Digital Camera - Ken Gilbert

Digital Camera - Ken Gilbert


+ CD




Easy 10-step

crash course

for new owners

Take better night shots

Inspirational projects to try tonight



Over one hour of easy

Photoshop video guides

Make the most of

black and white

Learn the secrets of

black white

Portrait magic Landscape tips HDR effects


D-SLR duel

Plus Lens special:

all you need to know!

January 2010 £3.99 &

Meet this issue’s

guest photographers…



David Noton

This leading landscape

and travel photographer

is generous with his tips

to help you take better

shots – turn to page 94

for exclusive insights.

Lens guru



Every issue, Matt tests

the latest and greatest

SLR lenses – so he’s the

perfect person to answer

all your lens-related

questions on page 115.



Ben Birchall

Despite being more

Yorkshire than Ilkley Moor,

Ben’s an adopted Bristolian

– see how he helps a

reader shoot this historic

city at night on page 6.


Learn how to shoot ice and snow, as Ali Jennings

goes to the Arctic on page 14… Discover the

best shots from our Chinese readers on page

84… See how the Canon EOS 7D fares against

the Nikon D300s on page 104… Master creative

black-and-white techniques, starting on page 43.


now & get:

● An Arctic Butterfl y sensor

cleaner worth £44.99.*

● Free magazine delivery

direct to your door.

● Exclusive covers for

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● A free CD packed with

Photoshop video guides.

Call 0844 848 2852 now!

*See page 26 for more details about the offer codes you’ll need


to the January issue of Digital Camera

This is a special, special issue. As well as being the last of

2009, we reveal the winners of this year’s Photographer of

the Year competition. Since starting in 2004, POTY, as it’s

affectionately known, has evolved into a leading international

photo contest, attracting over 101,000 entries. Trying to sift

through so many great shots is an epic task and the fi nal

winners always divide opinion, but that’s just as it should

be – photography is different things to different people, and

the sheer diversity of entries is fascinating. Well done to

the winners, and a happy Christmas and new year to all our

readers (watch out for some exciting changes next year!).

Geoff Harris Editor

Contact us at or on 01225 442244

Send your pics to Digital Camera, 30 Monmouth Street, Bath BA1 2BW

Visit us online at

To enquire about a subscription or back issues, contact &

January 2010 Digital Camera 3


6 Take better night shots

On the cover

Get creative in the city after dark,

with Ben Birchall’s expert help.

14 Shoot in a cold climate

Ali Jennings shares his tips and

techniques for stunning wintry shots.


18 Mission

‘Seasonal colour’ results, plus this

month’s mission – festive spirit!

28 Master your new D-SLR

On the cover

Got a new camera for Christmas or

in the sales? Don’t miss our jargonfree

ten-step starter guide.

61 POTY 2009 winners

On the cover

The results of this year’s Photographer

of the Year competition.

84 Hotshots from China

The fi nest entries from the POTY

competition organised by our sister

magazine, Digital Camera China.

88 Ask the Team

Your photography questions

answered by our expert team.


44 Enhance light and shadow

On the cover

Understand the relationship between

colour and mono tones to create

stunning black-and-white conversions.


POTY results

This year’s contest has been the biggest

ever. We reveal the winning images...


Issue 94

46 Maximise HDR effects

On the cover

Merge shadow and highlight details

for dramatic high-contrast scenes.

50 Use CS4’s RAW tools

On the cover

Convert your images to mono with

Photoshop CS4’s Adobe Camera Raw.

52 Retro Hollywood style!

On the cover

Use light and shade to create a mono

portrait evocative of 1930s Hollywood.

54 Mimic a split-tone effect

On the cover

Create striking split-tone shots using

CS3’s Adobe Camera Raw editor.

56 Get high-contrast mono

On the cover

Easy ways to transform ordinary

landscapes into mono masterpieces.


94 David Noton

Travel and landscape photographer

David Noton shares his experiences

of shooting around the globe.


102 First look – what’s new?

The latest news on cameras and kit.

104 Nikon D300s vs Canon 7D

On the cover

Two high-speed pro-spec digital

SLRs go head to head.

110 Pentax K-x

This new entry-level D-SLR is packed

with features that will appeal to

enthusiasts and beginners alike.

115 Your lens queries answered

On the cover

Master the technology behind your

glass with our expert guide.


24 Viewfi nder – share your thoughts

26 Subscribe and never miss a copy!

92 Send us your pictures

145 Next month &


Canon vs Nikon

Who’ll be the winner in

this £1,500 mid-range

SLR slug-fest?


Retro portraits

Give your shots a dash of

classic Hollywood glamour

with our easy guide


Pro interview

Travel and landscape ace

David Noton shares his tips

On the cover

Self-portrait by

Wai San Cho


Better night shots

Inspirational tips and projects

to try after dark


Pentax K-x

The SLR that appeals

to newbies and pros…

On the CD

Your disc is packed

with over an hour

of Photoshop and

Elements tutorials

– see page 146.

On the website

Discuss this issue

of Digital Camera

with other readers at

£50 Cashback *

Claim up to

on selected Canon EOS Digital SLR cameras


Cashback *

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Shoo t

city lights

at night


here's nothing better than

wandering around a big

city after dark on a mission

to capture its glowing vibrancy

and colour. Night shoots are so

satisfying, as you squeeze every

drop of impact from familiar places

and buildings using nothing more

than their own architectural lights

and the dusky sky as a backdrop.

Shoot too early, however, and you'll

be frustrated by lacklustre shots.

Shoot too late and the sky will lose

its drama, appearing like a huge

black velvet shroud.

But there’s more to night shoots

than photographing buildings.

There’s so much to shoot in a

bustling city you’ll be like a kid in a

candy shop. Why not try capturing

6 Digital Camera January 2010

The nights are drawing in, but there’s no need to hang up

your SLR – the city after dark is full of creative opportunities.

Ben Birchall shares his tips with reader Roger Hamilton-Smith

abstract patterns or light trails that

you can display at home or use to

fi ll a gap in your portfolio? Choose a

rainy night and you can get creative

with raindrops and refl ections, too.

Here, we show a Digital Camera

reader how to get it right... &


Roger Hamilton-Smith

Roger has been a keen

photographer for years, but

only upgraded to a D-SLR six

months ago. He is eager to

learn some new techniques.


Ben Birchall

Ben is a professional

snapper for the

Press Association

and knows how to

get the most from

the city at night. &

Practical technique

January 2010 Digital Camera 7

January 2010 Digital Camera 7

Ben Birchall




Timing is crucial. Shoot

too late and the magic

in the sky will vanish,

making your images

appear dark and heavy

How to capture

colour in the sky

It’s important to ensure

you capture the colour and

magic of a dusky sky, even

when light is low. Shoot at

dusk, around 30 minutes

after sunset, and the sky will

be a magical blue colour. This

window of opportunity will be

longer during the summer

months, and is often referred

to as the ‘golden hour’. In

the city it’s easier to get the

timing right, because you’ll

see building and street lights

become subtly brighter. The

contrast between the sky and

the buildings will also become

more subdued.

To ensure perfect results

at this time, we advised Roger

to use his camera’s Manual

mode and Overall metering.

He selected an aperture of

8 Digital Camera January 2010

Ben Birchall

around f/11 or f/16, and then

zoomed into an area that had

bright lights. He then lined

up the metering bar in the

viewfi nder using the shutter

speed dial, so that it rested

in the centre of the exposure

scale. Next, he zoomed back

out, ignoring the metering

bars, before recomposing

and taking the shot.

It’s essential to review your

images after each shot and

check all the highlights for

clipping (where the brightest

areas lose essential detail).

The correct exposure will

reveal clipping in just the

specular highlights of bright

lights. If you’re getting whole

areas of over-exposure,

increase the shutter speed to

allow less light into the lens.

Roger Hamilton-Smith

Essential gear

The three pieces of kit you’ll need

to ensure sharp shots at nighttime

1 Tripod

Low-light photography requires slow shutter speeds,

so a tripod is essential if you want to keep your images

pin-sharp on night shoots. Buy the best and most stable

model you can afford.


Remote release

Your camera’s self-timer function will suffi ce for

general scenes (reducing the chances of shake-induced

blur), but a remote release is essential kit for timing longexposure

traffi c trails.




Lens hood

A lens hood helps to reduce fl are caused by stray

light hitting your sensor, but on night shoots in winter it

will also prevent rain hitting your lens’ front element, too.

We suggested this set-up for consistent, striking results


Always use a tripod and stick

to your camera’s lowest ISO

setting to get the smoothest

images in low light.


Shoot RAW for best quality.

This gives more fl exibility

when it comes to editing your

shots post-shoot.


Stick with the Daylight setting

for consistent results when

viewing your images. &

Key camera settings



Use Overall metering and

zoom into an area of bright

lights, then line up your

metering bars.


Keep your aperture fi xed at

f/16 for maximum sharpness

and good depth of fi eld.


Use Manual and only adjust

your shutter speed to increase

or decrease exposure.

Keep white balance set

to daylight for

consistent results



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Ben Birchall


city lights

Get creative with light for

original night shots


Here, the movement on the water

combined with a long shutter speed of

a few seconds created a silky mood and

atmosphere as the edges of the light were

diffused. Look for complementary clumps

of light or pattern, and balance the frame.


light trails

Use long exposures to turn

tail-lights into a colourful

show. The techniques you

need to capture light trails

aren’t much different from

those you use for general city

light shooting. You’ll want a

longer exposure though, of

ten to 30 secs, so set the

aperture at f/22 or higher to

get longer, stronger streaks.

Red tail-lights work better

closer to the lens, so Roger

Roger Hamilton-Smith

When the magical light has

faded, don’t leave. It may be

cold, but the damp conditions

at this time of year can make

great abstract pictures, as

Roger shows here. Working

the area of the city you’re


Try shooting raindrops on glass. Zoom in

as tight as your lens will allow – even a

macro lens will produce stunning results

here. We advised Roger to position the

bright lights behind the glass, so that the

water drops fi lled with amazing colour.

set up his tripod on the

relevant side of the road.

The easiest technique was

to compose just after a set

of traffi c lights, and then use

a remote release to begin

the exposure as the cars

entered the frame.

shooting further will develop

your photographic eye, too.

Roger honed in on the tiny

colours and shapes all around

him – the neon-lit signs and

rain-covered windows made

great subjects for abstract

Roger set an

exposure of

15 secs at f/22

to get this

dynamic shot &

Practical technique

images. We told him to try a

longer lens to capture tighter

shots that didn’t eliminate the

sky from the scene. Watery

refl ections make gorgeous

natural patterns and shapes,

so always keep a look out.


Everything in the city around you will be

fair game at night. Surfaces that refl ect

or absorb lights make excellent abstract

shots. Just make sure there’s plenty of

colour, as in this rain-soaked surface,

which refl ected a strong, orange light.

January 2010 Digital Camera 11

Roger Hamilton-Smith






Pushing your creative boundaries

will help you to defi ne your style and

capture truly great shots. Use all your

D-SLR’s controls when out and about.

Here, Roger really worked a simple shot

of some hanging fairy lights on a building.

When photographing lights at night you

can record any movement as trails, and

it doesn’t have to come from the subject.

We showed Roger how to physically

move the camera, or zoom in and out

during a long exposure. Even purposely

defocusing the lens during the exposure

produced amazing results...


For this streaky abstract shot Roger used

a tripod and panned throughout the same

exposure as before. The diagonal streaks

across the frame were achieved by

rotating the shot in the digital darkroom.


For this crazy, arty effect, Roger focused

on the lights and exposed for 4 secs at

f/16, ISO200. We showed him how to fi re

12 Digital Camera January 2010


This standard record shot was taken with

the camera mounted on a tripod. It’s

pretty, but not very creative. Roger used


Here’s the exact same exposure (4 secs

at f/16, ISO200). This time Roger handheld

the camera. The telltale movement

was caused by him trying to keep the

camera still – it’s more creative though!

the shutter, then twist the manual focus

ring back and forth one second into the

exposure. The shot looks like modern art! &

a remote release, then focused on

the hanging fairy lights and set an

exposure of 4 secs at f/16, ISO200.


This was also taken at the same

exposure with the camera mounted

on a tripod. During the 4 sec exposure,

Roger twisted the lens’s zoom ring to

create a striking zoomburst effect.


To get the abstract pattern in this shot,

Roger widened the aperture to f/5.6 to

create a subtle, softer focus. The shutter

speed was also decreased to 0.5 sec

to get a good exposure, and he then

intentionally pushed the lens out of focus

using the manual focus ring.

All images: Roger Hamilton-Smith &

Olympus E-P1. Not an SLR.

Not a Compact. It’s a PEN.




How to...

Shoot in a

cold climate

Think the British winter’s cold? Digital editor, Ali

Jennings, recently went to the Arctic. Don’t miss

his tips and techniques for stunning wintry shots

Back in October 2008, my sister Fe and

her husband Martin suggested that a

trip to the Arctic would be an unusual

but exciting way to celebrate our Dad’s

birthday. One year later, joined by my

other sister, Kirsty, we all boarded the

Noorderlicht, a 100-year-old Schooner,

and left Svalbard, Norway, for an

eight-day photographic adventure.

On the following pages, I’ll share a few

of the images I captured during the trip,

and explain a bit about the equipment

and techniques I found useful when

shooting in the extreme conditions. &

Moments after this picture was taken,

part of the glacier fell into the sea,

followed by a horrendous noise, then

total silence. Our guide warned us to

keep well back from the water’s

edge, and sure enough a minute or

two later the water retreated at

speed, displaced by the ice as it


surged into a small tsunami. Ali &

Out there…



It’s tempting to pack every item of

equipment you own on a trip like this,

but in reality you need to be strict and

keep kit to a minimum. It’s essential to

travel light, especially when jumping in

and out of small infl atable boats to get

ashore. I carried the following...

Digital full-frame SLR

Canon’s 1Ds may not be the lightest

camera, but with weather-proofi ng seals

and a build that can take more than a

few knocks, it’s a good, reliable

choice. The most

important features

are the ISO range

and full-frame

sensor, which enable

you to take the

pictures you want

with minimal

infl uence of noise.

Zoom lens

with 1.4x Extender

When your guide is

carrying a gun, you know

it makes sense to keep

your distance from the

local wildlife! For this

reason, a long lens

is essential. I have a

35-350mm, but also

packed a Canon 1.4x

Extender, which boosted

the lens’s focal length to

490mm and allowed me

to fi ll the frame with

animals in the distance.

Daypack and

waterproof bags

When you have limited time on land, it’s

essential to keep weight to a minimum

and ensure easy access to your

camera. I opted for a simple

Lowepro daypack and used

Expedition folding dry bags


to keep my kit dry when

going ashore in the

infl atable dinghy. The

bags are quick to

use: simply

drop in your

camera and


then fold and

clip to seal.

January 2010 15

All images: Ali Jennings

All images Ed Godden/Future Out





Keep things steady

When shooting in low-light situations like this, you don’t

have the luxury of being able to use fast shutter speeds for

sharp shots without pushing the ISO through the roof. And

high ISOs equal noticeable noise. Tripods and boats don’t

mix, and even if you’re heading for dry land in a dinghy,

they’re often a pain to carry. So, in the absence of a suitable

support, I rested my SLR on rocky outcrops or laid on the

tundra when safe to do so.


editing tips

Back in the UK, I was faced with several

hundred images to transfer, sort and

enhance. Each image needed slightly

different adjustments, but there where quite

a few tweaks that were common to all…

16 January 2010


Setting white balance

It’s always good practice to correct

the white balance fi rst. With the image

open in Adobe Camera Raw (ACR),

select the White Balance tool from the

top tool bar. To set the white balance,

click into a neutral colour area, such as

a grey rock. If the colour still doesn’t

seem correct, use the Temperature

slider to warm or cool the image.

Get exposure right

Due to the unpredictable weather and changes in light,

I found that using my SLR’s Partial metering mode for wildlife

and Evaluative mode for landscapes generally worked well.

Most importantly, when faced with overcast skies, ice and

snow, over-exposing by up to two stops helped to ensure the

correct exposure. I kept an eye on the histogram to check

for irregularities with the general exposure, then adjusted my

settings until I was happy with the results. &

Reading the histogram

The histogram graph shows you how

the tones in the image are being

affected by the adjustments you make.

To ensure you’re not clipping your shot’s

shadows or highlights, switch on the

Clipping Warnings by hitting U and

O on the keyboard. A blue or red colour

mask will appear if the shadows or

highlights are losing essential detail.


Keep your distance

When travelling through the

Arctic you’re sure to encounter wild

animals, but getting really close to

the wildlife is generally unadvisable.

To maximise your chances of getting

a decent shot from a distance, you

need a lens with a focal length of

400mm or more. I combined this

with an ISO of 400, shutter speed

of 1/125 sec and aperture of f/3.5.

Basic adjustments

The Exposure slider can be used to

lighten or darken the image – when the

bulk of the histogram graph sits away

from either edge you’ll know the slider

is in the right place. Next, use the Fill

Light and Recovery sliders to pull back

any clipped shadow or highlight details.

You can now give the Contrast and

Saturation a gentle boost.


Tackling exposure

Click on Open Image to open the shot

in Photoshop. To tackle the exposure

differences between the sky and the

foreground, use the Quick Selection tool

to select the sky. Click on Refi ne Edge,

then set Smooth to 2 and Feather to 1.5.

Create a new Levels Adjustment Layer,

then move the shadow and highlight

sliders to boost the tones in the sky. &

Use ISO to your advantage

Out there…

Even though it generally felt quite bright, the actual

available light was often pretty low due to overcast skies.

Without the option to bolt on a fl ashgun due to my distance

from most subjects, it was important to compensate by

increasing the ISO to give an even balance of aperture and

shutter speed. For general shooting, I used ISOs of between

250 and 400, although often increased to 800 or higher to

get the balance right for the available light.

Sharpen selectively

Drag-and-drop the Levels Adjustment

Layer onto the Create a New Layer icon,

then click on the Layer Mask and hit Ctrl

or Opt+I to invert it. Double-click the

layer and move the shadow and highlight

sliders to the edges of the histogram.

Shift-click on the Layer Mask, then

fl atten the image. Go to Enhance>Adjust

Sharpness to sharpen the foreground.

January 2010 17




Reader showcase…



Back in issue 92, we asked you to send us your

finest images of seasonal colour. Here are just

a few of the stunning shots we received…

The changing seasons offer amazing

photographic opportunities throughout

the year. Whether it’s the warm hues of

autumn, the cold tones of winter, or a

fresh spring palette, there’s no shortage

of eye-catching scenes to be captured.

We received an impressive number

of outstanding pictures for issue 92’s

18 Digital Camera January 2010

mission. Johannes Frank’s winning

shot reveals an awe-inspiring symphony

of colour. He’s taken the concept of

seasonal colour and cranked it up a

notch with an explosive composition.

He’s artfully crafted a low-light scene

with a fi rework display to create an

amazing and accomplished shot.

Win a Lowepro Flipside 400 AW

Each month we’re giving away this high-capacity

Lowepro camera backpack worth £120 to the lucky

winner of our Your Mission challenge.

● The Lowepro Flipside 400 AW backpack has been

designed for a full day’s shooting – come rain or shine.

● The high-performance camera backpack offers

expanded capacity, with room for a professional

D-SLR with a zoom lens attached, plus four to six

additional lenses.

● The Flipside 400 AW features a unique back-entry

compartment that provides easy access to gear when

setting up – keeping the harness off the ground and

clean – plus extra security when on the move.


winner! &

Fire and Ice (above)

By Johannes Frank

Taken on Iceland’s

Glacier Lagoon last

August. I used a Nikon

D3 and Nikkor AF-S

14-24mm f/2.8G lens set at 14mm to

capture the fi reworks. I used a tripod,

set the camera to f/8 and ISO200,

then used a remote release so I could

choose the exposure time myself.

Using f/8 gave me a correct exposure

time of about 5 to 8 secs. The ice was

moving, so if the exposure had been

too long this movement would have

shown up in the photo.

Why this won: This well-crafted shot

reveals a stunning explosion of

seasonal colour. It’s not an easy subject

and Johannes has pulled it off with

technical skill and an artful eye. This

is an impressive shot. Well done! &

Out there…

Frozen Autumn (left)

By Per Bjørkum

I put this leaf into a plastic

container, covered it with

water, then put it into

the freezer. On a sunny

day, I held the frozen leaf up against

the sun, which filled the ice with colour,

then photographed it. I framed more

than just the leaf, as the ice itself brings

atmosphere. It was taken on a Nikon

D300, with an exposure of 1/500 sec

at f/14, ISO250.

Turn the page to see more

impressive reader shots

January 2010 Digital Camera 19 &

A Fall Contrast (above)

By Leony Mates

This close-up of a maple leaf was taken after a light

frost. I got down on my knees and used a Sony

DSLR A350 with a Sigma 70mm macro lens to shoot

at 1/250 sec, f/2.8, ISO100.

Autumn Berries (below)

By Per Bjørkum

I wanted to get close to an autumn treasure. I used

a Sigma 50mm f/2.8 macro with an aperture of f/4,

and in Photoshop I cropped, cross-processed and

added a texture to give more focus to the berries. &

Last of the Autumn Leaves (below)

By Emma Goulder

Aiming to capture the orange leaves and blue sky,

I lay down to get a different perspective on the tree

and keep the clouds in view. I focused on the tree,

so the blurred grass would draw the eye upwards.

Your mission this month…

Christmas spirit

Send us images that capture the spirit of

the festive period for the chance to win a

Lowepro Flipside 400 AW bag worth £120

Win the world’s first camera bag to be made from recycled

materials. Do your bit to reduce your impact on the

environment while carrying your camera gear in comfort.

How to enter

Go to, then click on the

Digital Camera thread. In there, you’ll find details of this

month’s mission, and an email address to send your

photos to. Images must be received by 11 January 2010.

The winner will be selected from all entries received by the

closing date and sent a Lowepro Flipside 400 AW bag free of

charge. A selection of images will be printed in issue 96.

22 Digital Camera January 2010


NOW! &

From My Dreams…


By Svetlana Batura

This photo was taken in

an orchard; the main thing

I wanted to show was a mysterious

autumn mood, and the feeling that all

you see is thawing into another reality.

I don’t like cropping in post-processing,

so I carefully set up the location and the

model’s position and distance from the

camera. I used a Canon EOS 5D Mark II

and my favourite Canon EF 50mm f/1.4

lens, as I like the bokeh effect it creates.


on Tulla (left)

By Paul Carroll

I waited for the mist to

clear from pre-dawn on

Loch Tulla, Rannoch Moor. I had to

scramble around the boggy shore to

get separation between the background

and the trees on the foreground island.

The still waters reflected the tree and

the rusty autumn colours.




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T he placetoair your viewsonphotography and Digital Camera magazine

Star letter

Rail ruckus

Thanks for Ed Godden’s steam train feature

in issue 92 (Autumn 2009). Sadly, we railway

photographersare still thebuttofsnide

cracks. I was taking pictures

Win a Manfrotto Modo 758B tripod

Phil wins aManfrotto tripod andbag worth £100.

For more information, call 01293 583300 or visit

Geoff Harris is Judas!

Come on, show some love to

poor Geoff Harris. The former

editor of PhotoPlus for Canon

users has had a

blow to the head.

Twice recently in

Digital Camera I’ve

seen a photo of

acting editor

Geoff Harris,

holding a


Nikon. Oh,

you Judas

Geoff! Please

rescue the lost

soul before he

enters the

afterlife as a

ghoul with a

Nikon badge

tattooed onto

his forehead!

George Barrs

24 Digital Camera January 2010

in Newcastle Central station when three beerswillingyobscamealong.

After theusual

name-calling, I picked up my tripod to walk away.

Oneofthe yobs grabbedmytripod legsand then

literallypulled me offmyfeet, causingmetohit

my head on a nearby bench.

Thankfully, twomalepassengers came to my

aid, with one of them landing a punch right on

the nose of my tormentor. The three of them

scarpered.Then, to capitall,some station

official reprimanded me for taking

“professional” photographs, because I’dbeen

using a tripod. I’ve had better days…

A Dixon

Crikey! Well,it’sgood to hear that there arestill

some good Samaritans out there. As for the

officialreprimand,it’strue thatthe current

terroristscare has made railwaystation staff

much more paranoid about photography (so if

other readersare in doubt,it’sbesttocheckwith

the station manager first). Anyway, hopefully our

Star Letter prizewill salve some of

your painful memories.

Editor Geoff Harris replies:

“I’m busted! Yes, Idid edit

PhotoPlus, but am now the

editor of this fine magazine. I

deliberately posed with aNikon

to emphasise that I’m brand

agnostic and impartial. You

only saw me in PhotoPlus with

Canon SLRs as it’s amag for

Canon users, but Inever said

Canons were better than

Nikons (or vice versa in Digital

Camera). Both make great

cameras, and both have made

some dodgy ones, too. I’ve

learned that the person behind

the camera has far more

influence over the final shot

than the badge on the front.”


Digital Camera is anice mag,

but your Group Test on

super-telephotos (issue 92,

Autumn 2009) has made me

question its completeness.

Iown aSigma 150-500mm

lens for my Samsung GX-10.

You say that the lens features

afour-stop optical stabiliser

and afast, quiet, accurate

HSM autofocus, but this is

not true when it’s combined

with most Pentax-fit cameras –

certainly not with my Samsung

GX-10 or Pentax 100D. With

such cameras it’s basically

an unstabilised manual focus

lens. Perhaps you could clarify

that all features aren’t

compatible with all cameras,

and so change your scoring?

Steve Fletcher &


andreceive an

Arctic Butterfly

sensor cleaner


Available to UK andUS

subscribers –see page 26

Get your viewsheard

● Email us at

● Write to us at

Digital Camera,

Future Publishing,

30 Monmouth Street,

Bath BA1 2BW

● Chat on our forum at

Our lens reviewer, Matthew

Richards, replies: “Sorry to hear

that the Sigma 150-500mm OS

lens is incompatible with your

Samsung camera but, as we

said in our test, Sigma UK

has confirmed its optical

stabilisation should be

compatible with Canon, Nikon,

Pentax, Sigma and Sony

cameras. We didn’t say the

lens was compatible with

Samsung cameras because

the OS doesn’t work.

Sigma says that the OS in

the lens should work with

Pentax D-SLRs but that, for

bodies with the internal Shake

What’s worked for you?

…or not!

I’ve just bought my first D-SLR

– a Canon EOS 1000D – after

readingthe Group Test in issue

91 (November 2009). I’m

slowly getting used to the

camera’s numerous functions.

The ‘Create a triptych’ tutorial

in issue 92 also really caught

my eye, so I took a few shots

of a geranium plant, below.

I must commend you on

providing the majority of your

technique tutorials in

Reduction system, only one

stabilisation system should be

used. You therefore either have

to switch off Shake Reduction

in the body, or switch off the

OS on the lens.

If you need further

clarification from Sigma you

can reach them via email at


com, or call 01707 329999.”

Pet pitch

Iwas wondering if you publish

articles written by people

other than the regular team?

I’ve been thinking of writing

an article on pet photography,

and if I were to supply both

the words and pictures up to

your standards, doyou accept

articles from outside sources?

Obviously you can’t make

any promises without seeing

the actual article, but could

you also supply a ballpark

figure for the fee?

Dominic Kennedy

Since the magazine started,

we’ve published articles by

a wide range of contributors

– some professional writers,

some not. To start off, you

should contact the editor


with adetailed proposal and

some sample shots.

Photoshop Elements, offering

true amateurs the opportunity

to have a go themselves.

Tim Fields

Well done, Tim.For somebody

just getting to grips with their

first D-SLR, this is a great

effort. Creating a triptych is a

creative way to display shots,

and we’regladyou found our

SLR buying advice sound.





com forum

Is it art?

Fine art photography

does include abstract or

disturbing images, such as

journalisticand commercial

photography. It’s part of

the fascination, as each

photographer tries to

produce visual mediathat

evokes thoughts in others

with bothgood or bad

composition skills. Not

forgetting, bad composition

may be part of their thought

process, purposely to get

theviewer’seye to stop and

maybe make a comment.

Photography is definitely

an art; good photographyis

in the eye of the beholder.


Well said. Photography is

broad enough to include the

Edward Westons AND the

Martin Parrs of this world. &

January 2010 25

Subscribe today!

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Requires one AAA battery (not

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26 Digital Camera January 2010 &



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Live overseas? You get this great gift too!

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page 83

for details

of our US



1 &

January 2010 Digital Camera 27


Master your D-SLR

28 January 2010 &

Key camera skills

Master your

new D-SLR

in ten easy steps

Looking forward to a brand-new D-SLR for

Christmas, or going to buy one in the January

sales? Ed Godden helps you get the

most from your shiny new camera &

Here on Digital Camera we get

lots of emails from readers who

are daunted by the complexity

of their new SLR, unsure of the best

way to capture the best shots, and

confused about which settings to use.

Considering the plethora of buttons

and functions packed into today’s

cameras, this is totally understandable.

Even getting the strap onto your new

bundle of joy can sometimes seem like

mission impossible! Well fret no more;

over the next nine pages we’ll guide you

through the process – from the moment

you fi rst unpack your new camera, to

the day you proudly hang your fi rst photo

on the living-room wall...

January 2010 29



Master your D-SLR

The right way to

set up your camera

Before you even start to think about shooting your fi rst image,

get to grips with these key settings, preferences and menus


When it comes to fi le formats,

shoot in RAW rather than

JPEG. The extra data that’s

captured by shooting in the

uncompressed RAW format

gives you more fl exibility to

improve your shots post-shoot.

Try to keep light sensitivity

as low as possible – between

ISO100 and 400. Most

cameras produce digital noise

at higher ISO ratings. Noise

looks like grain in your images.

As for white balance, you

can leave it on auto, but you’ll

become more confi dent at

knowing when certain lighting

conditions require you to

switch to a specifi c setting,

such as Cloudy or Tungsten.

Best D-SLRs

for newbies

There’s a huge range of

D-SLRs out there, and

it can be hard to decide

which is best for your

needs. These models

make life a lot easier for

newcomers to SLR

photography, but are not

so Fisher Price that you’ll

outgrow them quickly...

30 January 2010


Aperture and shutter speed

are crucial. The combination

of these two settings affects

not only the amount of light

you let into the lens, but also

the way your images look.

The aperture controls the

depth of fi eld by determining

which areas of an image

appear sharp. If you want a

shallow depth of fi eld, with a

sharp foreground but blurred

background, you need to

select a wide aperture (such

as f/2.8), and vice versa.

The shutter speed controls

whether a moving object is

frozen or blurred in your shot.

The slower the speed, the

more motion blur you’ll create.

Panasonic LUMIX G1

Price £489 (14-45mm lens)

Compact enough to take anywhere

and offering superb picture quality,

its appeal is only limited by the small

range of lenses available due to its

Micro Four Thirds mount. The autofocus

is lightning fast.



D-SLRs offer a range of

exposure modes, from fully

automated – like a compact

camera – to fully manual.

Two popular ‘semi auto’

modes are Aperture Priority

and Shutter Priority, which

give lots of creative control.

Aperture Priority enables you

to dial-in your chosen aperture

and the camera automatically

works out what shutter speed

is needed. If you know what

shutter speed you want to

use to create a certain effect,

Shutter Priority lets you select

it. The camera then works out

the aperture you need for a

correct exposure. Simple!

Nikon D3000

Price £399 (18-55mm VR lens)

This fully featured D-SLR is arguably

the most beginner-friendly, with a Guide

mode that explains exactly how to take

creative shots. Picture quality is great

and noise levels are impressive, even

at higher ISOs. The ideal first Nikon. &

D-SLRs enable you to take much

more creative photos. But this

extra functionality does require you to

spend a bit more time getting to know

your camera. This can be frustrating if

you’re keen to get shooting, but it’s the

only way to ensure your camera’s set

up properly for the best results.


Metering modes depend on

the camera and the brand, but

the three most common on a

D-SLR are Multi-zone, Centreweighted

Average and Spot.

Multi-zone mode takes a

light reading from across

a whole scene. It’s suitable

for everyday use and pretty

accurate in most situations.

Centre-weighted Average

takes a reading that

concentrates on around 70%

of the centre of the frame and

feathers out towards the

edges. It’s ideal for shooting

portraits. Spot metering reads

a tiny area of the scene and is

therefore the most advanced

and precise mode.

Canon EOS 500D

Price £579 (18-55mm IS lens)

While not quite as easy to use, the EOS

500D is solidly built, yet compact and

light. It’s capable of shooting not only

bright, vibrant stills but HD video, too.

As with the Nikon, the quality of images

at higher ISOs is superb.



To make your shots pin-sharp,

D-SLRs offer a number of

focus modes. The two main

settings are single-servo,

for stationary subjects, and

continuous-servo, for moving

subjects. Most D-SLRs enable

you to select a focus point

manually, so that you can lock

focus on off-centre subjects.

The Drive modes enable

you to determine whether a

single frame is captured each

time you press the shutter

release, if shots are taken

continuously for as long as

the shutter is pressed down,

or if the shutter is fi red

automatically after a set delay.

Sony Alpha 330

Price £399 (18-55mm lens)

On-screen help and super-steady

shake-reduction technology make the

Alpha 330 a dream for newbie D-SLR

photographers. Combined with the

attractive price tag, it’s definitely one

worth considering.



Now you’ve got an SLR it’s

time to ensure you are using

the bigger, brighter LCD

properly. By this we mean

using the zoom buttons to

zoom into parts of an image

on the rear screen, so you

can check for sharpness or

excessive noise. And you

should get into the habit

of checking your image’s

exposure by calling up the

histogram, or tone chart. A

histogram bunched up to the

left indicates under-exposure;

bunched up to the right it

indicates over-exposure. See

page 36 for more tips on how

to use this vital tool.

Pentax K-x

Price £600 (18-55mm lens)

This is a great ‘do it all’ SLR, appealing

to SLR newbies and more experienced

photographers alike. Image quality is

outstanding for the money, though the

lens is built down to a price. Check out

our full review on page 110.

Key camera skills


Set your camera up for…


Shooting landscapes is

one of the most popular

photographic genres. The

best times for capturing

scenic shots are the first

and last three to four hours

of daylight. The benefit of

shooting at these times is

the difference between a

landscape shot with great

punch and a golden glow and

one that’s flat and dull from

the midday light.

Because landscapes often

contain large bright areas,

this can cause difficulties

with metering. The main

problem is that if you expose

the sky correctly, the

foreground will be underexposed.

The best solution

for this is to use a graduated

Neutral Density filter. The

grey area of the filter can be

placed over the sky to block

An ND fi lter will help you to

get a more even exposure

in your landscapes &

the brightness and allow a

more even exposure across

the entire frame.

Another popular filter for

landscape photography is a

circular polarising filter. When

rotated to a certain angle,

this filter will boost blue

skies and cut out unwanted

reflections on water.

An impressive landscape

image has plenty of depth.

For this reason you should

use a small aperture such as

f/16 or f/22 to make sure you

have maximum sharpness

from front to back. This does

mean using slower shutter

speeds, however, so a tripod

is a must. Using a sturdy

tripod with a cable release

attached will enable you to

shoot at small apertures

without worrying about

camera shake.

Ed Godden (Future)

January 2010 31


Master your D-SLR

3 Know your

camera’s top dial

Choose the exposure mode that’s appropriate for your skill level

Choosing which exposure mode to

use isn’t just about your technical

ability; it’s also about selecting a mode

that gives you the freedom to stop

worrying about settings and start

concentrating on taking great shots.

Your camera will offer a number of

automatic settings, including modes that

help you to shoot action, close-ups and

portraits, but these shooting modes can

be restricting and should generally be

ignored. Get to grips with your camera’s

semi-auto and manual settings and you’ll

soon see your shots improve.




32 January 2010




1 This is the ideal mode for complete

beginners. The D-SLR is practically

converted into a compact point-andshoot,

with exposure settings, aperture

and shutter speeds all taken care of.


Here, aperture and shutter speed

are set automatically. However, you

control ISO, Exposure Compensation

(ie, going lighter or darker) and other

settings. You can override the D-SLR’s

suggested settings if you wish. &


3 This semi-automatic mode enables

you to choose an aperture value for your

desired effect (blurred backgrounds, for

example), and the camera then selects

the shutter speed that’s needed for a

correct exposure.


4 This mode is similar to Aperture

Priority, but you select the shutter speed

you require and the camera takes care of

the aperture. This is perfect for freezing

high-speed action by choosing a fast

shutter speed, or for creating motioninduced

blur using a slow shutter speed.


In Manual mode, you set both the

shutter speed and the aperture for any

given scene, which places you in total

creative control. You’ll now have

access to all of the available shutter

speeds and aperture values, and

can also use Bulb mode. This

additional mode enables you

to shoot exposures for

as long as the shutter

button is held down,

and is ideal for night

photography. &


Master your D-SLR

4 Exploring your new

camera in more depth

Stick to your camera’s auto settings and all your shots will look the same.

To take creative shots, you have to take some control. Here’s how...

It’s true, practice does make perfect.

But knowing your D-SLR’s most

important settings inside out also helps

to achieve consistently high-quality shots.


It’s possible to rely on the

auto white balance setting for

most occasions. But there are

a few situations where the

camera can be fooled into

reading a situation incorrectly.

For example, shoot in mixed

light or in areas of heavy

shade and your camera’s auto


We’ve touched on this before,

but the big advantage of

shooting RAW is that you get

the full image as the camera

captures it. With JPEG, the

camera compresses the

image, so you lose some

34 January 2010

By changing settings manually, such as

white balance, ISO sensitivity and fi le

formats, you can take more control over

the way your images turn out. This gives

white balance system may get

confused, producing images

with a dominant colour cast.

Switch to a custom white

balance setting that suits your

scene, such as Cloudy, Shade

or Flash, and your images will

look the same as the scene

you see with the naked eye.

detail. You can perfect a RAW

image in software, then save

it back to JPEG or TIFF format

for sharing or printing. D-SLRs

will also let you save an image

as JPEG and RAW together,

giving you maximum fl exibility.


The ISO setting you choose

will affect your camera’s

sensitivity to light. To produce

the cleanest images, it’s best

to use the lowest ISO rating.

However, this isn’t always

possible when shooting in low

light, or when you want to

shoot handheld – slow shutter


You probably got a lens with

your new camera, but it’s likely

to be pretty basic. Our advice

is to save up for a better lens,

and invest in a sturdy tripod

in the meantime. For around

£150 you can get a very good &

you confi dence and, more importantly,

satisfaction that you got the shot

yourself, without relying on your camera

to make all the decisions.

speeds will result in camera

shake and blurry shots.

Remember, on modern D-SLRs

you can usually shoot up

to ISO800 without noise

becoming intrusive. Also,

higher ISOs will give you faster

shutter speeds, helping you

to avoid that dreaded shake.

tripod that will have an instant

effect on your photography.

You can shoot at smaller

apertures for maximum depth

of fi eld, for example, and a

tripod will also ensure shakefree

shots in low light.

5 Selecting focus

and Drive modes Whether

Focus and Drive modes are often overlooked, but knowing how

to use them is essential for coping with challenging conditions


The three available focus modes are used

to help you focus automatically or manually

on both stationary and moving subjects…

Single-servo AF In this mode, your camera

focuses and stays locked onto the subject

for as long as the shutter button is pressed

halfway down. Beware: if either you or the

subject moves, you’ll have to refocus.

Continuous-servo AF This is perfect for

photographing birds in fl ight or shooting

sports. As long as you keep the shutter

button pressed halfway down, the servo will

continue to re-focus as the subject moves.

Manual Bad light conditions, subjects

with fi ne detail and shooting through glass

are all situations where even the most

expensive lenses will struggle to focus.

This is where your camera’s manual focus

option comes to the rescue. If your

autofocus fails to lock onto a surface,

simply switch to manual (MF) and turn

the focus ring to get sharp shots.


Don’t just rely on autofocus (AF), specify

exactly where you want to focus. There are

two main choices here: let the camera take

control by searching the scene, or you can

select an area manually.

Single point AF

This mode is best used when shooting a

portrait or any subject that stays

relatively still. It enables you to

select a focus point

manually, which doesn’t

have to be in the

centre of the frame.

Dynamic area AF

This mode is

perfect for shooting

fast-moving or

erratically moving

subjects. Some

D-SLRs now have up

to 50 AF points, so

you choose one,

but if the subject

briefl y leaves that

point, the camera

will re-focus on a

point near to the one

you’ve chosen.

Ed Godden (Future)


Whether you need a single shot or a burst

of frames to capture your subject, the Drive

mode controls the shutter.

Single-frame shooting

The camera will only fi re once every time

you press the shutter. This is best used for

still subjects such as landscapes and

portrait shots, where you don’t need a

burst of frames to catch the moment.

Continuous shooting

In this mode, the camera will fi re off shots

at the maximum frame advance, for as long

as the shutter button is

held down. It’s ideal

for action or sports. &

Key camera skills


Set your camera up for…


you’re taking a few

shots of your friends and family

or taking fashion photos in a studio,

a high-speed continuous shooting

mode isn’t really essential for portrait

photographers. It’s more important to

choose the correct focal (lens) length

for your desired effect.

Ideally, a focal length of 50mm or

longer is good for flattering portraits.

Using an aperture of f/5.6 or f/8 to

throw a distracting background out

of focus instantly makes your subject

stand out from their surroundings

and allows the whole face to appear

sharp. Make sure you focus on the

model’s eye for the very best results.

Setting your Metering mode to

Multi-zone or Centre-weighted should

enable you to cope in most situations.

However, if your subject is backlit

or has a dark/light backdrop,

Spot metering or even Exposure

Compensation may be needed.

For outdoor portraits, shooting in

the shade, or later in the day, can

produce softer and more flattering

images. Bright overhead light can

cause dark areas in the eyes and

make your model look like a panda!

Keep portrait


nice and


January 2010 35

Wai San Cho


Master your D-SLR

7 Get exposure right in-camera and reduce your time in Photoshop


Ensure perfect

exposure every time

Modern SLRs are good at working

out the right exposure. However,

there’s no such thing as a foolproof

exposure or metering system. Certain

subjects can fool your camera, resulting

in images that are either too light (overexposed)

or too dark (under-exposed).

For this reason, it is vital that you

know which Metering mode to use in any

situation so that your images look great.

D-SLRs have light meters that measure

the amount of light refl ected back from

Too little light has been allowed onto

the sensor, caused either by too fast a

shutter speed or the aperture not being

wide enough. This shot’s histogram will be

bunched to the left, known as ‘clipping’.

If printed, the clipped areas will appear

black, and all shadow detail will be lost.


This is also known as Matrix,

Evaluative and Multi-segment,

among others, but all serve the same

purpose. It’s generally the default setting

on your camera when you fi rst switch it

on. In this mode, the camera divides the

scene into sections and takes a reading

from each section to determine an

overall reading for the whole scene.


This correctly exposed image shows

lovely crisp colours with light and dark

tones throughout. A correct exposure

on a histogram will have tonal values

reaching as far to the right as possible

without clipping the highlights. Note the

tell-tale 'peaked' shape.

Master the Metering modes

36 January 2010

the scene. The light sensitivity (ISO)

setting will affect this. Ultimately, the

combination of aperture and shutter

speed will defi ne how your shot

turns out. You can call up the

histogram (tone chart) on your

camera’s rear LCD screen to

judge the tonal distribution

of the images you take, then

adjust your settings and

re-shoot if necessary. See

the diagrams below for more...


This is the most accurate

metering mode to use,

because it enables you to take a reading

from a small, precise area of a scene.

However, it can sometimes take a bit

of practise to be able to judge where a

suitable midtone area is for the reading

to be taken from. Your manual will tell

you how to switch Metering modes. &

This shot is over-exposed, as too much

light has reached the sensor. Notice how

the histogram reveals that the tonal

distribution is pushed over to the right.

In the printed shot areas of the scene

that should reveal detail will be blown

out, and look wishy-washy as a result.



Centre-weighted also takes

a reading from the whole scene, but

concentrates mainly on the central 60%

of the frame. It’s handy for portraits,

especially where the model is central.

This mode can get confused when an

area near the edge of the frame strongly

contrasts with the centre.

Ed Godden (Future)

Lumix GSeries



If you’ve beensearching forDSLRperformance fromasmaller,

lightercamera, look no further. Thelatest addition to the

LumixGfamily boasts aDSLRsize sensor,aclass-leading

fast autofocus system andthe option of an outstanding20mm

F1.7 super-bright pancake lens (one of twostandardlenskits

available).Thisgives theGF1 allthe handling,control and

responsivenessofaDSLRbut in amorecompact form.

Addtothisthe built-inflashand 3" screen whichsetsanew

standard in resolutionfor this categoryand youhaveacamera

that effortlesslycopes with thedemands of acreative

photographeronthe move.

Becausecapturing your creativitymatters.


See thefullrange of lenses,colours and


Master your D-SLR

8 Nailing aperture

and shutter speeds

Set the right combination of aperture and shutter speed and you

will notice an immediate difference in your photography

Your aperture and shutter speed

combination have a big impact

on your photographs. It will determine

whether or not your image will be

correctly exposed. It also controls how

in-focus certain areas of the image are

and whether a subject is blurred or

frozen. The term 'aperture' simply refers

to a mechanical iris within a lens. The

size of this opening, or aperture, will

determine the amount of light entering

the lens and hitting the camera’s sensor





1 Increase depth of fi eld in

close-up shots to ensure

the whole scene is in focus,

from front to back. This is

also important when shooting

landscape scenes.

2 Capture the optimum degree

of fi ne detail – so narrow

apertures are great for deep

landscape and building shots.

3 Narrower apertures allow

slower shutter speeds for

creative motion-blur effects,

and striking light trails at night.

(what digital cameras use instead of

photographic fi lm). Aperture sizes go up

and down in increments and are known

as f-stops. A typical aperture range is

f/2.8, f/4, f/5.6, f/8, f/11, f/16 and f/22.

Just remember that the smaller the

f-number, the wider the aperture. And

the bigger the f-number, the narrower

the aperture. This is counter-intuitive, but

you get used to it. So, a wide aperture

reduces the depth of fi eld, and a narrow

aperture extends it. See below…







1/8 sec

38 January 2010







1 Reduce depth of fi eld to

focus attention on your subject

while keeping the background

nicely blurred.

2 Isolate an object from

a distracting background.

3 The more light that's allowed

onto the sensor, the faster the

shutter speed you can use to

freeze action, or stop camera

shake from spoiling your shots.

4 Create arty abstract shots

with a macro lens by carefully

controlling what is sharp.

Ed Godden (Future)

Shutter speed explained

Shutter speed allows you to control

the exact amount of time that the

lens shutter stays open. Working in

conjunction with your selected aperture,

it determines the amount of light that

reaches your camera’s sensor.

The main purpose of shutter speed

is to determine the amount of subject

movement that’s recorded. Fast shutter

speeds freeze movement, while slow

speeds blur it. Shutter speeds are read

in fractions of a second. For example,

1/16 sec would capture a blurred image

of a fast-moving subject, and 1/1000 sec

would freeze its movement.

As mentioned, aperture and shutter

speed work together. Because your

control over both aperture and shutter

speed affects the amount of light you let


into your camera, you have to remember

to maintain a correct exposure. So, if you

close the aperture by one stop (letting

less light in), you need to compensate by

slowing the shutter speed by one stop

(to allow more light back in). This sounds

complex, but your SLR works out the

correct shutter speed for you when you

set the aperture, and vice versa.

Being able to change

shutter speed gives


you lots of creative

control for conveying a

sense of movement FAST SHUTTER SPEED

Godden Ed

Working in ‘stops’

In the sequence below, notice how

each f-number is ‘half’ the size of the

one before it, and so lets in half as

much light. The difference in light

between two sequential f-numbers

is often referred to as an f-stop, or

simply a ‘stop’ – a stop is a ‘unit’

of light and exposure value. So, as

Aperture f/2.8



1/500 sec


1/250 sec


1/125 sec

you increase the amount of light that

comes through the aperture hole, you

need to reduce the amount of time

it passes through the aperture to

maintain the same exposure. Your SLR

works this out for you unless you are

in Manual mode, where you can

specify aperture and shutter speed.


1/60 sec


1/30 sec


1/16 sec


1/8 sec &

Key camera skills


Set your camera up for…


With such great telephoto lenses

on the market, taking pictures of

wildlife has never been easier. Make

life easier by using a lens with a focal

length of anything from 170-300mm.

Take time to study your subjects in

their surroundings and see how they

interact with other animals.

The different colours on an animal’s

body can confuse an SLR's metering.

Overcome this by adjusting Exposure

Compensation (EV+/-). Depending on

the lighting conditions you might need

to increase EV by +/-2 stops.

To freeze animals in action, use a

fast shutter speed of 1/500 sec or

faster. However, if you really want to

test your creativity, try adding some

motion blur to your shot by shooting

with a slow shutter speed, such as

1/30 sec, and panning with the

subject. Beware of too much camera

shake, though, which is more

common with telephoto lenses

because of their weight and length.

Think about your composition at

all times. If you’re photographing

creatures in captivity, try to fool the

viewer by making it look like the

animals have been photographed in

the wild. Do this either by cropping in

tightly to eliminate any background,

or using a wide aperture to isolate the

animal and throw the background

completely out of focus.

Unusual markings may confuse your

camera's metering system

Ed Godden (Future)

January 2010 39


Master your D-SLR

10 Editing your images

and storing them safely

Get into good habits while editing your shots and you'll end up with prints you'll be really proud of

What software

do I need?

Most new SLRs come

with RAW processing

and photo-editing

software, but it can be

hard to use or rather

basic. Here are our


Photoshop Elements 8

Priced at a very

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of Photoshop is a joy to

use. The new version

makes RAW editing

really easy, too.

Roxio Creator 2010

For £50 you get a

complete solution for

safely archiving your

shots on CD and DVD.

The developing trays in the old-fashioned

darkroom allowed the real magic to

happen, and your home computer

is no different. Whether you’re

just tweaking your RAW

image to get the perfect

result, or going that little

bit further to rescue a

badly exposed shot, here’s

all you need to get set up.

Working with

RAW fi les

As mentioned, if you have an SLR you

should shoot RAW. RAW mode captures

more image information than JPEG, as

there is no compressing or processing

by the camera. Just remember that

you have to open and edit RAW fi les in

software before saving them back as

JPEGs or TIFFs in order to print them.

40 January 2010


Image-editing tabs

1 This is your fi rst port of call for

making visual adjustments. From

changing colour and exposure to

boosting detail and saturation, they can

all be controlled in this side panel.

2 Histogram

With a multi-colour histogram to

reveal the tonal distribution of your shot,

you can make changes in your tool tabs

and see the effects straight away.


Card reader

Some modern PCs come

with slots for SD cards,

but using a USB 2.0 card

reader is still the preferred

option for image transfer.

However, they can sap

power from a laptop when

downloading, so it’s best

to have your notebook on

charge, so that you don’t

suddenly lose power and,

even worse, lose images! &



What computer

do I need?

A laptop is the ideal

choice if you like the idea

of editing your images on

location, or just lounging

on your sofa. Prices are

falling, and you can now

get a Windows 7-enabled

laptop for under £300.

Do I really need to

back-up my fi les

Saving multiple copies

of your RAW and edited

images is a must. Photos

stored on a PC can get

corrupted, or your laptop

could get stolen. Use

external hard drives and

blank DVDs to back-up

your favourite images –

it's time very well spent.

3 Toolbar

These icons give you the option of

cropping, zooming in to your image and

controlling your white balance precisely,

among other functions.

Image preview

4 Image preview is your fi nal stop

before clicking Save! Here, you can

zoom in to a certain area to view your

alterations and also check for any

clipped highlights or shadows.

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Nathan Welton: Born in 1977 in the United States.Has travelled the world photographing athletes

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His wedding photography company “Dreamtime Images” is an internationally known studio.

Photo data: SIGMA 10-20mm F3.5 EX DC HSM, 1/640 second exposure at F6.3.



In aColorado national park, the snow-covered dunes stand out against the deep blue sky.

The striking contrast between the expansive sky, pristine dunes, and people passing through this landscape was

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After the shot

Essential Photoshop

techniques to enhance your

black-and-white images

Enhance light

and shadow

Use Adobe Camera

Raw to ensure

maximum detail p44

Boost shots

with HDR effects

Get to grips with

the Photomerge

Exposure tool p46

Get better black

and white in CS4

How to use Adobe

Camera Raw’s HSL/

Greyscale tab p50

Give portraits

some retro style

Get creative with

fi lters and Blending

Modes p52 &

Photoshop technique

Recreate a

split-tone effect

How to mimic the

look of darkroom

techniques p54

Add impact with

high contrast

Boost contrast with

Colour Curves in

Camera Raw p56

January 2010 43

Ali Jennings (Future)

After the shot

How to…

Enhance light

and shadow


or Photoshop Elements 6, or above

WHAT YOU’LL LEARN How to prepare colour

images to enhance detail in mono conversions

IT ONLY TAKES 10 minutes

Converting colour photos to black

and white is an art; it’s all too

easy to make a quick conversion

that looks fi ne on screen, but once

printed loses tone and detail.

44 January 2010

Original shot

Understanding how colour relates to mono tones is key to getting good black

and whites. Here, Ali Jennings reveals how to take control of your conversions

When adjusting a colour RAW fi le, it’s

important to remember that each colour

directly relates to the lightness or darkness of

a greyscale tone. To see this in action, reduce

the Saturation slider in Adobe Camera Raw to

-100, then adjust the Temperature and you’ll

instantly see areas lighten and darken. Knowing

how colours relate to a mono tone gives you

the fl exibility to get the conversion you want.

To make sure you have the maximum

amount of detail in your image, you also need &

to use basic tools in Camera Raw to create

an image packed with tones and with minimal

clipping in the shadows and highlights. Here,

we’ll show you how to adjust your RAW fi le

correctly to eliminate lacklustre conversions.



Re-crop the shot 1 Start off by recomposing the shot. Select the Crop tool

and, holding down the Shift key, draw a perfect square crop

around the vase and thistle. Select the Straighten tool and

click-and-drag to draw a line across the top horizontal edge of

the shelf. Use the anchor points to refi ne the crop.

Remove the colour 3 Reduce the Saturation slider at the bottom of the Basic tab

to -100. Next, move Exposure to -0.80. There will still be small

dots of burnt-out highlights under the blind, but these shouldn’t

be an issue – you can increase the Recovery slider if needed to

reduce these areas further.

Boost the tones 5 To boost the tones, increase the Clarity slider to 60. Now

you can experiment with the colours’ effect on the tones of

the image by adjusting the Temperature and Tint sliders. Once

you’re happy with the result within Adobe Camera Raw, click

Open Image to move into Photoshop Elements. &

Photoshop technique

Use the Clipping Warnings

2 Switch on the Shadow and Highlight Clipping Warnings

– press the U key for shadows and O for highlights. A red mask

will appear over any areas of clipped highlights, and a blue

mask over clipped shadows. Click the White Balance tool and

click onto a neutral area in the background.

Recover shadows 4 Looking at the shadow areas, move Fill Light to 52,

Brightness to 50 and Contrast to 60. You’ll notice that the

histogram is weighted to the left, but the bulk of the detail is

moving towards the centre of the graph. However, neither the

shadows or highlights are clipped, which is good.

Adjust mono conversion

6 Create a new Levels Adjustment Layer. By working on an

Adjustment Layer you have complete fl exibility: if you want a

high-key conversion, move the Shadow and Highlight sliders

inwards to clip the histogram. You can lighten or darken the

conversion by moving the Midtone slider right or left.

January 2010 45

Ali Jennings (Future)

After the shot

How to…

Boost shots

with HDR effects

Struggling to capture shadow and highlight details in a high-contrast scene?

Alex Summersby reveals how to merge multiple exposures for maximum impact

WHAT YOU’LL NEED Photoshop Elements 8

WHAT YOU’LL LEARN How to combine multiple

exposures using Photomerge Exposure.

How to convert the resulting image to mono,

fi ne-tune tones and add authentic fi lm grain

IT ONLY TAKES 45 minutes

High Dynamic Range (HDR) images

are always popular, and with good

reason: they enable you to create

images with a level of detail in both

the shadows and highlights that

would often be impossible in-camera.

46 January 2010

A high-contrast scene, like the one above,

contains too great a range of tones for any

camera to record, so for this tutorial we took

a series of shots at different exposures, thus

capturing detail across the full tonal range that

a single ‘well-exposed’ shot couldn’t include.

Here, we’ll show you how to blend these

differently exposed shots into a single ‘HDR’

image using the new Photomerge Exposure

feature in Photoshop Elements 8. This feature

doesn’t create true (32-bit) HDR images, as

Photoshop CS’s Merge to HDR command

does, but monitors and printers can’t handle &

32-bit images anyway, so you have to convert

them even in Photoshop, and the results from

Photomerge Exposure are just as effective.

Once the exposure blend is complete, we’ll

convert our HDR image into a stylish black-andwhite

photo complete with authentic fi lm grain

and vignetting. So let’s get started...



Open the images 1 In Photoshop Elements, go to File>Open and select all nine

source images. They’ll open in the Adobe Camera Raw editor

in Filmstrip mode. Here, you can fi ne-tune the shots’ white

balance and make any necessary adjustments, then click the

Select All button at the top left and Open Images, bottom right.

Adjust the tonal balance

3 Click on Smart Blending and use the sliders to fi ne-tune

the tonal balance of the blended image. Pushing the Highlight

Details slider to the right and Shadows to the left will produce

a very high contrast ‘embossed’ look, but here we want to keep

things less contrasty. See Expert Tip, below right.

Convert to mono 5 Create a Solid Colour Adjustment Layer, and in the new

window that appears, type 0, 0 and 50 into the H, S and B

fi elds respectively. This will add a midtone grey Colour Fill layer.

Change this layer’s Blending Mode to Hue, and your image will

appear in black and white. &

Photoshop technique

Launch Photomerge Exposure

2 Your images will now open in the Photoshop Elements

interface. Go to File>New>PhotomergeExposure. In the window

that appears, click Open All and the program will generate a

preview. In the Photomerge Exposure panel, use the Automatic

tab – Manual is fi ddly and the results are better with Automatic.

Process and crop 4 You can get an idea of how the image will look in black and

white by dragging the Saturation slider down to -100, but we’ll

use a more controllable method for our conversion, so return

the slider to 0, click Done and wait while Photomerge works its

magic. Crop the resulting image roughly, as shown above.

Expert tip

Improve the blend

You could remove one or more shots by clicking the tick next to them

in the Photo Bin – here, removing one or two of the over-exposed

shots adds a bit more defi nition. Photomerge Exposure is a little

unpredictable, so experiment and save the version you like best.

January 2010 47

After the shot

Add some punch 6 Duplicate the merged image layer, then go to Enhance>

AdjustLighting>Shadows/Highlights. To create a punchy HDR

look, push the Lighten Shadows slider up to 55, Darken

Highlights to 35 and Midtone Contrast up to +100. (If the effect

is overpowering, you can reduce the layer opacity later.)

Knock back the clutter

8 The clutter behind the car now jumps out too much. Click

the Levels layer’s mask thumbnail, take the Brush tool, reduce

the brush Opacity to 25% and paint with a soft black brush over

the back wall to reduce the contrast boost. Work around the

natural edges in the image to ensure seamless adjustments.

Add a vignette 10 Alt-click on Create A New Layer again, pick Multiply from

the Mode menu and click Fill With Multiply-Neutral Colour. Click

OK, then go to Filter>CorrectCameraDistortion. In the Vignette

section, drag the Amount slider to the left to darken the image

edges and adjust Midpoint to taste. Click OK and you’re done.

48 January 2010

Boost the contrast 7 To refi ne the contrast, add a Levels Adjustment Layer and

pull both the black and white input level sliders inwards. To

check that this doesn’t clip any detail you want to preserve in

the shadows, or blow-out the highlight detail, hold down the Alt

key as you move either slider.

Add fi lm grain 9 Alt-click on the Create A New Layer button and, in the new

window, select Overlay from the Mode menu and click Fill With

Overlay-Neutral Colour. Go to Filter>Noise>AddNoise and enable

the Gaussian and Monochromatic options. Now blur this by

going to Filter>Blur>GaussianBlur and setting Radius to 0.2. &

Expert tip

Lighten and darken selectively

Ctrl-click the thumbnail from step 8 to load it as a selection, press

Ctrl+Shift+I to invert it so the shelves are selected, add another

Levels layer and drag the midtones slider to the right to darken it. You

can use more Levels layers with masks to lighten or darken areas.

Thanks to Charles Ware (

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After the shot

How to…


WHAT YOU’LL LEARN How to make striking

black-and-white conversions using Adobe

Camera Raw

IT ONLY TAKES 20 minutes

Creating a decent mono

image can be a challenge.

By simply desaturating a shot you

can end up with a bland wash of

greyscale colours and lose any

distinctive shapes and textures that were

proudly visible in the original colour version.

50 January 2010

Original shot

Get better black

and white in CS4

George Cairns uses the powerful new conversion tools in Photoshop CS4’s

Adobe Camera Raw editor to create a striking black-and-white landscape

However, thanks to the amazing tools in

Photoshop CS4’s Adobe Camera Raw (ACR)

editor, you can convert a shot to black and

white, then lighten or darken specifi c colours

in the photo to make certain objects and

textures stand out. The HSL/Greyscale tab

lets you drag colour sliders around to lighten

or darken corresponding colours in the main

image. This echoes the traditional technique

of placing coloured fi lters over the lens

when shooting with black-and-white fi lm. For

example, a red fi lter will darken blue skies and

help make white clouds stand out. &

We’ll also show you how ACR’s new Targeted

Adjustment tool can help you tweak the tones

of specifi c areas, and demonstrate how to

lighten areas and emphasise certain features

with the Adjustment Brush. We’ll fi nish off by

using Tone Curves to create a striking contrast

between black and white.



Ali Jennings

Brighten the highlights 1 Open CS4Mono_before.dng in CS4’s Adobe Camera Raw

editor. You’ll see that the histogram’s brightest pixels don’t

reach the far right, indicating that the image is slightly underexposed.

To boost the highlights without messing with the

shadows or midtones, drag the Exposure slider right to +40.

Make it mono 3 To convert the shot to black and white, click on the HSL/

Greyscale tab. Click the Convert to Greyscale box, then move

the Oranges slider to +100 to lighten the grass. Drag Reds

to -50 to darken the distant boat and make it stand out. The

contrast change enhances the shapes of different objects.


Selective adjustments

Click on the Basic tab, then press K to activate the

Adjustment Brush. Set Brightness to +160, Contrast to +52,

Size to 6 and Feather to 41. Spray over the plants to lighten

them up a bit. Now reduce Size to 2 and spray again to lighten

up the frosty patches on the boat. &

Photoshop technique

Darken the sky 2 Click on the Graduated Filter tool’s icon (or press G). In the

Graduated Filter pane, set Exposure to -2.40. Set everything

else to 0. Click at the top of the image and draw a short vertical

line downwards to gently darken the sky. Click the Zoom tool

icon to exit Graduated Filter mode.

Targeted tweaks 4 Grab the new Targeted Adjustment tool. Click on a patch

of dark soil, then drag the cursor left. The tool will sample the

colours from the original shot and adjust the appropriate sliders

to darken the sampled colours. Drag the tool to the left on the

sea to darken that area too.

Boost the contrast 6 Press the Z key to exit the Adjustment Brush mode. To

widen the contrast between the dark and light areas, click on

the Tone Curve tab. Drag Darks down to -30 to darken the boat

and the terrain. Increase Highlights to +28 – the boosted

contrast brings out the scene’s shapes.

January 2010 51

After the shot

How to…


a classic


The glamorous studio portraits of

the 1920s and 1930s defi ned a style

that’s still popular today. Ali Jennings

shows you how to recreate the look...


or Photoshop Elements 6, or above

WHAT YOU’LL LEARN How to recreate the

look of a glamorous Hollywood studio portrait

IT ONLY TAKES 15 minutes

The iconic Hollywood studio

portraits captured in the

1920s and 1930s were a

complete departure from the

more traditional Victorian

studies that preceded them.

The portraits refl ected the excitement and

glamour of the movies, and the photographers

became skilled at using light and shadow

to refl ect the stars’ beauty and personality.

Photographers were restricted to black-

52 January 2010

and-white fi lm, so used light and shade to

create drama and interest. The style was

closely associated with the techniques being

developed in the studios for moving images.

To recreate this look, you’ll need a model

capable of mimicking a Hollywood-style

personality plus an off-camera fl ash. We also

used a Viewfi nder HoneyComb diffuser, for

greater control over the direction of the fl ash.

Once you’ve got your image, we’ll reveal how

to use Photoshop to fi ne-tune the effect.


resources/dcm/ &

Original shot

Ali Jennings (Future) – thanks to the Little Theatre Cinema, Bath


Adjust your RAW fi le

Open hollywood_before.dng in Adobe Camera Raw (ACR)

to make some basic adjustments. Start by selecting the White

Balance tool from the top toolbar and click on a neutral area of

colour, such as the whites of the eyes. Increase Exposure to

1.35, Fill Light to 15, Black to 1 and Contrast to 35.


Soften the focus

Set Radius to 25, then click OK. At the top of the Layers

palette, click on the Blending Modes drop-down menu and

select Soft Light. Click on the Background copy layer and then

create a new Levels Adjustment Layer. In the window that

appears, adjust the white highlight slider to 230.


Sharpen up

Click on the layer option arrows in the top left of the

Layers palette and select Flatten Image. Next, grab the Crop

tool and use it to reduce the height of the image. Finally, go to

Enhance>AdjustSharpness, set Amount to 65% and Radius to

1. Double-check that no halos appear around the image edges.


Photoshop technique

Convert to mono

Click Open Image to load the image in Elements. Duplicate

the Background layer twice and name the top layer ‘Blur’. Leave

the second duplicate untouched. Create a new Hue/Saturation

Adjustment Layer, then reduce Saturation to -100. Click on the

Blur layer, then go to Filter>Blur>GaussianBlur.

4 &

Enhance the detail

Hover between the Blur and Levels layers while holding

down the Alt key. When the cursor changes, click between the

layers to clip the Levels layer to the Blur layer. Select the Brush

tool from the Tools palette and set Opacity to 20. Use the

brush on the Levels layer’s mask to reveal detail in the seats.

Expert tip

Using a honeycomb diffuser

A standard fl ash would be too harsh for this classic effect, and

bouncing the fl ash light off a refl ector wouldn’t give the spot-light

effect you want. By using a Viewfi nder HoneyComb diffuser (www.

viewfi, you can direct light straight at your

subject – illuminating the face but not the surrounding objects.

After the shot

Original shot

How to…

Recreate a

split-tone effect

You can give your mono shots a creative twist by mimicking a striking

split-tone effect in Photoshop CS3’s RAW editor. Ben Brain reveals how…

WHAT YOU’LL NEED Photoshop CS3 or above

WHAT YOU’LL LEARN How to recreate a

split-tone effect using Adobe Camera Raw’s

HSL/Greyscale and Split Toning tabs

IT ONLY TAKES 5 minutes

In the traditional darkroom, split-tone

effects are applied to images using

a combination of chemicals to tint

different tonal areas, such as the

shadows or the highlights.

54 January 2010

This effect can be recreated in the digital

darkroom, and is a great way to add a creative

edge to black-and-white shots.

Unlike conventional tints, such as sepia,

split-toning targets specifi c areas of tone, such

as the highlights or shadows, and tints them

with different colours. This means that you can

produce an eye-catching two-tone effect that

gives your images an artistic twist.

Here, we’ll show you how to use the powerful

tools in Photoshop CS3’s Adobe Camera Raw &

editor to apply a split-tone effect. Remember

that not all images will work well with this

effect; some are much more suited than

others. We found that this striking shot

of modern architecture came out a treat.



Ben Brain (Future)

Convert to greyscale 1 Open splittone_before.nef in Photoshop CS3’s Adobe

Camera Raw editor. Click on the HSL/Greyscale tab and check

the Convert to Greyscale box. To tweak the mono tones, use

the various colour sliders; for this image, move the Blue slider

to -20. This will darken the shot’s blue sky.

Tweak the effect 3 To adjust the effect that you’ve just applied, click on the

Basic tab and use the sliders there to tweak the tones and

contrast of your shot. Set Blacks to +17, Brightness to +25,

Contrast to +50 and Clarity to +40. These settings will boost

the shot’s overall tones, contrast and sharpness.

Add some blur 5 Click on Open Image. In Photoshop CS3, create a duplicate

layer, go to Filter>Blur>GaussianBlur and then set Radius to

80 pixels. Change the layer Blending Mode to Soft Light and

reduce the layer Opacity to 30%. This will boost the contrast

and give your shot a subtle diffused look. &

Photoshop technique

Split the tones 2 Next, click on the Split Toning tab and set the Highlights

Hue slider to around +70 and Saturation to +35. Set the

Shadows Hue slider to +230 and Saturation to 50. This will

create a split-tone effect with a yellowish tint in the highlights

and a blueish tint in the shadow areas. Set Balance to +35.

Add a vignette 4 With the shot’s colours calibrated, let’s add a vignette,

which will darken the four corners of the scene and help to

draw the viewer’s eye into the image. To do this, click on the

Lens Corrections tab and drag the Lens Vignetting Amount

slider back so that its value is around -50.

Dodge and Burn 6 To fi nish off, create a Curves Adjustment Layer to fi ne-tune

the tones and a Colour Balance Adjustment Layer to tweak the

colours. Click on the bottom layer in the layer stack and then

select the Dodge and Burn tools from the Tools palette. Use

these to darken and lighten areas of the scene selectively.

January 2010 55

Guy Edwardes

After the shot

How to…


or Photoshop Elements 6, or above

WHAT YOU’LL LEARN How to adjust your

RAW images to retain detail, before using

Adjustment Layers to make a high-contrast

mono conversion

IT ONLY TAKES 20 minutes

When shooting on black-and-white

fi lm, a coloured fi lter placed in front

of your lens will alter the way the

mono tones appear when the image

is printed. For example, attaching a

56 January 2010

Original shot

Add impact with

high-contrast mono

Ali Jennings reveals a simple way to transform an ordinary colour landscape,

by converting the image to black and white, then giving the contrast a boost

yellow, orange or red fi lter helps to darken the

blues of the sky and pick out the delicate detail

in clouds. This effect can easily be replicated

in the digital darkroom when converting your

shots from colour to black and white.

Here, we’ll show you how to prepare a RAW

fi le to create an image that’s full in tone and

detail. Once clipping in the highlights and

shadows is reduced to a minimum, you’ll have

the perfect working fi le for a high-impact mono

conversion that retains maximum detail.

The main advantage of using this technique

is that it will give you instant fl exibility to lighten &

and darken tones based on the saturation

of colours within the image. This enables you

to darken skies and lighten clouds, while

minimising loss of detail. With a slight tweak

to the Colour Curves and some careful dodging

and burning, this tutorial will show how you can

create a mono masterpiece to be proud of.



Set the White Balance 1 Open BoostContrast_before.dng, which will open in Adobe

Camera Raw. First, we’ll make a few basic corrections to colour,

exposure and contrast. Select the White Balance tool from the

top toolbar and click into an area of neutral tone, such as the

shadow area of foam in the foreground.

Reduce the clipping 3 To further reduce the highlight clipping, and maximise the

details that are visible in this area, start by decreasing the

Exposure slider to -0.15. Next, move the sliders for Recovery

to 15, Fill Light to 6, and Blacks to 2, then alter the sliders for

Brightness to 0 and Contrast to -5.

Increase Vibrance 5 The fi nal three sliders include Clarity (for a more subtle

approach to contrast), Vibrance (which increases the lesssaturated

colours over the more-saturated, and vice versa

when decreasing) and Saturation (which boosts the colour).

Set Clarity to 10, Vibrance to -20 and Saturation to 5. &

Photoshop technique

Switch on masks 2 Ensure you have the Clipping Warnings turned on, by hitting

the O key for the highlights (a red mask) and then the U key for

the shadows (a blue mask). Next, decrease the Temperature

slider to -18 and you’ll see the red mask on the cliffs retreat.

Reduce the Tint slider to -5.

Reduce the saturation

4 These basic adjustments will leave an image that looks

over-saturated, but the histogram shows that there are no

clipped highlights or shadows, giving loads of tonal information

for your mono conversion. Before opening the image in

Photoshop, fi nalise the adjustments with the last three sliders.

Reduce sharpening 6 Click on the Detail tab and set all of the sliders under

Sharpening to 0. This image doesn’t suffer from noise, but if

yours does, zoom in to 100% on a fl at tonal area such as the

sky. If you see lots of coloured dots, increase the Colour slider.

Otherwise, adjust Luminance to reduce noise.

January 2010 57

After the shot

Add a Colour Fill 7 Click Open Image to exit Camera Raw. Create a new Solid

Colour Adjustment Layer and set H to 0, S to 0, and B to 50.

This will give you a midtone grey; click OK to apply the change.

Click on the Blending Mode drop-down at the top of the Layers

palette and select Hue. The image will now appear in mono.

Check the tones 9 Starting with Red, move the Saturation slider to 45, then

click back on the drop-down menu and select Yellow. This time

increase Saturation to 15. Repeat this for Cyan (Saturation: 70)

and Blue (Saturation: 85). To see the difference, click the eye

icon to the left of the Adjustment Layer to switch it on and off.

Increase the midtones

11 Click on the Layers palette options menu and fl atten

the image. Go to Enhance>AdjustColour>AdjustColourCurves.

Looking at the three points on the left, reduce Adjust Highlights

by half a square, increase Midtone Contrast by one square and

then reduce Adjust Shadows by one square.

58 January 2010

Adjust the tones 8 Click back onto the Background layer and then create a

new Hue/Saturation Adjustment Layer. Using the drop-down

menu in this window you can select a colour, and then adjust

its saturation to directly affect the lightness or darkness of the

tones. Click on Master to see the different colours available.

Boost the contrast 10 Create a new Levels Adjustment Layer and increase the

shadows (left-hand slider) to 10 and the highlights (right-hand

slider) to 240. Select a black brush and reduce the Opacity in

the options bar to 20%. Click into the Levels layer’s mask and

paint over the waves to recover the burnt-out highlights.

Dodge and Burn 12 Select the Dodge tool, increase Size to 400px, then set

Range to Highlights and Exposure to 5%. Paint over the rocks,

pebbles and clouds to lighten them. Go to the Burn tool, select

Shadows and draw out detail in the clouds. Finally, use Enhance>

AdjustSharpness with Amount set to 50% and Radius to 1. &

See for yourself. Download the free trial from

Exceptional value with a 10% extra online discount using the code dcm110

Also Personalised Gift Vouchers. Step-by-step & &


arlier this year, we

launched the Digital

Camera Photographer

of the Year competition for

2009. It’s been an amazing

year, in which we’ve received

in excess of 101,000 entries.

Photographers from all

four corners of the globe have

literally given the contest their

best shot. The standard has

been simply superb, and we


have gone through a gruelling

judging period. A panel of ten

distinguished judges were

selected from within all areas

of the photographic community.

Their insight, knowledge and

understanding of the art and

craft of digital photography

has been invaluable.

A big thanks must go to this

year’s valued offi cial partner,

Jessops, and we are also

Offi cial partner In association with

grateful for the support of Sky

Arts, the Royal Photographic

Society, and

Epson, plus Fotospeed – who

printed the winning images.

We don’t have room to print

every picture here, but they

are all available to view on The winning

shots from Young Photographer

of the Year 2009 will be printed

in next month’s issue.. &

Photographer of the Year 2009


Overall Winner p62

Planet Earth p64

Destination Everywhere p66

Black and White p68

Digital Vision p71

Fashion p72

Man-made p73

People and Portraits p74

This is Britain p76

World in Motion p78

Landscapes p80

January 2010 61

Offi cial partner

Planet Earth and Overall Winner


Bragi J. Ingibergsson


“Two Icelandic horses in

Hafnarfjördur on a cold, beautiful

day when there was still a little

snow on the ground and the light

conditions were good. I had to lie in

the snow for some time, but my

patience was rewarded.”

Canon EOS 5D with

Canon EF 24-70mm f/2.8L USM lens;

24mm; ISO125; 1/400 sec at f/8

Judge’s Comment

“Despite its simple, ‘quiet’ nature,

this shot placed many demands

on Bragi. Thanks to his vision

and perseverance, he’s given an

ordinary scene signifi cance and

a sense of wildness.”

Marcus Hawkins


Bragi J. Ingibergsson is an

amateur photographer, born

in Iceland in 1961. He is married

with two daughters. “Photography

has been my favourite hobby for

a very long time,” he says. “I got

my fi rst camera when I was 12

years old and have been taking

photos ever since. I love travelling

and taking photos, which fi t well

together. I am mostly into nature

and landscape photography,

but have recently started working

in the studio, too.”

The Prize

Bragi’s winning photo bags him a

an impressive £10,000 prize. Each

category winner will receive £500,

plus a year’s free membership to

The Royal Photographic Society.

Second-place winners receive

£250, and third-place winners get

£100. All winners and runners-up

will receive a priceless subscription

to Digital Camera magazine.

62 January 2010

Overall Winner & &

Photographer of the Year 2009


Steve Bloom

Award-winning photographer

Nick Galvin

Global archive manager,

Magnum Photos

Rosemary Wilman


President, Royal Photographic Society

Miss Aniela


Hugh Pinney

Director of photography for news,

Getty Images

Kate Day

Social networks content editor,


Martin Keene

Group picture editor, PA Photos

Geoff Harris

Editor, Digital Camera magazine

Marcus Hawkins

Editor in chief,

Ben Brain

Deputy editor, Digital Camera magazine

Pre-selection panel

Lesley Goode

Exhibitions manager,

Royal Photographic Society

Will Cheung FRPS

Photographer and journalist

Ben Birchall

Press photographer

Marcus Hawkins

Editor in chief,

Ben Brain

Deputy editor, Digital Camera magazine

January 2010 63

Offi cial partner

Planet Earth

2nd Place

The Centre of Attention

Peter Byrne


“A cygnet sleeps securely in the

comfort of its mother’s plumage.

I spent fi ve days with the family

of swans, taking time to ensure

they became used to my presence.

My aim was to portray a common

subject in a new and captivating

light, while highlighting the

intimacy shared between these

beautiful creatures.”

Nikon D80 with Nikkor AF-S 70-300mm

f/4.5-5.6G VR ED; 300mm; ISO200;

1/1000 sec at f/8

3rd Place

My Journey

Bayu Husodo


“A bug in the circle of a plant.

To explore an insect’s life is

very exciting. I love to monitor

their actions, then capture

them on camera.”

Nikon D200 with Nikkor AF-S 105mm

f/2.8 VR lens; 105mm; ISO200;

1/250 sec at f/8

3rd Place

64 January 2010

2nd Place &

ighly Commended

Highly Commended


Highly Commended

Million Bubble Portrait

Marco Pepe


“A portrait of a butterfl y. The image

was taken at 6.30am after a

muggy night. I blended a number

of shots with different points of

focus to extend the depth of fi eld.

The magnifi cation is about 4:1.”

Canon EOS 50D with reversed Takumar

28mm f/3.5 lens and extension tubes;

28mm; ISO320; 1/6 sec at f/8



Laura Zinetti

Italy &

Photographer of the Year 2009

Highly Commended

Planet Ant

Tim Bird


“I saw these ants crawling

over a lamp in Thailand. It looked

like a miniature planet populated

with insects.”

Canon EOS 5D Mark II with Canon

EF 24-105mm f/4L; 26mm; ISO200;

1/4 sec at f/22

“This image was taken during a safari drive at a centre

for the recovery of endangered animals – Parco Natura

Viva. I was captivated by the interplay of vertical and

horizontal lines in this scene that create an optical

effect. The composition intentionally enhances the

geometry and the areas of black and white.”

Nikon D200 with Nikon 80-200mm f/2.8 AF-S ID lens;

135mm; ISO400; 1/320 sec at f/8

January 2010 65

Offi cial partner

Destination Everywhere




Prayers at


Rajesh Kumar Singh


“Hindu devotees offer prayers to

the sun after taking a dip on a cold

and foggy morning at Triveni

Sangam. It’s Mauni Amavasya, a

Hindu festival during the annual

Magh Mela in Allahabad, India.

Hundreds of thousands of pilgrims

take holy dips, hoping that their

sins will be washed away.”

Canon EOS 5D with Canon EF 24-70mm

f/2.8L USM lens; 30mm; ISO200;

1/60 sec at f/3.5

Judge’s Comment

“Though not an original subject,

Rajesh has managed to balance

the composition and light while

capturing an intimate yet sensitive

portrait of religious devotion.”

Nick Galvin

2nd Place

66 January 2010

Winner &

2nd Place

Women at Work

Kaushik Majumder


“This photograph was taken in

a village in North 24 Parganas in

West Bengal, India, on a pleasant

morning during winter 2009. The

scene includes a brick factory,

which shows the activeness of the

downtrodden women.”

Canon EOS 450D with Canon EF-S

18-55mm f/3.5-5.6 lens; 18mm;

ISO200; 1/250 sec at f/10

3rd Place

The S.S. Perception

William Foley


“Wherever it takes you, it’s all

about how you take it. This image

was taken on the north-west coast

of the Queen Charlotte Islands in

British Columbia, Canada.”

Canon EOS Digital Rebel XT with Canon

EF-S 17-85mm f/4-5.6 IS USM lens;

17mm; ISO200; 1/2000 sec at f/4.5

Highly Commended

Highly Commended

Ascension 2

Igor Chirikov

Russian Federation

“Simply a children’s playground… Long live

digital photography. It gives wider scope not only

to mass photo production, but also to non-stop

intellectual experimentation!”

Canon EOS 5D with Canon EF 70-200mm f/2.8L IS USM lens;

73mm; ISO100; 1/400 sec at f/6.3

3rd Place &

Photographer of the Year 2009

Highly Commended

Highly Commended

Slow Motion

Barbara Abate


“I tried to get the feeling of the

journey in an interior space, beside

the obvious material way. This is

the essence of travelling for me.”

Canon EOS 400D; Canon EF 17-40mm

f/4L USM; 40mm; ISO100; 1/100 sec

at f/4

January 2010 67

Offi cial partner

Black and White


The Naked


Carla Broekhuizen

The Netherlands

“So often we feel uncertain about

our body; so rare the moments

we feel pleased with it. We’re

led by media, who dictate

“the perfect body” and the

“perfect sizes”, causing anorexia,

bulimia and depression. That’s the

reason I started this project

– for every body!”

Nikon D300 with

Nikkor AF-S 18-200mm f/3.5-5.6G lens;

135mm; ISO200; 1/60 sec at f/10

Judge’s Comment

“Carla has captured a stunning

image that challenges conventional

attitudes to the “perfect” fi gure.

Technically, the high-key tonality has

been skillfully handled.”

Ben Brain

2nd Place

Don’t Give Up!

Yim Shui Kee Janet

Hong Kong

“This photo was taken in

the mountain region of Yunnan,

China. The farmers had to work

hard by going to and fro with the

cow in the fi eld. Because of the

poor environment, the children

could not afford to go to school.

They also had to learn how to

earn their living in the fi eld when

they were young.”

Canon EOS-1D Mark III with

Canon EF 24-105mm f/4L IS USM lens;

24mm; ISO500; 1/200 sec at f/4.5

68 January 2010


2nd Place &

3rd Place

Highly Commended

Light and Shadow Art

Pierre Pellegrini


“Modern architecture and light. For me, photography

represents a wonderful way to communicate and, at

the same time, give the viewers the chance to feel

emotions. I am not quite sure if it’s me who is

looking for the themes, or if it’s the themes

themselves that are looking for me.”

Hasselblad 503CW and Phase One P20+ with Distagon T*

4/40 IF CFE lens; 40mm; ISO50; 2 mins 20 secs at f/22


My Eye

Sam Thomas

United Kingdom

Highly Commended Commended &

Photographer of the Year 2009

“I get annoyed if I go anywhere

without my camera, because there

are always interesting things going

on around me. My dream is to

travel the world, capturing

different cultures.”

Nikon D80 with Sigma 50mm f/1.4

lens; 50mm; ISO125; 1/125 sec at f/10

3rd Place

Hot Eroticism

Zoltan Madacsi


“This photo was taken in the

village where I live – Nagykovácsi,

in Hungary. I took it just before

the sunset. The background was

a dark forest, which remained in

shadow, and only the horses were

illuminated. I used strong contrast

during the development process

to make the background black,

as if the shot had been staged.”

Canon EOS 20D with Canon EF

70-200mm f/2.8L USM lens; 145mm;

ISO400; 1/400 sec at f/2.8

January 2010 69 &

Digital Vision


How Mountains

Are Made

Sabina Dimitriu


“How we gain emotional

distance from loved ones. When

photographing, I usually focus

on the people – I like working

with them, it helps with sharing

the message.”

Canon EOS 400D with

Canon EF-S 18-55mm f/3.5-5.6 lens;

22mm; ISO100; 1/100 sec at f/8

Judge’s Comment

“We were impressed by

Sabina’s innovative use of digital

manipulation, which goes beyond

fi lters and layering effects. Instead,

she tailored a pattern to fi t within

the scene’s implied narrative.”

Miss Aniela

2nd Place


Lonny Pang


“I took this shot of a

model, Vangeline, early

in the morning. I used fi ll fl ash

for added light.”

3rd Place

Nikon D90 with Nikkor 16-85mm

f/3.5-5.6G lens; 16mm;

ISO200; 1/800 sec at f/6.3


2nd Place

3rd Place

Smoke Kills

Aleksandr Slyadnev


“This image

is made up

of multiple

shots, merged

in Photoshop.”

Canon EOS 5D

with Canon EF

24-70mm f/2.8L

USM lens; 70mm;

ISO50; 1/200 sec

at f/22 &

Photographer of the Year 2009

Highly Commended

Highly Commended


Brooke Shaden


“Sac is a representation of the

Pygmalion fantasy of women. The

woman under the fabric is trapped

and trying to break out, yet she

cannot escape what is holding her

down. There is an idealistic view of

women in many societies, and Sac

depicts a woman who cannot

escape this vision.”

Nikon D80 with Nikkor 50mm f/1.8 AF

lens; 50mm; ISO200; 1/50 sec at f/4

January 2010 71

Offi cial partner



3rd Place


Zoltan Madacsi


“This photo was taken in

Budapest. I was just driving down

the street when all of a sudden I

saw the guy climbing up and down

the ladder to fi x something on the

top of the poster. I had my camera

with me, so I immediately stopped

the car, got out and took the shot.”

Canon EOS 20D with

Canon EF 70-200mm f/4L IS USM lens;

150mm; ISO100; 1/320 sec at f/2.8

72 January 2010

3rd Place


Two Different Sides

Michael Novrianus Maikro


“I wanted to show two different sides to this woman,

even though there was just one subject. Differences

cannot disguise our identity as an individual.”

Nikon D70s with Nikkor AF-S 18-55mm f/3.5-5.6G lens;

26mm; ISO200; 1/1000 sec at f/5

Judge’s Comment

“Out of all the images, this was the most innovative

and challenging. The presentation is subtle and

understated, yet almost cinematic.” Miss Aniela

2nd Place

2nd Place

Insect Queen

Mirta Kokalj

Slovenia &

“A woman in need of control. A queen

of the situation!”

Canon EOS 30D with Canon EF-S 17-85mm f/4-5.6 IS USM

lens; 68mm; ISO100; 1/125 sec at f/8



Gas Station

Bart Heirweg


“When driving through the desolate

landscape of Mývatn in Iceland,

I encountered this abandoned gas

station. For me, it showed Iceland’s

true colours. The commercial and

pollutant subject is clearly affected

by the force of the natural world.”

Canon EOS 5D with

Canon EF 24-105mm f/4L IS USM lens;

28mm; ISO400; 1/25 sec at f/16

Judge’s Comment

“This image feels post-apocalyptic,

hinting at the unsustainability of our

current gas-guzzling ways without

being preachy or heavy-handed.

The composition, exposure and

colour balance are spot on, too.”

Geoff Harris

2nd Place

Playing with Shadows

Jos Zwart

The Netherlands

“I took this picture in Maastricht. The sun was shining.

I looked around and saw a house with

a spiral staircase. I love the light and shadow.”

Nikon D200 with Nikkor AF-S 18-200mm f/3.5-5.6 lens;

120mm; ISO100; 1/320 sec at f/9

2nd Place


3rd Place

Highly Commended &

Photographer of the Year 2009

Highly Commended


Jon Totel


3rd Place

Mind Drive

Alper Çukur


“I tried to make

a thoughtprovoking


using the


interest, pier,

sea, hills and

the cloud


Nikon D60 with

Sigma 10-20mm

f/4-5.6 EX DC

lens and ND1000x

fi lter; 10mm;

ISO100; 104 secs

at f/8

“A puddle of water in an

underground parking garage

in Phoenix, Arizona.”

Canon PowerShot SD400; 5.8mm;

1/4 sec at f/2.8

January 2010 73

Offi cial partner

People and Portraits


Dikke Dennis

Thomas van Beek

The Netherlands

“Dikke Dennis on a chair in his tattoo shop in the

Jordaan, Amsterdam. I try to show people at their

purest and best, giving an insight into the subject.”

Canon EOS 30D with Canon EF 17-40mm f/4L USM lens;

17mm; ISO800; 1/50 sec at f/4

Judge’s Comment

“There is something wonderfully endearing about this

shot. The warm colours of the interior contrast starkly

with the cold light in the street outside, adding to the

genial and touching humour.” Steve Bloom

2nd Place

2nd Place

Market Town – Carl

Jim Mortram

United Kingdom

“I live in a rural part of East Anglia, Norfolk. It’s a

small population and my endeavours in photography

are to document the people I encounter in the local

community, all roughly within a radius of two miles.”

Nikon D200 with Nikkor AF-S DX 18-70mm f/3.5-4.5G IF lens;

18mm; ISO800; 1/125 sec at f/3.5

74 January 2010


Commended &



Betina La Plante


“My eldest son,

Jack, in a rare

moment of


Nikon D300 with

Nikkor 50mm

f/1.4D lens;

50mm; ISO500;

1/800 sec at f/1.4

3rd Place

Highly Commended

Shaving Hair

Chien Ting Lim


“Men having their heads shaved

during the Thaipusam festival.”

Nikon D700 with Nikkor 105mm f/2.8G

lens; 105mm; ISO400; 1/200 sec at f/3

Highly Commended &

Photographer of the Year 2009

3rd Place


Yim Shui Kee Janet

Hong Kong

“This photo was taken in China.

A teacher speaks, and the snow

doesn’t stop. Little La Ma has to

sit close to her elder classmates

to keep warm, concentrating on

the speech in the wind and snow.”

Canon EOS 30D with Canon EF

70-200mm f/2.8L IS USM lens;

100mm; ISO160; 1/200 sec at f/5.6

January 2010 75

Offi cial partner

This is Britain


Fuel Girls

Al Overdrive

United Kingdom

“The Fuel Girls were hired to be

the entertainment and compères

for a private party celebrating the

fi rst anniversary of the opening

of a local tattoo studio. This is

what happened! The shot shows

the fun side of British nightlife;

a nice change from the usual

horror stories of binge drinking

and violence.”

Nikon D700 with

Nikkor 20-35mm f/2.8D lens;

20mm; ISO200; 1/200 sec at f/9

Judge’s Comment

“An all-round great image, although

if this is the photographer’s idea of

a nice, fun night out, I would hate

to see what happens when they

really go for it!” Hugh Pinney

2nd Place

Bank Holiday

Tim Wallace

United Kingdom

“I saw this group of people while

walking on the pier in Whitby.

I wasn’t intending to take any

pictures at the time, but realised

that in many ways this group

showed just what a typical British

bank holiday can feel like, with the

weather and such like. I’m a big

advocate of street photography –

I think it’s a dying art.”

Nikon D3 with Nikkor AF-S 24-70mm

f/2.8G lens; ISO200; 1/8 sec at f/11

76 January 2010


2nd Place &

3rd Place






Maciej Dakowicz

United Kingdom

“A street scene

in Cardiff after

one of the

major rugby

matches. The

city centre

was fl ooded

with thousands

of fans.”

Canon EOS 5D

with Canon EF

35mm f/1.4L lens;

35mm; ISO1600;

1/50 sec at f/1.8

Highly Commended &

Photographer of the Year 2009



Kim Taylor

United Kingdom

“A young lad waiting near

Brick Lane, London. I came to

photography from a fi lmmaking

background, and studied

Photojournalism at Tower Hamlets

College. I particularly enjoy

documentary, travel and

street photography.”

Nikon D70 with Nikkor AF-S 18-55mm

f/3.5-5.6G lens; 50mm; ISO200;

1/80 sec at f/9

3rd Place


Night Kissing

Maciej Dakowicz

United Kingdom

“The Glamorgan

County Council

Staff Club,

a traditional

pub in Cardiff

city centre.

It shut down in

October 2007.”

Canon EOS 5D

with Canon EF

35mm f/2 lens;

35mm; ISO1600;

1/30 sec at f/2

January 2010 77

Offi cial partner

World in Motion


The Pacu Jawi

(Cow’s Race)

Muhammad Fadli


“I took this photo at a traditional

event in West Sumatra, called Pacu

Jawi, which means cow’s race or

bull race. Held just after the

harvesting season, this race has

been a prestigious event for the

farmers for hundreds of years.

After the race, the best cow can be

valued up to 60 million Indonesia

Rupiah (about $6,000).”

Canon EOS 350D with

Tamron AF 18-200mm f/3.5-6.3 lens;

87mm; ISO100; 1/400 sec at f/11

Judge’s Comment

“This shot has great dynamics and

captures the concentration on

the rider’s face as well as the

animals’ sheer power. The mud

adds further drama.”

Rosemary Wilman

3rd Place

78 January 2010


2nd Place

3rd Place

The Jump

Nicola Bombassei


“This photo was taken along the

‘The Normal Way’ to the south

west of the three peaks of

Lavaredo (the Dolomites, Italy).

When my friend proposed that

we jump, I was worried. I replied

‘You go fi rst’.”

Nikon D100; Nikkor 18-70mm

f/3.5-4.5G lens; 34mm; ISO100;

1/1000 sec at f/9

2nd Place


Yim Shui Kee Janet

Hong Kong &

“This shot was taken in Myanmar. The

little Buddhist monks had completed a

whole day of learning and working, so

played football together, treasuring the

moment of fun and joy. Two years later,

they will be sent to different temples

according to their academic performance

for further study and careers.”

Canon EOS 1D Mark III with Canon EF 24-105mm

f/4L IS lens; 82mm; ISO200; 1/400 sec at f/5.6 &

Offi cial partner




Lake Ice

Chip Phillips


“Abraham Lake is a cold, desolate

place during the winter months.

I shot this image over the lake in

Alberta, Canada, on a cold, windy

evening last March. I was instantly

attracted to the lines in the ice,

and the deep blue colour.”

Canon EOS 5D with Canon EF 16-35mm

f/2.8L II USM lens; 16mm; ISO50;

2 secs at f/16

Judge’s Comment

“Creative composition is at the

heart of any great photo, and

this shot ticks all the boxes –

foreground interest, depth and

colour – without being at all

predictable. The image is sharp and

well-exposed, too.” Geoff Harris


The Snake

Amril Nuryan


“The view of a river in Papua. I took

the photo from a plane,

using an infrared fi lter to get the

colouring effect.”

Canon EOS 350D with

Canon EF 70-300mm f/4-5.6 USM lens;

39mm; ISO100; 1/125 sec at f/9


80 January 2010

Winner &

2nd Place


3rd Place

Nature Study

Bragi J. Ingibergsson


“Seljalandsfoss – one of Iceland’s

most famous waterfalls.”

Canon EOS 5D with Canon EF 16-35mm f/2.8L

USM II lens; 16mm; ISO100; 1 sec at f/22

3rd Place


Colours at the End of Autumn

Zoltan Madacsi


“I took this shot on the fi rst day of snow. I had actually

gone to take photos of horses, and on my way back I glanced

to the side of the mountain. The trees had dropped their leaves,

except for just a few – making a colourful and eye-catching

pattern. I stopped the car, got out and started shooting.”

Canon EOS 20D with Canon EF 70-200mm f/4L USM lens;

200mm; ISO100; 1/250 sec at f/2.8 &

Photographer of the Year 2009

2nd Place

Lone Tree,

Palouse Hills

Chip Phillips


“I took this

image during

a break in a

passing thunder

storm in the

Palouse region

of Washington


Canon EOS 5D

with Canon EF

70-200mm f/4L

USM lens and

1.4x converter;

228mm; ISO50;

1/4 sec at f/13




January 2010 81

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Digital Camera China

Photographer of the Year

POTY has grown into a truly global event. Here are some of the fi nest entries

from the competition organised by our sister magazine in China

Digital Camera magazine is now licensed

in 15 countries, and the Chinese edition

is especially popular. This year, Digital

Camera China organised its own version of

our Photographer of the Year competition. As

you’d expect from the world’s most populous

The Trail (below)

Kaer Desert

“I wanted to not only freeze the

beautiful dancer, but also record

the subtle trails she left in the air.

By combining movement and

stillness, light and shadow, I

managed to capture her jumping

and landing in one frame.”

Canon EOS 5D with Canon EF 70-

200mm f/2.8L IS USM lens; 75mm;

ISO100; 0.5 sec at f/5

84 January 2010

country, there wasn’t a shortage of entries,

with the competition attracting over 24,000

images from more than 3,000 amateur and

professional photographers.

The entries received were very diverse,

and represented the changing face of this &

ancient kingdom turned economic superpower.

No overall winner was chosen by the China

magazine team, but on the following pages

we’ve printed a selection of the fi nest entries.

Visit for details of how

you can enter Photographer of the Year 2010.

Beauty in the Golden Light (right)

Yulian Hu

“As the sun rose, the lotus pool was tinged with

a beautiful golden light, making the red lotus fl owers

look even more delicate and pretty.”

Pentax K10D with 70-300mm lens; 70mm;

ISO100; 1/100 sec at f/22

Meropis Viridis (right)

Lin Ma

“These birds are unusual, as when they’ve caught a

dragonfl y, they like to throw it up in the air and catch it

again. The insect tried to get away, but the bird was

faster and caught it again in no time.”

Canon EOS-1D Mark III with Canon EF 600mm f/4L IS lens;

600mm; ISO400; 1/2500 sec at f/5

A Thought About Loneliness (left)

Qi Wang

“I imagined there was only one human left, refl ecting

on the damage we’ve done to the Earth. I shot a

long exposure; the portrait and the sofa were captured

separately and combined into a multiple exposure. I

illuminated the portrait with a torch, then covered the

torch with a blue plastic bag to etch the sofa’s shape.”

Canon EOS 350D with Sigma 18-200mm f/3.5-6.3 DC lens;

18mm; ISO100; 30 secs at f/9 &

Photographer of the Year 2009

Pray (left)

Xibing Liang

“A lady in Buddhist ceremonial

garb folded her hands in front

of her face and prayed sincerely.

You can see the godliness through

her eyes, as if her inner world is

open to us.”

Nikon D50 with Nikkor AF 70-300mm

f/4-5.6G lens; ISO200; 1/320 sec at f/9

January 2010 85

Trace of Winter (right)

Xubo Lu

“A dusting of snow covered

the small town, and I noticed

two colourful vehicles left

a heart-shaped trace on the

ground. I was so excited when a

father and son stepped into the

bottom right-hand corner.”

Nikon D2X with Nikkor 28mm f/2.8 lens;

ISO200; 1/3200 sec at f/4

Beauty in the City (below)

Wei Wang

“I wanted to capture contemporary

urban China, so I used a wide

aperture and long focal length

to emphasise the model’s

curves, while also blurring the

city in the background.”

Nikon D3 with Nikkor AF-S 18-200mm

f/3.5-5.6G lens; 200mm; ISO400;

1/8000 sec at f/2

86 January 2010 &

Fitting (above)

Yimin Gu

“The factory workers were proud

to hear that their gowns had been

chosen as the offi cial dress for

female staff at the Beijing Olympics.”

Nikon D3 with Nikkor 70-200mm f/2.8G

lens; 120mm; ISO1250; 1/320 sec at f/2.8

The Growing Pains (below)

Han Xiao

“I wanted to uncover the worries

and pressures of young girls like

me who live in cities.”

Sony A900 with Carl Zeiss T* 24-70mm

f/2.8; 24mm; ISO200; 1/8 sec at f/4.5 &

Photographer of the Year 2009

The Old Women Carding Wool (above)

En Sa Bu

“We parked for a rest and I noticed people shearing

sheep nearby. I tried to freeze the lady’s air of

constancy and solidity.”

Canon EOS-1Ds Mark II with Canon EF 16-35mm f/2.8L II USM

lens; 16mm; ISO125; 1/1250 sec at f/13

January 2010 87

Ask the team

All the photography

advice you need

What marks out a great picture from a good one?

What are the elements that make for a dramatic

composition? If you need some advice on how to inject

a bit of interest into your shots, our resident experts

may have the answers, and they’re here to help! This

is the place to get your pictures assessed, and to pick

up some handy enhancing tips, too.

If you’d like constructive criticism on your images

and want some advice on how you can improve your

photography, from composition to after-shot detailing,

then get in touch with the Digital Camera team. Below

is all the information you need about how to send in

your photos, or any other requests you may have...

Email us at:

Please put ‘Ask the team’ in the subject line and

ensure all pictures are 1.5Mb in fi le size at most.

Write to us at: Ask the Team, Digital Camera, Future

Publishing, 30 Monmouth Street, Bath BA1 2BW

Chat on our forums:

The Digital Camera experts

Fine-art photography

Ben Brain

Ben is Digital Camera’s deputy

editor. He carried out the digital

darkroom work on this issue’s

selection of reader images.

88 Digital Camera January 2010

Image manipulation

Ali Jennings

Ali is our digital editor and

Photoshop guru. He has loads

of experience when it comes to

post-production work.

People and action

Ed Godden

Ed is Digital Camera’s talented

technique editor. Before joining the

team he was a press and sports

photographer for 12 years. &

Be bold with mono tones

Adjust the borders 1 First, use the Crop tool from the Tools palette to realign

the borders of the image, ensuring that most of the distracting

jewellery at the bottom of the shot is removed from the frame.

Remove the colour 2 Turn your colour portrait into a moody mono shot by creating

a Black & White Adjustment Layer. In the new window that

appears, increase the Red slider to lighten the skin tones a little.

Selective adjustments

3 To selectively lighten the model’s eye, grab the Lasso

tool from the Tools palette and make a selection. Feather the

selection by about 5 pixels and use Levels to lighten the whites.

Finishing touches 4Use the Burn tool to darken the edges and all four corners of

the image. This will help to draw in the viewer’s eye. You can also

use the Dodge tool to make the skin tones a little lighter.

Edited version

Original version


By Jason Sweet

This portrait was taken with my Sony

A200, with an 18-70mm lens at the

following settings: 1/80 sec, f/8,

ISO400. It’s of my sister, and was taken

at my home in Bristol. At the time I

was experimenting with different lighting

techniques. I was trying to put the

emphasis on her eye and lips, and am

pleased with the focus, but I struggled

with getting the balance of shadow and

light on her eye.

Ben says: Jason, you’ve got the basis

for a really good portrait. I don’t like the

jewellery at the bottom of the frame, &

Your photos

however, so I cropped it out. I feel this

strengthens the composition. The shot

is a little under-exposed, too, so I’ve

selectively lightened the eyes and the

area under the hat. I also think it works

better in black and white. Do you?

Ed says: This is a good attempt at an

eye-catching portrait. I like the triangular

shape you’ve created with the hat, and

as the hat is already black and white,

it made sense for Ben to convert the

image to mono. By doing this he’s made

an image with greater tones and depth.

I’m not a big fan of jewellery in portraits,

so I’m glad to see Ben cropped it out!

January 2010 Digital Camera 89


the team


By Peter Rees

While visiting the Victorian town in

Ironbridge I chanced upon this ladybird.

The series of posts lead the eye back to

the subject and the diffused colours gave

a great background. Due to the light hitting

the top of the post, the ladybird looks like

it’s on stage waiting for something. I’m

a photography beginner and I realise it’s

not a great shot, but nevertheless, I like

it. I used a Nikon D90 with an 18-105mm

lens (1/80 sec at f/5.6).

Focus on the


Burn and Saturate

Use the Burn tool in the Tools palette

to darken the edges and corners of the

image. Set the tool to Saturate and

gently dab the ladybird. This will help

draw the viewer’s eye into the frame.


Use the Crop tool with the Aspect Ratio

set to No Restrictions to make a crop

that removes the bottom right-hand part

of the image. This will focus attention

on the ladybird in the foreground.

90 Digital Camera January 2010

Ben says: This is a great shot, Peter.

My only criticism is that the post in the

bottom-right corner is a little distracting,

so I’ve taken the liberty of making a

crop. I think this helps hold the image

together. Otherwise, it’s a cracker!

Ed says: Well spotted! I love the posts

fading off into the background. They

make the shot far more interesting than

the normal ‘ladybird on a leaf’ photo

that we see all too often. Ben’s crop has &

Edited version

given the image much better balance

and it’s far more pleasing on the eye.

Ali says: This shot shows excellent use

of depth of field, instantly drawing your

attention to the subject. Ben’s crop has

tidied the composition by removing the

blurred post in the foreground and some

of the surrounding area. The other

adjustments to the tones have helped

to enhance the colour and contrast,

making the image much more dynamic.


Edited version

Boost contrast in

flat mono shots


To enhance the shot’s tones, create

a Curves Adjustment Layer. Move the

bottom of the curve so you darken the

background, but keep a small amount

of detail so it’s not completely black.

Use the histogram to check the dark

tones don’t clip on the left of the graph.

Rescue some detail

Use the Burn tool to add a bit more

detail to the bird, especially in the beak

and head area. Be careful not to go

over the top, though, or your end image

might start to look muddy.

Original &


Your photos

By Nick Pratt

I took this shot at Paignton Zoo, Devon,

on a bright day. I like the shape of the

head and beak, and the almost coy way

in which the pelican looks towards the

camera. I used a Sony A200 with a

Sony 100-300mm lens at 300mm,

and an exposure of 1/500 sec at f/5.6.

I cropped the image to make it tall and

thin, then adjusted the Levels and did

a little dodging and burning.

Ben says: I find the composition of this

image a little awkward, Nick – I would

like to see more of the bird’s beak. For

me, the black-and-white conversion has

left the image looking rather flat, and

the contrast could do with a boost.

Ed says: I would have liked to see the

colour version of this image, as it looks

like it was taken on a sunny day and

I wonder whether the blue of the water

in the background may have been nicer

than dark grey. Other than the crop of

the beak, you’ve managed to capture

a nice sharp wildlife shot, but Ben’s

conversion has rescued the detail in the

feathers and, more importantly, the eye.

Ali says: Nick’s original mono

conversion lacks contrast, and as a

result there’s limited detail in the light

feathers. Ben’s adjustment has certainly

helped to increase the contrast in those

highlight tones, and draw out much

more detail in the feathers.

January 2010 Digital Camera 91

Your photos

See your photographs in

Every month, we showcase the cream of reader

photos. Here’s how you can get yours noticed…

By email

Send your shots to us at

the following email address:

Your emails will automatically be

forwarded to the correct department.

• Please attach only one picture

per email and include your full name,

address and details on how, where

and why you took the photo.

•As we receive hundreds of

entries each month, no individual

correspondence can be entered into.

• Please limit the size of your image

to a 1.5Mb JPEG file.

• Save it as firstname-lastname.jpg.

• In the Subject box, write the

section for which you’d like us

to consider your photographs

(Hotshots, Your Mission, Ask the

Team), and then add your name.

By post

Even if you don’t have access to

the internet, you can still send us up

to 20 photographs burnt onto a CD

or as prints. A CD is best, because

we’ll be able to use the image file in

its original format rather than using

a scan of your print. Unfortunately,

we can’t send any materials back to

you, so please don’t send anything

that isn’t a copy of the original!

If you’d like us to confirm the

receipt of your photographs, please

include a stamped, self-addressed

postcard – we’ll pop this in the

post when we receive your letter.

Apart from this, no individual

correspondence will be entered into.

Send your pictures to the following

address: The Editor, Digital Camera,

Future Publishing, 30 Monmouth

Street, Bath BA1 2BW.

Picture submission form

I would like you to consider my picture for publication in:

Hotshots Your Mission Ask the Team

Name _________________________________________________________________

Address ________________________________________________________________

___________________________________________ Postcode ___________________

Daytime phone number _____________________________________________________

Email __________________________________________________________________

Make sure you include the following: A sheet of good-quality thumbnails

A CD of images Your name, address, email and phone number on each CD and print & &

The Digital Camera interview

Nature and travel photographer

David Noton

With nearly 25 years as a travel and landscape pro under his belt, David

Noton has plenty of advice and tips. Geoff Harris meets the great man

94 Digital Camera January 2010 & &

Gunung Anung, Bali

“This was an exercise in perseverance,

as the rainy season obscured the view

of the volcanoes until my last day.

Shot at 1/50 sec at f/8.”

January 2010 Digital Camera 95

All images: David Noton

The Digital Camera interview

Inter view

David Noton


● David Noton was

born in Bedfordshire

in 1957, grew up in

Canada, and travelled

in the Merchant Navy.

● He turned pro in

1985 after studying

photography as a

mature student.

● Noton has won

three BBC Wildlife

Photographer of the

Year awards and is now

a prolific writer and

trainer. His latest book

is Waiting for the Light

(David and Charles).

96 Digital Camera January 2010

One of the main challenges in landscape

and travel photography is keeping your

eye fresh – getting a new take on

people, places and buildings that have

been shot a million times. Anyone can

travel to Havana or Ho Chi Minh City, but

coming back with unique shots is harder.

David Noton knows how to meet this

challenge better than most, as he’s spent

most of his adult life criss-crossing the

globe, first as a merchant seaman, then

as a pro photographer. He claims to have

gone just about everywhere, except for

Antarctica (it’s on the list), so how does

he keep his eye fresh? “You have to

ignore what’s been done before and see

things with an original eye,” he says.

“Develop the subject, give it time, and

be prepared to work with a location.”

Noton’s career has certainly been

colourful. Born in the UK, his childhood

was spent in North America as his father

worked on the NASA space programme.

He got his first camera, a Kodak

Instamatic, for his 13th birthday, and &

Portrait of Girl, Laos

“I rode out to this location on my motorbike, but

the light was too wishy washy to get a decent

landscape shot. So I was happy when this girl

came along. I photographed her with a 24mm

superfast lens at f/1.4 to blur the background,

and used a 0.6 ND Grad to hold the sky back.”

went on to join the Merchant Navy. During

his adventures in the merchant fleet,

Noton travelled the globe via Australia,

New Zealand and the Panama Canal;

though his interest in photography was

growing, he was too busy to cultivate it.

After his camera was stolen he decided

to buy an SLR on his return to the UK, give

up the sea-faring life and do a course in

photography. “I realised there was no

second chance, and I was very serious

about the course. It was tough, but I think

my time at sea gave me the resilience

to cope. And dreams do come true.”

As Noton describes, in 1980 he was

a rudderless ex-Merchant Navy officer,

toiling in dead-end jobs such as working in

a glue factory. “Photography had become

an obsession; I wanted to be a pro, but

had no idea of how to go about doing it.

Now, 27 years on from cleaning windows

in Watford, I’ve published my first book.

So clearly it can be done.”

When asked about early influences,

Noton claims he was more inspired by

Yoho National Park,

British Columbia, Canada

“Shot last September, this is a good example

of how to work a location and pre-visualise the

image. The driftwood was a nice compositional

element and it all came together on the third

evening. The sun and lake were perfect.”

images rather than following particular

names. “I read a now-defunct magazine

called Camera in the early 1980s, and

was entranced by the portfolios from the

Himalayas, Chile and other exotic places.

But I love photojournalists from the 1940s

and 1950s, and Henri Cartier-Bresson.”

People skills

Noton’s talent lies in coming back from

well-photographed places such as Cuba

or south-east Asia with fresh and inspiring

shots. He’s also a master landscape

photographer. With his track record, he

can afford to spend time in a location,

“working the subject” as he describes it.

But how can an amateur on holiday find

time for this focused approach?

“Sure, you have to adjust. Don’t take

hundreds of average shots, just a handful

of really good ones. It’s easy with digital

to just blast away, but it’s better to just

get one really great shot. People skills are

fundamental to travel photography, too.

You have to be sympathetic to people and

assimilate yourself. All photographers

have to make the shot come to them, you

can’t just stand back with a long lens.”

Noton also stresses the importance of

understanding different cultural attitudes

to photography when you travel. “I got

despondent when people would refuse

to be photographed, particularly in

countries where there was some cultural

reluctance, but you learn to deal with this.

It’s the opposite problem in south-east

Asia, where people can be too happy to

be photographed and won’t stop posing!”

So has Noton ever been in real danger

on his travels? “Well, I rode my bike into

a river in Vietnam, and almost drowned

in Tahiti, but I’m not a photojournalist

so it isn’t that dangerous. The biggest

pitfall is that you get obsessed with a

scene, and forget to look behind you.”

Taking stock

Noton is generous with his advice to

aspiring pros on his website, where he

talks about the importance of selling &

The Digital Camera interview

In the bag

Noton swears by his EOS-1Ds Mark III

and EOS 5D, along with a wide range of

lenses from fisheyes to supertelephotos

(for travel work, Noton’s a big fan of the

Canon 85mm f/1.2L). He prefers to use

higher ISOs rather than flash, and is a

firm fan of Lee filters.

January 2010 Digital Camera 97

The Digital Camera interview

Inter view

David Noton

work to stock libraries to develop a steady

income stream. But is this still a viable

route, with such intense competition and

falling rates? “It’s tough for an aspiring

pro and the ‘stack it high, sell it cheap’

approach of big stock image libraries

hasn’t helped. Starting up was tough for

me, and it’s not got any easier. Nobody

can give you an easy solution. I think you

need to find a niche; you need ideas.

There are so many opportunities for

getting your work out there now, so you

need to specialise. Then if you’re any

good, you’ll start to attract interest.”

But for an aspiring travel photographer,

haven’t most of the really interesting parts

of the world already been shot to death?

Noton’s reply is encouraging. “People said

the same thing to me when I started out!

The thing is to shoot a location differently,

shoot it better than anyone else. Find a

new angle. It’s about having original ideas

and the ability to execute them.”

As an example of this, Noton describes

how he went about shooting the

98 Digital Camera October January 2010 2009

Barber in His Shop, Morocco

(above left)

“I got a lot of rejections in Morocco, but this

barber agreed to be photographed. The light

was beautiful. I used a fast f/1.2, 85mm lens,

which is great for cramped, low-light scenes.”

Vietnamese city of Hanoi. “I got there and

thought, ‘What is it about Hanoi, what’s

unique?’ It was the bustle and constant

movement. How could I express this? One

way was to experiment with slow shutter

speeds, such as slow panning – the

subject is sharp but the motion blur in the

background gives a sense of how hectic

the place is.” Noton believes the same

approach works with static landscapes,

too. “You need to think about what’s

unique about a particular location – stone

walls in the Yorkshire Dales, for example.

Remember, finding your own style comes

with time and photographic experience.”


The Valnerina, Umbria, Italy

(above right)

“This looks like a classic British scene, but it’s

actually Italy. I shot this in infrared, and Iike it

because the infrared effect isn’t immediately

obvious. There’s also a lovely patchwork of light.”

Understanding the subtleties of light is

also crucial for Noton, and it’s no surprise

he called his book Waiting for the Light.

Again, he cites his tough photographic

apprenticeship as a big help here. “If you

can make something of a north-facing

warehouse at Bristol docks on a grey

February morning, the Taj Mahal at dawn

really is a piece of cake!”

Workflow wisdom

After cutting his teeth on Olympus and

Nikon systems, Noton switched to Canon

in 2005. “Nikon’s then insistence on

using a half-frame image size in their

Noton on keeping landscape shots fresh

“The thing is to shoot a location differently,

shoot it better than anyone else. Find a

new angle. It’s about having original ideas

and the ability to execute them” &

D-SLRs lost them many loyal customers.”

Noton’s very happy with his current

cameras but makes an interesting point

about ISO. “Camera makers are now

trying to out-do each other in the high

ISO sensitivity stakes, so we can get by

without fl ashguns. But we also need the

ability to go slow, to be able to choose

lower ISOs. It would be great to be able

to go down to ISO4, for example, so

we wouldn’t have to rely on fi lters when

shooting landscapes. I sometimes

wonder if camera makers in Japan really

understand what it’s like being out on

the coast, in a gale, as it’s getting dark.”

Other items on Noton’s SLR technology

wish-list include higher dynamic range,

and the ability to automatically set

hyperfocal distance. “These would

be much more useful to me than more

megapixels – I think anything over 20

megapixels is pointless anyway.”

When it comes to Photoshop, Noton

keeps image enhancements to a

minimum. “You should get the shot right

to begin with – ensuring correct exposure,

low noise, and using a tripod or locking up

the mirror to avoid camera shake. Then I’ll

fi ne-tune the tones of an image using

Levels and Curves, and maybe select the

sky to bring out the detail. If all the image

information is there, as you got the shot

right at the time, you have the scope

to bring out the best in the picture in

Photoshop. But as I tell students on my

workshops, you need to be subtle.”

As for the future, Noton reveals he’s

about to jet off to Bolivia to work on his

next book. “It’s going to be about ten

journeys, ten destinations, and ten

different photographic challenges. To

keep on developing as a photographer,

you need to keep pushing yourself

forwards. My books, workshops and

roadshows are important, but I also

need to be out there doing my stuff!”

SEE MORE of David Noton’s travel and

landscape shots at

The Digital Camera interview

Behind the picture Street Scene, Hanoi &


“I wanted to express the sheer

bustle of Hanoi, so using slow

panning was the way to go.

As well as a low shutter speed,

getting the right background

was crucial to this technique.”


“I spent all afternoon trying

to get this shot, squatting

by the side of the road and

working on the composition.

I shot at 1/8 sec using a 70-

200mm Canon lens, which is

perfect for this kind of work.”


“At the same time I needed to

keep the subject fairly sharp.

People in south-east Asia

are usually fi ne about being

photographed, though you do

get the odd quizzical look.”

Be inspired


Noton’s tips

● Follow your passion. You’ll

do best shooting what you love,

and I see this with my students.

● Learn from your mistakes. Apply

what you have learned, go back to

a place and get it right.

● If an image still isn’t working,

really think about why this is

happening. Retaking the shot in

different circumstances could work.

● Never stop learning about the

endless subtleties of light.

October January 2010 2009 Digital Camera 99 &

New Gear

16 pages of independent and defi nitive buying advice


102 First Look – what’s new?

We take a look at all the latest kit, including

the ground-breaking Ricoh GXR, featuring

interchangeable sensors, and the new

HD movie-capable Olympus PEN.

104 SLR head-to-head

Looking for a high-speed, pro-spec D-SLR?

We put Canon’s 7D and Nikon’s D300s through

their paces to fi nd out which one offers the best

performance for your money. &

110 Pentax K-x

We test Pentax’s impressive new entry-level SLR

and discover that it has plenty to offer beginners

and enthusiasts alike.

115 Lenses: your questions answered

Got a question about lenses that you’re too

afraid to ask? From distortion, fringing and

fl are to autofocus, stabilisation and hyperfocal

distances, we’ve got it covered.

The Digital Camera Verdict

It’s what every camera manufacturer wants to hear. Our

camera reviews answer your questions and give clear

verdicts so you know what to buy. We rate each of the fi ve

main characteristics of a camera and mark them out of

fi ve. We then give the camera an overall score out of 100.

Anything over 70% is worth a look, over 80% is a good

buy and over 90% is excellent. Simple. We also rate each

camera relative to its price band, making this the most

defi nitive rating system you’ll fi nd.

January 2010 101

New Gear

F ir s t lo ok

Ricoh’s first digital system

camera claims to be the

smallest and lightest D-sLR – you

can change the lens and sensor

Interchangeable unit camera

Ricoh GXR

Makers struggle to come up with real novelties, but not Ricoh. Meet the

smallest interchangeable lens camera where you can also change sensor!

What is it? A new interchangeable

‘unit’ camera

hoW much is it? £419.99 (body only)

When can i Get one? December 2009

We’re used to manufacturers pimping

their latest compacts with new colours

and novelty modes. But Ricoh’s new GXR

series really does offer something new.

The GXR is the world’s smallest and

lightest D-SLR with interchangeable lenses.

However, it’s how those lenses work with

the body that’s crucial. Each lens is housed

in a ‘camera unit’ with an image sensor,

processing engine, aperture, shutter and

focus/zoom motors. These units slide into

the GXR body, which has no image sensor

at all. Because the key hardware is in the

add-on units, you get what amounts to a

new camera each time you buy a new lens.

Ricoh claims integrating the lens, sensor

and image processor into a single unit has

made it possible to achieve both “pocket

size for go-anywhere portability” and “the

highest image quality”. While the latter will

be revealed in our upcoming review, an

102 January 2010

obvious practical benefit of this ‘closed’

system means the imaging sensor isn’t

exposed to dust when lenses are changed.

The GXR system’s flexibility is the main

attraction. Varying lenses can be paired

with different sensor sizes or technologies,

with no wasted glass or excess weight. For

example, a unit with a compact camerasized

sensor could be fitted with a small,

lightweight zoom; a D-SLR-sized APS-C

sensor could work with a prime lens for

better image quality. There’s potential for

more specialist applications too, such as a

unit for low-light work or HD video recording.

The glass

Available at launch is the Ricoh S10

24-72mm (35mm equivalent) f/2.5-4.4 VC

camera unit, which has a 10-megapixel

1/1.7-inch CCD sensor. There’s also a

specialist close-up lens, the GR A12 50mm

f/2.5 MACRO camera unit with a 23.6x

15.7mm (APS-C) 12.3-Mp CMOS sensor.

The camera body and locking system

must be robust, and the shell’s made from

die-cast magnesium. A corrosion-resistant &

‘pear-skin’ coating and rubber finish to

the grip should instil confidence – this is a

camera to be used, not delicately carried.

Technology comes at a price, though. The

GXR body costs £419.99, with the GR 50mm

macro at £599.99 and the Ricoh 24-72mm

at £329.99. Wait for our review to see if it

delivers where it matters most – pictures. For

more details, see

Body beautiful?

it’s essentially a box for the controls,

flash, screen and card slot, but at

£419.99 the GXR body needs to feel like

good value. highlights include:

three-inch 920,000-dot-equivalent

VGa LcD screen that can tilt up to 90°

new DiRect screen that enables you

to change current settings quickly

Pre-aF function for faster focusing

iso3200 for shooting in low light

auto macro setting

Olympus launches

new PEN model

Improved autofocus and manual HD movie

mode top the bill on this latest upgrade

olympus has announced that the latest in its line of micro

Four thirds cameras, based on the original 1950s Pen fi lm

camera, will arrive in January. The PEN E-P2 takes the existing

E-P1 as its blueprint, but features a sleek all-black stainless

steel casing and several important improvements.

Chief of these changes is the addition of a dedicated

accessory port, which supplements the hotshoe and enables

you to connect a viewfi nder or external microphone. An

electronic viewfi nder will be boxed with the E-P2. It will offer

a 100% fi eld of view and can be tilted up to 90°, making

shooting at low angles more comfortable. Being an electronic

viewfi nder (EVF), you can see shooting adjustments ‘live’.

The external microphone adapter, compatible with a variety

of microphones, will follow soon after.

As with its predecessor, the E-P2 is capable of shooting

seven minutes of 720p footage in a single shot. However,

HD movies can now also be created using the camera’s

Manual mode, along with PCM sound quality.

Other new features include two additional Art Filters (Diorama

and Cross Process), which can be used in both Still or Movie

mode. There’s also autofocus tracking, a colourboosting

i-Enhance function that boosts

specifi c colours within a shot, and a remote

slideshow control (via HDMI).

In addition, two new lenses will

be available: the M.ZUIKO Digital ED

9-18mm f/4-5.6 (18-36mm equivalent)

wide-angle zoom, and the M.ZUIKO

Digital ED 14-150mm

f/4-5.6 (28-300mm

equivalent) highpower


zoom lens.

Full pricing details

aren’t available as

we go to press, but

the expected RRP of

the E-P2 14-42mm

Zoom kit with

viewfi nder is £849.

For details, see &

New Gear




Europe is releasing a range

of premium memory cards

designed to provide the

ultimate photo protection.

The CompactFlash, SD

and microSD cards are

shock-proof, water-proof,

magnet-proof and offer

read/write speeds of

45Mb/s and 35Mb/s

respectively. Prices are

yet to be confi rmed.

As we go to press,

Adobe has made

‘Release Candidates’

(in other words, near-fi nal

versions) of Adobe Camera

Raw 5.6 and Lightroom 2.6

available for download

from http://labs.adobe.

com. Functional updates

are minor, but 19 more

D-SLRs gain support,

including the Canon EOS

7D, Nikon D3s, Olympus

E-P2 (left), and Sony A850.

New Leica – a

snip at £8,550!

Calling all camera junkies:

limited edition M7’s on sale now

Leica has worked with designer hermès Paris

to create the new collectable Leica m7 edition

‘hermès’. In silver chrome with a choice of two

calfskin leather fi nishes – vibrant orange and

étoupe (that’ll be brown), only 100 of each will be

released, with a special sequential serial number.

A suggested retail price of £8,550 makes them

around £6,000 more expensive than the standard

M7. And technically, under the skin, they’re exactly

the same. Apart from the covering, the limitededition

run includes all-metal controls and a silver

chrome fi nish on the back. The top-plate has an

engraved Leica name in place of a classic red

logo, to “preserve the colour harmony”.

The camera set includes a silver anodised Leica

SUMMILUX-M 35mm f/1.4 ASPH lens, an exclusive

lens hood, and a Leicavit-M rapid winder in silver

chrome. It has a linen-covered silk-lined box and a

leather strap, handcrafted by Atelier Hermès, but

at that price, we want it hand-delivered by swans.

The special edition M7s are available now

from authorised Leica dealers, including the Leica

Store Mayfair (

January 2010 103

New Gear

Canon EOS 7D

vs Nikon D300s

These two high-speed pro-spec digital SLRs are fi ghting for a slice of the market.

Rod Lawton puts them through their paces to see which comes out on top…

104 Digital Camera January 2010 &

Full-frame professional D-SLRs

may be gaining ground, but for

Canon and Nikon the APS-C

format isn’t done yet. Both companies

produce professional models in this smaller

format, and both seem to be repositioning

these models as compact, high-speed

alternatives to (or reliable companions for)

their full-frame stablemates.

In fact, Canon’s new EOS 7D is so highly

specifi ed that it’s prompted much online

debate among Canon afi cionados about

whether to go for this camera or buy the

full-frame EOS 5D Mark II instead. Should

you go for full-frame quality, or smallerformat


Nikon, meanwhile, has refreshed its

existing D300 model with the D300s. The

new camera now incorporates the D-Movie

mode, which fi rst appeared in the D90 and

then the D5000, a faster frame rate (up

from 6fps to 7fps) and dual card slots.

With one CF and one SD slot, users don’t

just get compatibility with different card &

High-speed D-SLRs

formats, they can use two cards

simultaneously for different purposes

– one for stills and one for video, maybe?

The fact that the D300s is an updated

version of an older model might appear

to put it at a disadvantage, but this was

an extremely good camera right from

the start, producing crisp, clean images

and ground-breaking high ISO performance.

It’s built like a tank, cheaper than the

Canon and close enough on specs to put

up a decent fi ght.

January 2010 Digital Camera 105

New Gear

Canon EOS 7D

Colour rendition

The 7D produced pleasing colour

rendition, and its auto white balance

system gave warmer colours than the

Nikon’s. In fact, the colours looked a

little too warm in some instances.

How we did the test

Both cameras were tested at the same

time with a variety of subjects to test

out their ability to cope with different

lighting conditions, their defi nition,

colour rendition and high ISO

performance. The example shots show

the comparisons and the captions

explain the results in more depth. In

each case, maximum-quality JPEGs

were shot using the camera’s standard

Picture Style and with any custom

settings reset to their defaults (custom

settings can modify noise reduction and

other image-processing functions). The

continuous shooting modes and focus

tracking were given a brief test too.

106 Digital Camera January 2010


The Canon’s 19-point autofocus system

proved responsive, both with static and

moving subjects. It might have fewer

focus points than the Nikon, but there

don’t seem to be any major downsides.

Nikon D300s

Colour rendition

In some shots, the D300s’s auto white

balance produced a distinctly cold look,

but in other situations its colours

looked a little cleaner and more neutral

than the overly warm Canon’s.

The 7D and D300s are designed

to do similar jobs, but there are

nonetheless some significant

differences between them. One of

these is the resolution, where the

18-megapixel Canon would appear to

have a substantial advantage over the

12-megapixel Nikon. We’ve seen in the

past, though, that increasing megapixels

can actually lead to diminishing returns.

Have we reached that point with these

APS-C sensors? And how much depends

on the quality of the lenses?

There isn’t much difference in the

continuous shooting speeds, and if you

fi t an optional battery pack, the D300s

can match the 7D’s 8 frames per second

(fps). At those speeds, though, the buffer

fi lls up pretty quickly. Canon quotes a

maximum capacity of 126 JPEGs and 15

RAW fi les, while the Nikon manual (if you

look long enough and hard enough for the

information) quotes a capacity of 100

JPEGs and between 18 and 45 RAW fi les,

depending on whether you save 12-bit or

14-bit RAW fi les compressed or

uncompressed (why the need to make it

so hugely complicated?) &


Nikon’s 51-point AF system sounds

impressive, but apart from lighting up

half the viewfi nder with focus points,

it’s not clear what advantages it offers

– especially for static subjects like this.

How do their

features compare?

Canon EOS 7D

Digital Camera says…

There’s probably a kitchen sink in there somewhere.

The 7D’s featureset is just stunning.

Nikon D300s

Digital Camera says…

The D300s does well with what it’s got, but its features

don’t match the Canon’s.

With its 51-point AF system, Nikon

appears to have the edge when it comes

to autofocus, at least as far as pure

numbers are concerned anyway, although

this can be shrunk down to 11 points if

required. The EOS 7D has a 19-point AF

system, though this is very sophisticated

too, offering customisable AF point

selection for vertical versus horizontal

shots, for example. Having dozens of AF

points has no real benefi t in itself – the

camera can still only focus on one thing,

after all – but it can help improve the

Detail and definition

From past experience, Canon EOS D-SLRs

tend to produce sharper pictures from

RAW fi les than they do from JPEGs, and

that’s what you’ll need to do with the EOS

7D to really take advantage of its extra

resolution. While you’re at it, you can use

Canon EOS 7D

An average lens and

Canon’s soft JPEG

processing mean

that the theoretical

advantage of that

18-megapixel sensor

is squandered. You’ll

need to shoot RAW to

get the most from it.

speed and consistency of subject-tracking

and predictive autofocus, and plays a part

in exposure metering too.

The high ISO battle should be

interesting. Nikon has set new standards

in this area for APS-C sensors, but Canon’s

trying to outdo the D300s by going one

ISO value higher (12800 versus 6400),

despite the fact that it has a higher

resolution and therefore, in theory, should

actually produce more noise.

Other interesting features on the 7D

include a built-in wireless controller for

external Speedlite fl ashguns (incidentally,

for the fi rst time on an EOS body), plus an

electronic level to help you get your

pictures straight.

Movie magic

Both cameras offer HD movie modes, but

the differences here are pretty signifi cant.

The Canon offers full HD (1,920x1,080

pixels) while the Nikon only offers standard

HD (1,280x720 pixels). Standard HD

usually offers more than good enough

quality even for pro/semi-pro work, but

many users would still prefer to have the

extra quality available.

the chromatic aberration removal tool

in Canon’s Digital Photo Professional

software (bundled with the camera) to

get rid of the unpleasant colour fringes

too, because these further undermine the

7D’s latent resolution.

Nikon D300s

The 7D also offers full manual control

over shutter speed, aperture and ISO

in movie mode, plus a choice of frame

rates, which will make life a lot easier

for videographers producing content for

different media. The D300s has a socket

for an external stereo microphone and

does offer some basic in-camera video

editing tools, but it’s not really in the same

league as the Canon.

The two cameras are a similar size and

weight, but quite different to use. The

Canon is curved and streamlined, while

the Nikon is tough and brutish. But anyone

expecting the 7D to be just like Canon’s

previous top-of-the-range APS-C models,

the EOS 50D or 40D before it, might be

disappointed. These were masterpieces

of elegant minimalism, but here Canon’s

designers have added some buttons,

moved others around and made the 7D

feel altogether fussier.

Why move the power switch from

the back to the top plate? Was the extra

‘M-Fn’ button by the shutter release

really needed? Why change the old smart,

black, domed buttons for the tackier

protuberances used here? Technically, the &

High-speed D-SLRs

By contrast, the D300 produces really

clean, crisp images. It has fewer pixels,

but it makes much better use of them.

And just going off-subject for a moment,

note the under-exposure in the Canon

picture. Why has it done that?

Clean processing

and a good quality

lens mean that

although the D300

produces smaller

image fi les, it

records just as much

actual detail, in

JPEGs at least.

How well do

they perform?

Canon EOS 7D

Digital Camera says…

The 7D is mostly excellent, but the metering can

throw a wobbly and JPEGs could be crisper.

Nikon D300s

Digital Camera says…

Autofocus, exposure and defi nition are spot-on, but

14-bit NEFs and continuous shooting don’t mix.

7D steamrollers the older 50D, but it’s

not as nice to handle.

It works well, though. The autofocus

is fast and keeps up well with moving

subjects. It’s painfully slow in Live View,

but the D300s is no better.

There have been reports of issues with

the 7D’s 8fps continuous shooting mode,

but ours worked fi ne. Don’t be tempted to

shoot RAW or RAW+JPEG, though, because

you’ll get just 2 to 3 seconds of shooting

before the camera needs to empty its

buffer, and that takes many seconds.

January 2010 Digital Camera 107

New Gear

Metering and dynamic range

Nikon has stuck with its trusty 3D Color

Matrix metering II in the D300s, while

Canon has developed a brand new system

called iFCL, which uses information from the

camera’s focus points, the colours metered

and the luminance values. Whatever it does,

Canon EOS 7D

The Nikon’s vast array of RAW formats

produces some quite unnecessary

complications and even annoying

problems. It’s OK shooting 12-bit NEF fi les

in continuous mode (though the buffer fi lls

up fast, just like the Canon’s), but with

14-bit NEFs, it drops out of high-speed

mode altogether and chugs along at a

much slower rate. When you’re working in

a hurry, you really don’t need niggly little

hold-ups like that. Some quick tests with

a willing mountain biker demonstrated that

there wasn’t much practical difference

between 7fps and 8fps, but the Canon’s

focus tracking did produce a higher hit rate

of sharp shots.

Picture this

Next comes image quality, and here things

got very interesting. The D300s has built-in

chromatic aberration correction and this,

combined with the generally high quality of

Nikon’s mid-range/pro lenses (we were

using the 16-85mm VR), meant that it

really got the most out of those 12 million

108 Digital Camera January 2010

though, it sometimes gets it badly wrong,

and it’s not easy to predict when.

Some deliberately diffi cult against-thelight

shots came out fi ne, but a couple went

haywire. That’s one point to the Nikon’s

metering system, then, which behaved

What the heck is this? It wasn’t the fi rst

time Canon’s new iFCL metering system

threw a fi t, though this is defi nitely the

worst example. How far is this out? Two

stops? Possibly three?

Nikon D300s

pixels. The detail was clean,

which meant it would sharpen up well if

necessary, and it was crisp and fringe-free

right to the edges of the frame.

We tested the 7D with Canon’s new

18-135mm lens, sold as a kit with this

camera, and unfortunately it wasn’t quite

as impressive. It has a longer zoom range,

but signifi cant chromatic aberration

towards the edges and only average

sharpness – though much of that may

be due to Canon’s JPEG processing

algorithms, and you could probably extract

a bit more by shooting RAW.

In short, the 7D has a resolution

advantage, but doesn’t necessarily convert

it into better detail. The D300s’s clean

processing and good lens kept up very

easily when shooting JPEGs. There seem

to be some problems with Canon’s new

iFCL (intelligent Focus Color Luminance)

exposure system, too, which proved wildly

unpredictable when faced with backlit

subjects. Sometimes the results were OK,

sometimes they were badly over-exposed. &

predictably and reliably throughout. A check

of the histograms across a wide range of

subjects suggests that the dynamic range

of the two cameras is similar, but this is

dependent anyway on the Picture Style

used and whether you shoot RAW or JPEG.

The D300s is generally cautious with its

exposures, sometimes favouring mild

under-exposure rather than risk the

highlights. Here, it’s a little bit under,

but this is easily salvageable.

Are they good

value for money?

Canon EOS 7D

Digital Camera says…

Yes, it costs a little more than the D300s, but it’s a

much more ambitious camera.

Nikon D300s

Digital Camera says…

It’s good value for a pro-quality 7fps D-SLR, but the

D300s now seems at the limit of its potential.

The fi nal battle – high ISO performance –

proved something of a stalemate. At

ISO3200, the D300s’s shots don’t have an

awful lot of textural detail, but they do look

clean and crisp. The 7D’s images have a bit

more noise, but a little more textural detail

too. At ISO6400, though, the 7D’s quality

dropped substantially, so its apparent

one-stop advantage might not be worth so

much after all.


If you’re already committed to a Nikon

or Canon system, it probably doesn’t

matter which of these cameras is best.

But you’d still like to know, right?

The Nikon D300s is a very good

camera. It’s tough, it’s fast, it delivers

excellent picture quality and it’s cheaper.

But that said, it doesn’t really set out to

do that much in the first place. Not

compared to the Canon – our winner.

The bizarre behaviour of the 7D’s

high-tech exposure system is a worry,

and you’d probably need a better lens

than the bundled 18-135mm to exploit its

18-megapixel sensor fully, but this camera

does everything asked of it and more.

That 8fps shooting is unique in a camera

at this price, and don’t forget you’re also

getting a full HD movie camera with full

controls and interchangeable lenses.

What’s particularly impressive is that

Nikon D300s Canon EOS 7D

High-speed D-SLRs

Contact Nikon, 0800 230 220, Canon, 0844 3690 100,

Price £1,500 body only (street price £1,250) £1,700 body only (street price £1,500)

Sensor 12.3 megapixels, 23.6x15.8mm 18 megapixels, 22.3x14.9mm

Focal length conversion 1.5x 1.6x

Lens mount Nikon F (DX) Canon EF/EF-S

Memory CF and SD, none supplied CF, none supplied

ISO range 200, 400, 800, 1600, 3200, 6400 100, 200, 400, 800, 1600, 3200, 6400, 12800

Exposure modes Program, Aperture, Shutter, Manual Program, Aperture, Shutter, Manual

Metering modes Multi-zone, centre-weighted, spot Multi-zone, centre-weighted, partial, spot

Focusing modes 51-point/11-point auto (multi-zone, spot), manual, 19-point auto (multi-zone, spot), manual, AI Focus,

Single servo AF, Continuous servo AF, Live View One Shot, AI Servo, Live View

Shutter speed 1/8000 to 30 sec, bulb 1/8000 to 30 sec, bulb

Integral flash GN12 at ISO100 GN12 at ISO100

Flash sync 1/250 sec 1/250 sec

Flash modes Auto, on, off, red-eye, slow sync, rear curtain, hotshoe Auto, on, off, red-eye, slow sync, rear curtain, hotshoe

Drive modes Single, continuous (7fps), self-timer Single, continuous (8fps), self-timer

Write times JPEG 0.5 sec approx, RAW 1 sec approx JPEG 1 sec approx, RAW 1.5 sec approx

Max buffer capacity 100 JPEGs, 18-45 RAW files (depends on 126 JPEGs, 15 RAW files


LCD monitor 3-inch colour, 920,000 pixels, status LCD 3-inch colour, 920,000 pixels, status LCD

Power supply Li-ion, EN-EL3e Li-ion, LP-E6

Battery life 950 shots, CIPA 800 shots, CIPA

Weight 840g, body only, without battery or card 820g, body only, without battery or card

Transfer USB 2.0 High Speed, Video, HDMI, PictBridge USB 2.0 High Speed, video, HDMI, PictBridge

Software Nikon Transfer, Nikon View NX (Mac and PC) ZoomBrowser EX, ImageBrowser, PhotoStitch, DPP,

EOS Utility, Picture Style Editor (Mac and PC) &



Canon also manages to wring such good

high-ISO image quality out of such a

high-resolution sensor.

Let’s not forget that the 7D costs

£200-250 more than the D300s, but it

does come complete with fully featured

RAW processing software (Nikon, are you

reading this?). The 7D isn’t perfect, but its

abilities are awesome nonetheless.

January 2010 Digital Camera 109

New Gear 12Mp D-SLR £600

Pentax K-x

Pentax’s new entry-level D-SLR isn’t just for

beginners. Rod Lawton explores a ‘starter’

SLR that will appeal just as much to enthusiasts

It can be diffi cult to keep track

of Pentax’s D-SLR range. There

seem to have been so many

slight variations on existing models and

so much overlap between them. But

maybe the new K-x will sort it all out. This

is Pentax’s brand new entry-level D-SLR,

though its price and features seem to

place it a couple of rungs up the ladder.

The key features include a new 12.4megapixel

sensor, Live View with contrastdetection

AF (and Face Detection) and a

High-Defi nition 1,280x720 movie mode

running at 24 frames per second (fps).

Where most basic SLRs are content

to stumble along at a modest 3fps in

Continuous Shooting mode, the K-x can

shoot at 4.7fps. You get an 11-point

autofocus system, built-in anti-shake (and

Pentax’s is the best), plus a dust-removal

system with a dust alert mode to highlight

any debris clinging to the sensor and an

on-demand cleaning cycle to shift it.

Unusually, the K-x runs on a set of four

AAs rather than a rechargeable lithiumion

battery. Pentax claims up to 1,300

shots on a set of lithium disposables,

and our camera managed a couple of

hundred on a set of alkalines and still

displayed full power at the end of it

(though it did drop into the red during

more intense spells of shooting).

110 Digital Camera January 2010



Pentax continues to incorporate

the kind of features that won’t make

the headlines but will make a

difference to your shots. Dynamic

range is one of these. In previous

models, Pentax has incorporated a

dynamic range expansion feature that

appears to selectively adjust the ISO

in real time in different parts of the

scene – much better than postprocessing

fi xes such as Nikon’s

D-Lighting. It’s now been enhanced

so that you can opt to increase

highlight and shadow detail

independently. It works, too. JPEGs

show the kind of extra highlight

detail you would previously have

needed to shoot RAW to achieve.

There’s also a dedicated HDR

mode, which shoots two different

exposures and blends them in-camera.

A tripod is needed to ensure the two

shots line up, but it works pretty well.

Lens issues

Common bugbears with D-SLRs (or rather

their lenses) are chromatic aberration

and distortion. Pentax’s 18-55mm

lens suffers from both, but the K-x can

process them out, and it does a very

good job of it too. However, it can’t fi x the

edge softness that’s also a characteristic &

It may look like

a starter camera,

but the K-x is

packed with

clever features

of this lens, which appears to be a

cheapened version of Pentax’s usual

18-55mm with a plastic rear mount and

no distance scale on the focus ring.

There are some autofocus issues,

too. First, the kit lens sounds more like

a coffee grinder than a lens. This is more

serious than it might seem, because it

colours your whole impression of the

camera. It makes you think the K-x itself

is crude, even agricultural, and it’s not.

Outdoors The rich contrast and

saturation in this shot (left) are characteristic

of Pentax D-SLRs. Technical comparisons

aside, pictorially the results are excellent

Indoors Nikon, and now Canon, have

taken a bit of a lead in high ISO performance

recently, but with the K-x Pentax seems to

be staging a comeback. This shot (below),

taken at ISO800, shows pretty low noise


Like other Pentax D-SLRs

before it, the K-x displays an

extra depth and intensity to

its colours that other D-SLR

brands don’t quite match

The other downside is that there’s

no AF point illumination in the viewfinder.

Why have an 11-point focus system if you

can’t tell which AF point’s being used?

This seems like a serious omission.

However, the new control layout is

a success. Pentax has abandoned its

floppy, multi-directional control pads in

favour of single, separate buttons, and

an interactive interface that lets you

select an icon for the setting you want

to adjust, then spin the control wheel

to change the setting.

Picture quality is striking. The definition

is about what you’d expect from a 12-


The kit lens is built down to

a price, but the K-x has inbuilt

distortion and aberration

correction that disguise its

limitations very effectively


Pentax’s bizarre decision not

to illuminate the AF points

in the viewfinder mean that

you may never quite be sure

what it’s doing

megapixel APS-C sensor and a modest

kit lens, but the colour and contrast is

terrific. Some may find them too rich,

but if you’re an ex-film user who misses

the depth and vibrancy of Velvia or

Sensia, say, this is like coming home.

The Rivals

Nikon D5000: £690

The Nikon D5000 is a class act, with its D-Movie mode,

Live View, articulating LCD screen and very good 18-

55mm VR kit lens. But its beginner-friendly interface could

soon get on your nerves. 85%

Canon EOS 500D: £790

The 500D is a polished and efficient mid-range camera,

though it seems pricey for the features and performance

it has to offer. 87% &

The Specs

Contact Pentax, 0870 7368299

Price £600

Sensor 12.4 megapixels, 23.6x15.8mm

Focal length 1.5x

SLR lens mount Pentax KAF2

Memory SD/SDHC, none supplied

ISO range 200, 400, 800, 1600, 3200,

6400 (100/12800 ‘expanded’)

Exposure modes P, A, S, M, Sensitivity-priority,

Portrait, Landscape, Macro,

Action, Night Scene Portrait,

Flash-Off, Night Scene, Surf &

Snow, Food, Sunset, Kids, Pet,

Candlelight, Museum

Metering modes Multi-zone, Centre-weighted,


Focusing modes 11-point auto (Multi-zone,

Spot), Manual

Shutter speed 30 to 1/6000 sec, Bulb

Integral flash GN12 at ISO100

Flash sync 1/180 sec

Flash modes Auto, on, off, red-eye, slow

synch, rear curtain, hotshoe

Drive modes Single, Continuous, Self-timer

LCD monitor 2.7-inch colour, 230,000 pixels

Weight 515g (body only)

Power supply 4 x A A

Battery life 1,100 shots (lithium), 420

(NiMH), 130 (alkaline), CIPA

Software Pentax Digital Camera Utility 4

The Ratings


On the surface, the K-x is a starter camera;

underneath it’s got real appeal for enthusiasts


Great image quality, weak lens. With no illumination

and noisy motors, the slick AF system is wasted


The K-x is laid out like an old-school camera, so will

please beginners and experienced photographers

Build quality

The body is good; the controls have been rethought

and reworked, and it’s really helped

Value for money

If you look at it as a starter camera, the K-x is

expensive, but you certainly get your money’s worth

The Verdict

Other makers concentrate on smooth, slick,

electronic finesse before hands-on photographic

tools. Pentax does it the other way round. First

impressions can

be negative as a

result, but the K-x

reaffirms Pentax’s

forte: making gutsy,

old-style SLRs.


December January 2008 2010 Digital Camera 111



your old equipment




3YEARS RUNNING –What Digital Camera? 2006 /2007 /2008


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Pixel Magazine Nick Webster (Chelmsford) 2007 /2009


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Kaiser CapKeeper lens cap retainer ........................£3.49

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CameraWorld Microfiber lens cleaning cloth....£3.99

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Tamrac Adventure 75 Rust



Lightweight, high-mobility back pack providing

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multiple SLRs, lenses, flash and accessories.

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Adventure 75 Rust £49.97

Thinktank Streetwalker

Holds a DSLR body attached to a 70-200 2.8

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put your tripod on the front of your bag.

Front organiser includes passport pocket.

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Lowepro Mini Trekker AW

This lightweight, compact backpack will hold a

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Theres a quick-release integrated tripod holder,

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Mini Trekker AW Green £49.95


MML3270B ................£29.95 DC-437 ..................£26.95 Nova 140AW . .............£24.95 NATIONAL GEOGRAPHIC TAMRON

UV, Digital Protection,

MML3290B ................£32.95 DC-439 ..................£30.95 Nova 160AW . .............£28.95 Backpacks/Rucksacks

10-24 f3.5/4.5 Di II LD IF .....£379.95

Circular Polarisers .........STOCKED MH5001 ..................£34.95 DC-441 ..................£34.95 Nova 170AW . .............£32.95 Earth Explorer small ..........£92.95 18-250 f3.5/6.3 Di II LD VC ...£389.95


MH5011 ..................£35.00 DC-443 ..................£38.95 Nova 180AW . .............£40.95 Earth Explorer medium .......£109.95 18-270 f3.5/6.3 Di II LD VC

Hadley Digital ..............£74.95 MH1300-550 ..............£72.99 DC-445 ..................£42.95 Nova 190AW . .............£47.95 Earth Explorer large .........£211.95 FREE SLIK TRIPOD ..........£448.95

Hadley Small ...............£99.95 MH1300-652 ..............£72.99 DH-423 ..................£19.95 Nova 200AW . .............£53.95 FREE TUNDRA MONOPOD with

55-200mm f4/5.6 Di II LD NAF fit .£49.97

Hadley Large ..............£114.95 MH1301-400 ..............£64.99 DH-425 ..................£23.95 Pro Roller X100 ............£249.95 Walkabout bags -while stocks last 70-300 f4/5.6 Di LD ........£126.95

Hadley Pro ................£119.95 MH1301-652 ..............£64.99 DP-403 .....£8.95 DP-405 ....£9.95 Pro Roller X200 ............£279.95 Walkabout small ...........£139.90 90 f2.8 Di macro 1:1 ........£337.95

Packington ................£169.95 MH1302-300 ..............£56.99 DP-407 ....£10.95 DP-409 ...£11.95 Pro Roller X300 ............£299.95 Walkabout medium .........£149.90 TECCO INKJET PAPERS

L2 ......................£104.95 MH1302-652 ..............£56.99 DP-411 ....£11.95 DP-413 ...£12.95 Pro Trekker 300AW . ........£219.00 Shoulder Bags

Full range in most finishes ....STOCKED

225 .....£189.95 335 .....£199.95 MH7000 ..................£42.95 DP-415 ...................£13.95 Pro Trekker 400AW . ........£229.00 Earth Explorer small ..........£44.95 THINKTANK

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E150AF Slide Projector .......£159.99 G2272M .................£189.95 E-702 Camera Elements Cover . . . .£39.95 Toploader Zoom AW .........£44.95 CX1 ...£228.95 CX2 ......£279.00 Lens Changer 15 ............£15.99

M353AF Slide Projector ......£189.00 GH2750QR ...............£155.95 E-704 Lens Sleeve Kit .........£47.95 Vertex 200AW . ............£109.97 GX200 Camera ............£275.00 Lens Changer 25 ............£16.99

M330AF Monitor Projector . . . . .£189.99 GA140 Fleece .............£214.95 E-705 Camera Elements Cover . . . .£65.00 Vertex 300AW . ............£134.97 GX200 +VFFREE 4Gb card ...£325.00 Lens Changer 35 ............£19.00

M350AF Monitor Projector . . . . .£205.99 GA151 Jacket .............£289.00 KENRO


GRDIII FREE 4Gb card .......£499.00 Lens Changer 50 ............£18.99

250AF Slide Projector ........£239.99 GC2100 Padded Bag .........£59.95 Background Support ..........£78.95 Outback 100 ...............£39.90 SANDISK

Lens Changer 75 ............£24.99

S640 Slide Projector .........£249.99 GC3100 ..................£68.95 Small Still Life Table ..........£82.95 Outback 200 ...............£49.90 ImageMate 12-in-1 reader .....£19.95 Lens Changer 300 ...........£31.00

Slidescan 4000 ............£799.00 G1173/14B QR Plate .........£21.95 Digikit 110 Compact Studio ...£195.70 MANFROTTO

CF, SD, Micro SD cards ......STOCKED Lens Drop In ...............£22.51

CAMERA ARMOUR GS5370C QR Plate ..........£21.95 Marumi Ringflash ...........£109.95 055XDB +222 Xmas Kit . . . . . .£129.00 SEKONIC

Lens Whip-It-Out ............£32.00

Seattle Solo ................£34.90 G1220.129B3 Set Spikes ......£29.95 Nissin Di622 Flashgun .......£125.95 055XDB . . . . . . . . . . . . . . . . . . .£88.95 L-308s ...................£124.95 Rotation 360 ..............£179.99

Seattle Sling ................£69.90 ILFORD


055XPROB . . . . . . . . . . . . . . . .£107.97 L-358 ...................£194.99 Shapeshifter ...............£190.00


Gold Fibre Silk

Collapsible Background Stand ...£55.95 055XPROB + 804RC2 . . . . . . . .£157.90 L-758D ..................£354.95 Speed Changer .............£35.50

CMP1 Monopod/Walking Stick ..£13.90 A4 5sheet ..................£7.78 Chromakey Blue/Green ......£158.95 055XPROB + 496RC2 . . . . . . . .£158.95 SLIK

Speed Demon ..............£70.00

CMP3 Monopod ............£12.95 A4 10 sheet ................£10.75 E-Photomaker Kit ............£45.95 055XPROB + 460MG . . . . . . . .£173.90 300DX +Head . . . . . . . . . . . . . .£59.95 Speed Freak ...............£85.00


A4 50 sheet ................£32.99 TriGrip Reflector .............£54.95 055XPROB + 498RC2 . . . . . . . .£189.95 330DX +Head . . . . . . . . . . . . .£102.95 Speed Racer ..............£105.00

Full range inc Graduates . ...STOCKED A3+ 10 sheet ..............£28.95 XpoBalance ................£31.95 055XPROB + 498RC4 . . . . . . . .£189.95 340DX +Head . . . . . . . . . . . . . .£89.95 Streetwalker Backpack ........£94.95


A3+ 50 sheet ..............£69.95 Kickerlite .................£119.99 055XPROB + 808RC4 . . . . . . . .£198.90 400DX +Head . . . . . . . . . . . . . .£94.97 Streetwalker Pro Backpack .....£119.95

Background Paper from .......£45.95 New Smooth Gloss/Smooth Pearl LENSBABY

055XPROB + 410 . . . . . . . . . . .£237.99 500DX +Head . . . . . . . . . . . . .£104.95 Streetwalker Hard Drive Bag ...£139.00

COLOUR MANAGEMENT A4 25 +10sheet ...........£10.50 Muse (Glass Lens) ...........£99.95 055CX3 .................£208.95 580DX +Head . . . . . . . . . . . . .£139.97 Urban Disguise 10 ...........£38.99

huey ....£54.90 huey Pro . .....£78.90 A4 100 sheet ...............£28.95 Muse (Plastic Lens) ...........£64.95 055CXPRO3 ..............£229.00 700DX +Head . . . . . . . . . . . . .£119.95 Urban Disguise 20 ...........£70.75

Spyder 3Express ..............£64.95 A3 25 sheet ................£20.95 Composer ................£165.95 055CXPRO3 +468MGRC2* ..£379.00 330EZ Kit .................£99.95 Urban Disguise 30 ...........£92.75

Spyder 3Pro .................£89.95 A3+ 25 sheet ..............£22.95 Control Freak ..............£169.95 055CXPRO4 +468MGRC2* ..£379.00 500EZ Kit ................£119.95 Urban Disguise 35 ..........£106.25

Spyder 3Elite ...............£129.00 6x4 100 sheet ..............£14.95 Macro Lens Kit ..............£23.95 * 468MGRC2 at offer price while stocks last 713EZ Kit ................£247.95 Urban Disguise 40 ..........£106.25

Datacolor ColorMunki .........£295.00 7x5 100 sheet ..............£17.95 Wide Angle /Telephoto Kit .....£53.95 055CXPRO4 ..............£229.00 713CF II .................£199.95 Urban Disguise 50 ..........£120.50

XRite Mini Colour Check Chart ....£48.85 Classic Pearl

Creative Aperture Lit ...........£5.25 190XPROB . . . . . . . . . . . . . . . . .£89.97 714CF II .................£189.97 Urban Disguise 60 ..........£134.75


A4 25 sheet .................£9.95 LENSPEN

190XPROB + 804RC2 . . . . . . . .£137.90 Compact Tripod .............£21.95 BELTS

Mullett 7” Laptop Bag . . . . . . . . . .£25.95 A4 100 sheet ...............£28.95 Original ...................£7.95 190XPROB + 496RC2 . . . . . . . .£139.90 Sprint Mini II GM ............£57.95 Pro Speed Belt 2 all sizes .......£18.50

Mullett 10” Laptop Bag . . . . . . . . .£30.95 A3 25 sheet ................£20.95 Mini Pro . ..................£7.95 190XPROB + 460MG . . . . . . . .£147.90 Sprint Pro IIGM . ............£62.95 Thin Skin Belt 2 all sizes ........£18.50

Mullett 13” Laptop Bag . . . . . . . . .£31.95 A3+ 25 sheet ..............£22.95 Mini Pro 2 ..................£7.95 190XPROB + 322RC2 . . . . . . . .£175.90 Sprint Pro 3Way ............£66.95 Steroid Speed Belt all sizes ......£32.64

Mullett 15” Laptop Bag . . . . . . . . .£34.95 Classic Gloss

Sensor Klear ...............£12.95 190XDB ..................£74.95 504QF II Video .............£95.95 TREK-TECH

Mullett 17” Laptop Bag . . . . . . . . .£38.95 A4 25 sheet .................£9.95 Sensor Klear +CCD Clean Kit ....£16.95 190CX3 .................£177.95 SH704E 3Way Head .........£37.95 TrekPod II ..................£69.90

Pretty Bella Half Photo ........£82.99 A3 25 sheet ................£20.95 Pro Pack 1.................£24.00 190CXPRO3 ..............£194.50 SH705E 3Way Head .........£29.95 TrekPod ...................£90.99

Pretty Bella Full Photo ........£115.99 A3+ 25 sheet ..............£22.95 Pro Kit ....................£24.95 190CXPRO4 ..............£199.90 807e 3Way Head ...........£99.95 TrekPod Go ...............£129.00

Pretty Bella 2500 ............£38.00 Smooth Fine Art

Sensor Klear Kit .............£19.97 7301YB M-Y . .............£105.95 SBH-100 Ball Head ..........£19.95 TrekPod Go PRO ...........£140.99

Pretty Bella 3000 ............£47.00 A4 10 sheet .................£9.95 LOWEPRO

7302YB M-Y . ..............£97.95 800 Ball Head ..............£66.95 TrekPod XL +TPod .........£259.99

Pretty Bella 4000 ............£54.00 A3 10 sheet ................£16.95 Apex 5AW ..£12.95 Apex 10AW£13.95 7303YB M-Y . ..............£88.95 AF-1100e Grip Action Head ....£59.97 VELBON

Pretty Bella 5500 ............£61.99 A3+10 sheet ...............£21.95 Apex 20AW ................£14.95 7321YB M-Y . ..............£76.95 AF-2100 Grip Action Head .....£89.95 Sherpa 200R .£54.99 Sherpa 250R £52.99

Pretty Bella 7500 ............£70.90 HAMA

Apex 30AW ................£15.95 7322YB M-Y . ...............64.95 TAMRAC

Sherpa 450R .£59.99 Sherpa 550R £69.97


Wireless Remote (check fit) .....£27.95 Apex 60AW ................£16.95 7322YSHB M-Y . ............£56.95 Adventure 1Messenger .......£19.00 Sherpa 600R .£76.99 Sherpa 750R £79.95

Fat Gecko Mini Camera Mount ..£29.99 INTERFIT

Apex 100AW ...............£18.95 679B ....£34.95 680B ......£39.95 Adventure 3Messenger .......£29.99 Ultra Luxi L . ...............£78.97

Fat Gecko Camera Mount .....£64.90 EX150 MKII 2Head Kit INT182 .£198.95 Apex 110AW ...............£20.95 680B +234 ...............£49.95 Adventure 5Messenger .......£68.99 Ultra Luxi M................£61.97

Snug-It Skin most models .......£9.99 EX150 MKII 3Head Kit .......£337.90 Apex 120AW ...............£22.95 680B +234RC .............£59.95 Adventure 6................£34.97 Ultra Maxi L................£59.97

Universal Pop-Up Shade .......£10.95 Strobie EFX Kit ..............£74.90 Apex 140AW ...............£28.95 681B .....................£39.95 Adventure 7................£49.95 Ultra Maxi M . ..............£61.97

Pro SLR Shade most ..........£22.95 Strobie Portrait Kit ............£99.90 Computrekker AW ..........£109.95 681B +234 ...............£47.95 Adventure 9................£84.95 QB-4L, QB-4LC, QB-4W each ...£6.95

Standard SLR Shade most ......£16.95 Strobie Flex Mount (all fits) ......£6.99 Computrekker Plus AW .......£144.97 681B +234RC .............£61.95 Adventure 10 ...............£99.97 QB-5L, QB-5LC, QB5RL each ....£6.95

Sensorscope cleaning system . . . . . .£65.00 5in142” Reflector Kit ........£72.95 Classified 140AW ............£79.95 682 +234 ................£79.95 Adventure 75 Grey ...........£59.97 QB-5W, QB-6RL each .........£6.95

Digital Duster Kit ............£35.95 JOBY

Classified 160AW ............£84.95 682 +234RC ..............£89.95 Expedition 4X ...............£59.97 QB-3, QB-337 each ..........£8.95


Gorillapod Original ..........£12.97 Classified 180AW Sling ........£79.90 685B .....................£99.00 Expedition 6X ...............£89.95 QB-145 (same as 145B) .......£10.95

MTL8240B (was MT8246B) ....£169.95 Gorillapod Go-Go ...........£21.95 Classified 200AW ............£98.95 694 Mag Fiber ..............£97.82 Expedition 7X ..............£126.95 QB-157 ..................£10.95

MTL8251B ................£138.95 Gorillapod SLR ..............£29.97 Classified 220AW Sling ........£98.90 694CX ..................£117.00 Expedition 8X ..............£149.90 QB-635L ..................£29.95

MTL8261B ................£149.95 Gorillapod SLR Zoom .........£39.97 Classified 250AW ...........£109.95 695CX ..................£127.00 Explorer 100.£39.00 Explorer 200 £43.00 QB-667L ..................£34.95

MTL8350B ................£149.99 KAISER

Flipside 200 ................£49.95 776YB M-Y . ...............£28.95 Explorer 300 ...............£49.00 QRA-635L .................£39.95

MTL8351B ................£148.99 Dome Studio 75x75cm ........£36.95 Flipside 300 ................£56.95 790B Modo ................£24.95 Pro 5.....£29.97 Pro 8 .....£59.95 VISIBLE DUST

MTL8361B ................£159.99 Dome Studio 60x60cm ........£29.95 Flipside 400 ................£79.95 056 .....£23.95 222 .......£66.95 Pro 12....................£79.95 Arctic Butterfly SL700 PLUS FREE

MTL3261B .................£49.97 KATA

Inverse 100AW . ............£44.90 322RC2 ..£84.95 492 .......£32.95 Pro Digital Zoom 5...........£39.14 MINI KIT while stocks last ......£49.95

MTL8360B ................£168.99 FREE E-702 RAINCOVER with all R, HB, Inverse 200AW . ............£55.95 026 Light Umbrella Clamp .....£21.95 Pro Digital Zoom 7...........£34.21 Arctic Butterfly SL700 Travel Kit . . .£104.95

MTL9241B .................£69.99 BP series GDC bags while stocks last Lens Case 1, 1M, 1N, 1Seach ..£10.95 035 Superclamp ............£16.95 Pro Digital Zoom 10 ..........£50.88 Arctic Butterfly SL724 BriteVue ...£76.95

MTL9251B .................£64.90 R-101 Backpack .............£95.95 Lens Case 1W, 2each ........£12.95 038 Double Superclamp .......£34.95 System 2...£24.42 System 3 . .£28.29 Arctic Butterfly SL724 Brite

MTL9271B (was MTL3271B) ....£83.95 R-102 Backpack ............£107.95 Lens Case 2S ...............£13.65 042 Extension Arm ...........£13.95 System 6 . .................£46.95 Travel Kit .................£126.95

MTL9340B .................£72.95 R-103 Backpack ............£144.95 Lens Case 3................£15.95 341 Junior Elbow Bracket ......£44.95 Ultra Pro 11 £149.99 Ultra Pro 13£159.99 Arctic Butterfly SL724/7x Loupe . . . .£126.95

MTL9351B .................£76.95 R-104 Backpack ............£219.95 Lens Case 4................£20.95 MBagD ...................£12.95 Velocity 5X Hip Pack ..........£36.95 SD800 Pro Kit .............£109.95

MTL9361B (was MTL3361B) ....£94.95 R-106 Backpack ............£239.95 Lens Case 4S ...............£19.95 MBag70 ..................£23.95 Velocity 6X .................£24.95 HDF Sensor Brush ...........£31.95

MTL3261B +MH5001 .......£113.97 HB-205 Backpack ..........£165.95 Lens Case 5................£27.95 MBag80 ..................£32.95 Velocity 7X .................£37.95 Sensor Loupe 7x ............£59.95

MTL3261B +MH7002-652 ....£79.97 HB-207 Backpack ..........£169.95 Lens Case 5S ...............£26.95 MBag80P .................£47.95 Velocity 8X .................£40.95 Sensor Clean 8ml ...........£14.50

MT8246B +MH-7002-652 . . . . .£189.95 BP-502 ..................£239.95 Lens Trekker 600AW II . ......£129.90 MBag90P .................£59.95 Velocity 9X .................£45.95 Smear away 7.5ml ...........£14.50

MTL8350B +MH5001B ......£182.99 C-52 ....£19.53 C-54 ......£22.46 Magnum 200AW . ..........£109.99 MBag100P ................£68.95 Velocity 10X ................£56.95 Orange Corner Swabs 16 ......£22.95

MTL9251B +MH5001 ........£97.95 C-56 ....£34.21 C-58 ......£48.89 Magnum 400AW . ..........£139.95 MBag120P ................£77.95 Water bottle carrier ............£9.95 Orange Sensor Swabs 12 ......£26.95

MTL9351B +MH7001-652 . . . . .£104.95 C-59 .....................£77.27 Magnum 650AW . ..........£169.95 595 Fig Rig ...............£189.95 Batt/Card management wallet 2 . .£5.95 Mini Kit ...................£29.95

MTL9361B +MH7001-652 . . . . .£126.95 DB-453 ..£39.95 DB-455 ....£47.95 Napoli 5..£12.95 Napoli 10 ..£12.95 595CLA Clamp .............£49.95 Batt/Card management wallet 4 . .£5.95 Green Sensor Swabs 12 .......£26.95

MML3260B ................£26.95 DC-433 ..£22.95 DC-435 ...£23.95 Napoli 20 .£14.95 Napoli 30 ..£14.95 595BAG . .................£49.95 Batt/Card management wallet 8 . .£7.78 Swabs &Fluid Starter Pack .....£26.95

Manfrotto 7322YB M-YTripod



The manfrotto 7322CY is a four section

carbon fibre tripod with two different

angle positions for the legs. Complete

with non - removeable ball head. FREE

BACKPACK! Designed to be worn as a

shoulder bag in a horizontal or vertical

position or as a Backpack. Fits 17” laptops and a tripod

compartment is integrated. An inner camera detachable

pouch protects your camera, or can be used as a stand

alone shoulder bag.

7322YB M-Y MORRIS SAVE YOU £20! £109.95

More on our website

FREE UK mainland delivery over £65

Manfrotto 190XDB +056

Light in weight and compact, the leg angle release

mechanism and the wing locking knobs have been

greatly improved. The 190XDB does not feature a

horizontal centre column feature, it does share a

new ergonomically improved design with its

190XPROB sibling. The 056 head features a self

adjusting conical bearing locking system that allows

360° rotation on both the vertical and

horizontal plane. This is the ideal head for

35mm and light to medium format work.


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190XDB Tripod + 056 Head £89.95

Lowepro Fastpack 200

Go all day with the lightweight, comfortable

Fastpack backpacks. With a wide range of

sizes, they protect your digital/ pro digital

SLRs as well as widescreen notebooks while

providing storage for other gear. Side-entry compartments

let you quickly grab equipment & accessories. Customize

the easy-access main compartment with adjustable dividers.

Fastpack 200 shown £45.95

Fastpack 100 £37.97

Fastpack 250 MORRIS SAVE YOU £19! £55.95

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On-One Plug-In Suite 4.5



to v5

The ultimate creative suite for Photoshop

users. Revolutionise your digital workflow,

you get six essential Photoshop/Elements

plug-ins that can transform your digital

images and dramatically increase your productivity.

Plug-In Suite 4.5 +Upgrade £239.00

Giottos MTL9251B +MH5011

Vertical column 3 Section aluminium tripod offering

simple yet stable support. The legs feature the new

quick action lever locks to make tripod set up

quick and easy, foam grips on top leg sections

means repositioning of the tripod is comfortable

while quick release locks allow the leg angle

settings to be adjusted independently. MH5011

head is ideal for those looking for

precise and accurate camera positioning. Each

axis of movement is controlled by a lockable


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handle so that you can adjust them independently.

MTL9251B +MH5011 £96.90 &

Manfrotto 190XDB +486RC2


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Light in weight and compact. The leg angle

release mechanism and the wing locking

knobs have been greatly improved. The

Manfrotto 486RC2 Compact Ball Head is

strong enough to take 35mm SLR cam-

eras with medium lenses, and light medium format cameras.

It has a single indexed "ratchet" locking knob for

360° pan and +90° -90° tilt movements.

Manfrotto 190XDB +486RC2 £94.99

In-Store Days at Morris

10am till 4pm with representatives from the relevant

brands here to answer queries and demonstrate

products. Special deals on the day as follows..

XRite, Spyder, Color Munki, Tamrac, Slik,

Sunpak, Gossen, Lensbaby & Plustek,

Kata, Manfrotto, Gitzo & Visible Dust

Saturday 19th December

ThinkTank Photo Bags &Ricoh

See the newly launched

Ricoh GXR system




All prices subject to stock availability. E&OE.

Lenses All your

questions answered

Do you know your IS from

your VR and understand the

main types of vignetting?

Can you spot a converging

vertical? No? Then read our

ultimate lens FAQ…

F rom the outside

they look simple

enough, but

what’s really going on

inside your camera lens?

Well, a lens can house

up to 20 or so individual

lenses in a dozen or more

groups. Other moving parts

include the aperture

blades, which are often

curved to give more

pleasing depth of fi eld

effects, and an autofocus

motor. Then there are all

the electronics needed for

communicating with your

camera... Clearly, D-SLR

lenses are anything but

simple devices, but you &

Lens FAQ

don’t need a PhD in optical

engineering to understand

how to get the most from

them. In this feature, we’ll

answer some of the most

common lens questions,

while also explaining how to

work around the perennial

problem of distortion. Oh,

and we’ll explain how you

can prevent your lenses

from steaming up, too!

January 2010 Digital Camera 115


Why is there such a huge

1 price difference in lenses?

Expensive lenses generally deliver

much better optical quality than cheap

models, because they usually include

advanced low-dispersion glass, highly

customised aspherical elements, exotic

coatings to reduce ghosting and fl are, and are

manufactured with greater precision to deliver

the very best standards of image quality.

In addition, professional zoom lenses tend

to offer faster maximum apertures, which

remain fi xed throughout the zoom range and

are referred to as ‘constant aperture’ lenses.

These will also have a much more rugged and

robust build quality, capable of standing up

to demanding use on a daily basis. They often

feature splash-proof and dust-resistant seals,

too, so they can be used in any weather

conditions and survive the consequences.

What is the ‘sweet spot’ of

2 a lens, and how do I fi nd it?

Practically all lenses fail to give their

sharpest detail and greatest contrast when

shooting ‘wide open’ at their maximum

apertures. To achieve the best image quality

possible, it’s usually best practice to ‘stop

down’ by two or three stops so, for example,

with a lens that has a maximum aperture of

f/2.8, you’d shoot at f/5.6 or f/8. To fi nd the

sweet spot of your lens, take a series of test

3 There are three main types of

vignetting associated with camera

lenses, each of them producing

images that are darker towards the corners

than in the centre of the frame. With optical

vignetting, light entering the lens from

directly in front of the camera illuminates

all elements equally, whereas elements

towards the rear of the lens are more

shaded from light entering at an angle than

When shooting in low light, be sure to keep the all-important crop factor in mind

when working out the minimum shutter speed you need to avoid camera shake

shots throughout the whole aperture range

and bear in mind that, for zoom lenses, the

sweet spot aperture may be different at

varying zoom settings.

When reviewing the results, you’ll probably

notice that while the quality initially increases

as you start stopping down, it will decrease

again at very small apertures, such as f/22

or f/32, due to the effects of diffraction.

the front elements. Optical vignetting can

be overcome by reducing the aperture from

its largest setting by two or three stops.

Mechanical vignetting is common when

using very wide-angle lenses, where the

corners of the fi eld of view are physically

obscured by objects such as thick screw-in

fi lters or lens hoods that extend too far in

front of the lens. You can normally cure the

problem by using screw-in fi lters that have


What’s the slowest shutter

speed I can use when

hand-holding my camera?

The rule of thumb is that the slowest shutter

speed you can use without suffering from

camera shake is the reciprocal of the focal

length. However, this is for full-frame cameras

so, with most D-SLRs, you also need to take

the crop factor into account. For example,

What is ‘fall off’, and how do I avoid it?

116 Digital Camera January 2010 &

an ultra-thin construction, and by using

petal-shaped lens hoods that are

specifi cally designed for the lens.

Natural vignetting, also known as ‘fall

off’, is a function of the light from the lens

striking the sensor at more extreme angles

in the corners, compared to being more

direct in the centre. This is more of a

problem in compacts than D-SLRs, and can

be corrected in image-editing programs.

Matthew Richards

Matthew Richards

most Nikon cameras have a 1.5x crop factor,

so a 60mm lens will give an effective focal

length of 90mm. This means the minimum

shutter speed you would use is 1/90 sec,

rather than 1/60 sec.

Shutter speeds rarely tally exactly with

focal lengths so, where a 70mm lens would

be equivalent to 105mm, it’s best to err on

the side of caution and use a minimum shutter

speed of 1/125 sec.


How do I stop my lenses

steaming up and clear the

moisture when this happens?

Steaming up is caused by a sudden change

from a cold environment to a warm one. For

example, if you leave your camera in the boot

of your car on a cold winter’s night, then bring

it into a warm building in the morning, the

outer surfaces of the camera and lens can

be covered in moisture almost instantly.

The best plan is to apply temperature

changes gradually, but if this isn’t possible,

simply leave the camera to come up to the

ambient temperature naturally. If you really

can’t wait, use a clean cloth to gently wipe

the front lens element, using a circular action.

The danger here is that if there’s any grit on

the lens you could easily scratch the element,

so for safety’s sake, have a screw-in UV fi lter

fi tted permanently.

What is chromatic

6 aberration?

This is also called ‘colour fringing’,

because it produces either red/cyan, blue/

yellow or even green/magenta fringing, which

is a mix of the two colours around an image’s

high-contrast edges. It’s caused by the lens

focusing different wavelengths of light at

different points, either at varying distances

along the path of light (longitudinal) or shifted

in a transverse direction (lateral).

To reduce chromatic aberration,

manufacturers typically combine pairs

of elements that have different refractive

indexes, called ‘achromatic doublets’, which

work together to cancel out refraction.

High-quality lenses also often include

elements made from specialised hybrid glass

to minimise the dispersion of light, such as

Nikon ED (Extra-low Dispersion) and Canon

UD (Ultra-low Dispersion) glass.


What are ghosting

and fl are? And how

can I avoid them?

These are effects caused by

stray light bouncing around

inside the lens, refl ected

between the various elements

Why would I

need to use

a prime lens?

8 Zoom lenses are wonderfully

convenient and versatile, but

unfortunately there’s almost

always a compromise to be made when it

comes to image quality.

Common degradations include barrel

and pincushion distortions, increased

chromatic aberrations and vignetting at

the wide-angle end. Prime (fi xed focal

length) lenses typically suffer much less

from these unwanted attributes, as well as

delivering sharper images into the bargain.

Another bonus is that prime lenses

usually offer larger maximum apertures,

being referred to as ‘fast’ lenses, because

the bigger apertures enable faster shutter

speeds. This is extremely useful for

avoiding camera shake under dull lighting

conditions, so there’s less reliance on

fl ash, as well as for freezing the action and

avoiding motion blur.

Another bonus in portraiture is that

large apertures tend to give a smaller

depth of fi eld, which makes it easier to

blur any distracting backgrounds and focus

the attention on the subject instead.

Prime lenses with ‘fast’

maximum apertures are great

for reducing depth of fi eld

and the inside of the lens barrel. A loss of

detail and colour as well as the creation of

ghost images are most commonly caused

by intense light sources within the fi eld of

view, or close to its periphery.

The most effective solution is to avoid

shooting into the light, but this isn’t always

possible. For example, when shooting &

Lens FAQ

Matthew Richards

January 2010 Digital Camera 117 &

Ed Godden

Converging verticals are a common

problem with architectural shots, and

the effect is more extreme if you’re

shooting at a wide-angle zoom setting

portraits on a sunny day, it’s common practice

to position subjects with their backs to the sun

and to use fi ll-in fl ash to illuminate their faces.

Ghosting and fl are can then be a huge problem

so, in scenarios such as this, high-quality

lenses come into their own, featuring highly

specialised coatings not only on the front

element but also on internal elements to

minimise the effects. The best way to reduce

ghosting and fl are is to fi t a lens hood, which

cuts out extraneous light falling onto the lens

from an oblique angle.


How can I avoid

converging verticals when

shooting architecture?

Photograph any tall building from a short

distance away, standing at ground level, and

its roofl ine will be much further away from you

than its base. Because parallel lines appear to

converge at distance, the outer edges of the

building will look like they’re leaning in towards

each other. Pointing the camera upwards with

a wide-angle zoom setting exaggerates the

effect, so the fi rst thing to do is to move

further away. A secondary advantage of doing

this is that you won’t have to use such a

wide-angle zoom setting, so you’ll avoid barrel

distortion as well (see tip 14).

If possible, fi nd a higher vantage point so

you can keep the camera as level as possible.

From close in at ground level, the only really

effective solution is to use a tilt-and-shift lens,

also called a Perspective Correction lens.

However, these cost over £1,000 to buy and

are fi ddly to use, so a cheaper alternative is

to correct barrel and perspective distortion

at the editing stage. Photoshop Elements

has a particularly good Camera Distortion

Correction tool that’s perfect for the job.


Does depth of fi eld depend on

a lens’s focal length, or does

crop factor have an effect?

The short answer is that both have an effect,

but depth of fi eld is much more closely related

to the actual focal length of the lens. For

example, when shooting with a 60mm on a

camera with a crop factor of 1.5x, you get the

same effective focal length as shooting with

a 90mm lens on a full-frame camera. However,

the depth of fi eld at any given aperture will be

rather less when using the 90mm lens. This is

one of the reasons that many photographers

prefer full-frame cameras, as tighter depths of

fi eld are available when shooting.


What is hyperfocal distance,

and how should I use it?

The hyperfocal distance is the

shortest possible focus distance where

everything from close-range to infi nity will &

remain sharp in the resulting image. It

depends on the focal length of your lens and

the aperture you’re using, as well as the crop

factor of your camera. It’s most useful with

wide-angle lenses, when shooting landscapes

that include close foreground interest. For

example, let’s assume you’re shooting with

a 17mm zoom setting on a Canon EOS 450D.

At f/8, the hyperfocal distance will be 1.92m,

at f/11 it will be 1.36m and at f/16 it will be

0.97m. Manually set the focus distance to the

hyperfocal value and everything from half the

hyperfocal distance to infi nity should be sharp.

At f/16, this would be just under 50cm to

infi nity. For a handy online calculator, go to


Lens FAQ

What are different image

stabilisation modes and

when should I use them?

Image stabilisation (IS) is a bit of a minefi eld,

with different makes and models of lenses

sporting a variety of different modes. For

example, in dual-mode systems, it’s generally

safe to assume that Mode 1 is for normal

handheld use. However, Mode 2 might either

be for more extreme use, such as shooting

from a vehicle, or it could be for panning,

where image stabilisation is only applied in the

vertical plane. Many newer stabilised lenses

can automatically detect panning in either the

horizontal or vertical plane and adjust their

performance automatically, without you having

to switch between modes.

Another factor is that stabilisation can

be detrimental when the camera is mounted

on a fi rm platform, actually degrading image

sharpness, so turn it off if you’re using a sturdy

tripod, especially for long exposures. Again, not

all stabilised lenses are created equal in this

respect, and some of the latest lenses feature

automatic tripod detection. Finally, some early

designs of stabiliser were notorious for taxing

the camera battery so, in these cases, you

can greatly extend battery life by switching IS

off when you don’t need to use it.

Imagine stabilisation (IS) is

a useful tool, but you have to

know how to use it

January 2010 Digital Camera 119


Should I use manual focus?

Autofocus can struggle in certain

13 circumstances, especially when

subjects don’t have much detail

or have little contrast, or there’s a

presence of many regularly repeating lines,

so you’re better off switching to manual.

Manual focus is also very useful in macro

shooting, where the main point of interest

may not correspond exactly with one of

Manual focus is particularly useful for macro shooting, where you have an

incredibly small depth of fi eld to work with

Barrel Pincushion

The differing effects of wide-angle barrel and telephoto pincushion distortion

What is barrel and

14 pincushion distortion?

Zoom lenses suffer from barrel

distortion at the wide-angle end and

pincushioning at telephoto settings. Barrel

distortion is most noticeable when you have

straight vertical or horizontal lines near the

edges of the frame, making the lines bow

outwards and look barrel-shaped (it’s a

120 Digital Camera January 2010

the camera’s AF points and, because

macro focusing is so critical, you can’t

autofocus and then reposition the camera

to recompose the shot because accurate

focusing will almost certainly be lost.

A handy trick for macro work is to switch

to Live View, if supported by your D-SLR,

and use a magnifi ed display on the LCD

screen to adjust manual focus.

common headache when shooting buildings).

Pincushioning is the opposite niggle: lines bow

inwards towards the centre of the image.

Regular barrel and pincushion distortions are

fairly easy to correct in image-editing programs

such as Photoshop. However, superzoom

lenses, such as 18-200mm models, often

produce more irregular, wavy distortions that

are much harder to fi x. &

Matthew Richards

Matthew Richards

Jargon buster


Whereas full-frame D-SLRs have a sensor

the same size as a 35mm fi lm frame

(36x24mm), most D-SLRs use a smaller

APS-C sensor, derived from an Advanced

Photo System-sized negative.


These complex and customised shapes

of lens elements can improve optical

performance as well as reduce the

number of individual elements required,

enabling more compact lens design.


A special type of lens element created

from hybrid glass to minimise the

dispersion of different wavelengths of

light, reducing chromatic aberrations.

Autofocus (silent)

Advanced, fast and near-silent autofocus

systems include Canon USM (Ultrasonic

Motor), Nikon AF-S (Silent Wave) and

Sigma HSM (Hypersonic Motor).

Constant aperture

A zoom lens where the maximum

aperture remains constant – 17-55mm

f/2.8, as opposed to 18-55mm f/3.5-5.6,

for example.


When used with compatible lenses, a

converter or ‘teleconverter’ can extend

the telephoto reach, typically by 1.4x or

2x. Canon calls them ‘Extenders’.

Image circle

The image projected by a camera lens is

actually circular rather than rectangular

and, apart from circular fi sheye lenses,

the image circle must be large enough

to overlap the edges of the sensor and

reach right to its corners.

Optical stabiliser

Optical stabilisers give up to a four-stop

advantage. Systems include Canon IS

(Image Stabilizer), Nikon VR (Vibration

Reduction), Sigma OS (Optical Stabilizer)

and Tamron VC (Vibration Correction).

Internal focus

With an internally focusing lens, the front

element neither extends nor rotates

throughout the focus range. Useful

with orientation-specifi c fi lters such as

circular polarisers and enabling the use

of petal-shaped lens hoods.


A true macro lens

can reproduce a subject

at its closest focus

distance at full life-size

on the sensor, with

at least a 1/1 or 1x

magnifi cation ratio.

29 local branches at:

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Winchester 15 The Square

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Worcester 8 Pump Street

Tel: 01905 22314

Most branches open 9am-5.30pm Mon–Sat.

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Body SRP £1,699.00

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• 12.2 MP CMOS sensor

• 3.5fps

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Body Price £435.00*

450D + 18-55mm IS £499.99*

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SRP £449.00

14mm f/2.8L II USM £1,899.99

15mm f/2.8 Fisheye £624.99

20mm f/2.8 USM £409.99

24mm f/1.4L Mk II USM £1,349.99

24mm f/2.8 £368.99

28mm f/1.8 USM £384.99

28mm f/2.8 £162.99

35mm f/1.4L USM £1,153.99

35mm f/2.0 £214.99

50mm f/1.2 L USM £1,269.00

50mm f/1.4 USM £299.99

50mm f/1.8 II £94.99

50mm f/2.5 Macro £233.99

EF-S 60mm f/2.8 Macro £337.99

MP-E 65mm f/2.8 £853.99

85mm f/1.2L II USM £1,769.00

85mm f/1.8 USM £309.99

100mm f/2 USM £372.99

100mm f/2.8 USM Macro £424.99

100mm f/2.8L Macro IS USM £859.00

135mm f/2.0L USM £913.99

135mm f/2.8 Soft Focus £349.99

180mm f/3.5L USM Macro £1,248.99

200mm f/2.0L IS USM £4,839.99

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200mm f/2.8L USM/2 £638.99

300mm f/2.8L USM IS £3,787.00

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EF-S 18-55mm (Unboxed) £66.00

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EF-S 18-135mm f/3.5-5.6 IS £388.99

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24-70mm f/2.8L USM £959.99

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14mm f/2.8 DA ED IF SMC £539.00

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21mm f/3.2 DA ED IF Limited £449.99

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35mm f/2.8 Macro Limited £475.00

40mm f/2.8 DA SMC Limited £369.00

43mm f/1.9 SMC FA Limited £759.00

50mm f/1.4 SMC FA £399.99

50mm f/2.8 MACRO DFA £439.99

55mm f/1.4 SDM £579.99

70mm f/2.4 SMC DA Limited £469.99

77mm f/1.8 Limited (Silver) £679.00

77mm f/1.8 Limited (Black) £779.00

100mm f/2.8 D FA Macro £499.99

200mm f/2.8 DA ED IF SDM £999.00

300mm f/4 DA ED IF SDM £1,049.99

10-17mm f/3.5-4.5 DA ED IF £499.99

17-70mm DA f/4 AL IF SDM £479.99

16-45mm f/4 ED AL SMC £229.99

16-50mm f/2.8 ED AL IF SDM £799.99

18-55mm f/3.5-5.6 DA AL SMC £29.99

18-55mm f/3.5-5.6 (Unboxed) £25.00

12-24mm f/4 DA ED AL (IF) £899.99

18-55mm f/3.5-5.6 DA AL II £50.00

18-55mm f/3.5-5.6 DA AL WR £110.00

20-35mm f4 FA AL £1,249.00

50-135mm f/2.8 ED IF SDM £859.99

50-200mm f/4-5.6 (Unboxed) £99.99

50-200mm f/4-5.6 ED WR £199.99

55-300mm f/4.0-5.8 £279.99


Whether youvisit our store, call us or buy online, you can always be sure of a great deal and superb service

visit us online at

Tel: 01444 23 70 59

All prices include VAT @ 15% Opening times Mon-Sat 8:45-5:45pm; Thursday 8:45-7.30pm; Sunday 10:15-4.30pm. Sunday trading is for in-store only. Store address : York Road, Victoria Business Park, Burgess Hill, West Sussex RH15 9TT.

We accept Visa, Mastercard, Switch/Maestro. Figures in Brackets indicates stock level held at unrepeatable prices at time of going to print. All products are UK stock. E&OE. * = Please mention “Digital Camera Magazine” for this special price

Prices correct at time of going to press; Prices subject to change; check website for latest prices.


• 12.0 million pixels

• 24x Optical Zoom

• Triple Shake Reduction


• 2.7” LCD Screen

Free delivery available on all Digital Cameras,

Digital Camcorders, Printers* and Scanners to a

UK mainland on a next working day basis.

Please phone or visit our website for other delivery charges.

• Innovative vari-angle LCD monitor

• Live View and D-Movie

• 12.3 megapixels &

wide ISO range

• Extensive in-camera retouch menu

Our Price £449.99

D5000 + 18-55mm VR £579.99

Nikon CF-DC2 Semi Soft Case wbw £49.00

Nikon EN-EL9a Battery wbw £52.00



Our Price £299.00 or

+ SanDisk 4GB SD £310.49*

Body SRP


• 14.6 million pixels

• Sensor shake system

• Dust Alert

• 2.7” LCD with Live View

• 2 year warranty from

Park Cameras

SAVE £190.99!

Body Price £579.00

or + 18-55mm II £629.00

*Over the value of £50.00

Brand new Digital SLR from Nikon now in stock at Park Cameras!

Please see our website for the latest LOW PRICES!!



• 12.3 megapixel DX format

• Self-cleaning sensor unit

• D-Movie function offers

Motion JPEG movies in

exceptional D-SLR image quality

Our Price £634.00

D90 + 18-105mm VR £839.00

Nikon CF-D80 Semi Soft Case wbw £43.00

Nikon EN-EL3e Battery wbw £45.00


• 12.2 megapixels

• ISO 200-6400

• 3.0” LCD with Live View

• Mag. alloy body

NEW Digital slr from nikon - Now In stock!!

• 12.1 megapixel FX (full-frame) CMOS sensor

• ISO 200 – 12,800

• 9fps consecutive shooting (11fps in DX Crop mode)

• D-Movie records high-definition (HD) movie clips

• 3-inch VGA LCD monitor

• Durable Magnesium alloy body

For the latest LOW Price on the Nikon D3s, as well a variety of

money saving offers, please visit

NEW Digital slr from nikon - NOW IN STOCK!!

• 12.3 megapixel DX format CMOS image sensor

• 7 fps continuous shooting

• Records beautiful, high-definition (HD) movie clips

• ISO 200-3200 extendable up to ISO 6400

• D-Movie with stereo microphone terminal

• Dual card slots for CF/SD memory cards

• Guide Mode

• 10.2 megapixel CCD sensor

• 11-point autofocus system

• 3.0” LCD Screen

• Fast response

Our Price £324.99

D3000 + 18-55mm VR £399.99

Nikon CF-DC1 Semi Soft Case wbw £39.99

Nikon EN-EL9a Battery wbw £52.00

Body Price £2,799.00

+ 14-24mm VR £4,148.99

+ 24-70mm f/2.8 £3,993.00

Nikon EN-EL4a Batt. wbw £90.00

• 12.1 megapixels

• Full Frame CMOS Sensor

• 5 fps continuous shooting

• 3.0" LCD Screen

• Live View with Autofocus

Body Price £1,799.99

+ 14-24mm £3,099.99

+ 105mm Micro £2,399.98

Nikon EN-EL3e Batt. wbw £45.00


• 24.5 MP FX format sensor

• ISO 100 – 1600

• 5fps consecutive shooting

• 3.0" LCD with Live View

• Magnesium alloy body

Body Price £4,799.00

+ 14-24mm VR £6,148.99

+ 24-70mm f/2.8 £5,993.00

Nikon EN-EL4a Batt. wbw £90.00

For compact Nikon Digital Cameras, please visit our website &



• High quality, weather-resistant & dust-resistant construction

• SDM autofocus

• Extra low dispersion glass

• Excellent Range

AF-G 10.5mm f/2.8G ED DX Fisheye £539.99

AF-D 14mm f/2.8D £1,179.99

AF-D 16mm f/2.8D £589.00

AF-D 20mm f/2.8 £453.99

AF-D 24mm f/2.8D £339.99

PC-E 24mm f/3.5D ED MF £1,339.99

AF-D 28mm f2.8 £213.99

AF-D 35mm f2 £248.99

AF-S 35mm f1.8 DX £169.99

PC-E 45mm f/2.8D ED Micro £1,389.99

AF 50mm f1.4D £239.99

AF-S 50mm f/1.4G £279.99

AF-D 50mm f1.8 £113.99

AF-S 60mm f2.8G Micro ED £387.99

AF-S 85mm f/3.5G DX Micro £499.99

AF-D 85mm f1.8D £298.99

AF-D 85mm f1.4 (IF) £879.99

AF-S 105mm f/2.8G VR IF-ED Micro £649.99

PC-E 85mm f/2.8D ED Micro MF £1,269.99

AF-DC 105mm f2 Nikkor £788.99

AF-D 135mm f/2.0D £949.99

AF-D 180mm f2.8 IF ED £608.99

AF-D 200mm f/4D IF ED Micro £1,094.99

AF-S 200mm f/2G IF ED VR £2,999.00

AF-S 300mm f/2.8G IF-ED VR £3,893.99

AF-S 300mm f/4 D IF-ED £949.99

AF-S 400mm f/2.8G ED VR £6,379.00

AF-S 500mm f/4G ED VR £5,749.99

AF-S 600mm f/4G ED VR £6,779.99

AF-S 10-24mm f/3.5-4.5G DX ED £699.99

AF-S DX 12-24mm f4 G IF-ED £798.99

AF-S 14-24mm f2.8G ED £1,349.99

AF-S DX 16-85mm f3.5-5.6G ED VR £443.99

AF-S 17-55mm f/2.8G IF-ED DX £999.99

AF-S DX 18-55mm VR white box £130.00

AF-S 18-70mm f/3.5-4.5G IF ED DX £309.99

AF-S 18-105mm VR White Box £205.00

AF-S 18-105mm f/3.5-5.6G ED VR £209.99

AF-S 18-135mm f/3.5-5.6G IF ED DX £309.99

AF-S 18-200mm f/3.5-5.6 IF ED DX VR £539.99

AF-S 18-200mm f/3.5-5.6G ED VR II £639.00

AF-S 24-70mm f2.8G ED £1,194.00

AF-D 24-85mm f/2.8-4 £508.99

AF-S 24-120mm f/3.5-5.6G IF ED VR £529.99

AF-S 55-200mm f/4-5.6G DX Black £189.99

AF-S 55-200mm f/4-5.6 VR DX £233.99

AF-S 70-200mm f/2.8 G (IF) VR ED £1,509.99

AF-S 70-200mm f/2.8 G (IF) VR ED II £1,999.99

AF-S 70-300mm f/4.5-5.6G IF ED VR £439.99

AF-D 80-400mm f4.5-5.6D ED VR £1,144.99

AF-S 200-400mm f/4G IF-ED VR £4,679.99

• 12.4 million pixels

• User-friendly operation

• 4.7 fps

• 2.7” LCD Screen

• Available in Black, Blue

Red or White Designs


+ 18-55mm £549.00 or

Twin Lens kit £664.99

Body SRP

£769.99 • 14.6 million pixels

• Sensor shake system

• Video Recording

• 3.0” LCD with Live View

• 2 year warranty from

Park Cameras

SAVE £260.99!

Body Price £939.99

or + 18-55mm WP £999.99

Our Price



Body SRP


Compact with FREE Case!

DSC W275 - Black

Only £189.99


380 + 18-55mm







SRP £259.99





Only £479.99

SRP £699.99


Battery Grips

VG-B30AM (a300, a350) £139.99

VG-B30AM (a500, a550)See Web

VGC-70AM (a700) £239.99

VGC-90AM (a900) £249.99


NP-FH50 (a230, a380) £49.99

NP-FH500H (a200, a350, a500,

a550, a800, a950) £39.99

DSC S930 £99.00

DSC S950 £109.00

DSC T90 £239.00

DSC T900 Silver £249.00

DSC W220 £159.00

DSC W270 £229.00

DSC W300 £219.99

DSC H50 £259.99

DSC HX1 Black £379.00


12.1 Megapixel Digital SLR

G1 + 14-45mm £428.00!**

Twin Lens Kit £599.00**

**Price after Cashback (Cashback ends 31/01/2010)


230 + 18-55mm

Only £339.00







See Website!

SRP £599.00



Only £1,648.00

SRP £1,999.00

Sony Alpha Lenses

50mm f2.8 Macro (2) £509.99

Carl Zeiss T* 85mm f1.4 £949.00

100mm f2.8 Macro £495.00

Carl Zeiss T* DT 16-80 £549.99

DT 18-70mm f3.5-5.6 £95.00

DT 18-200mm f3.5-6.3 £279.00

Carl Zeiss T* 24-70mm £1,299.99

70-200mm f2.8 G £1,499.99

70-300 f/4.5-5.6 G £659.00

For full details on the latest Sony Digital

SLRs, please see our website


12.1 Megapixel Digital SLR

GF1 + 14-45mm £589.99!

GF1 + 20mm f/1.7 £689.00!

Body SRP £569.99

Panasonic Cashback ends 31/01/2010!!

LOW Prices on

Epson Stylus PX810W

All in One Printer

Hi-Definition, All-in-One

Printer with Fax & Wi-Fi

New Low Price £269.99*

SRP £299.99

Stylus Photo PX810FW All this for

+ extra set of inks

+ USB Cable £299.98!

Epson Printers

PictureMate 280

The portable photo solution

Our Price £69.99

Stylus Photo P50 (A4) £87.00

Stylus Photo PX650 (A4) £119.99

Stylus Photo PX710 (A4) £149.99

Stylus Photo R800 (A4) £259.99

Stylus Photo 1400 (A3+) £279.99

Stylus Photo R2880 (A3+) £559.99*

Stylus Photo Pro 3880 (A3+) IN STOCK!

Stylus Photo Pro 7880 (A1+) £2,499.00**

**after loyalty cashback from Epson







SRP £519.99






350 Twin Lens Kit

Hurry for

last stock!





Only £549.00

SRP £749.99


550 + 18-55mm





Only £629.00

SRP £759.00

Sony Camcorders

DCR HC51E £219.99

DCR HC62E £269.99

DCRDVD150E DVD £269.99

DCRDVD450E DVD(4) £299.99

HDR CX11E £549.99

HDR CX105E HDMI £399.00

HDR XR105E 80GB £499.00

HDR - XR200VE HD £879.00

HDR - XR520VE HD £979.00

HDR FX1000E HDV £2,999.00

Save a further

£30.00 on a

DMC-G1 with



Epson Stylus Photo R1900

A3+ Printer

Improved vibrancy & facial tones

with Red & Orange ink Cartriges

New Low Price £449.99

Epson Scanners

Perfection 4490 Photo (Flatbed) £139.99

Perfection V30 Photo (Flatbed) £64.99*

Perfection V350 Photo (Flatbed) £99.99*

Perfection V500 Photo (Flatbed) £179.99*

Perfection V600 Photo (Flatbed) £229.00

Perfection V700 Photo (Flatbed) £399.99

Perfection V750 Photo (Flatbed) £539.99

Epson Viewers

P-3000 (40GB) Limited Offer! £289.99*

P-6000 (80GB) £399.99*

P-7000 (120GB) £449.99

See our website for low prices on consumables



Half Price extended warranty available whilst stock

lasts. See website or visit us in-store


range for Photographers


Bigger, Brighter, Sharper

Only £1,199.99 £1,249.99

SRP £1,272.33

EB-W6 £629.99*

EB-1735W £1,399.99*

IT100 Black / Silver

Red/ Blue



Only £169.00*


• 6.0 Mega Pixels

• 60 frames per second

• 12x optical zoom

Our Price £399.99

+ 16GB SD HC Ultra II £444.99


• 9.1 Mega Pixels

• 30 frames per second

• Can record high speed

movies at up to 1000 fps

• 5x optical zoom

• Anti-Shake function

Our Price £179.99

+ 4GB SD HC £189.99

Why Buy from Park Cameras??

• Wide selection • Fantastic Low Prices • Expert Advice

• Over 250 products ‘live’ in our Touch and Try Showroom

• Over 1,000 lines in stock, instore • Free onsite parking

• Seminar room • Onsite photographic studio

• Extended Opening Hours & Sunday trading



SRP £199.99

GX-20 + 18-55mm lens

Limited number in stock!

Only £549.99*

SRP £899.99

SRP £749.99

• 10 Mega pixels

• Anti Dust System

Body £249.99

+ 14-42 £289.99

+ 14-42mm + 40-150mm £374.00

E-620 NOW IN


From Only


• 12.3 Mega Pixels

• Built-in portable creative studio

• Built-in image stabiliser


Black / Grey





Only £169.00*

SRP £249.99

For the latest new Digital Cameras,

please visit

Join Park Cameras on Facebook, YouTube and Twitter - Keeping You in the Picture





FinePix A170 Silver £69.99

FinePix J20 Pink (6) £84.99

FinePix J30 Black | Silver | Pink £89.99

FinePix Z30 (In 3 colours) £89.99

FinePix Z33 (In 5 colours) £129.99

FinePix Z35 (In 5 colours) £99.99

FinePix F70 EXR Grey | Silver £199.99

FinePix J250W Black £129.99

FinePix S1500 £139.00

ES15 (Silver) £69.99

ES55 (Available in 4 colours) £79.99

PL65 (Black/Silver/Grey) £139.99

PL60 (Available in 4 colours) £129.99

PL10 (Available in 6 colours) £169.99

PL55 NEW See Web

Digimax i8 Pink (3) £109.99

For full details on the latest new cameras, please visit our website

E-P1 + 14-42


Fujifilm Digital Cameras &

For money saving bundles with filters,

please visit our website

Lenses | Cameras | Flashguns | Accessories

SD15 - 14 Mega Pixel D- SLR NEW See Web

Sigma DP2 IN STOCK! £599.99

For Sigma's range of flashguns in a

variety of fits, please see our website

4.5mm f/2.8 EX DC £718.99

8mm f/3.5 EX DG £719.99

20mm f/1.8 EX DG £479.99

24mm f/1.8 EX DG £399.99

50mm f/1.4 EX DG HSM £359.99

50mm f/2.8 EX DG Macro £234.99

70mm f/2.8 EX DG Macro £374.00

300mm f/2.8 APO EX DG £2,154.00

500mm f/4.5 APO EX DG £3,769.00

10-20mm f/4-5.6 EX DC HSM £389.99

12-24mm f/4.5-5.6 EX DG HSM £679.99

15-30mm f/3.5-4.5 EX DG £259.99

17-70mm f/2.8-4.5 DC Macro £243.99

18-50mm f/2.8-4.5 DC OS £249.00

18-50mm f/2.8 EX DC HSM Macro£312.00

18-125mm f/3.5-5.6 DC OS HSM £244.00

Not a compact. Not an SLR. It's a PEN.

The PEN is the world's first mini-camera attaining SLR

camera level. It is small enough to be stashed away, readily

available for any occasion. Despite the size, it has SLR

quality, making it a valuable treasure to have at hand.

• 10 Mega Pixels

• Supersonic Wave Filter

• 2.7” LCD with Live View

• Creative Art Filters

New & Now in stock!

See web for latest deals



Body Only


• 12.3 Mega Pixels

• 2.7” LCD Screen with Live View

• Built-in image stabiliser

Capture your World

Like never before


Black / Silver



Samsung Digital Cameras



Only £239.99*

SRP £299.99

NV24 HD Silver + Cradle(7) £189.99

ST50 (Silver/Black/Red) £139.00

ST500 £199.99

ST550 NEW £244.99

ST1000 NEW £299.99

WB-550 £229.99

WB-5000 NEW £339.99

For all the latest information on all the Samsung Compact Digital

Cameras and Camcorders, please visit our website.

FinePix S2000HD £189.99

FinePix S100FS £329.00

FinePix S200 EXR £339.99

FinePix W1 Real 3D Camera

New & In Stock!!

Our Price £479.99


Fuji FinePix F200 EXR





Only £189.99

SRP £259.99

18-200mm f/3.5-6.3 DC £214.99

18-200mm f/3.5-6.3 DC OS £283.99

24-70mm f/2.8 EX DG Macro £423.99

24-70mm f/2.8 IF EX DG HSM £734.00

28-300mm f/3.5-6.3 DG Macro £244.99

50-150mm f/2.8 EX DC HSM II £559.99

55-200mm f/4-5.6 DC £74.99

50-500mm f/4-6.3 EX DG HSM £1,079.99

70-200mm f/2.8 EX DG HSM II £644.99

70-300mm f/4-5.6 APO DG Macro£174.99

100-300mm f/4 EX DG £1,119.99

120-300mm f/2.8 EX DG HSM £2,389.00

120-400mm f/4.5-5.6 DG OS £599.99

150-500mm f/5-6.3 DG OS HSM £719.99

200-500mm f/2.8 EX DG See Web

300-800mm f/5.6 EX DG HSM £7,249.00

Pre-Orders for the

E-P2 Taken Now!!

• 10 Mega Pixels

• Supersonic Wave Filter

• 2.7” LCD Screen with Live View

• Built-in image stabiliser

Body £308.99* + 14-42 £349.99*

+ 14-42mm + 40-150mm £443.99*

Olympus Olympus E-System E-System Lenses


25mm f/2.8 Pancake £199.00

12-60mm f/2.8-4.0 ED SWD £827.99

14-42mm f3.5-5.6 ED £99.99

14-54mm f/2.8-3.5 II £479.00

18-180mm f/3.5-6.3 £419.00

40-150mm f/4.0-5.6 ED £99.99

50-200mm f/2.8-3.5 ED SWD £989.99

70-300mm f/4.0-5.6 ED £319.00


New! • 01603 208769 • Unit B, Frenbury Est. Drayton High Rd. Norwich. NR6 5DP.


million pixels

•9fps and 51-point AF

• 7-stop ISO range of

200-12,800 with

up to ISO equiv.

of 102,400

• FX format HD





million pixels






SB-600 SB-900

Nikon SB-400 £114.99

Nikon SB-600 £219

Nikon SB-900 £319

NIKON Close-Up Speedlights

and Kits

Nikon SB-R200 £179


or £71 mth


Wireless Transmitter enables cable

free image transfer to a computer.

WT-1 Wireless Transmitter £371.90

WT-2 Wireless Transmitter £469.77

WT-3 Wireless Transmitter £391.47

Nikon DSLRs and DSLR kits at low prices

D90 +18-

105mm VR


10.5mm f2.8G IF-ED AF DX Fisheye Nikkor £509.89 or £21 mth

14mm f2.8D AF Nikkor £1159.89 or £47 mth

16mm f2.8D AF Fisheye Nikkor £569.89 or £23 mth

20mm f2.8D AF Nikkor £447.89 or £19 mth

24mm f2.8D AF Nikkor £322.99 or £14 mth

24mm f3.5D PC-E ED Perspective Control £1339.99 or £55 mth

28mm f2.8D AF Nikkor £212.99 or £9 mth

35mm f1.8 G AF-S DX £168.99

35mm f2D AF Nikkor £247.99 or £11 mth

45mm f2.8 PC-E £1359.89 or £56 mth

50mm f1.4D AF Nikkor £217.99 or £9 mth

50mm f1.4G AF-S £278.99 or £12 mth

50mm f1.8D AF Nikkor £103.99

60mm f2.8G AF-S ED Micro Nikkor £386.89 or £16 mth

60mm f2.8D AF Micro £314.89 or £13 mth

85mm f1.8D AF Nikkor £298.89 or £13 mth

85mm f1.4D AF Nikkor £868.89 or £36 mth

85mm f2.8D PC Micro Nikkor £1278.89 or £52 mth

85mm f2.8 PC-E £1314.89 or £54 mth

105mm f2.8G AF-S VR IF ED Micro Nikkor £593.89 or £25 mth

105mm f2 AF DC Nikkor £788.89 or £32 mth

135mm f2D AF DC Nikkor £938.89 or £39 mth




or £32 mth


12 . 3

million pixels

Claim £50 CASHBACK

from Nikon ††




+ 18-55mm VR


+ 18-105mm VR


£651 inc. Cashback ††


£464 inc. Cashback ††


£438 inc. Cashback ††

Claim up to


on the Nikon D5000 & D3000

Purchase a Nikon D5000

and receive £50 CASHBACK

Purchase a Nikon D3000

and receive £30 CASHBACK

Cashback available on purchases made between 5/11/09 –10/01/10.

Claims must be received by 15/02/10. For more information please

visit †† Terms and conditions apply - see Nikon

website for further details. Cashback is redeemed via Nikon only.



or £162 mth




million pixels




or £193 mth


or £26 mth

12 . 3

million pixels

Nikon Capture NX2 The next generation of

Nikon's image editing and processing software £129.25

Nikon Capture NX2 Upgrade £79.99

Nikon Capture NX £49.99

Nikon Camera Control Pro 2 £145

12 . 3

million pixels

• HD Movie Capability with

Stereo Mic terminal

•51-point autofocus system

•12.3 megapixel CMOS sensor and 7fps

•It has a large 3 inch TFT screen

•Dual SD and CF Memory Slots



10 . 2

million pixels




+ 18-55mm


+ 18-55mm VR


+ 18-105mm VR

• Ideal entry-level DLSR • 11-pt.

AF system • 3 fps • 3” TFT screen

180mm f2.8D AF IF-ED Nikkor £608.89 or £25 mth

200mm f4D AF Micro Nikkor £1088.89 or £45 mth

200mm f2 AF-S VR £3048.89 or £124mth

300mm f4 AF-S IF ED £948.89 or £41 mth

300mm f2.8G AF-S VR Nikkor £3893.99 or £158mth

400mm f2.8G AF-S ED VR Nikkor £6384.99 or £259mth

500mm f4 ED AF-S VR Nikkor £5614.99 or £228mth

600mm f4 ED AF-S VR Nikkor £6779.89 or £275mth

NEW! 10-24mm f3.5-4.5G AF-S DX £694 or £29mth

12-24mm f4 G AF-S IF-ED DX Zoom £794.89 or £33 mth

14-24mm f2.8 AF-S G ED £1269 or £52 mth

16-85mm f3.5-5.6G AF-S DX ED VR £443.89 or £18 mth

17-55mm f2.8G DX AF-S IF-ED £1024.89 or £42 mth

18-35mm f3.5-4.5D IF-ED AF Zoom £494.99 or £13 mth

18-55mm f3.5-5.6G AF-S DX ED MKII £123.89

18-55mm f3.5-5.6G AF-S DX VR £143.89

18-70mm f3.5-4.5 AF-S DX Zoom Nikkor £298.99 or £13 mth

18-105mm f 3.5-5.6G ED VR £216 or £9 mth

18-200mm f3.5-5.6G AF-S DX VR £524.89 or £22 mth

NEW! 18-200mm f3.5-5.6G AF-S DX VR II £649 or £27mth

24-70mm f2.8 AFS G ED £1194.89 or £49 mth

24-85mm f2.8-4D AF Zoom Nikkor £507.99 or £21 mth

FILTERS prices start from…

Circular Polarising £39.14

A12 Amber £27.39

B2 Blue £27.39

B8 Blue £27.39

L1BC Skylight £46.97

L37C UV £42.07


or £49 mth


£310 inc. Cashback ††


£359 inc. Cashback ††


£369 inc. Cashback ††


£469.99 inc. Cashback ††

Claim £30 CASHBACK

from Nikon ††

24-120mm f3.5-5.6G AF-S VR IF-ED Zoom £524.89 or £22 mth

55-200mm f4.5-5.6G AF-S DX - Black £178.89

55-200mm f4-5.6 AF-S DX VR IF-ED £233.99 or £10 mth

70-300mm f4.5-5.6G AF-S VR IF-ED £423.89 or £18 mth

NEW! 70-200mm f2.8G ED VR II £1999 or £81mth

80-400mm f4.5-5.6 AF-D VR £1144.89 or £47 mth

200-400mm f4G VR AF-S IF ED Zoom Nikkor £4628.89 or £188mth


AF-S TC-14EII £297.89

AF-S TC-17EII £297.89

AF-S TC-20EII £297.89

L39 UV £27.39

Neutral Colour £14.67

ND400 Neutral Density £27.39

ND4S Neutral Density £27.39

ND8S Neutral Density £27.39

O56 Orange £27.39



Nikkor 60mm f2.8G

ED AF-S Micro


or £16 per month


8mm £67.53

14mm £87.10

27.7mm £92.98

R60 Red £27.39

SOFT No.1 £96.88

X0 Green £27.39

Y48 Yellow £27.39

Y52 Yellow £27.39

C-PL1L Drop-in Circular £176.16

AS-15 EN-EL9 MH 23 EH-5 AC EP-5 AC CF-DC1 DR-6 DG-2 DK-22 Capture NX2 DK-5 DK-16 ML-L3 RC UC-E4 EG-D100 FSA-L1 SB-400

£22 £39.99 £42.99 £83.83 £29.99 £38.99 £225.18 £87.99 £4.99 £129.95 £4.99 £4.49 £16.49 £19.83 £19.99 £329 £114.99

CF-D80 EN-EL3e EH-5A DK 21M DK-5 SB-400 SC-28 ML-L3 RC MC-DC1 BM-7 AS-15 MB-D80 DR-6 DG-2 Capture NX2 UC-E4 SB 900

£34.99 £69.99 £79.99 £22.99 £4.99 £114.99 £59 £16.49 £31.49 £8.99 £22 £149.00 £225.18 £87.99 £129.95 £19.83 £319

EN-EL3e MB-D10 EH-6 AC EH-5A MH-18A MH-19 SB 900 WT-4 DK-17A ML-3 IR DG-2 DK-18 DR-5 CaptureNX2 MC-35 MC-36 MC-30

£69.99 £259.49 £79.99 £79.99 £34.24 £195.73 £319 £597.02 £22.99 £214 £87.99 £6.99 £225.09 £129.95 £130 £149.99 £63.49

EN-EL3e MB-D10 WT-4 MH-18A MH-19 EH-6 AC EH-5A DK 21M DK 23 BM-8 DR-6 SC-28 MC-35 MC-36

Camera Control

DK-5 Pro 2 BF-1a

£69.99 £259.49 £597.02 £34.24 £195.73 £79.99 £79.99 £22.99 £4.99 £8.99 £225.18 £59 £130 £149.99 £4.99 £134 £6.99

EN-EL4a MH-21 MH-22 BL-4 EH-6 WT-4 DK-17A MC-30 MC 36 ML-3 IR SC-29 DR-5 DG-2

Camera Control

DK-17M Pro 2 DK-18 MC-35

£88.09 £127.22 £232.99 £14.99 £79.99 £597.02 £22.99 £63.49 £149.99 £213.99 £65 £225.09 £87.99 £22.99 £134 £6.99 £130 &

18 . 0

million pixels

TS-E 17mm f4 L



or £88

per month

EF 50mm f1.2 L USM

• Ideal mid-


or £52

per month

EF 70-200mm f2.8L IS USM

high level DLSR

• 19-pt. AF system •

8 fps • 3” TFT screen


BODY ONLY £819.99


BODY ONLY or £34 mth






or £63

per month


FILTERS prices start from…

UV Filter £15.16


Claim £50 CASHBACK

from Canon*


million pixels

EF 14mm f2.8L II USM £1839 or £75 mth

EF 15mm f2.8 Fisheye £589.99 or £24 mth

TS-E 17mm f4L £1999 or £81 mth

EF 20mm f2.8 USM £406.89 or £17 mth

EF 24mm f2.8 £368.89 or £15 mth

TS-E 24mm f3.5L £1089 or £45 mth

TS-E 24mm f3.5L II £1799 or £73 mth

EF 24mm f1.4L II £1329 or £54 mth

EF 28mm f1.8 USM £384.99 or £16 mth

EF 28mm f2.8 £162.99

EF 35mm f1.4L USM £1139 or £47 mth

EF 35mm f2.0 £214.99 or £9 mth

TS-E 45mm f2.8 £1094 or £43 mth

EF 50mm f1.2L USM £1269 or £52 mth

EF 50mm f1.4 USM £289.99 or £12 mth

EF 50mm f1.8 II £84.99

EF-S 60mm f2.8 USM Macro £349 or £15 mth

MP-E65mm f2.8 £809 or £33 mth

EF 85mm f1.2L II USM £1769 or £72 mth

EF 85mm f1.8 USM £296.99 or £11 mth

TS-E 90mm f2.8 £1114.99 or £46 mth

EF 100mm f2.0 £372.99 or £16 mth

Skylight £20.54

Regular £20.54

ND 4L Neutral Density £29.35

ND 8L Neutral Density £29.35

Circular Polarising £78.29

Softmat 1 Soft Focus £63.61



million pixels




+17-85mm IS



NEW! EF-S 100mm f2.8L IS USM Macro

£869 or £36 mth

EFM 100mm f2.8 USM £419.99 or £18 mth

EF 135mm f2.0L USM £898 or £37 mth

EF 135mm f2.8 Soft Focus £344.99 or £14 mth

EFM 180mm f3.5L USM £1229 or £50 mth

EF 200mm f2.0L IS USM £4749 or £193mth

EF 200mm f2.8L USM mkII £624 or £26 mth

EF 300mm f2.8L IS USM £3739 or £152mth

EF 300mm f4.0L IS USM £1129 or £46 mth

EF 400mm f2.8L IS USM £6419 or £260mth

EF 400mm f4.0 DO IS USM £5379 or £218mth

EF 400mm f5.6L USM £1084 or £44 mth

EF 500mm f4.0L IS USM £5399 or £219mth

EF 600mm f4.0L IS USM £7099 or £287mth

EF 800mm f5.6L IS USM £9949 or £403mth

EF-S 10-22mm f3.5-4.5 USM £644.99 or £27 mth

NEW! EF-S 15-85mm f3.5-5.6 IS USM

£649 or £27 mth

EF 16-35mm f2.8L mk2 USM £1149 or £47 mth

EF 17-40mm f4.0 L USM £596.99 or £25 mth

EF-S 17-85mm f4.0-5.6 IS USM £389 or £16 mth


£819.99 £719

RRP or £34 £1189.99 mth


or £44 mth


million pixels

EOS 450D


EOS 450D

+18-55mm IS

EOS 450D + 17-

85 IS + 70-300 IS


£403 inc. Cashback


£459 inc. Cashback

EF-S 17-55mm f2.8 IS USM £789 or £32 mth

EF-S 18-55mm IS £139.99

NEW! EF-S 18-135mm f3.5-5.6 IS £384 or £16 mth

EF-S 18-200mm f3.5-5.6 IS £484.99 or £20 mth

EF 24-70mm f2.8L USM £949 or £39 mth

EF 24-105mm f4L IS USM £899 or £37 mth

EF 28-90mm f4-5.6 III £113.89

EF 28-135mm f3.5-5.6 IS USM £364 or £15 mth

EF 28-200mm f3.5-5.6 USM £304.99 or £13 mth

EF 28-300mm f3.5-5.6L IS USM £2129.99 or £87 mth

EF-S 55-250mm IS £209 or £10 mth

EF 70-200mm f2.8L U £1019 or £42 mth

EF 70-200mm f2.8L IS USM £1539 or £63 mth

EF 70-200mm f4.0L USM £498 or £21 mth

EF 70-200mm f4.0L IS USM £894 or £37 mth

EF 70-300mm f4-5.6 IS USM £399.99 or £17 mth

EF 70-300mm f4.5-5.6 DO IS USM£1094 or £45 mth

EF 75-300mm f4.0-5.6 III £197.89

EF 75-300mm f4.0-5.6 USM III £229 or £10 mth

EF 100-300mm f4.5 USM £284.99 or £12 mth

EF 100-400mm f4.5-5.6L IS USM £1228 or £50 mth

EF 1.4x Extender £279.99 or £12 mth

EF 2x II Extender £284.99 or £12 mth

Confused about lenses?

Read our lens sense guide at

BG-E5 LP-E5 HL-E5 LC-E5E CBC-E5 ACK-E5 RS-60E3 RC-5 RC-1


Finder C EP-EX15 RF EF DioESeries CUP-EF EW-100DBIII EH-19L IFC-450D4

£119.00 £44.99 £29.35 £44.03 £89.00 £59.00 £12.87 £19.99 £19.99 £169 £19.99 £7.99 £6.49 £7.99 £22.99 £39.99 £36.69

BG-E2N OSKE3 BP511 CB-5L CA-PS400 CA 570 ACK E2 RS-80N3 TC80N3 LC 5


Finder C EP-EX15


Frame EB Dioptrics Eyecup EB WFT-E3A IFC-500U

£149.49 £179.99 £89.49 £44.03 £105 £42.99 £58.71 £44.49 £129 £322.96 £169 £19.99 £8.49 £9.99 £6.49 £699 £29.99



Strap L6 OSKE3 RC-5 CB 570 RS80N3 TC80N3 LC 5


Finder C

EP-EX15 Rubber

Frame EB Dioptrics

Focus Screen

Eyecup EB

Ee-D,E WFT-E4 IFC-500U

£229.49 £71.49 £22.49 £179.99 £19.99 £36 £44.49 £129 £322.96 £169 £19.99 £8.49 £9.99 £6.49 £29.99 £799.99 £29.99






Dioptrics Eyecup EG Screen Ec WFTE2 OSKE3


Strap E1


Strap L6


£119.99 £86.03 £377.45 £36 £44.49 £129 £322.96 £169 £28.08 £9.99 £13.84 £29.99 £699.00 £179.99 £24.99 £22.49 £29.99






Dioptrics Eyecup EG Screen Ec WFTE2 OSKE3


Strap E1


Strap L6


£119.99 £86.03 £377.45 £36 £44.49 £129 £322.96 £169 £28.08 £9.99 £13.84 £29.99 £699.00 £179.99 £24.99 £22.49 £29.99


£1028 inc. Cashback

01603 208769

Unbeatable value on their latest models

• 15.1 Megapixels • APS-C CMOS

Sensor • 9 point AF • HD quality 720P

Video • ISO 100-exp. to 12800

EOS 500D


EOS 500D +18-



or £52 mth


or £62 mth


or £73 mth


£454.99 inc. Cashback


£804.99 inc. Cashback



million pixels


up to


on RRP †

†Saving on 50D

+ 17-85mm IS Lens


RRP £1579.99

†Saving on 450D + 17-85 IS

+ 70-300 (RRP £1589.99)





on RRP †


or £183 mth


million pixels

†Saving on 5D Mark II

Body Only




+ 24-105mm


+ 24-70mm

Other DSLRs in stock…

EOS 1000D


EOS 1000D





WFT-E2 Wireless £699

WFT-E3 Wireless £699

WFT-E4 Wireless £799.99

M30 Media 30GB Storage £369.99

Claim £30 CASHBACK

from Canon*

• 16.1 Megapixels

• 45 point AF

• ISO range of 50-102,400

• Up to 121 JPEGs in one burst!



430 EXII

220 EX £139

430 EXII Speedlite £214

580 EXII Speedlite £364.99




580 EX II


1 2 3 4 5 6


1. TTL Hot Shoe

Adaptor 3 £55.54

2. TTL Distributor £49.99

3. Off Camera Shoe

Adaptor £19.53

4. Connection Cord

0.6m length £45

5. Connection Cord

3m length £48.93

MR14 EX Macrolite £449

MT-24 EX Macrolite

Twin Lite Flash £749

On Camera



All prices include VAT at the prevailing rate • Our standard

delivery charges for UK Mainland Next Working Day Delivery

are: For orders over £100 delivery is £4.99. For orders under

£100 delivery is £3.99 • Deliveries on Saturdays, or to

Northern Ireland, Scotland & Channel Islands are subject to

extra charges. • 24 hour delivery not applicable to cheque

payments. • E. & O.E. Prices subject to change. Goods subject

to availability. • Minimum balance for finance is £200. No

Deposit Typical Example: Cash price £200 = 12 monthly payments

of £19.14 – total amount payable £229.68 Typical 29.8%

APR (Direct Debit). Credit is subject to status.Written details on

request: Warehouse Express Group Ltd, 13 Frensham Road,

Norwich. NR3 2BT. © Warehouse Express 2009.


3 3 3



or £73 mth


or £98 mth


or £109 mth


or £13 mth


or £15 mth


or £182 mth



6. Off Shoe Cord 3 £48.93

7. L Bracket SB-E2 £169

Claim up to £50 Cashback

on the EOS 500D or EOS 450D

Purchase a Canon EOS 500D

and receive £50 CASHBACK

Purchase a Canon EOS 450D

and receive £30 CASHBACK

Cashback available on purchases made between 28/10/09 –20/01/10.

Claims must be received by 21/02/10. For more information please

visit *Terms and conditions

apply - see Canon website for further details.

Cashback is redeemed via Canon only.





million pixels

Olympus E-420



million pixels


million pixels


BODY ONLY • 01603 208769 • Unit B, Frenbury Est. Drayton High Rd. Norwich. NR6 5DP.



E-450 BODY

+ 14-42mm lens


+18-55 II +50-200mm


Sony A500

The 12.3 megapixel CMOS sensor records images

in immaculate detail while the Exmor technology

cuts noise in the processing phase. This model

features a large 3.0” tilt ‘Live-View’ screen.




+ 18-55mm

A500 +18-55mm

+ 55-200mm


or £13 mth


or £16 mth

E-450 BODY +14-42mm £433

+ 40-150mm lens or £18 mth


or £20 mth


or £23 mth


or £29 mth


or £27 mth


or £32 mth



million pixels

Olympus E-520




+ 14-42mm lens

E-520 + 14-42mm +

40-150mm lens

E-520 + 14-42mm +

70-300mm lens

550 850



million pixels




+ 18-55mm

A550 +18-55mm

+ 55-200mm


million pixels

NEW Pentax K-x model from £599.99

See our website for details




+18-55mm II

4.5mm f2.8 EX DC HSM £714.99 or £29 mth

8mm f3.5 EX DG FishEye £714.99 or £29 mth

10mm f2.8 EX DC HSM £559.99 or £23 mth

15mm f2.8 DG FishEye £554.99 or £23 mth

20mm f1.8 EX DG £475.99 or £20 mth

24mm f1.8 EX DG £396.99 or £17 mth

28mm f1.8 EX DG £319.99 or £13 mth

30mm f1.4 EX DC HSM (62mm) £384.99 or £16 mth

50mm f2.8 EX DG Macro £234.99 or £10 mth

50mm f1.4 EX DG HSM (Sigma Fit) £359 or £15 mth

70mm f2.8 EX DG Macro £374 or £16 mth

105mm f2.8 EX DG Macro £374 or £16 mth

150mm f2.8 EX DG Macro £563.99 or £23 mth

180mm f3.5 EX DG Macro £723.99 or £30 mth

300mm f2.8 EX DG HSM £2154 or £88 mth

500mm f4.5 EX DG HSM £3769 or £153mth

800mm f5.6 APO EX DG HSM £5199 or £211mth

10-20mm f4-5.6 EX DC HSM £391.99 or £16mth

NEW! 10-20mm f3.5 EX DC HSM £519.99 or £22 mth

12-24mm f4.5-5.6 EX DG £674 or £28 mth

17-70mm f2.8-4.5 DC Macro £243.99 or £10 mth

18-50mm f3.5-5.6 DC (Four Thirds Fit) £73.99

18-50mm f3.5-5.6 DC (Canon/Pentax/Sigma/Minolta or Sony)£75.99

18-50mm f3.5-5.6 DC (Nikon Fit) £94.99

18-50mm f2.8 EX DC Macro 4/3 System £312 or £13 mth

18-50mm f2.8 EX DC (Canon Fit 72mm) £318.99 or £13 mth

18-50mm f2.8 HSM (Nikon Fit) £312 or £13 mth

NEW! 18-50mm f2.8-4.5 DC OS HSM £239 or £10 mth

18-125mm f3.8-5.6 DC OS HSM FROM£244 or £10 mth

18-200mm f3.5-6.3 DC £214.99 or £10 mth

18-200mm f3.5-6.3 DC OS £283.99 or £12 mth

18-250mm f3.5-6.3 DC OS HSM £394 or £16 mth

24-70mm f2.8 EX DG Macro £734 or £30 mth

28-300mm f3.5-6.3 DG MACRO £248.99 or £11 mth

50-150mm APO f2.8 EX DC II £559.99 or £23 mth

NEW! 50-200mm f4-5.6 DC OS HSM £199

50-500mm f4-6.3 EX DG II £1057.99 or £43 mth


+18-55 II +50-200mm


or £13 mth


or £16 mth


or £18 mth


or £5 mth

Sony A550

Crisp, low-noise images packed with fine detail

and vibrant colours. The Quick AF Live View

now supports even speedier shooting responses

with rapid, precise autofocus and face detection.


or £24 mth


or £26 mth


or £32 mth


or £39 mth


or £41 mth


or £44 mth

LENSES We are a Sigma Pro Lens stockist




million pixels

Olympus E-620




+ 14-42mm lens

E-620 +14-42mm

+ 40-150mm lens


+ 25mm lens


million pixels

Sony A850 - Pre-Order price crash…

“Full-frame DSLR shooting at a real-world

price” –Sony press release 2009. The Sony

Alpha A850 is a 24.6 megapixel full-frame DSLR

that shares virtually all the major features of

the flagship A900. The only differences obvious

differences being 3fps continuous shooting and

a slightly more compact viewfinder.




+ 28-75mm


million pixels


or £20mth


or £24mth


or £27mth


or £25mth


Body Only



million pixels


million pixels

Olympus E-30 & E-3 Kits available on our site!


or £30 mth


Body Only

Other Sony Kits available to

buy online or by phone…



A380 + 18-55mm

+ 55-200mm

A380 + 18-55mm

f3.5-5.6 DT lens


or £39 mth


or £19 mth


or £26 mth


or £20 mth



G1 +14-45 (Red, Blue

or Black)

70-200mm f2.8 APO EX DG Macro MkII £644.99 or £27 mth

70-300mm f4-5.6 DL Macro Super DG £124.99

NEW! 70-300mm f4-5.6 DG OS £309.99 or £13 mth

100-300mm f4 EX IF DG £1119.99 or £46 mth

120-300mm f2.8 APO EX IF HSM DG £2389 or £97 mth

120-400mm f4.5-5.6 APO DG OS HSM £594.99 or £25 mth

150-500mm f5-6.3 APO DG OS HSM £698.99 or £29 mth

200-500mm f2.8 EX DG £18999 or £770mth

300-800mm f5.6 EX DG APO HSM £7249 or £294mth

2.0x APO DG Teleconverter £218.99 or £10 mth

1.4x APO DG Teleconverter £182.99

NEW! 60mm f2 Macro £439 or £18 mth

90mm SP Di Macro £334.99 or £14 mth

180mm f3.5 AF SP Di £694.99 or £29 mth

300mm f2.8 AF SP (Canon Fit) £2449.99or £100mth

10-24mm f3.5-4.5 Di II LD ASP IF £378.99 or £16 mth

17-50mm f2.8 AF XR Di-II LD ASP IF £328.99 or £14 mth

18-200mm f3.5-6.3 AF XR Di II £159

18-250mm Di II £378.99 or £16 mth

NEW! 18-270mm f3.5-6.3 Di II VC LD IF Macro

£448.99 or £19 mth

28-75mm f2.8 SP AF Di £348.99 or £15 mth

28-80mm f3.5-5.6 AF £93.99

28-200mm f3.8-5.6 AF XR Di ASP IF £248.99 or £11 mth

28-300mm AF XR Di £299.99 or £13 mth

28-300mm AF VC Di £499.99 or £21 mth

55-200mm f4-5.6 AF Di II LD Macro £104.99

70-200mm f2.8 SP Di (Canon Fit) £459.99 or £19 mth

70-200mm f2.8 SP Di (Nikon,Sony,Pentax) £594.99 or £25 mth

70-300mm f4-5.6 AF Di LD Macro 1:2 £129

200-500mm f5-6.3 SP AF Di £854.99 or £35 mth



or £67 mth


or £84 mth

Available in Red, Blue or

Black –see our website!

Panasonic G1

Despite its compact size, the G1 features a

large 3.0” 460,000 dot swiveling LCD screen,

"Live View" 60fps electronic viewfinder with

1.4x magnification and 14mm eye relief. NB.

This is Micro Four Thirds system DSLR.


or £19 mth

DMC-GH1 + 14-140

(Red or Black)

DMC-GH1 14-140 +

DMW-MS1 Stereo Mic


or £44 mth


or £44 mth

DMC-GH1+DMW-MS1 + £1129

+8GB SD+HDMI Cable or £46 mth


The NEW mirrorless Olympus E-P1

It’s not a compact, it’s not a DSLR –

it’s a pen! This compact, DSLR Black

quality, hybrid device can

record HD quality movies.

E-P1 Body Only £509

E-P1 + 14-42mm £549

E-P1 + 17mm £659

E-P1 + 17mm + 14-42mm


17mm pancake £289

14-42mm £289



16mm f2.8 Fisheye £547 or £23 mth

20mm f2.8 £427 or £18 mth

28mm f2.8 £177

NEW! 30mm f2.8 SAM Macro DT £149

35mm f1.4G £1049 or £43 mth

50mm f1.4 AF £282 or £12 mth

NEW! 50mm f1.8 SAM £134.99

50mm f2.8 AF Macro (D) £407 or £17 mth

85mm f1.4 ZA Planar T* £1047 or £43 mth

100mm f2.8 Macro AF (D) £498 or £21 mth

135mm f2.8 STF £847 or £35 mth

300mm f2.8G £4248 or £174mth

500mm f8 Reflex £518 or £22 mth

11-18mm f4.5-5.6 DT AF (D) Lens £467 or £19 mth

16-80mm f3.5-4.5 ZA VS T* DT £547 or £23 mth

16-105mm f3.5-5.6 £427 or £18 mth

18-200mm f3.5-6.3 DT AF (D) Lens £388 or £16 mth

18-250mm f3.5-6.3 Di II £378.99 or £16 mth

24-70mm f2.8 ZA £1289 or £53 mth

NEW! 28-75mm f2.8 SAM £599 or £25 mth

55-200mm f4-5.6 L £189

70-300mm f4.5-5.6 G £667 or £27 mth

75-300mm f4.5-5.6 AF (D) Lens £177


Canon or Nikon Fit only:

35mm f2.8 AT-X PRO DX AF Macro £349 or £15mth

100mm f2.8 AT-X Macro £339.99 or £14mth

10-17mm f3.5-4.5 AT-X DX £469.99 or £20mth

11-16mm f2.8 AT-X PRO DX AF £479.99 or £20mth

12-24mm f4 AT-X DX Lens £419.99 or £18mth

12-24mm f4 AT-X AF PRO DX II £474.99 or £20mth

16-50mm f2.8 AT-X DX £589.99 or £24mth

50-135mm f2.8 AT-X DX £549.99 or £23mth

80-400mm f4.5-5.6 AT-X £559 or £23mth &


or £77 mth


million pixels

Sony A900

The Sony Alpha a900 is a full-frame 24.6

megapixel DSLR with a fast and accurate 9point

AF with 10 focus assist points, 5fps continuous

shooting at full resolution and a high

resolution 3" Xtra Fine LCD. The digital SLR

camera also features an "Exmor" CMOS sensor,

an expandable ISO 200-3200 range and Steady

Shot Inside. Steady Shot Inside is an enhanced

in-body optical stabilisation system which delivers

up to 4 steps of anti-shake correction.

Available in Red or Black

–see our website!


A230 + 18-55mm

f3.5-5.6 DT lens

A230 + 18-55mm

+ 55-200mm






+ 20mm





or £14 mth


or £20 mth

Available in Red, Black or

Silver –see our website!




+ 14-45mm


or £18 mth


or £24 mth


or £28 mth

14mm f2.8 SMC DA ED IF £569 or £24 mth

40mm f2.8 DA SMC £349.99 or £15 mth

50mm f2.8 D FA Macro SMC £464 or £19 mth

70mm f2.4 DA £479 or £20 mth

100mm f2.8 D FA Macro SMC £524 or £22 mth

10-17mm f3.5-4.5 DA Fisheye £469.99 or £20 mth

12-24mm f4 DA ED AL IF £969 or £40 mth

16-45mm f4 DA ED AL SMC £279 or £12 mth

16-50mm f2.8 DA* ED £829 or £34 mth

17-70mm f4 AL DA IF SDM £524 or £22 mth

18-35mm f4-5.6 SMC FA J £125

18-55mm MKII DA £164.99

18-55mm f3.5-5.6 AL WR £164.99

18-250mm f3.5-6.3 DA £394 or £16 mth

50-135mm f2.8 DA* ED £909 or £37 mth

50-200mm f4-5.6 ED AL WR £194.89

55-300mm DA £294.99 or £12 mth

NEW! 60-250mm f4 ED IF SDM £1129 or £46 mth

8mm f3.5 Fisheye £677.99 or £28 mth

25mm Pancake Lens £197.99

35mm f3.5 Macro £197.99

50mm f2 Macro ZUIKO ED £446.99 or £19 mth

7-14mm f4 ZUIKO Digital £1347 or £55 mth

NEW! 9-18mm f4-5.6 ZUIKO ED £443.99 or £18 mth

11-22mm f2.8-3.5 ZUIKO Digital £729 or £30 mth

12-60mm ED f2.8-4.0 SWD £827.99 or £34 mth

NEW! 14-35mm f2.0 SWD ZUIKO Digital £1738 or £71 mth

14-42mm EZ f3.5-5.6 £289 or £12 mth

14-54mm f2.8-3.5 ZUIKO Digital £423.99 or £18 mth

18-180mm f3.5-4.5 £417.99 or £17 mth

35-100mm f2.0 £1894.99or £77 mth

50-200mm ED f2.8-3.5 SWD £989.99 or £41 mth

40-150mm Zuiko Digital ED Mk2 f4-5.6 £237.99 or £10 mth

70-300mm f4.0-5.6 £323.99 or £14 mth



SAVE over £70 **

ONLY £169




Claim £40 CASHBACK

from Canon*


SX 200 IS

FinePix Models:

NEW! A170 £55.99

NEW! J30 £78.99

S2000HD £174

NEW! F70EXR £179.49

F200EXR £194

NEW! S200EXR £314.99





Stores up to 10Hrs of video on

the internal 8GB memory or even

more on the optional SDHC

memory card.

Legria FS20 Silver

SD/HD Camcorder


£259 Inc Cashback*

Epson P-3000 £329

or £14mth

PowerShot A480 £84.49

PowerShot A1100 £118.17

PowerShot SX120 £179

PowerShot D10 £239

PowerShot SX20 £298

PowerShot S90 £379

PowerShot SX1 £370.49

PowerShot G11 £469

IXUS 95 £139.49

IXUS 100 £168

IXUS 110 £214

IXUS 120 £229.49

IXUS 200 £251.99







Finepix Z30 with

FREE leather case£89






















Dual-recording system storing up A compact but creative camera

Ultra-slim and compact camcorder

to 22Hrs of 1920x1080 Full HD with Full HD capabilities including

with dual SD/SDHC card slot,

movies on its 60GB HDD or you a HD Lens, HD Mini DV Tapes


can store via SDHC cards. and Advanced Cinema modes.

optical zoom and easy "One

HG20 60GB HDD/SD High Legria HV40 High

Touch" buttons.

Definition Camcorder Definition Camcorder


£529 £799 Camcorder £199

or £22mth

or £33mth WAS £209

or £36mth



memory cards

Secure Digital

2GB £7.99

4GB £13.49

8GB £26.99

5-in-1 Card

Reader USB 2.0


Secure Digital

2GB £10.49

4GB £16.49

8GB £25.99

16GB £48.99

Compact Flash

4GB £21.99

8GB £36.49

Canon M30 30GB £369.99

Epson P-6000 £429

Jobo Spectator 80GB £189.99

Jobo Extreme 80GB £429

Jobo Extreme 120GB £474

Jobo Extreme 160GB £579


WAS £269 SAVE £20

ONLY £249



Secure Digital

4GB £34.99

8GB £59.99

16GB £112.99

Compact Flash

8GB £59.99

32GB £178.99



or £13mth

Mju Models:

NEW! 7010 £187

9000 £239

NEW! Tough 6010 £219

Tough 8000 £274

SP Models:

SP-590 UZ WAS £329 £279

CAMCORDERS Visit for our complete range



There’s an extra reason to buy this year, to beat the VAT

increase. VAT goes up to 17.5% on 1st January 2010,

so buy now to beat the taxman.

Backorders: If we place your item on backorder and cannot deliver it before 31st December 2009 will have to charge VAT at

the increased rate of 17.5%. In these circumstances we will always contact you before dispatch to check that you want to go ahead

with your purchase, if not you are free to cancel.

SX1 IS £370.49

(£320.49 Inc C/back*)


£192 Inc. Cashback*

Claim £30 CASHBACK

from Canon*







NEW Extreme Pro CF

Up to 90MB/s read/write speed

16GB £179

32GB £299

64GB £549

NEW Extreme 400x UDMA CF

Up to 60MB/s read/write speed

8GB £67.99

16GB £109.99

32GB £189.99




**on total separate

selling price


Compact Flash

4GB £54.99

8GB £89.99


Cruzer Back Up

8GB £24.99

16GB £44.99

32GB £89.99

Spend less

time in front of

the computer

and more time

behind the lens.

Lightroom 2


Upgrade £89.99

Coolpix Models:

L20 £86.49

L100 £199

NEW! S570 £159

NEW! S640 £199

P90 £279.99

NEW! S1000pj £349







FE 5020

Dark Grey £125.99

150x Secure Digital HC

4GB £21.57 8GB £39.14

305x UDMA CompactFlash

1GB £14.99 2GB £34.24

4GB £46.97 8GB £79.99

16GB £117.44

UDMA 300x CF

4GB £47.99

8GB £84.99

Pro 233x CF

4GB £31.99

8GB £58.99

Pro 133x SD

4GB £25.99

Photoshop CS4 (Mac/Pc)

Photoshop CS4 £599

Photoshop CS4 EXT. £869

Photoshop CS4 STUDENT


Photoshop CS4 Upgrades

from £184.99

Photoshop Elements

NEW! Elements 8.0 £69.99

ONLY £99

3 cols. available.











or £11mth

Optio W80



Incredible record time, smart

features and Full HD 1080p

video recording

01603 208769


NIKON S220 SAVE £50!

WAS £149...includes

FREE leather case

HURRY! Claim up to £50 Cashback * on selected Canon Compacts & Camcorders




SX20 IS £298

SX200 IS £232

(£248 Inc C/back*) (£192 Inc C/back*)




SX120 IS £179

(£149 Inc C/back*)

Cashback available on purchases made between 28/10/09 –24/12/09. Claims must be received by 31/01/10.

*Terms and conditions apply - see for further details. Cashback is redeemed via Canon only.




FS MODELS: £30 Cashback HF MODELS: £50 Cashback

FS200 £229 (£199 Inc C/back*) HF21 £834 (£784 Inc C/back*)

Cashback available on purchases made between 28/10/09 –2/12/09. Claims must be received by 1/02/10.

*Terms and conditions apply - see for further details. Cashback is redeemed via Canon only.

or £10mth












HardDrive + Memory Card

High Definition Camcorder


or £44mth

High capacity storage system

for users who want advanced

RAID features with consumer

level ease of use and style

2TB Hard Disk MAX


OnOne Software

Elements Essentials £42.95

Genuine Fractals 6 £124.95

Genuine Fractals 6

Pro Edition £199.95

Mask Pro 4.1 £109.99

PhotoTune 2.0 £124.95

PhotoTools 2.0 £109.95

PhotoTools 2.0 Pro £164

Plug-in Suite 4.0 £239


FS20 £289 (£259 Inc C/back*)

FS21 £348 (£318 Inc C/back*)

FS22 £418 (£388 Inc C/back*)


HF200 £524 (£474 Inc C/back*)

HF20 £679 (£629 Inc C/back*)

HF S100 £759 (£709 Inc C/back*)

HF S10 £889 (£839 Inc C/back*)

HF S11 £999 (£949 Inc C/back*)

CyberShot Models:

S930 £78.99

W210 £119

W220 £139

W270 £159

H20 £197

T90 £219

T900 £299

NEW! WX1 £269

NEW! TX1 £294

HX1 £348

DMC-FS7 £117.99

DMC-FS25 £159.49

NEW! DMC-ZX1 £219

NEW! DMC-FZ38 £259

DMC-LX3 £349.49

Optio E80 £82

Optio M85 £129.99

Optio WS80 £149.99

Optio P80 £179.99

Optio X70 £269





Stylish and capable of recording

1080i HD Video at 60fps, with

slow-motion recordings at 600fps.

All that and 8MP 10x optical zoom.

Sanyo Xacti HD2000



or £19mth

Rugged Hard Drive

Built to last

and durable

against the


knocks and Triple Interface

scrapes. 250GB £83

5400 RPM 320GB £124

speed. 7200 500GB £129

RPM avail- USB 2.0

able on our 320GB £69.99

website 500GB £88.99

All prices include VAT at the prevailing

rate • Our standard delivery charges for

UK Mainland Next Working Day Delivery

are: For orders over £100 delivery is

£4.99. For orders under £100 delivery is

£3.99 • Deliveries on Saturdays, or to

Northern Ireland, Scotland & Channel

Islands are subject to extra charges. • 24

hour delivery not applicable to cheque

payments. • E. & O.E. Prices subject to

change. Goods subject to availability. •

Minimum balance for finance is £200. No

Deposit Typical Example: Cash price

£200 = 12 monthly payments of £19.14 –

total amount payable £229.68 Typical

29.8% APR (Direct Debit). Credit is subject

to status.Written details on request:

Warehouse Express Group Ltd,

13 Frensham Road, Norwich. NR3 2BT.

© Warehouse Express 2009.

At Premier Ink Supplies, we stock two types of cartridges for Epson printers - Originals,

which are made by Epson, and Compatibles, which are made by aUKcompany called

Jet Tec. Using Jet TecCompatibles is away of saving money, without compromising on

the quality of your prints. Here’re the results from two independent ink tests that agree…

“Jet Tec’scolours were superb, with single greys and

blacks very close to Epson …so Jet Tecwins!”

-Total Digital Photography Magazine

“What we’re looking at here is not only the best choice

of ink for the R300 printer,but also the best ink in this

group test, period. There’s just no getting away from

the superb combination of performance and pricing”

-Computer Upgrade Magazine

Cartridge Code:

T001 Colour

T007 Black

T008 Colour

T009 Colour

T026 Black

T027 Colour

T036 Black

T037 Colour

T040 Black

T041 Colour

T050 Black

T051 Black

T052 Colour

T053 Colour

T0331-336 Set of 7

T0331/2/3, each

T0334/5/6, each

T0341-347 Set of 7

T0341/8, each

T0342/3/4, each

T0345/6/7, each

T0441-454 Set of 4

T0441 Black

T0452/3/4, each

T0481-486 Set of 6

T0481/2/3, each

T0484/5/6, each

T0540-549 Set of 8

T0540 Gloss

T0541/2/3/4, each

T0547/8/9, each

T0551-554 Set of 4

T0551 Black

T0552/3/4, each

T0591-599 Set of 8

T0591/2/3, each

T0594/5/6, each

T0597/8/9, each

T0611-614 Set of 4

T0611 Black

T0612/3/4, each

T0711-714 Set of 4

T0711 Black

T0712/3/4, each

T0791-796 Set of 6

T0791/2/3, each

T0794/5/6, each

T0801-806 Set of 6

T0801/2/3, each

T0804/5/6, each

T0870-879 Set of 8

T0870 Gloss

T0871/2/3/4, each

T0877/8/9, each

T0961-969 Set of 8

T0961/2/3, each

T0964/5/6, each

T0967/8/9, each

T5591-6 Set of 6

T5591/2/3, each

T5594/5/6, each



£26.99 65ml

£22.99 16ml

£18.99 46ml

£24.99 66ml

£19.99 16ml

£22.99 46ml

£9.99 10ml

£11.99 25ml

£19.99 17ml

£19.99 37ml

£19.99 15ml

£19.99 24ml

£19.99 35ml

£19.99 43ml


£14.99 17ml

£14.99 17ml


£14.99 17ml

£17.99 17ml

£17.99 17ml


£17.99 13ml

£9.99 8ml


£13.99 13ml

£13.99 13ml


£7.99 13ml

£13.99 13ml

£13.99 13ml


£8.99 8ml

£8.99 8ml


£11.99 13ml

£11.99 13ml

£11.99 13ml


£8.99 8ml

£8.99 8ml


£8.99 7.4ml

£8.99 5.5ml


£11.99 10ml

£11.99 10ml


£8.99 7.4ml

£8.99 7.4ml


£7.99 11.4ml

£9.99 11.4ml

£9.99 11.4ml


£9.99 11.4ml

£9.99 11.4ml

£9.99 11.4ml


£11.99 13ml

£11.99 13ml

Jet TecCompatibles:

£3.99 70ml, 3for £10.99

£3.99 20ml, 3for £10.99

£4.99 50ml, 3for £13.99

£4.99 70ml, 3for £13.99

£3.99 20ml, 3for £10.99

£4.99 50ml, 3for £13.99

£3.99 13ml, 3for £10.99

£4.99 31ml, 3for £13.99

£3.99 20ml, 3for £10.99

£4.99 46ml, 3for £13.99

£2.99 16ml, 3for £7.99

£2.99 26ml, 3for £7.99

£3.99 39ml, 3for £10.99

£3.99 48ml, 3for £10.99

£29.99, 3sets for £87.99

£4.99 21ml, 3for £13.99

£4.99 21ml, 3for £13.99

Not Available.

Not Available.

Not Available.

Not Available.

£14.99, 3sets for £42.99

£4.99 21ml, 3for £13.99

£3.99 21ml, 3for £10.99

£19.99, 3sets for £56.99

£3.99 21ml, 3for £10.99

£3.99 21ml, 3for £10.99

£35.99, 3sets for £99.99

£3.99 21ml, 3for £13.99

£4.99 21ml, 3for £13.99

£4.99 21ml, 3for £13.99

£14.99, 3sets for £42.99

£4.99 21ml, 3for £10.99

£3.99 21ml, 3for £10.99

Check Website.

Check Website.

Check Website.

Check Website.

£14.99, 3sets for £42.99

£4.99 21ml, 3for £13.99

£3.99 21ml, 3for £10.99

£14.99, 3sets for £42.99

£4.99 13ml, 3for £13.99

£3.99 13ml, 3for £10.99

Check Website.

Check Website.

Check Website.

£19.99, 3sets for £57.99

£3.99 13ml, 3for £10.99

£3.99 13ml, 3for £10.99

Check Website.

Check Website.

Check Website.

Check Website.

Not Available.

Not Available.

Not Available.

Not Available.

Not Available.

Not Available.

Not Available.


Suitable EPSON Printers:

Photo 1200

Photo 790, 870, 890, 895, 900, 915, 1290

Photo 790, 870, 890, 895, 915

Photo 900, 1270, 1290

Photo 810, 830 ,830u, 925, 935

C42, C44, C46

C62, CX3200

440, 460, 660, Photo 700, 750, 1200

740, 760, 800, 850, 860, 1160

440, 640, 660, 740, 760, 1160

Photo 700, 750

Photo 950, 960

Photo 2100

C64, C66, C84, C86,

CX3600/3650, CX6400, CX6600

R200, R220, R300, R320, R340

RX500, RX600, RX620, RX640

Photo R800, R1800

Photo R240, R245,

RX420, RX425, RX520, RX525

Photo R2400

D68, D88,

DX3800/3850, DX4200/4250, DX4800/4850

S20, S21, SX100/105/110/115/200/205/210/215

SX400/405/415/515, D78/92/120, B40W, BX300


Photo 1400

Photo P50, R265, R285, R360

RX560, RX585, RX685

PX650, PX700/710W, PX800/810FW

Photo R1900

Photo R2880

Photo RX700

Please call or check our website if you cannot find cartridges for your printer.

E&OE. Prices may be subject to change, but hopefully not!



EPSON Stylus Pro 3800

T5801/5802/5803/5804/5805/5806/5807/5808/5809 80ml each

EPSON Stylus Pro 4000, 4400, 7600, 9600

T5431/5432/5433/5434/5435/5436/5437/5438 110ml each

T5441/5442/5443/5444/5445/5446/5447/5448 220ml each

EPSON Stylus Pro 4800, 4880:

T6051/6052/605B/6053/6054/6055/6056/605C/6057/6138/6059 110ml

T6061/6062/606B/6063/6064/6065/6066/606C/6067/6148/6069 220ml

EPSON Stylus Pro 7800, 7880, 9800:

T6021/6022/602B/6023/6024/6025/6026/602C/6027/6118/6029 110ml

T6031/6032/603B/6033/6034/6035/6036/603C/6037/6128/6039 220ml

Please call or check our website for further details

Ink Test









We are asmall family owned and run company, specialising in photographic consumables.

We are based in Leamington Spa, in the heart of Warwickshire -ifyou are passing, or

live close by, please pop into our shop, and meet Judy -our office dog!

Premier Ink &Photographic, Longfield Road, Sydenham

Industrial Estate, Leamington Spa, Warwickshire. CV31 1XB.

Canon Compatibles

BCi3e Black 26ml

BCi3e C/M/Y 15ml

BCi6 B/C/M/Y 15ml

BCi6 PC/PM/R/G 15ml

PGi5 Black 29ml

CLi8 Black 15ml

CLi8 B/C/M/Y 15ml

CLi8 PC/PM 15ml

PGi520 Black 19ml

CLi521 B/C/M/Y/GY 9ml

BCi10 Black (3 pack)

BCi15 Black (2 pack)

BCi15 Colour (2 pack)

BCi24 Black 9ml

BCi24 Colour 16ml

PG37 Black 12ml

PG50 Black 28ml

CL38 Colour 12ml

CL51 Colour 24ml




















Canon Originals

BCi16 Colour (2 pack) £21.99

BCi3e Black 26ml £10.99

BCi3e C/M/Y 13ml £9.99

BCi6 B/C/M/Y 13ml £9.99

BCi6 PC/PM/R/G 13ml £9.99

PGi5 Black 26ml £12.99

CLi8 B/C/M/Y 13ml £11.99

CLi8 PC/PM/R/G 13ml £11.99

PGi7 Black 25ml £11.99

PGi9 Clear 191ml £11.99

PGi9 PB/MB/C/M/Y 14ml £10.99

PGi9 PC/PM/R/G/GY 14ml £10.99

PGi520 Black 19ml £9.99

CLi521 B/C/M/Y/GY 9ml £8.99

PG37 Black 11ml £12.99

PG40 Black 16ml £15.99

PG50 Black 22ml £22.99

PG510 Black 9ml NEW £11.99

PG512 Black 15ml NEW £15.99

CL38 Colour 9ml £16.99

CL41 Colour 12ml £19.99

CL51 Colour 21ml £26.99

CL52 Photo 21ml £19.99

CL511 Colour 9ml NEW £15.99

CL513 Colour 13ml NEW £19.99

KP-36IP Ink &Paper £12.99

KP-108IP Ink &Paper £29.99

Many more in stock!

Dell Compatibles

Series 1 Black (T0529)

Series 1 Black (T0530)

Series 5 Black (M4640)

Series 5 Black (M4646)

Many more in stock!





As an Ilford Pro Centre, westock the complete

range of Ilford Galerie papers, including A2,

17, 24 and 44 inch rolls. Below is just aselection.

Smooth Gloss 290g, 6x4, 100 sheets

Smooth Gloss 290g, 7x5, 100 sheets

Smooth Gloss 290g, A4, 25 +10 FREE

Smooth Gloss 290g, A4, 100

Smooth Gloss 290g, A3, 25 sheets

Smooth Gloss 290g, A3+, 25 sheets

Smooth Pearl 290g, 6x4, 100 sheets

Smooth Pearl 290g, 7x5, 100 sheets

Smooth Pearl 290g, A4, 25 +10 FREE

Smooth Pearl 290g, A4, 100

Smooth Pearl 290g, A3, 25 sheets

Smooth Pearl 290g, A3+, 25 sheets

Gold Fibre Silk 310g, A4, 20 sheets OFFER

Gold Fibre Silk 310g, A3+, 50 sheets

Heavyweight Matt 200g, A4, 50 sheets

Heavyweight Matt 200g, A3+, 50 sheets

Smooth Fine Art 190g, A4, 10 sheets

Smooth Fine Art 190g, A3+, 10 sheets

Smooth High Gloss 225g, A4, 25 sheets

Smooth High Gloss 225g, A3+, 25 sheets

Smooth Lustre Duo 280g, A4, 25 sheets

Smooth Lustre Duo 280g, A3+, 25 sheets

ICC profiles available for all Ilford papers

HP Compatibles

No.15 Black 46ml

No.21 Black 20ml

No.22 Colour 21ml

No.27 Black 24ml

No.28 Colour 24ml

No.45 Black 45ml

No.56 Black 24ml

No.57 Colour 24ml

No.58 Photo 24ml

No.78 Colour 45ml

No.88XL Black 58ml

No.88XL C/M/Y 17ml

No.110 Colour 12ml

No.336 Black 10ml

No.337 Black 24ml

No.338 Black 24ml

No.339 Black 34ml

No.342 Colour 12ml

No.343 Colour 21ml

No.344 Colour 21ml

No.348 Photo 21ml

No.363 Black 20ml

No.363 C/M/Y/PC/PM 8ml

No.363 Set of 6















































HP Originals

No.21 Black 5ml £13.99

No.22 Colour 5ml £15.99

No.38 PB/MB/GY 27ml £26.99

No.38 C/M/Y/PC/PM 27ml £26.99

No.56 Black 19ml £16.99

No.57 Colour 17ml £24.99

No.58 Photo 17ml £22.99

No.59 Grey 17ml £22.99

No.100 Grey 15ml £22.99

No.110 Colour 5ml £18.99

No.300 Black 4ml £11.99

No.300 Colour 4ml £13.99

No.336 Black 5ml £13.99

No.337 Black 11ml £17.99

No.338 Black 11ml £17.99

No.339 Black 21ml £24.99

No.342 Colour 5ml £15.99

No.343 Colour 7ml £18.99

No.344 Colour 14ml £26.99

No.348 Photo 13ml £22.99

No.350 Black 4.5ml £13.99

No.350XL Black 25ml £27.99

No.351 Colour 3.5ml £15.99

No.351XL Colour 14ml £29.99

No.363 Black 6ml £13.99

No.363 C/M/Y/PC/PM £8.99

No.363 Set of 6 £39.99

No.364 Black 6ml £8.99

No.364 PB/C/M/Y 3ml £7.99

No.901 Black 4ml £11.99

No.901 Colour 9ml £16.99

Many more in stock!

Lexmark Compatibles

No.1 Colour

No.2 Colour

No.3 Black

No.16 Black

No.17 Black

No.26 Colour

No.27 Colour

No.31 Photo

No.32 Black

No.33 Colour

No.34 Black

No.35 Colour

Lexmark Originals

No.1 Colour

No.14 Black

No.15 Colour

No.17 Black

No.23 Black

No.24 Colour

No.27 Colour

No.28 Black

No.29 Colour

No.31 Photo

No.32 Black

No.33 Colour

No.34 Black

No.35 Colour

No.36 Black

No.37 Colour

No.43 Colour

No.44 Black


Many more in stock!

Brother Compatibles

LC900 Black

LC900 C/M/Y

LC900 Set of 4

LC970 Black

LC970 C/M/Y

LC970 Set of 4

LC1000 Black

LC1000 C/M/Y

LC1000 Set of 4

LC980 /1100 Black

LC980 /1100 C/M/Y

LC980 /1100 Set of 4











































Brother originals also in stock!

Kodak Original Ink /Paper

ESP Black Series 10 Ink

ESP Colour Series 10 Ink

ESP Black &Colour Ink

PrinterDock Ink/Paper

Many more in stock!





As a PermaJet Premier Stockist, wesupply the

ENTIRE PermaJet range, including Baryta, Smooth and

Textured Fine Art and Canvas. Below is just aselection.

Sample Pack 30 sheets, 21 different papers!

Digital Gloss or Oyster 271g, 6x4, 50

Digital Gloss or Oyster 271g, 7x5, 50

Digital Gloss or Oyster 271g, A4, 50

Digital Gloss or Oyster 271g, A3, 25

Digital Gloss or Oyster 271g, A3+, 25

Double Sided Oyster 285g, A4, 25

Matt Proofing 160g, A4, 150

Matt Plus 240g, A4, 25

Matt Double Sided 220g, A4, 100

Baryta Fibre Base Matt 271g, A4, 25

Baryta Fibre Base Gloss 295g, A4, 25

Baryta Fibre Base Royal 271g, A4, 25

Smooth Fine Art Portfolio 200g, A4, 25

Smooth Fine Art Portrait 300g, A4, 25

Smooth Fine Art Omega 310g, A4, 25

Textured Fine Art Artist 210g, A4, 25

Textured Fine Art Museum 310g, A4, 25



















Textured Fine Art Parchment 285g, A4, 25 £21.95

Canvas Artistic 400g, A4, 10


Canvas Photo Matt 350g, A4, 10 £16.95

Canvas Photo Semi-Gloss 350g, A4, 10 £17.95

ICC profiles available for all PermaJet papers

Sample Pack 14 sheets, A4 £8.95 William Turner A4, 20 £26.95

Photo Rag 308 A4, 20 £23.95 Museum Etching A4, 20 £28.95

Photo Rag Satin A4, 20 £25.95 German Etching A4, 20 £21.95

Photo Rag Pearl A4, 20 £26.95 Torchon A4, 20 £17.95

Established in 1584, the Hahnemuhle Photo Rag Baryta A4, 20 £28.95 Bamboo A4, 20 £20.95

name is synonymous with fine art printing. Fine Art Pearl A4, 20 £25.95 Sugar Cane A4, 20 £19.95

Full range now available at Premier Ink. Fine Art Baryta A4, 20 £26.95 Natural Art Duo A4, 20 £17.95 &

Orders are shipped promptly by Royal Mail 1st class post, for which we charge just £1.72

per order.All prices include VAT,and afull VAT receipt is provided with every order. Payment

accepted by credit/debit card, cheque or postal order. Orders accepted securely online,, over the telephone, 01926 339977, by post, or by visiting our showroom:

Premier Ink &Photographic, Longfield Road, Sydenham Ind Estate, Leamington Spa, CV31 1XB.

01926 339977



Standard Rechargeables

High-power Ni-MH rechargeable AA and

AAA batteries -all sold in packs of 4.

AAA 600mAh Energizer

AAA 1000mAh Energizer

AA 1300mAh Energizer

AA 2450mAh Energizer

AA 2650mAh Duracell

Charger +2500mAh Energizer



£3.90 £1.99






Ultimate Lithium

Energizer Ultimate Lithium:

The longest lasting AA and

AAA batteries in the world!

AAA Ultimate Lithium (4) £6.99

AA Ultimate Lithium (4) £6.99 £5.99

Camera Batteries








P-Type Filter System

The P-Type square/rectangular filter system

consists of three parts:

1) An adapter ring that screws onto the front

of your lens

2) Afilter holder clips onto the ring

3) One or more P-Type (84mm wide) filters

Cleaning Kit £3.90

4-in-1 lens cleaning kit:

blower brush, lens solution,

lint free tissues, and pack

of cotton cleaning buds.

Small Hurricane Blower

Large Hurricane Blower




Kenair compressed air is used to

blow dust, fluff and other unwanted

particles from your delicate camera

equipment and accessories.

Kenair Master Kit

Kenair Spare Aerosol




Japanese Optical Glass Filters

Coated to reduce lens flare and reflections.

Acomprehensive range of

rechargeable li-ion



Manufactured by



respected independent

battery manufacturers

Energizer and Blumax. All

batteries come with a2year guarantee.

UV /Haze Filters Circular Polarising Filters



1GB Inov8, Standard £6.99

2GB Kingston, Standard £6.99

2GB Inov8, Standard £6.99

2GB Sandisk, Standard £7.99 £5.99

2GB Sandisk, Ultra II £10.99 £7.99

4GB Kingston, Class 4 £8.99

4GB Inov8, Class 6 £9.99

4GB Sandisk, Standard £11.99 £8.99

4GB Sandisk, Ultra II £14.99 £11.99

4GB Sandisk, Extreme III £32.99

8GB Kingston, Class 4 £17.99

8GB Inov8, Class 6 £16.99

8GB Sandisk, Standard £19.99

8GB Sandisk, Ultra II £24.99

8GB Sandisk, Extreme III £56.99

16GB Kingston, Class 4 £32.99

16GB Inov8, Class 6 £29.99

MicroSD &MicroSDHC

1GB Kingston, Standard £4.99 £2.99

2GB Kingston, Standard £6.99

4GB Kingston, Class 4 £9.99

Compact Flash

1GB Kingston, Standard £9.99

1GB Transcend, 133X £13.99