Innholdsfortegnelse for November 2017 i N-Photo: the Nikon magazine

Rising star of the fashion photography world Dixie Dixon speaks in the N-Photo interview See page 96 It’s that time of year again. The clocks go back, the nights draw in, and the uniformly green trees turn into a glorious technicolour spectacle of golden yellows, fiery reds and russet browns. Yes, autumn is here, and so we share our tips and tricks for capturing this most picturesque of seasons – see page 18. For night-time shoots, we try our hand at everything from light painting with sparklers to capturing nature’s eye-dazzling Northern Lights – the fun starts on page 33. For those occasions when you need to create your own light, this issue’s Big Test puts studio and portable lighting kits through their paces (p114), while our Mini Test of…

20 Landscapes Capture autumnal vistas at their finest 22 Reflections Still waters make for stunning scenic shots 24 Wildlife Shoot creatures big and small preparing for winter 26 Abstracts A little bit of contre-jour never hurt anyone 28 People Have fun photographing friends in the leaves…

Autumn is a busy time for animals, as they prepare for a long and chilly winter ahead All creatures great and small become more bold at this time of year as they take advantage of natural resources and build up stores for the colder months to come. You’ll have noticed the bountiful hedgerow harvest from September onwards – think berries, rose hips, apples, hazelnuts and seeds – and many species take advantage of this feast to build up reserves of fat for migration or for hibernation. Some animals, such as squirrels, are easy to spot out foraging, but you’ll need to learn the habits and preferences of shyer species. You could set up a regular feeding station on your local patch with your target animals’ preferred food source. As an…

Mastering shutter speed is an essential part of the exposure triangle. With it we can freeze motion or blur subjects into long indistinct lines. To freeze the motion you’ll need a fast shutter speed and a moving subject, which makes bird photography the perfect topic to focus on. This technique could be easily applied to any number of moving subjects, such as sports players or musicians, so is valuable for everyone – even if you have no interest in birds. The quick opening and closing of the shutter captures a tiny slither of time on the image sensor, and if the aperture and ISO are appropriate then the image captures even the fastest of movements as if they were stood still. But it’s also possible to get creative and suggest…

Get the most from your camera with Nikon’s comprehensive training programme Nikon School photography workshops cater for every level of photographic ability, whether you are new to taking photographs, a keen amateur, or a professional. Nikon School offers a wide range of workshops suited to individuals wanting to learn more about photography or expand their creative horizons. Courses will help you improve your skills, develop your eye for a photo and learn to take control of your camera. Workshops are a mix of easy-to-understand theory and practical assignments. They’re attended by small groups of up to 12 delegates to ensure that everyone can benefit from the expert knowledge of tutors. From understanding your Nikon DSLR and lenses to image editing; from street shots to inspiring landscapes; the school’s workshops cover…

EXPOSURE f/4 sec, 1/640 sec, ISO4000 Le ns 400mm f/2.8 “Our Apprentice says… After a good 30 minutes the bear got up for a wander. Richard suggested I borrow his 400mm with 1.4x teleconverter as it walked towards us to get a close-up of its face. He warned me it wouldn’t be easy to get a decent shot without blurring, but thankfully the Auto ISO of 4000 enabled me to set a shutter speed of 1/640 sec. Richard advised it was best to wait for the bear’s head to reach one of the pools of light that peek through the forest canopy before taking the shot, so I did that. However, it was a little overexposed in the patches of light, so I dialed in some negative exposure compensation. Expert…

www.camershuttercount.com can check your Nikon’s actuations A road to ruins LETTER OF THE MONTH My journey started recently with my consideration of a new venture… photography. My passion being property, a fascination with abandoned buildings, ruins and gardening. What better way to bring my passions together than capturing everything in a photo. My husband – the technological one – researched the best camera to take me through from novice to learn and develop, so we purchased the Nikon D3400. Since purchasing I was scared of this new machine and didn’t know where to start, so I purchased several books – still confused – I was in my local supermarket and saw N-Photo. I bought it and haven’t put it down since. I’ve learnt more from this publication than any book.…

From high on the previous four pages to low. These, by the way, are far from being the only choices for strong changes in camera position. I realize, looking back at these three examples, that a lot of the motivation was graphic, in the sense that it was very much about making cleanly organized photographs, which is my style but not everyone’s. However, here there certainly was another issue, which I can best describe as involvement. This has to do with the viewer of your picture. Where do you want him or her to fit into the scene? Overhead views similar to the couple we looked at on the previous pages are almost always detached, and what you gain from unusual and fresh, you could potentially lose in a sense…

Before taking your Nikon on a test flight, it pays to follow some basic preparation. Here is Brent’s checklist for where and when to fly… 1 GOOGLE MAPS The first step I take before setting off for a shoot is to check out the area I want to fly in using Google Maps or Google Earth. I look for any potential hazards that might pose a problem when filming. This includes overhead power lines, built-up areas, and areas with large crowds of people. 2 NO FLY DRONES Next I check www.noflydrones.co.uk, which shows you no fly zones and other restricted airways, and is a useful visual tool for plotting out your flight path. If there’s restricted air space in the area you intend to fly you’ll need to speak with…

Weighing up the advantages and disadvantages of shooting with three different Nikons on a drone KEYMISSION 360 • The KeyMission 360, as its name suggests, offers 360-degree filming, which means you don’t miss a second of the action, no matter which direction you’re heading in with your drone • As an action cam it has a rugged design, so is more likely to remain intact if it came into contact with the ground • Weighs only 198g, making it a light payload for a multitude of drones NIKON 1 J5 • The Nikon 1 J5, although no action camera, is a solid mirrorless system that takes stills at 20.8MP and records in 4K video • The J5 weighs just 265g, which is only 67g more than the KeyMission, so can…

Profile • Born and raised in Texas, Dixie Dixon is a fashion and lifestyle photographer and Nikon USA ambassador. • Her clients include Disney, Virgin, Florsheim shoes, Gaylord Hotels and Spencer Fine Jewelry. • Dixie also directs advertising videos and is a sought-after speaker at photography trade shows in North America and the UK. • Her first book, Fashion and Lifestyle Photography: Secrets of Perfect Fashion & Lifestyle Photography, has just been published by Octopus Books. www.dixiedixon.com With her big, bright smile, blonde hair and ever-present hat, Dixie Dixon is one of Nikon’s most recognizable brand ambassadors. Her name is catchy too, though she was actually born Lyndsay and given the nickname Dixie in sixth grade while playing soccer, as there was more than one Lyndsay on the team. Naturally,…

Many of us are content with setting up a home studio or shooting at venues with easy access to mains power. A conventional studio flash kit based on two heads will fit the bill nicely, with prices starting at little more than a high-end flashgun. Each head will typically be vastly more powerful than a flashgun, and studio kits tend to come with a full range of accessories, including lighting stands, cables and carrying bags, plus either softboxes or brollies. The Elinchrom D-Lite and Interfit Honey Badger kits on test even include wireless RF triggers. All of the studio kits we’ve chosen for this group test are also quick to set up and very easy to use. Being mainspowered, there’s no need to charge any batteries – just plug them…

When greens turn to reds, make sure you’re ready to capture the transition Autumn is, perhaps, the most photogenic season of them all, with misty mornings, fiery sunsets and a spread of red and orange foliage. Because sunrise is later and sunset is earlier than in the summer months, shooting during the golden hour is easier, so use this warm light to add tranquillity to autumn scenes. While the changing of the leaves is the defining characteristic of autumn, don’t feel limited to photographing dense rural woodland. Urban parks also have their share of mature trees, and by visiting regularly you’ll be able to document the transition more subtly. The usual rules of landscape photography apply, and it’s generally best to capture sweeping vistas with a wide-angle lens and narrow…

Striking colours and textures provide the perfect opportunity for a more close-up, abstract approach using a macro lens While it’s lovely to shoot with a wide-angle lens to capture an expansive autumn scene, it’s also the perfect season to get out your macro lens and get some colourful close-ups. Focusing on specific leaves on trees or getting down and dirty with fungus in the forest offer great photo opportunities. When using a macro lens (see opposite) bear in mind that depth of field is radically reduced. This means that, rather than shooting wide open at f/2.8, you’ll need to shoot at f/8 or even f/16 to ensure the whole subject is captured sharply. As you’re so close, however, even with these apertures you’ll still get nicely blurred backgrounds. NEED INSPIRATION?…

Light painting is a fun and creative aspect of photography, where you use a bright light source, such as a torch, to ‘draw’ on the camera sensor. But with bonfire night on the way, we’re going to swap the torch for a sparkler, which adds a glittery quality to the light. There are a couple of challenges you’ll need to overcome. Unlike a torch, you can’t turn a sparkler on and off, so there’s little room for error, and you’ll also have to take a few safety precautions to avoid burns or accidents. Because it’ll be dark, it might take a few attempts to get the composition and focus right. Using a wide end of a standard zoom lens is the best way to fit longer words into the frame.…

BEFORE AFTER The mission • Turn day to night in Photoshop Time • 20 minutes Skill level • Beginner • Intermediate • Advanced Kit needed • Photoshop CC This effect will appeal if you’ve ever thought to yourself, “I wish this day would just end!” Using simple Photoshop skills we can transform a sunny daytime scene to deepest, darkest night. The purist would argue that this is a pointless exercise. Why not just go back after dark with a tripod and capture the scene? Of course, this would be the best thing to do (not only would it be more realistic, it would also probably take less time). But there could be any number of reasons why this wouldn’t be possible. Perhaps you won’t be able to return at night,…

EXPOSURE 1/640 sec, f/4, ISO12,800 Le ns 70-200mm f/2.8 “Our Apprentice says… On the second evening, six hours had passed in the hide and it looked like I’d been stood up! The light had faded and there was a cool blue cast across the forest as the sun went down behind the mountains. However, just as I packed away my camera a mother bear and two cubs came wandering into the scene. I was delighted but knew the ISO was going to be extremely high. At ISO12,800 it was a little too much to make a great image, and the light was too flat for a shot with drama. But I was happy to catch one of the cubs standing up on its hind legs regardless. Richard told me it…

YOUR PROJECTS CRITIQUED Flemming Nielsen, a Danish graphic designer, took his Nikon to Iceland for an unforgettable landscape experience C oming to Iceland, there are a number of well-known places you must shoot. But after a while I tried to avoid the most popular sights and instead focus on lesser-known landscapes, like my image of the morning mist rolling up along a river early in the day, just after sunrise [1]. I used my 24-70mm lens at 35mm to include the river, mountain and sky. I attempted to shoot this with a slow shutter speed, but it didn’t work out. I felt that the blurred water took too much attention away from the mist. I decided to stick to a fast shutter speed to catch the feeling of the raging…

A major change to the camera position can sometimes change the game completely ‘R eally’ means more than searching for somewhere better, or improving the viewpoint that seems natural. Instead, it means overhauling your idea of what the shot might be. I’m making the point at the start because thinking about viewpoint is built into most photographers’ behaviour patterns. It becomes second nature, and for a good reason. Most photographs, at least of the unplanned or half-planned variety, begin life as something you spot from a distance. You’ve seen the hint of a potential shot. Once you’ve decided the subject, however, there’s the question of from where it will look best, or most interesting. In other words, the camera angle. After all, you’re there, the subject is there, the occasion…

The same rules and guidelines apply to both hobbyists and commercial drone pilots, but to fly commercially you’ll need to have permission from the CAA Don’t fly near airports or airfields and avoid other objects while flying. Remember to fly below 400ft (120m) to reduce likelihood of conflict with manned aircraft. O bserve your drone at all times so you can see and avoid other things while flying. Keep a distance of 150ft (50m) from people and property – increased to 500ft (150m) with crowds and built-up areas. Never fly near aircraft – it’s a criminal offence to endanger aircraft safety, with a five-year jail term! E njoy responsibly – you are legally responsible for each flight, and failure to fly responsibly could result in criminal prosecution. The Hobbyist A…

Gitzo, a pioneer in some of the most revolutionary technologies for pro tripods, monopods and heads, is celebrating 100 years of outstanding innovation by launching an exclusive, limited-edition travel tripod: the 100 Year Anniversary Edition, worth £1250. And we’ve got one to give away this issue in this great competition! Like all Gitzo products, this Traveler Tripod continues to set industry standards for excellence. Not just a celebratory photography support, it’s the ultimate high-performance professional tripod, featuring a unique design and the very latest technology. This flagship Gitzo support will be available worldwide in a limited edition of only 1917 pieces, referencing Gitzo’s year of foundation, with the number of each piece uniquely laser-engraved on one leg (1/1917 to 1917/1917). The 100 Year Anniversary Edition Traveler Tripod introduces a brandnew…

To learn more visit natgeophoto ark.org or joelsartore.com /photo-ark T he National Geographic Photo Ark project has been over a decade in the making. I started photographing in my hometown of Lincoln, Nebraska in an effort to raise awareness of and find solutions to some of the most pressing issues affecting wildlife and their habitats today. I aim to document every species in the world’s zoos and wildlife sanctuaries, which would inspire the public but also help save wildlife by supporting on-the-ground conservation efforts. So far, I’ve visited 40 countries in my quest to create a photo archive of global biodiversity. The final book is 400 pages and includes 600 images. However, in the whole project I aim to feature around 12,000 species of birds, fish, mammals, reptiles, amphibians and invertebrates.…

OVERALL WINNER Diminutive Dune Benjamin Graham, West Sussex, England A Tuesday evening in early October guaranteed a mostly deserted location and, while heading along the estuary’s edge at twilight, the subtlety of the sand forms caught my eye. As well as its minimal simplicity, I like the indeterminate scale of the image. The double S-curve could be two metres long or 2000... It was actually about 20. I made primary adjustments in Camera Raw and fine adjustments using levels in Photoshop. Nikon D810, 50mm f/1.4, 0.6 sec, f/11, ISO64 CLASSIC VIEW – COMMENDED Cool Light Frank Leavesley, New Forest, Hampshire, England A beautiful frosty February morning in the New Forest National Park near Holmsley. The sky started full of pinks and reds then changed to this lovely cool blue. I…

Get double the colour by using lakes or other bodies of water as a mirror to reflect scenery What could be better than featuring one autumn palette in your landscape? Including two, of course! Double the colour by including a reflection. In terms of composition, one approach is to position the horizontal waterline in the centre of the frame, so that the reflection has equal weight with the landscape. If you’re feeling adventurous, climb to a higher vantage point and shoot downwards to include more of the scene. Lakes surrounded by forests are the perfect spot for these shots. The best time to shoot is during the early morning, when the light is golden and wind levels are lower. Any breeze will disrupt the surface and spoil your reflection. STEP-BY-STEP…

The amazing colours of autumn make it a great time to capture some vivid outdoor portraits. Head to your local woods in early autumn just as the leaves are starting to fall. Use a fast telephoto zoom lens at around 200mm as it enables you to shoot from a distance without crowding your subjects – and a wide aperture of around f/4 will help capture a shallower depth of field for a more dreamy portrait style. Shoot handheld for more freedom, but as it can be fairly dark inside woods, you may need to raise your ISO to 400 or 800 to achieve a shutter speed of around 1/200 sec. Any slower when shooting at 200mm will likely result in camera shake and blurry shots. If your shutter speed is…

The mission • Learn how to seek out and photograph the Northern Lights Time • One evening (if you’re lucky) Skill level • Beginner • Intermediate • Advanced Kit needed • Tripod • Phone or laptop • Wide aperture lens This is one of nature’s greatest displays, a dazzling curtain of greens and pinks that dances across the night sky. But how easy is it to photograph the Northern Lights? Well, in terms of technique it’s not difficult at all – you just need a tripod and a DSLR that performs well at high ISOs. It’s sighting them that’s more tricky. Caused by a collision of earth’s gases with particles from the sun, the aurora borealis and aurora australis are geomagnetic phenomena that flare up high in the atmosphere at…

EXPOSURE 1/400 sec, f/2.8, ISO450 lens 300mm f/2.8 “Our Apprentice says… After around four hours our first bear arrived. Richard told me not to move the Nikon for about five or 10 minutes until the bear had finally settled. Richard said, “They have their head down a lot once they’ve settled because they’re eating a lot of the time.” He told me to wait for them to look up between mouthfuls, or wait until they’re walking around before taking a shot. The bear was in the shade, and, as such, the detail in the fur looks great, with soft light meaning no big contrast between highlights and shadows. Gimbal head Gimbal heads work as many other tripod heads do, but are well-designed for longer and heavier telephoto lenses. They allow…

EXPOSURE 1/320 sec, f/2.8, ISO100 lens 300mm f/2.8 Our Apprentice says… My favourite shot over the two days has to be this wider view of the lone bear from the first evening that I shot on the 300mm f/2.8, without a teleconverter. It was walking from the back of the scene towards me, and I waited until I could see the whites of its eyes before shooting! I wanted a nice wide view, and there’s some great dappled light on the bear. I noticed that he was looking at a fly buzzing overhead, which added to his thoughtful expression. I placed the bear on the right of the frame, to give space in the direction it was looking. At ISO100 I had a shutter speed of 1/320 sec, which froze…

Tanjung Binga lighthouse, Billiton, casts its long shadow over the island and sea The lighthouse is the subject without actually appearing in the picture Overviews appeal to our sense of wanting to see things laid out before us. The bird’s-eye view is a privileged one, somehow commanding and putting us in charge. An illusion, of course, but a pleasant one. Tall buildings and cliff-tops are all co-opted these days for this experience, and the scenic overlook is a signposted stop on a national park route. Drones join in as desirable camera platforms. One thing usually missing from these vantage points is the evidence of the viewpoint itself, and in most cases it’s either irrelevant or you may not actually want it appearing in and interfering with the view – similar…

Now 65, Neal Preston continues to photograph rock bands all over the world. He’s visited Russia with Billy Joel, China with Wham! and Japan with Bruce Springsteen, Madonna and Michael Jackson. He’s shot stories and covers for magazines including Newsweek, Time, Rolling Stone and People. www.prestonpictures.com 28 MAY, 1973 • SAN DIEGO, USA • NIKON F2 When they began their ninth American tour in 1973, the British rock band Led Zeppelin were at their peak. By the time they took to the stage at the San Diego Sports Arena on 28 May, they had already played 15 out of a total of 37 concerts featuring a set list of their best-known songs. Among the accredited photographers that evening was 21-year-old Neal Preston: “Before the band went off for their first…

The flashgun may be a kit bag staple, but constant lighting from an LED light panel can be as useful. When it comes to stills, the sheer power of a flashgun is rarely flattering. LED panels can deliver more subtle illumination that’s easy to preview and controllable with gels or barn doors, though the lower brightness of LEDs means you need to position a panel closer to your subject. But it’s video that really necessitates constant lighting. Old school incandescent video lights guzzled power and made you sweat, but with the LED revolution you can get up to 2000 lux of power from just half a dozen AA batteries and with barely any heat. Cheaper LED panels used to exhibit flickering in recordings with brightness set to anything less than…