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TECHNIQUE
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PRESIDENTIAL TIPS
Anecdotes & advice from
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PRO ADVICE
NATURE PHOTO
MASTERCLASS
Easy techniques to try today
from top pro Ross Hoddinott
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The definitive guide
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P
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WHO YOU LOOKING AT!
EDITORS WELCOME
Welcome to your new issue of
03
Every issue features
the worlds best pros
Photography is all
about trial and error,
and the ability to
learn from mistakes
is the one quality that
all pros share. The joy
of digital is that we
can make mistakes
and try new things
without worrying about film costs, so
theres no reason not to experiment. To
help you with this, Chris Rutter has put
tother a great feature this issue, based
around some of the most common
mistakes hes seen in a 25 year career as
a photographer. Even more helpfully, he
shows you how to get over these glitches,
so you can move your photography on.
On the subject of helpful, check out our
new wallet-sized tips cards, too. This
issue theyre on the most popular
creative shutter speed effects, so get out
there and get panning/slowing that water!
PLUS! You can now get a FREE sample of Digital Camera from the Apple Newsstand. For full details
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The digital edition of Digital Camera for the iPad and iPhone is now even better!
Geoff Harris, Editor
geoff.harris@futurenet.com
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Self-taught Ross has been
winning awards since he was a
kid, so this well-respected nature and
landscape pro has plenty of invaluable tips.
Ross Hoddinott
Landscape/nature photographer
This up-and-coming
Romanian documentary ace
talks about one of his favourite images,
taken by Magnums Paolo Pellegrin.
Mugur Varzariu
Documentary photographer
Top UK pro Mark writes for
us every issue. This month he
shows how to get great shots on dull days,
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Mark Hamblin
Nature photographer
Britains best-selling
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Digital Camera June 2010
05
Digital Camera September 2013
BEHIND THE IMAGE
Story of the Cover
1
I shoot in RAW, then
edit them in ACR. I
enhanced highlight and
shadows as well as the
contrast of mid-tone
areas. Global saturation
was also increased,
taking Vibrance to 10.
2
Colour Balance is
my favourite tool
in Photoshop. After
cleaning up the image,
I prefer to add Red and
Yellow in highlight areas.
This warms up the
image nicely.
3
Local contrast and
water details was
enhanced with Unsharp
Mask applied on the
water. After sharpening
the image, I saved it as
a 16-bit TIFF and an 8-bit
high-res JPEG.
Behind the image How Bhuminan rode the waves
Story
of the
Cover
This photo was taken at a small beach
near Northern Sydney, Australia. While
one of my friends was out there taking
photos, I waited for the incoming
waves. I set my Nikon D700 up on a
The One!
By Bhuminan Piyathasanan
Thailand/Australia
tripod with a very low angle, about half
a foot above the water level. Every
large wave caused splashes to hit my
lens and filter, but I persevered, even
though I had to clean the filter several
times. To capture all of the water
texture and details, I used a slow
shutter speed of 1/2 sec.
Nikon D700; Nikkor 16-35mm lens; Lee 0.9
Soft Graduated ND Filter; 1/2 sec at f/11
9
0
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0
Contents
ISSUE 142/SEPTEMBER 2013
80 Interview
Award-winning photographer
Ross Hoddinott tells of his early
experience of cameras and how
he likes to keep it simple
28 Postcards
Former White House photographer
Bill McNeely recalls how he shot
presidents, including Bill Clinton
34 Cover story
Identify and x the most common
photo mistakes, including camera
settings, composition and exposure
122 Group Test
Discover the best new cameras
both SLRS and compact systems
for taking into the outdoors and
shooting great landscapes
SWIPE FOR MORE CONTENTS
See page 44
Subscribe
to get a free
lens filter
100 Olympus E-P5
Olympus takes the PEN camera
back to the drawing board for a
stylish and sexy upgrade. Find out
whether or not its succeeded
10 Hotshots
Our pick of the best new
reader images, including
this evocative portrait
ISSUE 142/SEPTEMBER 2013 Come to
Photo Live
in London
For exclusive
discount tickets
see page 82
EXPERT PHOTO ADVICE
44 Back Issues
YOUR FREE GIFTS
Fill any gaps in your collection of
16 10 Things
Digital Camera magazine GIFT 1 4 tips cards to
Ten great creative photo ideas
print, cut out and keep
to try over the next few weeks
Store these cards in your camera
117 Subscribe
bag, then look up our handy
47 Shoot!
Save money on our cover price
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and get your copy automatically
Expert camera tips and advice to
help you perfect your photos
121 Competition
64 The Photo Fixer
You could win a home studio
lighting kit, courtesy of Bessel
This issue, our reader wants to
know how to use her new macro
lens to shoot butterflies close-up
139 Next Month
Whats coming up in issue 143
71 Photoshop School
CAMERAS AND GEAR
Expert advice on enhancing your
photos, including tutorials on
overcoming common problems 106 Panasonic Lumix
and using Lightroom
G6: in-depth review
Discover a camera that squeezes
GIFT 2 Portraits Made
plenty of new spec under the
83 Phot Adivsor bonnet i-Fi networking
Easy mini-mag
o , including W
In-depth advice for creating better
All your SLR and Photoshop
people shots e p p very time!
queries answered, plus expert
y
photo feedback on your shots
112 Nik Collection
Six powerful Photoshop plug-ins
for one highly affordable price
146 The Shot
Magur Varzariu picks an evocative
Lebanese war shot by Paolo
Pellegrin as his favourite image
114 Tried and Tested
The latest photo accessories,
books and apps reviewed
ESSENTIALS
26 Your Mission
119 Mini-Test
The best minimalist pictures
Six remote controllers assessed:
find out which one is right for you
32 Viewfinder
Your opinions on mountain air 136 SLR Buyers Guide
quality and our lens tests Check our verdicts before you buy
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14
INSPIRING READER PHOTOGRAPHY
HotSHOTS
10
HotSHOTS
Be inspired by five pages of the very best
reader photography from around the world
11
2
3
1
This shot was taken on Walcott Beach, Norfolk, about
two hours before sunset. I used a graduated grey lter to
balance the intensity of the sky and caught the sun at this
amazing moment. This was taken with a modest camera
and lens, but it shows whats possible with a creative eye.
CanonEOS1100DwithEF-S18-55mmat18mm; 1/20secatf/22; ISO100
Previous page
Walcott Beach
David Molyneux
www.davidmolyneuxphotography.blogspot.co.uk
UK
2
This shot of a blue tit on spring blossom
was taken at one of my bird feeders at
Spade Oak Nature Reserve in Marlow,
Buckinghamshire. My set up consists of a suet
ball tied to a cane, and a branch of my choice
tied to the hedge. Then its a waiting game for
the birds to land in the right place. Fortunately
this fella landed spot on.
CanonEOS550DwithEF75-300mmf/4.5-5.6ISUSM;
1/2000secatf/8; ISO800
In Full Bloom
Mick Vogel
www.facebook.com/
seeitmywayphotography.co.uk
UK
4
Taken during a para training exercise on
Salisbury Plain in January. While the
recruits took a break, I saw the instructor
standing in a dim room with natural light
falling against him, and took the opportunity to
capture this as an unposed shot. I added a
second layer in Elements with a brush to clean
up the black area, and tweaked brightness and
contrast to bring out the colours.
NikonD800withSigma24-70mmf/2.8at70mm;
1/60secatf/8; ISO2500
Lull in Battle
Paul Booth
www.paulboothphotography.co.uk
UK
3
A majority of the housing developments in Singapore
are publicly governed. This picture was taken at 7pm
from the 28th oor. I set my camera in live view mode and
pre-focused my shot to get the proper exposure, then
changed my camera setting into manual mode. A tripod and
shutter release cable were used for maximum stabilisation..
OlympusOM-DE-M5with9-18mmf/4.0-5.6at10mm; 15secatf/9;
ISO200
Public Houses of Singapore
Michael De Guzman
www.flickr.com/photos/mikeed7000
Philippines
INSPIRING READER PHOTOGRAPHY
HotSHOTS
Digital Camera September 2013
12
13
INSPIRING READER PHOTOGRAPHY
HotSHOTS
Digital Camera September 2013
4
5
A shot of model Stephanie Clarke in a eld of wild
owers. I shot handheld, combining natural light
with ash from a difused Elinchrom Quadra head and a
white reector. This was the second time Id shot with
Steph, but the rst time Id used the Lensbaby on a
shoot. I thought the blurred efect would look great on
the owers. Although its challenging moving to a toy
lens with manual focus, a manual aperture setting and
a very small focal sweet spot, I managed to get the hang
of it fairly quickly.
Nikon D800 with Lensbaby Composer; 1/1160 sec at f/4; ISO 100
Eye Contact
Simon Boucher-Harris
www.renegade-photography.co.uk
Channel Islands
6
It is difcult and dangerous to access the clif.
If you venture down there at low tide, you have
to be careful not to get caught out by the tide
turning. This was a complicated picture to produce,
because there is a beacon that provides light to the
left. I used a graduated lter to control the
lighthouse beam.
NikonD700with14-24mmf/2.8at14mm; 30secatf/2.8;
ISO1600
Prison II
David Martin Castan
www.500px.com/tucucumba
Spain
14
INSPIRING READER PHOTOGRAPHY
HotSHOTS
Digital Camera September 2013
Would you like to see your own photos in Hotshots?
Then upload your latest and best images today! There
are two ways to submit photos to Hotshots:
Flickr its free to sign up
www.flickr.com/groups/digitalcameraworld
Facebook like our page and you can upload images
www.facebook.com/digitalcameraworld
Were constantly scouring our Flickr group and our
Facebook page for amazing photos taken by Digital
Camera readers so if we see something we like,
well contact you for more information!
SEND US
YOUR SHOTS!
14
6
5
10things
to try right now
16
B
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10things
to try right now
17
01 Find a new angle for portraits
PORTRAITS
R
elying on getting shots from eye-level
using the same focal length and lighting
for portrait photography means it can
be easy to slip into a rut. Making the effort to
explore new angles can bring the freshness
back to your portfolio, as well as making it fun
for your model. While shooting below the
subject isnt the most flattering choice (it
draws attention to the nostrils and makes the
subject appear bottom-heavy), shooting
from a raised position and getting them to
look up at the camera can accentuate the
eyes and produce a slimmer result. Try going
one step further and shooting from directly
above a portrait sitter or portrait layer to
produce a relaxed and intimate image.
This shot was taken in an underground
bar in Manchester, reveals portrait and
wedding pro Brett Harkness. To have lead-in
lines in an image is always a good thing, and
the staircase provided a really strong set of
them. I decided to shoot down on the model
as she had great hair, and I wanted to make
the most of it by spreading it out.
When it comes to shooting in such a
potentially uncomfortable and awkward spot,
you need to work fast in order to ensure your
subject looks relaxed in the pictures. There
are also some specific issues to look out for
when posing and lighting the model.
Shooting down on someone, you have to pay
particular attention to the position of the face
and chin, says Brett. If the model doesnt
stick her head out and slightly to the side,
then their chin will disappear into their chest.
This is especially true if theyre wearing an
open dress or shirt. It just looks strange! In
this instance, we lit our model (Chloe) from
the side in order to create a shadow under
her chin, giving some separation.
Get started today
*
This technique works best if the model has
long hair that can be arranged to provide
natural lead-in lines.
*
Avoid standing close and zooming out with
a wide-angle lens, as this will produce
unflattering distortions.
*
Place a chair or stepladder just out of shot,
then lean over the subject. Check that the
feet of the ladder or chair arent in the frame.
*
Make sure youre not blocking the light on
the subject. Light them as if they were stood
up, with one main light source and a reflector.
Get high for a fresh, contemporary people shot
18
to try right now
10things
Digital Camera September 2013
03 Capture
cloud shapes
PROJECT
Take care to expose
your skies correctly
A
lthough most of us would struggle
to find an image of such precision
and beauty as Jim Brandenburgs
cloud shot below, theres a whole world of
new images waiting for you to discover
them in the skies above.
You dont need anything special in the
way of photography kit: all thats required
is a great deal of patience, a keen eye for
shapes and, of course, a decent spread
of cloud cover.
In fact, the only real challenge is in
exposing the scene. Bright skies reflect lots
of light, causing cameras to underexpose
them and turn white clouds grey. Youll
need to override the meter by dialling in
positive exposure compensation.
Always make sure you check the
histogram after you do so it should be
almost touching the right edge of the
graph. If its not, then youll need to dial
in some more.
Get started today
*
Use a moderate telephoto zoom to pick
out key details.
*
Take your inspiration from the likes
of A Pig with Six Legs and Other Clouds,
a fascinating cloud photography book
by Gavin Pretor-Pinney.
JimBrandenburg
K
e
v
W
a
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s
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T
he first sign of autumn isnt rutting stags
or the golden glow in the forests, but the
famous illuminations being switched on
in Blackpool. The light show is kicked into life at
the end of August and runs until 10 November.
Take a tripod and opt for premium-quality
low ISOs and sharp, mid-range apertures. Just
be careful where you position your tripod:
passers-by will be gawping at the lights rather
than keeping an eye out for your tripod legs.
Shoot while theres still some colour in the
sky, and be prepared to dial in some positive
exposure compensation to keep bright lights
bright in the image. Experiment with slow
02 Photograph
the illuminations
NIGHT
Shoot Britains very own northern lights
exposures to render any movement as a blur.
Defocus the lens to produce abstract images,
and look for puddles to include reflections.
Get started today
*
Shoot in raw so that you can make any white
balance adjustments and boost colours.
*
Use a wide-ranging zoom to enable you to
experiment with many compositions.
*
Use mirror lock-up in conjunction with a
remote release or the cameras self-timer.
*
Taller structures such as the Blackpool Tower
naturally suit a vertical shot, but can work well as
a horizontal one, framed by out-of-focus lights.
19
to try right now
10things
Digital Camera September 2013
19
04 Light-paint a car for stylish results
CARS
P
ictures of low-light landscapes that have
been brought to life with torches and
flashes are a familiar sight these days.
(Turn the page to find an intriguing take on this
trend.) Shots of light-painted objects are a
different matter. The sleek lines of a car can
look particularly good with this technique,
and you dont need to own a Lamborghini to
produce a striking result as Michael Bosankos
take on hot hatchbacks here shows.
Michael was commissioned to produce
these images for the current series of the
BBCs Top Gear TV programme. The brief was
quite simple on paper, says Michael. Take
three hot hatchbacks, place them in a studio,
and bathe them in light. I also took the lead on
the principal photography on that day. The
main challenge with light-painting around
cars is reflective surfaces. The cars were
effectively like mirrors, which can either
enhance light effects or ruin the shot.
My approach was to accentuate the
features of each vehicle, or at least tone down
the amount of light effects so that when
reflections occur, it serves as an enhancement
to the vehicle. The light trails shouldnt
dominate the main subject, nor should they fall
by the wayside. For anyone wanting to try this
out for themselves with their own vehicles, its
best to find a location free from debris or any
street lighting that could reflect off the car. An
aperture between f/5.6 and f/8 will usually
suffice. If you couple the camera with a cable
release, you can set the camera to bulb mode,
and light-paint for extended periods.
Get started today
*
Use a sturdy tripod to keep the image free
from camera shake.
*
Choose rubber torches or at least ones
that will not scratch the paintwork.
*
Use coloured gels to create trails that
complement the colour of the car.
*
Keep moving if you stay in one place too
long, youll register in the final image.
Shoot stylish shots of your motor using light effects
M
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Far left and near
left Artist Michael
Bosanko likes to
keep his work pure:
Not one piece
of my work has
reached the photo
editing stage unless
I am resizing for the
web, and using
watermarks
Below Bosanko
loves to use long
exposures to draw
into the image with
torchlight with
stunning results
Digital Camera September 2013
20
05 Create an alien landscape
LANDSCAPES
H
eres an effective and alternative
treatment for a light-painted landscape.
Instead of looking to create a perfectly
painted foreground thats well balanced with
the surrounding area, why not take your
photography to extremes?
Stephen Emersons arresting picture above
gives the impression of being taken on some
distant planet, but of course it was made much
closer to Stephens County Antrim home.
And its a surprisingly familiar location too.
The dramatic result hes achieved here was
created with nothing more than a head torch
and some careful planning to ensure
everything came into alignment.
I shot this image at the Giants Causeway
with the intention of including the well knowing
constellation of Orion in the frame, reveals
Stephen. I managed a few different
compositions that included the famous
hexagonal columns, but this one in particular
was the most striking.
I used a high ISO of 1600 and a 39-second
exposure on my Canon 5D Mark II to gather
as much light as possible for the starry
background and achieve a good depth of field.
The foreground was illuminated by the red LED
on my head torch, which I shone for around
five seconds on the stones.
Get started today
*
Increase the ISO to be able to use a
combination of smaller apertures and shorter
exposure times.
*
Look for dark background features to provide
a clear separation between the starry sky and
illuminated foreground.
*
Keep the torch moving in order to avoid
burnt-out hotspots.
T
raditionally, a zoom burst was
used to inject speed into an
action shot. The technique has
fallen out of favour, perhaps due to the
unsophisticated nature of the second-
rate zoom effect that can be added in
Photoshop. However, its a satisfying
technique to get right in-camera.
Zooming in and zooming out during
the exposure produce subtly different
results, but the principles the same.
Zoom the lens during a slow exposure
while holding the camera steady. The
focal point and the zoom lines should
have a degree of sharpness. In fact,
surprisingly, a tripod-mounted camera
works best for this energetic technique.
Get started today
*
Shoot scenes that feature strong
colours or bright lights.
*
Work in Shutter Priority or Manual, and
choose a shutter speed in the range of
1/30sec to 1 sec the slower the shutter
speed and more prolonged the zoom,
the greater the zoom effect.
06 Rediscover zoom burst
CREATIVE
Paul Weston
StephenEmerson
Add a speedy twist to any shot
Recreate this striking and unusual red-planet look in your own back yard
22
Digital Camera September 2013
T
riptychs are a great way to give a
stunning scene even more impact,
or to tell a story. Images like this
are really fun to do, especially when
the weather is not working out, says
professional all-rounder David Clapp. Its
all about isolation and segmentation of
what seems to be at first a rather tired-
looking subject. The more you look, the
more amusing it becomes. Its more
important to be led by the flow of tones
and colours, rather than the rule of thirds
or other compositional inhibitors.
All of the images have to have the
same feel and a similar colour palette, or
they just do not work, says David. The
oranges and rusty brown in this example
are the main tonal stronghold, with greens
taking second place.
Get started today
*
When trying to find a scenes potential,
start wide and zoom in to isolate details.
*
Maintaining the same focal length for all
the shots adds consistency. David used
three different lenses here: a 24mm TSE II,
a 24-70 f4L IS and 70-300 f4-5.6L IS.
*
Always look for ways to link the shots.
07 Shoot
a triptych
CREATIVE
T
he toy town look that can
be achieved using a tilt-shift
lens incorrectly is an
addictive one. Shooting from a
raised viewpoint and manipulating
the lens to produce a water-thin
band of focus enables you achieve
a similar aspect, as if you youre
looking at a model village.
Unlike the zoom burst effect
(see no. 6), the tilt-shift miniature
effect is one thats just as good
when worked up in Photoshop.
However, you can also hire a
tilt-shift lens, which is a good
option if you plan to shoot video
as well.
Get started today
*
Shoot on sunny days and
over-expose slightly to heighten
the effect.
*
Include people and vehicles in
the frame to give a sense of scale.
*
See the work of Olivo Barbieri
(www.olivobarbieri.it) for inspiration.
08 Make a mini landmark
LANDSCAPES
Shoot a location with a tilt-shift lens
Create art from
trash by grouping
shots together
Hal BergmanPhotography
23
Digital Camera September 2013
23
R
im lighting can be hard to
get right but when its
done well, it can produce an
evocative image. The key is to find
a subject thats best suited to this
style of lighting, then expose the
image so most of it is dark, leaving
a glowing outline of the subject.
Look for those subjects
whose outline is both distinctive
and will glow when backlit.
Position yourself so the subject is
lit from behind and switch to
spot-metering. Using Aperture
Priority, meter the glowing edge
and dial in +1 to +2 stops of
exposure compensation, or
meter the subject and dial in -1
to -4 stops.
Get started today
*
Fit a lens hood and check the
image from the glare of the sun.
*
Include elements such as mist
and the steam from an animals
breath as part of the composition.
09 Explore rim lighting
CREATIVE
Heavily under-expose for extra mood
D
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AndrewParkinson
to try right now
Digital Camera September 2013
10things
24
Y
our mission this month is to take
creative and captivating images of an
everyday subject were all familiar with.
Roads offer lots of potential for interesting
photographic treatments, and were expecting
to see lots of variety in the entries.
You might choose to get low with a
wide-angle lens so that the tarmac dominates
the frame, or you might opt to shoot from a
distance with a telephoto, and compress the
roadside scenery.
The road itself needs to be the clear focus
of your image, but road markings, signs and
traffic are all part and parcel of the theme.
Locking off your camera on a tripod and
choosing a slow shutter speed will allow you to
add motion blur to passing traffic its an
effective technique by day, but really comes
into its own at night.
Naturally, dont do anything dangerous in
pursuit of a daring image. Stay safe and
consider the safety of others, and your pictures
will be all the better for it.
Get started today
*
Use low-angled side light to accentuate
texture on the roads surface.
*
Consider using the road as a lead-in line
through the frame.
*
Work with a roadside buddy who can watch
your back while youre taking the shots.
Dont set up your tripod right next to the road!
Shoot stunning pictures of roads to be in
with a chance of winning a brand-new
Lowepro rucksack worth 150
10 Take our latest
photo challenge
Your
Mission
How to enter Upload your entry to the Digital Camera World Pool on the photo-sharing website
Flickr (www.flickr.com/groups/digitalcameraworld). If youre not already a member, click the
Join Group button its free to join. The three best shots will be selected on 17 September 2013
and printed in issue 144, which goes on sale on 11 October 2013.
Win a Lowepro Flipside 400 AW
Each month were giving away this excellent Lowepro camera
backpack worth up to 150 to the lucky winner of our Your
Mission photo challenge. For your chance to win one, simply
upload your image to our our Flickr Pool at www.flickr.com/
groups/digitalcameraworld. (See below for full details.)
For over 40 years Lowepro has been travelling the world
on the shoulders of the best photographers. Learning and
innovation are the key to its success.
The Flipside 400 AW is a high-performance backpack with
a unique rear-access compartment and padded waist belt,
specifically designed for the wearer to be able to
access gear while still wearing the bag. It also includes
the patented All-Weather Cover, adjustable dividers
and Hideaway Tripod Mount system.
WWW.LOWEPRO.COM
Get the show
on the road
Y
ou can take up this challenge in the
country or in town, although some
roads are more suited to photography
than others. The difficulty is that it can be
hard to see the potential in a subject we all
take for granted. A 18-55mm lens will offer
plenty of framing options, and increasing
the ISO and choosing fairly wide apertures
will enable you to leave the tripod at home.
Travel light and keep your wits about you
When shooting a single car or bike,
place it according to the rule of thirds
to give it more presence in the frame
Need some inspiration? Here are some tips to get you started
25
to try right now
Digital Camera September 2013
1
The road can be a fitting focal
point in its own right if you shoot it
in the best light. This means getting
up early, but therell be the bonus of
little traffic to get in your way.
3
Where you place the horizon
makes a difference to the feel of
the picture. Position it towards the
bottom of the image, and the shot
becomes more about the journey.
2
If you want to include light trails,
start shooting before night fully
arrives. This will enable you to keep
some colour in the sky, giving a better
balance with the vibrant foreground.
4
Try making the texture of a road
the key element. Use side-lighting
to add shape and form, and include
shadows of trees, buildings, vehicles
or people to create interest.
AdamBurton
C
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Who won our
last Mission?
Turn the
page to
find out
26
to try right now
Digital Camera September 2013
26
10things
3rd
Shades of blue
BY MIGUEL CARDOSO
NikonD7000with28-80mmf/3.3-5.6at66mm;
30secsatf/20;ISO100
2nd
Jetty
BY PHIL BUCKLE
CanonEOS60DwithEF24-105mmf/4LISUSMat45mm;
30secsatf/11;ISO100
1st
Woodland wonder
BY MANDY DISHER
CanonEOS7DwithTamronSPAF60mmf/2DiIImacro;
1/60secatf/10;ISO100
Chris says The simplicity and beauty
of Mandys shot stood out among the
many ower images we received. The
bright light on the background contrasts
perfectly with the subtle, soft light on the
flower, and the composition is spot-on.
Chris says By cropping out all
unnecessary elements in the scene
and using a long shutter speed to
smooth out the detail in the water, Phils
shot of this jetty is a great interpretation
of the minimal theme.
Geoff says Miguel has chosen a
classic subject and long exposure
technique for this image, which has
produced a perfect minimal landscape image.
The simple blue tone also adds to the feeling
of space and isolation of the shot.
Your
Mission
WINNERS
Issue 140s Mission
was Minimalist.
Here are the top
three shots
3 2
1
Look out for our next Mission winners in issue 143, on sale 13 September 2013
28
Digital Camera September 2013
FROM THE EDGE
POSTCARDS
01
In the Oval Office
Bob was following Bill Clinton
into the Oval Office when the
president turned to speak to
someone. I thought: If thats
sharp, thats my best picture
of his presidency.
29
Digital Camera September 2013
29
FROM THE EDGE
POSTCARDS
01
H
ow do you mentally prepare to
photograph presidents, knowing
the historical importance of
every picture you take?
Its a gradual process that slowly
sinks in over time. Unless you possess an
extremely big ego to match an extremely big
talent, only time will give your images
historical importance.
I worked for the McGovern campaign in
1972 after serving in Vietnam. Id learned
photography during the war and volunteered
for the campaign because of his anti-war
stance. I really enjoyed it. I liked seeing
history as it happened, but you dont get a
true sense of just how important some
pictures are until many years later.
Over time I discovered that I had images
that t into the narrative that emerged as to
what happened in McGoverns race against
Nixon. And you get historically important
images like these by having incredible access.
From that experience I learned theres no
way to prepare for history ahead of time.
The other thing with time is that it gives
you condence. I went into the Clinton
White House in 1993 at age 47. The rst
time you go in to the Oval Ofce its knee-
shakingly intimidating. But Id already had
that experience when I was 29 and got over
it! I was that age when I went in the second
day of the Carter administration, and
suddenly its vice-president Mondale, me
and the president. I was terried!
By the time I was in with Clinton I was
very comfortable, so I was able to have a very
informal back and forth relationship with
him. I had no agenda other than making my
pictures. We played cards together on Air
Force One. We played golf, talked sports.
When you have a comfortable relationship
like that you are freer to document history.
Was there much difference in the way the
two presidents took to you?
Clinton gave me full access. He had a real
enjoyment of it, which really helped and is
probably why I managed six years with him.
Jimmy Carter gave me no access at all he
invited me into meetings then waved me out
after a few minutes. He knew you didnt
need any more, because he was Jimmy Carter
and you werent.
Carter was a classic micro manager. Hed
actually sit around the White House telling
gardeners how to cut the grass! I spent three
years there and pretty much became
disillusioned, as did his senior Cabinet.
Who: Former White House
photographer for p+residents
Bill Clinton and Jimmy Carter
What: Aside from the White
House, McNeely famously
shot Barack Obamas 2008
inauguration, George
McGoverns 1972 presidential
campaign, and also covers
politics for Time Magazine
Where: Now based in upstate
New York, Bob spent his
career in Washington DC, just
a 15-minute drive from the
White House.
Kit list: Two Leica M5 and two
Leica M6 cameras, 21mm,
28mm, 50mm and 75mm
lenses, Canon EOS 1,
70-200mm.
More info at:
See more of Bobs incredible
insights into American political
life at www.bobmcneely.com
MISSION FACTFILE
A
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B
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The man who
shot the president
Talk about a high-pressure job with demanding
subjects. Bob McNeely talks about his time as
photographer to presidents of the United States
FROM THE EDGE
POSTCARDS
30
02
03 04 05
06
What were the compositional challenges,
and how did you work around them?
Theres a picture in my book of a brieng in
the Cabinet Room, which was during the
situation in Mogadishu when we lost the
Blackhawk helicopters. I wanted to capture
the importance of what was going on, but
because everything on the desks and on the
walls was classied information, I was really
restricted in how I could shoot.
Tony Lake, the head of the NSA, came to
me before the meeting and said: Were
going into something very secure, and
suggested I shouldnt come. I reminded him
I had the same level of clearance he had. And
I had to remind him that I was working
compositionally to show people sitting
around the meeting; I wasnt interested in
the actual classied material.
My most important picture that day was
taken behind the classied photos that were
hanging up. These images were showing the
troop movements, which I obviously
couldnt show, so I got behind them and
photographed everyone in the room looking
towards them. This is a common technique
in the White House. In fact, it was made
When someone like Clinton gives you full
access, it brings up the importance of what
youre doing. The idea that you have this
access is historically important. You could
end up with a Zapruder lm [the footage of
Kennedy as he was shot], if Im being frank.
I look at some of the photographers who
have followed me into the White House,
and Pete Souza has a very professional
relationship with Obama, but not a personal
one. Hes a great photographer, but you can
see that in his images. They do a few photo
ops with world leaders shaking hands, and if
Obama wants to release one, they will. White
House photography is very diferent now.
How do you remain invisible while ensuring
you get the pictures you want?
Space awareness. This is the key. And
you need to be quiet. There cant ever be a
moment where you feel like your picture
overrides the fact theres a meeting going on.
You move quickly, you dont bump into
things. Most of the pictures I made were all
taken in the same room. This is probably
why most photographers dont stay there too
long! Its very difcult to make visually
interesting pictures in the same room day
after day! In fact, its so difcult the thought
of going back there to make pictures in the
White House again doesnt interest me at all.
Itd be fun to do it for a day, but with that job
you dont get to do it for a day.
02
Cabinet Meeting Room
Bob advises that the best way to
capture great historical shots is
to stay unobtrusive. Space
awareness. That is the key. And
you need to be quiet
03
Bill Clinton and
George Stephanopoulos
Clinton gave Bob complete
access to all of the intimate
moments of his presidency
04
An impromptu conference
A president never stops being a
president. Sometimes the most
important meetings take place
the most unlikely locations
as this intense discussion with
Clinton and colleagues in a White
House washroom goes to prove
There cant ever be a moment where you feel like
your picture overrides the fact theres a meeting going
on. You move quickly, you dont bump into things
famous not long ago in that image of Obama
and his Cabinet watching the bin Laden raid.
What was the security vetting process like?
Its incredibly thorough. I had acquaintances
back where I grew up people I hadnt
spoken to in years who were interviewed
by the FBI. People dont realise that youre
given as high as security clearance as you can
get in that branch of government, and I was
thoroughly vetted to get that.
White House photographers are not
chosen in a competitive, skill-based system.
Its all about who you know, how you met
the candidate, what youve done with them.
And in that process there isnt anyone
visually involved. Bill Clinton never really
understood how good my pictures were, to
be frank. He did when the book came out.
You get feedback from history.
How many images did you take on any day?
I shot thousands and thousands of rolls. On
a trip you could shoot 30 rolls a day which
is about 1000 images. My primary concern
was always the black and white lm, though,
which I shot for the more documentary stuf
Digital Camera September 2013
31
FROM THE EDGE
POSTCARDS
07
05
Clinton and Gingrich
Republican Newt Gingrich
interacts with President Clinton
during one of their happier
moments. Animosity between
the two peaked after the funeral
of Israeli Prime Minister Yitzhak
Rabin, shortly before Gingrich led
a government shutdown that
cost his party dearly in the polls
06
Asleep in Air Force One
President Clinton grabs some
sleep in a meeting room on Air
Force One. While Bob had access
to all the official venues of the
presidency, he stayed away from
the living spaces particularly
when Clintons daughter Chelsea
was around
07
Finding some alone time
Caught in a rare pensive
moment, Bill Clintons gaze drifts
off camera in a White House
stairwell. But one could be
forgiven for thinking that he was
inspecting the reverse side of
that statue a little too closely
of historical importance. I had a darkroom
lab in the White House Communications
Agency. I was a few days into Clintons
presidency and I couldnt nd any of my
black and white lm. I called the ofcer in
charge of the lab who told me that in three
days I shot more black and white lm than
the previous photographer did in George
HW Bushs entire four years! They were still
trying to nd a way to process it all.
Though I shot a lot of images, there are
only a handful Id say are historically
important. For instance, the cover of my
book. I was following Clinton into the Oval
Ofce when he stopped and turned to talk to
someone. I had my Leica M6 with a 28mm
and composed quickly in the viewnder,
pressing the shutter almost instantly. I
thought: If thats sharp, thats my best
picture of his presidency.
What gear did you use in the White House?
I used two or three Leicas loaded with black
and white lm as a general rule, but if I was
only shooting black and white Id take four
Leicas. I about strangled myself sometimes.
I had two Leica M6s and two M5s, and on
each camera Id have 21mm, 28mm, 50mm
and 75mm lenses. If I was shooting a lot of
colour, generally for state arrivals or parties,
Id bring two Canons; one with a shorter
zoom and one with a 70-200mm, along with
a ashgun and a hip battery pack to run it.
32
Digital Camera September 2013
CLIMB EVERY
MOUNTAIN
I was interested to read
Michael Elliss letter
Halo, Goodbye in issue
140. I also live and work
in Snowdonia and
regularly climb the hills
with my camera in tow,
and I was debating Michaels problem with
his images not being pin sharp. This could be
due to the magnication of the image and the
limits of the lens used, but another thought
is light quality and its loss of clarity over the
years due to pollution in the atmosphere.
What worries me is that our air quality
will get worse, resulting in us mountain
photographers having to sufer with less than
pin-sharp images.
Ken Latham
Good point Ken, although surely the reduction
in fossil fuel usage and heavy industry in the
UK has helped over the last 30 years? A bigger
problem is light pollution. Michaels image
showed signs of oversharpening, whether by
his camera or in software, hence the advice
to get a longer lens. Have other readers had
problems getting sharp landscape shots owing
to atmospheric or other pollution in the UK?
ViewFinder
STAR LETTER
The place to air your views on the magazine
and share your photographic experiences
Get your views heard Wed love to hear your thoughts on the magazine and all things photographic!
So email us at digitalcamera@futurenet.com or visit us at www.facebook.com/digitalcameraworld
WIN AN ASPIRE PHOTO TRAINING VOUCHER
Our star letter wins a 50 voucher off training courses at Aspire
Photography Training (www.aspirephotographytraining.co.uk)
Above To download Capture
One from issue 140s disc, make
sure you turn off Digital Back
book along the lines of Canon EOS
for Dummies?
Gareth Martin
You dont need to shell out for a big
book: everything you need to know is
in this magazine, or our sister title for
Canon users, PhotoPlus. If you figured
out the settings of your film camera,
you can certainly do the same with
your digital one. But you need to get
off Landscape or Action modes: these
automated short cuts arent teaching
you anything. We ran a beginners
special in issue 133, available as a digital
edition via http://goo.gl/a83hD
MEN OF STRAW
Less than a year ago I commented on
your website about you townies not
knowing the diference between hay
and straw, and was a bit surprised
that my comment made it into your
letters page. And now you do the
same again. Your feature on pages
10-11 shows STRAW BALES, nothing
to do with hay. Hay is cut grass used
as fodder for horses and cattle. Straw
is the stalks of grain crops such as
wheat and barley. Do concentrate!
Jeremy Whigham
Aagh! Heres hoping this isnt the last
straw for you Jeremy and you continue
buying the mag, as were the cream
of the crop and the best in our field!
Agricultural Ed.
BIASED IN LENS TESTS?
I like Digital Camera, but I consider
it to be biased towards Nikon and
Canon, and I also remain perplexed
at how group tests are conducted.
I wanted a super-zoom for my Sony
A77, and bought the Sigma 18-250
HSM Macro (which is why I bought
the mag featuring the travel zoom
BEGINNERS, LOOK!
Last Christmas my wife
presented me with a Cannon
EOS 1100D SLR, and for my
birthday I got a 55-250mm lens.
Currently I ick between
Landscape, Portrait and Action
modes, then point focus and
press. I know that I am not
using my camera to its full
potential and I am desperate to
get more procient. I used to
understand depth of eld and
aperture settings on my old lm
camera, but now I am lost.
Could you please recommend a
CAPTURE ONE CLUES
I read Gillian Taylors letter
regarding her problems with the
free download of Capture One
version 6. I had exactly the same
issue. She hasnt downloaded the
wrong program, the default setting
is the DB (Digital Back) version.
The solution is to go to
Help>License Agreement, turn
of the DB and start the version
you want. Perhaps you can
forward this email to her?
Malcolm Hine
Were happy to Malcolm, and thanks.
Above Pollution may well be a contributing factor
when it comes to not getting pin-sharp landscape
images. What do other readers think?
www.facebook.com/digitalcameraworld Join us on Twitter www.twitter.com/DCamMag or Facebook
ViewFinder
33
WHAT WORKED FOR YOU? OR NOT
F
inally I got the image
I wanted from my gig
photography! This is
Emeli Sand in concert at
Edinburghs Usher Hall. The shot
CCSSCs and full-fr C d f lll f ame
was handheld at 200mm using
SLRs might be all the
the 55-200mm F4.5-F5.6 lens at
rage, but kit tester Matt
f/5.6 and 1/40 sec at ISO 200.
Richards hankers for a
Steven Todd more middle-sized age
Great shot! Gig photographers
all me old-fashioned but
often begin by shooting local
an of
bands. If one of them makes it
C
Im not the biggest f
compact system cameras.
big, youll be in a good position!
I dont like looking at the world
through a three-inch screen. And
at arms length. Even an electronic
viewnder makes me feel one step
Tamron lenses was available in any removed from reality.
mount option for the entire month that A proper optical viewnder is
the issue was in its production cycle. the killer feature of an SLR. It
Incidentally, we did feature the Tamron gives me an unrivalled real-world
18-270mm VC PZD in our previous connection with whats going on
group test of superzoom lenses in around me. A few CSCs also seem
issue 129. We dont bias the magazine to think Ive got all day to wait
towards Canon and Nikon, but its only around for them to autofocus.
right we reflect the positions of these And by the time theyve nally
companies within the overall market. In achieved their Zen-like state of
many cases, a wider selection of lenses focus, the battery will probably
and accessories are available for these die before I can get the shot. I
group test), as the previous Sigma Above All of our makes of cameras than for the others. exaggerate, of course, but I do like
version is not A77 compatible. I
tests are rigorous
my camera battery to last longer
and independent,
totally agree with the comments INSERT HERE than a hundred shots.
with no bias towards
regarding the Sonys focusing speed I have an Android smartphone and
any brand at all
and noise, but will disagree on the IQ each time I get the mag I scan the Im a lightweight
front. Having used both, I can say inserts and put them on my smart Call me fussy if you like, but Im
that the two lenses are comparable. phone. That includes the booklets not overly keen on huge, heavy
For some reason, the two Tamrons inserted and the mini-mag from the cameras either. I should come
mentioned are not included in the disc. I also scan some articles in clean at this point and say that
test, even though you briey whole or in part. This means that Im interested in action sports,
mentioned the bargain basement wherever I go I always have the wildlife and travel photography.
version. Now the PZD is a lot newer, information to hand without it taking So while full-frame SLRs are big
has I.S and a longer reach and yet its up any extra space. Ive even put my news this year, one of my all-time
not featured against the others. camera manual on my smartphone. favourite cameras is the Nikon
Dave Would it not be a good idea to put D300s. Thanks to its APS-C
Below Our new
the inserts as digital les on the disc format image sensor I can get
wallet-sized cards
Our reviews are based on a two-stage as well as them being inserts? Im tremendous telephoto reach
are handy to keep
testing procedure. This includes real
on you when youre
sure that they wouldnt take up much without needing a lens thats as
world tests carried out in wide-ranging out and about space and would save people like me big as a bucket.
lighting conditions, plus lab tests having to scan them The problem Ive got is that
where we shoot test every month. compared with the latest SLRs,
charts under controlled Mike Leigh my four-year-old D300s is small
lighting conditions, then on resolution and big on image
process the results with Hopefully our new noise at high ISO. What Id really
Imatest Master. This wallet-sized cards will like is a D400 so why isnt
enables us to quantify the make life a bit easier there one, after all this time?
differences in performancee for you. We regularly Am I the only one who still
between lenses. put bonus magazines wants an APS-C based SLR with
We can understand your on our disc in PDF professional-level build quality
frustration that the Tamron format check out and handling? Maybe Im just
18-270mm VC PZD was not this issues mini mag being too fussy and old-fashioned.
featured. Neither of the on por o trait skills.
Digital Camera September 2013
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Digital Camera September 2013
34
MAKE EVERY SHOT GREAT
WHAT YOULL LEARN...
Camera settings
01
Never miss a shot with
our handy guide to setting
up your camera correctly
Exposure and colour
02
Eliminate exposure errors
by mastering metering and
white balance with our tips
Focusing and sharpness
03
Get sharp results every
time by choosing the right
focus mode and camera settings
Composition and framing
04
Discover simple ways to
improve the impact and
composition of your images
M
istakes arent anything to be
ashamed of. Just ask any
photographer and they will be able
to reel of a list of them. From the
slightly embarrassing error of simply forgetting
to take the lens cap of to the costly and irritating
mistake of dropping a camera or lens, everybody
is guilty of at least some of them. But the key to
mistakes is to learn from them so you dont keep
making the same errors again and again.
Thats where Digital Camera can help you out.
Weve compiled all the common camera,
exposure and composition errors so you can go
one better and learn how to avoid them before
you have even made these mistakes.
Chris Rutter shows you
how to avoid the most
common photographic
problems to achieve
better results rst time
Digital Camera September 2013
35
MAKE EVERY
SHOT GREAT!
BEAT BAD PHOTO HABITS
36
MAKE EVERY SHOT GREAT
CAMERA SETTINGS AND GEAR
From changing the ISO to using the self-timer, its easy to forget
which settings you last used so heres how to avoid bad shots
E
xperimenting with the diferent settings back. But in the worst cases, it could be perfect for every shot, but at least you will
modes and features available on mean missing that once-in-a-lifetime shot, know the basic settings, such as ISO and
your camera is a great way to get or coming back with unusable images. drive mode, will be OK for most subjects.
more creative results. But when you Along with the camera settings, its also
have altered these settings, its all too easy REMEMBER TO RESET worth having the same routine of checking
to leave the camera with a set-up that is The best way to avoid these problems is to the switches and settings on other gear such
completely wrong for the next shot you get into the habit of resetting your camera to as ashguns and lenses, so that they are
want to take. your most used settings as soon as youve ready to use without having to change any
This isnt a disaster if you realise your nished shooting, or before you put your settings. But if you forget, here are the most
mistake, and have time to change the camera back into your bag. They may not common settings to check.
Metering mode set to Dust spots appearing Camera or lens set to Leaving the Drive mode
Spot metering on images Manual Focus on self-timer
If you find that the exposure is This is caused by dust or dirt on If you go to take a shot and the After youve been using the
varying unexpectedly between the sensor inside your camera, camera doesnt make any self-timer, its always a good
shots, especially when you rather than on the lens or any attempt to focus, then chances idea to switch the camera back
move the camera, then check other area of the camera. It will are that youve left the camera to either single or continuous
that the metering mode isnt be most noticeable when you or lens switched to Manual drive mode. Otherwise, you
switched to Spot, rather than are shooting at small apertures Focus mode. could miss out on a shot, as all
the Standard metering mode. such as f/16, and on plain areas you get is a beeping camera and
such as the sky. flashing light instead of firing
when you press the shutter.
TOP TIP
USER SETTINGS
AND MODES
Many cameras such as the Nikon
D7100 and Canon EOS 7D have
the option of storing one or more
User modes. Programming
these with your default
settings is a great way to
avoid problems.
Digital Camera era Sep Septte emmber ber 2 2001133
37
Digital Camera September 2013
BEAT BAD PHOTO HABITS
Forgetting the exposure compensation
Using the exposure compensation is the best
way to override the metering in most exposure
modes. But if your images are consistently
under or over-exposed, the first thing to check
is that you havent left the exposure
compensation set on a + or figure.
Flare when shooting into the light
This can either reduce the overall contrast of
the image or appear as bright marks on your
shots. Both types of flare are often caused by
dirt, dust or marks on your lens or filters. You
can minimise the effects by making sure that
your lenses and filters are clean, although even
the cleanest optics can suffer from some flare
if you shoot directly into the sun.
Top sports, car
and portrait
photographer
Adam Duckworth
explains how not
checking the camera
settings cost him dear
I think my erm favourite mistake
was on a once-in-a-lifetime road
trip in a Ford Mustang in the USA.
I did a shoot in LA, then drove via
Vegas to Bonneville, Utah to cover
Speed Week: the dream
assignment Id always wanted.
During the huge drive back, wed
stop occasionally to shoot some
nice, typical USA desert type
photos, for which I left my Nikon
D3X in the car and used my Leica
M8. As we were in a bit of a rush,
I shot the M8 on Aperture Priority
and with a polarising filter on, and
checked the LCD for exposure.
We shot at ghost towns, disused
bridges, huge long roads, Area 51
and all sorts. All lovely iconic stuff,
in beautiful bright sun and all with
the camera still set at ISO 640
from a few snaps in a restaurant
the night before.
The M8 wasnt known for its high
ISO capabilities, and theres visible
noise in all of them. All were rejected
by the stock library that I supply!
See Adams superb photographs
at www.adamduckworth.com
THE PROS CONFESSION
BEAT BAD P BB
i h i l h h i i h li h
ISO too high or too low
Forgetting to reset the ISO after
youve been shooting in a darker
location isnt the end of the world,
but it can reduce the quality of the
images and limit the range of shutter
speeds or apertures that you can
use in brighter conditions.
Memory card not formatted
Its all too easy to take a few shots,
only for the memory card to be full
because you havent deleted old
images or formatted the card.
Its a good habit to download your
images at the end of each day or as
soon as possible after youve
finished shooting. Once you are sure
that the pictures are safe, you can
format the memory card in your
camera so that it is ready to go.
Above Shooting a
mostly light subject
you will need to set
the exposure
compensation on
your camera to +1
Left A subject
containing mostly
dark tones will
cause over
exposure, to correct
this use -1 exposure
compensation
38
MAKE EVERY SHOT GREAT
Digital Camera September 2013
A
lthough you can correct a
lot of exposure errors in
Photoshop, particularly using
raw, its still better to get the results
right in-camera as much as possible.
Even when converting raw images,
there is a limit to how much highlight
detail you can recover if you over-
expose your images. While its often
possible to boost the detail in the
shadows of an under-exposed shot,
the result will be noisier and lower
quality than if you correctly exposed
it in the rst place.
Image is under-exposed,
giving a result that is too dark,
with no bright highlights 1
This is most likely to occur when
the subject you are shooting is
mostly light or bright, as the camera
will try to set the exposure to record
it as grey. You can check for under-
exposure by looking at the histogram
when you review your images. If the
graph is bunched to the left, with a gap
to the right, then it is under-exposed.
You can correct this easily by using
exposure compensation to increase the
exposure. For a subject that contains a
large amount of white or bright areas,
you should try setting the exposure
compensation to +1, and taking
another shot to allow you to check
the histogram again.
Image is over-exposed,
producing a result that is too
light, with no dark shadows 2
If you are shooting a scene that
contains a large amount of dark
tones, the camera will over-expose the
shot, producing a light image. The
histogram will be bunched to the right,
with a gap to the left. To correct this,
you simply need to set the exposure
compensation to reduce the exposure,
such as -1.
Incorrect shutter speed or
aperture settings when using
Manual Exposure mode
Using Manual Exposure gives
you complete control over the
shutter speed and aperture that you
set, but this doesnt mean that you can
simply choose any values and get a
correctly exposed image. The main
thing to remember is that once you
have selected a shutter speed, aperture
and ISO to give the correct exposure,
if you then adjust any one of these
settings, you will need to change at
least one of the other settings to
maintain the correct exposure.
So, once you have set the exposure
correctly, if you want set a faster
shutter speed, you will need to use
either a wider aperture or higher ISO
setting to keep the same exposure.
Sky is too bright and the
foreground is correctly
exposed, or foreground too dark
and sky over-exposed 3
This is a common problem in
landscape photography, as the
diference in brightness between the
sky and the ground is too large for the
camera to record detail in both areas.
To correct this in-camera, you can use
neutral density grad lters, which
reduce the brightness of the sky to
allow you to capture detail in this and
the foreground. If you dont have these
lters you can take two shots, one for
the sky and one for the foreground,
and combine them in Photoshop.
-1 EV
0 EV
+1 EV
0 EV
1
On the histogram, if the
graph is bunched to the
left with a gap to the right,
then it is under-exposed
EXPOSURE AND COLOUR ERRORS
Youll get better quality images and spend less time adjusting them
in Photoshop by getting the results right in-camera. Heres how
2
Above When shooting landscapes its common for either the sky to be too light or the
foreground too dark. To correct this you can either use an ND grad filter to reduce the
contrast or take two exposures and combine them together to give detail in both areas
39
Digital Camera September 2013
BEAT BAD PHOTO HABITS
With the camera in Shutter-Priority mode, set the lowest
ISO and attach the camera to a tripod. Then you need
to decide whether the water is fast moving, like a
waterfall, or slow, like gentle waves on the sea.
To reduce the amount of light reaching the
sensor, you will need to attach a polariser or
plain neutral density filter onto the lens. Then
take a test shot and check the exposure.
Do you have a stronger ND
filter, or a variable ND filter?
Attach the filter, take a
test shot and check
the exposure again.
Its too bright to achieve
the shutter speed that you
need, so you will need to
shoot in darker conditions
such as at dusk or dawn, or
wait for an overcast day.
With the exposure sorted out youre ready to take your shot.
To keep your results sharp when using a tripod make sure
that you use a remote release and use the mirror lock-up
facility if its available on your camera. You should also
cover the viewfinder to prevent light leaking in.
Set the shutter speed to 1/4
sec, take a test shot and
check the exposure.
Set the shutter speed to one
second, take a test shot and
check the exposure.
Too light
Too light Exposure OK
ExposureOK
ExposureOK Too light
No Yes
ExposureOK
How to get the correct exposure in order to
blur moving water using slow shutter speeds
Too light
Fast Slow
The colours of the image dont
appear correct, as they are
either too warm or too cold
This problem is caused by using
the wrong white balance setting,
especially if the camera is set to
automatic white balance. Like any
automatic feature, the automatic white
balance wont give perfect colours in
every situation. This is most common
when the subject is dominated by one
or two colours, which will fool the
system into shifting the colour
temperature to compensate for this.
A classic case is when shooting the
warm, orange colours at sunrise or
TAKEN WITH ND GRAD
EXPOSE FOR FOREGROUND EXPOSE FOR SKY
KEY TECHNIQUE AT A GLANCE
sunset. The automatic white balance
will often produce muted colours, so
use one of the preset white balance
options, such as Sunny or Daylight,
when shooting in these conditions.
Subjects are over-exposed
when using flash, particularly
when they are close to the camera
Reduce the brightness of the
ash by using the ash exposure
compensation (FEC). This is usually
accessed by pressing and holding the
ash button and using the input dial,
or pressing the FEC button marked
with a ash symbol and +/-. To reduce
the ash exposure, set this to -1.
3
Above When the
subject is off-centre,
remember to select
the right AF point to
allow the camera
to focus on the
subject, rather than
the background
Below left If youre
shooting moving
subjects, you need
to make sure that
the shutter speed is
fast enough to keep
the subject sharp
40
MAKE EVERY SHOT GREAT
Digital Camera September 2013
E
ven with the latest autofocus
and image stabilisation
systems, blurred or soft images
are still among the most common
problems. There are three main causes
of blur: focusing, subject movement
and camera shake. Spotting which is
afecting your shot can be tricky.
If the whole image is blurred, this is
usually camera shake; while if the
subject is blurred but another area of
the image is soft, this is usually due
to focusing or subject movement.
When shooting fast-moving
subjects such as sports and
action, the subject isnt sharp 1
To freeze any movement, you
will need to use a faster shutter
speed, but to achieve this you may also
need to increase the ISO, particularly if
you are shooting in dull conditions.
You also need to make sure that the
autofocus point is positioned over the
subject, and the autofocus is set to
Servo or Continuous AF mode.
However, an alternative technique
to this is to move the camera to track
the subject, so that the subject is sharp
but the background is blurred. This
panning technique does take a little
practice to get right, but can give your
images a much greater sense of
movement and action than freezing
the movement completely.
Shooting static subjects the
background of the shot is
sharp, but subject is blurred 2
This problem is most common
when you are shooting with a
wide aperture to achieve shallow
depth-of-eld efects, and the camera
has focussed on the background rather
than the subject.
If the subject is positioned to one
side of the image, you should change
the AF point so that it corresponds
to the position of the subject. Now
half-press the shutter release until the
subject is sharp, then press the shutter
fully to take your shot.
The whole of your image is
blurred, with no sharp areas
visible at all 3
The most common reason for
this is camera shake, due to
using a shutter speed that is too slow,
allowing the camera to move during
the exposure.
The higher the focal length of the
lens, the more it will magnify any
movement, so you have to use a faster
shutter speed to avoid camera shake.
As a rough guide, with a full-frame
camera you should use a shutter speed
of 1/focal length of the lens. For
example if you are using a 250mm
lens, you should use 1/250 sec or
faster. For cameras with smaller
sensors you need to use a faster
shutter speed, as the efective focal
length is higher. So, with the same
250mm lens attached to a camera with
an APS-C sensor, you need to use
1/400sec or 1/500sec or faster. To
achieve this you may need to set a
higher ISO, especially in dark or
overcast conditions.
The image stabilisation or vibration
reduction features will allow you to get
sharp results at slower shutter speeds
than these. But even these have their
limitations, so you should still try to
use the fastest shutter speed that you
can, unless you want to use motion
blur for creative efect.
1/30 SEC
1/8 SEC
FOREGROUND FOCUS
BACKGROUND FOCUS
As a rough guide, with a
full-frame camera you should
use a shutter speed thats
1/focal length of the lens
FOCUS AND SHARPNESS
Avoid blurred or out of focus shots by setting up your camera to
focus accurately, and use the right settings to prevent camera shake
2
1
Above Blurred images due to camera shake are common when using telephoto lenses.
Try setting a higher ISO to allow you to use faster shutter speeds, to get sharp results
41
Digital Camera September 2013
BEAT BAD PHOTO HABITS
With the camera in Aperture-Priority mode, select the
widest aperture available on your lens, such as f/4.
Carefully focus on the subject, and take a test shot to
check whether the background is sharp or blurred.
Now zoom in on the image
and check that the whole of
the main subject is sharp.
It isnt possible to blur the
background with the subject
in these positions, so if
possible move the subject
further away from the
background. Take another
shot and check whether the
background is blurred.
Select a smaller aperture,
such as f/5.6, take another
test shot and check if the
whole subject is sharp.
Try setting
a smaller
aperture until
the whole
subject is
sharp, then
check whether
the background
is blurred.
Is the background still
blurred or not?
Your set-up is
perfect, so you can
shoot with these
settings and get a
blurred background.
Its not possible to blur the
background. Consider adding
a background blur in Photoshop,
or making the background
work with the subject.
Your set-up is
perfect, so you
can shoot with
these settings
and get
a blurred
background.
To reduce the depth of field, you will
need to move closer to the subject;
or use a longer focal length lens, and
again focus on the subject. Take a
test shot to check the background.
Sharp
Sharp
How to use shallow depth-of-field to blur the
background and keep the subject sharp
Blurred
Sharp Blurred
Sharp Blurred
Yes No
Blurred
Blurred Sharp
The autofocus wont lock onto
the subject when using one of
the off-centre AF points
The automatic focusing on most
SLRs relies on there being
enough light for the system to work,
along with some contrast or detail in
the subject for the camera to focus on.
The sensitivity of the outer AF
points is lower than the central one on
many cameras. So if you are shooting
in low light, or with a lens with a small
maximum aperture such as f/5.6 or
smaller, try using the centre AF point
rather than the outer ones.
Image is blurred even though
you have used a tripod
Having gone to the trouble of
using a tripod, its frustrating if
you nd that the images arent sharp.
The rst thing to check is that you
have switched of any image stabiliser
ISO 200 ISO 800
KEY TECHNIQUE AT A GLANCE
Jeremy Walker,
world-renowned
landscape, travel
and commercial
photographer
says you should never take
anything for granted
I prepare my kit the night before
if I have an early start. There is
nothing worse than chasing your
own tail in the early hours before
you go out on a dawn shoot.
The kit in my bag will sometimes
get changed around depending on
what I am off to shoot, but there is
always one constant. There is
always a tripod in the boot of my
car. Always. I arrived at my location
and prepared to set up.
No tripod. Why it was not in the
boot of the car Im not sure, but
definitely no tripod. I own at least
four tripods.
See Jeremys amazing images at
www.jeremywalker.co.uk
THE PROS CONFESSION
systems on your camera or lens, as
these can reduce the sharpness.
If this isnt the problem, the most
likely cause is the camera moving
during the exposure, despite being
attached to the tripod. Ensure youre
using a remote release or self-timer to
re the camera to reduce any chance of
moving the camera. Then check that
the legs of the tripod are on solid
ground. In strong, windy conditions,
you can help to reduce movement of
the tripod by attaching extra weight,
such as your camera bag, to the centre
column of the tripod.
3
42
MAKE EVERY SHOT GREAT
Digital Camera September 2013
COMPOSITION AND FRAMING
Transform your photography with our simple guide on how to improve
the composition of your images for maximum impact and interest
U
nlike the more technical
aspects of photography
such as exposure or
focusing, choosing how to
compose and frame your shots is as
much about personal choice as being
right or wrong. Despite this, there are
ways to improve the composition of
your images. The classic habits to
break are putting the main subject
in the centre of the frame, and not
getting close enough to the subject.
Horizon isnt straight
If the horizon is clearly visible in
the scene it should generally be
horizontal. Getting the horizon
precisely level using the
viewfinder can be tricky. Many
cameras offer a grid display in
Live View mode or an electronic
spirit level option to help you.
Horizon in the middle
of the frame
Placing the horizon in the
middle of the image is generally
not recommended. It produces
two equal-sized areas and
makes the whole image appear
static. Positioning the horizon
around a third from the top or
bottom of the frame produces
a better composition.
Uninteresting foreground
Shooting with a wide-angle lens
means that you will often
include a large area of the
foreground. So you should look
out for interesting subjects or
textures to make the most of
this area of the image.
Including subjects at the
edge of the image
You need to watch out for areas
of the subject, especially at the
edge of the frame, which draw
attention away from the main
subject. Before you press the
shutter, try looking all around
the frame for anything that
doesnt help the composition.
Choosing how to compose
and frame your shots is as
much about personal choice
as being right or wrong
Right Using some
simple composition
rules such as
placing the main
elements off-centre
produces a much
stronger image
43
Digital Camera September 2013
BEAT BAD PHOTO HABITS
2
1
3
1 Subject too small in the frame
Unless the area around the subject adds something to the
image such as showing the environment or landscape
around it youll get a stronger image by filling the frame
with the main subject.
2 Image too cluttered
While a strong subject can help to produce striking images,
if there are too many subjects or points of interest in your
image, they can actually detract from the impact of the
shot. So try including less of the background, or blurring it
by using shallow depth-of-field.
3 Subject in the middle of the frame
Similar to placing the horizon in the centre, positioning the
main subject in the middle of the image creates a very
static, uninteresting composition. Its usually better to shift
the position to one side if shooting horizontally, or up or
down on vertical images.
Heres how to simplify your images for greater impact
PHOTO SCIENCE FOR FRAMING YOUR SHOTS
Getting closer to the
subject, or using a
longer lens, produces
a much simpler, more
striking image
Choose from these sizes
62mm, 67mm, 72mm, 77mm
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47
SLR CAMERA SKILLS
Digital Camera September 2013
THIS MONTHS HIGHLIGHTS
48
Core Skills
Out shooting landscapes
but theres no sun? Dont
fear, because you can still
get some cracking shots
51
Gear Craft
How to use a variable
ND lter to reduce and
control the light across
your whole image
52
Creative Zone
Photographing kids can be
a challenge, but with a bit
of thought it doesnt have
to be a painful experience
56
Back to Basics
Shooting in low light or
looking to freeze action?
ISO can help you to get
sharp shots every time
59
Photo Rescue
Add depth to your
landscapes by changing
perspective and adding
some foreground interest
Your complete camera-skills improvement plan
O H S O T !
14 PAGES
OF EXPERT
ADVICE FOR
SLR USERS
48
SLR CAMERA SKILLS
Digital Camera September 2013
A
l
l
i
m
a
g
e
s
:
M
a
r
k
H
a
m
b
l
i
n
No sun? No worries you can still shoot some
cracking shots, as Mark Hamblin explains
MAKE THE MOST
OF DULL DAYS
CORE SKILLS
A
s humans we crave sunshine. It
puts us in a better mood. It makes
us feel good. Its only natural then
that as photographers we also crave blue
skies and sunshine as we strive to capture
those sun-kissed cheery feelings in our
images. But sunshine is not always as good
a thing as you might think when it comes to
shooting landscapes. In fact it can be a real
problem in some situations, leading to high
contrast, deep shadows, blown highlights
and washed out colours. So its just as well
that the sun isnt always shining, as it gives
us the chance to shoot some sublime
landscapes on dull and dreary days.
JUST ADD WATER
Fortunately, modern digital cameras are
exceptionally good at dealing with low light
and are capable of producing exquisitely
detailed images in the dullest weather
conditions imaginable. Add to this the
capabilities of post processing software
that allows you to bring out the fine
nuances of tone, colour, contrast and detail
from your RAW files and you have the tools
to create amazing pictures irrespective of
how bad the light might appear to be.
Of course you have to choose your
subject with care. One ingredient that
arguably works better than anything else
in dull weather is water. Whether as a
reflective surface, flowing through a
landscape, or lapping onto a beach, water
gives you something to work with in a
creative sense. In dull light, when light levels
are inevitably lower than on a bright day,
you have the luxury of being able to shoot
moving water at slow shutter speeds to
49
SLR CAMERA SKILLS
Digital Camera September 2013
EXPERT ADVICE
Three top subjects to
try when the suns hiding
Landscape sections
Use a short to mid telephoto lens
to pick out smaller sections from
within the landscape. By honing
in on characteristic features its
possible to convey the essence
of location just as effectively as a
wider shot, and in many cases the
results have greater impact and
more appeal.
Moving water
Find some fast-moving water and
use a slow shutter speed to blur
the flow. Fit a polarising filter to
reduce some of the surface glare
and add contrast, and aim for a
shutter speed of around 0.5 to
two seconds by setting a low ISO
and small aperture.
Calm water
Mirror calm water is a great way
to add another dimension to
your shots by creating a perfect
reflection of the main subject.
Mornings are good for this, when
there is less chance of wind.
Zoom in to crop out the sky, and
try placing the water level on the
thirds as well as centrally.
50
SLR CAMERA SKILLS
Digital Camera September 2013
2
1
3
4
PHOTO SCIENCE
Why this shot works
1 The overcast conditions, stark bare trees
and misty background give this image a
dreamy, otherworldly feel.
2 The line of symmetry from the reflections
of the lake runs straight through the middle
of the shot, offering unfamiliar shapes.
3 The long exposure on a still day has made
the surface of the lake like a polished mirror.
4 The more dense shapes of the island add
a darker focal point two-thirds of the way
across the shot, standing out from the grey.
Top tips
TOP TIPS FOR
DULL WEATHER
SHOOTING
Convert to mono
Coastal scenes and waterfalls
photographed in overcast light
are very good candidates for
conversion to monochrome.
In Photoshop, use Image>
Adjustments>Black & White
and try adding contrast for a
more dramatic effect.
Shoot receding waves
When photographing waves
using a slow shutter speed,
capture the effect of receding
water by starting the exposure
just at the moment the wave
begins to turn and flow back
down the beach. An exposure
time of around one to two
seconds is usually about right.
Stay rock steady
Images taken at slow shutter
speeds are prone to camera
shake, so make sure your
tripod is set firm. If necessary
push the legs into soft ground.
Enable mirror-lock to prevent
internal camera vibrations
and use a cable release or two
second delay self-timer.
Mind the splashes
When shooting in rain or near
splashing water its hard to
avoid getting droplets on the
front of the lens, especially
one without a deep hood.
Have a dry cloth handy to
wipe the front of the lens clear
before each shot, or shield it
using an umbrella.
THE WONDER OF WAVES
How to create eye-catching images on a dull day at the coast
Grey skies can make the ideal scenario for
capturing the rhythmical movement of
waves, and wild shorelines offer the best
opportunities. A mid-distance focal point
such as a headland, pier or offshore rocks
is desirable, but you can create equally
effective images with just a pebble
beach and moving water. The technique
itself is very straightforward and relies
on shooting at an appropriate shutter
speed to capture the moving water with
a degree of blurring. There isnt a specific
shutter speed that works in all situations,
so its worth experimenting by taking a
few shots at different speed settings. Use
a low ISO setting, a small aperture and fit
a polarising filter or neutral density filter
to lengthen the exposure time.
Above Shooting waterfalls at slow shutter speeds on overcast days can make for
some lovely shots. But too much white water can make the falls looks indistinct
create silk-like ribbons through the
landscape. If dreamy waterscapes
are your thing, find fast-flowing
water, which might be anything
from a tumbling mountain stream
to waves crashing over a rocky
coast. Waterfalls are also perfect
for this treatment, but try to avoid
any with too much white water, as
this will be recorded as a
featureless amorphous empty
space. Instead look for water that
falls in thinner rivulets, or fans out
and breaks up as it cascades over
rocks. This will form a more
pleasing pattern and will show up
more distinctively against the
darker surroundings. Often the
most impressive looking waterfalls
dont make the best pictures.
On calm days, pools, lakes and
even the sea act as a mirror to
create perfect reflections of
buildings, trees or mountains. In
most cases is advisable to crop
out the pale sky by using a short
telephoto zoom in the range
70-200mm. This helps to
concentrate attention on the
main subject to form a simple but
striking composition. Experiment
with the framing in terms of the
ratio of the subject to its
reflection, which can be a very
precise central split or a 1/3 to
2/3 composition. Alternatively,
shooting the reflection alone
especially if there are small ripples
in the water can create very
effective images.
Away from water, think in
terms of creating miniature
landscapes by honing in on a
smaller section of the wider
landscape. Again, it is often best
to avoid the sky in your pictures
and instead concentrate on
forming interesting compositions
from the juxtaposition of key
features such as walls, trees,
isolated buildings or distinctive
patterns in the landscape. Strong
colour combinations also work
very effectively. Above all, keep
your compositions simple with
a clear focal point to create
images that have a strong graphic
appeal. Once you start down this
road youll discover plenty of
inspiration the next time you go
out shooting in dull weather.
51
SLR CAMERA SKILLS
Digital Camera September 2013
Get a free
ND FILTER
when you
subscribe!
See page 44
Using an ND variable lter
Geoff Harris shows how you can achieve a cool motion-blur effect
while youre shooting on location with this handy and versatile filter
Last issue, Chris Rutter explained
how to use an ND grad filter to
rectify murky foregrounds or
over-exposed skies. This issue, we show how
to use a variable ND filter, which works in a
slightly different way. Unlike an ND grad,
a variable ND filter reduces the light across
the whole image, and you can twist it to
control the amount of filtering this is what
the variable part refers to.
ND variable filters come in handy for slow
water effects or adding motion blur to
people, and theyre essential in bright
conditions. You could even keep a variable
ND on your lens all the time, so long as you
dont mind losing a stop or two. Heres how
to use this versatile filter to get cool motion
blur effects on people.
GEAR CRAFT
01
Select your settings
Attach the variable ND filter to
your lens. Try an aperture of f/11 and
choose a shutter speed of 1/4 sec.
The filter will enable this. Set a low
ISO (a higher one or auto ISO will give
a faster shutter speed and spoil the
effect), and zoom in about halfway
if you have a standard zoom lens.
Variable NDs can cause banding if
you shoot wide-angle.
02
Switch to manual focus
You will need to switch to manual
focus, and focus where you want
to stay sharp a building as the
background, for instance. If you cant
see anything because of the filter,
focus using Live View and adjust the
filter until you get the desired effect.
Dont rely on autofocus, as it can
struggle to focus through the filter.
Block stray light
Once you are happy with the
focus, its worth covering the
eyepiece to stop stray light getting in
(again your manual will explain how),
or just cover with your other hand.
Then, wait until people pass in front
of the background and take the shot.
Adjust the shutter speed if people
are moving very quickly or slowly.
03 04
Set up your camera
Blurring people walking past a
scene requires a slow shutter speed,
so youll need to put your camera
on a tripod. Then either use a cable
release or the self-timer in order to
avoid camera shake. You can also
lock up the mirror on your camera
to reduce shake even more. Your
cameras manual will explain how
to do this.
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Ben Brain shows you how to photographically
capture the magic of kids at play
Capture candid kids
Photographing kids can
be a challenge, and many
photographers will avoid it like
the plague. However it doesnt need to
be a stressful experience, and if you get it
right not only will everyone involved have
a fun experience, but youll potentially be
rewarded with priceless results the whole
family can cherish for years to come.
The trick to capturing natural looking
shots of kids is to avoid jumping straight
in with your camera. If you try and force a
photo shoot with children, the chances are
high that itll backfire on you and it wont
be long before youre dealing with tears
and tantrums. Its best to let playtime
or some other engaging activity evolve
unwittingly into a photo shoot, and when
spirits are high, subtly introduce your pre-
set camera into the scenario.
Keep your camera settings simple,
and dont let fiddly technical issues or
complicated lighting sets ups hamper
the situation. This will leave you free
to concentrate on capturing magical
expressions. Dont get too hung up on
catching big beaming smiles either. While
they can be terribly engaging they can
often look a little forced, and sometimes a
thoughtful, contemplative shot can speak
volumes too. Read on for tips on how to
get started on your kid shots
How did you take this shot?
I was in Times Square, New York and
about ten of these guys were there. Two of
them broke off from the group and came
towards me. I noticed what great faces
they had and asked if they would mind if
I took a quick shot. They were more than
happy. I used a Sony NEX 5n with a Leica
35mm Summilux lens at f/1.4; shutter
speed was 1/25sec at ISO 1600.
Why did you choose to present it as
a black and white shot?
The lights of Times Square totally
dominated the colour version and could
not be tamed with any software. The
whole thing worked much better as a
black and white anyway. I did a little pixel
level editing in Photoshop and colour
adjustments in Nik Silver Efex Pro.
What do you like most about shooting
street portraits?
Street portraits can be daunting at first,
but its very rewarding if you push yourself
and not just in the results you can
achieve. For me its the most memorable
part of any travelling experience.
How do you approach your subjects?
Approaching people is not easy at first.
Every time I have to really tell myself to
get on with it, but once I start it gets easier.
I usually know what background I want
in the shot, so I know where to position
myself. Most people are flattered to be
asked for their photograph and the worst
that can happen is that they say no and
you just move on to the next great face.
See more of Neils fantastic portrait
photography at www.buchangrant.com
CREATIVE ZONE
The man
in the street
FIVE-MINUTE MASTERCLASS
Taking impromptu travel
portraits can be scary
but you should just go for it,
counsels Neil Buchan-Grant
Dont force a photo shoot with
children. Let a fun situation
evolve. Or resort to bribery
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How to GET READY FOR A PHOTO SHOOT WITH KIDS
If you get your preparation out of the way before you start, the session will be much easier
Be prepared
Before you start, make sure your SLRs
exposure settings are sorted out. If youre
fiddling with dials or scrolling through menus
in the middle of the shoot, not only will you
run the risk of missing the shot, but the
children will quickly start to lose interest.
Time is of the essence, so use it wisely!
01 02
Process
Shoot in raw so you can tease more
detail and boost image quality in Camera
Raw or Lightroom. With a spontaneous
shoot like this, some of your exposure
settings will need a tweak. Its a subjective
choice, but turning your shots into black and
whites is a great way to finish them off.
Settings
A fast shutter speed such as 1/125 sec
or faster is best. Increase your ISO if you
have to. A wide aperture such as f2/8
creates a shallow depth of field, throwing
the background nicely out of focus. To
ensure you capture the right expression,
switch to a continuous shooting mode.
03
Keep it simple. Natural lighting
and expressions can create the
most endearing portraits of kids
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Shooting conditions
Anne photographed her son indoors at
home, only using daylight. She needed a fast
enough shutter speed to freeze motion, but
an ISO that didnt create too much noise.
Natural expression
To help children forget about the camera
and have a natural expression, Anne asks
them to do an activity they enjoy. This time,
she asked her son to bounce on a bed.
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Child-portrait specialist Anne Kerr reveals how
she captured this natural and spontaneous shot
PHOTO ANATOMY
BOUNCE MAGIC
Timing
Anne shot a sequence of images, but this one,
with the child frozen in mid-bounce, with his
legs extended and a joyful expression on his
face, was her favourite by a long way.
Settings
Anne used a Nikon D700 with a 50mm f/1.4
lens. The settings were 1/1250sec at f/2, ISO
4500. After I got the proper exposure it was
all about capturing the perfect moment.
White space
Instead of going in close, Anne has placed
her son in the bottom corner of the
composition and left lots of white space. It
has given the image a light, airy atmosphere.
EXPERT TI P
Giving a child a fun
activity can result in
charming portraits like this
one. Another approach
is to place a child in
attractive light with a
good background and let
the situation unfold. The
most important thing,
as Anne says, is to let
children be themselves.
Geoff Harris, editor
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How to change
the ISO setting on
your camera
When to use high
ISOs and when to
use low ones
How to achieve
faster shutter
speeds with ISO
WHAT YOULL
LEARN THIS
MONTH
What does ISO actually stand for?
Surprisingly, ISO isnt a complex
technical acronym, but represents the
much more mundane International
Standards Organisation. As the name
suggests, ISO develops standards
across a range of technologies, and
that includes cameras.
And what does it do?
The ISO system was originally used
to measure photographic lms
sensitivity to light. It has since been
adapted to provide a standard way
to measure the sensitivity of digital
camera sensors.
In the days of lm, you chose the
lm according to the situation youd
be working in and the efect you
were trying to achieve. If you wanted
to capture all the rich detail of a
landscape, youd reach for lm rated
at ISO 50, as that ofered the best
quality. Switch to indoor shooting,
and youd need to swap to a lm with
a higher ISO sensitivity rating.
Digital cameras allow you to make
these adjustments on the y, and you
can change the sensitivity setting
yourself or let the camera make a
selection automatically. Current SLRs
ofer a standard ISO range that runs
from low ISO settings of 100 or 200
up to high ISO settings of 6400 or
more, and the higher the ISO, the
more sensitive to light the sensor is.
Why does sensitivity matter?
The more sensitive a sensor is
to light, the less of it you need in
order to make an exposure. The ISO
control acts like the gain control on
an amplier: the camera converts
the light hitting the sensor into
an electrical signal, which is then
boosted according to the ISO.
The higher the ISO, the more
the signal is boosted, meaning you
can take pictures when theres little
available light or youre not allowed
to add your own such as shooting
at night or indoors without ash. The
shorter exposure times that high ISOs
produce are also useful when youre
shooting action, enabling you to
freeze a fast-moving subject.
If my camera has a range of ISO
settings, why wouldnt I just use the
highest all the time?
The sound from an amplier gets
more distorted as you increase the
gain. The same happens with picture
M
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Whether youre shooting in low light or
looking to freeze action, ISO can help get
sharp shots, as Marcus Hawkins explains
Understanding
ISO SETTINGS
BACK TO BASICS
ESSENTIAL
PHOTOGRAPHY
SKILLS STEP
BY STEP
You need to increase the
ISO sensitivity to achieve
sharp photos in low light
57
SLR CAMERA SKILLS
Digital Camera September 2013
quality as you push the ISO higher on
a camera. Colours become muddier
and the dynamic range (the amount
of detail captured from shadows to
highlights) drops of but the biggest
problem is noise. This is the digital
equivalent of lm grain, but much less
desirable, with the image covered in
ugly-coloured speckles.
So I should stick to the lowest ISO
settings, then?
ISOs in the region of 100 to 400
do produce cleaner, richer, more
EXPLAINED
CAMERA SETTINGS
How to alter the ISO sensitivity
settings on your camera
Adjustment options
Choose whether you want to adjust
the ISO in full stops or 1/3 stops. You
may be able to find this option in
the custom function menu. The 1/3
stops option offers more precision,
but the former allows you to make
manual adjustments more quickly.
Dial in the sensitivity
Press the ISO button and rotate the
main control dial to change the
sensitivity. You can monitor the
changes in a number of places,
depending on your camera, such as
in the viewfinder, on the quick
control screen or the top-plate LCD.
Shutter speed and aperture
When you change the ISO, the
aperture and/or shutter speed also
change. Increasing the ISO two
stops (ISO 100 to 200, then 200 to
400) in Aperture Priority gives a
shutter speed twice as fast, but
leaves the aperture unchanged.
Low ISO
The lower numbers in the
ISO sensitivity range produce
lovely smooth, clean and
colourful pictures with bags
of detail. That is, unless the
shutter speed drops down
so low that you end up with a
blurred picture.
Medium ISO
In the days of film, ISO 400
was considered a medium
sensitivity film these days
youre looking at ISO 800, or
as in this case, ISO 1600. The
results are spectacularly
good, particularly on full-
frame cameras.
High ISO
A high ISO enables you to use
a very fast shutter speed,
which is perfect for handheld
shooting in conditions where
light levels are so low theyd
ordinarily require very long
exposure times. The trade-off
is excessive noise levels.
HOW TO TAKE CONTROL OF NOISE
T
he advice was simple in the early days of
digital photography: if you wanted the
best-quality pictures, youd stick to the lowest
ISO settings. Push the sensitivity beyond ISO
1600, and you could expect picture noise to
take much of the shine off a shot. These days,
its not quite so clear-cut. Sensor technology
and noise reduction have greatly improved, to
the point where images taken on an SLR at ISO
3200 and even ISO 6400 produce results that
are remarkably good.
Once you start entering the realms of
expanded ISO settings, youll discover that
quality does drop off quickly.
Explore the possibilities of shooting at different ISO settings
detailed images. However, because
these settings are less sensitive to
light (they dont amplify the signal
as much), they require more light
in order to make an exposure. This
can be achieved by shooting with
either a larger aperture (to increase
the amount of light let in through
the lens) or a slower shutter speed
(to increase the amount of time the
sensor is exposed to light) or both.
Of course, you can take a picture
at low ISOs without making these
adjustments: its just that it will take
< 400 800-1600 3200 >
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Digital Camera September 2013
fast enough to freeze the moment.
Increasing the ISO is the answer. Each
time the ISO was doubled, a shutter
speed twice as fast could be used; if
ISO 200 gave you a shutter speed of
1/250sec, then ISO 400 would give
you a shutter speed of 1/500sec.
Push it to ISO 800, and a shutter
speed jumps to 1/1000sec and
that can make all the diference when
shooting action.
ISO can also be used in the same
way to achieve a more desirable
aperture setting. Take landscape
photography. This often requires the
use of a tripod, as the small apertures
typically used to give a generous
depth of eld (and keep everything
longer to make the exposure, which
could result in a blurred picture if the
subject or the camera were moving
during this time.
The key to success is to nd a
balance between the three exposure
settings ISO, aperture and shutter
speed that will give you the efect
youre after. And, like aperture and
shutter speed, you need to choose the
best ISO at the time of shooting: you
wont be able to adjust the setting
once youve taken the shot, even if
you shoot raw.
What effects can ISO help with?
It takes a combination of aperture,
shutter speed and ISO to make
an exposure, but there are many
diferent combinations that will work
for a given situation. The thing to
remember is that if you increase one
of these settings, you need to reduce
one of the others in order to maintain
a consistent exposure.
For instance, if you open the
aperture by one stop (more light),
youd need to either choose a shutter
speed one stop faster (less light)
or use an ISO one stop lower (less
sensitivity). This is where ISO shows
its versatility. For example, if you
want to select a very fast shutter
speed in order to freeze a fast-moving
subject, youll usually have to set a
large aperture.
If light levels are low, even the
widest aperture available on the
lens may not give a shutter speed
Master the
basics of ash
photography,
guide numbers,
ll-ash, ash
compensation
and more
NEXT MONTH
USING FLASH
Why it can be a good idea to let your camera take control of choosing the ISO
Select A in the ISO menu
Rather than dialling in an ISO manually, you
can scroll through the ISO sensitivities until
you reach the Auto option. The camera will
now choose the sensitivity according to the
light levels and aperture being used. This is
handy if youre shooting in conditions where
the light levels are constantly changing.
Limit the range
Auto ISO attempts to give a shutter speed
fast enough for sharp hand-held pictures,
based on the focal length of the lens.
Cameras tend to err on the side of caution
and choose an ISO thats very high for the
lighting conditions that youre shooting in,
which can result in a very fast shutter speed.
Set a minimum speed
Some cameras let you set a minimum
shutter speed for the Auto ISO when youre
shooting in Aperture Priority or Program
mode. If the shutter speed drops below this
figure, then the camera will automatically
increase the ISO, improving your chances of
getting a sharp image.
SHOOTING ADVICE AUTOMATIC ISO
sharp from the foreground to the
horizon) can lead to shutter speeds
that are too slow for pin-sharp
handheld shots.
But what if you dont have a
tripod to hand? The answer here is to
increase the ISO setting in order to
use a faster shutter speed. Yes, you
might lose something in the way of
picture quality, but todays cameras
are capable of producing staggeringly
good high ISO pictures, and a noisy
shot is always preferable to a blurred
one unless an intentionally blurred
picture is what youre after, of course.
In that situation, you should select
a low ISO sensitivity and a small
aperture to get your result.
To improve the quality of images taken at high ISOs, you
can activate your cameras high ISO noise reduction (NR)
feature, or shoot in raw and apply noise reduction later in
Adobe Camera Raw or similar. Be subtle, though: excessive
noise reduction will reduce the amount of detail. Ensure
your exposure is spot-on by checking the histogram after
youve taken the shot picture noise will be exacerbated if
you have to excessively brighten an under-exposed image.
SHOOTING ADVICE
NOISE REDUCTION EXPLAINED
Make subtle adjustments to improve your images
ISO 400
ISO 102,400, NO NR ISO 102,400, STRONG NR
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BEFORE
HOW TO BECOME
MORE DEEP
Three basic techniques
to enhance a feeling of
depth in your images
Add foreground interest
If you shoot a mid-distant scene
without any foreground elements,
it will usually look very two-
dimensional or flat. By including
something of interest close to
the camera you can introduce a
sense of depth, and lead the eye
from the foreground to a focal
point in the distance.
01
Change the perspective
A greater sense of depth can
be achieved by exaggerating the
perspective in a scene. One way
to do this is use a wide-angle
lens and shoot from a closer
viewpoint. This will alter the scale
of the objects in the scene, so
that those closer to the camera
appear larger, and vice versa.
02
PHOTO RESCUE
M
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You can use a few simple photographic tricks to add a
feeling of depth to your images, says Mark Hamblin
However technically competent they may
be, many landscape images fall down
because they lack interest. Wide dramatic
expanses may look great to the human eye, but
that same view doesnt necessarily transfer well to
your images. The main reason for this is that our
brain processes what we see through our binocular
vision and provides us with a three-dimensional
view of the world, allowing us to perceive depth.
But because a picture is two-dimensional, its
necessary to introduce the illusion of depth using
a few photographic techniques. Simply changing
your viewpoint or composition is often all thats
needed to totally transform your shot.
Avoid at landscapes
Compose cleverly
You can cleverly add a three-
dimensional look to your images
by guiding the viewer through the
scene using leading lines. These
could be a row of trees, a stone
wall, a shoreline, a city street or
a river, for instance all of which
will help the viewer explore the
picture by directing their eyes.
03
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Digital Camera September 2013
Sync everything
Use Manual mode to set the exposure so its
the same in every shot. If the readings vary, use
settings in the middle of the range. Take a test
shot and evaluate the histogram. Set the white
balance to 5600k and switch to manual focusing.
Stitch your images
Import the raw images for processing and
make adjustments to one image, then sync with
the others. Export files at full resolution and load
them into stitching software such as Photomerge,
PTGui or Hugin to generate a panorama.
Output the Panorama
The stitching software will automatically
generate a composite image, but it may require
cropping to remove blank canvas. After
outputting, make any final adjustments to
contrast and colour saturation in Photoshop.
Overlap generously
With the camera on a level tripod, take the
first shot on the far left and then take successive
shots with a 30% overlap dont re-focus. If
necessary take more images below and above to
include everything you want in the shot.
How to SHOOT A PANORAMIC LANDSCAPE
Create your own panorama by following our easy step-by-step guide
01
03 04
02
Mark Hamblin explains how to create high-resolution panoramas by
stitching together overlapping images into a massive finished picture
Shoot stunning panoramic images
Theres nothing new
about panoramic
photography: its just
that its now easier than ever
before. Once the preserve of
professional photographers
with specialised hardware or
expensive lm cameras, shooting
high-quality panoramas is now
possible for anyone with a SLR,
or even a point and shoot, so long
as you stick to the basic rules.
The technique involves taking
a series of overlapping images,
then blending them together
with stitching software to create
a seamless panoramic image.
There is no limit to the number
of images that can be used to
create the panorama, and you
dont have to restrict yourself
to a single sweep across the
landscape: you can build up the
image with two or three rows of
images as long as you maintain
a good overlap between them.
TIPS FOR SHOOTING
The golden rule is to keep the
settings exactly the same for
each shot. This involves doing
things manually, so make sure
youre familiar with working in
Manual metering mode. You also
need to set the white balance
manually, although you can sync
this during processing if you
shoot in raw. Wide-angle lenses
are best avoided: they can cause
problems with distortion that
cant be xed in software. A focal
length of between 35-80mm is
usually about right. While a
tripod isnt vital, it will help you
frame successive images.
Blend your shots
using stitching
software to
create a seamless
panoramic image
SLR DISCOVERIES
M
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1
Corpach Sea Lock
Scottish Highlands, PH33 7JH
The Caledonian Canal joins Scotlands east and west coasts,
with majestic hills rolling down behind the sea lock at its westerly
point being a magnet for landscape pros.
5
Brindleyplace
Birmingham, B1 2JF
A modern development that sits alongside the
Birmingham Canal Navigations Main Line Canal,
right in the heart of central Birmingham.
2
Falkirk Wheel
Stirlingshire, FK1 4RS
The futuristic Falkirk Wheel rotating boat lift is a
striking focal point that joins the Forth and
Clyde Canal with the Union Canal.
6
Caen Hill Locks
Wiltshire, SN10 1QR
This series of 29 locks on the Kennet and Avon
Canal is located near Devizes. It can take up to
six hours to navigate them by boat.
7
Little Venice
London, W9 2PF
An area of the Regents Canal just north of
Paddington thats popular with tourists. When
the light drops off, hit the bars and cafes
3
Liverpool Canal Link
Merseyside, L3 1BY
An extension to the Leeds and Liverpool Canal,
this waterway opened in 2009 and runs right by
the iconic Three Graces on Liverpools docks.
4
Pontcysyllte Aqueduct
Trevor Basin, Clwyd, LL20 7TG
This impressive 126 foot-high structure takes
the Llangollen Canal over the River Dee, offering
sensational views across the valley below.
I
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TOP TIP
Use a slow shutter
speed on a tripod-
mounted SLR to blur
water rushing out
of lock gates
Our pick of Britains best-looking waterways,
complete with sat-nav friendly postcodes
Our favourite places to photograph
Picturesque canals
S
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64
Digital Camera September 2013
ThePhotoFixer
Nicola is in a muddle with her macro lens. Can Chris Rutter
help her master the techniques for shooting close-ups?
Q
I have recently
bought a Nikon
AF-S 105mm macro
lens for my D5100
to shoot close-ups,
which I havent been
able to achieve with
my existing lenses.
I understand the basic
principles of shooting
close-ups, but havent
had a chance to
really explore the
possibilities with this
lens. Can you help?
Nicola Hesketh,
Bristol
D
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C
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y
HELP ME TAKE
CLOSE-UPS
WITH MY NEW
MACRO LENS
WE ANSWER A READER SOS
65
ThePhotoFixer
Digital Camera September 2013
Do you need our
help? Fancy some
one-on-one tuition
from The Photo
Fixer? See page 68
to find out how you
can get in touch
PREVIOUS
ATTEMPTS
The few times that
Nicolas had a
chance to get out
with her 105mm
macro lens, she has
struggled to get
pin-sharp results,
and to choose the
best aperture to get
the best results
G
etting pin-sharp close-ups and macro
shots can be hard. The limited depth
of eld at wide apertures means your
focusing has to be spot on, but using smaller
aperture settings can lead to problems with
distracting backgrounds and camera shake.
Nicola has found it difcult to get to grips
with the extra accuracy needed when shooting
close-ups. She has a good understanding of
exposure and is happy shooting in Manual and
Aperture Priority modes, but has struggled to
nd the best settings with her macro lens.
We meet at the North Somerset Buttery
House near Bristol, which houses a huge range
of butteries. This makes it easier to show
Nicola the techniques, rather than chasing wild
butteries. But they are still free to y away,
making them a challenge to me too!
Nicola hasnt had many
opportunities to try out her
new lens, and when she has
used it she has struggled to
nd any suitable subjects.
Despite this, her shots show
she has a good understanding
of how to control the depth of
eld and exposure using other
lenses on her Nikon D5100.
When Nicola has previously
shot butteries with her
18-200mm lens, she hasnt
been able to get close enough
to ll the frame with the
subject. Along with the
photographic challenges of
shooting close-ups, getting
good shots of butteries also
demands some eldcraft skills
to allow you to get close
enough to the subject.
While this is easier to
achieve in a controlled
environment such as the
buttery house we were
visiting, it still takes skill and
patience to get in close
enough to get your shots, and
also nd a good viewpoint.
Close, but not close enough
Background information
Above Nicola has mastered shooting many subjects, but needs some help using her macro lens
THE DIAGNOSIS
The Photo Fixer investigates
Digital Camera September 2013
WE ANSWER A READER SOS
66
ThePhotoFixer
Handy kit for
macro shots
Here are three pieces of
photography kit that are
invaluable help for getting
close-up shots of tiny wildlife
PHOTO FIX #1
Maintaining focus
N
icola has a very good
understanding of photography,
but the shallow depth of eld
when shooting macro images means
she has struggled to get consistently
sharp results.
Its tempting to shoot at the widest
aperture to achieve fast shutter
speeds, but I encourage Nicola to use
a smaller aperture, such as f/5.6, to
increase the depth of eld. To keep
the results sharp, Nicola sets the ISO
to 400. This will allow her to keep the
shutter speeds as high as possible
and avoid camera shake without
producing too much noise.
I also get her to keep adjusting the
autofocus point so its positioned
over the head of the subject: its still
vital that the focus is there, rather
than the wings or body of the insect.
SHOOTING ADVICE
1
Macro lens
A dedicated macro lens will make
it much easier to get close-ups of
butterflies and other small subjects.
Nicolas Nikon AF-S 105mm offers a
vibration reduction (image stabiliser)
system to combat camera shake.
2
Reflector
A small reflector, such as this
Lastolite 12-inch silver/white model,
can be perfect for bouncing light
back onto the subject when they
settle in a shady spot. This is useful
in butterfly houses, where most of
the light tends to come from above.
3
Flashgun
A flashgun gives extra options
for shooting in shade, and adds
colour and punch to your images.
Its best to use an off-camera cord
or remote triggers to light the
subject from different positions.
Right and below
Positioning the
autofocus point
over the head of the
butterfly means
Nicolas shots
improved a lot
67
Digital Camera September 2013
WE ANSWER A READER SOS
ThePhotoFixer
PHOTO FIX #2
Generating additional light
E
ven though Nicola has got
some great shots here at the
buttery house, there are plenty
of occasions where a buttery lands
in the shade of the leaves and foliage,
making it too dark to get a good shot.
In order to help her to improve
her shots in these situations, I show
her how a simple collapsible reector
can help to bounce light back into
the shadows when the buttery has
settled in a dark area.
Even though the reector assists
greatly in many of these locations,
there are still some areas where its
impossible for the reector to do
its job, as there simply isnt enough
sunlight to bounce back into the
shadow areas.
In these tricky areas, I show Nicola
how she can attach her ashgun to an
of-camera cord (bought separately) to
help her out with the light issues.
With the ash set to automatic
TTL exposure mode, I get Nicola to
set the ashgun to -1EV, so that it
adds just enough light without over-
exposing the images.
Top Shooting butterflies under the shade of
the foliage in the butterfly house, Nicola
initially struggled to get any decent results
Above Using her SB700 flash to add some
fill-in light helped Nicola to achieve a much
brighter and far better lit image
Did we x
Nicolas pics?
Turn
over to
nd out
A
s Nicola is getting
consistently sharp
results, we decide
to address how she can
improve her close-ups and
macro shots.
One of the biggest
problems of shooting in
a butterfly house is that
often the butterflies feed
or settle on flowers where
the windows or frame of the
butterfly house are visible in
the background.
These man-made
structures spoil several of
Nicolas otherwise good
shots; so once she has
found a suitable subject,
I encourage her to try to
find a viewpoint where
there is foliage or flowers in
the background to give her
photography a much more
natural appearance.
Getting these
backgrounds takes a
great deal of patience and
persistence, though: most
of the butterflies seem
to be intent on landing on
flowers where the only
background option is the
unsightly roof or windows
of the butterfly house.
But after a short wait,
Nicola is able to find a few
willing subjects that give
her the opportunity to use
a much more attractive
background and get much
better-looking results.
PHOTO FIX #3
Behind and beyond
Below and right By waiting and carefully
choosing the right subject and viewpoint, Nicola
managed to avoid too many shots being spoiled
by the manmade structures of the butterfly
house being visible in the background
NO FLASH
WITH FLASH
EXPERT ADVICE
68
ThePhotoFixer
Digital Camera September 2013
Shooting the folded wings of this butterfly
parallel to the back of the camera, Nicola
was able to keep the subject sharp, but
produce a lovely blurred background
The Photo
Fixer says
When it came to
using her macro
lens, Nicola knew
what she needed
to do to, but had struggled to
put it into practice. She soon
mastered selecting the
appropriate focus point on
her Nikon D5100 to focus
accurately on the head of the
buttery, and also which
aperture was the best to use
in diferent situations.
But the biggest change
during the day was how
much more attention Nicola
was paying to the lighting
and background of her
images. Even in the highly
controlled environment of
the buttery house, moving
around to nd a better
viewpoint is still difcult
to do without the subject
taking ight. Nicola was
soon able to nd less
distracting backgrounds, but
moving slowly enough so as
not to scare the buttery of.
When it comes to lighting,
Nicola will need to practice
using her of-camera ash,
as its quite difcult to hold
both the camera and ash
steady, while concentrating
on focusing on the subject.
Nicola says
It was great to get
the chance to learn
how to get the best
from my macro
lens. Even though there were
plenty of butteries around,
Macro metamorphosis
THE VERDICT
it took a while to nd ones
that were settled enough to
use the diferent settings.
Although I knew how
to move the focus point, I
learned how moving it onto
the head of the buttery
gives the best results. Chris
also helped me understand
how important it is to check
the background, and use the
right aperture to blur the
background but keep as
much as the buttery sharp
as possible. Using ash isnt
something Id considered for
macro shots before, but
using it had a huge efect on
the results. Ill have to
practise more using this, and
also a reector to brighten
the subject when the light
isnt quite perfect.
P
H
O
T
O
F
IX
E
D
!
How you can contact The Photo Fixer
for professional shooting advice
Could your photography do with the
help of an experienced expert? If you
think your technique could benefit from
a day out with the Digital Camera experts,
send us an email to digitalcamera@
futurenet.com. Simply put Photo Fixer
in your emails subject line, and explain
what your favourite subjects are; which
area of your photography youd like
to improve; and what camera kit and
accessories you own and use.
A few sample photos of your best
attempts at the subject would also
be helpful for us to get an idea of what
level youre currently at.
Do you
need help?
Thanks to the North Somerset Butterfly House,
Congresbury BS49 5AA. For more information,
go to www.nsbutterflyhouse.com
71
Digital Camera September 2013
presents
Photoshop
School
72 76 80
The Adobe
Photoshop
Photoshop
36 Adjustment layers
Edit colour and tone in a
non-destructive way to
fine-tune your shots
40 Bleach bypass
How to skew contrast,
subdue and enhance
detail to cool effect
42 Dramatic mono portraits
Use Adjustment Layers
to create a moody
monochrome image
THIS MONTH
Download our iPad
app from the App Store
From the makers of Digital Camera magazine
36
INSPIRING READER PHOTOGRAPHY
B
e
n
B
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a
i
n
(
F
u
t
u
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)
AFTER
BEFORE
37
From the makers of Digital Camera magazine
ADJUSTMENT LAYERS EXPLAINED
PhotoshopSchool
M
ost photos benet from a little
editing at the processing stage to help
improve colour and tone. Our start
image, for example, is under-exposed
and the colour temperature is a tad
too warm, leading to orange-looking skin. The
contrast is a bit at and the hair has lost its shine.
To create a more striking looking portrait we can
increase the contrast to produce darker shadows
and brighter highlights, and cool down the colour
cast to produce more natural looking skin tones.
Photoshops main menu is full of commands
that you can use to improve a shots colours and
tones. However, these commands only let you edit
the shot in a linear, step-by-step fashion. If you
use main menu commands to cool the colour and
then increase the contrast, youll have to undo the
contrast change before you can step back through
the editing history to tweak the colour, and then
re-do the contrast change from scratch.
NON-DESTRUCTIVE EDITING
But there is an easier way. Adjustment Layers let
you edit colour and tone in a non-linear fashion.
You can tweak a colour Adjustment Layer without
altering a tone-changing one (and vice versa).
Unlike Photoshops standard menu commands,
Adjustment Layers are non-destructive. You can
turn them on and of to see before-and-after
versions of the shot, and re-edit their settings at
any time to ne-tune your photos look. Read on
to nd out how its done
Edit colour and tone in a non-destructive way,
so you can fine-tune your shots with ease
Get better quality with
Adjustment Layers
WHAT YOULL NEED
Photoshop Elements 6 or
Photoshop CS, or above
WHAT YOULL LEARN
How to improve a shots colour
and tone using Adjustment Layers
IT ONLY TAKES 15 minutes
HOW TO Edit shots the professional way
Create an Adjustment Layer
1
Download the image from http://goo.gl/amR7t.
Open the Layers palette (Window>Layers), then
click on the Create New Adjustment Layer icon at the
bottom of the palette and choose Levels from the
menu. This shot is slightly under-exposed, but you
can boost its weak highlights to make them stronger.
Brighten the highlights
2
Drag the white Highlights slider left so that it rests
below the histograms graph at a level of 232. This
takes the weak highlights and gives them a brighter
value. A photos brightest highlights should have a
value of 255. The shots highlights only reached 232,
but youve now remapped them to a brighter 255.
STEP BY STEP
38
Portrait Special
From the makers of Digital Camera magazine
PHOTOSHOP BASICS
Before and after
3
To see before-and-after versions of the photo,
click on the little eye icon next to the Levels
Adjustment Layer in the Layers palette. This turns
the Adjustment Layer on and off, giving you a better
idea of how its changing the tones. You can tweak the
settings at any time to fine-tune it.
Adjust brightness and contrast
4
The hair can be enhanced to bring out texture
and detail lost in the shadows. Create a new
Brightness/Contrast Adjustment Layer. Set Brightness
to 31 and Contrast to -10. This enhances the hair
texture, but blows out detail on the arms. Luckily, we
can restrict the Adjustment Layer to just the hair.
Disable the Adjustment Layer
5
Each Adjustment Layer has a mask. By default
the mask is white, which means the Adjustment
Layer will alter the entire photo. Click on the
Brightness/Contrast Adjustment Layers white mask.
Press Ctrl+I to invert the white mask and turn it black.
The Adjustment Layer has now been masked out
Set up a brush
6
Grab the Brush tool from the Tools palette.
Pick a soft round brush, 300 pixels in diameter,
from the Brush preset picker in the top options bar.
Click on the black mask. Set the foreground colour
to white. Youre going to paint white on the mask to
make a selective adjustment.
Create shinier hair
7
Spray the white brush over the girls hair. The
white strokes will allow the Brightness/Contrast
adjustments to brighten the painted area, adding a
healthier looking shine to her hair. Dont worry about
lightening the shoulder-length strands of hair, as we
want to preserve their rich, dark brown colour.
View the mask
8
To get a better idea of how the mask works,
Alt-click on its thumbnail. You can now see
the greyscale version of the mask in more detail.
The white areas let the Adjustment Layer alter the
corresponding parts of the photo. The black areas
preserve the shots original colours and tones.
Learn the lingo
Non-linear
N
ormally, we make
adjustments one
after another, in a linear
order. Adjustment Layers
can be stacked in any order,
turned on and off, and
re-edited at any point. This
gives you much greater
freedom to tweak any
adjustment at any time
without altering the other
adjustments youve made.
Press the X key to
toggle between the
white and black
foreground colours
and change which
areas are being
affected by the
brush strokes on
the Adjustment
Layers mask.
George Cairns, Photoshop expert
39
PhotoshopSchool
From the makers of Digital Camera magazine
ADJUSTMENT LAYERS EXPLAINED
Did you know?
Working with masks
W
hen developing
prints in a traditional
darkroom, photographers
could make selective tonal
adjustments by holding bits
of card over parts of their
shot while the photo paper
was being exposed by the
enlarger. This was a hit or
miss technique, but thanks
to Photoshops Adjustment
Layers you can fine-tune
selective adjustments until
theyre 100% perfect.
Restore skin detail
10
Weve boosted the shots highlights, but now
the subjects lower arms are a little blown-out.
To fix this, grab the Brush tool and click on the white
Levels1 mask. Set the foreground colour to black. Set
the Opacity to 50%, then spray grey strokes over the
arm highlights to darken them a little.
Fine-tune adjustments
9
The beauty of Adjustment Layers lies in their
ability to be fine-tuned. Click back on the Levels1
layer. To enhance the rich browns of our subjects
hair, drag the black Shadows slider to 5. Slide the grey
Midtones slider to 1.16 to lighten the midtones and
reveal more hair detail.
Cool down skin tones
11
You can create more natural (less orange) looking
skin tones by adding a Photo Filter Adjustment
Layer to the mix. Choose a Cooling Filter (80) from
the Photo Filter Adjustment Layers drop-down
menu. A gentle Density of 29% should do the trick,
because we dont want to make her look too cold.
Save it!
12
Go to File>SaveAs. If you save a photo as a
JPEG, the Adjustment Layers will be applied
and flattened into a single un-editable layer. However,
save the file as a layered Photoshop document (.PSD)
and youll be able to re-open the photo at any time
and continue tweaking the Adjustment Layers.
Highlights
1
The shot was under-exposed,
and suffered from having
too little contrast. To improve
the image, we began by using
a Levels Adjustment Layer to
boost the weak highlights.
Contrast
2
Our next step was to use
a Brightness/Contrast
Adjustment Layer in order to
increase the spread of shadows,
midtones and highlights, creating
a more striking looking portrait
in the process.
Selective
adjustments
3
By applying white brush
strokes to a Brightness/
Contrast Adjustment Layers
mask, we were able to
emphasise the hairs shine, while
preserving its rich brown colour.
Skin tones
4
The original shots tones
were too warm and orange.
A Photo Filter Adjustment Layer
helped us cool things down and
create a more natural look for
the subjects skin.
How we adjusted our shot in Photoshop
Learn the lingo
Non-destructive
B
y painting on an
Adjustment Layers
mask you can apply or
remove adjustments from
any part of your photo.
Painting black on a mask
protects the corresponding
parts from being adjusted.
If you apply grey strokes
then youll reduce the
strength of the adjustment
in those areas by 50%.
R
1
3
2
4
40
Portrait Special
From the makers of Digital Camera magazine Fro From t m he makers of Digital Camera magazine
40
GET THE LOOK
PhotoshopSchool
From the makers of Digital Camera magazine
P
hotographic styles and digital darkroom
efects certainly arent immune to the
whims of fashion and changing tastes.
Whether its trendy cross-processing,
HDR (High Dynamic Range) tweaks or
shooting contre-jour (into the light), ick through
the editorial and ad pages of any glossy magazine
and youll see whats currently in vogue.
The muted colours, exaggerated contrast and
super-detailed characteristics of what is known
as the bleach bypass efect are very popular at the
moment. Not only can we see the treatment in
many of todays magazines think grumpy, gnarly
chefs its also been used in big-budget, block-
busting lms such as Saving Private Ryan.
The efect originates from a traditional darkroom
process but, like many cool photo treatments, its
now much easier and less messy to replicate using
image-editing software such as Photoshop
Elements or Photoshop CS. You simply use a
combination of Adjustment Layers, layer Blending
Modes and the Shadows/Highlights tool.
Here, well show you how easy it is to get the
look, so you can transform portraits of your own.
Discover how to skew contrast, subdue
colours and enhance detail to cool effect
WHAT YOULL NEED
Photoshop Elements 8 or
Photoshop CS, or above
WHAT YOULL LEARN
How to use Adjustment Layers
and the Shadows/Highlights tool
to give portraits a modern finish
IT ONLY TAKES
10 minutes
Give portraits a
modern makeover
STEP BY STEP
AFTER
BEFORE
B
e
n
B
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a
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(
F
u
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)
41
PhotoshopSchool
From the makers of Digital Camera magazine
CREATE DYNAMIC PORTRAITS
Did you know?
Darkroom effects
T
he bleach bypass
technique originates
from the traditional film
darkroom. During the
processing of colour film the
bleaching step was skipped.
Put simply, this would result
in a black-and-white image
over the colour one. The
resulting prints would have
muted colours, increased
contrast and more grain.
Finishing touches
6
To finish your image, select the Dodge and Burn
tools from the Tools palette and use each tool
in turn to selectively darken and lighten specific parts
of the final image. By subtly burning areas at the four
corners and edges of the image with a large brush
you can draw the viewers eye into the frame.
Enhance the detail
5
Make a flattened version of the image as a new
layer at the top of the layer stack by pressing
Ctrl+Alt+Shift and the letter E simultaneously. Now
go to Enhance>EnhanceLighting>Shadows/Highlights
and set Lighten Shadows to 10%, Darken Highlights to
15% and Midtone Contrast to 15%.
Remove the colour
3
Create another Adjustment Layer, but this time
choose Hue/Saturation from the list of options.
Reduce the Saturation slider to -100 to make the
image black and white. Now change the Blending
Mode to Soft Light. This will increase the contrast
further and some of the colour will also return.
Alter the opacity
4
To remove even more colour, create a second
Hue/Saturation Adjustment Layer and again set
the Saturation slider to -100. This time, keep the
Blending Mode set to Normal and then set the
Opacity slider to 60%. This will introduce more subtle
hues into your black and white image.
Boost the contrast
2
Go to Layer>NewAdjustmentLayer>Levels and
increase the contrast by moving the left and right
sliders a little towards the middle of the histogram
and the middle slider a little to the left. Press the Ctrl
key while youre doing this to avoid losing detail by
clipping the highlights or shadows.
Be bold with the crop
1
Download the start file from http://goo.gl/oVEWS
and open in Photoshop. For a cool, contemporary
crop, select the Crop tool from the Tools palette and
choose No Restriction from the drop-down menu. Be
bold and confident with your crop and dont be afraid
to make a radical cut into your subjects head.
This is a great
technique thats sure
to give your portraits
a cool, modern look.
However, its worth
considering your
subject matter before
you start its not a
attering effect. While
it has a certain grizzled
charm and draws out
the character of a
Ramsay or Alan Sugar,
it might not go down
quite so well with your
partner or kids!
George Cairns, Photoshop expert
42
Portrait Special
From the makers of Digital Camera magazine Fro From t m he makers of Digital Camera magazine
42
ADVANCED SKILLS
PhotoshopSchool
From the makers of Digital Camera magazine
B
e
n
B
r
a
i
n
(
F
u
t
u
r
e
)
AFTER
BEFORE
43
PhotoshopSchool
From the makers of Digital Camera magazine
DRAMATIC MONO PORTRAITS
M
any portrait photographers make their
subject stand out from the crowd by
printing the shot in black and white.
By portraying the subject using
varying greyscale tones, photographers
can emphasise contrasting features, such as dark
eyes and light skin, to create prints with impact.
Thanks to Photoshops Adjustment Layers, you
can take your mono conversions a step further and
produce high-contrast shots with added drama,
evoking moods and feelings that would be harder
to achieve with a standard greyscale image.
GET CREATIVE WITH LIGHT
To create a more dramatic-looking monochrome
print, avoid shooting the subject with a
camera-mounted ash. This direct light source
will ll in all the shadows on their face and create
a high-key at-lit portrait. By popping the ash
to the side of the subject, you can plunge part of
the face into darkness, creating a more striking
monochrome shot, as features such as the eyes and
mouth emerge from the darkness.
To convert a portrait to black and white, youll
need to do more than simply throw away all the
colour information, or youll end up with a bland
wash of greys. Photoshops powerful Black &
White Adjustment Layer lets you lighten and
darken specic areas with precision, so you can
emphasise some features and hide others. Well
also look at adjusting Levels to darken midtone
details and enhance our shots sense of mystery.
Discover how to use Adjustment Layers to take control of
your conversions and create a moody monochrome image
Create dramatic
mono portraits
WHAT YOULL NEED
Photoshop CS3 or above
WHAT YOULL LEARN
How to target and adjust specific
areas using a Black & White
Adjustment Layer
IT ONLY TAKES
15 minutes
HOW TO Get more from your mono conversions
STEP BY STEP
Desaturate the shot
1
Download the image from http://goo.gl/amR7t. Try
removing colour the quick way by choosing Image>
Adjustments>Desaturate. The resulting black-and-
white image looks OK, but lacks the high-contrast
impact of our final version. Youll also see too many
shadow details, which diminish the impact. Choose
Edit>StepBackward to restore the colour.
Crop it
2
Before you start tweaking tones, it makes sense
to crop the shot, because theres no point in
adjusting areas that youre going to remove. By
cropping the shot, you can zoom in on the model
and make her more dominant in the frame. This adds
more drama and impact to the image. Grab the Crop
tool, use it to reframe the image, then hit Return.
Learn the lingo
Greyscale
E
very black-and-white
image is made up of
a series of tones, ranging
from black for the darkest
shadows through to white
for the brightest highlights.
All tones that fall between
these two extremes are
called greyscale. Absolute
black has a Level value of
0, while pure white has a
Level value of 255.
44
Portrait Special
From the makers of Digital Camera magazine
ADVANCED SKILLS
Create an Adjustment Layer
3
Go to Window>Layers to open the Layers palette.
For more control over the tones in the greyscale
conversion, choose Layer>NewAdjustmentLayer>
Black&White. Click OK in the New Layer command
box to add the Black & White 1 Adjustment Layer to
the Layers palette.
Powerful presets
4
Initially, the Adjustment Layer creates a similar
result to the Desaturate command, but you
now have more control over which areas you lighten
or darken. Set the drop-down preset menu to High
Contrast Blue Filter. This reduces the value of the
Reds and Yellows sliders, darkening skin tones.
Selective adjustments
5
Go back to the Default setting. To lighten the
highlights in the face, drag Reds up to 128 and
Yellows to 105. Enhance the white of the subjects left
eye by pushing Cyans up to 272. Pop Blues up to 121
to make the delicate blue tint in her eyes stand out
more, drawing the viewers attention to this area.
Moody midtones
6
Make more of the models face fade further
into the darkness by selectively adjusting the
midtones. Go to Layer>NewAdjustmentLayer>Levels.
Slide the grey Midtone input level slider to a value of
0.74. This leaves the highlights untouched, but tips
the grey midtones towards the black shadows.
Burn the shadows
7
Click on the Background layer to target it. Grab
the Burn tool, then set Range to Midtones and
Exposure to 20%, so you can make incremental tonal
adjustments using just a few strokes. Set Size to 700.
Gently spray over the midtone details on the shaded
side of the face to darken them even more.
Dodge the highlights
8
To emphasise the models hair, select the Dodge
tool. Set Range to Highlights, Size to 200 and
Exposure to 25%. Spray over the hair to make the
shiny highlights stand out. To create a border, choose
Select>All, then Edit>Stroke. Set Width to 40 pixels,
Colour to Black, Location to Inside and click OK.
Learn the lingo
Dodge and burn
P
hotographers working
in traditional darkrooms
could hold bits of card in
front of the image to vary
the amount of light hitting
the photo paper during the
development process. This
enabled them to lighten
(dodge) or darken (burn)
parts of the shot. You can
do this in Photoshop using
the Dodge and Burn tools.
When you create
the Black & White
Adjustment Layer
in step 3, the
Adjustments palette
will pop open in the
Palette bin. To make
your interface less
cluttered, drag the
Adjustments palette
to the bottom of the
Layers palette. Both
palettes will dock
together, enabling
you to minimise the
Palette bin to hide the
remaining unwanted
palette icons.
George Cairns, Photoshop expert
45
PhotoshopSchool
From the makers of Digital Camera magazine
DRAMATIC MONO PORTRAITS
Default
1
Lightens all colours a little,
resulting in a low-contrast wash
of shadows and midtones.
Infrared
6
Creates light-coloured foliage
in mono landscapes by
lightening greens and yellows.
Blue
2
This black-and-white preset
setting lightens the blues,
greens and magentas in your shot.
Darker
3
This preset reduces the value
of the Default presets slider
settings by a value of 10.
Green
4
This preset lightens reds,
greens and yellows in a
black-and-white conversion.
High Contrast Red
5
This is good for enhancing
portraits because it targets
and lightens skin tones.
Lighter
7
Boosts the strength of the
Default black-and-white
preset settings by a value of 10.
Maximum Black
8
Drops all the sliders to 0, so
that no colours are lightened
after being desaturated.
Maximum White
9
Boosts all of the sliders to
100 to lighten every colours
tones in a uniform way.
Yellow
10
This does what you would
expect, lightening yellows
and reds to brighten skin tones.
Selective adjustments
1
We used a Black & White
Adjustment Layer to desaturate the
shot, then lightened the flash-lit skin
by boosting the value of the Reds and
Yellows sliders. By increasing the
strength of the Blues slider, we were
able to lighten the reflection in the
eyes, giving them more impact.
Levels
2
By adjusting the Levels
commands Midtone input level
slider, we tipped the neutral grey
midtones into the black to create a
more moody, high-contrast image.
Dodge and Burn
3
We used the Burn tool to darken
the remaining details in the
shaded part of the face, which made
these areas more dramatic and
mysterious. The Dodge tool helped
to bring out the highlights in the
subjects hair, which enhanced its
shiny texture and added more tonal
variety to the mono conversion.
Crop
4
By cropping the shot, we made
the subject appear more
important and gave her more impact
because she filled the frame.
How we created our image
The mono
presets in action
From Default to Yellow, see how the
different mono presets available on
your Black & White Adjustment
Layer could affect your image
ck ite
t R d
2
1
3
4
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