Tabla de contenidos para The CSC Camera Book en The CSC Camera Book

The compact system camera market has rapidly grown in recent years, with more and more photographers opting for the mirrorless option over the bulkier DSLR. The CSC Camera book is the ultimate guide to mirrorless cameras, whether you are looking to buy your first CSC and need help picking the right one, or just want to know how to take your imagery to the next level, we’ve got it covered. In this brand new book we have rigorously tested over twenty of the best mirrorless cameras on the market from all of the key manufacturers, and have looked at a range of the best lenses. We have interviewed professional photographers to find out why they switched from shooting with a DSLR to a CSC, and have included essential shooting tips…

Don’t be too swayed by the megapixel count when you go shopping for a compact system camera – you need to take the size of the sensor into account, too. Larger sensors typically produce cleaner images at high ISOs and make it easier to achieve shallow depth-of-field effects, while smaller sensors enable the design of smaller and lighter cameras and lenses. Unlike DSLRs, which are broadly separated into two camps – those with sensors that share similar proportions to a frame of 35mm film (‘full-frame’) and those with sensors closer in size to a frame of Advanced Photo System ‘Classic’ film (‘APS-C’) – CSCs offer a much wider range of sensor sizes.…

www.panasonic.co.uk Although the body is not smaller, the lenses are. You do end up carrying around a lot less weight WE’VE looked at Panasonic’s flagship G9 stills camera; the new GX9 is a step down from that, with a smaller rangefinder-style body but the same 20-megapixel resolution. It’s designed as a premium ‘street photo’ camera that looks like an evolution of the highquality GX8. A handful of key changes includes a smaller body; the removal of the image sensor’s optical low-pass filter (to improve fine detail rendition); an L.Monochrome picture mode; an optional grain effect; slightly improved continuous shooting speed; and a more effective Power Save mode for extending the battery life. The GX9 also gets Bluetooth, a built-in flash, an optional grip and improved in-body image stabilisation. This works…

www.sony.co.uk OF course, it was bound to happen. We knew Sony had the technology to combine high resolution with high-frame rates from the moment it launched the Alpha 99 II, and then Nikon announced the D850, which pulled the same trick. Some might be disappointed that the sensor resolution is unchanged from the A7R II’s at 42.4 million pixels, but this sensor is capable of outstanding quality and the improvements to the continuous shooting speeds are much more important – because the new model can top out at an amazing 10 frames per second at full resolution. Not only that, it can sustain this for up to 76 compressed RAW files. Frame rates grab the headlines, but they mean very little without the buffer capacity to go with them. If…

www.sony.com The A6500’s magnesium alloy rangefinder style body is compact and robust and packs some highend specifications IF we discount the ageing A5000, the A6000 series is Sony’s sole remaining APS-C mirrorless camera. Since the launch of the A6000 in 2014, Sony has added the A6300 (early 2016) and A6500 (late 2016). All three of these cameras remain on sale. The A6000 continues at a very competitive price point, even though it’s actually quite advanced even by today’s standards. It doesn’t shoot 4K video though, and it doesn’t have Sony’s newer 425-point autofocus system. Both these features arrived with the A6300. The A6500, brought 5-axis in-body stabilisation and a big increase in buffer capacity. The A6500 has the same maximum 11fps continuous shooting speed as the earlier models, but can…

www.fujifilm.co.uk FUJIFILM’S X-mount cameras have truly re-invigorated the enthusiast interchangeable-lens camera market. The quirky X-Pro and the SL R-style X-T1 kicked the whole thing off, with Fujifilm’s terrific, almost film-like X-Trans sensor, an excellent range of zoom and prime lenses, rugged build and old-school external controls. The original 16-megapixel X-Trans sensor was starting to look underpowered in a market dominated by 24MP cameras, so the arrival of the X-Pro 2, X-T2 and now the X-T20 has caused quite a stir. In effect, the X-T20 replaces the X-T10, but the improvements go far beyond a simple increase in resolution. The new sensor is teamed up with Fujifilm’s new X-Processor Pro image processor to deliver faster start-up, better autofocus tracking and improved continuous shooting. The X-T20 can also shoot 4K video and,…

www.fujifilm.co.uk The SLR-like X-T2 is designed for the brand’s growing range of fast zooms IT’S no surprise the X-T2 gets the impressive 24.3MP APS-C X-Trans III CMOS sensor first seen in the X-Pro2, and the 50% larger pixel count is a welcome upgrade from the sensor in the X-T1. The X-T2’s electronic viewfinder has the same 2.36 million-dot OLED display with 0.77x magnification, but it’s now twice as bright, there’s an automatic brightness adjustment function and it features a higher baseline frame rate of 60fps – and there’s now a Boost mode that increases this to 100fps to ensure that fast-moving subjects are displayed smoothly, although this also drains the battery faster. The rear display has been updated too. The 3.0-inch display keeps the same 1.04 million-dot resolution, but it…

www.hasselblad.com The bigger sensor means bigger photosites, which should mean less noise and a wider dynamic range HASSELBLAD is best-known for its professional medium-format camera systems – and their £20K+ price tags – but the X1D is a radical step. Its mirrorless design means it’s a fraction of the size of a regular medium-format camera, and scarcely larger than a 35mm full-frame model. And while it’s a long way from cheap, its price puts a Hasselblad within the reach of more professionals and well-heeled enthusiasts. So what’s the big deal about medium-format? It’s all about image quality. At 50 million pixels, the X1D seems to have no inherent advantage over Canon’s 50MP EOS 5DS, for example – but there’s more to it. The bigger sensor means bigger photosites, which should…

www.leica.com It’s the camera’s quirky controls and sometimes sluggish responses that we’re worried about LEICA’S best-known for its old-school M-series rangefinder cameras. It also makes full frame mirrorless and medium-format DSLRs for the professional market. The TL2 is at the opposite end of the range: it’s a style-conscious fashion statement that’s also intended to be a serious photographic tool. Machined from a single block of aluminium, the TL2 has a slim, minimal look. There’s no viewfinder, although you can purchase a clip-on Visioflex for a further £350/$575. The twin dials on the top are unmarked, and adjust different settings according to the shooting mode. Inside there’s a 24-megapixel APS-C sensor teamed up with Leica’s Maestro II image processor. The TL2 has a new 49-point AF system and an ISO range…

www.canon.co.uk The aim is to provide enthusiasts with the speed, quality and handling of an EOS camera in a much smaller body WHILE camera makers like Sony, Olympus, Fujifilm and Panasonic have been forging ahead with their high-profile mirrorless camera ranges, Canon has been quietly pottering away on a different path. Its M-series models to date have been pretty conservative box-shaped shooters with a modest M-mount lens range – although they can take regular EOS lenses via an adaptor. The EOS M5 is different. It’s shaped more like a miniature SLR and has a built-in electronic viewfinder. The EOS M5 is Canon’s flagship mirrorless camera, replacing the EOS M3 at the top of its line-up – though the EOS M3 continues, as does the entry-level E-M10. The new model presents…

www.olympus-global.com/en The Pen-F integrates an OLED electronic viewfinder with 2.36 million dots into its body OLYMPUS has two lines of Micro Four Thirds compact system camera: Pen and OM-D, with the latter the more ‘serious’ of the pair. The Pen-F comes in at the top of the current Pen line-up and has a 20-million-pixel Four Thirds type sensor – that’s four million more pixels than previous Pen models. Until now, one of the key distinctions between the two lines has been that the OM-D cameras have a built-in viewfinder, while the Pen models don’t. The Pen-F changes that, integrating an OLED electronic viewfinder with 2.36 million dots into its body. It also has Olympus’s excellent five-axis image stabilisation built-in. Other highlights include a maximum continuous shooting speed of 5fps with…

Once you’ve chosen the mirrorless camera that is right for you, then it’s time to explore the photographic techniques that will enable you to take your photography to the next level. Learn how to improve your images by discovering all of the essential tricks, techniques and skills you need to ensure you get the composition of an image right every time. Master the art of posing for portraits and find out how to best pose both male and female models and produce captivating portraits full of emotion. We’ve included seventeen essential tips on how to make your landscape shots stand out and ten informative wildlife tips from professional photographer Richard Peters. If that wasn’t enough we have also looked at how to tell a story in pictures and embrace the…

The basic rules governing the positioning of objects and focal points are great for many shooting situations, but they can only give a bare structure to images. Thinking about how the different areas, objects and subjects in the picture interact with each other and add to the story will enable you to go beyond simply where to position them in the frame. These connections are sometimes obvious and literal, such as a line or an object linking two areas of the frame, but can also be more ephemeral, such as using similar shapes or subjects to add to the story. It can also involve using two strikingly different subjects or colours to create a contrast to add impact or even conflict to the narrative of the image. When you are…

From the wide view of a short focal length to the high magnification of a telephoto, the type of lens that you use has an impact on the composition of your images. But it’s actually your viewpoint that is the real weapon in your composition armour. Your perspective is governed simply by the relative distances between your viewpoint and the different subjects in the scene. So, when you are out shooting, don’t simply stand in one spot and rely on zooming in or out (or changing lenses) to include more or less of the scene: you’ll need to move to really transform your composition. Also consider high or low viewpoints, to give your images and composition a distinctive twist. PICK THE CORRECT LENS The lens you use simply determines how…

Having more than one person in your scene will become more of a challenge. You’ll need to consider how to light and frame each subject to ensure that each person is framed in a flattering manner. If you are shooting a couple or even close friends your aim will most likely be to show a connection, interaction and feelings between the subjects. Even in scenes where the subjects don’t necessarily have a relationship, the models should still engage with each other in order to create a level of harmony in the scene. “You definitely need more patience and a perspective view for details,” explains Sandra Limberg (sollena-photography.de). “For photos with more than two people I am always happy to have assistance with me to watch and keep an eye on…

When we start out in photography, the first things we learn about are composition and exposure. Regardless of the books, websites or tutorials used to learn the essentials, there are certain staple topics that will be mentioned time and time again. You’ll always see the rule of thirds and leading lines appear in composition articles, while shutter speeds, f-stops and basic lens types are a must on exposure-related pages. However, as we mature as photographers, we begin to realise that these fundamental aspects are only a framework, and if we are to produce images that have unique personality and atmosphere, we need to differentiate our style and approach from those of others. There is more to exposure than simply choosing to blur or freeze water, leading lines are not the…

“Isolating one area of the scene picks out any small points of interest” Whenever a photographer chooses to work outdoors, they are susceptible to whatever conditions the ambient environment provides them with, so must learn to be flexible in their approach. Settings and compositions that work for images shot at dawn are incompatible with those taken under the midday sun, but also subtly differ for sunset lighting. Equally, what works for scenes bathed in light from clear skies will fail to extract the potential from an overcast landscape. Dawn and dusk images are favoured by landscape photographers for their warmer, directional lighting, however the low sun angle creates problems with lens flare and can introduce exposure challenges. Meanwhile, noon lighting is flat but undiffused, which makes maintaining highlight and shadow…

Gone are the early remnants of the Canadian West, but its legacy still endures. Crown Ditch and the Prairie Castle is a long-term project that documents the spaces and people of the last great ‘proving out’. It advocates for viewing this space as an understudied region, with a particular type of landscape, industry and most importantly, people, who are a resilient breed created by generational lessons in fortitude and fortuned circumstance. PRO BIO Kyler Zeleny (1988) is a Canadian photographer-researcher and author of Out West (2014) and Found Polaroids (2017). He received his masters from Goldsmiths College, University of London in Photography and Urban Cultures. He is a founding member of the Urban Photographers Association (UPA), a guest editor for the Imaginations Journal of Cross-Cultural Image Studies and a guest…

TIME CAN BE YOUR FRIEND Be patient when shooting; you cannot rush good work. Tell your story through details but don’t forget it must add up to the’big picture’. Take the viewer on a journey, teach them something or move them in some way. As photographers, we should constantly be thinking about the role we perform and why we are drawn to the story or subject. The photographer is dead, long live the photographer. Of recent, photo theorists have been exploring the death of the traditional photographer. With the proliferation of internet access and smart phones, everyone has become a photographer. As censors and processors improve, and our visual literacy through mediatisation becomes commonplace, learning the craft of photography is ultimately expedited and democratised. As a result, documentary photography is…

Post-processing of images has become an essential part of the digital photographer’s workflow. There are a vast array of photo-editing software packages available, from highly simplified programs for beginners, to high-end specialised tools used by professional photographers and retouchers. Of these options, some clearly lead in terms of popularity and number of users. While choice is often attractive, it can be daunting when it comes to choosing a package to start with and because of the sophistication and variety of tools found in the professional software, it is possible to be left feeling a little overwhelmed. In this guide, we will cover all of the key areas of post-processing in an effort to help you build a structured and effective workflow, from the essential adjustments such as exposure control and…

They go by a number of different names: Hybrid, MILC (mirrorless interchangeable-lens camera) – even EVIL (electronic viewfinder interchangeable-lens) – but however you prefer to refer to them, CSCs (compact system cameras) all do the same thing: they offer the advantages of a digital SLR in a smaller, lighter format. Those advantages include larger sensors than compacts (for the most part – see over the page), interchangeable lenses, the ability to use hotshoe flashguns and other accessories, and advanced controls. It’s the latter that helps to differentiate a CSC from a small SLR. Many camera manufacturers have compact DSLRs in their range, but these are invariably targeted at beginners. Compact system cameras, on the other hand, tend to offer more manual control over camera settings, and high-end features such as…

Picking the camera that best suits your needs can be a daunting and difficult process. Before shelling out your hard-earned money, it pays to do a little research in order to find the perfect camera for the photographic pursuit of your choosing. Over the next few pages we have done all of the hard work for you. We’ve tested more than twenty of the latest mirrorless cameras and looked at a range of lenses to enable you to make an informed decision about your next kit purchase. Every camera featured has been rigorously tested both in the field and the lab. Real-world testing is the most important part of our camera reviews as we firmly believe that the best measure of a product is how it performs in the field,…

www.panasonic.co.uk Panasonic is hoping that this model will appeal to a wider market of enthusiast photographers THE Lumix GH5 forms part of the line-up of Panasonic’s top-of-the-range GH series of mirrorless cameras, which have carved out a real reputation among videographers thanks to their breadth of movie-making features. Panasonic launched this model hoping that it will not only cement the brand as the number-one choice for the professional videographer, but will also appeal to a wider market of enthusiast photographers, who are looking for a highly capable camera that can shoot great stills and movie footage. Features The GH5 features a 20.3MP Micro Four Thirds sensor with no lowpass filter, for maximum detail. While the resolution matches that of the Lumix GX8, Panasonic says it’s a different sensor, and claims…

www.sony.co.uk JUST when we thought the Sony Alpha 99 II was the ultimate camera for continuous shooting and autofocus performance, it gets the rug pulled out from under it by a rival – and it’s another Sony. In many respects, these two camera lines are in direct competition. We wondered how long Sony’s ageing Alpha system would be allowed to keep its technological lead over the mirrorless A7 series: the Alpha 9 is our answer. The A99 II still wins for outright resolution – 42MP versus the A9’s 24MP, but the A9 thrashes it with its 20fps continuous shooting speed (with AE and AF tracking), massive buffer capacity (362 JPEGs, 241 RAW files) and an on-sensor autofocus system with no fewer than 693 AF points covering 93% of the image…

While it took some time for mirrorless cameras to be considered a genuine option for professional use, cameras such as the Sony a7R and the latest generation model, the a7R III, have become a favourite among expert landscape and travel shooters. While these are full-frame models, they remain compact enough to offer an advantage over a DSLR. Alternatively, cameras like the a6500 contain APS-C format sensors and the array of dedicated lenses in the E Mount provide prospective Sony users with a great choice of quality and compact optics for use in both general and niche areas of photography. This is reflected in the prices, which vary in their accessibility, but for a working professional there are many great-value options. Sony E 18-135mm F3.5-5.6 OSS £570/$800 (approx) For APS-C format…

www.fujifilm.co.uk This is not an action camera. The GFX is designed for ultra-high-quality photography FOR a long time, medium-format digital cameras have been big, heavy and incredibly expensive. Now we have not one but two lower-cost cameras that could at last bring medium-format to the masses – the Hasselblad X1D and the long-awaited Fujifilm GFX 50S. You’ll find the Hasselblad X1D review on page 60 – we found its minimal design effective and attractive, and its results superb. Now it’s the turn of the GFX 50S. The ‘50S’ refers to the GFX’s 50-megapixel sensor, which is the same size and resolution as the one in the X1D. These are not actually ‘medium format’ in the old film camera sense. Digital mediumformat cameras break down into two main camps: ‘full-frame’ 645…

www.fujifilm.com Noise is well controlled throughout the ISO range and detail is generally good THE Fujifilm X-E2S updates the well-regarded X-E2 with a modest collection of improvements. Many of these concern focus, with the inclusion of a 49-point AF system that can be expanded to 77 points, as well as the option to track subjects with new Zone and Wide/Tracking options and the promise of faster focusing speeds. A new electronic shutter permits near-silent shooting and a top shutter speed of 1/32,000 sec. These are joined by the same 16.3MP X-Trans CMOS II sensor as before, as well as a 2.36 million dot electronic viewfinder and a 3-inch LCD that dominates the rear. Fujifilm’s Film Simulation modes provide control over colour and tonality, while Wi-Fi connectivity means you can leave…

www.leica.com The SL’s viewfinder is smooth, responsive and clear. The main screen is very good, showing lots of detail STRICTLY speaking, Leica was the first company to introduce digital mirrorless system cameras. But it wasn’t until the Leica T (Typ 701) was introduced in April 2014 that the company had what most would consider a modern mirrorless or compact system camera (CSC). While the T followed Leica’s minimal design ethic, many were surprised by its dependance on the touchscreen for making settings selections. This seemed a major departure for a company that tends to make cameras with traditional controls. Now we have a second mirrorless system camera, the SL (Typ 601). Instead of the APS-C format sensor of the T, inside is a full-frame CMOS device with 24 million effective…

www.canon.com The M100 has been made so small and so simple that it’s a little trickier to use than we’d like THIS entry-level camera in Canon’s mirrorless EOS M range packs in Canon’s latest 24-megapixel Dual Pixel CMOS AF sensor for high-speed autofocus, high resolution and first-rate images. It also boasts a full set of PASM exposure modes and a tilting touchscreen display. This camera is not really designed for enthusiasts and experts, but more so for bloggers, vloggers, Instagrammers and fashionistas who’ve outgrown their smartphones. The 180-degree rotating rear screen with automatic selfie mode activation is one clue; the three body colours and array of bright ‘Face Jackets’ are another. Ours has a silver and tan body and with a custard yellow jacket. Build and handling The Face Jacket…

www.olympus.co.uk It’s the entry-level model in Olympus’s OM-D range, although it’s actually a lot more sophisticated than most beginner cameras THE ‘old’ OM-D E-M10 Mark II was an impressive camera suitable for travel photography, and this new Mark III version is really more of an update and a refresh rather than a brand-new camera. It uses a smaller Micro Four Thirds sensor than rival mirrorless cameras and DSLRs, which might put some people off; but this sensor is still way bigger than those in regular compact cameras and smartphones, so the quality difference between the little E-M10 and a DSLR is really not that big. The advantage of the smaller sensor format is that the lenses are small too – which is where rival APS-C camera systems fall down. It’s…

Have you ever wondered why some pictures just look ‘right’, while others don’t? The answer lies in composition, which relates to the positioning and relationships between areas and focal points in the subject you are shooting. Understanding how composition works is the single most important thing you need to know to improve your images. Composition is a combination of art, a little bit of science, and a significant sprinkling of ‘gut feeling’. In these 12 pages, you’ll discover all of the rules and techniques that you need to improve your composition skills, how to use them and how they affect your images. While we can’t teach you the ‘gut feeling’, simply getting out there and using these composition techniques will help you discover which ones work for you and the…

While the basic positioning and placement of the elements within a picture is vital to the composition, this is only one part of improving your images. Even when you have positioned your subjects beautifully, you can end up with very flat-looking images, so you need to use some other techniques to add a sense of depth and distance to shots. There are two main techniques that can help emulate a three-dimensional scene within the constraints of a two-dimensional photograph: leading lines and aerial perspective. The first relies on using shapes, lines or curves in the subject to draw the viewer into the picture. This technique can be enhanced by using geometrical rules such as vanishing points and objects getting smaller as they get further away from you, giving a sense…

The art of successful posing is absolutely vital for great portrait photography. Unless one is shooting candids, the photographer must interact with the subject and direct them in order to achieve the very best possible results, as well as understanding how to place the subject within the frame for compositional purposes. This all sounds like an instinctive process that requires little conscious thought – and for some more experienced portrait photographers, it is – but for most it requires deliberate, considered attention. Over the next few pages, you’ll discover techniques for posing female subjects, male models and group shots, enabling you to take your portrait photography to a more professional level and create incredible images.…

1 Timing is everything With landscape photography the conditions can change drastically from one moment to the next. One minute the sky might be full of cloud; suddenly a small break allows dramatic light to pour into the scene; and then it’s gone as quickly as it came. Being in position and set up ready to shoot when these situations arise is part and parcel of landscape photography. One way to maximise your chances of good light is to shoot around sunrise and sunset. Known as the golden hour, the short period just before sunrise and after sunset is when you’re most likely to see richly coloured light. But even at these times conditions can change quickly and you have to be ready for them. In a shot like our…

One of the greatest advantages of digital imaging is the flexibility to revisit photographs and apply new processing styles. Several years after taking an image and processing it for the first time, it is possible to completely change the tone and atmosphere by altering colour, exposure and cropping. Transforming files in this way opens up multiple exciting possibilities from every shot, enabling us to extract more from a scene than was possible in the days of film. Pro digital photographers such as Robert Schmalle (robertschmalle.com) know how to take advantage of these opportunities. “For me, processing is when the fun begins,” says Robert. “When deciding what processing techniques to use, I start with Lightroom Classic, then move to Photoshop, where I work with luminosity masks. After that, I will work…

WHO, WHAT, WHERE Home or away, it doesn’t matter. You don’t need to be covering famine or a war zone to make an intriguing project, so check your backyard first before you start packing a helmet and flak jacket. Be mindful not to pick a topic that you will lose access to halfway through a project. Undertaking a long-term documentary project requires a different level of commitment than simply going out on a Sunday afternoon and shooting images. Long-term projects require a potent mix of persistence and patience complemented by a hefty dose of creative stamina. You need to ensure that you enjoy the topic and are ready for unexpected hurdles. But how do you decide on your topic, especially if it’s your first long-term project? How do we fully…

KEEP IT SIMPLE In documentary photography, it’s best to avoid over-editing your images. Simply maintain a consistent style and stay away from gimmicks like HDR or automatic filters, as rarely are these processes needed to tell a story and they often come across as unprofessional. Keep it subtle, minimal and unnoticeable. This will help keep the focus of the story on the strength of the images themselves and in turn help your credibility as a serious documentary photographer. Keep the big picture in mind. Remember that the whole is more important than the parts that make it up. But what is the ‘big picture’? This can be difficult to ascertain, especially when it’s your first documentary project. Two bits of information can help guide you. At a bare minimum, begin…

While digital camera technology is constantly improving, people’s perception of image quality evolves in equal measure – even non-photographers are now able to recognise when a shot has been ‘Photoshopped’ and are even aware of when an editing technique has failed. It is therefore vital that photographers recognise the need to develop their post-processing skills, so that they have a rounded skill set and are able to produce quality images in-camera and intelligently process these files with an end product in mind. In most cases we will start our image editing with basic adjustments such as brightness and contrast, simple colour correction and sharpening. These are often referred to as ‘essential’ adjustments, since errors in these areas are the most noticeable if left uncorrected and should be applied to every…

Colour correction is one area where shooting in RAW provides arguably the greatest advantage, as applications like Camera Raw and Lightroom have the option to change the white balance of an image at any time, just as it is possible to do in-camera. Presets are available that mirror most camera white balance settings, including Cloudy, Daylight, Tungsten and Shade for rapid one-click adjustments, and for more precise alterations sliders are present for colour temperature and tint selections. It is also possible to eliminate colour casts easily using the White Balance selection tool – simply click once with the tool on an area of neutral grey to remove colour bias. Beyond this, highly advanced colour and tone adjustments can be made using Curves, where each of the RGB channels can be…

Size matters Some compact system cameras may look just like miniature DSLRs, but they don’t work in the same way. The key difference is the CSC’s lack of a mirror assembly. Removing the mirror and pentaprism – the ‘reflex’ bit of single-lens reflex (SLR) – means that CSCs can be made slimmer. This has an impact on the design of lenses, as the Flange Focal Distance (FFD) – the measurement from the point where the lens is mounted to the imaging sensor – is shorter in a CSC than it is in a DSLR. The FFD is an important consideration, as a lens is calibrated to be sharply focused at this distance. This is why you can’t use a DSLR lens on a CSC – the point at which an…

The decision to switch between any type or brand of photographic equipment is a critical one, and should never be taken lightly. A new camera must represent enough of an upgrade and provide a significant benefit to our images to justify the challenges of making the transition. Before choosing to jump to a CSC system therefore, it pays to understand the key advantages on offer. The main reasons a photographer may choose to move systems are based around weight and portability. The omission of the reflex mirror, found in a DSLR, enables the proportions of a CSC camera body to be minimised. This makes a CSC a perfect travel companion – aside from being easier to carry, more space for additional kit is made available in your camera bag. CSCs…

www.panasonic.co.uk The G9 appears to be the start of something new for Panasonic, and is the company’s most capable camera for a stills audience to date BILLED as the ultimate outdoor and wildlife camera, the G9 is Panasonic’s flagship stills-oriented camera. It joins the company’s video-orientated GH5 and GH5S at the top of the range. With a focus on fast-burst shooting and refinements to its AF system, it’s up against the likes of the action-focused Canon EOS 7D Mark II and Nikon D500. The G9 has a 60fps burst mode, which comes down to 20fps with continuous focus and 6.5-stop image stabilisation in-body and lens-based stabilisation system. The G9 inherits the 20.3-megapixel Micro Four Thirds sensor from the GH5, which has no optical low-pass filter. The Venus image processing engine…

www.sony.com One significant A7 first scored by the A7S II is the ability to record Full-HD footage at up to 120 frames per second ALTHOUGH the Alpha 7S II nominally has the same 12.2MP full-frame Exmor CMOS sensor and processing engine as the original A7S, there have been changes. It’s been optimised for video and has new circuitry, along with improved noise reduction algorithms. Other changes brought by the A7S Mark II over the Mark I are also welcome, but its specification sheet holds few surprises: many of the upgrades have already seen elsewhere in the range. Like the A7R II, for example, the A7S II can record 4K 4:2:0 8-bit video, and it has a five-axis stabilisation system. However, one significant A7 first scored by the A7S II is…

www.fujifilm.co.uk POSITIONED above the current X-Pro2 and the X-T2, the Fujifilm X-H1 is to be “the highest-performance camera in the X Series range of mirrorless cameras,” according to the firm. Key features in this latest arrival include Fujifilm’s 24.3 megapixel X-Trans CMOS III sensor and X-Processor Pro processor, familiar from other models. In the X-H1 these are teamed up with a brand-new five-axis in-body stabilisation system – a first for Fujifilm – which works alongside its stabilised lenses to provide up to an impressive 5.5 stops of exposure compensation. The X-H1 body itself is made from a magnesium alloy that’s some 25% thicker than in the X-T2, and that has been weathersealed for protection against the elements. Fujifilm has additionally fitted the new camera with a 3.69-milliondot electronic viewfinder, which…

www.fujifilm.com A new three-inch LCD screen offers an impressive 1,620k-dot resolution FUJIFILM’S X-Pro1 provided the firm with a solid start to its X-series range of interchangeable-lens cameras – but in the face of technological progress, its winning formula could only keep the original model afloat for so long. The X-Pro2 picked up the baton, debuting a 23.4MP X-Trans CMOS III sensor and an upgraded X Processor Pro, together with a raft of changes across the rest of the spec sheet. The X-Pro1’s existing autofocus system has been replaced with a 77-point system in the X-Pro2. This sees 40% of the frame covered by phase-detection pixels and a 273-pointexpansion option, together with Zone and Wide/Tracking options for moving subjects. Build & handling The magnesium-alloy body is sealed against dust and splashes.…

Fujifilm X-Series cameras and lenses have garnered a reputation for outstanding image quality and robust construction. The lens range provides users with an extensive mix of quality fast primes and zooms, covering focal lengths from as wide as 10mm to 400mm. A reason for choosing the Fujifilm system is the tactile functionality – many lenses feature a physical aperture ring on the lens barrel for adjusting the fstop, rather than relying only on a control dial on the camera body. This provides a retro camera work experience that will appeal to users of older 35mm film SLRs and rangefinders, while offering modern photographers all of the digital technology expected from a present-day photographic tool. FUJINON XF23mmF2 R WR £419/$590 (approx) While there are faster prime lenses available to buy in…

http://uk.leica-camera.com This camera has caused a great deal of controversy in the Future office YES, it’s true: the Leica M-D really doesn’t have a rear display. The back of the camera is taken up instead by a large ISO setting dial. The direct-vision optical viewfinder shows you nothing but the scene in front of the camera, a set of frame guides for your current lens and the bare minimum of exposure and status information. You can’t look at the photos you’ve shot with the M-D until you get back to base and transfer them on a computer. You can’t check the exposure, the composition or the sharpness as you shoot. Does that sound terrifying? Well, it’s how we all used to shoot in the days of film – and we…

Both Canon and Nikon were a little slow to join the mirrorless race, but with the increasing popularity and quality of highend CSC options, it became clear that it was a growth market. Canon has since produced a set of enticing cameras and interesting lenses with a dedicated lens mount. Beyond the M System optics, the entire range of EF and EF-S lenses can be used when employing the appropriate adaptor (EF-EOS M Mount Adapter), opening up access to dozens of general-purpose, professional and specialised models. New and existing Canon users have plenty to keep them happy in this growing system. Canon EF-M 11-22mm f4-5.6 IS STM £300/$420 (approx) Bringing ultra-wide-angle photography to the M range, this EF-M fit zoom offers impressive sharpness, low distortion for the extreme angle-of-view and…

Featuring a Micro 4/3 lens mount, Olympus CSCs accept both Olympus-made lenses, while simultaneously accessing Panasonic-branded 4/3 units. A key advantage users of Olympus cameras can enjoy is integral shake reduction technology, meaning even optics without image stabilisation can provide a sharper image at slower shutter speeds. Panasonic customers, meanwhile, must rely on their lenses featuring the company’s O.I.S system. Although third-party options are currently limited, Tamron do offer their 14-150mm f3.5-5.8 Di III in a 4/3 mount. Between the two parallel lines, there is an inclusive abundance of lenses for every photo genre, with a broad price range. Olympus has a greater photographic history, and so appeals to those looking for high-spec, retro-styled camera-lens combinations. M.ZUIKO DIGITAL ED 7-14mm 1:2.8 PRO £949/$1,330 (approx) Comprising many advanced optics, including multiple…

Identifying and positioning the main subject, and other focal points, in your image is at the heart of good composition. Get this wrong, and you’ll simply end up with an unbalanced, awkward and unfulfilling image that will never look quite ‘right’. So here we’ll start with the building blocks of where to place subjects and focal points to help you get better balance, shape and distribution of form in your photos. No single one of these rules and techniques is the ‘golden bullet’ to getting the right balance every time you take a shot, but if you are struggling to find a framing and composition that works, implementing one of these rules can really help you get a shot that looks great, instead of one that is only destined to…

You don’t always have to fill the frame with the main subject or include loads of different elements in a scene to produce striking compositions. In fact, it’s often better to isolate a single focal point or leave space around the subject to give it room to ‘breathe’. This approach to composition will help you produce more relaxed, contemplative images, because the extra space helps to give the viewer more time to ‘find’ the subject in the image without the competition of other elements or focal points in the scene. Finding this perfect simplicity isn’t always easy. You will need to identify the dominant subject and then isolate it from any distractions around it to produce a really striking composition. To help you isolate the subject, you can use a…

Getting your subject within range of the camera is only half the battle. Once you have, then what? A viewfinder-filling subject seen through a telephoto lens isn’t a guarantee to success; it doesn’t matter how exotic the subject is or if you’ve travelled for 20 minutes or 20 hours to see it, because there are a multitude of factors to consider before you take any photos. What are the lighting conditions like? How does the background look? What is the subject doing? Once you’ve figured these out and you’re about to take the shot, the lighting suddenly changes and the subject starts to move. How quickly can you react to adjust your exposure or framing to suit the new and unexpected conditions, and should you now switch lenses to consider…

An area in which new photographers can fail to perform is composition. A key reason for this is that they neglect to invest time in studying a scene to find the most engaging perspective. As great as the lighting may be, or as spectacular as the landscape may seem, by simply shooting it from standing height you are never going to capture a unique composition that stands out from those taken by other photographers. Altering camera height is a great way of showing a scene in a novel fashion, as the relative proportions of the scene elements appear different. By combining unusual angles with varying focal lengths, it is possible to refine your framing and capture the perfect balance of objects within the scene. A useful technique is to leave…

“The circular polariser is essential for removing ‘sheen’ from the surface of rocks” Exposure effects are a popular route with landscape photographers, as they often require very little additional equipment. The most simple effects are created by lengthening the shutter speed, so that moving elements within the scene are blurred. The most obvious application is for rivers and waterfalls, where we can illustrate a contrast of softness in the blurred water and sharp detail of surrounding rocks. However, we can also generate blur by moving the camera or lens, relative to the subject, during an exposure. Panning blur, where the camera is pivoted, is useful for photos of shorelines or other flat landscapes, where there is more colour interest than detail. This finds potential in an otherwise empty landscape. Zoom…

It was not too long ago that sharing your work meant having access to the gatekeepers of the industry, being based in a cultural hub, or putting up big dollars. With the emergence of new media and Web 2.0, the process and pathways for photographers to display their work and interact with an interested audience has been upended. This has created a dynamic environment for the discussion and exchange of photography. As a result, a photographer can now live and work in remote areas and communicate directly with a global audience. To use social media effectively you need to choose the appropriate platforms. Be selective: you likely do not need more than three social media accounts to convey your project. Think quality over quantity and be consistent with your message.…

It is desirable to achieve an accurate exposure at the shooting stage, as this minimises post-processing work and generally reduces the chance of software-induced artefacts like image noise and banding. It also encourages the photographer to be mindful of overexposure and loss of highlight detail, which cannot be recovered at the computer. It is almost always necessary to tweak exposure and contrast, however – contrast is often lacking in out-of-camera shots, while an image that looked accurate on a 3.5-inch LCD screen may seem slightly too bright or dark when enlarged. Furthermore, an ‘accurate’ shot – one that produces a perfect histogram and ticks all of the technical boxes – may not be the most punchy and attractive image possible; correct does not always mean exciting or dramatic. There are…

If you shoot in JPEG format it is possible to select the level of sharpening that is applied to your images in-camera. This is quite limiting however, since these changes are non-reversible and so any over-sharpening is difficult to eliminate. This is an especially inconvenient problem because the amount of sharpening an image requires is influenced greatly by its output destination – images bound for the web often don’t need as much sharpening applied than those destined for print. The same principle is applicable to noise reduction, in that it is better to have full control at the post-processing stage. In Adobe Lightroom and Camera Raw, the level of sharpening is controlled by the Amount slider, Radius handles the softness of the effect and Detail enhances fine textures. Capture One…

Selling images to a stock photography agency can be a lucrative venture. There are photographers who make a living solely from files they sell through sites such as Getty Images and Alamy, while the world-wide audience these pages reach has further advantages for self-promotion. However, there are disadvantages to supplying imagery to an agency and for some professionals it is a more attractive option to run their own, personal image library. The main advantage of this approach is the level of control over the pricing and distribution of your photography – when selling to an agency, fees are decided by management and you have little say in who uses your images. Once your files are uploaded to the agency servers, anyone can buy and use them for a multitude of…