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Adviceforvistas,wildlife& macroincludingsnowflakeclose-ups

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3Weve all been in the situation atsome point in our photographyendeavours where we get homefrom a shoot, excited to see whatwe think will be our best evershot, only to nd that its simplynot sharp enough. In this issue,however, we have a great guideto help you combat soft images

on p30, including expert tricks like hyperfocal focusingand image stacking. Youll soon ensure your shots arepin-sharp every time.

We also have some pro shooting skills to offer you onp48 to help you master winter scenes, including winterwildlife, vistas and macro. Theres a fantastic step-by-step guide to shooting snowakes up close, along witha look at how to expose for bright white snow.

On top of that, we talk you through the art of groupshots on p40, teaching you how to get consistent

lighting and focus across all faces, how to pose multiplepeople and more. Theres also a fun project on p58involving beautiful bokeh a great shooting scenariofor those rainy days.

You might also want to check out p92 where prolandscape shooter Mark Bauer gives his verdicton a group of ND lters nd out which he mostrecommends for faultless long exposures. Theresalso a review of the Pentax XG-1 on p100 and theFujilm X30 on p104. You can judge the test shotsfor yourself by downloading them from www.lesilo.co.uk/digitalphotographer-156, along with a variety ofother goodies, such as 115 free Photoshop Actions, 70minutes of video guides and 80 bokeh brushes. I hopethat you enjoy using your free assets and feel free toshare your resulting shots with us on our online galleryat www.dphotographer.co.uk.

Amy Squibb, Editor in Chief

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

Email: [email protected] Have the subject clearly marked

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We have a great guide to help you combat soft images, including expert tricks like stacking


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5Pro photographer Mark is the co-author of The Landscape Photography

Workshop and runs regular one-on-one courses for aspiring landscape photographers. He has taken four popular ND lters for a test this issue to let you know which is best for you head to p92 now to nd out the result.

LandscapephotographerDarren has wonmany accolades for

his stunning coastal work, includingthe 2014 AIPP Victorian ProfessionalLandscape Photographer of the Yearaward. On p22 he talks to us aboutnding unusual perspectives, his keykit and his top tips for great vistas.

Website: markbauerphotography.com

MARK BAUER

Our Features Editor Matt previously worked as a professional

photographer in Australia. This issue he gives us his top focusing techniques on p30 for sharp shots, including hyperfocal focusing and image stacking. Hes also got a fun shooting project on p58 involving beautiful bokeh.

Website: dphotographer.co.uk

MATTBENNETT

Staff Writer Lauren is an underwater photography and landscape expert

with a degree in Marine and Natural History Photography. On p48 she talks us though expert skills for winter images. She also gives us ten ways to sell more stock photos, so head to p70 to start making more cash from your work.


LAUREN SCOTT

Wildlife photographer Kevin Morgans has recently been photographing

brown bears along the Alaskan coastline and trekking herds of reindeer across the Norwegian mountains, in between running his photography workshops. He talks to us on p80 about his fantastic imagery and vital shooting skills.

Website: kbmwildlife.com

KEVIN MORGANS

Freelance photographer and journalist Hayley has top tips for group

portraits this issue. On p40 you can nd out tricks for posing multiple people and how to x common lighting and focusing problems involved with photographing groups. You can also read her review of the Pentax XG-1 on p100.


HAYLEY PATEREK

Website: darrenjbennett.com

DARREN J. BENNETT

Our contributors

Imagine Publishing LtdRichmond House 33 Richmond Hill Bournemouth Dorset BH2 6EZ +44 (0)1202 586200Web: www.imagine-publishing.co.uk www.dphotographer.co.uk www.greatdigitalmags.com

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01202 586210Features Editor Matt BennettStaff Writer Lauren ScottProduction Editor Philippa GraftonPhotographer James SheppardSenior Art Editor Duncan CrookPublishing Director Aaron AsadiHead of Design Ross AndrewsContributorsMark Bauer, Tom Calton, Kevin Carter, Jo Cole, Don Komarechka, Steven Lake, Kirk Nelson, Hayley Paterek, Jodie Tyley

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Imagine Publishing Ltd 2014 ISSN 1477-6650

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6ContentsIssue 156

ND lterson testWhich one isbest for you?

Fujilm X30The retro-stylecompact getsput to the test

LensesReviews of newkit from ourlens expert

Pentax XG-1A bridge withmore than justa 52x zoom?

SoftwareOur views onthe latest editingtools available

AccessoriesSome fun yetfunctionalkitbag extras

Reviews Discover the latest cameras, lenses and much more92 100 104 106 108 110

Techniques Improve your shooting and editing skills30 40

Your Images Our favourite reader imagery from this issue08

YOUR FREE ASSETS

Turn to p112 to get hold of your bonus

content

Capture dynamic group portraitsOvercome the challenges of photographing groups to capture your most creative portraits ever

Stay sharpSay goodbye to soft shots with these expert techniques, including focus stacking and hyper-focal focusing

In Focus16 Story Behind The Still: A wildlife wonderDiscover how a quirky animal image was captured

20 News The latest releases, including a new Canon telephoto lens

Shooting Skills58 Get beautiful bokeh How to create standout images with attractive backgrounds

64 Perfect night shotsA step-by-step guide to getting even better results in low light

Image Editing66 Enhance portraits Use the latest DxO software to get more from your portraiture 68 Quick edits using Lightroom presetsStreamline your workow with Lightrooms library of presets

Go Pro70 Ten ways to sell more stock imageryTop tips and expert tricks to help you get extra revenue from shots

74 Organise your imagesAdvice on backing up and organising your photographs

78 Get started with macro at the Nikon SchoolLearn from these lessons to help you capture better close-ups

Portfolio18 Spotlight on:Annie LeibovitzThe renowned portrait photographer celebrated

22 Darren J Bennett on his stunning landscapes An insight into the pros techniques and kit choices

80 Kevin Morgans passion for the wild The wildlife photographer shares his professional insights with us

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48Better winter shotsTop tips and tricks for great vistas, winter wildlife and icy macro, including a step-by-step on shooting snowakes


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Turn to page 76, or go online and buy direct from

30%

30 Stay sharp

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58 Beautiful bokeh

104Fuji lm X30 on test

40Capture dynamic group photos

22Darren J Bennetts top advice

48Take better winter shots


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8YOUR IMAGES: SHOWCASE

Wedding photographer Scott Scully shares his great work with us

Beautiful bridalTrudy and Brett With the mist, this scene was almost naturally monochrome and made the perfect blank canvas to make the couple and balloons pop off the background Shot details: Nikon D700, 70-200mm at 70mm and f5, 1/160sec at ISO 500

All Images Scott Scully


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YOUR IMAGES: SHOWCASE


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Gallery name: Scott%20ScullyWebsite address: www.scottscully.co.ukDay job: Pro photographer

Photographic speciality: WeddingsLong-term photo ambition: To be recognised as one of the top wedding photographers in the country.

Have you been interested in wedding photography for long? I rst decided to try my hand at wedding photography just over two years ago. Today, 40 weddings on, Im happy to say Im booked up for next year and beyond. Whats in your kit bag? Two Nikon D700 bodies, a 50mm f1.8, 24-70mm f2.8 and 70-200mm f2.8. I also carry a range of re ectors and two AlienBee strobes, plus PocketWizards. What does your dream kit bag hold? A Hasselblad H5D-200MS with lenses.

Whats the most important part of a wedding shoot? Youre a storyteller every part of the day is equally important, from a portrait of the bride and groom during their preparations, to their rst dance. What advice would you give to aspiring wedding photographers? When you have a strong body of work, try approaching reputable wedding photographers and offer to assist.

Scott Scully

OppositeSarahBy positioning Sarah in front of the large window I was able to use natural light to draw the viewers eye to her

LeftKellys dressI saw this shed in the garden and loved the way the texture of the old wood contrasted with the elegant dress

Middle-rightPerrie bridal portraitIn post-production I used a heavy vignette and kept the framing tight to cut out unwanted elements

Middle-leftVictoriaHere I exposed for Victorias skin tones with the window behind her and just let the background blow out

TopTracey bridal portraitI seated Tracey in front of her French windows then closed the curtains to create a single, soft light source

WIN! XARA Photo & Graphic DesignerEach issue one reader will win a copy of XARA Photo & Graphic Designer 10 worth 69.99 / $89.99Head to www.magix.com for more info on this product.


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YOUR IMAGES


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Dani LefrancoisImage title: Spirits In The Sky DP Gallery address: photo-daniA spectacular

and active display of Northern Lights dance overhead on a warm summer night in beautiful Banff National Park.

Nextpage

Andreas StridsbergImage title:Crowned in colourDP Gallery address:StridsbergThis is four shots taken

in the same way and combined. Adrop of milk landed on a puddle ofmilk, mixed with food dyes causingthe crown shaped splashes.

Top

Martin LeversImage title: Patience Pays DP Gallery address: martinlWhen I arrived at Mam

Tor in the Peak District, it appeared as if a grey blanket of cloud was all I was going to get, [but] the Sun eventually broke through.

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Olivia BossertImage title: La Folie DP Gallery address: oliviabossertThis was a studio shoot

with a collaborative team on hair, make-up and styling, with Jade de Lavareille modelling. I put a softbox above-left of the model at 60.

Opposite


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YOUR IMAGES


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Learn in style

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IN FOCUS


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Photographer: Kutub UddinWebsite: 500px.com/KutubUddinLocation: Bognor Regis, West Sussex, UKType of commission: Personal workShot details: Sony SLT-A58 with a 100mm macro and f7.1, 1/160sec at ISO 100 with Sony twin macro flashAll

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About the shot: When youre photographing animals, part of the appeal can lie in the unpredictable nature of your subjects, and when photographer Kutub Uddin was in his garden cleaning out his frog tank, he had no idea what theyd do next. I watched as they climbed up a plant [and] when it started to rain I looked to bring the frogs back in and caught them in these very human poses holding onto the leaf, he recalls. Seeing them like this, he couldnt resist getting his camera and taking some quick shots. Before I brought them inside, it was really funny to see them acting in such a human-looking way by holding onto the leaf. It looked as if the frogs were using [it] as an umbrella.

Uddin enhanced the lighting by using a twin macro ash, but wanted to keep the shot looking as natural as hed seen it. Though photographers are often urged to prepare for the winning shot, sometimes the spur of the moment provides the best opportunity for a unique capture. The perfect picture can happen spontaneously without you being ready. Luckily, he was able to shoot the frogs while they were still positioned naturally, but he knows that its always good to be fast on your feet in order to capture [the shot] before it goes. The main tip is to wait and be patient for the perfect moment.

Left

Protective tree frogsUddin named his image Protect, as he thought it looked as if the male Red Eye tree frog on the left was protecting his partner from the rain


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SPOTLIGHT

Annie LeibovitzA renowned portrait photographer of our time sees her work collected in a leather-bound Art Edition

Its not one of photographys most admirable trends that the canon of famous photographers

is so patriarchal. The archetypal image of a photographer in the minds of most people is very male, but its beyond question that Annie Leibovitz is one of the most successful portrait photographers ever to have wielded a camera.

Leibovitz is a photographer who puts posing at the forefront of her work. It might seem like a glib statement she is, after all, a portrait photographer but the theatricality she brings to her oeuvre, somehow without ever making it appear mannered or contrived, is unique.

As such, Leibovitz is a photographer whose work is instantly recognisable. Theres something about the juxtaposition of the reverent and irreverent that Leibovitz brings to her portraits that makes her work seize and hold your attention in a way thats bold and sophisticated all at once. Equally at home with both reportage and studio-bound assignments, Leibovitz is, in many respects, the portraits photographers portrait photographer.

Born in October 1949 in Connecticut, Leibovitz studied at the San Francisco Art Institute and a passion for photography was kindled. In 1970, she successfully applied for a position as a staff photographer with the music magazine Rolling Stone and by 1973 had risen to become its chief photographer, going on to photograph many big names, from Mick Jagger to John Lennon. Since then, Leibovitz has gone on to photograph everyone from Miley Cyrus to Queen Elizabeth II, with her portraits gracing the covers of innumerable issues of Vogue and Vanity Fair.

Now, her work is being celebrated in a leather-bound Art Edition released by TASCHEN, boasting a set of four dust jackets, featuring Whoopi Goldberg, Keith Haring, David Byrne and Patti Smith. Theres also an archival pigment print of a contact sheet featuring Haring in 1986, signed by Leibovitz herself, and a tripod display stand designed by Marc Newson. At 3,500 / $5,000 its not cheap, but in the light of Leibovitzs inspiring portfolio, its arguably well-justied.

A leather-bound Art Edition collects both famous and lesser-known portraits captured by Leibovitz in the past four decades.Publisher: TASCHENPrice: 3,500 / $5,000 More information: www.taschen.com

A look at the book

Above Dramatic imagery Baz Luhrmann and Nicole Kidman Annie Leibovitz. From Annie Leibovitz, Art Edition (Taschen, 2014)


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IN FOCUS

Ideal for sports and wildlifeenthusiasts, Canon has announcedthe brand-new EF 100-400mm f4.5-

5.6L IS II USM, a high-performance zoom lensthatll sit in Canons L-series product range.As a successor to the popular EF 100-400mmf4.5-5.6L IS USM, rst released a considerable16 years ago, the new model features a rangeof upgrades.

The focal range of 100-400mm continuesto provide versatile zoom power, while the

Canon releases new telephoto lens

Ricohs updated Theta m15 is a spherical camera that shoots 360-degree photos you can view in any direction. The sh-eye lenses on each side of the

body capture images of over 180 degrees, which are stitched together inside the camera. Weighing just 95g, the lightweight body has been designed with portability in mind, but offers up to three-minute video recordings. The shutter is operated with one press of a button, and image orientation is adjusted automatically so you dont have to worry which way you hold it.A smartphone can also be used to shoot images from a remotelocation, without needing to hold the camera in your hand.

New connectivity upgrades mean this new model enables Wi-Fi transfer at a rate almost twice as fast as its predecessor, while still retaining the same small, lightweight and easy-to-carry design as before. Available in four bright colours, the Ricoh Theta m15 is available now for a RRP of 270/$300.

Capture 360-degree images in one touchNew model of the Theta camera out now

Is the new high-performance lens worth the wait?

minimum focusing distance has been halved from the previous model to just under a metre.A redesigned optical structure also offers a four-stop optical image stabiliser to reduce camera shake on long-distance shots. The design of the 100-400mm has had an overhaulfollowing extensive feedback from Canon users.The traditional twist-action zoom mechanismnow matches other EF zoom lenses, which canbe locked at the desired focal length to preventimage composition from changing.

This telephoto lens has been a long timecoming, optimised for use in harsh conditionsthanks to a dust and water-resistant

Above

Improved optics Canons new Air Sphere Coating (ASC) creates an ultra-low refractive index layer to help reduce visible ghosting and are

Right

Round it off The spherical camera enables smooth 360-degree viewing, with a minimum focusing distance of around 10cm

KEEP INFORMED: For more news, updates and inside information from the ever-changing world of digital photography, be sure to pay a visit to

construction. The body itself is compact for an advanced telephoto lens, weighing just 1,640g, and the tripod foot can be removed to reduce the body size further. The EF 100-400mm f/4.5-5.6L IS II USM is available now, with an RRP of 2,000/$2,200.


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Misty woodlands, crashing waves andmountain summits are just some of the winning views from the Take A View

Landscape Photographer Of The Year Awards, one ofthe UKs most prestigious photography competitions.With a prize fund worth a total of 20,000, a panel of experts including photographer and awards founder Charlie Waite selected the 2014 shortlist. After thousands of entries, an image of a small streamcreated by heavy rain among the vast Glencoe in Scotland by Mark Littlejohn took the winning title.

The rain was torrential at dawn and the water levels were the highest Id ever seen them, explains Littlejohn. We wandered about, waiting for gaps in the weather and as we did, I saw this wee stream formhigh up on Gearr Aonach. It tumbled steeply down the slopes before vanishing again near the base of the mountain. Charlie Waite said Littlejohns image isolated a eeting moment of beauty.

Now in their eighth year, the awards showcase the work of talented photographers, inspiring visitors to experience the joys of British landscapes rsthand. Entries are welcome from everyone, whether residentin Britain or simply visiting. Theres an award for the Young Landscape Photographer Of The Year, this yearwon by Sam Rielly, 17, from London, and each of the main categories has both adult and youth sections.

Held on the recently built Mezzanine level of LondonWaterloo station, the exhibition is the rst event of thistype to be held there, and will bring the winning shotsto a wider audience than ever before. All the winning and commended entries from the 2014 awards are on display for free now until 31 January 2015, and theimages are also published in a large-format book, The Landscape Photographer Of The Year: Collection 8.

Take A View winners announcedThe UKs landscapes showcasedin a stunning awards exhibition

More snippets of photo news from around the world

In other news

Camera protection from ManfrottoManfrottos new Pro Light Elements Cover range is suitable for cameras, ash and lens attachments. Each water-resistant cover enables access to the controls to keep you shooting in all conditions.

Triumph for SigmaThe Sigma dp Quattro camera range, incorporating the Foveon X3 sensor, has won the 2014 Good Design Gold award. Similar to traditional colour lm, the sensors multiple layers capture all of the information that visible light transmits.

Lastolites new lighting kitsThe Strobo is a creative light-modifying system for battery-operated ash guns, enabling you to create different lighting and background effects. Find out more at www.lastolite.co.uk.

Top

Successful shooting Mark Littlejohn was named as this years overall winner

Middle

North Norfolk Coast Taken by Malcolm English, this was shortlisted in the Classic View category

Bottom

Winnats Pass, Derbyshire Sven Mueller won the VisitBritain award, with this stunningly lit shot

the website, www.dphotographer.co.uk, and if youve got a story, you can email the magazine team at [email protected]

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INTERVIEW

Master of photographyDarren J Bennett revealshis love of shooting theAustralian coastline andNew Zealands South IslandAll im

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Above Motukiekie Beach, South Island of New ZealandThe starsh are a denite highlight when visiting this region. They are only accessible on low tide, so time your visit to coincide with low tide and you wont be disappointed

COASTAL CAPTURES


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DARREN J BENNETT


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INTERVIEW

Sometimes photographers are inspired to pursue their art as a consequence of the environment that theyre exposed to when

young. This was certainly true of professional landscape photographer Darren J Bennett (www.darrenjbennett.com). I was born in the seaside town of Lorne, which is situated along the Great Ocean Road, home to Victorias most beautiful coastline and lush rainforest, featuring magnicent waterfalls, he explains.

I have always had a strong connection with the surrounding landscape. Inspiration came many years later while looking for something to mould my life around, and photography just happened to present itself to me. I purchased my rst camera from a friend, enrolled into a photography course and never looked back.

The requirements of the course found Bennett spending plenty of time in the outdoor environment that he knew best. I started taking day trips to the Great Ocean Road and surrounding country areas. While my photographic experience at this stage was minimal, something about the whole process of being out there in the landscape with a camera felt good; I had found what I was looking for. My passion and love for the ocean found an avenue to unleash itself I was totally engaged, spending many hours along the coastline, watching and learning about the water, the patterns and shapes that are created as the water moves around the rocks and cascades down over them. At the same time [I was] focusing on my vision and the elements around me.

Bennett considers that his work is dened by a love of nding a different or unusual perspective. My photography often depicts the smaller elements of the larger scene, he says. I try to view the ordinary in a different way, using different angles and using available light at the right time of day to highlight the essence of a particular view; a perspective that might be easily missed by the casual observer. One of the immediate attributes noticed in my photography is colour rich, deep, vibrant, sumptuous colour. Some of the different views and reective surfaces of my subjects result in an abstract quality, even though they are solid, real objects.

Like many photographers, Bennett nds himself very attracted to scenes that feature water. I just love to be in or around a body of water, he enthuses. Whether its the ocean, a lake or a small ravine, I love to photograph it. Having a pair of waders allows me to get in close to my subject matter, shooting with a wide-angle lens, using dynamic lines, strong foreground interest and slow shutter speeds from 1/2sec to four seconds to create a streaky look in the water. [I look] for reections, foreground and background relationships, interesting rock formations that shine and

Top Red Johanna Beach, Great Ocean Road, Victoria, AustraliaAcknowledged by Bennett himself, colour is an important part of his photography

Right The Pinnacles, Cape Woolamai, Victoria, AustraliaWhen shooting close to the sea, Bennett points out the necessity of being safe

Above The West Coast on the South Island of New ZealandBennett used a long exposure to soften the look of the water against the rock stacks

One of the immediate attributes noticed in my photography is colour rich, deep, vibrant, sumptuous colour bounce around light when wet and cascading water motion. [I] always approach the scene with caution, getting to know my subject matter the more familiar you are with your environment the less likely you are to have things go wrong. That means getting to your location early, scouting around and getting familiar with what it is you want to photograph.

Bennetts favourite lens is his 16-35mm Canon L series wide-angle zoom. His focusing technique involves a combination of pure manual focus and occasionally using autofocus to pre-focus before locking this down. He avoids exposure blending. If the scene is high in contrast, I will bracket some of the exposures, but all of my images are made from one exposure, he says. I shoot in Aperture mode and switch to full manual when light is too low, always shooting in RAW as it gives more processing options and more dynamic range, using the lowest ISO possible. He says that post-production work is kept to a minimum. Like most professional photographers, I do not have a lot of spare time. With my workshops, corporate and landscape work and mix family time in with that there is very little time left for processing. Saying that, I do use Nik software and am also a fan of Tony Kuypers Luminosity


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INTERVIEW

Masking, which I tend to use on the majority of images. My post work is done in Photoshop.

Despite being an Australian and surrounded by all the stunning landscapes that his country has to offer, Bennett considers New Zealand to be his favourite spot for photography, particularly the South Island. With its beautiful lakes, snow-capped mountains and gorgeous autumn colours, I am drawn back to this place over and over again. Places such as Milford Sound, Mount Cook with Tasman Lake and Hooker Lake, Lake Wanaka, Pukaki and Tekapo, not to mention the coastline, from the starsh and rock stacks on the rugged West Coast, to the Moeraki Boulders on the East and everything else in between, all of it a photographers delight. I have a workshop planned soon on the South Island.

Like most landscape photographers, there are places that hes keen to experience.

Iceland seems to be on the top of every photographers list, including mine, he reveals.

I also hope to head back to China, revisit the Karst Mountains in Guilin, head over to Yellow Mountain (Mt Huangshan), which is famous for its sunrises and granite peaks and clouds touching the mountainside. A safari in some of Africas game parks is still in my top ve, while Utah and Yellowstone are in my bucket list.

A key mistake that photographers make, says Bennett, is to overlook the value of a solid tripod and suitable tripod head. Participants on my workshops let themselves down by not having a good tripod, so they are encouraged to invest in a good one, especially when photographing seascapes. I always have a couple of spare tripods on my workshops for participants to use and they are very thankful! A ball head is recommended, as you may need to adjust composition fast in the ever-changing light and conditions.

Darren J Bennetts essential kit Two Canon EOS 5D MKII camera bodies 16-35mm Canon L-series lens 24-105mm L-series lens 70-200mm L-series lens Singh-Ray graduated neutral density

lters (two-stop soft edge, three-stop soft edge, two-stop hard edge, three-stop hard edge and a reverse grad) with Cokin X-Pro lter holder

Right Lake Tasman and Mount Cook, South Island of New ZealandIcebergs, glaciers and snow-capped mountains provide the perfect backdrop for an unforgettable sunset


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DARREN J BENNETT


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INTERVIEW

Bennetts tips forstaying safe

Watch the waterNever turn your back on the ocean. Always keep an eye out and if you need to wipe down your lters, be sure to walk away from the water.

Keep track of the tideIts always safest shooting on an outgoing tide then you can always push out a little further as the tide keeps receding.

Consider your locationWatch water movement before entering the water and [check] where you are walking. Beware of rocks, especially if there is algae.

Wait for the lightNever leave your location too early, as the best light usually happens well before sunrise [or directly] after sunset.

Stay awareKnow your exit routes. You dont want to be left out in the open with the high tide coming at you.

The seascape shooter shares his tricks for a problem-free shoot

Left Smythes Creek, Great Ocean Road, Victoria, AustraliaAlgae-covered rocks always make interesting subject matter

Landscape photographers need to be bolder about engaging with the elements, says Bennett. Most of my [workshop] participants are a little held back when it comes to getting into the water standing too far away from their subject matter, he explains. I ask them to throw on some waders and they are more condent and able to get in closer. Waders are very advantageous, allowing you to get right into the action for dynamic images great for shooting seascapes, waterfalls and rainforests.

He also says that aspiring landscape photographers often let too much get in the way of focusing on capturing the best possible images. I often see my participants getting too bogged down with technicality, he explains.

The best approach is to keep it simple, get familiar with your equipment, but dont let the technical aspects stop you from getting theshot. You have to work quickly, so have a system that works for you. DP


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STAY SHARPCapture your sharpest shots ever with this genre-by-genre guide to the focusing techniques you need to knowKeep focused When using long focal lengths to get in close, keep supported using a tripod or keep your shutter speed higher than the focal length

George Wheelhouse

Digital photography has a signicant quota of science and technology in its DNA but, despite this, theres so much about it thats as subjective,

unquantiable and intangible as any other art form. All the clichs about one persons art being another persons trash hold completely true when it comes to photography.

This, of course, means that its hard to denitively judge photography; what separates a great photo from one thats merely good? It often comes down to consistent technical prociency in key areas. When it comes to making an objective judgment of an image, few factors matter more than focusing and its impact on sharpness and clarity. Images that display good focusing technique appear professional and well executed.

All too often, photographers assume that the sophisticated cameras and lenses that they use will take care of focusing for them and leave them to think only about the composition. However, more settings can often mean more problems so, its vital that you understand how to get the best results, which is precisely what youll discover across the next few pages.


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STAY SHARP


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TECHNIQUES

R

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AF-AREA

HOW IT WORKS

WHEN TO USE IT

Auto-Area AF/ Automatic AF Point Selection

In this mode, your camera is allowed to select the AF point of its own choosing, irrespective of whether you are using AF-S, AF-C or AF-A.

This is best suited to non-critical situations in which precise focus doesnt matter or to situations in which simply getting something is all that matters.

Single-point/Manual AF Point AF-Area

This mode enables you to choose a specic autofocus point, which the camera will use to lock focus, irrespective of whether you are using AF-S, AF-C or AF-A.

This is the best AF mode to choose whenever you are photographing a static subject, as it provides the complete control over where the camera will focus.

Dynamic/Expansion AF-Area

For use with AF-C mode. You choose a starting AF point but the cameras algorithms try to maintain focus using, for example, an additional 9, 21 or 51 points. 3D tracking, using all available points, can also be selected.

This is intended for moving or unpredictable subjects, making it an ideal option for sports, action and wildlife photographers.

Master AF-Area modesDiscover how some of the most commonly encountered settings work and when to use them

MINIMUM SHUTTER

SPEEDFor the sharpest shots you should

not attempt to handhold the camera at shutter speeds that are slower than the

value of the focal length you are using. So, a 50mm lens should not be handheld at

shutter speeds slower than 1/50sec. However, you need to consider the

crop factor of your sensor if you are not using a full-frame

camera.

AboveSee clearly Whether youre shooting landscapes, wildlife or macro, perhaps the most important element to master is creating an attractive and appropriate level of sharpness. It takes practice, but its worth it

OppositeSea eagle Alan Hewitt: Photographing from a boat comes with additional complications too. Luckily my subject was one of the largest eagles in the world so it was big enough to track, while I was bobbing about too

Taking control of autofocusDifferent subjects place very different demands on the autofocus algorithms. This is why many cameras feature so many different autofocus functions, so that you can ne-tune how the autofocus performs. The process of rening your cameras AF performance begins with selecting a focusing mode. In AF-S or One Shot AF mode, the camera will focus one single time whenever the camera button assigned to autofocus is pressed. In AF-C or AI-Servo mode, the cameras AF system will continuously attempt to focus the lens on the subject for as long as the shutter or AF button is pressed. In AF-A or AI Focus AF mode, meanwhile, the camera automatically chooses between AF-S and AF-C on your behalf.

Autofocus is of particular signicance for sports, action and wildlife photographers, who need to be able to capture sharply focused images of moving subjects and their movement cant necessarily be easily predicted, as wildlife pro Alan Hewitt (www.alanhewittphotography.co.uk) explains. Being able to accurately and consistently acquire and maintain focus on moving targets is probably at the top of wildlife photography challenges, he says. There is a huge amount to consider. Some birds move at remarkably fast speeds and many with an erratic and unpredictable ight path too. The surrounding landscape can also present difculties. Physical obstacles and other wildlife are a perfect distraction for your eye and your cameras autofocus system.

Hewitt nds that selecting AF-C/AI Servo mode makes a big difference to the success rate of the participants on his workshops and, though Hewitt prefers the reliability of single-point AF-Area mode, he says he often nds that using a dynamic AF-Area mode when he encounters fast movement in a subject makes a signicant impact on focusing success.


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Autofocus for action Camera settings for getting pin-sharp shots of movement

Focus with your thumb Many camerasfeature a button on the rear that can be setto trigger the autofocus. This enables you tofocus independently of the shutter button.

Adjust the autofocus Set your camera toits continuous focus mode and dynamic orexpansion autofocus to enable your camera tokeep track of moving subjects.

Prioritise focus Many cameras enable you to customise the way that they function, so that the shutter can only be triggered when the lens has been properly focused.

Focus for wildlifeAlan Hewitts top tricks for sharp animal images

Think about your backgroundAutofocus is much more efcientat maintaining focus with high contrast. Position yourself so there is contrast between your subject and the background.

Learn the fundamentals aboutyour subjects habitsFor example, birds of prey often defecate before they take off, geese can become incredibly vocal before they take ight andmost birds will try to take off intothe wind so they can gain lift.

Think about the wind directionYour cameras AF will perform a lot more consistently with a slower subject. Position yourselfwith the wind on your back, as asubject thats ying towards youis likely to be ying slower than itwould with the wind behind it.

Get your subject in focus in your viewnder while it is in the distanceYoull give your autofocus more time to acquire focus and it will be much easier to track and follow compared to taking a stabat something considerably closer.

Improve your panning techniqueThere is no tripod head that offers more freedom than panning handheld. Support yourlens with one hand while your other grips the camera. Keep your elbows tucked in and pan smoothly by twisting your waist.

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CAPTURE CONTRASTMake the most of the scene by contrasting background and foreground colours

PAN THE SHOTIn order to pan effectively in an image, hold your camera still and move from the waist


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3 4

FOCUS POINT

FOCUS POINT

FOCUS POINT

FOCUS POINT


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Depth of eld, which is determined by theway that aperture, focal length and focusingdistance interact, must always be considered.

With wildlife photography my preference isto maintain creative control over the depthof eld, continues Hewitt. I always shoot inAperture Priority and continually adjust theISO sensitivity to give me the shutter speed Ineed. If you are photographing birds in ightin bright conditions, dont be afraid to use anarrow aperture to add more depth of eld. Ona Nikon DX camera, such as the D7000, usinga focal length of 300mm at f5.6 on a subjectten metres away gives us a depth of eldof about 24cm. If the ambient light is brightenough for us to maintain an adequate shutterspeed at an aperture of f11 we can double thedepth of eld. This means more of our subjectwill be in focus so we have a little bit more ofa margin if our autofocus has perhaps lockedonto another part of the subject.

Make the most of manualMany photographers nd manual focus tobe a ddly and potentially inexactprocess, not least because thesplit-prisms of yesteryear mademanual focusing less imprecisethan the pentaprisms of today.Despite this, manual focus isstill the technique of choice formany photographers.

I always shoot in manualfocus mode, says landscapephotographer Michael Blanchette(www.michaelblanchette.com). Whileits certainly possible to produce well-focused images using autofocus (numerousphotographers do), I prefer the consistencyof manual focus. Since I take many photos atthe edge of day, I nd that autofocus performsinconsistently under low-light conditions and,at times, the focus points fail to reach the areaof the frame where I wish to set focus.

However, todays landscape photographersmake use of Live View in order to make

Depth of eld for landscapesPro Michael Blanchette talks about how he assigns scenes into categories

1. NO DEPTH OF FIELDEvery once in a while, I run into a simple scene that doesnt require me to consider the depth of field. This is the case when photographing a subject like this rustic wall. The wall runs parallel to the camera plane and involves no near-far objects to complicate the focusing method. Here, I simply set my camera to its optimal aperture (f8 for my lens) and set the focus on the flower box to yield a sharp image.

2. SLIGHT DEPTH OF FIELD

A scene with a small depth of field is one where the nearest and farthest objects are sufficiently distant from the camera such that they can all be rendered in focus without special consideration. This photo of sea stacks on the Isle of Lewis is a prime example of this. In this instance, I focused on a stack near the middle of the frame to bring all objects into focus, using an optimal aperture of f8.

3. MEDIUM DEPTH OF FIELD

Hyperfocal distance is a more accurate way to set focus in cases that involve both near and far objects. I often use a DoF calculator app to determine the hyperfocal distance. The calculator allows me to see precisely where to set focus in the frame. Here, the foreground rocks are just a few feet from my tripod location. I entered the focal length of my lens and distance to the closest rocks into the DoF calculator, and it returned a focus distance of about five feet.

4. EXTREME DEPTH OF FIELD

These situations are difficult. The least desirable technique is to reduce the aperture to f22 or smaller. The second approach is to focus stack start by focusing on the closest object and make small focus adjustments with each photo until the furthest object is in focus. The images are combined in post-processing. The last approach involves using a tilt-shift lens to get greater depth of field without reverting to small apertures. The poppy photo was taken with a tilt-shift lens at f11, with the closest poppies being about two inches from the lens.

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AboveFront to back sharpness The main aim for the vast majority of landscape photographers is to achieve front-to-back sharpness, even in scenes featuring near and far objects

Try hyperfocal focusingGettoknowthehyperfocalfocusingdistanceforyourlensfocaldistanceandaperture

35mm sensor f8 f11 f16 f22

16mm 1.14 metres 0.81 metres 0.57 metres 0.40 metres






manual focusing more straightforward. Live View is an important addition to digital cameras that allows the photographer to use the bigger LCD as a viewnder, says Blanchette. I often use the Live View feature on my camera to zoom in and focus more accurately, especially in cases requiring greater depth of eld.

The biggest concern for landscape photographers lies in getting the maximum

depth of eld possible. In landscape photography, the main challenge

is to ensure that all elements in the photo are tack sharp, front to back, says Blanchette. The generally accepted benchmark for landscape photos is that they must retain focus

throughout the frame.Autofocus systems dont

attempt to achieve this extreme depth of eld. Autofocus has no

means of understanding the vision for an image without our input. On its own, autofocus will make a guess at the focus range and produce a good-enough photo. This is ne for a family snapshot, but not so for a landscape photo that may be printed large and licensed.

Although many photographers assume that they need to use the smallest aperture possible, a popular alternative among landscape photographers is hyperfocal

USE LIVE VIEW

Using Live View enables photographers to zoom

in on a specic area of the scene and check that its

perfectly focused.


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focusing. This enables you to focus on a specic, optimumdistance, which is calculatedaccording to the sensor size,aperture and focal length being used,with the intention of achieving the maximum amount of front to back sharpness. Some photographers overuse [small apertures] just to make sure all the elements in the frame are brought into focus, says Blanchette. But the penalty for using f22 can be a signicant loss of sharpness along the edges of the frame, effectively reducing overall image quality. Use the optimum aperture setting for your lens, often f8, whenever possible for best results.

Pre-focus to be preparedAn alternative focusing technique is pre-focusing, which is an approach employed by street photographers and photojournalists

and some sports, action and wildlife photographers also to cut out the inevitable delay caused by the focusing process when photographing moments that are so eeting that any such delay will very likely result in the shot being missed.

There are two different types of pre-focusing.The rst involves identifying an area of the scene in front of you in which something signicant is likely to occur, pre-focusing the lens (using either autofocus or manual focus) on that point and then waiting for the decisive moment. The second is more accurately referred to as zone focusing, inwhich you pre-focus your lensin order to establish a zone ofacceptable depth of eld.

For example, you might focus your lens, using autofocus or manual focus, on an object thats ten metres away from you, knowing that any future subject will probably be correctly focused provided itsnot outside the zone of depthof eld determined by the apertureand focal length youre using. For instance, if youre using f2.8 and a 105mm lens,the zone in which your pre-focused lens can be relied upon to produce an acceptably sharpresult will be much shallower than if youre using an aperture of f11 and a 35mm lens

When it works, pre-focusing is hugely benecial, but making it work requires excellent anticipation, good spatial awareness and plenty of practice on the part of the photographer. Wedding photographers who need to capture split-second moments immediately after the ceremony, for example

might employ zone focusing in order to negate the need to focus for each and every frame, but it would be unwise to attempt this

Focus for portraitsGetting your models eyes sharp is vital so follow these top tips

Many portraits are captured using an aperture of f4 or wider. This creates shallow depth of eld, which looks very attractive, but means that critical focus is vital. The subjects eye nearest the lens should be the sharpest point. As this point will hardly ever be at the centre of the frame, some choose to focus using their cameras central AF point and then recompose, but be aware that changes in the focal plane mean that after the composition has been adjusted slightly, the eye on which you focused will no longer be critically sharp. Aim to compose the shot correctly and then manually select an AF point closest to the eye.

at such an important event without supreme condence that you will be able to get it right.

Macro focusingOne of the most difcult focusing scenarios for photographers is macro imaging. At close focusing distances and high magnications, depth of eld is limited to the extent that even at apertures such as f22, little of the subject is in completely sharp focus, making it necessary to either use a slower shutter speed and a

tripod or a macro ash setup to enable a small aperture and faster

shutter speed to be used.Some photographers

attempt to resolve the focusing and depth of eld challenges associated by employing a technique known as focus stacking, as

Javier Torrent (www.500px.com/Javier_Torrent) explains.

Focus stacking consists of taking pictures at different

planes of focus and then stitching them together. Think of it as a panorama

shot, but instead of moving sideways I move the camera in-ways I do not mind if the DoF is narrow because of high magnication and using wide apertures, as I can take as many pictures as we need.

Though not the simplest technique, focus stacking can be performed in the eld, Its quite possible to perform relatively small focus stacks handheld, moving the camera manually a tiny distance between shots, says Richard Iles (www.ickr.com/photos/reallysmall).

Torrent plans his eld-based focus stacking very carefully. To be able to focus stack insects [in the eld] you need to nd them when they are cold and their activity is at

USE MIRROR LOCK-UP

The movement of the mirror can cause signicant vibrations inside the camera, which can undo the careful focusing theyve done, so many landscape photographers

lock the mirror up before taking their images.


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STAY SHARP

Opposite-insetLearn to pre-focus Switching your camera into manual focus mode enables you to lock the focus, provided you do not nudge the focusing ring on the lens barrel

Opposite-topPre-focus for action Pre-focusing enables you to cut out the delay caused by the focusing process when you are attempting to photograph fast-moving action and eeting moments

Opposite-bottomDont recompose Recomposing the image after focusing can cause you to lose critical sharpness, particularly when youre using wide apertures, so use an AF point closest to the subjects eye

Shooting stanceStand steady to avoid unwanted movement

WHATS BACK-

FOCUSING?Autofocus, even on expensive cameras and lenses, is not infallible. Sometimes

the AF will consistently lock onto a point slightly in front of (frontfocusing)

or slightly behind (backfocusing) the desired subject. Many cameras enable

you to run tests with a focusing chart and then store focusing

compensation values in the cameras menu.

1

3

4

2

1. DRAW ELBOWS INDraw your elbows into your body in order to create as much support for the camera as possible

2. CRADLE THE LENSEnsure that your left hand is being used to support the lens. Depending on the focal length of the lens, you should also support the underside of the camera

3. GRIP THE CAMERAGrip the camera as solidly as possible with your right hand, with your index finger resting over the shutter button and your thumb available to focus using the AF-ON button

4. KEEP YOUR BALANCEAdopt a stable position whenever you are standing. Have your feet apart in order to ensure that you wont lose your balance


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its lowest, normally in the rst hours of the morning or before sunset. When the Sun comes out they start to move, which makes stacking impossible. Also wind is a big problem, no matter how stable your set up. I always check the wind forecast before going to the eld. The set up has to be rock solid; I use a wooden tripod, which helps to keep vibrations down, a good gear head, a linear stage and normally just take a couple of lenses with me.

Unsurprisingly, focus stacking is a relatively complex technique that can require a fairly signicant time investment. Running and post-processing the stack is a lengthy process, so its advisable to be completely satised with the composition before continuing, says Iles. Any parts of the subject to be included in the nal stack should be visible in each image that contributes to it, he says. Its a good idea to move the camera through the entire range of the intended stack, as due to the effects of perspective, parts of the subject visible at one end may have moved out of the frame by the

time the other end is reached! The camera can be moved and triggered manually for each focus step. However, this needs extremeconsistency and patience, as many stacks require hundreds of images to complete. If anyof the steps made are inadvertently too large,a focus slice will be missed resulting in a blurred band in the nal image, which is oftenonly noticed towards the end of the process. There is no easy way to x this other than to start the stack again.

Many macro photographers take focus stacking so seriously that they invest in morespecialist equipment. To move the camera with precision, we need special industrial railscalled linear stages with micrometer actuators,explains Torrent.

Although Zerene Stacker and Helicon Focus are popular options for processing the component frames into the nal stacked image,Photoshop also features a function for this.Simply go to File>Scripts>Load Files into Stack and then Edit>Auto-Blend Layers.

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Above-leftFocus-stacking solution Many macro photographers resort to focus stacking as a means of solving the very limited depth of eld and increased diffraction at high magnications

Top-rightDepth of eld limits At high magnications, focusing becomes critical because of the limited depth of eld on offer

AboveFocus matters Theres nothing worse than nding that a great image has been let down by poor focusing technique, so invest time in learning how to get it spot on. An un-cluttered background helps with tracking and maintaining focus, says Alan Hewitt

E

mili

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Alan Hewitt

DP

USE A REMOTE SHUTTER RELEASE

A remote shutter release device, preferably a wireless one, enables photographers to avoid disturbing

the camera, increasing the chances of obtaining a

sharp shot.


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Live | Learn | CreateDistance learning for a one-off course or a BA(Hons) Photography

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TECHNIQUES


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Dustin Snipes

Left Creative group portraits

Photographing more than one person in a single frame is challenging but you have

the opportunity to really get creative too

Capture dynamic group portraits

Portraiture is one of the most popular genres of photography, but its not as straightforward as it appears. Even if you are only

photographing a single subject, great people shots involve both technical skill and the ability to get the very best from the subject that you are working with.

Its no surprise that successful images of groups are even harder to achieve.

From a technical point of view, getting the lighting, composition and pose right are far more challenging, while youve also got a larger number of people to keep happy and engaged with the shoot.

Across the next few pages, youll learn how to overcome some of the biggest challenges involved in photographing group portraits, from mismatched heights through to creative posing.

Overcome the challenges of photographing groups to capture your most creative portraits ever


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TECHNIQUES

The success of a portraiture really lies with the sitter. Forced smiles and unnatural poses, for example, can see even your best lighting techniques and concept ideas fall at. Having a good rapport with the group youre photographing is therefore imperative to getting natural and relaxed results.

Putting your subjects at ease with light conversation will make it easier to direct them during the shoot. Marcus Maschwitz (www.marcusmaschwitz.co.uk) is a commercial portrait and music photographer who has worked with artists signed to the likes of Virgin,Sony and Universal, among others. He says,

The rst thing I try to do is to get everyone in the group to settle down and feel comfortable so that the portrait can be relaxed. Nothing ruins a shot more, for me, than where one or more of the subjects looks awkward and uncomfortable. He adds, I take a few test shots while making nal lighting tweaks duringwhich I tell the subjects to just relax and not worry about the shots too much until I tell them to. Ive normally found that some of the best shots happen at this point because no one is over-thinking the images yet. Once we start shooting I direct the subjects, but try to keep the direction gradual so that nobody feelsawkward and the process is something they are eased into.

When it comes to positioning subjects within the studio or on location, you need to consider your composition carefully. Dealing with different heights, for example, can be

Take control of your shoot with proguidance on direction and posing

Compose the perfectgroup portrait

Prepare toshoot intight spacesUseful tricks to ensure you stillget great group portraits whenspace is limited

Assembling a group of people in a smallerspace can be a compositional nightmare.Whether youre shooting on location orwithin a studio, you need to be creativewith positioning in order to make themost of what space is available. For largegroups, position people closer togetherwithin layers but remember to payattention to heights, so that faces arentlost in the crowd.

Adjusting your lens and the position youshoot from can also help, as Maschwitzpoints out.Ill always make sure to usethe space Im given as best as I can andthis can be helped by changing the focallength and your distance to the subject,he explains. Wide focal lengths may benecessary in order to t everyone in theframe and stepping back to shoot fromlower angles will also help create anillusion of more space. Dont forget to payattention to depth of eld however, as youwant to ensure all faces appear in focusfrom front to back.

AboveCoronation BallPositioning some models further back will enable yout more people into a tight space. Remember to usesmaller apertures, however, to increase depth of eldso that everyone appears sharp

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challenging, especially if youre working withfamilies that have small children. Dustin Snipes(www.dustinsnipes.com) a professional sportsphotographer who has worked with the likesof Nike, ESPN and Coca Cola, says, Positionsomeone taller a little further away from thecamera and a shorter person a little closer tobring them closer in size to each other. Or ifyoure shooting a tighter shot with no ground,you can use apple boxes to make them appearcloser in height. Layering a portrait in this wayhelps to add a sense of depth to the image.

The size of the group can also have animpact on how successfully you direct andposition people together. Snipes says, Smallergroups are less intimidating and easier topose than a group of ten people, so I like tobreak larger groups into smaller groups oftwo or three then build those groups together.Working in this way will also help to ensure thateveryone has a clear understanding of whatyoure trying to achieve.

GOOD

BAD

Top Group together Keep the atmosphere light on a shoot to capture natural moments of interaction between the group, alongside the formal smiling shots

Top-right Unsuccessful results Remember to keep everyone engaged and give some direction in order to avoid images where people are looking away or seem distracted


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Family advicePro Kristen Dukeshares her secretsto posing the perfectfamily portrait

Since 2004 Kristen Duke has runKristen Duke Photography (www.kristendukephotography.com). In 2010she began sharing photo tips and sellingher own e-books and printed books onher website, including Say NO to Autoand Get Focused.

Kristen shares some her advice oncapturing the perfect family portrait in ashort interview below.

Whats your approach to directing afamily portrait shoot?Ive done this long enough that Im notafraid to grab dad by the arm and movehim to the spot I want him. My eye can tellwhen something needs to change, andthat helps. Through years of practicingand looking at other images, its becomemore natural to spot. I also almost alwayshave the husband taller than his wife.I am not a fan of the wife sitting andhusband standing. I prefer the family-hugapproach, whenever possible, as it bringseveryones faces together.

How do you deal with differences inheight in group portraits?I love to see height [differences progress]from left to right, so prefer the men tobe on the left (as I look at them). If thereis a major height difference, I like to seethem sitting, or with the wife sitting onthe knee of her husband. Ill often haveparents holding small children if theyare standing, so their faces are all on thesame level.

Do you make clothing suggestions forthe family prior to a shoot?I do share posts Ive done on clothingsuggestions. I think it helps so that theimages arent too plain, and it shows offthe personality of the family. These linkshelp: http://bit.ly/1ui4jqt and http://bit.ly/1fUkkwS.

How do you go about keeping the kidsengaged on a family shoot?I like to keep it as short and sweet aspossible, because I know kids only lastabout 20 minutes. I bring balls or cameratoys, I sing, I make monkey sounds. I dowhatever it takes to keep those youngones happy!

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Balance heightsEnsure height isnt a restrictionwhen youre composing

Differences in height can dictate how you position people within your group portraits. To get a balanced composition,place taller people centrally and further towards the back. Use a triangle or diamond shape as a guide.

Commercial group portraits can be a little more challenging however, as professional photographer, Marcus Maschwitz points out. I photograph music portraits and often the commissioner will want a specic member to be in the front and that couldbe the tallest of the whole group.

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Above Family shots Take relaxed shots in between formal grouped-together images, as it will keep the kids engaged

Left Theme a shot Sometimes it can be a good idea to work with a theme to create a cohesive, interesting group shot

Below Birds vs Planes Keep the composition balanced by using a triangle formula when positioning models that are all different heights

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TECHNIQUES

Its important to ensure that every member of the group is not only visible in the frame, but also evenly lit. Whether youre shooting in the studio, on location or outdoors, ll-in ash and reectors will come in handy for even exposures. Maschwitz says, I nd it best to test as many lighting options when you have gaps and see what works best for you, but make sure to not to get too comfortable and revert to the same lighting setup for every shot.

If youre shooting outdoors in natural light, position the group carefully to avoid squinting shots. Shooting in open shade or with the Sun positioned directly behind your subjects for a backlit effect works particularly well. You can then use ash to ll in shadow areas.

Once youve mastered your lighting setup, pay close attention to focusing. Depth of eld can have a big impact on the size of your focus

How to ensure your group portraits are evenly lit and every face is sharply in focus

Balance the light and focus

area, so wide apertures are often avoided, especially if subjects are positioned in layers. Snipes says, If I am shooting a large group with people staggered in the foreground and background, I will use a wider lens and an aperture of around f11-16 to ensure everyone is in focus. Position your single AF point on the face of the person who is situated centrally within the frame. The narrow aperture will increase depth of eld so the surrounding members of the group remain sharp.

Although its important to capture images where the focus is pin-sharp on every face, dont be afraid to experiment with wider apertures for more creative effects too. Maschwitz explains, In my commissions, it isnt always important to ensure that every person is fully in focus, which allows me to take control of the depth of eld.

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Focus the frame Follow this step-by-step guide to guarantee you get pin-sharp group shots in camera

1 Steady the camera Secure your camera upon a tripod to minimise camera shake. You can even opt to release the shutter using the cameras self-timer or a remote shutter release.

2 Select a narrow aperture Increase depth of eld in your image by selecting a narrow aperture. Set it between f11-16, depending on the distance between the subjects.

3 Adjust the focal point Switch to Live View and move the focus area up to the model that is positioned centrally in the frame. Once focus is locked, release the shutter to shoot.

Select the right locationWork with your surroundings and take better group shots without the connes of a studio

There are many benets to shooting a group portrait on location. As music photographer Maschwitz says, I prefer location shooting purely because I nd the studio to be quite boring and the atmosphere can be slightly more serious. Its denitely not about the background when shooting a group portrait, but an interesting background can easily add value to an image.

Make the most of your surroundings by positioning the group in front of a colourful or textured space. This works particularly well when photographing wedding group shots outdoors, especially on dull, cloudy days. High vantage points are particularly useful if youre photographing the entire wedding party too, as youll be able to t more faces within the frame.


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CAPTURE DYNAMIC GROUP PORTRAITS

Below-rightDetailed setupLarge diffusers at thefront lit the groupface-on. Flash headswere then positionedeither side of thegroup to ll in anyshadows on the facesof each member

Professional lighting setupsDiscoverhowDustinSnipesusedmultiple

ashheadson location for this stylisedshotOpposite-topHigh-end resultsUse ash to avoidlosing faces in theshadows, even onlocation. Narrowapertures will alsohelp to ensureeveryone appearssharp and in focus

Opposite-rightTexturedbackdropsScout out colourful ortextured backdropsfor your groupportraits if youreshooting on a cloudyday. Avoid anythingtoo busy, as you dontwant to take focusaway from the group

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Right Kentucky basketball team

I wanted everyone lit up the same way so I decided to give each player their own light, explains Snipes

Below In actionOnce Dustin had positioned each player within the frame, they were lit individually using multiple ash heads and diffusers, to ensure a bright, even exposure

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LIGHT THE SUBJECTSThe group was lit front-on with diffused flash and to avoid the light being blocked by other group members, Dustin also lit each person individually from the side

SOFT SHADOWSDue to the complex lighting, shadows are cast in different directions. The front flash has softened their appearance so they arent a distraction

SIMPLE BACKDROPBy focusing the light on the subjects in the

foreground, the background fades into darkness, helping to keep the emphasis on the group


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Group portraits neednt always be a formal affair. Once youve mastered the basics, experiment with fresh concept ideas in the studio or on location. Get creative and focus on capturing portraits that are full of personality and expression.

Family portrait photographer Kristen Duke always encourages families to have fun on a shoot, stating, I often tell them to tickle each other to get those natural laughs and expressions in between the posed shots. Shell even introduce props into the frame. Duke points out, Props allow people to lean on something, have something to do with their hands, help with posing and so on. They also add some visual interest.

Building a shoot around a creative concept will also help to keep the group engaged. Just be sure that its in keeping with their image and personality. Maschwitz explains, Once I

Create expressive group shots that are packed full of personality using props and creative concepts

Capture creative group shots

am commissioned for a shoot, I normally havea few discussions with the client to see what they are looking for and where they envision going with their project so that I can then addmy creative spin to help them realise that vision while still leaving my stamp on it. I try toengage a lot of conversation during the shootprocess because this will give me a better ideaof what the people are like that I am working with, and I will try to include that into the shotsI am taking.

Building a rapport with individuals within thegroup will also help you give better direction. Snipes says, I like to interact with every person in the group before and during the shoot to try to pull out some of that persons personality. They could be a rockstar, but once a camera and a few lights are pointedat someone, sometimes it takes a little bitextra for them to come out of their shell.

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Top Using props Props are a great way to add another interesting element. They also give the group something to focus on, which can help with posing and composition

Inset Creative concepts Experiment with creative concepts that reect the personality of the group youre photographing. Its a great way to capture more engaging images in a plain studio environment


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t LeftFine-art scenes Winter lends a magical tone to all genres of photography, as this shot by Sarah Morphett (www.sarahmphotography.com.au) shows.

We decided to go with something completely different, she explains

Shoot stunning winter scenes

When the frosty temperatures arrive and the days get shorter, it can be less than tempting to venture out with your camera, but as any pro

photographer will tell you, youd be missing out on an array of picturesque moments by staying inside. The chilly air of winter might not make it the most welcoming season, but in fact its the perfect time to get outdoors and take pictures, even if it means you have to put on a few more layers of clothing to keep comfortable.

Late sunrises and early sunsets make it easier to catch those beautiful golden hours of light without having to leave your bed at an unearthly hour, and if people-free landscapes are your passion, the cold weather is sure to deter less hardy adventurers and give you some pristine vistas to shoot. Make the most of silvery morning frost, atmospheric mist and the crisp snowfall that the time of year has to offer, and whether you live in an urban or rural location, you should also be able to spot plenty of busy winter wildlife.

The season doesnt come without its challenges, the most obvious being the need to keep yourself and your kit warm and dry, but with the right preparation, you can capture some really standout images. Over the next few pages youll discover the best kit for photographing in the cold, and even nd out how to photograph snowakes. There are also some inspirational ideas for you to try yourself during the winter months ahead, so layer up and enjoy the season.

Discover how to make the most of the frosty season with this guide


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Use your cameras manual settings for snowscapes with impactEven if you dont live in a picturesquewilderness, a covering of frost or snow canreally transform a landscape, so dont be afraidto photograph close-to-home landscapes. Thequality, intensity and positioning of the ambientlight is what will impact your photos the most,and because the Sun is lower during the wintermonths, you can generally carry on shootingthrough the day and still get well-lit shots.

Keep an eye out for contrasting light, whichwill create a great juxtaposition of warm andcool shades and give a sense of depth to yourimages. Experiment with the white balance you

use, for example changing it to Tungsten willenhance the appearance of cool tones in thescene. When it comes to composition, includeinteresting foreground elements, such as afrosty branch that will frame the shot and leadthe viewers eye through the landscape.

When youre subjecting yourself to theelements, its vital to stay toasty, whichwill enable you to stay out longer. Look forwaterproof and breathable clothing options,such as those by SealSkinz (www.sealskinz.com), and be careful to choose gloves thatmean you can still operate your camera.

BelowKeep it clearWinter scenes can provide theperfect canvas for composingcreative captures, such as thisminimalist snow vista

Tough storage

Invest in memory cards that are designed for

extreme conditions, such as the Samsung Pro range,

which can withstand temperatures down

to -25C

Be equipped for the coldGet practical with your kit and keep shooting over the chilly season

Tripod snow shoeswww.manfrotto.com24 / $35Attaching snow shoes to your tripod will provide stability in snow. These Manfrotto shoes are easy to remove and store away.

Practical outdoor jacketwww.paramo.co.uk330 (approx. $516)Jackets with accessible pocketsare a must. The Pramo Halcon is waterproof, with hand-warmerpockets and articulatedshoulders for easy movement.

Camera-friendly glovesthenorthface.com45 / $55These lightweight Windstopper Etip gloves have touchscreen capability and allow exible handmovement for using cameras.

Pristine vistas

Right Soft lighting Capture soft light at sunrise or sunset, which will create an air of mystery and beauty thats inherent to any successful wintry scene


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Above Expert exposurePhotographing snow can be a challenge, as the camera will automatically compensate for bright scenes. You can overcome this with some clever metering methods

Expose for snowFollow these methods to expose for re ective winter landscapes

1 Meter midtones Use manual and set the metering mode to Spot. Look for a midtone and adjust your aperture and shutter speed until the Exposure Level Indicator is set to 0.

2 Use exposure lock Set Aperture Priority mode when shooting rapidly changing light conditions, retaining control by locking the meter readings using the AE Lock button.

3 Check the exposure Use Exposure Compensation to avoid underexposed shots. For highly re ective scenes, dial in around +2 stops, checking it on the histogram.


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Discover the most elusive animals and stay unnoticed for stunning resultsYou might think that wildlife would be sparse during the colder months, with many animals nestled in their dens ready for hibernation, but there should still be plenty of species around to keep you busy. Look to photograph migratory birds ocking together in search of food. You could also look for larger mammals, such as foxes and deer, that tend to forage in the early morning and in late evening. Local parks and wildlife reserves are good spots for wildlife, and visiting your chosen location regularly will help you to recognise signs of animals, such as tracks in the mud or snow, and tufts of fur left behind.

Ideally youll need a focal length of at least 200mm to get closer to your subjects without scaring them off, a sturdy tripod and a way to conceal yourself, such as a portable hide.

Wildlife can look very attractive against a snowy backdrop, but these stark conditions also make it hard for you to blend in with your surroundings, so steer clear of wearing bright colours. A simple way to stay unnoticed is to avoid wearing strong perfumes or aftershaves, and when shooting, if your lens has a noisy AF motor, switch to manual focus instead.

Winter wildlife techniques

Below-right Locate elusive wildlifeWinter is a great time to get shots of larger mammals. This was taken with the Bushnell Trophy Cam HD (www.bushnell.eu/uk)

Below Catching snow akesThis red deer was walking through a pine forest in heavy snow. I used a long lens a 400mm to get up close to it

Use a trail camera Keep an eye on your regions wildlife

1 Attach camera Attach the camera to a treearound ve metres away from the chosen area. Consider the creature you want to photograph and place the device accordingly.

2 Set up device Go to the menu via the Setup button and pick your desired image size, aspect ratio and ash strength. Input howsensitive you want the tool to be to movement.

3 Test and leave Switch the camera on. Close and lock the front cover, and walk away, checking that the LED light on the front blinks to indicate that the sensor is working.

Pro wildlife adviceFollow James Shooters top tips for successful winter wildlife shots

Watch your exposureSnow will fool your camera into thinking its overexposing, resulting in a grey image. Add in two stops of exposure compensation to avoid this.

Dress for the occasionWearing plenty of layers will allow you to adjust your temperature while in and out of activity.

Safety rstMountain photography can require specialist skills in winter, so take a safety course before venturing into the high peaks.

Know your subjectGet to know your target species and location before the winter weather kicks in. That way youll know exactly where to go when the snow falls.

Capture character

Wait until your subject does something expressive and capture some personality. Shots of behaviour look

much more dynamic than a simple

portrait

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Meet the expertPro photographer James Shooter is a nature specialist based in the Cairngorms National Park, Scotland

www.jamesshooter.com Alongside his personal work, Shooter helps to run wildlife photography tours and hides (www.northshots.com).

Why do you think winter is a great season for wildlife photography?The chance of snow is a tantalising prospect for any nature photographer. It can be hit and miss in the UK, but when it comes, it can really transform a scene and make the ordinary extraordinary.

How should you go about preparing for a wildlife shoot?Knowledge is key. You should study everything about your subject before even taking out the camera. From behaviour to locations, a lot can be learned in books and online, though nothing beats putting the hours in and observing in the eld.

Can people photograph wildlife closer to home?Theres always something to photograph nearby, and no one knows the local area better than you. Parks, gardens and even urban streets hold a wealth of wildlife, it just needs exploring. These accessible places will be a saviour for winter photography when the weather turns bad.

What would you nd in your kit bag? I like to travel lightweight, especially in the mountains. You dont want to be lugging around every piece of equipment when youre trudging uphill through knee-deep snow. Typically I take two camera bodies, one telephoto and one wide-angle lens, and sometimes ashes and lters depending on what Im after.

Do you take any extra precautions in the way of protective kit and clothing?Clothing and kit depends on where youre headed. You dont need crampons to walk through the park, but they may be life-saving in the mountains. Typically I dress in layers and have a down jacket, salopettes and snow boots insulated to well

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