Digital Camera - April 2022

12 BONUS GIFTS! 9

9 PHOTO TIPS CARDS • 61 MINS OF VIDEO • EBOOK • LIGHTROOM PLUG-IN PH COnAnT‫ٳ‬ROzD0TSáIPS

The UK’s best-selling
photography magazine

Issue 253 April 2022 www.digitalcameraworld.com FREE

PCHORHWEOTAOTTSHIOVOOSET M³JÈA áN³FR!R0«OzXT çT0…Oٍ È
Ts&CS APPLY

Level up your camera skills with
20 all-new projects to try today!

Indoor Macro Portraits Landscapes Polarize Bokeh Action Light paint

ON TEST

HOTSHOTS Leica M11
Best-buy DSLR lenses
World’s best panoramas! Canon RF 16mm f/2.8

FREE! WITH THIS ISSUE

61 MINS PLUS!
OF ONE
TO ONE
VIDEO! CAMERA
COLLEGE
Free Lightroom 9 All-new photo 4 expert videos 274-page HOTSHOTS
plugin tips cards for Photoshop Buyer’s Guide PHOTO
ANSWERS



Editorial Welcome
Editor Niall Hampton [email protected]
Contributing editors Marcus Hawkins & Claire Gillo his month, we’ve curated a creative projects
Technique editor Alistair Campbell
[email protected] T special, with a fabulous selection of fun and
Art editor Roddy Llewellyn [email protected] inspirational ideas to see out the rest of winter.
Operations editor Richard Hill [email protected] Turn to our cover feature (page 50) for 10 top
Group reviews editor Rod Lawton [email protected] techniques that can be tackled in the warm and dry of your
Imaging labs manager Ben Andrews [email protected] home, and will really exercise your creativity. You’ll find
another compelling raft of projects across a range of genres
Senior art editor Warren Brown [email protected] in Photo Active (p18), while Camera College will walk you
through taking your first steps in flash photography (p60).
Contributors Other highlights in this issue include an action-packed
James Abbott, Phil Barker, Jon Devo, Andrew James, Sean McCormack, reader Shootout (p90), an update on the Remembering
Dan Mold, James Paterson, Matthew Richards, Rebecca Shaw Wildlife conservation project from Daryl Balfour (p118)
and some of the finest panoramic photos of the last year
Cover image Getty in Hotshots (p42). This issue’s camera tests see the Leica
M11 rangefinder pass through our labs, and we present
Photography Bath Photo Studio our selection of the best-buy lenses for DSLRs (p110).
All copyrights and trademarks are recognised and respected Finally, our thanks and best wishes to our
long-serving operations editor Rich Hill, who
Advertising is leaving us after nine years. Enjoy the issue.
Commercial director Clare Dove [email protected]
Advertising sales manager Michael Pyatt
[email protected]
Account director Matt Bailey [email protected]
Account director George Lucas [email protected]

Media packs are available on request

Licensing & Syndication
Digital Camera is available for licensing and syndication. To find out
more, contact us at [email protected] or view our available
content at www.futurecontenthub.com

Head of print licensing Rachel Shaw [email protected]

Subscriptions
New orders: www.magazinesdirect.com
Phone: 0330 333 1113. Email: [email protected]
Renewals/queries: www.mymagazine.co.uk
Phone: 0330 333 4333. Email: [email protected]
Overseas new orders: [email protected]
Overseas renewals/queries: [email protected]

Magazines marketing director Sharon Todd

Circulation
Head of newstrade Tim Mathers

Production
Head of production US & UK Mark Constance
Production project manager Clare Scott
Senior advertising production manager Jo Crosby
Digital editions controller Jason Hudson
Production manager Vivienne Calvert

Management
Managing director Paul Newman
Content director Chris George [email protected]
Head of art & design Rodney Dive
Chief revenue officer Zack Sullivan

Printed by
William Gibbons on behalf of Future

Distributed by
Marketforce, 5 Churchill Place, Canary Wharf, London E14 5HU
www.marketforce.co.uk Tel: 020 3787 9001

Subscription delays
We rely on various delivery companies to get your magazine to
you – many of whom continue to be impacted by Covid-19. We
kindly ask that you allow up to seven days before contacting
us about a late delivery, via: [email protected]

Niall Hampton, editor DON’T MISS OUT!
[email protected] SUBSCRIBE TODAY

Get Digital Camera
delivered, save money
and receive a great gift!

See page 40

Follow us or get in touch…

www.facebook.com/ Instagram: Email: digitalcamera
Digitalcameraworld @digitalcameramag @futurenet.com
Keep up to date Another way Please mark the
on social media to follow us subject clearly

APRIL 2022 DIGITAL CAMERA 3

Contents ISSUE253
APRIL 2022

HITNOHWDETOGOROSHEROAOSTT

10 90 Shootout _ Two readers practise
their action chops at a top cyclo-
FUN PHOTO cross course in the West Country
PROJECTS
TO DO AT

HOME!

50 83 Practical Photoshop _ Three
all-new image editing tutorials
for Lightroom and Photoshop

Photo skills Regulars

8 Photo Active 39 The Art of Seeing
Early morning misty landscapes Ben Brain challenges photo cliches
in Somerset with Lloyd Evans
42 Hotshots
18 Photo Active Epson International Pano Awards 2021

New inspiration on every page – 70 Reader Gallery
choose from 10 all-new projects The best image wins a subscription!

50 The Great Indoors 82 Shot of the Month Gear & tests
Yorkshire as you don’t often see it
10 cool tutorials to tackle in the
warm and dry of your home 90 Shootout
A two-reader, three-round challenge
60 Camera College 106 Leica M11
102 In Focus A rangefinder-style camera that makes
Follow the lessons on getting started The latest camera kit and accessories the photographer do most of the work, but
with flash and enter our challenge! it has 60MP image capture in its locker
104 Scanning Ahead
68 Affinity Photo Jon Devo tries out the new Lumix GH6 109 Canon RF 16mm
f/2.8 STM
Use Frequency Separation to retouch 118 Interview
portraits in this leading photo software Photographer Daryl Balfour on the Wide-angle prime for users of Canon’s
Remembering Wildlife project
full-frame mirrorless system looking for
132 What the f-stop!
83 Practical Photoshop Take on our best photo brain superior image quality in a small package

Sharpen your image-editing skills 110 Group Test: Best-buy
in Lightroom and Photoshop lenses for DSLRs
Following last month’s curation of budget
98 Photo Answers glass for mirrorless mounts, we round up
some star performers for digital SLRs
Our expert answers your questions.
Plus, Tech Check and Image Rescue

4 DIGITAL CAMERA APRIL 2022 www.digitalcameraworld.com

Subscribe and HURRY Contents
get a great WHILE
camera bag! STOCKS This
Page 40 LAST! month’s
contributors

118 Interview _ Daryl Balfour is one of only 13 photographers to have contributed Daryl Balfour
images to all six Remembering Wildlife books. Ahead of the publication of
Remembering Bears, we discover how Daryl got involved in this vital project Wildlife photographer

PLUS South Africa-based Daryl has
fused his two greatest passions
Win a copy into a successful career. We talk
Ȓǔ ǔˡȇǣɎɵ ¨ǝȒɎȒ conservation, safaris and the
ǣȇ Ȓɖȸ ȅȒȇɎǝǼɵ wonders of wildlife. Page 118

ƬǝƏǼǼƺȇǕƺٍ Lloyd Evans

60 Camera College _ Flash is one of the most creative tools at a photographer’s Travel & outdoor photographer
disposal but it can bewilder, too. Not any more – get up to speed with our
primer then enter our reader challenge for a chance to win Affinity Photo! Sustainability and environmental
protection inform the choice of
18 Photo Active _ 10 things to shoot, edit or create this month, including assignments that pro shooter
street fashion, beautiful butterflies, shooting sumptuous seascapes, how to Lloyd takes on. We tag along as he
capture captivating dog photos, plus getting creative with dance and motion shoots a landscape, from page 8

10 Anna-Marie Coster

PHOTO Dog photographer
PROJECTS
TO TRY THIS With a four-legged friend as a
constant companion and a pocket
MONTH camera always to hand, it seems
unlikely that Anna-Marie would
have chosen another job. Page 38

Jon Devo

Photographer and writer

Jon enjoys celebrating the upsides
of fast-developing camera tech,
and he’s in clover this month,
with so much to admire in the
Panasonic Lumix GH6. Page 104

Sofia Stiffell

Fashion photographer

Sofia co-opts the vibrant urban
backdrops of Bristol to create
eye-popping street fashion
images. She shows us how she
approaches a shoot on page 26

Paul Watt

Street photographer

Being based in Edinburgh means
that Paul has no end of stunning
street scenes and classical
architecture to photograph.
Join him on location on page 30

APRIL 2022 DIGITAL CAMERA 5

Your gifts

Download your gifts via digitalcameraworld.com/dc253

9 nn‫ٮ‬z0á ¨R…Á…
ÁX¨³ ! «(³

If your magazine doesn’t have printed cards, TAKE YOUR
you can print your own using the PDFs in the TIPS CARDS
Gifts folder of your download. This month’s OUT WITH
selection covers landscapes, action, macro
and more – plus three creative approaches YOU!

274-page Buyers ExƬǣȸƺ ³ƺƏȸƬǝ ‫גِ׏‬ 4 expert videos 61
Guide ebook ǔȒȸ‫¨ژ‬ǝȒɎȒɀǝȒȵ MINS OF
In issue 250, we ran an exclusive ƏȇƳ nǣǕǝɎȸȒȒȅ VIDEO
Over 270 pages offer to buy Excire Search 2 for
of camera and a discounted price. Now, Digital Training for
lens reviews, plus Camera readers can
buying advice for get the Lightroom Photoshop,
accessories! See plugin version (1.4)
the Gifts folder of this powerful Lightroom, Camera
in your download AI-driven image
and choose your cataloguing Raw and Affinity
next purchase. tool for free.
Photo – see page 83

for a full listing of

this issue’s topics!

HOW TO GET YOUR DIGITAL GIFTS ³Á0¨ ‫ב‬

³Á0¨ ‫׏‬ ³Á0¨ ‫א‬

ENTER THIS URL JUST CLICK THE ACCESS YOUR FILES
HIGHLIGHTED LINK
wwɯِƳǣǕǣɎƏǼƬƏȅƺȸƏ …ȵƺȇ Ɏǝƺ ِɿǣȵ
ɯȒȸǼƳِƬȒȅٖƳƬ‫בדא‬ Here you’ll find all the gifts and videos
to accompany this issue of Digital Camera. In your Downloads folder, or wherever you
Enter the URL www.digitalcameraworld. Click on the link labelled ‘Download the disc chose to download your files to, double-click
com/dc253 into the destination bar of for Digital Camera 253’ and your download the dc253-disc.zip file icon. Then when it
your internet browser – we’re using will start, delivered from our own secure expands, double-click DCM_253.iso. The
Google Chrome, but other browsers work server. It may take a few minutes. download content will display like this
in a similar way. Please do not enter it (above), all clearly arranged in sub-folders.
in any search field or search bar. This Keep DCM_253.iso and delete dc253-disc.
will take you to a page on our website. zip. Enjoy your digital gifts!

6 DIGITAL CAMERA APRIL 2022 www.digitalcameraworld.com



ootnnoee

Cheddar gorgeous

Alistair Campbell accompanies Lloyd Evans as they
make an early start to capture a misty Cheddar Gorge

hotographing As we park up in a spot just
landscapes in the outside Cheddar’s quaint
little town along Cliff Road next
P United Kingdom to Black Rock nature walk,
can be a love/hate surrounded by rocky paths and
affair. With our dense woods each side of a quiet
weather changing winding road, Lloyd jumps out
without warning, we’ve come to and says, “Did you see the views
rely on weather apps more and on the way down here? Stunning!
more to avoid wasted trips or I wanted to stop, but I didn’t want
unnecessary hikes. to be late.” In that moment,
It’s almost the end of January I knew we’d get along just fine.
and I’m on my way to meet Lloyd
Evans. It’s a particularly beautiful Lloyd loaded up his backpack.
morning as I drive to Cheddar Travelling light, we start our
past Somerset’s photogenic ascent to the top of the gorge.
Chew Valley lake. I almost stop It’s a frosty morning as we pass
to fire off a few frames myself, by some cut timber, glistening
but I don’t want to be late. blue with the cold air and mist

Cinematic landscapes with Lloyd Evans

Lloyd Evans

Travel & outdoor
photographer

Lloyd has a cinematic and atmospheric
style, and is particularly passionate
about working with brands that
promote an adventurous lifestyle,
as well as the tourism and hospitality
industry, with a focus on sustainability
and environmental protection.
www.lloydevansphotography.com

Image: xxxxxxx

ootnnoee

Lloyd’s tips for Lloyd’s minimalistic approach to gear means he can capture everything on two lenses. The Sigma
DG DN 24-70mm f/2.8 and Sony 85mm f/1.8 are coupled with just one body: the Sony Alpha 7 IV.
travelling light
surrounded by dense trees and a rocky path. least 12 rolls of undeveloped film. However,
“Due to the advent of mirrorless cameras, As we reach the top, Lloyd stops dead in his the camera gave way to theatre, music and
it’s now easier than ever to travel light. tracks: “Wow.” I’m not sure what to expect as everything that comes with being a teenager,
Landscape photographers are always I lift my head up, but we’re now both looking and it was soon replaced by the mobile phone
trying to reduce their kit without out at a sea of mist as far as the eye can see. – until we fast forward to 2014.
compromising on the ability to capture A couple of peaks poke out of the landscape
every scene. I always make sure I carry my as Lloyd eyes up his first spot for shooting. “After coming back from a trip to Venice,
24-70mm. This is my workhorse lens and I fell in love with photography once again.
has been what I’ve used for 90% of my “I’ve only been up here a couple of times I bought my first DSLR in early 2015, and
photography. At 24mm it’s wide enough to before,” he says. “But it has never looked as so my obsession began, getting out and
capture the scope of something without incredible as this.” During the time spent photographing around my home city of Bath,
distorting the subject, but also works for admiring the view, Lloyd starts telling me deep-diving into YouTube videos to learn
portraits and punching in on the detail. about his background in photography. more, then heading out to local spots like
Clevedon Pier and Glastonbury Tor.
“The zoom vs prime (fixed focal length) “My love for taking photos began very early
debate has been a discussion topic for a on when I received my first camera at the age “During a trip to Iceland in 2017 I flipped
long time, with people often preferring to of eight. I returned from a trip to Japan with at my mindset. I went from photographing
use one type over the other. I feel that anything and everything to finding my love for
the Sigma 24-70mm f/2.8 treads the The visuals I’ve come to landscape photography, as well as a passion
tightrope between the two lens types. The be known for are heavily for travel. Since then, I’ve had the opportunity
Sigma Art range is known for how sharp inspired by films such as to visit some incredible countries, such as
their glass is, and this 24-70mm is as Fight Club, City Of God Canada, Norway, Indonesia and Switzerland.”
sharp as many primes that I’ve used.” and The Machinist
Instagram: @lloydevansphoto Lloyd then decided to become a full-time
landscape photographer when the Covid-19
pandemic caused his day job working in the
theatre industry to dwindle.

“As well as creating landscape prints, I work
commercially with outdoor and travel brands,
and capture couples out in nature, having
started a wedding business with my partner
called We Are Found, which focuses

10 D I G I TA L C A M E R A APRIL 2022 www.digitalcameraworld.com

9.29am

Camera Sony Alpha 7 IV
Lens Sony 85mm f/1.8
Exposure 1/640 at f/8, ISO 200

10.19am 10.20am Camera Sony Alpha 7 IV
Lens Sigma 24-70mm f/2.8
Exposure 1/250sec at f/2.8, ISO 100

Camera Sony Alpha 7 IV
Lens Sigma 24-70mm f/2.8
Exposure 1/125 at f/2.8, ISO 100

www.digitalcameraworld.com APRIL 2022 DIGITAL CAMERA 11

ootnnoee 1
2

3

4
5

Lloyd’s gear for landscapes

All the kit he packs for his travel and outdoor adventures

1 Sony
Alpha 7 IV

“This recently launched body provides a good balance between

detail, high ISO performance and colour accuracy.”

2 Sigma Shooting low can introduce foreground to
DG DN 24-70mm f/2.8 | Art your shots, drawing focus to the landscape.

“Incredibly sharp, reasonably light and highly reliable, this on un-traditional, artful and cinematic
photography (wearefound.uk).”
lens has spent a lot of time on my camera.”
Having spent a lot of time as a lighting
3 Sony technician, this set of skills led Lloyd’s
FE 85mm f/1.8 photography towards this cinematic style.

“This is a small, non-imposing lens for taking great shots of “The cinematic visuals I’ve come to be
known for, often leaning into the ‘dark and
anything, anywhere. It’s sharp, fast and produces great bokeh.” moody’, are heavily inspired by film and shows
that I grew up with, such as Fight Club, City
4 Peak Design Of God and The Machinist. Today, I find The
Cuff Camera Wrist Strap Crown and Peaky Blinders are two modern
shows with impressive cinematography,
“While camera straps will last a lifetime, I prefer to use a wrist where every scene is like a painting.”

strap, as a shoulder strap would interfere with my backpack.” There’s not a cloud in the sky, and the sun
is still quite low, causing harsh shadows. Lloyd
5 Gobe (Urth) moves closer to the edge, looking to grab a
z( ˡǼɎƺȸ ‫ ׎׎גٮא‬٢‫ זٮ׏‬³ɎȒȵɀ٣ shot of the winding roads below, but feels he
needs to wait a little longer for the gorge to
“The rotating ring between ND2 and ND400 offers a great fill with more light. Reaching for his phone to
check TPE (The Photographer’s Ephemeris
level of versatility in changing light.” natural light app), he says, “It might be a little
while yet so let’s find something else.” Then,
a goat appears from nowhere as if to say,
“You can photograph me for a bit if you like.”

It’s time for a quick lens change. “I only really
use these two lenses; I don’t like to carry
around too much kit. I’ve got a tripod if I really
need one, but I’ve left it in the car – I probably
won’t need it.” I like the courage in Lloyd’s

MARCH 2022



ootnnoee

9.14am Camera Sony Alpha 7 IV
Lens Sony 85mm f/1.8
Exposure 1/4000 at f/1.8, ISO 1000

Light, for me, is a key Don’t let the sun
factor in what makes go down on you
a photo that little bit
more special “As a photographer who works primarily
with natural light, I’ve come to
convictions – he clearly knows his equipment Lloyd says: “With social media so prevalent, understand exactly how earth and the
and what it’s capable of producing. I tend to shoot mainly in portrait orientation.” sun work in tandem. The Photographer’s
Ephemeris is a helping hand, though,
Lloyd gets set up, ready to capture a shot of the morning or last thing in the day, and allows me to have pinpoint accuracy
of our friend Mr Goat, shooting low to the photographing right through from blue hour when lining up a shot, and you can even
ground to bring in more foreground. It’s to capture the location in its best light. predict to the minute how the light is
a pleasing touch. We wait for the sun to going to fall. It’s not just for daytime,
move round a little, and for the mist to “Golden hour – the time just before though; you can also find out everything
start clearing from the reservoir. sunset or right after sunrise – is often said you need to know about the moonlight
to be the best time to photograph a location. and starlight for astrophotography.”
“Ideally, that mist will clear soon and leave However, I’ve found that even once the sun
a sea in the background,” said Lloyd. We stop has set, the sky has lit up with beautiful www.digitalcameraworld.com
shooting for a while, and chat about his love colours, so it’s worth staying until the
for outdoor photography. very last bit of light!

“Photography for me is all about the light. “Weather is a big factor in landscape
I love the way shapes look when lit from photography, but I don’t think it should limit
the side or unusual angles. your creativity. Some of my favourite

“Light has the ability to completely change
the feel of a scene, and for me is a key factor
in what makes a photo that little bit more
special. Angles of light have an amazing ability
to completely change the atmosphere of a
place. It’s why I’m often out in the early hours

14 D I G I TA L C A M E R A APRIL 2022



ootnnoee

photos have been during the worst conditions.” Use your environment –
Embracing the elements can create a unique to create natural
mood and some really unique scenarios.” frames or beautifully
blurred foreground.
Lloyd works his way to the cliff edge to
get some images of the iconic roads below. Reassign camera controls to work for you
“It’s still a little dark down there, but I want
to shoot them anyway, as you never know “I’ve had the Sony A7 IV for a while
what’ll come out in during editing.” now and really love it. It’s always
a good idea to experiment with
The morning is now drawing to a close, customising the controls, no matter
so we head off back the car. The misty which model you shoot with. Here,
landscape below is still as strong as ever I’ve reassigned the ISO to this right-
– we turn back to look at it one last time, hand side dial rather than setting it
almost as though we know we won’t see a via a button or the shooting menu.
scene like that again for a while. A few final It just speeds up everything for me
shots are fired off for good measure, the tree – shooting outdoors means the
top hills still poking out like something sun could pop out at any second,
from the opening of a Disney movie and I can quickly adjust for it. It’s
and etched into our memories. just second nature for me to work
the camera this way now.”
It’s always worth
staying until the
very last bit of light

Lloyd’s top five tips for shooting outdoors

How to get great exposures quickly and accurately while you’re on the move

1 “Look for the best possible light: and how am I conveying how it felt. If I’m
capturing a collection of images, I look at
interesting shadows, the way light how they relate to one another and
falls on the land and the shadows that complement the story I’m trying to tell.”
are created as a result.”

2 “Composition is number two for 4 “ND filters are a great tool to have

me. I try to lead my viewers’ eyes in your camera bag. They offer
through the photo. Having a strong greater control over the light that you’re
subject really helps with this. The three letting in to your camera, and also give
compositional rules I use most often you the ability to slow down your shutter
are rule of thirds, leading lines and the speed for long-exposure photos.”
golden ratio. Foreground interest or
framing your subject is a great way 5 “There’s no such thing as bad
to lead a viewer’s eyes, as they’re
drawn to the focal point of the photo.” weather – embrace the elements
and create moodier shots when the
3 “Storytelling is important to help light isn’t on your side. It’s easy to
get disheartened but you have to
bring the viewer into the image – lean into it – the weather is at the
I consider what or who my subject is, heart of capturing landscapes.”

16 D I G I TA L C A M E R A APRIL 2022 www.digitalcameraworld.com

Camera Sony Alpha 7 IV
Lens Sigma 24-70mm f/2.8
Exposure 1/125 sec at f/8, ISO 160

9.29am APRIL 2022 DIGITAL CAMERA 17

www.digitalcameraworld.com

10 things you can shoot
Ɏǝǣɀ‫ژ‬ȅȒȇɎǝً ǔȸȒȅ ɀɎȸƺƺɎ
ɀɎɵǼƺ ƏȇƳ ɀƺƏɀƬƏȵƺɀ ɎȒ
ƬƏȵɎǣɮƏɎǣȇǕ ƳȒǕ ȵǝȒɎȒɀ

Andre Pattenden 1/160 f/5.6 ISO
sec 64

18 D I G I TA L C A M E R A APRIL 2022 www.digitalcameraworld.com

1 | ACTION

Magnificent movement

Andre Pattenden explains how to capture dance and motion in the studio

f I’m not shooting to a constantly busy and trying to improve little or no budget. When I start planning
my craft year on year. Combined with for a project, I’ll ask my chosen team of
I brief for a client, I’ll shoot my recent move to InCamera Studios collaborators to think it through and
just for kicks – I suspect in Bristol, I have ample space and offer their perspective. With little money
that’s not unusual for opportunity to experiment without for materials or wardrobe, I’ll usually find
a lot of photographers! compromise. I get to have a lot of cheap or free options to work with, but
I just love making images. fun and learn new tricks that I can these restrictions are often where I am
I’m lucky to know lots of creatives, employ into my professional work. motivated and most creative. Dance
performers and visual artists who are is an incredibly challenging genre,
invariably full of ideas – or are at least The simplicity in some of my images but one I love to shoot.
amenable to mine – so I’ve no shortage is primarily because I often have a look, www.andrepattenden.com
of inspiration and projects that keep me feel or a lighting technique in mind, but

Andre Pattenden

Freeze the action Show their faces Understand lighting

1 Your subjects will be on the move 2 Since your subjects are on the move, it 3 Flash power and position are key

most of the time, so you need to will be difficult to get a photo showing to the style of your image and
concentrate on the job in hand their faces. This is where experience how the dancers’ bodies look
to catch them crisp and sharp. can help: get to know your dancers on-screen. Ideally you want to
For this, you need a fast shutter and their routines. Move yourself light from the side or a 45-degree
speed – at least 1/1,000 second. around to find flattering angles. Their angle: this should bring shadow,
Typically your camera will sync faces will bring a dynamic to your shape and depth to your images.
to the flash at around 1/250 sec, image and complete your shot. The You can bring in extra lighting for
so you’ll need to be in high-speed decisive moment is down to you, but your background, too. Avoid full
sync mode to freeze the action usually the height of a move is a great lighting front-on: save that for
of these explosive performers. opportunity to fire off some shots. corporate headshots instead.

Andre’s tips and advice for stunning dance photography Vary your style

You want variety in your photos: one very simple Review the images with your dancers: chances Don’t be afraid to mix things up. Once
way to do that is to ask your dancer to bring are they will know more about dance, technique you’re working in harmony with your
multiple outfits (or to supply them yourself). and form more than you. If it’s not perfect, dancers, it’s easy to create a quick
You can also introduce props: a simple sheer you can easily set it up again and nail it. variation on your lighting technique.
sheet or ribbons will create a beautiful movement Here I underexposed the side lighting
within your shot. Keep it classy: with limbs flying Mix up your lighting, and use a variety of and turned up the background lights,
everywhere, you can end up with some extremely backgrounds: dark, light, plain and patterned . which made for this almost silhouette-
unflattering angles. They will be unavoidable when You want your images to be attention-grabbing style image, which really stands apart
shooting in burst mode, but make sure your final and dynamic, full of power and poise. Last of all, from the rest. A little effort can yield
selections show your dancers at their best. move yourself around to find the best shot: a big reward for you and the dancers.
don’t let the dancers do all the work.
www.digitalcameraworld.com
20 D I G I TA L C A M E R A APRIL 2022

2 | STREET

Capture

street art

Learn how to show off an
urban artist’s work with
Alistair Campbell

hotography is just one medium in a

P plethora of ways to express ourselves.
Quite often artforms cross over to
become something else. We’ll often see
photographs become illustrations, or still images
being used in a moving video. This way round isn’t
too difficult: all you are doing is documenting
someone else’s incredible talent.
I spotted this fantastic portrait by Brooklyn
street artist Tristan Eaton in a large 12 x 7ft mural,
on the corner of Mulberry and Broome in New
York. It was sandwiched between a small Italian
diner and a pastry shop (yum).
Whenever I’m visiting a place that’s new to me,
I’ll carry a mid-range zoom lens (in this case the
Fujinon XF 16-55mm f/2.8): the main reason is
that it provides you with some versatility. It might
not provide super-silky blurred backgrounds, but
it’s good enough. If I was feeling particularly brave,
I’d pop a 35mm on and throw caution to the wind.
When I’m on the move, I’ll typically leave my
aperture wide open, raise my ISO to something
I know is manageable with noise (anything up
to ISO 1,600), and let the shutter speed take
care of itself – often with street photography,
you’re moving in and out of highly fluctuating
exposures. Then I just treated this shot the
same as any other portrait. Click, done.

Art by Tristan Eaton, www.tristaneaton.com

1/480 f/2.8 ISO Alistair Campbell
sec 1,000

Alistair’s street art tips

It’s great to share other people’s art, so why not go out and document
street art that’s local to you? Practise your framing: use the composition
techniques you already know to achieve eye-catching results. When you
can try to incorporate the environment into your scene, you want to put
the viewer right into the space where you spotted the artwork, and give
them a sense of being there. Although I tend to shoot wide-open, I would
also suggest shooting around f/8 if you have more time, as this will bring
a bit more detail to your image – and as you’ll be pointing at a brick
wall, there really is no need to try to blur out backgrounds.

If you get the chance while you are there, try to find out whose art it is.
This won’t always be possible, but you can always note down the street
you’re on so that you can find out later, and give credit to the artist.

Art by Eduardo Kobra, www.eduardokobra.com

www.digitalcameraworld.com

3 | PORTRAITS hooting a wide range their brief. Simple yet versatile setups
are an effective tool when you’re
Keep it simple S of subjects for both working in a variety of locations and
in the studio editorial and advertising under time pressures. They are a great
purposes, I have starting point to build on, to create
Phil Barker creates an easy studio worked in photography more elaborate lighting arrangements
lighting setup for portraiture studios for the last five years. I cover to fit your brief. For this portrait of
a variety of subject matters from model Meghan, I went back to basics
musicians and actors to automobiles using just one flash (a Profoto B2 and
and trainers. Each client I work D4 power pack) and a plain backdrop.
with requires adjusting my style of www.prbphotography.co.uk
photography, adapting my lighting, Instagram: @prb_photography_
and altering my editing process to fit

1/200
sec

f/2.8

ISO
100

Phil Barker

Lighting setup Camera settings

I used a 130cm parabolic umbrella, I shoot my editorial work on a Nikon
with the diffuser at a 45-degree D850; in the studio, I photograph
angle about 1.5 metres away from tethered to Capture One software.
the model. This meant the light I wanted the focus to be on Megan’s
source was soft and even. A white face rather than on her outfit, so
card bounced light in to maintain I photographed her at 85mm and
detail in the shadows. selected a wide aperture of f/2.8.

22 D I G I TA L C A M E R A www.digitalcameraworld.com



1/640 f/7.1 ISO
sec 200

This image of a bluethroat singing
in a rape field is a great example of
how considering your background
can produce a stunning shot.
The intense yellow contrasts
superbly against the blue.

Getty

Four things to consider in bird photography

4 | WILDLIFE Shutterstock Shutterstock

For the birds Open up the aperture Think outside the box
Wider apertures produce a shallower depth Shooting at sunset can produce creative wildlife
Consider your surroundings of field – the foreground and background have imagery. This image of a bird amongst branches
before you press the shutter, blended around the head of this Northern gannet. at sunset creates a graphic feel.
says Roddy Llewellyn

henever you take pictures of

W birds, it is worth looking at your
surroundings to see how you can
get the most out of your photos.

Try to get yourself into a position

where few disturbances will impinge on the

frame, like branches of trees or other obstacles.

Shooting from a position with a clear view of Roddy Llewellyn

your subject will produce rewarding results. Shutterstock

Also consider the positioning of the sun:

having it behind you will help to lift the colour

and detail of birds. Look at the backgrounds, too: Zoom in or crop… … or zoom out!
Zoom right in to fill a frame, or crop into images Zooming out of images can also create eye-
a contrasting colour or backdrop is a great help when you edit them. Also consider positioning: catching photographs, as seen with this flock
the central framing of this blue tit works well. of birds. A very fast shutter speed is required.
to make the bird pop from the image. Try to

find colours other than greens and browns,

which tend to make images look quite flat:

the yellow of this field (above) is highly effective.

24 D I G I TA L C A M E R A APRIL 2022 www.digitalcameraworld.com



Sophia Stiffell 1/125
sec

f/9

ISO
500

Sophia says: “I was
shooting between two
parked cars here: to
shoot in tight spots like
this, get low and wide.”

5 | PHOTOSHOOT

Style on the streets

Sophia Stiffell uses gritty backstreets
to produce eye-popping fashion shots

ased in Bristol, I’m to shoot: I love the intensity of the
colours and creating imagery that is
B a 20-year-old portrait more than just the subject within it.
photographer. Street portraiture creates a painterly
Photography helps outcome every time. And, luckily for
me connect with me, living in Bristol (home of the UK
individuals artistically, which has graffiti scene) I’m never out of luck
led to wonderful growth for me. to find a cool spot to shoot within.
Collaboration and creating wider
projects involving others is a great I’m always keen to keep my eyes
passion: I love to get involved and out for new pieces of art, as new art
plan the entire process of my shoots. can change the same location into
I always style or assist with styling something completely different
on my fashion shoots, in order to photographically. I usually shoot in
create the right vibe and aesthetic; the same spots; however the outlook
additionally my love for clothes is always changing due to the graffiti.
has drawn me greatly into being a Instagram: @sophia_captures
photographer. Urban street fashion
is my favourite genre of photography Models: Pippa Nelson

and Samanta Simpson

APRIL 2022 DIGITAL CAMERA 27

Shoot low

1 and wide

I’ve found that by using a
wide-angle lens, I can get really close
to my subjects, allowing me to shoot in
some tight situations without objects
like cars getting in the way. This also
offers up a pretty unique angle for
the final shot.

Use pockets

2 of light

Harsh light can present
problems, but I’ve learnt to
harness it to my advantage. It
might mean the outer areas of
your shot are darker, but the
key elements are your models
and you can use pockets of
light to make them stand out.

28 D I G I TA L C A M E R A APRIL 2022 Use dark

3 backgrounds

to make your
colours pop

Contrast is another
important aspect in
photography: light and
dark areas brought
together create impact
and make your colours,
models and clothing
the most eye-catching
parts of your image.

www.digitalcameraworld.com

Carry inspiration

5 In the wonderful world of mobile

phones, we’re never too far from
any information we want. Although
I have my own style, it’s really
handy to have an album made up
of poses you like, which you can
share with the group easily to
convey a certain style or vision.

Shooting settings APRIL 2022 DIGITAL CAMERA 29

4 I’ll typically leave my aperture

fixed around something in the
middle, like f/8 or f/9. I’ll also
leave my shutter speed around
1/125 sec, making sure the
models are sharp. All that’s
left is to adjust your ISO:
depending on the light,
I go between 100 and 500.

www.digitalcameraworld.com

6 | ARCHITECTURE

From dawn

to dusk

Paul Watt shoots low-
light images around
Scotland’s capital city

y ‘Edinburgh Dawn Till

M Dusk’ project started
during lockdown,
when I was looking for

a creative outlet but

couldn’t travel very far. Having moved

to just outside Edinburgh six years ago,

I wanted to re-familiarise myself with

the city and to photograph it in a new

light. (No pun intended!)

The city won Unesco World Heritage

status in 1995; at its centre are the Old

and New Towns. Confusingly for the

first-time visitor, the New Town is also

old: a Georgian masterpiece dating

from 1767. The city also boasts a

historical quayside called The Shore,

which is extremely photogenic. Add to

that the pretty historic port of Leith

and a stretch of coastline nearby, and

there is plenty in Edinburgh to keep

any photographer busy.

Edinburgh’s architecture is world-

renowned and, while I wanted to

take night-time pictures of its most

interesting and iconic buildings, I also

wanted to take pictures of less familiar

subjects and show another side to Paul Watt

the city. Notable architecture is not Paul’s low-light tips

the only reason Edinburgh lends itself Use a tripod and a low ISO for sharp, crisp,
grain-free pictures. A long shutter speed
to photography. Built on seven hills, the of between 15 and 30 seconds and a narrow
aperture of around f/22 mean that moving
largest of which is Arthur’s Seat, its people will disappear from city streets.

topography gives multiple vistas, It pays to plan ahead and understand what
the coming hours could bring. Looking at the
attractive skylines and panoramic forecast can mean the difference between a
good and a great picture. Fog adds mystery
viewpoints – perfect for cityscapes. and drama, for example, while wet streets
create interesting reflections on pavements
Edinburgh takes on a whole new and roads, particularly on cobbles.

complexion at night: street and window

light helps the city to appear more

dramatic and mysterious. This, of

course, comes with its own set of

challenges: the scenes are high in

contrast, something I offset by shooting

just after dusk or just before dawn for

detail in the sky and the street lights,

as well as in the shadow areas.

www.paulwatt.com

30 D I G I TA L C A M E R A APRIL 2022



7 | LANDSCAPES

Long time coming

Alistair Campbellpops down to Burnham-on-Sea,
with an ND filter and a wide-angle lens at the ready

elieve it or not, I had owned my I just needed something in the frame as
a springboard for the rest of my image.
B camera for about four years
before I even attempted to Further down the line, I picked up an
shoot a landscape photo. I ultra wide-angle Samyang 14mm f/2.8 IF
really had very little interest in the genre at ED UMC (about £220 at the time) for my
all – and when I did try, they weren’t very Canon EOS 5D Mark III. This new field of
good. I had come from a background of view gave me a refreshed interest, and
predominantly photographing people. more reason to get out more practising.
The first problem was composition: as
soon as there wasn’t a face or a body in the I also picked up a 10-stop ND filter, which
scene, I really couldn’t find a way to frame allowed me to shoot for longer exposures.
up my shot. With portraits, you don’t often At first I was like a kid in a sweet shop,
worry about the rule of thirds, leading shooting eight-minute exposures at f/22
lines or negative space. The penny in the pitch-black. The images were awful:
eventually began to drop, and I realised full of noise and grain in the shadows.
that I needed a subject. It didn’t even I soon found that shorter exposures of
matter too much what it was: around 30-90 seconds at a mid-range
aperture gave far better results.

Composition

1 Having a subject is great: I often

treat it like photographing a
person. If they are facing a certain
direction, I’ll try to leave ‘looking
space’, which creates a nice flow
to start the image. Then I frame
in as much sky as I feel like.

Cement yourself

2 If you’re shooting on sand, it’s usually easy to

create a strong base for your tripod. Sand will
move to embed the legs, and usually stay put.
If it is a little damp, however, you can also find
a few stones or rocks nearby to create a strong
grounding for your tripod. This is essential
when shooting longer exposures.

32 D I G I TA L C A M E R A APRIL 2022 www.digitalcameraworld.com

Free night vision goggles

3 When you shoot with filters at dusk, it can

often be difficult to see what you’re doing.
Instead of faffing around, removing ND filters
as you’re setting up, simply switch your ISO to
as high as possible (in this case 6,400). Don’t
worry if your rear screen looks like an old TV
covered in noise. It’s simply to see your frame,
and focus. Just remember to reduce the ISO
back down before you click the shutter.

Noise reduction Reduce noise in shadows 90
sec
4 in-camera 5 During longer exposures, your camera can

In your camera’s shooting menu, heat up and produce unwanted noise, even
you may find Long Exposure Noise at a lower ISO. This is particularly apparent
Reduction: turn this on to further in darker areas. You could shoot the same
help noise reduction as you shoot. image at a variety of exposure lengths,
The drawback is that it needs time then check back on the computer to see
to render the image afterwards – how much noise your camera makes.
typically about the same length
of time as your original exposure. f/9 Alistair Campbell

www.digitalcameraworld.com ISO
100

APRIL 2022 DIGITAL CAMERA 33

ildlife and nature in and fungi over winter: these have given me
opportunities to photograph nature all
W around London have been year round. The challenge with nature
under my lens for about macro photography is that to get the
eight years. One of the best light or to get closest to your
subject, you need to go during the
8 | MACRO best tips I can give is golden hour, which is dusk or dawn.

A bug’s life to diversify your subjects and have a The subjects can be hidden deep
within undergrowth, and have
Capture butterflies close-up as toolbox of skills. Macro photography is distracting objects close and around
Qasim Syed gives advice on them. This is where focus-stacking
shooting macro photography very accessible: you can do it any time comes in. It is the technique of taking
a series of image ‘slices’ at different
of the year, and you don’t need to go

far. You don’t need the fanciest

lenses or camera gear either.

Butterflies and odonata (such as

dragonflies) over spring and summer,

34 D I G I TA L C A M E R A APRIL 2022 www.digitalcameraworld.com

Photo Active

Qasim’s top four tips for capturing butterflies

Know your subject

1 In any genre of photography, you

really need to know at least the
basics of the subject you choose
to photograph, in order get better
shots. This common blue
butterfly, for example, opens
its wings with the setting sun.
Predicting this behaviour, I was
already poised with my camera
set and steady. Invertebrates are
sluggish and slow in the cold,
so you can get very close!

Travel light

2 Learn to shoot hand-held stacks
early. There is not always a need
for heavy gear, tripods and rails;
just you and your camera. This
image of a female Glanville
fritillary was taken midday, when
it was most active. It landed for
a few seconds, which is more
than enough time to fire off a
quick stack. If I’d had to set up
my tripod, I would’ve missed
the opportunity to get the shot.

Qasim Syed There are no

3 ‘perfect settings’
Camera settings will have to be
different for each scenario and
composition. As a guide, though,
I typically shoot with an aperture
of about f/4.5, and aim for a set
of 8-10 images. For me, the
shutter speed is always at least
twice the focal length of the lens
(so 105mm means 1/250 sec)
and I try to keep the ISO as low
as possible within these settings.

focal distances and ‘pancaking’ them 4 Specialist software
together using software. This means you
can shoot wide-open (more light, less To get the best out of your focus
noise), pick the sharpest aperture of
your lens, and select which parts of stacks, export the raw files to
the image are in or out of focus.
specialist software that will do all
Cameras now often come with a
focus-bracketing option – just click the hard work for you. Helicon
once and it will capture the images
for you. Even better, some offer the and Zerene are two popular apps,
ability to auto-stack these images
into a JPEG within the camera. each with free trials. You can, of
Instagram: @naturesyed
course, also stack your images
www.digitalcameraworld.com
via Photoshop: open the shots,

then go to File > Scripts > Load

Files into Stack. This loads all

the as layers within a single

document, ready to work on.

9 | LANDSCAPES

Seascapes
at sunset

Eric Gregory shares his long-
exposure tips as he smooths
the waves at Kimmeridge Bay

Where to shoot 8
sec
1 The shoreline rocks and waves are
f/16
ideal for long-exposure shots. While
you certainly wouldn’t call it ‘extreme ISO
photography’, you do need to pick your 100
way carefully to the shoreline. Take
a sturdy backpack with a tripod clip
to keep both hands free. Thanks to
Anthony Blake for guiding me here.

When to shoot

2 This was shot some 30 minutes before

sunset, in early November last year, with
an incoming tide and (for once) perfect
weather and some clouds on the horizon
making my job a lot easier. Refer to tide
tables and photo apps (such as PhotoPills)
to plan your outing: you don’t want to arrive
and find a featureless stretch of sand!

Set up your gear

3 I used my trusty Nikon D5600 and a Tamron

10-24mm f/3.5-4.5 wide-angle lens to
capture both the foreground rocks and the
headland – which provides a strong focal
point – together with a sturdy ball head
tripod, ND and grad ND filters, a remote
cable release, and a viewfinder cap
to block extraneous light.

Stronger compositions

4 I framed this with the foreground

rocks emerging from one corner of
the image, and the favoured landscape
‘rule of thirds’. The sunset afterglow
lit the clouds on the horizon. While
long exposures can elicit contrasting
views, I like their soft, ethereal look.

Shoot your image

5 I used Live View to compose and align the

image, and locked manual focus on the
foreground rocks, reviewing the shot and
exposure via the histogram. A combination
of ND and grad ND filters created the
long exposure and balanced the sky
respectively, and I calculated the filtered
exposure time using a smartphone app.

36 D I G I TA L C A M E R A APRIL 2022

37

Eric Gregory

1/320
sec

f/7.1

ISO
800

Anna-Marie Coster
Image credit

10 | ANIMALS Anna-Marie’s tips for perfect pet captures

Our faithful friends 1 Use natural light
Natural, continuous light
Anna-Marie Coster shares her skills won’t create any harsh
for capturing great dog portraits flashes, which can both
frighten dogs and cause red
eye. Overcast days are best
at naturally providing even,
diffused lighting.

ogs and photography in one hand and a squeaky toy 2 Consider your composition
in the other. And I wouldn’t You can create a more
D are two of my have it any other way. interesting composition by
favourite things using the rule of thirds rather
in the world. I grew It really helps to have an than placing the subject
up with a four-legged best friend understanding of dog behaviour centrally. When the dog is
constantly by my side, plus a when you photograph dogs. My looking outside of the frame,
pocket camera, often using qualification in dog behaviour it gives it space to look into.
the entire roll of film to take and psychology is especially
photographs of my companion. important when I volunteer 3 Shallow depth of field
I finally put my two passions my time to give a voice to the By using a wide aperture,
together and became a voiceless and photograph you are able to blur the
professional dog photographer rescue dogs on their search background elements: this
in 2013. I have since been to find their second chance. helps to separate your subject
fortunate to capture thousands and add depth, while also
of dogs; although the equipment My digital camera journey has allowing the dog to be the
and concept is the same for each, always featured a Sony A7 and main focus of the image.
every photo shoot is different. my go-to lens, a 70-200mm. I’m
Each dog has its own character. lucky enough to have won many 4 Choose a good background
They have different personalities, awards for my dog photography, Locations can be just as
emotions and stories to tell, and but the most rewarding part of
that’s what I love to capture on it is seeing how much joy those important as your subject
camera. You will often find me captured memories can bring to
lying in the muddy grass or others. Whoever said diamonds matter. Look for interesting,
covered head-to-toe in dog are a girl’s best friend never
fur, all while holding a camera owned a dog… colourful backgrounds that
photographybyannamarie.co.uk
complement and contrast

with your subject, and where

the dog feels comfortable.

38 D I G I TA L C A M E R A APRIL 2022 www.digitalcameraworld.com

The art ABOVE: The receding road is a metaphor
of seeing that communicates a sense of journey,
optimism and the idea of looking forward.
Benedict Brain reflects on metaphors and
clichés within the language of photography Cliché or not, this image suggests to me
that there is a glimmer of hope on the
Benedict Brain t’s a cliché, I know. The horizon, and that maybe we are over
‘classic road receding the worst of the pandemic.
www.benedictbrain.com
I into the distant horizon’ As I write this, I should have been on
Camera: Fujifilm GFX 50R rendered in black and a ship sailing towards Antarctica, talking
Lens: Fujinon GF 45mm f/2.8 R WR white is perhaps the to passengers about the art and craft
Settings: 0.6 sec at f/20, ISO 100 ultimate cliché, but of photography… but that trip also fell
I simply couldn’t resist. The road inspires victim to pandemic restrictions.
a sense of journey and adventure, inviting
and enticing me to new and far-flung My talks and workshops on these ships
locations. Perhaps as a metaphor in use many of the images that have been
these crazy times, the image evokes featured in this column. The ideas that I like
a sense of hope and optimism. to explore are about using photography
It’s a photograph of a road in Dartmoor as a way to connect; to tell stories and
that was taken between ‘Lockdown 2.0’ say something about the world. For me,
and ‘Lockdown 3.0’. It’s not that far from good photography is not so much about
where I live, but one of the farthest places Arcadian vistas bathed in magic-hour light
I’ve travelled in the past couple of years, so (although that can be superficially nice,
all things considered, it’s relatively exotic. and rewarding to capture), but rather a
way to explore the world with a camera
and express how it feels being part of it.

Some folk, myself included, often talk
about photography as a language that one
can use as a tool of self-expression. As a
‘language’, photography is arguably the
most widely spoken in the world. What
you say with that language is important
– and, like the written word, there are many
ways to say it, from poets to journalists.
Which kind of photographer are you?
It’s worth thinking about.

www.digitalcameraworld.com APRIL 2022 DIGITAL CAMERA 39

Reader offer!

FREE MANFROTTO NX
CAMERA SLING BAG!

Never miss an issue with our best print offer yet! Get 13
ǣɀɀɖƺɀ‫ژ‬Ȓǔ‫(ژ‬ǣǕǣɎƏǼ !ƏȅƺȸƏ ɀɎȸƏǣǕǝɎ ɎȒ ɵȒɖȸ ƳȒȒȸ

Top reasons to subscribe now!

Great savings “This bag will make
Subscribe and get your 13 issues delivered to your it easier for you to
door, your digital device, or both! Just choose carry around your
between the three options below camera gear efficiently
and with style”
Get your camera sling bag worth £70!
Ideal for medium-size digital cameras and multiple Niall Hampton
lenses, the Manfrotto NX camera sling is perfect Editor, Digital Camera
for both photography and everyday leisure use

Your options

Option 1: Save 28%!
Print-only: pay £27 every six months

13 issues of Digital Camera print edition delivered to your door
Manfrotto NX camera sling bag worth £70!

Option 2: Save 58%!
Print & digital: pay £34.50 every six months

13 issues of Digital Camera print edition delivered to your door
13 issues of Digital Camera digital edition for your iOS or Android device
Partner offers newsletter and expert PDF handbook
Magazine binder
Free entry to The Photography Show
Manfrotto NX camera sling bag

Option 3: Save 39%!
Digital only: Pay £27.50 every six months

13 issues of Digital Camera digital edition for your iOS or Android device
Instant digital access
Gift is not included in Digital subscription

40 D I G I TA L C A M E R A APRIL 2022 www.digitalcameraworld.com

UK subscription offer

Your free subs gift!

Manfrotto NX
ƬƏȅƺȸƏ ɀǼǣȇǕ ƫƏǕ

How useful is the NX bag
when you’re on the move?

Designed for mid-level digital cameras (like a Canon
EOS 850D or an EOS RP) with a lens attached
Plus two other small lenses
Removable inserts converts it into an everyday bag
Adjustable padded straps for added comfort
Tripod hanging solution on the outside
Room for 13in MacBook Air or 12.9in iPad Pro

ca£mwF7Reorr0EathEb!ag
(RRP)

Get this offer by subscribing today at:

www.magazinesdirect.com/dcm/a26c
or call 0330 333 1113 and quote ‘A26C’

Make sure you use this URL or quote the code on the phone:
other offers are available that do not include this pricing

* Offer closes 30th April 2022. Offer open to new UK subscribers only. Pricing is guaranteed for the first 12 months and we will notify you in advance of any price changes. Please allow up to six weeks for delivery of your
first subscription issue (up to eight weeks overseas). Your gift will be delivered separately within 60 days after your first payment has cleared. Gifts only available to subscribers on the UK mainland. Gift not available
with a digital subscription. The full subscription rate is for 12 months (13 issues) and includes postage and packaging. If the magazine ordered changes frequency per annum, we will honour the number of issues paid
for, not the term of the subscription. For full terms and conditions, visit www.magazinesdirect.com/terms. For enquiries please call: +44 (0) 330 333 1113. Lines are open Monday- Friday 9am- 5pm UK Time or e-mail:
[email protected]. Calls to 0330 numbers will be charged at no more than a national landline call, and may be included in your phone provider’s call bundle.

www.digitalcameraworld.com APRIL 2022 DIGITAL CAMERA 41

Hotshots
Winning images from the 2021 Epson International Pano Awards,
ɯǝǣƬǝ‫ژ‬ƬƺǼƺƫȸƏɎƺɀ Ɏǝƺ ƫƺɀɎ ǣȇ ȵƏȇȒȸƏȅǣƬ ȵǝȒɎȒǕȸƏȵǝɵ

42 D I G I TA L C A M E R A APRIL 2022 www.digitalcameraworld.com

About the Pano Awards Epson Digital Art Prize ‘Anatomy Lesson’ Manuel Enrique González Carmona
Manuel Enrique González Carmona, Spain
The Epson International Pano Awards was founded in 2009 by David Evans “Minerals, water and water currents are the
(2015 AIPP Australian Landscape Photographer of the Year) with the support ingredients with which nature creates these
of Epson Australia, and has since grown into a collaboration between ephemeral landscapes. With each rainy period,
dedicated photographers, industry professionals and sponsors. It is a labour the canvas is transformed. This canvas is
of love for all involved. www.thepanoawards.com actually a raft of toxic waste from a copper
mine, located in the province of Huelva, Spain,
www.digitalcameraworld.com which was captured by aerial shooting. I live
only one hour away from this scenery. There
are always completely new structures and
details that allow you to make countless
abstractions and figurations.”

APRIL 2022 DIGITAL CAMERA 43

Joshua Hermann

Joshua Hermann

44 D I G I TA L C A M E R A APRIL 2022 www.digitalcameraworld.com

Joshua Hermann Hotshots

Overall Winner, Open
Joshua Hermann, United States

Left: ‘Eternal Triangle’
“Due to its watery habitat, the
cypress tree develops a triangular
base and root protrusions called
cypress knees to help it stand. As
I paddled amongst the trees on
this foggy morning, the triangular
trunks stood out in a symmetrical
fashion. To me, it looked like
enumerable triangles receding
into the fog. I named this picture
‘Eternal Triangle’ as an ode to one
of my favorite jazz compositions,
by the great Sonny Stitt.”

Below left: ‘Ancient Backwaters’
“Many of the old-growth cypress
groves were felled during the
logging era. Today there are a few
places where these 1,000-plus
year-old giants still stand. You will
usually find these in pockets of
backwater that were too hard for
loggers to reach, or because the
trunks weren’t the ideal shape for
lumber. When I find these ancient
monoliths, I am immediately
transported to the swamp
lands of ancient times.”

Below: ‘Morning Burn’
“When cool moist air begins to
warm over water in the swamp,
mist begins to form over the water.
If you are lucky enough for the
mist to stick around when the sun
breaks the horizon, a wonderful
show takes place. There is a
short window of time where
the sun begins to set the
mist ablaze with light.”

Joshua Hermann

www.digitalcameraworld.com APRIL 2021 DIGITAL CAMERA 45

Hotshots

Overall Winner, Daniel Trippolt
Amateur Competition
Daniel Trippolt, Austria www.digitalcameraworld.com
“I discovered my passion for
photography when I was 12 years
old, when my father gave me my
first camera. Every free second
of my free time was used to take
photos of everything and everyone.
I found my greatest passion and
hobby in landscape photography.

“I am very much into hyper-real
photography, which distinguishes
me from most Austrian landscape
photographers. It has become a
huge part of my life, even if I don’t
have as much time to invest as
full-time landscape photographers.
The Covid crisis in the last two
years has limited my landscape
photography pastime a lot, which
is why I’m all the more happy about
my success in this competition.”

Above: ‘Legendary Peaks’
Right: ‘Shining Heart’
Opposite: ‘Shining Night’

46 D I G I TA L C A M E R A APRIL 2022

www.digitalcameraworld.com

Daniel Trippolt Daniel Trippolt





THINOHWDETOGOROSHEROAOSTT
Get creative in the warm and dry with 10 fantastic projects you
can shoot in the comfort of your own home – day or night!

here’s no need to worry art opens up to you. So what do you need, CONTENTS
apart from your camera and a lens?
T when the rain is driving Shoot a striking shot page 50
against your window and A tripod is essential, because sometimes
the wind is howling down you’re going to be working in conditions Paint pictures with light 52
the chimney. Stay where with almost no light! You’ll need a few props,
you are in the warm and dry, grab your too, and some additional light sources, Make your own bokeh shapes 54
camera and tune in to a whole bunch like a torch or fairy lights. You’ve already
of fun projects that you don’t have probably got most of these items lurking Capture detail in fruit slices 55
to leave the house to do. in drawers or at the back of a cupboard.
Taking photos indoors does have one Backlight a board game 56
or two technical challenges to overcome, Beyond these, all you need is a willingness
but once you’ve jumped those hurdles, to open up your imagination, and to start Create a sci-fi style scene 56
a brave new world of creative photo thinking differently about how you create
interesting and eye-catching photos. Get wild colours from plastic 57

Set up an ad-style still life 58

Take a spinning selfie 58

Have fun with physiograms 59

1 Flame, set and match!

Fire up your imagination and shoot a striking shot

1 Create your scene 2 Set up your camera 3 Fire off a shot!
A black backdrop and somewhere safe to You‘ll work in Manual for this shot, as it’s You will find it easier to fire the shutter
light a match is the only ‘studio’ you need for this impossible to meter as the match flares. Set an via a cable or remote release, so you can light the
ultra-simple but really effective photo. Push your ISO of 800, a shutter speed of at least 1/800 sec match with another, and start shooting before
matchstick into a ball of Blu-Tack, so that it‘s and an aperture of f/11. You can tweak these the main one ignites. Fire a burst of shots as the
held firmly and won’t fall over. We placed a non- settings depending on how brightly your match match sparks into life, moving your hand out of
flammable tile underneath to make sure we burns. Focus on the tip of the match manually. the way quickly. You’ll have a few ‘dud’ frames
could ignite the match as safely as possible, and It’s really important that you set your Drive Mode to delete, but you’ll also find one that gives you
we recommend that you take similar precautions. to fire continuously when you press the shutter. a perfect capture of what the eye doesn’t see.

50 D I G I TA L C A M E R A APRIL 2022 www.digitalcameraworld.com