Innholdsfortegnelse for November 2018 i N-Photo: the Nikon magazine

The mission • Balance ambient and flash light to gain full control over exposure values Time • One hour Skill level • Beginner• Intermediate• Advanced Kit needed • Flashgun• Wireless triggers or remote flash cord• Light stand (optional)• Tripod (optional) For this project, we’re going to look at balancing camera settings, ambient light and flash light to fully control subject isolation. The most important factors when isolating your subject from your background is lighting and focus. In this case we’re going to be using two methods to control these variables; changing the aperture and changing shutter speed. We’re using a Speedlight on a light stand with a shoot-through umbrella to diffuse the light, placed camera-left of our still life subject. In the first method we’ll only change the aperture value…

The mission • Make and photograph shafts of smoky light with a flash, a venetian blind and a smoke machine Time • One hour Skill level • Beginner• Intermediate• Advanced Kit needed • Camera• Smoke machine• Speedlight• Light stand• Radio triggers• Venetian blind There’s something magical about rays of light. They create a wonderful sense of atmosphere, whether seen on a misty morning walk as the sun breaks through gaps in the trees, or inside a dusty room pierced by shafts of light from the window. We can make use of this atmosphere to enliven our portraits with the technique explained over the page. Although we think of them as ‘light rays’, it’s not really possible to photograph a ray of light. What we’re actually seeing is the light illuminating…

YOUR PROJECTS CRITIQUED Visiting New York has always been on my to-do list, and I’m glad I did it in winter time so I could catch some snow, some rain, and a bit of the that chaotic rush of life that can only be seen in New York. In my first photo all you can see is a pair of silhouettes [1]. Silhouettes intrigue me, they keep me guessing; are they a romantic couple, or perhaps old friends? Maybe they’re cold, or whispering to each other. It’s the unknown that excites me. My second image was taken in New York’s Chinatown [2]. Everywhere I looked was alluring to the eyes – it was a real treat. There were so many advertisements on the buildings, so many people; the uniqueness of…

Our search for the world’s best Nikon photographer continues! Each issue the top 10 images for the monthly N-Photo POTY 2018 photo contest are selected by the N-Photo team – along with a guest judge! This issue’s competition has the theme of Street, and we’ve asked fine-art photographer and Nikon Europe Ambassador David Yarrow to help. GUEST JUDGE: NIKON AMBASSADOR DAVID YARROW DAVID YARROW DISCUSSES WHY THE CLARITY OF THE D850 SEES HIM USING IT MORE AND MORE FOR HIS WORK Before the D850 came out I was torn between using the D5 and the D810. Whilst the D5 gave me a better success rate because of its fast motor drive, I compromised slightly on the image quality. The D810 yielded crisp, pin-sharp shots, but the margin for error was…

Sponsored by I’m interested in the new Sigma and Tamron 100-400mm lenses but would a secondhand Nikon 80-400mm VR be better? Frank Bailey OUR EXPERTS AT MPB RECOMMEND… There are two editions of the Nikon 80-400mm VR. The newer AF-S, G-type version is by far the better lens, with faster autofocus, improved stabilization and better all-round performance. Nikon AF-S 80-400mm f/4.5-5.6G ED VR A super-telephoto zoom that gives a top secondhand saving RELEASED (YEAR) 2013 PRICE NEW £2560/$2700 BUY AT MP B.COM TODAY: WELL USED £739/$859 LIKE NEW £1384/$1795 Nikon’s original D-type 80-400mm lens was the first Nikon to feature VR (Vibration Reduction), but the stabilizer was quite ineffective by current standards, and the lens lacked an internal autofocus motor. Being driven by the in-camera motor of compatible DSLRs, autofocus…

I loved contributing to the Look Book because I care about showing that wedding photography is so different from say 10 years ago The Nikon Wedding Collective Look Book is a photography trends collection focusing on classic, current and emerging wedding photography trends. The series is hosted on the Nikon Europe website and includes information from all members of the Nikon European Wedding Collective – including photographers and influencers from France, the UK, Italy and the Czech Republic. There are lots of photographs to illustrate our trends, as well as top tips for how to recreate certain trends. Nikon got in touch with me almost a year ago to see if I wanted to be part of this project, and as a Nikon user and Nikon Ambassador I couldn’t say…

Chris Rutter PAGE 18 Chris details numerous ways you can turn your photographic hobby into a lucrative little side business and earn a few bob… Joe McNally PAGE 90 Joe has a close encounter of the third kind in a diner… luckily, he’s come armed with his Z7 and a pocketful of lighting tricks Tom Mackie PAGE 52 Tom travels to the natural beauty of Switzerland to teach our Apprentice how to shoot mountainous masterpieces Joel Marklund PAGE 92 Immerse yourself in pro sports photographer Joel’s outstanding career that’s taken him to all corners of the competitive world Michael Freeman PAGE 76 Little bit further back! Michael shows you why moving back is a great way to lend a new perspective to your images Nadia Meli PAGE 102 Professional wedding…

The mission • Make the switch from a Nikon DSLR to the new Z system cameras Time • One hour Skill level • Beginner• Intermediate• Advanced Kit needed • Z system camera With all the recent hype you can’t have failed to notice that Nikon has launched its new full-frame mirrorless ‘Z’ system. These cameras ditch the flip-up mirror assembly of traditional SLRs, instead displaying the image direct from the sensor in an electronic viewfinder. The disadvantage with past electronic viewfinders (EVFs) has been that they just haven’t been as clear as the optical viewfinder of SLRs. But with ever-improving ‘retina’ display technology you may not be able to tell the difference; the Z system’s 3.69 million-dot EVF packs in more pixels than ever and, combined with a nippy ‘refresh’…

The mission • Get a basic understanding of what Affinity Photo offers Time • 30 minutes Skill level • Beginner• Intermediate• Advanced Kit needed • Affinity Photo Like most photography magazines, our image-editing advice has usually centred around Adobe software. This isn’t because of unfair bias or shady backhand deals, it’s because – with Photoshop and Lightroom – Adobe have consistently offered the best photo editing tools, and they’ve done so since the dawn of digital photography. But, since Adobe embraced the subscription model in 2013, plenty of photographers – unhappy with the idea of paying for an image editor ad infinitum – have been looking elsewhere. Whether you’re a casual user or a pro the good news is, there are other options out there, and some of them are actually…

THE PRO… NAME Tom Mackie CAMERA D850 Tom Mackie has photographed landscapes the world over. He has written two books – Photos with Impact and Landscape Photography Secrets – while Digital SLR Experts: Landscape is a collaboration with four other top photographers, and his work is also featured in The World’s Top Photographers: Landscape and Masters of Landscape Photography. Tom also licenses his work through his website, which features his extensive collection of photographs from all around the world, and he regularly leads photographic workshops in the UK and abroad. For more, see www.tommackie.com THE APPRENTICE… NAME Nigel Hoskins CAMERA D810 Nigel is a semi-retired chartered accountant who has been into photography since he was 11 years old, when his uncle bought him his first camera, an Ilford Sportsman. After…

WORK YOUR ANGLES Instead of shooting your subject straight-on, try to work diagonal lines into your scene to allow the eye to flow through the frame more naturally. Experiment with line-work in your photographs so you can create some alluring natural patterns. DRAG YOUR SHUTTER Extend your shutter speed so that some movement blurs as you take the shot. That way you can keep moving people and cars relatively defined but include motion blur to show their movement, which adds an extra sense of dynamism to the shot. BLACK AND WHITE Without colour, you’re forced to see the world through textures, shapes and outlines, which makes black and white well suited to street photography. If it’s been raining you can see the shimmer reflected in wet streets much more clearly,…

After last month’s suggestion for closing in on a subject to explore detail, what more obvious a successor than doing the opposite? Stepping back isn’t just a replay in reverse of moving forward, however. It calls for a different mindset – one that might not come naturally, but which has actually played a large part in the rise of photography as art since the 1970s. To be perfectly honest, I only shoot like this some of the time, because I’m normally interested in a more hard-working composition that calls for effort and skill. If you’re familiar with the Düsseldorf School of German photographers who studied under Bernd and Hiller Becher, notably Andreas Gursky, Thomas Ruff and Thomas Struth (these three sometimes unkindly referred to as Struffsky), you won’t be surprised…

Nikon dropped support for its free Capture NX2 photo-editing app in 2014, replacing it with Capture NX-D. Some may argue that Nikon threw the baby out with the bath water by no longer providing Color Control Points in Capture NX-D. Control Points enabled Capture NX2 users to sample a problem area of a photograph (such as an overexposed sky) and selectively adjust a range of properties including Hue, Saturation and Contrast. We’re pleased to see that, with the recent release of Capture NX-D 1.5.0, the Color Control Point feature is back, so you can take your Raw (or JPEG) editing to the next level. The sampled area being adjusted by a Control Point blends with the rest of the shot in a graduated way, enabling seamless selective adjustments to colour…

You work in a fast-moving environment so how do you stay on top of image workflow? The workflow is just so incredibly fast. We send almost everything straight from the camera to the editors, so in a way you don’t have as much control over a picture as you used to, but we are working much more as a team today – we have to! You need to let your editor understand what you are trying to achieve. I try to always have a second look at the end of the day and see if there was another way of cropping an image, for example. From the moment I take a picture it can be out there in two minutes, so there is not as much time to think. Really,…

Tamron 17-35mm f/2.8-4 Di OSD £629/$599 www.tamron.eu Tamron already has a very respectable ultra-wide zoom optic in its range, namely the SP 15-30mm f/2.8 Di VC USD. But at 1100g, you might not always want it weighing down your kit bag. This new 17-35mm option isn’t quite as wide, and its variable maximum aperture is a stop slower at the telephoto end of the zoom range, but the payoff is a massive weight saving: the 17-35mm f/2.8-4 Di OSD tips the scales at just about 460g, making it the lightest lens in its class. Despite the weight-saving, Tamron has still weather-sealed the lens barrel and mount. There’s also a fluorine coating applied to the front element that enables it to resist water droplets, oil and fingerprints, as well as adding…

Contact twitter.com@nphotomag facebook.com/nphotomag Monochrome Monday Your best monochrome photos from the past month Matt Hampshire shares his black and white shot of a dilapidated building entitled ‘Coming unstuck’ David Griffith shares this wonderfully wet, reflective street portrait Workshop Wednesday Wednesday is an opportunity to ask questions, share ideas and help others in the N-Photo community… Why won’t my Nikon go faster than 1/250 sec when I use a Nikon SB-500? Ted Sullivan The flash sync speed limits most Nikons to 1/200 or 1/250 sec. But if your Nikon and flash are both Auto FP compatible, you can enable it in the Custom Settings menu and shoot with flash faster than this. It’s sometimes denoted in the submenu with an asterisk. Tutorial Tuesday This month we… Take a look at our…

Adam Waring Editor Next wedding you’re asked to shoot, charge – that way, if you can’t enjoy the occasion for fear of ruining their Big Day, at least you’ll make a few quid… adam.waring@futurenet.com Jason Parnell-Brookes Technique editor Keep an eye out for bargains at car boots and markets, so if you see something cheap, sell it on for what it’s actually worth and make a little profit. jason.parnell-brookes@futurenet.com Ben Andrews Lab Manager With the growing trend for letting apartments, there’s a market for interiors photography. Equip a wide-angle lens and softened flash and away you go. ben.andrews@futurenet.com Matthew Richards Technique Writer Offer your services to hobbyist groups. It could be mugshots or covering events. Start small with fees – if people like your work, word will get around. mail@nphotomag.com…

The mission • Craft a spooky Halloween portrait Time • One hour Skill level • Beginner• Intermediate• Advanced Kit needed • Tripod• Speedlights (x2)• Wireless triggers (x2)• Light stands (x2)• Photoshop CC This is the time of year we go out trick-or-treating, hang spiderwebs up in the windows, eat too many sweets and chocolates, and generally have a fun, spooky time as the nights draw in. And we can have some fun with our cameras, too: in this project we’re going to look at how to construct your own sinister Halloween portrait. We have a skull prop made of resin (which we painted with some coffee grounds to give it an aged effect), and we’re going to be taking two shots to make it look like our subject has a…

The mission • Blend two animals into one using selections and layer masks Time • 20 minutes Skill level • Beginner• Intermediate• Advanced Kit needed • Photoshop CC Ever wondered what the offspring of a hippo and a hamster might look like? Or a poodle and a gorilla? With a few simple Photoshop skills you can unleash your inner Dr Moreau and find out! Using a combination of selection and layer skills we can create all manner of creature combos. We’ve supplied the starting images for our zebra/cockerel hybrid (a ‘Zockera’ perhaps?) but why not try the technique out on your own macabre creations? However, the success of an effect like this – or any composite – begins with the choice of images. There needs to be at least some…

I’m upgrading to a full-frame body, mainly for shooting concerts and indoor events, but I also love wildlife photography. On my budget, should I get a new D750 or a secondhand D810 or D3S? Simon Scotting JASON SAYS…The D810 and D3S are more up-market, ‘pro-grade’ cameras but I’d definitely go with the D750. The 12.1Mp image sensor of the D3S is quite old and fairly low in resolution. Conversely, the 36.3Mp sensor of the D810 has great resolving power, but image noise is more of a problem when shooting concerts or indoor events, where you’ll often need to use a high ISO setting. Compared with both of these cameras, the late-generation 24.3Mp sensor of the D750 coupled with the same Expeed 4 processor that’s featured in the D810 delivers far…

WWW.JOEMCNALLY.COM When the new full-frame Nikon mirrorless camera, the Z7, was launched I was thrilled to be a part of it. My mandate for the assignment was to have fun, challenge the camera, work in an environment filled with details, mixed light and shiny surfaces. Basically, stuff the Z camera and lens combo could crunch on. And to create a tableaux involving aliens at breakfast. Did I mention having some fun? Again, me being the product of comic books, bad novels, adventure yarns, and lots of awful (but highly entertaining!) movies, I submitted a notion involving extraterrestrials, but not the evil type here to consume our water supply or engage in other forms of planetary subjugation. It was mostly about a pair of elderly aliens, out for a bite at…

Is this new mirrorless full-frame a system that you’re likely to use? For now, I think I will stick to my D5. I don’t believe what they announced (the Z7 and Z6) is a pro line for say sports photographers, at least not right now. I would say that it’s a semi-pro camera. The technology inside is very interesting from the get-go, especially being able to shoot silently – you could put remote cameras in areas where we can’t put them today, aiming for some unique angles – that is very interesting and useful technology to me. I hope at some point in the not too distant future they’ll bring out the Z9, which is more for the pro segment of the market and sports photographers. Then it’s going to…

A decent computer is a must for editing high-res Raw files and getting stuck in with advanced effects. Today’s enthusiast laptops can rival traditional desktop hardware, with many boasting pixel-perfect displays with stunning colour, as well as wide contrast to keep highlight and shadow detail consistently visible. We’ve selected some of the most powerful laptops on sale today to ensure you don’t waste time looking at loading bars when you could be out shooting. Continuing advances in processor technology means you can now get 6-core chips in laptops that sacrifice minimal speed compared to their desktop computer counterparts. To see which laptop is fastest, we ran the popular Geekbench and Cinebench benchmark apps, as well as getting down and dirty with high-resolution images in Photoshop CC 2018. Screen quality was…