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SLR ADVICE
Nikon
Photographer’s
PHOTO TECHNIQUES
Handbook
Welcome…
Welcome to the new Nikon Photographer’s
Handbook, your 224-page guide to helping you take
your Nikon digital SLR photography further. Whether
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NIKON SKILLS
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We hope you enjoy reading this Nikon
Photographer’s Handbook and it helps you to
VWDUWLPSURYLQJ\RXUSKRWRJUDSK\WRGD\ ESSENTIAL KIT
Marcus Hawkins, editor
Nikon Photographer’s Handbook 3

CONTENTS
Future Publishing Limited
Quay House, The Ambury, Bath BA1 1UA
www.digitalcameraworld.com
Editor Marcus Hawkins

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FUTURE PUBLISHING LIMITED

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Printed in the UK by William Gibbons on behalf of Future.

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All information contained in this magazine is for informational

purposes only and is, to the best of our knowledge, correct at
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© Future Publishing Limited 2016. All rights reserved.

No part of this magazine may be used or reproduced
without the written permission of the publisher.
We are committed to only using magazine paper which is derived from

well managed, certified forestry and chlorine-free manufacture. Future
Publishing and its paper suppliers have been independently certified in 122
accordance with the rules of the FSC (Forest Stewardship Council).
4 Nikon Photographer’s Handbook

SLR Advice
The ultimate pre-shoot checklist! 8
The ultimate guide to flash 20
37 things photographers do wrong 32
Photo Techniques
15 fresh ideas for brilliant landscapes 46
37 top tips for portraits 58
Perfect wedding photos 70
Master magnificent monochrome 82
Break the rules 90
Continuous lighting 126

Nikon Skills Create a light dome 128
Photograph a classic car 104
Refraction photography 132
Shoot star trails 110
RGB histograms 134
Create a moonstack 116
HDR photography 136
Off-camera flash 122
214 Sub-aqua landscapes 140
Using studio lights 124
Birds in flight 142
32
Nikopedia
Capturing gesture and expression 146
Capturing detail 152
Capturing scale 158
Capturing form 164
Capturing texture 170
Essential Kit
DX vs FX 178
Wide-angle zooms 190
Standard FX zooms 198
Telephoto lenses 206
Flashguns 214

SLR ADVICE
SLR
Advice
PHOTO TECHNIQUES
The ultimate pre-shoot checklist! 8

The ultimate guide to flash 20
37 things photographers do wrong 32
NIKON SKILLS
NIKOPEDIA
ESSENTIAL KIT
20

SLR ADVICE PHOTO TECHNIQUES NIKON SKILLS NIKOPEDIA ESSENTIAL KIT
7
8
32
Nikon Photographer’s Handbook

ESSENTIAL KIT NIKOPEDIA NIKON SKILLS PHOTO TECHNIQUES SLR ADVICE
8
SLR ADVICE
SLR ADVICE
[ NIKON ESSENTIALS ]
THE ULTIMATE
PHOTO TECHNIQUES
PRE-SHOOT
CHECKLIST!
Setting up your Nikon before you
start shooting can save you time,
NIKON SKILLS
effort and maybe even using the
wrong setting. Here’s our essential
guide to setting up your Nikon
in advance for 10 of the most
common subjects and situations
ith all of the settings the day, and will ultimately result
W available on your
Nikon, thinking about
in more successful images.
Setting up your Nikon in
every one every time you shoot advance will enable you to think
isn’t the best approach to about the more creative decisions
getting great images. If only involved in taking a picture, such
NIKOPEDIA
there were a shortcut to setting as composition, rather than which
up your SLR for any subject. Well, exposure mode to choose.
there is – as long as you know We can’t be by your side every
what type of subject you will time you shoot, so we’ve come up
be shooting, we can help. with a checklist of settings you do
There are lots of things that need to concentrate on while
you can pre-set so you don’t have you’re shooting , and which you
to worry about them when you can set up in advance, for ten
start shooting. This will give you different shooting situations –
more time to focus on the settings plus a few more hints and tips
that you will need to change on to help you along the way...
ESSENTIAL KIT
9
THE ULTIMATE PRE-SHOOT CHECKLIST!
SLR ADVICE
and using the rear dial to increase or reduce

AVOIDING CAMERA SHAKE
[ SITUATION ONE ] the exposure (in other words, to lighten or Even when using shutter
darken your image). In aperture-priority
HAND-HELD
speeds faster than 1/30 sec,
mode the aperture (in this case f/8 or 11) will camera shake can still affect
your shots. Try shooting
stay unchanged, but the shutter speed will from a kneeling position to
LANDSCAPES
There’s usually no hurry with landscapes,
change, increasing to let in less light and so
darken the exposure, or decreasing to let in
more light and brighten up the exposure.
help to stabilise your
camera, or if you are
standing, look for a solid
object such as a tree, wall or
rock to lean against to
When it comes to keeping the whole scene
but preparation can free your creative side sharp, you’ll need to move the AF point to an
steady yourself.
PHOTO TECHNIQUES
area of the scene that is around a third of the

way between the closest subject you want
W
hile you might think you have
plenty of time to change the
SETTINGS sharp and the most distant one. Take a test
settings on your Nikon when CHECKLIST FOR shot and check the sharpness by zooming in
shooting landscapes, it can still be LANDSCAPES on the image on the LCD. If the subjects in
the far distance aren’t sharp you may need
a good habit to have it pre-set to help you FILE FORMAT greater depth of field than is available at f/8.
concentrate on the really important things RAW
EXPOSURE MODE Try setting the aperture to f/13 or even
when you’re on location.
Aperture-priority f/16, but do remember to keep an eye on the
APERTURE f/8 shutter speed. If this drops below 1/30 sec
THINGS YOU CAN PRE-SET ISO 200 when using, say, an 18mm lens on a DX
The settings you use for shooting landscapes SHUTTER SPEED
Set by camera camera (28mm on FX), you may need to raise
handheld are different to those that you
FOCUS MODE the ISO to enable you to use a faster shutter
would use when using a tripod. The main Single-servo speed to prevent camera shake. If your lens
thing you need to consider is the shutter DRIVE MODE
has Vibration Reduction, you might get away
speed dropping too low, as this increases Single shot
WHITE BALANCE with 1/15 sec or even 1/8, but if you go this
the risk of camera shake.
Daylight slow, steady yourself as much as possible,
NIKON SKILLS
That said, although the shutter speed is a

and take a test shot to check sharpness.
concern, it’s still best to set your Nikon to
aperture-priority mode, as the aim in most
landscapes is to keep the whole scene sharp. WHEN SHOOTING HANDHELD, THE MAIN THING YOU NEED
If you’re shooting hand-held, you will need to
set an aperture like f/8 or f/11, which is a good
TO CONSIDER IS THE SHUTTER SPEED DROPPING TOO LOW,
compromise between getting enough depth AS THIS INCREASES THE RISK OF CAMERA SHAKE…
of field to keep the scene sharp from front to
back, while still being able to set a fast enough
shutter speed to shoot handheld (you can SET MIRROR LOCK-UP
increase the ISO to enable faster shutter Instead of using single-shot
drive mode, many Nikon
speeds, but with landscapes, where detail is models have a mirror lock-up
everything, it’s best to keep the ISO as low as (Mup) mode to help minimise
any chance of camera shake
possible to maximise image quality, and to when using a tripod. In this
avoid unwanted noise, or banding in large mode you press the shutter
areas of smooth tones, such as skies). release (ideally on a remote
NIKOPEDIA
release) just once to flip the

Setting the ISO to 200 will enable you to mirror up, and after waiting a
shoot hand-held in most daylight conditions. couple of seconds for any
vibration to fade, you press
If your lens has a vibration reduction (VR) it again to take your shot.
feature, it’s worth turning this one when
hand-holding, too.
For most hand-held landscape shots you
can set the focus mode to single-servo
(AF-S), and the focus area to single point, as
your subject will be static. Set your Nikon’s
drive mode to single shot too. Finally, you’ll
get more consistent colours by selecting
daylight white balance rather than the
automatic setting.
ESSENTIAL KIT
SETTINGS TO CHANGE ON THE DAY

No matter how much you prepare your Nikon
in advance, the light on a landscape can
never be predicted, so you may need to
adjust the exposure set by the camera. In
aperture-priority mode you can do this by
pressing the exposure compensation button,

SLR ADVICE
SLR ADVICE
PHOTO TECHNIQUES
NIKON SKILLS
the landscape, it’s difficult to keep detail in
[ SITUATION TWO ] both in a single shot: expose for the sky and
the landscape will be too dark; expose for the
LONG-EXPOSURE LANDSCAPES
If you’re planning to capture the sunrise or sunset, you don’t want to
landscape and the sky will be blown out. You
either have to find a compromise, or attach a
graduated neutral density filter to darken
ZDVWHDQ\RI\RXUWLPHRQORFDWLRQIDIÀQJDURXQGZLWKFDPHUDVHWWLQJV the brighter sky, and reveal colour without it
affecting the landscape, or you can take two
NIKOPEDIA
exposures (one for the sky and one for the
T
he settings you need to shoot sunrises
and sunsets are similar to those for
TYPICAL neutralise the warm colour cast. You may
need to change this on location to the cloudy
landscape) and merge them in Photoshop.
Your composition will also have an effect
other landscapes, but as the light can SETTINGS FOR or shade setting, though, depending on the on the exposure indicated by the metering of
change quickly, pre-setting the key SUNRISE AND lighting that you encounter – or in RAW your Nikon. If you include large expanses of
controls will help you get the best results. SUNSET software later on. bright sky or the sun in the frame, Nikon’s
You’ll want to set the ISO to 100 or 200 to Matrix metering system will, by default,
FILE FORMAT
THINGS YOU CAN PRE-SET RAW get the best image quality, although this will recommend an exposure that will expose the
It’s best to set your Nikon to manual mode to EXPOSURE MODE mean you’ll have to use a slow shutter speed. sky as an average mid-tone, and so will
get the best results in the challenging Manual As such, a tripod and remote release are under-expose the foreground or landscape.
lighting conditions of sunrise or sunset. You APERTURE f/16 essential for this type of shot. When you are Also, when changing the exposure for
can also pre-set a small aperture, as this will ISO 100 using a tripod, turn off vibration reduction to landscapes, avoid changing the aperture, as
SHUTTER SPEED
give you a large depth of field – but not too prevent it activating when the camera is this will affect the depth of field. Instead set
Slower than 1/30 sec
small, or you run the risk of lens diffraction FOCUS MODE fired, as this can cause the image to be a slower shutter speed to adjust the
ESSENTIAL KIT
softening your shots. Around f/16 is a good Manual blurred. The autofocus will struggle in the exposure, while keeping ISO at 100 or 200.
starting point. DRIVE MODE low light conditions, so select manual focus. When the landscape isn’t lit directly by the
One reason for shooting at sunset is to Single shot sun you can find that the colours look too
capture the warmer light, so even if you’re WHITE BALANCE SETTINGS TO CHANGE ON THE DAY cool. In this situation, you can change white
shooting in RAW, it’s best to set the white Daylight Setting the best exposure is the biggest balance to cloudy or shade to warm things
balance on your Nikon to daylight, rather challenge when shooting at sunrise or up, but do check that this doesn’t make the
than automatic, as the latter will try to sunset. As the sky is much brighter than colours in the sky or clouds look too warm.

SLR ADVICE
REFLECTORS
[ SITUATION THREE ] If you are shooting with a
light source such as a
WINDOW-LIT window behind the subject

you can end up with their
face in shadow. In these
PORTRAITS
circumstances, use a
reflector to bounce light
back onto the subject. This is
much simpler and more
Get your camera ready to shoot in some flattering than using flash.
RIWKHPRVWÁDWWHULQJOLJKWDYDLODEOH
PHOTO TECHNIQUES
S
peed and connecting with the subject
are the keys to capturing great people
TYPICAL
shots. This means that the fewer SETTINGS FOR
settings you have to think about while WINDOW-LIT
you’re shooting, the better chance you have PORTRAITS
of getting the perfect portrait. While you’ll
FILE FORMAT
usually have more control over the RAW
conditions when shooting indoors, that’s EXPOSURE MODE
no reason to go in unprepared. Aperture-priority
APERTURE
f/2.8 or wider
THINGS YOU CAN PRE-SET ISO 800 or higher
Having your camera set up so you can get SHUTTER SPEED
shooting straight away will also make the 1/125 sec or faster
FOCUS MODE
whole process more enjoyable for your Single servo
subject, as even a professional model will get DRIVE MODE
NIKON SKILLS
bored while waiting for you to get ready, and Single shot
this can show in their expressions and WHITE BALANCE
Automatic
attitude to the shoot.
As with most portraits, getting the right
depth of field is the key to successful indoor
portraits, so start by setting your camera to
aperture-priority mode, and selecting a wide
aperture such as f/2.8 or f/4. This will
produce a shallow depth of field, to help blur
details in the background, which can often be
distracting when shooting indoors. Even
though aperture is the most important
setting, you also need to use a shutter speed SETTINGS TO CHANGE ON THE DAY
FILL-IN FLASH
fast enough to avoid blur from both camera Even though the autofocus system in most Shooting in bright sunlight
shake and subject movement. As such, it’s Nikons will get accurate results in most can produce harsh shadows
conditions, if you’re taking photographs in a on faces, so try using flash to
worth pre-setting a high ISO, say around 800,
NIKOPEDIA
reduce them. The easiest

for most window-lit portraits – although you dark room it may struggle to focus way to do this is to set the
may have to increase this further still when successfully. If this is the case you’ll need to flash to TTL automatic
exposure, which will adjust
shooting in low light. switch to manual focus, and carefully focus its power automatically. Use
Once you’ve pre-set the aperture and ISO on the eye or face of your subject. exposure compensation to
adjust the overall exposure.
you can turn your attention to focusing. For You should also check the shutter speed
most indoor portraits you can set your Nikon that the camera sets, and if it’s 1/60 sec or
to single-servo autofocus mode, and then slower you may need to increase the ISO to
select the single-point area mode. This will enable you to use a faster shutter speed and
allow you to move the focus point to thus avoid camera shake.
correspond to the face – specifically, While you are checking the ISO and
whenever possible, the eye – of the subject shutter speed it’s also worth checking the
by using the rear control pad. exposure on your subject, as this can be
affected by the brightness of the area
behind. If the background is in shadow it will
ESSENTIAL KIT
GETTING THE RIGHT DEPTH OF FIELD cause the camera to over-expose the
subject, so in that case you should set
IS THE KEY TO SUCCESSFUL INDOOR exposure compensation to -1. If the
PORTRAITS, SO START BY SETTING YOUR background is much brighter than the
CAMERA TO APERTURE-PRIORITY MODE subject it will cause the portrait to be under-
AND SELECTING A WIDE APERTURE exposed, so you’ll need to set the exposure
compensation to a positive value.
12
SLR ADVICE
SLR ADVICE
[ SITUATION FOUR ]
PHOTO TECHNIQUES
OUTDOOR PORTRAITS
While variable lighting conditions can present challenges,
you can still set up your camera in advance
E
ven though you can’t predict the exact to blur the background, so you can set the
lighting conditions that you’ll be aperture to f/2.8 or f/4, although you may
working in when you plan a shoot need to adjust this when you are shooting to
outdoors, having some basic settings give more or less depth of field.
pre-set on your Nikon will help with your As long as the subject isn’t likely to be
outdoor portrait shots. moving around you should set the focusing
mode to single-servo, and select the
THINGS YOU CAN PRE-SET single-point area mode. Then, all you need to
For most outdoor portraits you’ll find that do on the day is position the focus point over
ISO200 will give you high-quality images, and the face or eyes of your subject.
NIKON SKILLS
still enable you to use a shutter speed fast
enough to avoid blur from camera shake or SETTINGS TO CHANGE ON THE DAY
subject movement. If you position your subject to the left or right
Just like when you’re taking window-lit of your frame during your shoot, you may find
portraits, you should set your Nikon to that you can’t select an AF point that
aperture-priority mode as this will give you corresponds to their position within the
complete control over the depth of field. frame. In these situations you will need to
Using a wide aperture such as f/2.8 will help either switch to manual focus, or use focus
to blur the background, while a narrower lock. In AF-S focus mode, all you need to do
aperture such as f/8 will keep more of the to use focus lock is position the subject so
scene sharp. For most portraits you will want they ‘re in the selected focus point area, then
press the shutter release half-way until the
TYPICAL focus indicator appears in the viewfinder.
SETTINGS FOR Then, while still half-pressing the shutter
release, recompose your shot and fully
WINDOW-LIT press the shutter release to take your shot.
PORTRAITS
NIKOPEDIA
You may also need to adjust the exposure,
FILE FORMAT depending on the lighting conditions that you
RAW find yourself shooting in. In darker conditions
EXPOSURE MODE
you may need to increase the ISO to enable
Aperture-priority
APERTURE f/4 you to set a shutter speed fast enough to
ISO 200 avoid camera shake, and blur from subject
SHUTTER SPEED movement. You will also need to set some
1/200 sec
FOCUS MODE
exposure compensation if there is a light or
Single servo dark background: if the background is much
DRIVE MODE darker than the subject you will need to set
Single shot exposure compensation to a negative value,
WHITE BALANCE
Daylight
such as -1, to avoid the subject being
over-exposed, while if it’s brighter than the
subject you should use a positive value, such
ESSENTIAL KIT
as +1, or everything will come out dark.
USING A WIDE APERTURE SUCH AS f/2.8 WILL HELP TO BLUR

THE BACKGROUND, WHILE A NARROWER APERTURE SUCH
AS f/8 WILL KEEP MORE OF THE SCENE SHARP
13
SLR ADVICE
[ SITUATION FIVE ]
STUDIO FLASH
You can pre-set a great deal when you’ve
got full control over shooting conditions
PHOTO TECHNIQUES
U
sing flash as your only light source
means that the colour and lighting
TYPICAL
effects are much more controllable SETTINGS FOR
and consistent than they are when STUDIO FLASH
using a natural light source such as sunlight. FILE FORMAT
This means that you can confidently pre-set RAW
many of the settings on your Nikon. EXPOSURE MODE
Manual
APERTURE f/8
THINGS YOU CAN PRE-SET ISO 100
When you’re using studio flash as your only SHUTTER SPEED
light source you have to use manual mode, 1/200 sec
FOCUS MODE
as none of the automatic exposure modes
Manual
will work with studio flash. Once you’ve DRIVE MODE
selected manual mode you can also set the Single
shutter speed to the fastest flash sync WHITE BALANCE
Flash
NIKON SKILLS
speed available on your Nikon. This varies

according to the model, but for most Nikons
it’s 1/200 sec (although some models, such
as the D7200 and D500, allow you to use
shutter speeds as high as 1/250 sec).
You can also set the aperture to a middle
value such as f/8, even if you may need to
adjust this on the day for either different
depth-of-field effects or to adjust the overall
exposure. Using studio flash you would
normally use a low ISO, so you can pre-set
this to ISO100, and also set the file format to ADJUSTING EXPOSURE
RAW for the best quality. You don’t need to change the
Next, you need to select the right focusing aperture to adjust the
exposure. All flash units
mode for your subject. For static subjects have power settings which
you could use manual focus mode, and even you can use to alter the
NIKOPEDIA
amount of light they emit.

position your camera on a tripod. For moving You can also change the
subjects, such as when shooting portraits, distance between the flash
and the subject to fine-tune
you can use either single or continuous servo the exposure – although
autofocus, though you’ll need to make sure avoid moving the flash too
that there’s enough ambient light for the much as it may affect the
quality of the light produced.
focusing to work successfully.
You should also pre-set the white balance
to flash, rather than automatic, and set the camera itself when using studio flash. You want to shoot, then take a shot of this card so
drive mode to single shot, as you will need to might need to fine-tune the exposure by it fills the frame. Select the Preset manual
leave a little time between shots for the changing the aperture, although you would option in the white balance menu, and then
flash to recharge. normally use the power setting on the flash the shot of the card you have just taken as
unit for this (see above). When a flash is the the reference image.
SETTINGS TO CHANGE ON THE DAY only light source, which is usually the case in Although this pre-set value will give you a
Once you’ve set up your lighting, there aren’t a studio, you shouldn’t change the shutter precise white balance for your set-up, the
ESSENTIAL KIT
many settings that you need to alter on the speed at all, as this won’t affect the exposure colour temperature of many flashguns will
of your images. vary slightly when you change the power
To get the colours absolutely spot-on you setting, and it can also be altered by different
WHEN YOU’RE USING STUDIO FLASH AS YOUR ONLY LIGHT can use the custom pre-set white balance light modifiers. So, if you change the lighting
SOURCE YOU HAVE TO USE MANUAL MODE, AS NONE option, rather than the flash setting. To use set-up or the power it’s worth doing another
OF THE AUTOMATIC EXPOSURE MODES WILL WORK this you need to position a white or grey card shot of the card, and using this to set the
in the same position as the subject that you white balance.

SLR ADVICE
SLR ADVICE
LONG EXPOSURE
NOISE REDUCTION
Using long exposures can
increase the noise visible in
your shots. As such, at night
it’s best to use your Nikon’s
long exposure noise
reduction system. This does
mean that the total
exposure time will double for
each shot you take, though.
PHOTO TECHNIQUES
NIKON SKILLS
[ SITUATION SIX ]
you can use the viewfinder or switch to Live
View and zoom in on any of the brighter lights
TYPICAL
SETTINGS
NIGHT CITYSCAPES to gauge sharpness more accurately.
After you have focused manually on the
lights in your cityscape you’ll need to take a
FOR NIGHT
CITYSCAPES
AND TRAFFIC TRAILS
Getting everything ready before you head out will
test shot to check the exposure. If you use
the histogram display in these situations you
will often find that the bulk of the graph is
FILE FORMAT
RAW
EXPOSURE MODE
Manual
save you trying to change settings in near-darkness bunched to the left of the image. This is fine,
APERTURE f/8
though, as it indicates that there are large ISO 200
NIKOPEDIA
areas of the image that are dark, not SHUTTER SPEED
E
ven though there are sometimes street available, but they are a good starting point necessarily that the image is under-exposed. 30 secs
lights to help you see, it’s difficult to for many night shots. To check the overall exposure you should FOCUS MODE
Manual
change settings on your Nikon when Because the main light sources at night look at the right of the graph. There should DRIVE MODE
shooting cityscapes at night, so are street lights, car headlamps and other be a ‘tail’ that indicates the small amount of Single shot
pre-setting as many as possible will make it artificial lights, you should set the white highlights in the image, and this should just WHITE BALANCE
much easier to get great shots balance to the tungsten/incandescent reach the extreme right of the graph. If it Tungsten
pre-set. You may need to tweak this when doesn’t reach the end of the graph, the image
THINGS YOU CAN PRE-SET you process your images, so it’s also best to is under-exposed, and you need to use a
Before you set off on a night shoot in the city select RAW file format, as this gives you the longer shutter speed or increase the ISO. If it
you can pre-set many of the settings on your option of altering the white balance on your goes over the end of the graph there will be
Nikon. The combination of dark shadows and computer later. Finally, you should set some detail lost in the highlights; this is fine
bright highlights you’ll encounter means focusing mode to manual and drive mode to for the ‘hotspots’ of very bright lights, but if
that it’s best to set your camera to manual single shot, and enable long exposure noise the lights are really blown, you should use a
ESSENTIAL KIT
exposure mode, as the automatic modes will reduction in the shooting menu. faster shutter speed or reduce the ISO.
struggle to get the correct exposure. Once
you have selected manual exposure you can SETTINGS TO CHANGE ON THE DAY
set the shutter speed to around 30 secs and Although you’ll be shooting at night, the BECAUSE THE MAIN LIGHT SOURCES AT NIGHT ARE STREET
the aperture to f/8, and the ISO to 200. You lights of most city locations are just bright LIGHTS AND OTHER ARTIFICIAL LIGHTS, YOU SHOULD SET THE
might need to change these once you’re on enough to focus manually successfully. With WHITE BALANCE TO THE TUNGSTEN/INCANDESCENT PRESET
location and can see exactly what light is your camera on a tripod and fixed in position,

SLR ADVICE
sure that your ISO setting is high enough to

[ SITUATION SEVEN ] TYPICAL be able to use a shutter speed fast enough to
SETTINGS freeze the action. So, once you are on
FREEZING FAST ACTION

You can only pre-set so much for action shots – and
FOR FREEZING
FAST ACTION
location, point the camera in the area that
you will be shooting and half-press the
shutter release to activate the metering. If
don’t forget to check everything again on location FILE FORMAT
JPEG
the aperture display flashes and the
EXPOSURE MODE metering indicator shows a minus value it
Shutter-priority means that there isn’t enough light to get the
APERTURE
C
apturing the peak of the action when the shutter fully to take your shot. For most correct exposure. Increase the ISO until the
PHOTO TECHNIQUES
Set by camera
you’re shooting fast-moving subjects moving subjects you should also set the ISO 800 or higher
aperture stays on constantly, and the
takes skill, timing and concentration, autofocus area mode to single-point, and SHUTTER SPEED exposure display disappears.
so you need to be sure that your select the central point where possible. 1/1000 sec You’ll also need to check that the 1/1000
settings are right before you start. Although this means that you will have to FOCUS MODE sec shutter speed is fast enough to freeze
Continuous
position the subject in the centre of the frame, DRIVE MODE
the movement of the subject. The best way is
THINGS YOU CAN PRE-SET this point gives the most reliable and accurate Continuous to take a test shot of the subject and see if
When you’re freezing moving subjects you focusing in poor light, giving the camera the WHITE BALANCE it’s sharp. If it’s not, set a faster shutter
need to be in control of your Nikon’s shutter best chance of tracking the subject. Automatic speed such as 1/2000 sec. But check the
speed, so start by selecting shutter-priority With fast-moving subjects you should set exposure at this faster speed, as you might
mode. Then set a fast shutter speed such as the drive mode to continuous, which means need to increase the ISO to allow you to use
1/1000 sec, although you may need to alter that your Nikon will take a series of images it, depending on the lighting conditions.
this, depending on the speed of the subject. when you hold down the shutter release. If there is sufficient light, you can select
To enable you to use a fast shutter speed Some Nikons have two continuous drive one of the off-centre focus points, which will
you’ll also need to set a high ISO in all but the modes, low and high speed – you should enable you to alter the composition of your
brightest of lighting conditions. The precise choose the high option if it’s available. shots by positioning the subject off-centre.
setting will depend on the amount of light, It’s also best to set the camera to JPEG file Whichever focus point you select, you will
but try ISO800 as a starting point. format to ensure that you get the maximum need to keep it positioned over the subject
NIKON SKILLS
When you can’t predict where the subject frame rate, and to clear the image buffer to allow the camera to track its movement.
will be moving accurately you’ll need to quickly when shooting.
pre-set continuous focusing (AF-C) mode on
your Nikon. In this mode the camera will SETTINGS TO CHANGE ON THE DAY WHEN YOU CAN’T PREDICT WHERE THE SUBJECT
continue to refocus all the time that you No matter how much you prepare, there are WILL BE MOVING ACCURATELY YOU’LL NEED TO PRE-SET
half-press the shutter release, allowing it to always some settings that you’ll need to CONTINUOUS FOCUSING (AF-C) MODE ON YOUR NIKON
track moving subjects. Then you simply press adjust when shooting. First you need to make
BACK-BUTTON FOCUSING
Many action photographers
use a technique called
back-button focusing to get
consistent results. On
high-end Nikons like the
D810 and D500, there is a
dedicated AF-on button,
which can be used to
NIKOPEDIA
activate the autofocus, but

on most models you can use
the Controls custom
settings menu to change the
AE-L/AF-L button to activate
the focusing. This enables
you to track the focus
continuously with your
thumb on the ‘back button’,
leaving your forefinger free
to fire the shutter release.
ESSENTIAL KIT
SLR ADVICE
SLR ADVICE
PRE-FOCUSING
Most sporting events such as
motor racing, mountain
biking or athletics take place
on a track, so you can awill
be. This means you can use a
technique known as
pre-focusing, where you
focus on the point where the
subject will be positioned
when you want to take your
shot. Then you follow the
subject in the viewfinder and
PHOTO TECHNIQUES
fire a short burst just as they
reach this pre-focused area.
NIKON SKILLS
using autofocus for most panning shots – but the day. For a successful panning shot you
[SITUATION EIGHT ] remember that you’ll need to set the focus need to find a viewpoint where you can see
on the area where your subject will be when the subject for as long as possible. This
PANNING SPORT
Capture all the high-speed action,
you want to shoot.
You should also pre-set the drive mode to
continuous shooting, or even high-speed
should include a section before you want to
take your shot and after it. Once you’ve found
a suitable viewpoint you’ll need to shoot a
whatever the sport or conditions, with continuous, if this is an option on your Nikon. few test shots to fine-tune your shutter
the right settings dialled into your Nikon This doesn’t mean that you need to take a speed choice. If there is too much blur in your
NIKOPEDIA
‘machine-gun’ approach to your panning images you should try a faster shutter speed,
shots, though; it’s better to fire in short while if the background is too sharp you
A
dding some blur can help to give your bursts of three to five shots just as the should try a slower shutter speed to get
action photographs a greater sense of
TYPICAL subject passes through the area that you a little more blur.
movement, but as with any action SETTINGS have already focused on. While you’re shooting these test images
photography, pre-setting your FOR PANNING Successful panning shots rely on choosing you should also just check your exposure,
camera will make it easier for you to FILE FORMAT the right shutter speed for the speed and especially if the background is much darker
concentrate on capturing the peak of the JPEG movement of the subject you’re shooting. For or lighter than the main subject. If the
action once on location. EXPOSURE MODE a fast-moving car or motorbike try 1/125 sec subject is too light you should set the
Shutter-priority as a starting point, while for slower-moving exposure compensation on your Nikon to a
APERTURE
THINGS YOU CAN PRE-SET Set by camera subjects, such as cycling, start with 1/30 sec negative value, such as -1, while if it’s too dark
Controlling the shutter speed is the key to ISO 200 – and you can go as slow as 1/8 sec for really use a positive value, such as +1.
adding blur to your panning shots, so you SHUTTER SPEED slow movement such as walking. Finally,
should set your Nikon to shutter-priority 1/30 sec shoot in JPEG, as this will enable you to
FOCUS MODE
ESSENTIAL KIT
mode. Because you will need to use a slow Manual shoot longer bursts without the risk of IF THERE IS TOO MUCH BLUR IN YOUR
shutter speed, you will normally need to use DRIVE MODE your card’s buffer maxing out.
a low ISO, too, so if you’re going to be Continuous
IMAGES YOU SHOULD TRY A FASTER
shooting in daylight set the ISO of your Nikon WHITE BALANCE
SETTINGS TO CHANGE ON THE DAY SHUTTER SPEED, WHILE IF THE
Automatic BACKGROUND IS TOO SHARP YOU
to ISO100 or 200. You can also set your Nikon As with any action and movement, you’ll
to manual focus, as it will give more need to be ready to react to the conditions, SHOULD TRY A SLOWER SHUTTER SPEED
consistent and predictable results than lighting and subject that you are shooting on

SLR ADVICE
PHOTO TECHNIQUES
USE LIVE VIEW

If you’re finding it tricky to
focus accurately on macro
subjects through the
viewfinder, try using Live
View. Switching to Live View
and zooming in on the area of
the subject that you want to
focus on is much easier.
Some Nikons, such as the
D5500 and D750, feature an
articulated screen, which
can make it even easier to
focus and frame shots.
NIKON SKILLS
focus (see ‘Use Live View’, above, for more on speed, as camera shake can be a big problem
[ SITUATION NINE ] how to do this). when you’re shooting close-ups.
As many macro subjects will fill the frame If the shutter speed is too slow to allow
MACRO with a single colour, the automatic white

balance can produce colour casts on your
you to shoot hand-held, you can try resting
your Nikon on a bean bag or other support,
PHOTOGRAPHY
Be prepared to change your settings when
images. Switching to one of the white
balance presets will help you avoid this, but
you’ll need to set this on the day according to
but for a really stable platform you should
use a tripod. However, if there’s any wind, you
can find that subject movement is as much
the lighting conditions. of a problem as camera shake, and if that’s
you dip into the tiny world of macro You’ll want the best quality possible for the case, the only way to enable a faster
most close-ups, but as both camera shake shutter speed is to increase the ISO setting
G
etting great close-ups is all about and subject movement can make it on your camera – but beware of noise.
noticing the details, so the fewer
TYPICAL impossible to shoot at very slow shutter If you are shooting hand-held rather than
camera settings you need to think SETTINGS speeds, setting the ISO to 200 is a good on a tripod, you can change the drive mode to
NIKOPEDIA
about on the day, the more you can FOR MACRO compromise between image quality and continuous shooting and then shoot in short
concentrate on getting both the subject and FILE FORMAT allowing the camera to select as fast a bursts, as this will increase your chances
the background perfect. RAW shutter speed as possible. that at least one image will be sharp. This is
EXPOSURE MODE because even very small changes in the
THINGS YOU CAN PRE-SET Aperture-priority SETTINGS TO CHANGE ON THE DAY distance between the camera and the
APERTURE f/8
Just as when you’re shooting portraits, ISO 200 Choosing the right aperture – one which will subject will cause focus errors on many
depth of field is one of the most important SHUTTER SPEED keep as much of the subject as possible in hand-held macro shots; a burst will give you
considerations when it comes to macro 1/1000 sec focus but blur the background – is the key to a series of shots at a variety of minutely
FOCUS MODE
shots. Because of this, you should set your many successful macro images. So even different distances.
Manual
Nikon to aperture-priority exposure mode to DRIVE MODE though you can pre-set the aperture to a You’ll also need to check the white
give you control over the aperture setting. An Single shot commonly used setting such as f/8, you’ll balance on your Nikon to get accurate
aperture of f/8 is a suitable starting point for WHITE BALANCE often need to change this on the fly colours. If, for example, the light is falling on
Daylight
macro images, but you may need to alter this according to the subject that you are your subject through foliage, it will be
to achieve the right amount of depth of field shooting. When you are taking photographs greener than normal. This means that the
ESSENTIAL KIT
for your shots on the day. you should also keep an eye on the shutter normal pre-set values (or the automatic
It’s best to switch to manual focusing white balance, though we recommend
when shooting close-ups, as focusing is against that) won’t give the correct colours.
often critical for macro subjects, and using THE RIGHT APERTURE – ONE WHICH WILL KEEP AS MUCH In these situations it’s best to use the
manual, rather than automatic, focus will OF THE SUBJECT AS POSSIBLE IN FOCUS BUT BLUR THE custom pre-set white balance by shooting an
make it easier to get the precise area of the BACKGROUND – IS THE KEY TO SUCCESSFUL MACRO SHOTS image of a white or grey card in the same
subject you want to be sharp absolutely in lighting as the subject you want to shoot.

SLR ADVICE
SLR ADVICE
[ SITUATION TEN ] ILLUMINATING
THE CAMERA
STARSCAPES
Take a shot in the dark…
Rather than using a normal
flashlight to help you set up
your tripod and camera on
location, try using one with a
red filter over the bulb. Using
but make sure you’ve set a red light instead of bright
yellow or white will help your
XS\RXUFDPHUDÀUVW eyes adjust to the darkness
much more quickly.
Y
ou’ll need to find a really dark location
PHOTO TECHNIQUES
for successful starscapes, which
means that you won’t want to be
changing too many settings in the
pitch black, so setting up your Nikon in
advance can be a life-saver.
THINGS YOU CAN PRE-SET

Shooting in almost complete darkness
means that you will need to set your Nikon to
manual mode. However, unlike with most
other night photography techniques, to get
successful starscape images you can’t use
really long exposures as this will cause the
motion of the stars to be recorded as star
trails in your final image. To avoid this you
should set the ISO to a high value such as
NIKON SKILLS
3200, the shutter speed to around 5 secs and
the aperture to the widest available on your
lens. Ideally this should be a very wide
aperture such as f/2.8 or f/4.
You should also set manual focus mode,
as it will be impossible to use autofocus to
shoot the stars. Of course, it’s so dark when
shooting starscapes that even manual
focusing can be difficult to use, so the best
solution is to pre-set focus to infinity. If
you’re using a zoom lens, you should also set
the zoom to its most suitable setting –
usually a wide-angle setting such as 18mm.
Then point your camera at a distant subject
and carefully focus. To prevent this moving
you can use a small piece of tape to keep the
NIKOPEDIA
focus set at this position.
To minimise the noise in your images you
should select the RAW file format, and also
turn on the long exposure noise reduction
mode in the camera settings menu.
SETTINGS TO CHANGE ON THE DAY

There are many challenges when shooting setting, or the focus setting has been 10 to 20 minutes on location without looking
starscapes, but focusing in the complete
TYPICAL changed, then you’ll need to focus your lens at any bright lights, using a flashlight or even
darkness is one of the most tricky. Having SETTINGS FOR on the far distance. Try turning on Live View, activating the rear screen on your SLR.
pre-set the focusing, you shouldn’t need to STARSCAPES and find the brightest object in the sky that Once you’ve focused, you will need to take
change it, but if you have to alter the zoom FILE FORMAT RAW you can see. You can then zoom in on the Live a test shot using the settings that you have
EXPOSURE MODE View image using the magnify button on the pre-set, and then check the exposure. The
Manual back of the camera (not the zoom on the results should appear quite dark, with little
ESSENTIAL KIT
APERTURE f/2.8 lens), and adjust the focus manually. detail in the foreground, but make sure that
TO GET SUCCESSFUL STARSCAPE ISO 3200
Even when using this method it can take the stars are clearly visible. If your test shot is
IMAGES YOU CAN’T USE REALLY LONG SHUTTER SPEED
5 secs time and patience to focus accurately, too bright you can use a shorter shutter
EXPOSURES, AS THIS WILL CAUSE THE FOCUS MODE Manual though, and you’ll find the whole process speed, such as 2 secs. If it’s too dark you’ll
MOTION OF THE STARS TO BE RECORDED DRIVE MODE
rather easier if you give your eyes plenty of need to adjust the ISO to a higher value rather
Single shot
AS STAR TRAILS IN YOUR FINAL IMAGE WHITE BALANCE time to become accustomed to the than using a longer shutter speed, to avoid
Tungsten darkness. To do this you’ll need at least recording the movement of the stars. Q

20
SLR ADVICE

SLR ADVICE
SLR ADVICE
PHOTO TECHNIQUES
The ultimate
guide to flash
NIKON SKILLS
Think flash photography is all a bit daunting?
It doesn’t have to be, says James Paterson
O
ne of the biggest steps we can take comes from right next to the lens. A separate
as photographers is to learn how to Speedlight offers so much more control.
use a flash. It can be a difficult skill to Although it fits on your camera’s hotshoe,
master, not least because the burst however, don’t make the mistake of thinking
NIKOPEDIA
of light is almost instantaneous and that that’s always the best place for it, as this
impossible to judge by eye. However, isn’t much different to using the pop-up flash.
the benefits it delivers are huge. At its most The real difference comes when you control
basic, a flash can be a provider of light when the direction and quality of the light, either by
there just isn’t enough elsewhere, but it offers turning the head to bounce it off walls, using
so much more. Consider that when we take a attachments to make it softer, or taking it off
shot in ambient light, there’s only ever one the camera and firing it remotely. This way,
‘correct’ exposure, and limited scope for the light becomes diffused and directional
changing the look of the scene. However, (the two big D’s at the forefront of any
when we start adding in our own light we experienced photographer’s mind).
can create a huge variety of looks. Over the next few pages we’ll show you how
In this feature, we’re not talking about the to get the most out of your flash. We’ll look at
pop-up flash you may have on your camera. the most important features and settings,
Chances are you’ve already discovered that cover essential skills like bouncing and
the results of using this are almost always off-camera flash, and, most importantly,
ESSENTIAL KIT
disappointing. It’s fine for snapshots, but it we’ll explain what – and what not – to do
destroys any sense of depth because the light to achieve beautiful light, every time.

THE ULTIMATE GUIDE TO FLASH
SLR ADVICE
Flashgun
fundamentals
PHOTO TECHNIQUES
Master your Speedlight controls and

discover the three essential flash modes
peedlights come in all shapes and
S sizes, and many have useful features

that go well beyond what’s covered
here, but if you’re just getting started,
there are three settings that matter most:
PDQXDOPRGH77/PHWHULQJDQGÁDVK
H[SRVXUHFRPSHQVDWLRQ<RX·OOÀQG
explanations for each of those settings
here, as well as details of a few of the
features found on most Speedlights.
NIKON SKILLS
Manual mode
Manual mode is the easiest mode both to Here, our SB-910 is set to full power, indicated here
use and to understand. You simply dial in as 1/1, in manual mode
the power setting you want. Full power
(1/1) will give you the most light, and you work to correctly expose it no matter what
can then dial down from there, usually to your choice of aperture or ISO. It’s a useful
1/128 power. On a shoot this means you mode if you need to work quickly, or in
FDQHLWKHUXVHDOLJKWPHWHURUVLPSO\ÀUH situations where you can’t take a test shot.
off a test shot or two and use a little trial
DQGHUURUWRFRPHXSZLWKWKHLGHDOÁDVK Flash exposure compensation
power setting to suit your scene. :KHQLQ77/RUDXWRPRGHÁDVKH[SRVXUH
FRPSHQVDWLRQHQDEOHV\RXWRÀQHWXQHWKH
TTL metering power. First you use TTL to come up with a
Through-the-lens metering – or TTL for power that’s roughly right, then you dial in
short – is an automatic mode that works in PRUHRUOHVVOLJKWZLWK¶ÁDVKFRPS·,W·VYHU\
combination with your Nikon’s metering XVHIXOZKHQ\RXVWDUWERXQFLQJÁDVKRII
NIKOPEDIA
system to correctly expose your subject walls or diffusing the light with adapters,
VRWKHÁDVKDQGFDPHUDQHHGWREH because these both lower the strength of
compatible). As long as your subject is the light, so you can quickly dial in a little
ZLWKLQDVXLWDEOHUDQJHWKHÁDVKZLOO H[WUDSRZHUZLWKÁDVKFRPS
TOP TIP
Pro lighting on the cheap

If you’re new to flash photography, then the kit you need to get started
needn’t break the bank. Aside from your Speedlight, a few inexpensive
items will take your flash photography to a professional level. A shoot-
ESSENTIAL KIT
through white umbrella is ideal for portraits as it softens the harsh flash
light. A cheap light stand will let you position your flash anywhere (or you
could just use a spare tripod, if you have one), while a sync lead or set of
wireless triggers will be needed to fire your flash off-camera. You can pick
up a basic Yongnuo set-up with flash and trigger, plus a stand and brolly,
for less than £100/$150.

SLR ADVICE
SLR ADVICE
BOUNCE CARD
AND WIDE PANEL
When the flash head is tilted
away from the subject to bounce
the light off a wall or ceiling, the
white pull-out bounce card can
be used to direct a little highlight
towards the subject to produce
catchlights in the eyes. The
pull-out ‘wide panel’ diffuser,
PHOTO TECHNIQUES
meanwhile, spreads the light out
over a wider angle, so is useful
when using wide-angle lenses
with a focal length below 24mm.
POWER ZOOM
The flash tube automatically moves
AF ASSIST AND forwards or backwards inside the body of
LIGHT SENSORS the Speedlight, changing the angle of the
The red panel found at the front of beam of light to coincide with the focal
many Speedlights lights up in dim length of your lens. This ensures that the
environments to cast extra light flash focuses light on the field of view. In
onto the subject, so your Nikon has the top image below, the Speedlight is set
something to focus on. The circular to 24mm for a wide spread, while in the
sensor to the left of the red panel bottom image it’s set to 200mm for a
detects other flashes, so angle this more concentrated beam.
towards any other flash units when
using it in wireless or slave mode.
NIKON SKILLS
MOUNT AND STAND
The mount is what fixes your flash
to your Nikon’s hotshoe. This is the
flashgun’s most vulnerable point, 24mm
especially on cheaper devices.
Speedlights also come with a stand
that can be stood on a flat surface,
for off-camera shooting, or
attached to the hotshoe mount on
the camera. On the underside of
the plastic stand is a thread for
fixing the flash to a light stand or a
standard tripod mounting plate.
200mm
NIKOPEDIA
TERMINOLOGY:
Guide numbers
Guide numbers, or GN, are often noted in Speedlight
specs, but what do they mean for your flash? Well, f/8 f/4
the GN is a measure of its maximum power. Typically,
cheaper flashguns have a lower guide number.
The number is found by multiplying the distance
from flash to subject by the f-number required for
a correct exposure, with ISO set to 100 (the ISO is
usually noted in the GN specs). So, if the flash is 10
ESSENTIAL KIT
metres away and you need an aperture of f/8 for a

correct exposure at full power, the GN is 80 (10x8).
Doubling the distance quarters the amount of light, 0 10m 20m
so at 20 metres you’d need to open up two stops to
GN 80 (8x10) GN80 (4x20)
f/4, which again gives a GN of 80.

SLR ADVICE
Flash and exposure

Learn how your Speedlight works in harmony
with your camera’s exposure settings
PHOTO TECHNIQUES
o get the most out of a Speedlight
T
H[SRVXUHVLQRQHWKHÀUVWEHLQJOLWE\WKH
you need to know how it works in available light in the scene, the second by
combination with your Nikon’s OLJKWIURPWKHÁDVK6RLPDJLQHWDNLQJD
exposure settings. But before tackling QRUPDOQRQÁDVKVKRWÀUVWWRH[SRVHIRU
this, a basic understanding of how shutter DPELHQWOLJKWLQWKHVFHQH7KDW·V\RXUÀUVW
speed, aperture and ISO affect an exposure exposure. Then, for the second, imagine
is vital. So if you’re a beginner, brush up on that you’re in pitch darkness for the split
WKHVHIXQGDPHQWDOVÀUVW2QFH\RXNQRZ VHFRQG\RXUÁDVKÀUHV$VDOOOLJKWLQDQ
how these work, you’ll be well on your way. exposure is additive, your resulting image
is a combination of these two light sources.
Two in one You can clearly see these two types of
,WFDQEHXVHIXOWRWKLQNRIDÁDVKOLW exposure at work in the image of the boy
photograph as a combination of two below. During a long exposure, lightsticks
NIKON SKILLS
NIKOPEDIA
A long-exposure,
‘light-painted’ scene
ESSENTIAL KIT
demonstrates how a
flash-lit image is two
exposures rolled into
one. The settings for the
main shot were 76 secs
at f/8 and ISO100

SLR ADVICE
SLR ADVICE
TERMINOLOGY:
Sync speed
Your Nikon’s max. sync speed is
the fastest shutter speed you can
use with flash (unless your flash
features high-speed sync).
Attempt to use a faster shutter
PHOTO TECHNIQUES
speed and your image may be
plagued by horizontal black bars.
This is down to the way a shutter
works. Think of it as a pair of
horizontal curtains that slide
down across the sensor, one at a
time. At slow shutter speeds, the
first curtain moves down, out of
the way of the sensor, to expose it
to light, then the second curtain
moves down to cover it up again.
At fast shutter speeds, however,
and torches were waved around in the So only your Nikon’s Here, under-exposing the second curtain begins moving
dark to create the colourful effect; this is aperture and ISO for the ambient light before the first has reached the
and adding a burst
effectively the ambient exposure. Then the ZLOODIIHFWWKHÁDVK of flash to correctly bottom of the sensor, creating
boy was lit by a Speedlight for a fraction of exposure, along with expose the rugby a slit-like opening that’s then
DVHFRQGWKLVLVWKHÁDVKH[SRVXUH the Speedlight power player has resulted captured by the flash.
NIKON SKILLS
and its distance to the in a moody and very
The need for speed subject. Shutter speed atmospheric portrait
This leads onto a second vital point. doesn’t come into it.
Because the burst of light delivered by a %XWUHPHPEHUZLWKÁDVKZH·UHDOZD\V
ÁDVKJXQLVQHDULQVWDQWDQHRXVWKHVKXWWHU making two exposures in one. So shutter
VSHHGKDVQREHDULQJRQWKHVHFRQGÁDVK speed does come into play for the ambient
exposure. Let’s go back to our image of the light exposure, which is when the light
boy. Even though the exposure time is 76 painting was done. This an important point
seconds, this has no effect on the way the that lots of photographers struggle with, so
boy is illuminated, as the only illumination it’s worth repeating: shutter speed has no
on him comes from a split-second burst of HIIHFWRQWKHÁDVKH[SRVXUHRQO\RQWKH
ÁDVKDWWKHHQG²DEXUVWWKDWLVPXFKIDVWHU ambient exposure. Aperture and ISO, on
than your Nikon’s maximum sync speed the other hand, have an effect on both the
(usually around 1/200 or 1/250 sec). ÁDVKH[SRVXUHDQGWKHDPELHQWH[SRVXUH
NIKOPEDIA
TOP TIP
Relationship advice 1/250 SEC 1/125 SEC
Things start to get really interesting when you control

the relationship between the ambient light exposure
and the flash power, as you can manipulate the ratio
between the two. For example, photographers
sometimes talk about ‘dragging’ the shutter. This
simply means lowering the shutter speed to change
the ratio between the flash and ambient light, so
that the parts of the scene lit just by ambient light
become brighter. The left image here was shot at
1/250 sec, the right at 1/125 sec. Lowering the
ESSENTIAL KIT
shutter speed affects just the ambient light outside,

while the flash-lit interior remains largely unchanged.
The shot on the far right was taken at a slower shutter

speed, resulting in brighter ambient light outside, but
minimal changes to the flash-lit foreground

SLR ADVICE
Bounce your flash

Transform harsh flash light into soft,
even illumination for perfect portraits
PHOTO TECHNIQUES
ne of the biggest problems with
O Speedlights is that the light they

produce is very harsh. This is because
the front of a Speedlight is only a
couple of inches across, and light that
comes from a small source is hard-edged.
Bigger is better
This hard edge is why pointing a Speedlight
directly at your subject without any kind of
diffusion is one of the worst things you can
GRZLWKLW)URQWDOÁDVKEODVWVWKHVXEMHFW
ZLWKKDUVKÁDWOLJKWUHVXOWLQJLQKRWVSRWV
(those ugly highlights on a person’s face)
and destroying any sense of depth. If the
subject is close to the background, they’ll
NIKON SKILLS
also cast an ugly, hard-edged shadow. it straight at your subject. This way the light
2QO\HYHUSRLQW\RXUÁDVKGLUHFWO\DW FDQÁRRGRYHUWKHVFHQHJHQWO\ÀOOLQJRXW
your subject if you have a diffuser attached, shadows without looking too obtrusive or
or if you don’t have any other option. Bigger fake. Direct the Speedlight at a white wall
light sources produce softer light, and and the entire surface becomes your very
softer light is generally more pleasing on own giant softbox, transforming that tiny
the eye, which is why portraits taken under light source into a bank of illumination.
DFORXG\VN\DUHPRUHÁDWWHULQJWKDQRQHV Depending on where you bounce it, you
taken under direct sunlight. The same can also make the light more directional,
DSSOLHVWRÁDVK6RWKHTXHVWLRQLVKRZ to give images greater depth. Bounce it off
do you make that small source bigger? a wall to one side, and the subject will be lit
by a bank of soft, side-on light; bounce it off
A good turn DFHLOLQJPHDQZKLOHDQGLWZLOOÁRRGWKH
All Speedlights have manoeuvrable heads room with soft, top-down illumination.
that turn and tilt, so you can bounce light Just be aware that coloured walls and
RIIDQHDUE\ZDOORUFHLOLQJLQVWHDGRIÀULQJ ceilings can result in colour casts.
NIKOPEDIA
TOP TIP
On the bounce
Bounce flash is particularly useful in situations Bounce flash doesn’t
where you need to be mobile, such as at a have to be restricted to
walls and ceilings. Here
wedding or an event. You might not have the (far right) the flash has
time or room to set up off-camera lights or been bounced off a wall
use attachments, but there’s usually a wall behind the camera, to
somewhere. Note that bouncing off a nearby eliminate the harsh
surface reduces the strength of the light, so shadows and hotspots
ESSENTIAL KIT
evident in the image lit

you may need to adjust the flash output to
with direct flash (right)
compensate. For a simple set-up, use TTL mode
on your Speedlight. This’ll give you a flash power
in the right ballpark. You can then take a shot,
check the exposure, and dial in more or less
power using flash exposure compensation.
26
SLR ADVICE
SLR ADVICE
Frontal flash
creates hotspots
and ugly shadows,
but flash bounced
off a ceiling
produces softer,
PHOTO TECHNIQUES
more natural-
looking light
TERMINOLOGY:
Fill flash
Rather than allowing your flash to overpower
the available light, you can make the flash
NIKON SKILLS
and ambient light work together in perfect
harmony. ‘Fill flash’ means thinking of your
flash as a complementary light, rather than the
main source. It isn’t supposed to light the entire
scene – its job is to pop a little extra light onto
the subject, lifting shadows and evening out
contrast so that every element in the scene is
exposed just the way you want it to be. It’s
very useful when shooting against bright
backgrounds such as sunsets. Set up your
Nikon as if shooting with available light, then
use the Speedlight at a low power. An easy way
to do this is to set your flashgun to TTL mode,
then use flash exposure compensation to dial
down the power of the flash to about -2.0EV.
The flash should be barely perceptible, so look
NIKOPEDIA
for ways to bounce or diffuse it.
ESSENTIAL KIT
Here the Speedlight has been bounced off a

white reflector for some subtle outdoor fill-flash
27
SLR ADVICE
Left: without flash

Below: off-camera
Speedlight in manual
mode at 1/4 power to
right of camera with
white shoot-through
umbrella attached,
1/250 sec at f/8
WITHOUT FLASH and ISO400
WITH
WITH FLASH
FLASH
PHOTO TECHNIQUES
NIKON SKILLS
Off-camera flash
NIKOPEDIA
Transform your photography in an instant

by learning how to fire your flash remotely
ike a shackled bird, a Speedlight used ground, through a doorway – whatever
L solely on a Nikon’s hotshoe can never

VSUHDGLWVZLQJVDQGÁ\,W·VRQO\ZKHQ
\RXVWDUWWRWDNHLWRIIFDPHUDDQGÀUH
it remotely that you begin to realise the full
SRWHQWLDORIÁDVKSKRWRJUDSK\2QFDPHUD
works for your shot.
The right direction

The direction from which light hits your
subject has a huge effect on the way it
you have just two options for positioning looks. If, for example, you position the light
ESSENTIAL KIT
\RXUÁDVKJXQ\RXFDQSRLQWLWVWUDLJKWDW to one side of your subject, the other will be

your subject (which we now know is rarely plunged into shadow, so it creates a sense of
a good idea), or you can bounce the light depth. If you position the light straight on,
off a nearby surface. Off-camera, you can WKHVXEMHFWZLOOORRNÁDWWHU0RYHLWEHKLQG
place it anywhere you like: to the left or the subject and it will highlight the edges,
right, behind the subject, up a tree, on the creating separation from the background.

SLR ADVICE
SLR ADVICE
TOP TIP
Trigger happy
How do you trigger a flash off-camera? If it’s
compatible with your Nikon, then you could use
your pop-up flash in Commander mode to control
and trigger it. If not, then the simple option is a
sync lead – but why restrict yourself with leads
PHOTO TECHNIQUES
when the most basic wireless triggers can be
picked up for little more than the cost of a
memory card? If you’re stuck without a trigger,
then there’s also an old-school solution. Put the
Speedlight in slave mode, so that it fires upon
detecting another burst of flash, then simply fire
your pop-up, using a very low power so as not to
overpower the main flash.
NIKON SKILLS
TERMINOLOGY:
Inverse square law
As well as the position of a light, you need
to consider its distance from the subject.
This is where the Inverse Square law proves
useful. It states that if the distance between
the light source and subject is doubled, the
subject will receive a quarter of the light.
Mood lighting
NIKOPEDIA
So, if you move the subject from five metres
2IIFDPHUDÁDVKDOVRJLYHV\RXKXJH to 10 metres away from the source, you’ll
scope for transforming the mood of either need four times the light, or you’ll
a location shot. In the woodland have to increase the exposure by two stops.
SRUWUDLWDERYHOHIWDÁDVKWRWKHULJKW
of the camera (diffused through Light source
a white umbrella) lifts the model
with side-on light, creating pools of
highlights and shadows around the
subject. Compare this to the image
taken under the same conditions but using Backlighting with flash creates a
just available light, and you can see how rimlight around the edge of your
subject, a technique that can work
WKHÁDVKQRWRQO\JLYHVWKHPRGHODFOHDQHU really well in the rain (you can always 1 metre from light
Illustration: Andrew McLaughlin
look, but also changes the entire mood of replicate this effect with a garden Flash 1/4 power
the scene by altering the ratio of light
ESSENTIAL KIT
hose). This shot was taken at 1/60 sec

between the subject and background. To at f/5, ISO100
create this moody look, before turning on
WKHÁDVKZHZRUNHGRXWWKHDPELHQW 2 metres from light
Flash FULL power
exposure, then dialed in under-exposure.
:HWKHQWXUQHGRQWKHÁDVKDQGXVHGLWWR
lift the subject off the darker backdrop.

SLR ADVICE
Quality control
Get more creative by changing the colour,
temperature of around 5400 Kelvin, which
is a similar-coloured light to that of the
midday sun. Because of this, if you’re
shooting indoors, it’s worth considering
warming your Speedlight with gels to
PDWFKWKHZDUPHUDUWLÀFLDOOLJKWLQJDVD
softness and spread of your flash light mismatch in colour temperature can look
sloppy. The same applies at different times
of the day. At sunset, for example, the light
is warmer. To shoot the image of the castle
PHOTO TECHNIQUES
ow you’ve got to grips
N
EHORZRXU6SHHGOLJKWZDVÀWWHGZLWKDQ
ZLWKH[SRVXUHÁDVK RUDQJHJHOVRWKDWWKHÁDVKPDWFKHGWKH
settings and positioning, warm sunset sky behind. The Speedlight
it’s worth exploring ways ZDVÀUHGIURPVHYHUDOORFDWLRQVRYHU
in which you can manipulate different frames, which were later
the quality of the light, either by combined in Photoshop.
controlling the colour temperature with
gels, changing the spread and softness Softness and spread
ZLWKDGDSWHUVRUOHDUQLQJKRZWKHÁDVK You can buy all kinds of adapters for your
duration changes with the power output. Speedlight that change the quality of the
light. For example, softboxes, umbrellas or
Colour control diffuser panels will produce softer light
Here, the castle and
If you’ve ever experimented with your and gentler shadows. This makes a huge
foreground have been lit
Nikon’s white balance controls, you’ll know by a Speedlight fitted difference to the quality of your light, as
that light comes in all kinds of colours. with an orange gel, to WKHWZRLPDJHVRIPHVKRRWLQJDÁRZHU
0RVWÁDVKJXQVLQFOXGLQJWKRVHPDGH match the warm colours still-life (right) demonstrate. Sometimes,
by Nikon, have a consistent colour of the sunset you actually want the light to be hard: in
NIKON SKILLS
NIKOPEDIA
ESSENTIAL KIT

SLR ADVICE
SLR ADVICE
HARD
PHOTO TECHNIQUES
TERMINOLOGY:
SOFT
Flash duration
Adjusting the power of a flashgun but at power settings lower than
the portraits below, the image on the left A diffuser panel from doesn’t actually affect how bright full power, instead of tailing off
a five-in-one reflector
KDVDPRRG\ÀOPQRLUDSSHDOWKDQNVWRWKH the burst of flash is, but how long slowly, it’s abruptly quenched.
held between the
hard directional lighting, while the one on it lasts, and therefore how long This allows for incredibly short
NIKON SKILLS
flash and flower has
the right has a softer, more friendly feel. a big effect on the it’s lighting the subject. At full flash durations – the lower the
Distance also plays a part, as moving a softness of the power, a typical flash duration power, the shorter the burst.
light closer effectively increases its size in shadows cast might be around 1/800 sec, but One instance where a
relation to the subject, so it becomes softer, by the flower at the lowest power setting, it super-short duration can be
which is often exactly what we want with could be as fast as 1/40,000 sec. helpful is for shooting high-speed
portraits. You’ll often see portrait Studio flash heads tend to have action such as a water splash. In
photographers bring their softboxes longer durations than standard a dark room, the flash duration
and umbrellas in very close to their subject, Speedlights because their flash effectively becomes the shutter
EHFDXVHLWÀOOVRXWWKHVKDGRZVRQWKHIDFH pattern has a longer ‘tail’ – the speed, so if you shoot at your
IRUVRIWHUPRUHÁDWWHULQJOLJKW light spikes quickly, then tails off Speedlight’s lowest power you
As an alternative to spreading the light quite gradually. The light from a can effectively shoot at a ‘shutter
out, you can also channel the beam of light Speedlight also spikes quickly, speed’ of 1/40,000 sec.
for a high-contrast spotlight effect using a Hard light can be
snoot, or even just a roll of card wrapped used to good effect in
portraits if the face is
DURXQGWKHIURQWRIWKHÁDVKJXQ<RXPLJKW turned towards the TOP TIP
also have a dome diffuser that came with light, but in general
NIKOPEDIA
your Speedlight. This can be used to spread diffused light is much
the light in all directions like a light bulb. more flattering
Stroboscopic effects
Many flashguns have a stroboscopic
setting (Repeating mode on Nikon
Speedlights) that fires a series of
rapid bursts of light, enabling you
to create stroboscopic effects. This
usually requires a longish exposure
of a second or more, so it’s best to
use a tripod. Shooting in a dark
environment will stop ambient light
polluting the effect during the long
exposure, and it’s a good idea to
ESSENTIAL KIT
use a black backdrop so that the

subject stands out. There’s plenty of
trial-and-error involved, but once
you get the timing right the results
can be impressive.
HARD SOFT

SLR ADVICE
SLR ADVICE
37
PHOTO TECHNIQUES
THINGS
NIKON SKILLS
PHOTOGRAPHERS
DO WRONG…AND HOW
TO STOP DOING THEM
NIKOPEDIA
Photos soft? Exposures off? Compositions not working? Read on to

GLVFRYHUKRZWRÀ[WKHPRVWFRPPRQSKRWRJUDSK\SUREOHPVIDVW
t’s impossible to learn the might be darker or brighter than you
I art of photography
without making a few
expected, and why your composition
could be letting you down. We’ve also
mistakes along the way, but if you compiled a list of other familiar
find yourself doing the same things camera-setting complaints and
wrong every time you pick up your photography slip-ups that are sure
camera, it’s probably worth getting to frustrate you at some point.
to the bottom of it. To help you, we’ve Whether you’re just starting out or
come up with 37 common problems you’re a Nikon old hand, you’ll find lots
ESSENTIAL KIT
that Nikon photographers are likely to of useful tips for helping you get to
encounter, and suggest ways that you the bottom of your workflow woes,
can overcome them. and getting to grips with the features
Over the next ten pages, you’ll find available on your camera. And if you
advice for working out why your shots still have questions after all that, you
might be slightly blurred, why they know where we are…

SLR ADVICE
SLR ADVICE
PHOTO TECHNIQUES
NIKON SKILLS
NIKOPEDIA
FOCUSING EXPOSURE COMPOSITION CAMERA ERRORS LIGHTING & PROCESSING
BEAT IMAGE BLUR p34 TAKE CONTROL OF TONES p36 ADD IMPACT TO IMAGES p38 WE’VE ALL DONE IT! p40 FINISHING TOUCHES p42
ESSENTIAL KIT

37 THINGS PHOTOGRAPHERS DO WRONG
SLR ADVICE
WHY ARE MY
NOT KEEPING AN EYE
FOCUSING ON THE SHUTTER SPEED
The rule of thumb for handholding is
to set a shutter speed equivalent to
SHOTS BLURRED?
Here are the top reasons why your photos
(or faster than) one divided by the
focal length you’re shooting at,
so that’s 1/50 sec when shooting at
50mm, 1/400 sec at 400mm and so
PHOTO TECHNIQUES
on. But your hit rate may vary when
aren’t sharp, and what you can do about it

it comes to keeping a lens still at
these shutter speeds. Vibration
Reduction (VR) lenses make a
difference at slower
02
speeds, but will have
no effect on any
subject movement.
If in doubt, use a
shutter speed that’s
twice as fast – you
may need to increase
the ISO, but better to
have a sharp, grainy
shot than a blurred
one. If your subject is
moving, you might
NIKON SKILLS
have to go even faster

– even if you’re able to
eliminate camera
shake, if the shutter
Nikon which part of the frame you want to focus on.
speed isn’t fast
For absolute precision, choose a single AF point.
enough to ‘freeze’
The centre spot is the most sensitive, although not
the movement, your
best-placed for the most dynamic compositions.
subject will end up
For an off-centre subject, you’ll need to use the
looking blurred.
‘focus and recompose’ method: point the central AF
point on the subject, half-press the shutter release
to lock the focus, and then recompose the shot.
Alternatively, use an off-centre AF point that
corresponds with the positioning of the subject in
the frame. This is the best option if you’re taking
pictures at close quarters; if you opt for the
focus-and-recompose method instead, the shift in
NIKOPEDIA
camera position can mean that the point you locked

focus on is now at a different distance relative to the
position of the sensor, and may actually be blurred.
ESSENTIAL KIT

SLR ADVICE
SLR ADVICE
04
NOT USING THE OPTIMUM APERTURE
Although there will be situations when you want
to use a large aperture to help you separate a
sharp subject from a blurred background, there
will be other times when you want more of a scene
to appear sharply focused. It might be tempting to
reach for the smallest aperture on the lens, but this actually leads to softer pictures
due to the effects of diffraction – essentially incoming light rays being bent out of shape
by the aperture blades, which is more noticeable at small apertures.
PHOTO TECHNIQUES
It’s often preferable to sacrifice some depth of field in order to deliver an image
where details are pin-sharp. This is often in the middle of a lens’s aperture range
– typically around f/8 to f/11, although this varies from lens to lens.
macro photography or landscapes, manual is the way to go. Live View
potentially makes this a piece of cake, allowing you to magnify details
to 100 per cent. However, some cameras use so-called ‘interpolation’
to create the magnified view, resulting in a Live View image that’s not
particularly sharp, and therefore harder to judge accurate focus on.
One option here is not to magnify the image too far. Alternatively,
shoot in RAW and then fine-tune the Picture Control setting to
f/22 produce a sharper, higher-contrast preview image that’s easier to
judge focus ‘snap’ on – shooting in RAW rather than JPEG means the
image will be unaffected by the effects of the Picture Control setting.
NIKON SKILLS
f/5.6
An aperture of f/22 may not give bitingly sharp results thanks to the effects of diffraction,
whereas an aperture of f/5.6 may not offer enough depth of field for a scenic shot
Live View can make focusing manually easier, although zooming too
far into the image can actually make it tricky to evaluate sharpness
ZOOMING THE LENS
AFTER YOU FOCUS
07
Most of the zoom lenses made today
aren’t in fact true zooms, or what are
known as ‘parfocal’ lenses; rather, they’re
‘varifocal’ lenses. One of the drawbacks of
this type of design is that the focus shifts
as the lens is zoomed. This means that if
you zoom in to lock the focus on
05 NIKOPEDIA
a detail within a scene and then
zoom back out to take a shot,
there’s a good chance that the
detail you want to appear sharp NOT USING THE
CORRECT AF MODE
will now be blurred.
If the zoom range isn’t too great, the
change in focus may be subtle. Using a
small aperture to give a large depth of Nikon SLRs have three autofocus modes: one for
field – the amount of front-to-back stationary subjects, one for moving subjects, and
sharpness in a picture – can also mask any an AF-A mode that automatically switches
focus shift. But the easiest way to prevent between the two, depending on whether the
this is to get into the habit of only focusing camera detects movement and decides that your
after you’ve zoomed. Once it becomes subject is mobile. However, cameras don’t always
part of your shooting regime you won’t get it right, so for absolute peace of mind, always
even have to think about it. set the correct mode manually.
ESSENTIAL KIT

SLR ADVICE
WHY ARE MY PHOTOS

EXPOSURE
TOO BRIGHT OR TOO DARK?

You can tell immediately if there’s an exposure problem. Here’s how
PHOTO TECHNIQUES
to diagnose ZK\ your shots might be under- or over-exposed…

scene, the camera can get things
8
wrong. Despite Matrix metering
essentially applying its own
exposure compensation to deliver
what it determines is an optimum
exposure, it may not be accurate.
Manually dialling in exposure
compensation at the time of
NOT USING EXPOSURE shooting is far better than trying to
COMPENSATION rescue an under- or over-exposed

image later. Pushing the brightness
Matrix metering does a fine job of of an image that’s very dark in
producing balanced exposures for Photoshop can lead to noise in of the graph, then exposure compensation won’t make any
NIKON SKILLS
the majority of day-to-day photo shadows, while trying to eke some difference. This is typically the sort of situation you’d encounter
opportunities. However, faced with detail from burned-out highlights when shooting a backlit portrait, or a landscape at dawn or dusk.
an overly bright or dark subject or can lead to ‘digital’-looking results. There are a variety of ways you can reduce the dynamic range
of the scene so that it fits within the dynamic range of the
camera’s sensor. These include using flash to brighten up a
backlit portrait, or a attaching a graduated Neutral Density filter
(ND grad) to darken a bright sky in a landscape shot, bringing its
exposure level closer to that of the land. With stationary subjects
you could also try taking two or more pictures at different
exposures and then blending the best bits of each in software.
A bright, foggy scene may appear too dark if you don’t apply positive exposure
compensation: the camera wants to make the fog grey rather than white
NIKOPEDIA
IGNORING THE HISTOGRAM

It’s easy to get caught up with composition and focusing, and
to forget to check the histogram regularly. But getting the
exposure right in-camera is far better than trying to fix things
later. Don’t rely on the image playback alone to judge the
exposure, as the brightness of the LCD itself can give a false
impression of the brightness of the shot, especially at night, or
in bright sunlight. If a histogram is cut off or ‘clipped’ at either
end, this indicates there are areas that are pure black or pure
white, and so contain no texture or detail (in other
09
words, areas that are under- or over-exposed).
If you find that the preview of the image displayed
alongside the histogram is too small, then try the In this situation, you could either expose for the sky or expose for
ESSENTIAL KIT
Highlights display instead. With this enabled, areas that the buildings (top). One solution is to shoot two images and blend
are potentially over-exposed will blink on the display. the well-exposed areas of each image in Photoshop later (bottom)

SLR ADVICE
SLR ADVICE
11
FORGETTING
TO SHIELD
PHOTO TECHNIQUES
THE EYEPIECE
Did you know that light can enter the
camera through the viewfinder and
affect the exposure of a picture?
Most of the time this doesn’t present
a problem, as your face is glued to the
back of the camera and shields the
eyepiece, but if you switch to Live
View, or fire the shutter using a
remote release, then there’s a chance
that light can leak through the
viewfinder. The effect is more
obvious in shots take over a long
exposure, when strange, ghostly
shapes and streaks can be burnt into
NIKON SKILLS
the image, as can be seen in our
photograph of a tree here.
Nikon recommends using an
eyepiece cap to block the viewfinder
in these circumstances, but you
might not have one of these to hand.
A strong ND filter such as the Lee
Some Nikon SLRs feature a built-in
Big Stopper enables you to use a
long exposure in bright sunlight, eyepiece blind, but if yours doesn’t
but this is what can happen if you simply drape a black lens cloth over
don’t keep the eyepiece covered… the top of the camera instead.
NIKOPEDIA
or dark a picture is. If an
– typically 1/200 sec). Switching to a image looks way too
smaller aperture is often the easiest way bright or dark, check that
to fix this problem. The aperture controls you haven’t accidentally
the flash exposure, with smaller set the wrong mode. Spot
apertures reducing the flash exposure. metering, for example,
On very bright days, this may mean only meters a small part
that you end up using a smaller aperture of the scene, and if you’ve
than you’d like, bringing more of a scene manually selected an
into focus. In this situation, fit a standard autofocus point then the
spot meter will be linked
ESSENTIAL KIT
ND filter to your lens; this will let you use

large apertures without over-exposing. 1/200 SEC AT f/2.2, ISO200 1/200 SEC AT f/9, ISO200 to this spot too.

SLR ADVICE
COMPOSITION
WHY DO MY PICS
LOOK LIKE SNAPS?
Here’s why your framing may be letting you
PHOTO TECHNIQUES
down, and some simple ways to improve it…
and architecture. If your camera

lacks this feature, activate the
NIKON SKILLS
grid display instead – some SLRs

enable you to do this in the
viewfinder as well as on the Live
View screen. If your SLR lacks both
of these, use the AF points in the
viewfinder to line up the feature
you want to appear straight.
You can, of course, correct a
sloping horizon in Photoshop,
but this can lead to a significant
portion of the image being
trimmed off when the correction
It’s easy to miss distractions at the edge of
is made. It only takes a few the frame when you’re shooting in the dark.
seconds to get it right in-camera, If you’re planning a night shoot, zoom in on a
so you may as well save yourself test shot and check the edges of the frame
some pain later.
NIKOPEDIA
NOT CHECKING THE EDGES OF THE FRAME
15
When you’re focused on getting a shot and making sure the subject
looks its best, it’s easy to miss distracting elements at the edges of your
frame. You can, of course, spend time in post-production cropping a
shot or cloning out unwanted features that were missed when you
framed the shot in the viewfinder, but to make the best use of your time
and the full potential of the camera’s sensor (and get into the habit of
taking the photograph you want and not relying on editing), it pays to
get it right when you take the picture.
That’s easier said than done, especially when you factor in the fact
that not all Nikon’s viewfinders provide 100% coverage. This explains
why you may be surprised to see branches, leaves or street lamps creeping into your carefully
composed shots when you play them back on the rear screen (above). So, before you press the
shutter release button, run your eye quickly around the edge of the screen to check for possible
ESSENTIAL KIT
If you find the Virtual Horizon or

grid overlay difficult to see on distractions – zooming the lens out slightly before recomposing your picture can help to pick out
the rear screen, fit a traditional those things that may be hidden at the time of shooting. Alternatively, switch to Live View mode,
hot-shoe bubble level instead as this always shows the complete picture, with 100% coverage on all cameras.

SLR ADVICE
SLR ADVICE
NOT FINDING
A POINT OF
INTEREST 16
Photos can end up looking like
snapshots if you don’t give
them a focal point. If there are
too many elements in a picture
that aren’t working in harmony,
PHOTO TECHNIQUES
the viewer’s eyes will wander
around the shot looking for
something to latch onto. One
technique is to use the ‘rule of
position of clouds in a landscape shot.
thirds’ to position the subject
Naturally, the more frames you fire
– this is particularly effective
off in succession, the greater your
when the focal point is small in
chances of capturing the peak of the
the frame. Another trick is to
The original shot may tick some of the boxes, with action or the defining moment. That
frame a shot so that there’s an
its rule of thirds and leading lines, but there’s no being said, timing is everything; if you
odd number of elements, as
focal point, and the patch of grass on the right is see the moment through the viewfinder,
this tends to result in a more distracting. The real interest is in the sky, so the then the chances are that you’ve missed
balanced composition. shot was reframed to make the most of this the opportunity to record it! Trying to
anticipate this moment is key, and
starting to shoot before it happens will
increase your chances of capturing it.
NIKON SKILLS
WRONG
the time and space on a memory card, it’s worth ‘bracketing’ your
composition, in the same way that you would bracket the exposure.
RIGHT
Even ‘stationary’ shots can show a peak
moment. The second shot stands out
because of the position of the clouds –
the larger one appears to be streaming
from the cathedral’s central pinnacle
Here, the strong leading lines and symmetrical

subject lend themselves to a tighter, vertical crop
NOT GETTING CLOSE ENOUGH

As photojournalist Robert Capa famously noted: “If your
photographs aren’t good enough, you’re not close enough.”
With this in mind, it’s easy to feel disheartened if you find
yourself in a situation where you’re lacking in focal length.
18
While it’s true that frame-filling shots have impact, they’re not exploring all the angles. By
not always an option. Cropping an image can get you that making the effort to find a shooting
ESSENTIAL KIT
full-frame impact – albeit at the expense of image size – but angle that’s lower or higher than
why not try composing shots so that your subject is positioned head height, you can create a more
within the environment, rather than isolated from it? interesting and unusual picture.

SLR ADVICE
COMMON
SETTINGS & KIT
NOT CHECKING CARDS
AND BATTERIES 23
CAMERA ERRORS
Here are eight familiar camera and camera
How often have you found yourself out
shooting only to discover that you only have
room for a couple of pictures on the card in
PHOTO TECHNIQUES
the camera? Having to delete images to
settings problems photographers face (we’ve

free up space while out shooting is no fun,
and takes time! Try to get into the habit of
all done it!) and what you can do about them downloading the contents of your memory
cards, and formatting them, every time you
return home from a shoot.
Ensure your battery has enough juice
to get you through a shoot, too.
Excessive use of Live View,
playback mode and
shooting in cold
conditions can all reduce
parameters. For instance, if you forget to reset any exposure compensation the shooting time
you’ve dialled in, then subsequently dial in some additional compensation, considerably, and it
you may end up with horribly over- or under-exposed results. The same can certainly makes sense to
happen if you haven’t switched the camera to your preferred shooting take a back-up battery in
mode or metering pattern, or if you’ve left the ISO really high. these circumstances.
NIKON SKILLS
WRONG COLOURS?
22
WRONG WHITE
BALANCE…
If you notice a colour cast
on your images when you
preview them, the chances
are that the wrong white
balance has been set. Most
photographers leave the
white balance in its Auto
setting, and with good
reason: it generally does
a decent job of removing
NIKOPEDIA
colour casts and providing

natural-looking results.
more timely results. With single shot, not only can
It can remove some of
the action of pressing down and releasing the
the character of the light,
shutter release produce soft results, but taking
though, leaching some of the
your finger fully off the shutter release can cause
warmth from a sunset shot,
the camera to refocus the lens – although you can
for example, and it can also
get round this by configuring the camera so that the
get things wrong under
AF function is removed from the shutter release.
artificial lighting, too. Use Live View to preview the
Auto white balance effect that changing the white
can also change the colour balance has on an image
temperature from shot to
shot without the lighting changing very much at all. This can
cause problems if you decide to batch-convert a series of
shots from the same location, as each image may have to be
ESSENTIAL KIT
tweaked individually. To ensure consistency, and speed up

your digital workflow, it’s worth switching to one of the
manual presets, creating a custom white balance or dialling
in the colour temperature manually.

SLR ADVICE
SLR ADVICE
NOT MAKING THE MOST OF U1 AND U2
Some Nikon SLRs enable you to create your own
user-settings modes, which allow you to bring up
a specific camera configuration at the touch of a
button (or turn of a dial). If you’re the kind of
photographer who sticks to
27
aperture-priority mode for 99 per cent
of their photography, then you may not
unnecessarily high for the conditions, it’s
have explored this option, but you’re missing
actually very useful. The Auto ISO function can
out on one of the camera’s more convenient aspects. One
PHOTO TECHNIQUES
be tailored so that the camera is unable to push
Use the Auto particularly handy way it can make a difference is in enabling
the ISO higher than a sensitivity you’ve dialled
ISO menu to fix you to set up a dedicated ‘movie’ mode, which allows you to optimise the
the highest ISO in, and you can also set the minimum shutter
autofocus and other key settings without having to delve into the menu
that the camera speed you need, improving your chances of
and make adjustments each time you want to shoot a video clip.
can choose taking sharp handheld photos.
It also adds flexibility in
manual mode, enabling you to
set a combination of aperture
and shutter speed to give you
the look you want, with the
camera then adjusting the ISO
to keep the exposure consistent
as the light changes.
NOT MAKING THE MOST OF PICTURE CONTROLS
NIKON SKILLS
Don’t leave the Picture Control setting in its Standard position for every shot.
By shooting in RAW, you can preview the effect that a Picture Control has on
an image during Live View or playback, but the original image will remain
unaffected. This is particularly useful when shooting for black and white: compensation. As a result, it may be worth de-activating
using the Monochrome Picture Control enables you to judge how a picture Active D-Lighting in these situations.
will work in greyscale, while the RAW file will be saved with all the colour
information intact. This allows you to carry out the conversion later.
It’s a different matter when you shoot JPEGs, as the Picture Control is
‘baked’ into the file. If you don’t like the look delivered by the
26
Picture Control you’ve set, you can try to fix things in
Photoshop, but image quality will suffer. It’s important to get a
handle on Picture Control when shooting HD video too, because
every frame of a movie is basically a JPEG image, so colour, Active D-Lighting is useful, but reserve the highest setting
contrast and sharpness are fixed at the time you record the for high-contrast lighting, and de-activate it for low-contrast
footage. Filmmakers tend to use the Neutral or Flat Picture subjects. You can always apply it later when you process shots
Controls, as these give low-contrast results that hold up better
NIKOPEDIA
to enhancements in video-editing software.
NOT USING
THE ‘CORRECT’
FOCAL LENGTH 29
While they’re capable of delivering dramatic results,
wide-angle lenses need to be used with care as they can
also deliver peculiar results – when used close up to shoot
a portrait, for example, they can end up distorting a person’s
features. They can also make backgrounds seem small and
insignificant in landscapes. While sometimes you might
want to play with a portrait and have fun with the effect, as
ESSENTIAL KIT
a rule it’s not what most people having their photos taken
NEUTRAL MONO VIVID appreciate. For both portraits and landscapes, switching to
If you shoot in RAW image quality, the image will retain all its colour information, enabling you a lens with a slightly longer focal length and shooting from
to visualise how an effect will work – but if you want to change it later, you can still do so farther away may be more desirable.

SLR ADVICE
OTHER ISSUES
LIGHTING,
PROCESSING screw-on filter, then it’s important to fit a lens
hood when you’re shooting in bright conditions,
PHOTO TECHNIQUES
AND MORE…
otherwise there’s a risk of internal reflections
degrading the image.
It’s tougher to do this with a square filter
system such as those from Lee and Cokin, as
you’ll need a specialist lens hood. Using your
How you light your images, and hand or your body to cast a shadow over the front
how you edit them, are also key of the lens is a good idea, but even then you can
end up with ghosting – light reflecting from the
to professional-looking shots surfaces of the filters and lenses – if the filter
isn’t properly installed. Always start with the slot
nearest the lens; it’s easy to miss this if you’re
shooting in low light or inclement weather.
30
31
NOT WAITING FOR THE RIGHT LIGHT
Waiting for the best light – in terms of its
quality, quantity and direction – is one thing we
all know we should be doing, but when we have to squeeze in
NIKON SKILLS
some quality time with our cameras where we can, well,

sometimes we have to make the best of it.
Even then, subtle changes in lighting can make a big difference
to a photo, so it’s worth spending a few extra minutes at a location
to make sure that you’re not likely to miss out once you move on.
USING FLASH
Failing that, try to improve the lighting by, say, using a diffuser to TOO FAR AWAY
produce soft illumination for close-ups, or using a reflector or a Using a large In this first example, a 10-stop ND filter wasn’t
snap of fill-flash to create more balanced lighting in a portrait. aperture and placed in the slot of the filter holder that was
increasing the ISO closest to the lens. This led to ghosting, with the
to amplify the signal light being reflected off the surface of the filter
from the sensor can and lens. Note that the ghosting is the same
shape as the aperture being used
make the light from a
flash reach farther,
but the light is
unlikely to be the
most flattering.
NIKOPEDIA
At the limits of its

working distance, a
flash essentially
becomes a pinpoint
light source,
resulting in harsh foreground, they’re less useful when a feature in
shadows and red-eye. the landscape protrudes into the sky. As the
Either get closer, or filter is lowered to darken the sky, there’s a risk
switch it off. that the feature will become darker too, so
drawing attention to the use of the grad.
Using your camera’s depth of field preview can
help you position the filter accurately, as the
aperture will be ‘stopped down’, making the
transition between the dark and clear
parts of the filter more obvious.
ESSENTIAL KIT
However, when you’re dealing with

scenes that include buildings,
lighthouses and cliffs, either use
Sometimes all it takes is for a cloud to move and suddenly we’re an ND grad with a soft transition,
presented with a much more appealing and well-lit scene or do without the filter and bracket
the exposure, so you can blend the
pictures later in Photoshop.

SLR ADVICE
SLR ADVICE
34
NOT PROCESSING AN IMAGE
It’s rare that a JPEG image straight out
of the camera requires no subsequent
work. To get an image looking its best,
you may need to tweak the levels, fix
a colour cast, add some additional
sharpening or crop it for a better
composition. If you shoot RAW files
then you have to process the images
yourself, which adds time to your
PHOTO TECHNIQUES
workflow, but at least you’ll be starting
with the highest-quality file that your
camera can produce, and any changes
that you make are never permanently
applied to the original image.
when you’re
viewing the
image at this
level of
magnification. It’s
also worth doing
this after you’ve
carried out
changes to colour
NIKON SKILLS
saturation or
Images can appear flat straight out of the contrast, in order
camera, even when you’re shooting in JPEG ORIGINAL
format. Most images require some processing, to check that
even if it’s just to sharpen them and add contrast details are still
visible and colour
gradation is still
smooth.
FORGETTING TO FIX LENS PROBLEMS WRONG
35
Lens distortion can create a myriad of problems, so make this the first adjustment
you apply when you process an image. If you don’t fix distortion, then images may
Always view an
not appear as sharp; lines that should appear straight, such as the horizon, will
image at full size
appear to bow; and the corners of an image may be darker than its centre. when applying
You can apply some lens corrections in-camera, such as using Vignette Control noise reduction,
to reduce the amount of corner-shading a lens exhibits (typically a problem with otherwise you
won’t be able
NIKOPEDIA
fast lenses), but carrying out the adjustments post-shoot gives you more control.
If you do plan to apply lens corrections, then compose wider than normal, particularly with a wide-angle to judge its
RIGHT effectiveness
lens, as the stretching and cropping that occurs can slice a surprising amount from the edge of the picture.
under-exposed pictures can look obvious,

while boosting saturation and sharpness
too high will give pictures a ‘digital’ look.
ESSENTIAL KIT
After all, the best photography is about

capturing the world as you see it, not as
you imagine it to be... Q
Chromatic aberration (colour fringing) can be obvious along edges in high-contrast shots, but it’s easy to
remove automatically in Lightroom and Photoshop, which have lens profiles already built in

SLR ADVICE
Photo
Techniques
PHOTO TECHNIQUES
15 fresh ideas for brilliant landscapes 46

37 top tips for portraits 58
Perfect wedding photos 70
Master magnificent monochrome 82
Break the rules 90
NIKON SKILLS
90
NIKOPEDIA
ESSENTIAL KIT
46 82

45
58
70

46
PHOTO TECHNIQUES

PHOTO TECHNIQUES
SLR ADVICE
15 FRESH IDEAS
FOR BRILLIANT
PHOTO TECHNIQUES
LANDSCAPES
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1LNRQSURIHVVLRQDOSKRWRJUDSKHUTom Mackie’s
IDQWDVWLFLGHDVIRUEUHDWKLQJQHZOLIHLQWR\RXU
ODQGVFDSHDQGQDWXUHSKRWRJUDSK\
NIKON SKILLS
NIKOPEDIA
ESSENTIAL KIT

FRESH IDEAS FOR LANDSCAPES
SLR ADVICE
01
PRO TIP
If you’re including people
in your image and they’re
a long way off, you can use
walkie-talkies to position
them precisely where
you want them
GET CREATIVE
to be
WITH SCALE
PHOTO TECHNIQUES
WHAT’S THE BIG IDEA?

How often have you looked at a photo of a
waterfall and had no idea if it was three or
30 feet tall? When you want to show the
size of something, you must include an
object that is a known size to give the image
scale, and then everything becomes clear.
One way to add a sense of scale to images
is to place an object close to the lens with
the rest of the scene in the background. This
is a classic near-far technique used to add
depth in landscape photography. The only
problem is that it usually requires the use
of a wide-angle lens, which will make the
NIKON SKILLS
close object look large in the frame and

the background appear much smaller.
WHEN YOU WANT TO SHOW THE

SIZE OF SOMETHING, INCLUDE AN
OBJECT THAT IS A KNOWN SIZE TO
GIVE THE IMAGE SCALE
The best way to emphasise your subject
by using scale is to use a telephoto lens to
compress the scene. This will keep the main
subject large within the frame, then, when
you place a smaller element in the scene
NIKOPEDIA
that provides a sense of scale, the viewer

will get the full impact of the scene.
WHAT’S THE KEY?

The key to this technique is a well-placed
element to contrast with the main subject.
It won’t be as effective if the element is so
small that you have to search for it, or if it’s
placed against a matching tone so it blends
in. In this image of Dynjandi waterfall in
Iceland, I chose to use a 70-200mm lens
set at 70mm to crop in tight on part of the
waterfall. If I had included the entire thing,
which was twice the size of what is shown
ESSENTIAL KIT
here, the person would have been so small

that you wouldn’t see him, defeating the
point of using scale. I composed the scene
so that he was placed in the lower third of Whatever you use to
the frame against the white section of the give a sense of scale
waterfall. A red coat also stands out much has to be large enough
to be recognisable
more than a green or blue coat would.

02
PHOTO TECHNIQUES
SLR ADVICE
LOOK OUT FOR
COMPLEMENTARY
COLOURS
PHOTO TECHNIQUES
Summertime is bursting with complementary
colours such as red poppies with green grass,
a yellow sunflower against purple irises and spices, colourful hats, handmade blankets,
a deep orange sand dune leading to a blue
sky, as shown below. Putting these colours
together will create striking images, but first
let’s understand the basic principle behind
complementary colours so it will help you
identify subjects when you are out shooting.
If you take any of the three primary colours
(red, blue and yellow) and mix the other two
03
CROP IN TIGHT
shells or other natural elements can make
striking images. I think of making photographs
in terms of telling a story about a place. What
is it that the location is particularly known for?
WHAT’S THE KEY?

I prefer to crop in camera when I take my
close-ups, rather than cropping in post-
ON DETAILS
colours together, the resulting colour is the
production. This way you are capturing the
complementary colour of the primary colour.
most information possible, instead of throwing
So, to get the complement of red, mix yellow
some of it away afterwards. The beauty of
and blue together to make green. To get the
NIKON SKILLS
taking close-ups of details is that you can use
complement of blue, mix red and yellow
together to get orange. To get the complement
WHAT’S THE BIG IDEA? just about any lens. Many telephotos will focus
You don’t have to travel far to capture great fairly close to eliminate distracting elements
of yellow, mix red and blue together to produce
landscape images – sometimes, your own back and concentrate solely on the details. Normal
purple. Look at a colour wheel: any colours that
garden may be far enough. There might not be lenses will easily focus close-in, and even wide-
are opposite each other are complementary
scope for a traditional wide-angle landscape, angle lenses can get really close to the subject
colours. When you use them together in an
but if you take the time to look closer at to create an unusual perspective.
image, it creates a striking colour contrast that
details, you can create interesting images. In this image of a white picket fence and
will make your image pop. Complementary
Details of plants and flowers in your garden traveller’s palm I wanted to show the contrast
colours are used all the time in advertising
can take on a very different look when you crop between man-made and natural patterns.
to make the ads stand out.
in tight. When composing your image, look for The image on the left was shot with a normal
patterns and design in nature. lens and doesn’t work photographically. Not
WHAT’S THE KEY? When you’re travelling further afield, don’t satisfied with this attempt, I changed lenses
The key to this technique is recognising which forget to look closely for details that will sum to a short telephoto to crop in tighter on just
colours will work together, and executing the up the place in one photo. Elements that are the details I wanted to show, eliminating the
shot in a way that makes these colours as bold evocative of a location, such as local fruit or distracting elements behind the palm.
NIKOPEDIA
as possible. In this image of a sand dune in
Monument Valley, I used a polarising filter to
saturate the colours more. The side lighting
not only enabled maximum polarisation, it also
brought out the patterns in the sand. This has GEAR UP ROCK STEADY
helped to create an image that leaps off the
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ESSENTIAL KIT
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SLR ADVICE
04
Sunbursts can be PRO TIP
captured by setting A sunburst effect can be
a small aperture achieved by pointing your
camera directly at a point
source of light. The smaller
the aperture, the more
obvious the effect
SHOOT RIGHT
INTO THE SUN
PHOTO TECHNIQUES

You’ve probably been told never to shoot into
the sun, and it was not that long ago that film
and camera manufacturers were telling us to
keep the sun at our back in order to get a good
exposure. This advice is partly correct, but it tends
to produce boring, flatly-lit landscapes. Shadow-
free landscapes are easy to expose for, but the
lack of contrast will result in a lifeless image. My
graduated neutral density filters. These come in this case the sky was so bright I had to overexpose
favourite types of lighting are backlighting and
varying degrees of density and transition. For this by 1.7 stops (+1.7EV) in order to ensure the sky was
side lighting. Shooting into the sun can produce
image of the standing stones of Callanish, I used bright enough (but without being blown out).
dramatic results, with sunbursts and lens flare
a three-stop, soft ND grad over the sky to stop it Finally, lens flare can sometimes be a bonus,
to add depth and help direct the viewer’s gaze.
from blowing out. A soft grad works better when acting as a leading line that directs the viewer
Shooting into the sun has its issues, though.
NIKON SKILLS
you’re shooting an uneven horizon like this; if you through the image. At other times, though, it can
The main problem is the increased contrast. Then
use a hard grad the filter will darken any object distract from the main subject. To help combat
there’s knowing how to meter this tricky lighting
above the horizon line, making it more obvious. flare, keep your lenses clean and use a prime lens.
situation, as well as potential problems with flare,
When metering a scene like this, I also apply Even though today’s zoom lens technology and
but there are ways to overcome all this.
some exposure compensation. This is because an special coatings help reduce lens flare, a prime
SLR’s metering system will always try to render lens has fewer elements for light to go through,
WHAT’S THE KEY? a scene as an average mid-tone by default, which so there is less chance of it producing flare. If
Let’s talk about controlling contrast first. When in a shot like this will result in bright skies turning needed, shield the lens with your hand or use a
you point your Nikon at a sunrise or sunset, the a murky mid-grey. The solution is to over-expose lens hood. Sometimes, however, there isn’t any
sky will be very bright and the landscape very (ie let in more light) to compensate. One stop of way to avoid the sun shining into your lens, so
dark. The easiest way to resolve this is to use over-exposure (+1EV) is a good starting point. In you will have to remove any flare in Photoshop.
‘Skunk Works’, which designed the U-2 and SR-71
05
spy planes. Johnson wanted his engineers to When you’re keeping
“keep a design simple and stupid”. If you look at things simple, make
NIKOPEDIA
all of the images in this feature, they all have one sure your horizons
are straight!
thing in common: uncluttered composition.
WHAT’S THE KEY?

KEEP IT SIMPLE! When you look at a scene, determine what the
main subject is. If this isn’t evident, then you
should think again why you are taking the photo.
Now look around the subject and remove anything
WHAT’S THE BIG IDEA? that isn’t important, or that doesn’t reinforce
When photographing a landscape, it is very easy the composition. You may have to change your
to slap on a wide-angle lens to take in as much angle or lens to do this. I often use a 70-200mm
as possible. This is exactly what I try to avoid. lens to crop in on just the elements that I want
Including too many elements in one image is to include within the frame. When I simplify the
confusing to the viewer and will result in a shot scene down to the main elements, I find that I can
ESSENTIAL KIT
that lacks overall impact. I like simple, graphic create several images by varying the composition.
compositions, and am a firm believer that less I can place the horizon low or high, make the
is more. Have you heard of the KISS method? It’s image horizontal or vertical or place the subject
an acronym for ‘Keep It Simple Stupid’, coined by on different intersecting points using the Rule of
head engineer Kelly Johnson at Lockheed Martin’s Thirds. This is a good exercise in composition.

PHOTO TECHNIQUES
SLR ADVICE
06
GET CREATIVE
WITH CLOUDS
PHOTO TECHNIQUES
Clouds are an important part of landscape
photography, yet are often overlooked when it
comes to creating an image. Like supporting
actors in a film, they can add drama and
emotion, they can direct the viewer to the
main point of interest, and they can support
or balance the main subject. To extend the
film anology further, without them the entire
production can be at risk of deletion from our
memory cards.
The type of cloud can also play an important
part in creating a successful landscape image.
On countless occasions I have gone out to
NIKON SKILLS
shoot a sunset, only to conclude the clouds
are the wrong type to produce a spectacular
image. It’s important to have the right type
of cloud; whether it’s cirrus, cumulus or
lenticular, the right type of cloud can
make or break a landscape image.
You might have to wait

a long time for the right
WHAT’S THE KEY?
The key to getting creative with clouds is to
cloud, but it’s worth it
make sure you not only have the right clouds,
but that they are in the right place. I have
waited ages for clouds to drift into the correct
IT’S IN THE POST DETAILS position within the frame. In fact, I waited four
years to get the right cloud over this lone olive
tree in Tuscany! I do a workshop there every
NIKOPEDIA
Q:LWKGLJLWDOWHFKQRORJ\LW·VDVLPSRUWDQWWREHDGHSWEHKLQG year and have always wanted to photograph
WKHFRPSXWHUDVLWLVEHKLQGWKHFDPHUD$VORQJ\RXFDQFDSWXUH this single tree, but never had the right clouds
DVPXFKLQIRUPDWLRQDVSRVVLEOHLQWKHILHOGWKHQ\RXVKRXOGEH present – that is, until last year. But I still had
DEOHWREULQJLWRXWLQSRVWSURFHVVLQJ&RQWUROOLQJKLJKOLJKWVLV to wait a while in this field until a single cloud
DQDUHDWKDWHYHU\SKRWRJUDSKHUQHHGVWREHSURILFLHQWZLWKDQG drifted directly over the tree. I could have put
WKHUHDUHPDQ\ZD\VWRDFKLHYHWKLV,ILQGWKHHDVLHVWZD\LVWR one in using Photoshop, but I prefer the get it
PRYHWKH+LJKOLJKWVVOLGHULQ/LJKWURRPWRWKHOHIWWRUHFRYHU right in camera whenever possible.
DQ\EORZQKLJKOLJKWV The angle at which clouds are moving also
,RIWHQXVHWKH¶GHWDLO impacts on your images. Look for ones moving
H[WUDFWRU·DYDLODEOH in the right direction to complement the angle
LQ1LN&RORU(IH[3UR of any buildings, or at an angle that helps to
ZZZJRRJOHFRP pull the viewer’s eye down to the ground.
QLNFROOHFWLRQWREULQJ Finally, there is an unwritten rule about
RXWGHWDLOLQFORXGV<RX using clouds: small fluffy cumulus clouds like
ESSENTIAL KIT
KDYHFRQWURORYHUWKH the one over the tree here shouldn’t intersect

DPRXQWRIGHWDLO\RX major elements within the frame, or be cut
ZDQWWRVKRZEXWEH off by the edge of the frame. This isn’t quite
FDUHIXOQRWWRRYHUGR so important with more extensive clouds, or
WKLVDVLWFDQORRND flatter, more horizontal clouds such as stratus
OLWWOHXQUHDO or cirrus clouds, but it’s still worth bearing in
mind when composing an image.

PRO TIP
SLR ADVICE
The radial filter tool in

Lightroom is typically used
in portraits to create a subtle
vignette around a subject,
but you can also use
it to isolate other
subjects
PHOTO TECHNIQUES
NIKON SKILLS
Lines of crops and plants

are perfect for directing
the viewer’s eye
the subject in the centre of the frame to call
07
ISOLATE YOUR
attention to it. Make sure there are no competing
elements around it so the viewer’s eye isn’t pulled
in different directions. This is what I did with
lavender field and lone tree in the picture above.
I purposely put the tree right in the centre of the
frame, carefully placing the lines of lavender
so they enter from the corners. This draws the
viewer’s eye straight to the tree.
IT’S IN THE POST
SPOT COLOUR
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NIKOPEDIA
close to the subject and use a wide aperture such NHHSVSRWFRORXURQWKHPDLQVXEMHFW

as f/2.8 or wider. This is one reason why portrait ZKLOHGHVDWXUDWLQJWKHUHVWRIWKHVFHQH
and sports photographers use fast lenses with <RXKDYHSUREDEO\VHHQWKLVWHFKQLTXH
WHAT’S THE BIG IDEA? maximum apertures of f/2 or even f/1.4. It enables XVHGZLWKDEULJKWUHGGRXEOHGHFNHUEXV
As photographers, it our job to define the subject
them to throw the background completely out of DJDLQVWDEODFNDQGZKLWHEDFNJURXQG
in our compositions. This may sound easy, but
focus, so all of the attention falls on the subject. RULQZHGGLQJSKRWRVWRKLJKOLJKWWKH
when a scene is cluttered with many conflicting
The perspective can have also a major effect on FRORXUVLQDERXTXHW
elements, it’s easy to confuse the viewer.
isolating the subject. Choose a high angle to place )LUVWPDNHDTXLFNVHOHFWLRQRI\RXU
An effective method for creating a strong
the subject against a plain background, or a low VXEMHFWLQ3KRWRVKRSXVLQJWKHODVVRWRRO
composition is to isolate your subject. I often
angle to use a plain sky as a clean, clutter-free WKHPDJQHWLFODVVRFDQPDNHWKLQJV
use this technique for travel images, throwing
background as I did in this image. HDVLHULI\RXUVXEMHFWLVVRPHWKLQJZLWKD
the background out of focus so it doesn’t distract
You can use also selective lighting in low light GHWDLOHGRXWOLQHVXFKDVDWUHH+LW6KLIW
from the subject, but is recognisable enough to
conditions by painting your subject with light so it &PG&WUO,WRLQYHUWWKHVHOHFWLRQ
give a sense of place. Sometimes there’s so much
stands out from the dark tones of the scene. You WKHQFKRRVH,PDJH!$GMXVWPHQWV!+XH
going on in a scene that in order to make the
ESSENTIAL KIT
can get really creative by using various coloured 6DWXUDWLRQDQGPRYHWKH6DWXUDWLRQ

subject stand out you have to isolate it using
gels over your light source to create a strong VOLGHUDOOWKHZD\WRWKHOHIWWRUHPRYH
one of the techniques described below.
colour contrast. WKHFRORXUIURPWKHEDFNJURXQG
Finally, get close to the subject or zoom in to )RUDVXEWOHUHIIHFWWU\UHGXFLQJWKH
WHAT’S THE KEY? fill the frame with the subject so it dominates the VDWXUDWLRQLQWKHEDFNJURXQGEXWQRW
There are several ways to isolate your subject so it frame. This creates a graphic, bold composition, UHPRYLQJWKHFRORXUHQWLUHO\
stands out from the rest of the scene. Try placing and by definition eliminates any distractions.

08
PHOTO TECHNIQUES
SLR ADVICE
MAKE THE MOST
OF SYMMETRY
Symmetry is when you can divide an image in
PHOTO TECHNIQUES
two and get a mirror image on either side of
the line. Nature is good at creating symmetry
– one obvious example is a reflection in a lake.
The dividing line between the two halves is
called the ‘line of symmetry’. We are naturally
fascinated with symmetrical patterns, and a Carefully cropping out
photograph of a symmetrical location, with other open sunflowers
in this field prevented
equal elements on either side, draws the them being distracting
viewer in to explore the scene in more depth.
You can have vertical and horizontal
symmetry within a frame, and sometimes
both in one image.
WHAT’S THE KEY?

It is easy to find symmetry in architecture,
but you may have to search for it in nature.
NIKON SKILLS
Reflections are the obvious example, but
there are many other natural examples,
such as this image of a starfish in the surf. I
positioned the starfish in the centre of the
frame and watched as the wave hit it. I didn’t
imagine the image that I ended up with when I
slowed the shutter speed down from 1/200 sec
to 1/80 sec in order to get a little movement in
the wave. It created a perfect foamy envelope,
but you can still see the starfish underneath. The colour of this lone
The photograph is vertically symmetrical if tulip makes it ‘pop’
you draw a line from the top to the bottom
through middle of the starfish.
The key to creating symmetry is to make
sure you position the subject in the centre of
09
NIKOPEDIA
the frame, with any elements placed exactly
the same distance apart from each other.
BE CLEVER WITH COLOUR

Most of us see the world in colour, but using colour in a graphic way will demand attention of your
viewers. Understanding how our emotions react to colour can really help in creating compelling
images. You can often find colour contrast in nature and certainly in architecture, but there is
nothing to say you can’t create your own compositions. Try putting two primary colours together;
lie down in a field of poppies and shoot them against the deep, blue sky, for example.
ESSENTIAL KIT
WHAT’S THE KEY?

Simplicity in design is the key to capturing striking colours, and often moving in close to your
subject will help you achieve this. With this image of the single opened sunflower (top), I used
a telephoto lens to crop in tight on the flower, showing only the unopened flowers around it. I
extended the tripod as high as possible and angled the camera down in order to eliminate the
distracting sky. The brilliant yellow against the muted green brings the whole idea together.

SLR ADVICE
PHOTO TECHNIQUES
A panorama is a
great option for a
very horizontal
subject like this
are consistent. Set the white balance to daylight, stitched the images together later in Photoshop’s
10 again for consistency. Photomerge, there wasn’t any distortion because

NIKON SKILLS
Shoot a series of images, allowing them to I used a long focal length.

overlap by at least a third so there is enough Objects moving during the pan series can be an
information to stitch them together. Focal issue. If you have anything that is moving through
lengths of 50mm or longer are better as there the scene, it may end up being in several of your
will be less distortion than with wide-angle lenses images. When you stitch the images you may end
CAPTURE A and you can bring the details of the scene closer
to you. If the light isn’t changing quickly and you
up with something like the same person walking
through the scene. The software sometimes
PANORAMA
have time, shoot in vertical orientation to make removes all but one, though you still may have to
more use of the sweet spot of the lens. It will also retouch others out. Coastlines present a different
result in larger files, giving you no problems if you problem: moving waves. If you are quick enough
want to make large prints. shooting your series you might be lucky and have
For this shot I was quite a long way from Iguazu your waves stitch together. If you are including
WHAT’S THE BIG IDEA? Falls, so I used a focal length of 145mm to zoom in crashing waves it does get trickier. In that case,
When you are on your travels this summer, don’t
on just the falls. I made eight vertical exposures at I allow space in a single frame so I can crop it
ignore official scenic viewpoints just because
0.5 sec each to obtain the silky water effect. I also to a panoramic format. As my Nikon produces
they’re obvious. But instead of putting a wide-
used a polarising filter to saturate the greens by 36-megapixel RAW files, that isn’t a problem
NIKOPEDIA
angle lens on your camera, which will make

removing the reflections from the foliage. When I because I can still end up with a 70MB file.
everything appear very small, try using a normal
or telephoto lens to shoot several images and
then stitch them together using Photomerge
in Photoshop, or another stitching program.
Most of the images we look at tend to be in a 3:2
GEAR UP USE YOUR HEAD
ratio, so when we see a wide-vista panorama, it
Q<RXGRQ·WQHHGDQH[SHQVLYHDQGFXPEHUVRPH
commands our attention to study it longer. But
SDQRUDPLFWULSRGKHDGWRVKRRWSDQRUDPDVMXVWD
before you start clicking away, it’s worth going
EDOOKHDGZLWKDSDQQLQJIDFLOLW\$Q/EUDFNHWZLWK
through a procedure that will help make creating
DTXLFNUHOHDVHSODWHZLOONHHSWKHFHQWUHRIWKHOHQV
panoramas very easy.
RQWKHURWDWLRQD[LV7KLVZLOOHOLPLQDWHDQ\SDUDOOD[
GLVWRUWLRQDQGPDNHVWLWFKLQJHDVLHU
WHAT’S THE KEY? $QRWKHUSLHFHRINLWWKDWPDNHVOLIHHDVLHUZKHQFUHDWLQJ
This technique works best if you use a tripod. SDQRUDPDVLVWKH*LW]R*6/9/6\VWHPDWLF/HYHOOLQJ%DVH
ESSENTIAL KIT
First level the tripod, then level the camera. It 7KLVZLOORQO\ILW6HULHV*LW]RWULSRGVEXWLI
helps if your tripod has a bubble level on the \RXVKRRWDORWRISDQRUDPDVLW·VZRUWKWKHLQYHVWPHQW7KH
neck; disregard the ones on the head. I use an PDLQEHQHILWZLWKWKHOHYHOOLQJEDVHLV\RXZLOOQRWKDYHWR
inexpensive hotshoe spirit level to align my DGMXVW\RXUWULSRGOHJVLI\RXDUHRQXQHYHQJURXQG<RXRQO\
camera. Set an exposure for the average light WZLVWWKHVKRUWFROXPQRQWKHOHYHOOLQJEDVHDQGDGMXVW
across the scene. Use manual focus and manual LWXVLQJWKHEXLOWLQVSLULWOHYHO,W·VYHU\TXLFNDQGHDV\
mode so that all the exposures in your sequence

PHOTO TECHNIQUES
SLR ADVICE
12
SHOOT A
SILHOUETTE
PHOTO TECHNIQUES
Silhouettes can be very evocative. Sunset is the
best time to create them, especially if you place
your subject against a stunning sky. Our eyes can
PRO TIP still see lots of detail in these lighting situations,
Before shooting your
but a camera sensor can capture a much smaller
panorama, photograph your
finger pointing right; at the range of tones – where we might see some detail
end, photograph it pointing in a silhouetted subject, the camera will often just
left. This will help you see deep, black shadow. Any subject can be used,
identify the shots to
as long as the shape of the subject is identifiable,
edit later
and preferably very graphic.
Asymmetry creates a
WHAT’S THE KEY?
NIKON SKILLS
The key to successful silhouettes is backlighting.
sort of visual tension,
adding interest Place the sun behind the subject or even shoot
after the sun has set in order to achieve brilliant
colour that will provide an interesting backdrop.
Exposure can be a challenge because the
camera’s meter may want to underexpose the
scene, depending on the ratio of dark to light
areas. Generally, you will want to expose for the
background. When I shot the fishing boat below, I
overexposed by one stop so the sky and reflection
wouldn’t look too dark.
If most of your subject lies below the horizon,
you run the risk of it merging into the dark tones.
An example would be a tree in a field at sunset.
If half of the trunk is below the horizon, you will
only be able to see the top of the tree, which will
NIKOPEDIA
look odd. The best way to solve this problem is to
Informal balance or asymmetrical balance
11
get as low as possible and move closer to the tree
is when one or more dissimilar elements are
(using a wide-angle lens if necessary).
on each side of a given point in the frame. You
You should be able to use a low ISO, such as
can have one element close to the front of
100, as the background should be bright enough,
the camera and one in the distance. This size
and, of course, you should be using a tripod. In
differential creates an informal balance.
most cases, try to use the optimal aperture of f/8
INCLUDE SOME
unless you want to include a sunburst, when you
WHAT’S THE KEY? need to use an aperture of f/16-f/22.
In this image above, there are two obvious
ASYMMETRY points of asymmetry. One is the imperfect

cypress tree with the bulge, and the other is
the displacement of the chapel and trees off-
centre, with the imbalance of the crescent
ESSENTIAL KIT
moon on the right side of the frame. Then

I spoke about symmetry earlier. Asymmetry there is the point of balance: tonal balance.
is just the opposite. Visually, it is more If you think of dark areas of the frame having
exciting because of the conflict between more weight than lighter areas, it would take
elements within the frame. The mind looks more light tones than dark tones to create a
for order, but when there is this imbalance it balanced shot. Here, the weight of the dark
creates tension and therefore, excitement. silhouette is balanced by the twilight sky.

SLR ADVICE
PHOTO TECHNIQUES
NIKON SKILLS
Lights give a sense

of life to a town,
and add warmth
13
WHAT’S THE KEY? mode. An exposure of 30 seconds is normally the
There are numerous night photography longest exposure available in ‘auto’ modes; if you
NIKOPEDIA
techniques to try, but here are the key ones. require longer exposures, shoot in manual mode.
First, and most obvious: use a tripod plus a If you are in a landscape away from the city
remote release to avoid camera shake. I prefer lights, try photographing a sky full of stars
a simple cable release that doesn’t require over your scene. This requires you to use a
PHOTOGRAPH
batteries, as batteries tend to go flat just when high ISO such as 1200-3200 – the exact setting
you need them, and that’s a nuisance when will depend on the phase of the moon. If the
you’re out photographing landscapes. landscape is lit by a full moon, I have used an ISO
AT DUSK There is a short window of time when

the lighting is just right for dusk shots. This
opportune time is about 20-30 minutes after the
as low as 400, but generally you will see more
stars if there is no moonlight. Set your lens to
infinity, and turn off the autofocus. Your aperture
sun has gone below the horizon. It’s when the will need to be set as wide as it can go, using
WHAT’S THE BIG IDEA? lights come on and the sky is a deep blue. The the widest lens you have. The key to this type of
Cities and villages come alive with lights and prime shooting time is only about 10 minutes photograph is to have an interesting foreground
colour at night and distracting details such as before the sky is too dark. When this happens to silhouette below a sky full of stars.
ESSENTIAL KIT
cranes, wires and unsightly buildings seem to the highlights in the lights start to burn out.
melt away in the background. Every holiday It is advisable to lock your mirror up and wait
destination has something that will look great a few seconds before tripping the shutter to
THIS OPPORTUNE TIME IS ABOUT 20-
at night, no matter where you are in the world. avoid possible vibrations from the mirror. In this 30 MINUTES AFTER THE SUN HAS GONE
A few classic subjects for night shoots are image of Manarola in Cinque Terre, Italy, I used
illuminated fountains, sculptures, castles, the optimal aperture of f/8 which resulted in
BELOW THE HORIZON, WHEN THE LIGHTS
churches or cathedrals and market places. an exposure of 30 secs using aperture-priority COME ON AND THE SKY IS A DEEP BLUE
14
PHOTO TECHNIQUES
SLR ADVICE
LOOK FOR SHAPE
AND PATTERN
Shapes and patterns are important elements
PHOTO TECHNIQUES
in landscape photography. They create visual
rhythm and harmony that brings impact to an
image. If you think of any shape or pattern, the
basis of these elements are lines. Line is the
structure of all photographs, either in a subtle
or obvious way. When you use lines creatively
in a composition they can evoke different
emotions: diagonal lines suggest action and PRO TIP
movement, horizontal ones create a sense You can add a twist to
of tranquility and peace, and vertical lines a classic canopy shot like
15
this by setting a slow shutter
suggest a feeling of power and strength. speed and spinning your
camera round or zooming
in as you press the
DIAGONAL LINES SUGGEST ACTION shutter release
AND MOVEMENT, HORIZONTAL ONES
CREATE A SENSE OF TRANQUILITY, AND
DON’T FORGET TO LOOK UP!
NIKON SKILLS
VERTICAL LINES SUGGEST POWER
When lines form a clear pattern, they can
create a more successful image. Patterns are
everywhere in nature and man-made objects.
It’s very easy to photograph what’s in front of us, as our eyes scan from left to right searching
for compositions. However, often looking up can be all it takes to shoot more dynamic images.
WHAT’S THE KEY? Whether you are walking through forests of towering trees or large, skyscraper-packed cities,
The key to finding patterns is to explore a you can create unusual images by pointing the camera to the heavens.
variety of different angles in order to seek
out any repetition. Lens choice will make
a huge difference in how well the patterns
WHAT’S THE KEY?
The key to this technique is utilising dynamic lines as much as possible. With this image of the
are captured. Depending on the scene, I find
giant redwoods in California, I wanted to show the pattern of lines that these trees create, as they
a medium-to-long telephoto works well to
are the tallest trees in the world. I mounted my Nikon D800 with a 14-24mm lens set at 14mm to
compress the patterns, as was the case with
accentuate the lines. The hardest part was cranking my neck to see the display using Live View! It
NIKOPEDIA
the wind turbines here. When you combine
took some minor adjustments in the framing to ensure that there were even patterns coming in
patterns with great light, it only reinforces the
from all the edges of the frame. Because the forest was so dark, I needed to use positive exposure
composition. I chose early morning light on the
compensation, and overexpose the scene by one stop, otherwise the dark trunks would have come
white turbines so they would transform into
out too dark. I’ve tried this same technique in cities. Q
gold against the polarised blue sky. I chose a
short enough shutter speed (1/4 sec) to blur the
rotation of the turbines and add an element of
motion. This created an interesting shape that
made them look like pinwheels.
IT’S IN THE POST NOISE REMOVAL
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ESSENTIAL KIT
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ZRUNYHU\ZHOOWRUHGXFHQRLVHDQGUHWDLQGHWDLODWWKHVDPHWLPH

58
PHOTO TECHNIQUES

PHOTO TECHNIQUES
SLR ADVICE
37 top tips
PHOTO TECHNIQUES
for portraits
NIKON SKILLS
James Paterson presents 37 ways to hone your skills,
learn new editing tricks and master techniques
guaranteed to improve your people photos
P
ortraiture offers a real test of a Over the next few pages you’ll find a whole
photographer’s technical skill, heap of ideas, tips, lighting advice and even
creativity and charisma that editing suggestions that are guaranteed to
sets it apart from other genres of produce great portraits. How do we know?
photography. There’s nothing quite Because we’ve been honing these ideas
like coming away from a portrait through hundreds of shoots of our own.
shoot knowing you’ve nailed every aspect Now you can take brilliant portraits too…
NIKOPEDIA
of the challenge – the camera settings, the
lighting, the composition, and the subject’s
character. When everything comes together
in one harmonious frame, the results can be
spectacular. However, anyone who’s tried
their hand at portraiture has also probably
experienced the crushing disappointment
that comes when grumpy subjects, technical
1 Get the low-down
COMPOSITION TIP
Crouching or even lying on the ground

slip-ups or misjudged lighting spoil a shot. can often give you a more interesting
Both technically and artistically, there’s camera angle, and when shooting
always plenty to think about on a portrait kids it takes you down to their level.
shoot. And then there’s the other X factor: In scenes like this one amid the
the connection between the subject and bluebells, it can also help to create a
the photographer. But if you can head into a sense of depth, as it means you can
shoot armed with a few ideas, some stock blur out both the background details
ESSENTIAL KIT
settings, and maybe a go-to lighting set-up, and the foreground. Using a long focal
then the multitasking nature of portraiture length in combination with a wide
suddenly gets a lot easier. aperture will emphasise the blur.

TOP PORTRAIT TIPS
SLR ADVICE
2 Blur the background

CAMERA TIP
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PRUHWKDQRQHZD\WREOXUDEDFNGURS
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PHOTO TECHNIQUES
UHFRUGHGDVVWUHDNVRIFRORXU7KHSKRWRRQ
WKHULJKWZDVVKRWDWVHFI,62
3 Bend the limbs

POSING TIP
7KHUHDUHORWVRIUXOHVDERXWSRVLQJVWDQG
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WKHPDOO\RXUSRUWUDLWVKRRWFDQTXLFNO\
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XVHIXOWLSWKDW·VHDV\WRUHPHPEHULVWKLV
LILWEHQGVEHQGLW6RDUPVOHJVÀQJHUV
Background blur
QHFNKLSVVKRXOGHUV«DVOLJKWEHQGZLOO Motion can
NIKON SKILLS
LQYDULDEO\OHDGWRDPRUHLQWHUHVWLQJSRVH introduce
background blur
while still enabling
4 Window of opportunity
LIGHTING TIP you to use a narrow
aperture for greater
depth of field
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GLUHFWLRQDOOLJKWDQGLI\RXZDQWWROLIWWKH Windows make
VKDGRZVKROGDUHÁHFWRURUZKLWHERDUGXS fantastic light
NIKOPEDIA
sources, and a
5 Shoot it shallow
CAMERA TIP
WRWKHRWKHUVLGHRI\RXUVXEMHFW·VIDFHWR reflection can add
ERXQFHOLJKWEDFNLQWRWKHVKDGRZV another element
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OLNHIRUDVZLGHDVLW·OOJR

PHOTO TECHNIQUES
SLR ADVICE
8 Editing tip
Create clones
Multiplicity portraits are easy to create, even if you’re a Photoshop
novice, as long as you shoot all the images you need on a tripod. Set
your camera up on a tripod and capture your subject in various poses
spread around the frame. Then, in Photoshop, copy and paste the
images on top of one another (CC users can go to File>Scripts>Load
6 Interaction
POSING TIP Interaction Files into Stack).
PHOTO TECHNIQUES
Getting couples or
Next go to
groups to interact
often leads to more Layer>Layer
natural poses Mask>Hide All, then
:KHQVKRRWLQJIDPLOLHVRUFRXSOHV
paint with white to
HQFRXUDJH\RXUVXEMHFWVWRLQWHUDFW
reveal the hidden
ZLWKRQHDQRWKHU7KLVFDQOHDGWRJUHDW
pose. Select the next
XQIRUFHGH[SUHVVLRQVDQGHPSKDVLVHVWKH
layer and repeat until
FORVHQHVVEHWZHHQWKHP)RUFRXSOHVDVN
the images are all
RQHRIWKHPWRZKLVSHUVRPHWKLQJLQWKH
combined.
RWKHU·VHDU)RUNLGVJHWWKHPWRVD\IXQQ\
ZRUGVRUSKUDVHVWRHDFKRWKHU$QG
UHPHPEHUWRZDWFKRXWIRUWKRVHZRQGHUIXO
PRPHQWVZKHQWKH\WKLQN\RX·YHVWRSSHG
VKRRWLQJDVLWRIWHQUHVXOWVLQWKHPRVW
UHOD[HGQDWXUDOORRNLQJSRVHV
7 Sense of scale
COMPOSITION TIP
NIKON SKILLS
3HRSOHFDQPDNHIRUDXVHIXOIRFDOSRLQWLQ
\RXUODQGVFDSHSKRWRJUDSK\HVSHFLDOO\LQ
VLPSOHVFHQHV6RZKHQ\RX·UHQH[WRXW
VKRRWLQJODQGVFDSHVGRQ·WMXVWZDLWIRU
ZDONHUVWRH[LWWKHIUDPH²LQFOXGHWKHP
WRJLYH\RXULPDJHVDVHQVHRIVFDOH
9a portrait
CAMERA TIP
Zoom-blur
NIKOPEDIA
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DVHQVHRIPRYHPHQWLQ\RXU
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10 Jump! POSING TIP
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11 Plan group shots
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12 Backlight the face

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PHOTO TECHNIQUES
SLR ADVICE
13 Editing tip
Retouch the face
Most faces will benefit from subtle
retouching. The trick is to keep things
natural, so don’t go overboard and remove
absolutely everything. A good rule of thumb
is to make the subject look their best, as if
PHOTO TECHNIQUES
they’ve just had a great night’s sleep after a
weekend spa break. So spots, blemishes and
eye bags can all be softened.
Camera Raw (or the near-identical tools in
Lightroom’s Develop Module) offers some
useful tools for this. Load the Adjustment
Brush with -50 Clarity and paint over the
skin to soften it slightly, without making it
16 CAMERA TIP
Double
exposures
over-smooth and plasticky, then use the Spot 7KHROGDQDORJXHWHFKQLTXHRI
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19 COMPOSITION TIP
Crop with 23 It’s all in the eyes
EDITING TIP
It’s often said that the eyes are the gateway to the
confidence soul, so in terms of portraiture, they’re one of the
most important elements in the image. As such,
'DULQJFURSVFDQPDNH\RXU
eyes will often benefit from a subtle boost. (As
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always, the golden rule of retouching is to use a
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light touch.) Using Camera Raw (or Lightroom’s)

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Adjustment Brush, paint over the whites of the eyes and dial in positive exposure to lift them.
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over the iris (but not the pupil) to lift it. Take care not to push the settings too far, though; blinding
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white eyes are one of the worst – and depressingly most common – Photoshop sins.
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PHOTO TECHNIQUES
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25 Make it fun
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26 Paint a portrait
EDITING TIP
Why not turn your portrait into a digital painting in Photoshop? First create a duplicate
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PRRG\ÀOPQRLUORRN duplicate again, use Filter>Blur Gallery>Glowing Edges. Then invert with Cmd/Ctrl+I,
desaturate with Cmd/Ctrl+U and change the Blend Mode to Multiply. This should give
you a sketch effect over the image; lower the layer opacity to tone it down.
Subject
Next you can give your image a brushed border effect. First make a new layer and
fill with an off-white colour (Edit>Fill). Hide it, then, with the layer below selected, hit
PL- L
LEE Filters
Cmd/Ctrl+Shift+Alt+E to merge existing layers into a new layer. Add a layer mask and
Gobo reveal the white layer below. Grab the Brush tool, set colour to black, then go to the
Camera brush tip settings, click on the flyout menu and load in the Wet Media brush set.
NIKOPEDIA
Choose a brush and paint around the edges of the frame to roughen them up.
Flash
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TOP PORTRAIT TIPS
SLR ADVICE
27 Go vintage
EDITING TIP
Many of us have drawers or boxes full of old

portrait photos, so why not give them a new
lease of life? Digitising old photos is easy,
even if you don’t have a scanner: just light
them with two lamps, one either side at
an angle of 45 degrees, then capture the
PHOTO TECHNIQUES
photographs with your SLR.

If you’re feeling creative, you could use
your vintage photos for a quirky Photoshop
project. The retro look goes hand in hand
with a surrealist
approach. For
an effect like
this, add a layer
28 Frames within frames
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29 Leading lines
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resize to fit it
inside the hole,
then repeat.
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33 Silhouettes
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31 COMPOSITION TIP Think about colour

If clothing matches the LQVKDGHDJDLQVW
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Think about background, it will seem
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colour association belongs there
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Play with perspective
Trick angles and playing
with scale and distance
34
reflections
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Look for
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PHOTO TECHNIQUES
35 High key with a window

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36 The invisible man

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ESSENTIAL KIT
of the clothes.
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blend them in
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until it all fits. 2nd Flash Subject Camera

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ESSENTIAL KIT
s e, th y d o w t re su
to u da s
ing the the be
Break te on getting
ntra
conce
71 71
SLR ADVICE
PHOTO TECHNIQUES
PRO TIP
Shooting in, or
converting to, black
and white is perfect for
giving your informal,
candid shots a classy,
timeless look
NIKON SKILLS
SHOT 1
Bride getting ready

ell before you get started shooting sunlight coming in through the windows, ESSENTIAL SETTINGS:
W the wedding itself, you can get some
great images of the bride getting
ready. In fact, nowadays many brides
creating huge contrasts, try using a
diffuser over the window (or using net
FXUWDLQVLIWKH\DUHÀWWHGWRVRIWHQWKH
Bride getting ready
expect this as part of the photographic light. Remember that if you are shooting
package. This time is perfect for shooting into the light you will need to set exposure Use these settings to
candid, informal and fun images of the compensation to +1 or even +2 to correctly capture your shots
bride getting her hair and make-up done, expose the subject.
along with her maid of honour. These will Even though it’s important that you get Lens Standard zoom or 50mm
NIKOPEDIA
usually be shot in a house or hotel room, so the shots you need, the bride will also need Exposure mode Aperture-priority
the lighting will be the main challenge to time and space to get ready, so make sure Aperture f/4
capturing these special moments. that you don’t take up too much time ISO 800
On an overcast day, or in a room with getting your shots, and try to stay out of
Focus mode Single-servo
windows facing away from the sun, you the way for many of your photographs,
will be able to use soft window-light to help shooting her from a distance without Drive mode Continuous
you capture your images. You may need to giving her any additional direction. This
ask the bride or maid of honour to move approach will also help you get more Shot ideas
© iStock
into the light, but you shouldn’t spend ages natural-looking results, rather than
setting up these shots. If there is direct stiff, posed images. Q WINDOW-LIT OR BACKLIT
PORTRAIT of the bride
Q REFLECTION of the bride in a
Give them space mirror while she is getting her hair
and make-up done
Although there are times during the day when you’ll
ESSENTIAL KIT
QCANDID SHOTS of the bride and

need to take charge and orchestrate groups or individuals, maid of honour laughing and joking
always remember that the day is all about the couple, not together while they’re getting ready
your shots. So, where possible, step back, use a longer Q THE WEDDING DRESS hanging up
lens, and simply capture them enjoying the day.

PHOTO TECHNIQUES
SLR ADVICE
SHOT 2
Close-ups of the rings,
decorations and cake
PHOTO TECHNIQUES
hile most of your day will be spent three smaller shoots. For example, you can
W getting shots of the wedding party

and guests, don’t forget about the
smaller details of the wedding day. The
shoot the bride’s bouquet and some of the
other details while she is getting ready, and
then shoot the decorations at the church
couple and their families will have spent and reception while the wedding party is
lots of time and effort on making sure that travelling between venues.
WKHGHFRUDWLRQVÁRZHUVFDNHDQG²PRVW For all of these details you can employ
LPSRUWDQWO\²WKHULQJVDUHSHUIHFWVR\RX VRPHVLPSOHVKDOORZGHSWKRIÀHOG
should spend some time getting shots of all techniques to make them more striking,
of these smaller details along with your and also try controlling the lighting with
main shots. DVLPSOHGLIIXVHURURIIFDPHUDÁDVKHLWKHU
<RXZLOOQHHGWRÀQGDVXLWDEOHWLPH to soften any direct sunlight, or to create
during the day when you can get access to interesting shadows (such as using a strong
the items, and you aren’t needed elsewhere backlight to create the classic shot of the
NIKON SKILLS
to shoot the wedding itself, which means shadow of the ring shaped like a heart in
you may need to split this shoot into two or WKHIROGVRIDERRN
Bring emergency supplies

Along with your camera kit it’s worth taking some ESSENTIAL SETTINGS:
extras such as sticky tape, bulldog clips and safety pins to
hold clothes and decorations in place. A large white cloth or Close-ups of rings,
sheet to place over any muddy or wet ground for the bride
to stand on without getting dirty can also come in handy.
decorations & cake
Use these settings to
capture your shots
NIKOPEDIA
Lens Macro
Exposure mode Aperture-priority
Aperture f/4
ISO 200
Focus mode Manual focus
Drive mode Single shot
Shot ideas
Q Close-ups of the DECORATIONS
using shallow depth of field
Q Still-life shot of the RINGS
ESSENTIAL KIT
Q Close-up of the bride holding the

wedding BOUQUET
Q Close-ups of the table settings, menu
and other ITEMS AT THE RECEPTION

PERFECT WEDDING PHOTOS
SLR ADVICE
PHOTO TECHNIQUES
PRO TIP
Always shoot in RAW (or
RAW + JPEG) to ensure that
NIKON SKILLS
you capture the maximum

amount of detail in both the
shadows and the highlights,
especially in high-contrast
lighting
SHOT 3
ESSENTIAL SETTINGS:
Groom & Groom and best man/ushers
rriving at the venue well before the shoot; this will result in relaxed and
best man/ushers
capture your shots
A main ceremony will give you a
chance to get some shots of the
groom, best man and ushers in the
bag, rather than waiting until you have to
do the main group shots. This will also help
warm-looking images.
Along with candid shots, you can also try
some more posed shots, such as a Reservoir
Dogs-style image of the groom’s party all
walking down a street or approaching the
NIKOPEDIA
Lens Standard zoom you to capture some of the anticipation of venue together. You could also go for a
the big day. Bear in mind that this can be static posed group shot, inside or outside
a nervous time for the groom, so try to the venue depending on the weather.
Aperture f/5.6
get your shots quickly, and keep it fun. If the best man and groom have arrived
ISO 200 For a more informal, candid approach in a special car, get a shot of them with this,
Focus mode Continuous you can capture shots of the best man as it may be the only time that they will be
Drive mode Continuous reassuring the groom, or of them simply together in the same place. But the most
laughing together before the crucial important thing is to capture at least one
Shot ideas moment. Get the groom, best man and
ushers to chat and have fun while you
‘hero’ shot of all the boys together looking
great for the big day.
Q THE BEST MAN reassuring, or
sharing a joke with, the groom
Q A shot including the groom’s
Be friendly!
While it’s important to know your settings and shot
ESSENTIAL KIT
WEDDING CAR
Q CANDID SHOTS of the best man lists, wedding photography is equally about dealing with
people, so the less you have to think about your
© iStock
Q ‘HERO SHOT’ of the whole groom’s

party together, or FUN SHOTS photography, the more you can concentrate on the
subjects, and getting the best images from the day.

PHOTO TECHNIQUES
SLR ADVICE
SHOT 4 ESSENTIAL SETTINGS:
Bride arriving
Bride arriving at the Use these settings to
church/registry office capture your shots

Lens Standard or telephoto zoom
PHOTO TECHNIQUES
he bride arriving at the venue and the The main challenge once the wedding
T
Aperture f/5.6
moments just before the ceremony are party are out of the car is getting your shots
ISO 200
perfect for capturing some informal without delaying the wedding too much,
images of her and her father, along and then making sure that you are able to Focus mode Continuous
with the maid of honour and bridesmaids. get into position for the main ceremony. Drive mode Continuous
,W·VRIWHQGLIÀFXOWWRSUHGLFWH[DFWO\ZKHQ Because of this, try to get your images of the
the bride will arrive, but you need to make
sure that you are ready and in position to
bride and her father, along with the maid of
honour and bridesmaids, as they’re walking
Shot ideas
capture the moment when the wedding car XSWRWKHFKXUFKRUUHJLVWU\RIÀFH,I\RX Q THE BRIDE GETTING OUT OF THE
approaches. Once the car has stopped you have time you can get some candid shots of WEDDING CAR, possibly with her
can get shots of the bride getting out of the the wedding party as they wait to enter the dress being rearranged
car. If the bride is in shadow you can use church. Don’t leave it too late to go inside, Q THE BRIDE AND HER FATHER
DÁDVKJXQWRKHOSÀOOLQWKHVKDGRZV WKRXJK²DSSHDULQJVHFRQGVEHIRUHWKH with the wedding car
particularly on a bright, sunny day. bride would be bad form!
Q THE BRIDE AND BRIDESMAIDS
Discuss a shot list walking towards the church
NIKON SKILLS
Even for an informal wedding you need to know what Q CANDIDS OF THE WEDDING PARTY
you need to shoot and when, so chat with the couple before waiting to enter the venue
the day and compile a shot list to carry with you.
NIKOPEDIA
ESSENTIAL KIT
SLR ADVICE
SHOT 5
Ceremony and exchange of rings

ow you come to the main event, the ISO setting such as 800 or 1600 to ensure
N wedding ceremony itself. You want that the shutter speed is fast enough to
PHOTO TECHNIQUES
to come away with shots that capture freeze any subject or camera movement.
the emotion and atmosphere, but you For shots of the couple or individual people
also need to be discreet. you can use a wide aperture such as f/2.8
Check in advance whether there are any or f/4, but you will need a smaller aperture
restrictions regarding shooting during the such as f/8 to keep the whole congregation
ceremony that you need to be aware of, as in focus, even with a wide-angle lens.
not all venues allow you to take pictures Another key shot after the exchange
all the time. If you can shoot during the of rings is the signing of the register.
FHUHPRQ\\RX·OOQHHGWRÀQGDSRVLWLRQ You won’t be allowed to shoot the actual
where you won’t be a distraction. Be as signing as it’s a legal process, but most
GLVFUHHWDVSRVVLEOHE\XVLQJWKHTXLHW4 venues allow time to recreate the moment
GULYHPRGHRQ\RXU1LNRQ²LIDYDLODEOH² for photos. The main challenge when
and make sure that you have any ‘beeps’ shooting this is that the faces of the
turned off. If you can’t shoot during the bride and groom are often in shadow,
ceremony, it’s usually possible to set up particularly if there’s a window or other
some shots afterwards. light source behind them. You can
The lighting is usually poor inside most overcome this by either increasing the
NIKON SKILLS
wedding venues, and you probably won’t exposure (if you don’t mind losing some
EHDEOHWRXVHÁDVKDQGHYHQLI\RXZHUH GHWDLOLQWKHEDFNJURXQGRUXVLQJVRPH
LWZRXOGEHDUHDOGLVWUDFWLRQVRXVHDKLJK VXEWOHÀOOLQÁDVK
Check with the venue

Different venues, particularly churches, have different ESSENTIAL SETTINGS:
policies about where you can stand, what you can shoot and
whether it’s okay to use flash, so chat with the pastor before Ceremony and
the event to make sure you know what you can shoot.
exchange of rings
capture your shots
NIKOPEDIA
Lenses Moderate wide-angle

and short telephoto
Aperture f/4 (couple) and f/8 (group)
ISO 800-1600
Drive mode Quiet or Single shot
Shot ideas
Q The bride and groom EXCHANGING
RINGS, and then KISSING
ESSENTIAL KIT
Q Wider shot of the CEREMONY

and assembled guests
© iStock
QThe bride and groom ‘SIGNING’

THE REGISTER

PHOTO TECHNIQUES
SLR ADVICE
Shoot a fake
PHOTO TECHNIQUES
wedding
Even if you’ve shot
weddings before, it
never hurts to get
some practice
before the day.
Try to get some
friends or family
together so that
you can mimic as
many of the shots
and locations from
NIKON SKILLS
the day as
possible.
SHOT 6 ESSENTIAL SETTINGS:

Couple leaving
Couple leaving the Use these settings to
capture your shots
church/registry office Lens Moderate wide-angle
NIKOPEDIA
to short telephoto
fter the ceremony and the signing time, down to 200 or 400, and then get
A RIWKHUHJLVWHU\RX·OOQHHGWRÀQGD
location near the exit to capture the
couple walking back down the aisle
and leaving the church. For the shots inside
the venue you should leave the ISO on a
the couple and some guests to stop at the
doorway. Depending on the venue, you
may want to shoot them in the entrance
porch of the building, or alternatively on
the steps or just outside the doorway.
Exposure mode
Aperture
ISO
Focus mode
Drive mode
Aperture-priority
f/4
1600, then 400
Continuous
Continuous
high value, such as 1600, to ensure that With this shot in the bag you can get
the shutter speed is fast enough. Switch the a shot of the couple walking through the
autofocus to Continuous mode to allow it crowd of guests, especially if the guests are Shot ideas
to track the couple as they walk back down allowed to throw confetti or rice. Get the Q The couple walking back
the aisle. A standard zoom lens is perfect JXHVWVRQ\RXUVLGHIRUWKLVRQH²LIWKH\DOO ALONG THE AISLE
for most of these shots as the longer end throw on your command, you’ll get a much
will allow you to keep the couple larger in more effective photograph. When trying to Q The couple AT THE DOORWAY
the frame, while the wider end will allow FDSWXUHWKHFRQIHWWLLWFDQKHOSWRÀQGDORZ of the venue
ESSENTIAL KIT
you to include more of the surroundings viewpoint and shoot up towards the couple, Q The couple being showered
and guests in your shots. rather than from eye level. by CONFETTI
Once you have got your shots inside the Finally, you need to get a shot of the
venue you can move outside to capture the couple with the wedding car, getting into Q The couple getting into the
WEDDING CAR
couple leaving it. As you’ll be in better light, and even together inside the car with the
you can reduce the ISO setting if you have crowds of guests surrounding it.

SLR ADVICE
SHOT 7
The married couple
before the reception
PHOTO TECHNIQUES
ow that the excitement of
N the wedding ceremony is

over, this is the perfect
time to take a few minutes
to get some shots of the couple
on their own. It can be a
challenge to get them to leave
the main wedding, even for
a short time, so you need to
reassure them that it will only be
for a short time, and the results
will be worth it.
<RX·OOQHHGWRÀQGDTXLHWHU
area away from the main
wedding to allow you to get your
NIKON SKILLS
shots, but you should also remain

close to the venue to avoid taking
up too much time. Ideally you will
have thought of a suitable place
EHIRUHWKHGD\LWVHOI²VRPHZKHUH
with enough space and a suitable
backdrop to shoot both full-length
PRO TIP
Don’t make your subjects
and head-and-shoulders shots of the
couple. These shots can be relaxed
look into the sun, as they will ESSENTIAL SETTINGS:
and informal, or more formal and posed,
according to the type of wedding and the
end up squinting. You’re
better off finding an area
with some shade, or even
The couple before
wishes of the couple. But either way this
time gives you the opportunity to capture
finding an assistant to hold a
diffuser between the sun
the reception
the classic shot that the couple will want to and the couple
hang on their wall. Use these settings to
,I\RXDUHFRQÀGHQWXVLQJRIIFDPHUD capture your shots
NIKOPEDIA
ÁDVK\RXFDQXVHWKLVWROLJKWWKHEULGHDQG
groom, rather than simply relying on the Lens Standard zoom and
ambient light. However, this isn’t a time to background in focus, while for the close- short telephoto
XVHÁDVKLI\RXDUHQ·WFRPSOHWHO\FRQÀGHQW ups you can use a wider aperture, such as Exposure mode Aperture-priority
with it. Whether you want something f/4, to blur the background and isolate the Aperture f/4–f/11
formal or relaxed, you’ll need to work bride and groom. You want to get at least ISO 200
quickly to get three or four different shots one ‘banker’ shot during this shoot, but it’s
of the couple, from full-length (including also worth experimenting a little using
WKHVXUURXQGLQJVDVDEDFNGURSWRDPRUH techniques such as backlighting the couple Drive mode Single
intimate close-up shot. and exposing for their faces to produce a
)RUWKHZLGHUVKRWV²WKHRQHVWKDW
LQFOXGHWKHVXUURXQGLQJV²XVHDQDSHUWXUH
high-key, more romantic look. You could
even shoot with out-of-focus foliage
Shot ideas
of f/8 or f/11 to keep both the couple and between you and the couple. Q Classic HEAD SHOT OF THE BRIDE
Q WIDER SHOT of the couple and their
ESSENTIAL KIT
surroundings
Shoot wide and long
Q Backlit CLOSE-UP of the couple
Try to get both a wide shot and a tighter, closer shot of
Q BRIDE AND GROOM kissing or
as many scenes as possible. This will give you a much better looking at each other
and more varied choice of shots to present to the couple.

PHOTO TECHNIQUES
PRO TIP
SLR ADVICE
Bring a small stepladder
or stepstool. This will enable
you to reach a slightly
elevated viewpoint, which is
SHOT 8 perfect for getting a better
view of the people towards
the back of group shots
Formal group shots

lanning and speed are the keys to they are all looking towards you when you
P capturing the more formal group

VKRWVDWWKHZHGGLQJ7KHÀUVW
want to take your shots.
Even in these formal shots, try to avoid
PHOTO TECHNIQUES
FKDOOHQJHLVÀQGLQJDORFDWLRQ regimented lines of guests, as this will
suitable for the group shots. This is best make your shots look boring. Instead,
done in advance of the day itself, but make arrange the guests at different levels, with
sure that you take account of where the sun some sitting, kneeling or even standing on
will be on the day. It’s also worth having a a wall or steps. This will inject a little more
back-up location in mind, with some cover interest into your group shots. Whichever
for the guests in case the weather makes style of group shot you choose, avoid using
your preferred location unsuitable. Before extreme wide-angle lenses when near to
the day of the wedding you should compile WKHJURXSDVWKLVZLOOPDNHWKHÀJXUHV
a list of the groups you need to shoot, in appear unnatural and distorted. Try to use
consultation with the couple. Try to keep a moderate wide-angle such as 24mm on a
LWWRÀYHWRHLJKWJURXSVLQWRWDORWKHUZLVH DX Nikon and 35mm on an FX model.
you’ll be spending hours sorting out the Once you have done the individual
different people and getting your shots. groups, you may want to do a shot of all
On the day, ask the ushers or best man to of the guests together. If there is a large
help organise the groups. You need to be number of guests this can be a bit of a
clear and decisive in your instructions to challenge to arrange and organise, and
NIKON SKILLS
get each shot done as quickly as possible. you’ll also need a high viewpoint to be able
<RX·OOQHHGWREHÀUPZKHQDUUDQJLQJWKH to see all of the guests’ faces, but it can be a
© iStock
JURXSV²GRQ·WEHDIUDLGWRWHOOSHRSOH great way to avoid having to do numerous

ZKHUHWRVWDQG²DQGDOVRPDNHVXUHWKDW smaller group shots, plus they look great.
Watch the background

While it’s great to include picturesque surroundings in ESSENTIAL SETTINGS:
your shots, you need to watch out for messy backgrounds,
and keep an eye out for objects such as trees and lamp Formal group shots
posts ‘growing’ out of the heads of your subjects. Use these settings to
capture your shots
Lens Standard zoom
NIKOPEDIA
Aperture f/8
ISO 200
Drive mode Continuous
Shot ideas
Q Get some group shots with the
GUESTS INTERACTING with each
other, as well as simply looking
towards the camera
Q Try arranging the main groups at
ESSENTIAL KIT
DIFFERENT LEVELS rather than in

boring, regimented lines for more
dynamic images
Shutterstock
Q Take shot of all of the guests,

from a HIGH VIEWPOINT

SLR ADVICE
SHOT 9
Speeches and informal reception shots
ith all of the main formalities out avoid both camera shake and subject
W of the way, you will be on the home movement. Shoot in short bursts rather
PHOTO TECHNIQUES
stretch to capturing all of your than single shots, too. This will ensure that
images for the day. During the \RXFDSWXUHDQDWXUDOORRNLQJEXWÁDWWHULQJ
speeches you should aim to get some portrait, as it’s all too easy to get some odd
informal images, and during the rest of expressions while people are talking.
the reception you can concentrate on Along with the portraits of the people
capturing candid shots of the wedding making the speeches, remember to shoot
party and guests as they start to let their some shots of the reactions of the bride,
hair down and relax. JURRPDQGRWKHUJXHVWV²WKH\ZRQ·WEH
For the speeches you should use a longer paying any attention to you, so you can
focal length lens, such as a get them at their most natural.
70-200mm, and a wide The nature of shooting candids and
PRO TIP aperture such as f/4 to informal shots means that you’ll end up
It’s the little moments isolate the individual with several shots that you won’t want the
during the day, such as a ÀJXUHVRUVPDOO bride and groom to see. People pull all sorts
quiet chat between the groups. In poorly lit of faces when they’re talking or listening,
bride and her mother, that venues you will also and not all of them make great photos. It’s
NIKON SKILLS
the bride and groom will need to use a high really important to go through these (and
remember, so be ready ISO, such as 800, DOORI\RXURWKHUVKRWVRIFRXUVHDIWHUWKH
to capture those to keep the shutter ZHGGLQJDQGRQO\SLFNWKHPRVWÁDWWHULQJ
speed high enough to images to present to the couple.
Look for different angles

While plain, clear shots of the couple are great, it’s also ESSENTIAL SETTINGS:
worth moving around and looking for different angles to
shoot from. For example, shooting through a group of Speeches &
people, foliage or decorations and using shallow depth
of field will help make your shots stand out.
reception shots
capture your shots
NIKOPEDIA
Lens Medium telephoto zoom

Aperture f/4
ISO 800
Drive mode Continuous
Shot ideas
Q INDIVIDUAL SHOTS of the groom,
best man and bride’s father making
speeches
ESSENTIAL KIT
Q The REACTIONS of the bride, groom

and guests during the speeches
Q A wide shot of the MAIN WEDDING
PARTY, including the person making
© iStock
the speech

SLR ADVICE
PHOTO TECHNIQUES
NIKON SKILLS
SHOT 10
Evening shots
or shots of the evening festivities dance. To add a sense of movement you can
ESSENTIAL SETTINGS:
Evening shots
F you can take a much more relaxed
approach than you could during the
day. You can shoot candids of the
guests, along with some informal group
shots. The lighting for the evening
WU\VRPHVORZV\QFÁDVKIRUWKLVVKRW8VHD
shutter speed of around 1/15 to 1/8 sec and
adjust the aperture to correctly expose the
EDFNJURXQGWKHQVHWWKHÁDVKRQ77/WR
light the happy couple. By using this
capture your shots
Lens Standard zoom
festivities will usually be very dark, so it’s technique and moving the camera you can
NIKOPEDIA
Exposure mode Manual
EHVWWRXVHDÁDVKEXW\RXZDQWWRFDSWXUH DGGVRPHEOXUZKLOHWKHÁDVKZLOONHHSWKH
Aperture 1/60 sec to 1/8 sec
some of the ambient lighting too, rather couple sharp.
For more formal evening shots you can ISO 800
WKDQOHWWKHÁDVKRYHUSRZHULWFRPSOHWHO\
so set your Nikon to manual exposure also set up a small photo booth in a quiet Focus mode Single-servo
mode, with the shutter speed set to 1/60 area of the venue. This approach will Drive mode Continuous
sec and a high ISO such as 800. Adjust the allow you to take more control of the
aperture so that you can see the ambient
background light in your images, and use
VHWXSLQFOXGLQJRIIFDPHUDÁDVKDQG
enables you to shoot a series of portraits of
Shot ideas
WKHÁDVKWROLJKWWKHPDLQVXEMHFWV small groups of guests. It’s best to get these Q The FIRST DANCE of the bride and
<RXUÀQDOFUXFLDOWDVNRIWKHGD\ZLOO shots done early in the evening, though, groom using slow-sync flash.
EHWRFDSWXUHWKHEULGHDQGJURRP·VÀUVW before the festivities get too far advanced! Q Informal, RELAXED SHOTS of the
guests or small groups
Q Set-up a small area to shoot more
Take back-up
ESSENTIAL KIT
FORMAL PORTRAITS, where you can

No matter how reliable your Nikon kit is, it’s always control the lighting
worth bringing along a back-up camera, lenses and plenty Q FUN SHOTS of younger bridesmaids
of batteries and memory cards, just in case. If you don’t and other children dancing
have a second body or lens, borrow or hire one for the day.

PHOTO TECHNIQUES
SLR ADVICE
MASTER
PHOTO TECHNIQUES
MAGNIFICENT
MONOCHROME
Get your best black-and-white shots ever
with our guide to shooting, converting
and adjusting your images
NIKON SKILLS
E
ven though we see, and can colours in the scene are converted into
capture, the world around us in all shades of grey. It doesn’t have to stop
its colour, the simplicity of black there, though, as you can also adjust the
and white has always made it a overall tones, exposure and contrast of
popular medium for photography. your black-and-white image, and finally
But there’s more to capturing effective, use selective adjustments to fine-tune
engaging black-and-white images than the exposure and contrast in different
simply removing the colours. areas of your image.
First you need to choose the right This final step isn’t something new,
subject, lighting and composition. as black-and-white photographers
Successful monochrome images rely on have been using image manipulation
texture and detail, contrast and shape, almost since the dawn of photography.
so you need to be able to recognise when But instead of being the preserve of
the subject in front of you will work when a few darkroom gurus, these imaging
the colours are taken away. Then you techniques are now available to every
NIKOPEDIA
need to use some simple software skills photographer. So over the coming pages
to enhance your black-and-white shots. you’ll learn how to find suitable subjects,
This means using the tools in Photoshop convert your shots and finally fine-tune
or Lightroom to adjust how the different your images like a pro.
ESSENTIAL KIT

All Images Chris Rutter unless stated
PHOTO TECHNIQUES
83
BLACK AND WHITE
SLR ADVICE
ARCHITECTURE
The perfect combination of strong lines, intricate textures and bold forms
makes architecture an ideal subject for black-and-white photography
PHOTO TECHNIQUES
W
hen you are looking for potential work well in black and white. These materials are These can offer a contrast to more traditional
black-and-white subjects, buildings particularly interesting when there is strong side materials, or could be used in isolation.
have many of the perfect elements. The lighting to bring out the texture and detail in the When shooting reflective surfaces, such as
simple, graphic shapes that make up surface. Alternatively you can look out for more glass or steel, you can have problems with bright
the structure of a building can produce excellent modern materials such as glass or steel, which reflections creating too much contrast. You can
mono images, while the materials used in the have a smoother, more uniform surface texture. use a polariser to reduce reflections on glass,
construction will offer a range of texture and to help achieve a more uniform surface, but this
tones that work well in monochrome. won’t work on metal surfaces. The best option
You need the right weather conditions when is to shoot in more overcast conditions, so that
shooting outdoor architectural images. If you are there are fewer reflections.
including the sky in your shot it should contain
interesting textures. A blue sky with some cloud is
perfect as you can increase the contrast to create GRAPHIC SHAPES
a strong, moody sky. In heavier cloud you can still From ancient structures to modernist
get good results, but you should be able to make architecture, buildings are full of strong, graphic
NIKON SKILLS
out detail and shape in the clouds. elements that make great subjects for black and
Then you need to choose the right time of day white. When looking for details and shapes that
to shoot. You need there to be some light on the will work without colour you will often need to
building, but it doesn’t necessarily need to be in crop in on small areas of the subject, so you’ll
full sunlight. The shadows cast by other parts of need to use a longer focal length lens than you
the building or other structures can help provide would when shooting the whole building.
interesting contrasts and shapes, while overcast Look for compositions where you can isolate
conditions will create a softer, more diffuse the details, excluding any areas that take
lighting, ideal for shooting details. attention away from the main area that you
are shooting. You should also try different
compositions for your details, from the traditional
TEXTURE AND DETAIL ‘correct’ viewpoint (ie keeping the uprights in the
Traditional building materials such as stone, wood Bright light will bring out the shape of the building subject straight), to shooting with the camera
and even brick are full of textures and detail that and the textures in the materials used to build it angled to give the shot a more dynamic look.
NIKOPEDIA
ESSENTIAL TECHNIQUE BASIC CONVERSION OPTIONS

If you are converting RAW images in By dragging one of the colour sliders
Lightroom you will have to select the to the left it will mean that any area of
black-and-white conversion option at the image containing that colour will be
the top of the Develop module palette. darkened, while dragging it to the right
This will simply remove the colour from will give a lighter tone. For example,
the image, and may not give you the final if you want to darken a blue sky in an
result that you want. For full control over architectural image, you should drag
how the image is translated into black the slider marked in blue to the left.
and white you need to use the Black & Along with these sliders there’s also
White Mix controls in Lightoom’s HS/ the option of adjusting these tones by
Color/B&W palette. In Adobe Camera dragging on the area of the image that
ESSENTIAL KIT
Raw in Photoshop you will find the same you want to alter. To access this you need
options on the HSL/Grayscale tab – just to click on the small icon at the top-left
tick the Convert to grayscale option at of the Black & White Mix palette, then
the top of the palette. click on the area of the image that you
These sliders allow you to adjust how want to alter and drag the cursor down
each colour is converted into a grey tone. to darken it and up to make it lighter.

Image - Peter Travers (Future)
86
BLACK AND WHITE

PHOTO TECHNIQUES
SLR ADVICE
of a low-key image, on the other hand, will appear
much more sombre, serious and introspective.
PORTRAITS
To achieve a high-key look you need to shoot
against a bright background. You can get this
by shooting outside in available light, against a
window or by using a light-coloured wall indoors.
Black and white can create more intense and If you are shooting indoors you can brighten the
background by lighting it with flash, and you
more characterful images – here’s how… should also make sure that the light on the main
subject is soft, to avoid too many strong shadows.
PHOTO TECHNIQUES
The dark tones of a low-key image are easiest
to achieve by shooting in a dark environment and
U
sing black and white for portraits frees you as under cover of foliage or in a bright yet shaded then lighting the subject using flash. You need
from the distraction of colourful clothes or area. If you have to shoot in direct sunlight, use a to control the lighting so that the background
backgrounds and can help to focus more reflector to bounce light back onto the subject to remains dark, and you can also make use of
attention on your subject’s character or lighten the shadows, or place a diffuser (or even strong, directional lighting to get pronounced
face. You can influence the mood of the image by a white cloth) between the light source and the dark shadows on the subject.
choosing different expressions and lighting, so model to soften the sunlight. You can enhance
you need to think about the style of shot that you this look by using the colour controls when you
want to achieve before you press the shutter. convert your images to lighten the red and yellow
As with any other subject, the key to successful tones in your black-and-white image, which will
black-and-white portraits is the lighting. Strong reduce imperfections in the skin tones.
side lighting will emphasise the features and even
imperfections of your subject, but give a stronger,
more powerful result; while softer, more diffuse CHARACTER PORTRAITS
lighting will give a more subtle result, which is Using directional lighting to create strong
perfect for more flattering portraits. shadows is perfect for more characterful black-
NIKON SKILLS
and-white portraits. The shadows will bring
out the textures in the subject’s skin, especially
CLASSIC PORTRAITS wrinkles, so this style of portrait isn’t the most
Using black and white for a portrait immediately flattering. You may need to have a chat with your
gives a portrait a more classic feel, but you can model to check that they are happy with this look.
add to this with some simple lighting techniques.
For a more flattering portrait, shoot in diffuse
lighting. If you are lighting the subject with flash, HIGH-KEY AND LOW-KEY
use a large softbox or umbrella to soften the These two styles of black-and-white photo evoke
lighting, and position it as close to the model as very different moods. A high-key image contains
possible. If you are using natural light, choose a mostly lighter tones, and gives the image a bright Strong, directional light – from the sun or from
location where the light is naturally softer, such and happy feeling. The predominantly dark tones a flash – is ideal for character-packed images
ESSENTIAL TECHNIQUE DODGE AND BURN
NIKOPEDIA
Selectively altering the brightness in areas of an image is a
technique that’s been around since the days of the darkroom.
It enables you to enhance the impact of your black-and-white
shots, as you can bring out important areas and allow others
to recede into the background. This is particularly useful when
producing portraits, as you can use it to draw the viewer’s
attention to the subject’s face.
There are several ways to dodge and burn, but in Lightroom
or ACR you can use the Adjustment Brush to ‘paint’ over an
area, then use the exposure slider to lighten or darken it. For
more subtle adjustments you can alter the contrast, or use the
Highlights or Shadows controls to affect only the light or dark
tones of the area that you have painted over.
ESSENTIAL KIT
You don’t need to shoot in RAW to achieve this effect, as you

can get similar results with JPEGs in Photoshop or Elements.
Here you can use the dodge tool in the Tools palette to lighten
areas, and the burn tool to darken them. It’s best to do these
adjustments on a duplicate layer, so you can always revert In our original portrait, the subject’s white top competed for attention with her face, but
back to the original, and to build up the effects gradually. after a bit of ‘burning’ to make it darker, the garment became darker and less of a distraction

BLACK AND WHITE
SLR ADVICE
STREET PHOTOGRAPHY
From your home town to an exotic location, black and white will emphasise
the effects of light, shadows and graphic shapes in your street photography
PHOTO TECHNIQUES
Y
ou’ll often find that shooting in black and you achieve simpler, more striking results. But or where you don’t want any detail in the shadows.
white rather than colour will help reduce there are also plenty of other ways that you can The alternative approach is to let the highlights
many of the distractions that can weaken improve your black-and-white street images. become over-exposed, but keep more detail in
the impact of your street photographs. the shadows by over exposing by around one
For example, shooting in colour, a bright red sign stop. This will produce a brighter shot, which
in the background of a shot will be obvious and LOOK FOR SHADOWS emphasises the light flooding into the scene.
distract from your main subject. But in black and The strong, graphic shapes created by shadows of
white, the same sign will be recorded as grey or people, buildings and street furniture make great
black, and will blend into the background much subjects for black and white. The shadows will be PEOPLE POWER
better than in colour. So, simply converting longer early or late in the day, so these are ideal Including people in your street scenes adds a
your street images to monochrome can help times to get out and shoot monochrome street sense of scale and location, and you can also use
scenes. When shooting these shadows you can them as focal points in your images. If the people
either keep the subject that created them in the are static, then all you need to do is pick your
frame to give some context, or crop your image composition and shoot, but in a busy city this isn’t
so that it only contains the shadow for a more always possible. When the people are moving you
NIKON SKILLS
abstract result. When you are shooting shadows can either freeze their movement with a short
you may need to under-expose the image by a half shutter speed such as 1/30 sec or faster, or use
to one stop to make sure that the shadows are a slower shutter speed to add some blur.
recorded as dark black, for the greatest impact. If you are freezing the movement it can take
several shots and perfect timing (or a little luck)
for the figures to be perfectly positioned in your
SHOOT INTO THE LIGHT composition, so be prepared to wait a little while
Another great reason to shoot early or late in to get the perfect shot. Blurring the movement
the day, when the sun is lower in the sky, is so will give the scene a more eerie appearance, but
that you can shoot into the light (also known as can also give it a sense of bustle. You’ll need to
contre jour). This technique is perfect for creating use a shutter speed of around 1/4 sec for fast-
high-contrast black-and-white images, often with moving crowds, or even longer if the figures are
strong shadows. When you are shooting into the walking slowly. A tripod is the best solution for
light it’s often impossible to keep detail in both avoiding camera shake when using this technique,
the highlights and the shadows of your images, so but if you don’t have one with you (which is often
NIKOPEDIA
you have to decide which is the most important. the case with street photography) try supporting
If you want deep shadows plus plenty of highlight the camera on a solid surface, such as a wall,
Strong shadows add drama to monochrome street detail, under-expose by a half to one stop. This is fence or bollard, and take several shots in a
scenes, while people give shots a sense of scale perfect for subjects that will work as silhouettes, burst to ensure you have one that’s sharp.
ESSENTIAL TECHNIQUE SEEING IN BLACK AND WHITE

One of the key skills that you need for If you shoot in JPEG format the images
successful black-and-white images is being will be recorded in black and white, but if you
able to ‘see’ how the colour scene in front of select RAW then the image will be recorded in
you will translate into black and white. This colour. If you open this RAW file in Nikon View
can be a tricky skill to master, but you can get NX2 or Capture NX-D they will appear in black
a helping hand by setting your Nikon to the and white, but you can change the Picture
ESSENTIAL KIT
Monochrome Picture Control. This will allow Control in the settings to revert to a colour
you to review the images that you have shot in image) . If you open the RAW file in any other
black and white to give you a better idea of how RAW software, such as Adobe Camera Raw or
they will appear. You can also get a preview of Lightroom, the image will revert to colour and
the black-and-white image by you will have to convert it to black and white
using Live View mode. using the software controls.

90
PHOTO TECHNIQUES

PHOTO TECHNIQUES
SLR ADVICE
PHOTO TECHNIQUES
BREAK THE RULES
NIKON SKILLS
Capture more interesting and original images on your very next shoot by breaking
with convention and taking an unorthodox approach to your photography
P
hotography is art, and under perfect light, or have the highest
art is all about personal number of pixels. All it has to do is to
expression. Armed speak to you, to capture something that
with a camera, you have is beautiful, or important, or that may
the freedom to express otherwise have been lost.
yourself in whatever Conventions and rules are there to be
way you choose. You can take pictures of broken. On this the great photographers
anything and, despite what you may have all seem to be in agreement. Diane Arbus,
NIKOPEDIA
heard from various competitions, judging master of the eccentric portrait, saw it
panels, teachers or social media forums, like this: “There’s a kind of rightness and
the idea of what makes a ‘good’ photo is wrongness and sometimes I like rightness
entirely subjective. A photo doesn’t need and sometimes I like wrongness.” So with
to be pin-sharp to be good. It doesn’t need that in mind, over the next ten pages
to follow the rule of thirds, or be taken we’ll offer a few ideas and suggestions
to help you turn convention on its head
(or on the case of our opening image, its
side). Either think of these suggestions
as a springboard for further exploration
or – in the spirit of thinking outside the
box – disregard them and come up with
your own list!
ESSENTIAL KIT

BREAK THE RULES
SLR ADVICE
Break the rules…

COMPOSITION
PHOTO TECHNIQUES
Throw all the rules on framing out of the window and compose to suit the subject instead
Tilt your
camera
A wonky horizon can add
extra dynamism to both
portraits and landscapes
We go to great lengths to ensure our
horizons are straight, using tripod-
mounted spirit levels or our Nikon’s
virtual horizon (top tip: set this up
NIKON SKILLS
as your front Fn button for a quick

horizon check when looking through
your viewfinder). We even correct it
when we’re processing our shots.
However, while a slightly wonky
horizon is never a good thing, an
intentionally tilted frame can be
another story. There’s something
about diagonal lines in an image that
are visually pleasing, and creative
tilt can add extra dynamism to your
composition. This can work well for
portraits, as you can tilt diagonal lines
so that they lead the eye through the
One thing that often separates the amateur snap from the
Centre your subject enthusiast’s composition is the placement of the subject.
image towards your subject. But it can
also spice up a landscape, particularly
NIKOPEDIA
Non-photographers will often thoughtlessly plonk the

We’re told never to place the subject subject in the middle of the frame, whereas those of us
with scenes (above right).
in the very centre of the frame, but, who have heard of basic compositional rules like the rule
as with all rules, there are exceptions… of thirds and the golden ratio know better – the subject
looks more visually pleasing when placed off-centre on
one of the third lines. Or does it?
The answer is, it depends what you want to say about
a subject. A central subject gives images a directness,
and can work well in a symmetrical composition, or for
scenes with minimal background detail. It can also create
a sense of isolation, as the subject is surrounded by space
on all sides. Bill Brandt puts it like this: “A subject placed
squarely in the centre of the frame, if attention is not
distracted by fussy surroundings, has a simple dignity
that makes it all the more impressive.”
ESSENTIAL KIT
I am not interested in rules or conventions.

Photography is not a sport
Bill Brandt
PHOTO TECHNIQUES
SLR ADVICE
5 Rules for
composition
You have to know the rules before you can break them...
1 Rule of thirds
Divide your scene into
PHOTO TECHNIQUES
three with imaginary horizontal
and vertical lines, then place
points of interest, like a person
or horizon, on these third lines.
2 Natural frames
Use natural frames in
the scene, such as a doorway,
1
a window, or even an array of

branches, to surround your
subject, drawing attention to it.
3 Leading lines
Look for lines that run
through an image, like a road
or a wall, and position your
subject so that the lines lead 2
NIKON SKILLS
towards it, drawing the viewer’s
eye to what’s important.
4 Golden triangle
Draw a diagonal line
between two corners of your
image, then run a third line
perpendicular from the line to
the other corners. Place the 3
An excellent piece of advice when
Shoot from composing a frame is to scan the
subject on the intersection.
5
edges of the viewfinder before
the hip taking the shot. It’s the edges that go
unnoticed, so unwanted distractions
Golden ratio
The ratio of 1:1.618 appears
Compose without looking can easily creep into the corners
throughout nature and art.
through the viewfinder of your scene. But when you think
Make a square, sized one unit,
for loose, spontaneous
NIKOPEDIA
then add on an extra 0.618. Add
about it, the viewfinder can be a
and engaging photos different type of distraction. It’s a
a square on the long side to
create the next rectangle, and
barrier between you and whatever it 4
repeat to find the sweet spot.
is you’re photographing, and it covers
up your most important means of
communication – your face.
So why not take a maverick
approach, free yourself from the
confines of that rectangular box, and
shoot from the hip? This works well
for portraits; catch your subject off-
guard and grab a shot while they think
you’re taking a break (left). It can also
help if you want to be inconspicuous.
ESSENTIAL KIT
Focusing can be an issue, though,

so try setting the focus manually
and then judging it by distance.
It’s an approach that’ll deny you
compositional precision, but it’ll give
you a fresh perspective on the world, 5
and the people, in front of your lens.
93
BREAK THE RULES
SLR ADVICE
Break the rules…

LANDSCAPES
PHOTO TECHNIQUES
We’ve all seen photos of well-known beauty spots, many of which draw photographers in
large numbers. Breaking the rules will give your shots of familiar locations a fresh feel
NIKON SKILLS
NIKOPEDIA
Here’s a true story: a landscape photographer was running and ISO100 – check; and so on. Of course, many of these
Compose with a workshop and one of the attendees mentioned that he conventions will lead to great photography (and yes, we hear
didn’t like a certain location because there wasn’t much you scream, photography magazines are just as culpable as
your heart foreground interest. Now, this was a spectacular spot anything else for pushing them on us), but if we follow the
(Dartmoor in Devon), but rather than attempting to capture same routine every time, there’s a danger that all our photos
rather than the scene in all its unique rugged beauty, the learner will look very similar, and ultimately not all that original.
ESSENTIAL KIT
concluded that a landscape photo must fit certain criteria So next time you’re out shooting, whatever the subject
your head to be any good, whether or not those criteria reflect the may be, stop for a moment and think of a way to capture
landscape in front of them. it that you haven’t tried before. It might be something as
Challenge yourself to There’s nothing wrong with foreground interest, but it simple as cropping out the sky like in this scene, or shooting
approach a new scene without shouldn’t necessarily be the default. The point is, it’s easy to it with a different lens, changing your usual settings, or
preconceptions on how it fall into a routine, to begin a shoot with a checklist: sunset trying an unusual angle. The results may be great and they
should be photographed – check; foreground interest – check; tripod – check; f/16 may be awful, but at the very least, they’ll be unexpected.

PHOTO TECHNIQUES
SLR ADVICE
Consulting the rules of
composition before taking a
photograph is like consulting
the laws of gravity before
going for a walk
Edward Weston
PHOTO TECHNIQUES
Blur on
purpose
A little camera movement
can lead to a creative
in-camera effect
Modern sensors offer a level of image
NIKON SKILLS
detail that has never been possible
until now. It’s an exciting time, but
images are not just made up of pixels,
they’re also made of colours and
shapes, and there’s something to be
said for a complete lack of fine detail.
Blurring a scene with camera
motion is one way to eliminate detail
and reduce it to abstract smudges
that give the image a painterly feel. In
the shot below, tipping the camera up
and down over the course of a quarter-
second exposure has led to vertical
blur that was more effective than Why not
the sharp version of our scene. Shoot it shallow try?
NIKOPEDIA
In some situations you may need to
use a lens-mounted ND filter to block
Do landscapes always have to boast
maximum depth of field?
Restrict
some of the light in order to achieve a
shutter speed slow enough to allow
Depth of field is usually at the forefront of our minds when
for a little camera movement (see
your gear
setting up for a landscape shot. It’s why we cart heavy
page 86). But in a shady spot like the
tripods up mountains and down river beds, as they enable
woods here, using aperture-priority
us to use slower shutter speeds and narrow apertures for
mode with a low ISO and a small
maximum front-to-back sharpness. Some photographers
aperture was enough to slow the Steve Jobs only ever wore a black
will go to the trouble of working out the hyperfocal
shutter speed down sufficiently. roll-neck top and jeans to work. Why?
distance to achieve the greatest area of sharpness, while
because he didn’t want to have to dedicate precious
others will set their focus point one-third of the way into
time and thought to deciding what to wear every day.
the scene and hope for the best.
The point is, sometimes restricting your choices can
The default is often to use an aperture of f/16 (any
lead to greater creativity. Next time you go on a trip, why
higher can lead to softening caused by diffraction). But
not forego the bagful of zoom lenses and instead take
ESSENTIAL KIT
ask yourself this: is the maximum depth of field always

just one, fixed focal length lens, like a trusty 50mm? By
absolutely essential? A wider aperture, and consequently
removing the need to make a decision on which lens to
a shallow depth of field, is a powerful compositional
go for, you can make the most of what you’ve got and
tool, as it allows you to focus attention on a portion of
get on with taking the picture. Besides, you already
the scene while de-emphasising other areas in front of,
own the best piece of kit for zooming: your legs!
or behind the point of focus. And as an added bonus, you
won’t need to use a tripod.

BREAK THE RULES
SLR ADVICE
Break the rules…

PORTRAITS
PHOTO TECHNIQUES
Explore methods of photographing people that are as unique and distinctive as your subject
We’re told that there are certain to the eyes, or too tight to the top of Cropping off the mouth here, for
Cut it out places in a body that are good ‘crop the head; instead we should make a example, focuses attention on the
points’. The list of dos and don’ts is definite crop into the forehead. subject’s most interesting facial
Add intrigue and impact long, and reads like a screenplay for Many of these rules can help, both features – the fiery hair and blue
to your portraits with Dexter: don’t cut off feet, crop into when framing a portrait in-camera, eyes. So why not try framing half a
a dramatic crop the shins (but not the calves); don’t and when cropping later on. But a face, or trim the tips of someone’s
chop off fingers, wrists or knuckles, daring crop can have just as much toes, or perhaps forget the face
crop above elbows instead; don’t cut impact. It grabs the attention and, altogether? Hands can tell us almost
at the crotch, crop above the knees. by excluding parts of the body, draws as much about a person, so why not
With close-ups, don’t crop too close extra attention to whatever remains. focus attention on them instead?
NIKON SKILLS
NIKOPEDIA
ESSENTIAL KIT
96
SLR ADVICE
Go wide
Try using a wide-angle
lens for close-ups
Lenses with a fixed focal length of
around 80-100mm (such as Nikon’s
classic 85mm f/1.4D) are often referred
PHOTO TECHNIQUES
to as ‘portrait lenses’. The reason for
this has to do with the way different
lenses will alter perspective. Longer
focal lengths have a compressing
effect that makes elements that
are far apart seem closer together.
Shorter focal lengths, meanwhile,
exaggerate the differences in distance
instead (if you’ve ever looked through
a wide-angle lens at your own feet,
you’ll know what we mean). 85mm
is a classic lens for portraits because loom larger than many subjects Why not
it’s a flattering length that results would like. However, the distortion
in a perfectly proportioned face. By can be put to great use to add a sense
try?
contrast, wide-angles distort facial of humour to your portraits, or to give
features, making the nose and forehead them more of an in-your-face feel.
NIKON SKILLS
Forget the eyes
Vary your point of focus and draw attention to
different parts of your subject’s face or body
It’s one of the most important rules in great on the camera’s LCD, only to
portraiture: the eyes must be in focus. find out later that the eyes are slightly
It doesn’t matter if everything else soft). The reason why they need to be
dissolves into blur, as long as those sharp is because eyes are a portrait’s
Hide your subject

pupils are pin-sharp (and many of us most important feature, and with any
have experienced the disappointment image, we focus on what is important.
of shooting a portrait we think looks But on the other hand, who’s to say
what exactly a subject’s most
NIKOPEDIA
important feature is, apart Sometimes the less you show in a photo,
from the person holding the the more meaning you can tease out of
camera? Why not champion it. Intentionally hiding something is a
a different facial feature provocative move that dares the viewer
instead? For an off-beat to look harder for the purpose of the
portrait, find an unusual image. It lets you explore themes in your
angle and focus on another images, rather than specifics. Perhaps
facial feature – perhaps the you could hide the face, or obscure your
nose, the lips, the ears – or subject behind something, or show a
draw attention to a character person in silhouette, or with their back
feature like a body piercing, turned, or maybe just their shadow.
tattoo or scar.
ESSENTIAL KIT
I’ve worked out of a series of nos. No to exquisite light, no

to apparent compositions, no to the seduction of poses or
narrative. And all these nos force me to the ‘yes’
Richard Avedon
97
BREAK THE RULES
SLR ADVICE
Break the rules…

ACTION
PHOTO TECHNIQUES
Explore different ways to photograph action and events
Fast-moving subjects require an extra-fast shutter speed to

Slow it freeze the action. A shutter speed of 1/200 sec sounds fast,
but if there’s any significant movement in either camera or
all down subject, it’ll usually result in blur. One of 1/2000 sec is more
suited to fast-moving subjects like birds. With action shots you can either blur the subject and keep
For beautiful blurry effects,
The problem with freezing movement is that we can lose everything else sharp, or try panning with the subject so
shoot subjects in motion the sense of speed that is so vital to the shot. This is why that they are recorded sharply and everything else comes
using a long exposure sports and action photographers will often look for ways out as blur. Or there’s a third option: blur everything and
to imply the speed, perhaps by including a spray of water, rely on the smudgy shapes and colours to tell the story.
or hair billowing in the wind. Another way to give images This technique will result in a complete loss of fine detail,
a sense of movement is to use a slow shutter speed, so but with the right subject, sometimes the sense of motion
NIKON SKILLS
that the moving parts of the image are recorded as blur. trumps the need for detail.
NIKOPEDIA
ESSENTIAL KIT

PHOTO TECHNIQUES
SLR ADVICE
There are no rules and regulations for perfect
composition. If there were we would be able
to put all the information into a computer and
would come out with a masterpiece. You have to
compose by the seat of your pants
Arnold Newman
PHOTO TECHNIQUES
Go to
extraordinary
lengths
Pick an ill-suited focal length for great results
NIKON SKILLS
One way in which you can give your images more impact is
to use an unconventional focal length. Sports scenes are
usually shot with long zoom lenses, but why not try to find a
way to use a wide-angle instead, or even a fish-eye? Wildlife,
too, is usually seen through the barrel of a super-telephoto. Sometimes what is going on around the action has the
A different approach can potentially yield more Look potential to be just as interesting as the action itself, as
interesting results. For example, wildlife maestro Nick you can see in this image of spectators at a cycling event.
Brandt approaches his African wildlife subjects like fine behind you The reactions of those watching, or the little details that
art, with a medium-format camera and wide-angle lens, could be easily missed, can tell us just as much about
resulting in extraordinary images. Similarly, the default for
Focus on the background the drama of the situation. If a celebrity walks into the
a landscape scene is often to reach for a wide-angle. But at spectacles and events room, a footballer scores a goal, the Queen passes by in a
why not try a telephoto instead and pick out distant details? to capture the drama motorcade, or any other spectacle occurs, keep one eye
The compressing effect of a longer lens can help to simplify on the spectators and you may find a more interesting or
busy scenes by flattening out the perspective. original take on the scene.
NIKOPEDIA
Why not
try?
Point of view
If you’re up for a challenge, and don’t mind a bit of trial-and-
error, a fun way to get in on the action – quite literally – is
to capture something you’re doing from your own point of
view, such as mountain biking, skiing, or, in the case of our
image on the right, spinning kids around at arm’s length.
The trick with this sort of image is to pre-focus at the
ESSENTIAL KIT
correct distance, and then attach your Nikon securely to

your body using something like an OP/TECH Stabiliser Strap
(optechusa.com). You can then set your Nikon to self-timer
mode with, say, a 10-second delay; hit the shutter release;
start cycling, skiing or spinning; and wait for the camera
to take a shot. Try experimenting with shutter speed, too.

BREAK THE RULES
SLR ADVICE
Break the rules…

ARCHITECTURE
PHOTO TECHNIQUES
Find an unusual angle or an interesting twist to capture majestic buildings in new ways
Shoot ’em up
Aim straight up at buildings
and structures to celebrate
their bold angular shapes
The most successful architecture is
usually a perfect marriage of form
and function, but with architectural
photography we can dispense with
the function and celebrate just the
form. One way this can be achieved
NIKON SKILLS
is to reduce the structure to a series

of surfaces, textures and shapes.
Stripped of context, the structure
takes on a more abstract form.
Find an unusual angle, such as
looking straight up from the base
of a tall building, and perhaps use a
wide-angle lens to emphasise how the
lines recede into
the distance.
You might
want to try a
monochrome
conversion,
as this helps
to emphasise
Get the low down
NIKOPEDIA
patterns and
shapes, and Shoot from ground level or from
can bring out up high for a fresh angle
interesting
textures, but If you sit at a desk for eight hours a day, it probably feels
bold blocks of like the most familiar spot on the planet. But have you
colour like the ever viewed that same desk while standing on top of it?
blue here can Or while hanging from the ceiling? Or even through the
work as well. window from the building across the street? The point is,
even the most familiar scenes can look fresh and new if
you can find an original angle from which to capture them
Varying your camera height can have a big impact here.
I used to think you could learn how to be If you think about it, most of the things and places around
a photographer by learning the rules of us that we think we’re completely familiar with are only
ESSENTIAL KIT
ever viewed from a single height – usually eye level. Get

composition and how to use a camera. Now down very low, as in our fairground image (right), and you
I think just the opposite: if you have to learn

can use the texture and perspective of the ground to add
interest; or you can do the opposite and find a way to view
rules, then it’s already too late your scene from up high for an unique, never-before-seen
perspective – from the roof of a building, perhaps, or from
John Rosenthal a monopod held high overhead.

PHOTO TECHNIQUES
SLR ADVICE
PHOTO TECHNIQUES
Take a sideways look
Transform ordinary street scenes into
abstract forms with a simple twist
Often the beauty in architectural photography, and in
the architecture itself, is in the angles, lines and shapes
that make up the outline of the building. One of the best
ways to draw attention to shape is with contrast, or, if
you like, the arrangement of light objects against dark
backgrounds, and vice-versa. Think how well the shape of
a silhouette stands out against a bright backdrop, or how
a white lily contrasts with a dark pool. With architecture,
the greatest contrast in the scene is usually between the
building and the sky, as skies are invariably much brighter
NIKON SKILLS
than buildings. When composing your frame, think about
how you can use this contrast to your advantage.
To the left, a wide angle has been used to capture the
jagged, angular shapes of the streets of Ghent. But who
says that just because we see the world the right way up, a
photo has to do the same? Henri Cartier-Bresson, perhaps
the greatest ever composer of a frame, had a good piece
of advice for those looking to judge the strength of a
particular composition: turn the photo upside down.
This helps you to analyse the frame in a detached way,
by bringing the arrangement of shapes to the fore while
muting the subject matter. If the frame has balance
upside-down, it’ll work the right way up too. And if it looks
especially striking while upside down, or on its side, as in
the image above, why not leave it that way?
NIKOPEDIA
Why not
try?
Find a niche
Great photography often emerges from single-minded
dedication over a long period, whether to a location, a
subject, or a piece of kit. By exploring a theme over time
(six months, a year, a decade, or a lifetime) you can push
the boundaries of convention and go beyond what’s been
done before. Perhaps you live near a location that you
can revisit repeatedly to find the best angle and light.
ESSENTIAL KIT
Maybe you’re connected to an profession you could

document. Perhaps there’s a certain type of flora or
fauna on your doorstep you could spend time capturing.
Ask yourself, is it better to be average at many things, or
great at one? If you choose the latter, find your niche.

SLR ADVICE
Nikon 124
Skills
PHOTO TECHNIQUES
Photograph a classic car 104

Shoot star trails 110
Create a moonstack 116
Off-camera flash 122
Using studio lights 124
Continuous lighting 126
NIKON SKILLS
Create a light dome 128

Refraction photography 132
RGB histograms 134
HDR photography 136
Sub-aqua landscapes 140
Birds in flight 142
NIKOPEDIA
ESSENTIAL KIT
122

103
104
XXXXXXX
132
110

PHOTOGRAPH A CLASSIC CAR
SLR ADVICE
WATCH VIDEO ONLINE

www.bit.ly/phb2video
PHOTO TECHNIQUES
NIKON SKILLS
PROJECT ONE / LIGHTING TECHNIQUES

The mission
OTo photograph
a classic car with
a single flashgun
Capture a classic!
NIKOPEDIA
Time Armed with just a single Speedlight, Jason Parnell-Brookes

OHalf a day
shows you how to photograph a classic car like the pros
Skill level
OBeginner
Y
ou don’t need lots of and, with each frame, moving If you’re not a fan of heavy
OIntermediate specialist kit to shoot the flash a bit further along post-production work, you
OAdvanced
cars like the pros. By the car. Then you’ll need to could be forgiven for asking,
Kit needed combining shooting take the flash closer in and “Why use this technique?”
ONikon SLR techniques and a bit of highlight the wheels and Well, because it saves you
OTripod Photoshopping, you can other details. After that, it’s from hiring the massive
OMonopod highlight the shoulder line of just a matter of combining overhead lights that the pros
OFlashgun a classic sports car to create the images in Photoshop. use for car shoots, where the
OFlash bracket mount a photo with some real class. We shot our car in a garage costs can run into tens and
OWireless triggers Your lone flashgun and because it was raining, but sometimes hundreds of
ESSENTIAL KIT
OSoftbox softbox won’t give the you can do this shoot outside thousands of pounds. Also,
OCar or other vehicle
coverage of a pro lighting in low light or at night time you get to hang around and
set-up, so to get your finished (the darker the ambient light, gawp at beautiful works of
image, you’ll need to take the easier it is to under- engineering – not bad for a
several shots of the car, expose the background for day’s shooting! So, let’s see
lighting it from above, that mean and moody look). what you need to do.

NIKON SKILLS
105
SLR ADVICE
2 3
PHOTO TECHNIQUES
4
NIKON SKILLS
ON LOCATION / Get the light right

1 Wireless trigger 2 Softbox 3 Monopod 4 Dark garage
We used Yongnuo YN622N The softer the light, the better By putting the flash and softbox A dark location is essential.
wireless triggers – they trigger – ideally the car would be in a on a monopod, you can reach It means fewer distractions
the flash remotely when the giant light-tent-like set-up, but over the car and light the front within the frame and, more
shutter button is pressed. We for our budget version, you just of the chassis while staying out importantly, fewer reflections
kept the flash in manual mode. need to diffuse the light. of sight in the shadows. in the car’s shiny surfaces.
SETTING UP / Essential prep

NIKOPEDIA
Wipe it up
Have a microfibre
cloth and a chamois
to hand to wipe down
the surface of the car.
Cars are extremely
hard to photograph
ESSENTIAL KIT
because they’re highly

reflective and any
1 Tidy up 2 Find the centre-point
First, brush the floor and tidy away any objects around Next, pace out the length of the car and find its centre,
dust and rain shows
the car, then move the car side-on (if you can) so you’ll then move backwards from the centre point to find the
up in photographs.
have enough space between the camera and car to right place to set up your camera. This way you’ll keep
frame up. Shooting the side of the car enables you to both sides the same distance away from the camera,
create a beautifully highlighted shoulder line. and so both ends of the car will be in proportion.

NIKON SKILLS
SLR ADVICE
STEP BY STEP / Do a quick lap
Highlight
the features
You can highlight the
spokes of the wheels
or any other details by
PHOTO TECHNIQUES
moving the light round
to the front side of the
car and holding it close
to the feature. If your
softbox is too big and
obscures the car too
1 Lock the focus 2 Set up the camera much, fix a smaller
Put your Nikon on a tripod and raise the legs to the Set an aperture of f/14, a shutter speed of 1/200 sec
softbox or another
height of the car door. Turn on autofocus and lock on to (to match the sync speed of the flash), and ISO100. Set
flash diffuser, like an
the centre of the car with single-point AF. You won’t move a self-timer of 20 seconds, with the maximum number
umbrella, to your flash.
your camera, so once the focus is locked, switch to of frames (nine) and maximum interval time of 3 secs to
manual focus to prevent the focus point from changing. give yourself time to move the light between frames.
NIKON SKILLS
3 Prepare the flash 4 Shoot to thrill
Put the wireless triggers on your flash and camera, fix Finally, engage your Nikon’s self-timer and run into
the flash and softbox to the flash bracket mount, then position behind the back end of the car, holding the
screw the mount onto the monopod. In Manual mode, flashgun out over the top of the car. You need to angle
set your flash power to ¼ power – any higher and it will
over-expose the highlights.
the monopod so the softbox leans out over the camera-
facing side of the car, where you want the light to hit.
Diffuse it all
NIKOPEDIA
Don’t take any shots
without the light being
diffused in some way,
whether it’s with a
softbox or another
type of diffuser. A bare
light will add a bright,
specular highlight and
accentuate any dirt
and texture on the
surface of the car –
two things you don’t
want on this shoot.
ESSENTIAL KIT
5 Make a move 6 Shoot multiple photos

As soon as the camera has taken a shot, move a metre We ended up shooting 54 photos to create our final
or so towards the front of the car to take another shot. image, but you don’t need to shoot that many. We’d
Make sure you don’t leave large gaps in your placement recommend you start with about nine photos: five with
of the flash as you shoot; you want a long, clean line of the light above the car, one with it on the front, one on
light along the shoulder of the car. the rear and one for each of the visible wheels.

PHOTOGRAPH A CLASSIC CAR
SLR ADVICE
STEP BY STEP / Build your dream car

Quick tip
Use the dodge and
burn tools with
a soft feather
on the brush
to enhance the
softness between
the highlights
and shadows on
PHOTO TECHNIQUES
the car body.
1 Load your images 2 Blend them together

Open Photoshop and go to File>Script>Load Files into To begin the process of merging your images, change
Stack. Browse to and select all of your car shots, and the top layer’s blending mode to Lighten, then right-click
click on Open. Click on OK in the window that appears on that layer and choose Copy Layer Style. Hit shift and
and you should see all of your selected photos stacked right-click on the bottom layer to select all the layers, then
in the Layers palette in a single document. right-click on any layer and choose Paste Layer Style.
NIKON SKILLS
3 Mask out distractions 4 Add some polish

To mask out unwanted items in a layer (flashgun, softbox To make the highlights bright and shadows dark, add a
or photographer), left-click on its layer thumbnail and hit Levels adjustment layer: left-click on the Create new fill
the Add layer mask button at the bottom of the Layers or Adjustment layer button at the bottom of the Layers
palette. Click on the newly added mask and paint with palette, then drag the highlight arrow to the left and the
black using the brush tool (B) to remove distractions. shadow arrow to the right to increase the contrast.
NIKOPEDIA
ESSENTIAL KIT
5 Minimise reflections 6 Light the floor

Use the Patch tool to improve the look of reflections. Grab two shots where the light was hanging over the car
With thanks to Make a selection around a reflection, then click and drag (ensure the light is hitting the ground in front of the car)
Peter Hall for it to a more desirable-looking area to resample the and follow steps 2 and 3 again for them. Now you should
providing the Arntz texture and smooth any imperfections. Use this plus have your ground below the car – make sure your mask
Cobra and location some clone stamping to make the car gleam. doesn’t extend past the front or rear of the car.

SHOOT STAR TRAILS
SLR ADVICE
WATCH VIDEO ONLINE

PHOTO TECHNIQUES
PROJECT TWO / CAMERA TECHNIQUES
Reach for the stars

NIKON SKILLS
The mission
OCapture a stunning
star trail image
Time
OAt least three hours Jason Parnell-Brookes tries his hand at photographing star trails
Skill level
S
OBeginner tar trail photos, with hemisphere, you’ll need to This made it the perfect
OIntermediate moving stars forming find the south celestial pole. location for us to photograph
OAdvanced streaks of light across A big part of photographing our star trails. The weather in
Kit needed the night sky, are the night sky successfully is Wales is notoriously
OSLR always popular. In this having low light pollution and changeable, so we needed to
OTripod tutorial, we’re going to walk clear, cloudless skies, so first keep a close eye on the
ORemote release you through how to shoot we had to do a bit of research forecast and made sure we
OCompass source images for a star trail to find a really dark sky, and a were all packed up and ready
OLightroom photo, and then how to clear night on which to to go as soon as an
NIKOPEDIA
merge them in Lightroom. photograph. The Brecon opportunity presented itself.

If you’re in the northern Beacons, in South Wales, Finally our patience was
hemisphere, you’ll need to became only the fifth rewarded by a small window
aim for Polaris, the north star, International Dark Sky of clear weather, so we made
to achieve the classic Reserve in the world back in a beeline for South Wales
‘circular’ star trail look. If 2012, and prides itself on before the weather decided
you’re in the southern having extremely dark skies. to close in again.
ESSENTIAL KIT

NIKON SKILLS
111
SLR ADVICE
4
PHOTO TECHNIQUES
2
NIKON SKILLS
ON LOCATION / Get set up to shoot star trails

1 Clear skies 2 Winter warmers 3 Night vision 4 Twilight zone
Check the light pollution and Wrap up warm, obviously. Your Bring a pocket light, and make Get set up to compose your
the weather before you go; aim camera also feels the cold, so sure it’s red or has a red filter scene. This will be difficult in
to source a suitable location make sure you take a towel or over it. Using a red light will help darkness, which is why recceing
that will be clear of clouds and hand warmers to wrap around you keep your night vision (see the location beforehand in
unwanted lights. the lens and avoid misting. tip, below left). daylight is important.
SETTING UP / Finding true north

NIKOPEDIA
Polaris
Red light
The low-light ‘rod’
receptors in your eyes
need time to adjust to The Plough
darkness, and a burst
of light means you’ll
have to wait for them
ESSENTIAL KIT
to ‘reset’. Rods can’t

detect red light, but
1 Navigate with a compass 2 Map the stars
Compose your photo with Polaris in the centre (for You can find true north without a compass. You’ll need
cones can, so a red
circular shapes) or off to one side for beautifully curved to know at least one constellation, though, and that’s
light lets you find your
star trails, as in our shot. To find Polaris, take a compass Ursa Major (‘the plough’). Find the end of the ‘pan’ part
way without ruining
reading to locate north, then aim your camera in that of the shape (see above), then plot an imaginary line up
your night vision.
direction and slightly up, and look for the brightest star. from the edge of the pan to the next bright star.

NIKON SKILLS
SLR ADVICE
STEP BY STEP / Shooting stars
PHOTO TECHNIQUES
1 Hold still 2 Focus manually
We used a bungee cord to tie our bag to the tripod to The AF system won’t have enough light to focus so you
stabilise it in the wind. When shooting long exposures, must focus manually. If there are distant lights, focus
keep the camera as still as possible. Anything you can on these, then recompose. If not, get a friend to stand
do to steady the camera is a good thing. A bungee cord 40 to 50 feet in front of the camera and point a light
takes up little space and is worth throwing in your bag. towards you, focus on the light, then recompose.
NIKON SKILLS
Short, sharp
shots
3 Warm the glass 4 Get set up Instead of shooting a
Keep your lens warm to prevent it misting up as the Set your lens to its widest aperture. The stars are so far
sequence of hundreds
night gets colder. We wrapped our lens with a heated away a shallow depth of field won’t make any difference
of short exposures and
hand warmer and a small towel, with a rubber band to to the focusing of the shot. Set a shutter speed of
merging them in
hold it around the barrel. Be careful not to knock the between 20 and 30 seconds at ISO 200 and take a test
Photoshop, it’s
focus ring when wrapping your flannel around the lens. shot. If your shots are too dark, increase the ISO.
NIKOPEDIA
perfectly possible to
shoot a single,
super-long exposure of
an hour or more, but
the longer the
exposure, the higher
the noise in the
resulting image. This is
because image
sensors generate heat
from their own
electrified circuits, and
the sensor records this
heat/electrical
interference as noise.
ESSENTIAL KIT
5 Expose to the right 6 Start your sequence As such, it’s best to

If there’s light pollution present, try the ‘expose to the Open the intervalometer setting in your camera’s menu. keep exposures below
right’ technique. Take a shot and check the histogram: If your camera doesn’t have this feature, use an external one minute if you can
you want the graph to stack up to the right-hand side, intervalometer to set the number of shots. The number and then stack them in
but without clipping, allowing your sensor to capture will depend on how long you want your trails. We set editing software (see
more detail. You can correct the exposure when editing. 200 shots at an exposure time of 30 seconds each. following page).

SHOOT STAR TRAILS
SLR ADVICE
STEP BY STEP / Stack ’em up

Quick tip
Use an ultra
wide-angle lens
to fit more sky
in your photos,
and don’t forget
to include some
foreground to
give your photos
PHOTO TECHNIQUES
some sense of
location
1 Import your shots 2 Edit as needed

Go to File>New Catalogue. Name your catalogue Star Move to the Develop module. On the right hand-side
Trails and click on Save. The (empty) Library window will you’ll see the tool panel. Starting from the top, switch the
open up. Navigate to your images, select them all, press white balance to Tungsten, to alleviate the light pollution.
Cmd/Ctrl + A, and drag them onto the grey import area. Add fill light to brighten the midtones, and then increase
Click on the import button in the window that appears. the vibrance to boost the colours without clipping them.
NIKON SKILLS
3 Export to Photoshop 4 Merge the trails

Select all the shots in the filmstrip by going to Select>All The images open as layers. Drag the first image you
and clicking on the Sync button. Tick Check all before took to the bottom and set blending to Normal. Select
clicking on Synchronise, and these adjustments will be the top layer, change the blending mode to Lighten, then
applied to all the selected images. Click on Edit, then right-click and pick Copy layer style. Go to Select>All
Noise choose Photo>Edit In>Open As Layers in Photoshop. layers, right-click on any layer and pick Paste layer style.
NIKOPEDIA
pollution
If you find your
images do have lots of
noise, don’t worry
because you can
reduce this in
Lightroom.
Go to the Develop
module, and in the
Detail panel (at the
bottom-right of
screen – you may
ESSENTIAL KIT
have to scroll down), 5 Add a mask 6 Save it

under Reset Noise If you have any aeroplane light trails, or extraneous light You’re nearly done. Now you just need to save the image.
Reduction move the leaking in, add a mask to the layer in question, grab your Go to File>Save As and choose a suitable file type
Luminance slider up Brush tool (press B) and paint with black to eliminate the –JPEGs are usually the most useful. Give the picture a file
until the noise is distraction. Be careful not to brush out the stars as well, name and click on Save. Your image will export, giving
acceptable. as this will result in gaps in the star trails themselves. you the final photograph.

116
CREATE A MOONSTACK

NIKON SKILLS
SLR ADVICE
WATCH VIDEO ONLINE
PROJECT THREE / CAMERA TECHNIQUES

The mission
O To capture the
movement of the
moon in a so-called
timestack image
Create a moonstack
Jason Parnell-Brookes reveals how to capture the movement
PHOTO TECHNIQUES
Time
OUp to five hours of the moon across the night sky in a single composite image
Skill level
T
he full moon glowing over than the landscape, you will also shots at different intervals, as
OBeginner
a city at night can make for need to take an additional photo we did for our finished image.
OIntermediate
a very striking image, but to expose for the landscape Once you’ve found your ideal
OAdvanced
you don’t need to limit rather than the moon; this will time gap, you will need to keep it
Kit needed yourself to a single moon. You provide your final image with a consistent throughout the rest
ONikon SLR can shoot and create a lunar correctly-exposed backdrop. of the sequence – this will save
OMid-range timestack like this with nothing The challenge with creating a you plenty of time in the editing
telephoto zoom more than your Nikon SLR, moonstack is working out how process. You can do this
OStudy tripod a mid-range telephoto zoom, much time to leave between manually with a stop watch, or
OIntervalometer
a tripod, and image-editing photos. You need to ensure that you could use a built-in or
(optional)
software like Photoshop. there’s plenty of space between external intervalometer. With
ORemote release plus
The method is simple: take successive moons, but not too these, you just set the number
stopwatch (optional)
several photos of the moon as it much space. of shots you need, and the time
OPhotoshop or similar
moves through the sky, and then If you know where you want gap between shots, and then hit
NIKON SKILLS
editing software
use Photoshop to composite to shoot from, it might be worth your shutter release to begin the
them into one image. Because visiting your location a night or sequence. Turn the page to find
the moon will be much brighter two earlier to take some test out just how it’s done...
NIKOPEDIA
ESSENTIAL KIT

SLR ADVICE
1
PHOTO TECHNIQUES
4
NIKON SKILLS
ON LOCATION / Get set up to shoot moonstacks

1 Setting up 2 Sense of place 3 Focal length 4 Stable base
If possible, try to time your When considering where to Depending on your vantage You won’t be able to shoot
shoot for when the moon will be shoot your moonstack, try to point, and how much of the handheld. Each frame in the
rising or setting soon after dusk find somewhere with some surrounding landscape you moonstack needs to be taken
(see A time and a place, below), foreground detail. Including want to include, you may need from the same direction and
as it’s easier to get organised the local landscape will add to experiment with focal length. angle, so put your camera on
and set up when there’s some interest, and give your final The longer the lens, the bigger a sturdy tripod, and make sure
ambient light to work with. moonstack a sense of place. the moon will appear in the sky. the tripod head is level.
KEY SKILL / Lunar research

NIKOPEDIA
ESSENTIAL KIT
1 A time and a place 2 Bigger is better

You’ll need to do a bit of research if you want to avoid You also need to work out when the moon will be full,
standing around all night waiting for the moon to appear. or nearly full. You can shoot a moonstack of a half moon,
Use a website or app like www.photoephemeris.com to but it won’t be as impressive. It’s worth bearing in mind
work out both when the moon will be rising in your that the moon appears bigger at certain times of the year.
location, and – equally critically – where. Again, www.photoephemeris.com can help with this.

NIKON SKILLS
SLR ADVICE
STEP BY STEP / Shoot for the moon
Lunar eclipse
To see where a lunar
eclipse will be visible on
Earth, check www.
timeanddate.com/
eclipse/list.html
PHOTO TECHNIQUES
It will go much darker
during an eclipse, so
you may have to adjust
your settings.
1 Take aim 2 Make allowances

Mount your camera and wide-angle lens on your tripod The moon will move from left to right across the sky, so
and aim it at the moon, but include some environment adjust your composition to position the moon in the left
(whether that’s a landscape or cityscape) in the frame. third of the frame, with space to the right for it to travel
If you are able to fit the skyline in, try to place it in the into in subsequent shots. Also think about whether it
bottom third of the frame. will be rising or falling during the sequence.
NIKON SKILLS
3 Stay sharp 4 Retain detail
Change your Nikon’s autofocus setting to single-point Expose for the moon. It will probably be much brighter
(this may be in your camera’s menu, or on an AF switch than surrounding sky/landscape, so the latter will look
on the body itself). Alternatively, engage Live View and almost black (see Step 8 for how to overcome this). If
use the zoom button and multi-selector to fill the screen you expose for the sky/landscape, the moon will be
with the moon, then focus the lens manually. over-exposed. We set 1/125 sec at f/11 and ISO200.
NIKOPEDIA
ESSENTIAL KIT
5 Speed up 6 Cool down

If you open your shutter for too long the moon will be If you’re shooting above a city, your photo will have
blurred. There are two movements at play here: the an orange hue from light pollution. You could aim your
moon orbiting the earth, and the earth itself rotating on camera above the skyline, but then you’ll lose the city.
its axis. However, a fullish moon should be bright enough Instead, set white balance (in-camera, or in your editing
to enable you to set a shutter speed fast enough. software) to Tungsten to remove the orange cast.

CREATE A MOONSTACK
SLR ADVICE
Doubling up…
If you don’t want the
hassle of merging your
photos, another option
is to use the multiple
exposure feature on
your Nikon to take a
double exposure as the
moon moves across
the night sky.
PHOTO TECHNIQUES
7 Mind the gap 8 Capture the scenery

Take some test shots at timed intervals to decide what Exposing for the moon will almost certainly under-
sort of gap you want between your images of the moon. expose the foreground to near-blackness, so take a final
We went for 30 mins between shots for our moonstack. shot to expose for the foreground. Extend your shutter
Once you’ve decided on your interval, keep it consistent speed to around 10 seconds, take a test shot, and adjust
between the rest of the images. Now take your shots. the shutter speed as needed for a correct exposure.
STEP BY STEP / Create your moonstack

NIKON SKILLS
Take it further
Why not combine all
the phases of the moon
throughout the month?
Take a shot of the moon
each night and
1 Stack ’em up 2 Blend the layers composite them
Open Photoshop, and go to File>Script>Load Files into Change the top layer’s blending mode to Lighten.
together in Photoshop
Stack. Browse to and then select all of your moonstack Right-click on the layer and pick Copy Layer Style. Go
to demonstrate it
files, then click on Open. Click on OK. You’ll see all your to Select, and click on All Layers. Right-click on any layer
NIKOPEDIA
waxing and waning,

photos stacked in the Layers palette. and choose Paste Layer Style to blend your layers.
from new to full moon. It
will be tricky to do this in
cloudier countries (the
UK included!), so some
phases may have to be
shot in other months.
ESSENTIAL KIT
3 Add the background 4 Delete distractions

Locate the extra shot you took to expose for the scenery, If the moon in the background image is distracting,
change the blending mode to Normal, then left-click and select that layer, grab your Patch tool, draw around the
drag it to the bottom of the Layers palette. All the moons moon, and move the selection to somewhere non-
will appear, with the background now visible too. distracting. Once that’s complete, save your file.

OFF-CAMERA FLASH
SLR ADVICE
PHOTO TECHNIQUES
NIKON SKILLS
PROJECT FOUR / LIGHTING TECHNIQUES

The mission
OTo make your
outdoor portraits
look more punchy Be a bit flash
NIKOPEDIA
and dramatic
James Paterson reveals how to use a Speedlight off-camera to add drama
Time
OOne hour
to your portraits when shooting outdoors. It’s easier than it sounds!
Skill level
O
ne of the most creative a cable linking your Speedlight leads nor line of sight. Radio
OBeginner
things you can do with to your camera. As you can transmitters come in a variety of
OIntermediate
your Speedlights is to get imagine, the down side of this is models to suit your budget. The
OAdvanced
them off your camera’s that you’re then limited by the Hähnel triggers we’ve used here
Kit needed hotshoe and fire them remotely. length of the lead. are an inexpensive option, but as
ONikon SLR Some cameras and flashguns A third option is to use a radio they’re not TTL-compatible,
OSpeedlight with can be linked wirelessly so the transmitter. This is the most you’ll have to set the power
stand (or a willing flash is triggered by the convenient way to trigger a manually. This is more intuitive
assistant!) camera’s pop-up flash. This Speedlight, requiring neither than you might think…
OSpeedlight trigger
technique has its limits, in that
ESSENTIAL KIT
(if required – see

the flash and camera need to be
right)
compatible, and there also
needs to be a good line of sight
between them. A radio transmitter is the most convenient
Another option is to use a
so-called sync lead – essentially way to trigger an off-camera Speedlight

WATCH VIDEO ONLINE NIKON SKILLS
SLR ADVICE
STEP BY STEP / Get moody

Look, no wires!
Wireless transmitters
enable you to trigger
your Speedlight from
any position you like.
They allow much more
PHOTO TECHNIQUES
freedom than sync
cables, and are more
reliable than optical
slaves. They typically
feature a transmitter
that attaches to your
1 Work out the ambient exposure 2 Under-expose the ambient light camera’s hotshoe, and
Set Manual mode on your camera and select a shutter The next step is to under-expose the ambient light, in
a receiver that goes on
speed of 1/200 sec or less (most flashes won’t work at our case by decreasing the aperture setting to f/5.6.
the flash. You can
speeds higher than this). Take a test shot to work out This gives a darkened image which is, in effect, the base
usually set a channel
the correct aperture and ISO for the ambient light – we exposure for the image. From here, you can use your
so that the transmitter
set a shutter speed of 1/125 sec at f/2.8 and ISO400. Speedlight to pick out your subject.
and receiver recognise
one another without
interference from
similar devices. The
more expensive
NIKON SKILLS
triggers like Pocket
Wizards offer extra
control and features
like through-the-lens
(TTL) metering, which
enables auto exposure,
whereas the more
basic models like the
Hähnel trigger used
here require you to set
3 Diffuse the flash 4 Set up the flash the flash power
Light from a small source like a Speedlight can be hard. Attach the flash to a stand or tripod, or get someone to manually.
If you can reflect the light or direct it through a diffusing hold it – if your flash isn’t triggered wirelessly by your
material, it will be much more flattering. You can use a camera’s built-in flash, now’s the time to attach your
white brolly attached to a stand or the diffusing panel sync cord or wireless flash trigger (see your trigger’s
from a five-in-one reflector held in front of the flash. manual for details on how to set the system up).
NIKOPEDIA
ESSENTIAL KIT
5 Set the power 6 Work the angles

Set your Speedlight to Manual, then take test shots Experiment by lighting the subject from different
while adjusting the power (either by changing the output angles. Here we’ve moved the Speedlight up behind
settings on the flash, or by changing the distance of the the tree for attractive backlighting that highlights the
flash from the subject). We settled on a flash output of model’s hair. Combined with the dappled sunlight
¼ power with the flash positioned to the right. through the tree, the flash light looks entirely natural.

USING STUDIO LIGHTS
WATCH VIDEO ONLINE
SLR ADVICE
PROJECT FIVE / LIGHTING TECHNIQUES

The mission
OGet started with
studio flash by
learning how to set
up your camera
and lights
Let there be lights!
There’s no need to be intimidated by home studio flash. James Paterson
Time demonstrates how to create classic lighting that works every time
PHOTO TECHNIQUES
OOne hour
Skill level
I
nvesting in a home studio kit because the burst of light is subject, with each position
OBeginner is one of the best ways that almost instantaneous. changing the look of your image.
OIntermediate you can take your portraits to There are three main areas of Third, you can use the power
OAdvanced the next level. You can light control when using studio flash settings on the flash to control
Kit needed subjects from any direction, fix heads. First, you have control the output, which becomes
OHome studio flash kit attachments to change the over the quality and spread of important when you start
with softboxes and quality and spread of the light, the light through use of balancing the light from multiple
umbrellas and use a low ISO sensititvity on attachments like umbrellas, heads. Read on to find out how,
the camera to ensure the softboxes and grids. Second, by controlling these three
highest image quality. But you can put the head wherever factors, you can begin to sculpt
studio lighting can be a difficult you choose: up high, down low, the light so it behaves exactly
beast to master, not least in front of or behind your how you want it to, every time.
NIKON SKILLS
STEP BY STEP / Classic lighting set-ups explained

The Inverse
Square law
This law states that if
the distance between
the light and subject is
doubled, they’ll
receive a quarter of
the light. You might
think moving a light 1 First, the camera! 2 Soft options
back from one metre Stock settings for studio flash are manual (M) The larger the light source, the softer the light,
NIKOPEDIA
to two metres would mode, ISO100, 1/200 sec and f/11. Take a test which is the reason that larger softboxes produce
halve the strength, shot at these settings; if it’s too dark, widen your gentler light. Distance also plays a part, as moving
but it quarters it. To aperture or increase the power of the flash. If it’s a light closer effectively increases its size in
compensate, you’d too bright, do the opposite. relation to the subject.
either need to
increase the power
output by four times
3 Right angles 4 Balancing act
Here we used Setting the output is
or allow for two extra
‘Butterfly’ lighting, a delicate task when you’re
stops of aperture or
placing a softbox above using multiple lights, as
ISO. You can see the
the head to accentuate the ratio between the
Inverse Square law in
cheekbones and create different power levels is
action in step 2 where,
a butterfly-like shadow vital. For a classic lighting
because of the change
under the nose. Other set-up called ‘Key and Fill’,
in distance ratios
techniques include one flash (the ‘key’ light)
ESSENTIAL KIT
between light, subject

'Rembrandt', where provides the main light,
and background, the
the shadow of the nose while the other (the ‘fill’)
background is made
creates a triangle of is set two to three stops
much darker when
light on one cheek, and dimmer to gently lift the
the flash head is close
'Split', where only half shadows and stop things
to the face.
the face is lit. looking too harsh.

NIKON SKILLS
SLR ADVICE
Quick tip
When using
multiple flash
heads, take test
shots with each
PHOTO TECHNIQUES
light individually
to get an idea of
how they will all
work together
5 Honeycomb NIKON SKILLS

NIKOPEDIA
ESSENTIAL KIT / Studio flash modifiers grid
Grids can be fitted to
1 White 3 Silver reflectors to concentrate
umbrella umbrella the light so that it only
This spreads the flash Silver umbrellas offer a hits a small area, much
over a wide area, so it's harder light than white like a spotlight. The
good for flooding big ones – akin to using the deeper the grid, the
4 Circular
ESSENTIAL KIT
areas with soft light. silver side of a reflector. tighter the beam.
2 Softbox reflector
Softboxes diffuse the These work by shaping
light just like umbrellas, and directing the flash
but the narrower spread into a hard beam of light
offered by a softbox that covers an angle of
gives you more control. around 90-120 degrees.

CONTINUOUS LIGHTING
SLR ADVICE
PHOTO TECHNIQUES
NIKON SKILLS
PROJECT SIX / LIGHTING TECHNIQUES

The mission
OShoot a studio
portrait using
continuous lights Leave the lights on
NIKOPEDIA
Time Continuous lighting is ideal for portraits – and as Jason Parnell-Brookes

OOne hour
explains, it’s a great tool for learning how to master simple lighting set-ups
Skill level
OBeginner
C
ontinuous lights are simply You can get a cheap constant Continuous lights help you to
OIntermediate
lights that stay on lighting kit that includes light capture studio portraits with a
OAdvanced
constantly. Speedlights stands and modifiers, saving difference: take a scarf or piece
Kit needed and other strobes only you some time and money. Light of thin fabric and drape it over
ONikon SLR output light when triggered, and stands are essential as they your model, and use a desk fan
OPortrait or kit lens have long recycling times, but keep the lights in position. Most to blow the scarf around. By
OContinuous lights continuous lights behave like a kits will also include light using a slow shutter speed and
OLight stands light bulb. As a result you can modifiers that enable you to keeping your model still, you can
ODiffusers see the effect of a light as you diffuse and direct light. capture blurred trails.
adjust its power and position.
ESSENTIAL KIT
Don’t get us wrong: flashguns

are great. But because their
effect is transitory you have to
review your images on your Continuous lighting enables you to see the
camera or computer to see what
effect they’re having, effect of a light as you adjust its position

NIKON SKILLS
WATCH VIDEO ONLINE
SLR ADVICE
STEP BY STEP / See the light

Light meter
Another advantage
of using continuous
lighting is that you can
use your camera’s light
meter; because the
PHOTO TECHNIQUES
light is constant there
will be no change in the
exposure when you
take a shot. Studio
strobes, Speedlights
and other such lights
1 Kit yourself out 2 Take a test force you to either
Don’t waste your time getting different bits of kit, as Start by turning on one light. Move the light around and
guess, or rely on an
you’re running the risk of incompatibility. If you want to see how it affects your subject. Take a test shot, then
external light meter
get started, Rotolight’s RL-48 Interview Kit (£175/$250) fit a diffuser to the light (keeping it in position), take
to take readings and
will provide you with the essentials. For our shoot, we another photo and compare the two, noting how soft or
adjust the settings on
used KinoFlo 4-bank continuous lights. harsh the shadows are and where they fall.
your camera.
NIKON SKILLS
3 Get the look 4 Keep it clean
To shoot our featured image, we used a ‘beauty light’ Constant lighting also takes out a lot of the guesswork
set-up. We took our key (main) light and positioned it out of knowing how your background will look. For our
above the model, pointing down. Next, we put a large shot we positioned our model against a clean white
reflector below the model’s face to bounce the light up background, as we felt this would suit the simple Quick tip
and lighten the shadows under her chin, nose and eyes. lighting, and shallow depth of field. If you want
NIKOPEDIA
to combine
continuous
lights with
daylight, make
sure you get
daylight-balanced
lights. Light is
measured using
the Kelvin (K)
scale. Daylight is
‘white’ and lies at
around 5500K, so
make sure your
lights are as near
ESSENTIAL KIT
to that as possible
5 Go wide 6 Stay balanced to prevent issues
To get our super-shallow depth of field, we attached a If you don’t have continuous lights, you can use with mixed
Nikon 85mm f/1.4 to our D750, and set an aperture of standard desk lamps, but just be aware that these won’t colour casts. Our
f/1.4 in aperture-priority mode. We then set a shutter be daylight balanced (see Quick Tip). Uncorrected, they KinoFlo lights
speed of 1/250 sec at ISO100, and adjusted to power of will give your portraits a warm, slightly orange cast. The were daylight
the light for a correct exposure. solution is to set your white balance to Incandescent. -balanced

CREATE A LIGHT DOME
SLR ADVICE
PHOTO TECHNIQUES
NIKON SKILLS
PROJECT SEVEN / CREATIVE TECHNIQUES

The mission
OTo get creative with
light trails at home
Time
OOne to two hours
Go for a spin
Matt Tuffin shows you how to create an eye-catching light dome effect
Skill level using an old bike wheel, some Christmas lights and a few simple techniques
OBeginner
NIKOPEDIA
OIntermediate
L
ight trail images are simple introduced into other images can quickly and easily create a
OAdvanced
to create in a outdoor or used as the sole focal point. superhero-style image.
Kit needed situation; simply put your This isn’t the only method of Using these basic techniques
ONikon SLR camera on a tripod near a innovating with light trails, as there are many more ways to
OFlashgun road at night, set it to a long they can be combined with other work light trails into landscape,
OChristmas lights shutter speed and wait for a car techniques to create some portrait and action images,
OBicycle wheel to drive past. impressive end results. For giving them a ‘wow’ factor that
OStunt peg Photographers have been example, you could mix them would be difficult to replicate in
OTape using this technique to develop with rear-curtain flash, which post-production but that’s
their own signature image, and fires the flash at the end of an simple to create in-camera .
Andrew Whyte came up with a exposure rather than in With a comparatively small
particularly innovative way to conjunction with the shutter outlay of cash and a little
use light trails. The light dome is release. This merges a standard patience there’s no end to what
made by attaching fairy lights to image with a light trail, so you you can achieve using light trails.
ESSENTIAL KIT
the outside of a bike wheel, then

spinning it on the floor. The
circular motion combined with
the light source creates a dome
shape when captured using a
long shutter speed, and the Photographers have been using this
resulting effect can either be technique to develop signature images
NIKON SKILLS
WATCH VIDEO ONLINE
SLR ADVICE
STEP BY STEP / Dome, sweet dome
PHOTO TECHNIQUES
1 Reinventing the wheel 3 Let there be lights 3 Pegged out
First of all you’ll need a small bike wheel. Next, you need battery-powered fairy lights. A stunt peg screws onto the wheel axle.
You won’t be damaging during the shoot, Mains-powered lights can work, but the They’re available from most good bike
so one borrowed from a working bike will be cable can get snagged when the wheel is stores, and can either be screwed directly
fine. Otherwise there are plenty of bicycle spun. Tape the lights to the rim of the wheel onto the axle or secured using a nut. The
workshops that accept donations which will and the battery unit to the spokes. The peg is then used as a pivot to spin the wheel
be worth contacting. wheel should spin freely. when it’s on the ground.
STEP BY STEP / The completed wheel, with lights

Quick tip
Try this project
NIKON SKILLS
with colourful
lights, or arrange
them all at
one side of the
wheel for a very
different effect
NIKOPEDIA
1
ESSENTIAL KIT
1 Bike wheel 2 Stunt peg 3 Battery power

The wheel can be from an You can buy a stunt peg from Using lights powered by small
adult’s or child’s bicycle, but most cycling shops. It screws batteries keeps things simple.
the smaller the wheel, the onto the end of the bike wheel Use tape or elastic bands to
easier it will be to handle and axle, and allows the wheel to secure the battery pack to the
cover with lights. spin on the floor. wheel’s spokes.

CREATE A LIGHT DOME
SLR ADVICE
6 Do look
down
To avoid any
unwanted light
sources from
becoming an issue
in your image, set
the tripod up at full
extension and shoot
down onto the
PHOTO TECHNIQUES
wheel. You’ll need to

set it up about half
4 In the dark 5 Take it steady a metre away from
Because you’ll need very little light, and only You’ll be dealing with long shutter speeds, so the tripod legs. Give
a small amount of the background will be in the extra stability of a tripod is required. This the wheel
shot, a light dome image can be captured in also allows you to concentrate on moving a quick practice
virtually any environment so long as it’s dark the wheel, or directing a friend to do so. spin before you
enough. As a result, working indoors can be This shot depends on clean, sharp lines for get started, just to
beneficial, as then it’s easy to use a tripod success, so ensuring that the camera is kept check that you’ve
and control the lighting. steady is essential. got enough space.
NIKON SKILLS
7 Find your focus… 8 …and search for a speed 9 Go narrow

You’ll need to set your focus point to Getting the shutter speed right takes a bit Set a fairly narrow aperture, such as f/16.
the floor beneath the wheel, using the of experimentation as you’ll need a decent The important thing to remember is that
autofocus to begin with, then switching to delay in order to get the wheel spinning, the narrow aperture will combat the lengthy
manual focus to lock the focus. Focus isn’t but if you expose for too long the floor will shutter speed to maintain the levels of
particularly important for the light trails become visible. Start at one second and darkness, so don’t be tempted to switch to
themselves, as motion blur is a major part of advance from there, going up to around six shutter-priority mode and let the camera
the final effect. seconds at most. determine it.
NIKOPEDIA
10 Say no to noise 11 Choose your time 12 Shoot!

ESSENTIAL KIT
Another setting worth taking control of, Switch the camera to timed release, which When you take the image, keep spinning
rather than letting the camera determine it will give you a countdown before taking the the wheel to maintain the momentum, only
for you, is the ISO sensitivity. If the camera shot. This gives you time to ask an assistant stopping once you’re sure the shot has been
is allowed to increase the ISO to combat to spin the wheel, or to do it yourself. You taken. Bear in mind that the time taken to
the lack of light this can create noise, which should only lightly touch the wheel to spin it, save the shot will be comparatively long, so
appears as red and green specks, so it’s and make sure you or your assistant aren’t you might need to wait a few seconds before
worth keeping the ISO at 200. in shot between spins. seeing your results.

NIKON SKILLS
SLR ADVICE
TAKE IT FURTHER / Capture a superhero on camera!
PHOTO TECHNIQUES
What is rear
curtain flash?
In Rear curtain mode
the flash is activated at
the end of the shot,
rather than being
triggered by the
shutter release. This
mode is used almost
exclusively for getting a
sharp image after
deliberately recording
motion blur using a
NIKON SKILLS
slow shutter speed.
This can be useful for
shooting a portrait at
night, or an action
image, when you don’t
want to remove the
creative effect of blur.
1 Prep the shot 2 Set the pose 3 Take the shot

You can combine a portrait shot Although a slower shutter speed Set the camera to a shutter speed
and a light trails shot without will be used, the flash will fire at the of three seconds, and an aperture
NIKOPEDIA
much trouble, as long as you add end of the shot, so as long as it’s of f/22. You’ll need to use the timed
a flashgun to the kit you’ve already quite dark, the flash will freeze any shutter again. Fire the shutter,
used for the light dome image. Frame movement. Switch your SLR to rear then stand next to your subject
a person with plenty of room to one curtain mode, which you can find by and create the light trail using your
side, as you’ll be occupying the space scrolling through the flash options battery-powered lights, then get out
around them with a light trail. (see note, top right). of the way before the flash fires!
WHAT IF I SELECT THE WRONG SHUTTER SPEED? Quick tip

Don’t forget,
each image
Shutter speed is the key to this retains setting
technique: it needs to be slow enough information, so
to capture the trails, but not so slow if you’ve altered
ESSENTIAL KIT
that they blow out completely. As can anything and

be seen here, the difference between can’t remember
too quick and too slow is obvious. the shutter speed
The perfect shutter speed allows or aperture,
you to complete the motion, which is check the details
why using the self-timer and having of previous shots
someone to help you is important. TOO FAST TOO SLOW in playback

REFRACTION PHOTOGRAPHY
WATCH VIDEO ONLINE
SLR ADVICE
PROJECT EIGHT / CREATIVE TECHNIQUES

The mission
OShoot a drop of
water with a map
behind to create a
tiny globe
Time
Capture the world
James Paterson demonstrates how to create amazing water droplet globes
PHOTO TECHNIQUES
OOne hour
L
ight moves more slowly Here we’ll show you how to Commander mode, which
Skill level through water than it does create a tiny globe by positioning triggers the Speedlight using the
OBeginner
through the air. This causes a map behind a drop of water. To camera’s pop-up flash.
OIntermediate
the light rays to bend at the capture falling drops clearly A macro lens is essential to
OAdvanced
point where they move between you’ll need to shoot in a dark get in close enough to fill the
Kit needed the two media. The room using a Speedlight, so that frame, and you’ll also need a
ONikon SLR phenomenon is called the drops are frozen by the burst tripod to keep the camera still.
OSpeedlight refraction, and it offers lots of of light. Whenever a flash is used You’ll have to tweak the position
OMacro len opportunities for creative it’s a good idea to get it off the of the map and water, and you
OTripod projects. A drop of water, for camera and fire it remotely (see might need to shoot a few
example, will refract the light page 122). We’ve positioned the frames to get the timing right for
from the scene behind, turning it flash behind and to the side a perfect drop, but the results
upside-down and bending it. here, then used Nikon’s Flash are worth it!
STEP BY STEP / Water World

NIKON SKILLS
1 Position the map 2 Light the print 3 Think about settings

Position a world map upside-down with a Aim an off-camera flash towards the map. Select Manual mode and set the shutter
glass of water in front of (you can download We triggered ours with an SLR’s pop-up speed to your camera’s max sync speed
a map from www.nasa.gov and print it at flash and Nikon’s Creative Lighting System, (1/250 sec here). You’ll need a small
NIKOPEDIA
A3). Set your camera on a tripod, and fix a but a wireless trigger or cable will work. Set aperture for deep depth of field, but you also
water dropper to a stand above the glass so the flash power low so it’s fast enough to want to use low flash power, so you’ll have to
the drops hit the same spot every time. freeze the the drop. We used 1/32 power. increase the ISO. We used f/16 and ISO 400.
ESSENTIAL KIT
4 Stay sharp 5 Dim the lights 6 Time it right

Precise focusing is tricky. The solution: grab The drops will move fast, and any light other You need to press the shutter at the moment
a pencil. Let a few drops fall to determine than the flash may blur their motion, so the drop hits the water, which is tricky. Be
where they’ll hit the water, lay the pencil darken the room to keep ambient light to a prepared to spend a while dropping and
along the top of the glass at the point where minimum (it doesn’t need to be pitch black). shooting until you capture a spherical drop.
they fell, switch to manual focus and focus Allow the drops to fall and fire the shutter as When you do capture one, check it’s sharp
on it, then remove it. they hit the surface. using your LCD screen.

NIKON SKILLS
SLR ADVICE
Quick tip
When using
multiple flash
heads, take test
shots with each
PHOTO TECHNIQUES
light individually
to get an idea of
how they will all
work together
NIKON SKILLS
In a flash!
Your Speedlight’s flash
duration changes
based on its output.
For example, at full
power our SB-900 has
NIKOPEDIA
a flash duration of
about 1/880 sec. At its
lowest setting –
1/128th power – the
duration is an almost
instantaneous
1/38,500 sec. The
lower the power, the
shorter the duration.
For capturing
split-second action
you’ll need a dark
room. This way the
flash duration
ESSENTIAL KIT
effectively becomes
the length of the
exposure, as the
ambient light is
negligible, and
shouldn’t affect the
exposure.

RGB HISTOGRAMS
WATCH VIDEO ONLINE
SLR ADVICE
PROJECT NINE / GEAR SKILLS

The mission
OUse RGB histograms
to improve exposure
and white balance
Time
OOne hour
Get rich with reds!
Stop losing detail in vibrant colours by switching
on and interpreting your Nikon’s RGB histograms
PHOTO TECHNIQUES
Skill level
OBeginner
T
OIntermediate he RGB histogram is one of which plots the brightness of The RGB histogram displays
OAdvanced the best-kept secrets on each pixel in a graph from the separate graphs for the three
your Nikon SLR. This deepest black on the left to the colours – Red, Green, and Blue.
Kit needed
display of multi-coloured brightest white on the right. This These are the primary colours
ONikon SLR
graphs may look a bit scientific, luminance histogram is fine for that your camera sees and
but it can be a godsend with most subjects, giving a useful measures, and the three colours
colourful subjects. way of assessing the range of that the trillions of different
Most photographers look at a tones, or contrast, that you have shades and hues your Nikon can
black-and-white histogram, in a scene. record are made up of.
STEP BY STEP / Learn to love the multi-coloured graphs

NIKON SKILLS
1 How old is your Nikon? 2 Make a colourful display 3 Spot the difference
You don’t need a top-of-the-range Nikon To get the RGB display, go to the Playback All four graphs will often be similar because
to get a more detailed RGB histogram. Menu, then the Display Mode options, and most subjects are made up of a mixture
All recent Nikon SLRs from the D3000 check the RGB histogram option. Now when of colours. You may also see that the
upwards offer the option of displaying one. you review your pictures, use the up or down Luminance (white) graph is almost always
Essentially, that means any SLR launched in arrows to toggle through the display modes identical to the Green graph, because the
NIKOPEDIA
the last seven years has this facility. But you until you see the one that indicates the four standard histogram looks predominantly at
need to switch it on… coloured graphs. the green channel.
4 White balance detector 5 Avoid a blow-out! 6 Darker by design

ESSENTIAL KIT
The graphs are often similar, so they can The RGB graph is most useful when To retain texture in the most saturated
reveal white balance issues. In the shot shooting vibrant colours. The normal parts of the picture, simply use exposure
on the left the preview looks too blue, and histogram here suggests the exposure is compensation or manual exposure controls
the peak is further to the right in the blue fine. But the RGB display shows a problem to reduce the overall brightness, and then
graph than the others. If the white balance is in the red channel; the graph is pushed too reshoot. The shot may need enhancement
corrected, the peaks in all four graphs are in far to the right. The reds are blown out, and in Photoshop later, but we have not lost that
the same place. we’re losing detail in the petals. all-important detail.

NIKON SKILLS
135
BEFORE
AFTER

HDR PHOTOGRAPHY
WATCH VIDEO ONLINE
SLR ADVICE
PROJECT TEN / CAMERA TECHNIQUES

The mission
OTo keep detail in the
sky and foreground
of your landscapes
Time
OTwo hours
Head for the hills
Chris Rutter shows how you can get HDR
SKY
landscapes by shooting and combining images

PHOTO TECHNIQUES
Skill level
OBeginner
W

OIntermediate hen you shoot capture more highlight and
OAdvanced landscapes where the shadow detail. However, it can
sky is much brighter be easy to over-cook the
Kit needed
than the foreground, adjustments available in HDR
ONikon SLR
OWide-angle or kit the level of contrast makes it software, producing garish,
lens impossible to keep detail in both unrealistic results.
OTripod areas. The traditional way to There is a simple alternative
OElements keep detail in both would be to technique that you can use for
use a graduated neutral density many scenes, which avoids
filter, but if you don’t have these many of the pitfalls of
there are alternative solutions. conventional HDR imaging. You
One way to capture detail in simply take at least two images,
all areas is to shoot three one exposed correctly for the
images, one exposed for the sky and another exposed
shadows, one for the mid-tones correctly for the foreground. You
NIKON SKILLS
and one for the highlights, and then combine them using a
combine them together in Layer Mask in Photoshop or
special software. This is known Elements, revealing the
as high dynamic range (HDR) correctly exposed parts of both
imaging, and it’s a great way to photographs.
It can be easy to over-cook the adjustments

producing garish, unrealistic results… GROUND
Correcting
RAW files STEP BY STEP / Recapture the detail
NIKOPEDIA
We’ve used a simple

method of shooting
two images, then
combining them in
Elements to retain
detail in this
landscape. You could
achieve similar results
by processing a single
RAW image, but when
the contrast between
the sky and
foreground is high 1 Keep it steady 2 Go manual
ESSENTIAL KIT
there’s a danger of Even if you can use a fast shutter speed it’s best Using manual mode will give the most consistent
much more noise in to use a tripod, to make it easier to line up your results. Set the camera to manual focus and
the shadow areas and two images. It can be easy to move the camera choose an appropriate White Balance preset to
also artefacts in the between exposures, so make sure that all of the prevent any changes in focus or colour between
highlights from trying locks are secured, and the legs are positioned the exposures. You can shoot in either RAW or
to recover detail when on solid ground. Fire the camera with a remote JPEG, but if you choose RAW you need to process
using this method. release to minimise any chance of moving it. both files with similar settings.

NIKON SKILLS
137
HDR PHOTOGRAPHY
SLR ADVICE
In-camera
HDR
Most Nikon cameras
PHOTO TECHNIQUES
offer an in-camera
HDR option to help
you when shooting
high contrast scenes. 3 Take two exposures 4 Two become one
You’ll find this in the First set the shutter speed and aperture to expose the Open your images in Elements, then click on the
Shooting Menu on the foreground correctly and shoot. Then, without changing foreground image. Pick Select>All from the top menu (or
camera, and offers the aperture, use a faster shutter speed to expose the press Ctrl+A). Then Edit>Copy (Ctrl+C) to copy the
different strengths of sky. Check the exposures on the histogram display to image to the clipboard. Now click on the sky image and
effect. But you can make sure that there is highlight detail in the sky go to Edit>Paste (Ctrl+V)to add the foreground image as
only use this when exposure and shadow detail in the foreground exposure. a layer above the background.
shooting JPEG
images, and like HDR
software, using the
higher strength
settings can produce
visible artefacts,
giving unnatural-
NIKON SKILLS
looking results.
5 Add a mask 6 Finishing touches

With the top layer active, click on the Layer Mask icon in Select a large, soft-edged brush. Set the foreground
the Layers palette then pick the Quick Selection Tool colour to black, the opacity to 20%, and paint over the
from the Tool palette. With a soft brush of 1000 pixels or area between the sky and the land until there isn’t an
so, paint over the sky until ‘marching ants’ enclose it. obvious transition. To make the sky look more natural,
Click on the layer mask. Pick Edit>Fill Layer. Ensure that click on the bottom layer, select a Levels Adjustment
Black is selected in the drop-down menu of the dialogue Layer, and drag the middle tab to the left and the left tab
NIKOPEDIA
box, then click OK. to the right.
KEY SKILL / HDR software problems

While combining two images is
the perfect solution for many
landscape images, it can be
difficult to get a smooth
transition if there is a lot of fine
detail in the foreground, such
as trees, foliage or buildings.
Using HDR software can be
ESSENTIAL KIT
easier in these situations, but

you need to take care with the
adjustments and settings to Low contrast results
avoid some common problems If you go too far when recovering Haloes round objects
when using HDR software such detail in HDR software, you’ll end-up These can appear around areas in the scene where dark and light
as Photomerge, Photomatix or with very low contrast results. Try to tones are close together. To avoid this you need to steer clear of
Nik HDR Efex. avoid flat-looking images. using the higher strength or detail settings in your HDR software.

SUB-AQUA LANDSCAPES
SLR ADVICE
PHOTO TECHNIQUES
NIKON SKILLS
PROJECT ELEVEN / CAMERA TECHNIQUES

The mission
OTo take frog’s-eye
view landscape
shots
Time
O30 minutes
Take your SLR for a dip
Discover how to photograph a sub-aqua landscape without
spending a fortune on an underwater housing or camera
Skill level
NIKOPEDIA
OBeginner
T
aking your camera half-submerged in the water. tank is submerged in the water
OIntermediate
underwater can give you a There’s an element of chance to you’ll have to take plenty of
OAdvanced
completely new the results, but with a bit of photographs from slightly
Kit needed perspective on the practice and a little luck you’ll different positions because you
ONikon SLR landscape, but it would normally find that you can get results won’t be able to see the
ORemote release involve buying an expensive where you have a view both of viewfinder or screen to
OFish tank housing or waterproof camera. the landscape and what’s lying compose your shot unless you
This isn’t really a viable option if beneath the water. have a flip-out screen. Finally,
you just want to have a go at This technique works best remember to check (and double
shooting underwater images, so when you use a wide-angle lens. check!) that your camera is
here’s a low-cost, do-it-yourself You’ll also need to set the going to be safe once you get in
alternative that works. camera to manual to get the water, and make sure that
Putting your camera inside a consistent results. Once the you have a very firm grip on the
watertight fish tank and using camera is in the fish tank and the fish tank before you start.
ESSENTIAL KIT
this as a waterproof housing

may get you some odd looks,
and it’s not for the faint-hearted.
However, with a bit of care and
preparation you can get
amazing images simply by Putting your camera inside a watertight fish
shooting with the camera tank may get you some odd looks
NIKON SKILLS
WATCH VIDEO ONLINE
SLR ADVICE
STEP BY STEP / Dunk your camera
PHOTO TECHNIQUES
1 Prepare the tank 2 Set up your camera
Before you start, check that the tank is watertight. Switch to manual focus and manual exposure. Set a
Without putting the camera in it, submerge it so that the narrow aperture, such as f/11, to give plenty of depth
water reaches halfway up the sides. If this is successful, of field, and set the shutter speed to give the correct
dry the outside of the tank and make sure that the side exposure. Using a wide-angle lens, set the focus to
that you’re going to shoot through is clean. around three metres. Finally, attach a remote release.
Keep it still
NIKON SKILLS
This certainly isn’t a
technique for the
faint-hearted, so the
first time you use the
fish tank you’ll find it
easier to hold it steady
if you simply float it on
the top of the water,
rather than submerge
3 Final preparations 4 Go underwater it. You should also only
Now put the camera into the tank. Keep the lens as close Enter the water slowly. You don’t want to stir up mud try this out on still,
to the glass as possible to reduce the effect of reflections and dirt. Gently push the tank under the water until the calm water because
and marks on the glass. You may need to find something lens is half-covered. Take several shots, keeping the spray and waves can
to keep the camera in position. Make sure that you can tank level. If you get water drops on the glass you may easily enter the top of
easily reach the remote release while holding the tank. need to take it out of the water, clean it and start again. the tank.
NIKOPEDIA
ESSENTIAL KIT / Shooting underwater
1 Waterproof 3 Underwater 4 Action camera
compact camera housing Many action cameras, such as
those in the GoPro Hero and
A waterproof compact camera These housings from firms such
Nikon KeyMission ranges,
such as one of those in the as Ikelite and Nauticam ensure
come with a waterproof housing.
Nikon AW range is a reasonably worry-free underwater shots.
These
affordable way of shooting Buy a model designed for your
cameras have
underwater images. The small camera. From £1000/$1500.
an extremely
diameter of their lenses can 2 Bag housing
ESSENTIAL KIT
wide-angle
make it tricky Flexible bag housings come
lens, which
to position the in a range of sizes. For a
can certainly
camera for camera such as the D7100
produce a
a half-under, with a standard zoom, try the
more striking
half-over water Ewa Marine U-A housing at
set of images.
shot, though. £200/$270.

BIRDS IN FLIGHT
SLR ADVICE
PHOTO TECHNIQUES
NIKON SKILLS
PROJECT TWELVE / CAMERA TECHNIQUES

The mission
OShoot birds of prey in
flight in the wild
Time
O3 hours
Watch the birdie!
Shooting birds of prey in flight is a great test for
Skill level the prowess of any camera and any photographer
OBeginner
NIKOPEDIA
OIntermediate
F
orget sports. If you want a to shoot Red Kites because they thermals – and so that as they
OAdvanced
real test in action can be found reliably if you go to dip you can frame them against
Kit needed photography, try getting a the right spot (see opposite) in fields or trees. To avoid these
ONikon D-SLR great shot of a bird in flight. the UK. But finding the birds is backgrounds becoming
OSupertelephoto lens Unlike at a stadium or race not enough, you also need a distracting you need to use your
circuit, you have to track down good vantage point to shoot lens wide open, minimising the
your feathered subject in the them from to see them in flight. depth of field. This is a bonus,
first place, then freeze its You want to avoid shots of the because you’ll need to use a fast
movements against a birds feeding on the ground, or shutter speed (we recommend
distracting background. against a bland, featureless using 1/2000 sec). But the
How close you can get will white cloudscape. To avoid a disadvantage of the narrow
depend on the species, but with silhouette, your best bet is to get band of depth of field is that your
almost all birds you’ll want to get up on a hill, so that you can shoot focusing will need to be even
the longest lens that you can these big birds as they ride the more accurate.
ESSENTIAL KIT
sensibly afford – and due to the

crop factor, you’ll need a longer
focal length with full-frame SLRs
than you will with DX models.
Location is probably just as
important as the equipment and A narrow band of depth of field means
settings that you use. We chose that your focusing needs to be accurate
NIKON SKILLS
WATCH VIDEO ONLINE
SLR ADVICE
STEP BY STEP / Stack the odds of success in your favour In search of the
Red Kite
The Red Kite is a British
conservation success
story. It was a common
scavenger in towns and
cities in Shakespearean
PHOTO TECHNIQUES
times, but had almost
disappeared from the UK
by the 1990s. Thanks to
successful reintroduction
programmes, it can be
found in significant
1 Location! Location! Location! 2 Big is best quantities if you head to
You may chance upon an owl flying over your head, but You need a long lens. Even though Red Kites have a
the right spot…
to maximise your chance of getting a good shot you five-foot wingspan they will be some way from you when
need to find a location where a species is seen regularly. they fly past. A lens with an effective focal length of
Gigrin Farm, Wales
Spend some time on Google researching locations, and 600mm (600mm on an FX model, or 400mm on a DX
Near Rhyader, this sheep
find out where other photographers have had success. SLR) is ideal. We used a Sigma 150-500mm.
farm feeds the kites at a
set time, so you are
guaranteed a good show
(www.gigrin.co.uk), and
there are hides available
NIKON SKILLS
to hire.
Chilterns, England
The best places are in the
villages where the M40
cuts through the
Chilterns
(www.chilternsaonb.org).
We went to Aston Rowant
National Nature Reserve.
3 The need for speed 4 Manual exposure with Auto ISO
The long lens and the fast subject means you need to Set the aperture and shutter speed in manual mode, Argaty, Scotland
use a fast shutter speed, however dull the day. A speed and then set the ISO to automatic. This means you Feeding station on the
of 1/2000 sec is the minimum. But similarly, to ensure get the precise settings you need even if the lighting Trossachs Bird of Prey
the background is as blurred as possible, you should changes, and the camera adjusts the sensitivity so you Trail (www.
use your lens wide open (that’s f/6.3 on our lens). don’t have to worry about under- or over-exposure. argatyredkites.co.uk).
NIKOPEDIA
ESSENTIAL KIT
5 Locking in on the prey 6 Dynamic focusing

You need to master the panning technique. You can’t Kites move quickly, so you need to make sure the
rely on a bird just entering the frame, so a tripod is not autofocus can keep up! This unpredictability is the
a great help. Track the bird across the sky, and wait for perfect scenario for Nikon’s Dynamic Area AF. Use the
it to get closer and turn to the light. Ideally you want it central AF point, and keep this over the bird as you pan
front- or side-lit, to show the detail of the plumage. – the SLR will switch to another AF point automatically.

SLR ADVICE
Nikopedia
Capturing gesture and expression 146
164
PHOTO TECHNIQUES
Capturing detail 152

Capturing scale 158
Capturing form 164
Capturing texture 170
NIKON SKILLS
NIKOPEDIA
152
ESSENTIAL KIT

145
158
XXXXXXX
146
170

GESTURE & EXPRESSION
SLR ADVICE
PHOTO TECHNIQUES
NIKON SKILLS
Renowned photographer and prolific author Michael hand we’re all very, very familiar with ordinary life
Freeman presents a monthly masterclass that’s exclusive to and tend to pass it over in favour of the different.
N-Photo magazine. Michael has published dozens of books on Almost without exception, people in front of
photography, including the bestselling Perfect Exposure and the camera become interesting and worthwhile
photographing when they move and express
Fifty Paths to Creative Photography.
themselves in particular ways. Flat expressions,
slumped postures and unexceptional movements
INTRODUCTION
just do not cut it in photography. This should come
as no surprise, because if you watch other people’s
Freeman on... behaviour, that ordinariness is the default, so why

would it be worth a photo? That’s right, it isn’t, which
is where attention to moment comes in. Say that you
NIKOPEDIA
have subject in front of you, and they’re likely to be
Capturing gesture there for a minute or two. It could be a studio session

or candid shooting in the street, with direction or
without. Subject, lighting and composition alone
will just produce a serviceable image. To be special,
and expression
When people are your subject, it’s worth trying to capture
you would need to wait for a gesture or expression
that lifts it above the ordinary. And if that doesn’t
happen, at some point you have to move on.
Perhaps the most important thing of all to
remember is that the moment you choose to capture
that expresses some character in the person you’re
the moments when they reveal something of themselves photographing is your interpretation, not necessarily
truthful or representative or fair. The great Richard
hen human beings become the main focus
W
$YHGRQH[SODLQLQJZK\KHXVHGDJHQHUDOÁRRGRI
of a shot, the opportunities and the ideal light in his portraiture, said that it was so the subject
ESSENTIAL KIT
PRPHQWVWDNHDYHU\VSHFLÀFVKLIW:H·UH could move freely, “So that I can get to them, to the
dealing here with the most interesting expression they make, so that they are free to do or
class of subject for photography on the planet – express something which is the way I feel.” The point
potentially. There’s automatically a dual response of the last few words being, as he also wrote, “My
from viewers: on the one hand we’re all interested portraits are more about me than they are about the
in what other people might be up to, but on the other people I photograph.”

NIKOPEDIA
SLR ADVICE
BRINGING IMAGES TO LIFE
It’s the gesture

that counts
Gesture plays a key role in providing
PHOTO TECHNIQUES
a clue to the photographer, and the
viewer, about intention and character
esture usually involves arms and hands, but
G sometimes also the upper body, and as social

animals we’re always looking for meaning in
it. This, despite the fact that one major class
of gesture is essentially practical, such as in manual
labour, with movements involved in lifting, turning,
RSHQLQJPDQLSXODWLQJRUZKDWHYHUVHH¶5HÀQLQJ
repetitive action’, page 148).
But when it comes to communication, there are
two classes of gesture: one is to do with indicating
– simply getting some information across to other
people – and that’s what is going on in this scene in
NIKON SKILLS
Kolkata (left); the other, which is covered in ‘Getting
all emotional’ on page 151, is emotional.
,QDQ\VLWXDWLRQ\RX·UHOLNHO\WRÀQGRQHPRPHQWRI
a gesture more interesting
or visually attractive than
another. It can be because of
You don’t need to see elegance, or because it gives
the man in the street in a clearer view of what’s
his entirety – the two going on, and helps to
arms pointing at each
explain that. It can even
other do the job of
bringing action and be the opposite, puzzling
therefore interest to an onlooker who isn’t quite
this shot of the Kolkata sure what the context is. But
Commodities Exchange what all moments of gesture
have in common, and what
makes them desirable in a photo, is that they bring it
NIKOPEDIA
to life, and avoid the static.
In the old Commodities Exchange in Kolkata, with
trading conducted in a very old-fashioned way, there
was plenty of that. Indians generally use gestures in
a characteristic way, and the range of hand gestures
on display was wide and full of character. And here,
in a trading situation, hands and arms were moving
around even more than usual.
I chose a tight framing, and looked for several
gestures happening in one frame, and in particular
an occasion when one of the traders in the blue boxes
was obviously dealing with someone standing on the
ground. I was spoilt for choice, as the illustration of
arm-and-hand gestures shows.
In the end, the best moment for me came when an
ESSENTIAL KIT
arm pointed upwards from street level, matched by

WKHSRLQWLQJÀQJHURIWKHWUDGHUDWWKHULJKW)UDPLQJ
this photo to take in more of the people in the street
(left) would have been more explanatory, but less
interesting. Isolating the pointing hand enabled
me to focus on the gesture, and so the interaction.

GESTURE & EXPRESSION
SLR ADVICE
MEANING FROM EXPRESSION
What’s in
a look?
Faces have massive visual weight
PHOTO TECHNIQUES
in a photograph, no matter how

small they are in the frame, so
facial expression is important
he smallest scale of movement and moment in
T SHRSOHSKRWRJUDSK\KDSSHQVLQWKHIDFH:H
place a great deal of store in facial expression,
especially in what we believe other people
are thinking and feeling. Most people take an
unreasonable amount of pride in their ability to
judge people from their expression, and photography
buys into this idea. How often have you heard the
expression that the eyes ‘are the mirror of the soul’.
It sounds clever and thoughtful, but really? This
NIKON SKILLS
basic idea, of capturing the inner self through some

rare opening of the eyes into the soul, divides
photographers who do this kind of thing. Can you,
or can’t you? I’m sceptical, because if it were true,
the police, criminologists and security services
would be out of a job. Many people are incredibly
good at concealing their interior lives behind their
expression. Photographers’ egos get in the way, too.
Even so, there’s a constant passage of expressions
across the face, like a weatherscape, and some are
going to be more resonant than others. And this, of
course, means resonant to the photographer. In this
case (above right), what began as an impromptu,
candid shot of a young Tibetan novice monk in hard and with his lips moving. I chose to get in close
Shangri-La reciting sutras turned into more of a with a wide-angle as it felt more involving. But the
Two different moments
SRUWUDLWVHVVLRQ:KHQWKDWKDSSHQVWKHFKRLFHRI shot changed to something else when the boy looked from the same position.
NIKOPEDIA
moment for expression gets stretched out over time, up. Behind the thick spectacles – probably because of The intensity of the
and that really does change the decisions about what them – he looked at me in an eyes-wide-open, almost boy’s expression when
will make the best moment. At the time the obvious startled way: an expression which struck me as more he looks up makes it
choice seemed to be the boy reading, concentrating interesting than any of the other moments. clear which shot is best
Repeated physical action, as with this sculptor using a

hammer and chisel, gives you the opportunity to quickly
Refining analyse the details of a gesture, decide on the perfect

moment for you, and work to capture it. In this case, the
special moment looked for was the spurt of stone dust as
repetitive the hammer struck the end of the chisel, which I was able
to isolate using selective focusing. A refinement of camera
ESSENTIAL KIT
action position meant that I could get the end of the chisel and the
sculptor’s glasses in the same plane of focus (final image).
The questions to ask yourself are: which moment gives
the viewer the most information? Which is the clearest
visually? Which moment has the most energy? Which
is the most interesting or unusual?

NIKOPEDIA
SLR ADVICE
EYE CONTACT
Here’s looking
at you, kid
Street photographers normally try to
PHOTO TECHNIQUES
avoid their subjects gazing into the lens,
but depending on the quality of the look,
eye contact can strengthen an image
NIKON SKILLS
hile it’s almost a given that in portraiture
W the subject looks directly into the camera,

with just occasional exceptions, in the world
of street photography, and documentary
reportage in general, eye contact is often seen as the
moment of failure – the point at which suddenly the
photographer lost that
FDUHIXOO\ZRQÁ\RQWKH
wall observer status and
A plain I-just-saw-you was spotted by his or her
look or, worse, a grin, subject. This tends to be the
has little merit, but a default judgment for street
steadier gaze, with photography, and once
NIKOPEDIA
confidence, can make
the image more
you’ve been spotted you
powerful than if life had regretfully move on. But
been going on without it’s not always a mark
you being noticed of failure, and it depends
very much on the look on
your subject’s face, and its intensity.
Both of the images here share a direct look that is
neither challenging, nor quite accepting, and in both
cases I judged them better than the previous frames,
before the men looked. In the case of the man in
The final shot, with two
‘runners-up’ at the far yellow, who was selling tobacco in a market in South
left for comparison, Sudan, I had intended to shoot quickly and candidly,
focuses attention on but he glanced up. Ordinarily I would have smiled
both the spurt of dust, and given up at that point, but his steady gaze held
and on the spectacles me, and I took my time and photographed.
ESSENTIAL KIT
of the sculptor. This

provides a visual link The Burmese stevedores loading a river boat,
between the sculptor’s meanwhile, should have been too busy to pay any
gaze, and the thing he’s attention to me, and I had many pictures already, but
focusing on so intently one turned and looked. Rather than detract from the
shot, this (again, according to my way of thinking)
connects the viewer with the busy scene.

SLR ADVICE
PHOTO TECHNIQUES
The chosen shot from the

sequence, with two others that
nearly but not quite make it.
The illustration shows the
basic dynamics
INTENSE INTERACTIONS
Pairing
NIKON SKILLS
people off
When it comes to choosing the right moment to
capture expression, intensity always works
eople together interact, usually. If you limit the
P number of people within the frame to two, you

can expect that their interaction is what will
make the shot work. The tight composition in
our example images (above and right) is one of the
NIKOPEDIA
most common framings in photography and video

for precisely this reason. Taken in Darfur, Sudan,
the images show a meeting between two omdars
(sheikhs) at the height of a crisis. I needed to be
GLVFUHHWDÁ\RQWKHZDOODQGVRVKRWDWDIRFDO
length of 100mm. I also wanted to capture the
serious nature of this political crisis, so interaction
and expression were important.
,WWRRNHLJKWPLQXWHVRIZDLWLQJWRJHWWKHÀQDOVKRW
(above), during which time I shot just 12 frames. As
usual with expressions, the eyes hold centre stage,
and, given my camera position, I knew I would only
get an effective expression from the man facing
me, with the help of catchlights from the window
at the right. The subtle hand gestures reinforce the
ESSENTIAL KIT
moment, and also, against the white attire and

turbans, make the image more cohesive, as the
illustration shows.
Two of the less successful frames (right) are shown
for comparison. Note the difference between normal
discussion and a moment of intense concentration.

NIKOPEDIA
SLR ADVICE
DRAMATIC GESTURES
Getting all
emotional
Strong gestures draw attention and
PHOTO TECHNIQUES
alter the balance of a composition
hen people use gesture to convey emotion, it
W can sometimes provide the opportunity for a

strong image, quite simply because in most
societies such displays tend to be kept under
control. Inevitably, these are situations that are hard
to predict, and tend to happen quickly, so they make
the typical demands on capturing the moment: you
need to be prepared and react quickly.
The image on the left is a case in point. Taken in
the main square in Aix-en-Provence in the south of
France, it began as a straightforward photograph of
street café life, shot with a wide-angle lens, but this
sudden display of emotion (who knows what was
happening? I only had time to shoot quickly and
NIKON SKILLS
continue walking) changed the focus of attention,
and the balance of the image. The comparison shot
above it, the only other one taken, makes the point:
while the sunlight on the couple highlights them
to an extent, without the gesture and expression
(reinforced by the woman gazing upward), they
really only function as a balancing element for
A sudden burst of the sunlit Town Hall in the background.
emotion in this street A tighter framing on the couple at this moment,
scene in Aix-en- using a zoom, would have resulted in a very different
Provence, France,
transforms the way
image. As I was using a 20mm prime, however, that
the image works, even wasn’t an option, and the resulting image is arguably
though the two images stronger, because the little human drama is being
have near-identical played out in a wider context, which provides a
composition nice contrast between setting and couple.
MANUAL EXPRESSION NIKOPEDIA

These crops are from a selection of
images that focus their moment on
the expressiveness of hand gestures.
After the face, the hands are the most
reliably expressive parts of the body.
The type of expression ranges from
practical activity, such as gripping,
ESSENTIAL KIT
pouring and holding; and emotional

gestures such as offering, pointing and
prayer. Even when small in the frame,
an expressive hand gesture can seal
the effectiveness of the picture, as
in page 146’s shot of the tea picker.

SLR ADVICE
PHOTO TECHNIQUES
NIKON SKILLS
the key to laying out a series of images, and varying
Freeman on... scale an obvious way to achieve it.

A powerful component in the appeal of detail is
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detail can become something more universal in
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larger, as you can see in the image above, of spurs
Changing the scale of what we pay attention opens RQDÀJKWLQJFRFN3DUWRIDQDVVLJQPHQWRQFRFN
up a whole new world of photographic possibilities ÀJKWLQJWKLVVKRWSURYHGDQLQYDOXDEOHZD\RI
NIKOPEDIA
focusing on the cruel violence and menace of this

¶VSRUW·ZLWKRXWVKRZLQJDQ\EORRG7KLVZDVMXVWRQH
LQVWDQFHRIWKHODUJHUVXEMHFWQRWOHQGLQJLWVHOIHDVLO\
to an interesting, creative, or acceptable treatment.
2WKHULQVWDQFHVPLJKWEHWKDWWKHELJVXEMHFWLVWRR
obvious or too complete to be interesting visually.
Another appeal is that the world of detail offers
so many more opportunities for fresh and original
images than the bigger scenes that everyone can see.
One of the less satisfying aspects of photographing
hy do we love detail so much? Among
W
GUDPDWLFODQGVFDSHVLVWKDWWKH¶SHUIHFW·YLHZSRLQWV
SKRWRJUDSKHUVLW·VDOPRVWDXQLYHUVDO are well known, and in good light, the viewpoints for
ORYHDQGHYHQODQGVFDSHVSHFLDOLVWVÀQG $QJNRU:DW'HOLFDWH$UFK&KLQD·V<XDQ\DQJ5LFH
themselves drawn every so often into the 7HUUDFHVRU\RXQDPHLWDUHFURZGHGDQGHYHU\RQH
FORVHIRFXVHGZRUOGVWKDWVLWZLWKLQWKHLUH[SDQVLYH HQGVXSZLWKWKHVDPHLPDJH'LJJLQJDURXQGIRU
ESSENTIAL KIT
ELJVXEMHFWV$QVHO$GDPVZDVDVKDSS\ZLWKDEDUN detail, however, is always rewarding. As some of the

GHWDLORUURFNVXUIDFHDVKHZDVZLWK(O&DSLWDQRU images over the next few pages show, exploring for
+DOI'RPH,QKLVIDPRXVERRNYosemite and the detail can throw up some unexpectedly beautiful
Range of LightPRUHWKDQDÀIWKRIWKHSKRWRJUDSKV and/or graphic images, almost regardless of the
are actually of details. There is one immediate messiness or even ugliness of the surroundings
answer: as any picture editor knows, variety is RIZKLFKWKH\·UHDSDUW

NIKOPEDIA
SLR ADVICE
SYMBOLIC LINKS
Iconic detail
Some details have, over time,
acquired a history that makes them
symbolic of bigger things or ideas
PHOTO TECHNIQUES
s already mentioned, details of things can stand
A LQIRUDPXFKELJJHUVXEMHFWDQGWKDWGRHVQ·W
QHFHVVDULO\PHDQWKHELJJHUSK\VLFDOVXEMHFW
WKDWVXUURXQGVLW&HUWDLQWKLQJV²XVXDOO\
GHWDLOVRIRQHVRUWRUDQRWKHU²DUHLFRQLFDQGWKDW
PHDQVWKH\·YHUHDFKHGDNLQGRIIDPHIRUEHLQJWKH
quintessential symbol of something.
,Q$PHULFDIRUH[DPSOHZKDWFRXOGEHPRUH
LFRQLFWKDQDZKLWHSLFNHWIHQFH",W·VWKHV\PERORI
PLGGOHFODVVVPDOOWRZQSURVSHULW\DQGVWDELOLW\
DQGEHFDXVHRIWKDWLWKDVDULFKYLVXDOKLVWRU\,Q
particular, it has a photographic history, beginning
ZLWK3DXO6WUDQGLQZKHQKHVKRWWKHQRZ
famous image White Fence. This not only became
an iconic image within photography, it made an icon
RIWKHIHQFH,WHYHQPHULWVDQHQWU\LQ*HRII'\HU·V
NIKON SKILLS
WKRXJKWSURYRNLQJDQGZLGHO\DGPLUHGERRNThe
Ongoing MomentZKHUHKHTXRWHV6WUDQGRQKLV
motivation for shooting it, which was how “very,
YHU\$PHULFDQµLWLV´<RXZRXOGQ·WÀQGDIHQFHOLNH
that in Mexico or Europe” he added.
7KDWVLQJOHLPDJHPDGHLWDSRSXODUVXEMHFWHYHU
DIWHU:(XJHQH6PLWKXVHGLWWRPDNHDSRLQWLQ
his famous photo essay for LifePDJD]LQH¶&RXQWU\
'RFWRU·LQWRVHWWKHVPDOOWRZQFRQWH[WLQ
WKHRSHQLQJLPDJH'DYLG/\QFKODWHUXVHGLWDVDQ
LURQLFVFHQHVHWWHULQWKHÀOPBlue Velvet,W·VWKHNLQG
RIVXEMHFWWKDWSKRWRJUDSKHUVUHWXUQWRDJDLQDQG
again, reinforcing its iconic status each time they
shoot. This familiarity brings with it the risk of it
EHFRPLQJDFOLFKpVRLI\RX·UHJRLQJGRZQWKHLFRQLF
GHWDLOURXWHWU\WRÀQGDGLIIHUHQWYLVXDOWUHDWPHQW
NIKOPEDIA
There are two contrasting optical styles in This approach is
close-up, both valid but calling for different very popular in food
Borlotti bean,
Selective or shooting techniques. One is selective focus,
with just a sliver of the subject sharp and the
rest blurred out. Shallow depth of field is an
photography because
it gives the viewer a
stronger sense of
Nikon 105mm
macro lens, f/16
multi-frame focus
deep focus? optical fact of life in close-up and macro, so

going with the flow and doing it deliberately
is a natural option. Handled well, and shot
being there in front of
the dish, and the selective focus narrows
attention to one potential morsel.
with the right lens, it also looks attractive. The opposite technique is deep focus,
This technique benefits from which means using a much smaller aperture.
diffused lighting, a wide aperture In the case of this Borlotti bean (right), I
ESSENTIAL KIT
and having a naturally prominent used focus stacking with Helicon Focus
part of the scene in focus, as in software, first shooting 33 frames at f/16,
this image of Thai crabs (left). moving the focus ring fractionally between
each frame. Because we associate deep
Thai crabs, Zeiss focus with larger-scale scenes, this makes
85mm lens, f/1.4 the bean look much bigger than it really is.
153
CAPTURING DETAIL
SLR ADVICE
PHOTO TECHNIQUES
NIKON SKILLS
GRAPHIC DESIGN
Unexpected beauty Moving in with the camera like this involves

NIKOPEDIA
GLYRUFLQJREMHFWVIURPWKHLUFRQWH[WDQGWKLV
offers a wonderful opportunity to look afresh
DWREMHFWVWKDWZRXOGQ·WQRUPDOO\EHFRQVLGHUHG
Divorced from any context, detail can be ,QWKH$PHULFDQ
independently graphic or colourful if you ,UYLQJ3HQQRQHRIWKH
explore its purely visual possibilities most highly regarded
VWLOOOLIHSKRWRJUDSKHUV A sample of oil-polluted
of his generation, made seawater at a research
a series of exquisite and laboratory, complete with
P
DUWRIWKHHWKRVRIFORVHXSSKRWRJUDSK\LV
baby shrimps, becomes
to direct attention onto something which we beautifully crafted images graphic with studio
PLJKWRUGLQDULO\PLVV7KHVH¶KLGGHQ·GHWDLOV ²DVSODWLQXPSULQWV²RI backlighting
can sometimes surprise with their beauty and cigarette butts collected
unexpectedness. The only reason we missed seeing IURPWKHVWUHHWV6SHQWFLJDUHWWHVDUHQRWQRUPDOO\
WKHPLQWKHÀUVWSODFHZDVEHFDXVHWKH\IHOOXQGHU FRQVLGHUHGSOHDVDQWVXEMHFWPDWHULDODQGQHLWKHULV
WKHWKUHVKROGRIRXUQRUPDOVFDOHRIYLHZ,QWKHFDVH RLOSROOXWHGVHDZDWHUWKHVXEMHFWRIWKHRWKHULPDJH
ESSENTIAL KIT
of the polished abalone shell above, you can see the here, taken at a research lab in New England. The
potential for playing with the shifting iridescent essence of images like these is that as a photographer
FRORXUHYHQDWÀUVWJODQFHEXWFORVLQJLQDQGWDNLQJ you are saying to the viewer, ‘please look at this
meticulous care of framing, focus and lighting takes ZLWKRXWDQ\SUHFRQFHSWLRQV·,W·VDKXPDQWUDLWWR
WKHFRORXUVWRDQRWKHUOHYHORILPDJHU\²DQGWRWDOO\ ORRNIRUEHDXW\DQGÀQGLQJLWLQDQXQH[SHFWHG
removes any understanding of scale and meaning. detail gives extra visual pleasure.

NIKOPEDIA
SLR ADVICE
Collecting detail
By its very nature, detail lends itself to
capturing sets of images. For one thing, it’s
extremely easy to choose a theme or a type
PHOTO TECHNIQUES
of subject to shoot, as there are so many
options. The scale is also manageable: you
can generally choose your viewpoint and
distance, and even move subjects into better
light – or at least shade them if they’re in
inconveniently harsh light, or reflect extra
light in with a white card, foil or mirror.
Here’s an example: a selection of shots
from a set of images of royal insignia, found
on a variety of objects from a postage stamp
to a saddle blanket. When collecting images
of themed subjects like this, it’s relatively
easy to scale them up or down so they fill
the frame simply by varying the viewpoint.
NIKON SKILLS
The polished shell of an
abalone, cropped in tightly to
make it a pure play of iridescent
colour, of indeterminate scale.
This scene in reality measures
just six centimetres across
NIKOPEDIA
ESSENTIAL KIT

CAPTURING DETAIL
SLR ADVICE
JUST THE FACTS
Documentary
detail
Content rules when you close in on
PHOTO TECHNIQUES
parts of a subject that can tell a story
uite the opposite from the visual intrigue of
Q unexpected beauty is the kind of detail that

makes a point. This is less about creating a
graphic impact, and much more about facts.
<RXPLJKWZRQGHUZK\WKLVVKRXOGEHDVSHFLDO
feature of details; surely it applies across the board,
at any scale? Well, one of the characteristics of visual
GHWDLOLVWKDWLWLQYLWHVDVOLJKWGHOD\LQWKHYLHZHU·V
response. When you show a detail as an image,
\RX·UHLQYLWLQJSHRSOHWRGRZKDWWKH\GRQ·WGR
YHU\PXFK²ORRNLQWRWKHVFHQHDQGVHDUFK
Here are two detail shots that deal in facts
ULJKW,QWKHFDVHRIWKH.KPHUJRGGHVVRQ
the walls of Angkor Wat, the detail within the
NIKON SKILLS
GHWDLOLVWKHEXOOHWKROHV1RWZKDW\RX·GH[SHFW
in an archaeological site, they provide mute
testimony to the civil war, and the damage
GRQHE\WKH.KPHU5RXJH7KHGHWDLORID
%ULWLVK/HH(QÀHOGULÁHLVVWUDLJKWIRUZDUGDV
photography, and may take longer to work out.
7KHNH\LVWKHOHWWHULQJ*5,ZKLFKVWDQGVIRU
*HRUJH5H[,PSHUDWRU²DVXUHVLJQWKDWLW
GDWHVWRWKHWLPHRIWKH%ULWLVK(PSLUH²\HW
WKHGDWHLV&RQFOXVLRQIURPWKLVGHWDLO"
,W·VDIDNH²RUUDWKHUDUHSOLFD²PDGHLQWKH A copy of a British .303 rifle A bullet-ridden devata (deity)
',<JXQPDQXIDFWXULQJWRZQRI'DUUDLQ made in Pakistan, perfect in carved on the walls of Angkor
QRUWKHUQ3DNLVWDQ every detail except the date Wat, Cambodia
NIKOPEDIA
Capturing details of small things means entering the world of My reason for doing this is that I like the wide-open optical
close-up photography, and for this the key is close-focusing. quality of a Zeiss Nikon-fit 85mm f/1.4 for selective-focus
Close-up kit Nikon’s AF-S 105mm f/2.8G IF-ED VR Micro is the lens of
choice when you want to get down to life-size, aka 1:1, which
basically means that a subject the size of your sensor will fill
details (see ‘Selective or deep focus?’, page 153), but on its
own the closest it will focus is 90cm. With a PK-11 extension
tube it will focus at 50cm.
the frame. A 10 pence piece and a US quarter, for example, In practice, for the sort of scale that most of us encounter
are both around 24mm wide, so will fill a full-frame sensor in found objects, capturing images life-size is sufficient. Any
almost exactly at the closest focusing distance of a 1:1 lens. smaller than the Nikon’s capability takes us into the extreme
There’s another way to get close up, which I often use, macro realm, and for that you’ll need an extension bellows
and that’s to use an old-style lens with an extension ring. like the PB-6 – but that’s for another article.
The Nikon AF-S 105mm MAGNIFICATION WITH EXTENSION RINGS (x1 is life-size)
ESSENTIAL KIT
f/2.8G IF-ED VR Micro is

perfect for close-focusing Ring depth With 50mm lens With 85mm lens
while keeping a convenient
distance because of its focal PK-11A 8mm deep x 0.16 x 0.09
length. Extension rings offer PK-12 14mm deep x 0.28 x 0.16
a possible alternative,
depending on your lenses PK-13 27.5mm deep x 0.55 x 0.33

NIKOPEDIA
SLR ADVICE
PERSONAL DETAILS
Body parts
WKHUH·V0DQ5D\·VLPDJH¶7HDUV·IURPWKHV
$QGZKDWDERXWWKH\HOORZRXWRIEOXH1D·YLH\H
IURPWKHSRVWHUIRU-DPHV&DPHURQ·VAvatar?
%HORZ,·PGRLQJKDQGVZKLFKIURPWKHDUWLFOHRQ
Details of the human body always &DSWXULQJ*HVWXUHDQG([SUHVVLRQSDJHZH
know are among the most expressive parts of the
fascinate, the more so because the human body. Not only that, but we generally reckon
viewer is invited to imagine the whole that we can tell much about a person from the way
PHOTO TECHNIQUES
the hands are shaped, wrinkled, pampered or worn.
person from just one part 7KHUH·VDORWRIPLOHDJHKHUHIRUVKRRWLQJDVKDUGO\
DQ\RQHREMHFWVWRKDYLQJWKHLUKDQGVSKRWRJUDSKHG
DQGWKHSRVVLEOHYDULHW\LVLPPHQVH3KRWRJUDSKHU
O
QHRIWKHHDVLHVWWRÀQG\HWULFKHVWVRXUFHVRI %DVLO3DRFUHDWHGDQHQWLUHSDJHERRNRQWKH
photographable detail is the human body. Even VXEMHFWLQZKLFK0LFKDHO3DOLQZURWH´2EVHVVHG
ZLWKRXWJHWWLQJUXGHWKDW·VDQRWKHUDUHDRI with how our faces look, we overlook the delicacy
VKRRWLQJDQGRQHWKDWZHSUREDEO\ZRQ·WEH and subtlety of our hands… Hands, often taken for
GHDOLQJZLWKLQWKLVVHULHVWKHUHDUHVHYHUDOVSHFLÀF granted, can be as versatile and expressive as faces.”
ELWVWKDWFDQEHLQWULJXLQJDQGSKRWRJHQLF&KLHI The two obvious things to concentrate on when Hands can be expressive
DPRQJWKHPDUHKDQGVOLSVH\HVÀQJHUVDQGQDLOV shooting hands are the surface texture and gestures. even at rest, as in this
image of two Pathan
DQG,VXSSRVHWKHJURZLQJSRSXODULW\RIWDWWRRV The lighting is important for texture, and hands tend
tribesmen taking a
PDNHVWKHPDZRUWK\GHWDLODOVR)RUOLSVMXVWWKLQN WRZRUNEHVWLQVRIWGLIIXVHGOLJKW²PHDQLQJVKDGH siesta in the heat of
RI(UZLQ%OXPHQIHOG·VVogueFRYHUDQG,UYLQJ UDWKHUWKDQEULJKWVXQOLJKW*HVWXUHGRHVQ·WKDYH a summer afternoon
3HQQ·V¶%HH6WXQJ/LSV·ZKLFKOLWHUDOO\IHDWXUHVDEHH WREHDFWLYH²LQUHSRVHKDQGVFDQDVVXPHDZLGH on Pakistan’s
RQDSOXPSOLSVWLFNHGKDOIRSHQPRXWK)RUH\HV YDULHW\RIDWWLWXGHV%HORZWKH\·UHVRIWO\UHOD[HG Northwest Frontier
NIKON SKILLS
NIKOPEDIA
ESSENTIAL KIT

CAPTURING SCALE
SLR ADVICE
PHOTO TECHNIQUES
NIKON SKILLS
we know the relative sizes
Freeman on... because of familiarity, even

though on a print the
building may actually
measure smaller than the
Giant statues make
impressive subjects if you
pay attention to the sense
Capturing scale
of scale. This Buddha in
person. In other words, Sukhothai is viewed from
scale in a photograph is all an unusual overhead
about the clues we take position, and the lines
from the setting and from converge to reveal the
what we’re familiar with. extremely small figure
There are lots of techniques for conveying a sense of scale So far, so obvious. But we of a praying man below
in your images, or for manipulating scale to add interest can mess around with the
NIKOPEDIA
clues in a variety of subtle, and not so subtle, ways.

There’s a whole raft of techniques that range from
changing focal length to adjusting your viewpoint
so as to juxtapose one subject against another, and
these can help you to enhance the sense of scale,
or confuse it. The difference between these two
approaches matters, because the default mode for
photography in general is ‘show and tell’ – in other
words, to explain clearly. That makes sense when
you have a clear view of what you want to get across
ize matters. Well, at least some of the time to your audience, but creatively, the opposite may be
S it does, and photography has a special

relationship with showing how big, or small,
things are. That’s because the camera is so
good at recording scenes and situations with great
more appropriate – to challenge expectations and to
sow confusion. Here we can see both at work, some
techniques reinforcing a clear sense of scale, others
suggesting the opposite in the hope that the viewer
ESSENTIAL KIT
accuracy – except for the third dimension. Much of will spend longer looking and thinking.
the time we don’t think of this as an issue, because as Of course, not all images are concerned with scale,
viewers we’re thoroughly used to taking clues from and often it takes a back seat to other matters, such
the scene inside the frame to work out how large as moment, light and gesture. But when the size of
one object is in relation to another. In a portrait of the subject is unusual, or plays a role in an image,
someone standing some distance in front of a house, these techniques can be used to convey that.

NIKOPEDIA
SLR ADVICE
A LESSON FROM ART
Figures in a
landscape
A demonstration of scale
PHOTO TECHNIQUES
can put man in his place
aken in the mountains of Anhui
T Province, in China, this image

ZDVWDNHQIRUDERRNRQÀQHWHD
Our hosts, the tea growers, were
WDNLQJXVXSWKLVDWWUDFWLYHEXWGLIÀFXOW
trail; basically the best tea grows high
on the mountains. When we reached
this point on the trail, the view was
obviously impressive, though there
were no people. So, as a landscape
shot it was just okay, but the high
waterfall lacked any sense of scale.
However, my friend and co-
ordinator pointed out what should
have been obvious to me: that this
NIKON SKILLS
arrangement had all the makings of
a typical Chinese ‘mountain water’
brush-and-ink scroll painting. There’s
a particular form to these, involving
graphics that are intended to lead the
eye upward; vertical stacking so that
more distant upper levels appear to sit
on top of the lower ones; and tiny
ÀJXUHV7KDWODVWELWLVLPSRUWDQW
It comes from Daoism, and the idea is
that man is subordinate to, yet at one
ZLWKQDWXUH²SHUIHFWIRUDÀJXUHVLQ
a-landscape approach.
Waiting for the people took a lot
longer than coming up with an idea,
as cellphones didn’t work here, so
NIKOPEDIA
someone had to climb much higher to
ÀQGRXWZKHQWKHSLFNHUVLQWKDWXSSHU
tea garden would be returning.
Everything in the shooting – the
timing and framing – and later in the
processing and cropping, was directed
towards creating the effect of a
‘mountain water’
painting. That
included a vertical
crop, and processing Chinese
brush-and-ink
in black and white – masters created
taking care with the sophisticated
local adjustments to arrangements
lighten and soften of towering
ESSENTIAL KIT
the upper, more landscapes

accented with
distant parts of the
small figures,
scene, as in the reproduced here
weaker brush in a photograph
strokes of the of a tea mountain
original painting. in Anhui Province

CAPTURING SCALE
SLR ADVICE
PHOTO TECHNIQUES
NIKON SKILLS
POINT OF VIEW All of this has possibly

NIKOPEDIA
discouraged the other reason for

shooting up at a building: that it A giant reclining
A question of perspective can give a striking and impressive

perspective, irrespective of
wide-angle lens and shooting up

Buddha appears
suitably imposing
‘accuracy’. Stepping in close with a when seen from
ground level
Getting down low and aiming your lens upward can help from as low as possible always
make the viewer feel small and insignificant gives a strong impression of the sense of scale,
because it puts the viewer in the position of being
smaller than expected.
raditionally, the converging verticals caused That was the case in this shot (above) of a famous
T by shooting up at a building are considered to

be a fault that many photographers go to some
lengths to avoid – perhaps by climbing up to a
higher viewpoint so that they can aim the camera
reclining Buddha in Kyauk Htat Gyi Pagoda in the
Burmese capital of Yangon.
An impressive 65 metres long, it is enclosed in a
building not much longer, which presents a
ESSENTIAL KIT
horizontally; or stepping back with a telephoto lens; challenge to the photographer wanting to get across
or, best of all, using a specialist lens like the Nikon the Buddha’s sheer size.
24mm f/3.5D PC-E, or ‘Perspective Control’, lens. 7KHYLHZIURPWKHÁRRUZKHUHYLVLWRUVDUH
These days, though, correcting converging verticals supposed to kneel in any case) is certainly more
can be handled in seconds in image-editing impressive than from a standing position or one of
programs like Photoshop. the elevated platforms.

SLR ADVICE
DEPTH OF FIELD
Shallow
focusing
and scale
PHOTO TECHNIQUES
We associate shallow focus with small objects seen from This cup of
green tea in
close-up, and we can use this to our advantage China looks
small, thanks
to the shallow
might want to limit
D
HSWKRIÀHOGEULQJVLWVRZQVHQVH depth of field
of what scale we think we’re GHSWKRIÀHOGWKH
looking at. This seems to suggestion of green This image of
have nothing do with the leaves hanging over a rabbit’s skull,
technicalities of aperture, distance water beyond has its minus its jaw, is
sharp from front
DQGGHSWKRIÀHOGZKLFKTXLWHRIWHQ own appeal), but
to back, making
cause grief when we try to calculate opening up the its size hard
them. It comes from our exposure to 70mm lens to f/2.8 to gauge
many images in which sharp focus is has kept the scale and
either limited or extended, and we setting intimate.
hardly think about it. In the image of By contrast, for the still-life of
NIKON SKILLS
the tea cup on the right, for example, WKHVNXOODERYHGHSWKRIÀHOGZDV
the simple fact that most of the image deliberately kept full enough to keep
is blurred makes us think we’re the whole thing in focus. As a result,
looking at a very small object. That it comes as a surprise to learn that it’s
may not be the only reason why you barely an inch in length.
The largest natural HANDLING SCALE

pearl in existence,
made to look as
Size by comparison
big as possible
Introduce things familiar to viewers and they will

naturally understand the scale of less familiar subjects
NIKOPEDIA
his is a simple, and often necessary technique, by
T which you introduce something that everyone is

familiar with into the frame, as a reference for
establishing scale. And what could be more
IDPLOLDUWKDQÀQJHUVDQGKDQGV"
In these two photographs, however, they are used
for opposite effects. The pearl, called the Dudley Pearl,
is the largest natural (as opposed to cultured) gem-
quality pearl in existence, so it needs to be seen in
FORVHXSDQGÀOOLQJWKHIUDPHZKLFKGRHVQ·WOHDYH
much room for anything else to help with the sense
of scale. There is just enough room, though, for a pair
of beautifully manicured nails.
ESSENTIAL KIT
7KHRWKHUPXFKURXJKHUÀQJHUVDOVRKHOSWRFRQYH\
a sense of scale, but in the opposite way: whereas the
PRGHO·VÀQJHUQDLOVKHOSWKHYLHZHUDSSUHFLDWHKRZELJ
A newly-born field WKHSHDUOLVWKHÀQJHUQDLOVLQWKHLPDJHRQWKHULJKWRI
rat, made to look someone in the southern state of Tamil Nadu holding a
small and vulnerable QHZERUQÀHOGUDWVKRZKRZWLQ\DQGGHIHQFHOHVVLWLV

CAPTURING SCALE
SLR ADVICE
TOWERING LANDSCAPES
The power of
compression
The distance-stacking effect of a long
PHOTO TECHNIQUES
lens helps to make something distant

tower over a small, close subject
he challenge when taking this photo was that
T these are the largest waterfalls on the Mekong

River, yet capturing a sense of scale was by no
means easy. Called the Khone Phapheng Falls,
they are big enough to have prevented all navigation
up river. Though violent, they are broad rather than
tall, covering the width of the river, and that didn’t
translate easily into a still image. Fortunately, I
discovered there was some regular human activity,
HDFKPRUQLQJZKHQORFDOÀVKHUPHQXVHGQHWVIURP
slightly dangerous positions on rocks below the
main falls. I could use this to give a sense of scale,
NIKON SKILLS
most obviously by bringing into play the ‘small-

ÀJXUHLQDODQGVFDSH·WHFKQLTXHDOUHDG\GHVFULEHG
But more than this, I could use the perspective-
compression effect from a telephoto lens to add to
the sense of scale. The way it works is explained in
the boxout below, but for this scene I needed to move
back to a viewing platform a few hundred metres
away from the falls. Framing the shot vertically was
Here the fisherman
NH\DVZDVSODFLQJWKHVPDOOÀJXUHRIWKHÀVKHUPDQ appears to be dwarfed
at the bottom right of the frame. The resulting image by the tumbling white
gives the impression of the falls looming over him, water behind
and looking much close to him than they really are.
NIKOPEDIA
Strictly speaking, no calculation can put a number on what is metres away to also fill the frame. Switch to a 200mm lens,
ultimately just a matter of perception and sensation, but the and you would have to walk back to twice the distance for
compressing, towering-over effect that you get from putting the building to stay filling the frame. There’s no surprise
Calculating together a nearer, smaller subject and a distant, taller one

can be worked out to an extent. In the illustrations below,
there, but the man doesn’t appear just half his previous
height in the frame – he actually appears much, much
perspective although there are several variables there are two constants:
the high-rise building fills the frame, and the man stays put.
When we’re shooting with a 100mm lens 400 metres
smaller. And with a 400mm lens the towering effect is even
more extreme. We’re now 1600 metres from the building and
about 1200 metres from the man, so he appears tiny, while
compression away, a two-metre-tall man would have to stand just six
100mm lens 200mm lens

the building still fills the frame.
400mm lens
The building is 150 Doubling the focal Doubling the focal
metres tall, the man length of the lens length and doubling
two metres. For this means that we have the distance
ESSENTIAL KIT
arrangement to go back twice as between us and the

through the far in order to keep building one more
viewfinder of an FX the building framed time puts us more
camera, we’re 400 the same way, but than 1200 metres
metres from the now we’re 406 from the man, who
building and six metres away now appears tiny
metres from the man. from the man. within the frame.

NIKOPEDIA
SLR ADVICE
20mm
Massed flamingoes in the
Ngorongoro Crater, Tanzania,
photographed at three focal lengths:
20mm, 180mm and 400mm
PHOTO TECHNIQUES
Fountain pen
shot using
focus-stacking
to maximise
depth of field
(processed
image below)
180mm 400mm
Use focus stacking

to make small
NIKON SKILLS
things look big
I’ve shown this focus stacking method
before in N-Photo, and the software
NUMBERS GAME I use is Helicon Focus, but here it’s for a
different purpose, which is to deliberately
Wider context vs confuse the sense of scale. Just as the

tiny rabbit skull on page 161 seems to
have heft because there are no clues as to
filling the frame its size, here I’ve taken a familiar object, a
fountain pen, and given it ‘impossible’
depth of field. Stopping down to a modest
f/11 to avoid the overall loss of definition
There are two different techniques you can use to that comes from very small apertures like
give a sense of scale to large numbers of subjects f/22, I rotated the focus ring fractionally
NIKOPEDIA
between exposures. With the deliberately
deep arrangement of pen and notebook it
cale in photography doesn’t reproduced large, although the birds
S
took 99 frames to cover it front to back.
always work in predictable ways, themselves are hard to distinguish. The software did the rest, and the final
particularly when it comes the The next lens up is a 180mm f/2.8, impression is of a strangely oversized
way in which you frame a shot. and the strength of this shot lies in the pen, as if in a Shrinking Man movie.
,QWKHVHH[DPSOHVRIWKHIDPRXVÁRFNV near-abstract distant hillside. We see
RIÁDPLQJRHVLQWKH1JRURQJRUR&UDWHU the huge number of birds, the way they
in Tanzania, the viewpoint stayed the recede into the distance, and also get an
same but the focal length was changed idea of the setting.
²DQGVLJQLÀFDQWO\WKHIUDPLQJ The third shot, taken with a 400mm
There are many thousands of birds lens and deliberately framed to exclude
in essentially a single mass, and that any setting, also works but in a different
impression of extraordinary numbers ZD\+HUHWKHZHOONQRZQ¶ÀHOG·HIIHFW
ZDVGHÀQLWHO\ZRUWKWU\LQJWRJHW plays a role: because the mass of
ESSENTIAL KIT
across in a photograph. Here three ÁDPLQJRHVH[WHQGVWRHDFKHGJHRI

focal lengths are used, each to the frame, our natural way of seeing
different effect. expects them to continue without limit.
The widest is a 20mm shot, angled Both the 180mm and 400mm shots
upwards to avoid any distracting communicate a sense of mass and
foreground, and it might work if scale, but in different ways.

CAPTURING FORM
SLR ADVICE
in photography. ‘Flat’ lighting, such as the lighting
Freeman on... you get on a completely overcast day, or when the

sun is directly behind the camera, will make objects
ORRNÁDWKHQFHLWVQDPH,WGHSULYHVWKLQJVRIDVHQVH
of volume, of roundedness.
Capturing form This is why most of the techniques I’ll be sharing

here depend on the quality, size and direction of
light. This doesn’t mean to say that there is only one
good way to light a subject if you want to bring out
its solidity and roundedness, but as we’ll see, there
Three-dimensionality, volume and depth are qualities are some tried and tested techniques that will
PHOTO TECHNIQUES
that take real skill to capture in a two-dimensional image usually work, depending on the actual form
that a subject takes.
Above all, conveying form is about taking
a straightforward and realistic approach to
photography. In other articles I’ve stressed how
important it can be to surprise and challenge your
audience’s preconceptions and ways of seeing, and
it’s true that the most striking photography tends to
have a strong component of the unusual, or of being
a bit different from the
run of the mill.
orm is a quality of things that we generally take Here, however, we’re
F for granted in real life: a sphere is spherical, a

cube is a cube. Take a step to one side and we
immediately understand the form of simple
objects, like a chair or a car. Getting this quality
DFURVVWRWKHYLHZHULQDÁDWLPDJHKRZHYHUFDOOV
dealing less with surprise
and more with
craftsmanship in getting
across a known and very
understandable quality.
A Tibetan veteran of
the old horse caravans.
Positioning him close to
a large window (camera
right) and some distance
NIKON SKILLS
from the rear wall (for

for some thought and technique, and it’s an issue The images shouldn’t
added depth), gives the
that graphic artists have had to deal with since be any less striking and kind of modelling that
the Renaissance, if not before. unusual, but the prime was the stock in trade of
Much of it has to do with lighting, which is, concern is that they’re the Dutch Masters (see
many would argue, the most basic commodity skilfully crafted. Study the Masters, p169)
SHINE A LIGHT
Directional lighting
This classic lighting solution has been used
for centuries to reveal volume and shape
NIKOPEDIA
or almost any subject that has the head was lit by a studio light, but
F an uncomplicated and familiar

form – a variation on the basic
solids of sphere, cube, pyramid, in
other words – the most reliable of all
lighting techniques is to show a
a north-facing window (or a window
without any direct sunlight coming
through it) would have produced a
similar effect.
The classic light source for this effect
smooth progression from light to is a broad ‘area’ light that is larger than
shade around the object. There the subject by roughly two or three
DUHLQÀQLWHVPDOOYDULDWLRQVLQWKH times. If I could have moved the head
positioning and (not possible!), I would have placed
size of light, but the it just a foot or two from a window;
key is a soft shadow instead I used my own 100x60cm
Sukhothai-style edge that divides softbox to mimic window light.
the lit side from the The relationship between light
ESSENTIAL KIT
head of Buddha,
National Museum, shaded side, as source and subject is critical in this
Bangkok. A soft box with this stone kind of shot. The area light is strongly
twice the size of the
Buddha head directional (and you can choose which
head (camera right
and slightly behind) in Thailand’s direction it comes from within about
gives a strong National Museum 90 degrees) and yet the all-important
sense of form (left). In this case shadow edge is soft and smooth.

165
NIKOPEDIA

CAPTURING FORM
SLR ADVICE
SCOOP IT UP
Art’s seven Countershading

elements for depth
MANY CONSIDER FORM
TO BE THE MOST This special lighting technique
PHOTO TECHNIQUES
IMPORTANT ELEMENT
OF GRAPHIC ART gives the illusion of depth
ountershading is a technique from You simply take a
1 FORM
This is the three-
dimensionality of a subject.
It is especially important in
arts such as photography or
C painting and illustration that applies
perfectly well to photography, and it’s
QRWDOOWKDWGLIÀFXOWWRHPXODWHLQWKH
studio. The principle is simple: make the
shading of the background from light to dark
sheet of plain white
ÁH[LEOHPDWHULDOLQ A Victorian Christmas
this case Formica),
surface next to a
card in very shallow relief
DQGSODFHLWRQDÁDW is given depth with an
overhead area light and a
white Formica scoop, so
painting, as it can be used to go in the opposite direction to the shading on wall or support so that the shading on the
convey a sense of depth. the subject in the foreground. that it curves into background runs counter
Dutch Renaissance painters such as a so-called ‘scoop’ to that on the card
SHAPE Vermeer often used this to create a sense behind the subject.
2 This is the outline of a
subject, most easily seen in
of depth in their work, because it increases
contrast in a natural-looking way, so that the
You then position
an area light (such as a large softbox)
a silhouette. It’s established brighter part of the subject, like a face or a overhead, pointing down. This lights the
by the contrast between the ÀJXUHVWDQGVRXWDJDLQVWWKHGDUNHUSDUW subject from top to bottom so that any
subject and its background. of the background behind. shadows are underneath, but importantly it
NIKON SKILLS
One classic and very basic still-life lights the scoop from bottom to top, so that
LINE technique does this almost automatically, the darkest shadows are at the top.
3 Lines are illusions in
photographs, whereas
and the example above right – of an almost
ÁDWSLHFHRIFXWRXWFDUGDJDLQVWDGDUNHU
This creates an illusion of depth because
the shading on the subject and the
in drawing they are basic background – illustrates the idea very well. background go in opposite directions.
starting points. In real life,
most subjects have thickness
– even something like a
railway line in the distance.
TONE
4 Also known as Value, this
is the range of brightness,
from white to black. In colour
photography, it can be hard to
separate from colour.
NIKOPEDIA
SPACE
5 The arrangement of
foreground and background,
subject and setting, is about
the distribution of space.
TEXTURE
6 Think of a subject as first
having form, then this being
covered with a surface that
has texture.
COLOUR
7 Colour is a study in itself,
ESSENTIAL KIT
and while in practical terms it

is made up of hue, saturation
and brightness, it’s hue that
we normally think of as colour
– the difference between blue
and red, for example.
166
NIKOPEDIA
SLR ADVICE
FIND THE ANGLE
The importance
of viewpoint
Camera position and angle can
PHOTO TECHNIQUES
give presence to a subject,
and clearly reveal its form
f you can walk around a structure or turn
I an object in your hands, the question of

form hardly arises. It’s easy to appreciate
the combination of shape and volume.
But if you have to settle for just one viewpoint,
which is what happens in photography, there
is almost always a choice between clearer
and less clear, and the more complex or less
obvious an object is, the more important the
choice of camera angle becomes. Take this gold and aquamarine bracelet (above):
It may be stating the obvious, but if capturing the basic aim of the shot was to give it presence,
form is paramount in a shot, you need to think very make it desirable, and promote its bracelet-like Gold bracelet set with
carefully about which viewing angle out of many qualities. Presence comes from positioning the aquamarine crystal,
NIKON SKILLS
will make it easiest for the viewer to understand camera low so that we’re looking slightly upward; positioned relative to
the camera with care to
exactly what the subject is. Some basic training in back lighting from above reveals lustre and sparkle; reveal its inherent qualities
the discipline of still-life photography comes in and turning it to this three-quarter angle makes of volume and shape
useful here, because it teaches you to consider more of the way it was made – its form, in other
different viewpoints. words – than any other possible angle.
TURN LIQUID INTO SOLID
Finding form in fluidity

Even non-solid subjects can be made to look solid
by light, moment and speed of capture
NIKOPEDIA
E
YHU\WKLQJKDVIRUPHYHQWKRXJKVROLGREMHFWVDUHZKDWÀUVWFRPHWRPLQG
ZKHQ\RXVWDUWWKLQNLQJDERXWLW:DWHU²LQIDFWDQ\ÁXLG²SRVHVDQHYHQ
more interesting problem than a solid object, because it changes constantly,
and in a fraction of a second can shift form completely. Water photography
is almost a genre in its own right, and you can treat it in any number of ways,
whether you’re dealing with a waterfall, waves or rapids.
Currently popular, and on the verge of becoming a cliché, is the water-as-fog
DSSURDFKXVLQJKLJKRSDFLW\1'ÀOWHUVDQGDORQJH[SRVXUHEXWWKLVDLPVWR
make water formless and change it into something else completely. Going in
the opposite direction, and using a fast shutter speed to freeze any movement,
can help to solidify water, and give it even more form than you would experience
from just watching waves crashing on a beach.
These big waves on the island of La Réunion in the
Indian Ocean (left) have all the volume anyone could
ESSENTIAL KIT
wish for – and indeed were highly prized by surfers

XQWLOWKHJRYHUQPHQWEDQQHGVXUÀQJEHFDXVHRIVKDUN
A wave at Point au Sel, La attacks. Capturing their form required a long lens, a
Réunion, captured at a
moment of maximum fast shutter speed and perfect timing: this shot, taken
energy to convey its 20 minutes and 65 frames into the shoot, was the one
power and volume that best captured the power and solidity of the waves.
167
CAPTURING FORM
SLR ADVICE
MAKE IT CLEAR
The need for

transparency
Glass, or indeed anything transparent,
PHOTO TECHNIQUES
calls for very precise techniques,

most of all in terms of lighting
olid forms are relatively easy to light if you follow
S the suggestions given, but transparent objects

SRVHSDUWLFXODUGLIÀFXOWLHV<RXFDQ·WOLJKWWKHP
in the usual way because light passes right
through clear glass, so there’s no possibility of casting
shadows, soft or otherwise, on its surface. There are
different solutions, but all depend on some kind of
EDFNOLJKWLQJDQGDZD\RIGHÀQLQJWKHVKDSH
7KHH[DPSOHEHORZRIDVWHPPHGJODVVÀOOHGZLWK
pink liquid, uses a simple but effective combination of a
broad and even backlight (with a 50cm square sheet of
plastic attached to the front) to reveal the transparency,
and two black cards on either side, just out of frame, to
NIKON SKILLS
GHÀQHWKHHGJHVRIWKHJODVV
This black-card technique, which is a kind of
negative lighting, is part of the standard still-life
repertoire and has several
variations depending on the
shape of the transparent object.
Upright black cards Here, straight black card is
placed to the left and suitable for the straight sides of
right of this cocktail
glass, just out of
the glass, but for a curved glass
frame, are the key shape you might try bending the
to defining the card or black paper to conform to
edges of the glass the curve.
NIKOPEDIA
GIVE THEM A CLUE
Just hinting at form

Just a few visual clues to form may be sufficient,
leaving you free to experiment with your shots
ust in case you were thinking that capturing
J form means always aiming for the best possible

lighting, it’s just as important to question the ‘ideal’
in this area of photography as it is in any other.
ESSENTIAL KIT
The ideal has its place, of course, but it runs the risk
of being predictable, and doing what’s expected isn’t
always in the best interests of eye-catching or thought-
provoking photography.
As ever, the viewer’s eye can do a lot of the work, and
audiences on the whole actually like having to put a bit

NIKOPEDIA
SLR ADVICE
PHOTO TECHNIQUES
Study
the Masters
Conveying the form of a
rounded, three-dimensional
object in two dimensions is an
age-old problem in art that
predates photography.
To be more precise, it’s a
problem of representational
art, which is perhaps closest to
photography in trying to convey
a real sense of how things look
and are (abstract, expressionist
NIKON SKILLS
and conceptual art have
different agendas, so they are
out of the equation, as are their
photographic equivalents).
So, even though painters
have the advantage that they
can create images and lighting
in any way they please, the
great representational painters
worked hard to be accurate,
and took their time. You could
do a lot worse than look at
paintings by the masters
listed below in order to see
the techniques they used to
give their subjects a sense of
NIKOPEDIA
volume and depth:
of work into scrutinising an image.
Sometimes, simply providing the right clues GIOTTO: 14th century genius
can do the job of explaining what an object who broke with tradition and
is, and conveying its volume, weight and basically invented modelling
presence. Here’s one example (above), with light and shade.
although as with all images that stray
off the expected path, you may or may JAN VAN EYCK: master of
not personally like it. realism, perfection and soft
This shot was taken in an Iban longhouse, natural light indoors.
on the Rajah River in Borneo. Late one
afternoon one of the men who had been REMBRANDT: used large dark
ZRUNLQJLQWKHÀHOGVLQWKHVXUURXQGLQJ shadow areas to heighten the
forest came back, dead tired, and simply contrast with lit areas. Later
lay down to rest. in his career he also used thick
ESSENTIAL KIT
From where I was sitting, I liked the visual puzzle paint to convey texture, and
Iban man asleep in a longhouse, Borneo.
created by the light from a nearby window, and the enhance the sense of volume.
The chiaroscuro effect of the strong light
resulting shadows. Looking at the image, it takes a and deep shadows initially confuses the
moment to work out what’s going on, but once the eye, but once the subject becomes VERMEER: followed in van
eye has understood the basics, it seems to me that recognisable, it gives the scene a Eyck’s footsteps at the height
the volume and all of that fall into place. real sense of depth and form of the Dutch Golden Age.

CAPTURING TEXTURE
SLR ADVICE
PHOTO TECHNIQUES
NIKON SKILLS
surface qualities well,
Freeman on... so long as you make good

use of lighting, scale and
is more or less all you need

Low-key lighting in the
contrast. This trio of factors form of daylight through
a doorway in an otherwise
Capturing texture
unlit shop just grazes the
WRUHÀQHDQGHQKDQFHZKDW cheek of this man,
is essentially the visual bringing out the texture
translation of touch. of his skin and beard
Texture is above all
tactile, and so it’s no
When the quality of a surface is important to a shot, use
NIKOPEDIA
surprise that studio still-life photographers tend to

lighting, helped by scale and contrast, to bring it to the fore have a head start when it comes to working with
texture, because capturing it is one of the skills
essential for selling many products in advertising.
Consider most luxury goods (or anything bought for
pleasure rather than out of sheer necessity), and you
can see that their surface qualities are a major part of
their appeal, whether it’s clothing, a handbag, a new
gadget or a ceramic collectible. A single issue of the
luxury lifestyle magazine How To Spend It is full of
objects that, apart from price and desirability, have
one thing in common: they are all exquisitely lit to
he previous article on capturing form was show off their textural qualities to best advantage,
T about taking a photo that sums up the entirety

of an object. Now, it’s all about surface texture.
and so to enhance their desirability.
In the wider world, texture also plays a role in
ESSENTIAL KIT
If it helps, think of it as the difference between bringing scenes to life, and one of the key reasons
WDNLQJDÀUPKROGRIVRPHWKLQJDQGUHDFKLQJRXW why the golden hour is so popular among landscape
to touch it. Which gives you a better sense of what photographers is that the low angle of the sun starts
something is, whether it’s river-smoothed stone, a to reveal tactile qualities in the land, from rocks to
rough-skinned pineapple or a leather handbag? This grass, which can give the viewer a sense of what it
is up for debate, but photography generally conveys was like to be there.

CAPTURING TEXTURE
SLR ADVICE
PHOTO TECHNIQUES
NIKON SKILLS
Late afternoon light at Persepolis reveals The texture of this
every last detail in a bas-relief, while sunrise pressed cake of tea
does a similar job on the intricate facade of the leaves needed an almost
Bank of England in London horizontal beam from a
focusing spot (Dedolite)
in this studio shot
A LIGHT TOUCH
Raking light is the standard

for a range of surfaces
NIKOPEDIA
A glancing angle of light throws even small surface
irregularities into sharp relief
or almost any formal photographic You still need to take into account the kind of
F quality there’s a classic treatment, and

in the case of texture it’s when the light
source, typically the sun, strikes the
surface at an acute angle, hence the term
‘raking light’. It works on anything with a
texture you’re dealing with, though, and this
varies hugely from subject to subject. Raking
OLJKWZRUNVIRUWH[WXUHVRIÀQHWRPHGLXP
roughness, but with a bumpier, larger-scale
texture it can create too many shadows that
slightly roughened surface, and best of all disrupt any sense of texture. And with very
ZKHQWKDWVXUIDFHWH[WXUHLVDOLWWOHWRRÀQH smooth textures, it’s a very different game
WRUHJLVWHUXQGHURUGLQDU\ÁDWWHQHGOLJKW altogether – see page 172.
ESSENTIAL KIT
If you’ve ever tried searching for something Above are three examples of different
WLQ\GURSSHGRQWKHÁRRUE\VKLQLQJDWRUFK textures at different scales, from a building
horizontally, you’ll appreciate why it works. facade to a close-up of a compressed cake of
Ultimately, it’s the play of light and shadow tea. What they have in common is that they’re With landscapes, as the sun sets the shadows
that helps to convey texture, and while raking all lit by a single raking light source that helps of large objects lengthen, while smaller-scale
light is something of a cliché, it really works. to reveal texture and detail. textures become more defined

CAPTURING TEXTURE
SLR ADVICE
TAKE THE ROUGH WITH THE SMOOTH
Lighting
smooth
surfaces
PHOTO TECHNIQUES
No texture is also a texture, and at its

most extreme is a mirror polish that
needs a different lighting approach
he word ‘texture’
T suggests some
roughening of the
surface; something for
A waxed table after
a heavy rain shower.
WKHÀQJHUWLSVWRDFWXDOO\IHHO The maple leaf stuck to
At the smooth end of the scale its glistening surface
the sensation is more subtle, helps to exaggerate
the feeling of wetness
but even a shiny surface has
a texture. And wetness, too,
is a variety of texture. the sky, but controlled in the sense that we’re in a
NIKON SKILLS
In the case of very smooth surfaces, the low light garden enclosed by high walls, so that the sky
from a sharp source of light won’t do much, because appears as more like a skylight.
VKLQ\VXUIDFHVKDYHWRUHÁHFWVRPHWKLQJ&RQWUROOLQJ The next essential ingredient is angle: that of the
WKDWUHÁHFWLRQLVWKHNH\WROLJKWLQJVPRRWKVXEMHFWV camera to the surface and the surface to the light.
and – in the case of liquids – to getting across the Camera, light and subject need to be aligned so
sensation of wetness. The solution is to use a light that the surface catches the light. In a studio, the
source that’s broad and even – and broader than the equivalent is a large softbox; the larger the subject,
thing you’re shooting. In this example, the source is the larger (or closer) the softbox needs to be.
A textural lighting table As we’ve discussed, capturing texture in photographs isn’t simply as matter of
finding an interesting texture and shooting it. It’s the wide and subtle variety of
the way surfaces look and feel that makes it such a rich area to explore. Here’s
BRING OUT THE TEXTURE OF ANY SUBJECT a very basic guide to the kind of lighting that might work best for each...
NIKOPEDIA
TEXTURE Fine-to-medium Rough Silky,furry Slightly shiny Mirror-like
Sandstone, bas-relief, Pebble beach Silk, animal pelt Leather, plastic, skin, Glass, water, polished
EXAMPLE
building facade polished stone metal
LIGHT Low-angle point source Medium-angle slightly Broad source above, Broad source high Broad, shaped and even
REQUIRED diffuse source in front or to the side source, behind or 3/4
PHOTO
EXAMPLE
ESSENTIAL KIT
LIGHTING
DIAGRAM

NIKOPEDIA
SLR ADVICE
PHOTO TECHNIQUES
NIKON SKILLS
his type of lighting is
T
IT’S ALL IN THE DETAIL
naturally attractive and
naturally popular for From a distance, rice
Tactile landscapes landscapes because

of the way in which it sends
long bands of light and shade
across the scene.
ready for harvesting
takes on an almost
fur-like texture in late
afternoon sunlight,
while the terraces cast
A clear sun just above the horizon sharpens
NIKOPEDIA
As with the other, smaller- distinct shadows
up any landscape, but there are risks scale raking-light situations,
it depends not just on the sun
being low, but also on really clear air. As the sun
gets lower, its light has to pass through much
more atmosphere than when it’s shining straight
down onto the land, and this acts like a softening
ÀOWHU2QWRSRIWKLVKD]HDQGSROOXWLRQWHQGWR
hug the ground, so that those last few degrees
often see a rapid softening of shadow edges.
In practice, this means that what looked like
a bright day an hour before sunset unexpectedly
becomes almost shadowless three-quarters of
an hour later. The lesson here is not to expect
the crisp light to last for a moment longer than
ESSENTIAL KIT
Low sun and the clear you can see it, even though hanging on until
air of the 5000-metre the last minute is what most of us do in these
plateau of western conditions. The answer is to start early and
Tibet give a crisp keep shooting as the sun drops towards the
texture to the hills horizon, because the frame you just shot may
well turn out to be your best.

CAPTURING TEXTURE
SLR ADVICE
TASTE SENSATION
Mouth-watering
texture
Food photography relies on convincing
PHOTO TECHNIQUES
the viewer to take an imaginative bite
ood photography has become one of the most
F specialised genres of photography, and is in great

demand both editorially, for magazines and
books, and commercially, for advertising. This is
hardly surprising, given that it has become one of the
Western world’s great lifestyle obsessions. Above all,
food is in one way or another being sold to the (sweet, sour, bitter, salty and the relatively recently
audience, and that means it has to look appetising. adopted ‘umami’, meaning a kind of lip-smacking
How mouth-watering a dish looks is the most savoury taste), in the West texture stands apart. The Grilled pomfret served
important gauge of success in food photography. Chinese, by contrast, formalise it with the term ‘kou in a contemporary style,
Fashions change, but the current trend is for close gan’, which roughly translates as ‘mouth feel’. with viewpoint, focus,
framing and selective focus, which help to make the Selective focus plays a vital role in emphasising arrangement and
lighting (natural late
viewer feel the food is right in front of them, and ready texture, because it concentrates the attention on very
afternoon sunlight)
to eat. The arrangement and the lighting aim to convey small areas of the dish, and if you arrange the food so
NIKON SKILLS
all geared to show

texture, because the way food feels in the mouth is the that two or three different textures are all in focus – off the contrasting
sensation that translates most easily from photography. as in this shot of a contemporary Indian dish – the textures of fish and
(YHQWKRXJKWKHUHFRJQLVHGWDVWHVQRZQXPEHUÀYH viewer can take in all of these textures at a glance. vegetables
OPPOSITES ATTRACT
Heightening texture I
n the same way that some dishes aim to bring out the taste of
FHUWDLQLQJUHGLHQWVE\SDLULQJFRQWUDVWLQJÁDYRXUVVXFKDV
sweet and sour dishes in China, or cheese with apple pie in
through contrast Lancashire), so different textures can be combined in a

photograph to bring out the texture of both.
There’s nothing new about using contrast in this way. During
WKHVWKH%DXKDXVPRYHPHQWZDVKXJHO\LQÁXHQWLDORQDUW
Setting one texture off against its design and architecture, and in its Basic Course, which all students
NIKOPEDIA
opposite can help to emphasise both KDGWRFRPSOHWHWKHÀUVWH[HUFLVHZDVWRH[SUHVVFRQWUDVWLQJ

qualities of things, including the pair rough-
smooth. Johanes Itten, who ran the course, called
it the ‘general theory of contrast’ and wrote that
“Finding and listing the various possibilities of
contrast was always one of the most exciting
subjects.” Juxtaposition – setting one thing
(shape, colour, action, expression, whatever)
against another – has long been a staple of
photography, too, and in the case of texture, it’s
a relatively simple matter
to arrange. The example
here, though, wasn’t
An Akha hill tribe arranged; it was happening
woman’s hands as already. In close-up the
ESSENTIAL KIT
she dyes chicken work-worn hands of a

feathers. The very
woman from the Akha
tight framing limits
the image to two community in Thailand
contrasting textures: contrast with the bright
rough and dry and red dye with which she
shiny and wet is dyeing a headdress.

NIKOPEDIA
SLR ADVICE
The studio
texture toolkit
Studio lighting has a range of functions,
and one of them is to control the
PHOTO TECHNIQUES
visibility of texture in the surfaces of
objects – usually to emphasise it, but
sometimes to hide it. Seen purely from
the point of view of texture control, here
are some of the most useful
photographic lights.
DISTANCE MATTERS
Lensed focusing spot
For ultimate precision, use a
Dedolight, which uses a parabolic
mirror and lenses to focus the light
Making use of scale for precise, sharp shadows. It has a

long ‘throw’, so further away it can
serve as more of a point source.
For every texture there’s an ideal area, and therefore
an appropriate scale, from centimetres to kilometres Bare bulb
Exactly as it says – a
NIKON SKILLS
single point source of
hen you think about it, it’s hibachi, whereas the craftsmanship
W
light, as harsh as you can get.
obvious: texture depends that went into the surface texture Bare-bulb studio lights are
on scale and distance. As needs something different. generally flashguns, but there’s
the main landscape on page 2QO\DFORVHYLHZUHYHDOVWKH nothing to stop you experimenting
173 illustrates, subjects in their own carpenter’s skill, which extends to with a regular, clear constant bulb.
right, like rice stalks, look like surface the creation of what looks like wood
texture when seen from far enough grain, but which in fact has been Softbox aka window
away. The opposite also holds true. carved by hand. The mixture of this /area light
Some textures come alive only when rough, wood-grain texture and the These come in a wide variety
you close in on them so that the eye smooth rounded curves of the carved of sizes, and are essential for
focuses on the macro detail. JRXUGFDOOVIRUDÁDVKPRGLÀHGZLWK shooting shiny surfaces (see
In the example here, of a Japanese a softbox), aimed from a low angle – the table on page 80). If your
‘hibachi’ or brazier (shown at two in effect, a hybrid of the textural subject has a mirror-like
scales), the lighting is very different lighting styles shown on page 172. surface, however, it will show
in the two versions. In the wider view Framing can also help emphasise any wrinkles in the softbox
NIKOPEDIA
(above), a high broad light, plus a texture if you completely crop out fabric, so a flawless sheet
secondary broad light under the any background, so that the texture of opalescent Perspex
camera, help reveal the form of the becomes a kind of pattern. may be best in this case.
Reflectors
An overall and close
Use a reflector to reduce
view of an exquisitely
carved Japanese texture from a main light
hibachi; one scale by placing it opposite the
reveals form, the light, to fill in shadows.
other texture Reflective surfaces give
the strongest effect,
while plain white gives
a more moderate,
neutral, effect.
ESSENTIAL KIT

SLR ADVICE
Essential
Kit
PHOTO TECHNIQUES
DX vs FX 178
Wide-angle zooms 190
Standard FX zooms 198
Telephoto lenses 206
Flashguns 214
NIKON SKILLS
206
NIKOPEDIA
198
ESSENTIAL KIT

177
178
XXXXXXX
214
190

SLR ADVICE
DX vs
PHOTO TECHNIQUES
FX
NIKON SKILLS
When it comes to upgrading,

is bigger necessarily better...?
Matthew Richards investigates
f you’re thinking of
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The contenders*
* Prices for body only
NIKON D5500 £500, $800

ESSENTIAL KIT
NIKON D7200 £750, $1100

NIKON D610 £1000, $1500
NIKON D750 £1390, $2000
NIKON D500 £1730, $2000
NIKON D810 £2140, $2800

179
ESSENTIAL KIT

DX vs FX
SLR ADVICE
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NIKON SKILLS
Specs and features...

WHAT’S INSIDE THE LATEST
AND GREATEST NIKONS?
IMAGE SENSOR
The pixel counts of the
sensors in current Nikon
Jargon buster
D-SLRs are mostly similar, at CROP FACTOR
just over 24MP. The FX-format
The crop factor is simply the
D810, though, pushes the boat
out at 36.3MP, whereas the multiple you need to apply
D500 ‘only’ features a to a lens’s focal length to
20.9MP sensor. work out its ‘effective’ focal
NIKOPEDIA
length when it’s attached to

IMAGE PROCESSOR a DX camera. For example,
The FX-format D610 has the
oldest image processor in the if you attach a 24mm lens to
group (EXPEED 3), whereas the a DX-format camera, it will
D500 has a brand new EXPEED give a 36mm field of view
5 processor. All other cameras (since 24 x 1.5 = 36).
have an EXPEED 4 processor.
CROP MODE
METERING MODULE Many of Nikon’s D-SLRs now
Most of the cameras on test feature a crop mode, which
have a 3D Colour Matrix II metering enables you to crop in on a
module with 2,016 pixels. The D750 scene in-camera without
and D810 have a Mk III module with
91,000 pixels, and the D500 has
moving closer or attaching
a 180,000-pixel module. a longer lens. This makes it
easier to fill the frame, but
ESSENTIAL KIT
the cropped image will have

AUTOFOCUS DRIVE CONSTRUCTION FRAME RATE fewer pixels, since you’re
Almost all the cameras on test have The D5500 has a carbon fibre composite The D5500 and D810 share the effectively just cropping
a built-in autofocus motor, so can shell. Most of the other cameras on test slowest maximum frame rate of 5fps,
be used with non-AF-S lenses that feature a mix of magnesium alloy and the D7200 and D610 manage 6fps, out the pixels around the
don’t have an internal actuator. polycarbonate or carbon fibre, while the the D750 6.5fps and the D500 is edge of the frame, as you
The only exception is the D5500. D810 has a fully magnesium alloy body. the runaway winner at 10fps. might in Photoshop.

ESSENTIAL KIT
SLR ADVICE
At a glance
SUB-COMMAND DIAL POP-UP FLASH

The very useful front-mounted All but the D500 have a pop-up
sub-command dial is featured flash built into the top of the
on all the cameras on test viewfinder assembly, which
PHOTO TECHNIQUES
apart from the D5500. is ideal for adding a burst of
fill-flash when shooting subjects
that are reasonably close to the
AF ASSIST LAMP camera. This can also be used
Unlike in some makes of D-SLR, as a wireless commander for
Nikon adds an autofocus assist compatible flashguns.
lamp, which is fitted to every
camera in this test group.
TOP LCD
A backlit mono display on the
EXPOSURE top plate provides useful
NIKON SKILLS
COMPENSATION information about camera
In all cameras on test, the settings and status. It’s
exposure compensation absent on the downsized
button is conveniently D5500, which relies more on
placed just behind the shutter the rear screen for information.
release button, and works in
conjunction with the
main command dial. MODE DIAL
All but two of the cameras on
test have concentric shooting
mode and drive mode dials at
the left. In the D500 and D810
(and other pro-level bodies) the
shooting mode dial is replaced
by control buttons.
NIKOPEDIA
VIEWFINDER
The D5500 features a relatively
downmarket pentamirror
viewfinder with 95 per cent
coverage of the image frame. All MAIN COMMAND DIAL
the other cameras on test have The main command dial is used
pentaprism viewfinders with to set many of the main shooting
100 per cent frame coverage. parameters, such as aperture
in aperture-priority mode. It’s
often used in conjunction with
other buttons, such as the
LEFT-HAND BUTTONS exposure compensation button.
The buttons down the left-hand
side of the body provide quick
access to shooting and playback REAR LCD
ESSENTIAL KIT
functions. They’re not featured All of these cameras have large,

on the D5500, however, due to high-res 3.2-inch colour LCDs
the vari-angle touchscreen. at the rear. The D750 adds a
tilt facility, the D500 has a
tilting touchscreen, and
the D5500 has a fully
articulated touchscreen.

DX vs FX
SLR ADVICE
NIKON D5500
LAB TEST RESULTS
Resolution at ISO100
Higher values are better
JPEG 30
TIFF 32
PHOTO TECHNIQUES
0 5 10 15 20 25 30 35
Good overall, resolution scores are
slightly below those of the D7200, but
a bit better than those from the D500.
Colour accuracy
Closest to zero is best
-5.6
-4 -2 0 2 4 6
-6
Images are often a little on the cool side
when using auto white balance, and the
lab score of -5.6 is the worst on test.
RAW* signal-to-noise ratio

NIKON SKILLS
50
40
Nikon D5500 £500, $800 30
Decibels
20
SMART, COMPACT AND RELATIVELY INEXPENSIVE, IT’S PARTICULARLY TRAVEL-FRIENDLY
10
*Images are converted to TIFF
before being analysed
8SJUDGLQJ\RXUFDPHUDGRHVQ·W 7KH'ÀJKWVEDFN +RZHYHUXQOLNHDOORIWKHRWKHU
QHHGWRFRVWDIRUWXQH,I\RX·UH KRZHYHUZLWKDWRXFKVFUHHQ FDPHUDVRQWHVWWKH' 100 400 1600 6400 25600
FXUUHQWO\XVLQJVRPHWKLQJ WKDWPDNHVIRUTXLFNDQGHDV\ ZRQ·WDXWRIRFXVLI\RX·UHXVLQJD Signal-to-noise scores are almost identical

DORQJWKHOLQHVRIVD\D'RU PHQXQDYLJDWLRQ$GMXVWLQJ OHQVWHOHFRQYHUWHUFRPELQDWLRQ to those of the D7200, but worse than
'WKHUH·VDORWWREHVDLG VKRRWLQJSDUDPHWHUVLV ZKLFKUHGXFHVWKHZLGHVW those from all the other cameras on test.
IRUWUDGLQJXSWRD' WKHUHIRUHOHVVRIDFKRUH DYDLODEOHDSHUWXUHWRI
0DNLQJWKHPRVWRIWKH HVSHFLDOO\LQWKHGDUNZKHUH
Performance RAW* dynamic range
GRZQVL]LQJSKLORVRSK\RIWKH SK\VLFDOEXWWRQVFDQEHKDUGWR Higher values are better
NIKOPEDIA
';IRUPDWLWJRHVIXUWKHURU VHHZLWKRXWWKHDLGRIDWRUFK 7KHDXWRIRFXVV\VWHPLV 14

VPDOOHUWKDQPRVWZLWKD 7KH'·VDXWRIRFXV JHQHUDOO\DFFXUDWHEXWWKH
12
FRPSDFWPRQRFRTXHERG\ V\VWHPLVWKHVDPHDVWKHRQH ODFNRIDQLQWHUQDOPRWRU
Exposure value
PDGHIURPFDUERQÀEUH IRXQGLQWKH);IRUPDW' PDNHVDXWRIRFXVXQDYDLODEOH 10

FRPSRVLWHWKDWZHLJKVLQDWMXVW ²QDPHO\WKHSRLQW0XOWL ZLWK1LNRQ$)DVRSSRVHGWR
8
JZKLFKLVEDUHO\PRUHWKDQ &$0PRGXOH1LQHRI $)6OHQVHVDQGVRPHRI
KDOIWKHZHLJKWRIWKHQHZ' WKHVH$)SRLQWVDUHFURVVW\SH 6LJPDDQG7DPURQ·VROGHU 6
²VRPHWKLQJZKLFKKDVREYLRXV ZKLFKPHDQVWKH\DUHDEOHWR OHQVHV7KHPDWUL[PHWHULQJ before being analysed
DSSHDOWRWUDYHOSKRWRJUDSKHUV UHVROYHGHWDLOLQERWKYHUWLFDO PRGHVRPHWLPHVJLYHVRYHUO\ 100 400 1600 6400 25600
7KHGHVLJQLVXQGHQLDEO\ DQGKRUL]RQWDOSODQHVDQGLQ EULJKWUHVXOWVDQGWKHEXIIHU
VLPSOHDQGODFNVPDQ\RIWKH WKH';IRUPDW'WKHVH$) GHSWKRIVKRWVLQ5$: It’s pretty good overall, but matrix
metering often errs on the bright
FRQWUROEXWWRQVIHDWXUHGRQ SRLQWVDUHVSUHDGRXWRYHUD PRGHFDQEHOLPLWLQJIRU
side, with a loss of highlight detail.
RWKHUFDPHUDVLQRQWHVW JUHDWHUDUHDRIWKHIUDPH FRQWLQXRXVVKRRWLQJ
ESSENTIAL KIT
Verdict Overall benchmark

Features
Build/handling
The compact monocoque body weighs in Performance
Images can look a little bright and
washed out, with relatively poor
at just 470g – something which will have Value for money colour accuracy compared with the
other cameras on test, but the D5500
obvious appeal to travel photographers OVERALL holds its own in terms of resolution.

ESSENTIAL KIT
SLR ADVICE
NIKON D7200
LAB TEST RESULTS
JPEG 32
TIFF 34
PHOTO TECHNIQUES
0 5 10 15 20 25 30 35
At sensitivity settings between ISO100

and 1600, the D7200 is second only to
the D810 in terms of resolution.
Colour accuracy
4.5
-6 -4 -2 0 2 4 6
Accuracy is good, with impressive

consistency in auto white balance
under a range of lighting conditions.
NIKON SKILLS
50
40
Nikon D7200 £750, $1100 30
Decibels
20
THIS HIGH-PERFORMANCE DX CAMERA IS GREAT VALUE
10
$QQRXQFHGDFRXSOHRIPRQWKV KHDYLHUWKDQWKH'ERG\ RIDPD[LPXPRIQLQHLQ5$:
DIWHUWKH'EDFNLQ0DUFK EXWIHHOVPRUHEDODQFHGZKHQ TXDOLW\PRGHDWWKHKLJKVSHHG 100 400 1600 6400 25600
RIWKH03'IHHOV SDLUHGZLWKXSPDUNHW';OHQVHV IUDPHUDWHRIISV As with the D5500, control over noise at

OLNHPXFKPRUHRIDJHQXLQH OLNHWKH$)6PP95DQG Another neat performance high ISOs is good but not great, and it’s
¶XSJUDGH·WRFDPHUDVOLNHWKH $)6PP95 ERRVWFRPHVLQWKHJXLVHRID no match for the FX bodies on test.
'DQG'ZLWKDPRUH QHZ[FURSPRGHDVDOVR
QRWLFHDEOHLPSURYHPHQWLQ Performance IHDWXUHGLQWKH'ZKLFK RAW* dynamic range
IHDWXUHVDQGKDQGOLQJ/LNH *HWWLQJGRZQWRWKHQLWW\JULWW\ IXUWKHUH[WHQGVWHOHSKRWRUHDFK Higher values are better
NIKOPEDIA
RWKHU¶HQWKXVLDVW·ERGLHVIURP WKH'LVDOVRDVLJQLÀFDQW EH\RQGWKHXVXDO[';FURS 14
1LNRQLWIHDWXUHVDZHDOWKRI XSJUDGHRYHUWKH'ZLWK IDFWRU7KLVERRVWVWKHEXUVW
12
FRQWUROEXWWRQVDQGGLDOVIRU LWVQHZHUVHQVRULWV(;3((' UDWHWRISVZKLOHGURSSLQJ
WKHUHVROXWLRQWR03
Exposure value
LQVWDQWDFFHVVWRLPSRUWDQW LPDJHSURFHVVRUDQGLWV 10
VKRRWLQJVHWWLQJVDQXSPDUNHW VHFRQGJHQHUDWLRQ0XOWL&$0 7KH'DOVRGHOLYHUV
8
SHQWDSULVPYLHZÀQGHUDQGD ';,,$)V\VWHP7KHODWWHU JUHDWHUFRQVLVWHQF\DQG
WRSSODWH/&'DOORIZKLFKDUH LVDSRLQW$)V\VWHPZLWK DFFXUDF\ZKHQLWFRPHVWR 6
ODFNLQJLQWKH' FURVVW\SHSRLQWVZKLFKERDVWV DXWRIRFXVPHWHULQJDQGDXWR before being analysed
$VD';IRUPDWFDPHUDLW LPSURYHGDFFXUDF\HVSHFLDOO\ ZKLWHEDODQFHFRPSDUHGZLWK
100 400 1600 6400 25600
ZLOOREYLRXVO\EHFRPSDWLEOH LQGDUNHQYLURQPHQWV7KH HLWKHUWKH'RU'DV
ZLWKDQ\';OHQVHV\RXPLJKW EXIIHUFDSDFLW\KDVDOVREHHQ ZHOODVWKH'2YHUDOO The D7200 boasts accurate metering,
and does well to preserve highlight
DOUHDG\KDYHLQ\RXUFROOHFWLRQ LQFUHDVHGVR\RX·UHDEOHWR LPDJHTXDOLW\LVYLEUDQW\HW
detail in high-contrast images.
,W·VXQGHQLDEO\FKXQNLHUDQG FDSWXUHXSVKRWVLQVWHDG YHU\QDWXUDO
ESSENTIAL KIT

Features
Build/handling
Like other ‘enthusiast’ bodies from Nikon, it Performance
In terms of colour rendition and
dynamic range, images look very
features a wealth of controls, an upmarket Value for money similar to those from the D750,
which is a good thing. Noise
pentaprism viewfinder, and a top-plate LCD OVERALL control isn’t as good, however.

DX vs FX
SLR ADVICE
NIKON D610
LAB TEST RESULTS
JPEG 30
TIFF 32
PHOTO TECHNIQUES
0 5 10 15 20 25 30 35
At ISO100, the D610 comes joint bottom
of the group for resolution, with the
same lab score as the D5500.
Colour accuracy
3.3
-6 -4 -2 0 2 4 6
Under lab conditions, colour accuracy is

pretty good, but it’s variable in real-world
shooting with auto white balance.

NIKON SKILLS
50
40
Nikon D610 £1000, $11500 30
Decibels
20
NIKON’S MOST WALLET-FRIENDLY FX-FORMAT D-SLR IS STARTING TO SHOW ITS AGE
10
7KHELJJHVWSOXVSRLQWRIWKLV V\VWHPLVDOVRDJHQHUDWLRQ VKRWVLQ5$:TXDOLW\PRGH
FDPHUDLVWKDWLWRIIHUVIXOO EHKLQGWKDWRIWKHQHZHU depending on bit depth and 100 400 1600 6400 25600
IUDPHSKRWRJUDSK\IRUMXVW '2WKHUDUHDVRIVOLJKW FRPSUHVVLRQVHWWLQJV²LVD The results for signal-to-noise ratio are

,QGHHGLW·V XQGHUDFKLHYHPHQWLQFOXGHD OLWWOHOLPLWLQJ good, but the D610 loses out to the D750
FRQVLGHUDEO\OHVVH[SHQVLYH UHODWLYHO\OLPLWHGVHQVLWLYLW\ at higher ISOs.
WKDQWKHQHZHU';IRUPDW UDQJHRI,62 Performance
'+RZHYHULW·VDOVR1LNRQ·V H[SDQGHGDQGDODFN :KHQWKH'ZDVODXQFKHG RAW* dynamic range
ROGHVW'6/5WKDW·VFXUUHQWO\ RIEXLOWLQ:L)L ZD\EDFNLQ1LNRQ Higher values are better
NIKOPEDIA
UROOLQJRIIWKHSURGXFWLRQOLQH 2QWKHSOXVVLGHWKH' FODLPHGDQLQFUHDVHLQZKLWH 14

DQGVRPHRILWVVSHFVQRZORRND IHHOVVROLGO\EXLOWZLWKLWV EDODQFHDFFXUDF\RYHUWKH'
12
ELWGDWHG,WVLPDJHVHQVRUIRU PL[RIPDJQHVLXPDOOR\DQG EXWLQRXUWHVWVDXWRZKLWH
H[DPSOHKDVORQJVLQFHEHHQ SRO\FDUERQDWHERG\SDQHOVDQG
Exposure value
EDODQFHJDYHGLIIHUHQWUHVXOWV 10
VXSHUVHGHGE\WKDWRIWKH' LWVJHQHURXVZHDWKHUVHDOLQJ LQFRQVHFXWLYHVKRWVXQGHU
8
DQGLW·VWKHRQO\FDPHUDRQWHVW &RPSDUHGZLWKWKHROGHU' LGHQWLFDOOLJKWLQJFRQGLWLRQV²
ZLWKDQROGHUJHQHUDWLRQ LWDOVRKDVDUHGHVLJQHGVKXWWHU DQGWKLVZDVPRUHDSSDUHQW 6
(;3(('SURFHVVRU XQLWDQGLWXVKHUHGLQD¶TXLHW WKDQZLWKDQ\RIWKHRWKHU before being analysed
7KHSRLQWDXWRIRFXV FRQWLQXRXV·GULYHPRGHDORQJ FDPHUDVRQWHVW7KHVDPHZDV 100 400 1600 6400 25600
V\VWHPLVDGHTXDWHDOWKRXJK ZLWKDQLQFUHDVHGPD[LPXP WUXHRIPHWHULQJZKLFKSURYHG
WKH$)SRLQWVRQO\FRYHUD EXUVWUDWHRIISVEXLOGLQJRQ VLPLODUO\YDULDEOH2YHUDOO One of the D610’s strengths is that it
retains plenty of detail in shadows
UHODWLYHO\FHQWUDODUHDRIWKH WKH'·VISV(YHQVR SHUIRUPDQFHZDVDOLWWOH
and highlights.
LPDJHIUDPH7KHPHWHULQJ LWVEXIIHUFDSDFLW\²MXVW GLVDSSRLQWLQJ
ESSENTIAL KIT

Features
Build/handling Metering and auto white balance
The D610 feels solidly built, with its mix Performance inconsistencies, along with high-ISO
of magnesium alloy and polycarbonate body Value for money image noise, make the D610 less
impressive than the newer (albeit
OVERALL
panels, and its generous weather sealing slightly more expensive) D750.

ESSENTIAL KIT
SLR ADVICE
NIKON D750
LAB TEST RESULTS
JPEG 32
TIFF 32
PHOTO TECHNIQUES
0 5 10 15 20 25 30 35
It edges ahead of the D610 at ISO100,
but falls short of the D810, thanks to
the latter’s higher megapixel count.
Colour accuracy
-0.92
-6 -4 -2 0 2 4 6
Colour accuracy is excellent, and very

reliable auto white balance ensures
consistency in varied lighting.
NIKON SKILLS
50
40
Nikon D750 £1390, $22000 30
Decibels
20
A STUNNING FX CAMERA THAT TAKES ALMOST ANYTHING IN ITS STRIDE
10
7KH'KDVSUHWW\PXFKDOORI 8QOLNHWKH'WKH' bigger buffer and extended
WKHVDPHFRQWUROVLQDOORIWKH ERDVWVDQ(IIHFWVRSWLRQRQWKH EDWWHU\OLIH 100 400 1600 6400 25600
VDPHSODFHVDVWKH'DQG PRGHGLDO²EULQJLQJLWPRUH
'EXWLQWKH8.DWOHDVW LQOLQHZLWKWKH'7KLV
Performance Despite the average lab scores, high-ISO
images look cleaner and more detailed
LW·VFODVVHGDVD¶SURIHVVLRQDO· DORQJZLWKLWV6FHQHPRGHV 7KHVHFRQGJHQHUDWLRQ than those from any other camera on test.
UDWKHUWKDQ¶HQWKXVLDVW·OHYHO KHOSVWRPDNHWKH'YHU\ 0XOWL&$0,,SRLQW
FDPHUD,W·VDVOLPOLQHDIIDLU EHJLQQHUIULHQGO\²WKRXJK DXWRIRFXVV\VWHPLVWKHVDPHDV RAW* dynamic range
EDVHGRQDPRQRFRTXHERG\ LWDOVRFDWHUVWRHQWKXVLDVW WKDWXVHGLQWKH'DQGLV Higher values are better
NIKOPEDIA
EXWXQOLNHWKHVLPLODU¶RQH SKRWRJUDSKHUVZLWKLWV KLJKO\DFFXUDWH7KHVDPHJRHV 14
SLHFH·ERG\RIWKH' H[FHOOHQWUDQJHRIGLUHFW IRUWKH'&RORXU0DWUL[,,,
12
WKH'·VIHDWXUHVDPL[RI DFFHVVFRQWUROVIRUYDULRXV PHWHULQJV\VWHPDVIHDWXUHG
Exposure value
PDJQHVLXPDOOR\DQGFDUERQ VKRRWLQJSDUDPHWHUV LQWKH' 10

ÀEUHLQVWHDGRIMXVWFDUERQ 7KH'LVDOVRDVHULRXV ,QRXUWHVWVZKLWHEDODQFH
ÀEUHFRPSRVLWH XSJUDGHRYHUWKH'LQWHUPV and metering proved much 8
7KHXSVKRWLVWKDWLW·V RILWVWHFKQRORJ\DQGIHDWXUHV PRUHUHOLDEOHDQGFRQVLVWHQW 6 before being analysed
UHPDUNDEO\VOLPIRUDQ); ,WERDVWVDQHZDQGLPSURYHG WKDQLQWKH'$QGZKLOH
ERG\DQG\RX·OOQRWLFHWKDWWKH LPDJHVHQVRULPDJHSURFHVVRU WKHODEUHVXOWVIRUVLJQDOWR 100 400 1600 6400 25600
WRS/&'LVWKLQQHUDVDUHVXOW PHWHULQJV\VWHPDXWRIRFXV QRLVHUDWLRGRQ·WORRNRYHUO\
(YHQVRLWIHHOVUHDVVXULQJO\ V\VWHPDQGPRUHEHVLGHV,W ÁDWWHULQJUHDOZRUOGVKRWVORRN Despite relatively modest lab results,
real world images are rich and vibrant
VROLGLQWKHKDQGWKDQNVWR DOVRDGGVDWLOWLQJUHDU/&' FOHDQDQGQRLVHIUHHHYHQDW
throughout the tonal range.
LWVGHHSO\VFXOSWHGÀQJHUJULS EXLOWLQ:L)LDVLJQLÀFDQWO\ YHU\KLJK,62VHWWLQJV
ESSENTIAL KIT
Verdict
Features Overall benchmark
Build/handling Benchmarks don’t always tell
The D750 is very beginner-friendly, though Performance the whole story. The D750 is
it also caters to enthusiast photographers, Value for money more than the sum of its scores,
delivering superb image quality
OVERALL
with its excellent range of direct controls in almost any conditions.

DX vs FX
SLR ADVICE
NIKON D500
LAB TEST RESULTS
JPEG 30
TIFF 30
PHOTO TECHNIQUES
0 5 10 15 20 25 30 35
The D500’s slightly lower pixel count
means that it can’t resolve quite as much
fine detail as other cameras on test.
Colour accuracy
1.6
-6 -4 -2 0 2 4 6
Colour accuracy is both very good and

consistent, so you can rely on the D500
to get it right most of the time.

NIKON SKILLS
50
40
Nikon D500 £1730, $2000 30
Decibels
20
NIKON COMES OUT ALL GUNS BLAZING WITH ITS NEW FLAGSHIP DX BODY
10
$QXSJUDGHIRUWKH'SKDV DFWLRQVSRUWVDQGZLOGOLIHWKH 0HDQZKLOHORZOLJKWVKRRWLQJ
EHHQVRORQJFRPLQJWKDWVRPH 'LVEOD]LQJO\IDVW,WKDVD EHQHÀWVIURPDJHQHURXVQDWLYH 100 400 1600 6400 25600
RIXVWKRXJKWLWPLJKWQHYHU VSHFWDFXODUISVFRQWLQXRXV VHQVLWLYLW\UDQJHRI,62 High-ISO images are cleaner than those

DUULYH)LQDOO\WKRXJK IUDPHUDWHFRPSOHWHZLWKDQ from the D5500 and D7200, but not in the
SURJUDGHEXLOGTXDOLW\DQG HQRUPRXVEXIIHUWKDWFDQ H[SDQGHG same league as those from the D750.
KDQGOLQJLQD';ERG\DUHEDFN NHHS\RXJRLQJIRUXSWR
DQGLW·VEHHQZRUWKWKHZDLW VKRWVLQ5$:TXDOLW\PRGH Performance RAW* dynamic range
$VXVXDOLQWKLVFODVVRIERG\ 6ZLWFKLQJWRYLGHRVKRRWLQJ 3HUIRUPDQFHLVVWXQQLQJ Higher values are better
NIKOPEDIA
WKHVKRRWLQJPRGHGLDODWWKH WKH'LVWKHRQO\FDPHUDRQ LQPRVWUHVSHFWVDOWKRXJK 14

WRSOHIWRIWKHFDPHUDLV WHVWWKDWRIIHUV.XOWUDKLJK KLJK,62LPDJHQRLVHLVZRUVH
12
UHSODFHGE\DEXWWRQDUUD\ GHÀQLWLRQFDSWXUHDVZHOODV WKDQLWLVRQWKH'8QOHVV
you need the extended
Exposure value
+DQGOLQJIHHOVHQWLUHO\QDWXUDO SVKRRWLQJ 10
IRUWKRVHXSJUDGLQJIURPD 7KH'ERDVWVWKHVDPH WHOHSKRWRUHDFKPDGHSRVVLEOH
8
'SRUDQ\RI1LNRQ·VROGHU SRLQWDXWRIRFXVV\VWHPDV E\WKH';IRUPDWRUWKHIDVW
SUROHYHOFDPHUDV7KHWLOWLQJ 1LNRQ·VÁDJVKLSIXOOIUDPH' PD[LPXPIUDPHUDWHWKLV 6
WRXFKVFUHHQLVDQDGGHGERQXV FRPSOHWHZLWKQRIHZHUWKDQ FDPHUDPLJKWQRWEHWKHLGHDO before being analysed
DOWKRXJKWKHLPSOHPHQWDWLRQRI FURVVW\SH$)SRLQWV7KH FKRLFH,I\RXRIWHQVKRRWLQORZ 100 400 1600 6400 25600
WRXFKIHDWXUHVLVQ·WDVLQWXLWLYH PHWHULQJV\VWHPLVDOVRDFXW OLJKWRUOLNHWRVKRRWLPDJHV
DVLWLVLQWKH' above that of every other ZLWKDYHU\VKDOORZGHSWKRI The D500 edges ahead of other DX-
format bodies for dynamic range,
,QNHHSLQJZLWKWKH FDPHUDRQWHVWZLWKLWVQHZ ÀHOGWKHQWKH'PLJKWEH
taking the fight to the FX camp.
VXLWDELOLW\RIWKH';IRUPDWWR SL[HOPRGXOH WKHEHWWHURSWLRQ
ESSENTIAL KIT
Verdict
Build/handling The D500 makes full use of its
The D500 boasts the same 153-point AF Performance next-generation technology to
system as Nikon’s flagship D5, complete Value for money deliver an impressive set of lab
results across the board, from
OVERALL
with no fewer than 99 cross-type AF points colour accuracy to dynamic range.

ESSENTIAL KIT
SLR ADVICE
NIKON D810
LAB TEST RESULTS
JPEG 36
TIFF 38
PHOTO TECHNIQUES
0 5 10 15 20 25 30 35 40
The D810 scores an easy win when
it comes to resolution, comfortably
beating all other cameras on test.
Colour accuracy
0.9
-6 -4 -2 0 2 4 6
The consistently accurate colour

rendition is a step up from that of
the D5500 and D610.
NIKON SKILLS
50
40
Nikon D810 £2140, $22800 30
Decibels
20
A LEGEND IN ITS OWN LIFETIME, IT’S THE HIGH-RES KING OF THE NIKON WORLD
10
%XLOGLQJRQWKHVXFFHVVRIWKH FDPHUDRQWHVWZLWKDIXOO\ FDSWXUHGDUHVLPSO\
'WKHUHGHVLJQHG' PDJQHVLXPDOOR\ERG\ DVWRQLVKLQJZKLFKLVDERQXV 100 400 1600 6400 25600
FRPSOHWHO\RPLWVDQ2/3) .H\IHDWXUHVLQFOXGHD IRUODUJHIRUPDWSULQWLQJ While resolution is impressive, the D810

2SWLFDO/RZ3DVV)LOWHU SRLQWDXWRIRFXVV\VWHPDQG 7RPLQLPLVHDQ\ORVVRIGHWDLO disappoints for a full-frame camera when
IRUWKHVDNHRIPD[LPLVLQJ SL[HOPHWHULQJV\VWHP LQKDQGKHOGSKRWRJUDSK\ it comes to high-ISO image noise.
VKDUSQHVV,W·VZRUWKSRLQWLQJ +RZHYHUWKH'ERDVWVD ZLWKRXWUHVRUWLQJWRWKH
RXWWKDWDOORIWKH';IRUPDW QHZHUYHUVLRQRIWKLV$) H[SRVXUHGHOD\PRGHWKH' RAW* dynamic range
FDPHUDVRQWHVWDUHWKHVDPH V\VWHPDQGKDVWKHVDPH KDVDVSHFLDOO\GHVLJQHGVKXWWHU Higher values are better
NIKOPEDIA
LQWKLVUHVSHFWZKLOHDQ2/3) PHWHULQJPRGXOH'HVSLWH DQGPLUURUDVVHPEO\ZLWKD 14
*Higher values are better
LVUHWDLQHGLQWKH'DQG EHLQJWKHELJJHVWDQGKHDYLHVW SDUWLFXODUO\VPRRWKDFWLRQWR

12
'2/3)DVLGHWKH03 FDPHUDRQWHVWWKH'ODFNV UHGXFHFDPHUDVKDNH
EXLOWLQ:L)LDQGLWGRHVQ·W 'HVSLWHLWVKLJKUHV
Exposure value
'UXOHVWKHURRVWZKHQLW 10
FRPHVWRPHJDSL[HOFRXQW KDYHDWLOWLQJUHDUVFUHHQRU FUHGHQWLDOVWKH'ERDVWVD
8
/LNHERWKWKH'DQG WRXFKVFUHHQFDSDELOLW\ UHDVRQDEOHUDSLGEXUVWUDWHRI
'WKH'LVFODVVHGDVD ISVZKLFKULVHVWRDQLSS\ISV 6
SURIHVVLRQDOJUDGHFDPHUDDQG Performance LQ';FURSPRGH7KHRQO\UHDO

LWVGHVLJQKDQGOLQJDQGEXLOG 7KH'·VPDLQSHUIRUPDQFH GRZQVLGHRIWKHKLJKSL[HO

100 400 1600 6400 25600
TXDOLW\PDNHLWDFORVHPDWFK DVVHWLVWKDWLWFDQRXWUHVROYH FRXQWLVWKDWLPDJHQRLVHLV
WRWKH'/LNHWKH' DQ\RWKHUFDPHUDLQWKLVWHVW FOHDUO\YLVLEOHDWKLJK,62 Compared with other FX cameras
in the group, dynamic range drops
LWERDVWVWKHXVXDOSUROHYHO JURXS7KHOHYHOVRIÀQHGHWDLO VHWWLQJVHVSHFLDOO\ZKHQ
off more steeply at higher ISOs.
FRQWUROOD\RXWEXWLW·VWKHRQO\ and texture that can be FRPSDUHGWRWKH'
ESSENTIAL KIT
Verdict
Build/handling It’s an outright winner for pure
The D810’s main performance asset Performance resolution, but capturing additional
is that it can out-resolve any other Value for money fine detail comes at the expense
of extra noise and less dynamic
OVERALL
camera in this test group range at high-ISO settings.

DX vs FX
SLR ADVICE
Comparison table
HOW THE
CAMERAS
STACK UP
NIKON D5500 NIKON D7200 NIKON D610 NIKON D750 NIKON D500 NIKON D810
www.nikon.com
Street price (body only) £500, $800 £750, $1100 £1000, $1500 £1390, $2000 £1730, $2000 £2140, $2800
Date announced Jan 2015 Mar 2015 Oct 2013 Sep 2014 Jan 2016 June 2014
DX/FX DX DX FX FX DX FX
Image sensor 24.2MP CMOS 24.2MP CMOS 24.3MP CMOS 24.3MP CMOS 20.9MP CMOS 36.3MP CMOS
PHOTO TECHNIQUES
Image processor EXPEED 4 EXPEED 4 EXPEED 3 EXPEED 4 EXPEED 5 EXPEED 4

Viewfinder Pentamirror, 0.82x, 95% Pentaprism, 0.94x, 100% Pentaprism, 0.7x, 100% Pentaprism, 0.7x, 100% Pentaprism, 1.0x, 100% Pentaprism, 0.7x, 100%
ISO range (expanded) ISO100-25,600 ISO100-25,600 (102,400 mono) ISO100-6,400 (50-25,600) ISO100-12,800 (50-51,200) ISO100-51,200 (50-1,640,000) ISO64-12,800 (32-51,200)
Autofocus module Multi-CAM 4800 Multi-CAM 3500 II Multi-CAM 4800 Multi-CAM 3500 II Multi-CAM 20k Multi-CAM 3500
Autofocus ponts 39-point (9 cross-type) 51-point (15 cross-type) 39-point (9 cross-type) 51-point (15 cross-type) 153-point (99 cross-type) 51-point (15 cross-type)
Metering system 3D Colour Matrix II 3D Colour Matrix II 3D Colour Matrix II 3D Colour Matrix III 3D Colour Matrix III 3D Colour Matrix III
Shutter speeds 1/4,000 to 30s, Bulb 1/8,000 to 30s, Bulb 1/4,000 to 30s, Bulb 1/4,000 to 30s, Bulb 1/8,000 to 30s, Bulb 1/8,000 to 30s, Bulb
Max burst rate (FX) 5fps 6fps (7fps 1.3x crop) 6fps 6.5fps 10fps 5fps (7fps DX crop)
Buffer capacity (RAW) 10-14 shots 18-35 shots 14-26 shots 15-33 shots 79-200 shots 23-58 shots
Video – max resolution 1080p (24/25/30/50/60fps) 1080p (24/25/30/50/60fps) 1080p (24/25/30fps) 1080p (24/25/30/50/60fps) 4k (24/25/30fps) 1080p (24/25/30/50/60fps)
LCD screen 3.2-inch, 1,037k 3.2-inch, 1,229k 3.2-inch, 921k 3.2-inch, 1,229k, tilting 3.2-inch, 2,359k, 3.2-inch, 1,229k
vari-angle touchscreen tilting touchscreen
Memory 1x SD/HC/XC 2x SD/HC/XC 2x SD/HC/XC 2x SD/HC/XC 1x SD/HC/XC, 1x XQD 1x SD/HC/XC, 1x CF
Wi-Fi Built-in Built-in, + NFC Optional, WU-1b Built-in Built-in, + NFC & Bluetooth Optional, UT-1 & WT-5
Body materials Carbon fibre composite Mag alloy & polycarbonate Mag alloy & polycarbonate Mag alloy & carbon fibre Mag alloy & carbon fibre Magnesium alloy
Body (WxHxD) 124x97x70mm 136x107x76mm 141x113x82mm 141x113x78mm 147x115x81mm 146x123x82mm
NIKON SKILLS
Weight 470g 765g 850g 840g 860g 980g

Battery life (CIPA) EN-EL14a, 820 shots EN-EL15, 1,110 shots EN-EL15, 900 shots EN-EL15, 1,230 shots EN-EL15, 1,240 shots EN-EL15, 1,200 shots
FEATURES
BUILD/HANDLING
PERFORMANCE
VALUE FOR MONEY
OVERALL
The winnneer is... Runneerss-up

Nikon D810 £2140, $28000
Nikon D750 What’s good: Unbeatable for fine
detail and texture.
£1390, $20000
NIKOPEDIA
What’s bad: Poor image noise

and dynamic range at high ISOs.
What’s good: Slim, lightweight build for an Our verdict: An outright
FX-format camera, fabulous image quality. winner for resolving power,
What’s bad: Labelled as pro-level in the UK, but not great for low-light,
but it has more of a consumer-level design. high-ISO shooting.
Our verdict: Sensibly priced, yet with superb
all-round performance, it’s the ultimate upgrade.
Nikon D500 £1730, $20000
$VDQDOOURXQGHUWKH'LVWKHEHVW What’s good: 10fps frame rate, advanced
FDPHUDLQWKHJURXS,W·VFRPSDFWIRU autofocus and metering systems.
DQ);IRUPDWFDPHUD\HWERDVWVJUHDW JHQHUDOWHOHSKRWRVKRRWLQJWKRXJKWKH What’s bad: Pricey for a DX
camera, not as good as the
KDQGOLQJDQGGHOLYHUVVXEOLPHLPDJH IDVWIUDPHUDWHDQGZLGH,62UDQJHFRPH D750 at high-ISOs.
TXDOLW\HYHQDWYHU\KLJK,62VHWWLQJV DWWKHH[SHQVHRILWVVOLJKWO\ORZHUSL[HO Our verdict: Great for action
,W·VPRUHWKDQZRUWKWKHH[WUDRXWOD\ FRXQWDQGLWVFRUUHVSRQGLQJO\ORZHU sports and other rapid-fire
RYHUWKHROGHU'EXWLI\RXGHPDQG LPDJHUHVROXWLRQ telephoto shooting.
ESSENTIAL KIT
WKHXOWLPDWHLQUHVROXWLRQDWWKHH[SHQVH )RUJHQHUDOSXUSRVH';VKRRWLQJWKH
RIQRLVLHULPDJHVDQGOHVVG\QDPLFUDQJH 'LVWKHPRVWGHVLUDEOHRSWLRQDQG
DWKLJK,62VWKH'LVWKHEHVWFKRLFH XQEHDWDEOHYDOXHDWWKHSULFHZKLOHWKH
7KH'LVXQGRXEWHGO\1LNRQ·VEHVW 'LVWKHOHDVWLPSUHVVLYHFDPHUDRQ
';IRUPDWFDPHUDWRGDWH,W·VDSUROHYHO WHVWWKRXJKLW·VVWLOOZRUWKFRQVLGHULQJDV
'6/5WKDW·VVXLWHGWRVSRUWVZLOGOLIHDQG DOLJKWZHLJKWWUDYHOFDPHUD

SLR ADVICE
PHOTO TECHNIQUES
Play the
angles
Going wide can give you a new
perspective on life. Matthew
Richards investigates…
NIKON SKILLS
ow wide is wide? Back in IUDPH%XWLVHYHQWKDWUHDOO\
H WKHGD\VRIPPÀOPD
PPOHQVZDV
FRQVLGHUHG¶ZLGHDQJOH·
and anything with a shorter
IRFDOOHQJWKZDVVLPSO\
wide enough?
(YHQZLWKWKHUHODWLYHO\
generous maximum viewing
DQJOHVRIPRGHUQVWDQGDUG
]RRPOHQVHV\RXFDQVWLOOÀQG
H[WUDYDJDQW:HH[SHFWPRUH \RXUVHOIZDQWLQJPRUH:KHQ
IURPRXUZLGHDQJOHOHQVHV \RX·UHVKRRWLQJLQGRRUV\RX·UH
QRZDGD\V0RVW¶VWDQGDUG· OLWHUDOO\ZDOOHGLQDQGFDQ·W
]RRPOHQVHVIRUIXOOIUDPH DOZD\VPRYHEDFNIDUHQRXJK
cameras shrink to 24mm at the WRÀWHYHU\WKLQJ\RXZDQWWR
VKRUWHQGZKLOHWKHW\SLFDO LQFOXGHLQWRWKHVKRW9HQWXUH
minimum of 18mm for DX- to the great outdoors and shoot
format standard zooms gives DQ\WKLQJIURPH[SDQVLYH
NIKOPEDIA
DQ¶HIIHFWLYH·PPIRFDO FLW\VFDSHVWRUROOLQJKLOOVDQG
OHQJWK7KDWHTXDWHVWR \RXPLJKWVWLOOQRWEHDEOHWR
PD[LPXPYLHZLQJDQJOHVRI VTXHH]HHYHU\WKLQJ\RXZDQW
DURXQGGHJUHHVDQG into the frame.
GHJUHHVUHVSHFWLYHO\PHDVXUHG $ZLGHDQJOH]RRP
RQWKHGLDJRQDORIWKHLPDJH comes to the rescue with a
The contenders
SIGMA 10-20mm f/3.5 EX DC HSM £330, $450
TAMRON SP AF 10-24mm f/3.5-4.5 Di II £350, $500
SIGMA 12-24mm f/4-5.6 II DG HSM £530, $950
ESSENTIAL KIT
NIKON AF-S 18-35mm f/3.5-4.5G ED £550, $750

NIKON AF-S DX 10-24mm f/3.5-4.5G ED £640, $800
TAMRON SP 15-30mm f/2.8 Di VC USD £850, $1200
Image: iStock
NIKON AF-S 16-35mm f/4G ED VR £900, $1000

NIKON AF-S 14-24mm f/2.8G ED £1460, $1700

ESSENTIAL KIT
191
WIDE-ANGLE ZOOMS
SLR ADVICE
much greater than average GLVWDQFHEHWZHHQLWDQGWKH LQWKHUHVXOWLQJLPDJH)RUD UHVXOWLQJLQFLUFXODULPDJHV,Q

PD[LPXPYLHZLQJDQJOH7R EDFNJURXQG<RXFDQPDNH ZLGHUDQJOHRIYLHZ\RX·GQHHG ERWKFDVHVWKHDPRXQWRIEDUUHO
PDNHWKHPRVWRIWKLVW\SHRI REMHFWVORRNODUJHUWKDQOLIH D¶FXUYLOLQHDU·RUÀVKH\HOHQV distortion is severe. Straight
OHQV\RX·OOQHHGWREX\RQHWKDW·V FRPSDUHGZLWKWKHLU 7KHVHW\SLFDOO\GHOLYHUDYLHZLQJ OLQHVIRUH[DPSOHLQWKHRXWHU
VSHFLÀHGDV';RU);IRUPDWWR VXUURXQGLQJVDQGPDNHSDUDOOHO DQJOHRIHLWKHUGHJUHHVRQ HGJHVRIZDOOVWDNHRQDYHU\
VXLW\RXUFDPHUDERG\)RU'; OLQHVFRQYHUJHUDSLGO\DVWKH\ WKHGLDJRQDORUGHJUHHVLQ ERZHGDSSHDUDQFH
ZLGHDQJOH]RRPVWKHVKRUWHVW UHFHGHLQWRWKHGLVWDQFH7KHUH·V ERWKWKHYHUWLFDODQGKRUL]RQWDO 7KHUHDUHEDUJDLQVWREHKDG
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PPDQGPPIRU);OHQVHV UHVSHFWLYHO\WKHIRUPHU +RZHYHUIXOO\SURIHVVLRQDO
Straight up
PHOTO TECHNIQUES
PPRQ';DQGPPRQ); SURMHFWLQJDQLPDJHFLUFOHWKDW JUDGH1LNRQ);IRUPDWOHQVHV

ERWKJLYH\RXDPD[LPXP $OOWKHOHQVHVLQWKLVWHVWJURXS FRYHUVWKHZKROHLPDJHVHQVRU WHQGWREHH[SHQVLYHDV\RX·G
YLHZLQJDQJOHRIDURXQG DUH¶UHFWLOLQHDU·7KLVPHDQVWKDW IRUUHFWDQJXODULPDJHVWKH H[SHFW'LIIHUHQFHVLQSULFH
GHJUHHV,W·OOGHOLYHUDVHULRXV DVIDUDVSRVVLEOHGLVWRUWLRQVDUH ODWWHUJLYLQJDVPDOOHULPDJH W\SLFDOO\KDYHPRUHWRGRZLWK
¶ZRZ·IDFWRUZKHQ\RXSXW\RXU NHSWWRDPLQLPXPDQGVWUDLJKW FLUFOHWKDWFRYHUVRQO\WKH WKHTXDOLW\RIWKHOHQVWKDQWKH
H\HWRWKHYLHZÀQGHU OLQHVDUHUHSURGXFHGDVVWUDLJKW FHQWUDOUHJLRQRIWKHVHQVRU maximum width of the viewing
:LGHDQJOHOHQVHVDUHQ·WMXVW DQJOH(YHQVR¶XOWUDZLGH·
XVHIXOIRUVKRHKRUQLQJPRUHRI OHQVHVZLWKPRUHH[WUHPH
a scene into the image frame. YLHZLQJDQJOHVUHSUHVHQWPRUH
7KH\·UHDOVREULOOLDQWIRU RIDWHFKQLFDOFKDOOHQJHLQWHUPV
exaggerating the effect of Differences in price typically have more RIERWKGHVLJQDQGPDQXIDFWXUH
SHUVSHFWLYH*HWXSFORVHWRWKH /HW·VWDNHDFORVHUORRNDWZKDW·V
PDLQVXEMHFWRILQWHUHVWDQG\RX
to do with the quality of the lens than the RQRIIHUDQGKRZTXDOLW\DQG
FDQUHDOO\VWUHWFKWKHDSSDUHQW maximum width of the viewing angle SULFHVFRPSDUH
NIKON SKILLS
What to look for...

HOW WIDE DO YOU NEED TO GO, AND WHAT FEATURES DO YOU NEED?
LENS HOOD
OPTICAL STABILISATION The widest-angle Nikon
Camera shake in handheld 14-24mm, Sigma 12-24mm and
wide-angle photography isn’t Tamron 15-30mm lenses on test
usually a problem, but all have permanently fixed,
stabilisation can still be useful if built-in lens hoods with no filter
you’re shooting in very low light. attachment threads.
FOCAL LENGTH AUTOFOCUS SYSTEM

(MINIMUM) The Tamron 10-24mm
A shorter minimum focal length DX-format lens has a basic
equates to a wider viewing angle. electric autofocus motor. All
NIKOPEDIA
For this class of lens, it’s usually a others in the group have
more important consideration ring-type ultrasonic systems,
than the size of the zoom range. with the availability of full-time
manual override.
FOCAL LENGTH
(MAXIMUM)
Top tips The long end of the zoom range
might have roughly the same
focal length as your standard
VIEWING ANGLE zoom at its shortest setting,
This can be measured on the but it is likely to produce much
horizontal or vertical plane of the less distortion.
image frame, but manufacturers
usually quote it on the diagonal, APERTURE RATING
The Nikon 14-24mm and
as it’s the largest number.
ESSENTIAL KIT
Tamron 15-30mm have the

‘fastest’ aperture rating of
FILTER THREAD f/2.8. Other lenses are a little
For the three lenses on test that slower, and their widest
lack a filter thread, Lee Filters’ available aperture may shrink
at longer zoom settings.
SW150 Mark II system enables
easy filter attachment.

ESSENTIAL KIT
SLR ADVICE
PHOTO TECHNIQUES
DX DX
Sigma 10-20mm Tamron SP AF 10-24mm

f/3.5 EX DC HSM £3330, $4550 f/3.5-4.5 Di II £350, $500
NIKON SKILLS
HIGH-END FEATURES COME AT A BARGAIN PRICE INEXPENSIVE TO BUY, BUT NOT THE MOST REFINED CHOICE
8QGHUFXWWLQJWKH7DPURQ 7KLV7DPURQERDVWHGWKH
PPIRUSULFHWKH6LJPD
Centre sharpness (Higher is better) ELJJHVW]RRPUDQJHRIDQ\
Centre sharpness (Higher is better)
2500 2500
GRHVQ·WVWUHWFKDVIDULQWHUPVRI ZLGHDQJOH]RRPIRU';IRUPDW
]RRPUDQJHEXWKDVSUHWW\ 2000 6/5VZKHQODXQFKHGEDFNLQ 2000
much the same maximum 1500 7KDWZDVDODQGPDUN 1500
YLHZLQJDQJOH%XLOGTXDOLW\ 1000
\HDUIRU7DPURQOHQVHVDVVRPH 1000
IHHOVEHWWHULQWKH6LJPDDQG RIWKHRWKHU1LNRQÀWPRGHOVLQ
500 500
KLJKHUHQGIHDWXUHVLQFOXGHD WKHOLQHXSZHUHUHIUHVKHGWR
0 0
ULQJW\SHXOWUDVRQLFDXWRIRFXV DGGDQLQWHUQDODXWRIRFXV
f/2.8 f/3.5-4.5 f/5.6 f/8 f/11 f/16 f/22 f/25-32 f/2.8 f/3.5-4.5 f/5.6 f/8 f/11 f/16 f/22 f/25-32
V\VWHP7KLVLPSURYHVKDQGOLQJ PRWRULQVWHDGRIUHO\LQJRQ
DVWKHIRFXVULQJGRHVQ·WURWDWH 10mm 14mm 17mm 20mm autofocus drive from the host 10mm 15mm 20mm 24mm
GXULQJDXWRIRFXVLQJZKLOHDOVR Good across the frame, and consistent FDPHUD7KLVPDNHVDXWRIRFXV At medium zoom settings, centre
across the aperture and zoom ranges. sharpness is poor at the widest aperture.
DGGLQJWKHERQXVRIIXOOWLPH SRVVLEOHRQERGLHVOLNHWKH
PDQXDORYHUULGH 'DQG'
Edge fringing (f/8) (Lower is better) Edge fringing (f/8) (Lower is better)
NIKOPEDIA
$QRWKHUIHDWXUHWKDW·VXQLTXH 7KHÁLSVLGHLVWKDWWKH
DPRQJWKH';IRUPDWOHQVHVRQ Wide 2.26 Mid 2.86 Long 1.66 DXWRIRFXVPRWRULQWKH Wide 4.29 Mid 2.28 Long 1.77
WHVWLVWKHFRQVWDQWDSHUWXUH At the short end of the zoom range, it’s PPOHQVLVDUHODWLYHO\EDVLF A little worse than average at 10mm, but
GHVLJQ7KH1LNRQDQG7DPURQ the best DX-format lens on test. HOHFWULFDIIDLUZKLFKLVDOLWWOH diminishes through the rest of the range.
PPOHQVHVPDWFKWKH VOXJJLVKDQGFOHDUO\DXGLEOHLQ
6LJPD·VIUDWLQJDWWKHVKRUW Distortion (Nearer 0 is better) RSHUDWLRQ8QOLNHHYHU\RWKHU Distortion (Nearer 0 is better)
HQGRIWKH]RRPUDQJHEXWLWLV WIDE -2.28 OHQVRQWHVWWKHIRFXVULQJ WIDE -2.85
WZRWKLUGVRIDQIVWRSIDVWHUDW MID -0.2
LONG 1.01
URWDWHVGXULQJDXWRIRFXVZKLFK MID -2.35
LONG -1.55
WKHORQJHQGDVWKHRWKHUWZR -5 -4 -3 -2 -1 0 1 2 3 FDQLPSDLUKDQGOLQJ -5 -4 -3 -2 -1 0 1 2 3
OHQVHVVKULQNWRI Almost non-existent at mid-zoom Quite well controlled at 10mm and, like
settings; well-restrained at the extremes. Performance fringing, reduces at longer zoom settings.
Performance )RXUDVSKHULFDOHOHPHQWVWZR
7KHDXWRIRFXVV\VWHPLVTXLFN /'/RZ'LVSHUVLRQHOHPHQWV
DQGTXLHWDQGLPDJHTXDOLW\LV Verdict and an HID (High-refractive Verdict
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ERRVWHGE\WKHLQFOXVLRQRIRQH Features ,QGH[HOHPHQWERRVWVKDUSQHVV Features

6/'6SHFLDO/RZ'LVSHUVLRQ Build/handling DQGFRQWUDVWDVZHOODVUHGXFLQJ Build/handling
and two ELD (Extraordinary Performance fringing and distortions. Performance
/RZ'LVSHUVLRQHOHPHQWV Value for money 2YHUDOOLPDJHTXDOLW\LVJRRG Value for money
7KHVHKHOSWRPDLQWDLQJRRG OVERALL FRQVLGHULQJWKHSULFHEXWWKH OVERALL
VKDUSQHVVDQGFRQWUDVWZKLOH For a DX-format ultra-wide zoom, it’s the OHQLVRXWSHUIRUPHGE\WKH Compact and lightweight, but handling
NHHSLQJFRORXUIULQJLQJORZ best buy on the market. HYHQOHVVH[SHQVLYH6LJPD and performance are a bit disappointing.

WIDE-ANGLE ZOOMS
SLR ADVICE
PHOTO TECHNIQUES
FX FX
Sigma 12-24mm Nikon AF-S 18-35mm

f/4-5.6 II DG HSM £5530, $9550 f/3.5-4.5G ED £550, $750
NIKON SKILLS
DELIVERS AN EYE-POPPING VIEWING ANGLE THE CHEAPEST NIKON ON TEST – BUT THE LEAST WIDE
<RXFRXOGEHIRUJLYHQIRU 6LPLODUWRXVLQJDPPOHQV
thinking that this is a DX-
Centre sharpness (Higher is better) RQD';FDPHUDWKLV);IRUPDW
2500 2500
IRUPDWOHQVFRQVLGHULQJLWV ]RRPKDVDZLGHVWDYDLODEOH
PLQLPXPIRFDOOHQJWK,QIDFW 2000 YLHZLQJDQJOHRIGHJUHHV 2000
LW·VDQ);OHQVWKDWGHOLYHUVDQ 1500 7KDW·VWKHOHDVWLPSUHVVLYHRI 1500
astonishing maximum viewing 1000

DQ\OHQVRQWHVWEXWDWOHDVWLW 1000
DQJOHRIGHJUHHVOHDYLQJ KDVDFRPSDFWDQGOLJKWZHLJKW
500 500
the Nikon 14-24mm and EXLOGIRUDQ);ZLGHDQJOH
0 0
7DPURQPPLQLWVZDNH ]RRP,QGHHGDWJUDPVLW·V
7KHEXLOWLQOHQVKRRGSUHFOXGHV HYHQOLJKWHUWKDQWKHJUDP
WKHXVHRIVFUHZLQÀOWHUVEXWDW 12mm 15mm 20mm 24mm 1LNRQPP';]RRPDQG 18mm 24mm 28mm 35mm
OHDVWWKHWZRSDUWKRRGHQDEOHV Clever design maximises sharpness RQO\MXVWRYHUDWKLUGRIWKH Plenty of sharpness at the centre of the
across the whole image frame. frame, but it drops off towards the edges.
WKHXVHRIPPÀOWHUVDWWKH weight of the Nikon 14-24mm.
ORQJHQGRIWKH]RRPUDQJH 'HVSLWHEHLQJDOLJKWZHLJKW
NIKOPEDIA
7RSTXDOLW\JODVVLQFOXGHV WKHOHQVIHHOVUHDVRQDEO\ZHOO
IRXU)/')OXRULWHJUDGH/RZ Short 5.6 Mid 3.6 Long 1.36 SXWWRJHWKHU$WWUDFWLRQV Wide 1.62 Mid 1.27 Long 1.54
'LVSHUVLRQHOHPHQWVRQH6/' At the shortest length, there’s more corner LQFOXGHULQJW\SHXOWUDVRQLF There’s very little fringing in evidence,
6SHFLDO/RZ'LVSHUVLRQDQG fringing than from any other lens on test. DXWRIRFXV('([WUDORZ throughout the entire zoom range.
IRXUDVSKHULFDOHOHPHQWV%XLOG 'LVSHUVLRQJODVVDQGDUXEEHU
TXDOLW\DOVRIHHOVLPSUHVVLYH Distortion (Nearer 0 is better) ZHDWKHUVHDORQWKHPRXQWLQJ Distortion (Nearer 0 is better)
SODWH8QOLNHVRPHRI1LNRQ·V
Performance WIDE -6.22
MID -3.45 PRUHODYLVKOHQVHVLWKDV6,&
WIDE -3.67
MID -1.93
LONG 1.07 LONG -1.59
7KHULQJW\SHXOWUDVRQLF -6 -5 -4 -3 -2 -1 0 1 2 6XSHU,QWHJUDWHG&RDWLQJ -5 -4 -3 -2 -1 0 1 2 3
autofocus system is fast and Hefty barrel distortion at 12mm is to be UDWKHUWKDQ1DQR&U\VWDO&RDW Distortion at the maximum viewing angle
TXLHWZKLOHVKDUSQHVVDQG expected. Minimal at longer settings. EXWUHVLVWDQFHWRJKRVWLQJDQG is less than with the other Nikon lenses.
FRQWUDVWDUHYHU\QHDUO\DV ÁDUHLVSUHWW\JRRGQRQHWKHOHVV
LPSUHVVLYHDVIURPWKH1LNRQ
PPOHQV7KH6LJPDGRHV Verdict Performance Verdict
ESSENTIAL KIT
H[WUHPHO\ZHOOWRPDLQWDLQ Features $ORQJZLWKWKHPRGHVW Features

HGJHVKDUSQHVVFRQVLGHULQJLWV Build/handling PD[LPXPYLHZLQJDQJOHFRPHV Build/handling
LQFUHGLEO\ZLGHYLHZLQJDQJOH Performance UHODWLYHO\OLWWOHGLVWRUWLRQDWWKH Performance
7RJHWWKHVDPHYLHZLQJDQJOHV Value for money VKRUWHVW]RRPVHWWLQJ)ULQJLQJ Value for money
RQ\RXU';FDPHUDWKH6LJPD OVERALL LVDOVRPLQLPDOEXWOHYHOVRI OVERALL
PPLVHVVHQWLDOO\WKHVDPH Phenomenal viewing angles and a very VKDUSQHVVWRZDUGVWKHHGJHVRI Performance is good, but the maximum
OHQVLQ$36&IRUPDW attractive price make this a smart buy. WKHIUDPHDUHGLVDSSRLQWLQJ viewing angle is a little underwhelming.

ESSENTIAL KIT
SLR ADVICE
PHOTO TECHNIQUES
DX FX
Nikon AF-S DX 10-24mm Tamron SP 15-30mm f/2.8 Di VC

f/3.5-4.5G ED £640, $800 USD £850, $12000
NIKON SKILLS
IT’S AN EXPENSIVE OPTION FOR A DX WIDE-ANGLE ZOOM A RELATIVELY NEW, HIGH-QUALITY FX CONTENDER
7KLVOHQVODFNVWKHIFRQVWDQW /DXQFKHGODVW\HDU7DPURQ·V
DSHUWXUHGHVLJQRI1LNRQ·VROGHU
Centre sharpness (Higher is better) XOWUDZLGH);IRUPDW]RRPLV
2500 2500
PP';IRUPDWRSWLFEXW PXFKPRUHXSPDUNHWWKDQLWV
EHDWVLWIRU]RRPUDQJHDQG 2000 PP';OHQV,WERDVWV 2000
PD[LPXPYLHZLQJDQJOH,W·V 1500 ULQJW\SHXOWUDVRQLFDXWRIRFXV 1500
DOVRFKHDSHUWKDQWKHPP 1000
RSWLFDOVWDELOLVDWLRQDQGDIDVW 1000
EXWWKHUH·VQRKLGLQJWKHIDFW IDSHUWXUHWKDWLVDYDLODEOH
500 500
WKDWLW·VDERXWWZLFHWKHSULFHRI throughout the zoom range.
0 0
WKH6LJPDDQG7DPURQ'; 7KHPD[LPXPYLHZLQJDQJOHLV
IRUPDWOHQVHVRQWHVW6RZKDW DOPRVWDVZLGHDVIURPWKH
GR\RXJHWIRUWKHH[WUDRXWOD\" 10mm 15mm 20mm 24mm 1LNRQPPEXWQDUURZHU 15mm 20mm 24mm 30mm
7KHOHQVIHDWXUHVDULQJW\SH Very good at 10mm but drops off as you than from the Sigma 12-24mm. Very good, but for edge sharpness it lags
extend through the zoom range. behind the Nikon 14-24mm at f/2.8.
XOWUDVRQLFDXWRIRFXVV\VWHP /LNHWKHVHWZRFRPSHWLWRUVWKH
ODFNLQJLQWKH7DPURQDQGD 7DPURQKDVDEXLOWLQOHQVKRRG
NIKOPEDIA
ZHDWKHUVHDOHGPRXQWODFNLQJ +LJKHQGJODVVLQFOXGHVD
LQWKH6LJPD4XDOLW\JODVV Wide 3.89 Mid 2.67 Long 1.29 ODUJH;*0H;SDQGHG*ODVV Short 1.67 Mid 1.84 Long 0.91
LQFOXGHVWKUHHDVSKHULFDO There’s evidence of fringing in corners, 0RXOGHG$VSKHULFDOHOHPHQW There’s very little colour fringing
HOHPHQWVDQGWZR('RQHV7KH especially at short to mid zoom settings. LQWKHIURQWJURXSZLWKVHYHUDO throughout the zoom range.
RYHUDOOEXLOGGRHVQ·WIHHODV PRUHDVSKHULFDODQG/'/RZ
UREXVWDVWKDWRIWKH6LJPDOHQV Distortion (Nearer 0 is better) 'LVSHUVLRQHOHPHQWVIXUWKHU Distortion (Nearer 0 is better)
WKRXJKERWKGHVLJQVIHDWXUHD WIDE -4.37 EDFN7KHZHDWKHUUHVLVWDQW WIDE -4.87
IRFXVGLVWDQFHVFDOHEHQHDWKD MID -0.7
LONG 0.7
FRQVWUXFWLRQLQFOXGHVDÁXRULQH MID -0.66
LONG 0.79
YLHZLQJZLQGRZ7KH7DPURQ·V -5 -4 -3 -2 -1 0 1 2 3 FRDWLQJRQWKHIURQWHOHPHQW -5 -4 -3 -2 -1 0 1 2 3
GLVWDQFHVFDOHLVSULQWHGRQWKH Quite pronounced at 10mm, but there’s Typically heavy barrel at the short end of
surface of the focus ring. little distortion at mid to long settings. Performance the range, otherwise very well controlled.
7KH9LEUDWLRQ&RPSHQVDWLRQ
Performance VWDELOLVHULVZRUWKDERXWWZR
1RWDOWRJHWKHULQVSLULQJOHYHOV Verdict IVWRSVLQKDQGKHOGVKRRWLQJ Verdict
ESSENTIAL KIT
RIVKDUSQHVVIDGHDZD\WRZDUGV Features DOPRVWDVFDSDEOHDVWKH95 Features

WKHORQJHQGRIWKH]RRPUDQJH Build/handling V\VWHPLQWKH1LNRQPP Build/handling
and around the edges of the Performance <RXQHHGWRVWRSGRZQWRI Performance
IUDPH%DUUHOGLVWRUWLRQDWWKH Value for money IRUJRRGVKDUSQHVVDURXQGWKH Value for money
VKRUWHQGLVDOVRPRUH OVERALL HGJHVEXWRYHUDOOLPDJHTXDOLW\ OVERALL
SURQRXQFHGWKDQLQWKH6LJPD A decent lens, but poor value compared LVH[FHOOHQWPDNLQJWKLV Excellent image quality makes this
DQG7DPURQ';IRUPDWOHQVHV with the alternative Sigma 10-20mm. RXWVWDQGLQJYDOXHDWWKHSULFH FX-format lens great value for the price.

WIDE-ANGLE ZOOMS
SLR ADVICE
PHOTO TECHNIQUES
FX FX
Nikon AF-S 16-35mm Nikon AF-S 14-24mm

f/4G ED VR £9900, $10000 f/2.8G ED £14660, $17000
NIKON SKILLS
ONCE INNOVATIVE, IT’S SINCE BEEN OVERTAKEN IT’S A BIG LENS, WITH BIG PERFORMANCE AND A BIG PRICE
:KHQDQQRXQFHGEDFNLQ 7KLVLVWKHELJJHVW1LNRQOHQVRQ
WKLVOHQVZDVSURFODLPHGWREH
Centre sharpness (Higher is better) WHVWDQGZHLJKVDIXOONLORJUDP
2500 2500
WKHÀUVWHYHU);IRUPDW EXWLW·VSK\VLFDOO\VKRUWHUDQG
XOWUDZLGH]RRPWRKDYHRSWLFDO 2000 JUDPVOLJKWHUWKDQWKH 2000
VWDELOLVDWLRQ7KHPD[LPXP 1500 7DPURQPP,WRXWGRHV 1500
YLHZLQJDQJOHLVZLGHUWKDQ 1000
WKH7DPURQIRUPD[LPXP 1000
IURPWKH1LNRQPPOHQV YLHZLQJDQJOHDWGHJUHHV
500 500
WKDW·VDOVRRQWHVWDWUDWKHU YHUVXVGHJUHHV,QIDLUQHVV
0 0
WKDQGHJUHHV7KHDSHUWXUH WKLVLVRQO\DVOLJKWGLIIHUHQFH
LVPRUHZHOOURXQGHGEDVHGRQ WKDWZLOORIWHQJRXQQRWLFHGLQ
nine rather than seven 16mm 24mm 28mm 35mm SUDFWLFH,WKDVDIDVWDQG 14mm 16mm 20mm 34mm
GLDSKUDJPEODGHVDQGWKH Excellent sharpness is available when FRQVWDQWIDSHUWXUHDQGDQ Excellent, throughout the zoom range
stopping down a little, across the frame. and across the entire image frame.
ZLGHVWDYDLODEOHDSHUWXUH LQWHJUDOOHQVKRRG
UHPDLQVÀ[HGDWI+RZHYHU 1DQR&U\VWDO&RDWLVDSSOLHG
NIKOPEDIA
WKHPP95LVEHDWHQE\ WRIHQGRIIJKRVWLQJDQGÁDUH
WKH7DPURQPPIRU Wide 1.13 Mid 1.91 Long 1.25 7KLVLVLPSRUWDQWEHFDXVH Wide 2.29 Mid 1.06 Long 1.35
PD[LPXPYLHZLQJDQJOHDQG There’s very little fringing throughout the XOWUDZLGHOHQVHVWHQGWRWDNHLQ As in the other Nikon FX lenses on test,
WKHODWWHUKDVDQIFRQVWDQW zoom range, particularly at the short end. DORWRIVN\LQRXWGRRUVKRRWLQJ there’s very little colour fringing.
DSHUWXUHUDWLQJZKLOHDOVR DQGWKHEXOERXVIURQWHOHPHQW
IHDWXULQJRSWLFDOVWDELOLVDWLRQ Distortion (Nearer 0 is better) SK\VLFDOO\H[WHQGVDWVKRUWHU Distortion (Nearer 0 is better)
]RRPVHWWLQJVFRPLQJQHDUWR
Performance WIDE -5.51
MID -0.04 WKHOHDGLQJHGJHRIWKHKRRG
WIDE -5.23
MID -1.37
LONG 1.21 LONG -0.67
*LYHQWKDW\RXFDQJHWDZD\ -6 -5 -4 -3 -2 -1 0 1 2 -6 -5 -4 -3 -2 -1 0 1 2
ZLWKIDLUO\VORZVKXWWHUVSHHGV Extreme barrel distortion at 16mm dies
Performance There’s barrel distortion at 14mm but next
LQXOWUDZLGHKDQGKHOG away at mid zoom settings. $OODVSHFWVRILPDJHTXDOLW\DUH to none at the long end of the zoom range.
VKRRWLQJLW·VQRWVXUSULVLQJWKDW RXWVWDQGLQJ6XSHUEVKDUSQHVV
95LVRQO\ZRUWKDERXW reaches right into the corners of
IVWRSV7KDW·VVWLOOEHWWHUWKDQ Verdict WKHIUDPHHYHQDWI7KLVLV Verdict
ESSENTIAL KIT
QRWKLQJLQORZOLJKW,PDJH Features DUHDODFKLHYHPHQWIRUVXFKDQ Features

TXDOLW\LVYHU\JRRGRQWKH Build/handling XOWUDZLGHOHQV%DUUHO Build/handling
ZKROHZLWKH[FHOOHQWVKDUSQHVV Performance GLVWRUWLRQDWPPLVOHVV Performance
DQGFRQWUDVWDQGPLQLPDO Value for money SURQRXQFHGWKDQLQWKH1LNRQ Value for money
FRORXUIULQJLQJ7KHRQO\VOLJKW OVERALL PPOHQVDWLWVVKRUWHVW OVERALL
QLJJOHLVWKDWEDUUHOGLVWRUWLRQLV Of all the Nikon lenses, it strikes the best ]RRPVHWWLQJGHVSLWHWKHPRUH It’s the best-performing lens in the group
SUHWW\H[WUHPHDWPP balance between price and performance. H[DJJHUDWHGYLHZLQJDQJOH but it comes with a hefty price tag.

ESSENTIAL KIT
SLR ADVICE
Comparison
table
HOW THE
LENSES
STACK UP SIGMA TAMRON SIGMA NIKON NIKON TAMRON NIKON NIKON
10-20mm f/3.5 EX SP AF 10-24mm 12-24mm f/4-5.6 II AF-S 18-35mm AF-S DX 10-24mm SP 15-30mm f/2.8 AF-S 16-35mm AF-S 14-24mm
DC HSM f/3.5-4.5 Di II DG HSM f/3.5-4.5G ED f/3.5-4.5G ED Di VC USD f/4G ED VR f/2.8G ED
www.sigma-global.com www.tamron.co.uk www.sigma-global.com www.nikon.com www.tamron.co.uk www.nikon.com
PHOTO TECHNIQUES
Street price £330, $450 £350, $500 £530, $950 £550, $750 £640, $800 £850, $1200 £900, $1000 £1460, $1700
DX/FX DX DX FX FX DX FX FX FX
Effective focal length 15-30mm 15-36mm 18-36mm 27-52.5mm 15-36mm 22.5-45mm 24-52.5mm 21-36mm
(DX)
Angle of view 110-71º 108-60º 122-84º 100-63º 109-61º 110-71º 107-63º 114-84º
(diagonal)
Elements/groups 13 / 10 12 / 9 17 / 13 12 / 8 14 / 9 18 / 13 17 / 12 14 / 11
Diaphragm blades 7 blades 7 blades 6 blades 7 blades 7 blades 9 blades 9 blades 9 blades
Minimum aperture f/22 f/22-f/29 f/22-f/29 f/22-f/29 f/22-f/29 f/22 f/22 f/22
Optical stabiliser No No No No No Yes Yes No
Autofocus motor type Ultrasonic (ring) Electric motor Ultrasonic (ring) Ultrasonic (ring) Ultrasonic (ring) Ultrasonic (ring) Ultrasonic (ring) Ultrasonic (ring)
Internal focus Yes Yes Yes Yes Yes Yes Yes Yes
Min focus distance 0.24m 0.24m 0.28m 0.28m 0.24m 0.28m 0.28m 0.28m
Max magnification 0.15x 0.20x 0.16x 0.20x 0.20x 0.20x 0.25x 0.15x
Filter size 82mm 77mm 82mm (slip-on) 77mm 77mm N/A 77mm N/A
Lens hood Supplied Supplied Built-in Supplied Supplied Built-in Supplied Built-in
Dimensions (dia x
NIKON SKILLS
length) 87x88mm 83x87mm 87x120mm 83x95mm 83x87mm 98x145mm 83x125mm 98x132mm
Weight 520g 406g 670g 385g 460g 1100g 680g 1000g
FEATURES
BUILD/HANDLING
PERFORMANCE
VALUE FOR MONEY
OVERALL

Nikon AF-S 14-24mm
Tamron SP 15-30mm f/2.8G ED £14660, $17000
FX
f/2.8 Di VC USD
NIKOPEDIA
FX What’s good: Spectacular image
quality – superb sharpness.
What’s bad: No optical
£850, $12000 stabilisation; expensive.
What’s good: Image quality, ultra-wide viewing Verdict: The ultimate ultra-wide
angle, fast f/2.8 aperture, optical stabilisation. FX- format lens, but so pricey.
What’s bad: Edge sharpness isn’t as good as from
the Nikon 14-24mm or 16-35mm lenses at f/2.8 to f/4.
Our verdict: It’s a fabulous lens with excellent DQGHGJHVKDUSQHVVDWYHU\ZLGH Sigma 10-20mm f/3.5 EX
handling, and is very reasonably priced. DSHUWXUHVEXWLVPXFKOHVVH[SHQVLYH DC HSM £3300, $4550 DX
,I\RXGRQ·WQHHGTXLWHVXFKDJHQHURXV What’s good: Very good image

0DNHQRPLVWDNHWKH1LNRQPPLV PD[LPXPYLHZLQJDQJOHRUVXFKDZLGH quality, refined handling.
DSKHQRPHQDOOHQVZLWKVSHFWDFXODU DSHUWXUHWKH1LNRQPPI95LV What’s bad: Sharpness could
SHUIRUPDQFHEXWLWLVH[SHQVLYH8QOHVV DQRWKHUYHU\JRRGEX\ZKLOHWKH6LJPD be slightly better.
Verdict: It’s the best DX-format
XOWUDZLGHVKRRWLQJLV\RXUWKLQJWKH PPLVXQEHDWDEOHLI\RXZDQWWR
ultra-wide zoom on the market.
7DPURQPPLVDEHWWHUEX\,W WDNHYLHZLQJDQJOHVWRWKHH[WUHPH
ESSENTIAL KIT
PDWFKHVWKH1LNRQIRULWVFRQVWDQWI ,QWKH';FDPSWKH6LJPDPP
DSHUWXUH\HWDGGVRSWLFDOVWDELOLVDWLRQLV ILVWKHEHVWFKRLFHIRUSHUIRUPDQFH
EHDXWLIXOO\EXLOWZLWKDZHDWKHUUHVLVWDQW DQGLW·VDVWHDODWWKHSULFH)RUDQHYHQ
FRQVWUXFWLRQDQGGHOLYHUVIDEXORXV ZLGHUYLHZLQJDQJOHRQD';ERG\WKH
LPDJHTXDOLW\,WPDUJLQDOO\ORVHVRXWWR 6LJPDPPLVWKHGLUHFWHTXLYDOHQWRI
WKH1LNRQIRUPD[LPXPYLHZLQJDQJOH WKHPP);OHQVRQWHVW

SLR ADVICE
PHOTO TECHNIQUES
Versatile
performers
Need a standard zoom for
NIKON SKILLS
your full-frame body?

Matthew Richards searches
out the best options
P
urchase a Nikon full- When you’re out for a stroll
frame D-SLR body and about town or jetting off to the
you can be assured of other side of the world, a good
something special. zoom lens cuts down the
Geared to the high-end carrying load and gives you
enthusiast and professional greater versatility. You can
sectors of the market, FX respond to varied photo
bodies deliver quality where opportunities with a mere
it counts: in the image. There’s twist of the zoom ring, instead
NIKOPEDIA
a lot to be said for coupling of having to rummage around

these bodies with fast, high- in your camera bag for a
performance prime lenses in different lens.
order to get the very best out FX lenses tend to set the bar
of them, but that’s not always rather higher in terms of
practical or convenient. quality and performance.
The contenders
TAMRON SP AF 28-75mm f/2.8 XR Di £320, $500
NIKON AF-S 24-85mm f/3.5-4.5G ED VR £360, $500
SIGMA 24-70mm f/2.8 IF EX DG HSM £550, $800
ESSENTIAL KIT
SIGMA 24-105mm f/4 DG OS HSM | A £600, $900

NIKON AF-S 24-120mm f/4G ED VR £850, $1100
Image: iStock
NIKON AF-S 24-70mm f/2.8G ED £1200, £1800

NIKON AF-S 24-70mm f/2.8E ED VR £1850, $2400

199
ESSENTIAL KIT

STANDARD FX ZOOMS
SLR ADVICE
They’re typically larger and although the Nikon 24-120mm through the zoom range. correct in image-editing
heavier than DX lenses, as and Sigma 24-105mm lenses Talking of zooms, the range programs like Lightroom.
they’re required to produce a have a narrower f/4 constant offered by FX standard zoom Yet another difference is that
bigger image circle that can aperture. This helps to keep the lenses is sometimes smaller than most DX-format standard zoom
cover a full-frame image sensor size and weight of the lenses it is with DX lenses, equating to lenses give a relatively blinkered
rather than a smaller APS-C manageable for everyday MXVWXQGHU[IRUDW\SLFDO wide-angle perspective at their
format one. shooting, despite the bigger 24-70mm zoom. shortest focal length. For
Aiming to deliver the quality, zoom range and longer Again, this helps to maintain H[DPSOH1LNRQ·VPPDQG
versatility and performance telephoto reach. high image quality, with a 18-105m DX-format ‘kit’ lenses
demanded by enthusiast and 7KHRQO\H[FHSWLRQWRWKH potential reduction in barrel and only give an effective focal
PHOTO TECHNIQUES
professional photographers, constant-aperture rule comes in pincushion distortions at either length of 27mm at their shortest
most FX-format zoom lenses are the shape of the Nikon 24-85mm end of the zoom range. zoom setting. By comparison,
constant-aperture, which means lens, which has a variable It also helps to keep most FX-format standard zooms
you can set the widest aperture PD[LPXPDSHUWXUHWKDWVKULQNV distortions more uniform across offer a wider viewing angle,
in manual or aperture-priority IURPIWRIDV\RXH[WHQG the frame, so they’re easier to based on a shortest focal length
shooting mode and know that of 24mm. The only current
LW·VJRLQJWRUHPDLQÀ[HG H[FHSWLRQRQWKHPDUNHWLVWKH
regardless of changes in Tamron 28-75mm lens. This
the zoom setting. relatively old lens is also the only
The widest available aperture Aiming to deliver the quality, versatility and one in the group that lacks
also tends to be faster than in performance demanded by enthusiast and ring-type ultrasonic autofocus,
most DX-format lenses. Most which is quick and quiet, as well
of the lenses in this test group
pro photographers, most FX-format zoom as enabling full-time manual
have a constant f/2.8 aperture, lenses have a constant-aperture design override in single AF mode.
NIKON SKILLS
Features to look for...

DON’T SPLASH ANY CASH WITHOUT
CHECKING THESE SIX ESSENTIALS
APERTURE
ZOOM RANGE Most of the lenses on test boast
The most ‘standard’ zoom range for a fairly fast constant f/2.8 max
this class of FX lens is 24-70mm, but aperture, but both of the ‘longer’
a couple of the zooms, from Sigma lenses from Sigma and Nikon
and Nikon, extend the reach to have a constant f/4 aperture.
105mm and 120mm respectively.
AUTOFOCUS
All but the Tamron 28-75mm feature RING PLACEMENT
ring-type ultrasonic autofocus, which Some lenses have the zoom ring
NIKOPEDIA
enables full-time manual override. at the rear, whereas others have

None of the lenses on test either it at the front. Either may feel
extend or rotate when focusing. more natural, depending on
what other lenses you use.
Jargon buster
ZOOM DIRECTION
VIGNETTE CONTROL The operating direction of the
All lenses suffer from a darkening zoom ring is reversed in the
of the corners, especially at very two Sigma lenses (you twist
anti-clockwise for longer zoom
wide angles and apertures, to settings, viewed from rear)
varying extents. Many Nikon bodies compared with Nikon lenses.
now offer Vignette Control, which All lenses on test physically
corrects this with Nikon lenses. extend when zooming.
ESSENTIAL KIT
DISTORTION CORRECTION
In some of the newer Nikon bodies, OPTICAL
STABILISATION
automatic correction is available for
Only half of the lenses on test
distortion when using many Nikon have optical stabilisation. It
lenses, which can save time at the can be a big help for handheld
editing stage. shooting in dull light.

ESSENTIAL KIT
SLR ADVICE
PHOTO TECHNIQUES
Tamron SP AF 28-75mm Nikon AF-S 24-85mm
f/2.8 XR Di £320, $500 f/3.5-4.5G ED VR £3660, $5000
NIKON SKILLS
SMALL AND INEXPENSIVE, BUT A BIT BASIC NOT JUST A KIT LENS
This veteran lens was launched Best known as a kit lens

back in 2003, then revised in
Centre sharpness (Higher is better) supplied with the D600 and
2008 (along with various other 2500
subsequent D610, the Nikon 2500
Tamron lenses) with the 2000 24-85mm VR is an attractive 2000
addition of a built-in autofocus 1500 purchase in its own right. It’s 1500
PRWRU,W·VWKHOHDVWH[SHQVLYH 1000
UHODWLYHO\LQH[SHQVLYHIRUDQ); 1000
lens in the group in the UK, standard zoom, quite small and
500 500
although it has the same price the outright lightest in weight
as the Nikon 24-85mm in the 0
of any lens in this test group, at 0
f/2.8-3.5 f/4-5 f/5.6 f/8 f/11 f/16 f/22 f/32 f/2.8-3.5 f/4-5 f/5.6 f/8 f/11 f/16 f/22 f/32
USA. It loses out to the Nikon in just 465g. It’s not all good news,
zoom range, especially at the 28mm 35mm 50mm 70mm though, as it’s also the only lens 24mm 50mm 70mm 85mm
wide-angle end, but beats it for It edges ahead of the similarly priced Nikon in the group to lack a constant- It’s good on the whole, but corner
24-85mm (right) across the zoom range. sharpness is lacking at wide apertures.
aperture with a constant f/2.8. aperture design. Even so, the
For an f/2.8 standard zoom, PD[LPXPDSHUWXUHUDQJHRI
NIKOPEDIA
the Tamron is remarkably ILVQ·WH[DFWO\VORZ
compact and light, at just Short 2.88 Mid 1.35 Long 1 Compared with the similarly Short 3.71 Mid 1.94 Long 1.46
[PPDQGJ,WDOVR Control over fringing is pretty good at priced Tamron 28-75mm lens There’s not much colour fringing, but it
KDVWKHVPDOOHVWÀOWHUWKUHDGRI 28mm, and gets better at longer settings. that’s also on test (left), three can be a little evident at 24mm.
any lens in the group, at 67mm, advantages are a wider angle
although it’s the only one that Distortion (Nearer 0 is better) of view at the short end of the Distortion (Nearer 0 is better)
only zooms out to 28mm, as SHORT -1.57 zoom range; the addition of VR SHORT -4.06
opposed to 24mm. MID 1.11
LONG 1.11
(Vibration Reduction); and MID 2.97
LONG 2.97
-4 -3 -2 -1 0 1 2 3 faster, quieter ring-type -4 -3 -2 -1 0 1 2 3
Performance The reduced wide-angle coverage means ultrasonic autofocus. Barrel distortion is pretty hefty at the
Image quality is good on the that barrel distortion is minimal. shortest end of the zoom range.
whole, and marginally sharper Performance
than from the Nikon 24-85mm. Autofocus speed is a little
For handheld shooting, though, Verdict pedestrian and VR lacks the Verdict
ESSENTIAL KIT
the lack of stabilisation can Features usual ‘Active’ mode, but Features
degrade sharpness. Considering Build/handling sharpness and contrast are Build/handling
the basic electric motor, Performance good, aided by the inclusion of Performance
autofocus isn’t too noisy or Value for money DQ('([WUDORZ'LVSHUVLRQ Value for money
slow, but the focus ring rotates OVERALL element. Vignetting is less OVERALL
during autofocus, which can It’s a decent budget buy, but the reduced pronounced than with the It’s a good buy at the price but image
impair handling. wide-angle coverage is slightly limiting. Nikon 24-70mm f/2.8 lenses. quality is good rather than great.

STANDARD FX ZOOMS
SLR ADVICE
PHOTO TECHNIQUES
Sigma 24-70mm f/2.8 Sigma 24-105mm

IF EX DG HSM £550, $800 f/4 DG OS HSM | A £600, $9900
NIKON SKILLS
IT’S SHOWING ITS AGE A LITTLE BIG ZOOM RANGE, GREAT VALUE
Compared with Sigma’s shiny Part of Sigma’s Art line, and so

new lenses in its Art, Sport and
Centre sharpness (Higher is better) a more recent design than the
Contemporary categories, this 2500
Sigma 24-70mm lens that’s also 2500
is an older ‘EX’ design that dates 2000 on test (left), this one goes large 2000
back to 2008. That’s not 1500 RQ]RRPUDQJHDWWKHH[SHQVH 1500
necessarily a bad thing, though, 1000

PD[LPXPDSHUWXUH,W 1000
DVWKH(;FODVVLÀFDWLRQZDV WKHUHIRUHWDNHVWKHÀJKWWR
500 500
reserved for Sigma’s pro-grade the Nikon 24-120mm f/4 VR.
lenses. Build quality feels good 0
The optical path includes FLD 0
and the lens is more compact (Fluorite-grade Low Dispersion)
and lightweight than either of 24mm 35mm 50mm 70mm and SLD (Special Low 24mm 50mm 80mm 105mm
the Nikon 24-70mm lenses on It’s a pretty sharp lens overall, but corner Dispersion) elements as well Centre sharpness is excellent, but corner
sharpness is poor at 24mm. sharpness is generally less impressive.
WHVWDW[PPDQGJ as an optical stabiliser (absent
Quality glass includes an ELD in the Sigma 24-70mm).
NIKOPEDIA
([WUDRUGLQDU\/RZ'LVSHUVLRQ As with other Art line lenses,

and two SLD (Special Low Short 6.93 Mid 2.97 Long 2.19 this one is compatible with Short 2.71 Mid 1.41 Long 1.76
Dispersion) elements. Sigma’s Fringing is noticeable towards corners at Sigma’s optional USB Dock, for Aberrations are of a lower order than in
usual Super Multi-Layer 24mm, but less so at longer settings. optimisation, customisation Nikon’s more expensive 24-70mm lenses.
Coating is applied to reduce DQGÀUPZDUHXSGDWHV,W·V
JKRVWLQJDQGÁDUHDQGWKH Distortion (Nearer 0 is better) marginally bigger than the Distortion (Nearer 0 is better)
aperture is based on a well- SHORT -1.94 Nikon 24-120mm lens, and a SHORT -2.99
rounded nine-blade diaphragm. MID 1.28
LONG 1.53
little heavier, but handling MID 2.4
LONG 2.18
-4 -3 -2 -1 0 1 2 3 and build quality feel very -4 -3 -2 -1 0 1 2 3
Performance The Sigma does well to keep barrel and good overall. Well controlled, especially considering
Autofocus speed is quicker than pincushion distortions to a minimum. the bigger-than-average zoom range.
in the Nikon 24-85mm lens. At Performance
short to mid zoom settings, &HQWUHVKDUSQHVVLVH[FHOOHQW
vignetting is less pronounced Verdict throughout the zoom range, Verdict
ESSENTIAL KIT
than in the Nikon 24-70mm Features even at the widest f/4 aperture, Features
lenses. Image quality is good, Build/handling although the Sigma loses out Build/handling
apart from colour fringing and Performance slightly to the Nikon 24-120mm Performance
a lack of corner sharpness at Value for money VR for corner sharpness. Colour Value for money
24mm. The lack of optical OVERALL fringing and distortions are OVERALL
stabilisation can make handheld Image quality could be better at 24mm, well controlled, and image Strong performance, zoom range and
shooting more of a challenge. but it’s a good performer overall. quality is very convincing. build quality make this lens a smart buy.

ESSENTIAL KIT
SLR ADVICE
PHOTO TECHNIQUES
Tamron SP 24-70mm Nikon AF-S 24-120mm
f/2.8 Di VC USD £680, $13000 f/4G ED VR £850, $11000
NIKON SKILLS
A FULLY-FEATURED TRENDSETTER TOP OF THE CLASS FOR ZOOM RANGE
Tamron beat both Nikon and Although it has a constant

Sigma in the race to bring out
Centre sharpness (Higher is better) widest aperture of ‘only’ f/4,
a stabilised 24-70mm f/2.8 2500
this Nikon beats everything 2500
zoom. Indeed, this Tamron lens 2000 in the group for zoom range, 2000
is now four years old, whereas 1500 stretching from 24mm to an 1500
Nikon’s equivalent lens has only 1000

XQPDWFKHGPPIRUH[WUD 1000
just been launched, and Sigma telephoto reach. It’s therefore
500 500
has yet to release one. tempting for anyone who
More sophisticated than the 0
doesn’t mind switching to a fast 0
Tamron 28-75mm lens that’s prime lens, like an 85mm f/1.4
on test, this one has ring-type 24mm 35mm 50mm 70mm or f/1.8, when they want a 24mm 50mm 85mm 120mm
autofocus, stabilisation, Centre sharpness is very good at most UHDOO\WLJKWGHSWKRIÀHOG Sharpness is good across the entire
settings. Corner sharpness lags behind. frame, throughout the whole zoom range.
a nine-blade diaphragm and A popular kit lens option with
weather seals. The optical the D750, it nevertheless feels
NIKOPEDIA
GHVLJQLQFOXGHVWZR;5([WUD less like a ‘kit’ lens than the
5HIUDFWLYH,QGH[DQGWKUHH/' Short 2.23 Mid 1.09 Long 1.27 Nikon 24-85mm VR. Build Short 4.06 Mid 2.64 Long 1.33
(Low Dispersion) elements. It There’s less fringing than from the Nikon quality feels better, and the VR On the high side at the short end of the
feels a fully professional-grade 24-70mm lenses at short to mid settings. system has normal and active zoom range, but better at longer settings.
lens. Unlike on the Sigma modes. Other improvements
lenses on test, the direction of Distortion (Nearer 0 is better) over the 24-85mm lens include Distortion (Nearer 0 is better)
operation of the zoom ring is SHORT -3.19 Nano Crystal rather than Super SHORT -4.19
the same as in Nikon lenses. MID 1.16
LONG 1.63
Integrated coatings, to reduce MID 2.55
LONG 2.9
-4 -3 -2 -1 0 1 2 3 JKRVWLQJDQGÁDUHDQGDEHWWHU -4 -3 -2 -1 0 1 2 3
Performance Distortion at 24mm is better controlled rounded nine-blade diaphragm. Pronounced at 16mm but not overly bad,
Autofocus is fast, quiet and than in the Nikon 24-70mm lenses. considering the large viewing angle.
accurate. Centre sharpness is Performance
JHQHUDOO\H[FHOOHQWEXWGURSV There’s little to choose between
off a little at longer zoom Verdict this and the Nikon 24-85mm in Verdict
ESSENTIAL KIT
settings, especially at the Features terms of centre sharpness, but Features

widest aperture. Compared Build/handling the 24-105mm hangs onto Build/handling
with the latest Nikon 24-70mm Performance corner sharpness better, and Performance
VR, corner sharpness is a little Value for money also outperforms the Sigma Value for money
lacklustre. On the other hand, OVERALL 24-105mm in this respect. OVERALL
chromatic aberrations and Apart from slightly disappointing corner Autofocus is fast and VR is An extra-large zoom range with little
distortions are well controlled. sharpness, it’s a cracking lens. highly effective. compromise in image quality.

STANDARD FX ZOOMS
SLR ADVICE
PHOTO TECHNIQUES
Nikon AF-S 24-70mm Nikon AF-S 24-70mm

f/2.8G ED £12000, £18000 f/2.8E ED VR £1850, $22400
NIKON SKILLS
THIS OLD-TIMER STILL HAS SOMETHING TO OFFER A MAJOR UPGRADE, IN SOME WAYS
Originally launched along with The only lens on test to weigh

the D3 back in 2007, this has
Centre sharpness (Higher is better) over a kilo, the new pro-grade
long been the standard zoom 2500
Nikon is laden with features. 2500
of choice for many pros. Design 2000 Building on the success of the 2000
highlights include three ED 1500 older ‘G’ lens (left), it adds 1500
elements and three aspherical 1000

optical stabilisation, an 1000
elements, along with a Nano electromagnetically controlled
500 500
Crystal coating. It’s a hefty diaphragm, a more robust build
OHQVPHDVXULQJ[PP 0
with full weather seals, and 0
DQGZHLJKLQJJ(YHQVRLW·V muck-repellent coatings on the
still smaller and lighter than 24mm 35mm 50mm 70mm front and rear elements. 24mm 35mm 50mm 70mm
the new VR edition of Nikon’s Great in the centre, sharpness drops off 2SWLFDOÀQHU\LQFOXGHVWZR Centre sharpness is exemplary. Corner
considerably towards the corners. sharpness is better than in most rivals.
24-70mm (right). Speaking of ED glass elements and an HRI
which, Vibration Reduction is element, plus a newly developed
NIKOPEDIA
notably absent on this lens. aspherical ED element and

Overall build quality feels of Short 4.08 Mid 4.92 Long 1.09 three further aspherical Short 5.55 Mid 4.92 Long 0.71
an entirely pro-grade standard, Colour fringing can be quite evident in the elements. Physically bigger Lab scores are unimpressive through the
DV\RX·GH[SHFWIURPDVWDQGDUG short to mid sector of the zoom range. than the older G-mount lens, short to mid sector of the zoom range.
zoom with this price tag. Like WKLVRQHH[WHQGVHYHQIXUWKHU
the newer VR edition, the zoom Distortion (Nearer 0 is better) at either end of the zoom range, Distortion (Nearer 0 is better)
ring is at the rear of the lens, SHORT -3.73 notably at the wide-angle end. SHORT -3.94
with the focus ring further MID 1.5 MID 0.92
IRUZDUG,W·VDFRQÀJXUDWLRQ -4 -3 -2 -1 0
LONG 0.53
1 2 3
Performance -4 -3 -2 -1 0
LONG 2.12
1 2 3
WKDWVRPHPD\ÀQGXQLQWXLWLYH There’s heavy barrel distortion at 24mm, For rapid bursts of shots, the At 24mm and 70mm, worse than
but very little pincushion at 70mm. electromagnetically controlled Nikon’s older 24-70mm f/2.8 lens.
Performance diaphragm ensures consistency
AF is fast and quiet, and centre LQH[SRVXUHVZKLOHDXWRIRFXVLV
VKDUSQHVVLVH[FHOOHQWEHDWLQJ Verdict rapid. Centre sharpness is Verdict
ESSENTIAL KIT
that of the Nikon 24-70mm at Features superb and corner sharpness is Features
some combinations of zoom Build/handling better than in the older Nikon Build/handling
setting and aperture. However, Performance or the Tamron 24-70mm lenses. Performance
corner sharpness is less Value for money Image quality isn’t perfect, Value for money
impressive and similar to that OVERALL however: vignetting is OVERALL
of the Tamron 24-70mm, and It’s a sturdy workhorse with good overall noticeable at f/2.8, and It’s a very high-quality lens, and superbly
vignetting is very noticeable. quality, but lacks Vibration Reduction. wide-angle distortion is heavy. sharp, but not entirely perfect.

ESSENTIAL KIT
SLR ADVICE
Comparison
table
HOW THE
LENSES
STACK UP TAMRON NIKON SIGMA SIGMA TAMRON NIKON NIKON NIKON
SP AF 28-75mm AF-S 24-85mm 24-70mm f/2.8 24-105mm f/4 SP 24-70mm AF-S 24-120mm AF-S 24-70mm AF-S 24-70mm
f/2.8 XR Di f/3.5-4.5G ED VR IF EX DG HSM DG OS HSM | A f/2.8 Di VC USD f/4G ED VR f/2.8G ED f/2.8E ED VR
www.tamron.com www.nikon.com www.sigma-global.com www.tamron.com www.nikon.com
PHOTO TECHNIQUES
Street price (UK, USA) £320, $500 £360, $500 £550, $800 £600, $900 £680, $1300 £850, $1100 £1200, $1800 £1850, $2400
Effective focal 42-112.5mm 36-127.5mm 36-105mm 36-157.5mm 36-105mm 36-180mm 36-105mm 36-105mm
length (DX)
Internal zoom/focus No / Yes No / Yes No / Yes No / Yes No / Yes No / Yes No / Yes No / Yes
Elements/groups 16 / 14 16 / 11 14 / 12 19 / 14 17 / 12 17 / 13 15 / 11 20 / 16
Diaphragm 7 blades 7 blades 9 blades 9 blades 9 blades 9 blades 9 blades 9 blades
Optical stabiliser No Yes No Yes Yes Yes No Yes
Focus type Electric motor Ultrasonic (ring type) Ultrasonic (ring type) Ultrasonic (ring type) Ultrasonic (ring type) Ultrasonic (ring type) Ultrasonic (ring type) Ultrasonic (ring type)
Min. focus distance 0.33m 0.38m 0.38m 0.45m 0.38m 0.45m 0.38m (35-50mm) 0.38m (35-50mm)
Max. reproduction 0.26x 0.22x 0.19x 0.22x 0.20x 0.24x 0.27x 0.28x
ratio
Filter size 67mm 72mm 82mm 82mm 82mm 77mm 77mm 82mm
Accessories incl. Hood Hood, pouch Hood, soft case Hood, soft case Hood Hood, pouch Hood, soft case Hood, soft case
Diameter x min length 73x92mm 78x82mm 89x95mm 89x109mm 88x117mm 84x104mm 83x133mm 88x155mm
NIKON SKILLS
Weight 510g 465g 790g 885g 825g 710g 900g 1070g
FEATURES
BUILD/HANDLING
PERFORMANCE
VALUE FOR MONEY
OVERALL

Tamron SP 24-70mm f/2.8
Nikon AF-S 24-70mm Di VC USD £6880, $1300
f/2.8E ED VR £18500, $22400
NIKOPEDIA
What’s good: Very good
overall performance.
What’s good: Fast aperture with VR, robust build, What’s bad: Corner
electromagnetically controlled diaphragm. sharpness is a little lacking.
What’s bad: Costly, and image quality is slightly Our verdict: It’s a pro-grade,
lacking in some respects. high-performance lens at an attractive price.
Our verdict: It’s just about the best lens in the
group, but very expensive.
Sigma 24-105mm f/4 DG
As you’d hope for in a lens costing slightly better, but the Tamron’s centre OS HSM | A £6600, $9900
What’s good: Comparatively
£1850/$2400, the new Nikon 24-70mm sharpness at 70mm isn’t as good and large zoom range, solid build.
is seriously well engineered and delivers it lags behind for corner sharpness. What’s bad: It’s an f-stop slower
very good image quality. Sharpness ,I\RX·GUDWKHUKDYHH[WUD]RRPUDQJH than the f/2.8 lenses on test.
across the frame is very impressive, DWWKHH[SHQVHRIDQIVWRSLQZLGHVW Our verdict: Slightly better than
although there’s room for improvement aperture, the Sigma 24-105mm just the Nikon 24-120mm VR, and cheaper.
ESSENTIAL KIT
when it comes to distortions, colour about wins out over the Nikon 24-
fringing and vignetting. The competing 120mm, with slightly better centre
Tamron 24-70mm f/2.8 only costs sharpness, reduced colour fringing and
about half the price, but matches less distortion. Differences are only
the Nikon for image quality in most subtle, however, and the Nikon has
respects. Indeed, distortions, colour slightly greater telephoto reach and
fringing and vignetting are controlled better corner sharpness.

SLR ADVICE
PHOTO TECHNIQUES
Ready for
action
Keep pace with active subjects.
Matthew Richards reveals the
NIKON SKILLS
lenses to capture every moment

e’ve all been there, been inspired by this year’s
W
done that and got the
lens envy. Almost any
high-action event you
can think of nowadays, from
athletics to air shows, seems to
summer sports spectaculars,
fast-moving wildlife, or some
other speedy subject, the good
news is that there are some
seriously good telephoto lenses
be attended by massed ranks of on the market, at much more
professional photographers affordable prices.
wielding whopping telephoto A main concern when
lenses that cost a fortune. photographing sports and
Prime examples, so to speak, wildlife is how much telephoto
include Nikon’s recently reach you need. For the former,
ODXQFKHGÁXRULWHULFKPP \RX·OORIWHQEHFRQÀQHGWR
NIKOPEDIA
PPDQGPPRSWLFVDQG spectator areas and simply

WKHLUÀYHGLJLWSULFHWDJV won’t be able to get as close to
7RSÁLJKW]RRPVGRQ·WFRPH the action as you’d like. For the
much cheaper, like the Nikon latter, you may well be
PP95DWDURXQG FRQÀQHGWRDKLGH
%XWLI\RX·YH Thankfully some of the
The contenders
TAMRON SP 150-600mm f/5-6.3 Di VC USD £740, $990
SIGMA 150-600mm f/5-6.3 DG OS HSM | C £740, $990
ESSENTIAL KIT
NIKON AF-S 200-500mm f/5.6E ED VR £1180, $1400

Image: iStock / ZU_09
SIGMA 150-600mm f/5-6.3 DG OS HSM | S £1200, $2000

NIKON AF-S 300mm f/4E PF ED VR £1470, $2000
NIKON AF-S 70-200mm f/2.8G ED VR II £1800, $2100
NIKON AF-S 80-400mm f/4.5-5.6G ED VR £1860, $2300

207
ESSENTIAL KIT

TELEPHOTO LENSES
SLR ADVICE
least expensive lenses in this test when using longer focal lengths QLFNQDPHGWKH¶%LJPD·LW·V A notable exception to the
group have telephoto reach of up RIPPRUPPDWIRU VRPHZKDWXQLTXHLQEHLQJDVRUW QHDUO\DOO]RRPOLQHXSLVWKH
WRPPHTXDWLQJWRD IUHVSHFWLYHO\ RI¶WHOHSKRWRVXSHU]RRP·ZLWK recently launched Nikon AF-S
PP¶HIIHFWLYH·IRFDOOHQJWK LWVRYHUVL]HG[]RRPUDQJH,W PPI(3)('95SULPH
on DX-format bodies. Zoom into action can be ideal if you’re at an event lens. Unlike the big-money,
For other high-speed Almost all the lenses that we’ve where you need to continually heavyweight primes that we’re
scenarios, you might be able to chosen for this round-up are switch between standard and QRWIHDWXULQJWKLVLV1LNRQ·VÀUVW
get much closer to the thrills and ]RRPOHQVHV$JDLQLI\RX·UH super-telephoto focal lengths ever F-mount lens to feature a PF
VSLOOVVRDFODVVLFPP limited to a hide, or a seat in a but, ultimately, it can feel a bit of (Phase Fresnel) element, which
]RRPOHQVPLJKWVXIÀFH$Q grandstand, and can’t move a pain using a two-kilogram lens enables a comparatively
obvious choice is Nikon’s own DERXWWKHYHUVDWLOLW\RID]RRP IRUVWDQGDUGUDQJHVKRRWLQJ,W·V compact and lightweight build.
PHOTO TECHNIQUES
KLJKO\DFFODLPHGPP lens is great to have. also been somewhat overtaken $WMXVWJUDPVLW·VDERXWKDOI

I95,,ZKLFKZKLOHEHLQJD An interesting example that E\6LJPD·VQHZHUPP WKHZHLJKWRIPPI
fully pro-grade optic, is still WDNHV]RRPLQJWRWKHH[WUHPHLV lenses, which come in Sports lenses while offering greater
UHDVRQDEO\¶DIIRUGDEOH·DW WKH6LJPD$32PP and Contemporary editions, telephoto reach and a still
7KHI I'*26+60DW both of which are reviewed on UHDVRQDEO\IDVWIDSHUWXUH
constant-aperture design not 2ULJLQDOO\ the following pages. To help keep up with the
only enables fast shutter speeds action, all the lenses on test
IRUIUHH]LQJWKHDFWLRQHYHQ feature ring-type ultrasonic
under dull lighting conditions, DXWRIRFXVV\VWHPV(YHQVR
but also delivers a tight depth of VRPHDUHTXLFNHUWKDQRWKHUV
ÀHOGIRULVRODWLQJWKHPDLQ If you’re limited to a hide, or a seat in a and more able to track fast-
subject by blurring the moving subjects. Let’s take a
background. That said, you can
grandstand, and can’t move about, the closer look at what all the
VWLOOJHWDWLJKWGHSWKRIÀHOG versatility of a zoom lens is great to have contenders have to offer.
NIKON SKILLS
What to look for...

FOR TRACK AND FIELD, AS WELL AS
OTHER SPORTING EVENTS, HERE AUTOFOCUS SYSTEM
ARE A FEW FACTORS TO CONSIDER Ring-type ultrasonic autofocus
systems are typically quick in
operation, especially in the type
of telephoto lenses on test,
WEATHER SEALS where relatively lightweight
All the lenses in the group have a internal elements are moved to
weather seal ring on the mounting achieve focusing.
plate, and some have additional
seals around joints and switches.
FOCAL LENGTH
For motor sport and other
TRIPOD COLLAR events where you can’t get
This enables a better balance for physically close to whatever
NIKOPEDIA
heavy lenses when placed on you’re shooting, you’ll often

a tripod or monopod, especially find that you need a lens with
during portrait-orientation a focal length considerably
(upright) shooting. longer than 200mm.
ZOOM OR PRIME?
Zoom lenses offer a degree of
Top tips versatility that’s impossible to
get from a fixed focal length
lens, while super-telephoto
CONSTANT-APERTURE prime lenses also tend to be
In this type of zoom lens, the widest very expensive.
available aperture remains fixed
throughout the entire zoom range. STABILISATION
Optical stabilisation, also called
VR (Vibration Reduction) or VC
EFFECTIVE FOCAL LENGTH
ESSENTIAL KIT
(Vibration Compensation) by
DX sensors have a 1.5x crop factor, manufacturers, can be a
and only use the central region of an massive bonus when using long
FX lens’s image circle. Multiplying focal lengths for handheld or
the focal length by 1.5 gives its monopod-mounted shooting.
‘effective’ focal length relative to
shooting with an FX body.

ESSENTIAL KIT
SLR ADVICE
PHOTO TECHNIQUES
Tamron SP 150-600mm f/5-6.3 Sigma 150-600mm f/5-6.3 DG OS
Di VC USD £740, $9990 HSM | C £7400, $990
NIKON SKILLS
IT’S BIG ON REACH, BUT AFFORDABLY SMALL IN PRICE SMART FEATURES COME AT A VERY COMPETITIVE PRICE
You certainly get a lot of focal One of Sigma’s brace of

length for your money with this
Centre sharpness (Higher is better) PPOHQVHVWKLVLVWKH
7DPURQOHQVLWV]RRPUDQJH 2500
more lightweight and 2500
stretching all the way to 2000 inexpensive C-class 2000
PP7KDWHTXDOVWKHWZR 1500 &RQWHPSRUDU\HGLWLRQ,W·V 1500
Sigma lenses in the group and 1000

essentially the same price as the 1000
beats all the Nikons. As one of competing Tamron lens but is
500 500
Tamron’s SP (Super rather richer in features.
Performance) lenses, it’s 0
The ring-type ultrasonic 0
f/2.8 f/4-5 f/5.6-6.3 f/8 f/11 f/16 f/22 f/25-32 f/2.8 f/4-5 f/5.6-6.3 f/8 f/11 f/16 f/22 f/25-32
GHVLJQHGZLWKTXDOLW\LQPLQG autofocus system adds an extra
and features an LD (Low 150mm 300mm 400mm 600mm 020DQXDO2YHUULGHVHWWLQJ 150mm 250mm 400mm 600mm
Dispersion) and an XLD (eXtra It’s pretty good through most of the zoom which is useful in continuous Outperforms the Tamron 150-600mm at
range but disappointing at the long end. the long end, especially at wide apertures.
Low Dispersion) element, as AF mode. The optical stabiliser
well as an optical stabiliser and includes a panning mode, while
NIKOPEDIA
ring-type ultrasonic autofocus. custom modes for focusing and
(YHQPRUHVXUSULVLQJO\DWWKH Wide 1.06 Mid 0.72 Long 1.59 stabilisation can be applied via Wide 2.08 Mid 1.48 Long 1.16
price, the lens also features Quite well controlled at all focal lengths, 6LJPD·VRSWLRQDO86%'RFN Marginally more fringing in corners than
weather seals. especially in the middle of the zoom range. These are then available via a from the Tamron, at short to mid settings.
The Tamron is reasonably switch on the lens barrel.
compact for a lens with such Distortion (Nearer 0 is better) Another novel feature is that Distortion (Nearer 0 is better)
powerful telephoto reach, WIDE 1.42 WKH]RRPORFNVZLWFKFDQEH WIDE 1.39
while at less than two MID 1.52
LONG 1.47
engaged at any marked focal MID 1.4
LONG 1.41
kilograms, it’s an almost -5 -4 -3 -2 -1 0 1 2 3 OHQJWKLQWKH]RRPUDQJH -4 -3 -2 -1 0 1 2 3 4
identical weight to the The small degree of pincushion distortion Slight pincushion distortion is present,
FRPSHWLQJ6LJPDPP remains constant at all zoom settings Performance but it’s not enough to worry about.
Contemporary-line lens. The Sigma C lens gives
VLPLODUO\TXLFNEXWQRWVXSHU
Performance Verdict fast autofocus performance as Verdict
ESSENTIAL KIT
$XWRIRFXVVSHHGLVIDLUO\TXLFN Features WKH7DPURQPPOHQV Features

EXWQRWTXLWHDVIDVWDVLQVRPH Build/handling ,PDJHTXDOLW\LVDOVRTXLWH Build/handling
RIWKHOHQVHVRQWHVW,PDJH Performance similar on the whole, but the Performance
TXDOLW\LVSOHDVLQJRYHUDOOEXW Value for money Sigma retains better sharpness Value for money
sharpness drops off noticeably OVERALL DWWKHORQJHQGRIWKH]RRP OVERALL
DWWKHORQJHQGRIWKH]RRP It’s an attractive buy at the price, and the range, especially when using It’s a sophisticated super-telephoto zoom
UDQJHEH\RQGPP weather seals are a bonus. the widest available aperture. that’s manageably light, and great value.

TELEPHOTO LENSES
SLR ADVICE
PHOTO TECHNIQUES
Tamron SP 70-200mm f/2.8 Nikon AF-S 200-500mm

Di VC USD £930, $15000 f/5.6E ED VR £1180, $1400
NIKON SKILLS
A HIGH-QUALITY FAST TELEPHOTO ZOOM FOR LESS PLENTY OF REACH AND GOOD PERFORMANCE
Tamron’s constant-aperture With more reach than the

PPILVDGLUHFW
Centre sharpness (Higher is better) 1LNRQPPOHQVWKLV
FRPSHWLWRUWRWKHHTXLYDOHQW 2500
newcomer still falls short of the 2500
Nikon lens but, in the UK at 2000 Sigma and Tamron competition. 2000
least, costs about half the price. 1500 (YHQVRWKHUHGXFHGWHOHVFRSLF 1500
%XLOGTXDOLW\LVQ·WRIWKHVDPH 1000
HIIHFWRIDPPIRFDOOHQJWK 1000
WRSÁLJKWVWDQGDUGDVWKH1LNRQ FRPSDUHGZLWKPPLVQ·W
500 500
lens but the Tamron is robust, hugely noticeable.
and has weather seals. 0
+LJKWHFKWKULOOVLQFOXGHD 0
Telephoto reach isn’t as long as VWDELOLVHUWKDWERDVWVDVWRS
with some lenses on test, but 70mm 100mm 135mm 200mm effectiveness and comes with a 200mm 300mm 400mm 500mm
you can use teleconverters Sharpness is both good and consistent, ¶6SRUW·PRGH7KLVDSSOLHV It’s very good, and remains impressive at
especially if you narrow the aperture. the long end when using a wide aperture.
(Tamron’s UK distributor stabilisation only during the
recommends the Kenko brand). actual exposure, making it a
NIKOPEDIA
The ring-type ultrasonic little easier to track erratically

autofocus system has full-time Short 1.04 Mid 1.29 Long 1.34 moving subjects. The lens Wide 0.3 Mid 0.85 Long 2.21
manual override, but lacks the There’s very little colour fringing, even at features an electromagnetically Mostly minimal but becomes worse than
6LJPDOHQVHV·¶PDQXDORYHUULGH· the extreme corners of the image frame. controlled diaphragm, for average at the long end of the range.
trick mode. The optical stabiliser greater exposure consistency in
has no switchable panning Distortion (Nearer 0 is better) UDSLGÀUHFRQWLQXRXVVKRRWLQJ Distortion (Nearer 0 is better)
mode, although Tamron claims WIDE -0.39 7KHGHVLJQLQFOXGHVWKUHH(' WIDE 1.22
WKDWLWVSURSULHWDU\9& MID 0.35
LONG 0.6
([WUDORZ'LVSHUVLRQ MID 1.36
LONG 1.14
9LEUDWLRQ&RPSHQVDWLRQ -6 -5 -4 -3 -2 -1 0 1 2 elements, but no weather seals -4 -3 -2 -1 0 1 2 3 4
system doesn’t need it anyway. Distortions are negligible, switching from apart from Nikon’s usual rubber Low levels of pincushion throughout the
slight barrel to pincushion as you zoom. ring on the mounting plate. zoom range aren’t cause for concern.
Performance
Autofocus speed is more Performance
impressive than in the Tamron Verdict The speed of the ring-type Verdict
ESSENTIAL KIT
PPDQGWKHZLGHU Features ultrasonic autofocus system is Features

aperture rating enables better Build/handling on a par with the Sigma Build/handling
autofocus performance in dull Performance PP&DQG7DPURQ Performance
OLJKWLQJFRQGLWLRQV,QRXUWHVWV Value for money PPOHQVHVVRLW·VTXLFN Value for money
stabilisation during panning OVERALL EXWGRHVQ·WTXLWHVQDSLQWRSODFH OVERALL
proved less effective than in the This Tamron’s autofocus and like in some other lenses on This competitively priced Nikon lens is a
Nikon and Sigma lenses. performance are excellent for the price. WHVW,PDJHTXDOLW\LVYHU\JRRG smart own-brand buy.

ESSENTIAL KIT
SLR ADVICE
PHOTO TECHNIQUES
Sigma 150-600mm f/5-6.3 DG OS Nikon AF-S 300mm f/4E PF ED VR
HSM | S £12000, $20000 £1470, $20000
NIKON SKILLS
A SIGMA ‘SPORT’ LINE LENS THAT LIVES UP TO ITS BILLING IT’S PRIME TIME – WITH A RELATIVELY FAST APERTURE
Compared with Sigma’s This Nikon prime lens gives a

&RQWHPSRUDU\PP
Centre sharpness (Higher is better) useful telephoto reach,
2500 2500
WKHÀUVWWKLQJ\RXQRWLFHDERXW HTXLYDOHQWWRPPRQD';
the Sport edition is that it’s 2000 body, but lacks versatility 2000
bigger and nearly a kilogram 1500 FRPSDUHGZLWKD]RRPOHQV 1500
KHDYLHU,QGHHGDWDSLQFK 1000
+RZHYHULWVIDSHUWXUH 1000
under three kilograms, it’s the enables shutter speeds as fast as
500 500
heaviest lens in the group. XVLQJDPPIOHQV
0 0
+RZHYHULW·VVROLGO\EXLOWDQG ZLWKD[WHOHFRQYHUWHU,W·V
whereas the C-class Sigma has also more compact and easily
a weather-sealed mount, this 150mm 300mm 400mm 600mm PDQDJHDEOHWKDQDPP Centre Edge Corner
one has a full set of seals Does well to maintain sharpness right ISULPHOHQVDQGRQO\ Sharpness is quite consistent, but lab
through to its longest zoom setting. test scores are below average.
around the joints and switches. about a third of the price to buy.
The S-class lens builds on the $WJUDPVWKLVOHQVLVRQO\
NIKOPEDIA
feature set of the C-class one, about half the weight of a
with the same multi-mode Wide 1.99 Mid 0.58 Long 1.01 PP]RRP7KHPDLQ Corner 1.88
autofocus and stabilisation There’s very little fringing, even in the reason behind the compact, Fairly minor fringing, but it’s not as well
systems and custom settings corners, throughout the zoom range. lightweight build is that it uses controlled as in some of the zoom lenses.
facilities, plus an extra top- a PF (Phase Fresnel) element,
grade FLD (Fluorite Low Distortion (Nearer 0 is better) DQGLW·VWKHÀUVW1LNRQOHQVWRGR Distortion (Nearer 0 is better)
Dispersion) element, making WIDE 0.64 so. Other attractions include an
a total of two FLD elements MID 0.73
LONG 0.95
electromagnetically controlled CORNER 0.77
and three SLD (Special Low -4 -3 -2 -1 0 1 2 3 4 diaphragm and new-generation -5 -4 -3 -2 -1 0 1 2 3

Dispersion) ones. Almost nonexistent at the short end, and 95ZLWK6SRUWPRGHDVVHHQLQ Pincushion is low but there’s no real
rises only slightly through the zoom range. WKH1LNRQPPOHQV improvement over some of the zooms.
Performance
True to its sporty claims, the Performance
lens features very fast Verdict Considering this is a prime lens, Verdict
ESSENTIAL KIT
autofocus that beats that of the Features sharpness is disappointing – Features

RWKHUPPOHQVHVRQ Build/handling among the worst of any lens in Build/handling
WHVWDQGWKH1LNRQ Performance the group. Autofocus speed is Performance
PP,WDOVREHDWVWKHPIRU Value for money pedestrian as well. There’s very Value for money
sharpness at the long end of the OVERALL little pincushion distortion but, OVERALL
]RRPUDQJHDQGLVSDUWLFXODUO\ It’s a spectacular super-telephoto lens RYHUDOOLPDJHTXDOLW\LVQ·W It’s compact and light but this prime
impressive for such a long lens. with huge reach, at a sensible price. massively impressive. doesn’t excel in terms of image quality.

TELEPHOTO LENSES
SLR ADVICE
PHOTO TECHNIQUES
Nikon AF-S 70-200mm f/2.8G Nikon AF-S 80-400mm f/4.5-5.6G

ED VR II £118000, $2100 ED VR £18660, $2300
NIKON SKILLS
THE GO-TO TELEPHOTO ZOOM FOR MANY PROS THE MODERN REINVENTION OF A CLASSIC
Not just a revamp of an older 1LNRQ·VRULJLQDOPP95

lens, this second edition of
Centre sharpness (Higher is better) ZDVLWVÀUVWOHQVWRLQFRUSRUDWH
2500 2500
1LNRQ·VZRUOGFODVVPP 9LEUDWLRQ5HGXFWLRQ+RZHYHU
95]RRPUHSUHVHQWVDFRPSOHWH 2000 the stabiliser only gave a 2000
UHGHVLJQ,WVIXOO\ZHDWKHU 1500 two-stop effectiveness and, 1500
sealed magnesium alloy build is 1000

worse, the lens had a painfully 1000
designed to take the knocks of a slow camera-driven autofocus
500 500
busy professional lifestyle and system, which was far from
the optical path incorporates no 0
ideal for action photography. 0
f/2.8 f/4-5 f/5.6-6.3 f/8 f/11 f/16 f/22 f/2.8 f/4-5 f/5.6-6.3 f/8 f/11 f/16 f/22
IHZHUWKDQVHYHQ('HOHPHQWV The new edition has updated
The dual-mode autofocus 70mm 105mm 135mm 200mm 95ULQJW\SHXOWUDVRQLF 80mm 200mm 300mm 400mm
system gives priority to either Levels of sharpness are superb across autofocus, and uprated glass Levels of sharpness throughout the zoom
the zoom range, even wide-open at f/2.8. range are good even at wide apertures.
automatic or manual focusing, WKDWLQFOXGHVIRXU('HOHPHQWV
DQGWKH95V\VWHPIHDWXUHV SOXVD6XSHU('HOHPHQW
NIKOPEDIA
automatic panning detection as +RZHYHUOLNHWKH1LNRQ

well as both normal and active Wide 0.84 Mid 1.09 Long 2.19 PP95LWODFNVDQ Wide 1.35 Mid 0.56 Long 0.77
PRGHV(YHQVRWKHGHVLJQLV Fringing is negligible at 70mm and only electromagnetically controlled Minimal fringing at 80mm and it
now seven years old and some rises by a small amount at longer settings. GLDSKUDJP,WVUHYDPSHG diminishes at mid to long zoom settings.
of Nikon’s latest developments four-stop stabiliser still isn’t
are absent, such as an Distortion (Nearer 0 is better) TXLWHDVHIIHFWLYHDVLQWKHODWHVW Distortion (Nearer 0 is better)
electromagnetically controlled WIDE -0.64 1LNRQPPDQGPP WIDE 0.32
diaphragm and a Sport mode MID 1.18
LONG 1.83
lenses, and lacks a Sport mode. MID 1.07
LONG 1.2
IRU9595LVRQO\UDWHGDW -5 -4 -3 -2 -1 0 1 2 3 Outright telephoto reach also -6 -5 -4 -3 -2 -1 0 1 2
stops, which is a full f-stop less The slightest touch of barrel at 70mm; comes up short compared with There’s practically no pincushion at
WKDQLQWKH1LNRQPP a little pincushion at mid to long settings. WKH1LNRQPPDQGWKH 80mm, and very little at longer lengths.
DQGPPOHQVHVRQWHVW PPOHQVHVRQWHVW
Performance Verdict Performance Verdict

ESSENTIAL KIT
Autofocus speed is lightning- Features $XWRIRFXVVSHHGFDQ·WTXLWH Features

fast and practically snaps into Build/handling PDWFKWKDWRIWKHPP Build/handling
place, enabling you to keep up Performance lenses on test, and is marginally Performance
with the fastest sporting action. Value for money slower than in the Sigma Value for money
Sharpness and contrast are OVERALL PP6,PDJHTXDOLW\LV OVERALL
stunning, at any combination of It’s not bang up to date but it’s still the very good, but no better than A high-quality zoom, but a little
focal length and aperture. best 70-200mm lens on the market. from the Sigma S lens. overpriced. It has relatively modest reach.

ESSENTIAL KIT
SLR ADVICE
Comparison
table
HOW THE
LENSES
STACK UP TAMRON SP SIGMA 150-600mm TAMRON SP NIKON AF-S SIGMA 150-600mm NIKON AF-S 300mm NIKON AF-S NIKON AF-S
150-600mm f/5-6.3 f/5-6.3 DG OS 70-200mm f/2.8 200-500mm f/5.6E f/5-6.3 DG OS f/4E PF ED VR 70-200mm f/2.8G 80-400mm
DI VC USD HSM | C DI VC USD ED VR HSM | S ED VR II f/4.5-5.6G ED VR
www.tamron.co.uk www.sigma-global.com www.tamron.co.uk www.nikon.com www.sigma-global.com www.nikon.com
PHOTO TECHNIQUES
Street price £740, $990 £740, $990 £930, $1500 £1180, $1400 £1200, $2000 £1470, $2000 £1800, $2100 £1860, $2300
Effective focal length 225-900mm 225-900mm 105-300mm 300-750mm 225-900mm 450mm 105-300mm 120-600mm
(DX)
Elements/groups 20/13 20/14 23/17 19/12 24/16 16/10 21/16 20/12
Diaphragm blades 9 blades 9 blades 9 blades 9 blades 9 blades 9 blades 9 blades 9 blades
Minimum aperture f/32 f/22 f/32 f/32 f/22 f/32 f/22 f/32-40
Optical stabiliser 4 stops 4 stops 4 stops 4.5 stops 4 stops 4.5 stops 3.5 stops 4 stops
Autofocus motor type Ultrasonic (ring-type) Ultrasonic (ring-type) Ultrasonic (ring-type) Ultrasonic (ring-type) Ultrasonic (ring-type) Ultrasonic (ring-type) Ultrasonic (ring) Ultrasonic (ring-type)
Internal zoom/focus No/Yes No/Yes Yes/Yes No/Yes No/Yes NA/Yes Yes/Yes No/Yes
Angle of view 16-4º 16-4º 34-12º 12-5º 16-4º 8º 34-12º 30-6º
(diagonal)
Min focus distance 2.7m 2.8m 1.3m 2.2m 2.6m 1.4m 1.4m 1.5m
Max magnification 0.2x 0.2x 0.13x 0.22x 0.2x 0.24x 0.12x 0.2x
Filter size 95mm 95mm 77mm 95mm 105mm 77mm 77mm 77mm
Weather seals Yes Sealed mount Yes Sealed mount Yes Sealed mount Yes Sealed mount
Included accessories Hood, tripod collar Hood, tripod collar Hood, tripod collar Hood, tripod collar, Hood, tripod collar Hood, soft case Hood, tripod collar, Hood, tripod collar,
soft case soft case pouch
Dimensions (dia x 106x258mm 105x260mm 86x197mm 108x268mm 121x290mm 89x148mm 87x206mm 96x203mm
NIKON SKILLS
length)
Weight 1951g 1930g 1470g 2300g 2860g 755g 1540g 1570g
FEATURES
BUILD/HANDLING
PERFORMANCE
VALUE FOR MONEY
OVERALL

Nikon AF-S 70-200mm
Sigma 150-600mm f/2.8G ED VR II £18000, $2100
f/5-6.3 DG OS HSM | S
NIKOPEDIA
What’s good: Rugged build,
stunning image quality, fast AF.
What’s bad: Lacks the latest
£1200, $2000 technology, limited telephoto reach.
What’s good: Enormous telephoto reach, high-end Our verdict: Pricey, but the best
features and performance, weather seals. 70-200mm f/2.8 lens in the world.
What’s bad: Its weight makes it uncomfortable for
prolonged handheld shooting.
Our verdict: It’s a fabulous super-telephoto zoom 7DPURQPPLVDOLWWOHPRUHEDVLF
Nikon AF-S 200-500mm
and excellent value at the price.
and is softer at the long end, but boasts a f/5.6E ED VR £1180, $1400
What’s good:
more extensive set of weather seals. Electromagnetically controlled
6LJPD·VPP6KDVDPLJKW\ 1LNRQ·VPPORVHVRXWRQ]RRP diaphragm, ‘sports’ VR mode.
]RRPUDQJHZKLOHUHWDLQLQJH[FHOOHQW range but combines very good image What’s bad: Lacks some of the
sharpness and contrast at all focal TXDOLW\ZLWKLPSUHVVLYHSHUIRUPDQFH features of the Sigma S lens.
OHQJWKV,WDOVRKDVVXSHUIDVWDXWRIRFXV DQGLVJRRGYDOXH7KH1LNRQPPLV Our verdict: A good Nikon option.
ESSENTIAL KIT
KLJKO\HIIHFWLYHVWDELOLVDWLRQDQGUHÀQHG only worth considering if you’re after a

handling. The only down side is that, at relatively compact prime lens, while the
nearly three kilograms, it’s a heavyweight. 1LNRQPP]RRPLVSRRUHUYDOXH
)RUPDLQWDLQLQJWKHVDPH]RRPUDQJH WKDQRWKHURSWLRQV,QWKHPP
LQDOLJKWHUSDFNDJHWKH6LJPD IFDPSWKH1LNRQUHLJQVVXSUHPH
PP&LVDQXQEHDWDEOHEDUJDLQEX\ but the Tamron is very capable and is the
with its advanced feature set. The best choice if you’re on a tight budget.

SLR ADVICE
2
PHOTO TECHNIQUES
Flashes of
inspiration
Dedication is the key to
hjeasy yet effective flash
NIKON SKILLS
1
photography. Matthew
Richards reveals the best
Nikon-fit buys
ot just there for life’s
N
EHDPLQJVXQVXFFHVVIXOÁDVK
darker moments, a SKRWRJUDSK\LVDOODERXW
ÁDVKJXQFDQPDNHD FUHDWLQJDEDODQFH
PDVVLYHGLIIHUHQFHWR 7U\LQJWRZRUNRXWKRZ
WKHTXDOLW\RIOLJKWLQJHYHQ PXFKÁDVKSRZHU\RXQHHGLQ
under the midday sun. Indeed, DQ\JLYHQVLWXDWLRQXVHGWR
WKH\·UHSDUWLFXODUO\XVHIXOIRU demand some mental (and
VRIWHQLQJRUHOLPLQDWLQJ VRPHWLPHVPDGGHQLQJ
XQVLJKWO\VKDGRZVLQVXQQ\ DULWKPHWLF1RZDGD\VWKDQNV
NIKOPEDIA
GD\SRUWUDLWV+RZHYHU WR77/7KURXJK7KH/HQV

ZKHWKHU\RX·UHVKRRWLQJ ÁDVKPHWHULQJ\RXUFDPHUD
DJDLQVWDEDFNGURSRIQLJKW FDQWHDPXSZLWKDGHGLFDWHG
WLPHFLW\OLJKWVVWHSSLQJ ÁDVKJXQWRVWULNHDJUHDW
indoors for some interior EDODQFHEHWZHHQH[SRVLQJIRU
VKRWVRUFRPSHWLQJZLWKWKH DPELHQWOLJKWDQGDSSO\LQJ
THE CONTENDERS
1 Gloxy GX-F990 N TTL £130, $200
2 Metz mecablitz 52 AF-1 Digital £180, $320
ESSENTIAL KIT
3 Nikon SB-500 Speedlight £195, $250

4 Nissin Di866 MKII Professional £200, $315
6 Metz mecablitz 64 AF-1 Digital £300, $480
7 Phottix Mitros+ TTL Transceiver £330, $400

8
ESSENTIAL KIT
215
4
7
5

3
DEDICATED FLASHGUNS
SLR ADVICE
UHJXODU77/ÁDVKPHWHULQJWKLV
WDNHVPRUHDFFRXQWRIDPELHQW
EHFRPHVYHU\PXFKELJJHU7KLV
JHQHUDWHVDPXFKVRIWHUTXDOLW\
ODZKHUHFRPHVWKDWPDWKV
DJDLQZKLFKEDVLFDOO\PHDQV Jargon buster
OLJKWLQJOHYHOV,QGHHG77/%/ RIOLJKWWKDW·VPXFKPRUH WKDWLI\RXGRXEOHWKHGLVWDQFH
LVWKHGHIDXOWÁDVKPRGHIRU ÁDWWHULQJIRUSRUWUDLWXUH \RXRQO\JHWDTXDUWHURIWKH GUIDE NUMBER (GN)
PRVWRI1LNRQ·VUHFHQW <RXFDQDOVRJHWPXFKEHWWHU OLJKW<RXFDQWKHUHIRUHÀQG This is a measurement of flash
\RXUÁDVKJXQFRPLQJXSVKRUW power, usually quoted in metres at
ÁDVKJXQVDQGLVDYDLODEOHLQDOO UHVXOWVE\XVLQJ\RXUÁDVKJXQ
ISO100. Dividing the Gn by the
PRGHOVLQWKLVJURXSDSDUWIURP RIIFDPHUD7KHWUDGLWLRQDOZD\ RQDYDLODEOHSRZHULI\RXWU\WR
aperture value gives the distance
WKH*OR[\DQG3KRWWL[ZKLFK WRGRWKLVLVWRXVHDÁDVK ERXQFHWKHOLJKWWRRIDU
the light will reach and still
RQO\JLYHWKHRSWLRQIRUUHJXODU H[WHQVLRQFRUGZKLFKOLQNVWKH )RUGLUHFWÁDVKDWOHDVWDOO
Illuminate the subject sufficently. At
77/PHWHULQJ ÁDVKJXQWRWKHFDPHUD·VKRWVKRH WKHÁDVKJXQVRQWHVWDSDUWIURP
ISO100 a flash with a Gn of 60 will be
PHOTO TECHNIQUES
7KHPRVWGLUHFWÁDVKURXWHLV YLDDVWUHWFKDEOHFXUO\FDEOH WKH1LNRQ6%KDYHWKH

able to illuminate a subject 15m
WRVOLGH\RXUÁDVKJXQLQWR\RXU +RZHYHUPRVWFXUUHQW DGYDQWDJHRIDQDXWRPDWLF away at an aperture of f/4
FDPHUD·VKRWVKRHSRLQWDQG ÁDVKJXQVKDYHZLUHOHVV PRWRULVHG]RRPKHDG7KLV (60÷4=15).
VKRRW7KLVFDQ\LHOGGHFHQW FRPPXQLFDWLRQVEXLOWLQVRWKH\ PHDQVWKH\QDUURZWKHÁDVK
UHVXOWVEXWLPDJHVWHQGWRKDYH FDQRSHUDWHLQPDVWHURUVODYH EHDPWRNHHSLQVWHSZLWKORQJHU EXTENSION CORD
DWZRGLPHQVLRQDO¶VQDSVKRW· PRGHVIRUPXOWLÁDVKJXQ ]RRPVHWWLQJVRUZKHQFKDQJLQJ To enable TTL flash metering, a
ORRN$OOWKHÁDVKJXQVRQWHVW VHWXSV WRDOHQVZLWKDORQJHUIRFDO flash extension cord needs to be
KDYHERXQFHDQGVZLYHOKHDGV $GRZQVLGHRIERXQFHÁDVK OHQJWKW\SLFDOO\RYHUDUDQJH Nikon-dedicated. Examples include
HQDEOLQJ\RXWRÀUHWKHÁDVKDWD HVSHFLDOO\LQDUHDVZLWKYHU\ RIPP);FDPHUDVRU the Nikon SC-29. Thirdy-party
ZDOORUFHLOLQJLQVWHDGRIGLUHFWO\ KLJKFHLOLQJVRUGLVWDQWZDOOVLV PP';$IWHUDOOWKHUH·V cables tend to cost a bit less.
DWWKHVXEMHFWVHHSDJH WKDWWKHOLJKWIURPWKHÁDVKKDV QRSRLQWZDVWLQJSRZHU
:KHQUHÁHFWHGRIIDODUJHZKLWH to travel a lot further. The LOOXPLQDWLQJDZLGHDUHDLI
VXUIDFHOLNHDZDOOWKHVL]HRI LQWHQVLW\RIOLJKWGURSVRII \RX·UHRQO\VKRRWLQJDQDUURZ
WKHOLJKWVRXUFHHIIHFWLYHO\ DFFRUGLQJWRWKHLQYHUVHVTXDUH DUHDZLWKDWHOHSKRWROHQV
EQUIPMENT KNOW-HOW
NIKON SKILLS
On the bounce
FEATURES TO LOOK FOR… A bounce range of between 0 and 90 degrees
Get all the power and clever tricks (horizontal to vertical) is usually available,
you need for flash photography and some flashguns add a -7 or -9 degree
downward-slanting option for close-ups.
Heads up
Many flashguns have a wide-angle
diffuser panel to spread coverage
when using ultra-wide angle lenses,
and a reflector card for directing some
light forwards in upright bounce mode
NIKOPEDIA
(see page 26 for more on this).
Light tube
The flash tube fires a very bright
pulse of light for a split second.
The maximum available output
is quoted as a Guide number
(see Jargon Buster, above).
ESSENTIAL KIT
LCD screen Control

An illuminated LCD info On-board controls tend
panel is useful for displaying to comprise an array of
Zoom, zoom important flash settings. buttons and dials. With the
The most common motorised zoom range is 24 to The Metz flashguns on test Nikon SB-500, however,
105mm but some stretch a little further. For example, go even further, with mono adjustments need to be
the Nikon SB-910 has a 17 to 200mm zoom facility. or colour touchscreens. made via the camera.

ESSENTIAL KIT
SLR ADVICE
STEP BY STEP Bouncing and beyond
Bounce and swivel aren’t the only ways to be more flash
PHOTO TECHNIQUES
01 Straight on 02 Bounce mode 03 Off-camera
With the flashgun mounted in the camera’s Bouncing the flash off the ceiling has produced For this final shot, we used the flash off-camera,
hotshoe and the flash tube aimed straight ahead a much softer and more natural-looking lighting connecting to the hotshoe via a coiled cable. We
at the subject, images tend to look rather flat effect. The dark shadows on the wall have been positioned the flashgun slightly higher and to one
and two-dimensional. There aren’t really any banished, and there are some subtle shadows side of the flowers, and we added a diffusion
subtle shadows to give modelling, while the creeping in under the leaves to give a more dome to give some softened but direct light,
shadows behind the flowers are very dark. three-dimensional look. while also bouncing light off the ceiling.
10 things we learned…
NIKON SKILLS
HOW WE TESTED
There are lots of trick modes available in the Nikon
flash system, and a few more tricks on the side REAL WORLD MEETS LAB
We looked for the distance each flash could
cover, as well as how smartly it performed
1 On the button 5 Auto FP ■ All functions, features and firing We also checked for flash
1RWMXVWIRUUDLVLQJWKH 7KLVLVD¶KLJKVSHHG
modes of the flashguns were tested. exposure accuracy, using TTL rather
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To check output power, each than TTL-BL (Balanced fill-flash)
DOVRHQDEOHV\RXWRVHOHFW WKHÁDVKJXQWREHXVHGDWIDVW
flashgun was fired at each setting mode. For this, we photographed a
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throughout its entire range of neutral grey card, which should
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manual settings. This was repeated produce a spike at the centre of the
H[WHUQDOÁDVKJXQ EHLQJDYDLODEOH
at zoom settings of 24mm, 50mm histogram, and then calculated the
and 105mm (FX), where available. amount of over- or under-exposure
2 Red-eye reduction 6 Repeating flash A flash meter was used at a distance in +/-EV (Exposure Value) steps.
7KLVXVHVDEXUVWRI $YDLODEOHLQVRPH
NIKOPEDIA
of one metre, and the resulting light Finally, we measured the recycle
SUHÁDVKOLJKWWRQDUURZWKH ÁDVKJXQVDVZHOODVWKHSRSXS
readings were then converted to speed after a full-power flash,
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give a Gn number at ISO100, using both alkaline and NiMH
ZLOOUHGXFHRUHOLPLQDWHWKH WKLVSURJUDPPDEOHPRGHJLYHV
measured in metres. batteries.
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ÁDVKOLWSRUWUDLWV ORQJH[SRVXUHV
3 Slow sync flash 7 Diffusion dome 9 Spot on

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PRYHPHQWLQORZOLJKW ERXQFHGÁDVK FDPHUD·VVSRWPHWHULQJPRGH
Rear-curtain sync Command module Faster recycling

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HQGRIDORQJH[SRVXUH ÁDVKJXQVLQVODYHPRGH ÁDVKGLVFKDUJH

DEDICATED FLASHGUNS
SLR ADVICE
PHOTO TECHNIQUES
Gloxy GX-F990 N TTL Metz mecablitz 52 AF-1 Digital

£130, $200 £180, $320
NIKON SKILLS
Boasts some clever features at a great price Features an intuitive and very handy touchscreen
7KH*OR[\LVDGLVDUPLQJO\ 7KLV0HW]ÁDVKJXQORRNVSUHWW\
POWER OUTPUT POWER OUTPUT
LQH[SHQVLYHÁDVKJXQ\HWKDVDQ 50
EDVLFIURPWKHUHDUEXWGRQ·WOHW 50
LPSUHVVLYHUDQJHRIDGYDQFHG 45 WKDWIRRO\RX,QVWHDGRIIHDWXULQJ 45
40 40
IHDWXUHVLQFOXGLQJDQPPWR 35 ORWVRIEXWWRQVWKDWFRXOGEHKDUGWR 35
PPPRWRULVHG]RRPKHDGDQG 30
25
use or even to see in the dark, the 30
25
SURJUDPPDEOHUHSHDWPRGH²WKH 20 0HW]KDVDWRXFKVFUHHQ<RXFDQ 20
15 15
ODWWHUEHLQJSUDFWLFDOO\XQKHDUGRI 10 WKHUHIRUHVLPSO\SRNH\RXUZD\ 10
5 5
LQVXFKD¶EXGJHW·ÁDVKJXQ7KH 0
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XVXDOUHPRWHPRXQWLQJVWDQGDQG Full 1/2 1/4 1/8 1/16 1/32 1/64 1/128 1/256 PHQXPDNLQJLWTXLFNDQGHDV\WR Full 1/2 1/4 1/8 1/16 1/32 1/64 1/128 1/256
SRXFKDUHLQFOXGHGEXWWKH*OR[\ 24 50 105 DFFHVVWKHVHWWLQJV\RXZDQWWR 24 50 105

DOVRFRPHVZLWKDGLIIXVLRQGRPH We only managed a power output of DOWHU8SPDUNHWDWWUDFWLRQVLQFOXGH Maximum output at 105mm is the
DQGDERQXVVHWRIFRORXUÀOWHUV Gn 29 at a 105mm zoom setting. WKHXVXDOERXQFHDQGVZLYHOKHDG same as from the Nikon SB-700.
7KHPD[LPXPSRZHUUDWLQJRI*Q ZLWKDPPWRPPPRWRULVHG
LVSUHWW\JRRGDQGWKHFRQWURO TTL ACCURACY ]RRPDEXLOWLQZLGHDQJOH TTL ACCURACY
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%XLOGTXDOLW\IHHOVJRRGWRR7KH -1 -0.5 0 0.5 1 WKLVLVDUHDVRQDEO\ORZEXGJHW -1 -0.5 0 0.5 1
only real disappointment is that In our tests, TTL flash consistently RSWLRQLWODFNVWKH*OR[\·V When it comes to TTL flash metering,
WKHUH·VQRZLUHOHVVPDVWHURUVODYH under-exposed by about a third of a stop. SURJUDPPDEOHVWURERVFRSLFPRGH it tends to give overly bright results.
PRGHVR77/PHWHULQJLVQ·W EXWLWGRHVIHDWXUHIXOOZLUHOHVV
DYDLODEOHLIWKHÁDVKLVWDNHQ RECYCLE SPEED PDVWHUDQGVODYHIXQFWLRQVZKLFK RECYCLE SPEED
RIIFDPHUD7KHUHLVDPRUHEDVLF NiMH
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RSWLFDOVODYHPRGHZKLFKVHQVHV Alkaline &UHDWLYH/LJKWLQJ6\VWHP Alkaline
WKHRXWSXWIURPDSRSXSÁDVKRU 0 1 2 3 4 5 6 7 8 0 1 2 3 4 5 6 7 8
DQRWKHUÁDVKDQGÀUHVWKHÁDVKDW The Gloxy is no slouch, matching some Performance With NiMH batteries, recycling is
of the fastest guns in the group. among the slowest in the group.
WKHSRZHUWKDW·VEHHQVHWPDQXDOO\ $VZLWKWKH*OR[\WKHPD[LPXP
SRZHURXWSXWRIWKHPHFDEOLW]
Performance IHOOVRPHZD\VKRUWRILWVTXRWHG
,QRXUODEWHVWVUHF\FOHVSHHGV Verdict *XLGHQXPEHURIDQGWKLVWLPH Verdict
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DIWHUDIXOOSRZHUÁDVKEXWWKH Build/handling EULJKWVLGH:HDOVRIRXQG Build/handling
PD[LPXPRXWSXWZDVDOLWWOH Performance UHF\FOLQJVSHHGVZHUHDOLWWOH Performance
GLVDSSRLQWLQJFRPSDUHGZLWKWKH Value for money SHGHVWULDQ(YHQVRLW·VJRRG Value for money
FODLPHGYDOXHV:HDOVRIHHOWKDW OVERALL YDOXHDQGWKHWRXFKVFUHHQLV OVERALL
77/DFFXUDF\FRXOGEHEHWWHUDV Good features, though it did SHUIHFWIRUTXLFNO\DFFHVVLQJ The touchscreen on the back of this Metz
WKHUHZDVVOLJKWXQGHUH[SRVXUH underperformed slightly in our tests. DGYDQFHGVHWWLQJV model is a welcome feature.

ESSENTIAL KIT
SLR ADVICE
PHOTO TECHNIQUES
Nikon SB-500 Speedlight Nissin Di866 MKII Professional
£195, $250 £200, $315
NIKON SKILLS
Basic, but with the bonus of a constant light Relatively inexpensive for a ‘pro’ flashgun
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6%LVWKHRQO\ÁDVKJXQLQWKH 50
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40 40
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30 30
WKHVLQJOHOLQHLQWKHJUDSKRQWKH 25
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ULJKW,WDOVRKDVDUHODWLYHO\ORZ 20 WHUPLQDOH[WHUQDOEDWWHU\SDFN 20
15 15
*QDQGUXQVRQMXVWWZR$$ 10 VRFNHWVROLGEXLOGTXDOLW\DQG 10
5 5
EDWWHULHVLQVWHDGRIWKHXVXDOIRXU 0
VRPHVPDUWH[WUDV)RUH[DPSOH 0
3UHWW\PXFKDOODGMXVWPHQWVQHHG Full 1/2 1/4 1/8 1/16 1/32 1/64 1/128 1/256 LW·VWKHRQO\ÁDVKJXQWRPDWFKWKH Full 1/2 1/4 1/8 1/16 1/32 1/64 1/128 1/256
WREHPDGHYLDWKHKRVWFDPHUD 24 0HW]PHFDEOLW]$)LQRIIHULQJ 24 50 105

DQGFRPSDWLELOLW\LVOLPLWHGZLWK There’s no zoom feature, but the power DVHFRQGDU\ÁDVKWXEHIRUDGGLQJ Despite its Gn 60 rating, the Nissin is one
VRPHROGHU'6/5VLQFOXGLQJ' output is pretty respectable at 24mm GLUHFWÀOOÁDVKLQERXQFHPRGH of the least powerful flashes on test.
DQG'VHULHV'6/5VWKH' 7KHUH·VDFRORXU/&'VFUHHQ
''DQG' TTL ACCURACY DURXQGWKHEDFNDQGWKHGLVSOD\ TTL ACCURACY
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IHDWXUHDFRQVWDQW/('OLJKWDVZHOO Performance is impressive, the SB-500 ODQGVFDSHRUSRUWUDLWRULHQWDWLRQ Under-exposure is the norm for TTL
DVDÁDVK7KLVLVJRRGQHZVLI\RX delivering reliable, consistent exposures. $V\RX·GH[SHFWWKH1LVVLQDOVR metering, usually by nearly a full stop.
VSHQGDORWRIWLPHVKRRWLQJ VXSSRUWVIXOOZLUHOHVVPDVWHUVODYH
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PRGH\RXFDQXVHWKH6%LQ NiMH
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RQO\RUDVDZLUHOHVVFRPPDQGHU 0 1 2 3 4 5 6 7 8
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3 8
EXWRQO\ZLWK1LNRQ·VODWHVW' With only two batteries, recycling PD[LPXPSRZHUUDWLQJRI*Q With NiMH batteries, it is one of the
speed is the slowest in the group. slowest flashguns on test to recycle.
''DQG'FDPHUDV looks impressive, at least on paper.
Performance Performance
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1LNRQ6%DWLWVPP]RRP Build/handling ZHUHERWKGLVDSSRLQWLQJDQGWKH Build/handling
VHWWLQJ:HDOVRIRXQG77/ Performance UHF\FOLQJVSHHGZDVVOXJJLVK Performance
DFFXUDF\ZDVVSRWRQPHDQLQJ\RX Value for money Ultimately, the upmarket feature Value for money
ZRQ·WQHHGWRIXVVZLWKH[SRVXUH OVERALL VHWORRNVDPD]LQJDWWKHSULFHEXW OVERALL
FRPSHQVDWLRQEXWUHF\FOLQJVSHHG Accurate, and surprisingly powerful at SHUIRUPDQFHSURYHVWREHUDWKHU The performance doesn’t quite match
LVWKHRXWULJKWVORZHVWLQWKHJURXS short distances too. PRUHDYHUDJH the excellent set of features.

DEDICATED FLASHGUNS
SLR ADVICE
PHOTO TECHNIQUES
Nikon SB-700 Speedlight Metz mecablitz 64 AF-1 Digital

£230, $325 £300, $480
NIKON SKILLS
Feature-packed and keenly priced Premium build quality, pro-grade power

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15 15
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DQGFRORXUÀOWHUV&OHYHUO\WKH 24 50 105 DQRYHUVL]HGFRORXUWRXFKVFUHHQ 24 50 105

6%LVDOVRDEOHWRDXWRPDWLFDOO\ Despite its Gn 38 rating, the SB-700 2WKHUSUROHYHOIHDWXUHVLQFOXGHD The Metz 64 beats every other flashgun
GHWHFWZKHQWKHGRPHRUÀOWHUV competes well against other flashguns. V\QFWHUPLQDODQGDSRZHULQSXW on test for sheer light intensity.
KDYHEHHQÀWWHG VRFNHW²WKHODWWHUIRUDWWDFKLQJDQ
7KHPD[LPXPSRZHUUDWLQJRI TTL ACCURACY RSWLRQDOH[WHUQDOSRZHUSDFN TTL ACCURACY
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*QLVVLJQLÀFDQWO\ORZHUWKDQLQ 0
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ZH·OOFRPHEDFNWRWKDWODWHU Excellent accuracy and consistency GRZQWRWKLQVWHDGRI Impressively consistent and reliable,
&RQVLGHULQJWKHOHYHORI are delivered by TTL flash metering. WKZKLFKFDQEHKHOSIXO if ever-so-slightly on the bright side.
VRSKLVWLFDWLRQLQPRVWDUHDVLW·V ZKHQXVLQJZLGHDSHUWXUHVDWFORVH
VXUSULVLQJWKDW\RXVWLOOQHHGWR RECYCLE SPEED UDQJH$QHDWH[WUDIHDWXUH RECYCLE SPEED
VHOHFWWKHKRVWFDPHUD·VVSRW NiMH
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PHWHULQJIXQFWLRQWRHQDEOH77/ Alkaline VHFRQGDU\ÁDVKWXEHZKLFKLV Alkaline
LQVWHDGRI77/%/ÁDVKPRGH/HVV 0 1 2 3 4 5 6 7 8
JUHDWIRUDGGLQJDOLWWOHGLUHFWÁDVK 0 1 2 3 4 5 6 7 8
VXUSULVLQJJLYHQWKHUHODWLYHO\ Using NiMH batteries, it had the fastest ZKHQ\RX·UHXVLQJWKHPDLQÁDVK It’s quick with NiMH batteries, but
recycle speed of any flashgun on test. you’re in for a wait if you use alkaline
LQH[SHQVLYHSULFHWDJLVWKDW KHDGLQERXQFHRUVZLYHOPRGH
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Performance
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WKH6%H[FHHGHGH[SHFWDWLRQV Build/handling DWOHDVWZKHQXVLQJ1L0+ Build/handling
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PDWFKLQJWKH0HW]DQGEHDWLQJ Value for money ZDVPRUHDFFXUDWH2YHUDOO Value for money
WKH1LVVLQ5HF\FOLQJVSHHGZDV OVERALL SHUIRUPDQFHZDVH[FHOOHQW OVERALL
VXSHUVZLIWDVZHOOHVSHFLDOO\ Accurate, consistent, and its power PDWFKLQJWKHÁDVKJXQ·V Powerful and easy to control, with plenty
ZKHQXVLQJ1L0+EDWWHULHV exceeds expectations. SURIHVVLRQDOJUDGHDVSLUDWLRQV of flash modes to choose from.

ESSENTIAL KIT
SLR ADVICE
PHOTO TECHNIQUES
Phottix Mitros+ TTL Transceiver Nikon SB-910 Speedlight
£330, $400 £340, $545
NIKON SKILLS
A solid on- and off-camera flashgun Nikon’s range-topping pro-spec flashgun
7KHUH·VSOHQW\WRJHWH[FLWHGDERXW 1LNRQ·VWRSÁLJKWÁDVKJXQXQWLOWKH
LQWKLVÁDVKJXQZLWKLWVKLJKHQG 50
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IHDWXUHVWKDWLQFOXGHDIXOOUDQJHRI 45 LQFOXGHVDOORIWKH6%·VIHDWXUHV 45
40 40
ÁDVKPRGHV²SURJUDPPDEOH 35 like its three illumination patterns 35
30 30
UHSHDWDPRQJWKHP%XLOGTXDOLW\ 25
VWDQGDUGHYHQDQGFHQWUH 25
LVH[FHOOHQWSURJUDGHDGGLWLRQV 20 ZHLJKWHGDQGDYLVXDOLQGLFDWRURQ 20
15 15
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5 5
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ÁDVKJXQFRPHVZLWKDGLIIXVLRQ Full 1/2 1/4 1/8 1/16 1/32 1/64 1/128 1/256 VDPHH[WUDVLQFOXGLQJDGLIIXVLRQ Full 1/2 1/4 1/8 1/16 1/32 1/64 1/128 1/256
GRPH7KHPPWRPP]RRP 24 50 105 GRPHDQGFRORXUÀOWHUVDQGOLNHWKH 24 50 105

UDQJHLVQ·WH[DFWO\JHQHURXVEXW Beaten by the Metz 64 for maximum 6%LWFDQGHWHFWZKHQWKH\·UH It’s slightly more powerful than the
ERXQFHDQGVZLYHOUXQIURPWR output, but level with the Nikon SB-910. DWWDFKHGWRWKHÁDVKJXQ3URJUDGH SB-700, but falls far short of the Metz 64.
GHJUHHVDQGGHJUHHVWR DGGLWLRQVLQFOXGHDV\QFWHUPLQDO
ERWKOHIWDQGULJKWUHVSHFWLYHO\ TTL ACCURACY DQGSRZHULQSXWVRFNHWIRUDQ TTL ACCURACY
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RSWLRQDOH[WHUQDOEDWWHU\SDFN -0.16
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EXLOWLQ5)5DGLR)UHTXHQF\77/ Nearly an stop of over-exposure is the SURJUDPPDEOHUHSHDWPRGH7KH Our tests found there’s just a hint of
WUDQVFHLYHU7KLVHQDEOHVUHPRWH norm, so dial in negative compensation. PRWRULVHG]RRPKDVDUDQJHRI under-exposure in TTL flash metering.
WULJJHULQJRIPXOWLSOHPDVWHUDQG PPWRPP7KH6%LV
VODYHÁDVKJXQVZLWKRXWWKHQHHG RECYCLE SPEED ODUJHUDQGKHDYLHUWKDQWKH6% RECYCLE SPEED
IRUD¶OLQHRIVLJKW·RSWLFDOSDWK7KH NiMH
EXWWKHVWDQGDUGRIEXLOGTXDOLW\ NiMH
FRQWUROSDQHOLVDOVRHDV\WRXVH Alkaline IHHOVYHU\VLPLODU7KHFRQWUROSDQHO Alkaline
WKDQNVWRDIRXUZD\SDG 0 1 2 3 4 5 6 7 8
XVHVDVHWRIFRQWH[WVHQVLWLYH 0 1 2 3 4 5 6 7 8
WKDW·VSDUWLFXODUO\LQWXLWLYH Average when using NiMH batteries; EXWWRQVIRULQWXLWLYHDGMXVWPHQWVRI The recycling speed is quick, but it’s not
slower than most with alkaline. as fast as in the lower-powered SB-700.
PRGHVLQFOXGLQJHDV\VZLWFKLQJ
Performance EHWZHHQ77/DQG77/%/PRGHV
7KH3KRWWL[LVRQHRIWKHPRVW
SRZHUIXOÁDVKJXQVLQWKHJURXSEXW Verdict Performance Verdict
ESSENTIAL KIT
77/DFFXUDF\ZDVSRRUZLWKD Features 7KHWHVWHGPD[LPXPRXWSXWSRZHU Features

WHQGHQF\WRZDUGVQRWLFHDEOH Build/handling RIWKH6%ZDVRQO\VOLJKWO\ Build/handling
RYHUH[SRVXUH²DQGWKHUH·VQR Performance KLJKHUWKDQIURPWKH6%DQG Performance
77/%/PRGH:HIRXQGLW·VEHVWWR Value for money 77/DFFXUDF\ZDVQ·WDVDFFXUDWH Value for money
SHUPDQHQWO\DSSO\QHJDWLYHÁDVK OVERALL 5HF\FOLQJVSHHGZDVVOLJKWO\ OVERALL
H[SRVXUHFRPSHQVDWLRQ$SDUWIURP Tends to over-expose, but a very good VORZHU7KHH[WUDIHDWXUHVDUH While it has a great set of features,
WKDWSHUIRUPDQFHZDVYHU\JRRG performer otherwise. FHUWDLQO\QLFHWRKDYH performance could be better.

DEDICATED FLASHGUNS
SLR ADVICE
COMPARISON TABLE
HOW THE
FLASHGUNS
STACK UP
NAME Gloxy GX-F990 N TTL Metz mecablitz Nikon Speedlight Nissin Di866 Mk II Nikon Speedlight Metz mecablitz Phottix Mitros+ Nikon Speedlight
52 AF-1 SB-500 Professional SB-700 64 AF-1 TTL Transceiver SB-910
WEBSITE www.photo24.co.uk www.metzflash.co.uk www.nikon.com www.nissindigital.com www.nikon.com www.metzflash.co.uk www.phottix.co.uk www.nikon.com
TARGET PRICE £130, $200 £180, $320 £195, $250 £200, $315 £230, $325 £300, $480 £330, $400 £340, $545
PHOTO TECHNIQUES
MAX Gn (METRES, ISO100) Gn 54 Gn 52 Gn 24 Gn 60 Gn 38 Gn 64 Gn 58 Gn 54

BOUNCE (DEGREES) -7º to 90º 0 to 90º 0 to 90º 0 to 90º -7 to 90º -9 to 90º -7 to 90º -7 to 90º
SWIVEL (LEFT/RIGHT) 180 / 180 180 / 120 180 / 180 90 / 180 180 / 180 180 / 120 180 / 180 180 / 180
ZOOM RANGE 18-180mm (auto) 24-105mm (auto) 24mm (fixed) 24-105mm (auto) 24-120mm (auto) 24-200mm (auto) 24-105mm (auto) 17-200mm (auto)
DIFFUSER / BOUNCE CARD 14mm / Yes 12mm / Yes No / No 18mm / Yes 12mm / Yes 12mm / Yes 14mm / Yes 14mm / Yes
MANUAL POWER SETTINGS 1/1 to 1/128 1/1 to 1/128 1/1 to 1/128 1/1 to 1/128 1/1 to 1/128 1/1 to 1/256 1/1 to 1/128 1/1 to 1/128
WIRELESS MASTER/SLAVE Optical slave only Master/Slave Master/Slave* Master/Slave Master/Slave Master/Slave Master/Slave RF Master/Slave
TTL FLASH EXP ERROR -0.67EV +0.5EV 0EV -0.83EV 0EV +0.16EV +0.83EV -0.16EV
FULL RECYCLE (NiMH/ALK) 3.1/4.6 seconds 4.1/5.2 seconds 4.6/6.8 seconds 4.3/6.5 seconds 2.7/5.4 seconds 3.4/7.4 seconds 3.5/7.1 seconds 3.0/6.1 seconds
FLASH INFO LCD Yes Yes (touchscreen) No Yes (colour) Yes Yes (col. touchscreen) Yes Yes
SUPPLIED ACCESSORIES Pouch, foot, dome, Pouch, foot Pouch, foot Pouch, foot Pouch, foot, dome, Pouch, foot Pouch, foot, dome Pouch, foot, dome,
filters filters filters
BATTERIES 4x AA 4x AA 2x AA 4x AA 4x AA 4x AA 4x AA 4x AA
NIKON SKILLS
DIMENSIONS, WEIGHT 75x148x105mm, 340g 73x134x90mm, 346g 67x115x71mm, 226g 74x139x113mm, 380g 71x126x105mm, 360g 78x148x112mm, 422g 78x147x103mm, 427g 79x145x113mm, 420g
FEATURES
BUILD QUALITY
IMAGE QUALITY
VALUE FOR MONEY
OVERALL
The winnneer is... Top runners-up

Metz mecablitz 64 AF-1 Nikon SB-910
What’s good Full range of
£300, $480 pro-grade features, build quality.
What’s bad Lacks a secondary
German precision engineering and a
NIKOPEDIA
fill-flash tube, quite expensive.
flair for design make the Metz a winner

Our verdict It’s still one the best
and most sophisticated of Nikon’s
range of flashguns.
<RX·GQRUPDOO\WKLQNWKDWLI\RXZDQW 77/ÁDVKH[SRVXUH
WRSOHYHODFFHVVRULHVIRU\RXU1LNRQ'6/5 LQDFFXUDFLHV7KH Nikon SB-700
\RX·UHEHVWRIIVWLFNLQJZLWK1LNRQNLW7KH 1LNRQ6%LVOHVV What’s good Seamless integration with
1LNRQ6%LVXQGHQLDEO\DQH[FHOOHQW VRSKLVWLFDWHGEXWLW·VDQ Nikon cameras, intuitive and powerful.
ÁDVKJXQZLWKDOOWKHDGYDQFHGIHDWXUHV H[FHOOHQWSHUIRUPHUHDV\WRXVHDQGYHU\ What’s bad No ‘repeat’ flash mode, standard
\RXFRXOGZLVKIRUEXWWKH0HW]$) JRRGYDOXH2QDUHDOO\WLJKWEXGJHWWKH TTL mode only available via spot metering.
EHDWVLWIRUPD[LPXPSRZHURXWSXWKDVDQ *OR[\*;)177/FRPHVXSWUXPSV Our verdict A compact yet powerful
H[FHOOHQWFRORXUWRXFKVFUHHQLQWHUIDFHDQGD flashgun that comes complete with a diffusion
VHFRQGDU\ÀOOÁDVKWXEHIRUERXQFHPRGH dome and colour filters.
What’s good Very powerful output, secondary
DQGLVOHVVH[SHQVLYH7KH0HW]LVFXUUHQWO\
fill-flash tube, colour touchscreen.
Gloxy GX-F990 N TTL
ESSENTIAL KIT
RXUDEVROXWHIDYRXULWHNQRFNLQJWKH6%
What’s bad Some may prefer traditional buttons
LQWRVHFRQGSODFH What’s good Smart range of advanced
and dials to a touchscreen.
$KLJKOLJKWRIWKH3KRWWL[0LWURVLVLWV flash modes including programmable repeat.
Our verdict A highly advanced flashgun that’s both
H[FHOOHQWEXLOWLQ5DGLR)UHTXHQF\WULJJHULQJ What’s bad No wireless master/slave
feature- and power-packed – and easy to use.
V\VWHPDQGZH·UHDOVRIDQVRIWKHIHDWXUH functions, just a basic optical slave.
ULFK1LVVLQ'L0N,,3URIHVVLRQDO OVERALL Our verdict Good performance and a wide
+RZHYHUERWKRIWKHPVXIIHUIURP range of features at a rock-bottom price.

NEW
E-LEARNING
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Marcus Hawkins, editor

Nikon Photographer’s Handbook 3

Editor Marcus Hawkins

FUTURE PUBLISHING LIMITED

CIRCULATION & MARKETING

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Printed in the UK by William Gibbons on behalf of Future.

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© Future Publishing Limited 2016. All rights reserved.

We are committed to only using magazine paper which is derived from

4 Nikon Photographer’s Handbook

The ultimate guide to flash 20

37 things photographers do wrong 32

37 top tips for portraits 58

Perfect wedding photos 70

Master magnificent monochrome 82

Break the rules 90

Continuous lighting 126

Capturing detail 152

Capturing scale 158

Capturing form 164

Capturing texture 170

Wide-angle zooms 190

Standard FX zooms 198

Telephoto lenses 206

Nikon Photographer’s Handbook 5

The ultimate pre-shoot checklist! 8

6 Nikon Photographer’s Handbook

Nikon Photographer’s Handbook

and using the rear dial to increase or reduce

area of the scene that is around a third of the

That said, although the shutter speed is a

release) just once to ﬂip the

SETTINGS TO CHANGE ON THE DAY

10 Nikon Photographer’s Handbook

Nikon Photographer’s Handbook 11

WINDOW-LIT window behind the subject

reduce them. The easiest

as +1, or everything will come out dark.

USING A WIDE APERTURE SUCH AS f/2.8 WILL HELP TO BLUR

speed available on your Nikon. This varies

amount of light they emit.

14 Nikon Photographer’s Handbook

Nikon Photographer’s Handbook 15

sure that your ISO setting is high enough to

FREEZING FAST ACTION

activate the autofocus, but

Nikon Photographer’s Handbook 17

USE LIVE VIEW

MACRO with a single colour, the automatic white

18 Nikon Photographer’s Handbook

THINGS YOU CAN PRE-SET

SETTINGS TO CHANGE ON THE DAY

Nikon Photographer’s Handbook 19

Nikon Photographer’s Handbook

Nikon Photographer’s Handbook 21

Master your Speedlight controls and

S sizes, and many have useful features

Pro lighting on the cheap

\RXUÁDVKJXQ\RXFDQSRLQWLWVWUDLJKWDW to one side of your subject, the other will be