Professional Documents
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Welcome...
"As you have no doubt discovered. by using a digital SLR. you
have taken a majOr step towards shooting better pictures.
Boasting an incredible level of versatility, delivenng superb
image quality and form ing the heart of a system that can be
expanded with lenses, flashguns and various other accessories.
the DSLR has led to a revolution In photography that you are
now part of. While the digital SLR is relatively easy to use for
simple 'snapshot' photography. the truth is that getting the very best from
your camera kit and. more importantly, developing the creative side of your
photography. requires some time and dedication to learning new techniques
and skills. The good news is that Getting Started in Digital SLR Photography.
produced by the experts at Digital SLR Photography magazine, is packed
with Information. advice and techniques that will help you become a better
photographer. If you"ve ever looked at images from the professionals and
wondered how they managed to get such great results. then this guide is for
you. We"ve covered all the basics of photography and provided tried and tested
practica l techn iques for shooting stunning images, along with expert advice
to chOOSing the best gear and pages of inspiring images to get your creative
juices flowing. Good luck with your photography. All the best!""
DANIEL LEZANO, EDITOR
GETTINGTO
GRIPS WITH YOUR
DIGITALSLR
While every camera brand designs
digital SLRs in their ovm way. there
are many similanties in the control
layouts of most models. We've
highlighted the key functions that
you should get to know as soon as
possible. as understarding how
your DSLR works will help you to
capture great pictures with ease
This is an important
exposure override. usually
designated with a +/ -
symbol. Use it to increase or
decrease the exposure in 113
or l12-stop incTements.
4) 1N1EGRAl.f1.ASH
The range of the built-in fl ash
is limited to a few metres but
is ideal when taking pictures
of friends and family. Most
models include a number of
flash modes.
" ,
Depending on what you're
shooting. you can set your OSlR HELP (INFO BUTTON
to fire one fmme only (Single) Of"
lire sequences (ConiinUOU$). You·1I find ttlat miII1'f dogltal SLRs boast
You also use this button to select an Info or Help buttl7l tl\at prOVIdes an
the self-timet. aptanatoon cJ vanous camera functlOl1S.
whICh 1$ a real beneI,l when trying to
undenIand how you'" camera works
UsinQ..Shutte.:miority AE
The procedu re for setting shutter'priority AE is very similar to how
you"d select aperture-priority AE. Turn the dial to Tv or S and then
rotate the input dial to select the shutter speed. All displays only show
the denominator of a fraction, so lI250sec appear as 250. whi le whole
seconds are usually displayed with a', e.g two seconds would be 2".
Autofocussystems
New fa" tre SCIefCe part we expIarn the secrets of hc::m a
d~""1 SlR focuses 1rd _to use rtto)OOr ~
ASK MOST PEOPLE how autofocus on a digital 5LR works and the
answer yQl(1I gel_s something like ~you press the shutter button
and the lens focuses before taking the picture~. lNhile there's
nothing wrong with this statemenllt's a very simple way of
descnbing a highly sophisticated and accurate system. While we
won' t blind you WItl'1 science as we cover autofocus systems. It'S
fa ir to say there is plenty to take In. Here we provide a iargon-free
explanation 01 how your DSlR's autofocus system works.
,'">gg':r-.l
Many SLRs offer an AF asSist Iarc that
DfOYldes addItional light to aid a
autofocus system. IllS normally _
located In the S<VTle ~ as the
lflIegral flash or on the camera's
front 300 auto-naltcalty fires when
light levels falls below a
cert3IIl value. The
AF ilSSIst~
normally projE.'ClS
a patternee! be8n
or a strobe fOf" the
AF to lock on and
~~
can """""
be swllcl'led
off I.JSII1g custom
functions.
~) AutoM
This merle IS best described as a mil( of the
ot~ two AF modes, When you first press the
shutter button, It works in the same way as
AF-S,locl<lng the AF on to the subject. However,
should the SlJbject move, It detects thiS movement alld switches to
AF-C automatically, Now here IS the thing that confuses some
people. The camera only switches from AF-S to AF-C when it
detects minor changes In focus distance, ie. the subject starts to
move towards or away from the frame. However, if it detects a
major change in distance it doesn't refocus. This is because such a
big change is interpreted as the photographer using Focus Lock.
HOW'do ro ralingswork?
The ISO ratins. alorqj: WIth the sl'utter speed
and aperture. ~ a vrtaI part in hem the exposure is calculated.
All three are II~ together. so chansing one has a bearir@onthe
others. Every cametll hasa I'iIfW! of ISO settings. with ISO 100-1600
belr@themostcommon.andcanbechangedinincrementsofll3. ".. or
one'Slop steps. The most common ISO speeds are as follows:
Changing the ISO increments WOI'1<s in much the same 'Na'I as that of
shutter speeds and apertures. so going up a full stop (for example from
100 to 2(0) halves the exposure. ....nile going down a stop (say from ISO
800 to ISO 4(0) doub~ the exposure. The lower the ISO rating. for
example ISO 100. the less 'sensitive' the senSO!' is to light and the lTlOfe
light that is required to give the correct exposure (through a longer
exposuretllne and/or wider aperture). Becausetheexposure time is
lengthened, setllng a low ISO rating is also COffiITlOIlly described (in
particular byex-lilm photosmphers) as setting a slow ISO speed .
Increasing the ISO boosts the signal travell ing throogh the senSO!' and
effectively increases the 'sensitivity', meaning that a laster shutter
speed andror smaller aperture gives the cor rect exposure. Due to the
reference to faster shutter speeds, setting higher ISOs are otten relerred
to as using faster ISO speeds. So if sorne<.Jne says they've set a slower or
faster 'Iilmspeed'. you now know what they mean!
When $IIoollnll movinll Stlbjects, you can use the ISO ",linKto help Kive you
the shutter speed you need to either freeze motion or re(;ord it as a blur.
ISOcompcui.sonfromISOlOO64OO ;;;'"'Iiii~::~:::;;;~~§~
The scene <Jboo.oe was taken at different ratings from ISO 100 to 6400 on a
tTipod-moonted Nikon 0300. fitted With a Sigma ID-2(}-mJ wide-angle
zoom set to 1114. As you can see from the magnified portions. there is very
If!I?
~...
..
little differeoce in the Quality at loweI'" ISO speeds but as ','(11 reach the f T.
higher speeds. rose progressivejy becomes more evident, sh<lrpoes.$ starts
to drop and ~ours lose saturation and accuracy. The Nikon 0300 ISone of
the best at shootmg at higher ISO speeds. so if you've an older DSLR, you'll
probably lind quality differences are even more exaggerated.
Howo:xn unde~lSOratings
makevooabetter~
The choice 01 ISO lilting you use has an enormous
impact on the final result 01 )OUr images. Its maIO
mfluence is that rt will affect what combinations of
apertures and shutter speeds are available to you, for
instance. in low light. Increasing the ISOcana11ow
you to choose a shutter speed for hancl1eld
photography that isn't available at a lower ISO speed.
II also has a big $WI in ove:all image quality, with
noise (digital's eQl"lIvalent to lilm gram). col(U
reproduction and contrast all being affected by the
ISO rating youchoose. Ullinlately. it influences ~
Single image you take as it has a direct aS5Ociation
with ShuttCf speeds and apertures when determining
the exposure. so you can', alford not to understand it
if you really want to progress your photography.
GENERAL
The extra speed
of ISO 400
eompared 10 ISO
100 means thill
you're more likely
to howe a 5hulter
speed thai allows
for handheld
photography,
"' ....
. ''''..
..,
Bill
FAST ACTION
Shulter speeds
need 10 be as
high as ponible
so a lasllSO like
8000. 16OO,a5
well as a wide
aperture, will
fre.flzemovi ng
SlJbjec15,
ISO_
..
,~
",
.. ,..,
STILHI r£
When YtH.I want
the bHt possible
quality, and
CiIrT1era 5hake i1'
subjeel
m(M!mem !sn'la
problem,lhensel
lhe 10W'e'S1
poss ible ISO,
ISO_
.-
..
... '"
''''
lSO~andnature
Nature sn~ regularly have ~~ts
10 contend with poor lighting When I'm shooting portraits,
CO!lditions and Slbject the thought at the forefront of
moYement. While a fast shutter my mind is depth-of·field. So.
speed is essential to freeze for whatever subtect I'm
mcNement and eliminate shooting, whether it be
camera shake. which is a real weddings or babies. I know the
problem vmen using II optimum aperture I wanl to set.
telephoto lens handheld (a Therefore. I constantly change
tr ipod is often Impractical). I the ISO rating 10 ensure I have a
have to compromise on an workable shutter speed for the
exposure that allows meto shootinS conditions and to
shoot durir'lll dawn's low light. avoid camera shake.
I 'm not a fan o f flash eit her. If I'm photographing a si rlgle
especi ally when shooting person or a baby I normally use
cl ose-ups. as it can destroy the the widest aperture I can to get
natural fee l, So, I gain the extra a minimum depth-of·field, so I
speed by ra ising the ISO. 1try Nature pllotographyoften requires get away wilh a vel)' low ISO. Sl>ooting port...its presents many
not to use speeds upwards 01 the ISOto be ... ise<:! to I>etp provide Whereas. Ifl"m shooting a dilferent cl>aLlenges and l'&htin&,
ISO 800 as, although signal deptl>-<lf-field or prevent shake couple, I'll need more conditions. so I'm constantly
noise has been greatly witl> telep/loto lenses. ISO 400 is depth-of-field (115.6). so need chilnging the ISO rating to giYe me
improved at higher 150s. II usually the best lor sharp results. al least a medium speed of ISO the de$Jtll-of-field I nee<:!.
cIoesgrow IT'IOfe VISible. An ISO 400, while at weddings I use
400 IS usually sofiicient, ISO 1600-3200 for versatility.
especially when combined Sure there Will be more noise,
with an image stabilised lens. but I"d rather have a noisy
While I always reoommerd sharp shot than a blurl)' one,
USing the lowest ISO rating and so woold my clients. As a
-
.,.
possible. don" be wary 01 rule-of-thumb. ifconditloos are
increasmg it even if it's at the
..
darll.1"1I bump the ISO rating
,. .
-
sake d image Quality. A slightly upandwhen irs bright 1"11
noisy image is nearly always
preferable aver- a blurred one.
By RO$s Hoddinott
........
add iI nicI! blur to water. irnil&e quality also requires <lIS low
to stop movemenl 0/ lhe animal decent amount 01 power. A
is byraisl~ lhe ISO rating. In ratlfl[ o13OOw.-'s is normally -~-
these cases. I tend to increase fine for portraits. The onty time
it to between 200 and 400: you may find yourself having to
enough to give a faster shutter raise the ISO speed is when
speed while keeping noise to a your f\ast1 heads aren't
minimum. At the end o/the delivering enough power
.. ,.,
day. landscape photography is Decause they're heaVIly
... ..
about keeping a balance diffused. such as soft boxes, or 100
between the highest quality you want to balance fl ash and 1100
Image and the mosl ambient IIghl. which will otten
aesthetically pleasing effect.
By Adam Burton
' reduce your shutter speed.
By Malt Henry '"
WhiteBalance
Your camera's sensor is
very sensitive to the colour
tem[:€rature of light. and It'Sthe
White Balance setting that helps
with oolour reproduction
YOU'LL HAVE PROBABLY noticed that
daylight can appear warme r or cooler
at ce rtain t imes of day, or season. and
that some arti ficial light sources produce
a colour cast. This is beca use li ght has
what is known as a colou r tempe rature ,
measured in Kelvins, wh ich can have a
major effect 011 how accurate ly colours
appear in your images. Digital SLRs have
a While Balance (WB) faci lity thai allows
you to set the sensor's sensitivi ty to a
part icular Kelvin rating so thai you can
shoot images wit hout any colour cast.
Using it correctly wi ll ensure accurate
colours in you r shots.
KELVIN SCALE This scale indicates the range of oolourtemperatures and the Kelvin rat ing of the main Wh ite Balance presets, (iI's worth I10ting
that thesetemperalures may vary from model to model), The Kelvin scale runs from wa rm to cool, with the Kelvin value increasing as the light
Daylight flash Cl oudy Shade
,:;:~ ~
1 I.. I~
7000K 8000K lOOOOK
AWB (AUTO WHITE BALANCE): The camera evaluates the
scene and sets its own Wh ite BalarlCe accordingly. It's a good
choice fo r begirmers, but you should think about setting the
appropriate preset for the lighting conditions you're shooting in
whenever possible, as it will give the most accurate colours,
The value tor Fluorescent light varies because the colour
temperature given off by fl uorescent tubes can be different. Some
cameras, in tact. have three settings to balance these different
types of fluorescent light. With Custom, you set the White Balance
by following your digital SLR's preset procedure - it's a good
choice when shooting in mixed lighting,
,
Whi1eBalance ,,"~J
Aocessor!§.
, , ,
e~
You can use the Custom
preset to set an exact
\~
\ , \~
While Balance by USing
a wh ite surface or grEY
C<lrd (depending on \'QU'
DSLR) as a benchmark.
Arl altem<llive is to buy a
• " J
,.'-;..
._-... _- -----------_,,--
illformation when you shoot ill a JPEG format. as
the file is 'compressed' so that it takes up less
space on a memory card or computer. The
amoUllt you lose is up to you - you call decide
this by the quality setting you apply on your
~.. -=:::...
... _-- ••
QugIIk~~~slz!>
To get t he best out of your JPEGs. size and compressi on are two important factors to be coosidered
IMAGE-SIZE OPTIONS When you're shooting JPEGs. you 'll usually IMAGE-QUALITY OPTIONS The other quality setting relates not to
find yoorse lf presented with twooptioos thai affect image quality. image size lxit to the level of compression, For the best quali ty,
The first is to set the size of the image you'd like to capture, in always keep compression to a minimum and only choose one of the
other words the number of pi ~els that make up the shot. The other options as a last resort if you're running out of capacity on you r
settings available are usually slated as L. M and S (Large, Medium memory card. You'l l usually lind com pression stated as an icon or
and Sma ll ) or in mega pixels. Normall y, you'll shoot allhe highest worded as Best, Better and Good, Here's how quality settings are
rating to make full use of all of the pixelson the sensor ( i,e. shoot a shown on four popular models:
six-m illion pi xel image if your DSLR has a six-mega pixel
resolution. But if you're s~oting for web use, you might want to
I ~~, I I .~,
.
Brand Medium
reduce the image size to make the fi les more manageable. CompreSSion CompreSSion COmpreSSIOn
(Desl Qualrty i (medrum QUAlrtyl (IOl'>fst Qualrty)
Camera I MaXimum Mtdlum I Lowesl Canon EOS400D •
resoluhon ~solullon resolullon
(besf QII~lrly) (medrum ava1rly) (IQIIIl'S1 aHalrlvl
Nikon D80 Normal Basic
Canon EOS 400D L
• S
Nikon D80
Olympus E-400
l'flIIax KlooO
&;;l
SItQ
6M
,.
ti!l
HQ
!iii
SQ
105M
Olympus E-4oo I n.7 U4 or 118
UnderstandingRaw
Getting to know what Raw files are and how they differ
from JPEGs is an essential step towards Improvement
WHATOOESRAWMEAN?
Raw Isn't a mode or a 'feature' that you'lIlind on your camern: it's the name
given to the file format in whICh you reo:rd the image. Whether you know it
or not. YOU'll most likely have been shootmg and saving your images as
JPEGs, a file format that pro.'ides a conveniefrt W<Pf of recording lots of
images quickly to your card. On your camera, you wil l have set your
camefa to shoot images as a JPEG by setting L (Large), M (Medil.m) or 5
(Small) or Fine, Normal or Basic. While JPEGs are great, there are added
benefits to SWitching to Raw that you may be unaware of. And, if you've
heard of Raw but were afraid of trying it because you thought it would be
difficult to use, the truth is that shooting in Raw is hardly any different to
leaving the carnera settoJPEG. The main differences. and benefits, are
evident once you have transferred your images to your computer.
Raw_deal!
Each camera bfand has its own form of RiM file.
For example, Canon has .CR2 or .CRW. Nlkon has
.NEF and Penta. has .PEF. Each brand's Raw
~Ion software can only haodle their own RiM
fi les, however third·party software like Adobe
PhoIoshop or Phase One can cope with all types of
Rawfiles. Adobe has also produced a univer'Sa1 Raw
lile. called .DNG. but it still hasscme way togo to
gain widespread support.
TheprocessofconverlingRawlmages
Taking photographs With your DSLR set to RaN rather than JPEG pn:N'des you WIth literally the rc.MJ matenals
for a great image. To transform them into top-quality photographs requires the use of Raw processing software
The interface of ..
,......,m.,
R_software
lniti;olly ilppe.
daunting, but don't
WO";'l- you'll soon
~ e liang of it!
we 5how tile
". ,.·_u_
Raw processor
1.10, used in Adobe
~,. Photoshop CS3.
- -,{- ...
,
... 'I
l) TOO LS
Basic 1001510.
magnifyinglhe
preview image 0,
making
-.- --
1 _....
adjust ments sueh
, -.,- Mcropping.
2) PREVIEW Allows
you to preview any
cha nges you'll'
0
"' making before
-. -.-
•
-, -
opening the file.
J) IMAGE
& ADJUSTMENT
INFO
--.
SLIDERS
~ 'This are .. provides
0
•• awealthof
In/ormation about
••
----
yourR_i~
0 and various sliding
conlrols thai allow
0 • you to make an
Inc~i" numbt't"
0
• of cha~ to the
image. on', wony
•
-
0 about tile latg'l!
II\lmber of options
( s- ___ ) - )'(ILI'II only need 10
_ _ (1_ ( ' - ' ) CE:)
,
._~to '''''''''' II_.
use a few of these
to begin wilh.
Rawsoftware
As we've merlhoned before, it's not
until ~ou download your images to
your computer thai the benefits of
shooting in raw can be seen, Man~
digital photographers who have
migrated from film describe Raw
files as digital 'negatives', with the
computer replacina the darKroom
as the place where the 'orillinal' is
processed and the final il'Tl(t8e
developed, Ratherthan chemicals,
it's software that IS used to convert
the Raw image into a JPEG or TIFF
that can be saved and printed.
While II's possible todothis fREE RAW SOnwARE WITH YOUR CAMERA PREMIUM RAW SOnwARE
without ITI1Ikina any image These are the packages bundled with the OSLRs. These packages are designed to hardle all Raw
adjustments. the fact is a few Most offer basic Raw to JP£G oonversion. others files aod offer more advanced features than the
small tweaks can make a ITI1Ijor otter more sophisticated features. Nikon and packages that come With the cameras. Below are
Olympus offer rTlOI"e elaborate packages as an some d the popular and more powerful
difference to the final result.
optional extra (see right). packages. Some are available web-only.
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In the days of fi lm, you picked ~ ISO rali~ and you stucfo; With it br the
next 36 frames. In the digital world 1hough.ISOs have become aoother
variable. just like apertures and Ylutter speeds. You can change them in
halves or thirds of 11 slop over 11 range of some seven stops, dependire on
your camera. That's more than the aperture range in some standard zooms.
To reflect this. most OSLRs have an Auto ISO settlt'l8...mere the ISO is
raised automatically as light levels dim. usually in order to maintain a
shutler speed for shake-free handheld shooting, Some Pentax and
Samsung DSLRs ellen go so far as to include an ISO priority mode (SAv). where the shutter speed and
aperture are both locked and it is only the ISO thCII is changed ir'l response to changing light.
Auto ISO is a particularly useful function 101' the street photographer. When light levels are chang ing, but
you are woriIing quickly, you don', always have chance to notice whether your shutter speed has dipped into
the camera-shake territory or not. arK! up the ISO to compensate, W'rry not let your camera do this for you?
Many OSLRs allow you to customise their Auto ISO option, specifying a minimum shutter speed after wllich
the camera will start to change ISO instead. You' ll also be able to specify the maximum ISO va lue here, which
is cruc ial if this feature issoing to work for you. lor as the ISO climbs higher. pictu re quality terK!s to degrade.
with noise becoming more apparent. It's worth experimenting with yourcamerato/ind your own ISO limit-
a setting wllich you're happy to work at. but not beyond. II you are lucky enough to have a high·spec fu ll-frame
camera - like an £OS 50 Mkll or Nikon 0700 - then thiS could be some ISO 3200 or higher. BacIc in the real
wor1d though. it is more likely to be around IS0640-800 onsomething like a Canon £OS 4500 or Nikon 090.
The great thing aboUt digital photography is the control you have over
factors such as colour saturation. contrast and sharpness when editmg
pictures on your computer - but did you know you can also do thiS
in-camera? Most digital SLRs offer the facility 10 tweak image settings
like this. Some have pre>determined picture settings. such as
Landscape or Port~t. while others give more individual cootrol over
settings like brightness. conbasl and satUf3lion, letting you sa...e these
as presets. If your camera offers manual control over ptdure settings,
here's one to get you started: try reducing the coiour saturation as ::. .' S:l • '"'"
much as you can without making the image completely mono, and - ", , ',"
then pump upthecontrast as high as it' ll go. You'll gel a hard, gritty ~ " " '" " "
look thai is great 101" striking portraiture. landscapers may like to try ABOVE; Select piclure sty1es from the
the opposite - boosting saturation and leaving contrast set to normal. menu and choose from the options.
BASIC TECHNIQUES
The essential knowledge you need to take impressive photos with your digital SLR
}I
The rule-of-thirds is the most common photographic 'rule' and was Lead-in lines can make a good scenic shot great, because they
first devised by artists to use when painting landscapes. II's based on provide a natural errtry point into the composition and carry the
the idea of divid ing the image area into thirds and placing Ihe desired viewe r'seye into the scene, These could include rive rs, streams, wal ls
focal points 00 the intersection of those thirds for a more balanced and ~ges In landscapes, or arms and legs in portraits - any line that
compositioo, A photographer can to th is by simply dividing the travels irrto and through the frame will work wel L If the lines travel
viewfinde r into an imaginary grid usingtwa horizoota l and two diagonally, ideally Itley should run from the bottom left of the
vert ica l lines. Use the hOfizontallines toaid positiooingof the horizon, compos ition to top right- where, you wil l have hopefully placed you r
the bottom line 10 emphasise the foregrotlild and Itle IqJ line 10 focal point according 10 the ru le of lhirds. Converging lines are even
emphasise the sky, Use vertical lines to position features such as more powerful as they not only lead the eye into and through the
buildings, trees or a person. Finally, the fou r intersection points make scene, but they alsoadd a strong sense oj distance and depth sothe
idea places to positioo your main foca l points. composition looks three-dimens iooal.
By placing subject mailer in the foreground of a compos ition, you can Colour doesn't just make images look realistic, it can also influence
create depth and scale. This is easiest and most effective if you use a the mood of a photograph. Warm colours such as ye llow and orange
wide-ang le lens, as you can include fealures literally at your feet. aresoothiogand restful, whi le green is refreshing and blue can be
These lenses also appear to exaggeral e perspective so that S(Jbjects cold and hostile. If you include contrasting co lours, such as blue and
closer to the camera are much larger than the distant featu res. This yel low or red and green, the compos ition will be roo re eye-catChing,
illusioncOrlll€YS depth because your brain knows the distant features whereas colours that complement each other such as red and yellow.
are normally bigger. and so assumes they' re further away, The are more gentle and atmospheric, Warm colours are said toadvance.
landscape is full of potential foreground interest such as rocks . sothey work wel l in the foreground on a shot, while cool colours
driftwood and flowers. Be sure to use a small aperture (f!16orfI22) (green and blue) recede and so they ma~e better backgrounds,
to ma xi mise depth-of-field, because unless everything in the Finally, red is the most potent of all colours and will dominate a
compositioo issharp from froot-to-back, your efforts wi ll be in vain. compos ition even if red are<JS are only mlall inthe frame.
)00000000
200) is best In
bright conditials
and a mid-setting
(e.s. ISO 4(0) foc
FoIl \-~ l' t~' ,"" I"' " .. ~ "
seneral use.
Multi-zone ~
In lheory. ~u could takecvcry picture usin!,: muiti-zone meterin!,: alld
never have a Dad exposure. Well almost ... The multi·zone pattern is the
newest and most sophisticated type of metering pattern and the one
most photosraphers stick to lor the majority of their shots. While every
manufacturer has thei r own types of multi-zone meter, each with vary ing
numbers and shapesol zones. all work in much the same way. Basically.
theentlfe image area is divided intoa number 01 zones and when
activated. individua l meter readings are taken from each one of them.
The camera's mere-processor then evaluates all Ihese individual
readings and uses comp lex algorithms to calculate lIle fina l exposure.
To improve accuracy. many cameras also boast a library of tens of
thousands of images taken in various lighting conditions, which are
compared in a micro-second wllll the new scene to produce the
exposure value. This system has proven highly reliable and gets the
exposure correct in over 90 pe!'Cent 01 shooting situations. It's not
perlect however, With unusualty light (ea: a snow scene or white wall) or
very dark (ea: a black door) subjects being incorrectly exposed.
Multi-zone meters can also have trouble with very high'COfrtrast scenes.
such as a backlit subject. This is why there are other metering patterns
available. as well as a choice of exposure overrides.
,
,
-
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y. -
Cen~weighted. average
Despite the arrival 01 newer and more sophisticated patterns, thIS
veleran stIli has its place on dIgItal SlRs. thIS is theoldest metering
pattern and was the number one choice until the multi-zone pattern
was introduced. As its name suggests. it lakes an average reading from
theenhreframe. WIth shght emphasIs given to thecenlral area. While
relatIvely l.IIlsophisticated. its past popularity means it is still included
in all cameras, as rrooy ~~ienced photographers feel comfortable
using th,s pattern, i'tsalso a good choice when using A£·lcx;k ,
e W
DARtl:VI THAN AVERAGE SCENE The camera is unaware that the
subject Is darker than average and 50 will overexpose the scene.
Solution: The camera will give thoe 5Cene more exPOWIl' than is required,
50 to eounten<:11h1s. set between -1 to -2EV exposure compensation.
o
~ and llQ!!ial meteriQg.
ThIS is a great pattern when you want 10 take a reitding from a specific
area 01 the frame - but it must be used WIth care.
While multi-zone metering takes measurements from the entire
image area, spot and parti". metering ooncenlrateson theoentral area
01 the frame (you can see the measuring circle at the centre I:A the
viewfinder screen), ThIS allows you 10 precisely control where the
eJlpo5Ure reading for the shot is taken from. as only the area 01 the
!Tame within the measunng circle is used to determine the exposure.
Spot and partIal metering is a great way to ensure you get the proper
exposure when yoI....re shooting in difficult lighting conditlOOS.
Spot and partial areYery simIlar in how theywork. The main
dIfference IS spot offef's a very precise measuring circle (usually around
Ii]
3%01 the image area), while partial meier.; usually measure lhecentral R£MEMBER It's vlla t llIal you
9% of the frame . The more precise spot meter is found on most OSlRs. po<ilhon Ihe spol/p.artlal mele. "",. a
whIle partial;s less common, and a handful oIcameras boast both. mid lone II> gellhe torre<:1 expowre
You must take great care when using spot or partial metering. Always spot mele. off a dane SlIbJe<:1 and
take a read ing from a mid·tone and not a light ordark subject. you'U OVI'rexp"'" ,I and vlce-ve......
othelWise you WIll produce an incorrect exposure.
Exposure compensation
ThIS IS the most OOITJI'T'I('tlly used ovemde CJ'ld allONS yuu to
make adjustments to Increase or decrease the exposure
ONCE YOU ARE aw<We 01 hew metering systems wor1<. and have
®P: gained a little experience using }WI" OSLR the times when the
exposure system is likely to make mistakes become easier 10
predict and compensate lor. The simplest way 10 !7.'erride your camera 's
metered eo;posure is to use exposure compensation, which allows you 10
dial in a set e;.cposure increment to increase (+) or de<:rease (-) the
exposure. For instance, a subjectlhalls signllicantly lighler than a
mid-lone. like a briCe's while wedding dress. is likely to be
underexposed by your camera. so you need to select positive (+)
compensalion.llthe subject is muth darller than a mld·tooe.like a
black dog, it is likely to be rendered overexposed. Therefore. apply
negative (-) compensat ion. Apply ingexposure compensation is quite
straightforward and with experience you'lI be able to judge how much is
needed. All digital SLRs have a dedicated exposure com pensation
button to make it a quick and easy process in eithe r automalic or
semi-automatic exposure modes. The compensation you sel is often
shown as + or - EV (Exposure Value). II you add a hal f-slop of exposure
il will display as +lI2EV. while a 113 stop reduction is shown as -1I3EV.
Auto ExposureLock(A&-L)
This useful function allO'NS you to 'lock' al exposure reacllng from a subtect ootslde your fooJs area, VoIhen the main
focal JX)Int IS rot a md-tone ard can fool the canera 's multi-zone metering system Into giVing an lnaa::urate exposure
PRACTICALLY EVERY DSlR has an AE-L bt.rtton. whICh
is normally found on Ihe top right at the camera's rear,
or near the LCD monitor. AE-L is an abbreviation lor
Auto uposure lock. It is designed to lock the current exposure setting
so that it doesI1', change when you recompose your image - even if the
Incoming light levels change. AE·L can be used in any exposure mode.
although it is pointless il you are shootlllf! in manual mOOe.
When you press the shurter button down halfway, you engage the AF
to focus and the meteringsyslem to take a reading . Tholl 's ideal most 01
the time, but what about when you wa nt to focus and meterfrOl11
different subjects or parts of the scene? That's where AE-Lock comes in,
This l.ISelul feature allows you to l ake an expos ure reading
independently of where you locus, which is ideal if your subject is very
dark or light orposltioned in a bright or dim area o/ the scerle.
AE-L is most COInlTlOl1ly used with the spot or centre·weighted
metering pattern in order to ·Iock· the reading taken from a specific area
of the frame. This is particu larly useful in tricky lighting cond itions that
ca ll fool your melerinll system -like backlit objects orsubjects with
very dark or lillht backgrounds. For instance. if you are shooting a scene
containing a brillht lillht source in part of the frame. your camera·s
multl'zone meter could be fooled by this light area inlo thinking that the
scefle is brighter than it actually is and wi ll underexpose the result. To
achie....e the correct exposure, you want to take a meter reading that
excludes the hght region. This is possible by taking a spot..partial meter
readinll from the subject itself or an area of the scene thai is a mid-tone
and locking the result WIth the AE-Lockbutton, before recomposing the
shot and taking the picture.l./slng the same principle. AE-L is useful
when shootJng subjects that are positioned otf-centre. AE-Lock IS also
useful when you want to shoot a series of images using exactly the same
exposure settings. For E!)((Imple. if you wish to stitch together several
shots to create a panorama. It is important that the shooting parameters
employed for each frame are conSIstent - usmg the AE·Lock button at
the start of the sequence is the answer.
Using AE-I.ocI£
The AE·L button. combined
wi th spot or cent re-weighted
meterrng, is one of the most
accurate forms of achieving
the correct e~posure settrngs
for any gi....en subject.
I) Select your CiIIT1et'll'S spot
(ot partial) meter.
2)Oired theeamet'll $Othatthe
melerin& t i.de Is positioned
__ the area ot subject that you
wish to mete-r from.
3) Press the shutter release
button 10 adiv3te your DSLR
and release it.
4)AetlvateAE-Lotk by
pressini the button. N~e! on
some models you have to keep
it decItess-ed. $0 consult your
I'5et"'s manual. The letters 'AE-L'
~ diSCllaY in the 'llewfinder to
indicate the lode Is .ctivated.
5) Mo....e the earner.J and
recompose the Imaee 15 you
want. Your exposure settlnp
wWI not tha~, ~n if the
inc:omina light levels alter as a
result of chanl!;ln& compo$ltion.
6) Fully depress the shutte<
L~"::·:·~
~ oo~",,~.__________~~~~~==~::::~~~~~~::::~~ ____________________~~~~~~~~~ "
Scan & PDF: worldmags & avaxhome
046/ BASIC TECHNIQUES -
Getting startedm Digltal SLR Photography
---
SO WHAT SHOULD A HISTOGRAM LOOK LlKE? This is tricky one to answer. Despite what
some people may say. there is no such thillgas the 'perfect histogram'. It Slmplytellsushow a
picture is exposed. allowing photographers to decide whether - and how - to adjust exposure
settings. Therefore. a histogram of a light scene will be VefY different to one with predommantly
black tones or one With a mix of both. Howevet. generally speaking. a histogram should show a
good spread of tones across the horizontal axiS. With the majority of pixels positioned near to the
middle (l00). Normally. it is desirable to avoid peaks to the right-hand side of the graph. as this
is usually an indication of 'burnt our (overexposed) highlights. resulting In lost det8!1. When
assesslllg a histogfllm, it is important to consider the brightness of the subject Itsel1. for
example. a scene or subject boasting a large percentage of light or dark tones -like snow or a
Silhouette - Will naturally have an affect on theoveralilook of the resUlting graph. Therefore.
whilst it is possible to ma~ recommendations. it is impossible to generalize about what is and
isn·t a good histogram. Whist an even spread of pixels throughout the greyscale is often
considered desirable you Will also need to use)«lr own discretion.
HOW DO I CHECK A PICTURE'S HISTOGRAM? Most digital SLRsalk)w you loview the
histogram on the LCD monitor during playback. To do this. press the playback button to view the
image and then cycle through the additional photo imo screens until the histogram is displayed,
II's worth maklllg this your default settin(!. so that you can quickly access the histogram and assess
exposure immediately after taking the picture. Using the histogram is a far more reliable method of
assessing e~posure than looking at images on the LCD monitor, particularly when trying to ~iew
images as light that reflects off the LCD can be deceptive. A good rule, when interpreting
histograms. is to strive to get a reasonable spread covering at least twothirds of the graph and UNDERSTANDING HISTOGRAMS The following
a...oiding sharp peaks towardeilher the far edges of the graph. Wh ile this might be fine in theory. in three Images are al correctly exposed, yet their
practise iI's rare ly thai simple. Creative photographers may shoot silhouettes or high-key images, histograms differ greatly. The left and right
histograms are similar to those 01 under- and
which give histograms with pixels skewed toward the far left (black) or tar right (white). Equally. overexposed images. with peak'S towards the
images of a scene or subject possessing a large percentage of light or dark tones will have a extremes. but all three are correctly exposed. It's
hist08fOO1weighted tooneedge oIthe graph. In instances like this. the histogram isn·t irdicating important to learn how intetprel an accurate
an iocorrectly·exposed image. It is simply representative clihe style of image or subject matte~ histognom In relation to the $Ubjecl matter.
•
PEAKSTOTHE PEAKSTOTHE
LErT The tOM!!! RIGHT An
~ skewed to
left due to the
t'- seen.
OYeriy-fii'!'
iIves . h~to&ram
dat1c backdrop, skewed to the
but the lma&<! rigtrt, but this
isconectly Image is conectIJ
exposed.
~-.
i
," realistic answer. but this rather defeats the
object of shooting the su nset. Instead. it is better
I to simply wait until the sun is just about to
disappear behind the horizon. By then. its
intensity is greatly reduced and your camera will
, be able to captu re the scene's full range of
pholos;rap/lers make when shooti"l! sunsets is brightnesses. Also, the colours in thesky Will
to take pictures ...nile the son is slill too high and now increase in intensity and grow even more
bright in the sky. Unless the sun is heavily spectacular. The sun's afterglow is often even
diffused by cloud or haZe. il s inlens.ty Will be too more impressive. so don', make the common
strong lor your camera's sensor 10 reco'd. mistake of pac\ong up and going home as soon
Cooseq..Iently, the sun (end the area of as the sun vanishes behind the hor,ZOll.
brightness alOlrod it) will otten be grossly Presuming that you have a sturdy tripod. you
overexposed. or 'blown out', This intense can continuetoshoot for another IOcr 20
brightness WIll also fool you" DSLR's metering minutes before the sky's colours finally fade. 51111
system makJll! it think the CPJeI"aIi scene is unsure? ().Jr step I7y" step guide shows you how.
~ The two ~IOIIS Images proved the range ~ AlIlMxJgh a DSlR's Auto WB setting is ~ The sky oftenlook'!i most imPfl'$$ive after
01bri&f1tneu ls beyond the sensor's dynamic quite aa:urate in II\iIny shooting ';tuations.it the SIIn has disappeared. The afterglow can last lor
range . • woold rttedlo w;1il "ntllthe sun was lower slMxJldn't be relied upon. It is important to match up to hall an hour. teYtaling rich, warm coloors-
In the sky and lessinlcnse. Ten minutes later, the the relevant WB preset to the appropriate ~l!htin8 50 don't leaYe a location too soon. Note that
$lJn was low and diffused enougtlto continue, but con ditions. Therefore. I se lected my camera"'s e~pos ure times will &row progressively tonger 1$
Auto White Balanee hasn't captured the colours Cloudy preset to mimic the conditions. The re$Utt the sky gels darller and e~posures lI\iIy be seconds
accurately and has created a eool coloor cast. is warmer and farmore authentic. In length, 50 make Sllre you take a tripod with you.
Exposingbacklitsubjecls
Paul Stefan shows how a spot meter, reflector and fill-in flash are all tools to help you perfectly expose a backlit subject
SHOOTING A BACKLIT subject ( i,e, with behind them (so you 're s hoot ing towards them around the su bject. which should result in a
I?l ...
~
the sun be hind tl1em) IS not someth in g I
dotoo often, as it certa inly comes w ith
its chal lenges. If you 're not prepa red for
it. your resu lts can often be qu ite unpred ictable
and , more often than not. your subject will be
and t he sunor light source), your camera is like ly
to get the exposure wrong and usually
underexpose the subject.
This happens becau se the camera 's
mult i·zone exposure system wi ll evaluate the
pe rfectly exposed person every t ime (assum ing
your subject has Caucasian sk in - if not. take a
spot meter reading offcloth ing. grass or any area
of m id·totle in the same lighting conditions).
Wh ile this isan easy and quick method. it
underexposed and look rather flat. This tutorial ove rall scene, G i ~en that you are pointing the doesn't corne w ithout issues. For example. if the
for beginners willl1elp you 10 understand the camera towards the light source. it wi ll always surround ing scene is also important for the shot.
re latively stra ightforward steps you can take to look to expose the shot for a bright scene. you may find that it turns out to be overexposed
end up with great resul ts. causing the darker areas - in this case the if irs lighter than your subject. One wiYf around
Let"s beg in with why letting the camera make person - to be underexposed. this wou ld be to take the meie r reading from an
the dec isions for you is not the best option. Irs Tak ing rTIOfe control ovcryour camera will in'between subject and then use you r camera's
often so easy to st ick your camera on Full Aula greatly imprwe the image and ena ble you to get flash to fi ll the foreground in with light.giving a
mode and let it dec ide Iheexposure, For portraits the exposure you real ly want. One of the easiest more ba lanced exposure across the whole scene.
in which the light is shining on the su bject·s face. ways for beginners todo this is to set you r DSlR Equally. a reflector w ill also help this. as it w ill
or off slightly tothe side. us ing Automode to aperture-priority and use tl1e spot meter along bounce nalu ral light back towards your subject
sometimes works just fine. as t he exposure with AE Lock to fix the light reading. With this and have a similar fill· in effect. If YOU're feeling
levels may not be too ex:treme, However. it you method. you take a spot reading from the really adventurous. why not try a mix:ture. using
pos ition your subject so that the light source is person's face. regardless of Ihe light cond itions both flash and a reflector.
l) TAKEASHOTwmlDSLRSETTOAUrO 2) USESPOTME'l'ERlNGAHDAREFLEC'I'OR
I was keen for my portrait to ha\le a picturesque backdrop. so I chose a The Autoshot wasn't a disaster, but itcoukl have certainly been improved with
5Outh-facing hillside near my home, with a view looking out to Robin Hood's the use of spot metering. By switching my DSLR to apertu re-priority and
Stride and Cratcliffe in the Peak District . My first shot was to see how the setting the metering mode to spot, I was then able to meter from Emily's face
camera's Auto mode handled the exposure of my subject with the sun directly and lock the reading using AE-Lock. 1did this by looking through the Viewfinder
behind and above her. With this set-up. I was shooting towards the sun. which and placing the central circle over her face and pressing AE-lock to ensure a
would certainly challenge the camera's multi-zone metering system. perfect exposure. I then focused on her face, recomposed and took Ihe shot.
~ It was a $tonny evening when I visited Roughior. so I decided to ~ In order to p.eYf!nt hlghligtlts in the sky from burning oul. I decided to
include mOfe sky than foreground. I settled on a simple composition. using take a spot meter readina from tile sky. I switclled my OSLR to spot metering
tile granite ou tcrops as foreground Interes!:.1 set my Nikon 03OOto and took a reading lrom a briKht re,lon of the $kyo This gave me a shutter
aperture·prlority. selecting an aperture of VI6 for a deep depth-of-field speed of 1I80sec. llocked thrs settlng b)l pressing the AE-l button. and tool<
and the Cilmera selto a shutter spe-ed of 1I4Osec. However. the result is poor. another shot. The bright ~ ns of sky were now correctly exposed. but as a
Tile foreground underexposed and the hlghtlghts in tile sky washed out resull of usinga shorter exposure. the rest of the scene is now even darker.
~ The Kene'$ rangt! 01 brightness was too great lor my DSLR's dynamic ~ lIlhe sky is bri8hler Ilia" tile land, you can balance the exposure by
"'n&e To show this. 1look another shot, this lime correctly metering for th e positioni", the iJ1Iduated ZOII<! 01an NO grad lilter over the lighter sky, In this
ioregroond. 1spot metered from the granite, giving me an exposure time of Instance, the difference In exposure between tIM! land (1I10sec) and sky
1I10sec - agaIn at f/ 16. The det,,;. in the rock wMgood but, lI5anticipaled, the lI8()se.c) amou nted to three stops. So, I positioned a three-slop graduated NO
longer expoSIJre blew out the sky. ruining the image. I could h~ merged tl>ese 1ilter in my camera', filter system, carefully aligning the transit ional zone wilh
the IIorizon. However. lhe result looks a lillie too even and unnatural .
two eXpOSUrH in PholO$hop. bull wanted to a 'perfe.:I' exposure in-camera.
Depth-of-field
for thiS Ctlfnpanson set. !he lens
(28·7Omm set to 7Omm) was
focused on the girl's face. The only
thing that was changed was the
aperture setting. In full stops from
fl2.8 to 1122. Note how the railings
behind the subject become
progressively sharper as the
aperture is closed down.
For any given aperture, you' ll find that both of the following will
affect the amount of depth-oj·field that appears in a scene.
LENS CHOICE Wide·angles give more pereived depth'of'field
than a telephoto at the same aperture setting. So f/4 with a
28mm lens gives more depth·oj·field than V4 at 200mm!
SUBJECT-TO-CAMERA DISTANCE The d05ef the subject is
to the camera. the less depth-d-lield the image will have.
m
~rture-priorHy& '"
landscapes
Landscape specialist Lee Frost sh:Jv.Is why
aperture-priorIty is the most practical
exposure mode to use 'Nhen shooting scenics
ONE Of THE FUNDAMENTALS d successful landscape
photography is being able to control and assess depth~f-field,
to ensure that the image is sharp from front'lo-back.
Aperture-priority mode helps you to achieve this. not only
by forcil'll you to think about which apertlJre to set, but also by
mailing sure that once it is set, lhat aperturewoo't change if
light levels fluctuate or~ attach filters tothe lens. If the
exposure has to be adjusted when shooting in aperture-priority
mode, the camera does it by changing the shutter speed, so
the aperture remams constant. This is vitally important
because achieving e~tens i ve depth-of-field is not just about
aperture selection, but also focusing distance, and a ca reful
balancing act between the two is requi red to ensure the best
possible resu lts. You cou ld take every picture attl22, willl the
lens set 10 in/inity, and most wide-angle shots would end up
with front-to-back sharpness. Unfortunately, this simple
apprO<lCh doesn't always work - so you're not going to get the
best results. Wide-angles and zooms tend to give their worst
optical performance....nen at mmilll.lm apertlXe and their best
mid-range around 1/8 to V13, so ideally you should shoot as
close to these settings as you can to achieve optimum optical
quality, and locus the lens at a distance that ma~imises
depth-of-field at that aperture.
My fawunte technIQue is based aI'OlIld somellling knovm
as hypel10cal fOCUSIng. wlllch involves focusing on a point lID
knowo as the hyperfocal distance, where deplll-d-field is
maxlllll5ed lor the aperture in use. Lenses used to feature a
hyperfocal distance scale on the barrel but virtually none do
today. There is an equation lor calculating hyperlocaI distance
lor any lens <nd aperture, so in true Blue Pefef" fashion, I did
iust that and created a hyperfocal distance chart, which you
can copy and refer to when you're on location.
The distances in metres (m) represent the hyperfocal
distances for each focal length and aperture. If 'f'JU focus your
lens on that distance and set the corresponding aperture,
depth~f-field will extend from half the hyperfocal distance to
infit'llty. So, if you're shooting at 24mmand till. focus on a
point l.5m fPlay anddepth-ct-field will eJCtend from Q.15m
(half the hyperfocal distanoe)to infinity - which is more than
enough depth-o/-field in most situations.
riority:
Shootingnature
Ross Hoddinott explains how this shooting
mode helps him capture great nature shots
WHEN PHOTOGRAPHING NATURE. one oft~ keys to success
is being able to select t he most appropriate exposure settings
with speed and efficierlCY, For example, when shooting flighty
birds or insects, you can't afford to waste valua ble time by
pressing too many buttons and tw'iddl ing dials, otherwise. you r
subject might move Of scuny away before you've had time to
releiJ5e tl1ecamera's shutter. For this reason. whichever
exposure mode you select is vitally important.
Nature photography often illllOlves usi ng spec ialist optics ,
suc h as a long telephoto or macro lens. At such high levels oj
magnificat iOll, deplh'oH ie ld is often limited, wh ich arguably,
makes aperture selection more important when shooting
nature than with any other type of subject. When you
photograph nature using one of )"XIr DSLR's fu lly automatic
modes. )"XI are allowing the camera tod ictate theamount of
depth·oHield for you , Therefore. the results can bevery
differentlo what you were aiming for. Toavoid disappointment.
don 't rely on a p!'ogram mode, Instead, take control of you r
settings. Ape rture'p!'iority is the best cho ice in the majority of
shooting situations, regardless of whether you are a beginner or t1mJ I noti ced
an experi enced pro. II allows you to manually select the most this tiny mushroom
growing on a tree
appropriatefAlumberforthe subject. For example, if you stump and th ought
requ ire a large depth·of-field to maximise back·to·froot it wou ld make a nice
sharpness. which is useful when shooting flower close· ups. for close-up, I liked the
instance, set a small aperture of f/16 or 1/22 , In cootrast. if you moss growing
requ ire a shallOW depth-ol·/ield. to throw distracting foreground nearby, so I chose
an anwe from which
and background vegetat ion oul of focus. or to draw attention to I could inetude it in
your point of focus, optfor a larger aperture, likef/4 orfl5.6, the frame. With my
Aperture'p!'iority allows nature photographers the level of DSLR on a tripod, I
control they require. Even in si tuations where a fast shutter composed the shot
speed is needed to freezefOlst OlCtion, such as when and, with l he help of
a Plamp, positioned
photographing a bird in flight. aperture-p!'iority remains a highly a small refl edor
useful mode. Th is is because when you select the widest nearby to illuminate
aperture. you're also setting the fastest shutter speed available. itsgjlls.
~ I wanted to take a picture where the fungus ~ Still using the full auto mode, I adjusted ~ I decided to try the close- up mode and
and rno5S were both sharp. Set tofull auto, my the fows 50 that the AF Io<;ked on to the cap 01 the found the camera could still only 'guess' at the
DSlR chose the ma~imum aperture to give the mushroom, but now Ihe cl ump of moss was effect I was trying to achieve. It opted for a small
fastest availabieshutlerspeed. The resulting completely out of locu5. ln facl , at such a large aperture lo generale a la rge depth-ol-field, While
deplh-of-field proved far too shallow. When focused apertute, even the stem of the fungus wasn't sharp. 11M! mushroom and moss are sharp, too much of the
on the moss, the fungus behind is badly OIIt 01 low5. It p-roved that I needed to change the mode. backgro und is showing, which is distracting.
-
HOW MUCH OEPTH·Of· fIELO
001 NEEO?
There are no rules to how much
deplh·of-lield you need 10
makea picture work. as
photography is so SUbjective.
Hov.oever. photographers vmo
specialise in sI10011n8 certain
subjects tend to have distinct
preferences as to the
amount at depth-o/'/ield
required. For instance.
- -
landscape. commercial
and scientific
-""""'...-"
lend to use broad depth-of-field.
so !hat as much at the scene as possible
appears sI1arp. whereas portrail ~raphers lend 10
favour a sI1a1low depth-of-fieJd. making the subject stands out
frOrll a nicely blurred backjl'Ol¥id.
In other words. while !here is no hard and fast rule !hat says you
must 81m for shallow depth-of·field when shooting subject 'X. aod
broad depIh·of-fieid when shooting subied 'V'. some types of
scene or subject are better SUited 10 a shallow depth-of·field. while
others look best with everything in sharp focus, Irs worth aiming to
conform 10 these tried and tested methods to start with. then once
you'ye gained a little more experience, start experimenting. The
main consideration to make is how you want you r subject to relate
to the rest of the scene - do you want it to stand oot from the
background, do you need enough depth-of'field to keep a certain
area in focuS, or do you want the entire scene to appear sharp?
Choa;ing fille"
II shooting 100S
e>;posures in low liSht.
there will olten bequite
a difference in
brightness between the
foreground. which alter
the sun sets. will have
nodired light on it. and
the sky. which will be III
from below. A
Gr.:Iduated Neutral
Density filter will ensure
that this (XlIltrast stays
Wlthlllthe dynamic
range ofyourcamera's
sensor. II shooting along
the coast. With dins to
one side. angle the grad
so that It doesn't cut
into the cliffs too much.
Another useful filter is
the poIariser. Not only
Will it reduce the glare
off arrj wet foreground
roclls. but it will cut out up to two stops ollight
(elalctly how much deperds on how much
poIansation you use) ena~ing you 10 eJCtend
e>;posuretimes.
-,
Subj~et
_Iu
Car(~h)
t.r(70mph)
Re1:ommend~
Sub~eI mII"'"g
towardsumerll
11125·1I2<lO=
11250-lI5OOsec
V250-1I5OOsec
11250·lI5OOsec
shutter speeds
Subjed
3tn:!SS
ITIO'ilng
frame
lI25O-lI5OO~
1I250·l/5OO$ec
lI25O-1I5OO>o<
lI5OO·lI1000sec
Cyclist V200-1Il5Osec Vl50-1J5OOsec
Galloplll8hor$e 11250·lI500sec: USOO·1I1000sec
Fast motorsports lI5OO-1I75Osec 1I1QOO·l/2OOOsec
Creative blurring
You can gr.oe the appearance of motion Iyt 5electing a slow
shutter speed. Atlirst. this might seem like a strange idea.
but combined with the nght subject. the results can be
stnking and help to emphaSise movement in a shot This
type 01 intentional blur is eorrmon practice in scenic
photography. often used to reoord flovo'Iflg wateras a milky
wash. to add atmosphere. Slur can suit aillypes of subjects.
SllCh as a bustling crowd. crops or flowers swaying in the
breeze. a flock of birds in Ih!!ht or moving vehicles.
Toachievethis effect. atri pod is essential. Slur isachieved
usin!! very slow shLltterspeeds. sowithout asupport, you
risk adding)"OUr own Il"lO'IIement to the subject's. As a result.
the whole scene will be blurred - not just the subject. The
shLltter speed required to create blur is relat ive to the
sLlbject's Il"lO'IIement. but a good starting point is l!"i!secor
slower. For more prOJ1O(Jnced dramatic effects, a shutter
speed of several seconds may be required. Achievingthe
best result can prO\'e a fine balarx:e - too little blur. and it
woo', look intentional: too much. and the subject may
Deccme unrecognisable; so to achieve your desired effect.
you Will need to experiment with different shutter speeds.
HOW TO PAN; When panninlif:. make SUn! that YOII ~ a firm, comfortable !~P on
the camer.!. Keep the came ... moving smoothly at the $arne speed as the SU;?ect.
and use continuous shooting mode. It takes pr;tclice. but it is worth the effort .
Movement RivelSandsbeams
Ross Hoddinott provides scrne expert advice and tricks of the trade to help you
use slow shutter speeds to transform fast moving water into stunning milky trails
TRADITIONALLY, WATER IScone of the most popular subjects among photographers. Picturesque rillers,
streams. waterfa lls and weirs will soon have snappers reaching for their digital SLR. However, the look and
fee l 01 the final imagewlli be llreatly dictated bylhe shutter speed selected.
When shooting runmng water, )IOU have the ability 10 convey either a sense of action Of motion - the choice
is yours. FO( example, a fast shutter speed of l/5OOsec Ofquicker, will freeze the water's movement-
suspending every last tiny droplet. Thiseffectively creates a feeling of action. Select a Slow shutter speed of
one second or longer and gushir'l8 waler will be reduced loan atmospheric. milky blur. This effect eives the
impression 01 movement and. combi ned with Ihe right scene, the resu lts can be stunning. In lact. employing
a lengthy e.>eposure 10 blur water is a popular and well usedtechnique today and. while some would argue the
effect can look a littlecllcM, it is an approach many of the top professionals regularly employ.
BlUrring water is a relatively easy thing to do - try it for you rself. Any shutter speed exceed ing l.I3Osec will
~ur rapid water !TlOYeITIeflt. However, to create the atmospheric. ethereal blur most photographers desire, an
exposure 01 one second or more is normally requi red. To generate such a lengthy exposure. employ a smaU
aperture of fm or V32 and your camera·s lowest ISO sensitivity - this will also help maximise back·to-front
sharpness and image quality respectively. It is also best to shoot on an overcast day. By doing so. shutter
times will be significantly lengthened and IIgtltll"ig will be less cootrasty. benefiting the end result. If the
conditions are bright. you may find that the only waj to create a sufficiently long exposure is to attach a
Neutral DeoSity (NO) lilter - designed l o reducethe amourrt of light entering the lens (see right). Even inOOIl.
wercast light an NO lilter can proYe a handy tool. creating artificially long exposures of up to 30 seconds
- producing even more dramatic and eerie results. One final word of advice: to avoid camefl} shake, always
use a sturdy tnpod and release the shutter using the self·timer or a remote release.
ABOV E & OPPOSITE: When uPlg ~ long expo$lJ~ 10 detiberately blur w~te r mOl/ement, il'slmpllftant to ~Iso Incillde static objects. For example. willi
a river scene, incl ude ~ bollkle. or bridge to ham e$$ the composition. OUlerwise. t he w~ter will be indistingu isha ble. When I spotted this p/lologenlc
nIO$sy boulder - with water rapidly CIIscading a.oond it - I decided that ratherthan Include It as pa rt of a wide-angle I/iew, I'd make it my l ocal point.
I Wilsn·t sure what exposure length I would need to create the desired effect, so I began by using a relatively fasl exposure of l /25Ose(:. Then, in
subsequent shol s, I reduce d the shutter speed in one·slop increments. A lengthy lour-second exposure created JU$tthe rig ht effect.
Use a polariser
II youdon'l own a Neutral Density
IiIter, then use a poIariser instead.
While not all polarising lilters are
totally neutral, they have a 'filter
lactor' of two stops - equMllentto a
O.6ND. Therefore, they can be used
asa makeshift NDwith the added
benefit that reflective glare Wlil also
be reduced, This Wlil saturate colour
and give your shot more impact.
ABOVE & OPPOSITE: This field 01 oilseed rape made II brlgtrt and coloutfut landscape. I composed my silo! and the n took II s.equence 01 Images
employing progressively longer ~utter speeds. The fll'$tlmage. shot at U2SOsec, lias perfectly frozen the m()\/erne nt of the lIowers in the Slimmer
breeze. Subseqllent images, etll125sec and 1160sec, look very 5imilar. However, once exposllre time lenglllens beyond IIJOsec, subject movement
grows mcrell$lngty noticeable end a t slluller speeds of Olle second and more, the lIowers lire rendered liS a yellow haze, While tile effect isn't
unplellSllnl, in this instance, I prefer th e resu lt achieved IlSing a shullerspeed of 112 second,
LandsoapeorUQrtghtDnTKrt?
II's n(llural to tlilihe camera uprisht when you're shooting a portrait as it
allows you to fill the frame with lhesubject's head and shoulders Of'
entire body. It's ~so a good format to adopt when you're trying to exclude
as much Of the background as possib~ to coocentrate attention on the
subject. Because this orientation is used so otten when ~ing peop~ ,
the upl'ight format is often termed the portraitlormat. Shooting portraits
with the camera held horizontal to pl'oduce a landscape·format shot
often allows for more creative compositions. For one. it allcms you to
pIaoe the subject off-oentre to Include some of the backdrop in the frame.
It also alla.<lS you to crop tightly into the face. which can add drama and
i~ to the scene. Both options are worth trying while looking iITough
the viewfinder to see which works beslilin doubt shoot both ways!
We cropped the same ima&e into a landscape and portrait formal Wltic;h do
you ~Jer1 Chooslna the orientation of your picture is a key decision you
need to make each time you compose as can make or break your shot.
Use a diffuser
StICk. a diffuser between the sun and your subject and you'll
mstantly cut off the direct light and get better results. Oiffusers
play their pa1 when shooting in strong, directionallighl, such as
bright sunshine. They're basICally a large sheet 01 diffusing
material fitted to a frame (normally lightweight aluminium
tubong), Placing the diffuser between the light sa.m:e and the
sub/tCt cuts down the light's intensIty, while also diffusing it to
give a sdter, more pleasing effect. They're usually quile large and
come in various diffusiOn strengths, WIth Lastolite and California
SunbolXlce beIng two at the more popul;,y br<n:ls.
The diffUSIng material can be replaoed and comes in differeot
thIcknesses, which determines the eKtent of the diffusiOn.
Face~SUll
11 you haven't got a diffuser. therl try
lacing the subject away from the sun.
This way, theI r face wi ll be in shade,
and often the sun captures attractive
highlights in the hair, If yOlir subject
has long haIr, use it to provide a light
shield to prevent sunlight hIlling
their face, as we've dooe here.
DlrKl sunlight Is I very harsh Iype of tight ....d extremely unflattering If a diffuser Is unavailable, then have your subject face away from
for portraits.. As OIIr $tI of uamples show, the simple use of a diffuser the iWn. Adopting I hlgh t r vlewpoinland having l toe subjecl tilt her
reduces ttoe harSh contrast, making an Immediate improvement, toead down slighlly helps make the most 01 the iWnlighl on her hair,
Cloudy
conditions
Dull weather daysca1 SO'Tletlrnes
be the best tor portrait pI"otography.
We shoot)OJ how to make the
most from minimal light USIng a
reflector zrld dash of creatIVIty
If YOU WERE planning to shoot landscapes
and looked out the Wloclow to find the sky
filled with grey cloud cover, you'd not be
happy. However, for the portrait
photographer, a grey blanket of cloud is
viewed as Mother Nature's own diffuser,
Overcast condit ions take away much of the
pain of shooting outdoors as there is no need
to worry about strong sunlight However,
that 's not to say that because there's no
direct light, there is no way for you to
manipulate light. E~en on the dullest of days,
using a white or metallic reflector can bouoc;e
light back on tothe subject. Aoci because you
have flO directioo!lllightto contend with, you
have almost total freedom to position your
subject where you like as there's no sun to
contend With. Bear in mmd that because the
light source isdiffused light from above,
you'll find it better to keep the reflector belovt
the sublect and angled to point upwards,
Molle the rellector towards and away from
the subject to achieve the intensity 01
reflectance that you require, Also, chi.41ge its
position aocl angle to help ·shape' the light
that bathes your subject's face,
The follo"'","g step'by'step was taken on a
day when the sky was totally covered by a
blanket of grey cloud, We photographed Ruby
in her garden, sal in front of a brown
playhouse, which provided a dark, neutral
backdrop for minimal distractions, She wore
alight pink top that added colour into the
scene withOlit being over' powering,
This is Ruby photographed without any Instead we opt for the use 01 a sitvet'
Shooting in shade
Uke clouds. shady places are a natural diffuser
and 'HIli make shooting portraits a whole lot easier
WHILE SHADY CONDITIONS are a::.sociated with flat cool light.
the opposite is often true and taking portraits in shade offef'S
great OpportlJrlIIles for portrait photography. The lack of direct
light means that you've not got anyharsh highlights or deep
shad<rNs to contend with. Instead. the subject IS usually bathed
in a \'ery soft light that flattef"3 their features - in many ways
much like in overcast conditions.
One thing you may not realise is that you can manipulate the
light to Qui te an elC1eot in shade, The key thing toremember is
that the light reaching your subject is determined by the
reflective surfaces in the scerlC around your subject. So havea
look at different locations and see how your subject looks close
towhi le surfoces. brick wal ls. metal shutters etc. Bear in mind
that dark or black surfaces can also be used - you'll find thai
rather than bounce light onto your subjecl"s skin. they have a
nega\lve refledance that can help reveal the shape and
contours of your sublecl"s face . You' ll find lIlat all surfaces
produce their own type of effect and that moving the subject
closer or further away vanes its intensity.
On days when the sun is shining in particular. you'lI not only
have the adVantage of making lIle most of shade's
non-directional and flattenng light. you'lI also have the option
to bounce light from sun·lit areas into the scene. So look tor
locations where you can position the sublect in shade but close
to areas In direct sunlight. You can then think about using
reflectors to bounce light in to add e)(\ra Iliummatlon,
You should also consider how your subject IS positioned
against the backdrop_ On a wnlly day, if you place your subject
with their back to the sonhght, because you're exposrng for the
shaded subject, the brighter back8round will be grossly
overexposed. resulting in aclean, bright backdrop. The oliler
major advantage cA shooting in shade on a sunlly day
compared to overcast conditions is that light levels are higher.
whICh allows for morecontrol and manipulation. We headed for
a favourite portrait location that offers e~cellent potential flY
shoot1ng in shade on a sunny day, An old priOl)' offered the
perfect setting for our shoot, providing an interesting and
attractive backdrop forourshoot, We asked Hay~y to wear a
bright. summery outfit in keeping with the bright, warm
cond itions and placed her in the shade otthe priOl)"s side.
Our first shot was taken wililout any We place a gold reflector to Hay1eys We swapped the gold reflector for a
An introduction to lenses
Your ch::ltc:e of lens IS Just as - If not more important - thGr1 'y(lUf choice of 00dy for Inf luenang Image quality. There are
'" rnar>j types and toea lengths available that we've tned to d~ an; oonfusoon by breaking the optims down for ;00
EVERY LENS HAS II designated focal length and while there's a long and SOmm is termed II wide-angie. and II more narrow ~Ie of view is
tedious scoentlfic elIpianatlon for It. from a practical point 01 view. all you tenned a telephoto. But within the telephoto and wide-angle focal range
need know is that it refers to the field-of-view thai the lens 00YefS.. To put !Ire ~r bogger extremes: the ultra wide-angle, lish-eye. superzoom and
it in context. our viSlOll has an angle of View that relates most closely to a macro lens - each SUiting diff~t needs and styles of photographers.
43mn lens. although in photography the standard lens has been OYer the next few pages. we aim to explain the differences and arm you
rounded up to SOmm, Anything that gives a wider field of view than a with knowledge for the ~t time you shop!
WI~1es ~1!!12IOOI11S
A long-time f!l'.'OUrite with I,mdscape photographers. the wide-angle In recent years , superzooms offering a range 01 lOx and more have
lens allows you to fililhe frame with a scene and use its vast tJecome increasingly popular, Film SLR usen; have had the choke
deplh-of-lield capabilities to keep the foreground to the background o1the 2S-2000vn and 28-3QOmm for a number of years, with the
in lorus, Wh ile prime lenses like the 2Omm, 24mm and 28mm were 18-200mm being re leased to tempt digital SLR users. All three
once favou rite optics, the arrival ol the highly-versatile ultra typesol superzoomscan be used with digital SLRs, but we'd
wide-angle zoom has seen fi~ed lenses recormnend you goforthe lS-200mm, as the others have a limi ted
lall off in popularity. Fordigital SLR wide-angle capability (effectively around 42mm) and at the
phot08raphers, the likeso1 the telephoto end, you run the serious risk of
lQ-22mm,ll-lBmm and 12-24mm eamera shake.
allow you to compose wide-angie The current generation of
scenes and capture hlgh-quality superzooms offers good image
results. Characteristics cA these quality, but not to the same
lenses inducie a wkle field-cf-view, standard as you'd get usi"ll two
~ated perspective with separate zoom lenses to coYer
dlstortKln cA straight lines, and an thiS range, although it has to be
incredibiedepth-oHield, Wide-angles said that used with care. very good
allow you to include plenty 01 results are possible,
foreground interest in the frame too Shake reduction systems are
and are frequently used lor now also appearing on
architectural phot08raphy when tl)'lng superzooms. which makes them
to get a whole blJllding at close range even rTIOf'C appealing_If you want
in frame. but also lor interiors and to travel light then an 18-2OQmm
reportage photography when distortion is definitely a good buy, but if
cA faclalleatures IS favourable. quality is your ultimate goal,
you'd be better off using two
zooms that cover this range, such as
an 18-7Omm and 7O-2OOmm,
~ zooms
These lenses, more commonly called
teleZooms, are one cA the most
versatile and makea great second lens Maco
to the standard zoom supplied with If you're serious about close-up
your DSLR. ll's ideal for portrait photography, you can 't beat a
photography, for shooting distant specialist macro lens,ltsclose
subjects such as wildlife, action or focus and high magnification
ca lldids andean also be used to isolate ratio makes it ideal for shoollng
small areas of a larger subject, such as very small subjects, Popular
architectural detail on a building, or in a macro lenses ra nge from
landscape. Telezoom have stacks of 60mm to l8Omm, with
potential so. if you don't own one, we'd lOOmm being the most
suggest you seriously consider one. common focalleogth. As well
as being great lor close-ups,
they are i<lealfor shooting
portlaiture too,
Slandard :oooms
Don't neglect your standard zoom, The
hlXJ'ble 18-55rrm is ideal for subjects
from I~ to portraits and IS a
great lens to start learmng Wlttl_lt's
fair to say. however, the klt lens
supplied with the camera body aren't
the oHhe highest quality, You'll find a
number cA fI2,Sienses COYerIng a
Similar-range and as well as offering a
faster rTIalIlmum aperture, these
incorporate higher quality optICS,
Another option is to go lor a standard
zoom covering a wider lange, such as
a 24-105mm, These lenses are also
better quality and extend further into
the telephoto end,
1.51
.,.- 1.61
1.5.
I."
29·88mm
27·105mm
zg·lJ2rrrn
07Q,t, 080. 090. 0100. 0200. 24-105mm 1.5. l6.158mm
03OCl.'i. 03000. 05000 1.61 38·168mm
0700and03sefies lJ: 28·9Omm 1.5. 42·135mm
01 rn US & PillaSOn't 1.61 45·144nvn
55 """'""
15. 8>3OOmm
L6. 88-32Omm
7O·2OOmm 15. lO5·lOOmm
L6. IJ2·32Qmm
10-3"""'" 15. lO5·45Omm
SI rna L6. IJ2·480mm
SD9, SOlD L7I 18·200mm 1.51 27·3OQmm
1.61 zg·32Omm
~ 100. 200& 300 series 1.51 28·300fml 1.5. 42·45Qmm
AJpha 850, 900 11 1.61 45·480mm
The~olview
It's fairly obvious that adjustmg local lengths
leads to a cI'l¥Ige In an I~'S (lillie of View.
Wide·~le lenses pI'O'OOe a Yef'J WIde field of
view. aod thus making S<.tljects appear
smaller in the frame, wnile. as you rT1()'Je up
the telephoto scale, the field of vfew narrows
and tile subject starts to appear larger in the
frame and more isolated from the
surrounchngscene. All images were taken
from the same spot.
De!l!!:!:Of-field
When you foeos Or'l a 5Ubjec:t. M MM in froot 3J'Id behind the focused point also appears
sharp and this area is termed depth-of-field. The choice of aperture has a maiO!'" effect on
depth-of·field, with wicIe apertures Pfoviding a shallow depth-ol-lield and a small
apertures allowlnslar more oj the scene to be recorded in sharp focus_ However, two oU~
factors affect depth-oj-field - the camera-to-subject distance and the focal length of the
lens in use, As yoo'li discover when you use a variety of lenses, you get far more
depth-oj-field With wide-ansles than with telephotos. So with an 18·2QOmm 200111 set to
fl8. thedepth-of-field at 18mm far exceeds that at 200mm. Therefore, as wel l as
conside rinS how focal length affects perspective. you should also consider how you can
use it to limit or increase depU,-of-field, The shots below were all taken at fl8 from the
same spot. Note how depth-of-field appears to reduce as you 200m In .
Types of wide-angles ~~
There are three main types of wide-angie lenses I) Petal hood UltrawKle-angies
available. each offering their own pros and cons. come Sl..Pphed With a dedlC<l1cd
hood to <MJid Vignetting and flare.
Here we cover the VirtUes of each 2) Large. concave front element
The front element normaUy has a
Ultra wide-angle zooms prorrment et.ne.Ie.3llll1& It exposed
thiS group 0/ lenses has become increasingly popular. That's no surprise 10 c1Jst and scratches. so t<Wlc ca-e
as the range they COoler offers incredible versatility in such a small aod to keep It Clean.
inexpensive lens. In fact. the ultra wlde·angle zoom is arguably one of the 3) Milnual locus ring Norrml1y
best value lenses you could own. Thefe are a variety of focal lengths IOWJrds the front of the IeflS and
available. with those around 1l·22mm being the most suitable for DSLRs reasonably wuje. You'lI J<l(eiy need
WItt1 an APS·C Slzedsensor.ln tnrth , all rxNef'.J very similar range. 10 use It, as wtde-anglc lenses have
a lthollgtl lhere are oneortwoexceplions looole . The Pentax IO-17mm excellent autofocus.
fish-eye offers a l8QO angle 01 v;ew at its widest end, so in asenseyou're 4) Zoom ring These are normally
gett ing a fish·eye and uttra-wlde zoom ~Ied into one. It's also worth found towards the back of the barrel.
noting that unlike most ultra-wide zooms, the Sigma 12·24mm can be Most are WIde With a grooved
used 0f1 ful l-frame arK! APS·C SLRs. Finally, wh ile the J6-35mm lens is surface to allow you to grip It easily
popular with film and ful l-frame DSl Rusers. the 24-53mm range it covers 5) Focus distance Many lenses have
with APS-C sensors is quil e limited, so we'd suggest you avoid it the focus distance scale marked on
the barrel. 'Nhll€ someot the more
Fixed wide-angles Fish-eye lenses I..Pmarket models h<Ne a focus
dlstancewlnOOw
Small,ligtrtweightand The fish'eye offers the most 6) Hypcrfocal scate (see inset) This
compact, with high quality extreme/ield of view. There
scale allows you to estimate hoW
optICS, these are very desirable are two types -the cirwlar
much of the scene Will appro'" stap
lenses that are available in and the lull·/rame lish-eye.
thanks 10 the choice of aperture.
various iocaIlengtilS and have both producing very
been designed to offer the different results. Cirwlar 7) Internal Iocusingsystem Ifyou're
ultimate in wide·angles for DSLR fish-~ lenses. when used
planr'W"lg to use IIRers, lenses With an
photographers. They start with the on a lull-fra-ne DSLR. proIIide ~ images WIth a In\emal focuslrtl; system eifer the
ultra wide-qle 14nvn, which is particularly SUited 1&1' afllie of view. They distort perspective, benefit that the front of the tens
especially when the Sl.tlject is close. and with doesn't rotate when forusIng, so you
to ard1itectural phoIQgraphy, when tlj'lrtl; to lill the
frame wrth a building from a short distance dose-fotUSlng capabilities, are perfect for comical dolfl have to keep readjusting them.
Wide·angles from 20rrm to 28mm are ideal for portraits.. The full-frame fish·eye (also known as a
landscape photography and are also used by travel diagonal lish-eye) offers a l8O"field of view and
photographers. However, their use wrth DSLRs can capture incredibly Wide vistas. They're very
sportJng an APS-C sensor is limited. especially as a specialist very ~Sl\le and have limited use. so
standard kit lens coYef'$ this range. hire one from a pro dealer before you buy.
Unde~focxIllen~Wide-an91§
The foeallength stated on a lens re lales to SLRs using 35mm film and lull-frame sensors. If your
DSLR has an APS-C-sized sensor-{most have), then you'reeffectivelycroppm& the image and
increa~ngthe foeallength 01the lens. The chart below ~ popular wide-ang les and how the
effective toeallengths changes when used wi th DSLRs,
' / II , .'" ,I, _ _ _ _ _ _ __
, , , I , , ~ x _ ArK: ( " ,\ ,X/l"', ·
- - • II . 1.3~ - -).-5-, - - - -1.-' -' - - -2 ; -
&ron &nm IJ>nm 12~m 13mm 16nYn
14mm 14mm 1_ 2lmm 22mm 28mm
l5mn 15<rm 1_ Z>cm 23mm 30rrm
20mm 20mm 26mm JOmm 32mm 40mm
24mm 24~ 3lmm 36mm 38mm 4Smm
28mm 28mm 36mm 42mm 45mm 56mm
1(H7mm 1l).17mm i3·22mm 15-25mm 16-27mm 20-,.,."
1O-2Omm I().ZQmm L3-26mm lS-3Omm 16-32mm 2().4Omm
1()'22mm II).22mm 13·29mm 15-33rrrn 1&35mm 21).44mn
1l-l8mm IHSmm 14·23mm 16-27mm 18-29mm 22·36mm
12·24mm 12-24rrm 16-31mm 18-36rrw'n 19-38mm 24·48mm
16-35mm 16·35mm 21· 45mm 24-53mm 26-56mm 32-7Omm
17·35mm \7-35rrm 22·45rrm 25-53mm 27-56mm 34·7Qmm
17·4Omm 17·4Omm 22-52mm 25-60mm 27·56mm 34·8Qmm
Short telezoom
A fixed lens sillll/Y can', match the versatility 01 a zoom. Ashort leleroom
has a local rarwe of around 5Q.2OOnwn. They are available in a variety of
ditlerent ra~. for example 5O-l5Omm. 55-2OOmm and 7O-2OOmn.
They allow you to choose from a Wldevariety of local lengths al a traction
oIlhe cost cI buying individual 'pmnes' c:overing the same range. They
allow lor preose fTaming Without the need to alter shooting position.
HoweYer, a zoom's image quality isn't generally as high as a fixed lens and
bodget Ielezooms tend to be slow. Many have a variable maximum
aperture (ea V4-5.6) because the lens is a slop (or more) slower as the
Iorl! eod of the zoom's range. AIIhough budget models teod to suffer from
some lens aberratiOns. modern zooms offer increasingly good image
qJality and the best short telezooms are good ~ for use by pros.
Short telezooms are well suited to a wide varfety of subjects. including
candicts, nattJ"e, scer.k:s,actlOfl. andstill-Irfes. ln fact. rt isene of the most
uselul focal ranges available.
WHICH SHORT TELEZOOM1 There is a huge amount of lenses to
choose from in this zoom category. However. if you are on a limited
budget. cooslder the Sigma 55·2OOnvn V4-5.6 DC or Tamron
55-200mm 1/4·5.60i II. as both e.>ccellent value at under £100.
Anatomy of a telephoto
1) FRONT ElEMENT Fast telepholoswill have a large
diameter front element and jilter thread size. To prevent
scratches and dirt. oonsider uSlIlg a IN or Skylight filter
for adcIed protection.
2) MANUAL FOCUS RING These are normally towards
the front of the lens and are quile wide and grooved tor
gnp. It IS well worth focusing manually when you want
added preclSlOll.
J) FOCUS DISTANCE Many lenses have the focusing
distance scale marked on the lens's barrel, while
some of the hlgher-spec models have a focusing
distance window.
4) TRIPOD COLlAR Many 'long' te lephotos aredesigned with a
mount thai features a tripod bush at its base, known as a tripod collar.
This allows the lens to be attached 10 the tripod directly. providing better
balance and stability. Many are rotiltable, <llkming users to switch easily and
Quickly between horizontal and vertical shooting formats.
5) FOCUS LIMITER Some telephoto lenses have a focus limiter switch to
prevent the lens from focus 'hunting across its entire focus range. II a lens
is str~ l ing to focus, it will 'hun!' - going bock and forth from infinity to
the mmmlUm locus, To prevent this. the limiter switch restricts the focal
range that the au tofocussyslem will use
6) IMAGESTABllISAnoN (not shown) Camera shake isa major proolem with
telezooms. so many boast an integral stab1 lisation system to reduce the risk of blur,
7) INTERNAl FOCUSING (IF) SYSTEM (not shown) If you 're plaming to use filters - particularly a
pojariser - a telephoto boasting an internal focusing sy.;tem is benelicialso the leos doesn·t rotate.
U~focal lengths:Telephota;
The focalltfl[th of a lens - referred to in nYl1 - relates to a 35mm film SLR or digital SLR ernpIo>f1ng a
full·frame image sensor. Therelore. If ',06 DSLR has an APS·C SiZed sensor - as the majority do-then
you are effectiYety cropping the image and increasing the focalleogth of the lens. Our table lists below
the most popular telephotos and how the effective focal lengths change with different sensor SIzes.
200mm
200mm 300mm 320rrm 4O<>nm
300mm 300mm 390mm 450mm 480mm 600mm
4O<>nm 400mn 520mm 600mm 640mm 800mm
500mm 500mm 650mm 750mm BOOmm l000mm
55·2QOmm 55·2QOmm T2.-26Omm 83 300mm 88·32Omm n D-400mm
70·300mm 70·300mm 91-390mm 105·450mm 112-480mm 140·600mm
1OD-3()Qmm lClO-3OOmm 130·39Qmm 150-45Orrm 16D-32Omm 2ClO-6OOmm
8O-400mm 8O-400mm l04-520mm 120-6OQmm 12S-640mm 160-S00mm
J~SSOPS
A./vKc for life
Scan & PDF: worldmags & avaxhome
Getting Started in Digttal SLR Photogrophy
--
CHOOSING & USING TIlE BEST
-
DSLR KIT / 103
6. 6. 6.
Close-up filters Extension tube Macro lens
Close-up filters sael'< 10 the fille!" thread of Extension tubes.are hollow rings that frt A macro lens is optimised for close focusing.
~r lens and work like a magnifying glass. between the 0IfT)er.I and lens. They.....ork t1t Vv'hile they are highly corrected to give their
OepencIing on the brand and Size. they can increasing the distance between the sensor and best results at da.e range. they cao also be lor
oost as little as tID! They are oormally 01 a lens, allowing the camera to kX:us closet' than general use ¥Id are popular among portrait
SIngle elemeflt construction and available in rJOmlal and increase magmflcation, They lack photographe~ At its minimum focusing
progressio.oe stJ~hs. stated in dioptres. + l any optics and so do not affect the image QUality distance. a dedicated macro lens Wlil normally
+2. +3and .. 4 are the most popular,althougha of the lens they're coupled With. makllll the produce 1:1 reproduction. They are available in
two-eIement +10 dioptre is also CNailabie. The image QUality superior to cIose--up litters. They a range of focal length: short macro lenses. In
higher the numbel: the nearer the lens can can be piXdlased individually or in a set of three the region of 50mm 10 7Omm. are lightweight
focus and the highe!" the magnification. lengths: 12mm, 25mm and 36mm. Their I~I of and compact, making them easy to use
Although they can be used in combination. magnification is calculated h'I dividing the handheld. However. at lheir maximum
image quality will degrade if you attach more alTlOU1l 01 elcten5lOl1 t1t the local length of the magnification, they cIoo't have a generous
than two at one t,me. Close-up fillers do not lens being used. for example. 25mm of working distance Therefore. this focalleogth is
affect oormal camera functions. so are easy to extension used with a SOmm stardard lens not the best if you wish to photograph subjects
use and well SUited to swing beginners a taste results in a 1:2 reproduction - or half life--size. which are easily disturbed, such as butterflies.
of close-up photography. Despite their modest To achieve 1:1 life-size, t he extension would need Generally speaking. focal lengths upwards of
price. they can produce excellef1t results ood to equal the focallenglh of the lens attached. 90mm are a better choice. They prOllkle a
being sosmall and lightweight can easily be Therefore, they are most effective when greater subJecHo·camera distance and make
used handheld without affecting stability. combined with relati...elyshort focal lengths. it easier to isolate)'OUr subject.
Inboductiontoftash
Using flash isn't as difficult as ycxJ might think. It's just
a matter of knowing what to do. 'Nhen to do it and hcJ.N
WEVE ALL BEEN disappointed when using a flash has failed tOcapWfe
the arrbenoe of a soene. This usually happens when we shoot in auto mode
with no real thought as to what we are doing or why. What we hope you'll
discover in Il1Is section of the guide is thallhe secret to good flash
photosraphy lies In USIng the full range of your camero's exposure modes.
and thinking carefully about how light from the flash - and from otheI"
SO\.neS - affects the final result
The result of a lIash-ht PIcture wi ll change depending 00 v.toether you are
usmg aperture·priorlty or program exposure mode, or whether you have auto
or sk)w·sync flash set. for example. This is because. by changing modes, you
are altering settings suc:h as shutter speed, wh ich in tum affects the amount
of ambienllighl that reaches the sensor. Additionally, flash modes can
command lheflashtofire at the beginning orend cf.theexposure, Either
option chaf'lges how rfIO',I ing objects will appear In the final photograph.
Wh ile all this may seem compl icated. il iSll'!. The beauty of digital SLR
photosraphy IS that you are free to experiment (and learn from you r
mistakes), and we recommend you do th is wh ile following our advice.
Take inspiration , try it out yourself. and adapt it wilh yoLIrown ideas.
Before long yoIil l be lISins flash aSB!1 everyday part of your photography-
rather than being afraid of it - no matter what yoorsubject matter.
Jargon buster
»GUIDE NUMBER Anumerical measu-e 01 a flashgm's power. The higher
the number, the grealer the power. In manuaillash mode. divide the
Guide r-lumber t7t lhe carnera-to-sub!ect distaoce in meters to calculate the
required aperture lor a deoeflt exposure.
» HIGH-SPEED FLASH The ability to use your flash at faster stutter speeds
lhan the camera's standard sync speed. Very useful when trying 10 work
With 1~I-in flash outdoors in StnlY. higtI-oontrast c:oocitions.
»PAINTING WITH FlASH The pmctice of Iockrng open your camera's
shutter on a loll!; expost¥e, and then finng an dI-camera flash at your
subject InJltlpie lures from different qes.
» TTl Through the lens metering. known as TTl. is the WiJ'I in v.t.ich a
I~ and camera work together to properly expose a scene. The camera
measures f~1Xl output comll~ It-rougt1 the lens and tells it when 10 stop.
» WlRnESS FLASH Finng ¥I exterl'lCll flashgun without cables. usingan
Infrared transmitter or integral flash instead. Thiscan be very useM when
you're skilled enough to use multiple-flash set-ups.
»F\.ASH COVERAGE This relers 10 the area covered t7t the fla~un's
output. YOIil1 normally find focal lengths up to l8rrm provides an even flash
c:a.erage. wider than thiS and the cor~ start 10 darken off. It's worth
checltilll! what yot.r Ilash coverage is il you often st-ool group portraits
irdoors. Some hotshoe-rnounted Ilas~1XlS boast a built-in diffl.lSef panel
thai widens c:a.erage.
Camera sets exposure. but Camera sets~posu re. 00t Camera sets exposure. but
raises shutter raises srKltterspeed to 0l'I0id raises shutter speed to avoid raises shutter speed to 0l'I0id
camera shake. unless camera s.hilke. unless camera s.hilke. unless camerashake.ooless
sboY· sync mode is set slow· sync mode is set. slow· sync mode is seI. slow·sync mode is set.
BackgJOlJJld may be dark. BackgrOUMrmy beda rk. Backg rolXld maybedark. BackgJ1)UM may be dark.
User picks aperture: camera liser picks the aperhJre aM Usersets aperture aM User picks aperture aM l.iserpidsapertureaM
cak:~ates flash exposure the camer3 selects flash camera sets srotterspeed to camera selects Iiash exposure camera selects flash exposure
accordingly. Shutter speed is exposure aO;rH"dingly. Shutter OOfredly expose acOOfdi ngly. Shutter<,peed aa;ord~ly. Shutterspeed
picke!:l to render ambient speed is ~miled to preYe!1l backgrotnl, up to the limited to pteYe!1t camera li iMed to preYenl camera
light correctly. Be aware c( camera shake, lIlIess maxmum sync speed. Risk shake, lllIess sIow-sync mOOe shake, uriess sIow-sync mode
camera s.hilke. sIow-syllC mOOe is selected. 01 Cilmera s.hilke in low light. is also sele<:ted. is also selected.
User picks shutter speed oM User picks shutter speed and User picks srotter speed and User picks shutter speed ond User picks silrtterspeed and
camera picks corresponding Cilmera picks correspondi ng camera pickscoriespondiog camera picks corresponding Cilmera picks correspondio:lg
aperture for ambient light. aper1 ureto~pose ambient aperture to expose arrtMent aperture to expose ambient aperture to~pose ambient
then calculates flash output light correctly. tr.en ~ght property. tr.en light correctly. then light correctly. then
accortlirrg to thisaperture . Cillculates flashootput calculates flash output cak~ates flash output cabJlates flashoutput
acc<mling to this aperture. accordi ng to this apertu re. according to this ilperture. aa:ordingto this aperture.
Allects both amtlient and Alleds both ambierlt and Allects ambierltlight AIIects both amllient and
flashaposure. flash exposure. exposure only. flash exposure.
Allects flash ~posu re only. Affects flash exposureonly. Affects flash exposure only. AIIects flash e;q>oSure only.
SlowoSync flash
This mode involves using flash wi th a shutter speed/aperture
combination that correctly exposes the general scene. The flash takes care of
the main subject and the longer exposure t ime allows ambient light to reveal
background detail. How you set slow-sync mode depends on the DSLR you
use. With Canon. use aperture -priority (Av), with Penlax select shutter-priority
(Tv): with Nikon and Olympus. press the flash mode button. select slow-sync
and use it with aperture-priQ(l ty (A) or shutter-priQ(ily (5). You·1 1find many
D5lRs employ slow-sync when you set Night-Portrait mode. The slow shutter
speed means a tripod (or other support) is recommended.
Cokin Filters
GorillaPod SLR Mini Tripod Backgrounds The original square filter system
Crooked Imaging stock a huge selection of camera accessories, flash guns, lenses,
fi lters, tripods and tripod heads, batteries, bags, memory cards and straps ... Everything
you need to get started with your DSLR, and all supplied by the major brands!
Not sure what you need? We are experienced photographers and can help and advise
on all the products that we stock. Crooked Imaging is a family run business based in
Higham, Kent and offer a frie ndly, personal service.
direct flash.
4) Baunco RalIhoti
acoloursurlace
The flashgun's !MIilt-in AlWilYS try to use
reflector sends some awhlte (otcream)
01 the light directly wrfatewhen
towards the subje<;t, bouncing IIM h as
wtllle letting ttle the light picks up
majority of the flash the tone oIa
bounce off the ceiling. coIol>I'I!d waRand
The technique gives will'l!S~ in pictures
the best of both worlds. with a horrible cast.
~ I'm L/$Ing aperture-priority mode and setting the apertu rt! to fll 6, I1I!'l'r:fI I'YI! alrt!&dy sellhe flashilun 10 manual and seletted 114 power. This
whit h give5 an expos urt! time of lSseconds. 1sel a delay of 20 se«lnds via rt!tluo;es the recYtllng lime, allowrng me 10 move around and fire mort! flash
a rt!mole rt!lease 10 give me time to gel In position with my flashgun, bursts than I could iflhe flasha;un was sel to full power,
~ Here)lOU can see me firing lhe flash. ~ By m""ing around durlna; 11M! exposure, ~ A longer e~posurt! of 20 5e<;Onds ornoans
iI)IOU don't move around durin, the e~posurt!, I'm 110 longer visible. I focL/$ most of my flnll mote lime and mort! flash bursts to illuminate a
you can expect to see YOUl'$etf appear as a bursts toward the ceiling 01 the semi--e;'I'Cular wider area of the building. BoJt I'm careless with
gIIoslly blur within the scene. area at the front of tIM! building. my aim, resulllna; In flash hotspots.
Studioflash outfits
While newccmers rnayflnd stuchoflash Intimidating. the
truth IS USing rt 1511 1as diffICUlt as yoJ m~(trllnk
ALTHOUGH THERE ARE various studio/lash kits available. ranging in
price ffom under £200 10 thousands. the fact is most 01 them have OJery
sllTIIlar teall/res and allloUow basic: principles of operatiOO. A
studiollash head is designed to lire a burst of flash at a given power
sett1!l8 - the elrtra functions and acoessories are all geared to allo.v the
photographer more control d the flash output learning hI.m to oontrol
a studioflash system can talle years of experience to master. but
thankfully. setting to grips with the essentials is relatively easy. Much
like USing ambient ligt1t.lhe key factor behind success is learning how to
control it so your sublect is Iii the way you'd like il to be. The big
difference between studio and ambient light is the level of control you
h<llle - you 3re able to fine-tur1e the lighting's intensity arKJ direction, as
well as the natLlre of the li ght fCiliing on the subject - far more t han you
cou ld ever achieve with ml\urallight. This makes it an incredibly
versatile formol lighting, but. obviously. one that does need time to use
properly. Here we cover the basic work ings of a studioflash system arxl
how the various attachments. such as soltboxes and brollies, can be
used to control how your subject is lit .
1·,4·,'IIItiii)
You 'll normally fi rxl controls on the
rear of the head, bul some models
have them on the side, 100.
1) SYNC SOCKU Most sludioll;tl;h
ouUits ate $IIpplled with a sync lead.
which connec:ts your eamera to your
lIash lleotd, to allow the flash 10 lite
when)'O&l ~s tile shutter button.
2) SLAVE COL This sensor detects
any lIash output. so if your o;;omera Is
connec:ted to one NI!Irt in • multiple
5eI-uP. its output wTI11rigget the
~e uM on othe< ~li:hls. makinli:
them fite losetlle,.
3) POWER SlTTINGS A key Ilffittiltiii)
function rA studioflash heacls Is
beinli: able 10 otdjust the ~r Removing the lighting attactvnent
output Ba5.lc heads have fixed Will usually reveal two bulbs. each
_...
settinp ea 110 power, ~ power etc. with different uses.
while most itdY.....:ed heads have 5) MQDElUNG LAMP This
stepless variable sell inp. tungsten bulb remains switched on,
4) STATUS UGKTSIBE£PS Many to .11_ you 10 compose the image.
lleads tIave lights that Indicate wilen tows on the $IIbjec:t and predict the
.... ...... ... MIfi:iMl IIM1leffecl
; I
~ A
rea' favourite.
as it provides a
very diffllSed
effect that's
Ideal/or
lI attenn &
portnlils. The
larger tile
sofIbox.lhe
.otter the liaht
il prodllcn.
The maloritY
are $quare.but
5OI'JIeare
rectarIJI""'r
and thin (also
ca.edstnp
ti&llb).
l!&iIiillili
Beaut)' dishes
are otten 1IWd. Otten suPl)/ied
is yOII may withthellash
expecl, lor lIead. tlley help
'''~fand
'beauty
di rect fight in a
eoncentnlted
make-up 5hots. beam.Wil h
They give o/Ia portnlits.
very lIarsh liaht they're use/ul
in the centre. lor ligfllina
whiell enhances backgrounds.
mak ...... up.but but quite
also hi&hliahts harsh when
Ilaws 01'1 a aimed ata
subjed's skin. subJecl's /ace.
iiff=
These provi6e
a sott-edged
circle of II&ht
.. nd ;lre a
"""'M to ..
altemillive
$lloot They act
in .. similar way
to .. spotliJtll,
butpnMde ..
wider anale
~
are ....... bble
witll various
si~es of &rids.
DIGITALSLR
ACCESSORIES
Over the following pages, the experts at Digital SLR Photography highlight
camera accessories that represent the best value for money
The secret to the success of digital SLRs is undoubtedly the extensive range of accessories available to help you make the
most of your photography. At the heart of a DSLR system lies essential gear such as lenses and flashguns. as well as useful
accessories such as tripods, bags and filters. Because camera shops are packed with so much kit. it can leave you
confused as to wha t products are the best value. Over the next few pages, we bring you a selection of the most highly rated
accessories from the leading brands. but first, here is SQme useful buying advice to help you make the right choice.
r
take a lot of the strain out of 10IlI! with three leg sections or less
journeys and spread the weight of the tend to be the most sturdy: the
gear over a larger area. more sections you have. the
3) STORAGE/CAPACITY less stablethey can beccme.
Too much empty space will 5) SPIRIT lEVELS useful fO/"
unbalance the bag, which is bad for landscape photography in
}'OIX back. LOCItI for a bagwith particular. many tripods
adjustable dividers... feature built-in spirit levels.
4) WEATHERPROOflNGlRAlN but if not. }'OIX local photo
COVER Most bags are weather- store should sell one that slots
resistant or weatherproof. and others on to your hc:W1oe.
ha\IC all·weather covers included. 6) BAG HOOt( Sometnpods
Makes sure ZIPS are also hidden Of at have a hook on the central
least weather-reststant. coli.Km to h¥lg a bag from.
5) LAPTOPCOMPARTMENT Usmgabag's weight can add
Make sure the laptop CXlIl1P<rlment IS stability to the tripod, which is
big enough for your computet". as they useful in Wlndyc:onditlOflS.
do vary in size. 7) TRlPODFUT Sp!kesare
6) ACCESSORY CUPS Some bags good lor grip outdoors but can
allow you to attach further bags. scratch llooring. Rubber feet
tripods and monopods. but some are offer good grip irxioors and
only compatible with the outside and are the best
manufacturer's own clip systems. choice for general use.
---~~
_ _ I'OU" _ _ IQr~"
_~.IiI*W~
G1ottos SlikPro
MIL9351Bcmd 340DX
MH5211Head
OUITIT
£180
This att ract ive tnpod is very sturdy fO( its This is one of the smallest tripods we've This aluminium tnpod is lightweight but
price, with solid aluminium legs and included and comes supplied fitted With its legs are very sturdy. The fl ip locks are
foam Insulators to keep a users' hands a head, Its aluminium, magnesium and secure, and there are Var l-p05ll1on locks
from sticking to the tnpod on cold days. titanium alloy body makes it light and to keep the legs stable at different
The three-way head is easily controlled by deceptively solid. The legs have foam settings. The central column can be
two levers. and features three spirit levels insulation and the locks are plastiC but positioned hori zontally for macro shots.
in addition to the one on the legs. so strong The head is a three-way pan and without remO\llng It from the legs, making
there's no excuse for wonky horizons! tilt. with two levers for easy control. There the process fast and easy. The lack of
This tnpod has a lockable rotati onal is also a panning lock, and a lockable parning handles may not be to
central column. whICh can be rerTlO'lled central column for added versatility The everyone's taste. but the head is so
and re-Inserled horizontally or inverted, Iripod is sturdy With three leg sectlOOS versatile - able to pan, till and swivel in
whICh IS ideal for doing macro extended. but struggles to reman stili in iust about any dlrechon - that it more
photography. The tripod comes with its Windy conditions when ali four sectlOf\S than rnal<es up for it. SPirit levels can be
own tool kit and a hidden bag hook are used. DesIgned for looc!s up to 3kg, It found on the head and central colulTVl
underneath the central column. should cope With most DSLR outfits. brace. and there's a bag hook on the legs
This alum inium tripod is also very light. The build quality of this die-cast This tripod is exceptionally light lor its
but is sturdy for its size and weight The aluminium tripod is excellent It is very size. yet very sturdy. however the
legs have strong fl ip locks, and an sturdy and very reassu ring , It features the maximum load may prove restrictive for
interesti ng. sliding m ulti-angle leg lock. same dual positioning central co lumn as those with heavy OUtfitS. The rubber ised
which allows users to set the angle of the the 190XPROB, as we ll as a splnt level. twiSt locks are secure With the three -
leg very quick ly. The centra l co lumn can bag hook and foam leg grips. The legs px;itlon angle locks ensuring the legs
be spilt for macro pmtography, and is each have a four-position lock, which don't SliP, which is reassuring to those
revers ible tor low level work. The makes it versatile and secure. You 'll either using expensive kit. The ce ntral co lumn is
three-way pan and tilt head IS versatile, love or hate the ball gnp head, but we reversible for low level, macro shots, and
and can be easily adjusted into Just about found it quick and easy to adjust , getting hasa bag hook The ball-and-socket head
any position. The three spirit levels are your camera into the r ight posit ion with is also very secure, and is easy to
also very easy to see from all angles, and the m inimum of fuss. Not having to manoeuvre into just about any position
wou ld be very useful to landscape tighten levers saves time, and reduces the It has a variable frict ion control, allowing
photographers and those to whom r isk of knock ing the head out of place, the user to make precision ad justments
preciSion IS Important. though It also has its own spirit level quickly and easily
""wn.
BUild
_____________*****
_*__*__*__
BUild
~~-------
*~-~-~-~
***** BUild
_ _ _ _ _ _ _*
.£eatI,Lres
*****
_.:!.:!.:!:!..
Stabll **** Stabll ***** Stablll *****
Value **** Value ***** Value *****
Rating **** Rating ***** Rating *****
...-,
you r Ideas to life. What 's more, t hese cards are also
rigorously stress-tested fo r extreme shock, vibration.
temperature and humid ity so you can take it to t he
extreme no matter what. " '''"-
, ~
and s.nOhk h,._ ... I"~ e>I SanDkk Corporation. '"1I"t_ In !he US . .... _
I Thio "'-- NI bMtIII00U>flII" _ I II<~I"'''
coounIriet T.,. SO+lC .... rIC ..-d logo> I. . !t-.....,~ '" SO-lC. LLC
Useful accessories
As you\/e no doubt already discovered. there is no
shortage of optIOnS available for those looking to
expand their digital SLR system. Here we rover a vanety
of accessc:rles that you should ronsider
I ) MEMORY CARDS The pnceotmemorycards has fallen to such a
low that there is little excuse for nol having a small collection of them
in your kit bag. We recommeod thai you ifllleSt in two to six 4GB
cards, and that you ensure they're from a reputable brand like Lexar
()( SanOisllio minimise the risk of any faults.
2) PERSONAL STORAGE DEVICE If you plan to travel for any longer
than a weekend , you'll need some form of image back-up. A laptop's
the Ideal choice if you want 10 Phol05hop your images whi le away, but
for most. a personal storage devk:e is a better optioo. Choose a model
with a large LCD monitor so you can review and edit images. The
Jobo Giga Vu Evolution and Extreme models are excellent, but our
favourite is IheSOGB Epson P·6000,
3) LENS HOOD As well as preventing flare from the sun. which can
ruin picture Quality, a lens hood also prQ\lides suitable protection lor
your lens in the rain. SO leave It litted at all times. Watch out for
vignetting on ultra wide'angle lenses.
4) REMOTE RELEASES Long exposures mean camera shake is a real
problem, Using an electronic remote release helps minimise camera
movement when lirmg the shutter. The type you'lI need depends on
the OSLR you own, so checK your instruction book or the
manufacturer's website. Prices start at around £20.
5) CLEANING KIT Keepoocor even two lens cloths in your gadget
bag. As well as being perfect for cleanmg dirt marks and dust lrom
your lens surfaoes, they're also ideal to Wipe iPIaY raindrops, Two
cloths allow you to use one just for moisture and heavy soiling.
6) HOTSHOE SPIRIT LEVa Avoidlnguneven horizons is relatively
easj, Use a tripod With an mtegral spirit level or slipacheap and
cheerful SPIrit level onto your hotshoe. Alternahvely, buy a $eculine
Action level (WNW.intr02020.00.\AI) and use its colour LEOs and
audible beeps to help you straighlen up yoI.Il" camera.
7) SPARE BATTERIES Mal<esureyou takeyourcha~ <maywith
you and charge your batteres the night before. If you can. carry a
spare set with you. II your OSLR uses a lithiulll'ion cell. as well as the
branded battery. there are various options too. Ask your dealer or
check the classified and dealer ads in Digital SLR Photography
magaZIne for details. II your DSLR uses AA batteries. you'll find
rechargeables from the likes of Energiler are superb, as is the new
range of Eneloop batteries from Sanyo (www.intro2020.00.uk).
8) SENSOR CLEANING KIT Your DSLR's anti-dust system isn·t
always effective, so irs worth considering buying a sensor dust
cleaning system. Kits oome in basic set·ups. with swabs and clea ning
flu id, to Oelkin sophisticated Sensorscope system (www.delkin.com) .
9) AOOBE PHOTOSHOP ELEMENTS 8 Adobe's Photoshop package
is the undisputed king of image manipulation software and Elements
is its cut·price yet powerful sibling. Buy it!
10) FILTER SYSTEM Ownmg a decent filter system opens up many
creative possibilities, so look to add filters to your kit bag as early as
possible. While screw·in fillers area good choice. you 'll find slot-in
systems (square lilters in a holder screwed onto your lens) offer the
best value. Cokin IS the number one brand (www.intr02020.co.uk).
U) EXTERNAL HARD DISK You should always bacJo. upyour digital
files onto an external hard disk (as well as on to DVD) m case your
computer hard disk crashes. With ITS hard disks costing under £100,
it's an Iflexpensive route lor archiving your images.
12) LCD MONITOR SHAOE Your OSLR's LCD monitor can be hard to
View in bnght conditions, but an LCD shade makes all the differenoe.
while also protectmg the screen v.t-oen closed.
13) IMAGE RECOVERY SOnwARE Recovery software is a must lor
digital SlR photosraphers. as it can help retrieve 'lost' images from
faulty memory cards. Image Recall's Don't Panic. for PC and Mac. is
as good as it gets (WNW.imagerecali.com).
14) CARD READER The fastest and easiest methexl tOlransfer
images to acomputer is touse a card reader. Multi·card readers. such
as the Lexar Dual·Slot shcMtn here, represent the best value.
15) INKJET PRINTER The process of home prinbng is easier. faster
and cheaper-than ever. With so many printers on the mar'Ket, the
choice is tough. A3 printers give the most flexibility, as an 1\3+ print is
more than bill enough to hang on a wall, by A4 printer are better value.
A high-end photo backpack for the Expedition by name. expedition by nature. Crumpler bags always lead the W<1j In
landscape photographer who lugs lots of Like the Lowepro PhotoTrekker the terms of good looks. and the Big Cheese
kit over large d ista nces, or the sports Tamrac Expedit ion 7x is aimed at the is no exception. It's available in four colour
photographer. shooting in a variety of photographer transporting a lot of kit combinations and manages not 10 look
locations. You can get two DSLRs in there, In the main. the design of the Tamrac is like a camera bag, without being overly
with lenses attached, and a further ' Ive very similar to the Lowepro: a main loud either. A good chOice for the urban
lenses and a couple oj accessories. compartment is accessed by unzipping shooter. albeit the wealthy one: this is not
Also present IS a laptop compartment, the whole of the front section, which then one of the cheaper opt ions.
for t hose that like to ed it the ir hinges back. Inside are sturdy padded Build quality is excellent ard attenti on
photographs away from home. Two diViders that can be rearranged to SUit to detail is Impressive. A Single main
massive accessory JX)Ckets on the front your outfit On the inside of the lid are compartment contains all of your gear.
of the bag give ample room for fi lters, three accessory pockets for filters etc, and this is accessed through the rear of
memory cards and spare batteries. A and the outside of the bag sports two the bag by unzipping the back. You can
removable tn pod mount is Included and more. for memory cards and batteries. also access some of this chamber more
this is sturdy enough to cope with These have Tamrac's useful red flag easily through a qUlck·access zip opening
fu ll-sized, heavyweight camera supPJrts. system for Indicating which card and on the front At the back of thiS bag IS also
The bag IS constructed. from tough batteries have been used and which a roomy laptop compartment and a
nyloo and the main zips are we ll haven't. Tripod straps are also present. selection of pockets.
protected against water. The whole bag Unlike the Lowepro PhotoTrekker. the There's enough space in the Big
can be encased in a rain cover that IS Tamrac also has space for a laptop. which Cheese for two DSLR bodies and half a
stowed in its own pocket when not in use, is good If you need to edit your Images in dozen lenses. as well as a laptop and a
Even when fu lly loaded, the Vertex 200 the field. It's comfy to carry too, thanks to few other accessories. It's a comfy bag to
is easy to carry, thanks to its adjustable the padding In the straps. Thars lust as carry, though less convenient to sling over
straps and a padded back support. There we ll as the Expedition is a heavy bag. Just one arm. Landscapers should note
is really very little to dislike about thiS bag. even when irs completely empty. that the Big Cheese lacks a tripod strap.
GADGET BAGS
This m ight be one of the most expensive The Company Gigolo is Crumpler's take A discreet camera bag with room for lots
bags we have on lest. but you do get an on the photo-briefcase and iI's a radical of camera gear as well as a laptop. or
awful lot fo r your money The interior of departure from the norm, boasting a A4-slzed papers, Good for those of us
the Photo Trekker AW II is vast - big funky clamshell-type design. There are who shoot In multiple locations and need
enough lor three DSLR bodies, an six sizes in the range, with the 9500 on to transport kit between them
extensive medium-format OUtfit or even a test here being the largest. The Intenor of the bag is very deep, so
large-formal camera. If you are a serious The bag is desigl1ed with two zippered you can double-up on storage by stacking
landscape photographer and you want to compartments, one for your photo gear IIem5 on top of each other. The bag's
take every bit of your kit away with you. and documents and the other to hold a depth also makes it very 5uitable for
then this is the bag to do It m. laptop, Open the main sedon and you 'll cameras With long lenses, for instance
Fully loaded. the PholoTrekker could find a large area w ith movable padded Nikon's 24-70mm 1/2.8 and 70·200mm
weigh a ton . but thanks to the design of compartments to safely store your fl2.8 opbcs A padded secllon proVides
the straps and back padding. the bag is camera gear (we managed three 5torage for a l Sin laptop too
comfortab le to carry. The interior of the entry-level DSLRs with standard zooms One of the advantages of a shoulder
bag is carved up mto over a dozen and three further lenses), with room to bag IS that you don't have to put it down
separate spaces with padded, adjustable spare for a flashgun and fi lters. A divider to get your camera out of it and the
dividers, and the Inside of the top has separates this area from another sechon Cla55il ied 2S0AW provides astable
three large, transparent accessory with pockets where you can store platform fo r t he street photographer,
pockets for filters and the like documents and a fair number of items, Leather IS used to good effect
At the front of the bag, there is a huge such as photo acceSSOries, pens, throughout the bag and the grab handles
accessory pocket and Lowepro has even memory cards, maps and so on. and shoulder strap are very well
included a second small day sack, which The shape, padding and tough Chicken designed. A luggage sleeve means thai
can be used separa tely or attached to the lex Supreme fabric gives an excellent you can attach the Classi fied 251JAW to
exterior of the PhotoTrekker to expand irs degree of protection for your outfit and a the handles 01 a wheelie case, The bag is
storage capabilit ies even further. weatherproof cover is Included hand-luggage friendly too,
BUild
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Fen~
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Fea1ures_ _ _ _ _ _ _
***** BUild
_ _ _ _ _ _ _*
.£eatu_res
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Performance ***** Perlormance * ** * Performance * * * **
Va lueformon **** Valueformon ***** Valueform *****
Rating ***** Rating ***** Rating *****
MAIN SPECIFICATIONS
• Guide Number: 2S (ISO lOO.m)
• F1as/1 coverage: 16·7Qmm (24-105mm)
• Recyctlng time: fOU"to SIXsecords
• Boonce facil ity: Yes (0 1090") iI"
• Swivel laeility: Yes (010 27fY» iii :
• TIl..: Yes
• AF a$$ist beam: Yes • AF assist beam: Yes
• Strobellash: No • Strobe nash: Yes
• Wireless flash: Yes • Wireless flash: Yes
The NISSln D1622 has excel~1 bulk! quality lor a flash unit that Sigma not only makes great value lenses. It also boasts a couple of
costs arOlXld flOO. il'sas good as models costing twice its price. excellent flashguns. wilh this being its top model. This model is
This flastwun also has some rewarding features that set It apart available In Canon. Nlkon. Pentax. Sigma and SonyverslOns and IS
from many other flas/"0JnS at this pnce range. These include packed Wlth stacks of fealures In fact, it will take you QUite a while
secood'rurtarn sync. slave flash and a standby mode that kicks In to read the Ef-531Js Instrucllon manualloget tognps with them
alter two minutes of non-use to save your battery power. It also all! One Interesting feature IS Ihe High Speed Sync. whichalJo.Ns
Includes a flash stand and a ddfuser tor coverage as wide as 16mm you to fire the lTIIt at stutter speeds al::Jaye your camefa'susual
and a 1I1I'ln reflector There IS no LCD panel on the rear, Instead a flash sync speed The unit can also be used asa master or a slave
senes of LEOs Indicate pclYIer and a Single button handles the unit and offers a Wlde-argie flash diffuser panel The Unit IS also
modes, The Nlssln 01622 ftasll:pJn IS<N<lllable for canon and Nlkon easy to use with the buttons spaced out and a bnght and clear LCD
DSLRs and COI'lSIdenng the Quality of features and the reasonable monitor The battery compartment slider. hcmever. could bea
pnce. offers a decent cut ·pnce alternative to branded models, potenhal weak spot after sustained use. An excellent flashgun,
Replocll"g the successful EX150 kit. the Mark II version has some This IS wittout doubt one of the best k1l:s for beglf"l"lers. The heads
impressIVe new featl.J'es. The heads are a decent size. with a strong are compact but stU'dy. ard far from light on features. The Uf'IIts are
polycarbonate tulld and are compatible with the fullinierilt range fan-cooled. have digital power control and use the standafd
of accessorIeS Though lhere IS no slorage bag with this kit. the box ElmChrom rTIOlI'lt. making them compatlble wdh the full range of
II comes in IS sll.J'dy and adequate for holding it. The modelling accessones, The power control alloYls you to choose VlO·stop
lamps give a decent amount of light and the flash pa.ver (lIS to Increments bet'N€en 12-200Ws. and although slower than a
full·pa.ver) is very respectable. and when channelled by the spill stepless dial. It does allow IJI'eclsion. Using the kit is a pleasure.
kills, can add 50 percent to the GUide Number, lJgf1t terrrpemture IS thanks mostly to ItS bright modelling lamps. These can be set to
a liltleon the cool side. sa using Raw or a manual reading is min or max levels. or proporhonaliy with the power. The recycle
advISed ThIS is a great kit for the money and a good choICe for the time, at lust O.7sec. is fast enough to cope with mcxJel shoots and
amateur II may not be as extensive as some. but the build Quality ful l-power IS cooflrmed Wlth a beep each time. Coverage is good
of the eqUipment more than makes up for II and thanks to lhe dll31saltboxes. the lighllng looks very nattral,