Innehållsförteckning för July 2019 från Digital Camera Magazine

When the suggestion of photographing butterflies first thing in the morning, close to the longest day of the year, was first mentioned, I knew that it would be an early start! After a rather shocking 3.30am wake-up call to meet macro and landscape photographer Neil Burnell on location at 4.45am, it is a wonder either of us can find the words to say good morning, let alone go hunting for insects. I’m meeting Neil at the top of the quarry on the nature reserve at Berry Head, near Brixham in Devon. It’s not only home to many butterfly species throughout the year, but is also a hotspot for fishermen wanting to catch the first fresh fish of the day. After waiting for 10 minutes in the dark and nodding to…

10 things you can shoot this month, from neon-lit portraits to getting close up with birds In this project, I’m going to show you how to capture a water balloon bursting. The main items you need are some balloons, food colouring, a needle, a tripod, a flashgun (optional, but additional lighting of some description will help), and a backdrop or colour card. Although many photographers apply this technique using a movement or sound camera trigger, we’ve managed to find a workaround – you just need to be good with your timing and be prepared to try it a few times! If you’re using flash, you have to set the shutter speed below 1/250 sec to sync with the light. If you’re not using flash, set your shutter speed to at…

Matthew Brandt is a creative photographer, most famous for experiments that blur the line between the subject and the image. For this piece, he visited Lewis Lake, took a photograph and collected its water. “I then made a colour C-print of the image, and put it in a tray with the lake water,” he says. “It was a couple of weeks before the water began to degrade the photograph. It was then taken out of the water and left to dry. The psychedelic colours come from the degradation of the emulsion layers of the colour print.” Each of Matthew’s attempts produce a different and wholly unique result. “There’s no way to fully control this water process, so many of the errors are successes. One reason for involving the actual subject’s…

Every month we set you a photo challenge to get you out and about, and also to try and think creatively. Our new shooting challenge is now open – and the theme is ‘Seaside’. Interpret this topic as you see fit, from capturing long-exposure seascapes to documenting people having fun on the beach. Remember out of politeness, if you are taking portraits of people (especially strangers in swimwear), seek their permission first! If neither of these ideas grabs your interest, you could focus on small details at the seaside, such as a stack of stones, or the patterns in the sand created by the water. Here are our top tips for visiting the seaside. Check out tide times (you don’t want to get cut off by the water); keep your…

How would you define “street photography?” While the term is widely used, there is in fact no clear, single and absolute definition of what it constitutes. The term “street” is ambiguous. While it often evokes images of photographers pacing the pavement, weaving through traffic, ducking and diving while making ‘images a la sauvette’ (images on the run – Henri Cartier-Bresson’s original phrase to describe street photographs), the ‘street’ can be anywhere in the public realm, indoors or out. It can occur in a village or a city, or even in a conflict zone. For many, it is grounded in the candid tradition of photography, of “real people doing real things”, as described by the course tutor Richard Kalvar. For others, the street represents a space to find individuals to engage…

These two pages provide a short introduction to a variety of practical aspects and issues that surround street photography. From understanding local laws on photography to more complex issues of photographic representation, these should be worthy considerations when approaching or actively working within the public realm. What follows is designed to act as prompts for your own research, rather than being a comprehensive guide. Plus, we consider the mindset required to be successful as a street photographer. Representation of people and places Photography brings with it significant questions surrounding representation. It is important to understand the role of the photograph and your role as the photographer; this is especially true when your primary subject is people. It is worthwhile asking yourself: how am I representing this place or person? How…

The size of a camera’s imaging sensor determines the ‘effective’ focal length of a lens, and consequently the angle of view. While some cameras have a sensor that is equivalent in size to a frame of 35mm film, the majority of SLRs and mirrorless cameras have a smaller sensor that is roughly the same dimensions as a frame of old-school APS-C film. These ‘APS-C’ sensors capture less of the image projected by the lens; in effect, the image is cropped, lenses, telephotos offer progressively narrower angles of view – sometimes of just a few degrees. This has a magnifying effect, making distant subjects appear much bigger in the frame, and it’s the reason why lenses of 200mm and upwards are used for wildlife and sports photography. The drawback to having…

This is a good example of how I shoot images in a nightclub. I’ll make sure the shutter speed comes right down – this one was shot at 1/20 sec, and because the flash is running across the frame, this is the resulting image. At the same time, because there’s ambient light, the background is included, so the atmosphere of the club is retained. There’s also a kiss of flash just at the forefront. Most photographers who would use flash in a nightclub or a place like that would use a big powerful flash and you’d lose the background, killing the atmosphere. One of the great advantages of digital is that you can work out the shutter speed and the aperture that is absolutely correct for the subject you’re trying…

Editor’s Pick ‘Early Morning Colours’, Bruno Brunetti, Italy. “I was born in the early 1960s. I started with photography as a kid, otherwise my dad would never have appeared in a photo. I started to like photography more and more: I began to ‘study’ it and bought my first SLRs, and have found that there is always something new to learn.” GuruShots is billed as the world’s leading photo game. It’s an online platform conceived to give global exposure to people who love taking photographs. GuruShots members start out as Newbies and compete with other photographers to win challenges, increase their ranking on the site and eventually progress to coveted ‘Guru’ status. Challenges are voted on by Gurus and the wider GuruShots community, and there’s a fresh challenge – for…

Smart Objects are Photoshop layers that allow you to run filters, make image adjustments or change size and shape – but if you want to later increase or reduce a particular effect or adjustment you’ve applied – or even remove it completely – you can do so without any impact on the quality of the image. Let’s give it a go… Open the Fork.png image into Photoshop CC. Press Ctrl/Cmd+C to copy it and Ctrl/Cmd+W to close it. Now go to File > New and create a white, A4-sized document. Press Ctrl/Cmd+V to paste in the fork on a new layer, then click on the Background layer to make it active. Press D to reset the colours, and go to Filter > Render > Fibers. Click Randomize a few times…

Camera Nikon D750 Lens Nikkor 70-200mm f/2.8 Exposure 25 sec at f/11, ISO 100 Challenge 1 Rachel Hume Thanks to the weather on the day, this was one challenge our participants were certainly not going to struggle with. It may have been early in summertime, but the Dartmoor microclimate doesn’t really do seasonal norms. As soon as we left our cars to walk down to Nun’s Cross Farm, the drizzle turned into a downpour, making hard work of the day’s first location – but better things awaited us in the afternoon. New Zealand resident Rachel decided that she wouldn’t be beaten by the kind of weather she enjoys at home, though, so hot-footed it back to Nun’s Cross Farm later in the day. By then the rain had lifted, but…

Winner: Martin Duffy Congratulations to our winner, a non-photography working professional who seldom passes up the opportunity to take his camera with him while travelling for his job In recent years, I have really taken to urban and street photography and have become fascinated with the bustling city life of London – in particular the disconnection between people, despite living in an age when connecting with other people via technology has never been easier. The city’s hustle and bustle, with people barely engaging with each other, is what I originally aimed to capture with these three images. I chose the Circle Line platforms at Baker Street Underground Station because I love the architecture, lighting and high volume of people passing through. I spent around 30 minutes here, deliberately missing a…

www.nikon.com The Nikkor Z 24-70mm f/2.8 S is an important lens for Nikon and its new Z 6 and Z 7 full-frame mirrorless cameras. Professional Nikon Z owners now have a pro-spec standard zoom lens to rival anything else in the market – and plenty of keen enthusiasts will be considering this expensive but stellar lens too. The Z 6 and Z 7 originally launched with a compact retracting 24-70mm f/4 kit lens that delivers excellent performance: it’s compact, light and relatively inexpensive. But serious users were always going to expect a professional-level f/2.8 lens too, and now Nikon has delivered it. The Nikkor Z 24-70mm f/2.8 S uses 17 lens elements arranged in 15 groups. Optically, it’s more complex than the smaller and lighter Nikkor Z 24-70mm f/4 S,…

www.manfrotto.co.uk Manfrotto’s Befree series of travel tripods has earned a good reputation for practicality and performance. There’s a wide range of kits to choose from in ‘basic’ and ‘advanced’ categories. From the latter, the 2N1 includes a monopod configuration and is available with either clip or twist locks for its four-section legs. Looking at the specs, there’s not much to justify spending the extra on this tripod, compared with the less expensive Manfrotto Element. The Befree 2N1 is only a single centimetre shorter when folded, but its maximum operating height is significantly shorter in both tripod and monopod modes. Performance On the plus side, the 2N1 performs well and has a better feel to its finish and build quality than the Element kit. Its higher-spec ball head adds an adjustable…

Martin Parr Documentary photographer You’ll be seeing Martin a lot this issue: he’s our guest editor! Turn to page 62 for a special Parr portfolio or see page 60 for the story behind a classic shot. Robin Friend Documentary photographer Robin usually divides his time between fine-art practice and commissioned work. On page 134, he spends some time in conversation with Martin Parr. Neil Burnell Fine art photographer The award-winning shooter takes to another fine-art subject. On page 8, he shows us how to photograph delicate butterflies during a workshop in Devon. Florencia Saavedra Lifestyle photographer Weddings and family shoots are a firm favourite with Florencia, but she recently took to the streets of NYC to expand her portfolio. Her vivid urban portrait is on page 44. Andrew James Our…

Digital photography can sometimes feel like a hands-off pastime, so every so often, it’s nice to work on a project that’s more tangible. With this in mind, here I’m encouraging you to print off some images, and take some scissors to them. By cutting up two different printouts into strips and weaving them together, it’s possible to create intriguing effects – and a whole new image. Bringing a portrait to life using your very own hands, this weaving process will add another dimension and depth to your work, which you couldn’t recreate any other way. This technique creates a similar effect to a double exposure, but weaving gives you a hands-on way to produce unique results. For instance, you can change the paper, the weaving technique or even how many…

Long lenses might be out of reach (no pun intended) financially for many of us, but hiring them for specific wildlife trips is an affordable way to fill the frame with your subjects, particularly if you’re shooting smaller birds and creatures. On a recent trip to Skomer Island, I wanted to make use of the gear I’d borrowed from Nikon: a 300mm f/2.8 and a 1.4x converter. Having had the iconic puffin on my to-shoot list for a long time, I did everything I could to come away with an array of characterful shots. Finding subjects can be a tricky starting point of bird photography, but fortunately the guides at the Welsh Wildlife Trust had given us plenty of advice on wildlife timings and viewpoints around the island. Because I…

One of the greatest pleasures of landscape photography is having a real connection with the great outdoors. Studio photography never appealed to me, because I don’t enjoy spending time indoors; wedding photography was often a hectic, loud and stressful environment; and street photography did not allow me the solitude I often look for. Landscape photography gives purpose to any walk: it is an excuse to wake up at sunrise and explore your local beach or woodland. It can be an exciting pursuit filled with adrenaline and the thrill of the chase, or it can be a calming, Zen-like experience where you simply observe the passing of time. One of the best ways to get more out of your outdoors photography is to pack your tent along with your camera, and…

It has always been my assertion that this column should never have anything to do with camera gear. I’m an ‘artist’, after all, not to be bothered with such technical trivialities. Arty-farty folk like me are often dismissive of conversations about kit. It’s like discussing which typewriter George Orwell might have used, or which brushes Picasso preferred. These technical details might be interesting on a superficial level, but they are hardly the secret to Orwell’s genius or Picasso’s vision. That said, I’m sure both artists had their favourite, go-to tools – and I bet they thought very carefully about what they were. So, contrary to my aversion to tech talk, I’m going to talk a little about kit. If you look at the specs above, you’ll notice I’ve switched from…

With a history spanning more than 100 years, street photography is an established and revered practice. Magnum Photos has a deep-rooted relationship with the genre, from the pioneering Henri Cartier-Bresson’s notion of ‘the decisive moment’ to notable contemporary photographers reimagining what street photography can be. There is no singular approach, rather a diversity of unique voices each working to their own vision; from Cartier-Bresson’s wanderings to the vivid social satire of Martin Parr. Throughout the Magnum archives there are myriad approaches and a plethora of visions of what constitutes the genre, from the charming and light-hearted to the visceral and vital; from those who manoeuvre through crowded streets, to those who take a slower approach. Henri Cartier-Bresson Born in Chanteloup-en-Brie, France, Henri Cartier-Bresson developed a strong fascination with painting early…

As demonstrated by the course tutors, there are myriad setups for street photography, from the Leica rangefinder that is so synonymous with the medium to the slow, static, large-format view camera. When it comes to sharing their setups from the past and the present, Richard Kalvar favours a 35mm lens, as it allows him to get very close to people; while Peter van Agtmael opts for a full-frame camera with either a 28–70mm kit lens or a 28mm or 35mm lens, plus a small flashgun. Martin Parr also uses a 28–70mm zoom, so he doesn’t have to carry so many lenses: “It gives me more bounce in my step to keep going the full day.” Parr has also gone further, using a macro lens with a ring flash for street…

All lenses share the same basic components, but zooms are more complex than prime lenses – and the wider the zoom range is, the more complex the design. As a result, zooms are often larger and more cumbersome than the equivalent prime lens. That being said, they are more versatile: a 24-105mm standard full-frame zoom, for example, gives you the angles of view of 24mm, 28mm, 35mm, 50mm, 85mm and 100mm prime lenses all in one. The main advantages of a prime lens, aside from size, is that it tends to have a larger maximum aperture for its focal length, making it easier to freeze motion, achieve shallow depth-of-field effects and potentially improve AF performance. KEY: ■ ED glass element ■ Aspherical lens element Nikon 18-300mm f/3.5-5.6G This zoom has…

Standard 50mm has long been seen as giving the ‘normal’ view on 35mm film and full-frame cameras. This focal length is available as a prime lens or as part of a standard zoom such as a 24-70mm (full frame) or 18-55mm (APS-C). Wide-angle The wide angle of view offered by focal lengths less than 50mm gives these types of lenses their descriptive name. Popular focal lengths on full-frame include 35mm, 28mm and 24mm, and their equivalent for smaller sensors. Ultra-wide Once you head south of 20mm on a full-frame camera, you’re in ultra-wide territory. Loved by landscape photographers, they allow you to capture everything from the horizon to (if you’re not careful) your feet!…

Free 30 texture screen effects Even though texture screens involve blending two or more images together, they can still be considered as a very traditional technique. Their use emerged in the early days of film: back then, the texture was placed with the negative under the enlarger lamp, giving a blend of the two on the resulting print. With digital imaging, the concept is much the same, but the process is far more controllable and offers a lot more scope, as you can blend the images together in far more ways and hold back the textured effect wherever you like. As a method of developing a visual style, the use of texture screens can give a real consistency to the way a set of pictures look. You can leave the…

One of the great things about photography is that it can make the monotonous, the mundane and even the miserable look amazing, and the weather is certainly no exception. While on a personal level we all love bright sunny days that are perfect for a day on the beach or in the park, for photography an ominous sky is preferable to clear and cloudless blue. Not only can you shoot throughout the day when it’s overcast, but you can also have a lot of fun with editing styles. When you apply moody editing techniques, you’ll always get the best results when they’re added to a shot that’s already moody. You can get great results adding them to any images, of course, but since they accentuate existing moodiness, this is where…

Nothing feels better than holding your images in your hand. For serious photographers, custom photo books showcase your portfolio and your talents in a professional way. In the home or office, hanging wall art of your favourite images can transform a space and inspire family, friends and prospective clients alike. Even if you know these benefits, choosing the right printer can still be confusing. Some companies might offer services at a low cost, only to disappoint with poor quality and lacklustre finishes. That’s where CEWE comes in… Experts at TIPA recently rated the CEWE PHOTOBOOK as best in the world, and with a rating of 9.1 out of 10 on Trustpilot, you know you’re in good hands. With so many customisable options, each CEWE PHOTOBOOK is personal. There are six…

Camera Nikon D750 Lens Nikkor 24-70mm f/2.8 Exposure 5 sec at f/13, ISO 100 Challenge 2 Rachel Hume Suitably replenished after a hearty pub lunch in front of a wood fire – in June! – our intrepid participants positively jumped out of their cars and charged up the incline to Haytor Rocks. The views from this much-loved vista point – three miles west of Bovey Tracy on the B3387 – are epic, with the Devon coast clearly visible on a fine day. Thankfully, we were able to benefit from nature’s softbox, with only intermittent periods of bright sunshine breaking through to exercise one’s exposure meters. Not for the first time on the day, Rachel had a plan. “I wanted to give a feeling of scale with this shot: the open…

www.panasonic.co.uk The Lumix S1 is the cheaper option in Panasonic’s new Lumix S full-frame mirrorless camera line-up. It has a 24-megapixel sensor compared with the 47-megapixel sensor in the flagship S1R model, but it’s well over £1,000/$1,000 cheaper, has the same build quality, external controls and autofocus system. Like its more expensive sibling, it shoots 4K video at up to 60/50fps. What’s more, the S1 will shortly benefit from a software upgrade that will add Panasonic’s V-log video mode and higher quality recording both internally and to external recorders. The Panasonic S1R might have much higher resolution for stills photographers, but the S1 could be a better (and more cost-effective) choice for videographers. internally and to external recorders. The Panasonic S1R might have much higher resolution for stills photographers, but…

Most of us like to travel light. A cumbersome tripod is likely to be left at home, where it’s no use whatsoever. Meanwhile, travel tripods are made to be compact and light, but have a reputation for being flimsy, relatively unstable and too small to enable a comfortable operating height. The new breed of travel tripods aims to give you the best of both worlds. Most have legs that swing upwards for stowage, so that the head is encircled by the feet. This reduces the folded height by around 8cm to 10cm. Some models also include as many as five sections in each leg and a two-section extending centre column, reducing the folded height even more, while still enabling a useful maximum operating height. All of the tripods we’ve chosen…

www.novo-photo.com The smallest, lightest and most inexpensive of Novo’s Explora tripods, the T5 nevertheless has fairly large-diameter legs, a robust ball head, and a larger 10kg load rating than any other kit on test. The design is fairly conventional, with four-section legs and a single-section centre column. The folded size isn’t that small, but the carbon-fibre build is reasonably light. As with the Kenro and Vanguard tripods on test, it’s supplied with a low angle adaptor, which you fit to the ball head instead of the centre column. This enables ultra-low shooting heights. You can also invert the centre column for shooting all the way down to ground level. Performance Performance of the legs is excellent. The ball head is a thing of beauty, with two independent panning locks and…

If you’re like me, the first thing you do when you return from a holiday is run to the computer to start sifting through all of the pictures you have taken. Often, though, you might give them a small edit and upload a few to Facebook; then they end up sitting on your computer not doing anything. So why not turn them into a photobook? They don’t cost a fortune, and you can look at them in years to come and remember those precious moments. I used White Wall (www.whitewall.com) to make my book. When it comes to selecting the right finish, think about whether you want a matt or glossy paper, which font to use for the text, whether you want image captions, and what’s on the front cover.…

1 Understand your location Get to know your location; visit at both sunrise and sunset. It’s essential to know where to stand and where the sunlight will light up the subject. There are smartphone apps available now to help with this, but visiting the location ahead of a shoot is still the best practice. 2 Time of day Shoot early in the morning or late afternoon and early evening for the best light. The colours of the lavender will change depending on the time of day and the angle of sunlight. Shadows, shapes and soft light enhance the lavender colour at each end of the day. 3 Which lens? While there is nothing wrong with shooting with a wide-angle lens, don’t be afraid to shoot with a telephoto lens, something…

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A number of the course tutors utilise different flash techniques. Bruce Gilden’s signature use of flash is seen across the course. His typical equipment on the street (pictured, right) includes a handheld flashgun tethered to his camera, which he uses to isolate and illuminate his subject within the foreground. Martin Parr describes his frequent use of flash as both an aesthetic choice, bringing with it a slightly surreal effect to his photographs, and a technical necessity, utilising it to kill the shadows when working in bright sunlight, or to complement the ambient light when working indoors. • On location with Martin Parr, p44…

Sometimes a straightforward black-and-white conversion can leave you wanting more. So why not try a split-tone effect? This is very easy with Camera Raw and Lightroom’s dedicated Split Toning panel. Simple options allow you to add separate colours to either the highlight or shadow parts of your photos. You can create all manner of subtle colour tints or mimic the look of traditional analogue processes. For example, you could get the look of a selenium print and its distinctive reddish-brown or purple tint. Alternatively, you could try a sepia treatment. In the analogue process, a sepia wash converted a print to shades of brown, which greatly increased the longevity of the print. These kind of colour changes are easily achieved, and can transform the mood of your monochrome photos. Split…

Reader 1 Rachel Hume Camera: Nikon D750 Location: New Zealand We’d like to think that Digital Camera has enough pull to attract Shootout participants from Australasia, but Rachel was actually visiting family in her mother country. She does buy the magazine in New Zealand, though, so imagine her delight when the cards all fell favourably and she was able to join us on Dartmoor, her former stomping ground. Nikon shooter Rachel loves landscapes and sport photography; leaving her camera kit at home for five weeks would have been unthinkable, she says, so big respect for lugging a DSLR, two lenses, a tripod and more over 11,400 miles. www.facebook.com/rachelhumephotography Reader 2 Michael May Camera: Sony Alpha 37 Location: Cornwall Mike’s journey to Dartmoor involved crossing a county boundary rather than continents,…

Macro improvement Q I’ve bought a macro lens to shoot small insects, but I really struggle to find subjects and get sharp images. How I can improve my success rate? Tony Hall A With a macro lens, Tony, you are opening up a whole world of opportunity; but because you are focusing so close on everything, you also have to make sure your technique is perfect, otherwise any little faults will show. To find insects, molluscs and spiders, look no further than the back garden or a local wood. Hunt around the vegetation, close to ponds or under rocks, and you’ll soon discover lots of interesting subjects. I’d suggest you get started with something that doesn’t move too fast: that will give you time to experiment with focusing, depth-of-field and…

Pointing at my telephoto lens, a passer-by asks: “How far does that thing go?” “300,” I reply. “Mine’s 400,” he says, evidently satisfied he’s bested me. “How many megapixels then?” “50,” I reply. “Mine’s 20,” he responds, crestfallen, before adding: “Well, you’re rich, and I’m not.” And so ends our conversation – the first time I’d met anyone or spoken in two days! I’m excited to get to spend some time with Eilean Donan, the most iconic of Scottish island castles. I camp on the opposite shore so I can photograph it at both dawn and dusk. The next day, I walk 10 hours around Loch Duich and end up 700 metres away from where I started! The car park is full of coaches by the castle: it’s my first…

About Pink Lady Food Photographer of the Year Open to professional and non-professional, old and young, the awards celebrate the very best in food photography and film from around the world. The finalists are invited to a champagne reception at the world-renowned Mall Galleries, London, followed by a public exhibition. The prize pool is worth more than £20,000. pinkladyfoodphotographeroftheyear.com…

www.panasonic.co.uk he Panasonic G90 (branded the G95 in the US) aims to be the perfect camera for stills photographers and video bloggers alike. It’s not really a specialist in any one area, but has powerful features for all kinds of photography and film making. The G90/G95 supersedes the Panasonic G80/G85 as a DSLR-style mirrorless camera for photographers looking to step up from a basic DSLR or mirrorless camera to something more advanced, and clearly wants to challenge the best 4K cameras for a share of the consumer video market. New features include Panasonic’s latest 20-megapixel sensor, which is a step up from the 16-megapixel sensor in the G80 and Panasonic’s cheaper mirrorless cameras, but still not quite up to the level of the 24-megapixel sensors in rival cameras like the…

www.benroeu.com The Benro GoPlus Travel FGP18A, a previous winner of our travel tripod group tests, is one of our all-time favourites. This new model in the iFoto ‘FIF’ range has the same maximum load capacity of 8kg. While it doesn’t reach such a lofty height or feature a pivoting centre column, it’s significantly lighter, folds down to little more than two thirds of the height, and only costs half as much. With five-section legs and a two-section centre column, it’s just 35cm folded down, but has a greater operating height and a beefier load rating than other small tripods on test. The heavy-duty ball head adds an independent friction adjuster. Performance The iFoto remains remarkably rigid and resistant to vibrations, even at its maximum height. All of the controls and…

Canon PowerShot G9 X Mark II £339/$399 www.canon.co.uk Canon makes several compact cameras with a one-inch sensor, the G9 X Mark II being the smallest. At 98 x 58 x 31mm and 206g, it’s also smaller and lighter than the other cameras on test, despite its relatively large sensor. There are compromises to be made, however. The small rear panel is dominated by the three-inch screen, so physical buttons are few and they don’t include a typical four-way navigation dial. Scrolling through menus and image folders is therefore heavily reliant on the touchscreen, which is thankfully responsive, and its 1.04-million-dot resolution helps produce excellent preview quality. The latter is particularly important, as the pared-down dimensions also mean you don’t get an electronic viewfinder. Another space-saving compromise is the 3x lens,…

8kg payload Tripod makers quote the maximum weight that a tripod head is designed to support; the Manfrotto XPro can handle camera and lens combinations of up to 8kg in weight. Spirit levels Some tripod heads use a simple but less accurate bubble level for levelling the camera, but the XPro head has separate levels for each axis of movement for finer control and more accuracy. Quick-release plate This uses Manfrotto’s own design, with a locking lever to prevent the camera being released accidentally and a ‘snap in’ action for rapid camera mounting. Retracting handles These can be pushed right in to make the XPro head much more compact than regular three-way heads for storage and transport, then pulled out (shown here) when the head is being used. Friction control…