Sommaire pour Spring 2019 de Digital Camera Magazine

If you managed to make it to The Photography Show, then thanks for coming – it was a fabulous few days where, alongside the latest in cameras, lenses and imaging technology, there was also a compelling choice of talks and demonstrations to get immersed in. If you couldn’t get to the show this year, though, we hope to see you next time (14-17 March 2020). In this month’s Digital Camera, we’re getting ready for the arrival of spring (p40), reveal the overall winners of Photographer of the Year 2019 (p60) and get the inside story from Nick Brandt on how he created his latest series of incredible images, This Empty World (p132). Plus, discover our Gear of the Year 2019 winners in the special 52-page supplement that comes with this…

1 CHECKING LEVELS It can be easy to overexpose and lose highlight details in water and white clouds. Jim reviewed his shots and checked the histograms (the three colour channels and exposure) for clipped tones. 2 STRAIGHT HORIZONS Some cameras offer a Virtual Horizon feature that can be displayed in Live View mode on the screen as you shoot. Jim turned this feature on, and used it to get a straight, natural frame. 3 SHUTTER DELAY With exposure times of around five seconds, Jim needed to avoid any camera movement during the shots. Even firing the shutter can jog the camera, so to avoid this, Jim set a two-second timer delay. 4 SETTING THE FOCUS Using the S1R's responsive touchscreen and his lens' autofocus, Jim was able to tap the…

If you want to make a few quid from selling bits and bobs online, it can be a great help to get creative with your product photography. Selling platforms such as Etsy and eBay are great places to do exactly this – but how do you get your products to jump out in an already overcrowded online market? For this photo shoot, I went along to the independent shop Little Blue Budgie (www.littlebluebudgie.co.uk) in Totnes, Devon. The shop is full of arty knick-knacks, paintings and furniture – as well as some amazing sculptural lamp shades, which I chose as my main subject. Making your images ping from the page really comes down to how you display them. For example, if you put a great abstract image of a product by…

Verity Hesketh is fascinated by people, movement and style – themes she pursues in her personal work as well as her professional work including lifestyle and fashion editorial. Her ‘Aquarius’ series explores her chosen themes through photographing dancers. The shots combine carefully considered lighting with the spontaneity of the dancers’ movements to capture highly evocative and expressive moments. www.verityhesketh.co.uk 1 Confidence is key Don’t underestimate having a good relationship with every member of your creative team. For this shoot, I had a designer, a stylist, a make-up artist, a hair stylist and a photographer’s assistant to bring the successful creation of the final image together. The contributions of a talented team can save you time and enable you to concentrate wholly on the job in hand. 2 Lighting design Blocking…

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While it’s easy to think about spring just in terms of bright florals and bluebells, look to capture seed buds and new shoots, too. If you have your heart set on a bluebell wood, visiting from mid-April onwards is your best bet, but the timing depends on the temperatures during the early part of the season. There aren’t specific settings for spring plant and flower photography, although wide apertures, low angles and blurred backgrounds are most popular. When bad weather strikes, don’t head straight for cover. Instead, make the most of shooting in dramatic spring showers and storms – heavy rain in itself adds to the scene, but magic also comes after the showers have passed, and all the flowers and leaves are covered in water droplets. Project 1 Find…

How do you decide which is the ‘right’ shutter speed for a moving subject? Well, it’s both a technical and creative decision. Technically, you need to take into account the subject’s speed, direction of movement and size in the frame. A close subject requires a shorter exposure than a distant one moving at the same speed, because it moves a proportionally greater distance across the frame during the exposure. The amount of sharpness depends on how far the subject moves during the time of the exposure. For a typical action subject such as a bike or car, you need the subject to have moved less than 2mm for a sharp shot (dark green, above), and less than 10mm for it to be any good. The creative decision in all this?…

Shutter Priority (S/Tv) This mode enables you to set a specific exposure time. The camera will automatically adjust the aperture to match the lighting conditions. You can set both aspects if you shoot in Manual mode. Shutter speeds Rotate the camera’s main dial or use its touchscreen (if your camera has one) to change the exposure time. Digital cameras typically offer a shutter speed range of 30 sec to 1/4,000 or 1/8,000 sec. Suitable aperture If the aperture range of the lens doesn’t allow the camera to set an f-stop for a balanced exposure with your selected shutter speed, the aperture may blink in the display to warn you to change the shutter speed. Adjust the ISO To avoid your pictures looking underexposed (too dark) when you set a fast…

Name: Marco Tagliarino Location: Milan, Italy Subjects: Travel and portraits Website: marcotagliarino.1x.com, www.instagram.com/Mrc_Tagliarino “Photography is my journey,” writes Marco Tagliarino on his website, and it seems like an apt phrase to describe the work of this year’s PotY 2019 winner. Marco clearly has a great eye when it comes to capturing the essence of a place or person. His portraits are intimate while respecting the boundaries of his sitters, and his images never appear invasive or unwanted. When it comes to editing, he has a distinctive approach that places images together as a set, even if they’ve been shot on the other side of the world from each other. “I started by taking pictures of landscapes and trying to catch everything that looked nice to me,” says Marco. “But when…

ACDSee Studio is a powerful photo editor giving you full control over your images. You can organise, share, enhance and edit with the five versatile and accessible modes inside the software. The download provided with this issue is the Ultimate 2018 edition, which gives you access to the full range of ACDSee Photo Studio tools. ACDSee Photo Studio is available to buy as an outright purchase or via an affordable annual subscription that entitles you to any updates during your subscription period. This issue’s download comes with a 12-month licence, starting from the date you install the software. Part of Photo Studio’s functionality is the ability to import raw files from hundreds of camera models; some newer models may not be supported, however. Founded in 1993 by imaging visionary Doug…

With a decade as a writer and photographer behind him, James knows exactly which Photoshop and Lightroom tools and techniques matter most. FILE & VIDEO Download the disc: www.bit.ly/dc215disc The healing tools are among some of the most capable to be found in Photoshop. They let you retouch objects and cover up distracting details in your photos, so they’re handy for all kinds of images – from tidying unwanted figures or sensor marks in a landscape, to removing spots, pimples and blemishes appearing on a subject’s skin. There are three tools we’ll look at here: the Spot Healing Brush, the Healing Brush and the Patch Tool. These are quintessential Photoshop features: they allow you to you to hide imperfections, which is what many people think of first when you say…

Our reader Paul Cecil This is the Rampion Wind Farm, off the coast at Brighton. The photo was taken from about three miles inland, right at the top of the South Downs as the sun was beginning to go down. The challenge here was to capture the difference in tones, from the sky down to the sea. I used graduated filters to separate the sea and sky areas and added Clarity where needed in Lightroom. My exposure was 1/6,400 sec at f/7.1 and ISO 1,600. I was shooting in Aperture Priority on my Canon EOS-1D X Mk II and handholding a 100-400mm zoom lens at 255mm. Our expert Andrew James Mood, simplicity, timing and drama are all important elements in your photograph, Paul, and I am sure that landscape photographers…

Remembering Lions will be the fourth book in the charity book series started by wildlife photographer Margot Raggett in 2016. She was prompted to take action after seeing a poached elephant in Kenya, and started asking fellow wildlife photographers if they would contribute to a fundraising book. The rest is history – and Remembering Elephants and its successors Remembering Rhinos and Remembering Great Apes have between them raised more than £460,000 for conservation projects across Africa and Asia. For 2019 Margot has announced that the next book in the series will be Remembering Lions. Photographers such as Marsel van Oosten, Art Wolfe and Frans Lanting already committed to donating images for the book, which will have a foreword by Jonathan and Angela Scott. The Kickstarter to fund the book has…

www.sony.co.uk Sensor: 24.2MP APS-C CMOS, 23.5 x 15.6mm Image processor: Bionz X AF points: 425-point phase detection, 425-point contrast AF, 84% coverage ISO range: 100 to 32,000 (exp 102,400) Max image size: 6,000x4,000px Metering zones: 1,200 Video: 3,840x2,160 at 30p, 24p Viewfinder: EVF, 2,359k dots, 100% coverage, 1.07x (0.7x equiv) magnification Memory card: Memory Stick Pro Duo/SD/SDHC/SDXC UHS I LCD: Three-inch 180-degree tilting touchscreen, 921k dots Max burst: 11fps Connectivity: Bluetooth, Wi-Fi, NFC Size: 120x67x60mm (body only) Weight: 403g (body only, with battery and memory card) Sony continues to push the performance boundaries of processing and autofocus, bringing out new technologies in its flagship professional cameras and filtering these down to its consumer models. The Alpha 6400 has inherited the autofocus DNA of the full-frame A9, A7R III and A7…

Lens mount Canon EF Canon seems to have been content to stick with its winning formula when it updated its top-flight 70-200mm zoom. The barrel is a slightly different shade of grey, but the only notable upgrades boil down to coatings. An ASC (Air Sphere Coating) has been added to the 19th element in the optical path, to further reduce ghosting and flare, and fluorine coatings on the front- and rearmost elements repel moisture and grease. Performance Compared with the previous edition of the lens, Canon has slightly downrated the claimed effectiveness of the image stabilisation system from four stops to 3.5 stops. That’s more in line with the results of our testing. The new lens is equally impressive as its predecessor for sharpness and contrast, however, along with a…

Lens mount Nikon F (FX) This lens is shorter and slimmer than other f/2.8 contenders, and only about half the weight. Even so, it packs in plenty of high-end features. VR (Vibration Reduction) has a four-stop rating and comes with switchable Normal and Active modes, the former featuring automatic panning detection. An autofocus range limiter switch is also fitted. The optical line-up includes three ED (Extra-low Dispersion) elements plus an HRI (High Refractive Index) element, aiming to boost sharpness and contrast while reducing chromatic aberrations. Nikon’s renowned Nano Crystal Coat is also applied to keep ghosting and flare to a minimum. Performance Levels of sharpness are excellent, even when shooting wide-open at f/4, throughout the entire zoom range. The autofocus system is fast and accurate. Sharpness Highly impressive sharpness is…

Lens mounts Canon EF, Nikon F (FX) With a wealth of upgrades packed into its metal barrel, this Generation 2 lens feels every inch a pro-grade offering. Its optical design has been refined to increase sharpness and contrast, while reducing colour fringing, ghosting and flare. The autofocus system is uprated for faster, more accurate performance, and the Vibration Compensation system boasts five-stop effectiveness with three switchable modes. Along with a full set of weather-seals, the lens has a fluorine coating on the front element. It’s noticeably smaller and 330g lighter than the Sigma, and its tripod mount collar is removable. Performance As advertised, autofocus is very fast and operates with excellent precision. Image quality is gorgeous, although marginally less sharp than with the Nikon and Sigma f/2.8 lenses. Sharpness It’s…

Every photographer has to start somewhere, and there’s no better place to begin than with a Nikon D3500. The latest in Nikon’s highly successful line of D3xxx cameras goes further than competitors to help beginners get a grip on the science bit. The subtleties of how parameters like shutter speed, aperture and focal length translate into image attributes are made simple by the Guide shooting mode. This forms a kind of interactive, pictorial course that’s a bit like having your own photography tutor residing in the camera. Unlike many beginner-level competitors, the D3500 is no slouch when it comes to continuous drive rate, shooting at a brisk five frames per second. It also features a des-res 24.2MP image sensor and a detailed 921k rear screen. Buy the kit with the…

Fujifilm has made a name for itself in the premium mirrorless camera market, with a winning combination of smart-spec bodies and high-performance lenses. However, for those wanting a mirrorless camera with conventional SLR styling, the choices have so far been limited to expensive, sophisticated options. The X-T100 changes all that, with its disarmingly simple and intuitive layout. Fujifilm’s typical retro chic looks certainly aren’t a case of style over substance. The hands-on dials and buttons work brilliantly well as beginner photographers start to stretch their legs (or at least their fingers) in the pursuit of more advanced shooting techniques. Further handling highlights include a high-res 2,360k-dot electronic viewfinder and a tilting touchscreen, while action heroics include a fast, hybrid phase/contrast-detection autofocus system and a nippy 6fps burst rate. The 15-45mm…

Despite all the hype surrounding the new generation of full-frame mirrorless cameras at the moment, Olympus seems intent on proving there’s still life in the Micro Four Thirds format used by many mirrorless models. Indeed, despite being based on a small sensor with a 2x crop factor, the E-M1X is a fully professional-grade OM-D camera that goes large in just about every way. For starters, it looks imposing with a built-in vertical grip and duplicated shooting buttons, standing taller than many full-frame cameras. More astonishingly, it can also produce larger images than most full-frame and even quite a few medium-format cameras: up to 80MP in size. To achieve this, the camera doubles up on image processors and employs a high resolution trick mode based on its incredible 7.5-stop image stabilisation…

We often wrap our cameras in proverbial cotton wool and live in fear of them suffering the slightest bump or scrape. By contrast, the TG-5 is actually designed to take a beating, and to withstand pretty much any punishment you care to dish out It’s shockproof to a height of 2.1m, waterproof to a depth of 15m and freezeproof down to -10°C. You can even try to crush it with a 100kg weight, and it’ll still keep on shooting. Not only does this Olympus take the knocks and keep on working, it works very well too. It has specialist macro and microscopic modes in addition to a 4x optical zoom lens, plus a smart range of dedicated accessories that include fisheye and telephoto lens converters. There’s a speedy 20fps burst…

Sigma’s Art lenses have excellent reputations, although most are wideangle primes and zooms. This is the company’s first 24-70mm zoom in its Art range. It has the classic f/2.8 aperture rating that’s generally preferred by demanding photographers. As such, it goes head to head with top-flight own-brand options from Canon and Nikon. It’s significantly smaller than the Nikkor, and features highly effective optical stabilisation, which is completely lacking in the Canon. It also massively undercuts both competitors for price. Although it’s not a fully weather-sealed lens, the Sigma has a rubber gasket on its mounting plate and a fully pro-grade feel, based on a sturdy metal barrel and a brass mounting plate. Zoom and focus rings are silky-smooth in operation, and the ring-type ultrasonic autofocus system is super-fast and highly…

Unlike zoom lenses that carry a ‘macro’ badge, most macro prime lenses deliver full 1.0x or 1:1 magnification at their closest focus distance. This enables you to fill the camera’s whole image sensor with something the size of a postage stamp, gaining enormous magnification when you view the resulting shots on screen or in print. Tamron’s 90mm macro lenses have been highly acclaimed over the years, and the latest edition is unquestionably the best yet. In real-world shooting at very short focus distances, it has proved to be spectacular at resolving ultra-fine detail. Compared with the previous edition, it has upgraded optics, doubling up on XLD (eXtra Low Dispersion) elements, while also retaining a single LD element, and adding dual nano-structure and conventional coatings. The weather-sealed build feels robust and…

Mist and fog occur when water droplets rise from the ground or a body of water, then condense and merge. Fog is more dense, and is basically a cloud on the ground, whereas mist is more transparent. You are likely to find mist or fog on a cool crisp morning after a clear night. Clear skies and low wind levels are both essential ingredients for getting mist or fog, which is why spring is a great time of year to give this project a go. For this photo shoot, I found the perfect conditions hanging over the valley in Dartmouth one sunny morning. This location is a great fog and mist trap: the large body of water that makes up the River Dart and leads out to sea means you’re…

For this project I’m going to show you how to create a scanner art pattern from scanning a few random objects. I used a mixture of animal bones (all died from natural causes) and some small flowers. Not everyone will have something like this available, so use whatever you like – kitchen utensils, flowers by themselves, sweets… Anything you can think of can work, so get your thinking cap on! My bone and flower start images are on the disc, so you can have a go at creating a pattern with them if you want. To scan my objects, I selected a resolution of 300 dots per inch. This meant the image was a high-enough quality without taking a long time to process and adjust in Photoshop. Keep in mind…

Chris Fenton captured this colourful aerial image of Hull Fair after starting his own drone photography business. “I was made redundant from my job, and had an interest in photography,” he says, “but back then I was only an amateur.” Hull Fair was always on Chris’s horizon for shooting with a drone, as the only other aerial opportunity was from the top of the big wheel. Permission is vital for using a drone in a public place, but when Chris first approached the council for permission, he was told “no”. Not one to be deterred, he set off to see the fair organisers, explained his intentions and showing that he was operating legally with permission from the CAA. “The council then agreed to three separate drone flights over the course…

There are many ways you can approach the landscape genre – but for this photo challenge, we’re asking you to explore the shapes and patterns created in the land to capture an interesting composition. Basically we want to take a ‘landshape’! If you’re unsure where to start, we suggest the beach or near moving water is a good place. Patterns carved out by the movement of the water create textures and lines that are always interesting to view. When it comes getting a winning shot, how you frame your composition really is key. It might be that you want to photograph the land from above or from a low angle. Isolate the pattern and shape to remove any other distractions in the frame. Look at aerial photographers such as Paul…

We’re all guilty of being a bit lazy with our camera during the winter months. The days are short and cold, and inspiring subjects seem few and far between. Get ready to brush all that photographic lethargy aside, though: spring is here! (It’s also the name of this issue, if you hadn’t twigged.) In spring, flowers and insects become ripe for capturing, while larger animals leave the depths of hibernation and head out in search of food and mates. Now is the perfect time to pick up your camera again. To help you get going, we’re moving beyond the advice of basic camera settings and encouraging you to experiment. Get your lenses mucky, move around with your camera for blurry photos (and creative effects) and even freeze your floral subjects.…

Spring is showtime in the world of wildlife, with many great spectacles to shoot. You might hear the familiar calls of migrant birds; the buzz of bees, who have survived the winter and are emerging in search of spring flowers; and larger mammals such as badgers, who increase their activity levels as the warmer weather brings back their favourite food sources. If you’re interested in wildlife but don’t know how or where to find species, get in touch with your local wildlife trusts or groups for expert advice. Remember that understanding the behaviour and habits of the animals you want to capture can be just as important as perfecting camera skills. Project 1 Start a long wildlife series Spring is the perfect time to embark on a new project, as many…

The majority of SLRtype cameras use a mechanical shutter. This features two sets of shutter ‘curtains’ (which are actually more like blinds in their construction). The first set of curtains moves out of the way to reveal the sensor. When the camera calculates that the sensor has been exposed for long enough, the second set drops in front of the sensor to block the light. This process is the same whether you’re shooting an exposure that lasts 1/20 sec or 1/2,000 sec. Some cameras also offer the option to use an electronic shutter. This essentially switches the sensor’s pixels on and off to record an image. The advantage of an electronic shutter is that they are fast and silent, and there are no moving parts to go wrong. (Mechanical shutters…

Tracey Lund Wildlife photographer Camera: Nikon D4 Lens: 15mm f/2.8 Exposure: 1/500 sec at f/11, ISO 1,000 www.traceylundphotography.co.uk Last July I went on holiday to Shetland, to photograph the amazing wildlife it has to offer. The talented Richard Shucksmith had won Bird Photographer of the Year that year with his underwater gannets image, and I was in awe of what he was showing the world – a never-before-seen view underneath the water. I met up with Richard in Shetland: I had organised for him to be my guide to get a unique experience of Shetland’s wildlife, including the gannets. One day I went out on his RIB (rigid-hulled inflatable boat), which the gannets are used to diving around. Richard kindly let me hire his camera equipment for the afternoon, as…

These are the 10 winners of our Young categories – but which one is our 2019 Young Photographer of the Year? Find out over the page… Sponsored by Professional photo-editing software Affinity Photo redefines the boundaries for professional photo-editing software. With a meticulous focus on workflow, it offers sophisticated tools for enhancing, editing and retouching your images in an incredibly intuitive interface. TURN OVER TO FIND THE OVERALL WINNER!…

Sean McCormack is a photographer and writer, based in Galway. He’s the author of The Indispensable Guide to Lightroom CC. FILE & VIDEO Download the disc: www.bit.ly/dc215disc Saturation is a word we can use in quite different situations. We say we’re saturated when we get caught out in torrential rain, or perhaps we’re talking about economics and having a saturated market for a product or service. On a health kick, we talk about reducing saturated fats. There’s also a use of the word that applies to light. Light has three main properties: hue, the base colour (blue, red, etc); lightness (or brightness), the luminosity of the colour; and saturation, which we’ll call the intensity of colour. All well as applying to individual colours, we talk about overall saturation in photos.…

Every month two of our resident expert Photoshop experts are challenged to interpret one raw file in any way they see fit. Over the following pages, they reveal their rationale and show how you can achieve their looks… FILE & VIDEO Download the disc: www.bit.ly/dc215disc The original raw by Lauren Scott Shot in Jasper National Park, Canada, this photo makes the most of wonderfully still conditions to offer a sublime reflection. The challenge of our Photoshop experts is to bring out the best in this image. It was taken on a Nikon D800 with a wide-angle zoom set to 24mm; the exposure is 1/1,000 sec at f/8, ISO 250. ORIGINAL RAW FILE James Abbott James specialises in landscape and portrait images, and is an advanced Photoshop user. Raw warrior 1…

FILE & VIDEO Download the disc: www.bit.ly/dc215disc Although it’s perfectly possible to take landscapes at night with a tripod and a long shutter speed, it’s relatively rare for any of us to actually do it. For many photographers, night shooting is restricted to a few snaps of the moon from the comfort of the back yard, or the odd shot of lit streets and city landmarks after sundown. But look through the pictures taken during daylight, and you’re bound to find a few that would be really atmospheric with a night-time look, especially with a moon hanging in the sky! This simple technique is all about processing a daytime raw file to get an after-dark look – and if you haven’t got your own long-lens shot of the moon, there’s…

Quintin Lake Roving photographer Quintin is past halfway in his 6,000-mile photo walk around the whole of the UK coast. www.theperimeter.uk This month’s route Salen to Acharacle 5 days, 54 miles Total so far: 4,106 miles After skirting around Ben Hiant on Ardnamurchan, one of the most remote peninsulas in Britain, I’m now hunkered down in my tent as the rain sheets down outside. I’m steeling myself for another wet day in tomorrow to reach the westernmost point of mainland Britain. I buy the couple of pieces of fruit left in the shop in Kilchoan; after a brief chat with a crofter and a pat of his dog, I head into the open hill. The following day, there’s no visibility and no possibility for photography, and it’s starting to get…

Lens mounts: Canon EF, Nikon F, Pentax K Focal length: 150mm Maximum aperture: f/2.8 Minimum aperture: f/32 Field of view: 16 degrees (diagonal) Minimum focus: 0.345m Focus ring rotation: 270 degrees Magnification ratio: 1:1 Number of diaphragm blades: 11 Lens construction: 12 elements in nine groups Weather seals: yes Lens hood: supplied Tripod collar: supplied Filter size: 77mm Dimensions: 87x135mm (without tripod collar and lens hood) Weight: 840g Irix burst onto the lens market recently with 11mm and 15mm ultra-wide full-frame lenses; both handled and performed very well in our testing. Irix is now closing in on the macro market, and its first attempt is the 150mm f/2.8 Dragonfly. As macro lenses go, 150mm is a relatively long focal length, but it’s ideal if you want to shoot live subjects…

Lens mount Canon EF While the upgrades to Canon’s latest f/2.8 zoom (left) are slim pickings, there’s a comparative feast packed into the similarly new edition of this lens. The optical path is revamped, although it still offers high-end fluorite and UD elements. The AF system has a new processor for increased speed and accuracy, and the replacement image stabiliser gains a five-stop rating plus a third operating mode. As in the Tamron 70-200mm G2, and similar to Nikon’s Sport VR mode, this third mode applies correction only during actual exposures, leaving the viewfinder image unadulterated. This makes it easier to track erratically moving objects. Performance The new lens overtakes the previous edition in all areas of performance. It’s sharper throughout the zoom range and across the whole image frame.…

Lens mounts Canon EF, Nikon FX, Sigma SA Sigma’s long-running 70-200mm f/2.8 DG OS HSM lens was a popular, budget-friendly option for Canon and Nikon shooters. The replacement Sports edition is completely redesigned, with a new optical path that features 24 elements in 22 groups, incorporating nine FLD elements and one SLD element. There’s also a well-rounded aperture. The autofocus system can be switched to Auto Priority or Manual Priority modes, and features three customisable AF-on/hold buttons on the barrel. The new optical stabiliser has switchable static and panning modes, the latter working in landscape, portrait and even diagonal orientation. Performance Sharpness and contrast are spectacular throughout the entire zoom range. Autofocus is rapid and consistently accurate. Sharpness Lab results aren’t quite as good as from the Nikkor, but real-world…

Lens mounts Canon EF, Nikon F (FX) The newest telephoto zoom in Tamron’s stable stretches to a slightly longer focal length than the competing Canon and Nikkor f/4 lenses but has a virtually identical size and weight. The design looks basic, with no autofocus range limiter switch or switchable stabilisation modes. Despite the no-frills appearance, build quality is good, with a robust feel, refined handling and the inclusion of weather seals. The lens is compatible with Tamron’s latest teleconverters and TAP-in Console, for fine-tuning and the application of firmware updates. Performance Driven by dual microprocessors, the autofocus and stabilisation systems are effective: the former is quick and accurate, the latter delivers four-stop performance. Centre-sharpness is very good at mid-zoom settings but drops off more than competing lenses. Sharpness The Tamron…

B+W XS-Pro Digital ND MRC Nano £52-226/$67-270 www.manfrotto.co.uk Screw-in filters may not quite have the kudos of a square or rectangular filter system, but B+W’s round XS-Pro filters certainly aren’t short on features. Their MRC Nano (Multi-Resistant Coating) helps shed dirt and water, and we found it does indeed do a good job of beading away rain drops. Further coatings reduce reflections, while Schott glass increases optical clarity and colour fidelity. Thread diameters range from just 30.5mm all the way up to 95mm, and you can have two-, three-, six- or 10-stop densities. Whichever option you go for, you get an exceptionally shallow frame depth that makes these filters great for use with ultra wide-angle lenses. However, our samples weren’t quite so great in our image quality tests. The three-stop…

You might think we’re being a bit tongue in cheek to award an innovation gong to Nikon in general, and to the Z 7 in particular. It’s certainly a comparative latecomer to the full-frame mirrorless party, following in the footsteps of no fewer than three generations of Sony Alpha 7 cameras. Indeed, features like the Z 7’s hybrid autofocus system with 493 on-sensor phase-detection sites, its five-stop, five-axis in-body stabiliser, and its ultra-high-resolution 3,690kdot electronic viewfinder aren’t exactly ground-breaking. What makes the Z 7 such an innovative camera is that, despite being Nikon’s first foray into the full-frame mirrorless realm, it’s simply such an accomplished package. It comes with some stunning new Z-series lenses, while also being compatible with older F-mount optics via an adaptor, and can take full advantage…

The original Canon EOS 6D brought full-frame digital photography to the masses, but its successor was a lengthy five years in coming. The 6D Mark II is more than worth the wait, with a raft of new features and upgrades. It bumps up the megapixel count by 30 per cent and has a vastly improved 45-point rather than 11-point autofocus system, in which all of the points are cross-type rather than just the central one. Nine of the autofocus points are now compatible with apertures set as wide as f/8. Autofocus is also much better for Live View and movie capture, thanks to the addition of phase-detection Dual Pixel AF technology on the image sensor. The metering system is also revamped, and the continuous drive rate rises from 4.5 to…

From the outside, the X-T3 looks like a minor refresh of the preceding X-T2. Inside, it’s a whole different story. The brand new breed of X-Trans CMOS 4 image sensor is backlit, for greater light-gathering potential, while also packing more megapixels. It also features a whopping two million phase-detection autofocus points, spread across the whole sensor. Autofocus speed and prowess is further enhanced by a next-generation image processor that’s massively more powerful. Performance boosts in autofocus and the 11fps continuous drive rate make the X-T3 a major contender for action sports and wildlife photography, where the crop factor of its APS-C format sensor boosts the effective reach of Fujifilm’s excellent telephoto lenses. Meanwhile, the 3,690k pixel electronic viewfinder has a fast refresh rate and minimal lag, making it more suitable…

The X-H1 sits firmly at the top end of Fujifilm’s APS-C format X-mount camera line-up. It’s fiendishly good for stills photography and, perhaps more surprisingly, absolutely fabulous for movie capture. The first X-mount camera to feature in-body stabilisation, it keeps things steady when you shoot handheld. It also features a new Eterna Film Simulation, which mimics cinematic footage with restrained colour rendition and rich shadow tones. 12 stops of dynamic range are available, and the crop factor for 4K capture is minimal at 1.17x. Meanwhile, Full HD capture is delivered at up to 120fps. An F-log gamma mode is included, and the quality of the camera’s output enables great versatility and freedom at the post-processing stage. What impresses us most, however, is just how epic the cinematic quality of the…

Rugged and robust, the Virb 360 is an action camera with options for one-touch and voice-activated capture. It gives full wraparound viewing with 4K recording at up to 30fps, complete with in-camera auto-stitching. You can record with an even greater 5.7k/30fps resolution, but that relies on computer-based stitching with the Virb Edit companion software. Smooth, seamless joins are enabled by 4K Spherical Stabilisation, which delivers great-looking output, regardless of camera movement, while four built-in microphones make a similarly smart job of capturing wraparound sound. The camera is waterproof to 10m and, if you fancy adding data overlays to your videos, G-Metrix are on offer, based on internal sensors including an accelerometer and barometer, as well as GPS location data. WINNING FEATURES 1. Creates spherical stabilised 4K video and has a…

While Sigma’s 24-70mm Art lens has become well established over the last year, the 70-200mm Sports edition is a relatively new addition. It’s bigger and weightier than most competing f/2.8 zooms, but goes extra-large on features and performance. The build quality is top-notch, with a weather-sealed magnesium alloy barrel and brass mount. The exotic optical path created for this lens includes 24 elements in 22 groups, complete with no fewer than nine FLD (‘Fluorite’ Low Dispersion) elements and one SLD (Special Low Dispersion) element. Bokeh is beautifully soft when you shoot wide-open, and the aperture remains very well-rounded when you stop down, thanks to the inclusion of an 11-blade diaphragm. As with the Sigma 24-70mm f/2.8 lens (see page 26), there are switchable Auto Priority and Manual Priority autofocus modes,…

Who needs autofocus anyway? With a 9mm lens, the depth of field is so enormous that you only have to focus somewhere in the same ballpark as the subject you’re shooting. So the fact that this Laowa lens is a strictly manual-focus affair isn’t a drawback. It has some singular advantages as well. On an APS-C format Canon, Fujifilm or Sony body for which it’s designed, it gives a hugely wide-angle view, coupled with a fast f/2.8 aperture. This is despite a very compact, lightweight construction. Image quality is pin-sharp and, true its ‘Zero-D’ moniker, it delivers distortion-free shots. Similarly important for such a wide-angle lens, it also has good resistance to ghosting and flare. WINNING FEATURES 1. Excellent optical design delivers great sharpness and zero distortion. 2. Wide viewing…

ACDSee Photo Studio Ultimate ’18 (12-month licence) Combining layer-based image editing with raw correction tools and helpful organisation, ACDSee Photo Studio Ultimate 2018 has everything you need in a photo editor. See page 70 for instructions, then enjoy! Download offer ends 30 June 2019 52-page Digital Camera Awards 2019 Discover the gear of the year as we unveil our pick of the best cameras, lenses and photo accessories of the last 12 months, plus our Innovation Award! Look for this supplement after this magazine. 9 all-new tips cards Our popular cards suggest initial camera settings and offer tips to improve on your test shots. Keep them in your kit bag for handy reference when you need it. This issue, get set for spring and get inspiration for posing your portrait…

The weather near the coast can be unpredictable, with strong winds and skies quickly changing as new bouts of warm and cool air roll in off the ocean. That means you’ll meet with a myriad of photography-related problems before you even reach your location. Be sure to check the weather forecast before leaving and keep an eye on cloud direction once you’re there to predict the weather ahead. Overcast skies mean soft shadows and more evenly balanced exposure values in your scene, while bright sunshine spells clipped highlights and deep shadows, which are uncomplementary to your photographs. Dark cliffs, bright skies and glistening water mean there’s a wide dynamic range, from black to white, all in one image. Exposing for the cliffs would overexpose the sky, blowing out detail, whereas…

Astrophotography is not actually about photographing stars. Like all landscape photography, it’s really about producing an arresting composition. Sure, for it to qualify for the genre it must contain stars – but they are unlikely to be the major point of interest. What you need is a subject. Most astrophotography takes place between May and November, simply because that’s when the Milky Way is visible. During late spring, it rises around midnight in the south-eastern sky; it’s directly overhead at a similar time of night during August; and it can be seen sinking towards the west just after sunset by November. So what’s the torch for? Obviously astrophotography takes place in the dark – but not any kind of darkness. We’re talking pitch-black. Zero light. Since you’ll open the shutter…

Most of us have a local garden, park or flower farm that we can visit when spring hits. Once you’ve found a location, research what’s in season using a flower guide. Checking the weather before a shoot is helpful, but be willing to adapt to certain conditions on the day. In strong winds, for example, set fast shutter speeds that freeze plants and foliage – unless you want an intentionally artsy blur. In terms of composition, gardens can be visually busy places, so always aim to have a focal point in mind for each shot. If you feel overwhelmed, try starting with a portrait of one single flower, gradually working wider to include more flowers, and then finally capturing a whole flower bed or garden. Project 1 Watch for the…

Spring is the season of new life, so why not make it a time for new camera techniques too? Here, we’re encouraging you to experiment without worrying whether a technique will ‘work’ or not. There are plenty of approaches to be had, from jogging your camera to using soft focus; shooting through textured glass to get interesting distortions; or spraying water on backgrounds to create circles of bokeh. You could alter the subjects themselves, capturing flowers underwater, freezing them in ice, or even pressing them in a microwave. If getting more creative with kit is what you fancy, use extension tubes or reverse an existing lens to get different degrees of magnification. Project 1 Add intentional camera movement Long exposures are a mainstay of the creative camera technique toolkit, but…

The shutter speed can be seen in the bottom of a camera’s viewfinder and on its rear display. Fast shutter speeds are indicated by high numbers, which actually represent fractions of a second – so ‘500’ actually means 1/500 sec. Lower numbers indicate slower shutter speeds, such as 1”6 for 1.6 seconds. Slow shutter speeds An exposure time of 1/15 sec might sound fast, but in photography terms it’s usually too slow for recording action sharply. Fast shutter speeds The specific shutter speed you need to freeze movement depends on how fast a subject is moving and how large (or small) it appears…

Panning (where you track a moving subject with the camera, firing the shutter as it passes) is a great way to inject a sense of motion while still keeping all or parts of the subject sharp. The reason it’s so effective is that the subject’s position doesn’t move relative to the frame, because you’re moving the camera at the same speed as them. The background moves considerably relative to the subject, though, so it becomes motion-blurred. Panning allows you to use a slower shutter speed than normal to freeze a moving subject. While you might need a shutter speed of 1/1,000 sec or faster to get a sharp shot of a racing car from a fixed position, say, you can switch to 1/250 sec or even 1/125 sec when you…

These are the 10 winners of our Adult categories – but which one is our 2019 Photographer of the Year? Find out over the page… Sponsored by mpb.com Easy photography kit trading MPB.com is changing the way that photographers trade equipment online, forever. Open to EU and US customers, it offers a hassle-free and secure process for sellers, and makes buying used kit as simple and enjoyable Sponsored by mpb.com as buying new. TURN OVER TO FIND THE OVERALL WINNER!…

Name: Heidi Cohen Location: London Subjects: Macro and creative Website: www.instagram.com/heidi_elena_photography 24-year-old Heidi Cohen has a great eye when it comes to observing the smaller things in life. “I really enjoy shooting wildlife photography of all sorts, but my favourite genre is macro photography,” she says. “There’s something so satisfying, especially when you can create really abstract images.” Only taking up photography two years ago, Heidi got her first DSLR while travelling around Australia. “I took the camera everywhere with me, and I just really enjoyed taking photographs,” she says. “From there, I decided to do a MSc in biological photography and imaging. I spent a year learning about photography and also its role in science.” Heidi is currently working for a conservation organisation based in Malaysia as a photographer…

PLUS 20 custom Light Ray brushes Jon is a professional photographer and writer. He also provides one-to-one and small-group tuition in both digital SLR and Photoshop image-editing skills. FILE & VIDEO Download the disc: www.bit.ly/dc215disc There are few things more evocative in a photo than rays of light streaking through a window or beaming through a woodland landscape. Commercial photographers and movie lighting technicians spend hours setting up these kinds of shots with smoke machines and powerful, carefully positioned lights – but with this month’s free Light Ray Brush Pack, you can get similarly dramatic lighting effects in just a few clicks. There are no fewer than 20 light ray brushes to choose from, and each one can be further refined and sculpted to get a huge array of amazing…

James is a professional photographer who specialises in landscape and portraits. He’s an advanced Photoshop user and has created hundreds of tutorials. FILE & VIDEO Download the disc: www.bit.ly/dc215disc If you can’t see the wood for the trees when it comes to woodland photography (pardon the pun), it may simply be that you need to approach your image editing in a new way, to apply effects that are proven to work with this type of image. Beyond basic editing, there are several techniques that will take your shots from good to great in just a few mouse clicks. From selective colour control to advanced black-and-white, plus a couple of creative blur effects, we’re going to show you how simple techniques can be used to create powerful results. And whether you’re…

Camera Fujifilm X-A2 Lens 50mm Exposure 1/160 sec at f/1.0, ISO 200 OVERALL BEST PRINT (1st in Preliminary Nature Print) Steve Barnes Infrared Dandelion 2ND IN ADVANCED NATURE PROJECTED Lee Sutton Waxwing with Berry Camera Canon EOS 5D Mark III Lens EF 500mm f/4L IS USM + 1.4x Exposure 1/2,000 sec at f/5.6, ISO 1,250 Camera Nikon D810 Lens Nikkor 24-70mm f/2.8 Exposure 1/80 sec at f/18, ISO 64 ADVANCED OPEN PROJECTED Rais Hasan Anthony Gormley’s Vision of Art Camera Olympus PEN-F Lens Lumix G Vario 7-14mm f/4 Exposure 1/180 sec at f/8, ISO 200 Mike Birbeck Geometric Cityscape Camera Fujifilm X Pro 2 Lens 40-150mm f/4-5.6 Exposure 1/800 sec at f/8.0, ISO 400 Kieran Durrant Rotunda by Moonlight The Disabled Photographers’ Society The Disabled Photographers’ Society, the national charity…

ALL THE LATEST NEWS FROM The Photography Show Panasonic S1R now on sale New flagship full-frame mirrorless shoots 47MP images, with a strong line-up of compatible lenses presented by Sigma Panasonic chose The Photography Show as the place to put its flagship full-frame mirrorless camera, the Lumix S1R, on sale for the first time – alongside its baby brother the S1. The cameras and the new L-mount lens alliance (see right) were first announced back at Photokina in Germany last September. With its 47-megapixel sensor and 5.5-stop in-body image stabiliser, this 9fps camera is built with professionals in mind. The S1R is the star of the Lumix line-up, so check back next month to read our full field review and lab test. While the Panasonic S1 and S1R are the…

www.fujifilm.co.uk Sensor: 26.1MP APS-C X-Trans CMOS 4, 23.5 x 15.6mm Image processor: X-Processor Pro 4 AF points: 2.16 million phase AF pixels, 100% coverage ISO range: 200 to 12,800 (exp 100 to 51,200) Max image size: 6,240x4,160 Metering modes: Multi, spot, average, centre-weighted Video: 4K DCI/UHD at 30p, 25p, 24p Viewfinder: EVF, 2.36m dots, 100% coverage Memory card: SD/SDHC/SDXC LCD: 3-inch tilting touchscreen, 1.04m dots Max burst: 30fps (electronic shutter, 1.25x crop), 8fps Connectivity: Wi-Fi, Bluetooth Size: 118x823x47mm (body only) Weight: 383g (body only, with battery and card) Fujifilm has dubbed the X-T30 “The Little Giant” in its marketing – a small camera with big performance. It’s the successor to the X-T20, and a kind of cut-down version of the company’s flagship X-T3 model: it shares a lot of that…

Favoured by professional photographers all over the world, 70-200mm f/2.8 lenses are ideal for shooting action sports, wildlife, weddings and plenty more besides. The availability of short, medium and fairly long telephoto focal lengths, combined with a fast and constant aperture that enables a tight depth of field and rapid shutter speeds, is a potent mix. A drawback of 70-200mm f/2.8 lenses is that they’re necessarily bulky and quite heavy, weighing in at around 1.5kg. If you’re prepared to set your aperture aspirations a stop slower, at f/4, there are 70-200mm zooms that are much slimmer and only about half the weight. Typically, they feature the same advantages of the zoom and focusing mechanisms being fully internal, so the physical length of the lens never extends. You’ll often find similar…

Lens mount Nikon F (FX) Nikon’s latest 70-200mm f/2.8 lens has deservedly gained a reputation for premium performance. Compared with the previous edition, it has an uprated optical design that features a fluorite glass element, six ED elements, one HRI element and the bonus of Nano Crystal Coat. The revised dual-mode VR system has automatic panning detection plus a Sport mode that doesn’t interfere with the viewfinder image and avoids a slowdown in continuous shooting. An electromagnetic diaphragm ensures greater exposure consistency in rapid continuous drive mode. Performance Sharpness and contrast are superb throughout the zoom range. The Sigma Sports lens goes toe to toe with the Nikkor for sharpness in real-world shooting, however, while matching other aspects of its performance. Sharpness In the lab and in real-world shooting, the…

Lens mounts Sony E Sony’s FE 70-200mm f/4 lens is an impressive performer, but the newer f/2.8 G Master really aims for glory, adding an ultra-high tolerance XA (eXtreme Aspherical) element for greater control of colour fringing and enhanced bokeh. Like the Sigma Sports lens (left), it features 11 diaphragm blades to maintain a very well-rounded aperture. Optical image stabilisation has switchable static and panning modes. The high-tech autofocus system features both ring-type ultrasonic and dual linear motors. Like the Nikkor and Sigma f/2.8 lenses, AF-hold switches are featured on the barrel. Performance True to its claims, the Sony combines excellent sharpness and contrast with soft and dreamy bokeh. But the focusing speed proved slower than with competing lenses in our tests. Sharpness Centre-sharpness is excellent at most settings, but…

Top-flight professional photographers are still likely to go for own-brand Canon, Nikkor or Sony 70-200mm f/2.8 zooms, but the new Sigma Sports alternative matches the Nikkor in pretty much every aspect of handling, performance and image quality, and edges ahead of the Canon. That’s no mean feat considering that the Sigma is little more than half the price to buy. The Tamron 70-200mm f/2.8 G2 is another great-value lens, and is a little more compact and light than the Sigma. The Tamron’s tripod mount collar is also completely removable. You can detach the Sigma’s tripod foot by removing four Allen screws, but it still leaves a protruding stub. If you’d rather downsize to a 70-200mm f/4 lens, the Canon and Nikkor lenses are both excellent in terms of image quality…

Combining art with activism, the work of Nick Brandt always relates to a recurring theme – that of the disappearing natural world, as (and before) much of it is destroyed by human activity. Nick studied painting and film at St Martin’s School of Art, London, and moved to California in 1992 (where he still lives). It was in 1995 that he became aware of the devastation of the East African landscape, and this led him to make his seminal photographic trilogy: On This Earth (2000–04), A Shadow Falls (2005–08) and Across the Ravaged Land (2010–12). When we spoke to Nick, we wanted to focus on his latest work, This Empty World – a collection of epic, eerie and beautiful panoramas that again addresses the escalating destruction of the natural world at…

Compared with the Fujifilm GFX 50S, the classic rangefinder styling of the 50R enables a relatively slimline design while still retaining a medium-format image sensor at its heart. Desirable for reportage, street photography and more besides, the repositioning of the viewfinder to the extreme top-left of the rear panel makes it easier to shoot with both eyes wide open, so you can watch how a scene is unfolding. Handling is remarkably good for a camera that’s essentially shaped a bit like a small brick, with direct-access dials for shutter speed and exposure compensation on the top panel, plus a tilting touchscreen around the back. Along with a 51.4MP image sensor, there’s a similarly high-res electronic viewfinder, packing 3,690k dots. The X-Processor Pro image processor is a top performer, as is…

Mirrorless cameras have grabbed the limelight (again) this year, but for those who like the unadulterated view delivered by a mirror and an optical viewfinder, the D850 still has a huge amount to offer. It manages to combine a 45.7MP full-frame image sensor with a fast 7fps drive rate (rising to as much as 9fps with the optional battery grip), giving you incredible resolving power with a respectable turn of speed. It’s therefore a great DSLR for everything from ultra-high-res fashion photography to architectural and landscape shooting, and even sports and wildlife. Both build quality and handling on the D850 are consummately professional, and the 153-point autofocus module is exceptional. The D850 can deliver great 4K UHD movie quality as well, with no crop factor. WINNING FEATURES 1. Ultra-high 45.7…

Rightly or wrongly, Sony’s Alpha 7 series of cameras have often been regarded as the poor relations of the ultra-high-resolution ‘R’ versions, or the all-action and more video-capable ‘S’ editions. The Mark III hits back with a winning set of features, shoehorned into a more budget-friendly package. Headline attractions include a new 24.2MP back-illuminated image sensor, coupled with a new-generation, higher-performance image processor. A real sharp-shooter, the A7 III combines an uprated 696-point 4D Focus system inherited from the A9 camera with five-stop, five-axis in-body stabilisation. For a mirrorless camera, the A7 III is particularly good at tracking erratically moving objects. Meanwhile, the modest megapixel count combines with the new design of sensor and processor to enable low-noise image quality even at very high ISO settings. The control panels are…

The name GoPro has become synonymous with the term ‘action camera’ – and with good reason. GoPro Hero cameras are hard to beat for both video and stills when the going gets tough. The Hero7 Black builds on previous incarnations, adding HyperSmooth video stabilisation to the growing feature list. Along with 12MP stills, the camera can shoot 720p or 1080p movies at up to 240 frames per second, and 4K video at up to 60fps. Slo-mo and TimeWarp features can slow down or increase video speed by up to 8x and 30x respectively, while a SuperPhoto option gives you ‘intelligent’ high dynamic range for stills. It’s a well-connected camera, with Wi-Fi, Bluetooth and GPS built in, and a raft of trick features that include voice control, live streaming and QuickStories.…

With a classic viewing angle, this lens brings an entirely natural perspective to either of Nikon’s new full-frame mirrorless Z-series cameras. The f/1.8 aperture rating is a sensible choice, as it enables the build to be reasonably small and lightweight, making the lens a good match for the body. Despite not having a faster f/1.4 or f/1.2 aperture, bokeh is pleasantly smooth when shooting wide-open, and coma is minimised to give defocused points of light a natural shape. Although it’s fairly compact, the lens has a complex optical path based on 12 elements in nine groups, including two ED elements and two aspherical elements. Handling is enhanced by internal focusing, and the robust build includes weather seals. The main performance highlight of the Z 50mm f/1.8 is that this lens…