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    BEST CSC

    With groundbreaking technology, classic designand brilliant optics, Fujiflm’s X Series redefnes digital.Pure photography . Pure joy.

    Premium class.Incredible exibility.

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    digital redefined

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    C

    119maintest

    RegulaRskeeping you in thepictuRe!

    03 ed r’ agDanielLezanochampions supportforourlocalphotographystores06 ex urPackedwith thelatestnews from theindustry– thelowdownonJessops,newproductreleases,bookreviewsandmore22 R ad rsh w aShotstakenbyour readers that couldgivetheprosa run for theirmoney52 ex r cr quYourimagesreviewedby ourexperts57 p ur ubHow tosendusyourbestimages!154 n x uAlittlelookat what’scomingupin ourApril 2013issue

    techniqueimpRoveyouR photo skills

    30 t h qu h m hOur toptenphotoideas tocapturefantasticportraitsofyourpets58 ma rc aAlltheadviceyouneedto start takingamazingseascapeshotstoday71 Budg phLongexposuresforless– grabyourselfa£3weldingglasslensandgetshooting77 cr a v eyThreephotographers takeon thismonth’schallenge toshoot candles85 th c p ur :Raw ar 1Ifyou’renotyetusingRaw,ourin-depthexpertguide explainswhy youshould…97 D g a DarkrImproveyourpost-processingskills

    inspiRationthewoRlD of pRo photogRaphy

    104 cu gedgAlookattheimpressiveworkof prosTimFlachandSachaGoldberger

    test centRelatest geaR testeDBy expeRts

    119 ca eos6DDoesCanon’sa ordablefull-frameDSLRproducethegoods? We ndout…123 D g a slRa dcsc gUp-to-datelistings andspeci cations128 t d&ra dCaptureOne software, Gitzo’slatestmonopodandLexar’s25-in-1cardreader

    get the pictuResimplesteps to BetteRpictuRes

    36 Ba k ra y r raGive yourportraitsa bitof sparklebylearninghow tobacklightrain40 m y a d aGetoutearlywhenmist isforecast tocapturebeautifulethereallandscapes43 Ba h r raNaturallightand bathtubsare theperfectcombofor atteringchildren’sportraits46 ca ur w rv aQuicktipsto bravethe coldandmake themostofsnowandiceonthe landscape48 i -Getup closetofrozen puddlesto shootabstractshotsofpatternsin ice50 f v - u ph hHow tousecolourgraduated lterstogiveskiesmoreimpact

    suBscRiBe toDay!turn to page 114 to find outabout our latest subs offers

    58masteryour skills

    4 / Digital slR photogRaphy / march2013

    35get thepiCture

    77Creative eye

    71budgetphoto

    104Cuttingedge

    97digitaldarkroom

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    M 2013/Issue76

    LEARN FROM thE UK’s LEADING EXPERts

    RossHoddinott is anaward-winning naturephotographer andauthor of numerousphoto books. www.rosshoddinott.co.uk

    Rohoddino Regularcontributor

    Paulis a professionalportraitand fashionphotographerwho’s anexpert in lightingandspecialisesin locationand studio shoots.

    PaulWard

    Top fashionandportraitphotographerCliveArrowsmith hasphotographedmanyof theworld’sleading celebrities.www.clivearrowsmith.com

    A leadingportrait andfashionphotographer,Bjornrunsa series ofportrait workshops inCornwall. www.bjornthomassen.co.uk

    Bjornt oma en

    He’sthe kingof rockphotography and spentmostof 2008 ontour, asthe o cialphotographerforIron Maiden!www.picturedesk.co.uk

    Jo nMcMur rie

    A creative genius,Benedict is asuccessful professionalphotographeranddigitalartist.www.benedict1.com

    BenedicCampbell

    CliveArrow mi

    A highlysuccessfullandscape photographer,regularcontributorAdamis the author ofthephotography bookTheDorsetCoast .www.adam-burton.co.uk

    AdamBur on

    A profor twodecades,Lee’sone of the best-knownnamesin thebusiness, with20booksto hisname andworldwide image sales.www.leefrost.co.uk

    LeeFroMartynis an award-winning journalist andhasbeen involved inphotographyfor decades,includingworking as apro photographerandeditingphoto magazines.

    Mar yn MooreHelen is an immenselygifted landscapephotographer,who hasrecently madethe moveto full-time professional!www.helendixon photography.co.uk

    helenDixon

    TheChiefSportsPhotographer for TheSun isoneof theworld’sbestand he’s exclusive tous! Followhim on Twitterat: dickiepelham1

    Wecatch upwithoneofouroldestbut youngestDigitalSLR Photography contributors, Lara Jade,to nd out about her journeyto thetop of thefashionphoto industry.

    Ric ardPel amJon’sspent mostof his

    career as a successfultravelphotographer,covering theglobe toprovide top stock libraryCorbis withhis uniquestyle of travel images.

    JonhickBrett hasquicklyestablished himself asoneof theUK’s leadingportraitand socialphotographers.www.brettharkness photography.com

    Bre harkne

    One oftheverybestcelebrity andmusicphotographers in thebusinessand agenuinely niceguy.Deservesa peerage!www.andyearl.com

    AndyEarl

    March2013/ DIGItAL sLR PhOtOGRAPhY / 5

    LaraJade

    6 Swan Court, Cygnet Park, Peterborough, Cambs PE7 8GX.Phone: 01733 567401. Fax 01733 352650Email: [email protected] us online at: www.digitalslrphoto.com

    Edi orialTo contact editorial phone: 01733 567401Editor [email protected] [email protected] Caroline [email protected] [email protected] [email protected] [email protected] contributors this month: Marc Adamus,Tim Flach, Lee Frost, Sacha Goldberger,Michael Grecco, Ross Hoddinott, Joey L,Paul Ward & Donna Willingham

    Con ac u

    If you’re having trouble nding us in your localarea, please let us know by phoning 01733 567401.

    Adver i ing& Produc ionTo contact advertising phone: 0207 907 6651GroupAdvertisingManager [email protected] [email protected]& Classi ed Sales:02079076651

    SeniorProductionControllerAnishaMogra [email protected]

    Publi ing & Marke ingFelixDennis ChairmanJames Tye CEOBrett Reynolds COOIan Westwood MD TechnologyJohn Garewal Publishing DirectorDavid Barker Newstrade DirectorClaire Scrase MarketingManager

    UK SUBSCRIPTIONS:0844 249 0482The subscription service is open six days a week:Monday to Friday (8am-8pm); Saturday (9am-1pm)

    Order online at: http://subscribe.digitalslrphoto.comStandard subscription rate: 12 issues for £38 (UK only)Overseas subscriptions: +44 (0)1795 414953Europe £45; Rest of World £60; USA $99.USA & Canada subscriptions: Phone: 1-888-428-6676;Fax: 1-757-428-6253; Email: [email protected];Web www.imsnews.com.ONLINE SUBSCRIBER SERVICE: www.subsinfo.co.ukUse this to manage your existing subscription, includingchanging your address, renewing your subscription orreporting problems. This should be your rst port of call ifyou have any queries about your subscription. If yourequire further help, email: [email protected]& SyNdICaTIONDigital SLR Photography is available for licensing overseas.Syndication Senior Manager Anj [email protected]; +44 (0) 20 7907 6132Licensing Manager Carlotta [email protected]; +44 (0) 20 7907 6550Licensing & Syndication Assistant Nicole [email protected]; +44 (0) 20 7907 6134

    BaCKISSUeSBack issues for UK cost £5 (includes p&p).To order by credit card, phone: 0844 249 0482 or send acheque, stating the back issue you’d like, and madepayable to Dennis Publishing Ltd, to:FREEPOST RLZS-ETGT-BCZR, Digital SLR PhotographyBack Issues, 800 Guillat Avenue, Kent Science Park,Sittingbourne ME9 8GU.Digital SLR Photography is published on thesecond Tuesday of every month. Digital SLRPhotography is published under license fromHalo Publishing Ltd, a wholly ownedsubsidiary company of Dennis Publishing Ltd, UK. All rightsin the licensed material belong to Felix Dennis, Halo orDennis Publishing and may not be reproduced, whether inwhole or part, without their prior written consent.Digital SLR Photography is a registered trademark.First reader to come up to one of the team at Focus andsay “There’s no place like home” wins a goodie bag!

    ISSN number: 1751-8989Digital SLR Photography is printed in the UK.The publisher makes every effort to ensure the magazine’scontent is correct. All material published in Digital SLRPhotography is copyright and unauthorised reproductionis forbidden. The editors and publishers of this magazinegive no warranties, guarantees or assurances and make norepresentations regarding any goods or services advertisedin this edition. No responsibility can be accepted for imagesor correspondence lost or damaged in post or transit.

    When you’ve finished enjoyingthis magazine please recycle

    ABC Jan – Dec 2011

    Total Average Net Circulation 35,501

    85Raw PhOTOgRaPhy

    T m zin b p oto r p rs forp oto r p rsWe t ket eg e testp ideint ef t t t ou m g zineisp odu ed

    byle dingp otog p e sw o e llp ssion te bout t kingg e tpi tu es.M nyofou ont ibuto s e w dwinne s ndll e expe tdigit l SLr p otog p e s, soyou n besu et t

    t ey’ e givingyou t e ve ybest dvi e.W et e you lovetos ootl nds pes, po t its o n tu e,you nbe100% e t int t ouextensivete mofexpe tsis fully ommittedtogivingyou t ebestte nique dvi e to elpyou e teyou besteve im ges.

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    PHOTOGRAPHERSERGEY SEMENOVGOES TOGREAT HEIGHTS TOCAPTURE

    A BIRD’S-EYE VIEW OF THE WORLDIMAGE:© SERGEYSEMENOV

    WHAT’S HOTIN THEWORLD OF PHOTOGRAPHY

    EXPOSURE / 3.13

    THEBIGAPPLE

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    MARCH2013/ DIGITAL SLR PHOTOGRAPHY / 9

    COMPETITION NEWS EXPOSURE/ 3.13

    THEANNUALNATIONALGeographic PhotoContestattracts entries fromall over theworld, spoilingjudges forchoicewithsometruly outstanding images.The2012contestprovedto beoneofthebestyet.

    Thecompetitionwassplit intothreecategories– Nature,PeopleandPlaces– andwithover 22,000 images from 150di erentcountries all vying forthe topprize,competitionwaserce.Thegrand prize andNaturecategory award wentto AshleyVincentof Thailandforhiscaptivatingimageofan Indochinese tigressshakingherselfdry. Alongside theprestigeand bragging

    rightsof winning thecontest, Ashleynetshimself a cool USD $10,000alongwith a tripto theNationalGeographicphotographyseminar in Washington,D.C.

    Thewinner of thePlacescategorywaschosenas NenadSajicofCroatia forhisimage of thewindsweptMatterhornMountainat full moon,andMicah AlbertofCalifornia tookhomethePeoplecategoriesforhispowerfulimage, ‘Amongst theScavengers’,depicting a woman living inKenya’sMunicipalDump.

    ROARTALENTThe resultsofthe2012NationalGeographicPhoto Contestarein, andhere arethewinners…

    Controversyandphotocontests seemtogohand in hand in recenttimes.Thewinnerof thePlacescategorywasoriginally namedasHarryFisch for his image ofpeopleon thebanksof theRiverGanges. However,theimage wasdisqualied as thephotographerchose tocloneout a plastic bag attheedgeof theimage.Had Fischchosetocrop thescene to remove theo ending litter, hisimagewouldnothavebeen excluded.

    To view all of thewinning images, visit:www.ngphotocontest.com

    A S HL E Y V I N CE NT

    NE NA D S A J I C

    M I C A H A L B E R T

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    PRODUCT NEWSEXPOSURE/3.13

    10 / DIGITAL SLR PHOTOGRAPHY / MARCH2013

    NIKON’S 1 J1provedtobe one of2012’s

    bestselling CSCs and therange isnowbolstered by twobrand-new models.The super-speedy Nikon1 J3 o ersa

    14.2-megapixel sensor within an aluminiumbody. It isclaimed tobe the world’ssmallestinterchangeable-lens cameraando ers theworld’sshortest release-time lagat thetimeof its launch,while the10.1-megapixelNikon1 S1 is the rst modelin the S-Seriesandis aimed at fuss-free photography.

    Bothhavea maximumISO rating of6400,canshoot up to 60 frames-per-second,o er Full HDvideoand incorporatetheNikonEXPEED 3A image processor. TheNikon1 J3with 10-30mmzoomcosts£580,while theNikon 1 S1 with 11-27.5mm

    zoom costs £480. Both camerasareavailablenow.Two lenses werealso announcedat the

    show: the £460 1 NIKKOR VR 6.7-13mmf/3.5-5.6ultra wide-anglezoom lens(availablein March)andthe £480 1 NIKKORVR 10-100mm f/4-5.610x zoom lens.www.nikon.co.uk

    NIKON EXPANDS ITSMIRRORLESS RANGETwo new Nikon 1 modelsannounced atCES in Las Vegas

    PREMIUM

    COMPACTSIf you’re looking fora high-qualityretro-styled compact, thentwo newmodels may appeal. TheFujilmX20isanupdate ofthe popularX10andboastsa newly developed 12-millionpixel 2/3in X-TransCMOS II sensorandEXRProcessor II,which claims toincrease resolutionby 20%and reducenoiseby over 30%.The 4x zoomisequivalent to a 28-112mmf/1.8-2.5lens, whilethe Hybrid AF claims tobethe world’s fastest at launch.TheX20isavailable inblackorsilver andblack,andcosts around £500.www.fujilm.co.uk The£400PentaxMX-1 o ers12.1-megapixels, a 1/1.7in CMOSsensorandintegral4x zoom. Otherfeatures includea 3intiltingscreen,built-inShakeReduction, in-cameraRaw and pop-upash. The MX-1 is tinyat just over 12cmwide andweighs just363g. You’ve a choice ofsilver orblacknish. www.pentax.co.uk

    NIKON’S ODD COUPLETWOVERYDIFFERENTlenses havebeen announcedbyNikon.The£670FX-format18-35mmf/3.5-4.5G EDboastsimprovedoptics,a SilentWaveMotor and islightweightat385g.TheAF-S NIKKOR 800mmf/5.6E FLED VRsuper-telephoto is a di erentbeast entirely,weighing4,590gando eringtheultimateinpullingpower. It’ssuppliedwitha 1.25xteleconverterthatboostsits focallength to1,000mm. Ifyoufancy one,start savingbefore itslaunch inApril–it costs£16,000!www.nikon.co.uk

    GET SOCIALGetinvolved with theteamby joining ournewsocial channels.Share photos,opinionsand keepup todate onthelatest news.Facebook www.facebook.com/digitalslrphotoTwitter www.twitter.com/digitalslrphotoFlickr www.ickr.com/groups/digitalslrphoto

    Scan this QR code to be taken to our Facebook page

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    PHOTO NEWSEXPOSURE/3.13

    12 / DIGITAL SLR PHOTOGRAPHY / MARCH2013

    INTERNATIONALLY ACCLAIMEDphotographerJoeyL hasmadeaname forhimselfwith hisunusualapproachto portraiture.As wellashiscommercial andcelebrity

    work, Joey iswell-known forapplying hisstyle to indigenous tribal subjectsin placeslike Ethiopia, Kenya andSudan. Wecaughtupwith Joey todiscuss hislatestproject,which he is currently seekingfunding for,

    called Peopleof theDelta .“Theproject,which isprimarilymovie-based,cameaboutbecauseI recently hadthechancetodirecta coupleof videosanditwouldbea great opportunity toapply thisskill-set tomypersonalwork. I seeit asnotonly a chanceto bringmyphotography tolife, but I’llalso get totell the story ofthepeople I’vemet andtheir daily struggles.”

    We’ve allseentribaldocumentaries, butJoey’sapproachmakes thisprojectstandout. “My photographsaren’tshot inadocumentarystyle.I seethisas beingmoreofan ‘artlm’,shot ina very cinematic styleusingsimilar lighting tomy images. I have ascript writtenandthe lmhas a distinctpath.

    However, whatI discovered frommy recentscoutingtripwasthatthe peopleareverygood at improvisation. None of them haveever acted, or seen a movie,but as thestory

    coverseveryday eventsfor them, they don’tndany di cultyin portraying thisrealistically.Becauseof this, I havetweakedthescript to followa narrativerather thangetting caught up in toomuchdialogue–theresultwill bemore natural.”

    Having visited Ethiopiaseveral times, it’sclear Joey’spassionis redupwhen talkingabout thetribespeople.“Thispartof theworld isan amazing place tovisit asa

    photographer. Wedepend on visualappearanceto tell a story, sowhensomebodydisplaysexactlywho theyareandwhat they’ve done in their lives throughthescars they wear orhowtheydecoratethemselves, that’s theperfectsubject.On abroader scale, thesepeople’sway of life isincreasinglyunder threatby changingecological andpoliticalpressures. I hopethelmhighlights their struggle. Also, we’ll bemakingpaymentsand donations to thevillagesandthe peoplewe work with.”

    Joey haschosen tocrowd-fundtheproject through theKickstarterwebsite,anincreasinglypopular method of sourcingfunding. “Thiswork iscloseto myheart and

    thelast thingthat I want is a studio steppingin andchanging thingsto glorify thesituation,”he says. “Crowd-funding allowsmetomake this project a realitywithout

    PEOPLE OF THE DELTAJoeyL’slatestprojecthashimraisingfundsandawareness inAfrica

    compromisingon theendresult.Earlybackersgainaccessto coolfeatures, suchasan exclusive behind-the-scenes tutorialfeaturette,a one-to-one portfolio reviewandcritique over Skypeand signedgallery-quality prints.”

    Joey’s target fundis$150,000,whichhe’s hopingto reachby19March.Tosupport theproject, scan theQR codeabove,or visit http://kck.st/WoJ2ag

    INTERESTED INPHOTOGRAPHY?Fancya dayout?Then startplanninga trip toFocusonImaging,theUK’sbiggest photoshow.TakingplaceattheBirmingham NECfromSunday3 toWednesday 6March,it provides youwitha chanceto gethands-onwith thelatest photo kit, pickupa show bargain fromoneof thetradestands,orbenetfromseminarscoveringeverythingfromlightingtopost-production.Ifyou’re reallylucky,youmight evenbumpintooneof the Digital SLRPhotography team wanderingaround!Ticketscost £10on thedayor £8onlinein advance. www.focus-on-imaging.co.uk

    VIEW THE WORLD OFPHOTOGRAPHY IN FOCUS

    I MA GE S : J OE Y L

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    PICKS OFTHE MONTHEXPOSURE/3.13

    1) CAMERAI wouldpack myHasselbladHD4D-50; I know I can alwayscountonitto deliverperfectleseverytime. I’d like tothinkthatI’dspend mytimeon the islandshootingwith thenotion that if Iwere ever tobe rescued, I couldhave anexhibition full ofbeautifullargeprints, full ofdetail,documentingmytime there!

    6) APHOTOTAKENBY ANOTHERPHOTOGRAPHERIt’sa littlebigso I’d haveto checkmyluggageallowance,but myfavouriteimageis StevenMeisel’sUntitledVII , from hisseries Four Days inLA:TheVersacePictures,2000 displayedin theWhiteCubegalleryin London. Itnowsits rightoutside myo ceandI can’tlivewithout it.

    2) LENSIthasto betheHasselblad50-110mm f/3.5-4.5lens soI cancoverboth wide-angleandtelephoto shotswithout switchinglenses.Howstrictarecustomsonthe island?If I couldgetawaywithitI’dalsotryto slip inmyHasselbladHC Macro120mm f/4lens,too,so thatI couldshootstarshto myheart’scontent.

    4) PHOTOACCESSORY I would packmy Ti enlterkitcontaininggraduatedND lters sothatI couldmakethe skies richwith colour. I enjoy layeringmultiple graduatedltersand/or apolariser toenhanceandmanipulate the sky.

    3) ONEPHOTOCOMPANIONI wouldtake myfavouritemodelintheworld,HoudaShretah.Wehaveworkedtogetherfor manyyears, sheis alwaysamazinglyfunnyat therighttimeandwouldbea good muse tophotographwhile deserted onanisland!

    Photo castaway: #2 Michael GreccoWe’vetheoreticallypackedcelebrityandcommercial photographerMichaelGreccootoa desert islandtospend the restofhis days. We’vebeenkindenoughtoallow him to

    take along a few photography-basedluxuries– nd out herewhich items hechose...

    5) ONEOFYOUR PHOTOSItwouldbemyrstpublishedconceptualportrait, shotin1991.It’s ofwriterand performerBarryYourgrau posingas a Dodgehoodornament.He hadwrittenatongue-in-cheek articleabouthow his 67Dodge Dartwas thecoolestandmost phalliccar in thecarcapitalof theworld,LosAngeles.It seemedappropriate!

    14 / DIGITAL SLR PHOTOGRAPHY / MARCH2013

    Everyone loves a good behind-the-scenes video andthepeople at Phlearnproducesomeof the most informativeoutthere at the moment.The conceptof blowing asparklerintoa model’s face isdenitely not one that you shouldtry athome, butit’sworthnotingthatthe model’seyes are closed duringthe shoot and heropeneyeappears tobe cloned in later. The videoillustrates how they overcome someof thechallengesof theshoot, including anintricate four-lightset-up using coloured gelsand how tobest treatand interactwith a modelon set. Greatvideo! To watchit, visit:http://bit.ly/YkfTTG orscan the QRcodeabove.

    VIDEOOFTHEMONTHVideo of the month

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    BOOKSEXPOSURE/3.13

    16 / DIGITAL SLR PHOTOGRAPHY / MARCH2013

    Africa£25 / Michael Bright/ Quercus Natural History /ISBN 978-1-78087-914-7

    Part ofthe allureof anyDavidAttenboroughdocumentary is thebreathtakingimagerycaptured. You couldalmostpause theprogramme atany momentand theresultingfreeze-frame wouldmake foran amazingphotograph.Thistitle accompanies the recent Africa documentary andcontainsequallystunningimages along withall the information

    VERDICT: Fantastic photographyandinformative content.Theaugmentedrealityadds tothe wowfactor. Deserves a place onmany a co ee table...

    Rating:

    VERDICT: Ifyou’re a fan offunandquirkycameras, andwantto know more abouthow touseyours, pick this up.

    Great Photos –

    Simple Cameras£26.99 / Bernd Daub/ Rocky NookISBN 978-1-937538-02-6

    Sometimes it’s tooeasyto getcaught upin thetechnicalaspect of taking a goodphotographandforget thatsometimes simplicityworks. Thisbook aims tostripphotography back tobasicsbycovering theins andoutsof takingpictureswithsimple cameras, likea Holga. Unfortunatelytherearesomegreatbasiccameras that don’tgeta mention. Nonetheless, this type ofphotography,althoughniche, is growing inpopularity (we’relookingatyou, Instagram), so ifthis isofinterestto you, it’s wortha read.

    Rating: Rating:

    Rating:

    VERDICT: Well laid outandcomprehensive. Ifyouwanthelp in takinggreatpeople portraits,thenthis isa must!

    Michael Freeman’s

    Photo School: Portrait£17.99 / Michael Freeman / IlexISBN 978-1-908150-95-0

    Photographingpeople isn’teasy – manyvariablescan a ectthe success ofyour images.Thankfully, this title goes a long wayin coveringthevariousaspects that youcan control during aportraitshoot. Fromposing tocomposition,lighting to processing, mosttopicsarecoveredin detail. Theaccompanyingimages arecontemporaryand ofa high quality,and eachchapter hasa challenge tohelp youimproveyour skills.The only thing missing is lightingdiagrams,especially in the lightingchapters.

    VERDICT: The bookdoes a goodjobofpersuading youto useo -camera ash, but wewon’tbe using a Flash Stickanytimesoon.

    The Flash Stick£16.11 / Rod& RobinDeutschmann / AmherstMedia/ ISBN978-1-608955329

    Anyonewho hasdabbledin o -cameraashwill testify that theresults are oftenmuchimprovedwhen compared tousingyourashon-camera. This book takes this idea andemploys the rather bizarre-looking concept ofplacing yourash ontheend ofa pole–a ectionatelycalledthe FlashStick. The resultsareas you’dexpectfromphotographerswhoknowwhatthey’re doing witho -cameraash– they illustrate thepoint very well. Butthequestion that keeps popping into your head is:What’s wrongwith usinga lightstand?

    thatyou’d expect about thewonderfulcontinentand its incredible wildlife.What’smore,you canuse your smartphone to

    viewaugmentedrealitycontent, suchas videosandimages,thatcome to life when youpointyour phone’s cameraat thepage.The wondersof modern technology!

    ©A NDY R O U S E

    BOOKOFTHE

    MONTH

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    2013Photoworkshops: Lookingforsomeexperttuition?Here’saround-upofphotocoursescoveringa rangeofsubjects

    PHOTO TUITIONEXPOSURE/3.13

    18 / DIGITAL SLR PHOTOGRAPHY / MARCH2013

    LandscapesGiantsCausewayCoast

    26-29 April / £895Enjoy Northern Ireland’sGiantsCausewayCoast undertheguidance ofprofessionalphotographerDavidClapp.www.lightandland.co.uk

    Tuscany 11-18 May/ £1,775A week inTuscanyin thecompany ofphotographersClive Minnitt andPhilMalpas isonenot tobemissed!www.lightandland.co.uk

    LeeFrostPhotoAdventures:Iceland24May-3June / £2,200Join DigitalSLR Photography contributorLeeFroston aphotographicadventuretobeautiful Iceland.www.leefrost.co.uk

    Lakes andMountains–Slovakia6-9 Juneand10-13 June/ £650Join DigitalSLR Photography contributor RossHoddinott in thebeautifulTatraNational Park,in Slovakia.www.tatraphotography workshop.com

    B R E T T H A R K N E S S

    R O S S H ODDI N OT T

    IcelandWorkshopwithJohnGravett16-23 June / £1,995Eight daysamongst stunningmountainranges, icebergsandvolcanoswithJohnGravett.www.keadventure.com

    Dolomites withCharlieWaite14-20 July / £1,845Thisphotoholiday withlandscapepro Charlie Waitewill help youbestcapture thisbeautiful partof Europe.www.lightandland.co.uk

    LakeDistrict:YoungPersonsWorkshop21-25 July / £475Oneof thefew courses aimedatyoung photographers, aged11years andolder,in theheartof theLakeDistrict.www.lakelandphotohols.com

    Land ofFireandIce– Iceland2-8September / £1,899Capturecascadingwaterfalls andmajesticmountains on aseven-daytripwith Lee Pengelly.www.tatraphotography workshop.com

    Orkneywith LeeFrost4-11 September/ £1,395

    RossHoddinott:Dorset Coastline

    NatureEurope’sGreatPredators:

    Germany 18-21 March / £475You’re likelyto seelynx,bearsandwolvesduring thisworkshopinGermany ledby photographerSimonSta ord.www.tatraphotography workshop.com

    EaglesofHortobágy:Hungary 5 to8 December / £899Spendtimeinside speciallydesignedhideswithin theHortobágyNationalPark withbird-expertBenHall.www.tatraphotography workshop.com

    SpringColoursatHighBeeches18April / £95Join theexperts atPark Camerasforthisone-day courseoncapturing spring colours at HighBeeches Gardens inSussex.www.parkcameras.com

    PhotographyforBeginners10May/ £150Thiscourse atColchesterZoo

    Wrapup warm andjoinLee FrostandDuncanMcEwanon theOrkneyIslands in NorthernScotlandforsomestunningcoastal scenery.www.leefrost.co.uk

    DorsetCoastline14September/ £120RossHoddinott andMarkBauerlead this one-day tourof themagnicentDorset coastline.www.dawn2dusk photography.co.uk

    Colorado & Utah –AmericanHigh27 September-8 October / £3,495JoeCornishandAntony Spencerguideyouon a journey throughColoradoand Utah, includingthespectacular RockyMountains.www.lightandland.co.uk

    coversthe basic of photography,andyou’ll getto practice on someamazingcreatures,too!www.photography 4bigcats.co.uk

    LakeDistrictNatureWorkshop19-25 May / £685Experience thebeauty oftheLakesin thissix-daynatureworkshopwithLakelandPhotographicHolidays.www.lakelandphotohols.com

    Photography forBeginners17August/ £125Capture snowleopards, amurleopardsandjaguars, andpickupthebasics ofphotographyat theCatSurvival Trust.www.photography 4bigcats.co.uk

    Birds ofPrey 5-7and 8-10 November / £499BenHall teaches youhow tocapture allkindsof birdsof prey inin theCzechRepublic.www.tatraphotography workshop.com

    Isleof Skye withDavidWard5-12 October / £1,695The Isleof Skyeis a longwaynorth,but it’s wellworth thetripforthe sceneryalone.www.lightandland.co.uk

    RuggedNorthCornwall13to 15October / £425LetRossHoddinottandMarkBauer guideyouto thetop spotson thenorth Cornwall coast.www.dawn2dusk photography.co.uk

    GoldenYosemitewithAdamBurton19-27 October / £2,899AdamBurtonguides youthroughthiswonderful NationalParkinCalifornia.www.tatraphotography workshop.com

    PortraitsLaraJadeStudioWorkshop

    20 February / £400Join renowned fashion photographerLaraJade inLondonto cover theins andoutsof studiophotography.www.larajadeworkshops.com

    BrettHarkness: It’s AllAboutWeddings19 March / £462 Wedding photography is a lucrativebusinesssowhynot learn from oneof thebest at themagnicentCreweHall?www.brettharknessphotography.com

    BrettHarkness:Location FashionFlash29 April / £510 Ifo -camera ash leavesyou feeling confused thenthis one-day courseat anoldManor House inShropshire isperfect.www.brettharknessphotography.com

    BrettHarkness:SummerWeddingFashionExtravaganza24June / £510 This courseaims toteachyou both natural lightandash photography, butthere areonly tenplaces, sobequick!www.brettharknessphotography.com

    BrettHarkness:Location Fashion Flash

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    INBOX EXPOSURE /3.13

    MARCH2013/ DIGITAL SLR PHOTOGRAPHY / 21

    Haveyousomethingtosayaboutthemagazineorphotographyingeneralthatyou’dliketosharewithotherreaders?We’dlovetohearfromyou,soplease

    write tousatourusualaddressor sendanemailto:[email protected]

    READER FEEDBACK

    PEDAL POWERI wanted tosend you this image inresponse to the Master Darkness section of the January 2013 issue.Likemanyofyourreaders, theweather lastyear conspired againstus anddrydayswerenaturally taken up withchild-basedactivities.Thesectionon paintingwith light providedtheopportunityfor a few much-needed hoursof creativity in thegarage tokeep thephotographicfun going. Please continue withthese encouragingsections ofwhatis a fantastic magazine.

    Could I alsosuggest a sectionon photography in shing,boating, swimming andthecorrect waysto light the ark iftheweatherends upas wet in2013 asit was in2012.

    AdamSmithEditor’s reply: Thanksforyour suggestion, Adam, we’ll keep it in mind!

    @ZIADALHIJAJ justfound my@DigitalSLRPhotomagazineat thedoorstep, happy days!

    @KRW80@DigitalSLRPhotoI’vefoundall the“How To” style articlesreallyuseful – wouldbe goodtoseesomethingon urbanphotography.Cheers.

    @B15DVEAnyone like tosee abit ofeveningsunshine? #usnp@DigitalSLRPhoto@peakwalkdays #photographypic.twitter.com/0ZEKVHeT

    @NORN_IRONMAN@DigitalSLRPhotoJessopsclosure not good4sta orindustrybut it’s been a longtime coming. Inpart duetomtgstrategyadoptedoverpast 15yrsorso.

    @_OVEREXPOSED_@paulwardphoto@DigitalSLRPhotoWell done,some great pictures.

    TOPTWEETS

    THROUGHTHE PINHOLE

    I noticedwith interestyourfeatureondigital pinholephotographyin theFebruary2013issue.I’vebeen usingahomemadepinholelens forawhileand I wholeheartedlyrecommendit. Thereareacouple ofthings I wouldpointoutthoughfromexperience– rst, thelongexposures andthepinhole(a hole,albeit asmallone)that’sopento theelementsseems to increasetheamountofne dust thataccumulateson thesensor.They areveryevident intheimagesbecauseofthelargedepth-of-eld.Second,exposuretimes arean inexactscience andit takesa fewattemptsto get thingsspot-on.Don’t discard theunder-andoverexposedframes. Ifyouhavean HDRapplicationlike Photomatix,usethemto createan HDRpinholeimage. It soundsstrange butyou canachievesome really interesting results– here’san example ofmine.Mr Carl JacquesEditor’s reply: Great work,Carl, thanks for thetips.

    STARTING OUTI read your November2012

    issueand wasamazedattheimmensenumber of tricksthattechnologyhasenabled

    usto doin order togetthatperfect shot. I wasenthralledbythePhotoshoptipsfromJordanButters. Beingnew tophotography,I particularlyenjoyed Expert Critique .Thetechnical information(ie thecamerasettingsincludedintheshots) areespeciallyusefulandhelpful forme totake thatshakystep away from theauto mode.This isclearly amagazinededicatedto thosepassionate tolearnallthereisaboutgreatphotography.ButI wonder howphotographerscaptureeetingmomentswhen they travel, usingatripodand having tochangebetweenall thevariouslenses? What wouldbe thebareminimumonewouldneed for,say,a traveltrip tocapturenature, landscapeandcandidshotsofpeople inaction andtheoccasionalinteresting wildlifewithoutcarryingback-breakingequipment? OftenI nd themomentpasses, whichfrustrates me.I amexcitedbutverydaunted,especiallywhencomparingto theeaseof thecompact I have been used to.J HusseinEditor’s reply: A DSLRwitha50mm f/1.8 lens, ultra-widezoomand a 55-200mmtelezoom makeup a decentkit for travel photography.

    SECRETMESSAGE…

    Inthe last issue,our secretmessageasked ifanyoneactually readthem! ShaunDavis fromBasingstokewastherstreaderto reply ‘yes’.Lucky Shaun winsa bag ofgoodies forhis eagleeye!

    Pinteresting

    MORE ESSENTIALREADING FROMTHE EXPERTS AT

    DIGITAL SLR PHOTOGRAPHY .

    Shaun:wentto Specsavers

    Wheely great,Adam

    Order yourprintordigitalcopy direct

    from magbooks.comorcall 0844844 0053

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    WojciechDziadoszAge: 24 / Occupation: Surveyor

    TheSun Also Rises: “Thiswas taken not far frommyhome, near Wroclawin Poland. I awoke to thick fogandsoon enoughthe early morning sunbegantoburn through. I took twoexposures – onefor theforeground andone forthe sky– andcombined

    the two alongsidebasic colour correction, levelsand contrast adjustments in post-processing.”NikonD200witha Tokina12-24mmf/4 PRODX II.Exposure:1/90sec atf/8 (ISO100).

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    24 / DIGITAL SLR PHOTOGRAPHY / march2013

    HussainTaroutiAge: 30 / Occupation: Ba k

    The Edge ofGlory: “I t k thi a c u le f m th ag i ide the Bu jKhalifa i Dubai– the talle t buildi g i the w ld.It wa a d the

    u light c mi g i f mthe huge wi d w wa b ight that I had mycame a e a ed – I k ew a h t g a hic tu ityw uld ’t be faaway. The e da ke calat te c t a ted withthe light b u ci gthe whitewall th ugh the a d I waited f the m me t whethe e we e had w bei gca t the wall .I Light m,I madeadju tme t t highlight , had w a dc t a t.”CanonEOS5D M II witha Sigma15mmf/2.8EX Fisheyelens.Exposure:1/15secat f/3.5(ISO800).

    sponsoreD By

    WojciechDziadosz (continued)MountainsAwake: “st idi g al g the t y te leadi gd w thevalley,I came u a b eathtaki g ight. I iti edmy elf e fthe ck ea the edge f a wate fall.The ck we e li e ya d a yw g m veme t c uld e dt agically,but I th ew c mm e e tthe wi d – I c uld ’t mi the h t. The m u tai eak we e hieldedby the cl ud a d the light u ed d w the valley. I u ed C ki 0.6a d0.9nD g ad lte t add m veme t t the wate a d h ld back the kywhil t ex i g the light illi g d w the valley.Thi i e fmyfav u ite h t f mthi t i .”Ni on D200witha To ina 12-24mm f/4PRODXIIlens.Exposure:Onesecondat f/20(ISO100).

    Golden Autumn: “Thi i e fa e ie f h t I t kthi fallirudawy Ja wickie – a m u tai a ge i We te sudete ,p la d.I e t the ight t f the highe t m u tai i the a ea a d aw ket a fa ta tic view.o thi m i g, the weathe wa e fect– the ewa a de e eaf g a d the ea ly m i glight c eateda fa ta tic

    atte i the mi t a it ie ced th ughthe t f the t ee . I u ed aC ki 0.6nDg ad lte t c eate a g adie t f m da k t light i theimage, a di t- ce i g, adju ted ly t e , level a dcu ve .”Ni on D700 with a NIkkORAF-S70-300mmf/4.5-5.6DVR lens.Exposure:1/250secat f/10 (ISO200).

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    comment

    Wow!Wojciech’s imagesgrabyour attentionusing vivid

    coloursandfantasticlight!I lovethe atmosphere captured

    bythe lightpiercingthrough the treetopsand

    mist in this image.Jordan Butters

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    march2013/ DIGITAL SLR PHOTOGRAPHY / 27

    AlexFilatovAge: 30 / Occupation: Photographer

    First Light at MonumentCove: “This wastaken at Monument Cove,awonderful o -the-map location in Acadia NationalPark, Maine. Ibracketed several exposures, usingthe longest exposureI couldbystopping down to f/22. When I combined theimages in Photoshop, themist-likewater between therocksgave theimagean ethereal feel.”NikonD700witha NIKKORAF-S 14-24mm f/2.8GED lens.Exposure:Multiple exposuresat f/22(ISO 200).

    BassHarborSunset: “Bass HarborHead lighthouse is oneof themostphotographedsitesin AcadiaNationalPark, Maine.I arrived early, setupandcomposedmy capture so that thelighthouse would be re ectedina puddleof seawaterleftby the receding tide. Due tothe shape ofthecoastline, rather than using ND grad lters I opted forbracketedexposures andmanuallycombined themin Adobe Photoshopinstead.”

    NikonD700witha NIKKORAF-S 14-24mm f/2.8GED lens.Exposure:Multiple exposuresat f/13(ISO200).

    MarkusOskarssonAge: 26 / Occupation: Photography student

    What Remains1: “I hadspotted this location beforehand andknewI hadtouse it. I sourced a model and myfriend, who isa make-up artist, and Iwentabout nding somebohemian-themedclothing fromsecondhandstores. On the day of the shoot,the sky was clear sowe waiteduntil thesunwas lowin thesky forthe best light. I used a shallow depth-of- eldfora dreamyfeel anda re ector to lift theshadows.”CanonEOS 5DMk IIwith aCanonEF24-70mm f/2.8LUSMlens.Exposure:1/350secat f/4(ISO100).

    What Remains2: “After choosingthe images from theshoot that Iwanted toworkwith,I set about processing them. I applieda subtlecross-processedlook,withwarm tones anda bluetint to theshadows.I carriedout some light retouching by dodging andburningusing Curvesbeforeaddingsomegrain using theAlien SkinPhotoshop plug-in.”CanonEOS 5DMk IIwith aCanonEF24-70mm f/2.8LUSMlens.Exposure:1/250secatf/4(ISO100).

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    * Formore information,see www.sandisk.com/preserve

    EveryReaderShowcase will receive a new8GB SanDisk ®Memory Vault: theunique digital storage device speciallydevelopedto keepirreplaceableshotssafe, in originalquality,for upto 100years *. TheSanDisk ® Memory VaultfeaturesSanDisk Chronolock™ technologywhich, togetherwithan impact-resistantpolymerbody anda durablemetaltopcase,makesthe SanDisk ® Memory Vaultideal for reliable,long-termimagestorage.Greatphotographershavealwayscounted on SanDisk memory cards to capture stunningimages. Nowtheycan also rely onSanDisktechnologyto keeptheir picturessafeforthefuture. SanDisk ® Memory Vaultisavailablein 8GBand 16GB capacities.To ndout more,visitwww.sandisk.co.uk/memoryvault

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    MARCH2013/ DIGITAL SLR PHOTOGRAPHY / 29

    StefanoGranataAge: 32 / Occupation: Businessand art director

    Lei: “This was shotas partof a testshoot inan old abandoned trainstation – it was a great location,completewith decommissionedtrains!I hadjust purchaseda secondhand Nikon 80-200mm f/2.8zoom andwanted to tryit outfor some portrait work with my modelandmuse,Laura. In post-processing, I convertedthe image to black & white andadjustedthe monochrome tones by tweaking thecolour sliders inLightroom. I then imported theimageinto PhotoshopCS6 to carry outthe neradjustments required.”NikonD700 witha NikonAF-D 80-200mmf/2.8lens.Exposure:1/320sec at f/2.8(ISO 250).

    Alan ChanAge: 31 / Occupation: Civil engineer

    TheShining Jewel: “The Golden Gate Bridgeis much photographed –however,wheneverthere is lowfog sweeping through thebay,it’ssomething that must beseen. I wantedto shoot a panoramawhere SanFranciscowouldfall between thetowers of thebridge.Using a spiritlevel to level thetripod, I overlappedthe shots by around25% to ensureenough coveragewhenmerged.These in-cameratechniques helped tomakea nice merge between theimages. I then made some exposureadjustments before selectively dodging andburning.”CanonEOS5D MkII witha Canon70-200mm f/2.8LIS USM lens.Exposure:15secondsat f/11 (ISO 100).

    DayBreak: “Bonsai Rock is a photographer’s favouriteon theNevadaside of Lake Tahoe. I composed this shot so that thesunrisecolours inthesky seemed to be radiatingfrom therock.I selected thenarrowestpossible aperture to lengthen theexposure andsmooth outthe choppywater. I used a Singh Ray0.9ND reverse grad lter to hold back thehorizonand then,in post-processing, correctedthe exposureon therockand snow-cappedmountains.” www.alanchanphotography.netCanonEOS5D MkII witha CanonEF 16-35mmf/2.8L IIUSMlens.Exposure:25secondsat f/22 (ISO 50).

    COMMENT

    Greattravel images make youwant to packyourbags andhead outto thelocations.Thesewonderful landscapes,packedwithatmosphere, moodand

    colour, do just that.Caroline Wilkinson

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    30 / DIGITAL SLR PHOTOGRAPHY / MARCH2013

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    WheTheryou’reAcATordoGPerson,orlovehorsesoverhAmsTers, hereArePlenTyofPhoToideAs ToTry

    petportraits

    J A v i i n c h u s T A G o n z A l e z

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    4 UsewindowlightCatsare notoriously di cult subjects tophotograph because of theiraloof nature. Yourbest chanceof snappinga fewgoodframes is tocatch them when they’re being lazy,bathed inwindow light,or distracted bya toyor bird.Setyourcamera to aperture-prioritymode,a wideapertureand thehighest ISOrating youcanbefore introducing noise, toblur thebackgroundandgenerate a fast enoughshutterspeedtofreezeany movement,lettingyoureactto a

    photoopportunityeven in lowlight. Fill theframe with your subject tominimiseanydistractions,like thewindowpane, but tomaximise onthe beautifullight. Dogs areslightlyeasierto workwithas you can coaxthemtostaystill andto look towards a window, ifneed be.

    5 Be creative There’snoshortageof creativeideas totry withpets, but we love BenHeine’s‘PencilVs Camera’ series.By mixingdrawing with photography,he opensup somuchopportunitiestobe quirkyandhumorous. This image isoneexposure taken outdoors,with Benholdinghissketchinlinewith thedog. He thentweaksthe image inPhotoshopCS4 toenhancethecontrast andcolours.

    march2013/ digital slr PhotograPhY / 31

    I r e n e M e I

    2 0 1 3 B e nHe I ne

    1 caPtUre theactionDogslove torun, andcapturing shotsofthemin action, earsandgums apping inthewind,canyieldfantasticimages. Startbyaskinga friendto hold thepoochin positionwhileyousetupa few hundredyardsaway– thisallowsthemto getup tospeed beforetheyreachyou.Usea telephotozoom,suchas a 50-200mm, and getdown low totheir eyelevel. You’llneed touseshutter-prioritymodealongwithcontinuousautofocusin order to track them as they runtowards you. Selecta highshutter speedof1/500secor faster, depending ontheavailable light, andgive thesignalfor yourassistantto releasethe dog. Makesure thatyou reo plenty ofshots inburst modewhiletheyrunat you,butrememberto putyour cameradown before theyarrive –dogs tend toacceleratea lotmoree ciently than they brake!IMage:JOrDanBUTTerS

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    PetportraitsTechnique

    32 / DIGITAL SLR PHOTOGRAPHY / MARCH 2012

    8 SeTTHeSceneUs ng lothes, to s ndhousehold tems sp ops n helpset s ene nd g ve qu kp tu es the‘ hh’f to – espe ll f thepets

    e oungo t n , l ke Tob he e.Th s m ge sg e t ex mple ofhowus ng eve d household

    tems nenh n e n m ge ndbe usefulfoont n ng u ousbut f st-mov ng subje tlongenoughw th nthe bestl ght togetp tu e. Pupp es nd k ttens lookex ept on llsweet nove s zedp ops, too, so p t l se onthe uteness.

    De l i a ga l h oT r a

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    7 ReADY fORmY cLOSe-uPif ou pet s b no me ns me -sh ndg ves oue e ont t, m ke themost of thes mmet n tsf e w th t ght op. c ts,espe ll ,p ov dest k ng po t ts th sw nd

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    nd use f/5.6 toget the nose nd e es nfo us.you’ e l kel to need mo e depth-of- eldfosubje ts w th long noses, su h s dogs.

    9 GLORIOuS GOLDen HOuRSW lk ng ou doge l o l te nthe d nbe pe eful, el x ngexpe en e ndone th t

    np ov dethe most be ut ful l ght:when thesun s low, g ss ndt ees dopt n tt t vew m glow.T toshootf om d st n e w th

    telephoto lensw deopen ( pp ox f/4) to ptu ebe ut fulbokeh nd el xed subje t. as oudog s l kel tobe b kl t, usespotmete ngtot ke nexposu e e d ngf omthemto vo dunde exposu e.cons de le v ng ou lens hood

    thome,too, to ood the m ge w th w m l ght.

    6 uSeneGATIveSPAce& cOLOuRWh lemostpeople e the h ve t odog s pet, t’s the unusu l subje ts th t nm ke e ll nte est ng p tu es nd nsp e.B ghtl olou ed pets, l ke p ots o ept les,lookg e t g nst n equ ll olou fulb kd op

    of omplement ,o even ont st ng,olou . if poss ble, t spotl ght ngtheb kg oundfo mo e nte est. Wh le mostphotog phe st to llthe f me, slong s theempt sp e nthe m ge sf eef omd st t ons nd used tob l n e thesubje t otoemph s se fe tu e, l ke the sm ll s zeo nunusu l op, ‘neg t vesp e’ ( s t’s ommonl

    lled) nbe usedto st engthen n m ge.

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    Get the picture

    JORDANBUTTERS: Therearea largenumberof peoplewhoviewportraitphotography as a fair-weatheror indoor pursuit.Unfortunately,with theclimate in this country as it is,if that werethecase, allour portraitswould beshot inside. Learnto embracetherainandsnow – with theadditionof an o -cameraashgun

    anda touchof waterproong – andyou can carryon shooting no matter theconditions, using the fallingdropsor akes as a sparkling naturalbackdrop.

    Ifyou are lucky enoughto nd yourselfin a showerwhen the sun islow inthesky, such as just aftersunriseor beforesunset,thenyoucan usethe sunasa naturalbacklight. The chancesof suchconditions presenting themselves oncue is unlikely, so an o -camera ashgun isoften a required back-up.Becauseof their transparentnature, raindropsandsnowakes showup bestwhen back-or side-lit, as thelight canrefract through thedroplets toilluminate them.This is whyif youtry to photograph rain with your ashpointing towards thedroplets, theydon’tshow as prominently.

    I’d recommendtrying this techniqueout undershelter or in a doorway ifpossible– both foryour subject’sandyour camera’s sake. No onelookstheirbestwhen soakedfrom headto toe and the lastthingyou wantis yourkitgetting damaged.Youcan even give this a techniquea trywhen it’s notraining– simplyset up a garden hose or sprinklerto spraybehindyour subject.

    Rainy-dayportraitsThere’s nothing morelikely toput paidtoanoutdoorportrait sessionthan a suddendownpour, butaddinga littlebit ofashcan make the bestuse ofthe weather

    36 / DIGITAL SLR PHOTOGRAPHY / MARCH2013

    Backlightingrain

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    38 / DIGITAL SLR PHOTOGRAPHY / MARCH2013

    1WaterproofyourkitAn important precaution is toprotectyourcamera kitfromtheelements.Seal anyashgunsandtriggersthat willbe potentiallyexposed towater inclear,watertightplasticbags. If you’regoingto bestanding out inthe rainyourself then ta raincover for yourcamera andlens, or ask anassistanttoholdanumbrella over you.

    SET UP:Setup your lightsone ata time toprevent confusion. As onelight isbehindyoursubjectand oneis infront, neither will a ecttheexposureofthe other. I have chosento positionmy model ina doorway to

    prevent both herand thecamera kitfromgettingwet, but youcan shootthis style ofportraitoutdoors, too– just remember toprotectyour kit!

    3 Setthe exposureSelectmanual mode andchooseyour camera’s maxsyncspeed anda mid-aperture ofaround f/8 foroptimumsharpnessandto retainattractivebokeh in thebackground.Use a lightmeter totake a reading from your subjectandset theash poweraccordingly. Alternatively, takeatest shot andadjust from there.

    2 Choose your keylightYourkey light is themain lightthat you’ll be using to illuminateyour subject. Youcanuse youron-cameraash,but fora moreatteringlight consider bouncingthelighto another surface orusing an o -camera ash. I havechosento usean o -cameraashgun in a shoot-throughumbrella to theleft of camera.

    4 Setup yourbacklightPlaceyourwaterproofedashgun three to vemetresbehind yoursubject, pointingtowards them, setit to1/2powerandits widestzoom.Take a testshotandassesshow muchof therain is beingilluminated. Increasethe powerif necessary.Positionyoursubject between the backlightandyourself, then you’reallset.

    Get the picture Backlighting rain

    Pick therightaperture

    Theaperturethatyou choosewillgreatly a ect theappearance ofthebokehcreatedby therain.Toowide anapertureandthebokehblurs into one. Ifyoudo adjust yourapertureaftertaking yourinitialexposurereading, remember totakeanother reading andadjustthepower ofyour keylight.

    f/2.8: Atthewidest aperture thebokehis toopronouncedandtheraindropsblur together.

    f/5.6: By stoppingtheaperturedown, separation between theraindropsbegins to appear.

    f/8: At a mid-aperture theraindropsare stillpronounced butremainnicelyoutof focus.

    Lightingset-up

    f/8f/5.6f/2.8

    1

    2 3

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    IMAGEDETAILS

    Kit: Canon EOS 5DMk IIwithEF 24-70mmf/2.8L

    Mode: ManualExposure: 1/160secat f/8

    (ISO100)

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    40 / DIGITAL SLR PHOTOGRAPHY / MARCH 2013

    3 Arrive on location Once on location,misthad lledthe valley aspredicted.I opted for a70-200mm zoom – notonlywould thelongerfocal lengthenhance thee ectof themist,but it

    would also give me lots ofdi erent framingpossibilities. Using a tripod, I focused manuallyon thetreesvia LiveView.I selected aperture-priority mode, opting foran aperture of f/11.Thecamera seta corresponding shutter of15 seconds, butthe resultwas toodark.

    1 Planahead In order tocapture greatmistyimages, youhave to plan your shootcarefully. I checked theweather regularlyforseveral days until nally I noticed a cool, clear

    night was forecast,witha predictedwind-speedof just 4mph – perfect conditions for mist.Visibilitydroppedto ‘good’ overnight – anotherindicatorthatmist would be likely. Pack yourcameragear thenightbefore andprepare somewarm clothing fora swift start in themorning.

    2 Don’t hit snooze I decided tovisit a locationwhere a row ofconifersgrows uponahilltop. It canbe photographedfrom anadjacenthill and I hoped mistwould llthevalley

    between. Elevated viewpoints like thisoftenwork best when shooting mist. Sunrise wasjustafter 7:00am. I setmy alarm early enoughtoarrive45 minutes beforehand. This would giveme timeto nd a goodviewpoint,set upandbeready to shoot anypredawn glow.

    ThemagicofmistVacating a warmbed ona chillywintermorning can seemlikemadness – but not if the result isa stunningshot likethis…

    ROSSHODDINOTT: Why are

    misty conditionsso irresistibletophotographers?When thelandscape is shrouded in mist, wewill gladlydragourselvesoutof

    our warm,snug beds at ‘silly o’clock’ in themorning to takephotos. I guess the answerisquitesimple – mistadds moodandafeelingof mystery toour images. Byreducingcolourandcontrast, it simpliestheappearance ofobjectswithin thelandscape,placingadded emphasis onshape andform. Noself-respectingoutdoorphotographer canresist thelureofmistyweather, buthow can youensureyour earlystart is rewarded withgreat images?

    Autumnandwinter is traditionally oneof

    the best timesofyear for shooting mist,sokeep a closeeyeon thelocal weatherforecasts.It canbe tricky toanticipate whenmistwill formand where.There are di erenttypes ofmistand fog, butthe mostphotogenickind is ‘radiationfog’, whichforms during clear, still nights when thegroundloses heat by radiation. Thegroundcools nearby air to saturationpoint andmistforms. It will oftenremainconned to lowground,forminga thinwhitelayer at thebottomofvalleysandover elds. Weatherforecastingwebsiteslike www.meto ce.gov.uk, www.accu weather.comandwww.metcheck.comarea great resource,andtheir forecastsareoften veryreliable.

    When checking theforecast, look forclearand coolstill nights – idealconditionsformist to form. Some forecasts willactuallypredictmist, butchecking thevisibility oftengives thebestindication– if visibility dropsfrom ‘excellent’or ‘very good’ to just‘good’or ‘average’ overnight, there is a decentchanceyou will begreeted by mist in themorning. Set your alarmearly and allowplenty of time toreachyour location. It canbe di cult to decide which locations to visitinmistyweather,as youcan never be quitesure whenand wheremist will form, orhowdense itwill be.However,it isnormally besttoopt for anelevatedviewpoint, suchas the

    Get the picture

    view from the top ofa hill orvalley,whichallows youto get above the mist.It is worth

    visitingsome potentially good locationsbeforehandtoget an idea oftheirpicturepotential. Thetypeofscene that suitsmistyconditionsbestare ones including strong,bold focal points– for example, a row oftrees, church tower or interesting landmark.Mistlooksat itsmost atmospheric justbefore and aftersunrise. At this time ofday,light levelsare low andshutterspeedscharacteristically lengthy, so a tripod isessential. It isworthcarryinga rangeoffocallengths.While wide-anglesoftenwork wellin misty weather, telephotos often proveequally useful. Longer focal lengths, in theregionof 70-200mm,willshortenperspectiveandemphasise themist further.

    They also allowyou to isolate key pointsofinterest– a skeletaltree, for instance,orruins emergingevocatively from thefog.As wellas photographing large openspaceswhen it is misty, it can alsobe worthwhilevisitingmisty woodland in autumn.Thefogwillsimplifytheenvironment, enabling youto captureverygraphic,eerie-lookingimages of trees shroudedin mist.

    Lastwordsof advice: wrap up warmandbe prepared toworkquickly – mistoftenclears or lifts quicklyandthebestconditionswill soonpass.Also,keep a lens clothclosetohand – condensation is likelyto formonthe lens, potentially ruiningimages.

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    5 Consideryour composition Compositionwill makeor breakyourshot.In this instance,I tried a varietyof compositions using di erentfocal lengths.I triedplacing thetrees right of

    centre andcentrally in the frame. However, oureyes naturallyviewthe worldleftto right,so Idecided placing them on theleftcreatedthestrongest result.However, don’t be afraid toexperiment – shoot a varietyof compositions orbe boldwith yourarrangements.

    6 Observe changes Mistcan change quickly,drifting in andout of shot andgrowingmoreor less dense.As a result, thesamescene canlookradically di erentwhen photographedover

    a periodof anhour orso. Shoot a sequenceofimages anddecide later (when they’re on yourcomputer) which onesyou prefer.Once thelight gets toobright andharsh, andthe mistbeginsto lift anddisperse, it is time topack yourcameraawayand headhome forbreakfast!

    4 Keepan eye onthe exposure Misthas ahabit of foolingmeteringsystems. This isbecauseTTLmeteringis designedto assumethat subjectsare mid-tone(18%grey). Asa

    result, it tends to underexposebright subjectslike mistor snow. Alwayscheck thehistogramscreenregularly. If thegraph is biasedto theleft,apply positiveexposure compensation. In thisinstance, I dialled in onestopof positivecompensation to brightenthe image.

    Shooting mist in landscapes

    Final imageAn earlystart is

    rewardedby an eeriemisty landscape full

    of atmosphere.

    IMAGEDETAILS

    Kit: Nikon D800with70-200mmf/2.8

    Mode: Aperture-priorityExposure: 30seconds

    atf/11(ISO 200)

    MARCH2013/ DIGITAL SLR PHOTOGRAPHY / 41

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    Get the picture Studio-esque bathroom portraits

    MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 43

    CAROLINEWILKINSON:

    Short onstudio space toshoot your little onesortroublekeepingthem stilllongenoughby a window to

    geta decent shot? You’llbe surprisedatthesolution. Ifbath time is a happytimeinyour household,you can usethistoyour advantageas the bathtub isa greatlocale forcapturing studio-esqueportraits– unless youhavea peachoravocadosuite, that is. Finding anarea ofthehouse withclean,naturallightwhereunattering shadows,colourcasts andmessy backgroundsaren’taproblemcanbe di cult,and gettingyour childto sitin thatspot longenough tocapturean angelicportraitmakes it that muchmore challenging.As longasthey’reold enough tosit upontheirown,a whitebathtub keepsthem contained and the tubworks likea giant softbox andreector; bouncingnatural light o thewhite surfacesforbright,evenillumination witha cleanstudio-likebackground.If yourbathroom haslimitedlight due tofrostedorsmall windows, youcouldalso use the sidesofthe bath tobounceasho forsimilarresults.

    Thetoughestpart of this technique isgetting thechild to interactwith thecameraand tocompose a goodportrait; standardbathtubsdon’t leavemuchroom fornegotiation.Bathrooms canbe quite cold, too,especially ifyou’ve nowater in the tub,somakesure the heating isonand/oryourchild’swearingclothes. Theymight think it’soddto havenowater inthebath, soif theystartacting up,run ashallow one for themtoplay in– justmake sure you havea second adultonhandout of frame topreventaccidentsasyour attentionwillbe distracted bythecamera.Usewhatever meansnecessary toget a smilefromthem,too: chocolatebribery works well, asdoessomeone pullingfaces or playingwith toys behind your head for gettingeyecontact.Butabove ofall,makesuretheyhave fun,otherwiseyou’ll be luckytogetmore than three frames obefore bathtime is over.

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    42 / DIGITAL SLR PHOTOGRAPHY / JANUARY 2013

    Get the picture

    WINTER LANDSCAPESWintercan beone ofthebesttimes ofyeartoheadout andshoot stunningicy

    scenes.ProfessionallandscapephotographerMarc Adamusprovideshisfavouritehintsand tipsonhowyou can takethemostofdramaticwintervistas…

    IMAGEDETAILS

    Kit: Nikon D800EwithNIKKOR 14-24mm lens

    Mode: BulbExposure: 74seconds

    atf/14 (ISO 320)

    SkyIf you’re shooting

    againsta partly cloudysky, considerusing a

    NeutralDensity lter.AHitech 1.8ND wasused

    here to prolong theexposureto 74secondsand capturemovement

    in theclouds.

    FocusingUsea hyperfocal

    distancecalculator foroptimum depth-of-eld.

    Alternatively, you cantake twoexposures

    – one focused on themountain andone on the

    foreground – andblendthem together.

    CompositionIcemakes great

    foreground interestas it

    refracts and reectsthelight andhas a natural glowto it.The broken shardsof

    iceact asa lead-in,pointing you towards

    themountain.

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    MARCH 2013 / DIGITAL SLR PHOTOGRAPHY / 51

    Five-minute Photoshop

    6 Adda Photo Filter Back in theLayers palette,clickon the Addnewll or adjustment layer button again andselect PhotoFilter . Selectoneofthe Warming Filters and click OK – this willwarm theentire image to suit theduskcolours.

    5 Alterthe opacity Thetwo Color Stops abovethegradient scale control theopacityof thegradient. Move the WhiteColor Stop inthetop-right corner to control the depth andhardnessof the gradient. Oncedone, click OK .

    4 Change thecolour Click on BlackColor Stop in thebottom-left cornerof thegradient. Thenclick on the Color thumbnail toopenthe Color Picker window.Select a colour– I chose pink to emulate a dusk sky. Click OK .

    Final imageCaught outwithoutyour

    lters? Fearnot – when youcancreatestunningsunsets

    likethis in Photoshop, you’vealways gota back-upplan!

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    52 / DIGITALSLR PHOTOGRAPHY / MARCH2013

    BOATATBURNHAMByGlynHopping

    Camera: Nikon D800Lens: NIKKOR 24-120mmf/3.5-5.6VRExposure: 0.8secsatf/11 (ISO100)

    GLYN SAYS: “This image wastaken ona bright and sunny dayduring a visit tothe hamletofBurnhamOvery StaitheinNorfolk.This is said tobe the

    place where AdmiralLordNelsonrstlearned theartof sailing.”

    LEEFROST: I live very close toa locationlike thison theNorthumberlandcoast andondays like theoneGlyn faced, it’s verydi cult tocomeaway with greatphotographs. I know– I’ve tried.Theproblemwith shooting coastal scenes–orany kind of landscape – in sunny,cloudless weather, is that everything lookspicture-postcardperfect.There’snoatmosphereor drama, soyouhaveto workhard to producesomethingdecent.

    Glendidn’thelphimselfby choosing toputa blue and whiteboatin the foregroundagainsta blue sky. It’salltoo,well, blue. Butnot far awayI see a boatwith someredpaintwork.Maybe that would have workedbetter,contrasting nicely withthe bluesky.With nomast tocompromise thecomposition, Glencould alsohave gotinmuchcloser to thatother boat,using it toll the foreground. Youreally need tolltheframe withcolourandinterestin weatherlike this, otherwise you end up with ratherbland images.Glynwasprobablyattractedtothe reection of the boat in the shallowwater,but it isn’t strongenough and byincluding it he’s just added to the feelingthat there’sa lot ofemptyspace.Verdict: Neededcolourcontrastand atightercomposition.

    ROSSHODDINOTT: Forme, the cameraangle is the biggest problemwith this shot.Glyn has opted for a relatively low

    viewpoint,but theboat still merges withthebuildings behind.Separationis animportant considerationwhentakingphotosanda higher or lower viewpointmay haveprovidedthat. I cancertainlysee

    why Glyn wasdrawn to this view, though.Maybeit wasn’t possible, butif only Glyncouldhavecaptured the boat in betterprole, isolated againstthat lovely clearblue sky.The buildings and otherboatsdon’t reallyadd anythingto thecomposition – they justcomplicateit anddetract fromthe mainfocal point. I wonderif, by shooting the boat fromthe oppositeside orusinga lowershooting angle,Glyncould have achieved a cleanercomposition?Alternatively,maybehecouldhavegot closerto the boat and shotitwide-angleso that it lledthe framemore, obscuring more of its surroundings

    Verdict: A good subject, but the boatmergeswith thebuildingsbehindandthecomposition isa bitmessy. If only Glyncouldhave foundanangle to isolate theboat againstthe clearsky.

    “Thebuildingsandotherboatsdon’treallyaddanythingtothecomposition–theyjustcomplicateitanddetractfromthemainfocalpoint ”ROSSHODDINOTT

    Quickcritique

    1) ReectionChoosing tousea reectionin thecomposition couldhave worked, hadthereectionbeen stronger. As it is,ithighlights theemptyspace in theimage.2) PerspectiveShooting from a lowanglewould maketheboat more dominant in theframeandseparate it from thebuildings behind. Asan alternative, Glyn could getcloserandusea wide-angle lens to similar e ect.3) Alternative subjectsAs Lee pointsout, the red boatin thebackground could have made for a moresuitable subject tocontrastwith thebluesky. Alwaysassess thesurroundings toseekout thebest possible image.

    1

    2

    3

    ExpertCritiqueEXPERT OPINION TO HELP YOU TAKE BETTER PICTURES

    If you want honestandconstructivecommentsabout your images, send in a selectiontoExpertCritique . Youshouldsupply upto 25 imagesona CD/DVDalong withanA4contactsheetof thumbnail images. Enclose a stamped addressed envelope ifyou would likeyoursubmission returned.Eachreaderwhose image is published receives a fantastic LoweproFastpack 250,worth£60, which holds a DSLR with zoom attached, 2-3 additional lenses orashguns, a 15.4in widescreen laptopandgeneralaccessories. Visit: www.lowepro.com

    EDITORDANIELLEZANO

    Daniel hasjudgednationalphoto

    competitionsona regularbasisforseveral years

    NATURE& SCENICSROSSHODDINOTT

    Ross is an expertphotographerand

    writerspecialising inwildlife,close-upsandlandscapes

    PHOTOSHOPCAROLINEWILKINSON

    Caroline is an

    experiencedphotographerandPhotoshop expert

    LANDSCAPESLEEFROST

    Lee’s beenaprofessional

    photographer&photo writer forseveralyears

    MEETOUR EXPERTTEAM

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    SPONSOREDBY

    FRUITSPLASHByKyleSmith

    Camera: CanonEOS7DLens: Canon24-105mmf/4LISUSMExposure: 1/250secatf/14 (ISO200)

    KYLE SAYS: “Isetup a blackbackgroundwithmy ash toone sideof the tank. Iexperimentedwith ashsettingsand apertures toget the

    bestexposure. In Photoshop I clonedoutthe splashmarks onthe tank and usedUnsharpmask to sharpenthe image.”

    ROSSHODDINOTT: Technically, thisis awell-captured shot. I can’t imaginehowmanytimesKyle had to tweakhisset-up,and drop the fruit into the waterbeforeachieving thisimage.However, youdo seequite a few high-speed images like thisnow,soI guess it’s fair tosay that this isn’tone of the mostexcitingI’veseen. That

    probably sounds harsh consideringhowwell Kyle has done.However, for me, thereisa littlebit too muchspaceat the top ofthe frame. Hadthe splash been larger andhigher, it wouldworkne,but as it is, I thinka tighter cropwouldwork. Also,with thefruit soclose, I think the resultlooks ratherstatic.I wouldhavepreferred tohaveseenthe halves atdi erentdepths,as this wouldhave createda more visuallybalancedresult.Lastly,I’mnot quite sureabout usingtwo di erent types offruit– even numbersofobjectsgenerally don’t createsuchstrongcompositions;odd numberstypically workbest. Havingdone well toperfect his set-up, I thinkKylejustneedstowork onproducing a strongernal image.Verdict: AlthoughKyle’sdone well,witha littlemore experimenting, I think hewillcapture a more striking result.

    LEEFROST: I admirephotographers whoare willing tostep out of theircomfort zoneandtry something new. Digitalcamerasallowus toseethe results immediatelyand,in turn, that enables us tocorrectourmistakes andproducegreat imagesas wego. With a subject like this,you need instantfeedback – a fractionof a secondcanmake thedi erence betweenan okay shotand a greatone.Kylevaried theexposureand timing until hegot whathewanted,and the end result is great. It’s amazinghowwella humble ashguncan freeze actionand allowus tosee things beyond humanvision – like theamazingshapes in thewater.Personally, I’dhave cropped theshotbecauseI think there's toomuch blackspaceand the fact that the water suddenlycomes toanend oneither side looksodd.I also thinkthe background is maybetoosimplisticandsomething more colourful

    wouldworkbetter. Onthe whole, it’s agreat exampleof high-speed ash and,havingmastered thetechnique, I reckonhecould come up witheven better results.Verdict: Simple,clean, well-timedandwell-executed.

    “ Theblackbackgroundismaybetoosimplisticandsomethingmorecolourfulwouldworkbetter ” LEEFROST

    Likes & dislikes...

    Likes: As high-speed shots go,it'sclearto see thatKylehasgot his

    techniquenailed. By patientlyadjustingexposure andtiming until he gotthe shothe wanted, he's managed to freezethefruit andwater at just themoment whenthesplash becomes highly photogenic.Often, it's simplicity thatmakes high-speed shots work, and thisis a goodexample ofa clean, well-executedshot.

    Dislikes: Havingproven that he'scapableof producinghigh-speed

    shots toa high standard,our expertsfeelhemay have lethimselfdown slightlybynotexperimentingenough. While it'stechnicallyvery good, it's notdi erent

    enoughto warrant anyfanfare.With a littletweaking to thecrop andslightadjustmentsto the composition, Kylecouldhaveproduced somethingextraordinary,not justordinary.

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    DigitalSLRPhotography welcomesitsreaders tosubmit theirbest images for publicationin the

    magazine. Pleasenotethatwecan onlyacceptimagesbypost. Hereiswhatyou needtodo...

    WERECEIVE HUNDREDSofreadersubmissions each month, soit’s importantthatyoufollow ourguidelines so that wecanassessyour imagescorrectly.Theeditor will assessall submissionsand if weareunable touseyour images, yoursubmission will be returned toyouif youencloseanSAE. Ifwedecidetoretainsubmissions onlefor possible use,youwill be notiedby post/email. Ifatanystageyou would like your imagesreturnedplease contact JoLezanoat: [email protected]. This page providesa summary ofourpictureguidelines butfor a full setof guidelines, pleaseemail: [email protected] yoursubmissions to us,you canstate on theenvelopewhich articleyouare supplyingthe imagesfor i.e. Reader Showcase , Advice Centre etc and/oruse the formbelow.If you aresending them in for general consideration, pleasestatePictureDesk, followed by themagazine address. Ifyouhaveanyqueries please contact Jo Lezanoon 01733 567401 or email: [email protected]

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    COASTALLANDSCAPES

    HEREINTHEUK, WE’REBLESSED WITH THOUSANDSOFMILESOFBEAUTIFULSTRETCHES OFCOASTLINE,BUT TOTAKEYOURCOASTALLANDSCAPESTOTHE NEXT CREATIVE LEVEL,YOU NEEDTO

    KNOW HOW TOUSE ALLTHEDETAILS TOYOURBESTADVANTAGE.OVERTHENEXTTENPAGES,LEADINGPROS LEE FROST AND ROSS HODDINOTT SHOWYOU HOW TOGIVEIMAGESTHE WOW FACTOR…

    HOW TO MASTERIMAGE:HELENDIXON

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    HOW TO MASTER... COASTAL LANDSCAPES

    62 / DIGITAL SLR PHOTOGRAPHY / MARCH2013

    EXPOSURE& SHUTTER SPEEDSIn landscape photography, aperturechoicenormally takes priorityover shutter speedbecause weneed toensure wehave

    adequatedepth-of-eld to achievefront-to-backsharpness. However, oncewehead to the coast, theshutter speed weusemust alsobe given carefulconsiderationas itcontrols the amount ofblur/motionwerecord in the seaand this can havea stronginuence onthe moodof the nal image.

    Theshutter speedyou usedependsonthe type ofscene you’reshootingand thee ect you’rewantingto achieve. If you wanttocapture thedrama ofhugewavescrashing onto cli s, forexample,you’regoing toneed a fast shutter speed tofreezethe yingwater,so you’ll be looking atanything from1/500sec to 1/2000sec,depending onhow ferocious the seais and

    how bigthose waves arein the frame– thebiggerand closer they are, the faster therequiredshutter speed.

    Attheother endof theexposurescale, apopular techniquewhen shootingcoastalscenesin lowlight– especially atdawn anddusk– isto use a longexposure ofanythingfroma few seconds toa few minutes tosmooth outthe texture ofthe seaso itcontrasts withstaticelementssuchas piersand jetties.Thee ect canlookstunning.

    Between these twoextremesthe optionsare manyand varied,and ifyou’rea fan ofcoastal photography, it’sworthexperimenting withdi erent shutter speedsondi erentseaconditions toseehow they

    a ect theway thesea records. Youcancheck eachimage asyou goand ifyou’renothappy with thee ect, shootagainusing asloweror fastershutter speed.The‘milky’seae ect looksgreat,but don’t be tempted toalwaysuselong exposures– sometimesitpays torecorda little texture in the sea andfor thatyou may onlyneedan exposureof1/4secor1/2sec,especiallyif waves arewashing acrossthe foreground andyou’reusinga wide-anglelens.Similarly, atdawnanddusk,while a 30to60-secondexposure

    willgiveyou a misty e ect onbreakingwaves,see what happens when youonlyexposethe sceneforve to tenseconds.

    Timingis important, too, especially withshorterexposures. If youwanta streaky

    e ect in the sea, it usually pays to trip theshutter asa wave is receding rather thanapproachingas thedrainingaway e ecttends toworkbetterphotographically,especially if the sea is streaked by whitesurf.

    Aperture-priority is still themost practicalexposuremodeto use because itallows youtoset the apertureyouneedto controldepth-of-eld– f/11 tof/16 for mostwide-angleviews – and the camera sets theshutterspeed requiredto achievecorrectexposure. If that shutter speed is too slow,which itmaybe inlowlightor ifyou wanttofreezecrashingwaves,you caneither selecta wider aperture(providingit doesn’tcompromisedepth-of-eld) or increasethe

    ISO.Thislatter option may be the only waytoget the apertureand shutter speedyouneed,but trynot togobeyond ISO 400unless it’sabsolutelynecessary as imagequality will begin tosu er– thoughif you’refaced by anamazingsea andyou want tostop it dead, set whatever ISOratingyouneedtogetthe resultyou want.

    If the shutter speedyou need toachieveacertaine ect isn’t slow enough,even withyour lens set tominimumapertureand theISO at itslowest setting, you’llneedto resorttolters – NeutralDensity (ND)lters.They’re covered inmore detailon page 60,butsu ce tosay,the moredense the NDlter, the more you have to increasethe

    exposure– so forcoastal photography, it’sworthcarrying a couple ofNDs such as0.6(twostop) and 0.9 (three stop), whichyoucanuse individuallyor together.

    Andlet’s notforgetabout theten-stopND lter,which hasachievedalmostlegendary status among creativephotographers.Armed witha LeeBigStopper(orequivalent fromB+W or Hitech),you cankeepyourshutteropenfor minutesandturneveryday coastal scenes intone-artmasterpieces!

    COMPARISONSET OFDIFFERENTSHUTTERSPEEDS: Thisset of imagesshowsthedi erence theshutterspeedhas onhowmovingwater records.The rstfew shotslookrather boringas thesea hasbeen prettymuchfrozenand itssurfaceis cluttered withsurfpatterns,but by onesecondit is blurringnicely andby eight secondsis lookingverysoft. Thelongerexposuresof30-120secondshavesmoothedthe seaso theold woodengroyne standsoutin 3D, ane ect that hasbecomevery popularbut isn’teveryone’scupoftea.Which shot doyouprefer?

    1/60sec

    Twoseconds Eight seconds 15seconds

    1/15sec

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    remoteness,yet their inclusiongives theviewer a betterfeelingof placeandperspective. Compositionally, buildingssuch as this areoften best placed on,orclose to,a dividing third.

    Although lessattractive, harbour wallsandpierscan proveequally photogenic.Strong,structuralobjects likethisareparticularlywell-suited tobeingshot with articially longexposures. Byusinga solidNDlter togenerateanexposureofseveral seconds–orevenminutes – itis possible tosmoothout

    thewater. Doingsohelpsplaceemphasisonthestructure’sshapeand form,andresultscanhavea ne-art look to them – particularlyifalso convertedto black& white.

    Finally,don’t overlook rowsof colourfulbeach huts.They are such iconic seasidebuildingsand,dependingon their location,canbe highly photogenic. Wide-angle orsheye views cancreatecolourful andeye-catchingresults, particularlyshotfromalowangle andcontrastedagainsta bluepolarisedsky.

    COASTAL BUILDINGS

    Buildings can addscale anda key point ofinterest toyour coastal images, sowhenappropriate, include themin yourshots.Lighthouses, castles, harbour walls, piers,beach huts andgroynesallhavehugepicture potentialand will help your shotslooklessgeneric.

    Dottedall around theUK coastlineare anumberof lighthouses, many in veryphotogenic spots – forexample,PortlandBill in Dorset, Godrevy in WestCornwall,NeistPointon theIsleof Skye andCorbierein theChannel Islands. WhileBamburgh and

    Dunstanburghin Northumberland andStMichael’sMountin Cornwall are among theUK’smost photogenic coastalcastles. Whenincludingbuildings likethis in yourphotographs,don’t feelcompelled toinclude themlarge in theviewnder.

    In fact,buildingsoften benet from beingcapturedrelatively small in the frame. Doingsohelps imply a feeling of isolationand

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    calculator, like The Photographer’sEphemeris(http://photoephemeris.com)whenplanning yourcoastal shoots.SunScout is anotherhandy app.Cleverly, itoverlays a graphical representationof thesun’s future positionon yoursmartphone.Therefore,youcanplotexactlywhere thesunwillrise orsetonce onlocation.

    Di erenttimes of theyearproducedi erentopportunities. Inspring, coastalowers, like thrift, cancarpetcli tops, whileinwinterthe seacan beroughand dramatic.Great shots arepossiblethroughout theyear. However, in summer, beachestendtogetcrowdedand footprints in the sandmakethe beach lookmessy.Therefore, it isbestto avoid touristhotspots in theholidays.

    Finally, when planningyour visit, don’toverlook tidetimes.Certainlocations orstandpointssuita highor lowtidebetter,soyouwillwant to time your visit accordingly.It is also important toknowtide timesfrom asafetyaspect – itis easyto get strandedby arising tide. Visit: www.tidetimes.org.uk.

    TIMEOF DAY AND TIMEOF YEAR

    Potentiallyyou cancapturegreat seascapesatany time of the dayand throughout theseasons. However, as youmight expect, thegoldenhoursof light – atdawn and dusk–typically provide thebest light andconditions.Aroundhalfan hour either sideofsunrise and sunset, the lightand coloursin the sky can be magical.The predawnglowcanbe wonderfully colourful,so get to

    your location ingoodtime,beforethe sunhas risen. Equally, don’tpack up too soonwhenshooting the evening light– thecolours ofsunset can intensify and be attheirbestover30minutesafter the sun’sdisappeared fromview.

    Di erentlocationssuitbeing shot atdi erent times of day. Forexample, thenorth Cornishcoast is generally bestsuitedtosunsets. Being able topredict the sun’spositionin advance will help you toworke ciently andavoid disappointment. Werecommendyou usea sunand moon

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    10) SOUTHWOLD,SUFFOLKA coastal locationwith oodlesof picture

    potential, includingone of thenest piersfound anywhere in theUK. Thereare alsocolourfulbeach huts, groynesand rip-rap

    rocks to shoot.This is a greatspotforplayingwithlengthy exposures.

    CHR I S R UDL A ND

    7) HAPPISBURGH,NORFOLK

    Happisburgh is well-known for itsdecayingand broken seadefences, which create

    interestingforeground interest. Sunrise isgenerally thebest time to visit with yourcamera.Perched above thebeach is a

    photogenic red-and-white lighthouse.

    I S T O CK P H OT O

    5) ALNMOUTH, NORTHUMBERLAND

    A beautifulsweeping sandy baywithdunesandgroynesanda shallow estuary full ofphotogenic shingboats. Bestof all, youcanshootstunningsunrises and sunsetsallyear round as thebeach faceseast and

    the estuary faces west.

    L E E F R O S T

    3) EMBLETON BAY,NORTHUMBERLAND

    Bigblack basalt bouldersprovide a dramaticforeground in shots looking towards thehauntingruinsof distantDunstanburgh

    Castle. Bestatdawn or late afternoonwithwaves washingoverthe boulders.

    A DA MB UR T ON

    1) LUSKENTYRE, ISLEOF HARRIS,SCOTLAND

    Itwasoncevotedamongthe topbeachesin theworld. White sand,grassy dunes,

    aquamarine seaand thedistantpeaks oftheHarrisHills certainly makes it a

    photographer’s paradise.

    L E E F R O S T

    4) SALTWICKBAY,NORTHYORKSHIRE

    Dramaticcoastline withhighcli s,wave-washed rockslabs, the imposingrock

    stackof BlackNab andeven therustingskeletonof a wreckedship at lowtide.Beingon theeastcoast, it’s a good dawn location.

    I S T O CK P H OT O

    9) KIMMERIDGEBAY, DORSETForming partof Dorset’sJurassic coastline,

    Kimmeridge isa greatspotfor shootingsunsets.At lower tides, photogenic rocky

    ledges areexposedand ClavellTower,perched on theadjacent cli top,adds a

    focal pointto wide-angleviews.

    R O S S H ODDI N OT T

    Top10UKcoastal locations

    6) DUNRAVENBAY/SOUTHERNDOWN, GLAMORGAN

    Arguablythemostphotogenic beach inWales. Lowtide revealsa huge sandybay,

    punctuated withphotogenic poolsand interesting rocky outcrops, which

    create ideal foreground interest.

    X X X X X

    8) BEDRUTHAN STEPS,CORNWALLThecli top viewsof thesea stacks

    stretching across thebeach arespectacular.In spring,colourful thrift carpets thecli s,while inwinterthisis a great spotto shootlarge,crashing waves. Thebeach is only

    accessible in spring and summer.

    R O S S H ODDI N OT T

    2) ELGOL,ISLEOF SKYE,SCOTLAND

    Attheend ofa 15-mile singletrack road.Dramaticforeshore withboulders,slabsandhoneycomb rock andviewsacross

    to thesoaringCuillin Hills.A greatstormydayand sunset location.

    L E E F R O S T

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    www.wacom.eu/better-picturesCreativePros

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    ExtremeNDfilter

    74 / DIGITAL SLR PHOTOGRAPHY / MARCH2013

    Thesameappliesif youchange cameraposition once thewelding mask lens is inplace.Instead ofremovingit,useLiveViewtoaidcompositionandsave time. LiveViewcanalsobe used forcritical focusing.Youneed tosetfocusto manualanyway,becauseif you useAF withthe weldingmask lens inplace, it confuses thefocusingsystemand you’llbeunable totaketheshotbecause focus won’t lock. Avoid it byswitchingto manualfocusa