Learn these or throw out your gear! HIDDEN CAMERA FEATURES PRO SECRETS Practical advice for enthusiasts and pros www.digitalcameraworld.com Issue 265 NEW SKILLS FOR AMAZING EARN BIG Key skills for extra income SELL YOUR WORK Great value smaller-sensor cameras reviewed AFFORDABLE MIRRORLESS Bespoke lens control NEW CANON Full frame for less EOS R8 REVIEWED CREATIVE SKILLS Astrophotography tips SURREAL NIGHT LANDSCAPES Shutter position Composition tips Find subjects Best gear Creative exposures COASTAL MASTERPIECES SHARP SHOOTING TECHNIQUES TRAVEL PHOTO STORIES CANON RF 100-500mm F4.5-7.1L IS USM
GET IN TOUCH Ask a question, share your thoughts or showcase your photos… @DPhotographer Tweet your opinions or images and see them printed www.facebook.com/ DigitalPhotographerUK Share your thoughts and shots Instagram: @dphotographermag Follow and tag us Email: [email protected] Newsletter: http://bit.ly/DP-news Website: Get news, tips and reviews at www.digitalcameraworld.com “As visual artists, creating inspirational imagery is at the heart of what we do. Make sure you have fun!” Buying a new camera is one of the most exciting things a photographer can do. Thoughts of the new image possibilities it will unlock are motivating and can force us to try branching out and expanding our skills. But while upgrading can revitalise your work, modern cameras are so advanced it’s easy to overlook many features. Our guide on p24 is all about digging deeper and unveiling the tools and tricks you might already have at your fingertips. Read on and reveal your existing kit’s full potential. However, if you are in the market for a new model be sure to check out our review of the new Canon EOS R8 mirrorless camera, which you can find on p104. Meanwhile, on p36, we explore the many facets of coastal photography. Learn to work with tricky lighting to capture the best possible colour and exposure, for amazing shots of seaside locations. This month, we also paid a visit to Sugar Studios, one of London’s hottest studio spaces, to learn insider tips from the team on hiring studios and dealing with large photo shoots. You can read their fascinating insight beginning on p14. We’ve also got a fun creative project for you on p50, where James Abbott demonstrates some widely useful exposure tricks, as well as our usual editing tutorials in Photoshop, Lightroom and Affinity Photo, starting on p58. As visual artists, creating inspirational imagery is at the heart of what we do. So regardless of your camera model, make sure you have fun using it! Peter Fenech, Editor [email protected] © Paul Killeen 3 WELCOME
Our technique editor has been hard at work down by the sea, writing a feature on capturing coastal masterpieces. Learn her essential skills for amazing seascapes, beginning on p36. Kim has also written a tutorial on shooting sharp images from a moving vehicle (p56) and our Affinity Photo tutorial (p62). Website: digitalcameraworld.com KIM BUNERMANN Our contributors Kav is an expert in the fields of travel and landscape photography and in this issue, he turns his attention to capturing images for stock. In his career feature on p66, Kav explains the pitfalls of shooting for this market and explains all the ways to avoid the rookie errors that could be stopping you from earning big profits. Website: dadfarphotography.com KAV DADFAR Terry has been on a mission to document tribal traditions around the world. In our latest Pro Column (p114), he recounts his experiences in Kenya, Ethiopia, India and beyond, shedding light on the risk modernisation poses to these precious facets of humanity. Website: terrysheadshots.co.uk TERRY MENDOZA Matthew is our expert in all things photo tech. For this issue, he has rounded up four of the best crop-sensor mirrorless cameras to discover which APS-C or Micro FourThirds model offers the best balance of value, speed, performance and portability. Start reading his Group Test on p96 of the magazine. Website: digitalcameraworld.com MATTHEW RICHARDS Every month, James prepares our Photoshop and Lightroom editing tutorials. Read this issue’s tutorials, beginning on p58. James has also crafted a creative night landscape shooting and editing project for you to try. Turn to p50 of the magazine to learn this clever technique for eye-catching shots. Website: jamesaphoto.co.uk JAMES ABBOTT Claire is a longtime contributor to Digital Photographer and this month she has once again prepared our Career Advice pages. Starting on p72, Claire answers all of your questions on topics ranging from networking with other photographers to whether or not you should use TikTok for self-promotion. Website: clairegillo.com CLAIRE GILLO Future PLC Quay House, The Ambury, Bath, BA1 1UA Editorial Editor Peter Fenech [email protected] 0330 390 6246 Senior Designer Neo Phoenix Production Editor Jon Crampin Technique Editor Kim Bunermann Senior Art Editor Warren Brown Content Director Chris George Contributors Dan Mold, Gareth Bevan, Thomas Speck, Jignesh Chavda, Angela Nicholson, Cath Harris, Daniel Costa, Ajith K Jose, Dan Brand Main cover image © Nick Bailey/iStock via Getty Images Advertising Media packs are available on request Head of Market, Advertising Matthew Johnston [email protected] Account Manager Matt Bailey [email protected] +44 (0)330 390 6272 International Licensing Digital Photographer is available for licensing and syndication. 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Contents 14 Sugar Studios 36 Coastal images © Mark Bauer © Paul Killeen © Peter Fenech 84The Gallery Social space 70 Photo CV We profile Paris-based landscape and urban photographer Thomas Speck, who offers some advice for making it in the business 76 Interview With his unique perspective on light, timing and composition, Jignesh Chavda aims to document life on the streets of India 84 Gallery The winning shots from the International Garden Photographer of the Year 2023 114 Pro Column Terry Mendoza is on a mission to record life in the world’s most isolated tribal communities Practical skills 24 Hidden camera features Thinking of an upgrade? Before you do, dive into your camera’s settings and unlock a host of hidden features and transformative tools 36 Capture the coast We’ll show you how to create breathtaking coastal images by engaging with the seascape and harnessing its natural beauty 50 Creative Project Turn night into day by using the full moon and your camera’s astrophotography settings for some surreal landscape shots 56 Shooting tutorial Don’t miss out on capturing spectacular landscape images when you’re travelling, with our handy drive-by shooting tutorial Editing suite 58 Photoshop tutorial Using Photoshop’s Quickmask feature to help you apply easy and precise local adjustments to brighten up your images 60 Lightroom tutorial Learn how to control saturation levels with the individual channels in HSL controls to achieve a moody, desaturated effect 62 Affinity Photo tutorial Make light sources in your shots pop, by enhancing the light and adding depth and atmosphere in our Affinity Photo tutorial Pro advice 14 Sweet spot Peter Fenech visits Sugar Studios in south-east London to discover the secrets of top-tier commercial photography 64 Print and share Maximise traffic to your photography portfolio with these five tips to boost your presence online and on social media with tools such as SEO and website layout 66 Career feature Travel and landscape photographer Kav Dadfar offers some great advice on avoiding making these basic errors when shooting images for stock sites 72 Career advice In our marketing special, Claire Gillo answers your questions about using TikTok and networking. Plus, she speaks to Cath Harris about marketing strategies for your business SUBSCRIBE TODAY! TO GET 3 ISSUES FOR £5 TURN TO PAGE 22 FOR DETAILS 6
F 108 MacBook Pro 16 M2 Max 2023 Can a laptop really be worth this much? We put the latest Apple MacBook Pro through its paces © Jelena83/iStock via Getty Images New kit and reviews 96 Group test: Top crop-sensors Full-frame isn’t the only option, see our roundup of the best APS-C and Micro 4/3 mirrorless cameras 104 Canon EOS R8 Gareth Bevan discovers whether Canon’s latest mirrorless is a bargain for the price 24 Unlock hidden features 112 Accessories Ten fun yet functional products for photographers 110 Lenses This month, we test the Canon RF 100-500mm F4.5-7.1L IS USM and Sony FE 50mm f/1.4 GM 76 Interview © Jignesh Chavda Surreal nightscapes 50 96 Group Test Stock photography 66 © James Abbott © Kav Dadfar
Gifts & giveaways We think test shots are important when it comes to reviewing and comparing the latest kit, but we know it’s hard to tell the difference between test images when they are printed in the magazine. You can open, view and compare test shots from our kit reviews anywhere you see the download icon, pictured on the right. YOUR FREE ASSETS are available to download on pages where you see this icon DOWNLOAD THE TEST SHOTS Review test shots https://bit.ly/3TvyuL0 Free e-book to download Make money from scenics Selling images for print in calendars and on postcards is a great option for photographers, as there is a market to suit every genre. Before you start shooting, there are several pitfalls you need to be aware of. Publishers have precise technical requirements and your images need to meet the criteria. In this ebook, we’ll show you how to choose scenes and submit images. We also highlight a pro case study to help you enjoy the thrill of seeing your photos displayed. To claim your free e-book, visit https://bit.ly/3TvyuL0 Enter our Photocrowd contests online to win Affinity prizes Every month, we team up with Photocrowd – the world’s leading photography competition platform – to offer you the chance to win an Affinity Photo editing software licence (worth £60 for Mac or Windows) and have your images printed in Digital Photographer. Affinity Photo is a toolset engineered for modern photography professionals. Whether you’re editing and retouching images or creating full-blown multi-layered compositions, it has all the power and performance you’ll need. For a chance to win, go to Photocrowd and discover our latest contest. It’s easy, free and fun – we love seeing your entries! Visit: www.photocrowd.com/digitalphotographer 8
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Sony has announced the ZV-E1, which it claims is the ‘world’s most compact and lightweight full-frame interchangeable lens camera’. The ZV-E1’s body looks like a combination of the Sony ZV-E10 and 7C cameras and it features weather sealing and a more premium design than previous ZV models. It shares the same processor as the A7S III, with a 12MP, back-side illuminated (BSI) sensor, that offers a huge 15+ stops of dynamic range and ISO from 80-102,400, which can be extended up to 409,600. This is paired with the Bionz XR processor and a separate dedicated AI chip, both from the latest Sony A7R V, that will power the autofocus and AI features of the ZV-E1. These new features include an AI-based Auto Framing mode that can track a person and zoom in on them as they walk around a scene, as well as AI-based Precision Focus and a Dynamic Active mode, an enhanced digital stabilisation mode with a fixed crop. The ZV-E1 is capable of 4K 60p with no pixel binning but will receive a free firmware update in the future to enable 4K 120p. It’s capable of shooting in S-Log and 10-bit 4:2:2 internally. For external recording, it can be hooked up to an external monitor using a micro-HDMI – but is not capable of external RAW footage. For video streamers who want to use this camera for live video, the ZV-E1 is capable of 4K 30p or Full HD 60p via a USB-C connection. It also boasts a three-capsule microphone and an SDHC/ SDXC card slot and can be powered by USB-C. Sony’s ZV-E1 is due in April, with prices starting at £2,349 (body only) or £2,599 with the 28-60mm lens kit. www.sony.co.uk Canon officially confirms ‘flagship’ EOS R1 model Canon has officially confirmed that the EOS R1 is in development – and that it will be the flagship model. The news comes as little surprise, as it has been rumoured since the launch of the original Canon EOS R. The statement was made by Go Tokura, general manager of Canon’s Imaging Division, during an interview with Photo Trend. Asked about Canon’s current flagship camera, he replied: “If you look at our portfolio, our highestend case is the EOS R3, so we can say that is our flagship product,” he said. “But if you compare the EOS-1D with the EOS R3, you know it’s worthy of the ‘flagship’ designation because it’s equivalent in terms of Canon’s advanced features. Of course, the EOS R3 could claim the flagship title, but there’s a reason we named it ‘3’. You can expect there to be a ‘1’, which is currently being worked on and will be our most premium model,” he added. With Tokura confirming the EOS R1 is in production, all we need to do now is wait for it to appear. All signs point to an early 2024 launch, in time for the 2024 Olympic Games in Paris. © Canon SONY LAUNCHES NEW ZV-E1 It’s a full-frame, AI-packed, interchangable mirrorless camera billed as ‘the ultimate content creation experience’ for vloggers x2 © Sony 10 IN FOCUS
Rumours about the appearance of the Nikon Z8 have been circulating since 2019 when it was revealed that Nikon placed a huge order for the same 61MP sensor found in the Sony A7R IV. Nikon has since fleshed out its Z system lineup, with entry-level cameras such as the Nikon Z50, mid-range models including the Nikon Z6 Mark II, and the professional powerhouse Nikon Z9. What is still missing from the lineup, however, is a resolutionfocused body. So, could this be the Z8? It seems likely that the Nikon Z8 will be a 61MP camera to match today’s 60+MP models, including the Sony A7R V, Sigma fp L and Leica M11. Little is known about the Z8, but with Nikon inviting all major camera dealers to an event in March, all signs point to an announcement in April. After four years of speculation, we’re eager to see what the Z8 looks like. Based on resolution alone, and given that the 45MP Canon EOS R5 shoots 8K, it’s plausible it will offer 8K video – even the A7R V only shoots oversampled 4K. Whether this is a tactical decision to avoid cannibalising Sony A1 sales or a technical decision due to the sensor readout, it’s difficult to know whether the Z8 will be a 4K, 6K or 8K machine. Other things seem a safer bet. In-body image stabilisation seems like a no-brainer, as this is par for the course with full-frame Z cameras. Dual card slots also feel inevitable and CFexpress would be optimum for pushing files of this size. Nikon Z8: What we know so far The Nikon Z8 is believed to be arriving imminently – so what do we know about the supposed Sony A7R V killer? It’s the second Rokinon/Samyang lens for the Fujifilm APS-C mirrorless system More snippets of photography news from around the world A TRIO OF NEW LEICAS COMING? Rumours have started circulating that three new Leica cameras will be released next year, when the company celebrates 70 years of producing the iconic Leica M. Although we should take these rumours with a pinch of salt, we expect Leica to produce something special for the 70th year of the M system. The company has previously celebrated similar milestones, including the 100 Jahre edition cameras that were produced for 100 years of Leica. We’ll have to see what happens in 2024! PANASONIC PHASE DETECT AF Panasonic CEO Yosuke Yamane confirmed that we will soon be seeing new Micro Four-Thirds (MFT) cameras with phase detection autofocus. It comes after Panasonic’s acclaimed full-frame Panasonic S5 II and S5 II X, which both employ the fast and accurate phasedetect AF. Are we going to see new Panasonic MFT cameras with phasedetect AF soon? Unfortunately, at this stage, it is anyone’s guess as to which camera will be the first to get the new phase-detection autofocus system. Samyang 75mm f/1.8 AF lens for Fujifilm Samyang has released full details of its second autofocus lens for the Fujifilm X-mount mirrorless system. The 75mm f/1.8 lens was first demonstrated at the CP+ trade show in Japan in March. Samyang released its first lens for the Fujifilm APS-C sensor system – the Samyang AF 12mm f/2 – at the end of 2021. As usual with Samyang lenses, it will be sold under the Rokinon brand in North America. However, the new Samyang 75mm f/1.8 X seems to be a completely new design for the system, in that it doesn’t currently appear to be available in any other mount. As it isn’t made for full-frame sensors, it is obviously different from the existing Sony-mount Samyang AF 75mm f/1.8 FE. The Fujifilm version will have an equivalent focal length of 112.5mm, due to the 1.5x crop factor used by the X-mount camera range. The lens is slightly heavier and bigger than the Sony version, weighing in at 257g. But again, it uses 10 elements in nine groups, with nine aperture blades. The lens is expected to retail for £475/$499. www.samyanglens.com © Nikon © Samyang 11
STORY BEHIND THE STILL Photographer: Dan Brand Instagram: @dbrand_photography Web: www.dbranddesign.co.uk Image location: Holbrook Creek, Suffolk, UK Type of commission: Personal Shot details: DJI Mini 2, Aperture: f/2.8, 1/13s, ISO: 250, Focal length: 24mm About the shot: Owning and flying a drone is a relatively new experience for Dan Brand in his photography career. “Every time I get up into the air, I am amazed by the unique views that we don’t get to appreciate from the ground. Visiting Holbrook Creek had been on my list for a while, especially at low tide when the receding River Orwell reveals a world of patterns and textures,” he says. “As soon as I got the drone up in the air, I was drawn to the deeper channels on the riverbed, which look like the river’s own system of tributaries. The footprints from the wildlife crawling over the riverbed also add some interesting textures and patterns,” Dan says. Taking photos from the air requires a different perspective on creating a balanced photograph, something Dan is getting used to. “The biggest challenge was getting the composition correct. I wanted to ensure enough of the channels were in the shot to create the right look but avoid elements cluttering the riverbed. Here, I wanted to include something to help give the image a sense of scale and this is where the placement of the boat was important. It offers a reminder of just what a small part of nature we really are,” he adds. “With a drone, it’s tempting to go higher and include as much as possible in the frame. But remember, sometimes you only need to go a few feet above head height to get a unique perspective and achieve something that isn’t possible with a traditional camera.” Pictured River traces Dan applied the basics in post-processing, reducing highlights and increasing the contrast levels in Lightroom to enhance the depths and textures on show All images © Dan Brand 12 YOUR IMAGES
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SHOOT LIKE A PR Peter Fenech visits London’s Sugar Studios to discover the secrets of top-tier commercial studio photography on both sides of the camera SWEET SPOT Sugar Studios is located in the former Tate & Lyle sugar refinery building on the Greenwich Peninsula in south-east London. With four dedicated studio spaces, the team at the studio prides itself on versatility and supporting creatives. The studios also double up as dynamic event spaces. www.sugarstudios.co.uk @sugarstudiosgreenwich Sugar Studios, Greenwich 14 GET YOUR DISCOUNT Sugar Studios is offering Digital Photographer readers an exclusive 25 percent off studio hire. Use the code DPSUGAR25 when completing the booking form to redeem this offer.
© Peter Fenech 15 At one time, owning and running a photo studio was the ultimate goal for many professional photographers. Before the era of remote working and easy file sharing, having a fixed studio location on the High Street was essentially the only way of maintaining a sense of brand and of showing potential customers that your services were available for hire. Since technology has helped many photographers run their businesses on a mobile basis or even from an office at home, many professionals have chosen not to invest in their own studio space. Even so, at the high end of the commercial photography market, a hired studio is still considered a critical asset. Today, I’m paying a visit to Sugar Studios in London. Located in the imposing building of the former Tate & Lyle sugar refinery on the banks of the River Thames at Greenwich, the dedicated event and creative hub promises to be a fascinating glimpse into the world of top-tier commercial photography. Approaching the studios at Morden Wharf by passing through a deserted industrial estate, I wonder if I’m in the right place. However, I spot the attractive company logo emblazoned on a sign and make my way into the airy reception. “They often say we’re ‘London’s best kept secret’ in the industry, but we’d rather everyone knew we were here,” laughs Jo Wallace, Sugar’s Studio director.
Streamline your shoot Sugar Studios’ tips for a stress-free photoshoot “Timings are important in this instance, and being able to have a deadline that is workable and achievable for everyone involved will help the shoot run effectively,” says Jo Wallace, Sugar Studios’ director. “It’s also critical for clients and photographers to have clear communication with each other so that their mutual vision can be achieved. Furthermore, you should anticipate that things may not always go right on the day. Having the ability to be flexible and change schedules at short notice will keep things on track. Tell studio staff what your needs are – we will say yes to almost anything and most of the requests are able to be fulfilled.” On larger projects, when working with multiple creatives, good communication is the key to an efficient and productive shoot. Make a schedule and liaise with all those concerned. SHOOT LIKE A PR Despite the vastness of the space, I’m struck by how homely it feels. My eye also falls on the in-house Sugar Cafe, which offers a wide range of both caffeinated and tasty treats. Also hard to miss is the huge model whale, suspended from the ceiling, giving a glimpse into the origins of the studio as a sister company to industrial prop fabrication company MDM Props. Having been introduced to the friendly team at reception, Jo starts my tour in the first of the studio’s large spaces, the Infinity Stage. I’ve been in large studios before but it always takes a moment to process the illusion of a seamless, endless space, in this case, one of London’s biggest. This seems like a good time to ask Jo about the advantages of hiring a studio over owning one outright. “Having a team available at all times who can troubleshoot any issues that may arise on set,” she explains. “You have the freedom of using a large space at your disposal and not having the responsibility of keeping it running. Costing is at a minimum, everything else is taken care of for you. We’re on call for early starts and late finishes and are happy to stay as long as you need to get your shoot to the standard you’re happy with. A key one is maintenance, which is included in your package. We take care of the clean-ups and repaints,” she says. Shooting in this space today is portrait photographer Jan Stasiuk (@commedesgarbage) who is using a combination of coloured lighting for a fashion shoot. I ask Jo about the practical benefits of having such a large space within which to work. “Large spaces mean bigger props can be used, such as cars. This ensures we can cater to everyone’s needs and don’t miss any opportunities due to not having the room. Our Big Space has the ability to rig from the structural beams, making it a popular space for acrobatics, circus performances, stunts and flying rigs. The Infinity Cove offers more space for crews and kits with a mezzanine for styling, client viewing or office space. It also has an electric grid to ensure that pre-light and take down can happen quickly,” says Jo. We move through to the White/Blackbox room next and 16
x4 © Peter Fenech @raphaelphillips, @sarahgarfield__, @ryliegoodchild, @r1ru2._, @nowheregirlonline 17 SWEET SPOT
then onto the impressive Green Screen. Hard at work on a video production for Instagram are influencers Jesse Chace (@jessechvce) Zak Fenning (@zakfenning) and Raheem Bakare (@raheembakare). I ask Jo what kind of clients are usually found working in these spaces. “Due to the flexibility in our offerings, we are lucky to work with a vast range of clients, brands, talent and industries,” she says. “We can accommodate anything from a full-scale theatre rehearsal, stunt rehearsals or an acrobatic flying rig set-up in the Big Space to advertising campaigns, such as a recent food shoot by Sainsbury’s.” Other recent shoots also include a music video for The Brits ‘Rising Stars’ 2023 winners ‘Flo’ with Sony Music and a project for Nike, produced by Locate Productions partnering with the creative team at AKQA. “The Green Screen is perfect for CGI, VR and gaming and previous clients include Adidas, Channel 4 and Absolute Vodka. If the shoot calls for a little less space and smaller crews then The White/ Blackbox Studio is great and has accommodated many more intimate shoots. For instance, Jose Cuervo shot an ad for the world’s first washing machine designed to mix margaritas for International Margarita Day.” That surely must rank highly, but what’s the most unusual shoot Jo has observed? “In my time at the studios, there have been some fabulously flamboyant requests. Two things that spring to mind are treacle and porcupines,” she says. “When initially discussing a shoot involving a treacle-like substance for a music video, we talked about how the studio would be protected, the vision of the production and the requirements for the shoot, but I missed off the key question of how much treacle we were talking about,” she says. “A porcupine was used for the AW22 collection shoot with Dazed magazine and fashion designer Chet Lo. It turns out they’re a lot larger than one might think.” As we observe Jesse, Zak and Raheem working from the mezzanine, I ask about the challenges for photographers in planning a large-scale shoot. “Challenges can arise around quantities, of people, kit, expectations and space BLOB? CHECK OUT TOMMY’S KIT AT WWW.AMAZON.CO.UK/SHOP/ TOMMYREYNOLDS MANFROTTO MMXPROC5 MONOPO x3 © Tommy Reynolds 3 2 1 3 Chroma colours The Green Screen at Sugar Studios can be used for high-end video productions, but similar setups are widely useful for stills photographers engaged in compositing work. The midtone green makes keying out backgrounds and making selections much easier due to the contrast with the subject. However, you should watch out for colour spill when shooting portraiture and, if needed, use a black flag to reduce any reflections. 1 Background lighting Larger studio spaces can make changing the background colours easier. Because light is spread out more widely, it is easier to manage exposure and the amount of light that falls on the background too, meaning that many different styles can be achieved with minimal change of setup. High-key and low-key lighting can be alternated quickly and it is also easier to select custom backdrops for easy selections and extractions. 2 Overhead lighting In studio spaces with higher ceilings, take advantage of powerful overhead rigs. These simplify the composition of larger props, acting like huge modelling lights or as strong directional sources. Essential studio features 18 4 Room to move The size and shape of the rooms at Sugar Studios allows creatives to step back and put some distance between them and their subjects, enabling the use of more flattering longer lenses. 4 SHOOT LIKE A PR
Jo’s tips for large shoots x4 © Peter Fenech 19 Choose your people Always have the best team available, as reliable people make the day go more smoothly. Trust in recommendations from your friends and colleagues. Select your kit Ensure you have covered yourself for every eventuality. If you are unsure, then never be afraid to ask – it could save you lots of time and money. Perfect timing Shoots rarely go to plan so schedule yourself as much time as possible for load-ins, retakes and mistakes. Plan around budget Certain costs can arise on the day that you might not have planned for. Don’t be afraid to speak frankly about money – the last thing you want is to finish the shoot and then receive an unexpected bill. SWEET SPOT
2 Vary lighting position With room to move, use the extra space to work your lighting and achieve various styles. Make the most of your time in a large studio to attempt more complex setups, using multiple lights, gels and positions. 1 Use subject distance One of the biggest challenges of shooting in small spaces is a lack of working distance between the subject and camera. Being able to step back and use a longer lens allows you to create compression effects. 3 Shoot in Manual In any studio setting, your camera will struggle to keep up with exposure calculation, due to the strength of flash sources. Even with continuous light, shoot in M mode to allow reliable, predictable brightness control. 20 Take advantage of large studios SHOOT LIKE A PR
requirements,” Jo says. “We ensure that we are transparent about what we can offer. Sometimes the greatest fears are around the unknown. Always think ahead, and always try and have the solution before the problem has even arisen,” she adds. “The team at Sugar really cares about keeping shoots running smoothly. The skill is being able to cohesively come together with one goal, to adapt to the way others work and to new surroundings. We try to arrange site and tech visits to ensure that there are no surprises on the day.” As far as equipment is concerned, it can be hard to know what to expect when organising your first studio hire. Jo explains a common arrangement. “Our studios are dry hire, and although we don’t dictate which suppliers our clients can and can’t use, we are happy to make recommendations for the various partnerships we have in place to help with kit rental, logistics and extra savings. We find that every setup is different and that most clients will have their preferred setup, so we respect this and provide only the framework and platform for creativity,” she says. “Our Infinity Stage has an electric lighting grid to help reduce the time for load-in, pre-light and load-out, along with space force LED lights, which you can also find in the Green Screen studio.” We conclude with lunch at the Sugar Cafe. Jo explains how many teams found the Studios to be a sanctuary over lockdown for critical shoots. The flexibility of the spaces as event locations highlights the usefulness of a dedicated place for creatives to work under controlled conditions. “We hope to support younger talent to build our client base,” Jo says, proving that in this industry, cooperation is often the best route to success. Thanks to Craig Boath at Cinelight London (@cinelight. london) for lighting support. 4 Use multiple backgrounds Another benefit of peripheral space to work is the ability to quickly swap in new backgrounds, generating further style range. Here, both chroma and black backdrops could be instantly swapped. 5 Place subject focus markers Don’t underestimate the lack of scale in an infinity cove! Bring some gaffer tape with you to mark positions for your subject to stand. This will allow easily consistent focus in both stills and video content. 6 Keep props to hand Sugar Studios’ stages also provide storage, meeting and office space. Speed up your shoots by having all your props and outfit requirements nearby, increasing shot turnover and maximising shoot efficiency. 21 “ The skill to shoots running smoothly is being able to come together with one goal and adapt to the new surroundings” SWEET SPOT
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• PRINT ONLY: 3 issues for £5* Delivered to your door • PRINT + DIGITAL: 3 issues for £5* Delivered to your door and device PRICING OPTIONS Top reasons to subscribe today *Terms and conditions: Offer closes 30 May 2023. Offer open to new subscribers only. Direct Debit offer is available to UK subscribers only. *After your first 3 issues, your subscription will continue at £24.99 (print), £32.49 (bundle), £21.00 (digital) payable every 6 months by UK Direct Debit. Please allow up to six weeks for delivery of your first subscription issue (up to eight weeks overseas). 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 and overseas rates please call: +44 (0) 330 333 1113. Lines are open Monday-Friday 8:30am-7pm, Saturday 10am-3pm UK Time (excluding Bank Holidays) or email: [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. 23 Subscribe and get essential pro insight delivered to your door every month Peter Fenech Editor, Digital Photographer • DIGITAL ONLY: 3 issues for £5* Direct to your device Never miss an issue Get Digital Photographer delivered direct to your door or device every month Pay less than you would in the shops Subscribe and enjoy three issues of Digital Photographer for just £5 The latest tips and insights Each month a subscription to Digital Photographer inspires you to take phenomenal photos and get the best result from your kit
Think you know your camera inside-out? Dive into your settings and discover these hidden transformative tools Words by: Peter Fenech PRO HIDDEN CAMERA FEATURES Pictured Complex machine Modern digital cameras often have cumulative specifications, with features added over several models. Exploring the menus can reveal tools to help improve your photography © Jelena83/iStock via Getty Images 24 TECHNIQUES
A t Digital Photographer, we often advise our readers to spend time becoming familiar with all of the functions and features our cameras offer, highlighting the importance of this over getting the latest model. A new camera opens up possibilities, but these will go to waste if we don’t know the layout and menu structure well enough to make setting changes. Once you do, you can make rapid adjustments without taking an eye off the viewfinder. After a few months of using them, we probably think we know our cameras pretty well. But even if you have used it for several years, it is possible to find hidden treasure among the sub-menus and custom functions. As an experienced shooter, what tends to happen is that we use the same tools regularly without ever truly diving into all of the available custom setup options. While accessing frequently used features becomes muscle memory, other features can be hidden in plain sight. We’ve lost count of how many times we discovered that a camera we’ve owned for years possesses a feature we never knew about. Sometimes these might be small, but together they can help to speed up camera work, streamline our workflow and make tricky shooting scenarios easier. Here, we’ve rounded up some of the key tools to keep an eye out for, proving the value of exploring all of the sub menus. You might find the solution to a longexperienced problem tucked away. 25
You might not need to buy that external flash trigger after all Create timelapse clips straight out-of-camera Speedlight commander Time-lapse movies The built-in flashes on cameras have been able to trigger external speedlights for years. However, even experienced photographers can be unaware of the complete functionality of built-in flash commander units. Beyond simply making an external flash unit fire, many even go as far as allowing the photographer to control groups, channels and power output, creating many advanced lighting setup possibilities. It’s a great idea to explore the flash custom function menu on your camera body to see how to define groups, set each flashgun to a channel and control which units will fire. The need for line-of-sight is a downside compared to radio triggers, but for indoor shoots, this could save you a lot of money on a full set of radio receiver units. While you’ve probably come across the interval timer if your camera has this feature, you might be unaware of the time-lapse movie function. It’s not always clear how these two options differ from each other. While the interval timer will capture shots at designated periods, the time-lapse option combines these frames into a movie file in-camera – perfect for social media. 1 Lock camera settings For shorter movies with fewer frames, switch to manual exposure mode, so brightness doesn’t change between segments. For sunsets, use aperture priority and a preset white balance to prevent colour shifts but allow exposure adjustment. TECHNIQUES 26
If you miss your DSLR’s DOF preview button, this one’s for you Live DOF preview As mirrorless cameras became more prominent, the humble depth-of-field preview button started to vanish from enthusiast-level models. While the idea that images could be instantly reviewed on the new large LCDs was a justifiable philosophy, many photographers missed being able to see the range of sharpness at any given aperture, in real-time. Luckily, many mirrorless cameras enable a live DOF preview today even where physical buttons are not present. As you stop down, with the option usually engaged from the menu, the range of focus will be visible on-screen along with exposure simulation, showing you both brightness and blur depth. On some models, DOF preview can be assigned to a function button if preferred. 2 Select movie duration Choose how long you’d like your time-lapse movie to be, impacting the number of frames required. Enable the Exposure Smoothing option to reduce how visible any exposure shifts between frames are in the final movie. 3 Review flow Select Start and once the sequence is complete, review the movie file on the memory card. Check for brightness inconsistencies or shifts in composition. Reduce frame timing for smoother movement or increase for greater time compression. PRESET ZOOM If you get tired of tapping the magnify button several times for a detailed view, did you know that you can assign one-touch playback on most cameras? With a single tap, the image will be displayed at 100 percent or a value of your choice. Left © Delmaine Donson / E+ Via Gettyimages, Right © Peter Fenech 27 10 PRO HIDDEN CAMERA FEATURES
With this feature active, focus-stacking can be a lot easier Focus bracketing Macro and product photographers will be familiar with focusstacking, where multiple images are taken with the focus set at differential distances from the camera. These frames are then combined in software to create a final shot with significantly extended depth-of-field. However, an often overlooked camera feature is focus bracketing, which can automate the process. The first step is to set the number of frames the camera is to capture. Next, select the focus differential, which is the distance over which you would like the focus to be moved. On cameras such as the OM System models, these can be merged in-camera. On older cameras, files can be blended in your editing software. FRONT TO BACK The image has sharp detail in the near foreground and far background BETTER ACCURACY Without touching the focus ring, there is less risk of composition shifts GREATER SPEED Automated focus movements can be done quickly to © Robert Boesch/Corbis Documentary via Getty Images minimise light changes 28 TECHNIQUES
Control shutter speed to reduce flicker effects Having dual card slots offers more than simply additional storage capacity Variable shutter Assign memory cards When shooting in artificial lighting, such as under a fluorescent source, flickering effects can be visible in movies and still images. This is due to the sensor recording images during periods of variable light output from the bulb, which occur at a specific frequency and can be unsightly and distracting. While many cameras today have an anti-flicker option, you can sometimes also make precise adjustments to the shutter speed, to match the frequency of the lighting, further lessening the effect. Start by taking a test shot, as flicker isn’t always visible in a live-view image. When bands are present, switch to manual or shutter priority mode and, from the shooting menu, select Variable Shutter to On. You can then make precise decimal adjustments to the shutter speed, such as 50.5 or 60.2. Make small changes and reshoot a test to observe the effect on the flicker, refining settings until it is removed. For the past few years, a second memory card slot has become commonplace on cameras of enthusiast level and above. However, while this can simply be assigned overflow duty, offering greater capacity without changing cards, roles can be further customised. Explore the options for automatically saving still images to one card and video files to the other, handy for versatile content creators. This avoids files being mixed together during import to a computer for processing and allows for different file naming protocols for each media type. Or why not try shooting RAW files to a main card and JPEGs to another? This will keep file types independent and speeds up your workflow when you need previews for immediate distribution to a customer. VOICE MEMOS Did you know it’s possible to save voice memos to images with some cameras? Often missing from camera specs, this function is useful for adding notes about travel locations or shoot settings, for later compositing work. © SimonKR/E+ via Getty Images 29 10 PRO HIDDEN CAMERA FEATURES
Set up for both speed and comfort Customise functions and reset You may have used custom presets on your camera’s mode dial to allow instant access to setting combinations. These enable you to call up a fast shutter speed, wide aperture and high ISO for fast-moving subjects, or longer exposures and small apertures for landscapes. However, on most mid-range cameras, you can re-assign command functions to the various buttons across the camera body and also customise the menu system by adding most-accessed functions to a user-defined ‘favourites’ tab. If you change your mind, simply reset your camera to factory defaults, setting everything back to its original state when it was bought. 1 Set button Firstly, we chose to assign the Set button to WB selection for speed. With a single tap of this centrally-located button, a white balance preset can then be chosen instead of going through the Q Menu or scrolling through the main camera settings menu tab, finding WB and then choosing from the sub-menu. 30 TECHNIQUES
Refine exposure control with built-in electronic and hardware filters Integrated filters Some compact and mirrorless cameras feature integrated ND filters that, when activated through the camera menu, allow for longer shutter speeds. One benefit is no fumbling with filter holders or choosing the wrong type, but being closer to the sensor also gives them a sharpness advantage over external filters. Electronic variable NDs are also being introduced – on some Sony cameras, you can engage stepless variable ND filters from the camera controls, optically adjusting the light reaching the sensor. Geared towards video shooters, it also has advantages for the stills photographer. For this shot, internal and accessory filters were combined for long exposures with minimal loss of quality. 2 Fn button On our camera with a dedicated Fn button, we set this to activate Exposure Bracketing. The alternative was to tap the menu button, enter exposure settings and select AEB. With the Fn button customised, bracketing can now be activated with the ring finger without taking the index finger away from the shutter release. 3 Dial direction On this camera, we chose to reverse the direction of the main command dial. In the position where the camera body was locked on a tripod, this made it easier to open up the aperture. In the current shooting scenario, this needed to happen more quickly than stopping down because of the subject’s behaviour. © Peter Fenech 31 10 PRO HIDDEN CAMERA FEATURES
One of the aspects of mirrorless cameras that DSLR devotees struggle with is the vulnerability of the sensor. With the mirrorbox gone, there is nothing between the camera’s most vital component and the elements of the outside world. A feature that is becoming more common is the choice to close the shutter, locking it in the lowered position when the camera is powered down. This is long overdue and can be helpful when changing lenses in dusty or wet environments. You can reverse this and have the shutter raised when the camera is off, if you prefer to clean the sensor when there is no power to the system. This can avoid attracting contaminants via static charge. Safeguard your sensor by locking the shutter on power-down Shutter position EXPORT SETTINGS Another feature that is rarely mentioned is the option to save camera settings to a memory card. These files can then be imported as presets on another camera, for example, when operating multiple bodies at once. x2 © Peter Fenech TECHNIQUES 32
Customise the handling experience of your lenses from the camera body settings Bespoke lens control Many new mirrorless lenses feature dedicated control rings for user-definable functions. These can be assigned aperture control, exposure compensation or ISO control, for example, speeding up work behind the camera. However, what is seldom advertised prominently in online forums or even camera user manuals is that many new cameras allow you to define the other lens controls. It is often possible to define zoom or focus ring direction and sensitivity. If you have recently changed brands, you might be used to clockwise movement to focus in and anticlockwise to focus out. To avoid confusion if this is reversed on another brand, set up the rings to match your preference. Change sensitivity to help make precise framing and focus adjustments for wildlife, travel shots and more. RAPID REFOCUS Change the focus ring direction to increase camera work speed CONTROL RING FUNCTION Share on-body and on-lens settings control for intuitive camera work RING SENSITIVITY Decreasing the ring travel is often better on longer lenses for quick adjustments 33 10 PRO HIDDEN CAMERA FEATURES
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CAPTURE COASTS 36 TECHNIQUES
Create breathtaking coastal scenes by engaging with the seascape and harnessing its natural beauty T he coast is the perfect place for taking spectacular pictures. The aim of the photographer should be to combine the beauty of the coastal landscape with its unique atmosphere in one image. This often presents many challenges as the environment can be harsh and the power of nature overwhelming at times, especially if you are unfamiliar with the area. Planning is therefore one of the most important things, along with a technical understanding of how to compose shots and highlight colour. The secret to coastal photography is to engage with the surroundings so you can avoid creating images that the world has already seen. Coastal landscapes consist of a multitude of elements that are just waiting to be staged – that’s why it’s vital to pay attention to details and bring in unconventional perspectives so you can stand out from the crowd. Focus on specific factors such as colours and shapes to create a compelling set of photos to take your portfolio to the next level. Over the next few pages, we’ll give you an overview of how to improve the quality of your coastal shots with the right equipment, compositions and editing methods. Words by: Kim Bunermann Pictured Gardskagi Lighthouse, Iceland “The tide was at the perfect level to create a curved leading line to Gardskagi Lighthouse in Iceland. The soft pastel colours of the sky just work with the cooler tones of the rocks” © Paul Killeen f/22 180 sec ISO 100 21mm 37
Pack your gear Prepare for any situation with the right kit When shooting by the coast, weather conditions can soon turn extremely harsh. Wind, water and sand are among the biggest enemies of your optical or electronic kit. To weatherproof the camera, invest in a rain cover for protection. Depending on where you are shooting, sea spray can also be an issue. One well-known technique for protecting the lens – using an extra UV filter and taking it off just before shooting – is inconvenient when shooting seascapes. Working with long exposures and additional filters, this can soon become fiddly and add to the challenges you already face. Although you can combine both of these filters, the quality of your images may suffer. So always keep a microfibre lens cloth in your bag and remember to carefully wipe the lens clean every now and again. Coastal areas are often vulnerable to strong winds, which can be another challenge. Pack a sturdy tripod and an additional weight to provide extra stability. Before setting off to your shoot, check that all tripod parts are still tight. These can come loose over time but are easily tightened back up with the help of an Allen key. Remember that sand is not the best surface upon which to place your tripod, so take paper plates and place them under the legs to prevent them from sinking. A solid tripod is only half the battle though, so use a suitable tripod head for extra support. There is always the question of whether a ball head or geared head is better for coastal shots. A ball head is a good all-rounder that allows you to quickly adjust different setups but lacks other features. The geared head gives you more options and allows for finer adjustments. After the shoot, wipe your equipment down with a cloth and, if sand has got into the tripod joints, disassemble and clean it immediately. This way, you will maintain the quality of your equipment and extend its working life. Pictured Slieve League, Rep. Ireland Paul took this image in challenging conditions. “I was perched on the edge of a cliff with 45mph wind and incoming rain” f/10 5 sec ISO 160 16mm 38 TECHNIQUES
Choose your optics Pick fluorine coating The power of filters An overview of different effects of focal length for coastal photography Take advantage of the right finish to protect your lenses Use ND and Polariser filters to boost your coastal shots WIDE-ANGLE With an angle of view of almost 180°, a wideangle lens captures the entire scene and allows for a great depth of field. Lenses such as the Canon RF 15-35mm f/2.8L IS USM are perfect for highlighting subjects at different distances, such as the sky, but also for bringing out elements in the foreground at the same time. ZOOM Zoom lenses are workhorses, opening up new perspectives with their versatile focal length range. With the Sigma 70-200mm f/2.8 DG OS HSM, for example, you can zoom in on isolated coastal features to put them in the spotlight. This lens has a wide range of uses and is great for different genres, so it is well worth the investment. TELEPHOTO A telephoto lens such as the Tokina SZ 300mm PRO Reflex F7.1 MF CF compresses a scene visually and adds dynamism. This Tokina lens impresses with its compact telescopic design, making the lens shorter and more affordable. In general, it is worth combining them with a teleconverter to extend their focal length. If you are thinking of investing in a new lens specifically for coastal shots, you should consider the type of lens coating. Although you can use filters to protect the lens while you are shooting by the coast, if you are buying a new lens, you should make sure that the front element is finished with a fluorine coating. This coating has the advantage of repelling water drops and it also offers some protection against dust and dirt. Since the coastal atmosphere is rich in salt, water accumulates and breaks down the front element. Here, the coating prevents this layer of salt from causing scratches. When photographing seascapes with long shutter speeds, the challenge is to balance the exposure correctly. This is where Neutral Density (ND) filters come in, allowing you to extend the exposure time. ND filters come in different strengths for different lighting situations, to expose scenes without the risk of clipping highlights. When extremely long shutter speeds are needed, simply combine two or more ND filters. Sometimes, the background and foreground need different exposure times to emphasise the dynamics of the scene. Graduated ND (GND) filters help here, as they feature a brightness gradient from top to bottom so that different amounts of light fall on the sensor. A Polarising filter is used to highlight details and colours when the sun is reflected on water surfaces. In this way, saturation and contrast are improved. When you work with filters, the exposure time must be recalculated. To find out the new exposure time, check your filter’s manual or app – this will depend on the strength of the filter you are using. GET A CLEAR VIEW When working in bright light conditions, a Screen Loupe is a useful accessory to take with you. This blocks out light and allows you to see the camera’s preview screen clearly, so you can check for detail and sharpness. © Paul Killeen 39 CAPTURE COASTS
Get the most out of the coast by Planning is key planning your visit around the tide When it comes to coastal photography, the right location, light and timing are crucial. Many parts of the UK have well-known coastal spots that are popular with landscape photographers. If you choose to visit such places, be prepared for it to be busy and that you are likely to be elbow to elbow (or tripod to tripod) with other photographers. While this may give you the advantage of knowing the best places and angles to shoot from, it also restricts your freedom to compose and may be counterproductive, especially if you are still honing your skills. Instead, look for places that are diverse and offer a variety of photo opportunities. This way, you can be creative and flexible, which will be reflected in your photographs. Once you have found the perfect stretch of coastline, make yourself aware of its conditions. Low tide and high tide have a big impact both on your freedom of movement around the coast and also on your compositions. To find the perfect light, set up a shooting schedule and arrive at the location at least an hour before. This will give you enough time to decide on a composition and set up the camera. If you plan to photograph at night, make sure to visit during daylight to familiarise yourself with the surroundings. Many factors can influence the results, so it is worth capturing the location more than once. Take advantage of familiarity with the environment and try out new compositions. MAGICAL WATER A long exposure of around 10 minutes softens the sea and the clouds, transforming them into a mysterious-looking fog STRAIGHT HORIZON LINE A continuous straight horizon provides a calmness to the image and acts as a clear dividing line between the sea and the sky © Paul Killeen Blue Hour at Brighton Pier f/11 401 sec ISO 100 16mm ADAPT TO LIGHT Shooting in the midday sun is usually not ideal when it comes to coastal photography. However, if you are at the seaside in bright conditions, why not make the most of it by focusing on coastal structures that stand out due to the intense light and shadows. To highlight these features, you can convert the image to black and white in postprocessing. 40 TECHNIQUES
The most popular times for pros to capture coasts are at blue and golden hours, which take place just before and after sunrise or sunset. Pre-dawn and post-sunset are perfect times to add magical blue tones to your shots, though the post-sunset light lasts longer than during pre-dawn. Golden hour light falls at an angle that creates long shadows. Pay attention to your position and avoid appearing as a shadow in the shot. If you photograph directly into the sun, stray light can occur, so use a lens hood or shield the top of the lens with your hand. To enhance those natural colours, choose a custom white balance. Since the light is less intense during these hours, this is the perfect time to increase the exposure time and capture the scene artistically. Apps such as The Photographer’s Ephemeris or Golden Hour One can help you create a shooting schedule, while Tides Near Me gives you a clear overview of the times of low and high tide. Time it right For maximum impact, capture coastal shots during the blue hour or golden hour MOODY ATMOSPHERE The cold tonal range of colours conveys the atmosphere of the blue hour and transfers this feeling to the viewer CONTRASTING ELEMENTS Strong colour contrast makes the derelict pier stand out even more against the natural beauty of the sea 41 CAPTURE COASTS
Make the most of seascape lines to direct the viewer’s gaze with simple and effective framing Create balanced compositions Coastal areas are often vast landscapes and at first, this may be overwhelming. Focus on a suitable composition that reflects the atmosphere and captivates the viewer. As with many other types of compositions, at the coast, less can often be more. When you arrive at an unfamiliar location, it is important to first take in your surroundings. Focus on a section you want to photograph and set up your tripod. A tripod is an essential tool in coastal photography, as it not only supports your camera in creating strong compositions but also helps slow down your working process. To create balanced and powerful compositions, avoid trying to bring too many aspects into the photograph as this can be distracting for the viewer. Look out for any prominent features around the area, either man-made features such as a pier, jetty or lighthouse or natural ones, such as a cave, rock formation or headland, that will add extra layers and textures to the image. When you have found the basic framing, focus in closer, by either getting physically nearer to the subject or by zooming in. This means that the essential elements of your frame are given full attention, helping to avoid clutter. Fine-tune your composition by watching out for existing lines to direct the viewer’s gaze directly on the essentials. One of the most important elements of coastal photography is the horizon – if this is not straight, the shot loses impact. The grid feature in your camera menu or solutions such as Nikon’s ‘Virtual Horizon’ function mean you can see the horizon on screen, making it easier to compose. Pay attention to focal lengths as they can cause lens distortion. If you are using a wide-angle lens, avoid shooting upwards or downwards and, if working with a telephoto lens, the compressed perspective will show little distortion. Discover incamera features Get your camera ready for the coast to improve composition x2 © Paul Killeen Below Bridge to Nowhere “This old bridge on a beach in Dunbar had long been on my list of locations. I knew the tide would be close to the level I wanted, but I got lucky with the colours” Right Dawn At Stroove “This was taken in Donegal. Many photographers shoot this in landscape, but I opted for portrait to make the most of the great leading line” f/22 181 sec ISO 100 17mm 42 TECHNIQUES
Simplify framing Use the effectiveness of time-tested photography rules to draw the viewer’s attention 1 Use the rule of thirds You don’t have to shoot the main element in the centre of the frame, so why not place the subject along the three composition lines or their intersections? One good strategy for coastal shots is to place the horizon in either the upper or lower third of the frame and shoot the main elements from the side. 2 Include leading lines Look for lines in the scene, which can either be man-made elements or naturally formed shapes. These create a powerful composition that leads the viewer into the scene. To maximise their impact, try different angles and vary the orientation. 3 Get low Instead of capturing the scene as we normally perceive it, try lowering the perspective. This technique frames the main subject and foreground elements, but includes more details and textures, giving the image another layer and creating a sense of scale. INCLUDE NEGATIVE SPACE Add some minimalism to your coastal images by giving the main element room to breathe. By adding some negative space, the focus is on the subject, which stands out clearly, increasing its impact. f/16 126 sec ISO 100 16mm 43 CAPTURE COASTS
Enhance depth to convey the unique atmosphere of coastal areas Improve exposures To enhance the impression of your coastal shot, an understanding of the tonal range is vital. Both when shooting and in postproduction, the histogram will become your new best friend. The histogram starts with the darkest tones on the left and ends with the lightest ones on the right. The tonal range is divided into five different sections, starting with blacks, followed by shadows, mid-tones, highlights and finally whites. Generally, darks and light highlights should not be clipped in the histogram, as this means no detail. But atmospheric coastal shots benefit from deep blacks and increased contrast – indeed, photographers often shoot against the sun to create stylish silhouettes. Lighting conditions in coastal areas can be challenging and the scene may require different exposures to show all elements at their best. One way of doing this is the process of exposure bracketing, where the scene is photographed with different exposures and images are combined in postprocessing. Depending on these settings, the camera will take three or more frames that capture the scene underexposed, overexposed and correctly exposed. This allows you to achieve an optimal result in post-processing. Read more about this topic in our Golden Hour Landscapes feature next issue. While much of the coastal landscape is static, you can introduce an element of movement into your images by shooting close to the sea shore. Capturing the movement of the tide by using long exposures will illustrate the flow of the water around rocks and other objects. Create artistic blur Use long exposures to create fine art shots of moving water 5 Adjust filtration Adjust the ND filter and check that there is no spray on the lens. When working with circular filters, make sure you don’t move the focus point when you attach it. Use apps to calculate the optimum exposure time for your filter. 2 Secure camera Mount your camera on the tripod and use a remote control shutter button to avoid any camera shake when working with long shutter speeds. Depending on the wind conditions, add more weight to the tripod to ensure extra stability. 6 Right timing When working with exposure times of around 0.5sec, wait for the water movement to come towards you to enhance dynamics then take some test shots. The intensity of the effect depends on both the water movement and your shutter speed. 3 Manage settings Because of the longer exposure time and the increased amount of light falling on the sensor, work with minimum ISO values. Choose an aperture of f/11 or higher to enhance sharpness and adjust your focus point. 4 Connect shutter remote Attach your remote shutter release to the camera, as it is almost impossible to manually release the shutter without causing camera shake. Alternatively, you can select the self-timer function from your camera menu. 1 Experiment With your camera, test out different framing options. Set up the tripod and place cardboard plates under the legs to prevent it from sinking into the sand. Use a lower perspective to improve the water dynamics and stretch the horizon. 44 TECHNIQUES
Maximise impact These four editing steps will maximise the colours and depth of coastal images BLEND IT Maximise the colour depth by working in 16-bit mode. You can gain full control and blend exposure manually with layer masks and brush tools. You can also use the Photomerge function to blend and eliminate ghost elements. REDUCE FLARE The Clone Stamp and Spot Healing Brush are both great tools for correcting any distracting flare. You can also add a Hue/Saturation adjustment layer, select an appropriate colour range and adjust the lightness sliders until the flare is removed. WORK ON COLOURS Optimise the atmosphere in your images with changing colour tones by adjusting both the Hue and Saturation levels. Photoshop offers a RAW filter option that allows you to specifically correct the colours according to your preferences. FINE TUNE Enhance the overall contrast of the image by concentrating on the details. Use Burn and Dodge tools to manually highlight elements or to visually decrease them. Sharpen your image selectively. Here, targeted editing can prove more effective. © Paul Killeen Pictured Precious Stone “I got soaked making this image, but it was worth it,” says Paul. “I used an umbrella to protect my gear as the waves washed around me. I shot this scene around 30 times to capture it just as I had visualised” f/20 0.8 sec ISO 320 17mm 45 CAPTURE COASTS
Hey Paul, tell us a bit about yourself and your photographic journey From a young age, I have always had an interest in photography – not what I would call ‘proper’ photography, but just pointand-click stuff in my early teens. I was at Art College in Belfast and there I started learning photography as a medium. After I graduated, I took a job that wasn’t creative at all and fell away from photography. But in 2010, I joined a local camera club and it sparked my creative interest again. Ever since then, I have worked hard at developing my craft. What do you especially look for when you are capturing the beauty of coasts? I love making images by the sea, I’m drawn to water. Firstly, you have to be careful with your equipment – I’ve learnt the hard way that salt water kills expensive gear! When planning a seascape shoot, I will always look at the tidal times. Download tide and weather apps, as they will help you choose your location. Some locations really do look better when the tide is at a certain level. However, the only way of gaining this knowledge is by going to the same location a few times. Use filters to add mood to a scene and get creative with exposure times. Adjusting your settings, such as ISO or f/stop, can change your exposure and drastically change the look of an image. Don’t be afraid to shoot the same scene a number of times. Clouds move as does the flow of water in each image you make. Once you are home, clean your equipment, including the tripod. Stay safe and never take unnecessary risks to get an image. Have fun! What equipment do you use most regularly for your coastal shoots? I shoot with a Canon EOS R5 at present. In my bag, there are a few lenses that help me deal with most locations I photograph, including a 16-35mm, a 24-105mm and a 70-300mm. Lee Filters are an extremely important part of my gear – I have a variety of graduated filters and neutral density filters. These help balance highlights and shadows World Landscape Photographer of the Year, Paul Killeen gives advice on coastal shots Pro advice “I learnt the hard way... salt water kills gear” f/22 1/6 sec ISO 100 17mm 46 TECHNIQUES
in camera and lengthen exposures, as I often produce long exposure work. I like to shoot my images correctly in camera, so the correct use of filters is important in achieving this. As I shoot a lot of long exposure work filters are vital, but I will also use filters to introduce mood into an image and enhance whatever conditions there may have been on location. Of course, a sturdy tripod and a shutter release button are also necessary when I’m making my work. How do you sell your photography? I have an Etsy shop at present and sell fine art prints from there. Some people prefer to make contact through my website or social media to make a purchase and that is fine too. I don’t make my images with the view of making money or getting print sales, it’s my passion. Too many great images are only ever seen on social media when someone is scrolling on their phone. However, in my opinion, there is no greater way of viewing photography than looking at a large fine art print. It is the final piece of the jigsaw. What has been the proudest moment in your career so far? Last year, I was voted the Overall Winner in the World Landscape Photographer competition for an image called ‘Souls Tied’ – that was surreal. I also won the Black & White Category in the UK Landscape Photographer of the Year 2022, which was also special. Having other images featured in LPOTY over the years has also been amazing. For my work to sit alongside that of my favourite landscape photographers is really pleasing. Left Downhill At Dusk “When everything is just perfect – the weather conditions, the foreground and a great subject – that’s a rare thing in landscape photography” Above left Storm Over Ballyvaughan “I have a soft spot for a square crop and this image suits it so well. Using the path was obvious but effective and the conditions were wonderful” Below A Sleeping Giant “It took me 13 six-hour round trip journeys to this location to finally get an image that I was pleased with. It just shows that persistence pays off” Above right Infinity “I was actually hoping for some colour on the morning of this shoot, but instead I got a grey start to the day. Filters helped add mood to this image” All images © Paul Killeen f/22 321 sec ISO 100 21mm f/11 162 sec ISO 320 16mm f/10 151 sec ISO 100 16mm 47 CAPTURE COASTS
Pictured Balbriggan Lighthouse “I shot this from under an umbrella as the rain fell. I used the negative space above the lighthouse to give the main subject room to breath” DO: SLOW DOWN Use the characteristic effect of long exposure times to capture water artfully. Alternatively, focus on the clouds to add calm or dynamics to a scene. DO: FILTER IT Use filters to boost colours, increase shutter speed without overexposing and expose image elements in different intensities. DO: WATCH FOR LINES Integrate leading lines into your composition to create dynamism and draw the viewer’s eye directly to the main elements. DO: CLEAN EQUIPMENT Taking care of your equipment after a shoot at the seaside is essential to maintain its quality and extend its life. DO: BREAK THE RULES Rules are great guidelines but you should always try to experiment. Move out of your comfort zone by testing out lots of different techniques. DON’T: MISS MAGIC HOURS If there’s one thing worth getting up really early or staying up quite late for as a photographer, it’s the golden and blue hours. Make the effort and your coastal images will feel the benefit. DON’T: CLUTTER THE FRAME Focus on specific elements and adjust the framing in their favour. Use compositional guidelines to draw attention to the main elements. DON’T: EXCLUDE FOREGROUND By including coastal features such as flowers or grass in the foreground of the frame, your photograph gains another layer of depth. DON’T: FORGET DETAILS Coastal scenery can be overwhelming, keep in mind to focus on details and structures to create images with impact. DON’T: NEGLECT MONOCHROME Some subjects benefit from being converted to black and white in postproduction to bring out shapes and textures. Coastal shots often work well. Some handy tips for coastal photography What to do – and what not to do – for top seascape shots © Paul Killeen f/16 126 sec ISO 100 60mm 48 TECHNIQUES
It is possible to turn night into day, capturing nighttime landscapes in a way that closely mimics what the eye sees, but also takes advantage of the bright light from a full moon. Using your camera’s astrophotography settings produces a surreal result – the scene looks as though it was shot in daylight but the giveaway is that stars are visible in the bright blue sky. The best time for shooting this technique is in the seven days around a full moon, with the full moon itself being optimal. A clear evening is also best so you can see the stars in the sky and, more importantly, so that the light from the moon isn’t significantly reduced by the moon being obscured by clouds. However, a small amount of cloud covering in the direction you’re shooting isn’t a problem. For this technique, we’ll shoot two exposures – one shorter, higher ISO exposure for the stars and a second longer exposure with a lower ISO and the lens stopped down to create a larger depth-of-field for the ground. Then, after initial processing in Lightroom, these will be merged in Photoshop to provide pinpoint stars in the sky with a sharp foreground and large depth-of-field. Using a full moon to illuminate the landscape and your camera’s astrophotography settings, you can capture surreal nighttime images TURN NIGHT I Difficulty level: Expert Time taken: 4 hours 50 SHOOTING SKILLS