digital photography volume 39 - 2014 au.pdf

INSPIRATIONDiscover how to shoot sensational images of children with these pro tips

TECHNIQUEImprove your skills today and start shooting your best-ever photographs

LEARN HOW TO POSE YOUR SUBJECTS FOR

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Plus: Professional insights

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12-PAGE SPECIAL!

LANDSCAPESCAPTURE STUNNING IMAGES OF THE GREAT OUTDOORS

TESTED & RATED

Volume 39

116 PAGES OF IDEAS TO BRING A FRESH ANGLE TO YOUR LANDSCAPES & PORTRAITS

Shoot like a proESSENTIAL SKILLS

NEW LOOK!

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WELCOME TO VOLUME 39 of Digital Photography magazine. As you’ll no doubt have already noticed, the magazine has

gone through a wholesale transformation in terms of content and design. While it’s a work in progress – that’s right, you can expect to see even more changes and improvements in issues to come – we’re still very proud to present the best in photographic inspiration,

technique and expertise from around the world. We’ve got photographers with an eye for the dramatic (Perth’s

Jon Davison, page 18); an amateur shooter with a PhD in aerospace engineering and a passion for historical composites (Frank Bramkamp, page 32); a streetwise look at how to turn urban photography into high art (Trevor Templeman, page 26) and loads more. The issue kicks off with a practical and essential guide to landscape photography (page 6), ends with a newly revamped Test Centre for gear and reviews (page 93) – as well as the latest in prize-winning reader contributions from the DP community – and we’ve thrown in an expert guide to portraiture for good measure (page 76). You’ll also find the best in budget purchases (page 71), a handy Get the Picture section to improve specific skillsets (page 57), and if you’re looking for more inspiration (as if that wasn’t enough), the Showcase gallery beginning on page 40 will have you reaching for your camera and heading out the door. Hope to see you out there!

Greg Barton Editor

Digital Photography 3

Our stunning cover image

this issue is by Russia-

based photographer

Daniel Korzhonov.

Check out more of Daniel’s

achievements on page 40

as he puts his landscape

talents to work in Norway,

Italy and, of course,

his home country.

You can get your regular

fix of Digital Photography

inspiration and advice direct

to your door or mobile device

by subscribing to our print

and/or digital editions. We

always have competitions

with opportunities to win

great prizes too! For more

details, see page 92.

ON THIS MONTH’S COVER… SUBSCRIBE TODAY!

THE TEAM EDITOR

Greg Barton

DEPUTY EDITOR

Trent van der Jagt

SUB-EDITOR

Sarah Friggieri

ART DIRECTOR David West

CREATIVE DIRECTOR Paul Cook

GROUP EDITOR Alex Mead

ADVERTISINGGROUP SALES MANAGERAlex Brereton (02) 9186 9109 MANAGEMENTDIRECTOR Jim Flynn

FINANCIAL CONTROLLER Stuart Harle EDITORIAL DIRECTOR Richard Ryan

PRODUCTION MANAGER Ian Scott

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PUBLISHED BYCitrus Media PO Box 20154 World Square NSW 2002 © 2014 Citrus Media. All rights reserved. No article or images may be reproduced wholly or in part without prior written permission from the publisher. Citrus Media is a division of Media Factory Pty Ltd. While every care was taken during the preparation of this magazine, Citrus Media cannot be held responsible for the accuracy of the information or any consequence arising from it. All judgements are based on equipment available to Citrus Media at the time of review. ‘Value for money’ comments are based on prices at the time of publication. Citrus Media takes no responsibility for the content of external websites whose addresses are published.

3 EDITOR’S WELCOME It’s all change – editor Greg Barton

welcomes you to your new-look magazine.

What a treat we have in store!

18 AN EYE IN THE SKY A master of air-to-air portraits, Perth-based

shooter John W Davison has always had

his sights set on the sky.

26 THE ART OF URBAN SHOOTING

Brisbane’s Trevor Templeman stalks the

streets in search of offbeat subjects.

32 BEYOND TIME AND PLACE Aerospace engineer Frank Bramkamp

shares his passion for landscapes,

architecture and historical composites.

40 SHOWCASE The latest gallery of new talent

to feast your eyes upon.

84 CUTTING EDGE

Stunning children’s photography

by Elena Shumilova, and Brandon

Cawood captures true heroes

108 YOUR GALLERY

All the latest works of art from the

Digital Photography community –

with prizes to be won!

84

18

32

6

26

4 Digital Photography

ISSUE 39

Contents

Photo technique & advice

6 ESSENTIAL GUIDE TO LANDSCAPES

Pro Lee Frost shows us why taking a great

landscape shot isn’t as difficult as it may seem.

57 GET THE PICTURE

Floral close-ups; shoot a misty dawn; portraits

with motion; fine art at the coast; night drive.

71 BUDGET PHOTO: FILTER KITS

Can a set of filters that costs less than $50 really

be any good? Lee Frost was sceptical at first but found

much to praise about the low-cost Borwin set of three.

76 EXPERT GUIDE TO PORTRAITS

Camera skills and lighting techniques are essential,

but it’s how you interact with and pose your subjects

that can make all the difference.

92 SUBSCRIBE TODAY! For the very latest Digital Photography offers

CONTRIBUTING THIS MONTH…

106

71


Bjorn Thomassen PORTRAITSA leading portrait and fashion

photographer, Bjorn runs

workshops from his base

in Cornwall in the UK.

bjornofinspire.com

Lee Frost LANDSCAPE & TRAVELA long-standing regular

contributor, Lee is a fountain

of knowledge when it comes

to shooting landscapes and

delivering expert tutorials.

leefrost.co.uk

John W Davison AVIATIONAn accomplished publisher,

Photoshop trainer and travel

shooter, Jon has more recently

turned his hand to aviation,

specialising in air-to-air portraits.

eyeinthesky.com.au

Trevor Templeman STREETTrevor is a photographic artist

who travels the world capturing

the essence of locations through

their landscape, architecture

and people.

trevortempleman.com

Daniel Lezano

With more than 30 years of

experience as an enthusiast

photographer and almost 20 years

on photo magazines, Daniel

is as passionate as ever about

photography, portraits in particular.

Ross Hoddinott OUTDOORHe’s not only an award-winning

nature photographer and a

leading expert in landscape

and wildlife photography –

he’s a top tutor too!

rosshoddinott.co.uk

Paul Ward

PORTRAITS & FASHIONA pro photographer,

Paul is a creative genius

and an expert on lighting.

paulwardphotography.com

Frank Bramkamp COMPOSITESAn aerospace engineer by day,

Frank somehow finds time to

develop his passion for stunning

landscapes, architecture and

portrait composites.

frankbramkamp.de

Jordan Butters

LANDSCAPES & REVIEWSWith a finger always on the pulse

of photography, Jordan turns his

hand to most things; he’s a senior

features writer and talented

pro photographer.

94

Gear: Tested & rated

94 FUJIFILM X-T1

The latest full-featured compact

system camera by Fuji.

96 DSLR LISTINGS

Full DSLR specifications and prices.

97 TELEZOOMS UNDER $300

Richard Hopkins compares four lenses that are low

on price but surprisingly high on quality.

104 TAMRON SP 150-600MM LENS

Tamron sets the benchmark for super-telephoto zooms.

106 STACKING UP

Brendan Lee introduces the ‘mega zoom’.

Landscape photography has to be the most popular subject out there, and the reason many of us picked up a camera in the first place. It’s impossible not to be awe-inspired by an amazing scene, and hard to resist the

temptation to capture an image of it. Fortunately, taking great landscapes isn’t as difficult as it may seem. The technical side of things is straightforward and you don’t need bags full of expensive gear. The key to success is having an appreciation of the world around you, an ability to turn what you see into a powerful

composition and, most important of all, a really loud alarm clock that will wake you at silly o’clock so you can capture the light at its best. Oh, and this issue’s indispensable guide to shooting great landscapes…

THE ESSENTIAL GUIDE TO

ALL IMAGES: LEE FROST


Essential kit for landscapesOne of the great things about landscape photography is that you don’t need to invest in expensive specialist equipment. Sports and wildlife photography require long telephotos; close-ups are best shot with a macro lens. But for landscapes you can get away with a modest outfit. Just as well, because you’ve got to carry it everywhere – it’s surprising how heavy camera kit can be when you have it strapped to your back!

1) LENSES Wide-angle lenses are the order of the day here. Not only do they capture more than the naked eye can take in, but they also stretch perspective so the elements close to the camera loom large and dominate while everything else appears small and distant. Depth of field is extensive too, so it’s easy to record a scene in sharp focus from front to back, as we’ll discuss later.

Modest focal lengths around 24-28mm (16-18mm on APS-C sensors) are ideal as they give you all the benefits of a wide lens without being so wide that you end up with empty compositions. However, focal lengths down to 16mm (10-12mm on APS-C) can also produce amazing results when used with care, as perspective distortion and depth of field are extreme.

Mid-range focal lengths in the 50-80mm range (35-50mm on APS-C) are ideal for detail shots as you can focus close and fill the frame. The perspective is also less exaggerated, so they’re ideal for simpler, less in-your-face images.

Telephotos come into their own when you want to isolate part of a scene or compress perspective so the elements appear crowded together, such as distant hills or avenues of trees. Focal lengths from 70-200mm (100-300mm on APS-C) are more than long enough.

2) TRIPODS & HEADSYou shouldn’t underestimate the importance of a good-quality tripod for landscape photography. From a purely practical point of view, it will eliminate camera shake from your images so you can use a low ISO for optimum image quality, utilise slow shutter speeds for creative effect, stop your lens down to f/11 or f/16 to maximise depth of field, and shoot in low light without worrying about camera shake. Once your camera is mounted on a tripod its position is fixed, so you can set up a shot, align filters, focus, then wait for the light to be just right before you shoot. Using a tripod also slows down the picture-taking process, so you tend to spend more time studying the composition, thinking about a shot and fine-tuning it. Long-term, this will lead to improved images and a better understanding of what works.

Choose a tripod that’s sturdy enough but not overly heavy. Carbon-fibre is the best choice, and Manfrotto, Gitzo and Giottos are the favourite brands among landscapers. You’ll also need a good-quality head. Ball heads are popular because they’re compact, strong and quick to use. Brands to check out include Manfrotto, Giottos, FLM, Kirk, Benro, Indura, Arca Swiss and Really Right Stuff.

3) FILTERSFilters still play an important role in landscape photography (no matter what the blokes at the camera club say), so if you don’t have any right now, be sure to add them to your shopping list. The three main types of filters you need for landscapes are ND grads, solid NDs and a polariser – see the panel opposite for our suggestions.

Slot-in filter systems are by far the most versatile as they allow you to use all three filter types together if you need to. There are options to suit all budgets, from well-known brands such as Cokin, Hitech and Lee Filters and very cheap systems from unknown brands such as XC Source and more.

You’ll need a filter holder that’s big enough to cover your widest lens, plus an optional ring (if required) so you can attach a polariser to the holder itself if it doesn’t slot into it. Filter adaptor rings to fit each lens are also required, and if you want to keep your filters in tip-top condition, you’ll also need a multi-pocket wallet to store them in.

If you want to protect the delicate front element of your lenses, invest in good-quality screw-in Skylight or UV filters from Hoya, Sigma, Kenko, B+W or Tiffen, and ideally buy filters with slim mounts so they don’t unduly increase the risk of vignetting with wide-angle lenses when you use a filter holder. Or you can take the protective filter off the lens before attaching the holder.

6) DRESS FOR THE JOBIf you’re going to spend all day in the field, you need to make sure you’re comfortable. In warm weather, solar dry cargo pants, lightweight hiking boots or shoes and a softshell jacket will be ideal, with maybe a lightweight waterproof layer in your backpack in case it rains or the wind picks up. Spring and autumn days can go from cold to hot in a few hours. You may need a hat and gloves for dawn sorties plus heavier trousers and a more substantial jacket. Wear two or three layers so you can remove them as the temperature rises. In winter, layers are also recommended as they trap air between, which warms up and provides further insulation. Wear a hat to keep your head warm and reduce the loss of body heat, gloves for hands, thermal underwear, windproof trousers and a softshell jacket, then a Gore-Tex jacket and overtrousers as an outer layer to keep you warm and dry. The more comfortable you are, the more you can concentrate on the task at hand.

5) BACKPACKSWhatever gear you decide to use to shoot landscapes, you’re going to have to carry it, so make sure you invest in a decent backpack to make that task as pain-free as possible and also protect your gear from the elements. All the best-known brands –Lowepro, Tamrac, Think Tank and Kata – make great packs. It doesn’t have to be waterproof, but it should come with a waterproof cover that you can use when you get caught out in the rain – which you will! It should also have a comfortable harness system with a waist belt and chest strap, and come with plenty of adjustable padded protection inside so you can organise your kit.

4) REMOTE RELEASEThe smallest of movements can affect image sharpness – even pressing the shutter button! A remote release allows you to trigger your camera’s shutter without physically touching the camera. They are available wired or wireless, and in a range of styles, from a no-frills release to more complex intervalometer units. Don’t discard budget units – most offer the exact same features as branded items for much less.

The essential guide


Suggested landscape kits to suit every budget

GETTING SERIOUSWe’ll assume you’ve got a good APS-C DSLR and a quality standard zoom. It’s time to add a wider zoom – the Canon EF-S 10-22mm f/3.5-4.5 USM ($850), NIKKOR 10-24mm f/3.5-4.5G AF-S ($1100) and the Sigma 10-20mm f/3.5 EX DC HSM ($680) are all great optics. For telezooms, consider the Canon EF 70-200mm f/4 IS USM ($1600), NIKKOR AF-S 70-200mm f/4G ED VR ($1800) or Sigma 70-200mm f/2.8 EX DG OS HSM ($1090). You’ll need a 100mm filter kit, too. The Hitech 100 with three ND grads, three solid NDs plus metal holder and wide adaptor is $530. The Lee Filters equivalent costs around $900.

Tripod time. The Giottos Vitruvian VGRN8255 with MH5400-652 ballhead ($630) or Manfrotto 055CXPRO3 ($320) with 496RC2 ball head ($85) are both great. Bags – take your pick, though the Lowepro Flipside 500AW ($250) is ideal.

GETTING EXPERIENCEDAs your enthusiasm for landscapes grows, you’ll want to extend your system as well as your creative horizons. Maybe it’s time to trade in the kit zoom for some better-quality glass, like a Sigma 18-50mm f/2.8 ($350), Canon EF-S 15-85mm f/3.5-5.6 IS ($550) or NIKKOR 16-85mm f/3.5-4.5G VR ED ($799). For filters, consider the Hitech range – an 85mm ND Master kit comprising three ND grads and three solid NDs, plus a metal holder and adaptor ring, will cost $118. You’ll need to add a polariser as well – look at options from Hoya, Heliopan and Tiffen. You might also like to experiment with long exposures – the Hitech ProStop 100x100 IRND 3.0 is $135.

If you need a stronger tripod, the Manfrotto 293 with ball head and quick release ($250) is ideal, while a backpack like the Lowepro Fastpack 200 ($110) will carry all your kit and leave space for snacks.

GETTING STARTEDYou have an entry level DSLR with an 18-55mm zoom. The bottom end of the zoom is an ideal focal length to get you used to composing wide-angle scenes and will let you see if shooting landscapes really is for you before you splash out on more glass. You’ll need filters – a couple of ND grads, a polariser and a solid ND or two. The Cokin P-series is the perfect beginner system as it offers a compromise between size, quality and cost. You can kit yourself out with all of the above, plus a filter holder and adaptor ring, for about $800. If you can’t stretch to that just yet, leave out the polariser, which costs about $100.

You can buy cheaper tripods, but a model like the Manfrotto MK393-H ($99) will keep your camera steady and won’t break the bank. A cheap remote from eBay ($10) and a backpack like the Vanguard BIIN 37 ($35) and you’re ready to roll.

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4

3

6

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ROSS HODDINOTT


COMPOSITION PROVIDES THE building blocks of great landscape images, and the way you arrange the elements in a scene can make all the difference between a work of art and a dull record shot.

If you’re shooting with a wide-angle lens, as you often will be, include foreground interest to lead the eye into the scene and provide a strong sense of depth and scale. There are lots of features in the landscape that can be used – undulations on the ground, rocks or boulders, a path, ripples on a sandy beach, flowers in a field, a stream and so on. The lower and closer you get to foreground elements, the bigger and more dominant they appear. This effect is also emphasised as the lens gets wider.

The rule of thirds can also be used to provide compositional balance. This involves dividing the viewfinder into a grid using two imaginary horizontal and vertical lines, then placing your main focal point at one of the four intersection points created. The two right-hand intersection points generally work best. The two horizontal lines can also be used to aid positioning of the horizon – place it on the top line to emphasise the foreground and the bottom line to emphasise the sky. Using this 2:1 ratio for the landscape and sky is a tried-and-tested compositional technique.

Lines in the landscape shouldn’t be overlooked either, as they can add bags of impact. Horizontal lines are tranquil and suggest repose because they echo the horizon, while vertical lines created by trees, shadows and other elements are more active – make the most of them by turning your camera and shooting in portrait format.Diagonal lines are even stronger, carrying

Composition

the eye through the scene – they work best running from bottom left to top right.

But the most powerful of all are converging lines, such as furrows in a ploughed field, paths, rivers, tracks and roads, avenues of trees and fence lines. Because parallel lines converge as you look along them, they lead the eye into the scene and suggest distance and depth. For the best results, use a wide-angle lens to emphasise this convergence, and include the vanishing point – the point at which the lines appear to meet.

Another tried-and-tested method is framing your scene. Frames can improve a composition by directing the eye into the scene and towards the focal point. Think of a garden framed by an ornate archway, or a rolling landscape framed by a window in a ruined castle. Trees and foliage can also be used as natural frames – the overhanging branches of a tree work well.

We tend to shoot landscapes with our camera held horizontally – it’s even called the landscape format. However, don’t feel that you have to. Landscapes composed in

Right: Use manmade or natural features in the landscape to frame a scene and add depth. Below: Lead-in lines are a great tool for guiding a viewer into a scene and towards a focal point.

The essential guide


MANY LANDSCAPE PHOTOGRAPHERS tend to work to a very specific style and refuse to deviate from what they know and love. But I prefer to keep an open mind and be willing to embrace different ideas and techniques in order to make the most of every situation, no matter what type of scenery or weather conditions I encounter. I like to think that if I was blindfolded and dropped at a mystery location with my camera gear, I could be picked up at the end of the day and have some decent images to show my rescuers. A bit like a photo storm-trooper! This might make me a jack of all trades rather than a master of one, but it also means that I rarely leave a location without a few shots in the bag.

For example, I consider myself to be a colour photographer first and foremost, but not all types of light and weather are conducive to successful colour landscape photography, such as overcast or dark, stormy days. When I find myself dealing with such conditions, rather than pack up and head home, I shoot colour images that I’ll convert to black and white later. The soft light of a dull day can produce beautiful black-and-white images, while the drama of a dark, cloudy day can be emphasised by removing all traces of colour from a shot. As black and white is one step away from reality, you can also apply a little artistic licence and make things even more dramatic than they really were – who’s going to know?

Continuing the black-and-white theme, another technique I often employ – especially when shooting coastal landscapes – is to use a Lee Filters Big Stopper ten-stop ND filter to extend exposures and record motion in a scene. Cloudy days suit this technique brilliantly because drifting cloud turns into wispy streaks of tone, while moving water turns

to milk. Swaying grass and blowing trees also blur nicely on a windy day and contrast well with stationary elements.

If you want to stick with colour but the light’s not great for it, think out of the box. Details are always a good option – the worse the light is, the smaller the subject matter! It works – trust me. Or how about trying something different? Bland summer skies are a pain in the butt, but instead of trying to exclude them from your shots, celebrate that sky and use the empty space creatively to make a simple composition with one key element such as a single tree in the middle of a field or a boat on a deserted beach.

A final fall-back is infrared. Whether you use a converted DSLR as I do or an infrared transmitting filter, it’s hard not to take a good shot! On cloudless sunny days when the light’s harsh and the landscape looks as flat as a pancake, infrared is your friend. The same applies when it’s drab and grey and pretty much every weather permutation in between.

This set of images, all shot at Dungeness on the Kent coast in the UK, should give you an idea of what’s possible when you turn up at a location and the weather’s not quite as expected.

1) A useful get-out when the weather doesn’t play ball is to convert your images to black and white. Mono is great for enhancing the mood and texture often found in bad-weather shots.

2) We’re always harping on about filling the frame, but emptying it can also work – try it on a hazy, sunny day or in flat, overcast weather.

3) Try something different. Landscapes are normally sharp from front to back and shot with a wide-angle lens, but they don’t have to be. Try breaking the rules of composition too.

4) A ten-stop ND filter like the Lee Filters Big Stopper makes it possible to create amazing fine-art images in bad weather. Infrared also works as a great ‘get out of jail free’ card for photographers.

Lee Frost: Making the most of a location

the portrait format are often more dynamic because the eye has to travel further to take in the whole scene from bottom to top. You can also make better use of vertical lines and foreground interest, and exaggerate perspective and scale more effectively, with both wide-angle and telephoto lenses.

Once you’ve mastered the basic principles of landscape composition, you’ll have the confidence to adapt them and start to develop your own style and vision. It’s often suggested that you should keep the horizon away from the centre of the frame, for example, but in some cases that’s the best place for it – especially if you’re shooting a scene and its reflection in water. The same applies with the focal point. The rule of thirds ensures you keep it away from the centre of the frame, but intentionally placing it there can produce interesting results, especially if you surround it by lots of empty space. Ultimately, if you compose a scene with conviction, there’s no reason it won’t work – even if you ignore every ‘rule’ there is. They are made to be broken, after all!

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Landscape photography


SharpnessIMAGE QUALITY IS of utmost importance in classic landscape photography, which is why some practitioners use expensive medium-format digital cameras or even large-format film cameras. The bigger the original, the better the quality.

Not that you should start listing your DSLRs on eBay – the quality of enthusiast-level DSLRs is more than good enough – but if you want to get the best from your camera and produce landscapes of optimum quality, you should follow a few simple guidelines.

Common-sense stuff first. Keep your lenses and filters clean – muck, scratches and greasy finger-marks all degrade image quality. Check your sensor regularly too, especially if you find you need to clone out lots of spots from your images.

If you’re hand-holding the camera, watch the shutter speed – once it drops to 1/60sec or below, you’re in the camera-shake danger zone. You could increase the ISO rating and set a faster shutter speed, but the higher the ISO, the more image quality will be affected, so keep it to ISO 100 or 200 and mount your camera on a tripod instead if the shutter speeds are getting too slow. Many landscapers never take a shot without the camera clamped to a sturdy tripod.

How and where you focus is important. To maximise depth of field (which we’ll

come to in a moment), you need to control where the lens is focused, and that’s much easier to do if you are to focus manually as you can mount your camera on a tripod, compose the shot then focus the lens on a specific distance.

If you do that using AF, you’ll either have to select a focus point that hits the right spot or focus with the central AF point, lock focus and recompose – all rather fiddly compared to focusing manually. You also don’t have to worry about the focus shifting, and you can leave the camera in position while you wait for the right light.

Of course, the biggest factor that determines the quality of a landscape image is whether or not there’s enough depth of field to record the scene in sharp focus from front to back. If the foreground is slightly soft, or distant features, you’ll kick yourself, so make sure you’re au fait with controlling and maximising depth of field.

Stopping your lens down to f/22 and focusing on infinity may seem like a simple solution, and with wide-angle lenses it’ll often give you front to back sharpness. Unfortunately, at minimum aperture, lenses suffer from diffraction, reducing image quality. Optimum quality is usually achieved at f/8 or f/11. Also, you may not get front to back sharpness using this method, so image

sharpness is compromised on two counts.The solution is to use good old hyperfocal focusing, a simple technique that allows you to maximise depth of field for a particular scene but also avoid stopping down the lens aperture more than you need to. Result? Front-to-back sharpness and optimum optical quality from your lenses.

Hyperfocal focusing involves focusing the lens on a specific distance for a particular focal length and aperture (f/number). If you use manual focus prime lenses, you can use the depth-of-field scale marked on the barrel to find the hyperfocal distance. But if you use autofocus zooms you’ll need to rely on hyperfocal tables like those to the left.

To use these tables, first choose the right table for your camera, then find the focal length you're using and the aperture (f/stop) you want to use, then read across to find the hyperfocal distance. By focusing on that distance, depth of field will extend from half that distance to infinity. For example, if you’re using a Canon DSLR with a zoom at 28mm

HYPERFOCAL DISTANCE FOR FULL-FRAME/35MM SLRS

16mm 20mm 24mm 28mm 35mm 50mm 100mm 135mm 200mm 300mm

f/2.8 3.2m 5.0m 7.0m 10m 15m 31m 123m 225m 495m 1110m

f/4 2.2m 3.5m 5.0m 7.0m 10.5m 21.5m 87m 157m 345m 775m

f/5.6 1.6m 2.5m 3.6m 5.0m 7.5m 15.5m 62m 112m 245m 555m

f/8 1.1m 1.7m 2.5m 3.5m 5.5m 11m 43m 79m 173m 388m

f/11 0.8m 1.3m 1.8m 2.5m 4.0m 8.0m 31m 57m 125m 282m

f/16 0.6m 0.9m 1.3m 1.7m 2.7m 5.5m 22m 39m 86m 195m

f/22 0.4m 0.6m 0.9m 1.3m 2.0m 4.0m 16m 29m 65m 140m

f/32 0.3m 0.5m 0.6m 0.9m 1.4m 2.7m 11m 20m 43m 97m

HYPERFOCAL DISTANCE FOR DIGITAL SLRS WITH A CROP FACTOR OF 1.5X (NIKON, SONY, PENTAX)


f/2.8 5.0m 7.5m 11m 14m 23m 47m 188m 345m 750m 1690m

f/4 3.4m 5.3m 7.5m 10.5m 16m 33m 132m 240m 525m 1185m

f/5.6 2.4m 3.8m 5.5m 7.5m 11.5m 23.5m 94m 170m 375m 845m

f/8 1.7m 2.7m 3.8m 5.2m 8.0m 16.5m 66m 120m 265m 590m

f/11 1.2m 1.9m 2.3m 3.8m 5.9m 12.0m 48m 87m 192m 430m

f/16 0.9m 1.3m 1.9m 2.5m 4.0m 8.5m 33m 60m 132m 295m

f/22 0.6m 1.0m 1.4m 1.9m 3.0m 6.0m 24m 44m 96m 215m

f/32 0.4m 0.7m 1.0m 1.3m 2.0m 4.2m 16.5m 30m 66m 150m

HYPERFOCAL DISTANCE FOR DIGITAL SLRS WITH A CROP FACTOR OF 1.6X (CANON)


f/2.8 5.0m 8.0m 11.5m 15.5m 24.5m 50m 199m 360m 795m 1785m

f/4 3.6m 5.6m 8.0m 11m 17m 35m 140m 255m 555m 1250m

f/5.6 2.6m 4.0m 5.7m 7.8m 12m 25m 99m 180m 397m 895m

f/8 1.8m 2.8m 4.0m 5.5m 8.5m 17.5m 69.5m 127m 278m 625m

f/11 1.3m 2.0m 2.9m 4.0m 6.2m 13m 50m 92m 202m 455m

f/16 0.9m 1.4m 2.0m 2.8m 4.3m 8.7m 35m 63m 139m 312m

f/22 0.7m 1.0m 1.5m 2.0m 3.0m 6.5m 25.5m 46m 101m 230m

f/32 0.5m 0.7m 1.0m 1.4m 2.2m 4.4m 17.5m 32m 70m 156m

The essential guide


and stopped down to f/11, the hyperfocal distance is 4m. By focusing the lens on 4m, depth of field will extend from 2m to infinity.

If you’re not sure how much depth of field you need, focus on the nearest point in your scene and check the distance scale on the lens barrel to see how far it is. You can then refer to the hyperfocal distance table to find out which aperture you need to use to achieve sufficient depth of field. For example, if the nearest point in the scene is 3m away and you’re shooting at 35mm on a full frame DSLR, you need to use the aperture that will give you a hyperfocal distance of 6m because if you focus on 6m, depth of field will extend from 3m (half the hyperfocal distance) to infinity. In this case, f/8 is closest, with a hyperfocal distance of 5.5m (which gives you depth of field from 2.75m to infinity).

Above: Working out the correct hyperfocal distance allows front to back sharpness. Right: Getting your focus spot-on is key for scenes that are packed with detail.

Landscape photography


Filters

POLARISERIf you like crisp images with rich colours, deep blue skies, superb clarity and no annoying reflections, you’ll find a polariser incredibly useful – because it does all of the above. On a sunny day you’ll love the difference a polariser makes to your landscapes, but don’t only use it when the sun shines – for woodland scenes it works a treat when the weather’s dull, grey and damp, removing glare from the foliage so the rich colours shine through. They’re equally handy for waterfalls and rivers as they not only eliminate reflections from the water and wet rocks but also allow you to blur the water as they lose two stops of light – so 1/4sec becomes one second.

To use a polariser, all you do is rotate it while looking through the viewfinder – you’ll see the image change and when you like what you see, stop. Keep the sun to one side of the camera to get the maximum effect on a blue sky and to eliminate reflections, the angle between the surface and lens axis should be around 30°. Buy a polariser that works as part of a modular filter system (Lee, Hitech, Cokin) so you can combine it with ND grads or solid ND filters when required.

MANY DIGITAL PHOTOGRAPHERS may have abandoned filters altogether, but one subject where they still play an important role is landscapes. Yes, you can do the job of some filters during post-production, but if you’d rather be out in the wilds shooting rather than glued to a computer screen editing, it’s easier and quicker to use filters and get your shots as close to finished as you can in-camera.

Actually, there are only three filter types you need to consider for landscape photography, so it’s not like you need to carry dozens of them up hill and down dale, but you will use them constantly – it’s rare to shoot a landscape and not have at least one filter on your lens. Here’s a rundown of what they are, why you need them and how to use them.

NEUTRAL DENSITY GRADUATES (ND GRADS)Clear on the bottom half and grey on the top, the good old ND grad is essential for controlling the contrast between the bright sky and darker landscape so that when you set an exposure that’s correct for the land, the sky also comes out correctly exposed instead of wishy-washy white. To get the balance right, ND grads come in different densities. The weakest, 0.3 (or x2), only darkens the sky by one stop so in most situations it’s too weak to do a decent job. The best choice for general use is a 0.6 (or x4) which darkens the sky by two stops, while a 0.9 (or x8) darkens the sky by three stops so it’s a better choice when the brightness difference between sky and ground is great, such as at dawn and dusk. You can use two ND grads together if necessary, but if the total density is more than 0.9 there’s a chance you’re overgrading, so be careful.

ND grads also come in two forms – ‘soft’ edged and ‘hard’ edged. This refers to how gradually the ND part of the filter fades into clear. Soft grads do it much more gently than hard grads so they’re handy when the horizon is uneven, but hard grads give a more consistent effect so they’re best for general use.

The key to success with ND grads is careful alignment. It’s easy to push the grad too far down in the holder so it affects the landscape as well as the sky. To avoid that, either look through the viewfinder while aligning the grad, or use LiveView – you’ll see the sky go darker as you push the grad down and you should stop when you reach the horizon.

Finally, it’s best to align the ND graduate filter before taking an exposure reading as the grad evens out contrast and makes it easier for your DSLR’s metering system to give an accurate exposure.

The essential guide


SOLID ND FILTERSUsing slow shutter speeds to record motion in a scene is a popular technique in landscape photography and neutral density (ND) filters are your greatest ally for this. Whereas ND grads only affect part of the image, solid ND filters affect the whole image, so you can use a longer exposure. Weaker NDs such as a 0.6 (two stop), 0.9 (three stop) and 1.2 (four stop) are handy for blurring water as they give you a modest exposure increase. You can also combine them when one isn’t enough – 0.6 and 0.9 give you a five-stop exposure increase, for example, which in real terms, would turn 1/8sec into four seconds. However, if you want to try using exposures of several minutes long in broad daylight to turn water to milk and skies to soft streaks, you’ll need a ten-stop ND like the Lee Filters Big Stopper, Hitech Prostop 10 or B+W ND 110 3.0. They’re so dark you can’t see through them, but the results can be stunning.


Landscape lightingWE MAY HAVE left it until last, but never underestimate the importance of light when shooting landscapes – it’s the one factor above all others than makes or breaks a great scenic image. Light defines the mood and character of a scene and our emotional response to it. Light can be atmospheric, dramatic, warm, cold, hard or soft and all these permutations have a profound effect on the appearance of the land.

The quality of light changes throughout the day, from the moment the first glow of predawn starts to appear in the sky to the second twilight is snuffed out by the approach of night.

Changing weather also throws endless variety into the mix – the landscape looks totally different on a sunny summer’s day than it does on a stormy autumnal afternoon with sun breaking through a dark, threatening sky. It’s these changes and variations that make landscape photography so challenging and rewarding – it’s you against the elements.

Assuming the weather on any particular day is good, the quality of light is at its highest during the first hour after sunrise and magic hour before sunset. At these times the sun’s low in the sky so it casts long, raking shadows that reveal texture and form. The light also has a wonderful warmth that really brings the landscape to life – that warmth being at its best for the first few minutes after sunrise and before sunset, though with the sun so low you’ll find that even relatively low-lying features completely block the light and throw the landscape into soft shadow.

The reason we recommended an alarm clock in the introduction to this feature is that it’s well worth rising with the larks to benefit from great morning light. Get on location 30 to 40 minutes before sunrise so you can shoot the predawn glow – this works particularly well if you’re close to water as the amazing colours in the sky will be mirrored. Once the sun comes up, act fast to make the most of the golden light. At the start of the day you may be lucky enough to capture low-lying mist, but it soon burns away so don’t waste your time navel gazing – get the camera out and start shooting.

By the time the sun has been up for an hour it’ll be fairly high in the sky and any warmth will have faded, so you’re safe to retire for breakfast. In clear, sunny weather you might as well use the next few hours to scout new locations, or rest up as the light ain’t great – it’s too harsh and flat, especially in summer. If cloud rolls in and snuffs out the sun, consider shooting details, which benefit from softer light, or, if there’s a chance of some dramatic storm light, stay out and keep shooting as you could bag some awesome images – it’s always a good idea to carry snacks such as fruit, nuts chocolate and trail bars when you’re on location, so you can shoot all day if the

light’s good. Remember to carry drinks, too, especially in hot weather.

To make the most of your time it’s always worth having ideas and techniques up your sleeve that allow you to keep shooting all day no matter how the weather develops. Harsh sunlight is useless for conventional landscape photography but well-suited to infrared, for example, so maybe invest in an IR filter such as a Hoya R72.

Dull, overcast days aren’t great for colour shots (unless you shoot details), but you can produce beautiful black-and-white images in such conditions. Drab weather is also perfect for long exposure coastal images, taken with a ten-stop ND filter, so by equipping yourself with one you’ll have the means to produce amazing images on the drabbest of days and make your effort to get out there worthwhile.

Come late afternoon, the sun starts to drop in the sky and the quality of light improves again. The last hour before sunset – often referred to as the ‘magic hour’ or ‘golden hour’ – is usually the best time of the day and well worth hanging around for. The light is richer and redder at the end of the day than the start, especially in sunny conditions, and long shadows reveal texture to give your images a strong sense of depth. This time of day is particularly good for coastal landscape photography as the low sun reveals ripples on sandy beaches, lights up headlands and adds a mellow glow to swaying dune grasses.

Once the sun drops below the horizon the landscape is transformed yet again. Contrast falls and the land is illuminated by reflected light from the sky. Initially you may think it’s game over and start packing up. But don’t be too hasty – if there’s broken cloud in the sky you could be in for a fiery grand finale ten to 15 minutes after sundown as the sun uplights that cloud with reds, oranges, pinks and purples. A 0.9ND grad will allow you to expose for the landscape but keep all that glorious colour and detail in the sky and it’s worth shooting until the colour fades.

Above: Shoot during the magic hour to capture long, soft shadows that reveal detail. Lighting direction

The direction from which light hits the landscape can make a big difference to the mood and impact of your images. Frontal light, where the sun is to your back, makes the world look great, but photographically it’s not so effective because shadows fall away from the camera, so the landscape tends to look flat. When the sun’s low in the sky and bathes the landscape in golden light, that lack of depth can be forgiven because the light is fantastic.

Side lighting, with the sun at roughly 90° to the camera, works better because shadows become an integral part of the composition and help to reveal texture, as well as adding a sense of depth. This is most pronounced when the sun is low in the sky again as shadows are very long and weak.

Another option is to shoot into the light, or ‘contre-jour’. Sunrise and sunset shots are taken in this way because the most colourful area of the sky is generally where the sun is. Mist and fog work well, too, as light burning through looks incredibly atmospheric.

The essential guide Landscape photography

John W Davison

In one of Davison’s classic historical recreations, F4U Corsairs gain height and drop their long-range tanks in readiness for combat over a Pacific atoll.

Aviation photographer John W Davison has his head in the clouds – literally. With clients that now include the navy, the airforce and the makers of million-dollar jets, it’s amazing where years spent playing with model aircraft can lead…

An eyein the sky

John W Davison


Fast-forward from there – when did the aerial photography kick in?That was definitely the crucible. For the next 20 years or so I wasn’t surrounded by aviation at all, but I always had it in me. I was a travel photographer for publishers like Berlitz, AA, Fodors, Insight… As a kid I built models, so it’s always been a part of me. But it wasn’t until I moved to Australia and started skydiving in Perth that I got back into aviation. That’s when I truly realised my love of the air, of falling through it – of somehow being in it.

Then I went to the UK and that’s where it took shape. Not too far from Oxford, where I lived, there’s an airfield that had

loads of restored warbirds, including Spitfires and even Messerschmitts, B-17s, B25s and many more, and I thought: This is incredible. I got to know some of the people there and, since I was quite a well-known commercial photographer at the time, I was able to show my wares on the airstrip – and then say, “Hey, how about I photograph some of your aircraft?” I’d never done an airshow or air-to-air (A2A) sortie before, and it just happened. This

1) Into the sunset with a PC12NG: Nikon D800; 28-300mm lens; 1/8000sec; f/4.5; ISO 500.

2) Bird’s-eye view beneath twin F/A-18 Hornets.

3) Precision formation flying, with a North American P51D Mustang in the foreground.

John W Davison

When did you first become interested in photographing aircraft?It’s always been of interest to me. Growing up in New Zealand, I was surrounded by them – quite literally, because New Zealand had lend-lease aircraft from the US during the Second World War, much like Australia and Canada did. And after the fighting stopped, you either had to destroy them or buy them. They didn’t want to buy them because they were pretty war-weary, so you had to destroy them.

Hundreds, thousands of them were smelted down – and New Zealand had its fair share of aircraft, like P-40 Kitty Hawks, F4U Corsairs, Lodestars, Avengers, Mustangs, Mosquitoes, the whole lot! They had them out in fields where I grew up – hundreds of them, all lined up. The ones that didn’t get into this smelting pot were taken to various towns and used as playthings for kids. I remember seeing two-toned blue naval aircraft rotting away in fields and it just seemed really incongruous. I couldn’t believe it. These aircraft that had only recently been duelling over Pacific skies were now here in my backyard.

What do you think has happened to those airplanes you saw as a boy? I guess we’ve been eating out of them for the past 50 years. They’re pots and pans now. It’s insane to think what they’d be worth these days. There’s an F4U-5 Corsair being restored right now in Darwin that’s nearly completed, painted in Honduran Air Force colours, and it’d be worth millions now. And there I was looking at basically a field full of them. Hundreds, absolutely hundreds. I don’t think any survived.

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“I used to see Spitfires and even B-17s, B25s, and

I thought: This is incredible”

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guy just happened. This guy just walked me out in the middle of an airshow and said, “Here we go. You want the door off?” I was like, “Oh, yeah, OK. Good idea. What am I flying in? I’ll take the helicopter.” And then I just had to think very quickly – what shots did I want to get? Aircraft in the air? OK, I guess I’ll need a blurred propeller, so I’ll have to shoot at 1/30sec, gotta have that slow shutter speed – and it was literally just on-the-job training. Then it went from there. I thought: My God, this is incredible, sitting in the helicopter with the door off at sunset over this ancient landscape. This is where I belong.

I was in Oxford for 17 years and started doing work for the Royal Air Force and all sorts of things opened up. Once you’re in that position, they just say, “What would you like as your cameraship?” And I’d look around almost joking and go, “Well, a two-seat Harrier would be cool.” “OK, fine, it’ll be there in the morning.”

Once you’re in that position, like anything, once you’ve paid your dues and you’ve got your portfolio and they know you’re a safe bet, things become pretty smooth. That’s the thing about aerial photography – virtually anyone can do it. You’ve just got to be able to get somebody’s trust, know the industry and have a love affair with the air and respect the fliers.

When did you begin your sideline interest in historic recreations? It was a combination of recalling all those old planes rotting in the fields, and then

having read a lot of books and comics over the years about military aviation. My father was a submariner during the war, so I heard lots of his stories that often involved German aircraft like Stukas and J88s. My generation was surrounded by that, because all of the men we knew, our fathers, had just come back from those war-torn places.

I was a reasonably good model maker, then in the late ‘80s Photoshop came along and I took to it like a duck to water. I’d always liked the idea of having people built into scenes with model aircraft, but it always looked so static; it never looked quite right. I thought, “How can I do this? Let’s shoot a plane without the propeller on and Photoshop will sort of heal all the marks, where the glue is and all the lines and stuff. Then create a propeller in post-production…”

That’s when I realised I was onto something. I did my first historical recreation using an Avro Lancaster bomber. Perth has the Bull Creek Royal Australian Air Force Museum, and there’s a Lancaster there, and I’d been there a while back, trying to photograph it – but I couldn’t. It’s just too big; you can’t get the entire scene. But I did talk to lots of the old guys there who talked about flying out of Dresden and Cologne and various other places. I got a feel for

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John W Davison

4) Tracking a trio of warbirds over Perth, with a North American T-6 Texan in the foreground.

5) John suited up following an A2A sortie, in a BAe Hawk advanced trainer jet.

6) Playing chicken with an N2S Stearman biplane: Nikon D800; 70-200mm lens; 1/2500sec; f/7.1; ISO 400.

“It’s fast, noisy, furious at times with lots of ‘G forces’ –

it can be dangerous but the rewards are spellbinding”

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John W Davison

canopy as if the moon was lighting it from above to contrast the orange glow from beneath… I realised then that you’re basically creating at the speed of your imagination. It sounds really glib, but it’s true. You can do it right there and then, and you see this scene taking shape before you. I was creating whole scenarios, including ships on the water, explosions, you name it.

To what end? What did you want to achieve with these recreations? I had no idea at the time, no idea. I put it on my website and it got a lot of interest, but I didn’t know where it was going to go. But I always had it in the back of my mind that

I wanted to turn this into something real. For a while I had been doing work for

Swiss aircraft manufacturer Pilatus, shooting its annual calendars, promos, ads and so forth. One day the chairman’s assistant came out on a PC12NG for a Royal Flying Doctor Service shoot in the Northern Territory, and happened to see some historical recreations on my iPad. He said, “What are these things? These pictures?” And off the back of that he spoke to me about a secret project they were working on. “We’re developing a new aircraft,” he said, “and we can’t talk about it yet, but if you sign this indemnity form, we will email you all the information and we’d like you to produce 19 scenarios of this aircraft in the air over various locations.”

That turned out to be the PC-24 – a new aircraft that was revealed to the press in May 2013 and actually rolled out in August. At the time, I knew what it was and I couldn’t tell a soul. But they had to have a hardcover book and a few other bits and pieces as marketing tools for the press launch and for potential customers buying this aircraft.

7) Composite creation of the Pilatus PC24 business jet in the Australian outback.

8) Two NT police PC12NGs at dawn over Darwin.

9) A Sikorsky Seahawk at sunset over Garden Island, Perth.

10) Dresden burning: John’s first attempt at historical recreation using a model Lancaster and his imagination.

11) Combat scenario shooting plastic models in front of a greenscreen, with backgrounds, blurred props and slipstreams added in post-production.

what the burning of Dresden was like. They said, “As far as you could see, this city was burning. You were just flying over a carpet of fire. Then you could clearly see the silhouette of the aircraft below you. And then you could see the bomb silhouette as it fell out of the fuselage, then the shock waves from the explosions below.”

So I went and bought a plastic Lancaster model, built it without any decals – nothing – just very roughly. I thought, “How the hell do you make it look like it is being lit up by searchlights from beneath?” So I turned it upside down and photographed it in the sun. Then I just built it step by step from there. Blurred the props, re-coloured the

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John W Davison

They made a model about three-quarters of a metre long of this new Crystal Class Super Versatile Jet – this SVJ – and from that I produced all the photography, all the dioramas for the visualisations, all from my years of model-making, photography and Photoshop. I had to build all the flap lines, all the windows, the undercarriage, the ID lights, the aerials, the ailerons, cockpit windows, surrounds, reflections, vortices – the lot. If I hadn’t built models, if I hadn’t learned Photoshop, I couldn’t have done any of it.

After being involved in the launch of a new aircraft for an international aviation manufacturer, I was asked to do similar projects for the navy, for submarines and

all sorts of things, so I have used this technique quite a lot now.

So your hobby turned into some fairly major projects. Where to next?That’s good enough for me, to be honest. To be seen as one of the major players in executive aviation, I don’t think I could do much more than that. But my main passion behind all that is still air-to-air photography; that’s what I love and that’s what I’ve been doing for years. Even at 63, I can’t see that I’m going to retire. The only thing that will stop me is my body, and at this stage I’m as fit now – and as happy – as I’ve ever been. Flying alongside your subject aircraft, with no doors or windows between you, is simply gobsmacking.

I never tire of it. Then after the shoot is over, we can have a bit of fun in the air. I can sit back and watch the world slide by at sunset or sunrise from this privileged perspective. But to be in this position requires an amazing aerial link with your pilot. I only fly really with two guys – one for rotary and one for fixed-wing aircraft – both of whom are the best in their fields and just know what you as a cameraman require. In fact, they fly their machines as if it were a camera. That’s about the best you can get.

It’s fast, noisy, furious at times with lots of ‘G forces’ – it can be dangerous but the rewards are spellbinding.

For more of John’s aviation photography,

check out eyeinthesky.com.au

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Trevor Templeman



The art ofurban shooting

Trevor Templeman

Brisbane photographer Trevor Templeman takes to the streets in this step-by-step guide to improving your urban captures.



finding inspiration. Looking at images taken by other photographers on an iPad or in magazines can influence how you see the world. Learning to truly “see” what is around you is the key to great street photography. So is being ready to snap a photo, anywhere and anytime. One very early Melbourne morning, feeling half asleep and nursing a precious takeaway coffee, I sat down in a cobblestone lane watching the world pass with my camera at my side. A man walking up the lane with his head down as if he was nursing a hangover

caught my eye, so I quickly lifted my camera and shot just one frame. He gave me a fleeting glance and walked on. I looked at the shot and smiled, happy to be in the right spot at the right time – and even happier that my camera settings had been correct. I took a few more frames over the next hour but ‘the hangover’ was by far the best.

W hat makes a photograph art? It’s a question with a lot of long-winded answers. But

essentially, it’s about capturing a moment in time that creates a connection with the viewer. Life is art – and if it’s depicted in a meaningful way, the results can be stunning. Undoubtedly one of the best places to capture life unfolding is on the street.

To most people, urban or street photography conjures up images of foggy streetscapes, graffiti, majestic architecture and classic people-in-place moments like Robert Doisneau’s ‘The Kiss’. Most photographers can only dream of taking such an iconic shot, but don’t let that put you off. Heading out with an open mind can result in magical photos.

Only one thing guarantees a potentially good shot when it comes to urban photography: the button on the camera marked “ON”. The rest takes persistence, research and determination. Like many things in life, you have to work hard to make urban photography look easy, but there are ways to increase your chances of success.

Finding the right headspaceWhen heading out to explore the urban jungle, I usually begin my shoots at a café with a coffee and my iPad or a magazine. It’s not the caffeine that’s important here (although it definitely helps) – it is all about

Trevor Templeman

“Life is art – and if it’s depicted in a meaningful way,

the results can be stunning.”

Previous) Alley Princess, filling the frame with interest.

1) Danger – do not enter: Keep your eyes and mind open.

2) The GC: Shoot from the hip and go under the radar.

3) In the Gutter in Las Vegas: Try getting down low.

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Trevor Templeman


billboard with a gritty, grey backdrop. Movement and chaos around stationary objects is another classic urban technique that adds a sense of drama to an image.

Remember to utilise the conditions around you, whatever they might be. Now is not the time to complain that it’s raining; wet weather can be used to capture reflections and create mood. The same goes for wind and heat. Go with the flow, as opportunities tend to present themselves when you don’t have a rigid plan.

Always be readySo what is the formula for taking a good urban shot? The first and most important thing is your attitude. Stay calm, take in your surroundings and try to position yourself in the best spot to capture the light. As far as equipment goes, I always apply the “keep it simple, stupid” philosophy. Use one camera with a wide-angle lens, like a 35mm or 50mm, because they’re sharp and fast. Or even

“I was in Singapore about to take a photo of a sign that basically said ‘trespassers will

be shot’ when common sense kicked in”

Trevor Templeman

Change your point of viewLearning to think like an artist is also helpful, as urban shots frequently rely on perspective. Look at the street from different angles. Try getting above it using an overhead pedestrian bridge, or even down in the gutter (literally and figuratively in some cases). Some photographers incorporate lines from sidewalks, buildings, shadows and reflections to great effect. It’s about drawing the viewer’s eye to a focus point and filling the frame with interest. Colour, or lack thereof, can create amazing contrasts, such as a brightly lit

consider a high-end compact like a Nikon P7700 or Canon G15. Or, if the budget can stretch, a Leica. Compacts are light, can be less intrusive than a DSLR, and most of them also allow you to shoot manually. Set the camera for the conditions around you, or if you’re going to be on the move and working in varying light conditions, consider using Program Mode. Remember, getting one good shot is better than no shot at all, especially when you’re working with rapidly changing light. Always carry a spare battery, memory cards and a lens cloth, because shooting in the streets gets dirty. Above all, be light – as carrying a heavy bag all day will soon see your enthusiasm turn to apathy.

Remember to dress down and be comfortable, wear good walking shoes and try to blend in. Don’t put your lens in people’s faces or hide around corners. Furtively pointing your camera at someone makes your subject nervous and will make you look like a creep. If you’re after a particular shot but don’t want to

1) Flower Lady, Bali: Shoot from the hip to avoid disturbing the scene.

2) Danger, Will Robinson: Use movement and colour to create interest.

3) Capture more, feel more: Open mind, open shutter.

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Trevor Templeman

disrupt what’s happening around you, try holding the camera at chest height or shooting from the hip. After a couple of shots, take a discreet look at the back screen and readjust your angle or approach if necessary. For best results, use a high shutter speed and multi-point focus. Turning off the focusing light and shutter beep so you blend in rather than stand out is also a good idea.

Word of warningAs a street photographer, it’s important to stay legal and out of trouble, so read up on your rights as a photographer and a citizen, remembering that the same rules don’t necessarily apply overseas. Much of this comes down to common sense, but if

in doubt, don’t. What seems like a shot of a building with great reflections could also be highly illegal if it has military or government connections. I was in Singapore about to take a photo of a sign that basically said ‘trespassers will be shot’ when common sense kicked in. With CCTV cameras everywhere and armed guards nearby, I decided to let the shot go and put the camera away.

Good urban photography comes down to being situationally aware. Unless you’re looking to parlay your street photography into a career as a war journalist, don’t be tempted to put your personal safety on the line to get a shot; there will always be another one. When you resemble someone like me

– a six-foot-three bald guy who looks like he’s better at stealing cameras than using them – staying safe is the least of your worries. However, building rapport can be a challenge. I tend to smile a lot and talk to people, which helps pass the time and can also lead to interesting portraits.

Finishing touchesOnce you get home, hopefully with plenty of full memory cards, you will have to decide what to do in regards to post-production. This is entirely dependent on personal preference. If you’re after an old-school photojournalistic style, you can leave post-production alone – but the alternative opens a treasure chest of opportunities and fun. However, the old adage still applies: The best images are created in the camera, not on the computer screen. Don’t waste your time attempting to turn an average shot into a great one. Street photography is a gamble and sometimes you lose. Walk away from those disappointing shots that didn’t quite work, knowing you will be a winner another day.

It doesn’t matter whether you are in a big city or a small town, there are always urban photography opportunities. While it’s great to have some concepts in mind, it’s often the shot you take along the way that turns out to be a classic. Urban photography is about turning the ordinary into a work of art.

For more of Trevor Templeman’s work,

check out trevortempleman.com

7) End Baby: Use colour and perspective.

8) Gucci Girl, Hong Kong: Keep on the move and have your camera ready.

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Frank Bramkamp

Cologne City Lights: The Cathedral of Cologne, as well as the Musical Dome, illuminated in blue light; Canon PowerShot G9; 7.4-44.4mm lens; 1.0sec; f/4.5; ISO 100.

With a PhD in aerodynamics and a passion for breathtaking landscapes and fascinating architecture, German amateur shooter Frank Bramkamp loves to combine technique with artistry. Here he displays some of his favourite locations and discusses his recent foray into photo composites – where he inserts figures in historical garb into modern-day scenes.

Beyond timeand place

Frank Bramkamp


AdviceWhen it comes to taking great images of landscapes, light is very important. It’s best to shoot around sunset or sunrise, when the light takes on a beautiful colour. But since I am an amateur photographer and I often combine my photography with vacations, it doesn’t always work out for me. To find a good location in a place I have not been before, I always go to the local tourist information and postcard shops. There I often find where the most prominent spots in that area are and I get inspired where to go.

I think it’s often difficult to plan everything in detail before you really get to the location. Asking the local people is usually the best method for me. Just driving around the area you’re visiting is great to find new locations and sights. If you are on a distinct way to your next destination, you often do not pay attention to what is on the way. Cruising around and taking my time lets me discover many more sights I may have missed on the map.

The very best way for me to take landscape photos is by going hiking. Every few hundred metres or so, the view on a mountain or seaside changes. Only this way can you really appreciate the beauty of it all – and you can pay attention to the small things along the way.

Favourite spots to shootMy most recent photographic trip was to South Tyrol, which is located in northern Italy. It is perfect for hiking and offers endless opportunities to discover the mountains, forests and lakes. But you also find many castles, churches and charming villages. It’s a lovely combination of Italian and Austrian charm.

Before that, I visited the Seychelles, which is a unique location. I particularly

enjoyed the island La Digue, since it has spectacular rock formations near the beach. La Digue is so small that you can easily get around by bicycle, which makes it a great place to relax.

When I lived in the US, one my favourite places was Arizona. The canyons in the north are spectacular. In winter, the north of Arizona also has snow – yet when you drive to the south you pass several climate zones, and within a couple of hours you are in a warm and dry desert area with large cactus plants.

Frank Bramkamp

I love travel and landscape photography. Crafting photographs of grand landscapes is simply amazing. For me, travelling, hiking in nature and photography is a

great combination. I enjoy going a little bit off the beaten tracks, where I often find wonderful places and friendly hosts. My photos help me to remember those places and stories.

I also enjoy the variety in landscape photography. I particularly like a bit more rough and undiscovered landscapes with grand, breathtaking views. I also enjoy having lots of variety in a small space, such as being able to visit mountains and coastline on the same day. But I also keep close attention to small details, such as flowers or fine textures of rocks. When taking photos, I pay much more attention to those hidden gems. There’s always something to discover.

InspirationSince I love to travel, I mainly get inspired by landscape photographers who also travel around a lot. One of my favourite travel and landscape photographers is Elia Locardi (blamethemonkey.com). He travels and photographs around the world full-time. His style has a very natural look, although it requires quite a bit of post-processing. I think my personal style is moving more and more in this direction.

I also enjoy the work of Trey Ratcliff (stuckincustoms.com). He is quite an individual person and has his own unique style, which is definitely on the heavy post-processing side. Since I always enjoy learning new techniques, I also follow Serge Ramelli (photoserge.com) and Matt Kloskowski (mattk.com), both of whom have excellent tutorials on photography and post-processing.

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1) High-key composite featuring Frank’s favourite model, Jessica (faestock.deviantart.com), and the futuristic rail station Liège, Belgium.

2) St Magdalena in the Dolomites, South Tyrol, Italy.

3) The Prayer: Historical composite inside the Dome of Aachen, Germany.

4) Vertical HDR panorama of Liège-Guillemins rail station.


Frank Bramkamp

“I enjoy going off the beaten tracks, where I often find wonderful places and friendly hosts”

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I often combine images to a 32-bit file and process it in Lightroom, which is a different method of dealing with HDR images. This gives a more natural appearance and I can process the image completely in Lightroom.

To finish the image I use Photoshop, where I typically apply third-party plug-ins such as Topaz Clarity or Topaz Detail, which are great tools to enhance details in the image. I also like Google Nik Color Effects to add subtle colour enhancements.

ArchitectureI particularly enjoy exterior architecture that has something special about it. Historic buildings offer beautiful ornaments, distinct brickwork and materials that are not used so often today. Taking images of old houses or castles is quite similar to taking images of flowers: I pay close attention to all the small details and textures. On the other hand, I also quite enjoy super-modern architecture, which more closely resembles taking images of grand landscapes. I like distinct geometric shapes, how guiding lines and angles interact with each other,

combined with a mix of modern materials such as glass, concrete and metal.

Recently I’ve been working on a high-key technique that emphasises the futuristic look of modern architecture.

Sometimes I find it hard to get the right composition of a building; I want my images to look a bit more artistic and striking. But if I do not find a good composition, the image may look like a regular tourist shot, which is not too exciting.

I find it a great advantage to shoot architecture in the city you live. This way you are able to see the same building under many different light situations and perspectives. Then one day you suddenly get the perfect composition you’ve been looking for.

My Canon G9 has become a limiting factor to me, particularly in architectural photography. Even a good panorama technique is limited when the available space from which you can position your camera is limited, which particularly applies to interior architecture. For me, a lens with 24mm seems a good choice, combined with a light panorama head

Frank Bramkamp

I also visited South Africa twice. In particular the Cape Peninsula, south of Cape Town, is very nice. The Table Mountains and the coastline offer wonderful scenery. Furthermore, there are a few nice little towns, and the wine area around Stellenbosch is lovely too. In the future I would like to visit Norway or Alaska, since they offer unspoiled nature. Also Australia – in particular, Sydney and Melbourne are on my list.

Tips and techniquesOne of my specialties in landscape photography is panoramas combined with high dynamic range techniques. I love panoramas, since they give me that grand view and feeling I had when standing in front of a mountain or at a vista point. Stitching panoramas of several images is often also a necessity to overcome the limitations of my camera, since I do not have a good wide-angle lens. Often I take several exposures of one frame and combine them by tone-mapping with HDR software. The basic idea is to combine several exposures to extend the dynamic range of the camera. This way, the image will get closer to what the human eye can see. For this purpose I often use Photomatix, but it has a very distinct look that sometimes appears a bit artificial or painterly.

“Recently I’ve been working on a high-key technique that emphasises the futuristic look of modern architecture”

Clean lines at Liège-Guillemins: Shot with a Canon PowerShot G9; 7.4-44.4mm lens; 1/100sec; f/8; ISO 100.


Frank Bramkamp

The Hallway: Australian model Jessica once again features in Frank’s composite creation set in Aachen.


and a lightweight tripod. I also love the super-wide zoom lenses, but I guess I would not use them enough to justify the cost.

Since I live in Europe, I enjoy taking architectural images of European cities. I have always loved London for its architecture; it has a great mix of traditional and super-modern buildings.

Recently I have been taking photos of small cities and villages around my hometown. I have discovered old churches, since they offer a certain charm and lots of historic details. On the other hand I have created a series of the railway station in Liège-Guillemins, Belgium, which was designed by architect Santiago Calatrava. It looks very futuristic.

One day I would like to go to New York. I like the skyscrapers and the view of the city. I also would like to photograph temples in Thailand, which look very unique.

Photo compositesMy latest passion are so-called photo composites. For a while I’ve been following Joel Grimes (joelgrimes.com), who retouches athletes into cool locations. More recently I have become very inspired by the creative work of Brooke Shaden (brookeshaden.com) – her images tell unique stories and have a very distinct fine-art look. I also follow Glyn Dewis (glyndewis.com), who has several excellent tutorials on composites. It’s important to

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Frank Bramkamp

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learn the technical Photoshop techniques to master composites.

When I started with photo composites about a year ago, I had a few images of historic places of my hometown. But I felt that something was missing to make them stand out by themselves. One day I thought: “How would it be to retouch a woman in historic garb into the scene and bring it back to new life, much like it was 100 years ago?” That was the ignition of my composites. I take pictures of historic places, such as churches and other old buildings, and retouch models into the scene. This way I have a strong connection to the image, since I shoot the architecture or landscape myself.

The way of taking photos for composites is a bit different to shooting pure

architectural images. First of all, you have to allow for additional space in the foreground to place your model. Second, the composite image has to work as a whole. The architecture serves to get a story across and to accentuate the mood, but it’s not the only star of the image.

Since I do not have access to models or fine garb, I utilise free stock images. My favourite source is Deviant Art (deviantart.com), which is a network for artists. There I find lots of good models in nice garb. I often get new inspiration by browsing different models and costumes as well. One of my favourite models is, in fact, an Australian named Jessica (faestock.deviantart.com).

For me, one of the most important aspects for a good composite is that the

image tells a story. The model has to relate to the background in a way that makes sense. Furthermore, the model should blend into the scene so seamlessly that the viewer has the illusion that the entire photo has been taken on location. I think that the creative part can only be appreciated if no technical issues distract, in the optimum case.

One of the most elaborate aspects of the technical side of this work is to make a clean cut-out of the model from its original background. Although Photoshop and third-party plug-ins have become much better in making selections, it often still requires quite a bit of manual work.

In order to blend the model into the new scene, you need to pay attention to the proper balance of light. In particular, matching the light temperatures of the model and the background is very important. In instances where there’s a large discrepancy between light temperatures, the observer may notice something does not fit together, without being able to determine what's wrong.

The third major aspect for a good composite is the shadow that the subject casts on the background. That is the most prominent aspect, where both parts of the image interact with each other.

In order to finish my composites, I often use third-party plug-ins to give it a certain colour grading. I often use Alien Skin Software’s Exposure, which gives me a nice vintage look without going overboard.

I’m currently in the process of extending my portfolio of composite images. In the future I also would like to mix images from 3D computer simulations with photos in order to add realistic fire or scenes with complex light.

To view more of Frank’s work, including

step-by-step composite tutorials,

check out frankbramkamp.de and

500px.com/frankgerman

5) Endless Winter: Composite with model Sabrina and the magical German winter.

6) The Ballroom: Composite set within Frank’s local Couven-Museum, Aachen.

7) HDR of the Church of Saint-Jacques in Liège, Belgium.

8) Helicopter landing pad of the University Clinical Centre, Aachen.

Frank Bramkamp

“The architecture serves to get a story across and to accentuate the mood, but it’s not the only star of the image”

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Daniel KorzhonovAge: 24 / Occupation: Chief editor

Visit: www.korzhonov.ru

Midnight sun: “This photo was taken on Senja island in Northern Norway last summer, almost at midnight. The sun doesn’t really set at this time of year – it’s a surreal experience! The colours were amazing, with the dramatic rain clouds to one side and the low sun opposite. This is a panoramic stitch, made up of six images, with a bracketed exposure for the sky. I batch-processed all of the images in Lightroom before manually blending the bracketed exposures with the foreground exposures in Photoshop. I then used PTGui to stitch the panoramic before correcting colours using Curves, Channels and Layer Masks. It was a difficult image to colour grade, made tricky by the combination of warm light with the green foliage.”Nikon D800 with NIKKOR AF 14mm f/2.8D ED lens. Exposures: Foreground: 1/200sec at f/14 (ISO 100). Sky: 1/60sec at f/14 (ISO 100).


SHOWCASE

Daniel Korzhonov (continued) Red Soil: “This was taken during my autumn photo workshop in Tuscany. We were almost disappointed by the morning light this day. But suddenly the sun appeared for two minutes through a tiny window in the cloud. That’s why you can see dark blue mountains in the background in contrast to the red soil in the foreground. The idyllic Tuscan landscape teaches you to compose objects in the frame very carefully. Every tree, road and villa must be in its place. This image was taken near the town of Pienza. It’s actually a famous view because of the film Gladiator. This image is a single exposure with simple processing in Photoshop to boost contrast.”Nikon D800 with NIKKOR AF-S 70-200mm f/2.8 lens. Exposure: 1/25sec at f/13 (ISO 160).

Thin Strings of Baikal: “Lake Baikal in Siberia was a dream location for me. It’s a harsh environment and the ice is up to a metre thick in places, but it is incredibly clear. We use lightweight skates to cross the ice and our luggage is linked to our belts by rope so it just glides behind us. The rock in the photo is at the north end of Olkhon Island. I used the cracks in the ice as lead-in lines and took a total of six images to create the final result. The result is the equivalent of a 10mm lens on an APS-C sensor, but at a much higher resolution than my camera would allow from a single exposure.”Nikon D80 with Tamron SP AF 17-50mm f/2.8 lens. Three exposures: Ice: 1/60sec at f/8 (ISO 320). Rock: 1/125sec at f/14 (ISO 250). Sky: 1/400sec at f/13 (ISO 250).

Arctic Beach: “This is Haukland Beach, also at Lofoten. It is a perfect location to capture sunsets in winter; the white sandy beach and azure water offer a charming combination. However, on this day we failed to see the sunset. The weather at Lofoten is often very severe! I spotted this rock formation to use as foreground interest and lead-in to the scene– the rock had a golden hue, which I knew would contrast nicely with grey and dramatic sky. I love this place – every winter I come here with a workshop group, to teach them how to photograph the sea and make the most of the beautiful and unique Nordic landscapes.”Nikon D7000 with Sigma 10-20mm f/2.8 EX lens. Exposure: 1.6 seconds at f/8 (ISO 320).

Alien: “This photo was taken on the Lofoten Islands in Norway. The image illustrates an amazing phenomenon. When high tide arrives at night, the whole fjord freezes over with a thin layer of ice. When the tide then lowers, the thin crust breaks on rocks on the shore. If you visit in the morning it often looks like a scene from an Alien movie – the fjord is covered with what looks like hatched eggs in the surface of the ice. I used a low shooting point to capture this big crack as a lead-in line and captured two landscape-format photos – one focused on the foreground and the other on the mountain. This overlaps the depth-of-field and improves overall detail. From there, the image is processed as one to improve contrast and colour.” Nikon D800 with NIKKOR 14mm f/2.8 lens. Exposures: Lower half: 1/80sec at f/14 (ISO 320). Upper half: 1/250sec at f/14 (ISO 320).

COMMENT Wow! The Isle of Wight

benefits from low light pollution, making it perfect for Milky Way photography.

The foreground here is nicely lit too, creating a well-balanced exposure.

Caroline Wilkinson

Chad PowellAge: 22 / Occupation: Graphic designer/Photographer

Visit: www.isleofwightmilkyway.com

A Place to Think: “This is one of my favourite images, taken at Orchard Bay on the Isle of Wight. To achieve this shot I had to manoeuvre myself down a path which had partly fallen into the sea, walk across wet rocks covered in seaweed in the pitch black, with a not-so-bright torch in one hand and my camera attached to my tripod in the other – I definitely would not recommend doing this! A very subtle glow from the only property on the beach saved me from having to illuminate the foreground myself, and resulted in an even glow.”Canon EOS 6D with Sigma 20mm f/1.8 EX DG lens. Exposure: 25 seconds at f/2.8 (ISO 4000).


SHOWCASE

Dylan Toh Age: 36 / Occupation: Health professional

Visit: www.everlookphotography.com

Heaven Let Your Light Shine Down: “This image was taken during a blustery day in the West Fjords of Iceland. At the time, my partner and I noticed that the passing cloud led to interesting ‘spotlights’ passing across the brown grasses. We stopped along the roadside and waited patiently until the passing light fell across the church and ensured that my shutter speed and aperture allowed a crisp image with appropriate depth-of-field. In post-processing I wanted to achieve a soft Orton effect to suit the painterly nature of the scene. This was done by creating a duplicate layer using the Luminosity blend mode and applying a Gaussian blur at a low opacity.” Canon EOS 40D with Canon EF 24-70mm f/2.8 lens. Exposure: 1/60sec at f/11 (ISO 100).

Earnslaw Fall: “The town of Glenorchy on New Zealand’s South Island is a beautiful place to visit. During autumn the landscape blazes with the reds and yellows of turning leaves and makes for wonderful photographic opportunities with Mount Earnslaw visible in the distance. A thin layer of cloud catching the last rays of the sun provided plenty of colour in the sky and a long exposure was used to reduce the ripples in the water. I composed to include the row of trees so that they would draw the eye to the mountain. A soft ND grad was used to balance the exposure for the sky, while a circular polariser enhanced the reflections in the lake.”Canon EOS 5D Mk II with Canon EF 17-40mm f/4L lens. Exposure: 15 seconds at f/16 (ISO 50).

Pebbled Shore: “This image was taken from the iconic location of Elgol on the Isle of Skye. Along this stretch of coast, there are myriad possible compositions with the Black Cuillins in the background. As the seas were placid that evening, I chose to photograph the image with water motion from an outgoing stream contrasting with a pool of still water reflecting the clouds. A circular polariser was used to allow visibility of the pebbles beneath the pool’s surface. A 0.9ND soft grad and 0.6ND hard grad were used to balance exposure in this scene. In processing, I wanted to enhance the reflected light on the pebbles – this was done using a selective colour mask for yellows on a colour adjustment layer.”Canon EOS 7D with Sigma 10-20mm EX lens. Exposure: 0.6 seconds at f/16 (ISO 100).

Punchbowl Light: “I took this in the Columbia River Gorge, Oregon. On this morning, the conditions were crisp and clear, which led to some light spray being illuminated by rays of light filtering across the falls. The dynamic range of this scene was huge and as the transition of light was an irregular pattern, I decided to take multiple exposures rather than use filters. A low ISO was chosen to give the river a smooth sheen from a long exposure while details in the rays of light were preserved with a short exposure. I distanced myself from the rock so that I could achieve sharp focus throughout without needing to focus stack. The images were then blended through luminosity masks and manual blending.”Canon EOS 5D Mk III with 16-35mm f/2.8L II lens. Exposures: From 1/15sec to 20 seconds at f/22 (ISO 50).

COMMENT I’m envious not only of

Dylan’s globe-trotting lifestyle, but also of the exceptional talent he has for producing landscape images bursting

with colour, atmosphere and depth. Superb!

Daniel Lezano


SHOWCASE

Jake Olson Age: 39 / Occupation: Photographer

Symphony: “Like all of my work, this was captured using only natural light as part of a shoot for the Warren family from Iowa. My little subject is two-year-old Sophie. It was captured on a ridge in Blair, Nebraska, where, at sunset, I placed my subject in available spots of very rich light. I used a bubble machine and tried variable exposures until I got the correct feel and focus. Sophie was locally adjusted in Photoshop before I added some mild sharpening. Lens flare can be a problem with this lens in directional light but I always use my hand to the side of the lens hood to reduce the flare.”Canon EOS 5D Mk III with Canon EF 85mm f/1.2L II lens. Exposure: 1/3200sec at f/1.2 (ISO 200).

Makenna: ”This is a client portrait of Makenna captured at sunset in Washington County, Nebraska. I use this road often in my photography because it has no distracting power lines and it’s instantly recognisable as Nebraska. I chose to shoot at sunset because the light is rich and the shadows are easier to handle. The greatest challenge is fighting against long hair in the wind! The suitcases were her grandmother’s and represent leaving home as she graduates from high school. A gradient filter was used in Lightroom to bring out the sky and minor skin retouching and noise reduction were applied.”Canon EOS 5D Mk III with Canon EF 85mm f/1.2L lens. Exposure: 1/8000sec at f/1.2 (ISO 200).

Fed Up: “Again, captured using only natural available light at sunset, except for this image I captured the sky from the same scene by underexposing a frame and then manually blending the two exposures together in Photoshop. This was shot for a client image to celebrate the subject Kelsey’s senior graduation. The composition signifies the journey of leaving home and the title and shoes represent Kelsey being fed up of formality and rules that come with school. I again used the same attractive road in this shot that I use in many of my scenes – sunsets are excellent here and the vanishing point on the horizon draws your eye into the scene and adds depth. Local sharpening, saturation and noise reduction was applied in Lightroom.” Canon EOS 5D Mk III with Canon EF 85mm f/1.2L II lens. Exposure: 1/8000sec at f/3.5 (ISO 200)

Aging Storm: “This image of actor James Spain from Omaha, Nebraska, was captured when James came down with a client for a family shoot. James was waiting for the rest of the family to get out of the car and there was urgency to finish the shoot because of a storm moving in from behind. I took nearly 40 shots of this scene but this is the only one where his hair lifted up and he was looking at the camera. His expression is true and sincere, which makes this image. This was featured in National Geographic’s Daily Dozen, in an advertising feature in Vogue Magazine and is a book cover on an A.J. Cronin novel in Italy.”Canon EOS 5D Mk III with EF 24-70mm f/2.8L II lens. Exposure: 1/800sec at f/2.8 (ISO 400).

Visit: www.jakeolsonstudios.com

http://www.jakeolsonstudios.com

COMMENT Jake’s portraits emphasise

the importance of good light in portrait photography, and just go to show that you don’t need

lights, modifiers and heaps of photo kit to create stunning images.

Jordan Butters

Christopher WesserAge: 26 / Occupation: Photographer

Visit: www.sandbox-photos.com

A Flower Inside: “It’s really not as easy as it looks to shoot a portrait of a person lying down. On my first attempts I stood over the model, but I felt a little unsteady keeping this position while trying to compose a photo through my viewfinder. After a few unsuccessful attempts, I tried a completely different, very effective technique: I simply stood behind my model’s head and shot the photo upside-down. Moreover, the LiveView function of my camera made this a much easier way to shoot. I took this photo at the end of a sunny summer day. The sun had already set behind the trees and it was starting to get dark. However, I was still able to capture this photo with the remaining available light, simply by opening my aperture and setting the ISO to 200. The golden-hour, with just a little sunlight left, resulted in a delicate, but still directional light. As my model’s hair was red, I tried to improve the complementary green-red contrasts in the picture to give it a painterly and contrasty look.”Canon EOS 5D Mk II with Canon EF 50mm f/1.4 USM lens. Exposure: 1/400sec at f/2 (ISO 200).

COMMENT A strong imagination allied with excellent camera and

lighting skills, along with great use of props and environment,

are some of the reasons Christopher’s images are

so impressive. Daniel Lezano


Christopher Wesser (continued)

The American Dream: “This image was all about vintage. We borrowed an old Ford Mustang and my model brought the most old-fashioned clothes he could find. The plan was to shoot out in a field during the sunset hours, but of course it had been raining all day, so we had to improvise. We found shelter in an old factory, but the place was lacking interesting light. I had two flashes, one softbox and a beauty dish with me, and I tried to make the best out of the situation. One of the flashes was used to simulate the sunset and fired directly into the lens. I feathered the softbox to hit my model’s face, which creates a soft and very natural look.”Canon EOS 5D Mk II with Canon EF 50mm f/1.2L USM lens. Exposure: 1/80sec at f/2.5 (ISO 1250).

We Own The Sky: “This was taken during sunset in late summer, when the light was soft and golden. I tried to use a lot of backlight here to capture a kind of lightheartedness. This situation is really worth practising, as my first tries were overexposed, but improved as I learnt through trial and error. I usually try to open my aperture as wide as possible in these situations. Blurry backgrounds and a shallow depth-of-field work well with backlighting and create nice flares. I worked for a long time on a Photoshop action for this kind of light and created one that I called ‘Silky Summer’, which is available on my website. It improves the light and fades all the colours of the photo to warmer, washed-out tones.”Canon EOS 5D Mk II with Canon EF 50mm f/1.4 USM lens. Exposure: 1/800sec at f/2.5 (ISO 50).

Life Off The Dance Floor: “This was one of the most difficult shoots I’ve done so far. It took us a while to figure out the right amount of confetti. In the first try, my assistant threw a whole bowl of confetti onto the model and it was just a big mess. Eventually we worked out that one handful is enough. The best technique was to throw the confetti high into the air so it would fall down on the model. The only difficulty was to get a shot where there was no confetti covering the model’s face. I had one Speedlight to the right, through a shoot-through umbrella. In post-processing, I increased the contrast and added a cross-processed effect.”Canon EOS 550D with Sigma 30mm EX f/1.4 lens. Exposure: 1/200sec at f/2 (ISO 800).

SHOWCASE

Marianne LimAge: 31 / Occupation: Scientist

Visit: www.everlookphotography.com

Cool Cuillins: “On this evening we waited on the shores of Elgol in the Isle of Skye, Scotland, in the hopes of catching a spectacular sunset. The clouds looked promising, but were not cooperating in the sense that they were not directly over the Black Cuillins in the distance. I chose to take this shot anyway, even though the light was more dramatic 90 degrees to the left. In order to add some interest I included some of the coloured lichen in the foreground. A circular polariser allowed reflections to be omitted and a soft-edged grad filter was used to control the sky. I elected to correctly expose for the foreground and allow the mountains to become silhouettes; the longer exposure also had the effect of smoothing out the water. In post-processing contrast was increased and the yellows enhanced to counter the cool tones.”Canon EOS 5D Mk II and Canon 16-35mm f/2.8L USM II lens. Exposure: 20 seconds at f/16 (ISO 100).


COMMENT

Wayne Brittle Age: 53 / Occupation: Brewery Technician

Tuscany Fields at Dawn: “I was driving around Tuscany with a couple of photographer friends when we stumbled across this view. With the aid of a sun compass I worked out that this could be a great place to capture sunrise. On our return a couple of days later, it was proving difficult to hold back the intense light even with the use of combined 0.6ND and 0.9ND grad filters. I spotted some olive trees further along the field and used the overhanging branches to hold back the light as well as frame the scene. Suddenly it all seemed to work with the poppies standing out and being backlit by the morning sunlight.”Canon EOS 5D Mk II with Canon EF 24-105mm f/4L IS USM lens. Exposure: 1/8sec at f/20 (ISO 100).

Bluebell Woodland Dawn: ”It was the beautiful blue carpet of the bluebells radiating light that caught my eye when returning home after a shoot in the Peak District. Unfortunately I was unable to stop but knew I had to return to capture their beauty. On one of my subsequent returns the weather proved promising with a chance of a morning mist and, knowing that this woodland has an east-facing edge, I was hoping to capture the atmosphere that these type of conditions often produce. The mist was very light and I had to shield the strong sun partly behind one of the tree trunks to keep the flare to a minimum.” Canon EOS 5D Mk II with Canon EF 24-105mm f/4L IS USM. Exposure: 1/20sec at f/11 (ISO 100).

Watendlath Dawn: “Heading out to this remote location in Cumbria for dawn, the weather was not looking too promising. On arrival, the water was very calm, creating perfect reflections. The boats made for great foreground detail but the scene still looked a little flat due to the lack of light. Patience paid off, as the sky cleared and small pockets of light highlighted the trees on the far shore. This reflected in the water, allowing me to capture the scene as shown. By the time I was putting my gear away the morning breeze had picked up and the reflection had all but gone, changing the scene entirely.”Canon EOS 5D Mk III with EF 17-40mm f/4L USM lens. Exposure: 1/8sec at f/16 (ISO 100).

Visit: www.waynebrittlephotography.com

Waking up and heading out for a location while it’s still dark

takes a lot of willpower and these atmospheric images

prove how the effort can be worth it. I think they’re absolutely stunning.

Caroline Wilkinson

SHOWCASE

Raymond SalisburyAge: 48 / Occupation: Freelance photographer

Visit: www.lighthousecreative.co.nz

Leading Light: “It was late in spring when I headed to one of my favourite lighthouses at Castlepoint, on the North Island’s east coast in New Zealand. I fitted a Hi-Tech 0.9ND soft grad to hold back the sky. A searing wind whipped up and I was forced to hold the tripod down with two hands, using a remote release. When darkness fell, the revolving light shining directly into my lens ruined any further shots, and I retreated to my car. Post-processing in CS4 was minimal, but included sharpening and boosting the yellows.”Canon EOS 5D Mk II with Canon EF 17-40mm f/4L lens.Exposure: 1/60sec at f/11 (ISO 400).


Anton Rothmund Age: 36 / Occupation: Health professional

Visit: www.portraitphoto.ch

Lena No 2: “This image was taken on an overcast day – perfect for portrait work. The sky was very cloudy, acting like a giant, natural softbox for the sun. I used a wide aperture for a shallow depth-of-field, and carefully focused on Lena’s eyes. I used a white reflector from below to fill the shadows on her face, creating nice catchlights in her eyes too. During post-processing I fixed any small blemishes and increased the contrast in her eyes before converting it to black & white.”Nikon D4 with Nikon AF-S 85mm f/1.4G lens.Exposure: 1/250sec at f/1.4 (ISO 100).

Tatjana No 1: “On this afternoon in particular, the sunlight was very intense so I searched for a place in the shade to shoot. This was shot using natural light only, without the aid of a reflector. The important thing is that if you want to take such intense and intimate pictures, it’s very important to have the model’s trust. I edited this picture very little before converting it into black & white for a timeless feel.” Nikon D3s with Nikon AF-S 85mm f/1.4G lens.Exposure: 1/250sec at f/1.4 (ISO 400).

Maria Laura: “I met the very beautiful Maria Laura on the street one day and simply asked her if she wanted to have her photograph taken. It was her first proper photoshoot but she was clearly a natural at it! This photograph was shot outdoors using only natural light on a cloudy day. Again, I used a white reflector from below to fill shadows – I enjoy using this technique as it creates very natural and flattering results. Only minor tweaks were needed in processing here.”Nikon D4 with Nikon AF-S 85mm f/1.4G lens.Exposure: 1/160sec at f/1.4 (ISO 100).

Tatjana No 2: “For this photoshoot I rented a nice hotel room. I shot wide-open throughout the whole shoot for an attractive, shallow and soft depth-of-field, which suited the high-key feel of the image. The room was nice and bright so I used a large California Sunbounce reflector to fill in the shadows. This image took very little editing, too, as Tatjana has naturally good skin.”Nikon D3s with Nikon AF-S 85mm f/1.4G lens.Exposure: 1/250sec at f/1.4 (ISO 400).

SHOWCASE

COMMENT Anton’s use of attractive

subjects, great natural light and the modest reflector, as well as his strong technical ability, is a

tried-and-tested formula that can’t fail at producing

great images! Jordan Butters

www.cyclist.com.au

A MISTY DAWN p62 PORTRAITS WITH MOTION p64 FINE ART AT THE COAST p66 NIGHT DRIVE p68


CLOSE-UPS p58

FLORAL

CREATE COLOURFUL AND STRIKING MACRO MASTERPIECES IN MINUTES!

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SHOOTTHIS ISSUE…

If you’ve never tried macro photography before, flowers should be your first port of call. Ross Hoddinott shows you how easy it is to achieve beautiful, vibrant results in minutes

Colour macro

Get the Picture

Colourful macro


Ross HoddinottCamera: Nikon D800Lens: NIKKOR AF 200mm f/4 MicroSoftware: Lightroom 5

WHY ARE FLOWERS just so irresistible to close-up photographers? It’s probably a mixture of things. The design, structure, shape, delicacy and

huge variety of flowers makes them a favourite subject among photographers. However, it is fair to say that their colour is often the key ingredient.

Colour is hugely seductive and can prove a highly effective visual tool. Flowers create vibrant and interesting close-ups – using a macro lens or close-up attachment, it is possible to reveal or isolate key detail and form. In fact, by cropping in tight, you can abstract your subject altogether. A close approach, together with a shallow depth-of-field, has the ability to render your subject as a simple wash of colour, with only the shape and outline of petals and stamens giving away what the subject actually is. You can have great fun shooting this type of ‘fine-art’ floral close-up and creating your

4Focusing This style of selective focus is an excellent way to direct the eye to

your chosen point of focus. However, you need to place your focus with extreme care. AF typically struggles at higher magnifications, so focus manually. Better still, activate your digital SLR’s LiveView and then zoom in to your chosen focal point before finely adjusting your focus. Be careful not to move or knock your camera, or the flower, once focused.

5Taking the shot Experiment with a number of different coloured

backdrops. In this instance, I found strong colours, like red, dark blue and yellow, too dominant. Instead, more muted shades, like pink, light blue and yellow were far more complementary to the flower’s natural hues. I decided to concentrate on the long stamens, filling the frame for maximum impact and detail. Also remember to try out a variety of camera angles.

1Background colour To enhance the impact of your close-ups, try introducing

coloured backdrops. With close-up images, it is easy to manipulate things like background colour, and doing so can significantly enhance your shots. You could use fabric, but the cheapest option is to buy a pack of coloured card. Using tape, you can secure the card to the window behind.

3Camera settings For this type of abstract close-up, a shallow depth-of-field is

best. By opting for your lens’s maximum aperture – ideally f/2.8 or f/4 – you will generate an attractive shallow zone of focus. The resulting shutter speed will still be relatively slow – probably around 1/4sec. To ensure sharpness, trigger the shutter with a remote and use the mirror lock-up mode.

own one, attach a close-up filter, extension ring or even consider reversing a lens. Now the fun can begin. Explore your subject in close-up, concentrating on parts of the flower that you feel have particular interest. To help create arty results, work with a large aperture – ideally f/2.8 or f/4. This will throw everything but your focal point out of focus. By contrasting areas of sharpness against diffused colour, you can create very striking and beautiful results. However, your focusing has to be pinpoint accurate when working with large f/numbers. At high magnifications, AF will typically struggle to ‘lock on’ to subjects. Manual focusing is the best option and I recommend placing your focus via LiveView, as this allows you to zoom into your chosen point of focus and carefully fine-tune your focusing.

Naturally, the flower’s colour plays an integral role in the look and impact of the final image, though so does the colour of the subject’s background. You can employ different coloured backdrops to contrast, complement or even clash with that of the subject. Doing so can radically change the look, feel and mood of the end shot, so don’t be afraid to experiment.

set-up couldn’t be more simple. While you could use flash, it’s not really necessary – window light will do the job nicely. A vase of flowers placed either on a coffee table near patio windows, or on a window sill, will suffice. If you shoot on an overcast day, the light will already be diffused with the cloud acting like a giant softbox. On a sunny day, try diffusing window light using a net curtain or some muslin hung over the window. Although overcast window light is normally very flattering, keep a small reflector to hand just in case you need to use it to relieve any ugly areas of shadow.

Obviously your choice of flower is also important. Visit a local florist or supermarket and look for blooms with interesting colour or detail – maybe long, colourful stamens or large, beautifully shaped petals. Only buy flowers in good nick – any imperfections or flaws will get highlighted in close-up. In my experience, lilies are a good choice. In terms of kit, again you can keep your set-up simple. A tripod is a must – it will prove an important focusing aid. For abstract-looking results, a high level of magnification works best, so a macro lens is a good choice. However, if you don’t

2Setting up Having bought some suitable flowers from a florist or supermarket,

place them on a table, approximately 45cm from a window. Ideally, opt for an overcast day, as the light flooding into the room will already be nicely diffused. Place your tripod-mounted camera nearby and keep a reflector to hand, as you may later find you wish to relieve shadow areas.

Get the Picture Colourful Macro


Exposure: 0.4 seconds at f/5.3 (ISO 100)

SHOOT A MISTY MORNING SCENECool nights mixed with early morning sun are a classic combination for misty dawn landscapes. Digital Photography reader and landscape photographer Peter Hulance shares his tips

TimingRadiation mist is most

prominent at dawn during the spring. Keep an eye on the

weather for still, cool nights with little cloud cover and

high humidity. Aim to arrive at your location at least 30 minutes before sunrise.

ViewpointFind an elevated

position above the mist where the air is clear.

The layers of mist will be more prominent from

above and you can capture treetops and buildings poking out.

FocusingUse aperture-priority mode and select a mid aperture, around f/11 for maximum

depth of field. Use the hyperfocal distance, or focus

a third of the way into the scene for front-to-back

sharpness.

Get the Picture

Shoot ‘contre jour’When the sun rises above the

horizon it lights the mist a beautiful golden hue. Where possible, shoot into the light to capture this along with the

long shadows created by trees and buildings.

White balanceShooting in Raw will enable you to tweak White Balance during processing. It’s always

best to try to get your shot right in-camera so set the

White Balance to Daylight.

CompositionLook for items of interest

within the scene and compose around these. If the mist is layered, use this in your composition – layers running diagonally will create a more dynamic image than those

running horizontally.


Paul Ward

Camera: Nikon D800Lens: NIKKOR AF-S 24-70mm f/2.8G ED

ADDING MOVEMENT to a portrait is a great way to bring an image to life and one of the easiest and most tried-and-tested ways to do this is to introduce hair movement. This can be done one of two ways – either by getting your subject to flick their hair, or by introducing a breeze or gust

of air in their general direction. We’re going to cover the latter here.Your interpretation of how you capture this effect is entirely down

to you. You could opt for a fast shutter speed to freeze your subject’s hair in motion, or choose a slower shutter speed to capture a slight sense of motion blur – just remember that if you go for the latter option, you risk capturing subject or camera movement if you go too slow, which will detract from the quality of your image. The intensity at which you apply this technique is a matter of personal taste. Go for a slight, gentle breeze to capture subtle movement, or opt for a more powerful gust for a dynamic, if at times slightly crazy, windswept effect!

I found that, depending on what sort of look you were after, different methods of providing the necessary gust of wind worked better than others. A regular household fan was ideal for providing a gentle, continuous breeze, just enough to add a small amount of movement to Gemma’s hair. A powerful hand fan would be a good alternative for this, as would a hairdryer – especially useful if you are shooting in a cold environment! To create the more explosive effect with hair flying everywhere, I found that a large sheet of foam board or a photographic reflector wafted by an assistant was perfect. The effect was less consistent than the fan, but the results far more noticeable. With either method, it’s important that the hair doesn’t end up being a distraction rather than an addition to the image, so bear this in mind.

This technique can be applied indoors as I have done here, but also suits outdoor portraits really nicely, as the viewer will assume the breeze is created by the wind. Finally, it goes without saying that it doesn’t work for everyone – subjects with long, straight hair are ideal – shorter hair won’t show off the effect to its potential and I wouldn’t recommend it when photographing people with no hair – all you’ll do is make them cold!

Capture hair movementSometimes all it takes to bring a portrait to life is a gust of wind. Paul Ward shows you how to add this dynamic touch

1Set up The weather prevents us from shooting in the great outdoors, so I’ve set up some lights in my studio. Whether

shooting using flash or natural light, the first step is to obtain a good exposure of your subject. Stand them in position and compose the shot, allowing for room for your subject’s hair to move.

Hair across face This might be the look that you are after, but if not

turn your model to face towards the direction of the wind.

Shut/watering eyes If the air is too strong it may make your subject

squint or their eyes water. Take regular breaks and turn down the fan’s power.

Hair distracting The effect should not distract. Watch for large

strands of hair across your subject’s face which can be difficult to clone out.

Things to look out for

2Obtain a good exposure Select either shutter-priority or manual exposure mode. Choose a fast shutter speed if you want to

freeze the movement, or a slower speed to add motion blur. Take a test shot. As I’m using flash I select my flash sync speed of 1/160sec and a mid-aperture of f/9 to gain a good test exposure.

Get the Picture


3 Introduce the wind I first try using a standing fan set to its fastest setting. The result is a consistent stream of air that has a nice,

subtle effect similar to that of a gentle breeze. By turning Gemma to face towards the fan, her hair is blown away from her rather than across her face.

4Create a stronger effect The fan isn’t powerful enough to create a more exaggerated effect, so I ask a friend to waft a sheet of foam

board at Gemma. This extreme effect is more hit and miss – if shooting with natural light then use your camera’s burst mode to increase your chances of getting a good shot.

Final imageUsing the foam board, the effect is

exaggerated, but after a few frames we manage to get a great final result!

Exposure: 1/160sec at f/11 (ISO 200)

Hair Movement


Discover rock artDetails in rock can make fantastic fine-art images – and help you make the most of a dull day!

Lee Frost

Camera: Canon EOS 5D Mk IIILens: Canon EF 24-70mm f/2.8L USMSoftware: Photoshop CC

WHEN YOU’VE PLANNED a day out with your camera and the weather doesn’t live up to the forecast or your expectations, what do you do? Ignore the grey

skies and continue as normal? Stay home and watch TV? Trying to get yourself inspired on a grey, grim, damp day is hard when you had grand vistas and stunning light in mind. But landscape photography isn’t just about big views, and if you’re willing to open your creative mind to the alternatives, it’s possible

to produce wonderful images on a much smaller scale, no matter how grim the weather gets.

Rocks are one option well worth exploring. You never have to travel far in the countryside or on the coast to find a lump of rock, and if you take a closer look at that lump of rock you’ll see that it’s full of beautiful details – just like the landscape, but in miniature form.

Rock is as old as the earth and the earth itself is one big lump of rock, so by concentrating your efforts on rock details, you’re shooting landscape images in their purest and simplest form. In fact, if you compose them carefully, rock details can look spookily like grand landscapes complete with hills, valleys, crags and

canyons. Sinuous bands of strata in sedimentary rock could be giant contours on a rocky escarpment. Gentle hollows formed by the erosion of the sea could be vast craters created by a meteor crashing to earth or a massive volcanic eruption. An area the size of your hand can hold as much interest as a vast landscape captured from the air.

Shooting rock details is easy. You don’t need specialist lenses or complicated techniques, and even if it’s raining you can still take great shots because your camera will usually be pointing down – so you can stand under a brolly and fire away without worrying about getting raindrops on your lens. Wet rocks can also look more colourful than dry ones, so it’s a win-win situation!

4Add interest Don’t be afraid to tweak what you find if it improves the shot.

I had a quick look around and found a bright orange pebble so I decided to use it to add a focal point and also a sense of scale. Just that one small element makes a big difference, as you can see.

1Find your subject Interesting formations can be found all over the world, so keep

your eyes peeled. Sedimentary rock is particularly good as it contains layers that are often different colours. We travelled all the way to Spittal Beach in England's northeast to shoot these beautiful rocks!

5Take a look around Once you’ve bagged a good shot, have a look around for

others. It’s surprising how many different images you can produce using a small rock formation as your subject. Clean up the rock if necessary using a small brush, or splash water on it for a wet look.

2Set up your gear Use a tripod to keep the camera steady. A standard zoom will be

ideal for filling the frame with details. Shoot on an overcast day when the light is soft and contrast low. Set your camera to aperture-priority and the lens to f/8 or f/11. Getting the exposure spot-on is usually straightforward.

6Post-production The images should be close to finished in-camera as no fancy

techniques were involved in their capture and you can process a whole series of shots in no time. Tweak Contrast if necessary to reveal more detail, and boost the colours using the Vibrance control.

3Compose your first shot The size of the area you frame doesn’t matter – it can be

a few inches or a few metres. Look for lines, colours, shapes, patterns and textures in the rock. This initial effort is okay but it looks flat and lacks a point of interest. Fortunately, that problem is easy to overcome!

Get the Picture Beach still-life


Rock starBy focusing on detail and

composition, you can create fantastic coast

images in any weather.

Exposure: 0.6 seconds at f/16 (ISO 100)


Jordan Butters

Camera: Nikon D800Lens: NIKKOR AF-S 16-35mm f/4G ED

FINDING TIME TO fit photography in your day-to-day life can be tricky, especially when you factor in the lack of hours of daylight during the winter months. Fear not – here’s a great idea that allows you to squeeze in a cheeky spot of

photography on your commute home!The use of rigs is commonly used in automotive

photography. A rig is a device used for mounting a camera to a car in order to capture images of the car in motion in relation to its surroundings. The idea being that, once secured to the vehicle, any long exposures will render the car sharp in the frame and the surroundings blurred with motion. Different types of rigs are used for different situations – from modest single suction cups to 10ft carbon-fibre booms fixed underneath the car’s chassis using magnets. The only problem is that much of this is specialist kit and out of the reach of many. There is, however, one piece of rigging kit that you’re sure to own – a tripod – and it’s this that we’ll be using to achieve these simple yet striking results.

The other important piece of kit that you’ll need is a remote release with lock function. Obviously safety is paramount when driving – you should always be focused on the road ahead rather than your camera, and a lockable remote will allow you to trigger the camera before setting off, and leave it to do its thing while you drive.

The effect is most pronounced with a wide-angle lens, too – something in the region of 10mm on an APS-C camera (16mm on full-frame). This focal length will allow you to capture a large portion of the car’s interior as well as the lights streaking past outside.

Finally, it should go without saying that you’ll need it to be dark out for this effect to work – although it can be done during the day using an ND filter, at night the light from street lamps, buildings and other cars makes it seem like you’re speeding through time!

Night driveCreate a dynamic long-exposure night-drive image using just your camera, a tripod and a remote release. Here’s how…

1Secure the camera Lock your camera off on a tripod and secure it into the back of the car. Angle the legs so that the rear seat

supports a single leg and the two other legs are splayed wide. Push the front legs in to the sides of the rear footwell, preventing side-to-side movement. Give it a wiggle to make sure it’s secure.

2Lock focus and exposure Use autofocus to focus on the dashboard before switching to manual focus. Select shutter-

priority or manual exposure mode and choose a shutter speed between 15 to 30 seconds. If using manual mode, select an aperture around f/8. Take a stationary test shot and adjust if required.

HANDY HINTSuction cup

You can capture images from the outside of the car using the same technique. You need a smooth

surface, such as a roof or bonnet, and a suction mount. Models

such as the Manfrotto 241FB are strong enough to support a pro digital SLR and wide-angle lens. Ensure a secure connection and for safety reasons keep speeds

below 30mph.

Get the Picture


HAIR MOVEMENT

3Use the remote release Clear your memory card to make sure that you have plenty of room first, before setting your camera to

continuous shooting mode. Fit your remote release and press the shutter release, clicking the lock button into place – the camera will continue to fire exposure after exposure. You can start your journey!

4Just drive You’ll find the best results come from smooth, straight sections of road where there are a lot of cars passing and a

variety of different coloured light sources. It only takes one stray pothole to throw an exposure out, so keep an eye on the road and just concentrate on your journey. Once home, review the results.

Final imageShoot in raw and tweak your

white balance to suit the mood of your image during processing.

Exposure: 20 seconds at f/8 (ISO 100)

Colourful Macro

Search for ‘220 Triathlon’ Australian edition

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BUDGET PHOTO

Times are tough for all of us at the moment, so while our passion for photography may not have diminished, our photo-expenses budget is sure to have taken a hit. Therefore, spending our

hard-earned cash on expensive new optics or the latest gazillion-pixel DSLR is unlikely for all but the most fortunate. However, there are many low-cost products that claim to offer us a chance to

capture images that belie their relatively low price tag, as well as items that can be used by photographers wishing to experiment with results. In Budget Photo, we aim to discover

if they deliver on the promise of fantastic photography on a limited budget.

Filter kits


ALTHOUGH PHOTOGRAPHY HAS always been perceived as an expensive hobby, there’s a rapidly growing industry that specialises in the manufacture of budget photo-related goods, so it’s now possible to buy lots of stuff at a fraction of the price it used to be. Like filters.

The use of filters peaked in the 1980s with the launch of the excellent Cokin range and, though most of us binned our tobacco grads and starbursts a long time ago (or sentenced them to a life of solitary confinement in the loft), there are many types of filter that are still very useful in this digital age.

The polariser is one of the most useful. By reducing the amount of polarised light entering the lens, a polarising filter deepens blue sky and enhances clouds; reduces or eliminates reflections in things like water and glass; cuts through glare on non-metallic surfaces so colour saturation is increased and generally improves clarity and contrast. It’s an invaluable filter for landscape photography in sunny weather – and as it also reduces the light by two stops it doubles as a handy Neutral Density filter as well.

The good old UV filter is another. It’s actually designed to get rid of the slight cool blue cast you get on your images when shooting in bright sunlight under blue sky or at high altitude where the levels of UV light are higher, and to improve clarity. If you do a lot of mountain photography it’s worth using a UV filter, though a more practical use for the UV filter is to provide permanent protection for the front element of your lenses. I’ve seen cameras blow over in strong wind and lenses dropped onto rocks and the front element left undamaged because the UV filter took the brunt of the impact. It’s also much safer to keep wiping rain and sea spray off a clear filter than a lens, and much cheaper to replace a damaged UV filter than a damaged front element!

ND grads are invaluable for landscape photography as they allow you to tone down the sky so that it doesn’t overexpose when you correctly expose the foreground. We all know that if you overexpose the sky to the point that areas of it blow out, you can’t rescue those areas during post-production – because there’s no detail to rescue! But if

you use an ND grad the sky won’t blow out in the first place!

These three types of filter are available from various manufacturers but one thing’s for sure – if you look at the main brands, you’re going to have to splash out a lot of money. Polarisers are the most expensive filters out there – you can easily spend up to $250 on one with a 77mm thread. But you don’t have to if you don’t want to, or you simply can’t afford it.

I had a look online and discovered a set of four 77mm screw-in filters for just $30 (including free postage) on amazon.com. Intrigued, I ordered a set. Sold under the Borwin brand (no, I’d never heard of Borwin either), the set consists of a circular polariser, a UV filter, a Neutral Density grad and a soft focus filter and it comes in a padded case with four pockets so it’s ready to pop into your camera bag and use.

Given that a polariser alone usually costs at least three times the price of this entire set, I was very keen to give it a try – fully expecting to be disappointed. Fortunately , on the day the filters arrived the sun was shining, so I grabbed my gear and headed out. Polarisers show their effect best on a sunny blue sky day, especially if there are

fluffy white clouds in the sky, too, as they stand out starkly against the blue, which is darkened by the polariser.

For the strongest effect, you need to keep the sun at roughly 90° to the camera – so you’re shooting the area of sky that contains the most polarised light – then rotate the polariser slowly on your lens and stop once you’re happy with the effect. Using the Borwin polariser, I had no problems seeing the polarised effect and the front section of it rotated easily on the lens.

Challengee: Lee Frost

Budget: $50

Theme: Filter kits

BUDGET PHOTO

Above: I went to the beach on a sunny day to give the polariser a test run.

Right: The results were surprisingly good, with even polarisation even at wide angles.

Below: UV filters offer no discernible difference in image quality under most conditions.

Borwin Digital Filter setPrice: $30Size: 77mm thread (all popular filter thread sizes available)Construction: Optical resin (filter) and aluminium (mount)Filters supplied: Circular polariser, ND grad, UV and Soft FocusAlso supplied: Case (holds four filters)Size: 205x100mm (carrying case)Weight: 127g (case and all four filters)Website: www.amazon.com

If you have lenses with different sized filter threads you could buy this set of 77mm filters and a set of stepping rings that allows you to adapt them for use on lenses with smaller filter threads. Search for ‘stepping rings’ at www.amazon.com – you can get a set covering thread sizes from 49-77mm for under $15.

Our budget buy

Without UV filter With UV filter

http://www.amazon.com


Budget filter kits


With polariser filter


I was shooting by water and capturing a reflection of the scene. You have to be careful when doing this as you can destroy the reflection while trying to polarise the sky, but I had no problems enhancing both the sky and the reflection.

I have to say, I’m impressed. I expected the polariser to be rubbish given the price and maybe not make much difference to the shot, but you can see from the comparison images that it does a great job – the polarised version looks so much crisper and more vibrant than the unpolarised shot. I used it on my Canon 17-40mm zoom at 17mm on a full-frame DSLR and didn’t see any sign of vignetting, which is great news for wide-angle fans, and even when pointed towards the sun, flare was well handled. The level of uneven polarisation seen in the wide-angle shots is also pretty low, which is another plus – often you get one side of the sky darker than the other when using a polariser on a wide-angle lens, and the effect looks odd. So far, so good!

Next up – the Neutral Density (ND) grad. Now, I’m only used to using ND grads that are rectangular and slot into a filter holder – Lee, Hitech, Cokin etc. A grad that screws onto your lens isn’t very versatile because you can’t move it up or down as you vary the amount of sky you include in a shot. In other words, with a screw-in ND grad the ND part of the filter always covers a fixed area, so you need to compose your shots with that in mind

otherwise you’ll cover too much of the image with the ND part of the filter, or not enough.

The ND (grey) part of the Borwin grad covers about the top 40% of the image area, so a little less than half. More significantly, its density is quite weak – I’d say no more than one to 1.5 stops – and it has a ‘soft’ graduation. On the plus side this means that if you include only 25-30% sky in a shot so the ND part of the grad falls below the horizon, you’re highly unlikely to see any signs that it has in the final shot.

On the downside, the weakness of the ND means that it’s not particularly

effective, so it only does a good job if the difference between the sky and landscape is no more than a stop or two. I used the ND grad when shooting on the coast at dusk and it worked fine because

the sky was reflecting in water so the foreground wasn’t much

darker than the sky. But if the sky is bright and the foreground unlit, you’ll

find that this grad isn’t strong enough. That said, it may hold the sky back enough to avoid areas blowing out, which means you can then darken the sky further during post-production. It’s also useful in situations where you have a mirror image of a scene being reflected in calm water in the foreground. By using the grad you can tone down the scene and the sky so that it balances with the reflection. You only need a weak graduate to do this – if you go OTT, the reflection ends up lighter than the scene being reflected,

Filter tips

Filters are optical accessories so always make sure they are kept clean otherwise image quality will be reduced – even more so with budget filters.

If a filter becomes scratched or scuffed, replace it with a new one to maintain optimum image quality.

Always keep your filters in a protective case or pouch to reduce the risk of damage – the case supplied with the Borwin filters is ideal.

To save bag space with screw-in filters you can screw them all together then place the filter stack in a soft pouch or wrap it in a cloth.

UV filters are handy for leaving on your lenses to protect the front element.

If you use two or more screw-in filters together, be aware that there’s a greater risk of vignetting with wide-angle lenses as the combined depth of the filter mounts may stray into the lens’s field-of-view. If you have a UV on your lens for protection, remove it before attaching another filter such as a polariser.

The more filters you use together, the more image quality suffers. Only use two or more when it’s absolutely necessary.

GOT A SUGGESTION?

Have a Budget Photo idea you’d like us to try out in a future issue? Email your suggestions to editor@

dpmagazine.com.au, titled ‘Budget Photo’, and we

just might give your suggestion a go!

BUDGET PHOTO

Above: The effect from the soft-focus filter won’t be to everyone’s taste, but at least by using the filter it’s one less thing to do in Photoshop!

Right: The Borwin ND grad filter lacks the strength for most situations, but can be used to hold back the exposure sufficiently to rescue it further in post-processing.

Without soft-focus filter With soft-focus filter

mailto:[email protected]


Budget filter kits


which defies the laws of physics and looks odd! I don’t really bother with UV filters as I always tend to have either a polariser, an ND grad or an ND filter on the lens, which provides protection. However, I appreciate that many photographers like to have permanent protection, and that really is where this filter comes into its own.

You’re not likely to see any difference in your shots by using a UV filter, so its main use is to reduce the risk of the front element being damaged. Comparing shots of the same scene taken with and without the UV in place, there’s no noticeable drop in image quality when the filter is used – though when shooting into the sun with the filter on the lens, flare was more likely.

Last but not least, the soft-focus filter. I often used soft focus filters in my film days, to add an atmospheric glow to shots, but you don’t need to add such effects in-camera these days because you can do it during post-production, using Photoshop filters, or the presets in applications such as Colour

There are lots of budget filters available these days – a quick search on Amazon or eBay will reveal literally dozens of options. Filters can be purchased in all popular thread sizes and individually or in sets, so you can put together a collection that’s ideal for your own type of photography.

Other budget options

Efex Pro. Consequently, a soft focus filter is pretty redundant and I’m not sure why it was included in this set, other than to make up the numbers (though a plain Neutral Density filter would have been much more useful).

Nevertheless, if you’ve paid for it you might as well use it, so use it I did! And guess what? I quite like the effect. It adds a delicate diffuse glow to images and you can control the level of diffusion by varying the lens aperture – the wider the aperture, the stronger the effect and the smaller the aperture, the weaker the effect. So if you shoot at f/4 the soft focus will be more obvious than if you shoot at f/11. It’s ideal for portraits, nude studies, still-life, glamour shots, flower portraits, landscapes – any subject where the addition of a little softness will enhance the mood.

Optically these filters aren’t up to the standard of Hoya, Tiffen or B+W, but they’re by no means bad either. I was surprised just how sharp the images are, and the colour balance is pretty good too. Okay, the polariser is a little on the cool side, but many

polarisers are – including ones costing several times as much as this entire kit! In fact, even if the other filters had turned out to be rubbish, I would still have been happy with my investment for the polariser alone.

If you’re using a pro DSLR and top-of-the-range lenses, I’d say you’re defeating the object by sticking budget filters on the front – there’s no point blowing your budget on the best lenses only to scrimp on filters. But if you’re fairly new to photography, using a entry-level DSLR and kit zooms, and fancy a cheap introduction to filters, you could do a lot worse than buy this Borwin kit. At under $40 it’s excellent value for money and you won’t be disappointed with your purchase, or the shots you take with it.

Polaroid Optics 4 Piece Filter Set

Price: $35Visit: www.amazon.comThis set contains UV, Circular Polariser, Warm-up and FLD (fluorescent to daylight) filters. It’s also available in all popular thread sizes from 77mm down to 37mm. The circular polariser and UV filters are handy but the FLD isn’t necessary with DSLRs as you can set your White Balance to Fluorescent and achieve the same result. The warm-up filter effect can also be added during post-production.

BPS 77mm FLD+UV+ Circular Polarizing filter set

Price: $18Visit: www.amazon.comLooks like great value (postage is free!) given that the set includes a circular polariser, but we haven’t tested it so we can’t vouch for the quality. As with the Polaroid set above, the FLD isn’t much use for digital shooters but the UV and polariser certainly are. May be a good option if your budget is very tight! Other thread sizes are available too.

XCSource 77mm ND2, ND4 and ND8 filters

Price: $15Visit: www.amazon.comA different kind of filter kit to the one tested here but it just shows what you can get for your money. These equate to one, two and three-stop NDs, or 0.3, 0.6 and 0.9. Use them together and you get six stops of light reduction. Great for shots of moving water. The price includes a carrying pouch and cleaning cloth. Other thread sizes are available.

With ND grad filter




EXPERT GUIDETO PORTRAITS

WORDS: DANIEL LEZANOIMAGE: BJORN THOMASSEN

WHILE YOUR CAMERA SKILLS AND LIGHTING TECHNIQUES ARE ESSENTIAL FOR CAPTURING GREAT IMAGES, IT'S HOW YOU INTERACT WITH YOUR SUBJECTS AND HOW THEY POSE THAT WILL HELP MAKE YOUR IMAGES STAND OUT

THE ART OF POSINGTHIS ISSUE’S PORTRAIT GUIDE focuses on the importance of your subject's pose to the success of the image. It's all well and good perfecting your lighting and composition but if your subject appears awkward and uncomfortable in the final results, your images are just not going to work. Over the next few pages, we examine the poses that work best for particular lighting styles, from fashion through to lifestyle to beauty and modern glamour. As you'll discover, some poses can be applied to different styles of photography while others

are best kept for specific shots. As well as what's right, we touch on the common mistakes that can detract or ruin a pose. By following the advice provided in our guide, you should see a definite improvement in your results. Above all, what's key to everything falling into place is how you and your subject work together – get it right and you'll get far better results – so make sure that you're confident and in control, so that your subject feels relaxed and settled, allowing you to capture the best possible portraits.



PORTRAITS: THE ART OF POSING

BJORN THOMASSEN"If you've decent interpersonal skills, it shouldn't take you long to put your sitter at ease. The important thing is to help them relax from the start and the best way to do this is by having a chat over a tea or coffee for at least 15 minutes. This will take their mind off the shoot and help build a bond of trust between you. Then when they're settled, talk through the plans for the shoot and get some feedback on what they think.

"Once you start shooting, building a rapport and interacting with your subject is a vital element of portrait photography. One of the reasons that I use a tripod is to free my hands so that I can be animated when directing my subjects. It also means that my face isn't continually hidden behind the camera – it improves communication, allows me to maintain eye contact with my

POSING FOR PORTRAITS is a nervous affair for the sitter, even if they're experienced, and for your portrait images to be successful, you need them to be as relaxed as possible. Your body language and how you bond with your subject will make a major difference to the quality of your final results. Build a bond with your subject and they'll be happier, more relaxed and far more comfortable in front of the camera. Be pleasant, respectful and positive and your subject will feed on your enthusiasm and deliver better expressions and poses. Bjorn Thomassen has been shooting portraits for over 25 years, so knows what's needed to put subjects at ease and how to pose them. Here he offers advice…

How to get the perfect poseGood interaction with the subject and a clear idea of posing techniques is as important as strong camera skills…

subject and they can see me smiling and being positive, which puts them more at ease. It's a fact that if you smile at someone, they find it very difficult not to smile back.

"During the shoot, I'll have music in the background and talk in a calm, soothing voice – it's a tried and tested way of making them more receptive to my ideas.

"Finally, it's important to realise how your body language and facial expressions can make a difference – be positive and offer encouragement. Some photographers forget when reviewing images that the sitter can see their expression. When reviewing images, never say if things aren't quite right – subjects will think it's their own fault even if it's down to things out of their control, such as the lighting. Be positive and train your face to always look happy!"

"How a subject should pose for portraits is a massive subject in itself and is a popular subject in my training courses as so many enthusiast photographers struggle with it. It's also a problem that I notice in the work of many professional photographers' work when I'm judging images for national and international awards. The following are some basic posing dos and don'ts that can be applied to all types of portrait shoot.

1) Regarding how to position the body, that's an incredibly broad topic that would fill a book but here's what you should always consider. Ensure the subject has a nice posture, otherwise the image won't work. Also, look for implied lines and shapes in how the arms, legs and body (as well as props) can subconsciously impress

the viewer. I find the 'S-shape' particularly successful, especially when shooting fashion, as it allows the eye to flow through the image. I also look to create implied triangles with the arms and the legs as this provides strong lead-in lines and balance to the image. One final note regarding the position of your subject's head – with men, keep the head (ie eyes) level as horizontal lines are strong and suit males. With women, diagonal lines are usually (although not always) better, so ask your subject to tilt their head.

2) A common problem tends to be with the positioning of hands. It might sound a minor issue, but poorly positioned hands can ruin what is an otherwise excellent image. This is particularly true when hands are close to the face – they compete for

attention and if not positioned right will spoil the shot. Ensure fingers and hands are shaped nicely and avoid showing palms or fingers at awkward angles.

3) With feet, my advice is simple – whenever possible, avoid having them at right angles to the body. Instead point them at a diagonal; they'll appear far more pleasing in the image.

4) Look at images in beauty and fashion magazines and adverts to see how the models are posed. Then shoot a series of pictures of the same subject in the same scenario, but direct them through a series of poses where they change the position of their shoulders, arms, hands and feet so you can see which work and which don't, then apply this to future portrait shoots."

How to master posing: Top tips from Bjorn Thomassen

Above: In this shot, the shape of the arms creates an implied inverted-S that subconsciously leads the eye through the frame.

Above: A couple of issues here – first, one hand is cropped out, the second is that the hand on the far right is too effeminate. It should be positioned like his other hand or into a soft fist.




Throw some shapes When asking your subject to pose, think about the shapes their body is creating. Using limbs to form triangles creates interest here.

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WITH BEAUTY PHOTOGRAPHY, the composition of images ranges from head and shoulders to very tight on the face – it rarely extends to include much of the body unless the subject is nude. The emphasis is on the subject's make-up and hair styling, as well as her facial features and expression. The high resolution of digital cameras means that the make-up needs to be applied carefully and blemishes covered up as well as possible. Although post-production can help greatly in this regard, you still need to ensure your model has the best possible make-up and hair styling before you start – and regular touch-ups during the shoot.

With beauty shots, the subject's expression is important – look at the adverts for make-up and other beauty products in fashion magazines and you'll find models are usually very serene and serious in the images. The lighting is applied to make the most of the contours of the subject's face, so it's important that you have your subject pose before fine-tuning the lighting. While with other types of portrait it's commonplace to have your subject change pose every couple of shots, with beauty photography, there's a far more studied and meticulous approach to the pose and expression of your subject, so get this right at the start. Other important considerations are your camera angle – as you'll most likely be using a short telephoto lens, slight shifts in your shooting height can dramatically change how the subject appears in the

frame. Shallow depth-of-field can be particularly effective if your subject is facing straight on to the camera, but if angled you may need to close the aperture down to give sufficient depth-of-field to ensure the face and shoulders are sharp. New York beauty photographer Stephen Eastwood provides his own expert advice to beauty photography (right).

Beauty portraits Pro insight STEPHEN EASTWOOD ON...

BEAUTY PORTRAITS"When shooting beauty portraits, I start by taking a series of images and ask the model to make small changes to the angle of her face for each frame. I then show her the images and explain how small changes make a big difference to the result. Look at your model's face to see if it's symmetrical. If it is then they're perfect for head-on photography, but most are not (for instance, one eye may be slightly higher than the other), meaning you'll need to shoot from an angle. If this is the case, I ask the model if she has a better side and start shooting that side of her face. I then try the other to see how it looks and if I prefer it I'll show her the images and explain why. A common mistake with beauty images is eye placement – I see amazing shots ruined by the eyes not looking in the best direction. I always put my hand out and ask the model to look in different directions to establish the perfect shot. Lighting is key. Models with a relatively flat angular face suit flat lighting, while those with rounded faces need grids or beauty dishes to give shadows and highlights. Once you know what set-up is best, you can pose them and arrange lights for the best results."

Expression is one of the most important aspects of beauty shots – as well as lighting to make the most of the contours of your model's face.


Fashion portraitsTHERE ARE TWO distinct types of fashion portraits – those that have subjects posed very naturally and those with poses that are distinctive, unusual and exaggerated. Both can work equally well and really depend on what you (or your client, if you're shooting fashion as a job) are looking for. With both styles, there needs to be a good deal of trust between you and the model, especially if they're inexperienced. You'll often be asking them to wear unusual items in the name of art, or have them take up a position that may not feel completely natural. Experienced models understand this, but if you're using family members or friends, explain what you're doing and show them successful images on the camera's LCD monitor to give them confidence.

While the subjects have to look good in the images, the emphasis is on ensuring that the clothes are the stars of the shots. Therefore, it's important that the clothes are clearly visible and worn properly – watch for undone buttons or loose straps that will spoil the image, regardless of how well the model poses or is lit.

Choose locations that suit the clothing. A summer dress suits a field of poppies or sunflowers as well as a beach, while jeans and a leather jacket suit gritty urban scenes. Look to have your subject interact with the location, leaning against walls or lamp posts, smelling a plucked flower or running along the waterline. Many of the best fashion portraits look completely natural and bear many similarities to lifestyle photography.

The exaggerated poses usually work best to make the most of a garment's shape and styling. Arms extended to reveal the shape of a top or hands gripped to skirts or dresses to extend them from the body work well.

Pro insight

BRETT HARKNESS ON...FASHION PORTRAITS"While I've shot fashion in studios, for me, the best images come from shooting on location, both indoors and out. Here, I can have the subjects interact with their surroundings. This could involve them leaning against pillars, beautifully backlit while sat on a window ledge or strutting confidently along a busy street.

"Of course, there are times where you simply want subjects standing or sat in a picturesque scene, such as against a setting sun, but whatever the scenario, locations allow subjects the chance to add more personality to fashion images.

"It makes a massive difference if you work with experienced models who know how best to utilise their body shape. If you can't afford a model, visit a dancing school and hire a dancer to pose

for you – they instinctively know how to position their feet and arms and hold their body shape so that it looks natural.

"Unless I'm looking for a very strong pose, I usually have my model turn their body three-quarters to the camera, with their head facing either the light or the camera. It’s always a good idea to have the subjects turn towards the light and then figure out how to pose them. The arms and hands are often the most difficult thing to get right. I sometimes ask models to find something to do with them and get them to stop when it looks good. With guys, a good tip is to have them squat and then look at the shape of their forearms to determine the best camera angle to shoot from. You can see more examples of my fashion images at: www.brettharknessphotography.com/g/fashion."

Poses are often exaggerated when shooting fashion, with the idea being to make sure the clothes are shown to their best advantage.

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Modern glamourSEXY, SASSY AND saucy are all terms that can be used to describe 'new glamour', which became popular in the 1990s following the massive growth in men's lifestyle magazines such as FHM and Maxim. It's important to note that this style of photography, while making the most of the subject's sex appeal, is far from being classed as pornographic.

It's characterised by a relatively simple lighting set-up and plain, light backdrops. Another key factor you need to consider is the control and confidence on show from the models – the poses, while designed to show off the curves of the subject, are generally bold and assertive.

With this type of portrait, it's best to use models with experience, especially if you've never tried it before. Subjects need to exude confidence and control, so using models who regularly pose for this type of photography means they can adopt the poses they know work well.

This style of photography is aimed at exuding sex appeal and a model's pose can do this in a number of ways. Arching the back emphasises curves and pushes out their bottom and bust. Strong eye contact works well, as does pouting of lips. There is no need to have your subject undress – revealing clothes such as crop tops and shorts that show off the stomach and legs, or a bra and shorts, are both popular style sets worn by models. This type of portrait works through strong and suggestive poses rather than nudity.

Pro insight

TOM CALTON ON...GLAMOUR SHOOTS"I shoot various forms of portrait photography but have only recently shot the relatively modern style of editorial shoot commonly known as 'new glamour'. Monthly magazines like FHM, and more recently weeklies like Nuts and Zoo, have regularly run this type of shoot, often with celebrities from TV soaps. Most are shot in a studio using plain backdrops and I generally shoot my models against a wall in a corner of the office using a single softbox. I'll ask my subject to lean against the wall and adopt

strong, sexy poses. These models tend to be slim with curvy figures, which I can amplify by having them pull their shoulders back. I'll usually have them keep their hands busy by having them pull their clothing to the side or play with their hair, which adds to the images' appeal. My images have always been restricted to short-crop clothing or underwear as I don't think it's necessary to have my subjects go topless for the shots – for me, these images work best when the subject exudes sex appeal through their expression and pose rather than through nudity."

Suggestive posing and lingerie are the hallmarks of ‘new glamour’. Getting good results means using a subject who is used to being shot in this way, so use a model with experience.

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PORTRAITS: EXPRESS YOURSELF!

Lifestyle shotsLIFESTYLE PHOTOGRAPHY CAME into its own in the 1990s, when a new wave of photographers emerged that were leaving static, posed portraits behind to capture far more natural and relaxed results.

The secret to great lifestyle photography is to make it look as if nothing is staged. The subjects know they're being photographed, but the secret is to make the shots appear candid – as if no photographer was present.

There are different ways in which we can do this, but the most important one is to ensure the subjects are comfortable and relaxed before you begin. Spend time with them before you take their photos. If they're strangers who have paid for you to shoot them, then meet with them a couple of times a few days beforehand and get to know each other – this is especially important if they have children. On the day of the shoot, leave camera kit in bags, have a drink and a chat and get everyone relaxed and enthusiastic before starting. Once you begin, rather than direct in fine detail how you'd like the subjects to pose, as you would with other forms of portraiture, give gentle instructions. Your key emphasis is ensuring subjects look natural – so whether you ask them to stand, sit, lie or walk, shoot from a distance using the long end of a telezoom to help them feel more relaxed. Give them gentle guidance such as asking them to smile, or make slight changes to the position of a hand, arm or leg, or shifting their position to suit the lighting. If you're shooting a couple or family, have them interact by one person or both looking at each other. Constant reassurance throughout the shoot will give subjects confidence and help them relax – once they do, you'll find them posing more freely.

Every good lifestyle photographer has their own way of working, so it's worth seeing if they have a blog to gain expert insight.

Pro insight

BJORN THOMASSEN ON...SHOOTING LIFESTYLE"I love shooting lifestyle portraits – it's a chance to really let the personalities of my subjects come through. From children through to teenagers and adults, the lifestyle approach offers the opportunity to give more freedom to how subjects pose for the image. Yes, direction is needed, but it should be at the start of a set of images and then on odd occasions when you want to give instructions. It's amazing how people moving around naturally can look awkward, so be prepared to give input. Give the subject an action that distracts them so they're less conscious of the camera. Also, ask them to hold the gaze for a second as they complete their activity. When shooting members of the public rather than models, more direction is needed, but I ensure that the mood is light-hearted the entire time so that the subjects feel as comfortable as possible. The best images usually follow a moment of spontaneity – for instance, after someone has said something funny. That's when you'll capture people looking most natural – in that moment when they forget they're being photographed.

"The skill with lifestyle photography is more an eye for composition and the ability to grab the shot in a split-second when something special happens. It's a style of photography where the relationship between the photographer and the subjects can make the most difference. It's odd that while there can be less instruction given than in other forms of photography, how you interact with your subject is critical to great results."

Capturing natural moments is the essence of shooting lifestyle. It should look as though a photographer wasn't even there, with the subjects unaware of their presence. How you interact with your subjects is key to great results.

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MOTHER OF TWO ELENA SHUMILOVA FIRST PICKED UP A DIGITAL SLR IN 2012 TO DOCUMENT HER BOYS’ CHILDHOOD. HERE, SHE TALKS TO JORDAN BUTTERS ABOUT HER UNIQUE STYLE OF PHOTOGRAPHY AND THE ART OF CAPTURING BREATHTAKING MEMORIES…

A MOTHER’S LOVE

Cutting Edge

Elena Shumilova

IT’S HARD TO believe that Elena Shumilova picked up her first digital SLR just 22 months ago. Now, at the age of 32, this former architect from the small town of Andreapol, 550km to the

west of Moscow, Russia, has received huge viral success on the internet – all thanks to her instantly recognisable style of photography and the ethereal nature of the images that she creates. “I’m inspired by my two sons; Yaroslav and Vanya, now aged five and two,” explains Elena. “So when I started taking photos I was naturally drawn to them and their adventures. I quickly realised that you don’t need fancy outfits, lights and a studio to create beautiful images – in fact, the simpler the setting and the environment

is, the easier it is to capture genuine, heartfelt moments.”

Elena spent the first six months with her new camera, practising and learning photography every day, observing and analysing what she liked and what she didn’t. It didn’t take long before her images were creating a buzz and she started receiving compliments and commissions to shoot other families, though she soon discovered that this side of the business didn’t appeal. “I started getting approached to shoot portraits and families locally, which I did for a while. However, it soon became apparent that, when photographing for a client, you have to bend to their requirements and their tastes – whereas I only ever wanted to fulfil my own artistic vision. Sometimes there’s a compromise to

be had, but I don’t want my images to be about compromise. I decided to abandon the idea of shooting for other people and just concentrate on creating the type of images that I wanted to create.”

Aside from Elena’s vision for what makes a beautiful image, it’s her sons, the animals and their surroundings who are the stars of the show. There’s a constant theme present – one of innocence, discovery, adventure and her boys’ relationship with the creatures on Elena’s rural family farm in Russia. “Most of my images are circumstantial,” says Elena. “I photograph my children and the animals on our farm because they are the things closest to my heart. Many of the images are taken when we’re out on the farm, or going for a walk.” Naturally, by their side is Elena’s family dog

Cutting Edge


– a Central Asian Shepherd by the name of Misha – a gentle giant who appears to share a channel of silent communication with her boys, which Elena captures wonderfully.

It’s immediately obvious that Elena’s portfolio is far more than a collection of family snaps – this is her art and no matter how circumstantial the scene that she focuses her lens on, the process doesn’t start or end at the press of the shutter. It’s clear that a lot of planning, time, love and effort goes into the creation of each image. “Drawing is an important part of the process. Drawing is my way of thinking and I seem to be able to translate my thoughts far more eloquently through drawing than I ever could by writing them down,” explains Elena. “Sometimes I draw complete images, at other times it’s a way of recording

elements or ideas. Photography is a visual art – even if you aren’t an artist, creating some sort of visualisation will help grow confidence in an idea and make it a reality.”

“One of the most important parts of a portrait is your subject’s pose,” she continues. “I always pay a lot of attention to body position. Poses communicate emotion and character, but the wrong pose can make an image look awkward or incomplete. The position and pose of my children and the animals in relation to the overall composition is incredibly important.”

Post-processing plays a big part in creating the ‘Elena Shumilova look’, as I’ve heard it called already on various internet forums, but she’s keen to keep her secrets close to her chest for now. “I edit my images at night after the children are in bed, and

spend a lot of time getting them to look just how I want,” reveals Elena. “I plan to put together some talks and seminars on how I process my images in the future.”

It seems that the appeal of Elena’s ethereal images spans far and wide, and what started out as a mother photographing her children growing up has become a viral hit. At last count her portfolio on 500px.com has been viewed over 2.23 million times and her work has been pored over by news outlets from around the world, ranging from the Daily Mail to the Huffington Post. Elena’s response to all of the attention is humble. “It makes me happy that people like my pictures and it makes me focus on creating better images still.” To view more of Elena’s work, visit: www.elenashumilova.smugmug.com

Elena Shumilova

I ALWAYS PAY A LOT OF ATTENTION TO BODY POSITION. POSES COMMUNICATE EMOTION AND CHARACTER, BUT THE WRONG

POSE CAN MAKE AN IMAGE LOOK AWKWARD OR INCOMPLETE


http://www.elenashumilova.smugmug.com

WHAT STARTED OUT AS A SMALL-SCALE PERSONAL PROJECT QUICKLY BECAME A LOCAL SENSATION. JORDAN BUTTERS TALKS WITH BRANDON CAWOOD ABOUT RECOGNISING EVERYDAY HEROES

“AS A CHILD I was obsessed with super heroes. I had the action figures, the posters and all of the ambition to become a super hero when I grew up. Naturally I wanted to be Batman – let’s face it,

he’s by far the coolest of the bunch.”Brandon Cawood didn’t grow up to

become Batman. But his passion and enthusiasm to make a difference didn’t falter. This 30-year-old commercial photographer from Georgia, United States, did, however, end up working with heroes – albeit the kind that don’t tend to wear capes.

Rewind a few years and, after picking up his first camera in 2010, Brandon found himself shooting everything and anything – weddings, families and, most importantly, local bands. “This got me interested in commercial photography and was the foundation for my company, Flash Light Productions,” he explains. “I love how you can take a small-time band and shoot them in the same way that the biggest names in the world were shot. It was my goal to make local bands look like worldwide celebrities.”

This mantra put Brandon onto the idea of taking everyday people and presenting them on an epic scale. “I was always inspired by the style of big-production Hollywood action movie posters, so I conceived the idea of taking local public safety, law enforcement and first responder personnel and creating a

series of larger-than-life images. Real people doing real jobs but presented in a way that made them seem like super heroes. They are the men and women who put their lives on the line every day in the name of others, yet receive none of the glory and glamour. That was the start of Not All Wear Capes.”

With a strong idea in mind, Brandon set about making it a reality, focusing on local heroes in his hometown of Dalton, Georgia. Getting the idea off the ground wasn’t easy. “The project almost never happened,” remarks Brandon. “I tried to follow the proper chain of communication, but after back and forthing I wasn’t getting anywhere. I was confident that with one image under my belt I could convince others to take part so I put a call out on social media. I had an old friend get in touch whose fiancé was a firefighter. ‘I’ve Got You’ became the first image in the series – from there I had something tangible to show people and it became a lot easier to arrange more shoots. Before long I had different agencies contacting me requesting that I include them in the project!”

With the wheels in motion, Brandon soon realised that rather than just a personal project, Not All Wear Capes could be put towards a good cause. “Just shooting for my portfolio didn’t feel like enough. I’ve always believed in the importance of using a skill to benefit others if possible. I decided to put the images together in a calendar. All in,

NOT ALL WEAR CAPES

I think we raised around $6,000 towards a scholarship program for the Creative Arts Guild here in Dalton.”

Looking at the images you might think that there was a big budget or team behind this success story, but you couldn’t be further from the truth. “There’s no production team involved – all of the people in the images are real-life professionals working in their respective industries, with the exception of the criminals, obviously! My fiancée and

1) The Stand Off: “The officers and truck were shot in situ using three Paul C. Bluff Einstein strobes. The lighting effects were added in post.” 2) K9: “Getting the pose right for both dog and owner was tricky so I shot them separately.” 3) Everything Will Be OK: “The only shoot that was interrupted by an emergency call out!”

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business partner, Whitney, even features in a few of the images. There’s a lot of planning that goes into the images but working on a budget means that I have to make the best of what I have. The GSP Diver image, for example, was shot with the diver propped up by chairs. The underwater elements were then shot through a small fish tank at home!”

The graphic, exaggerated style of Not All Wear Capes is what really sets the project apart and it’s during post-processing that the images really come to life, as Brandon explains: “The images are all composites comprising of between 20-40 different images. It’s labour intensive – each image

takes between five and 25 hours of post-processing, depending on how much compositing is needed. I do all of my own processing, and I’m entirely self-taught. My style is very much geared towards that animated look and I pull a lot of influence from the mood and tonality of movies. I’m also a big fan of commercial photographers such as Dave Hill, Tim Tadder and Joel Grimes, so I draw influence from their work, too.”

Since its inception, Not All Wear Capes has gone on to become a great success, both in Dalton and virally, via the magic of the internet. “The local community support for the project has been the driving force. More

specifically, it has meant a great deal to the public safety, police, fire and first responder personnel and their families – this group of people, at least where I’m from, have never been showcased in this way before.”

What’s more, this ambitious project has paved the way for Brandon to shoot more of what he enjoys, highlighting the importance of challenging yourself as a photographer and taking on personal projects. “This type of work is important as it not only shows people what you’re capable of but also leads to more work of the same kind. I’ve unintentionally put myself in somewhat of a niche – I’ve been commissioned by companies working

NOT ALL WEAR CAPES HAS EXCEEDED

EXPECTATIONS, BOTH IN ITS SUCCESS AND ITS IMPACT ON MY

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in the public safety and law enforcement industry to shoot commercial campaigns and can see myself picking up further related work in the future. Not All Wear Capes has exceeded expectations, both in its success and its impact on my outlook. It has given me a passion to use photography as a way to raise awareness. The extra work that has come as a result of it is great too, but I never want to take for granted how lucky I am for finding something that I’m passionate about and being able to use my skill to make a difference.” To find out more about the project, visit: www.flash-light-productions.com

1) Emerging from the Bearcat: “I shot the SWAT team individually and composited them later.” 2) Finding the Evidence: “I shot the diver resting on a chair and the other elements in a fish tank.” 3) I’ve Got You: “The first image in the series. The firefighter was sat in the back of my truck which allowed me to get low enough to get this angle. The flames were shot outside at home.”

Brandon Cawood


http://www.flash-light-productions.com

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Plus

DSLR LISTINGS p96 TELEZOOMS UNDER $300 p97

TAMRON SP 150-600MM F/5-6.3 p104 STACKING UP p106

IT LOOKS AND HANDLES LIKE A 35MM FILM SLR, BUT IS IN FACT THE LATEST FULL-FEATURED COMPACT SYSTEM CAMERA BY FUJI. WE LOVE IT AND THINK YOU WILL TOO

FUJIFILM X-T1

PHOTO KIT TESTED & RATED BY EXPERTS

Gear


IT'S FAIR TO SAY that Fujifilm has found its niche in today’s market. In fact, its popular retro-styled X-series line-up of compact and interchangeable lens cameras has gained somewhat of a cult following amongst professional and enthusiast photographers in the past few years. The newest addition to the foray is the classically styled X-T1, a Compact System Camera that utilises Fuji's X-mount and offers a host of impressive features. With a central pentaprism-style ‘hump’ that houses a large electronic viewfinder rather then the traditional rangefinder-style viewfinder found in the X-Pro1, Fuji’s intentions with the X-T1 are clear. This is Fuji taking on the digital SLR market, and the X-T1 looks set to be a formidable force to be reckoned with.

Handling & ease of useThis is a good-looking camera – that much is plainly obvious. Styled in much the same vein as the rest of the X-series, the X-T1's exterior is made of tough but light magnesium and shrouded in a comfortable

rubber grip. The three prominent top-plate dials, which control ISO, shutter speed and exposure compensation, are milled from aluminium and offer a satisfying notch as they click into position. It's these dials that control most of the X-T1's shooting functions, which gives the camera a refreshingly analogue feel to go with its retro looks. Almost every setting can be changed without referring to a digital screen, allowing for some speedy dialling in of settings, once familiarised. The only dial missing from the X-T1's top plate is aperture control – Fuji's X-mount lenses feature aperture rings on the lens, although some, such as the kit 18-55mm f/2.8-4 R, offer no visual indication of the aperture setting without referring to the LCD or viewfinder – a reminder that this is a digital camera after all. Fuji's prime lenses on the other hand feature aperture markings on the barrel, which enhance the X-T1 experience.

Perhaps most often used is the exposure compensation dial, which sits directly next to the shutter button. Ranging from -3EV to

+3EV in third-of-a-stop increments, it allows for fast adjustments on the fly, with the electronic viewfinder instantly relaying the effects of any changes made. With the number of physical controls that Fuji has crammed onto this little camera considered, it's an achievement that it feels so intuitive to use, although the fat-fingered amongst us will from time to time find ourselves accidently pressing the movie record button when turning the exposure compensation dial, but this is a minor inconvenience.

As we mentioned, it's the OLED electronic viewfinder that is the jewel in the X-T1's crown. Offering 0.77x magnification (bigger than the Canon EOS 5D Mk III and Nikon D800) and a lag time of just 0.005 seconds, it's really very good. Shooting information is overlaid on the viewfinder and, if you tilt the camera into portrait-orientation, the information rotates too. The viewfinder also features multiple focus-assist modes, should you want to focus manually, including split-screen focusing, high-magnification zoom or focus peaking. There's even a 'dual' focus mode, which shows you the full scene alongside a smaller focus assist screen, allowing you to establish perfect focus and composition at the same time. Alongside the viewfinder, there's a 3in 1.04-million-dot LCD screen, which tilts up and down, but not out to the side.

In hand, the X-T1 feels reassuringly solid. Heavy enough so as not to feel flimsy, but light enough to make trekking around with it slung over your shoulder or hung around your neck a pleasant experience. Score 24/25

FUJIFILM X-T1

Fujifilm X-T1: Dimensions

IN THE BOXThe Fuji X-T1 is supplied with a Li-on battery (NP-W126), charger, body cap, strap,

external flash (EF-X8), software and manual. Two kits are available: body only and with

18-55mm f/2.8-4 lens.

Fujifilm’s latest stylish offering boasts wi-fi, weathersealing and an impressive viewfinder. Jordan Butters puts it through its paces to see what the fuss is about

SPECIFICATIONS

Sensor: APS-C X-Trans CMOS II (23.5x15.6mm)

Resolution: 16.3-megapixels

Maximum image resolution: 4896x3264 pixels

Number of AF points: 49

Multi-zone metering: 256 segments

ISO rating: 100-51200

Shutter speeds: 1/4000sec-30 seconds + Bulb

Built-in flash: No. Supplied flash: GN 8 (ISO 100, m)

Storage: SD/SDHC/SDXC UHS II

Continuous frame rate: Eight frames-per-second

LCD monitor: 3in (1,040,000 dots)

Size: 129x89.8x46.7mm

Weight: 440g (including battery and card)

Website: www.fujifilm.com.au

Body only: $1650 (guide)/ $1150 (street)

18-55mm kit: $1900 (guide) / $1550 (street)

TEST: JORDAN BUTTERS

HEIG

HT:

89.

8M

M

WIDTH: 129MM LCD: 3IN DEPTH: 46.7MM

Gear

http://www.fujifilm.com.au


Colour rendition is very impressive, with vivid hues and natural skin tones, as we’ve come to expect from Fuji

VERDICT

The Fujifilm X-T1 is a very strong performer, offering stylish design and superb ergonomics and performance. The features on offer rival many pro DSLRs and the resulting images are fantastic. There's also the great selection of X-mount lenses available, which swings the favour towards the X-T1.

It's not without competition; the Sony Alpha 7 ($1500 body-only) offers the full-frame advantage, if not the lens choice, and the Olympus OM-D E-1 ($1500 body-only) is similarly styled but utilises a smaller Micro-Four-Thirds sensor.

All things considered, Fuji has built a cracking all-round camera here. If you're looking for DSLR-like performance and features without the bulk then the X-T1 should be seriously considered! Impressed.

Enthusiast-level CSC

Above: From a travel photographer’s perspective, the small size in comparison to DSLRs and its excellent overall performance makes the Fujifilm X-T1 a very tempting proposition.

HANDLING 23/25

FEATURES 24/25

PERFORMANCE 24/25

VALUE FOR MONEY 23/25

OVERALL 94/100

Exposure: 1/450sec at f/1.4 (ISO 200)

FeaturesBeneath the surface, the X-T1 boasts the same 16.3-megapixel X-Trans CMOS II APS-C sensor and EXR Processor II as its little brother, the X-E2. There's a hybrid AF system that uses both contrast- and phase-detect systems to ensure fast and accurate autofocus – it works well, too, even in low light. As mentioned previously, the manual focusing side is well catered for and there's also a continuous AF mode that works well, although still isn't quite up to scratch when compared to a comparatively priced DSLR.

The X-T1 offers a standard ISO range of 200-6400, expandable to 100-51200, although strangely the default H2 setting maxes out at 25600, and needs changing in the menu should you wish to see in the dark. The shutter speed dial can be cranked up to 1/4000sec or as slow as one second, with a Time mode taking care of anything up to 30 seconds and Bulb mode handling longer exposures. There's also an impressive eight frames-per-second burst mode which, when coupled with the X-T1's UHS-II card compatibility, can rattle off an incredible 23 Raw files, or 47 JPEGs!

To reinforce that the X-T1 is aimed at serious photographers, the camera is also weatherproof, with 86 dust and water seals. It's also designed to cope down to -10°C. The caveat, for now, is that there are currently no weathersealed lenses to mate up, but a handful are due later this year. There's a clutch of film-inspired picture

styles to choose from, as well as an in-camera panoramic mode to capture wide scenes. Video lovers will be impressed by the Full HD 1080p 60fps capabilities, too.

Finally, there's built-in Wi-Fi, which is remarkably easy and quick to use, allowing for remote transfer of images to a computer, smartphone or tablet, as well as full remote control of the camera, including adjustment of all settings and focus points – neat stuff!Score 24/25

PerformanceOut in the field, the X-T1 is a class performer. Operation is quick and easy, although the menu system still isn't quite up to the accessibility of others. Thankfully, the dials are a joy to use. AF performance is solid, with focus locking on quickly and accurately, for the most part. However, the AF selection point is frustratingly large for some scenarios, sometimes making it tricky to pinpoint focus. Performance below ISO 800 is excellent, holding its own up to ISO 6400.

In-camera JPEG processing is superb, with the range of film-style effects allowing you to create stylised images in-camera. Colour rendition is very impressive, too, with vivid hues and natural skin tones, as we've come to expect from Fuji. The latest version of Adobe Camera Raw (8.4) offers improved support for the X-T1's Raw files, alternatively, the camera ships with Fuji's own SilkyPix Raw converter, which is quick and easy to use.Score 23/25

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W! Canon

EOS 1100D$550 12.2 1.6x 2.7 SD

(HC&XC) HD – – 1/4000 100-

64001/200 3 495 129.9x99.7

x77.9Aug 11 85

NE

W! Canon

EOS 600D$650 18 1.6x 3 SD/

SDHCFull HD – 1/4000 100-

128001/200 3.7 515 133.1x99.5

x79.7Jun 11 95

N

EW

! Canon EOS 100D

$890 18 1.6x 3 SD/SDHC

Full HD – 1/4000 100- 25600

1/200 4 407 116.8x90.7 x69.4

Aug 13 92

N

EW

! Canon EOS 700D

$920 18 1.6x 3 SD/SDHC

Full HD – 1/4000 100- 25600

1/200 5 580 133.1x99.8 x78.8

Jul 13 92

N

EW

! Canon EOS 70D

$1300* 18 1.6x 3 SD/SDHC

Full HD – 1/8000 100- 25600

1/250 7 755 139x104.3 x78.5

Nov 13 94

Canon EOS 7D

$1400* 18 1.6x 3 CF Full HD – – – 1/8000 100- 12800

1/250 8 820 148.2x110.7 x73.5

Jan 10 93

Canon EOS 6D

$1900* 20.2 1x 3.2 SD/SDHC

Full HD – 1/4000 50- 25600

– 1/180 4.5 755 144.5x110.5 x71.2

Mar 13 90

Canon EOS 5D Mk III

$3400* 22.3 1x 3.2 CF & SD/SDHC

Full HD – – – 1/8000 50- 102400

– 1/200 6 950 152x116.4 x76.4

Aug 12 94

Canon EOS-1D X

$6700* 18.1 1x 3.2 2x CF Full HD – – – 1/8000 50- 204800

– 1/250 14 1340 158x163.6 x82.7

– –

Nikon D3200 $500 24.2 1.5x 3 SD/HC/XC

Full HD – – – 1/4000 100- 12800

1/200 – 4 505 125x96 x76.5

Sep 12 91

Nikon D90 $790*

12.3 1.5x 3 SD/SDHC

HD – – – 1/4000 100- 6400

1/200 4.5 620 132x103 x77

Nov 08 90

Nikon D5200 $830*

24.1 1.5x 3 SD/SDHC

Full HD – – – 1/4000 100- 25600

1/200 – 5 555 129x98 x78

Apr 13 93

N

EW

! Nikon D5300 $950

24.2 1.5x 3.2 SD/SDHC

Full HD – – – 1/4000 100- 25600

1/200 – 5 530 125x98 x76

Feb 14 94

Nikon D7100 $1250* 24.1 1.5x (plus 1.3x)

3.2 SD/SDHC

Full HD – – – – – 1/8000 100-25600

1/250 6 765 135.5x 106.5x76

June 13 93

N

EW

! Nikon D610 $2000*

24.3 1x 3.2 SD/SDHC

Full HD – – 1/4000 50-25600

1/200 6 850 141x113 x82

– –

Nikon D800 $3200* 36.3 1x 3.2 CF & SD/SDHC

– – – – 1/8000 100-25600

1/250 4 1000 146x123 x81.5

July 12 94

N

EW

! Nikon Df $2900 16.2 1x 3.2 SD/SDHC

– – – – – – 1/8000 100-204800

– 1/250 5.5 765 143.5x110 x66.5

Mar 14 86

Nikon D800E $3300*

36.3 1x 3.2 CF & SD/SDHC

– – – – 1/8000 100-25600

1/250 4 1000 146x123 x81.5

– –

Nikon D4 $6900* 16.2 1x 3.2 CF & XQD

Full HD – – – – – 1/8000 100-204800

– 1/250 11 1180 160x156.5 x90.5

– –

Olympus OMD EM-5

$1100* 12.3 2x 3 CF/SD HD 1/8000 100- 6400

1/250 5 800 142.5x116.5 x74.5

– –

N

EW

! Pentax K-500 $650 16.28 1.5x 3 SD/SDHC

Full HD – – 1/6000 100-51200

1/180 – 6 650 129x96.5 x70

– –

Pentax K-30 $750 16.28 1.5x 3 SD/SDHC

Full HD – – 1/6000 100-25600

1/180 – 6 590 128.5x96.5 x71.5

Nov 12 91

N

EW

! Pentax K-50 $800 16.28 1.5x 3 SD/SDHC

Full HD – – 1/6000 100-51200

1/180 – 6 650 129x96.5 x70

Oct 13 91

Pentax K-5 II $950* 16.28 1.5x 3 SD/SDHC

Full HD – – 1/8000 80-51200

1/180 – 7 760 131x97 x72.5

Jan 13 91

N

EW

! Pentax K-3 $1300* 23.35 1.5x 3.2 SD/SDHC

Full HD – 1/8000 100-51200

1/180 – 8.3 800 131.5x100 x77.5

– –

Sigma SD1 Merrill $1300* 46 (3x 15.4)

1.5x 3 CF – – – – – 1/8000 100- 6400

1/180 5 700 145.5x113.5 x80

– –

Sony Alpha 58 $650 20.1 1.5x 2.7 SD/MS Full HD – – 1/4000 100-16000

1/160 8 492 128.6x95.5 x77.7

– –

NE

W! Sony Alpha 65 $800 24.3 1.5x 3 SD/MS Full HD – – 1/4000 100-

160001/160 – 10 543 132.1x97.5

x 80.7Feb 12 92

Sony Alpha 77 $950* 24.3 1.5x 3 SD/MS Full HD – – 1/8000 100-16000

1/250 – 12 653 142.6x104 x 80.9

Apr 12 92

Sony Alpha 99 $2700* 24.3 1x 3 SD/MS Full HD – – 1/8000 100-25600

– 1/250 – 10 812 147x111.2 x 78.4

– –

3

1

4

2

THEY'RE ALL UNDER $300, AND SOME ARE AS CHEAP AS $150! THERE'S NO DOUBTING THE AMAZING VALUE FOR MONEY, BUT ARE THEY ANY GOOD? PREPARE TO BE PLEASANTLY SURPRISED!

TELEZOOMS UNDER $300

WITH SOME TELEZOOMS costing well into four figures, what can you honestly expect to get for a fraction of that money? A couple of the lenses here can be had for only $150! Are they just rubbish, or can they really take good sharp pictures? They most certainly can!

Of course, there's always some truth in the old saying 'you get what you pay for', but one thing you needn't miss out on is sharp optics – actually very sharp at mid-range apertures. The economies are mostly elsewhere, like autofocusing, for example, which is not the silent ultrasonic type with full-time manual override, but micro-motor driven with a switchover for manual. But it works, it works fast, and the noise level is never intrusive.

Image stabilisation is another higher-end feature, and admittedly one that's sometimes useful on a telezoom. Canon's 55-250mm has it, but none of the others do. So just raise the ISO rating a little to maintain faster shutter speeds,

easy with DSLRs, and as a bonus the higher speeds will also help to freeze subject movement – and there's often some of that with the kind of subjects telezooms are designed to tackle.

The other main area for cost savings is build quality. These telezooms are well finished and smooth operating, but are less robustly constructed. They function just fine, and are lighter to carry, though ultimately they won't take too much of a battering. Then again, no lens can – just don't abuse them and all will be well.

There’s one feature that three of these telezooms have which more expensive options do not. Both Sigmas and the Tamron have a 'macro' mode, focusing down to under 1m and giving a 1:2 magnification ratio at 300mm. That's not as close as a proper macro lens, and ultimate optical quality isn't to the same standard, but with popular subjects like flowers and butterflies, they're very good and more than acceptable.

The lenses on test1) Sigma 70-300mm f/4-5.6 DG Macro $150

2) Sigma 70-300mm f/4-5.6 DG APO Macro $190

3 Tamron AF 70-300mm f/4-5.6 Di LD Macro $150

4) Canon EF-S 55-250mm f/4-5.6 II IS $200

Test: RICHARD HOPKINS

Lens terminology

AF motors Micro-motors are the older and more conventional type of system used to focus lenses and remain a fast and reliable option. Better still are motors using ‘sonic waves’ to rotate the lens, which are faster and quieter. Most brands offer lenses that boast sonic motors, including: Canon Ultrasonic (USM), Nikon Silent Wave Motor (SWM), Sigma Hypersonic (HSM), Sony Super Sonic Motor (SSM) and Tamron Ultrasonic Silent Drive (USD).

Aspherical lens elementHigh-quality elements designed to improve performance, particularly towards frame edges. Aspherical lens elements are usually made from glass, but there are also many moulded glass/plastic hybrid elements, too.

Image stabilisationMany lenses have a ‘floating’ element linked to sensors that move it to counteract movements when handholding. Most brands offer lenses with lens-based stabilisers, although with some it’s camera-based. They include: Canon Image Stabiliser (IS), Nikon Vibration Reduction (VR), Sigma Optical Stabiliser (OS) and Tamron Vibration Compensation (VC).

Internal focusing (IF)Also called inner focusing, this system rotates elements within the lens during AF so that the front of the lens doesn’t rotate. This is useful when using filters as you don't have to adjust the filters following focus.

Premium glass elementsHigh-quality elements ensure the best possi maximum sharpness, superior colour reproduction and contrast, and minimal chromatic aberration. Common types include: Canon Fluorite & Ultra Low Dispersion (UD), Nikon ED (Extra-low Dispersion), Sigma Extraordinary Low Dispersion (ELD) & Special Low Dispersion (SLD), Tamron Extra Refractive (XR).

How we test the lensesOUR TESTS LOOK at the key factors influencing image quality – sharpness, distortion, chromatic aberration and vignetting. We also test performance of the AF and image stabiliser (IS) systems. For IS, we use an oscillating platform custom-made to mimic handholding the lens. The platform's great virtue is that it's an absolutely standard test, so all lenses are tested in exactly the same way for accurate comparisons.

Sharpness: What we call sharpness is a combination of resolution (the fineness of details) and image contrast (how clearly those details are shown). Resolution and contrast are directly linked and when one goes up, the other goes down. We use Modulation Transfer Function (MTF) analysis to measure sharpness, as do lens manufacturers. Results are shown as % MTF at 24 lines-per-mm for full-frame lenses and at 36 lines-per-mm for APS-C to adjust for the crop factor, so sharpness is generally slightly lower than full-frame, in line with actual use. Multiple readings are taken and averaged, and edge readings are taken from points 1-2mm from the sensor edge. Peak resolution shows maximum lpmm at 20% MTF, which is the lowest level where light and dark tones can be reliably measured, though the difference is faint.

Unlike most lens test procedures that use a relatively small test target that often has to be shot at very close range, eg wide-angles, we use multiple individual targets of different sizes to keep distances realistic. A focusing wedge ensures absolute accuracy and automatically adjusts for field curvature and focus shifts that can skew other methods. A Nikon V1 is used when possible (all Canon and Nikon lenses) with a precision custom adaptor to position any area of the test image over the centre of the sensor. This provides both a level playing field and also an extremely high resolution (equivalent to 74 megapixels on full-frame) to ensure the camera is never the limiting factor.

Distortion: Distortion makes straight lines towards the frame edges appear curved. It changes with focal length and is less noticeable on APS-C. Barrel distortion lines curve outwards (indicated as a positive percentage value, eg +1.5%); pincushion distortion curves inwards (indicated as a negative value, eg -0.5%). The lower the stated figure, the better: 1% or less is good, 2% or more being increasingly noticeable.

Vignetting: Vignetting is darkening towards the corners. It changes with focal length and is also less prominent on APS-C. Vignetting reduces quickly as the aperture is closed down. It's easily removed in post-processing, but when it's strong this results in greater noise. Vignetting is measured in Exposure Values (1EV equals one stop). -1EV is usually not a problem.

Chromatic aberration: Also known as CA or colour fringing, is usually only slightly reduced at higher f/numbers, and is more noticeable on APS-C format due to the crop factor. Distortion, vignetting and CA can all be substantially reduced or eliminated with post-processing software.

Autofocus: Autofocus speed and accuracy is a game of two halves – half camera, half lens. On the lens side of things, most of the differences relate to the mechanics and build quality, and this is commented on in the reviews.

Image stabilisation: We use an oscillating platform, custom-made to hold a DSLR body in place and mimic handholding characteristics, and in our testing it has proved very realistic. The platform's great virtue is that it's an absolutely standard test.

Sharpness: How clearly fine detail is recorded

Distortion: Straight lines have a slight curve

Vignetting: Progressive darkening to corners

How to read the lens sharpness graphsOur bar graphs provide you with a visual representation of lens sharpness. Each graph shows the centre and edge performance of the lens at full f/stops from maximum aperture to f/16 at different focal lengths of the zoom. Centre sharpness is shown in red; edge in green. The higher the bar, the better the sharpness, with ratings as follows: Below 10: Poor; 10-29: Fair; 30-49: Good; 50-69: Very good; Over 70: Excellent. All our lens test analysis is performed using Imatest software.

Lens Sharpness (%): Full-frame EdgeCentre

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Telezooms under $300

HANDLING: Medium weight and well finished in engineering grade plastic, with metal mount. There's slight barrel wobble with the zoom at 300mm – as usual with extending barrels – and this one goes further than most, adding some 85mm to the overall length, but nothing that affects performance. Manual focusing is very good. Engaging macro mode means extending the zoom and then pushing the macro/normal switch that allows much closer focusing to under 1m. It's a little fiddly at first, but you quickly get used to it.

FEATURES: No image stabilisation and micro-motor AF rather than ultrasonic at this price, but focusing goes down to 1:2 magnification ratio at the longest focal length. On APS-C, that fills the frame with a subject just 45-50mm long and at a generous 69cm MWD (Minimum Working Distance, measured from the front of the lens). That's perfect for flowers and butterflies, though don't expect true macro lens performance. The barrel rotates when focusing, revealing a handy magnification ratios scale as it extends. Optical construction is 14 elements (one SLD) in ten groups. A lens hood is provided.

AUTOFOCUS: AF drive is fairly quiet, and fast, averaging 0.5 seconds in the near-to-far speed test, though it slows a little at the 300mm end and in lower light. Manual focus is engaged with an AF/M switch.

PERFORMANCE: Sharpness is remarkably good for a $150 lens, beating the similarly priced Tamron and performing close to much more expensive telezooms. On full-frame, sharpness in the centre is 'excellent' at 70mm and 135mm at all apertures, and from f/8 at 300mm. Edge sharpness is not too far behind, though edges struggle at 300mm, as is often the case with telezooms.

On APS-C, the higher resolution demands push the numbers down in the centre by 10-15%. At the edges they stay roughly the same as the smaller format takes readings closer to the middle of the image, and in this example it approximately counter-balances the higher resolution standard.

Aberrations control is typical of most telezooms, with mild barrel distortion at 70mm turning to more noticeable pincushion at the long end. Vignetting is not really a problem, almost unnoticeable on APS-C. There's some CA, more so at longer focal lengths.

VERDICT: Though light on luxuries, the Sigma 70-300mm f/4-5.6 DG Macro has a couple of strong features. The price is one, it's simply a bargain at $150, and that extra-close focusing ability is another. It's not a premium macro lens by any stretch, but for many popular close-up subjects, it does a very plausible imitation. Overall, optical performance can hold its own against much more expensive telezooms.

Sigma 70-300mm f/4-5.6 DG Macro $150

HANDLING 18/20

FEATURES 18/20

PERFORMANCE 32/40


OVERALL 88/100

DISTORTION (Full-frame): Fair DISTORTION (APS-C): Fair

CHROMATIC AB (Full-frame edge): Fair CHROMATIC AB (APS-C edge): Fair

VIGNETTING (Full-frame): Excellent VIGNETTING (APS-C): Excellent

Sigma 70-300mm f/4-5.6 (Full-frame)

Lens Sharpness (%): 70mm EdgeCentre

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BEST BUY

Sigma 70-300mm f/4-5.6 DG APO $190

HANDLING: Physically, the Sigma 70-300mm DG APO Macro is identical to the non-APO version. It's quite light at 550g, mainly due to extensive use of high-quality plastics, though the lens mount is metal. As expected, there's some movement in the barrel when extended to 300mm, but nothing too worrying. Manual focusing is particularly good, very light and smooth, and since the ring rotates during focusing, it's neatly out of the way at the front. Getting down to closest focus is a two-stage affair with this lens – zoom to max, switch to macro, then the same in reverse to return to normal distance shooting. Easy enough after a bit of practice.

FEATURES: APO is short for apochromatic, and refers to three lens elements of Special Low Dispersion glass, as opposed to just one in the non-APO version. Costing an extra $40 and distinguished by the red ring around the front, SLD glass focuses all colours of light more accurately, for lower chromatic aberration (CA) and improved sharpness. That is the only performance difference between the two Sigmas and everything else is the same, ie no image stabilisation, micro-motor AF drive, and the same macro mode down to 1:2 magnification at a handy 69cm minimum working distance (MWD) from the front of the lens. It comes with a zipped case, as well as a lens hood.

AUTOFOCUS: AF performance is exactly like that of the non-APO version. It's impressively fast at an average of 0.5 seconds in the near-to-far speed test, slowing a little at the longest focal length and sometimes more hesitant. It's audible for sure, but not so much that it's intrusive.

PERFORMANCE: On full-frame, sharpness in the centre is 'excellent' from 70mm to 135mm at all apertures, and from f/8 at 300mm. Edge sharpness lags a little, but stays in touch except at 300mm – that's typical of most telezooms, though, so nothing too surprising.

On APS-C, the pattern is repeated, but at a lower level in the centre due to the higher resolution demands. Sharpness at the edges holds up better on APS-C, coming from the sweet spot nearer the centre.

Basically, it's the same as the non-APO version. We recorded fractionally sharper images with the APO, and there is a little less chromatic aberration visible at the longer end, but the difference is marginal. No change to distortion, vignetting or flare resistance.

VERDICT: Optical performance is good overall, similar to more expensive telezooms, and while still great value, it's not significantly better than the bargain Sigma non-APO version. It's nice to use with good controls and fast autofocus. The extra close-up mode is a bit fiddly, but very useful.

HANDLING 18/20

FEATURES 18/20

PERFORMANCE 32/40


OVERALL 86/100


CHROMATIC AB (Full-frame edge): Good CHROMATIC AB (APS-C edge): Good


Sigma 70-300mm f/4-5.6 APO (Full-frame)


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Gear


HIGHLY RATED

Tamron AF 70-300mm f/4-5.6 Di LD Macro $150

HANDLING: This lens is very light at 435g for a full-frame 70-300mm telezoom, and it's well finished with a lot of plastic in the build, including the lens mount. The barrel has some movement when fully extended, though longer lenses can tolerate this without performance suffering.

Macro focusing mode works exactly like the Sigmas – zoom to the long end, push the normal/macro switch, then the focusing ring will turn from 1.5m down to under 1m. It has to be done in the right order, and the same in reverse to get back to normal, but it's an easy system to get used to. Manual focusing is good, the ring one-finger light, and it rotates during focusing.

FEATURES: Its main feature is the very low cost, the compact size, plus the macro mode down to 1:2. Image stabilisation and ultrasonic AF are off the menu at this price.

Magnification of 1:2 means the subject is recorded half life-size on the sensor. Put another way, a subject 72mm wide will fill the whole image on full-frame cameras, and on APS-C the crop factor takes that down further to a subject 45-50mm wide. True macro lenses go closer and perform better, but it's a very useful feature to have. Optical design is 13 elements (one LD) in nine groups. A lens hood is included.

AUTOFOCUS: Micro-motor AF drive is quiet and efficient, and it's quite nippy with an average of 0.6 seconds in the near-to-far speed test. That's in good light at 135mm, and it slows a little at longer focal lengths and in poor light. There's an AF/M switch for manual focusing, too.

PERFORMANCE: Sharpness broadly follows the familiar pattern with telezooms of this type, though the Tamron brings up the rear in this group review. On full-frame, sharpness in the centre at short and medium focal lengths rates 'very good' at maximum aperture, then rises steeply and sits comfortably in the 'excellent' zone from f/5.6-8. At the edges, sharpness is always behind, but also hits 'excellent' from f/8. There's a marked drop at 300mm though, only reaching 'very good' from f/8 with edge sharpness some way adrift.

On APS-C, the higher resolution demanded takes its toll. The sharpness pattern is repeated but at a lower level, peaking around 'very good' at short and medium focal lengths, dropping to 'good' at 300mm.

VERDICT: Performance might not be top drawer, but it's hard to ignore the $150 price, the light weight, and useful 1:2 macro option. And apart from the 300mm end, it performs well at mid-range apertures, especially in the centre. The Tamron's main problem is the so-similar Sigma that performs better at the same low price.

HANDLING 18/20

FEATURES 18/20

PERFORMANCE 28/40


OVERALL 81/100


CHROMATIC AB (Full-frame edge): Fair CHROMATIC AB (APS-C edge): Good


Tamron AF 70-300mm f/4-5.6 (Full-frame)


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BEST BUY

HANDLING: APS-C only, smaller and half the weight of some 70-300mm telezooms. Good build quality, controls light and smooth.

FEATURES: Only zoom in this class with IS. AF drive by micro-motor rather than Ultrasonic, so no full-time manual override and the front rotates. Optical construction is 12 elements (one UD) in ten groups. Hood is around $20 extra.

AUTOFOCUS AND IS: AF is very fast, averaging under 0.4 seconds in near-to-far speed test. Micro-motor drive whirrs busily, but not intrusively. IS is good, scoring 90% success at three stops improvement, and 50% at four stops – excellent.

PERFORMANCE: Sharpness at 55mm is 'very good' at both centre and edges, with little change on stopping down. Mid-range focal lengths are best for central sharpness, cresting the 'excellent' standard, with edges some way behind. At 250mm, it's always 'very good' in the centre, but edge sharpness never quite makes it. For best sharpness overall, aim for f/8 at all focal lengths. No problems with aberrations, and distortion is relatively low.

VERDICT: Compact, sweet handling and capable rather than dazzling (unlike the sparkling STM version of this model below). Standout feature is its image stabilisation. Sharpness is acceptably good at mid-range apertures in the centre, where it matters most.

Canon EF-S 55-250mm f/4-5.6 II IS $200

DISTORTION (Full-frame): N/A

DISTORTION (APS-C): Very Good

VIGNETTING (Full-frame): N/A

VIGNETTING (APS-C): Excellent

CHROMATIC AB (Full-frame edge): N/A

CHROMATIC AB (APS-C edge): Good

HANDLING 18/20

FEATURES 18/20

PERFORMANCE 30/40


OVERALL 84/100

APS-C ONLY

Canon EF-S 55-250mm f/4-5.6 STM IS $350HANDLING: For APS-C format only, this little gem of a lens is only half the weight of some full-frame rivals. In manual, STM focusing is ultra-smooth. Build quality is high. Top marks.

FEATURES: STM (Stepping Motor) AF is electronic rather than mechanical. There’s image stabilisation, and focusing down to 63cm. Optical design is 15 elements in 12 groups, with one UD glass element.

AUTOFOCUS: STM AF is impressive – silent and fast. Image stabilisation claims 3.5 stops benefit, and that checked out with 90% success at three stops and 70% at four stops.

PERFORMANCE: Sharpness is a cut above, and it sits alongside the Nikon as the sharpest lens here. What sets it apart is performance at maximum aperture, around the edges of the frame, and the way it hangs on at the longer end.

VERDICT: Don’t be fooled by its similarity to the non-STM version. This new lens is superior in every department, excellent optics.

Telezoom favourites: Got a little more money to spend? Here are three highly rated telephoto zooms that can be found online for a shade over $300…

Nikon AF-S 70-300mm f/4.5-5.6G ED SWM VR $500HANDLING: Bigger and heavier than most. Controls are nicely weighted for fast and smooth working. Build quality is solid.

FEATURES: Full set of features including Silent Wave Motor AF, and top-grade VR-II image stabilisation with dual modes. Optical design comprises 17 elements with two of ED glass, arranged in 12 groups.

AUTOFOCUS AND VR: SWM AF drive (AF-S) is virtually silent, fast and positive. VR-II image stabilisation claims a four-stops reduction in camera shake, and we achieved 80% success at three stops, and 40% at four stops.

PERFORMANCE: A fine lens. On a full-frame body, sharpness in the centre is way above the ‘excellent’ line at all times, and on the tougher APS-C standard it only dips into the ‘very good’ zone at f/11 due to diffraction.

VERDICT: This is the best lens in this class, with no weaknesses aside from the slightly higher price. It’s well made and has excellent AF and VR.

Tamron SP 70-300mm f/4-5.6 Di USD VC $325HANDLING: Well balanced and smooth-operating with chunky and nicely weighted zoom and focus rings. Good build quality.

FEATURES: Comprehensive features include USD ring-type ultrasonic AF and VC stabilisation. Optical design has no fewer than 17 elements in 12 groups, with one LD and one XLD glass.

AUTOFOCUS AND IS: USD ultrasonic AF is very quiet and locks on positively. Vibration Compensation is smart and has auto-sensing of panning movement. Excellent performance with 80% hit rate at three stops and 50% at four stops below the handholding limit.

PERFORMANCE: Sharpness is high, and from 70mm through 135mm on full-frame, is 'excellent' at most settings and performs well at 300mm too. On APS-C, sharpness follows a very similar pattern

VERDICT: Good AF and image stabilisation, and high sharpness at all focal lengths. The Tamron offers terrific value at $325.

OVERALL 95/100 OVERALL 95/100 OVERALL 96/100

Canon EF-S 55-250mm (APS-C)


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Gear


HIGHLY RATED

HIGHLY RATED

HIGHLY RATED

BEST BUY

Comparison table: Telezooms under $300Lens Model Sigma 70-300mm

f/4-5.6 DG MacroSigma 70-300mm f/4-5.6DG APO Macro

Tamron 70-300mm f/4-5.6Di LD Macro

Canon EF-S 55-250mm f/4-5.6 II IS

Price RRP/Street $220 / $150 $260 / $190 $220 / $150 $300 / $200

Format compatibility Full-frame and APS-C Full-frame and APS-C Full-frame and APS-C APS-C only

Focal length equiv. (APS-C 1.5x) 105-450mm 105-450mm 105-450mm n/a

Focal length equiv. (APS-C 1.6x) 112-480mm 112-480mm 112-480mm 88-400mm

Angle-of-view (FF) 34° to 8° (diagonally) 34° to 8° (diagonally) 34° to 8° (diagonally) n/a

Angle-of-view (APS-C) 23° to 5° (approx.) 23° to 5° (approx.) 23° to 5° (approx.) 28° to 6° (diagonally)

Optical construction 14 elements in ten groups 14 elements in ten groups 13 elements in nine groups 12 elements in ten groups

Premium elements 1x SLD glass 3x UD glass 1x LD glass 1x UD glass

Aperture range f/4-5.6 to f/22-32 f/4-5.6 to f/22-32 f/4-5.6 to f/32-45 f/4-5.6 to f/22-32

Diaphragm Nine rounded blades Nine rounded blades Nine rounded blades Seven rounded blades

Autofocus drive Micro-motor Micro-motor Micro-motor Micro-motor

Manual focus AF/M switch AF/M switch AF/M switch AF/M switch

Minimum focus 95cm (from sensor) 95cm (from sensor) 95cm (from sensor) 110cm (from sensor)

Min working distance 69cm (front of lens) 69cm (front of lens) 71cm (front of lens) 85cm (front of lens)

Max magnification ratio 1:2 1:2 1:2 1:3.2

Depth-of-field scale f/11 and f/22 only f/11 and f/22 only No No

Focusing scale Yes Yes Yes No

Image stabilisation No No No 3 stops, single-mode

Filter size 58mm, rotating 58mm, rotating 62mm, rotating 58mm, rotating

Zoom lock No No No No

Weather-resistant No No No No

Size DxL (extended) 77x122mm (207mm) 77x122mm (207mm) 77x117mm (198mm) 70x108mm (168mm)

Weight 545g 550g 435g 390g

Fittings Canon, Nikon, Pentax, Sigma, Sony Canon, Nikon, Pentax, Sigma, Sony Canon, Nikon, Pentax, Sony Canon only

Accessories supplied Hood Hood and case Hood None (hood $20 extra)

Website www.sigmaphoto.com.au www.sigma-imaging-uk.com www.tamron.com.au www.canon.com.au

Test rating 88/100 86/100 81/100 84/100

Test conclusion

THE BIG SURPRISE here is that you don't have to pay hundreds of dollars to get a very serviceable telezoom. And as it turns out, the cheapest of these lenses, Sigma's 70-300mm f/4-5.6 DG

Macro, scores highest overall.While it lacks premium features like image stabilisation and ultrasonic

AF, the modest Sigma takes the Best Buy award here, with a winning combination of very usable optical performance, decent AF, and the handy 1:2 close-up function. Not bad for a hundred and fifty bucks!

Its identical twin, Sigma's APO version of the same lens, also comes Highly Rated as it's still great value at $190, even though there was really nothing significant to choose between them on the optical front.

The Canon EF-S 55-250mm f/4-5.6 II IS also picks up a Highly Rated rosette. It's very compact, has decent optics, and is the only lens in this category with image stabilisation – such a useful feature in a telezoom, and it performs very well here.

With a bigger budget, though, there are more telezoom options that are well worth considering. Higher up the ladder, ultrasonic AF and image stabilisation are standard fare, plus better sharpness especially at the long end, and more robust build. In our brief summary of telezooms over $300 (see panel on the left), the Tamron 70-300mm f/4-5.6 VC at $325 scored highest overall. The Nikon 70-300mm f/4.5-5.6 VR was the sharpest in its class, but also the most expensive at $500. And the Canon 55-250mm f/4-5.6 STM IS proved to be a little gem at a reasonable $350.

Telezooms under $300


BEST BUY

http://www.sigmaphoto.com.au

http://www.sigma-imaging-uk.com

http://www.tamron.com.au

http://www.canon.com.au

TAMRON SP 150-600MM F/5-6.3 DI USD VCNeed a super-telephoto zoom to fill the frame with distant subjects? Tamron’s latest offering is a powerhouse of a lens that could be just the thing for you!

SPECIFICATIONS

Format compatibility: Full-frame & APS-C

Effective focal length (APS-C): 225-900mm

Effective focal length (Canon APS-C): 240-960mm

Construction: 20 elements in 13 groups including

three LD (Low Dispersion) elements

Aperture range: f/5-6.3 to f/32-40

Filter thread: 95mm (non-rotating)

Image stabilisation: Vibration Compensation

Autofocus: Ring-type ultrasonic (USD)

Angle of view (full-frame): 16.5° to 4.1°

Angle of view (APS-C): Approx. 10.6° to 2.7°

N° diaphragm blades: Nine (rounded)

Minimum focus: 270cm (from sensor);

206cm (from front of lens)

Max. magnification ratio: 1:5

Focusing scale: Yes

Zoom lock: Yes

Dimensions: 106x258mm (extended: 337mm)

Weight: 1951g

Supplied accessories: Lens hood, front & rear caps

Mounts: Canon, Nikon , Sony

Contact: www.tamron.com.au

RRP: $1370; Street price: $1200

TEST: DANIEL LEZANO & RICHARD HOPKINS

WHEN MOST PHOTOGRAPHERS are considering what telezoom to buy, they're thinking of models with a range around 55-200mm or 70-300mm, which are readily available from most leading brands. Those wanting something a bit longer have a far more limited choice, with 80-400mm and 100-400mm zooms being the most common. One other super-telezoom of note stands out, which is the Sigma 150-500mm. Tamron's latest big zoom, therefore, is a welcome addition for those looking for a high-powered and versatile telephoto at a reasonable price. For wildlife, nature and sports photographers, the range is sure to have major appeal, so our test discovers if its performance makes it worthy of consideration.

different problem: at 600mm the aperture is f/6.3, above the official f/5.6 AF ceiling of most DSLRs. This makes the camera's job harder, and reliable focus really benefits from a nice contrasty target. At the long end, if the image is too far out of focus, it's best to tweak it closer by making minor adjustments to the manual focus ring. The good control layout makes this easy, and then the AF will lock on and stay on. Autofocus performance also depends on your ability to keep the AF point accurately nailed, no easy task at 600mm. When shooting handheld, Tamron's VC stabilisation helps enormously, keeping the viewfinder steady, and it also betters the handholding shutter speed threshold by around three stops, which rates as a great performance.

PERFORMANCE: On full-frame, sharpness is very high at short and mid-range focal lengths, rating 'excellent' at all apertures. Then as expected, sharpness gradually declines towards 600mm, just cresting the 'excellent' line at f/8, with edge sharpness falling a little behind. On APS-C, the higher resolution demanded reduces sharpness, though it's always 'very good' or better, including at 600mm in the centre which is where many owners will be using it. While sharpness is lower at the long end, the files are clean and respond well to sharpening for a high-quality result. In terms of optical performance, the results are very impressive for a lens of this focal length range.

FOCUS TRACKING: The big Tamron 150-600mm's autofocus is fast, accurately servo-tracking moving subjects, but with some caveats. AF speed is never a problem, but it needs a target with good contrast to lock on. It also needs a capable camera, and keeping the AF point precisely pinned takes some practice. From hundreds of test shots like these, sharp focus was nailed 85% of the time, even when the car was travelling at 80km/h and so near that the grill filled the frame.

HANDLING: The Tamron is a big lens (258mm long) and heavy too (1.95kg), and gets much longer when you zoom to its maximum end. The tripod collar is nicely engineered and while removable, for the very best results, we strongly urge you support the lens to maximise quality. The finish is excellent, build quality is first rate and the barrel feels very secure when extended. The barrel isn't weatherproofed, but there is a mount gasket. The broad zoom ring is smooth yet firmly weighted, just right for resting in your palm, while the manual focusing ring is light and well placed for easy finger access.

FEATURES: The lens offers a very high specification, includes fast ultrasonic (USD) focusing with full-time manual override and Vibration Compensation (VC) stabilisation. The barrel features a zoom lock and a focus limiter switch as well as a focus distance window. Along with the tripod collar, the lens has a hood and front and rear caps, but no carry case. A strong optical design is paramount for a lens of this type and the Tamron boasts 20 elements in 13 groups, including three premium LD elements at the front, plus 'eBAND' multi-coatings to minimise flare and ghosting. Minimum focus is a lengthy 2.7m, though at 600mm this still delivers a useful 1:5 reproduction ratio.

AUTOFOCUS AND IMAGE STABILISATION:

Good AF and image stabilisation are vital features in long telephotos – it's no good having quality optics if the image is out of focus and blurred by camera shake. The USD focusing is very fast and quiet, but there's a

Gear


http://www.tamron.com.au

VERDICT

Sharp, fully featured, well built, surprisingly manageable – and terrific value with a five-year warranty. The AF needs a helping hand every now and then, but that’s just down to technique as much as anything. Get everything right and the reward is better image quality with more telephoto pulling power than anything else at this price. This Tamron definitely sets a new benchmark for super-telephoto zooms.

HANDLING 19/20

FEATURES 19/20

PERFORMANCE 34/40


OVERALL 91/100

DISTORTION (Full-frame): Good

DISTORTION (APS-C): Very Good

VIGNETTING (Full-frame): Excellent

VIGNETTING (APS-C): Excellent

CHROMATIC AB (Full-frame edge): V Good

CHROMATIC AB (APS-C edge): Good

Exposure: 1/80sec at f/6.3 (ISO 1600). Lens at 600mm.

The range of the Tamron is ideal for photographing wildlife – just be sure to use a tripod to avoid shake.

Tamron SP 150-600mm f/5-6.3 (Full-frame)


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Tamron SP 150-600mm f/5-6.3 (APS-C)


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Super-telephoto zoom


BEST BUY

Stacking Up

This lens is squarely targeted at dedicated travellers, correct?Predominantly, yes. You definitely want an

all-in-one lens like this in your backpack

– it’s such a huge factor in terms of the

impetus for photography in Australia; we

just love to travel. That’s why we’re excited

about this lens, because it gives you that

additional dip down into the 16mm range

to get nice and wide – which is always

key when you’re travelling.

For that reason it’s not going to be the go-to lens for people who are crazy about sharpness throughout…Correct. Because it’s designed as a travel

lens, which is smaller and lighter, it’s

obviously not a constant aperture all the

way through and there’s a lot of moving

parts, so it’ll vary at different aperture

openings as to how sharp it will be.

One of the obvious advantages is this lens’ low weight compared to others in the competitive range.Absolutely. It’s markedly lighter than the

Nikon 18-300mm version; it’s only about

10-15% heavier than the Tamron

Gear


TAMRON 16-300MM F/3.5-6.3 DI II VC PZD MACROIn each issue, we challenge Brendan Lee, marketing manager at Maxwell International Australia, to pick a product and defend its virtues against the competitors. In this issue, it’s a new Tamron dubbed the ‘mega zoom’

DETAILS

Mounts: Nikon, Canon, Sony

Optics: 16 elements in 12 groups

Length: 99.5mm

Weight: 540g

Street price: $749

Website: Tamron.com.au

Old woman begging in Marrakesh

Stacking Up

Stiff competitionFor comparison, here’s a snapshot of the nearest competitor lenses:

Tamron 18-270mm F/3.5-6.3 Di II VC PZDOptics: 16 elements in 13 groups

Length: 88mm

Weight: 450g

Street price: $499

Nikkor 18-300mm F3.5-5.6G ED VROptics: 19 elements in 14 groups

Length: 120mm

Weight: 830g

Street price: $1249

Sigma 18-250mm f/3.5-6.3 DC Macro OS HSM Optics: 16 elements in 13 groups

Length: 88.6mm

Weight: 470g

Street price: $440


18-270mm, which it out-performs quite

comfortably; and is perhaps 5% heavier

than the Sigma 18-250mm but with far

greater range.

How about construction – have you had to sacrifice a bit in terms of solidity and quality?No, not at all. What Tamron has really

perfected in its high-end lenses is using

extremely high quality ABS plastics, so what

you’re going to get is not an addition of

weight. Some people have the perception

that if it’s not metal, it’s not quality – but

there’s a lot to be said for the flexibility of

ABS plastics. When it takes a bump, it’s not

going to take on any deformities; instead it

will flex and absorb the impact.

The close-focusing abilities on this lens are also very impressive – 39cm?Yes, definitely. It’s one of the major selling

points. The idea being that if you’re

travelling you want to do as many things as

possible with the one lens. So by being able

to bring down the minimum focus distance

from 49cm on the Tamron 18-270mm to

just 39cm on the 16-300mm is a great

achievement. When you’re all the way

out at 300mm and you’re only 39cm from

your subject, it’s pretty much macro.

At the moment this lens is the world’s

only DSLR lens that achieves 18.8x zoom

– a record that was previously held by

the Tamron 18-270mm at 15x zoom.

The final advantage of this lens from

a travel standpoint is its new moisture

resistant sealing, so if you get caught

out in a rain shower you won’t have

to worry about damage to your gear.

At the moment the Tamron 16-300mm is the world’s only DSLR lens that achieves 18.8x zoom

All

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Left: Coastal scene at 16mm. Inset below: zoomed to 300mm.

Metalwork detail, Morocco, showing off the

Tamron’s macro side.

Metalwork detail, Morocco, showing off the

Tamron’s macro side.

facebook.com/tamron.au

WORKS OF ART FROM THE DIGITAL PHOTOGRAPHY COMMUNITY

Prayers in the windby Jason Freeman

“Tibetan prayer flags send their message skyward above Dingboche at 4400m in Nepal’s Everest region. At the end of the

valley lies Lhotse, the world’s fourth-highest peak, at 8516m.”

Nikon D600;16-35mm lens; 1/250sec; f/8;

ISO 200.

WINNER!

Your gallery


WIN!Congratulations to Jason, who has won

himself a Tamron B008 18-270mm Lens

($849, facebook.com/tamron.au) for his

terrific image ‘Prayers in the wind’ –

all thanks to Maxwell International

Australia (www.maxwell.com.au)

joby.com


http://www.maxwell.com.au

Dancing in a golden field byJandrie Lombard

“I took this late in the afternoon with the sun behind the model to give her a beautiful backlight, and also to bring out the highlights on

the grass. I used a deep octa softbox to balance the ambient light, and deliberately

overexposed to give that bright and happy feel.” Canon 5DMkII; 50mm lens; 1/160sec; f/2;

ISO 100.

RUNNER-UP


Morning dipby Paulus Susilo Tjahjadi

“I spotted this bird during a morning stroll. I waited until the sun duckedbehind a cloud (which resulted in

diffused light) and snapped the photousing a monopod-mounted Nikon

D5300 with Sigma 70-300mmlens; 1/1250sec; f/7.1;

ISO 800.”

Eagle on the beachby Kodi Durden

“I’m 13 and took this while camping with myfamily on North Stradbroke Island. I’ve only

just started learning the basics with my dad’s old Nikon D5000 and 80-200mm

VR lens (1/1000sec; f/5). I waiteda long time in the rain for this dramatic photo of an eagle

hunting for prey.”

RUNNER-UP

RUNNER-UP


Playtimeby Indranil Mazumdar

“In the village of Rajpur Sonarpur, adjacentto Kolkata, India, a chimney stands on a brickheap to give a smoky environment. Nearby,

boys and girls are playing restlessly in the field. It seems they are so free of

any anxiety.” Nikon D5100; 55mm lens; 1/800sec;

f/11; ISO 200.

Dusk in Edenby Scott Walton

“I took this long exposure at dusk in Eden, NSW.” Nikon D600;

10-22mm lens; 122sec;f/7.1; ISO 50.

RUNNER-UP

RUNNER-UP


The burning bushby William Patino

“I’m a tradesman from Wollongong in NSW. I picked up a camera about two years ago and fell in love with landscape photography. This art haschanged my life in so many ways, all of which I’m

grateful for. I just returned from a three-week roadtrip around New Zealand’s South Island. I try not

to shoot popular locations, but because I’m asucker for trees, I couldn’t resist paying the

tree at Wanaka at visit.” Sony AlphaILCE-7R; 21mm lens; 1.0sec;

f/16; ISO 50.

RUNNER-UP


Think you’ve got what it takes to make the Digital Photography gallery? Whether you’re a pro or an amateur, email pics to [email protected] for your chance to win. Each issue, we’re giving away one Tamron B008 18-270mm Lens ($849, facebook.com/tamron.au), plus super-cool Ultrafit Sling Straps from Joby ($55 each, joby.com). You can enter as often as you like. Good luck!

SUBMIT YOUR IMAGES!

Check us out online at facebook.com/digitalphotographymag & on Twitter @DPMagAustralia

WIN! GREAT PRIZES

FROM TAMRON AND JOBY

Working dog trialsby Catherine Willett

“I’m 17 and have been shooting since I was about 10, when my parents bought me my first

point-and-shoot camera. In Tully, Queensland, I recently attended some open working-dog trials to try out my new Canon 70D. I wanted

to capture the action and preserve themoments when the dogs were herding

the cattle.” Canon 70D; Sigma250-500mm lens; 1/640sec;

f/5; ISO 6400.

RUNNER-UP




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