Digital Camera - August 2022

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Editorial James Abbott
Editor Niall Hampton [email protected] Welcome
Contributing editors Marcus Hawkins & Claire Gillo
Technique editor Alistair Campbell rguably somewhat of a niche or geeky pursuit
[email protected]
Art editor Roddy Llewellyn [email protected] A pre-Covid 19, macro photography gained some
Group production editor Steve Wright [email protected] serious traction during lockdown, when many
Group reviews editor Rod Lawton [email protected] photographers were limited to shooting at home.
Imaging labs manager Ben Andrews [email protected] Now, with the cost of living crisis impacting us all and many
Senior art editor Warren Brown [email protected] hours of summer light to take advantage of, we’re offering a
masterclass in shooting macro on a budget. Turn to page
Contributors 50 for some tips, tricks and hacks for shooting the world in
James Abbott, Jon Adams, James Artaius, Ben Brain, Jon Devo, close-up, whether it’s plants, insects or getting creative. You
Peter Fenech, Andrew James, Sean McCormack, James Paterson, don’t even need a macro lens, but if you are inspired then
Matthew Richards, Lauren Scott pick up a pre-owned one for as little as £200 by turning to
Help Me Buy (p116). Also this month, feast on the flowing
Cover image Getty fashion shots in One to One (p8), check out our highlights
from Underwater Photographer of the Year (p42) and take
Photography Bath Photo Studio the scenics route in Camera College (p62). Plus, we give our
All copyrights and trademarks are recognised and respected early hands-on verdicts on two groundbreaking new APS-C
cameras – Canon’s EOS R7 (p108) and
Advertising Fujifilm’s X-H2S (p112). Enjoy the issue.
Commercial director Clare Dove [email protected]
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Account director George Lucas [email protected]

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Contents ISSUE258
AUGUST 2022

HMOAWCTRO OSHOOONT 50
A BUDGET
108 Canon EOS R7 _ The EOS R line-up
goes APS-C… read our early verdict
on a body packed with the latest tech

81 Practical Photoshop _ Add a halo
effect to your portraits in Lightroom,
plus tips for Photoshop & Camera Raw

Photo skills Regulars

8 One to One 39 The Art of Seeing
It’s London calling on the banks
of the River Thames for a fashion Ben Brain on how to contemplate
shoot featuring flowing fabric a location when time is limited

16 Photo Active 42 Hotshots Gear & tests

Fresh inspiration on every page – Our highlights from Underwater
choose from 10 all-new projects Photographer of the Year 2022

50 How to shoot macro 72 Reader Gallery 108 Canon EOS R7
on a budget This month’s best images It’s finally here… we get hands-on with the
first APS-C member of the EOS R family
Our essential guide to getting top-
class close-ups with minimal kit 80 Shot of the Month 111 Irix 21mm f/1.4 Dragonfly
The (Isle of) Skye’s the limit! A super-fast and affordable wide-angle
prime that can capture a range of subjects

62 Camera College 102 In Focus 112 Fujifilm X-H2S
The latest camera kit and accessories A powerhouse of a mirrorless camera
Read our tutorials on shooting scenics news from across the market for users who need high performance
then enter our photo challenge!

70 Affinity Photo 104 Jon Devo column 115 Samyang AF 50mm F1.4
How to use the Develop Persona Our tech-spert ponders the metaverse FE II

81 Practical Photoshop 120 Interview An updated version of a compact and
Ukraine-born Yelena Yemchuk
Hands-on tuition for Photoshop and on her long-form project Odesa lightweight prime for Sony E-mount
Lightroom, plus our latest digital gifts

98 Photo Answers 132 What the f-stop! 116 Help me Buy a… budget
Take on our best photo brain macro lens
Your questions answered, plus with our challenging quiz Our picks of the best pre-owned lenses
Tech Check and Image Rescue available, plus what to look out for

4 DIGITAL CAMERA AUGUST 2022 www.digitalcameraworld.com

Subscribe and HURRY
get a great WHILE
camera bag! STOCKS
Page 40 LAST!

This
month’s
contributors

120 Interview _ Born in Ukraine but now resident in the US, Yelena Yemchuk Yelena Yemchuk
embarked on a photographic tribute to Odessa in 2014. As a book of the
work is published, we find out more about her inspiration for the project Art photographer

PLUS Yelena’s photographic journey
started at the age of 14, and she
Win a copy has gone on to have her work seen
Ȓǔ ǔˡȇǣɎɵ ¨ǝȒɎȒ across the world. She discusses
ǣȇ Ȓɖȸ ȅȒȇɎǝǼɵ her book, Odesa, on page 120

ƬǝƏǼǼƺȇǕƺٍ Graham McCowen

62 Camera College _ Take a seat at the front of the class for a comprehensive Fashion photographer
guide to photographing the great outdoors – glean some top tips for better
composition, working with extreme exposures, using tripods and more! Creating concept-driven imagery
with a fantastical edge is one of
16 Photo Active _ 10 all-new projects to shoot, edit or create this month, Graham’s passions… we get to see
including coastal long exposures, using intentional camera movement for how he does it on a flowing-fabric
floral images, capturing equine portraits and mastering off-camera flash shoot in London, from page 8

Elizabeth Ebsworth

Equine photographer

With a life-long love of horses, and
photographing them, Elizabeth
documents their relationship with
humans for her photographic
practice. Read more on page 32

Jayna Ho

Photographer

Jayna has been exploring
intentional camera movement
techniques and the abstract
results they produce. See
how she does it, on page 30

Jon Devo

Photographer & writer

Jon likes to ponder how new tech
innovations impact the world
of photography. This month, he
focuses on the likely implications
of the metaverse. Page 106

James Abbott

Photographer and writer

Regular DC contributor and
landscape photography expert
James joined us on a reader
Shootout in the Peak District –
see what happened from page 89

AUGUST 2022 DIGITAL CAMERA 5

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This issue, get wallet-sized advice on Settings
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Actions and Presets Buɵƺȸ‫ټ‬ɀ JɖǣƳƺ ƺƫȒȒǸ
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6 DIGITAL CAMERA AUGUST 2022 www.digitalcameraworld.com



ootnnoee

Going with
the flow

Alistair Campbell joins Graham McCowen on the banks
of the River Thames for a fast and furious fashion shoot

ailing from South overpowering the sun to light
the model and create a darker
H Africa but now background. He has stuck with it
residing in London, since – it’s less common in the UK,
creative fashion so it makes your images stand out.

photographer Graham had scoped out the
location beforehand for tide times,
Graham McCowen but it still isn’t out quite far enough to
shoot in his preferred first spot, so he
has invited us to see him incorporate begins to set up a couple of lights to
shoot in the shaded area with the
one of the capital’s most iconic bridge as a backdrop: one light to the
right with an octabox, and the other
locations into one of his photoshoots. off to the left with a bare lamp and
blue to match Victoria’s outfit.
Meeting at 11am at Tower Hill
Before we start shooting, Graham
underground station, we were joined spends some time loading huge
pebbles onto the base of the
a few minutes later by Victoria, a lightstand. (“I’ve had a lot of these
fall over, so now I weigh them
Ukrainian model who has been living down as much as possible.

in the UK for the last eight years.

The three of us made the short trip

across Tower Bridge in very sunny,

beautiful weather, and headed

Alistair Campbell down onto the steps leading to

the shaded shingle bank below.

Graham explains that off-camera

flash is common in South Africa,

Graham McCowen

Fashion photographer

Graham is a professional photographer,
concept storyteller and photographic
art director. His aim is to create
bespoke imagery that is concept driven
and, with his background qualifications
in design, marketing and branding, best
captivates a target audience. His style
is cinematic with a fantastical edge.
www.grahammccowen.co.uk

ootnnoee

How Graham Graham creates two setups around the pillars, persevering with the heavy fabric. Having an
assistant to hold it would make things easier, he says, but it’s still possible when working alone.
works with models
Sometimes even that isn’t always enough When doing a natural light shoot, I try to find
“The best advice I can give is to find to stop them going over, though!”) a location or time of day that not only lights
a model you genuinely want to shoot, the model well, but also gives a good back
someone that inspires you and gets As Graham begins to shoot, he explains light – either a sunset or reflections.”
along with you very well and, even more that due to the sunny weather, he’ll use his
importantly, actually wants to shoot with lights at full (1/1) power, then compensate Sticking with the same lighting setup,
you, giving you their time and effort. in the camera to dial down the exposure. Graham moves the blue gelled light to the
background behind Victoria and aims it
“Also, don’t be afraid to shoot non- “The only time I look to utilise ambient light towards the roof, keeping the octabox as
professional models who are excited is either if I’m doing a natural light shoot or the key light for Victoria’s face. Some strong
at the idea of a shoot. Find a model shooting with a golden hour sunset in the poses from Victoria in very difficult positions
who has a vibrant personality, as this background. For all other times if I could help Graham to nail a few more shots towards
definitely helps make great images. turn off the sun and replace it with artificial the end of this set during a short period
strobes, I definitely would. Coming from my where the tide is out, opening up this
“Have a plan for the shots you wish filming days, I prefer to light the scene that particular area of the bank.
to take and share it with the models best sells a mood and story, and most of the
beforehand and at the shoot, so they time ambient light doesn’t seem to help. Keeping the end of the fabric on the
understand what you’re looking to do. One cardboard roll makes it easier to hold it
way to do this is by making a mood board. Communicate a lot as one-handed as Graham shoots with the
You can even do things like sharing songs other hand. A small bit of tape at the top and
with the feel you want from the images.” you direct the model bottom also helps to keep the fabric in place.

while shooting, and As the tide begins to make its way back in,
it’s now little past 1pm when we are joined by
keep in mind that they Abigail to take on the golden-style fabric of
Graham’s second look. It’s not always easy to
can’t see themselves shoot with a single model, and photographing
two in a day takes a lot of communication.

“Interact with the models while you direct
them when shooting, and keep in mind that
they can’t see themselves or the scene,” says
Graham. “Offer encouragement – it’s

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

Flowing fashion with Graham McCowen

Camera Sony A7R III Camera Sony A7R III
Lens Sigma 14-24mm F2.8 Art Lens Sigma 14-24mm F2.8 Art
Exposure 1/2000 sec at f/2.8, ISO 50 Exposure 1/125 sec at f/2.8, ISO 50

11:34am 12:16pm
12.47pm
Camera Sony A7R III
Lens Sigma 14-24mm F2.8 Art
Exposure 1/400 sec at f/4, ISO 50

www.digitalcameraworld.com AUGUST 2022 DIGITAL CAMERA 11

ootnnoee Camera Sony A7R III
Lens Sigma 14-24mm F2.8 Art
Exposure 1/640 sec at f/2.8, ISO 50

1.27pm

Graham’s flowing fashion kit Matching the kicker light to the fabric
is a great way of tying the entire
Everything you need to take your shots to the next level scene together with a subtle touch.

1 Sony difficult in front of the camera and no one
A7R III wants to do a bad job, so let them know when
they look great. If something isn’t working then
“A solid and reliable full- change the scene and direct them better.

frame, high-resolution “Finally, show the shots on the back of the
camera to the models and discuss them. This
mirrorless that’s open to 1 allows them to see how well they are doing on
4 the shoot and feel more included in the whole
many third-party optics.” process. This is your project and your story,
2 and as the photographer, you are the author
2 Sigma – if something isn’t working then fix it.”
14-24mm 3
F2.8 DG DN Art Keeping the same key light but swapping
the backlight gel from blue to orange, Graham
“A short-zoom-length super- uses a stool to elevate Abigail, and also as a
base to wrap the fabric from the sand up to
wide angle lens that is sharp, her waist and out towards his camera. Graham

solidly built and very reliable; This is your story and
as a photographer,
it’s the one that spends the you are the author

most time on my camera.” www.digitalcameraworld.com

3 Sigma 4 Pixapro
85mm Citi300 Pro
F1.4 DG DN Art

“A very sharp and fast lens “A 300W high-speed sync

for portraiture that’s fully battery-operated strobe light

weather sealed and creates that’s small, very reliable

pleasing bokeh.” and easy to use.”

12 D I G I TA L C A M E R A AUGUST 2022

Flowing fashion with Graham McCowen

Camera Sony A7R III
Lens Sigma 14-24mm F2.8 Art
Exposure 1/640 sec at f/2.8, ISO 50

1.34pm Pro insights from Graham

Holding the fabric at each end creates His four top tips for shooting standout fashion images
an organic flow, and shooting wide leads
the viewer right into the scene. 1 “Storytelling and concepts – not every fashion shoot

now completely unravels the fabric from the needs to have an incredible idea behind it: brilliant
cardboard tube and tells me that the next few concepts can be difficult and time-consuming to develop.
images will have a more organic flow to the If you’re lacking a big idea for a shoot, work on delivering
fabric for not being attached to the long an emotion through the shots instead. Emotions are
straight tube, and that it would also allow him easier – and sometimes more fun – stories to tell.”
to manoeuvre it into the wind more easily.
2 “Art direction: outfits and props – be more mindful
I ask Graham if he always shoots with the
same lens. “I do have an 85mm in my bag; of art direction. If you’re not lucky enough to have
I might get it out at the end, but I’m a sucker a talented team making your outfits and props, then choose
for a wide shot. I pretty much stay at around items that excite you and speak to your idea. Select colours
14mm most of the time. and even make things that sell your concept well. The
fabric on this shoot was my main prop, for example.”
“The thing I love about super-wides is
that most photographers don’t shoot with 3 “Lenses – pick a focal length that you love using
them for fashion or portraiture work. Being
different is very important as an artist, as and don’t worry if no other fashion photographer
it makes you stand out. The world looks so uses it. Using the right gear for you, especially if it
different on a super-wide lens and, through helps you to be different, is very important.”
its unique look, it can pull the audience in.”
4 “Locations – pick them well. Should your shoot be
The tide is nearly back in, so we move back
to the very start for some final images on the studio-based or at a physical place? Think about
steps. A couple of workmen are sat there how best a location can benefit your idea, the way it
having lunch. “Are we in the way?” one asks. looks and the feel it gives off.”

Graham laughs and replies, “I’ve got AUGUST 2022 DIGITAL CAMERA 13
a pretty wide lens… do you want to sit
in the sun on the beach for 10 minutes?
Then I’ll be finished.”

www.digitalcameraworld.com

ootnnoee

Using the decline of the steps means that How to capture fast-moving flowing fabric
the fabric has a good base to lead down
and away from Abigail, leading us into “When it comes to gear, in
the shot (see opposite page, bottom). this scenario I used a high-
speed sync strobe that
One of them yells, “I was nearly washed can allow the camera to
out to sea down there once, so l’ll go shoot at a fast shutter
and sit around the corner.” rate. Slower shutter speeds
mean the fabric will have
A couple of signature wide shots and motion blur. There’s
Graham switches to his 85mm and tells nothing wrong with that, of
Abigail to throw the fabric into the air. Ditching course; I like my shots to be
the backlight and shooting a short burst to crisp and sharp, so I shoot
get the throw perfect was challenging but fun. at around 1/1000 sec when
setting up these faster-
“The first thing I’d say about shooting fabric paced moving images.”
is to be open to its organic nature,” says
Graham. “You need to see it as a character How Graham lights
with its own personality, and sometimes it’s a magical scene
uncontrollable. The art of shooting fast-
moving fabric lies within a fast shutter Pro insights for getting a creative and cinematic edge
speed and what you plan to do with the fabric.
Does the model need to throw it or are you 1 “Let your environment tell you how to light
tethering the fabric at both ends? Is wind
going to be a problem? Sometimes the the scene. This could be a cool window to flash
beauty is to throw it around and let it through, or if the sun is coming from a certain area,
make its own unpredictable shapes.” place a strobe to enhance the effect of that light.”

“Just one more big throw, please, and 2 “The choice of lens you shoot with will
I know I’ll nail it this time”, says Graham
before wrapping up. often dictate how to light a scene. Using
a super-wide lens means that the key light needs
In a fun but highly demanding shoot for to be positioned out of the frame.”
one person, he has worked relentlessly to
get some killer images, sticking with a 3 “Use gels and different light shapers to add
consistent technique throughout.
Models: Victoria Polozova, Abigail Gardener colour and different hard or soft light effects
to your model and your location.”
Sometimes the
4 “Colour and use of light and shadow are great
beauty is to throw
ways to sell emotion in an image. Use a hidden
the fabric around strobe to light the environment instead of the subject.”

and let it make its own

unpredictable shapes

14 D I G I TA L C A M E R A AUGUST 2022 www.digitalcameraworld.com

2.16pm

Camera Sony A7R III
Lens Sigma 85mm F1.4 Art
Exposure 1/1600 sec at f/1.4, ISO 50

2.07pm

Camera Sony A7R III
Lens Sigma 14-24mm F2.8 Art
Exposure 1/640 sec at f/2.8, ISO 50

www.digitalcameraworld.com AUGUST 2022 DIGITAL CAMERA 15

10 things you can shoot,
edit or create this month,
from coastal long exposures
to horses and star trails

1 | ACTION

Seconds out

Sacha Wiener explains
how to use off-camera
flash to create punchy
fight portraits

y photography journey

M began in 2018 when my
career as a musician
ended and I was gifted

a DSLR by a family

member. I needed something to fill

the creative gap in my life, and the

camera I had received (a Nikon D50)

became my new obsession.

I started taking it to gyms I frequented

to learn how to take the amazing

dynamic shots I saw on social media and

in books and magazines. I was especially

drawn to combat sports and CrossFit,

as I was fascinated by the discipline and

effort it took to compete at a high level.

I read every article and watched every

YouTube tutorial I could, and when that

was not enough, I began to reach out

to professionals on social media. I was

amazed at how many responded

with advice or compliments.

Ultimately, I learnt the most by doing

it. I found myself adapting to the various

environments and the people who

inhabited them. It sounds clichéd, but

I want very much to tell a story and I

hope that comes across in my images.

www.sashshots.photography

1/200 f/2.8 ISO
sec 200

16 D I G I TA L C A M E R A AUGUST 2022

Sacha Wiener

w

More flash, less cash It’s always prime time Work with the

1 I was once told, “If there isn’t enough 2 I have tried pretty much every lens 3 environment

light, create your own”. Gyms are on the market and I keep coming As I never pose my subjects, I
often dark and gloomy places, so back to my ‘nifty 50’ (I am currently needed a way of placing the lights
therefore using flash seemed logical. using the Sigma 50mm Art). I prefer without being in the way. I had a
However, taking expensive studio to get as close to the action as I can bunch of failed attempts until I hit
kit to these places simply was not to allow the viewer to feel the impact upon the idea of fishing magnets
practical, so I found the cheapest or at least get a sense that they are strapped on with gaffer tape. Most
speedlights I could on eBay there. Also, prime lenses are sharper gyms have metal pipes or beams
(Yongnuo: £50-£70). I then and often I require a shallow depth that I can ‘stick’ the speedlights to.
set about experimenting of field to allow as much light as However, I place them on whatever
with where to place them. possible (gyms are always so dark!). elevated surface suits my needs.

Develop your social skills

Shooting in ‘live’ environments It does not always go to plan, Shoot as much as you can in Play with the light
is challenging. You learn quickly however, so make it fun. I once different challenging places
where your boundaries are and dropped a speedlight on [UFC and always have a plan of Ultimately, photography is a process
what people will tolerate. fighter] Mason Jones’s neck, what you want before you start. of manipulating light. Flares, strobes,
which surprised and hurt him, That way, you can assess what haze, mirrors, smoke and prisms are
One of the biggest challenges so I told him his ‘situational went well and what did not. simply tools of the trade. I enjoy
I had when I started was getting awareness’ needed work. We Next time you will be that experimenting with how the light
people to ignore me. Social skills all laughed – thankfully! little bit better. bounces through a prism (especially
are especially important in Developing relationships with with flash) because you never know
these situations – you must your subjects is key to making what kind of rainbow magic reflections
communicate effectively and them feel at ease. If they feel at you may get. Of course, too much of the
explain what your intentions ease, the closer you can get. same thing becomes boring. However,
and processes are. The last every now and then I whip out my prism
thing I want to do is annoy Lastly, I would say that (£13 from Amazon) and simply play
or get in the way of training. you only truly learn by doing. around producing a series of shots.

bts: Alice Goodliffe www.digitalcameraworld.com

18 D I G I TA L C A M E R A AUGUST 2022



2 | ASTRO Kirk Purnell
Behind the scenes shot by James Clarke
Stars in

my eyes

Start shooting astro
using a simple setup like
mine, says Kirk Purnell

am one of the many people who

I picked up a camera during the
first lockdown in 2020, and it
all exploded from there. Initially
I just wanted something I could take to a local
nature reserve for some early morning walks,
and I picked up a Nikon D3500 with a kit lens
and telephoto to start off with. Of course, it
wasn’t long before I wanted to shoot a lot
more than just the woodpeckers.
I got sucked into astrophotography only
a few months later, with my first-ever shots
being of Comet Neowise and the Milky Way on
the same night (my Neowise shot over Ashton
Windmill is still one of my favourite pictures
ever). I remember being absolutely blown
away at what I could achieve with my basic
equipment – nothing but a kit lens and a
tripod. It was like magic watching the camera
produce images of things I could barely see
and it’s this magic that keeps me coming back.
There’s something oddly wonderful about
being sat in a cold, dark field in the middle of
nowhere for a whole night and just watching
comets and satellites streak across the sky
while your camera captures things most
people can only dream of witnessing.
The great thing about star trails is that you
need minimal equipment to get started. A
sturdy tripod and a kit lens will get you decent
results, with an external intervalometer or
a camera with an interval shooting mode.
www.kirkpurnell.com

How to shoot star trails

For this shot, I took around 250 30-second
exposures over a period of around a couple
of hours. I then edited out any aeroplane
trails (these are becoming far more
frequent) and stacked everything in
Photoshop (you can use a dedicated
stacking tool like Sequator or Starstax,
but I like to do all the editing in one place),
blending in a single, lighter foreground
frame. Star exposures are all at f/1.8 ISO
250 with the foreground at ISO 400 (with
a touch of light painting). There is no ‘one
rule fits all’, so have fun experimenting.

20 D I G I TA L C A M E R A AUGUST 2022 www.digitalcameraworld.com



3 | PORTRAITS am usually found photographing catalogue shots, so the idea of shooting in a
videogame arcade emerged. The neon lights
Arcade fire I music, but was asked to and glow from the machines looked both
produce a series of images exciting and creative, and even more so when
Steven Christie uses his local for use by the Dan Reed Georgie (@georgiiegee) stepped into frame.
amusements as the backdrop Network to promote their new www.darklightdevice.com
for a distinctive fashion shoot line of apparel. I used my skills of shooting
music under creative stage lighting. The brief f/2.8 1/160 ISO
was to create images that would appeal to their sec 500
fans and be eye-catching enough to crossover
into more mainstream outlets. For this to work I
knew I needed to utilise an exciting background
element to avoid the images looking like

Steven Christie Lens choice

Camera settings Throughout the shoot, I used a Canon EF
24-70mm f2.8L lens adapted for my Canon EOS
Although the arcade was full of brightly R6. This ensured a sharp image even at wide
lit machines, the ambient light was low. apertures and allowed me to crop out any
Because of this, I kept my aperture as wide distractions, such as customers or staff
as possible to ensure that Georgie and the wandering into frame. The Eye AF worked superbly even
T-shirt were bright. Even with an aperture with an adapted lens, with only an occasional glitch where
of f/2.8 I needed to raise the ISO to 500. it picked up the eye of the ladybird instead of Georgie!
The shutter speed was 1/160 in order to
minimise camera shake and movement. www.d. igitalcameraworld.com

22 D I G I TA L C A M E R A AUGUST 2022



4 | LIGHTROOM

Easy rider

Alistair Campbell creates a nostalgic feel by adding
light leaks with the radial tool in Adobe Lightroom

Alistair Campbell Before AFTER

hotography is often How to create light leaks in Lightroom Classic

P referred to as the art With your image open, select the Radial Gradient tool. you want. Once you have made a radial gradient,
of painting with light. At the bottom of the sliders ‘Color’ will be displayed. right-click on the centre and select ‘Duplicate’. This
With the pursuit of By default it is white/translucent. If you click the box will give you a second circle identical to your first.
image perfection then you will be able to select your colour. I’ve gone
so highly prized, imperfection with a red/orange choice in the top left of the palette, Now, grab the edges and make a new shape and new
may actually augment your art. but you can select whichever suits your image best. position. Try to slightly overlap the two to make it more
One of the ways that many plausible. Light leaks often came into the camera
modern photographers add to their With the cursor over your image, begin to draw your from one source. You can even change the colour
photography is with the inclusion circle. You can move back to your sliders and increase on your second radius, too – just make sure it’s
of what are known as light leaks. the exposure or contrast and saturation to get the style not too different to the first.
As the name suggests, these are
patches – or ‘leaks’ – of light that
occur in parts of a photograph.
Some light leaks are subtle,
while others have the effect of
dominating the composition.
During the era of film
photography, light leaks were often
considered to ruin a photograph.
This is because when created
unintentionally, light leaks can
subtract from images. But this
look, while mostly unwanted in film
photography, can add creativity
and nostalgia on digital images.
Today, we can impose or create
our own light leak effects, either
in-camera or, as we’ll be looking at
here, in post production. The idea
is to try to create that nostalgic
style that would often be found in
cheaper cameras when shooting
film. So let’s open up our image in
Lightroom and edit it to create
some light leak effects.

24 D I G I TA L C A M E R A AUGUST 2022 www.d. igitalcameraaworld.com



5 | LANDSCAPES

Go off grid

Sam East explains how to work
off grid and get the most out
of your photographic trips

aving crafted a reputation for visually sleek

H and sharp photography that captivates
audiences, British-born photographer
and filmmaker Sam specialises in creating
commercial, portrait, landscape and automotive
imagery. Visual storytelling is at the forefront of Sam’s
work and stems from his love of motion pictures, where
he also draws inspiration for his cinematic tones,
colours and composition witnessed throughout his
portfolio. With nearly a decade of experience behind
the camera, Sam is never far away from capturing
split-second moments influenced by his perception of
light, filled with emotion that visually arrests viewers.
Instagram: @bearingeast

Sam East 1/800 f/7.1 ISO
sec L64

26 D I G I TA L C A M E R A ASUPRGIUNSGT22002222 wwwwww.d.digigititaallccaammeerraawworld.com

www.digitalcameraworld.com AUGUST 2022 DIGITAL CAMERA 27

Scout for

1 locations

I’ll always be looking
for a focus point to base
my image around, such
as a tree, wall or old
wooden gate. The majority
of the time when I’m
shooting landscapes,
I like to adhere to the
rule of thirds. Placing the
key point of focus/subject
of your image on one of the
third lines just off-centre
usually makes for a visually
pleasing image, and is
easy on the audience’s
eyes. It also leaves room
for your landscape shots
to take over the rest of
the frame, helping the
audience to understand
scale and distance.

Retain highlight details Stay powered up on location

2 When shooting landscapes, my number one rule is to always 3 When I find myself in more remote locations, I take

underexpose the image to retain detail in the highlights my Solar Saga 100W solar panel. I find that reviewing
(brightest parts of the image). Why do I do this? When images on a larger screen and doing basic edits on the
it comes to post-processing your raw photo, it’s far easier move helps me get the image shot as best as possible.
to bring out the detail from the shadows than trying to Not only that – I can also charge batteries and mobile
recover completely blown-out highlights with no data. phones if I’m out over a couple of days.

28 D I G I TA L C A M E R A AUGUST 2022 www.digitalcameraworld.com

Photo Active

Use layers to create depth in your images

4 Depth can be achieved by teaming your aperture value with a well-

placed foreground element. For example, a lot of my landscape work
involves the camera being low, and shooting with an element of the
environment impinging on my frame – such as a leaf, stone or wall being
out of focus will create the desired layers and add depth to the image.

An ND filter can be invaluable

5 What does a neutral density filter do? As you rotate the

front element of the filter, it reduces the amount of light
hitting your sensor, enabling you to keep the aperture
wide open to allow a shallow area of focus in even the
brightest of conditions. I use the Polar Pro Peter McKinnon
Signature Edition II Variable ND 2-5 stop, and it has been
an invaluable bit of kit in my bag for a while now.

www.digitalcameraworld.com AUGUST 2022 DIGITAL CAMERA 29

6 | CREATIVE

Painterly
petals

Jayna Ho creates floral
images with ICM and
explains why you
should try it yourself

hotography is my form Jayna Ho

P of play. I’m a self-taught 3 top tips from Jayna
photographer, and for
the last few years I have 1 Photograph what you love
been exploring the ICM Think about why the subject
(Intentional Camera Movement) called to you and what attributes
technique, where the camera is you want to show others.
deliberately moved during image
capture, creating abstract and 2 Don’t limit your movements
impressionist results. It is an We live in a 3D world – don’t
idiosyncratic method of creation, to be just try horizontal and
sure, but I thrive on the creative freedom vertical movements.
and individuality inherent in the practice. Use the Z-axis, too.
My current body of work focuses on
the patterns, colours and textures of 3 When to use a UV filter
plants and flowers. One thing I like to ask If you are shooting into bright
myself while taking photographs is what sunlight, you might end up with a
are the attributes of the subject I want magenta cast. This is an optimal
to emphasise, and how does the motion time to use a UV filter; because
further highlight those qualities? of this, I typically keep one
Each subject has a story to tell on my lens at all times.
– experimenting with different patterns
of motion changes not only the way in
which the subject is captured, but also
the emotional tenor of the image. In this
way, the act of photography serves as
a form of visual translation between
the moment and the final image, while
the ambiguity of the image allows for
variations in the story it shares with
the viewer. Creation is a point of
connection between people – a bridge
between our shared commonalities.
I think the beauty of this technique lies
in its accessibility. There are no complex
lighting setups required, or special
camera equipment. You can adapt ICM
to almost any lighting scenario and
subject. I prefer to operate my camera in
full manual mode, but you could easily
use Shutter Priority. Ultimately, I hope
that my images spark your curiosity to
try this style of photography yourself.
Instagram: @jayna_ho

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

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Shoot in natural light Choose the right lens

1 I always consider the conditions, 2 Two go-to lenses are the Canon 70-

type of light and time of day to 200mm f/2.8L, which is reliable

photograph. I really love a dramatic and versatile for both movement and

sky or cloud to diffuse the light, but still shots. I also really like my Sigma

late August and summer evenings 105mm f/1.4 Art, which creates

make for beautifully warm tones beautiful portraiture when opened

and early mornings create fresh up. These lenses are used with my

images, especially on beaches. Canon EOS R5 and Canon EOS 5D

I also like the way natural light Mark IV. Plus, I also use a 24-105mm

works on the horse. for wide-angle images.

7 | PORTRAITS

Exquisite equine

Elizabeth Ebsworth on creating portraits of
horses and the importance of personal projects

y love of horses spans a Personal projects are important
and will broaden your knowledge
M lifetime, and I have been and experience. I host a programme
photographing horses of equine photography workshops
and their humans for over throughout the year, a number of
six years now, something I continue them being with my friend Camilla
to develop and grow all the time. Lucinda Sheeley, who is an equestrian
I really enjoy photographing people herself, as well as a model and stylist.
and their horses and capturing the Luxury brands are incorporated
essence of their relationship. I also into the workshops with the use of
love to photograph horses at liberty incredible locations, thus creating
and at incredible locations – they a stunning portfolio with a bank
are so majestic, and it really of content to share.
activates my creativity! www.elizabethebsworth
A personal project I have been photography.com
working on and continue to work on is
Horses & Architecture; a celebration 1/1000 f/2.8 ISO
of the craftsmanship of historical sec 100
buildings and the natural beauty and
form of the horse, something that is
deeply connected through history.

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

Look for the Keep shutter Go manual for

3 right location 4 speeds fast 5 more control

It is important to select I tend to keep my shutter I shoot in Manual mode,
a suitable location. speed around 1/500 sec as I like to have full control.
Permission and for a standing horse I only use Single Point AF
insurance are likely and 1/1250 sec when because it is very effective,
required in most capturing movement, particularly when shooting
alternative locations. as I want to ensure the a moving animal. I shoot raw
Think about styling and details are crisp. Be aware because it is the best way
the type of imagery you that horses can make to have full control over your
want to create, as well sudden movements, which images when editing. I also
as colours and textures. in turn makes using a usually slightly under-
high shutter speed even expose my images, which
more advantageous. I have done for years now.

Elizabeth Ebsworth

www.digitalcameraworld.com AUGUST 2022 DIGITAL CAMERA 33

8 | WILDLIFE Iive in Somerset in and unknown as to what may be
seen during any given game drive
Intimacy in I the south west of or walking safari is something that
the wilderness England, and have grows with every excursion.
been taking
John Bassi offers some photographs of wildlife My photography is incorporated
insights for getting the in its natural habitat for over 10 years. into my global travels with a mixture
most from safari trips Ever since my very first safari back of independent wildlife watching
in 1994 to Tsavo East National Park and organised safaris. I love to
in Kenya when I was 11, I have had visit new national parks and
a passion and fascination for areas of wilderness at every given
viewing wildlife within their natural opportunity. This enables my passion
environment. The thrill of the mystery for capturing shots of those unique

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

Photo Active

John Bassi John’s top tips for better wildlife images

and special intimate moments that Capture details
you can only see out in the field.
1 It goes without saying that
In order to achieve this I carry out
as much research as possible prior to you’re going to need a longer
my trips to gauge what species can be lens for a safari – usually to get
seen and what habitat they are suited a half-decent shot of something
to. This gives me the optimum chance far away, but when animals are
of seeing as many species as possible, comfortable around visitors you
but also in the most intimate way to can utilise that moment to take
allow for those special shots. some portraits. This allows you
Instagram: @ to get some detail and texture
john_bassi_wildlifephotography of the animals in your shot and
offer a different-sized frame.
www.digitalcameraworld.com
Nail your exposures

2 Ideally you want to be able to

see the animals in shot. Most
of the time your subjects will be
darker than their environment,
so make sure you meter for
them and not the sky. Don’t
worry if your skies are quite
bright – use Spot metering
rather than Evaluative,
and meter for their
skin/body or hair.

Spot the dangers

3 You’ll most likely have a guide

with you, but that doesn’t mean
you can take your eye off the
ball. Wild animals, even when
used to being around humans,
can be unpredictable: stay a safe
distance away, and never go
nearer to get a shot. Be wary if a
mother has a young animal with
them, because that is when they
can be far more protective.

Seize the moment

4 Unless you are shooting 30 burst

frames a second, the moment
you take your shot can make
or break an image. Try getting
some eye contact as well as an
alternative more candid version
of the same animal. Getting on
the same level as your subject,
no matter how big or small,
can be crucial for getting
an engaging shot.

AUGUST 2022 DIGITAL CAMERA 35

Liz Coles

36 D I G I TA L C A M E R A AUGUST 22002222 www.digitalcameraworld.com

Photo Active

9 | LANDSCAPES

Take your time

Liz Coles slows her exposure
for tranquil shots of Watchet
Pier during a supertide

Study the tide times

1 I researched the tides in the Porlock

and Minehead area about six months
beforehand with a tide booklet, which
I had bought on a previous visit. I booked
accommodation close to the first location
I wanted to shoot and had a plan of several
places in the area that were of interest.

Take the right kit

2 In addition to my trusty Nikon Z 7 and 14-

30mm wide-angle lens, I knew I was going
to shoot long exposures, so would need a
tripod with a remote timer. I like to keep my
lenses and ND filters pristine, so I packed a
blower and lens cloths, and I didn’t overlook
batteries and a formatted memory card.

Find your composition

3 When shooting a minimalistic shot, my tip

would be to use the rule of thirds so your
eye is drawn from left to right along the pier
to the lighthouse, as shown in this photo.
To achieve the desired angle for a perfect
composition, I walked around trialling
locations for my tripod and camera.

Check the weather

4 We can never predict the weather, but

what we can do is work with what we are
given. With rain comes rainbows, storms,
atmosphere and dark clouds. Luckily, this
early morning worked well for me because it
gave me a calm atmosphere, which enabled
me to achieve the desired minimalistic shot.

Get it right in-camera

5 I try to achieve what I want from my photos

in-camera. Using Adobe Bridge as a viewing
platform, I find the sharpest images and star
them. Then I choose one or two preferred
frames, which are exported into Photoshop.
I save images in JPEG, TIFF and PSD formats
so that I can re-edit or resize if necessary.

60 f/10 ISO
sec 50

www.digitalcameraworld.com AUGUST 2022 DIGITAL CAMERA 37

10 | ARCHITECTURE

Let’s take Amy McDonald
it outside
Amy’s tips for
Amy McDonald on outdoor shooting
the joys of walking
and shooting 1 Go out in Golden Hour
The hours at the beginning
t has been around seven and end of the day provide
the best lighting for super-
I years since I picked up my magical shots.
first Nikon DSLR camera.
I have always been a fan 2 Revisit a site multiple times
of clicking away, but There are so many aspects
before that mainly just with my phone. that can affect what we see,
Photography blends well with my love so take your time to observe
for the outdoors. Historic architecture, the subject you are trying
stunning landscapes, beautiful wildlife to capture.
and incredible nature have me at peace
in what can seem like a chaotic world. 3 Always carry a tripod
I think there is much to be said about Your photos will be much
how photography and being outdoors clearer, and slower shutter
can benefit mental health. speeds can allow for a
My photography stepped up a gear deeper depth of focus.
during the pandemic and lockdown. It
became an outlet for my emotions and
was a way to express myself. I honed
my skills through online courses,
invested in new kit (a Nikon D5600, a
Sigma 150-600mm Contemporary and
a Sigma 10-20mm), and me and my two
sausage dogs spent most of our time
outdoors walking and shooting. It is
amazing how much beauty there is
in the world when you just stop to look.
Everything started to develop for
me at this point – requests for canvas
prints, outdoors portrait shoots and
competition wins made me believe in
myself more. I see three elements to
my photography: the kit, composition
and the creative edit. I believe the kit
comes last in those three in order of
importance. I take my time in deciding
on perspective and composition, and
have developed my own editing style.
My professional journey is just
starting, and I cannot wait to see
where it leads me into the future.
Instagram: @sausage_strolls

38 D I G I TA L C A M E R A AUGUST 2022 www .digitalcamera world.com

The art Meditating on a location is a useful way
of seeing of making more engaging pictures, but
sometimes you’ve got to do it swiftly.
Benedict Brain grapples with having
to contemplate a place in limited time of my recent travels (on cruise ships) is
that I am only in places for a short amount
Benedict Brain n many of my workshops of time, often working on a tight schedule,
and musings on with mild background anxiety that I must
www.benedictbrain.com not get too absorbed in the process and
I photography and in my miss the boat – literally. I don’t have time
Camera: Fujifilm GFX 50R practice, I encourage the to sit and meditate on a location – not
Lens: GF 45mm F2.8 R WR idea of expressing a true for long, anyway.
Settings: 1/125 sec at f/11, ISO 125 sense of place. An idea
that an image can transcend being a mere Mindfulness and working speedily are
record of place, but also express something not great companions, but I don’t have
of the experience of being there. any choice. I also have very little control
One of the ways I like to explore this over timing, as I cannot choose to get up
and encourage others is to put down the at dawn or wait until there’s a day when
camera and discover a place using the the light will be right. I have to react
other senses. How does a place sound, to wherever I am and in whatever
feel or smell? These can all contribute to conditions, come rain or shine.
the vibe and build of the image. The creative
choices you make when you finally come This image was taken in San Francisco.
to make a picture can feed off this. If you look closely you’ll notice the famous
This is all well and good if you have time Golden Gate Bridge to the left of the tree.
on your hands! However, one of the aspects Initially, it was frustrating that I couldn’t
get a clear view of it, but after a short
moment of contemplation, I reconciled
myself to the conditions – at least it
wasn’t raining – and started working.

The tree dominates the frame in an
imposing way and is lit with flash to tease
out the tones and textures and make an
interesting contrast to the background.
The blues, the foliage, the tree and the
hint of bridge speak to my experience
of being there.

www.digitalcameraworld.com AUGUIST 2022 DIGITAL CAMERA 39

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Category Winner and My Backyard Winner,
Category: Behaviour
‘All You Need Is Love’
Pekka Tuuri, Finland
“This love pond is in my backyard – a 20-minute
drive from home – and it has rewarded me
plentifully over the past 10 years. It is full of love
in late April. The common frogs come first, then
toads and finally newts. I spent four days and
four night-time sessions in it in 2021. I wore a
drysuit with argon, lots of undergarments and
a heated vest to survive in the five-degree water.
I floated and stayed put among the frogs and
quite soon they accepted me and my camera as
part of the scenery. The frogs climbed on top of
my camera, making grunting sounds in my ears
and squeezing between my face and the
backplate of the camera. The active spawning
time lasts about two days and nights. What an
experience with lots of photo opportunities!”

Judge’s comments: “What an iconic moment
and excellent reaction by Pekka Tuuri. He always
comes up with different ideas and outstanding,
different images. Excellent composition and
light, very well done.”

Hotshots
Highlights from Underwater Photographer of the Year 2022

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

Hotshots

Pekka Tuuri/UPY 2022

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Hotshots

Hannah Le Leu/UPY 2022

Third place, Wide Angle Hannes Klostermann/UPY 2022
Category
‘Against All Odds’ Third place, Macro Category ‘Green Fire’ Hannes Klostermann, Mexico
Hannah Le Leu, Australia “I took this image on a dive off the dock of the diving centre I work at in La Paz, Mexico. This
“At Heron Island, Australia, is not actually a diving site, as there’s not much to see, but I sometimes go anyway to look
a green sea turtle hatchling for macro subjects and play with different techniques. On this particular dive I was lucky
cautiously surfaces for air to a to come across this signal blenny, my favourite macro subject in the area. As its home was
sky full of hungry birds. Against surrounded by pretty unattractive-looking algae, I decided to use a slow shutter speed and
all odds, this hatchling must snoot to blur out the background, resulting in this image. It goes to show that you don’t have
battle through the conditions to go to the best sites to get good images; you just need to be in the water somewhere.”
of a raging storm while evading
myriad predators. Not only has Judge’s comments: An increasingly common technique, but used here particularly
the tropical storm brought out well to allow the long exposure to capture the rhythms of the sea around the blenny.
thousands of circling birds,
there are also patrolling sharks
and large schools of fish on the
hunt for baby turtles. Only 1 in
1,000 of these hatchlings will
survive – will this one do so
against all odds?”

Judge’s comments: “One
of my favourite images of
the competition. Very nice
composition and excellent
technique to capture this
magnificent moment. For me,
the story of this image, with
the birds in the sky, really drags
me into it and makes it better
every time I see it. It’s rare that
underwater images tell a story
this dramatic. Well done.”

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

Hotshots

Wide Angle category
winner and Underwater
Photographer of the
Year 2022
‘Giants of the Night’
Rafael Fernandez
Caballero, Spain
“In the ocean, magic can
always happen. But when
magic happens all together,
you can only think you’re
dreaming. This was the case
of that night in Maldives.

At the beginning of the
night, one whale shark came
to the light of our boat,
BlueForce One. We jumped
in the water, then another
whale shark arrived. A
couple of hours later they
started to arrive in big
numbers. I was with Gador
Muntaner, a shark
researcher, who couldn’t
believe what we were seeing.
We counted 11 whale sharks
surrounding us. It was a
unique moment that no one
there had thought could
even be possible.

If we don’t protect the
oceans and sharks, these
moments will soon become
a thing of the past.”

Judges’ comments:
Alex Mustard: “It is said that
Jacques Cousteau only saw
three whale sharks in his
whole life, so a photo of five
together is something
special. But this stunning
image is about far more
than numbers, although it
required precision timing
to find a moment that they
would all fit in frame.”

Peter Rowlands: “This
image took my breath away.
Scale, light and the sheer
numbers of big subjects,
it was quite obvious from
an early stage that this
was by some distance
our winning image.”

Tobias Friedrich: “From
the first time I saw this
image, I knew that it would
be at least a category winner.
The photographer did an
amazing job to not just
capture the five animals,
but to get them in a good
formation and put some
excellent light on them.
Very well done and a truly
deserved winner this year.”
Rafael Frenandez/UPY 2022
Elisa De Cecchi

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Hotshots

Yazid El Shaari/UPY 2022

Runner Up and My Backyard Borut Furlan/UPY 2022
Highly Commended
Up & Coming Category Runner up, Black & White Category
‘Beauty on a Red Anemone ‘Evening with sharks and birds’ Borut Furlan, Slovenia
Skirt’ “I was in Moorea with my daughter in September 2021, in the middle of lockdown.
Yazid El Shaari, Oman Fortunately, our apartment was close to a famous spot in the lagoon with sharks
“I had just travelled back home and rays, and the owner of the apartment arranged us two kayaks for ‘recreation’.
from a very exciting underwater In three days I took more than 5,000 images. I kept about 200 and was satisfied
photography workshop, and if with 10. The image above is one of my best ones.”
I had learned anything from
this experience it was to find an Judge’s comments: “Excellent action between the upper world and below
attractive background and then the surface. This could have worked very well as a colour image, too, but
look for a subject to complement the photographer made a good choice to convert it to black and white!”
the scene. I caught a glimpse of a
red anemone skirt in between the www.digitalcameraworld.com
rocks. I had never seen this colour
in our area before, so I started to
play with the lighting to get the right
exposure, when suddenly I could
detect some kind of movement
in the viewfinder only to find this
beautiful goby – very uncommon
to our diving sites, but a very
pleasant surprise.”

Judge’s comments: “A beautiful
and rarely photographed subject
on a stunning background. The
result leaps out and to the top
of the rankings.”

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Winner, British
Waters Macro
category
‘Best Buddies’
Dan Bolt, United
Kingdom
“2021 was the 10-year
anniversary of my first
trip to the beautiful
Loch Carron, and in
all that time with its
diverse array of marine
inhabitants it has never
failed to produce
stunning underwater
images. My buddies
know that I’m not very
good at finding Yarrell’s
blennies, and it was no
exception on this dive
either. We were diving
in an area of reef I’d not
previously explored,
and after an excited
squeal and waving of
a torch in my direction,
I dropped down to see
that my buddy had
found not just one, but
two blennies holed up
in a crack in the rock.

Having my long
macro lens on was an
advantage, as I could
stand off from the reef
enough to get some
light into their home so
we could all see their
somewhat bemused
little faces.”

Judge’s comments:
“The eyes have it, and
the tentacles seal it.
Framed well and lit
beautifully, this
shot is a classic.”

Dan Bolt/UPY 2022

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Henley Spiers/UPY 2022

Third place, British Waters Wide Angle category www.digitalcameraworld.com
‘Yawn’ Henley Spiers, United Kingdom
“A grey seal pup stretches and performs an exaggerated yawn as it
awakens from a snooze in the kelp. I find it hard not to smile when looking
at this image and hope it has the same effect on others. There is a kinship
when sharing water with marine mammals, and these seals are among
the best underwater companions. With enviable aquatic grace, seal
pups have an irresistible zest for life, exhibiting curiosity, playfulness
and affection. Just weeks after birth, pups are abandoned to fend for
themselves, but they exhibit no anxiety at the world, exploring it with
insatiable energy and joyfulness. The pups actively seek out divers and
snorkellers, leading to wildlife encounters in which everyone wins. Best
of all, with one of the largest grey seal populations in the world, British
waters are the perfect place to visit these charismatic pinnipeds.”

Judge’s comments: “This image makes me laugh every time I see it.
It truly deserves a third place, even though in my opinion it could have
placed even higher! Well executed and perfect light in the right moment.”

Third place, Wrecks category
‘Coral on the Kittiwake’ Karlo Macas, Croatia
“This image was taken on the Kittiwake wreck in Grand Cayman, where
I worked as a diving instructor. It was actually taken a couple of days after
Covid-19 closed the island. My boss Jason asked me to join him on a trip
because there was no work. Coral, the model, is a talented freediver and
Jason’s model, who I had the pleasure of photographing that day. As I was
diving in the wreck at least once a week, I knew the composition I wanted
to take, and after Coral’s couple of dives, this image was taken.”

Judge’s comments: “A classic composition with detailed yet graphic
simplicity will always have a visual appeal that does not diminish with
repeated viewing.”

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Andy Schmid/UPY 2022

Runner up, Wide Angle category
‘Sunset Ray’ Andy Schmid, Switzerland
“I had heard and seen so many good things about the ‘tuna
factory’ dive site close to Malé in the Maldives, and was looking
forward to diving at this site, hoping to see guitar rays or big sharks
like bull or tiger sharks that regularly appear there. However,
because it was the last dive on a liveaboard trip before I flew out
early the next day, I had to stay shallow. So while everybody else
went deep looking for bigger fish, I stayed up in the shallows
and played around with what the site had to offer: schooling
bannerfishes, stingrays and moray eels looking for tuna skins,
bones and heads that are dumped into the ocean by the tuna
factory. I quickly found a great spot where I could shoot against
the setting sun, framing the schooling bannerfishes and pink
whiprays that were constantly circling the area.”

Judge’s comments: “Bannerfish swirl around a large stingray
in this perfectly timed photo while sunlight dances behind. At
the right time and in the right place, the ocean can be alive
with life, movement and light. This photo takes us there.”

Karlo Macas/UPY 2022 About the
competition

Underwater Photographer
of the Year attracts entries
from all around the world, has 13
categories, and four categories for
photos specifically taken in British waters.
www.underwaterphotographeroftheyear.com

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SHOOT MACRO ON A BUDGET

f/4.5 ISO 1/100
400 sec

This image was captured in
Indonesia by Andreas Karyadi
using a 100mm macro lens, but
you can achieve creative effects
with just basic kit – see page 58.

MACRO ONHOW TO SHOOT
A BUDGET
Get incredible close-ups with
basic camera kit, a good dose
of creativity and everyday items.
Dan Mold shows you how…

here’s a whole new world just waiting to be discovered

T with your camera – all it requires is a macro lens, or
even budget-friendly macro accessories (see page 54).
This will help you get closer to everyday items to
transform them into extraordinary photographs.
The brilliant thing about macro is that it covers a broad range of
subjects, including everything from still-life to inanimate objects
or kitchen items, to insects and flowers that you can easily find
in your garden, local park or nature reserve – they all make
great considerations for close-up photo subjects.
In this feature, we’ll show you how to achieve fantastic macro shots
with minimal kit and even the most limited of budgets, plus more
advanced gear that will come in handy if you want to venture further
down the macro rabbit hole. We will also take you through three easy
but effective techniques you can try out around your home or in the
garden. Depth of field, also referred to as the zone of sharp focus in
your images, becomes extremely limited when you’re focusing so
close to your subject – even with higher aperture values such as f/22.
To overcome this, we’ll teach you how to stack the focus of your
photos together so you can take multiple shots at different focus
distances and combine the sharpest bits together in Photoshop
to create a broader range of sharpness. So let’s get started!

WHAT’S IN THIS FEATURE? page 52 TIP CARDS
page 54
PART 1 Get the right gear page 56 Take them on location!
PART 2 Go macro on a budget page 58
PART 3 Shoot insects in the garden page 60 For more advice on photographing
PART 4 Get creative effects macro shots, see this issue’s tips
PART 5 Focus stack for sharpness cards – or download them from:

www.digitalcamera
world.com/dc258

50 D I G I TA L C A M E R A AUGUST 2022