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PRO TIPS FOR CAPTURING STUNNING
IMAGES OF TREES AND FORESTS
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CONTENTS
FIND OUT WHAT’S INSIDE THIS ISSUE

F E AT U R E NEWS
SONY ANNOUNCES THE
FX30 CINEMA CAMERA
New APS-C mirrorless model is
a compact and affordable option

F E AT U R E
WONDERFUL WOODLANDS
Pro tips for capturing magical
images of trees and forests
PHOTOS
GALLERY
Our pick of the best reader
photos from around the world

PHOTOS I N S P I R AT I O N I N S P I R AT I O N
MAKING WAVES
Photography contest celebrates
Britain’s maritime heritage
CRASH COURSE
GET THE BALANCE RIGHT
Learn how to set accurate white
balance in-camera or in post
CRASH COURSE PHOTOSHOP
PHOTOSHOP
CUT-PRICE PORTRAITS
Discover how to build a high-end
photo studio on a budget

GEAR
JUS T
NIKON Z 30 39¢/39p
Nikon’s latest DX-format
mirrorless camera is
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in-depth review
N E W S

W H AT ’ S H O T
THE WEEK’S TOP HEADLINES IN PHOTOGRAPHY

SONY ANNOUNCES THE

FX30 CINEMA C AMER A
New APS-C model is an affordable dedicated option for content creators

© Sony

ony has announced the FX30, puts it right in the mix with the best 26MP stills, so while it’s not really a stills

S a new mirrorless compact

aimed at content creators
APS-C mirrorless models out there,
notably the Fujifilm X-H2S and X-H2.
camera as such, it’s perfectly capable of
capturing high-quality, high-resolution
looking for their first dedicated cinema The FX30 is not just a redesigned stills on set or on location, for example.
camera. It doesn’t replace Sony’s version of existing cameras in the same With the FX30, Sony is trying to bridge
existing APS-C mirrorless lineup, but way the smaller Sony ZV-E10 is. It’s a the gap between “future creators” and
it offers a dramatic step-up in video new camera, with a new 26MP sensor, “top creators”. As Sony sees it, it will be
potential, offering a true cinema and a design that puts cinema first. It’s ideal for those who want to use footage
camera for this smaller format with also the new baby in the Sony Cinema straight from the camera right now, but
access to a broad range of lenses. Line, slotting in just below the Sony FX3. may want to move to a colour-graded
Best of all, the FX30 comes at an But while the FX3 is a full-frame post-production workflow later, making
APS-C price. Cinema cameras normally camera, it only has a 12MP sensor, full use of the FX30’s S-Log3 support
carry a substantial price tag, but the which severely restricts its use as a stills and other advanced features.
FX30 will sell for £2,099 / $1,789, which camera. The FX30, however, can shoot The FX30’s sensor is a new back-
N E W S

THE WEEK’S TOP HEADLINES IN PHOTOGRAPHY

illuminated Super35 APS-C sensor

that can capture 26MP still images and
4K UHD video with 6K oversampling.
Sony is also referring to this as a 20.1MP
sensor, presumably in reference to its
16:9 movie crop.
Equipped with Sony’s BIONZ XR
processor, it offers a dual base ISO
800/2500 for S-Log3 shooting and an

© Sony
overall ISO range of 100-32,000, and a
14+ stop dynamic range (Sony testing).
The new sensor and processing
mean the FX30 can capture 4K video at
up to 120p, though there is a tiny crop
factor of 1.04x for 4K 60p, and a larger
crop factor of 1.4x for 4K 120p. The FX30
can capture video at 10-bit 4:2:2 All-Intra log modes. Up to 16 user LUTs can be camera does have a vari-angle rear
quality, and offers a choice of XAVC HS imported applied to both the monitor screen, and the expectation for more
4K H.265, XAVC S 4K H.264 and XAVC and HDMI output. Three new log modes advanced users is that they may choose
S-I 4K H.264 recording formats. include Cine EI (balances exposure to attach an external monitor anyway.
Internal storage consists of dual SD/ latitude between strong and low light Its cooling system means that the
CFexpress Type A card slots, with only for pro users), Cine EI Quick (simpler camera can provide “uninterrupted” (i.e.
the fastest S&Q and HD 240p recording setup, automatically switches base ISOs) unlimited) recording.
(and proxy recording) needing the faster and Flexible ISO for intermediate users. The FX30 has in-body stabilisation,
card format. The physical design follows the and also stores gyro data for accurate
Sony is placing a strong emphasis grey-black colour scheme of the FX3. stabilisation corrections in Sony’s free
on cinematic expression, including The body is thicker than Sony’s A6000- Catalyst Browse software.
the S-Cinetone profile from the rest of series cameras but otherwise about The camera has Sony’s latest
its Cinema Line, user LUTS and new the same size. There’s no EVF, but the 495-point hybrid AF technology,
covering 97% of the screen height and
93% of its width, with Real-Time eye AF
(human, animal, bird) and Real-Time
Tracking. It also offers a ‘Focus Map’ for
depth of field visualization and supports
Sony’s Breathing Compensation feature
(with compatible lenses).
The FX30 measures 77.8 x 129.7 x
84.5mm and weighs 646g. It has a multi-
threaded body with five mounting holes,
so a cage becomes unnecessary.
The FX30 will be supplied in two
versions. The ILME-FX30B is the body-
only version, and will sell for £2,099
/ $1,789, while there will also be an
© Sony

ILME-FX30 version that includes Sony’s

XLR adaptor/handle unit, which itself
has a further three mounting holes. This
version will sell for £2,499 / $2,198.
F E A T U R E

ETHEREAL ATMOSPHERE
Woodlands offer exceptional detail
and drama, but getting the most
out of them visually requires an
adjustment to our techniques
© Luis Lyons

WOODLAND WONDERS
Capture your best-ever shots of woodland and forest landscapes
by using the stunning colour, light and detail to your advantage

oodlands and forests have think of wooded scenes as a fool-proof in a crowded environment, but also to
W been a source of inspiration
for artists and storytellers for
subject for successful images. However,
while it’s true that photo-worthy content
a variety of misconceptions about the
best equipment to use, and about how
centuries. The characteristic gnarled is plentiful and not difficult to find, there to extract a strong composition from the
tree branches, dancing leaves and are some important steps you need to sometimes-chaotic detail.
detail receding into a misty background take to ensure that you can represent it Armed with an understanding of
create an almost dream-like quality, truthfully and at its most dramatic. how to identify the best features of
conjuring up memories of fantasy It’s not uncommon to enter a a woodland landscape, we can head
tales and epic poetry. These aspects woodland or forest with high hopes for into the field prepared to isolate and
make images of woodland landscapes your next Instagram hit, only to find that capture dynamic detail, rich colour and
popular with both their viewers and the the natural energy of the location seems stunning atmosphere throughout the
artists who create them. to be lost in your shots. This is due in part year, in whatever lighting conditions
As photographers, it can be easy to to the practical challenges of shooting each season brings.
F E A T U R E

MASTER WOODLAND COMPOSITION

Landscape photographer Adam Burton explains how you should
set about framing the dramatic woodland environment

SHAPE AND FORM

Arranging the composition
so that the trees are against
a neutral background puts
the focus on the opposing
and complementary natural
forms of the branches

© Adam Burton
oodland photography can be general your approach to woodland Next up, when entering a woodland,
W both a daunting and challenging
prospect for many landscape
photography should be quite different.
First and foremost, forget the wide
spend some time wandering around
looking for a particularly interesting
photographers. With trees literally in all angle. A wide-angle composition can tree to build a composition around. Just
directions, and no obvious focal point to make a foreground subject appear about every woodland has at least one
build compositions around, the age-old large and dramatic, but typically will such tree, and it’s all you need for a
adage ‘can’t see the wood for the trees’ push your main subject (the trees) right great photo. A majestic old oak or beech
couldn’t be truer. to the background, thereby lessening tree will always work magnificently, but
A common mistake that many the woodland atmosphere you’re trying younger trees with interesting shapes
photographers make when attempting to capture. An even bigger problem can be just as appealing. Don’t worry
to shoot woodlands is to follow the with this lens choice is that it tends to too much about foreground interest;
same approach they would use for capture atmosphere-sapping white those rules don’t apply here. Zoom into
regular landscapes; namely attaching a sky bleeding in between the trees. the main tree or trees to really enhance
wide-angle lens, looking for some big Your go-to lens for woodlands will the shapes against a backdrop of more
foreground interest and then shooting ideally be the longer end of a mid- prosaic trees or bushes.
from a nice low position. Obviously, range (24-70mm) at the least, plus your You can see more of Adam’s work
all these things can work, but in telephoto lens for good measure. at adamburtonphotography.com.
F E A T U R E

MASTER WOODLAND COMPOSITION

CONTINUED

TOP LENS OPTIONS

Focal length can have a big impact
on depth and detail

STANDARD ZOOM
The common 24-70mm
range is ideal for
woodlands thanks to the
easy reframing for near and
far subjects. An f/4 version
is more budget-friendly,
while a 24-105mm is a
suitably versatile alternative.

SHORT TELEPHOTO
An 85mm f/1.4 or f/1.8, or
even a 90mm macro lens,
are great choices for subtle
compression, and for
isolating subjects from
cluttered backgrounds. The
fast aperture helps to blur
unwanted peripheral detail.
© Adam Burton

TELE-ZOOM
PITCH UP Where there’s crowded detail near the woodland floor, but you want to include a A 70-200mm zoom is
suggestion of it, simply pitching the lens up by a few degrees can be very effective perfect for stronger
perspective compression,
bringing layers of trees
together; this focuses
viewer attention while
maintaining a sense of
depth. An f/4 model is
much lighter and less
costly than an f/2.8.

DIAGONAL FISHEYE
While not an obvious
landscape choice, a
fisheye lens can produce
dynamic woodland shots.
An 8-15mm offers an
ultrawide perspective,
while varied tree angles
hide converging verticals.
Consider hiring a lens for
one-time use.

CLUTTERED AND CLEAR

Compose your shots so that
apparent clearings in the forest
© Adam Burton

are just visible on the horizon;

this suggests a path for your
audience to follow, creating depth
F E A T U R E

MASTER LIGHT AND EXPOSURE

Use lighting to your advantage by adapting exposure control

ue to the ways in which a

D camera reads and captures
light, woodland environments
are almost always going to represent
a challenge when a photographer
attempts to capture an accurate range
of tones. The foreground area of the
shot is likely to be in deep shade, cast
by the canopy of leaves. Meanwhile,
during daylight hours, the sky will be
several stops brighter, making it almost
impossible to avoid some clipping in a
single exposure.
The dynamic range will be
significantly exceeded, even when using
the latest full-frame mirrorless cameras.
However, there are a couple of options
available when you’re attempting to
correctly render all areas of the frame
in their full detail-rich glory. Firstly,
exposure blending will allow highlight
LET IT GLOW
detail and colour from multiple frames
When calculating exposure, it’s
to be combined, creating an image with

© Adam Burton
often far more effective to allow
a wider dynamic range. This is a tried some blowing of sky highlights
and tested approach; however, there to add a dreamy glow
are some difficulties.
The high-frequency detail of nature of the selections necessary can introduce an ethereal style, while
woodland canopies present a challenge also make any manual blending also simplifying the exposure process.
for exposure-blending software, techniques impractical. Another As long as the presence of clipped
producing halos, ghosts and other approach is to embrace the exposure areas is controlled with composition, to
artefacts that are difficult to remove imbalances, and allow small areas of limit their visibility, they won’t interfere
in post-production, while the complex sky beyond the trees to blow out. This with the impact of your shot.

WORK WITH WEATHER

Adam Burton on how
lighting alters the
woodland landscape

The final thing you need to

make your woodland pictures
stand out is the right weather.
Of course, a foggy day yields
great results. Mist acts perfectly
to both soften contrast and
simplify cluttered woodlands,
as well as adding bags of
atmosphere. Without mist,
my personal favourite effect is
to look for some backlighting to
show off your subject; with low
sun behind woodland subjects,
compositions can appear
enchanting and appealing.
Try capturing the sun peeping
© Adam Burton

out from behind a branch to

record a sunburst.
F E A T U R E

MASTER LIGHT AND EXPOSURE CONTINUED

CONTROL DYNAMIC RANGE Minimise the number of files needed for an HDR sequence

1 SECURE THE CAMERA

We need the camera to remain still throughout shooting, to avoid
position shifts between frames. Find a perspective you’re happy with,
2 CHOOSE COMPOSITION
Set the composition before performing exposure control steps,
as the contrast is so high in many woodland scenes that even slight
and lock the setup in place. While spiked tripod feet are useful, take reframing can require significant exposure adjustment. Look around
care not to damage lichens or mosses on the woodland floor. the frame to identify the brightest and darkest areas of the scene.

3 SELECT SPOT METERING

Switch to Spot Metering mode to make the camera’s exposure
measurement as precise as possible in the highly detailed landscape.
4 SHOOT FOR THE HIGHLIGHTS
Check that the Exposure Compensation is centred to produce an
‘average’ exposure for each area of the scene. Since we’re using Spot
This will ensure success in preventing clipping, even if the brightest Metering we shouldn’t have to worry about fine brightness adjustment
highlights are small areas on leaves or lighter-coloured tree branches. at this in-camera stage – we can make tweaks in software.

5 MOVE THE AF POINT

Look through the viewfinder, or at the rear LCD, and move the AF
point over an area of shadow. This should force the auto exposure
6 CHECK HISTOGRAMS
Review highlight and shadow images to ensure there’s no clipping
of target areas in each. Since these files will now be merged in software,
system to recalculate the required shutter speed. Take a second frame, you don’t need to worry about shadow or highlight loss respectively.
using the self-timer to avoid any movement. This process is less ‘hit and miss’ than AEB, while also saving card space.
F E A T U R E

WORK WITH COLOUR

Use colour interactions to direct attention and create landscape structure

BRANCH LINES
Break up the scene with additional elements or
areas of colour. Where there are large expanses
of one colour or colour group, work in other
objects to randomise the pattern

© imageBROKER/AVTG via Getty Images

n temperate climates, environment becomes a patchwork intention to the photographer. This
I woodlands are often a
contradiction of tones,
of colour-contrast opportunities,
featuring wonderful golden lighting
means we must take a more active role
in controlling how colour is biased, to
depending on the season in which and depth-inducing layered palettes. preserve the atmosphere and enhance
they’re photographed. In springtime The landscape is transformed, and, the most attractive elements of the
and summer, some woodland images rather than a lack of colour being a woodland environment.
can seem to be lacking in colour limiting factor, the challenge becomes Our job as the image maker is to
contrast. Forests often become a sea one of artistic restraint. decide what the viewers want to see,
of green leaves, with little depth or It’s difficult not to get carried away and balance this with our technical
easily identifiable subjects. When top- by the plethora of colour interactions, instincts. We should aim to prevent
down summer lighting is combined and lose sight of the need for a clear oversaturation of colours, but we must
with the rarity of dramatic weather theme and strong subject. In each also recognise that the most extreme
and a flattening of visible layers to the season, notably the autumn months, examples are often popular. Therefore,
landscape, the woodland can seem to colour management also becomes it’s a question of deciding how far to
experience a reduction in atmosphere. a technical challenge. Cameras tend push our images to please a potential
However, with the onset of the not to represent bold colours well, or audience, while also retaining a scene’s
autumn months, the woodland rather the technology has a different natural authenticity.
F E A T U R E

WORK WITH COLOUR CONTINUED

PROCESS YOUR IMAGES Use software tools to bring your woodland scenes to life

1 CHOOSE PRESET WHITE BALANCE

The best aspect of shooting raw is the capacity to change the white
balance post-capture. While precise colour edits may be necessary, as
2 ADJUST EXPOSURE
The brightness of the scene also impacts upon the apparent colour
richness, with a lighter frame often visibly less saturated than images
described here, sometimes a WB preset offers a good overall colour leaning towards subtle underexposure. It’s best to expose to the right
theme, and can be a good base for your advanced processing. to capture more data, then turn down Exposure by around -2/3 stop.

3 CONTROL CHANNEL LUMINANCE

To increase the depth of the colours in your image, without turning
up the Saturation or Vibrance, try reducing the Luminance value in any
4 ADJUST HUE
Create several looks from a single frame by making subtle alterations
to the hue value of key colours. If an autumnal woodland scene appears
channel that’s near clipping point, often reds and oranges in autumnal overly yellow, for example, consider making the hue of these areas look
scenes. Play with different Luminance settings in each channel. more red or orange in HSL, or vice versa.

5 CUSTOMISE CURVES
We should be aiming for colour depth with subtle contrasts, and
Curves edits are an excellent method of making highly targeted
6 USE CALIBRATION FEATURES
Visit the Calibration tab in Lightroom, or the corresponding panel
in your choice of raw editor, and adjust the hue and saturation of each
colour adjustments. Try adding a slight green or blue tint to shadow colour category. Experiment with the fine-tuning, with reds and greens
areas to increase the depth of autumn shots, for example. a popular focus for autumnal scenes.
F E A T U R E

WORK WITH COLOUR CONTINUED

LEAD WITH LAYERS
Create depth and
direction by
capturing different
colours at varying
planes within the
scene. Colder
foreground colours
and warmer tones in
the distance creates
a path for the viewer
to follow

CHOOSE ESSENTIAL FILTERS Subtly enhance your images with hardware filtration

CIRCULAR POLARISER NDS/GRADS DIFFUSION

Woodlands are filled with reflective surfaces Full NDs are perfect for introducing motion A less common filter, the soft focus or
– wet rocks, leaves and rivers to name a few. to colourful leaves for an impressionist style, diffusion type adds a subtle glow to images,
© Aleksey Kuprikov

The ubiquitous polariser is popular for good and for softening water in woodland streams. giving them an ethereal quality. While this
reason, and can effectively deepen colour and Meanwhile, a soft ND grad is handy for effect can also be created in software, the
increase subject separation. holding back the exposure of the tree canopy. hardware option offers an instant preview.
F E A T U R E

DISCOVER ENGAGING SUBJECTS

Identify positive and negative space in your scene for structured images

A RIVER RUNS THROUGH IT

© Peter Fenech
Streams, rivers or pools are a great addition
to a woodland scene. They divide the frame,
reflecting light and colour into the landscape

s photographers, we often There’s so much potential subject and the smell of the wildflowers all
A have the inverse job to that
of a painter. While an artist
matter in a woodland scene that we
have to stop and ask ourselves which
build up a sensory patchwork. If we
can work out how to present these
using pigment and brushes starts qualities each element lends to the elements in a series of images so they
with a blank canvas and must build overall effect. Identifying a particular tell a connected story, we can produce
up detail as they work, a photographer piece in the visual puzzle that’s a dynamic and engaging picture.
is tasked with careful removal of visual triggering an emotional connection A great way to develop your
information. This is something that we between the viewer and a photo is woodland photography, or indeed your
learn through experience. subliminal discipline. images of any detail-rich scene, is to
However, when presented with a When someone looks at a scene, study your images and make notes of
complex landscape, such as that found they register all of the details, and how which elements you feel might work as
in a woodland, even the most practised each facet stimulates their senses, a main subject. Next, write down which
photographer can struggle to identify separately. The colour of the leaves, lens you might use to shoot each one,
and isolate the precise aspect that the patterns of the tree bark, the sound and whether front, side or backlighting
captured their imagination. of the breeze or of a nearby stream, might be the best fit.
F E A T U R E

DISCOVER ENGAGING SUBJECTS CONTINUED

SWEEP THE SCENE

Use a grid system to find the best
attributes of any potential shot
In a crowded environment, it helps to
explore the scene to find the elements
that made you want to create an image.
Once you’ve found an engaging subject,
look for additional image material, working
outwards from a strong compositional
area, such as along a leading line.
If you’ve found a colourful tree, then
explore the ground underneath it for fallen
leaf still-life shots. If there is moss hanging
from a bank or tree branch, see if you can
use it to frame something else. Instead of
seeking shots at random, increase your
chances of finding subjects by using
another as a reference marker.

PATH OF ILLUMINATION
Where the detail is competing
© Peter Fenech

for attention, pools of light can

reveal subject matter, such as
the sunset on this vegetation
F E A T U R E

SHOOT UNIQUE PERSPECTIVES

Mix up your standard compositions for an
alternative view of the woodland environment

© Baac3nes/Moments via Getty Images

DYNAMIC ANGLES
Shooting from an elevated position
shows the forest in its wider context

inding an intriguing perspective so that it follows some form of visual branches and muddy footprints all
F can be difficult when you’re
surrounded by masses of
path. We want the viewer’s eye to
move across the image, either from
create a mess of overlapping features,
which weigh down the composition
detail, much of which looks fairly side to side or from front to back, disproportionately.
analogous. Repetitive patterns are a moving deeper into the frame. We can Placing the camera low to the
compelling visual device, but in most encourage either of these through lens ground and pitching the lens up not
forest and woodland locations the choice, and camera height and angle, only excludes these distractions
trees rarely conform enough for this and via exposure choices. from the frame, it also uses
to work effectively. The result is often Raising or lowering the camera converging verticals to great effect,
a set of images which don’t have any rig is a tried and tested method of exaggerating the height of the trees.
real sense of depth or direction, but introducing a dynamic angle and Conversely, getting out of the forest
which are also broken up by distracting additional interest. One of the aspects itself, and shooting a skyline shot
changes in the shape and form of the that spoils many woodland shots is from an elevated position can be a
natural components. too much extraneous detail on the very effective way of showing the
Our task is to rearrange this detail floor of the location. Leaf litter, fallen environment in its wider context.
F E A T U R E

SHOOT UNIQUE PERSPECTIVES CONTINUED

SELECT YOUR ASPECT
Changing the shape of the frame
can have a profound effect on the
viewer experience

3:2
his aspect ratio is now seen
T
© Milamai/Moments via Getty Images

as a standard because the

majority of sensors match it
natively, which means no cropping of
the image is necessary. However, some
photographers consider this aspect to be
too long on the X-axis, making it harder to
exclude distracting edge detail.

UNEXPECTED TIMING Try shooting a woodland in lighting in which it’s less often seen

16:9
his format allows full-
T
screen preview on
personal devices such as
laptops and smartphones. It helps focus
attention on the pattern of the trees by
eliminating unwanted detail on the forest
floor, and it’s also more vertically inclusive
than a 12x6 panoramic image.
© Peter Fenech

GUIDE THE EYE Woodland detail can appear repetitive, so offer an entry and exit point in the frame

STAY LEVEL
There’s rarely a solid, perfectly geometric

1:1
reference in woodland, making it difficult Increasingly common in
to keep the camera truly level. This can the Instagram era, square
produce unexpected converging verticals images can be a perfect fit for
and distortions, so keep a hotshoe spirit smaller detail shots and still-life studies.
level to hand, or activate your camera’s The symmetry of the frame creates a
virtual level. This ensures that you know by precisely-directed viewer experience,
how much the lens is pitched up or down, so you need to ensure that your subject
and rotated relative to the horizon. is strong and identifiable.
F E A T U R E

TOP TIPS FOR

WOODLAND PHOTOGRAPHY

SHOW CIRCULAR
MOTION CONTRASTS POLARISING
Use an ND filter to
contrast moving areas
In homogeneous scenes, look for colour
variance to create extra depth and interest FILTER
Filters reduce the sheen
with stationary tree
on wet surfaces and
trunks via long exposures
leaves for richer colour

EXPERIMENT WITH
EQUALISE
HUE EXPOSURE
Keep an eye on the histogram,
and use hardware filters to
ISO 100 f/5.6 1/400 50mm prevent dappled highlight loss
Use software tools to make custom
edits to colours for natural yet novel
hue combinations

WIDE AND
SHALLOW REPEATING
When using a wider
focal length, control the
background detail with
PATTERNS
Manage high-frequency detail
a wider aperture
by arranging it to exaggerate
symmetry, patterns and sequences

PICK
OUT THE TIGHTER
ZOOM DETAILS
Look for smaller
FRAMING ENSURE
aspects of a bigger
subject to create avour longer focal lengths
F
SEPARATION
a clean frame to compress perspective and Where there are many
reduce peripheral detail similarly coloured trees,
adjust shooting angle to vary 87°
distance between subjects
S U B S C R I B E

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G A L L E R Y

XPOSURE
THE WEEK’S MOST INSPIRING READER PHOTOS

THE FRILL OF IT
HELEN GEORGE
“This is a macro capture of the curled petals of a begonia flower.
I photographed it using a Raynox macro conversion lens attached
to my Panasonic DMC-FZ200.”
https://bit.ly/3sjw9ab
G A L L E R Y
THE WEEK’S MOST INSPIRING READER PHOTOS

SUNSET LIGHTS - FABBRICHE DI VALLICO

SALVATORE VITALE
“I took this photo in Italy last winter, at sunset in the
beautiful old hamlet of Fabbriche di Vallico in the province
of Lucca. It’s in the geographical area called Garfagnana,
an enchanted place where history flows slowly.”
https://bit.ly/3zmSje4
G A L L E R Y
THE WEEK’S MOST INSPIRING READER PHOTOS

GALLEON
SIMON WEEKS
“This was taken at Lake Ashinoko in Hakone, Japan, with Mount Fuji in the background.”
G A L L E R Y
THE WEEK’S MOST INSPIRING READER PHOTOS

A NATURAL STAGE
ANDREAS LANZ
“Close to the alpine passes in the Swiss Alps there are a lot of lesser-known
places where you can enjoy great hikes in the wilderness. I took this photo
during one of my trips near the Susten Pass in Bernese Oberland.”
https://bit.ly/3CeGzxg

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I N S P I R A T I O N

I T ’ S C O O L , T H AT
THE BEST THING WE’ VE SEEN THIS WEEK

Images © The photographer and courtesy the Shipwrecked Mariners’ Society

The Old Oyster Beds by Justin Minns, Overall Winner

Wind Turbines by Jonathan Killick, Winner, Industry Unicorn by Andrew Hocking, Winner, Coastal Views

STUNNING IMAGES CELEBRATE

BRITAIN’S COASTAL HERITAGE
Shipwrecked Mariners’ Society announces the winners of its 2022 photo contest
hipwrecks isn’t a subject that you which was captured at Brightlingsea
S would immediately associate with
eye-catching photographs, but
in Essex, UK. Winners were also chosen
in four categories: Coastal Views, Industry,
fortunately the Shipwrecked Mariners’ Ships and Wrecks, and People and
Society photo competition has a wider brief, Recreation. This year’s contest attracted
featuring images that celebrate all aspects more than 1,000 entries from amateur and
of Britain’s historic relationship with the sea. professional photographers. SEE MOR E IM AGE S
The winners of the society’s 10th annual Click the link to see images from previous h t t p s : // bi t . ly/ 3f l JieN
contest have been announced, with Justin competitions at the Shipwrecked Mariners’
Minns crowned Overall Winner for his Society website, where you can also learn
stunning aerial image, The Old Oyster Beds, more about the charity’s work.
S K I L L S

CRASH COURSE
ESSENTIAL PHOTO SKILLS MADE EASY

BAL ANCING AC T
Mike Harris shows you a variety of ways to achieve accurate
white balance – and how to fix issues in post

Have you ever wondered Colour temperature is measured in they’re trying to achieve. But if you at
1HOUR
why some photographs have
a warm, yellowish hue, while
Kelvins (K). Direct sunlight is roughly
5000K, for example, and most cameras
least know how to balance the colour
temperature of a scene, you have a
others have a cooler, bluish capture a range from around 2500K solid base to work from in post. Which
tint? This is because light sources emit (very warm) to 10,000K (very cool). You brings us to an important point: the
different colour temperatures – and don’t have to know what the various colour temperature of raw files can be
although the human eye is adept at values mean, however – all you have altered at any time without damaging
compensating for these changes in to do is set up your camera up to image quality, so if you don’t like what
colour, a camera sometimes needs a capture accurate colours. you see, you can always change it.
helping hand to get things right. You could argue that the ‘correct’ So why worry about white balance
White balance is so called because white balance doesn’t really exist, as at all? Because getting it right in-
it refers to the process of rendering a the perfect colour temperature of an camera saves time in the edit – and
white object as white, regardless of the image will differ from photographer knowing the theory can also help you
colour temperature of the light source. to photographer and the aesthetic become a better photographer.
S K I L L S
HOW TO KEEP YOUR WHITE BALANCE IN CHECK

1
SHOOT RAW
Head into your camera’s menus, and make
sure Image Quality is set to Raw – Nikon’s raw
format is NEF for example, as shown here, while
Canon’s is CR2 . While it is possible to tweak the
colour temperature of JPEG files in post, you’ll
need to shoot raw if you want free rein to alter
the white balance without losing quality.

2 CUSTOM

WHEN TO GO AUTO
Lots of photographers favour Auto White
Balance: it’s a great choice for everyday
shooting, or for situations where you don’t AUTO
have time to fiddle with settings. Auto White
Balance is only able to correct the colour
temperature within a limited range, though,
and will often attempt to neutralise the colours
of naturally extreme light conditions such as
the golden hour or blue hour.

3
FIX IT IN POST
It’s easy to correct white balance in Camera
Raw’s Basic panel. The White Balance dropdown
menu allows you to select a preset; the
Temperature and Tint sliders allows you to fine-
tune the Kelvin value; and you can click on a
neutral tone in an image with the White Balance
tool to correct colours throughout the image.

QUICK TIP
Some cameras feature more than one Auto White Balance and Auto1 is something of a middle ground. There’s also
setting. Our Nikon Z 6II, for example has four settings. Auto0 Natural Light Auto, which tries to replicate what the human
reduces warm colours, Auto2 maintains warm colours eye sees in natural lighting conditions.
S K I L L S
HOW TO KEEP YOUR WHITE BALANCE IN CHECK

DAYLIGHT SHADE FLUORESCENT TUNGSTEN 4

PICK A PRESET
Head to White Balance in the menus to find
your camera’s list of presets. This allows you
to match the scene in front of you to the
corresponding preset, without having to worry
about Kelvin values. Familiarise yourself with
each preset; if you know that Cloudy adds
warmth, for example, you might want to select
it if Auto is making a scene look too cold.

5
FINE-TUNE THE TEMP
If you want more control over white balance
while you shoot, some cameras enable you to
call up a square colour chart. On our Nikon, the
A-B value represents colour temperature, and
the G-M value represents tint. You’ll also find a
Choose Colour Temp option in the main White
Balance menu that lets you input specific Kelvin
values or change the tint. Most will opt to make
these fine adjustments in post, but they’re
handy if you’re a stickler for doing it in-camera.

6
READING MATERIAL
You can also take a white balance reading
using a neutral object or a dedicated grey card
as a reference point. This is usually accessed
via a dedicated White Balance button, or the
White Balance menu. Once enabled, fill the
frame with the neutral reference, and fire the
shutter; the camera will save the reading.
E D I T I N G

PH OTOS H O P
LEARN ESSENTIAL EDITING SKILLS FAST!

HOW TO...

PRO PORTRAITS FOR PEANUTS W AT CH T HE V IDEO

h t t p s : // b i t . l y/ 3B x 0 t k W

Is it possible to build a high-end home studio on a budget?

James Paterson takes a DIY approach to portraiture
ith inflation and a cost-of-living portraits on a shoestring budget of £75, usually requires light modifiers like
W crisis causing us to watch our
spending, shelling out money
or around $80. This was enough to buy
two cheap secondhand flashguns and a
umbrellas and softboxes, which could
break our budget by themselves, so
on photography kit or a trip to a portrait green sheet for the backdrop. A chroma to save ourselves cash yet still get
studio just isn’t a priority at the moment key sheet costs as little as £5/$5 on high-quality lighting, we built our own,
for many of us. But in this video tutorial eBay, and we can transform the green supplementing our flashgun and green
we’ll show you how you can get great into any colour during editing. screen purchases with a few everyday
portraits without running up the bills. The key to studio lighting is enlarging household items: a garden waste bag,
For this project we set ourselves a and softening the light source so that it a broken umbrella, some bin liners and
challenge: to craft high-end studio becomes gentle and flattering. This kitchen foil.

WANT MORE PHOTOSHOP TUTORIALS? CHECK OUT PRACTICAL PHOTOSHOP

For more Photoshop tutorials, tips and advice subscribe to Practical Photoshop, the world’s premier
Photoshop magazine. Each month you’ll find an array of inspirational tutorials and accompanying video
lessons that will help you master Adobe’s industry-leading photo-editing software, plus amazing images
from the world’s best Photoshop creatives, free downloadable content, and a beginner’s guide to the basics.
iOS: https://apple.co/2GcA3Jc Android: http://bit.ly/2NJASNx Zinio: http://bit.ly/37ke9Qf
MIRRORLESS TEST
EXPERT OPINION ON THE L ATEST KIT

NIKON Z 30
A new APS-C body with vloggers in its sights

www.nikon.co.uk £699/$707 (body only)

ikon’s third mirrorless Z-series brought up on smartphones. Electronic viewfinders are complex
N camera with a DX (APS-C)
sensor has arrived in the guise
This plucky little Z camera’s target
audience and price range places it
and expensive components. They
typically squeeze many more pixels
of the Z 30. It joins the first – the Z 50, squarely alongside the Sony ZV-E10, than a rear LCD into a very high-
launched over two years ago – and and it could be considered a more resolution screen that’s the size of
the more recent Nikon Z fc, which is affordable alternative to the range- a thumbnail, with precision optics
essentially the same camera as the topping Sony A6600. to make for a comfortable viewing
Z 50, with retro-themed, direct- The Z 30 is also Nikon’s most experience. But vloggers don’t need
access controls. The Z 30 feels very affordable Z-series mirrorless any of that: they turn the camera on
much like the same camera again, model to date, a feat largely made themselves as they give us their take
this time sans-viewfinder to appeal to possible due to hardware hand-me- on the world around them.
vloggers, and perhaps a generation downs and the lack of a viewfinder. The Z 30 is available body-only,
MIRRORLESS TEST NIKON Z 30

01
1 This is the only Z-series mirrorless model
to not sport an electronic viewfinder, which
helps to keep the price down. 03
2 The best kit options include the svelte,
retracting 16-50mm lens, which includes
built-in VR – helpful for smooth video
recording.
02
3 A red LED ‘tally light’ illuminates while
the Z 30 is recording video, or is in
self-timer mode.

4 The rear screen has a vari-angle pivot,

which is ideal for video.

5 The 3-inch rear screen’s 1.04m dots

provide plenty of detail.

6 Whether it’s stills or video, this lever

06
makes the mode clear.

7 The Z 30 has microphones built into its

top plate, though keen vloggers are likely
to connect an external one.
05
8 The record button is a decent size, and 04
has been positioned to make shooting
video easier.

or in a couple of kit options. Our

review sample came with the tried
and tested Z DX 16-50mm f/3.5-6.3
VR standard zoom, which equates to
a very usable 24-75mm in full-frame
terms. This is a wise buy for anyone
new to the Nikon ecosystem, with the
lens adding just £140 / $140 to the
base price. It’s amazingly compact for
a kit lens, barely protruding beyond
the camera grip and very much in
08
keeping with the compact aesthetic.
Other kit options are a double-zoom
kit, which adds the DX 50-250mm
f/4.5-6.3 VR zoom to the 16-50mm
07
for £1,069 / $1,097, and a Vlogger Kit
for £879 / $855.
One of the key benefits of the
Z 30 over other cameras in its class small number of DX-format Nikkor and Z fc, and the guts of the three
is that it provides access to Nikon’s Z lenses designed for this camera, cameras are all but identical. The
range of Z-mount lenses, which have though an ultra-wide DX zoom is on Z 30 has the same 20.9MP APS-C
delivered astounding optical quality the Nikon Z roadmap. CMOS sensor, powered by the
time and again. With the addition EXPEED 6 image processor. There’s
of the FTZ adapter, many of Nikon’s Key features the now-familiar 209-point hybrid AF
F-mount lenses are compatible too. Unsurprisingly, the Z 30’s spec sheet system, and an 11fps maximum
However, so far there are only a is very similar to those of the Z 50 shooting rate with full autofocus. The
MIRRORLESS TEST NIKON Z 30

The Z 30’s 20.9MP APS-C sensor can shoot down

to -4.5 EV, making it a great performer in low light

The Z 30’s vari-angle screen flips out to the side,

and can then be tilted up or down or faced
forwards for selfie/vlogging mode

camera boasts Eye- and Animal-

Detection AF for both stills and video.
It can record 4K UHD uncropped
video at 30fps, or Full HD at up to
120fps – perfect for smooth
slow-motion footage.

© Nikon
While the hardware is the same,
tweaks have been made to the
firmware. Nikon says there have been While it’s primarily aimed at videographers, the Z 30 is also a very capable stills camera, with
improvements to the AF system, in access to the entire range of Z-mount lenses (and most F-mount ones, via the FTZ adapter)
particular with face/eye tracking for
both people and animals.
The camera can now record
lengthy 125-minute clips. However,
it should be pointed out that this
feature is only available in Full HD
(up to 25p), with 4K maxing out at
around 35 minutes. The EN-EL25
battery is rated for 75 minutes of
video, so the camera has to be
tethered to take full advantage of
the two-hour recording length.
Accordingly, the camera can be
powered while recording via the
included (albeit rather short) USB-C
to USB-A cable; this is the only way
to charge the battery out of the
box, as there’s no charger included.
© Nikon

This might seem a little unfair for a

camera aimed at Nikon or Z-camera
newbies, but with an increasing the C-AF mode doesn’t work. when you’re walking forward while
number of tech brands omitting The stabilisation is poor to filming. When there are small
chargers on environmental grounds, middling. The Z 30 has no IBIS, so changes in camera position between
it isn’t surprising. it’s dependent on lens-based VR and frames, there are parallax changes
the body’s own electronic VR. Used between near and far objects, too,
Performance together, they can keep static shots and we suspect that when the
Our real-world test results were looking steady, but if you attempt any electronic VR keeps the centre object
interesting. The autofocus works kind of camera movement, such as a steady, it exaggerates the movement
very well, and the human and animal steady pan or walking and shooting, of those near the edges.
eye AF are very effective. What you the VR is out of its depth. It smooths You can use the Z 30 handheld
need to be aware of, though, is that things to a degree, but produces from a static position and get very
the Z 30 has its own specific AF-F (‘F’ jumps instead of jitters. steady shots, but if you’re going to
for full-time AF) for video use. You The electronic VR can also attempt any camera movements we
could spend ages wondering why produce pronounced edge wobble would recommend that you use a
MIRRORLESS TEST NIKON Z 30

upgrade over the Z fc; the Z 50 also LAB TESTS

outputs 4K uncropped. It’s a shame
4K 60p isn’t available – especially as
it’s featured on the iPhone 13 Pro – RESOLUTION (LINE WIDTHS/PICTURE HEIGHT)
but for an entry-level video camera,
this would have been a big ask.
Like other DX-format Z-series
© Adam Waring

cameras, the Z 30 doesn’t have

in-body image stabilisation (IBIS).
It does, however feature Electronic
A frame taken from a Full HD video shot
Vibration Reduction, which works
at 120fps to capture a 4x slow-mo of our
by discarding pixels via a 1.3x crop
somersaulting subject. The kit lens’s in-built
to maintain stability. If you want
VR will help with image stabilisation
maximum image quality, the 16-
50mm kit lens boasts in-lens VR,
tripod or a gimbal and switch both which is at least as effective.
VR options off. Purists may shy away from
Considering the similarities Active D-Lighting, but it’s worth With ‘only’ 20.9MP available, the Z 30 resolves
noticeably less fine detail than its test rivals, the
beneath the hood of Nikon’s three highlighting this function’s ability to
26MP Fujifilm X-S10 and 24MP Canon M50 Mk II.
DX-format mirrorless cameras, it’s automatically balance exposures It does get close to the Sony ZV-E10, however.
no surprise that the Z 30’s still image – ideal for vloggers who want to
quality is on a par with the Z 50’s shoot and upload with minimum
and the Z fc’s. At 5568 x 3712 pixels, hassle. If that’s your bag, Auto mode SIGNAL-TO-NOISE RATIO (DECIBELS)
the 20.9MP sensor doesn’t quite might be a tempting prospect, but
match the 6000 x 4000 resolution of videographers rely on maintaining a
the 24MP sensors found in some of constant shutter speed that’s double
Nikon’s DX-format DSLRs, but you the frame rate (1/100 sec at 50p for
get increased dynamic range and example), so you’re better off using
improved low-light performance Shutter Priority or Manual mode.
in return. Besides, high megapixel And that’s ultimately the biggest
counts aren’t as important when it hurdle the uninitiated will face. The
comes to video – 20.9MP is more Z 30 is a highly capable vlogging
than enough to provide the 3840 x device, but there’s a definite learning
2160 pixels that make up 4K video. curve for those used to smartphone
On that note, the Z 30 is capable of shooting. It’s a shame then, that the
outputting 4K uncropped, taking camera doesn’t bridge the gap with
advantage of the full width of the a dedicated, automatic video mode. The Z 30 is in last place at lower sensitivities, but
comes good where it matters most: at higher ISOs,
image sensor, which is a crucial Mike Harris where noise is most visible. By ISO12,800, it’s
producing the joint-cleanest images of the group.

VERDIC T DYNAMIC RANGE (EV)

SENSOR: 20.9MP APS-C CMOS IMAGE If you’re looking for a dedicated
PROCESSOR: EXPEED 6 AF POINTS: point-and-shoot video camera
209-POINT HYBRID AF SYSTEM ISO RANGE: that won’t break the bank, the
100-51,200 (EXPANDABLE TO ISO 204,800) Z 30 offers arguably the best build
VIDEO: UNCROPPED 4K UHD UP TO 30P, quality in its price range. But if
1080P FULL HD UP TO 120P VIEWFINDER: you can’t live without an EVF, or
NONE MEMORY CARD: SD/SDHC/SDXC, UHS-I predominantly shoot stills, you
LCD: 3-INCH VARI-ANGLE TOUCHSCREEN, could always plump for the Nikon
1040K DOTS MAX BURST: 11FPS Z 50 or Nikon Z fc. All in all, though,
STABILISATION: ELECTRONIC VIBRATION the Z 30 is a capable offering at an
REDUCTION (VIDEO ONLY) CONNECTIVITY: attractive price.
WI-FI, BLUETOOTH, SNAPBRIDGE, USB-C,
Dynamic range is excellent, with the Z 30 getting
MICRO HDMI, MICROPHONE SIZE: 128 X 73.5 close to the class-leading X-S10, and capturing
X 59.5MM WEIGHT: 350G BODY ONLY (405G significantly more highlight and shadow detail
WITH BATTERY AND MEMORY CARD) than its Canon and Sony competitors.
A P P S
MORE GREAT MAGA ZINES FROM
THE MAKERS OF PHOTOGRAPHY WEEK

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an inspirational mix of amazing packed with tutorials, exclusive
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