in being a savvy shopper. You can pick up bargains with second-hand equipment Left If you travel by car, expenses towards petrol, toll and congestion charges are all allowable 75

VSSNIKEDEIRWLEILOESS IN ASSOCIATION WITHUnderstanding audio essentialsIn this instalment of our digital film series in association with Wex,you’ll learn how cinematographers capture high-quality sound In the previous few parts of this certain caveats. “Just bear in mind that you’ll interesting thing I’ve been finding is that you ongoing series, we’ve looked at some hear your hands focus, you’ll hear your hands are not restricted to just capturing audio in one of the key equipment and skills that tap the buttons and you’ll hear your hands manner, you can have a variety.”are involved in capturing digital film. If you’re move the camera. So it’s mainly for locked For instance, it’s good to have a microphonea stills photographer, the good news so far off shots where you want to pick up a bit on the camera as well as using a lavalierhas been that a lot of what’s been discussed of the surroundings or a widescape of microphone on someone’s shirt. “If peoplewill be at least familiar territory, but now it’s the environment.” start clapping at a wedding, you might findtime to take a look at the world of audio. A commonly used alternative to this is the that it will sound even bigger if you’ve got a Sound is something that stills photographers lavalier microphone (also known as a lapel microphone on the camera,” says Peters.have never had to worry about until they microphone), which is attached to someone’s Of course, you have to consider theconsidered adding digital film into their arsenal shirt or top. “That’s a great way to be intimate practicalities of the project you are shooting.of skills. The script, the acting, the lighting, the with the sound, especially when you’re far “At most weddings, the bride will never agreecomposition, the movement and the editing away and you can’t get a microphone that to a lavalier microphone,” says Peters. “It’scombined is only half the job; it’s the audio close or you don’t have the money for a her dress – she doesn’t want wires anywherethat’s really important. boom microphone operator,” says Peters. that might be seen. So, usually, you just have Imagine shooting an interview where However, you might prefer or need to a lavalier microphone on the groom andeverything seems perfect, then you get back record an independent audio track to because they’re so close, you may just have toand there’s no sound. Without the sound marry up afterwards in post. “You can adjust the levels a little bit in post. But you’rethere’s nothing you can do to save it. But if use an external recorder to capture usually pretty good with that one mic.”you have beautiful, clean sound and make a sound separately and then sync it Jebson has one final bit of audiomistake with another aspect of filming, the up later. advice. “Don’t be scared of recordingproject can usually be saved. Software like [Blackmagic the ambient noise, as well. You Cinematographer Daniel Peters suggests Design’s] DaVinci Resolve will don’t have to think of audio justan on-camera shotgun microphone sync it up, as long as your in terms of recording speech.withsomething like the Pocket Cinema Camera camera settings were right. AFFORDABLE Ambient noise can add even more depth to a scene. Itas the best piece of kit to get started. “The You just click a button.” MICROPHONEScheapest and fastest way is to get a nice Professional wedding Daniel Peters explains that you can happens a lot, without youshotgun microphone and have it on the photographer James get lavalier microphones fairly realising, in TV programs,camera,” he explains. However, this comes with Jebson agrees. “The where if it’s at night-time, cheap that go through your for example, they’ll have theUse a lavalier microphone iPhone, which is a great sound of crickets.” Try to find way of getting really ways to make the audio and the good audio. visuals cohesive and you’ll be well on your way to success. Next issue you’ll discover how professional cinematographers approach lighting their digital film projects. In the meantime, head to www.dphotographer.co.uk to learn about editing audio. INTIMATE SOUND SUITABLE FOR TWO MANY OPTIONS AMBIENT Above RECORDING The chief advantage Daniel Peters explains that Lavalier microphones can Controlling wind noise of a lavalier, or lapel, one of these microphones be fitted directly to the Be aware that a lavalier microphone is that it is sufficient to pick up the microphone will also pick The foam pop filter that most lavalier microphones comepicks up the audio directly camera, but they can also up ambient noise in the with can help reduce wind noise, but you may need from your subject, thus audio from two people be used with transmitter background, which needs to something like this artificial fur wind cancellation accessoryachieving clarity of speech stood sufficiently close, and receiver devices for be factored in during a shoot such as a bride and groom remote recording76

Create your own audio VIDEO SKILLSTake your digital film projects to the next level with Record high-qualitythe techniques of the pros sound on locationIf you are serious about producing truly same time as the actual footage. Theprofessional-looking digital film projects, sound of someone’s keys falling to theyou may want to consider employing ground or the noise of a gate bangingsome of the methods that the sound will often be recorded separately anddepartments working in television and then synchronised later with the visuals.film use. A lot of the sound that you This is a means of guaranteeing thathear during a movie, for instance, is important sounds are as high-qualitynot authentic audio, recorded at the and as dramatic as possible. CORRECTION ONBOARD POSSIBILITIES SHOTGUN MICROPHONE Modern digital film and audio Having one of these attached toediting software, such as DaVinci your camera via a hotshoe enablesResolve, is very sophisticated, soit’s possible to improve the sound you to record the ambient sound more effectively quality in post-production LISTEN ON LOCATION Wherever possible, it’s best to listen back to your audio on location to ascertain any problems while it’s still possible to correct them GUIDE TRACK BOOM MICROPHONESThe biggest mistake you can make On larger scale shoots with is relying on your camera’s built-in bigger budgets, boom microphone – however, it can beuseful, if you need to capture a guide microphones are generally track for syncing with externally preferred, but they require someone to operate them recorded audio 77

INTERVIEW78

KERNVILLEKCEARPNTVUILRLEES’S Portrait photographer Kernville reveals why he’s addicted to photographing stunning portraits Left Her eyes “I wanted to work with Issie for quite some time before I finally got the chance to do a shoot with her. On this close-up portrait in very low light, just a little ray of light fell on the side of her face, focusing on her rather stunning eyes.” All images © Kernville 79

INTERVIEWSome things in photography look Meet the pro Would you describe yourself as a considerably easier than they are. A professional photographer? natural portrait with a sense of both Name I don’t call myself a professional as it’s not my the sensual and the diffident may Kernville full-time job and I never studied photography;appear a relatively effortless thing to capture, Website I’m 100 per cent self-taught and I still but a soon as you actually attempt this it’s 500px.com/kernville have so much to learn. This doesn’t meandifficulty becomes apparent. In this interview, Favourite Kit I don’t take it seriously; I believe that I’mKernville discusses how he creates his I use a Nikon D800 and a somehow a professional in the way I approach beautiful portraits of women Nikon 24-70mm lens plus photography. I’m always after the best image a 50mm f1.8 lens. Fast lenses are ideal possible [and] I’m a perfectionist, especiallyWhen did you first become interested in for portrait photography. Despite being when it comes to photography. photography? the cheapest Nikon lens, the 50mm is a I first became aware of photography as a wonderful lens, very fast and very bright. What made you choose the genre that youchild, watching my cousin taking photos. The 24-70mm is simply a must for its work in now?His dedication to finding the right light and versatility and sharpness – as I often end I’ve always loved taking pictures of people andviewpoint was fascinating to me and it up shooting in a confined space, a wide portrait photography simply came naturally. impressed me from an early age that as a angle is really helpful. There is no doubt that portraits sometimesphotographer you have a great deal of control Preferred genre bring out an aspect that neither theover the image simply by where you stand Portraits photographer knows about their subject, or to take it. I still remember how amazed I the model about themselves. An experiencedwas when I first looked through his camera Below Opposite model I’ve recently worked with told me,viewfinder. I first started taking photos at “you portrayed me in a way I’ve never seen,around the age of ten on a school trip, I Dark and piercing eyes Untitled positively”. Needless to say, this is the bestremember coming back with half a dozen film compliment I could have hoped for. Therolls to process. I was immediately hooked on “A simple and natural portrait “An emotive portrait in experience is sometimes overwhelming. both the process and the opportunities it gave of Savannah and her dark, natural light. Little to no The fact that portrait photography is moreme to capture moments in the lives of people piercing eyes. I find her editing was required as engaging (as it’s between two people) than anyaround me. expression in this picture Chrissy has naturally other kind of photography is what motivates quite special and unique” good skin” me even more. What is your approach to posing? What sort of instructions do you give your models? I was hopeless with directing models when I started, I had no idea what I wanted or how to direct. I’m far from perfect still, but I’m getting better, slowly but surely. I studied lots of other photographers and acquired a portfolio of poses and scenes in my head that I can use if needed. However, I find the most beautiful scenes and expressions come out between poses. It is essential to watch your model carefully not to miss that fraction of a second of relaxed unawareness between two poses. So I ask my model to be as natural as possible, then it’s down to me to press the shutter release at the right time. What thought processes do you go through when you start a session? What things do you try to evaluate? I always make sure the model feels comfortable at all times – if they’re not it will clearly show on the pictures. In order to get to this point pre-shoot, communication is paramount. The model needs to know what to expect from the shoot and in return what you expect from them, including basic information such as where the shoot will take place, at what time and how long I will need them for. I often share a mood board for them to have a better idea of what I’m after. It can also be interesting to see what kind of ideas they have in mind as I’m more than happy to try other things and get out of my comfort zone.80

BREENTRTICHOAFROKSNSEASTSI Kernville’s favourite three photos The portraits that captured expression in abundance MARSEILLE This was shot in an old hotel in central Marseille (France) in the middle of the summer, only using available light – pretty straightforward. [I like] the way the model is looking straight to the camera and her expression is simply striking, strong and powerful.“The most beautiful expressions come ISSIEbetween poses. It is essential not to missthat moment of relaxed unawareness” A soft and natural light coming from the window creates this emotional portrait. Issie has an incredible look with I often do not have a defined concept for a What camera settings do you normally use? some truly stunning and expressive eyes, a naturalshoot and just let myself be driven by what I It depends on the location, but as I mainly beauty. Her expression brings calm and serenity to thefind: the location, the model and the light, and I shoot indoors, I tend to go for large aperture, picture. A very enjoyable shoot that makes me wants todo actually enjoy improvisation. f2.8 for my 24-70mm or up to f1.8 with my keep on doing what I do, and get better and better.On the day I make sure my gear is ready, 50mm, which gives me a soft focus and abattery charged and memory cards empty and shallower depth of field. Then, in order to have VULNÉRABLEall packed up. Then I make sure I get to the the sharpest result possible, I compensate withlocation a little before to have some time to a low ISO at around 200 (to avoid noise) and This was shot through a tinted window, which bringsget set up, adjust the room the way I want and an exposure time at a minimum of 1/80sec to that yellow shade on the side of the model’s face. Herassess the light with a few test shots. avoid blur due to camera shake. expression is a mix of emotions, vulnerability and mystery, [it’s] almost disturbing. Probably the most incredible andWhat lighting do you like to work with most? What are the main challenges you face in the versatile face I ever had the chance to photograph andI mainly shoot with natural light as it suits the kind of photography that you do and how do one of my favourite pictures.kind of photography I’m into. It’s versatile; it you overcome these?can create a soft and subtle light, which brings London is an incredible place, although I findan innocent feel to the scene. It’s also very it quite challenging to track down suitable,versatile; it can be soft or strong, depending and more importantly affordable, locations.of the location, indoors or outdoors, and the I’m sure there are some incredible places outtime of the day. As it’s an ever-changing source there, but they tend to be expensive to hire.of light, it can be tricky to deal with and it I’ve recently started shooting in hotel rooms,sometimes pushes me to improvise and to which is not very glamorous, but the onlyreact quickly, and this is the kind of uncertainty thing I really need is a neutral decor with bigthat I also love about it. windows, and hotel rooms can actually be ideal 81

INTERVIEW“Make sure the photo looks at its best out Kernville’s tipsof the camera… Spend less time on the for portraitscomputer and the results will be better” Don’t rush Take your time while for this. Ultimately, I would love to have my improve a lot more by doing this. Photography shooting, look at (and around) your own studio but then again, everything costs clubs or workshops can also be interesting in subject and adjust what can be money in London, so I do end up hiring one many ways. adjusted, looking out for little details. when needed. Ask yourself a few questions: is the What advice would you give to aspiring light good enough? Is the model feeling What mistakes do you think amateur comfortable? Would that make a great photographers most often make with this photographers who want to work in this picture? If not, what could I do to make sort of photography and how can they it better? correct these? industry and this specific genre? Relying far too much on post-processing and Keep an eye on your camera histogram also over-processing. I often hear them say If you’re into portrait photography the easiest This helps you to assess if you need to“I’ll correct this in Photoshop” and the results make any exposure adjustments. You are often disappointing. They must make sure would be to start with friends and family. definitely want to avoid clipping or your the photo looks at its best out of the camera… picture will likely end up being unusable.They will spend less time on the computer That reduces the awkward experience of and the results will often be a lot better. Keep Don’t stay still Move around your it simple and let the picture speak for itself. In photographing strangers, especially when subject, try different angles, get closer, order to get to this point they must follow a step back, shoot from above the eyes. few rules like knowing their gear, knowing how you might be still learning to use your camera. This is why I’m a big fan of fixed lenses; to frame shots correctly and how to read their it pushes you to try different angles. I camera’s histogram. You could also book a workshop on model truly believe every photographer should own at least one fixed lens. Using high Every amateur photographer must be or portrait photography in your area. When or low angles can make a big difference constantly looking for critics outside of their to how your subject comes across. close friends and family, simply because they you have some images to show, you can find tend to always be [positive]. They must try to Frame carefully The image needs to compare their work with other photographers models via various websites – Model Mayhem be balanced within the frame; the rule they like, or who have a similar style to theirs. of thirds is really helpful for achieving You can search for critics on photography and Purpleport (for the UK) are a good start. this. It’s always a good idea to look at blogs or by simply getting in touch with other other photographers’ work and try to photographers – amateurs will learn and You can also contact model agencies directly understand how they have framed their portraits. and ask if they have any new faces who DP Go wide Last but not least [is] the focus. are looking for test shoots. Wide open, partly and fully closed, focus on the eyes. Above-right Over her shoulder “Shot in Marseille in 2014 with the beautiful Fanny (Enjoy Models). Her expression and the choice of black and white brings a timeless feel” Above-left Julia “This portrait of Julia (VIP Models) was taken using a 50mm at f1.8 for a shallow and soft depth of field”82

From the makers of Digital Photographer Annual collates all the best advice for grass roots amateurs and aspiring experts. Unveil industry secrets, be inspired by the pros, tackle shooting techniques and follow our insightful career guides to develop your skills now.Also available…A world of content at your ngertipsWhether you love gaming, history,animals, photography, Photoshop,sci- or anything in between, everymagazine and bookazine fromImagine Publishing is packed withexpert advice and fascinating facts. BUY YOUR COPY TODAY Print edition available at www.imagineshop.co.ukDigital edition available at www.greatdigitalmags.com



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REVIEWS88

HEGARDOTUOPHTEEASDTEnthusiast DSLRsDiscover which manufacturer comes up trumps in our headto head, as we test Canon and Nikon’s best APS-C cameras The Canon versus Nikon debate start to become more serious about their brought with it some interesting new features, is something that often plagues photography. While neither of these cameras such as built-in Wi-Fi. both enthusiast and professional have full-frame sensors, both include a lot ofphotographers alike. Many already have their other specifications and features, which could This type of camera needs to be a greatpreferred manufacturer, but we’ve pitted actually put them in semi-pro territory. These all rounder. As an enthusiast, it’s likely thattwo APS-C DSLRs against each other to see high-end features include high frame rates, a you won’t limit yourself to shooting just onewhether Nikon or Canon will come out on top. plethora of autofocus points, and viewfinders type of subject and genre, but instead will The DSLRs in this head to head are at the with 100 per cent coverage. need a camera that allows you to experimenttop of Canon and Nikon’s cropped-sensor with a wide range of situations and shootingline up. They are aimed at experienced First up is the Canon EOS 7D Mark II, which, conditions. So whether it’s landscapes, enthusiasts, perhaps looking to make as you can probably already tell from the portraits, macro, sports or wildlife, you’ll want name, is the replacement for the much lauded to be confident that your camera can deliver the jump from an entry-level EOS 7D. Canon took about five years to replace good results and also grow with you as your model to something better this model, which is relatively unusual. We’ll skills develop. equipped as they look at whether the long wait was worth it. Over the next few pages, you’ll discover Going up against it is the Nikon D7200, a which camera comes out on top and is worth replacement for the D7100. Although we splashing your cash on. Will it be the long- awaited and anticipated Canon EOS 7D Mark II didn’t have to wait quite so long for or the feature-packed Nikon D7200? a replacement model here, it has 89

REVIEWS

HEAD TO HEADRRP: £1,599 / $1,999 (body only)Canon EOS 7D Mark IIWe had to wait a while for Canon to update its EOS 7D camera, but the MarkII brings some incremental upgrades for an appealing overall packageCanon’s EOS 7D Mark II is bigger and heavier than the transferred to your computer when you download your OppositeD7200, and while that does mean it takes up more room photos, making it quick to sort through your images.in your camera bag, it also translates into a deep front Solid buildgrip and rear thumb rest that feels very well built and Although the EOS 7D Mark II can’t resolve quite assecure in your hands. As with the D7200, the EOS 7D much detail as the D7200, when you’re looking at images With a deep grip and chunkyMark II features weatherproofing in the form of dust and at normal printing or viewing sizes (A3 or below), the thumb rest, the Canon EOS 7Dmoisture sealing, which should keep out any inclement overall impression is great – you’re unlikely to notice a Mark II feels particularly niceweather, perfect landscape or even sports photography huge amount of difference unless you’re cropping very and secure in the handwhere conditions can be unpredictable. tightly or printing extremely largely. Below There’s also a great number of dials and buttons, with As is often the case with Canon cameras, coloursmore customisation options available than on the D7200. directly from EOS 7D Mark II in JPEG shots are warmly Well saturatedThere’s no touch-sensitive screen, though, which is a saturated. While they may not be completely natural,real shame. A mini joystick on the back of the camera the effect is extremely pleasing – especially for subjects Images directly from the camerais used for changing the AF point, and quickly moving that are characterised by vibrant colours, such as are characterised by pleasing,through the various menus. There’s also a lever around flowers, landscapes and portraits. The EOS 7D Mark II’s vibrant and warm coloursthe joystick, which can be pushed to access different evaluative metering system has been improved fromparameters – depending on your own preference. So, for the previous version, taking more account of the wholeinstance, if you set it to access ISO (sensitivity) options, scene rather than overly relying on the active AF point.you first push down the lever, then use the scrolling dial As a result, exposures are generally pleasing even whennear the shutter release to make an alteration. something of high contrast is under the AF point. By pressing a button marked with a ‘Q’, you can access Canon’s image processing for JPEGs results inan array of settings that you might want to change impressively noiseless results right up to around ISOrelatively frequently – such as metering. Although it’s not 6400, but as a trade off there’s a little less detail than iscustomisable, it’s sensibly arranged and easy to follow. found in the D7200’s high ISO JPEG shots. As there are similar noise levels in both cameras’ RAW files (with a A useful new addition for the EOS 7D Mark II is a touch more chroma noise from the D7200), you’ve gotRate button, which allows you to assign ratings to your good scope to edit your shots in post-production andphotos as you view them in playback. This data will be favour more detail, if you prefer. 91

REVIEWSRRP: £940 / $1,199 (body only)Nikon D7200A feature-packed enthusiast cameradesigned to suit all kinds of photographersThe solid and chunky D7200 has a great range of buttons the camera to allow remote shooting, which is handy Oppositeplaced sensibly around the body. The majority are within when photographing macro subjects, where you mighteasy reach of your thumbs if you’re holding the camera want to avoid touching the camera to prevent shake. It’s Take the next stepwith two hands – this makes it easy to quickly change also useful for wildlife, as it lets you stand away from thethe settings and react to different situations. camera if you’re photographing nervous animals. If you’re looking to move up from one of Nikon’s entry-level There are a few other useful buttons placed around Images directly from the D7200 outputted as JPEG models, then the D7200 feelsthe body of the D7200, which, unlike some of the files have great colours, which although not quite as familiar enough, but has moreother DSLRs in Nikon’s range, doesn’t have a touch- warmly saturated as those from the EOS 7D Mark II, are advanced featuressensitive screen. One particularly handy button is the a little more accurate. A new Flat Picture Style has alsocustomisable function button found near the lens mount. been included, which gives you good scope for adjusting BelowThis can be set to control a number of settings, including the look in post-production – particularly for video.the virtual horizon display in the viewfinder, which is very Great all rounderuseful when photographing landscapes. There is a quick The D7200 doesn’t feature an anti-aliasing filter overmenu accessed with a dedicated button, but the options its sensor. As a result, images display lots of detail – if The D7200 tackles a range ofare limited; this function is better executed on the Canon. you examine them at 100 per cent zoom, you can see the subjects well, with accurate difference between images from the D7200 and those colours and plenty of detail Weatherproofing should protect the D7200 from the from the Canon EOS 7D Mark II. While both look greatelements, and it feels solidly made. The grip and thumb at normal printing sizes, zoomed in you can see thatrest are a little shallower than the 7D Mark II’s, but it still D7200 is capable of resolving more, which is certainlyfeels very secure in the hand. An optical viewfinder is something to consider particularly if you want to shootpreferred by many, but those in lower-spec cameras can detailed macro photographs often.offer less than 100 per cent coverage. That’s not the casehere – the D7200 has a clear and bright viewfinder that Mostly, the D7200’s metering system copes well toenables you to see the whole scene before you. produce balanced exposures, but on occasion it can be thrown off by high-contrast subjects. High-sensitivity For the first time in its D7XXX range, Nikon has shots, such as those taken at ISO 6400, have a littleincluded built-in Wi-Fi. It’s hidden away in a menu and more noise present in JPEG files from the D7200 thannot quickly accessed via a dedicated button, but is useful the EOS 7D Mark II, while the RAW files have a similarnonetheless. You can connect your phone or tablet to amount of noise from both cameras.92

HEAD TO HEAD

REVIEWS Canon EOS Nikon D7200 CANON EOS 7D MARK II 7D Mark II NIKON D7200 Megapixels Features Megapixels Features 20.2 24.2 Lots of AF points, two A filter-less sensor, Max resolution card slots, a 100 per Max resolution Wi-Fi and 100 per cent 5472 x 3648 cent viewfinder, but no 6000 x 4000 viewfinder make it very Sensor touch-sensitive screen Sensor appealing to many types information or built-in Wi-Fi information of photographers APS-C CMOS Build quality DX (APS-C) CMOS, Build quality 22.4 x 15.0mm 23.5mm x 15.6mm Shutter speed Bigger and heavier With weatherproofing B, 30-1/8000sec than the D7200, the Shutter speed keeping your camera ISO sensitivity deep grip and textured B, 30-1/8000sec safe, the D7200 feels A, 100-16000, coating give the EOS 7D solidly constructed and Exposure modes Mark II a high-quality feel ISO sensitivity well put together Auto, P, A, S, M A, 100 - 25600, Metering options Handling Exposure modes Handling Auto, P, A, S, M E, P, S, CW With customisation Metering options Plenty of buttons at Flash modes options, lots of dials and your fingertips make for buttons, including the M, CW, S easy and swift settings E-TTL II, new joystick switch, the Flash modes changes – the quick Manual camera is a joy to use Auto, SS, FF, RE, menu could be better Connectivity SSRE, Foff, RC USB 3, HDMI Quality Connectivity Quality Weight of results of results 910g (body only) USB, HDMI, Dimensions Overall image quality is Weight JPEG images are nicely 148.6 x 112.4 x fantastic with beautiful saturated, with plenty 78.2mm colours and pleasing 675g (body only) of detail. Exposures are Batteries exposures Dimensions generally well balanced Li-ion Value for money 135.5 x 106.5 x Value for money Storage 76mmCF, SD, SDHC, SDXC The EOS 7D Mark II At the time of writing, the is quite a bit pricier Batteries D7200 is significantly LCD than the D7200 at the Li-ion cheaper than the EOS 3.0”, 1040k-dot moment, but hopefully 7D Mark II, giving you a Clear View II TFT the price will come down Storage lot for your money SD, SDHC, SDXC Viewfinder Optical LCD 3.2” TFT monitor, approx 1229k-dot Viewfinder OpticalOverall OverallA good step up from a beginner If you have Nikon lenses, it’s a no-model, its excellent handling and brainer to stick with the brand. Thebeautiful images make it appealing D7200 offers great performanceeven to those without lenses across several subjects94

WINADAY WITHANIKON AMBASSADOR!Send in your best landscape shot to be in with a chance ofwinning a day of learning with Nikon ambassador Jeremy WalkerThere’s a lot to consider when Essentialphotographing landscapes, but what you detailscan’t learn from pro Jeremy Walker simplyisn’t worth knowing. We’re offering one lucky Find out how you could winDigital Photographer reader an opportunity this learning opportunityto draw upon the years of experience thatthe award-winning Nikon ambassador has to When is it?offer in a one-day workshop. The full-day workshop with Jeremy Walker will be held on Starting at sunrise and lasting until sunset, Wednesday 24 February 2016one winner will spend the day with Walker, from sunrise to sunset.learning the art of composition, how to workwith the light you’re given, as well as the Where will it be held?perfect kit for breathtaking captures. The event will be held in Dorset, UK. The winner will need to cover If you’re interested in learning from the their own expenses, includingbest of the best, take a look at the right to transport, accommodation andfind out how you can enter. food, but the full-day workshop with Jeremy is free. What will I need? You’ll need to bring your own camera, tripod, memory card and shutter release. Be prepared for uneven terrain! Take waterproofs, walking boots and be sure to keep yourself warm with a hat and gloves. How can you enter? Email your best landscape shot that you’ve taken to us at [email protected] with the subject line ‘Jeremy Walker competition’ by 11 February 2016. All images © Jeremy Walker Terms and conditions This competition is open to residents of the United Kingdom and Ireland. Each reader is only allowed to one entry, and any additional entries will be disqualified. The date cannot be changed. Imagine Publishing has the right to change, postpone or substitute the event. Employees of Imagine Publishing (including freelancers), Nikon, their relatives or any agents are not eligible to enter. Any entries submitted after the end date will not be counted. The winner will be notified after the end date.

REVIEWS Opposite Smaller form factor The fact that this is a CSC means reaching myriad controls isn’t a stretch for the fingers Left Pentaprism design Placing the EVF and hot shoe directly above the lens mount gives an SLR-like look96

SRP: £2,600 / $3,200Sony a7R IIDoes Sony’s second-generation full-frame CSC with4K video make for an unbeatable pro-end camera? Bigger isn’t always better – that’s supplied with a jack-of-all-trades 24-70mm FEATURES the pitch for choosing a high-end lens, capable of taking in everything from wide- Compact System Camera over a angle landscapes to close-up portraits – and OLED ELECTRONIC VIEWFINDERDSLR. Neither is a massive amount of pixels a lending the camera a real feeling of solidity An eye-level viewfinder with a resolution of 2.4big draw, unless you’ve got a specific intention when attached. million dots provides clarity and contrast, withfor them. The Sony a7R II has an incredible 0.78x magnification – currently the world’s highest.42.4 megapixels crammed onto its back-lit The camera’s initial start-up is almost as fast 5-AXIS IMAGE STABILISATIONfull-frame sensor, underlining that this is very as the response from a semi-pro DSLR, from Protecting against the blurring effects of cameramuch a professional tool. Indeed, with the off to shooting within a couple of seconds. The roll, yaw or pitch, the body integral anti-shake alsopossibility of being able to enlarge images 2.4 million-dot resolution viewfinder provides stabilises any attached lenses.from this camera up to billboard size, there a clarity that is almost indistinguishable from 4K VIDEO CAPTUREare real commercial applications. The beauty the optical alternative – at least when viewing The a7R II isn’t just about richly detailed stills. 4Kis that the a7R II’s smaller build will satisfy subjects in natural daylight. It comes with resolution and Full HD video are both supported,those who don’t want the comparative heft of a useful eye-level sensor that automatically and in high bit rate XAVC S format too.a medium-format camera or a 35mm-format- activates the EVF if it detects an eyeball in 399 AF POINTSbased DSLR – such as the Nikon D810 – in close proximity, and the five-axis body integral This Sony boasts impressive autofocus, with 399order to achieve those results. In fact, the image stabilisation is backed up by image AF points covering 45 per cent of the image area.inclusion of 4K video capture even makes this sensitivity stretching all the way up to an You also have the option of precise manual focusing.an option for professional video capture as well equivalent ISO 102400. 5FPS CONTINUOUS SHOOTINGas premium stills photography. For those who want to capture speed as well as The Mark II claims a 40 per cent faster This, then, is a camera for shooting handheld detail, the Sony provides five frames per secondautofocus response over the plain a7R model, in low light, and theoretically achieving plenty capture for up to 37 JPEGs or 9 RAW frames.while its new sensor delivers a 3.5x swifter of blur-free detail with it. Plus, if you see it as 3-INCH TILTING LCDread out. At the time of writing there were 13 a hybrid video and stills device, that hefty- The rear panel screen provides a detailedSony lenses directly compatible with the a7R II, seeming price tag begins to make a lot more 1,228,800 dot resolution, while the extensive up/with its manufacturer promising that figure will sense. Naturally we still get a three-inch LCD down tilt ensures it’s a real boon for creative video.rise to 20 in 2016. Of course, you could also screen at the back for those – most likely thepurchase an optional mount adapter to utilise videographers making use of the 4K facility EVFany existing A-mount lens, thereby widening – who prefer a larger display for framing andcreative options. Our review sample was reviewing. An added help here is that the screen is adjustable by approximately 107 degrees upwards, and 41 degrees downwards,“With an incredible 42.4 megapixels crammed onto its full-frame sensor, this is very much a professional tool” 97

REVIEWS ISO 800 ISO 3200 and there’s the option to display a level gauge on screen for getting horizons straight when ISO shooting landscapes. RESULTS The spacing between the a7R II’s controls The a7R II provides feels just right; the back plate, lock button and comprehensive control over scroll wheel (used for tabbing through and light sensitivity settings, with the reviewing captured images) falls neatly under maximum being an impressive the thumb. The top dial plates include an ISO 102400. There is noise exposure compensation wheel and a familiar beyond ISO 6400, but it is shooting mode dial. With the added smattering of customisable buttons and features, the still perfectly usable a7R II will quickly become an extension of the if pushed. photographer’s arm – as any camera worth its salt should. ISO 6400 ISO 102400 With the provided 24-70mm Carl Zeiss“It will quickly become an extension Vario-Tessar FE (full-frame) lens attached, weof the photographer’s arm – as any were getting some slight converging verticalscamera worth its salt should” at full wide angle setting. Detail is well retained in shadow areas however, and colours are well saturated without being unrealistic. This is ideal for shooting on an otherwise overcast autumn day with characterless blanket grey skies. For this reason – and because we wanted to see what the 42.4 effective megapixel sensor performance was like – we mainly concentrated on detail shots, taking in mossy walls, peeling signposts, letterboxes that have had layer upon layer of pillbox red paint applied and seasonal berries in full spread. The camera’s viewfinder and LCD screen in the field were excellent. However, the a7R II does leave some room for further improvement, particularly with regards to battery life. On the test shoot we got just 340 shots from a full charge when the crystal clear 1.2 million dot resolution LCD was in use as a prime compositional tool, or a lesser 290 images if the viewfinder was used instead. These figures fall somewhat short of the 900 or 1,000 images promised TALKING POINT… 42.2MP full frame sensor If you’re considering buying this camera, it’s most likely for the lure of the a7R II’s large, full 35mm-frame format image sensor that delivers a whopping 42.2-megapixel effective resolution. Newly developed for this camera, Sony is making the additional boast that it’s the world’s first back-lit full-frame sensor, able to output data 3.5x faster than its a7R predecessor was able to manage. The backlighting suggests a more effective performance in challenging lighting conditions, and goes some way to allaying fears that ever more pixels crammed on a chip can possibly lead to increased noise at higher ISOs (here up to ISO 102400 equivalent is selectable). The full-frame sensor will also be a lure for photographers looking to record 4K-resolution video – a feature that the a7R didn’t previously offer. For those looking for a portable camera that delivers bags of detail with it, the a7R II should be hard to beat. JOIN THE DEBATE ON OUR SOCIAL MEDIA NOW: @DPhotographer www.facebook.com/DigitalPhotographerUK98

by the batteries of DSLRs in a 100% SONY A7R IIsimilar price range to this Sony.What’s more surprising perhaps, 3given the asking price here, is 4that if you want to avoid havingto recharge the battery in-camera,thereby tying up the 582-gram bodyeach time, you’ll have to shell out evenmore for a standalone mains charger. Ultimately the a7R II is a prime contenderfor anyone needing really high-resolutionfiles and 4K video to boot, yet preferring toavoid the bulk of the DSLR or medium-formatcamera, which would have at one time beenrequired to deliver anything close to this levelof detail. Yes, two-and-a-half grand of anyone’smoney isn’t cheap, but when compared withwhat a medium-format body or a standalone4K video camera would set you back, it’s bothreasonable and a viable alternative.Right BelowRichly detailed images Attractive colour reproductionWhether shooting wide orup close and personal, that As a rule of thumb, JPEGsfull-frame sensor loaded with from any Sony camera veer42 effective pixels really towards the warm: usefulstruts its stuff on an overcast autumn dayThe Sony a7R II 12 Megapixels Features 42.4 A full-frame sensor, huge resolution,Max resolution 4K video and a ton of customisable 7952 x 5304 features, all in a compact formatSensor information 35mm full frame Build quality Exmor R CMOS Shutter speed The camera feels robust and1/8000 to 30 sec professional despite being smaller than a consumer DSLRISO sensitivity 100- 102400 Handling Exposure modesAuto, P, A, S, M, Scene, Swift and responsive, with just Sweep Panorama about every function you could Metering options want readily to hand MS, CW, S Quality of results Flash modes A 42-megapixel resolution coupled N/A with detailed, colour-rich captures; Connectivity it’s a no brainerUSB, HDMI, Wi-Fi, NFCWeight 582g (body only) Value for money 1 ELECTRONIC 2 TILTING LCD Dimensions VIEWFINDER MONITOR It’s expensive compared to most126.9x95.7x60.3mm CSCs, yet against a pro-grade, full- Batteries frame DSLR, it’s actually reasonableRechargeable The flexibility of an Adjust the screen angle electronic viewfinder, up or down for creative lithium-ion with clarity comparable low or high angle Storage Overall to an optical VF framing, respectively SD, SDHC, SDXC, The price tag of the Sony 3 TOP PLATE DIALS 4 AUTO/MANUAL microSD, Memory a7R II puts it up there with FOCUS SWITCH professional models – but A rangefinder- The user can swap Stick PRO Duo, so does the feature set like exposure MicroSDXC and the resulting images compensation dial, between auto and manual LCD and video. It’s hard to plus a familiar shooting focusing via a switch on criticise this camera mode wheel the back plate3-inch, 1.2 million dots ViewfinderOLED EVF,2,35,296 dots

REVIEWS SRP: £1,000 / $1,198 (body only)Below Panasonic LUMIX DMC-GX8Speedy focus On paper, this CSC is packed with premium features, but does it deliver on its promises?Autofocus is fast and accurate,which is great news for wildlife and The CSC market is saturated If you’d rather control the camera manually,sports photographers with feature-packed releases, you’ll be pleased to find plenty of physicalBottom and the Panasonic Lumix GX8 buttons, four metal dials on the top plate is another string to the bow of premium and a dedicated exposure compensation dial.Sharp results mirrorless cameras. Yet while some fall Traditionalists will also like the retro rangefinder short of their boasted specs, the GX8 is a design; it’s not as refined as the Fujifilm X-T1,Dual optical image stabilisation works force to be reckoned with. but it certainly harks back to the days of darkto produce images that are blur-free The magnesium alloy body feels robust, so rooms and the smell of developer. Its high-endeven when handheld as long as you pair it with a weather-sealed finish comes with a price tag to match though, lens, you’ll feel confident taking it on day trips. and those on a budget might prefer the100 There’s a built-in electronic viewfinder with Panasonic G7. It’s also a lot larger and heavier a new 2,360k-dot OLED panel – larger than than its older sibling, and even with the added what you normally find on a Micro Four Thirds bulk, there’s a lack of built-in flash. camera – that springs into action when you peer through it, thanks to the eye-level sensor. The pair share some key features, such as 4K In addition to a high-quality viewfinder, there Photo mode. This is a great addition for sports is a fully articulating LCD screen that doesn’t enthusiasts, as images can be grabbed from get in the way of the HDMI/AV port like it did video footage, but these are only 8 megapixels. on the GX7. Having the flexibility to shoot It’s a drop when compared to the 20-megapixel overhead or from the hip is incredibly freeing raw files you’ll be shooting normally. In fact, and you can also fold the monitor against the this is the first Lumix G camera to feature a camera body to protect the screen. It delivers 20.3-megapixel sensor – increased from 16 approximately 100 per cent field of view – like in the previous model. Despite the resolution the electronic viewfinder – and it’s just as easy boost, noise is well controlled up until ISO to see in bright conditions with the Monitor 3200 and photos taken at 6400 are usable Luminance function that boosts backlighting if printed small. Colours are vivid and lifelike, and visibility. The GX8 is also touchscreen and dual (camera and lens) image stabilisation enabled so you can select focus points with ensures images are steady at the long end of your finger, even when using the viewfinder. We the lens. Pictures will be straight too, thanks would recommend taking advantage of the AF to the electronic horizon level that turns green tracking function, as it doggedly follows your when the camera is straight. subject around the frame once the camera has locked on target. It takes no time at all for the With this upgrade, Panasonic has produced camera focus to adjust and the touchscreen is a CSC to boast about. When the most there very responsive. is to grumble about is a slightly bulkier build and the lack of a built-in flash, you know you’re staring down the lens barrel of a winner. WEATHER-SEALING FEATURES LARGE SENSOR The 20.3-megapixel sensor WEATHERSEALING enables an amazing level of detail The magnesium alloy body is to be captured. splash- and dustproof, making CREATIVE FILTERS this an ideal second shooter. There are a wide variety of artistic VIEWFINDER filters to experiment with, as well The viewfinder tilts 90 degrees as the usual manual modes. for flexible shooting and provides CONNECTIVITY 100 per cent field of view. Integrated Wi-Fi and NFC enable you to connect the camera to a VARI-ANGLE LCD smart device. The touchscreen monitor can be moved side to side 180 degrees, and up and down 250 degrees.