Tabla de contenidos para February 2020 en Practical Photography: Lite

IT’S OFFICIAL: SPENDING TIME outside is good for you. In fact, it has ‘significant and wide-ranging health benefits’, according to new research from brainy science types. This wonderfully simple revelation is just one of the many reasons why this issue is a seasonal celebration of all things outdoor. The British Isles is home to an impressive number of hugely talented landscape photographers, each with their own unique vision and methods. For this issue’s brilliant guide to outdoor excellence (page 34), we asked six of our favourites to talk us through their distinctive styles, techniques and fieldcraft. From classic rural scenes to snow-capped mountains and beyond, there’s something for every outdoor enthusiast here, no matter your experience and ability. Time to dig out those thermals... facebook.com/ PracticalPhotographyMagazine youtube.com/ppmagazine instagram.com/ practicalphotography twitter.com/practphoto…

PHOTOGRAPHY IS A CREATIVE ENDEAVOUR and, over the years of indulging in this pursuit professionally and personally, I’ve had times when I’ve felt thoroughly demotivated with the entire art form. Of course, if I’m on a commission I have little choice but to push through, but during these times my personal work tends to diminish, and I can end up feeling creatively unfulfilled and frustrated at my lack of engagement. These moments can strike at any given time, but often they tend to coincide with times of the year that hold less of my interest, such as weeks of rain or – even worse – weeks of wall-to-wall sunshine! “EMBRACE DOWNTIME, KNOWING IT’LL HAVE A REJUVENATING IMPACT ON YOUR CREATIVITY” I’ve also found that I can’t force myself out of…

I underexpose images that have a lot of dynamic range. If I’m just shooting in mist and frost, I’ll keep the exposure where it should be. Either way, once I’m in Lightroom I’ll pull down the highlights slightly and stretch out the shadows. I’ll also make sure that the horizon is completely straight and consider cropping out any unwanted elements at the edges of the composition. Once I’m done with the general adjustments in Lightroom, I’ll take an image into Photoshop for some more targeted adjustments to the highlights and shadows using Luminosity Masks. I also utilise the power of the Nik Collection, especially Color Efex Pro 4, just for the finishing touches.…

STYLE If my winter landscapes had a style it would be described as ‘simplicity’. I look for clean lines and bold, strong graphic shapes that appeal, as do bags of mood and drama. But, above all, I like my images to look clean and without complicated mess that distracts the viewer. It’s a case of searching for the right scene in the right conditions, and sometimes just waiting until the main ingredients fall into place, such as the clouds or light. A great deal of time can be spent location hunting and fine-tuning the viewpoint, and then just hanging around freezing your toes off while Mother Nature tries to make up her mind as to whether she’s going to play ball or not on that occasion. GEAR In terms of…

I prefer to do all my editing in Photoshop. It’s infinitely more creative than Lightroom, and it defines my professional look. When you think about it, we all start with the same camera equipment – it’s our eye and the software that defines our identity. I rarely use graduated filters as I’ve been exposure-blending images since 2006 when I abandoned them… into the English Channel by accident! Most of these blends are manual, as plug-ins often have a certain look to them that hands over ownership of the photograph to the computer. I develop my wintry snow scenes so that the whites are fresh and clean, just on the edge of losing detail.…

STYLE I’m an extreme landscape photographer. I spend many nights wild camping on or near mountains to get a unique view of the landscape around me. While it’s not the most straightforward way to get images – sometimes I don’t get anything at all! – the rewards are that greater when everything comes together. I relish being out in winter conditions, and the hiking and camping adds another dimension to a trip. I always aim for bright, clean images with impact. The key is dramatic conditions – if you can find fresh snow, it can be used to create unique, exciting compositions. I’m constantly tuned into the weather to make sure I arrive soon after snow has fallen to avoid any footprints. On short winter days, light during the day…

THERE’S SOMETHING SO enchanting about bokeh, especially at this time of year. By definition, it’s out-of-focus points of light, and it’s often associated with twinkling Christmas lights, as they adorn shops and houses during the long evenings of this season, stretching into the distance. So while your Christmas decorations are out of the attic and dusted off, take the opportunity to pull out your fairy lights and capture a bit of that magic by shooting stunning bokeh. Create your bokeh All it takes to capture a bokeh effect is a string of fairy lights and a wide aperture. Shooting this way throws a background out of focus and this is where the fairy lights will be positioned. The lights will blur from individual pinpoints into large coloured circles, creating a…

There’s nothing like a stormy sky for injecting drama and impact into your images. To exaggerate the effect, add an ND grad filter to the front of your lens. This limits how much light reaches the sensor from the top portion of the frame to produce darker, moodier skies. You’ll need a filter holder and adapter ring to attach your grad. Before purchasing, check that the filters are suitable dimensions for the sensor size of your camera and the focal length you plan to shoot at. This is usually not made clear, so a call to the shop or manufacturer is recommended if you’re unsure. There are several different filter strengths and gradient hardnesses to choose from. If you only buy one, a medium or soft ND4 (2-stop) grad is…

Every lens has an aperture at which it produces its sharpest results, and this aperture is commonly referred to as a lens’ sweet spot. This aperture will vary from model to model and is often 2 to 3 stops above a lens’ widest setting. So, as a rule of thumb, if your lens’ widest aperture is f/2.8, for instance, you’ll want to shoot at f/5.6 or f/8 to achieve maximum sharpness. If you’re lucky enough to have a super-fast prime in your kit bag, with a maximum aperture of, say, f/1.4, you’ll want to stop down to f/2.8 or f/4. We often confuse sharpness with depth-of-field, and while the two share a special symbiotic relationship, they’re very distinct types of measurement. The key is to decide which is more important…

When you add a light source to an image, like the sun star in this case, the rest of the image needs to tally up. Here, stronger highlights would appear on the ice in the foreground than in the start image. Pick the Dodge Tool (O), and in the Options bar, set it to Highlights, with an Opacity of 3-5%. Next, press Ctrl+J to duplicate the background layer, so you’re working on a copy, and correct mistakes if needed. Finally, run the brush over the edges of the ice or other foreground detail that would pick up the light of the sun.…

While megapixels aren’t everything, all of these high-resolution wonders can take a stunning shot, with incredible levels of detail. Setting a 40MP ante, the lines between full-frame and medium-format start to blur, so we’ve included both, and weighed them up accordingly. You’ll often notice more useful features and functions on a full-frame, though the importance of the larger format shouldn’t be underestimated, with the GFX100 in particular bringing 102MP to a wealth of mirrorless features... at a price. And the winner is... “SONY’S SUPERIOR AF AND INCREASED FEATURES GIVE THE LATEST ALPHA R THE EDGE OVER NIKON’S STUNNING DSLR” It’s a very tough call, and largely down to preference. For us, the Nikon D850 is the best DSLR ever created. However, Sony’s superior AF and increased features just give the…

MAC OS 10.12+ 8GB RAM WINDOWS Windows 7+ 8GB RAM EDITING Skylum Luminar 4 £81 SKYLUM HAS LAUNCHED the latest update in its Luminar line-up. With added artificial intelligence filters – including the new AI Sky Replacement – and a wealth of portrait enhancement tools, Luminar 4 looks set to build on the good work of its predecessors. Performance Visually, Skylum has remained faithful to the classic design, which is both straightforward and innovative. The new filters slide in among the previous categories, and work in the same way as the classics, helping with the transition for users of Luminar 3. So, on to the new features… AI Sky Replacement may sound like a bold claim, but it is a genuine marvel. With a single click, Luminar 4 detects,…

THE NURSERY RHYME THE NORTH WIND Doth Blow begins: ‘The North Wind doth blow, and we shall have snow, and what will poor robin do then, poor thing?’ Poor thing, indeed, but the robin’s misfortune is the outdoor photographer’s gain. Our photography is dependent on the weather and the light it brings. Knowing what subjects and locations work in specific conditions is an important part of what we do. Stormy weather brings drama, passion and intrigue to images of wildlife and the landscapes they inhabit. “KNOWING WHAT SUBJECTS WORK IN SPECIFIC CONDITIONS IS VERY IMPORTANT” Over the past few winters, I’ve spent several weeks in the Cairngorms National Park, staying in the small village of Kincraig a few miles from the town of Aviemore. During the winter months, the gamekeeper…

STYLE  My style is probably best described as ‘coastal elegance’. I live by the sea and on the south coast, the winter months are the best time of year, as the sun sets and rises over the sea. I’m drawn to order and simplicity and look for scenes with clear focal points and strong shapes and lines that can be used to guide the eye around the frame. To simplify scenes, I’ll often use long exposures, but I think there’s a careful balance to be struck between smoothing the water enough to remove any distractions, but not so much that texture is removed altogether. GEAR Most important is a set of neutral density (ND) filters. I usually carry a 4-stop, 6-stop and 10-stop ND with me, which allows me to…

Editing and post-production are kept to a minimum. After the initial processing of the RAW image in Adobe Camera Raw my tweaks and adjustments are done in Photoshop – Curves, Levels, localised adjustments to shadows and highlights if needed, and a hint of dodging or burning if necessary. Avoid over-sharpening and too much saturation, as colourful images with halos just don’t look right. Some of my winter landscapes will have been pre-visualised as panoramas and shot accordingly – three horizontal images, shot from left to right, overlapped by about 30% and to be stitched together in Photoshop, something it does very well. Black & white images are created using Nik Silver Efex Pro, a powerful plug-in with huge potential for those into mono.…

STYLE Norfolk isn’t blessed with many hills or good vantage points for winter photography, especially the area I live in on the Norfolk Broads. However, we are blessed with big skies and lots of windmills, and I always like to utilise both in my winter landscape photography. I shoot images that are more local to me in the winter months, as these are the areas and subjects within easy reach that I know best, and I can really maximise the winter conditions when they occur. Because of the unique flat landscape of the Norfolk Broads, the sky is always going to be a dominant feature – a good sky can be key to getting the best images from this unique location. GEAR A good tripod is essential. By using a…

The laws regarding wild camping vary across the UK. In Scotland you can camp on any wild land (with a few local exceptions). The same applies to Dartmoor in England. But, technically, everywhere else you should seek the landowner’s permission. Clearly this is not always feasible, and many wild campers will risk it without doing so. Much of the UK’s wild land is in the care of National Parks, and they often tolerate wild camping, although most stop short of giving outright permission. However, wherever you camp – with permission or not – you should always follow these guidelines: • Camp away from main tracks, houses and farms. • Pitch your camp late in the evening and leave early in the morning. • Do not dig drainage ditches, trample plants…

WITH WINTER doing its level best to dampen our desire for getting out and about with a camera, it’s the ideal time to try out creative indoor projects guaranteed to deliver results whatever the weather. These three still life projects don’t require any specialist kit – just a camera, tripod and a spare hour or two – and by following our lead, you’ll find you’ve soon mastered the essential skills you need to succeed in this classic genre. We’ll show you how to capture a steaming hot drink, food flatlay and magical bokeh… 3 SHOTS TO TRY IN YOUR HOME A STEAMING HOT DRINK Give drinks the appearance of piping hot steam APPETISING FLATLAY Shoot from above for stylish food photography MAGICAL BOKEH Take control of aperture to create beautiful…

THERE CAN BE NOTHING more appealing for a viewer and more satisfying for a photographer than a mouthwatering display of food – it’s really no wonder that food photography is such a popular genre. If you want to achieve a high standard of this type of shot, you’ll find it’s not too difficult – it doesn’t require lots of gear or an intricate setup. Feast your eyes on how to create the perfect food still life. Colour is key Although the mechanics of capturing a still life food shot are simple enough, the setting of the scene is of vital importance and takes some planning, unless your aim is to display a chaotic mess. Before you start, decide on a colour scheme. This is the glue that will hold your…

1 Set up the scene Place your fairy lights in the background of your scene in a loose ball and switch them on. You’ll want the lights to be at varying distances to your camera to give different-sized lights and to add depth to your image. Set up your chosen subject on a surface, such as a table, with the fairy lights positioned two metres or so behind. 2 Mount your camera on a tripod Fix your camera to a tripod and set up at a low angle towards your subject. Look through the viewfinder and make sure the fairy lights fill the frame in the background. If they don’t, move them closer until they do. 3 Choose an aperture Switch to aperture-priority mode. Dial in an aperture of f/5.6…

After enjoying a walk along Holkham beach in north Norfolk, I decided to visit the estate of Holkham Hall. I knew there would be deer in the extensive grounds, but I didn’t expect to be able to get so close. I noticed a deer eating next to a tree behind some tall grass, and seeing that it was distracted, I slowly moved towards the grass and managed to hide behind it. After about ten minutes the deer moved past me, but as I turned to take a photograph it ran away, only then to return a few moments later, standing bathed in sunlight. As it stood, I was able to capture this shot with my Nikon D810 and 70-200mm lens.…

BOUNCING THE FLASH CREATES a larger light source to give softer illumination and more flattering results. You can maximise the size of your light source by zooming your flash head to its widest setting using the controls on the flash. Also pull out the built-in wide-angle diffuser panel housed in the slot in the flash head and, if you have one, attach your diffusion dome to your flash. All three steps will give you a broader spread of light hitting your bounce surface. It’s also better to set the flash power manually rather than relying on TTL. This is because when using TTL, the flash light level is set to match the distance of the subject from the camera, but the bounced light will be travelling from a different distance,…

THANKS TO THE SUPERBLY named ACDSee, we are giving away three months’ usage of Photo Studio Ultimate 2020 for free. This all-in-one editing software for Windows is part RAW converter, part powerful library and part comprehensive layer-based image editor – the whole package. This is by far the most feature-rich entry into the ACDSee series, and includes such useful features as automated HDR and focus stacking. There’s a Blended Clone Tool that seamlessly merges edges to create a natural look. Advanced image manipulators will love the ability to use multiple layers to create complex composites, or make non-destructive adjustments, while the more organised will appreciate the options to tag images and search by metadata or using facial recognition. As well as the more advanced features, at its heart is a…

Making Presets for Lightroom can lead to a much quicker workflow, and is the first step towards a consistent style. First, go to your Develop module and look on the left-hand side for a drop-down called Presets. Clicking the arrow will expand the list to show your existing Presets, including the built-in effects. To create your own, simply edit any image as you would normally, using the Develop tabs as required, such as Basic for exposure tweaks or HSL for colouring. Once you have achieved your desired results, go back to the Presets tab and click the plus sign, followed by Create Preset. Add a title, and group if required, and ensure all boxes, except Transform, are ticked. Click Create, and this Preset will be saved for future use.…

PRICE £1699 IMAGE RESOLUTION 26.1MP VIDEO 4K 1 TRANS-TASTIC The X-Pro3 packs the latest X-Trans 26.1MP BSI sensor, as well as the X-Processor 4 engine, which gives it many of the same features as the X-T3, including 30fps burst shooting and solid video specs. 2 NEWLY NEGATIVE Classic Neg is the latest addition to the revered Fujifilm Film Simulations, based on the Superia film stock. It offers a harder tonal range, and subdued colours with a less saturated look. 3 A VIEW TO DIE FOR Both the X-Pro and X100 ranges feature a hybrid viewfinder. With the flip of a switch, you can choose from a fully-functioning 3690k-dot EVF, or a rangefinder optical viewfinder with digital overlay – a unique experience. 4 WHERE’D IT GO? Fujifilm hasn’t omitted the LCD.…

Nikon’s APS-C is based around the Z mount, and features a 20.9MP sensor, 209-point AF system and 100-51,200 ISO range. Kirk Schwarz asks if it’s enough to make it stand out. PRICE £989 IMAGE RESOLUTION 20.9MP VIDEO 4K 1 STURDY SENSOR With 20.9MP of resolution, the newly-designed APS-C sensor should return similar image quality and low-light results to the excellent D500 and D7500 Nikon bodies. 2 EASY MOUNTING Built around the Z mount, you can use all of the latest additions to the Z lens line-up, or invest in an FTZ adapter (£269) to use any older F mount lenses with full autofocus capabilities. 3 NEGATING THE NOISE A high ISO range of 100-51,200, as found in the Z 6, paired with the smaller 20.9MP resolution means that the Z…

PRICE £1099 IMAGE RESOLUTION 20.4MP VIDEO 4K 1 PUMPED-UP PIXELS Jumping up from 16MP, the Mark III features an identical 20.4MP resolution to the current flagship models, which means you’ll see crisper shots and even more detail in your final images. 2 IT’S JUST A PHASE A big improvement over the previous model is the inclusion of on-sensor phase detect AF. There are 121 points to select from – that’s up from 81 previously – and you’ll reap the benefits throughout the various focusing modes. 3 GOING LIVE Live Bulb and Live Composite are both present. The former lets you see your long exposure as it captures, and the latter stacks multiple image highlights over the first single exposure – ideal for star trails. 4 STORMY WEATHER Despite opting for…

KIT PRICE £2399 IMAGE RESOLUTION 24.6MP VIDEO 4K 1 POCKET POWER With its lightweight aluminium body weighing in at just 422g, battery included, this is a tiny camera, and it’s all the more impressive that it packs a 35mm full-frame sensor. 2 LIKE A MOUNT Part of the Leica L Mount alliance, the fp benefits from a huge range of lenses, further augmented by the availability of the Sigma Mount Converter MC-21 allowing it to fit Sigma SA lenses. 3 NICE THREADS Two additional 1/4in threads mean the camera can be customised with accessories from camera grips to hotshoe mounts, as well as affording versatility in your tripod attachment orientation. 4 SINKING IT That’s no flip-out LCD screen on the back. Instead it’s a massive heat sink that replaces the…

The Opal by Örvar Þorgeirsson This image of the schooner ‘Opal’ was taken in a remote part of north-east Greenland. A harsh midday sun and choppy waters are not ideal conditions, and usually I keep my camera in my bag on days like this, but the strong fjord wind in the backlit sails worked well with the wintry scenery to create an 18th century polar explorer feel. As I was shooting from another rocking boat, I had to make sure my shutter speed was fast enough to guarantee the image was sharp. Nikon D800 | 320mm | 1/640sec | f/8 | ISO 100 Landscape photographer Örvar Þorgeirsson is based in Iceland, and he runs regular photographic expeditions to the Arctic. arcticphoto.is Colour waves by Jürgen Armenat I have a passion…

ABSTRACT #1 Try out new things THERE’S A LOT TO BE SAID FOR STICKING WITH one genre of photography, honing your skills and practising until you know it inside-out. Then there’s the flip-side, where trying something new can spark your creativity, as Jack Appleton (jpappleton.com) has done. “My usual style is landscape photography, but then I saw this concept online and decided to have a go at something different. I scavenged around the house for props, gathering a bulb from a lamp, a piece of glass from a picture frame and some leftover sparklers from bonfire night. I placed some black card on the kitchen table then put the glass on top to create the base reflection. With the bulb in place on the glass, I secured a sparkler behind…

STYLE  Winter is one of my favourite seasons of the year, along with autumn. Ideally, when it comes to wintry landscapes, I’m really hoping for snow, but ultimately where I live in the Midlands, that’s not a certainty every year. Over the last few years I’ve become increasingly interested in photographing frost, specifically hoar frost clinging to the branches of trees and foliage. I have a couple of spots local to me that I know are magnets for these kinds of conditions, and after that I just have to judge it right. I find that this gives something extra to the overall atmosphere. If I manage to catch these kinds of conditions on a misty morning, even better. GEAR I’m not a huge kit person, I try to carry with…

I use Lightroom for almost all of my editing. My basic workflow consists of selecting a suitable profile – Adobe Landscape works well for vibrant colour and Standard is good for something more subtle – then setting white balance to suit. When making tonal adjustments, I like to stretch the tones across the whole width of the histogram to make sure the full tonal range is exploited, then I tweak the shadows and highlights to ensure there’s good detail throughout the image. If necessary, I make local adjustments using the Graduated Filter, Radial Filter and Adjustment Brush. If there are waves in the shot, then I’ll enhance the texture by selecting areas with the adjustment brush and increasing Clarity and Contrast.…

STYLE I’ve spent many years shooting landscapes of all styles and in all seasons, but winter – and especially snowy wintry scenes – helps to simplify images in a way that creates a fabulous calm. A painter builds an image from a wash of midtones, adding features, tones, detail and, finally, light. The camera is the reverse of this – landscape photography is fundamentally a subtractive approach, removing distractions from an already-full canvas, or viewfinder in our case. Winter snow helps to simplify the landscape and the more minimal the landscape becomes, the more direct the connection. I crave simplistic shapes and form without distraction. GEAR I approach my winter photography with rather limited accessories. The usual lenses are with me all the time – 16-35mm, 24-70mm, 100-400mm, 1.4x teleconverter…

I keep my post-production work quite streamlined and basic. Initially, once I open my images in Lightroom, the first thing I do is click the Enable Profile Corrections box in the Lens Corrections Tab. This automatically applies minor corrections to distortion and vignetting. I then set about straightening any horizons and applying any crop adjustments. The next steps involve small adjustments to white balance, exposure, clarity and saturation. I leave my images unsharpened and then remove any sensor dust spots using the Patch Tool in Photoshop.…

When, where, how and why did landscape photography become your specialist subject? I met my wife over 30 years ago and soon afterwards began spending time at her family’s holiday retreat on the Suffolk coast. I was instantly captivated by the big open skies and seascapes associated with East Anglia. I also became aware that this part of the UK was very fragile, being constantly challenged by the North Sea, with each visit offering unique photographic opportunities due to the constant and rapid erosion. It was at this point I consciously turned my attention to recording this ever-changing landscape, hoping that in some way, I was capturing a part of our landscape that would soon be just a memory. How would you describe your style? I prefer more of a…

1 Position the reflector Arrange your ingredients by a window. Grab a reflector or a large piece of white card and position that at the far side of your setup, opposite the window. You might need to prop it up on something as you’ll need your hands free to shoot with. Make sure it’s pointing at the scene and not upwards, otherwise it’ll bounce light towards the ceiling. 2 Set up your camera Switch to aperture-priority mode and set an aperture of f/8. This should be enough to get sharpness from front to back in your shot. Set ISO to 400, then check the shutter speed – you’ll want to keep that above 1/50sec. If it’s slower than that you might need to increase your camera’s ISO. Once you have…

Tim Berry Former deputy editor Tim is a pro photographer and journalist with an encyclopedic photo knowledge. Kirk Schwarz As PP’s technique and gear editor Kirk knows the best kit, and how to get the most out of it. Adam Atkins PP’s features writer is an accomplished professional sport and travel photographer. Can I get great landscapes on a cloudy day? Q I can never make cloudy day landscape images look any good. Is it even worth venturing out to shoot when the sun isn’t out, or should I wait for better conditions? Nick Benton, Exeter Tim says: When it comes to landscape photography, there’s no such thing as bad weather, only different kinds of good weather. If we only ever worked in golden evening light under clear skies, we…

“The superb composition draws you in and pulls you right through to the furthest mountain” Ben Hawkins With over 17 years as a photographic journalist, Ben is an experienced competition judge, picture editor and writer. Adam Atkins PP’s features writer is an accomplished professional sport, travel and commercial photographer. Kirk Schwarz With over ten years spent as a wedding, fashion and product photographer, Kirk has an eye for finer details. Loch Maree by Dean Allan The rain was incessant and the wind unpredictable, and I’d almost given up any thought of taking any photographs, when rising above another blind summit this scene lay before me. There was no time for a tripod as I didn’t know how long this was going to last, so I attached the longest lens…

Both Lightroom and Photoshop’s Adobe Camera Raw allow you to take advantage of a range of selective editing tools. Whether you’re using the Graduated or Radial Filters, or the Adjustment Brush, you can easily apply different edits to parts of the scene. This comes into its own, for example, if you have a flat image. You can darken the skies with the Graduated Filter, then brighten reflections with the Radial Filter and brush in an exposure boost on the faces of your subjects with the Adjustment Brush for the ultimate in customised clarity.…

For the most natural results, it’s best to add a genuine sun star picture, rather than trying to make one in Photoshop, or by using the built-in lens flare filter effects. Therefore you’ll either need to comb your back catalogue of images to find those with sun stars to use, or shoot one to order. If you’re doing the latter, wait for a clear day, then use a very small aperture like f/16. Underexpose the shot using negative exposure compensation and, with a wide-angle lens, focus on a distant object. Then recompose with the sun prominent in the frame and shoot. Never point long lenses directly at the sun to shoot or you could damage your eyes, as well as the camera.…

GuruShots Find out more about the ‘world’s great photo game’ GuruShots is an online platform designed to give global exposure to people who love taking photographs. Members compete to win challenges, increase their ranking and eventually progress to the ultimate ‘Guru’ status. There’s a fresh photo challenge – like ‘Incredible Nature’ and ‘The Great Outdoors’ (results featured in the June 2019 issue) – every day, and over $600,000 of amazing prizes to be won. Find out more about GuruShots at gurushots.com…

More megapixels means a greater amount of detail captured in a shot, so whether you’re an enthusiast looking for the ultimate in crisp clarity in your shots, or a pro wanting to satisfy the exacting demands of your paying clients, these ultra-powerful high-resolution cameras will give you the best chance of delivering the goods. Setting a minimum requirement of 40MP means we’re also veering into the realms of medium-format cameras. They don’t come cheap, but do take image quality to the next level. These ten options represent the best mix of features, image quality and value for money on the market. PENTA X 645 Z £5299 RESOLUTION 51.4MP SENSOR MEDIUM-FORMAT VIDEO 1080p RELEASED IN 2014, IT’S FAIR to say this ground-breaking medium-format is now getting on a bit. However, thanks…