NPhoto UK - 2023

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Год: 2023

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FROM THE EDITOR

This issue’s special
contributors…
Neil Freeman
PAGE 6

Head honcho of Nikon School
Neil takes this issue’s apprentice
on a red squirrel shoot in the
heart of the Yorkshire Dales.

Edyta Rice
Landscape photographer Edyta
picks her 10 all-time favourite
places to take pics, throughout
the length and breadth of the UK.

Tom Mackie
PAGE 38

Travel pro Tom documents how
he came back with more than he
could have imagined on a recent
trip to northeastern Spain.

Mark Bauer
PAGE 42

Learn to take atmospheric
images of coastal scenes with
landscape pro Mark in our
inspiring projects section.

Gareth Cattermole
PAGE 60

Photographer of the rich and
famous Gareth tells how he
always captures the best side of
celebs in the N-Photo interview.

David Handley
PAGE 84

Motorsports-mad David takes
his D3300 and budget telezoom
out for a spin and captures great
shots from behind the fence.

Image: © Edyta Rice

PAGE 26

The 10 places you simply must
shoot at least once in your
lifetime revealed on page 26.

Welcome to issue 156
There are no end of astounding landscape locations
throughout the British Isles, so narrowing them
down to a top 10 was no easy feat for Edyta Rice.
Nevertheless, she presents her very favourite scenic
spots, from towering mountains to rugged coasts
(and everything in between), and advises how, when
and from where to shoot them.
We got our hands on the brand-new Nikon Z f – a camera oozing
retro charm on the outside but packing never-seen-before tech on
wkh#lqvlgh1#\rxġoo#Ľqg#rxu#Ľuvw#lpsuhvvlrqv#lq#rxu#lq0ghswk#suhylhz/#
lq#rxu#Jhdu#Vhfwlrq1#Zh#dovr#uhsruw#rq#rxu#Ľuvw#jolpsvh#ri#d#vwxqqlqj#
new prime lens that gets its own moniker, the Nikon ‘Plena’. Plus we
put eight fast telephoto zooms through their paces in our Big Test.
In this issue’s Apprentice feature, we team up with Nikon School’s
Neil Freeman to teach a lucky reader how to photograph red squirrels
– arguably the world’s cutest rodents – in the Yorkshire Dales.
Plus we have a our usual mix of photo projects: we’ll show you how
to shoot atmospheric coastal scenes, a spooky portrait for Halloween,
autumnal compositions, and a fun watering can-themed still life…
Adam Waring, Editor
adam.waring@futurenet.com

WORTH

SUBSCRIBE TO N-PHOTO & GET
£95
YOUR FREE LOWEPRO ADVENTURA
GO BP 160 CAMERA BACKPACK
Take out a subscription to N-Photo and get the magazine delivered to your door plus a free bag! SEE PAGE 24

www.digitalcameraworld.com

WIN! A
NIKON
Z
9
SEE PAG

Contents

E 81

38
Britain’s best landscapes!
From rugged coasts to towering peaks,
here are 10 top photo locations you must
visit at least once in your lifetime…

06
16 Lightbox
Britain’s best landscapes!
26
On Location
38
Nikon Skills
41

Apprentice Our apprentice goes nuts

on a red squirrel photo workshop

Commended Nikon images
from Wildlife Photographer of the Year
10
places you must shoot before you die
This time globetrotting
Tom Mackie is in the north of Spain

Projects aplenty to test
your shooting and editing abilities

60
68 On Assignment
Nikopedia
70
N-Photo POTY
76
Win a Nikon Z 9!
81

How a reader captures
the thrills and spills of
high-octane motorsport

Interview We quiz Getty Images

N-Photo and all things photographic

Photography
student Louis Izard on his first exhibition

Learn how Live View works,
plus Matthew tackles your troubles

You’ve got to be
in it to win it! So enter NPOTY today…

82
84 Your Stories
Back Issues
105
Next Issue
111
Parting Shot
114

Letters Vent your spleen about

photographer Gareth Cattermole

It’s the autumnal
round of our massive photo contest

A motorsports-mad
reader shares his stunning shots
Missing issue 148?
Let us help fill the gaps in your library

Read all about it!
Coming up in the next issue…

Mike laments a
photograph he’ll never be able to take

Free! Teach Yourself Urban
Photography ebook!

SUBSCRIBE!
Massive subscription savings!

Capture captivating cityscapes and
stunning street shots with this free 162page Urban Photography ebook, packed
with advice from top pros and inspiring,
easy-to-follow projects. Download yours
from https://bit.ly/npurban

Plus a free Lowepro Adventura
Go BP 160 backpack!

SEE
PAGE

The rain in Spain falls mainly
on the Cathedral-Basilica of
Our Lady of the Pillar

WORTH

£95
www.digitalcameraworld.com

CONTENTS

NikonSkills
Master your Nikon today!
60

Actors, rock stars and sporting heroes,
Gareth Cattermole has shot ’em all

42 Atmospheric seascapes

44 What we do in the shadows

Get the most from a trip to the coast

Create a spooky scene for Halloween
BEFORE

AFTER

Our pick of your
pics for the autumn
round of NPOTY

Gear Zone
Nikon Z f
88
91 Nikon Z 135mm f/1.8 S Plena
Nikon Z 180-600mm f/5.6-6.3
92
Fast telephoto zooms
94
Buyer’s Guide
106

48 Autumn landscapes

50 Stack your scenes

Shoot stunning seasonal compositions

Master Affinity Photo’s Focus Merge

BEFORE

AFTER

There’s something distinctly
old-school about Nikon’s newest camera

A lens so good it gets its own special name
Full
review of this affordable monster tele-zoom
Eight great
constant-aperture zooms rated
Your at-a-glance guide
to Nikon cameras and compatible lenses

www.digitalcameraworld.com

52 Mix up your landscapes

54 Do the can-can

Try Photoshop CC’s AI Landscape Mixer

String together a quirky still life shot

VIEW THE

VIDEO

Whenever you see this logo you’ll know
there’s an accompanying video that
you can watch online.
The videos and information provided are 100% independent and not
endorsed or sponsored by Nikon Corporation or Adobe Systems Incorporated

APPRENTICE

THE APPRENTICE
NAME: Alan Wrisberg
CAMERA: Nikon D500

Alan is a police sergeant from Scotland.
He used to be an avid athlete and
always took an interest in the trackside
photographers. By the time he was
coaching athletics and his own children
were playing sports, he was capturing his
own action photography. He started with
Olympus cameras, but when autofocus
became the norm, he switched to what
the pros were using, Nikon. He now owns
a D500 and is considering the move to a
full-frame (FX) DSLR or mirrorless.

Nikon School’s Neil Freeman takes our reader
to one of England’s last pockets of red squirrels

ildlife photographer Paul Fowlie
looks after a small woodland in
the heart of the Yorkshire Dales
that’s home to a healthy
contingent of red squirrels.
A series of purpose-built hides
allows him to run workshops and rent

the space to photographers seeking
unprecedented access to the UK’s only
indigenous squirrel. Sadly, the introduction
of the grey squirrel in the 19th century
devastated the red population and today
these beautiful little creatures reside mainly
in Ireland and Scotland, with only a few

www.digitalcameraworld.com

THE PRO

NAME: Neil Freeman
CAMERA: Nikon Z 9
Neil is training manager at Nikon School,
heading up Nikon-focused workshops
to shoot every subject under the sun,
but his passion is nature photography.
So much so that he relocated from his
native London to the Yorkshire town
of Harrogate, which has four National
Parks within just a couple of hours’
drive. He’s photographed red squirrels
countless times and what he doesn’t
know about Nikon, doesn’t yet exist.
www.nikonschool.co.uk

www.digitalcameraworld.com

APPRENTICE

SUPER
SHOT #1
Camera:

Nikon D500

Lens:

120-300mm f/2.8

Exposure:

1/500 sec, f/2.8, ISO10,000

EXPERT INSIGHT ALL CREATURES GREAT
AND SMALL
Neil says… It doesn’t matter
what you’re photographing,
always be prepared for
something unexpected. The
woodland was teeming with
birds: grouse, pheasants, coal
tits, a great spotted woodpecker
and even this little nuthatch. If
your camera has User Settings,
they are a great resource when
photographing wildlife out in the
field. You can be photographing
a red squirrel and then quickly
switch to your User Setting for
birds in flight, for example.

pockets left in England and Wales. Paul’s
hides (https://bit.ly/3ZQPq22) are
nestled within a quaint woodland, marked
only by a remote gate at the side of a
winding road. Neil and his apprentice, Alan,
met the day after the UK’s much talkedabout Storm Agnes, so the spitting rain
was a far cry from the deluge that battered
the countryside in the early hours. “Mind
your step,” said Paul as he led them
downhill along a boggy trail that footsteps
had carved into the countryside.
After 10 minutes of picking their way
through mud, they arrived at the Woodland
Hide. Inside were multiple openings to
accommodate a small group of
photographers and several large barrels of
nuts. “Squirrels go nuts for hazelnuts – I
spent £4000 on feed alone last year,” said
Paul as he opened the hide door. “Right,
you’ve been here loads of times, Neil,
so I’ll leave you Nikon guys to it.”

www.digitalcameraworld.com

RED SQUIRRELS

TECHNIQUE
ASSESSMENT
1

PRO KIT
LONG LENSES
Neil says… There’s no doubt that
cameras are important when shooting
wildlife. Advanced AF features,
low-light capabilities and highresolution sensors are extremely
useful, but lenses are particularly
important. You need to get close
enough to your subject and if you’re
shooting in challenging lighting
conditions, you need to get as much
light into your camera as possible.
A creamy background that separates
your subject is very desirable too.
A 70-200mm f/2.8 is a wildlife staple
and, depending on your budget, you
can go for the fastest super-telephoto
glass you can afford. Both F-Mount and
Z-Mount have great super-telephoto
lineups, but if you’re on a tight budget,
you’ll get more reach for your buck by
opting for a DX-format camera.
Suddenly, that 70-200mm f/2.8 has
an FX-equivalent reach of 105-300mm.

The Nikon School Training Manager
rubbed his hands together. “So, there’s the
Reflection Pool Hide a little further into the
trees, but we’ll start here in the Woodland
Hide. You’ve got that old fence to the left,
where they like to sit. A rope in the middle,
which they’re unlikely to use, but they will
perch on the branches. And over there,” he
pointed to the opening on the right-hand
side of the hide, “they’ll clamber over that
footpath sign and sit on the two tree
stumps on the far right.”

SQUIRREL SCHOOL
Alan nodded as he checked his D500’s
memory card and battery compartments:
“I can’t wait to get started. I’ve got my
70-200mm f/2.8 here, or would you
recommend something else?”
“You can certainly get away with a
full-frame equivalent 105-300mm,” said
Neil as he decanted a scoop of hazelnuts

www.digitalcameraworld.com

into a small container, “but if you want a
little more reach, I’ve also brought the AF-S
200-500mm f/5.6E ED VR. But...”, the pro
hoisted a large bag onto a nearby stool.
“You’ll be much better off with a faster lens
in these drab conditions. Try this...”
Alan unzipped the bag and lifted out the
mighty Nikon AF-S 120-300mm f/2.8E FL
ED SR VR. “Wow,” said the apprentice,
“that’s a hefty lens.”
“Over 3kg,” said Neil, “but it’s beautifully
sharp and that constant f/2.8 aperture
produces a really creamy blur .”
“How much would that set me back?”
said Alan as he mounted it to his APS-C
camera. “Almost £10,000,” said Neil.
“I’ll have to give it a miss then,” replied
the apprentice as they both laughed.
Neil left the hide to scatter nuts on and
around nearby perches. He’d explained
that the squirrels would stick around
to munch on crushed hazelnuts, but

CAMERA SETTINGS
Neil says… Alan used Shutter Priority
with Auto ISO. His aperture was wide
open or stopped down slightly to widen
the focusing ballpark. The reciprocal
rule determined his shutter speed. How
far you push the ISO will depend on the
Nikon and editing software you use.
Alan tried not to exceed ISO10,000.

BACK-BUTTON FOCUS
Neil says… I use back-button focus.
With the shutter button only assigned
to fire the shutter, I can capture images
without fear of hunting. I don’t need to
switch to AF-S, I just hold the back
button to engage AF-C and release it to
lock focus. Finally, I can focus manually
without having to turn off autofocus.

STAY ON TRACK
Neil says… I leave Focus Tracking with
Lock-On (Custom Setting Menu) on its
default setting (3) for most things, but I
bumped it up to 4 today. This delayed
the response slightly, just in case a
squirrel momentarily darted behind a
branch or a bird flew in front of it.
I also set Subject Motion to Erratic.

APPRENTICE

HOW TO:

EDIT RED SQUIRRELS
1

CUT OUT THE NOISE
Neil says… Red squirrels usually live in
dense pine forests with low light levels
meaning you are likely shooting at high
ISOs. In post, it’s imperative that you
remove unwanted noise first, otherwise
you’ll end up editing the noise. I’ve
had great results with Lightroom’s
AI-powered Denoise feature.

CROP TO TASTE
Neil says… I choose to crop my images
at this stage because it allows me to
concentrate on editing the exact parts
of the photograph that are going to
feature in the final image. By trying out
various aspect ratios you can
experiment with different versions and
compositions of your image.

LOCAL EDITS
Neil says… Making global edits to your
images with the various sliders and
tools such as the Tone Curve help you
to edit key elements across your image.
If you want more control you can make
local edits using the Masking tool to
target specific areas, like your subject.

Tripods allowed the pair to prefocus, maintain that point of focus
and fire the shutter the moment the squirrel leapt into the air.

bury whole nuts. It didn’t take long for the
first inquisitive visitors to appear.
“There’s loads of them already,” said
Alan as he began shooting – evidently
struggling with the weight of the lens.
“This will help,” said Neil, as he handed
his apprentice a camo beanbag. “Rest your
lens on it to hold it a bit steadier.”
“It’s difficult to get sharp shots with low
noise in this light,” said the apprentice.
“I use the reciprocal rule,” explained Neil.
“Since you’re using a DX Nikon, you’ll have
to work out the full-frame equivalent focal
length first and then simply match it to
your shutter speed’s denominator.”
Alan was shooting at 300mm, which he
multiplied by the 1.5x DX crop factor to
calculate a 35mm equivalent focal length
of 450mm. He then inputted a shutter
speed of 1/500 sec.
“Perfect,” said Neil. “I use Manual mode,
but if you’re happy with Shutter Priority
that’s fine too. Just stay away from
Aperture Priority as we need full control of
our shutter speed.”
The pro held up his Nikon Z 9. “If you
were shooting mirrorless, I’d suggest using
your preferred mode with animal-tracking
turned on. But since you’re using a DSLR,
I’d use Single-Point AF or Group-Area AF.
And now’s your chance...”.
A squirrel was sitting on the fence post
almost opposite Alan’s position, merrily
munching away on a hazelnut. The
conditions were so dark that the 1/500 sec
shutter speed boosted the ISO right to
Neil’s suggested limit of ISO10,000. But
the static mammal gave the apprentice
plenty of time to lock focus and with the
long lens resting on a beanbag, he was able
to capture a super-sharp shot.
“That’s Super Shot #1,” said Neil.
“What about the noise?”

“You wouldn’t want it any higher, but
we’ll be able to clean that up in Lightroom.”

FLYING SQUIRRELS
Now Alan had nailed photographing a
static subject, it was time to move onto a
moving – or rather flying – subject. Neil
picked up a couple of tripods and led his
apprentice through the woods and out into
a small clearing, where there stood two
stumps set about two metres apart.
They were both covered in lichens and
mosses and one had a wooden beam
propped against it, which Neil pointed to:
“They’ll run up there, and then they’ll jump
from one stump onto the other. All you
have to do is capture one mid flight,” he
said as he extended one of the tripods.
Neil placed the two tripods directly in
front of the second stump. He asked Alan
to switch to his Nikon AF-S 70-200mm
f/2.8G IF-ED VR and mount it onto the
tripod via its foot for stability.
“This is going to be a challenge for the
autofocus,” said Alan.
“They’re too fast,” said Neil with a grin.
“The only AF system I’ve had success with
is the Z 9’s. I’ve not tried it, but I’m certain
it’d work with the Z 8 too, but with your
D500 we’ll have to prefocus.”
The pro told his apprentice to line up his
shot: “Try to frame a bit of the jump in the
bottom portion of the frame and make
sure you leave plenty of headroom as they
can jump surprisingly high.”
“Would it be best to shoot vertically to
provide some extra height?” asked Alan.
“They don’t always jump straight, so
landscape orientation will give you a little
room for error and we’ll be cropping the
images in post, anyway.”
The next step was to input as fast a
shutter speed as possible. Fortunately,

www.digitalcameraworld.com

RED SQUIRRELS

SUPER
SHOT #2

the clearing was slightly brighter than the
dense woodland around the first hide, so
Neil suggested to Alan that he narrow his
aperture one stop to f/4: “The slightly
larger depth of field will make focusing that
little bit more forgiving to help compensate
if you don’t hit the eye perfectly.”
“Where am I focusing?” said Alan.
Neil stood half way between the two
stumps and held out his hand: “Here –
focus on my palm.” Alan moved the focus
point over Neil’s hand and locked focus.
“Don’t move the camera from now on or
we’ll have to refocus,” said the pro. “Are
you using back-button focus?”
Alan shook his head.
“I advise anyone to give it a go,” said Neil.
“One benefit is that you don’t have to keep
switching to manual focus when you want
to fire the shutter without refocusing.”
“I have tried it,” said Alan, “but I couldn’t
seem to get on with it.”

www.digitalcameraworld.com

Camera:

Nikon D500

Lens:

70-200mm f/2.8

Exposure:

1/2500 sec, f/4, ISO4000

EXPERT
INSIGHT THE
RECIPROCAL
RULE
Neil says… I’ve always found
the reciprocal rule to be an
effective means of avoiding
camera shake. I’ll explain the rule in full-frame (FX) terms first. A full-frame sensor that’s
24Mp or smaller requires the shutter speed to match or exceed the value of the focal
length. So, if you’re shooting at 200mm, your focal length should be 1/200 sec or faster.
Move to a 36.3-Mp sensor like the D810’s and I’d suggest 2x the focal length. And with a
big 45.7-Mp sensor, I’ll aim for 4x the focal length. So ideally, I’d shoot at 1/2000 sec at
500mm. However, that doesn’t account for VR nor the individual’s ability to hold their
camera still, which will allow for sharpness at lower shutter speeds. Alan was using a DX
sensor, so he had to calculate the FX-equivalent focal length before applying the rule.

SUPER
SHOT #3

Camera:

Nikon D500

Lens:

70-200mm f/2.8

Exposure:

1/500 sec, f/4, ISO4000

www.digitalcameraworld.com

RED SQUIRRELS
“It does take some getting used to,
so let’s avoid it for today,” said the pro.
Alan flicked the lever on his D500, next
to the lens mount, to enable manual focus
while Neil began to scatter crushed
hazelnuts on the second stump.
“What shutter speed would you
suggest?” asked the apprentice.
“Nothing below 1/1600 sec, but
preferably higher,” said Neil. “What’s
1/2500 sec looking like?”
Alan inputted the settings, which yielded
an ISO of 4000. “Perfect,” said the pro.
All that was left for the photographers
to do was wait. And wait. And wait...

SQUIRRELS ARE LIKE BUSES...
“This is the only setup that’s not
guaranteed,” said Neil. “It seems to be a
different group of red squirrels than the
one we encountered before.”
The pair made the decision to leave their
tripods set up while they visited the
Reflection Hide. But as they were leaving,
Alan noticed a flash of red in the distance.
“Quick,” said Neil, “secure your camera
on the tripod and focus on my hand.”
In a few moments Alan was set up and
the photographers watched as a single
squirrel tentatively made its way towards
the first stump. “Make sure you’re on
Continuous High,” said the pro. “They’ll
hunker down on the edge of the first stump
just as they’re about to jump, so be ready.”
Sure enough, the little red squirrel made
its way onto the first stump and hunkered
down. “Ready?” said Neil, “Go, go, go!”
The squirrel launched into the air while
Alan fired off a burst. It was all over in a split
second and while the squirrel was busy
enjoying his reward, the photographers
reviewed the shots.
“Nearly,” said Neil. “They’re just slightly
out of focus. I reckon you need to fire the
shutter just a little bit earlier so you can…”
“Another!" exclaimed Alan.
“It’s hunkering down... now!” cried the
pro. Once again Alan rattled off a burst as
the squirrel flew through the air. Before
long, a crowd of four or five squirrels had
gathered and Alan had ample opportunity
to fire off burst after burst.
Upon reviewing the shots it was clear
that the apprentice was getting the hang of
things, with most attempts providing a
sharp example, including Super Shot #2.

plenty more interest. The squirrels were
darting across the wall at lightning speed
and jumping across a gap in the middle.
“You could try capturing them bridging
that gap,” said Neil, “but you’d have to be
really quick. Alternatively, you could go for
a behavioural portrait.”
Alan spent a few minutes tracking the
little critters as they launched across the
gap, but ultimately switched to portraiture.
“They’re just too fast,” he chuckled.
He inputted a shutter speed of 1/500
sec as he had done when shooting from
the hide. But instead of shooting wide open
he opted to retain the slightly larger depth
of field that f/4 allowed him.
“Good choice,” said Neil. “They’re much
more active here so that will give you a little
leeway. Be mindful of the squirrel’s
position. The tail creating a gentle S-curve
always looks good, it’s also nice to really
show off their long claws and tufty ears.”
Alan kept shooting as the squirrels busily
gathered whole nuts and stopped for the
occasional snack. Super Shot #3 ticked all
of the boxes, while also displaying the
gathering behaviour due to a nut in the
mammal’s mouth. The moss-covered
foreground was a finishing touch.
Not far beyond the wall was the
Reflection Pool Hide, comprising a small
two-person hide in front of a raised body of
water. Surrounding the water were various
rocks and bits of foliage, providing plenty
of interest as well as several makeshift
jetties for the reds to perch on.

MAMMAL IN THE MIRROR
“This is a favourite spot,” said Neil.
“It provides plenty of photographic
opportunity. You’ve got lots of

EXPERT INSIGHT
GREAT BAIT DEBATE
Neil says… My own personal view is
that there’s a difference between
baiting and supplementary feeding.
The former changes the animals’
behaviour, this might be making them
turn up to a location they wouldn’t
otherwise frequent, for example. We
know the red squirrels live in this wood
and we know they feed on nuts from
the trees, we’re adding in more of what
they eat in the environment where they
live; that’s supplementary feeding.
That feed will also help them through
the winter, as they live in a part of the
UK where conditions get quite harsh.

STERLING MOSS
Before they could call time on the jumping
shots, Neil noticed a squirrel running along
the wall behind them. “We’ve got another
visitor, Alan. In fact, that’s a lovely shot
along the wall with the mosses.”
Neil crushed up more hazelnuts and
placed them along the wall, garnering

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Red squirrels tend to bury whole hazelnuts in the
ground, but stop for a snack when they’re crushed up.

APPRENTICE
PRO
PORTFOLIO
NEIL FREEMAN

The Reflection Pool Hide is an ingenious setup, which boasts
arguably the best photographic potential in the whole wood.

THE NORTHERN LIGHTS
Seeing and photographing the Northern
Lights is an amazing experience. This
image is from January 2023 as the sun
is just moving into the peak of its 11-year
solar cycle. We were lucky enough to get
eight nights of stunning displays with the
aurora all around us. When it’s this bright,
you need to lower your shutter speed
to avoid blowing out the highlights.

WHITE-TAILED EAGLE
I’ve photographed a lot of wildlife over the
past two years and one of my highlights
was our recent workshop in Scotland,
where we had a great encounter with a
white-tailed eagle as it flew up the loch.
The animal-tracking AF system on the Z 9
was a big help in capturing this image.

LAND AND AIR
This image was shot with a Z 9 and
600mm f/4 with the in-built 1.4x
teleconverter. It looks like an air-to-air
shot, but I’m standing on the ground at
The Royal International Air Tattoo. I
waited for the aircraft to turn so I could
capture the jet wash and engine blast.

separation from the rest of the wood,
making it easy to capture a blurred
background, various points of interest
surrounding the pool that will guarantee
great results and, of course, those lovely
glassy reflections on the water itself.”
Alan set himself up in the hide, making
sure to rest his 70-200mm on a beanbag,
while Neil headed out with the box of
hazelnuts. Almost instantly, a squirrel
appeared on top of the raised reflection
pool and snaffled a few crumbs. Alan fired
off a few shots, but the rodent was too fast.
The apprentice retained an aperture of
f/4, but elected to drop his shutter speed
to allow more light into the camera. “That’ll
be fine,” said Neil as he entered the hide,
“you’re still well within the reciprocal rule.”
Alan showed the pro a few images on his
Playback screen. “Nice and sharp,
perfectly manageable levels of noise,” said
Neil, “but the key here is the reflections.”
He pointed at a squirrel on the rear LCD:
“There’s nothing wrong with the subject,
but you’ve cropped off the reflection.”
“It’s so easy to lose yourself focusing on
the subject,” said Alan.
Neil agreed: “Moving your AF point into
the top portion of the frame will help so you
naturally frame more of the reflection.”
At that moment another squirrel ran
along the end of the reflection pool and
stopped to feed, but as it did so another
one jumped directly into the pool before
hopping back out again. Alan managed to
capture an image of the first squirrel and
showed the result to Neil.
“That’s the composition you’re looking
for,” said Neil, “but see how the reflection
now looks distorted due to the wake of the
other squirrel jumping into the water? We
need the water to be perfectly still to
capture a glassy reflection.”
Alan waited for the water to calm and
roughly 20 minutes later, was given the

opportunity he’d been waiting for. A little
squirrel sat on the bank, side on, with its
tail making a perfect S-curve. The water
was completely still. All Alan needed to do
was frame the shot and lock focus. “That’s
Super Shot #4,” said Neil. “Fancy having a
go on the Nikon Z 8 I brought with me?”
“I’ll regret it, but yes please!” said Alan.

ALAN’S COMMENT
I can’t express enough how
much I loved the experience.
The reciprocal rule is very
helpful and I’m more confident
pushing my ISO to get sharper shots.

NEIL’S VERDICT
Alan did a fantastic job. We
were shooting in challenging
light and his hit rate was very
impressive, as was his ability
to nail those jumping shots!

Check out www.nikonschool.co.uk to browse
their workshops and learn from Neil yourself!

BE OUR NEXT
APPRENTICE!
We’re looking for future Apprentices!
So if you would like to appear on these
pages and get top one-to-one
professional tuition into the bargain,
send an email headed ‘Apprentice’ to
mail@nphotomag.com and make
sure that you include the following
information: your name, address, a
contact phone number, the camera
and kit you use, and the subject that
you’re interested in shooting.

www.digitalcameraworld.com

SUPER
SHOT #4
Camera:

Nikon D500

Lens:

70-200mm f/2.8

Exposure:

1/400 sec, f/4, ISO4000

www.digitalcameraworld.com

Our favourite Nikon images from the Wildlife
Photographer of the Year competition

www.digitalcameraworld.com

WILDLIFE PHOTOGRAPHER OF THE YEAR

Coral Connections

www.digitalcameraworld.com

ALEX MUSTARD
Alex shows the biodiversity of a healthy coral
reef as ghost gobies swim within the branches
of a sea fan. He is particularly fond of the skittish
goby and was determined to picture more
than one in the frame.
Camera:

Nikon D850

Lens:

105mm f/2.8

Exposure:

1/8 sec, f/16, ISO100

LIGHTBOX

Firebirds
ELZA FRIEDLÄNDER
Elza shows a pair of white storks in
shimmering heat against the burnt ground
caused by a controlled fire. As Elza had
anticipated, the blaze attracted hundreds
of birds, particularly storks and kites,
to an area of Kenya’s Maasai Mara. Most kept
their distance, but the storks pressed up
to the frontline in search of easy prey.

Camera:

Nikon D850

Lens:

500mm f/5.6 + 1.4x teleconverter

Exposure:

1/500 sec, f/8, ISO2000

www.digitalcameraworld.com

WILDLIFE PHOTOGRAPHER OF THE YEAR

Mason Bee at Work
SOLVIN ZANKL
Solvin watched a two-coloured mason bee
build the roof of its nest so it could find it
again. Solvin knew the bee was memorizing
landmarks. So as not to disorientate the bee,
he edged his equipment closer each time it
left. After two hours, the industrious bee
started to use his equipment as a landmark,
making this stunning shot possible.
Camera:

Nikon Z 6

Lens:

120mm f/4 + bellows

Exposure:

1/1000 sec, f/11, ISO100

www.digitalcameraworld.com

LIGHTBOX

Race for Life
DONGLIN ZHOU
Donglin witnessed a snow leopard hunting a
Pallas’s cat. He thought it was after a marmot
as “the Pallas’s cat blended in so well with the
rocks.” But in less than a minute, it was in the
snow leopard’s jaws. Both species are
camouflaged and hard to see at any time, let
alone together. Birds of prey and wolves are
known to hunt Pallas’s cats but it’s rare to see
them hunted by snow leopards.

Camera:

Nikon Z 9

Lens:

400mm f/2.8 + 1.4x teleconverter

Exposure:

1/1000, f/5.6, ISO640

www.digitalcameraworld.com

WILDLIFE PHOTOGRAPHER OF THE YEAR

Coot on Ice
ZHAI ZEYU
Zhai was entertained by a coot struggling to
stay upright on ice while snatching a
wriggling loach. She waited in the cold,
watching coots as they endeavoured to move
across a frozen pond in Liaoning, northeast
China. This coot had been scrambling in the
water for food and eventually caught dinner.
Camera:

Nikon Z 9

Lens:

400mm f/2.8 + 1.4x teleconverter

Exposure:

1/1000 sec, f/5.6, ISO640

www.digitalcameraworld.com

LIGHTBOX

Mushroom Magic
AGORASTOS PAPATSANIS
Agorastos illuminates swirls of spores
appearing to dance beneath the gills of a deer
shield mushroom. He set up umbrellas to
minimize airflow, positioned a Godox flashgun
and reflector, and angled his camera to
demonstrate the process of spore dispersal.
Camera:

Nikon D810

Lens:

105mm f/2.8 + polarizer

Exposure:

1/320 sec, f/4.5, ISO250

The Natural History Museum unveiled the Wildlife Photographer of the Year exhibition, showcasing 100 extraordinary
photographs from around the world, on 13 October 2023. The competition attracted an astounding 49,957 entries from
photographers of all ages and experience levels from 95 countries. Wildlife Photographer of the Year is developed and
produced by the Natural History Museum, London. To see the winning images and for further info, go to: www.nhm.ac.uk

www.digitalcameraworld.com

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ƏǔɎƺȸɵȒɖȸˡȸɀɎȵƏɵȅƺȇɎǝƏɀƬǼƺƏȸƺƳِJǣǔɎɀȒȇǼɵƏɮƏǣǼƏƫǼƺɎȒɀɖƫɀƬȸǣƫƺȸɀȒȇɎǝƺÈkȅƏǣȇǼƏȇƳɯǣɎǝɎǝƺȵɖȸƬǝƏɀƺȒǔƏȵȸǣȇɎȒȸȵȸƺȅǣɖȅ¨ǝȒɎȒ¨ǼɖɀɀɖƫɀƬȸǣȵɎǣȒȇِXȇɎǝƺɖȇǼǣǸƺǼɵƺɮƺȇɎɎǝƏɎɯƺȸɖȇȒɖɎȒǔɎǝǣɀǕǣǔɎًɯƺȵȸȒȅǣɀƺɎȒȒǔǔƺȸɵȒɖƏȇ
ƏǼɎƺȸȇƏɎǣɮƺǕǣǔɎȒǔɎǝƺɀƏȅƺȒȸǕȸƺƏɎƺȸɮƏǼɖƺِǼǼǕǣǔɎɀɖƫɀƬȸǣȵɎǣȒȇɀɯǣǼǼɀɎƏȸɎɯǣɎǝɎǝƺˡȸɀɎƏɮƏǣǼƏƫǼƺǣɀɀɖƺȒȇ‫ٮ‬ɀƏǼƺƏǔɎƺȸ(ƺƬƺȅƫƺȸ‫ِבא׎א‬XǔɵȒɖɯȒɖǼƳǼǣǸƺɵȒɖȸǕǣǔɎɀɖƫɀƬȸǣȵɎǣȒȇɎȒɀɎƏȸɎɯǣɎǝƏȇƺƏȸǼǣƺȸǣɀɀɖƺًɵȒɖƬƏȇƬǝȒȒɀƺƏȇƺƏȸǼǣƺȸǣɀɀɖƺ
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‫ٮג׏‬ƳƏɵƬƏȇƬƺǼǼƏɎǣȒȇȵƺȸǣȒƳِIȒȸǔɖǼǼɎƺȸȅɀƏȇƳƬȒȇƳǣɎǣȒȇɀًɮǣɀǣɎɯɯɯِȅƏǕƏɿǣȇƺɀƳǣȸƺƬɎِƬȒȅٖɎƺȸȅɀِIȒȸƺȇȷɖǣȸǣƺɀƏȇƳȒɮƺȸɀƺƏɀȸƏɎƺɀȵǼƺƏɀƺƬƏǼǼ‫גגڷي‬٢‫׎‬٣‫ِב׏׏׏בבב׎בב‬nǣȇƺɀƏȸƺȒȵƺȇxȒȇƳƏɵ‫ٮ‬IȸǣƳƏɵ‫׎בيז‬Əȅ‫וٮ‬ȵȅً³ƏɎɖȸƳƏɵ‫׎׏‬Əȅ‫בٮ‬ȵȅÈk
Áǣȅƺ٢ƺɴƬǼɖƳǣȇǕ ƏȇǸRȒǼǣƳƏɵɀ٣ȒȸƺȅƏǣǼ‫ي‬ǝƺǼȵ۬ȅƏǕƏɿǣȇƺɀƳǣȸƺƬɎِƬȒȅِ!ƏǼǼɀɎȒ‫׎בב׎‬ȇɖȅƫƺȸɀɯǣǼǼƫƺƬǝƏȸǕƺƳƏɎȇȒȅȒȸƺɎǝƏȇƏȇƏɎǣȒȇƏǼǼƏȇƳǼǣȇƺƬƏǼǼًƏȇƳȅƏɵƫƺǣȇƬǼɖƳƺƳǣȇɵȒɖȸȵǝȒȇƺȵȸȒɮǣƳƺȸ‫ټ‬ɀƬƏǼǼƫɖȇƳǼƺِ

places you
must shoot
before you die!
Pro photographer Edyta Rice
has travelled the length and
breadth of the UK in her
quest to find the country’s
best landscape locations
and reveals how, when
and where she shot
her top 10…

n Britain, we’re spoilt for choice when it
comes to breathtaking landscapes.
With majestic mountain vistas,
sparkling lakes and rivers, rolling
bucolic countryside and
spectacular rugged coastlines,
the United Kingdom has a rich
ǔǔ Ǖ Ǖ ů
every keen photographer.
If you’re looking for inspiration
for your next photography trip,
there are numerous places in the
UK that are crying out to be
photographed. The key to bagging a
stunning portfolio of photos is not only
knowing where these locations are, but
what to photograph and from what vantage

point once you’re there. However, with so much to see and
ǔǔǓħǔǕ ǔŲ ǔ
go next. So I’m going to share with you my top 10 most
breathtaking British locations that every landscape
photographer should visit at least once in their lifetime.
My top 10 views are spread out throughout the UK, so
there’s a good chance at least one will be not too far from
you, although all are worth making the trip for. I will
recommend where to photograph, when to go for the best
conditions and, most importantly, how to make the best
out of your visit. It doesn’t matter whether you’re a
beginner with an entry-level Nikon, or a professional with
all the kit – it’s still just about getting out in the landscape
and enjoying capturing the most breathtaking places in
the UK. And while this is a personal top 10 of my very
favourite locations, there are, of course, countless other
unmissable photo spots throughout the land, too.

www.digitalcameraworld.com

All images: © Edyta Rice

Edyta Rice

Award-winning photographer
Edyta places the emphasis firmly
on technique as she records the
natural beauty of landscapes.
She’s a brand ambassador for
Fotopro tripods and NiSi filters.
www.edytaricephotography.com

Britain’s best landscapes…
1

Shooting with a wide-angle lens
will help you capture more of
the scenery and allow for
more pleasing compositions

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As an island nation, you’re never too far from the coast and its spectacular
photography opportunities. Here are a couple of my favourite seaside spots…
Much of Britain’s beauty can be attributed to its
coastline. Along 5000 miles of British coast, you can
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[1] Capture of Durdle
Door shortly after a
stunning sunset.
[2] Sunset looking
towards the famous
sea stacks in
Bedruthan Steps.

BEDRUTHAN STEPS, CORNWALL
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www.digitalcameraworld.com

COASTAL LOCATIONS

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foreground interest for your images.
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frame, this is a good area to stand for sunset and
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www.digitalcameraworld.com

Keep your
horizons level
My best advice for coastal
photography is to ensure
straight horizons. Crooked
horizons are one of the easiest
ways to ruin a good shot, and
whilst it might be possible to fix
this during post-processing, it’s
better to pay attention to your
composition and get it right
first time. Many tripods are
equipped with built-in bubble
levels to assist you with getting
things right. If your tripod
doesn’t have that you can
always buy an inexpensive
bubble level that fits in your
camera hotshoe mount.
Try using the camera’s virtual
horizon display or switch on the
grid lines while shooting in Live
View to get the horizon straight.

Britain’s best landscapes…
3

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Britain’s national parks offer truly jaw-dropping beauty, with rugged mountainscapes
peppered with serene lakes, and there’s a photo hotspot around every corner
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rolling hills, towering mountain ranges and wild
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outstanding natural beauty that are worth
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beautiful Brecon Beacons.
DERWENTWATER, LAKE DISTRICT
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the rolling hills, blue-coloured hues in the fells and
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[3] Wild geese taking
an early flight above
Derwentwater,
Keswick.
[4.1] Transition of
colours on the winter
morning near Llangorse
Lake, in the Brecon
Beacons.
[4.2] A beautiful winter
morning showing a
group of walkers
tackling the snow
towards the summit
of Pen y Fan.

BRECON BEACONS, SOUTH WALES
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www.digitalcameraworld.com

NATURAL BEAUTY

During winter sunrises, it is
good to make the most
out of side-lighting
illuminating the slopes

4.1
4.2

Light on the landscape
Whether you’re heading off to photograph the breathtaking landscapes of the
Lake District or the wonderful Brecon Beacons, always think of the light and
how it affects your landscape. The light at different times of the day can change
the mood of the pictures due to varying light temperatures.
Pre-dawn light is cool and blue, but it starts to transition into warmer hues as
the sun gets close to the horizon and pink tones start to appear in the sky. This
usually introduces a still, calm and peaceful mood. When the sun breaks over
the horizon, warm light highlights the textures and shapes, bathing the
landscape in a golden glow – though with cooler shadows.

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www.digitalcameraworld.com

Coniston Water photographed around 30 minutes before sunrise on a cold winter’s day.
The alpine glow, mist and chosen composition are strong features of this compelling shot.

Britain’s best landscapes…

For more dynamic and
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shoot the waterfall from a
slightly lower viewpoint
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Britain is blessed with no shortage of wonderful waterfalls, which are surely
the most photogenic of all natural features to be found in the landscape?
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The waterfall faces the northwest and beautifully
catches the sunset light during summer months.
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[5] Loup of Fintry
soaked in the last
rays of sun.
[6] The wonderful
waterfall at Sgwd yr
Eira, pictured on a
summer’s morning to
let light into the frame.

www.digitalcameraworld.com

WATERFALLS

6
SGWD YR EIRA, SOUTH WALES
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abundance of waterfalls in the heart of Brecon
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www.digitalcameraworld.com

Slow the shutter
for waterfalls
While it seems like a simple task,
taking pictures of waterfalls
and making the water look silky
smooth can be a little challenging,
especially if you do not have the
right equipment. Although it is
certainly possible to capture
waterfalls with your camera handheld, your best bet would be to use
a stable tripod in order to allow for
very slow shutter speeds without
camera shake. Achieving blurry
water effect can be achieved using
variety of different methods to
slow down your shutter speed,
such as narrowing the aperture,
decreasing the ISO to the ‘Lo’
settings, or using a three, six or
10-stop neutral density filter.
The cascading water at Buachaille
Etive Mòr small is surrounded
by a spectacular landscape.

Britain’s best landscapes…

The most important thing is to be
patient, as it is not unusual for the
blanket of mist to cover the entire
castle for prolonged periods of time
7

ks
r
a
m
d
n
a
l
st
e
B

From crumbling castles to lonely lighthouses, including man-made elements in
compositions can help create scenic shots that really stand out from the crowd
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[7] In a scene straight
from a dream, Corfe
Castle is captured in
the clouds.
[8] Towering Tŵr Mawr
photographed during
a summer sunset.

www.digitalcameraworld.com

LANDMARKS

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www.digitalcameraworld.com

Fog post
production
One of the first things that
is usually noticed about fog
captures is that, at first,
they can appear flat and
lifeless. This is particularly
true when you are trying to
capture an image in dense
fog, because the thicker
the fog, the narrower the
histogram, as there is very
little contrast. In order to
rectify this issue, some
photographers tend to
adjust Contrast slider.
However, adding more contrast quite often means that you will lose the soft and
dreamy appearance of your image. Therefore, good alternative solution to
consider is use of the Dehaze filter in Lightroom. A gentle Dehaze goes a long
way, and I usually keep adjustments under +5 and apply it locally, as needed.
The Dehaze adjustment can also be used when you want to obtain a softer
look, and this can become particularly useful if the fog wasn’t quite dense
enough to your liking. In order to soften the image, push the Dehaze slider to
the left, or apply negative Clarity. Both options help to enhance the ethereal
appearance of a foggy capture.

ds
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d
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From carpets of bluebells stretching as far as the eye can see to the gnarled, twisted
trunks of ancient oak forests, a day in the woods can offer something truly magical
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at the beginning of May. The location can be easily
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[9] Shoot bluebells in
sunny, misty conditions
for best results.
[10] Wistman’s Wood
on Dartmoor is one of
the country’s darkest
and most mysterious
woodlands.

www.digitalcameraworld.com

WOODLANDS

Trunks, branches, foliage,
undergrowth and plant life
mingle and intertwine to
create compelling clutter

Woodland
exposures
From thick vegetation to sudden
clearings in the undergrowth, forests
and woodlands are full of contrasts.
Lighting can vary dramatically, not only
with changes in the weather but also
according to the height and density of
the canopy above. When shooting dense
woodlands, consider using HDR
techniques to smooth the graduation
between light and dark. To do this, shoot
a bracketed series of exposures – three
shots around the metered exposure in a
half- or third-of-a-stop difference usually
works best.
Alternatively, try a vertical pan,
in conjunction with a slow shutter
speed, to change the contrasting tree
trunks into arty indistinct streaks. The
shutter-drag technique gives this
woodland an abstract, ethereal quality.

www.digitalcameraworld.com

Tom
Mackie
On Location

Tom is an awardwinning professional
photographer, best
known for his highquality landscape
work. More info at:
www.tommackie.com
YouTube: Landscape
Photography iQ

Tom didn’t want the mammatus
clouds to blur together so he
used an exposure of five seconds.

Look skywards
Tom headed off to Zaragoza in Spain for an
architectural adventure. He came back with
much more than he could imagine…
s we stepped out of our
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www.digitalcameraworld.com

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www.digitalcameraworld.com

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Photography: © Tom Mackie

ON LOCATION – TOM MACKIE

It was difficult to see what was going on in
the sky. Just when the light faded from the
cathedral, it resurfaced from behind a cloud
to reveal this vivid rainbow.

Ingenious recipes for stunning shots

42
Atmospheric seascapes
Get the most from a trip to the coast, using
filters to tame raging seas and balance skies

44
What we do in the shadows
Create a spooky scene for Halloween with
dramatic lighting and hand-drawn ghouls

Do the can-can

Autumn landscapes

String together a quirky still life shot with watering cans, wire and a little help from Photoshop

Head out into the morning mist to create
stunning seasonal compositions

VIEW THE

VIDEO

Stack your scenes

Mix up your landscapes

Master Affinity Photo’s Focus Merge tool for
front-to-back sharpness throughout a scene

Get to grips with Photoshop CC’s clever
AI-powered Landscape Mixer tool

www.digitalcameraworld.com

Whenever you see this logo, it
means there’s a video to accompany
the tutorial, taking you through
things step-by-step. If a tutorial has
accompanying project files, there will
be an accompanying download link too.

P rojec t one: Seascapes

Atmospheric seascapes
Landscape photographer Mark Bauer shows
you how to capture atmospheric seascapes
As an island nation, we’re drawn to the sea
and landscape photographers are certainly
no exception – seascapes are among their
most popular subjects. Good coastal shots
can be full of drama, showing the raw power
of nature or, at the other extreme, they can
be calming and tranquil but they’re always
full of atmosphere. Successful seascapes
usually contain a few key elements: a strong

composition, dramatic or moody lighting,
and a sense of motion. They often feature a
strong foreground and background focal
point to help enhance perspective, as well
as front-to-back sharpness, so accurate
focusing and control of depth of field is vital.
Creating a sense of motion means being
able to control your shutter speeds, so
you’ll need a set of Neutral Density filters.

Expert Tip
Back-button focus is ideal
for seascapes as it removes
focus from the shutter
button and assigns to the
AF-ON button only. Focus
therefore remains locked on
the point of focus and the
camera won’t try to refocus
when you press the shutter.
Go to the Custom Setting
Menu, then Autofocus > AF
Activation > AF-ON Only.

www.digitalcameraworld.com

SEASCAPES

Capture an atmospheric seascape
your location
1 Recce
You should carry out a thorough
recce before your shoot. Work out what
time of day will suit the location best:
sunset, sunrise, the golden hour? What’s
the ideal tide height? Are there important
features that will be revealed or covered
at high or low tide? Hunt out potential
compositions to avoid rushing the shoot.

your shoot
2 Plan
Having visited your location, it’s
now time for detailed planning. Use an app
such as The Photographer’s Ephemeris to
find out when the sun will be in the right
position, check the tide charts to ensure
you’re going to be there when the right
tide coincides with the best time of day,
and keep an eye on the weather forecast.

up your camera
3 Set
Once on location, set up your
composition – you should use a tripod to
allow for extended shutter speeds. Select
Aperture Priority or Manual exposure
mode and an aperture of f/11 or f/16 for a
large depth of field; I focused at double the
distance of the closest rocks. Select Auto
white balance and your camera’s base ISO.

VIE W THE

VIDEO

www.bit.ly/np156sea
Camera:

Nikon Z 7II

Lens:

14-30mm f/4

Exposure:

4 secs, f/11, ISO64

Above: Striking water trails are
captured while the water is being
dragged back out to sea.

4 Filtration
To make the most of the movement
of waves around the rocks, a shutter
speed of 4-8 secs usually works well.
Depending on the light, you may need to
use an ND filter; I used a 4-stop filter here.
With the sun low on the horizon, a 3-stop
reverse graduated filter helped to balance
the contrast between sky and foreground.

Photography: © Mark Bauer

5 It’s all about timing

Try to time your shots to capture the
movement of the water as a wave drags
back out to sea around any foreground
rocks; this will create dynamic water trails
leading out to sea. Experiment with timings
to get the best results and try variations on
framing – get a variety of shots, both in
landscape and portrait orientation.

www.digitalcameraworld.com

SPOOKY SHADOWS

P rojec t two: Spooky shadows

Shadow puppet
Mike Harris shows you how
to create a shadowy spectre
portrait this Halloween

VIE W THE

VIDEO

If you’re reading this month’s N-Photo on a dark autumn’s
night, next to a roaring fire, and you come across this
terrifying tutorial, you might just feel a creeping sense of
foreboding as you remember that it’s the spookiest time
of the year. But perhaps what you’re mistaking for unease
is actually a burning desire to do some photography.
This seasonal project is sure to get those creative pumpkin
juices flowing. All you need is a standard focal length lens,
a volunteer and layer-based image-editing software.
The shoot itself is frightfully simple. Frame your image
on a tripod, direct a light source onto your subject to create
a shadow and fire the shutter. Then capture an identically
framed and lit image, without the subject. Post is where the
dark magic happens. You create a spooky shadow, which
you then project onto the wall, using Photoshop to contort
it into a believable position. A few layer masks, a bit of blur
and an opacity change later and you’ve got a horrifying
spectre shadow troubling your hapless subject.

www.bit.ly/np156spooky

www.digitalcameraworld.com

Shadow skills
Pay attention to how the real shadow in
your image looks. Ours had a secondary
lighter shadow, a bit like a drop shadow,
and the further away it got from the
subject, the lighter it became. We
replicated this by duplicating the
shadow layer (Ctrl/Cmd+J), reducing
the opacity to 21% and using the Move
tool to offset it. The drop-off was then
created by merging the two shadow
layers together and applying a layer
mask. Select the Gradient tool, click
on the gradient colour box and in the
Gradient Editor window set the colour
to black (left) and white (right). You can
then draw a Linear Gradient across
your shadow to simulate drop-off.

setup
1 Spine-chilling
You don’t have to position your subject
on a set of stairs, but you must set up
somewhere near a large, bare wall so you have a
blank canvas in which to ‘project’ your shadowy
spirit. The room doesn’t have to be pitch black,
we shot our image in the middle of the day, but
close any doors to minimize light. A tripod will
allow you to capture two identical frames: one
with your subject and one where they’re absent.
We shot wide open and boosted our ISO to
2500 so we could reach 1/60 sec, enough to
freeze any slight movements from the subject.

casting
2 Creepy
Depending on your location and
composition, you could set the shadow behind,
to the side or in front of your subject, but
whatever you choose, you’ll need the shadow
from your subject to behave the same. You can
control your subject’s shadow by directing
a flash or continuous light source onto them.
We placed a Lume Cube LED panel behind and
to our subject’s left, to cast a shadow in front
of them. Use Single-point AF to focus on your
subject and take the shot. When you take the
second shot, don’t change your lighting setup.

shadow
3 Shocking
The shadow is a transparent layer
painted with a black brush. We used an image
from www.pixabay.com (search for 1296154) as
a base. Open it in Photoshop and, on a new
layer, use a black brush to trace around and fill
it. Edit > Transform > Flip Horizontal will flip the
silhouette. Select Edit > Transform > Warp to
contort your image into a hunched position.
Go to Filter > Liquify and use the Forward Warp
tool to tease out the fingers to make them
look gnarled. Finally, add a layer mask and
use a black brush to create the eyes and mouth.

www.digitalcameraworld.com

SPOOKY SHADOWS

masks
4 Monstrous
Select your two images (with and
without the subject) in Adobe Bridge and
perform any necessary tonal edits or profile
corrections in Camera Raw, ensuring both
images are selected so the edits are identical.
Hit Done, select the images again in Bridge and
select Tools > Photoshop > Load Files into
Photoshop Layers. Select both layers in
Photoshop and select Edit > Auto Align Layers.
Apply a layer mask to the top (subject) layer
and use a soft black brush to reveal the layer
below, shaping the shadow as pictured.

www.digitalcameraworld.com

blur
5 Bloodcurdling
Import your shadow layer into the same

tones
6 Terrifying
Add a layer mask to the spooky shadow

document as the two images. Make sure it’s the
top layer and position it accordingly using as
many of the Transform tools as required.
We used Scale to enlarge it slightly, Rotate
to angle it accordingly and Warp to make
it hunch over the subject more. The bottom will
need to overlap with the existing shadow on the
wall. Reduce the opacity of the layer to match
the same shadow (we used 63%). Select Filter
> Blur > Gaussian Blur and boost the Radius so
the blur matches the shadow on the wall.

and use a black brush to tidy where it meets the
existing shadow in the image (refer to the
boxout ‘Shadow Skills’). Hold Shift+Ctrl/
Cmd+Alt+E to make a flattened copy of all
visible layers. You may notice that where the
two shadows intersect, there’s a dark patch due
to the opacity of the spooky shadow allowing
the other shadow to show through. This can
be blended with a bit of dodging and burning.
Finish by selecting Filter > Camera Raw Filter
and making your preferred tonal edits.

P rojec t three: Au tumn

Fall for it
Landscape pro Edyta Rice
outlines her gold standard when
it comes to capturing stunning
autumnal compositions
When the leaves start to turn red and yellow, it’s prime time
for landscape photography. As the nights begin to draw in and
the temperature drops, the landscape transforms from the lush,
verdant greens of summer to a beautiful palette, bursting with
gold and russet tones. So dust off your tripod, clean your
filters and learn how to make the most of autumn.

the woods
1 Into
When considering the best locations for autumnal
landscapes, it’s hard not to think of woodlands and forests.
They’re a treasure trove of seasonal beauty, but a good image
is weather-dependent. Soft morning light breaking through
the canopy is a great place to start, but misty conditions
are my favourite, adding an atmospheric, dreamy factor.

tips and tricks
2 Leafy
During autumn, woodland floors are a kaleidoscope of
russet browns, yellows and reds. Use fallen leaves as foreground
interest when the sky is overcast and the leaves become damp
and saturated in colour. Another ‘autumn-scape’ trick is to
shoot upwards. Shooting a canopy – towards the sun – will
make the leaves appear incandescent and ethereal.

detail
3 Retain
From thick vegetation to sudden clearings, forests are
full of contrasting light. Use the HDR technique to retain detail
in the highlights and shadows. Do this by shooting an exposure
bracket – multiple images with identical framing but different
exposures. I like to shoot three shots in 1/2- or 1/3-stop
increments before blending the images together in post.

the light
4 Harness
If you’re really lucky, you might witness atmospheric
shafts of light breaking through the canopy and scything
through pockets of mist. If your composition requires you
to shoot into the sun, try repositioning yourself so it’s obscured
by a tree trunk. This will help you avoid capturing unsightly
glare or sunspots on your photograph.

all about depth
5 It’s
Depth plays a huge role in the composition of autumnal
woodland photos. It invites the viewer to look further into the
scene, creating the impression that the forest goes on and on.
Don’t always look for trees to fill your background. Many of the
best woodland photos have soft, smooth backgrounds, which
isolate the subject and keep the viewer’s attention focused.

Expert Tip
One advantage of
shooting early in the
morning is the potential
for atmospheric
conditions, such as fog
or mist. As soon as the
sun rises and casts light
into the scene, you can
capture beautiful images
as the golden light
complements the
autumnal palette.

www.digitalcameraworld.com

AUTUMN

Misty images can lack depth,
but this row of trees actually
enhances it by gradually
receding into the fog.

www.digitalcameraworld.com

Camera:

Nikon D850

Lens:

70-200mm f/2.8

Exposure:

0.6 sec, f/11, ISO100

BEFORE

P rojec t four: Affinity Photo

AFTER

Stack your scenes

VIE W THE

Shoot for a focus stack then use the Focus Merge
command for sharper landscapes with James Paterson
Over the past few years, focus stacking
has gone from a niche, little-known trick
used in macro photography to an everyday
technique called upon by all kinds of
photographers, from those shooting
architecture to landscapes, product
photography, fine art and more.
There are two key benefits to focus
stacking. The first is the obvious one.
It lets us expand our depth of field beyond
the capabilities of our camera and lens.
By shooting a series of frames while

incrementally adjusting the focus point,
we can record sharp details across the
entire scene from front to back. Merging
these photos is easy with Affinity Photo’s
Focus Merge command. This combines the
sharp parts from each frame and lets us
manually perfect any mistakes in the blend.
The second benefit is perhaps less
obvious, but could be just as important to
landscape photographers. Lots of us tend
to use narrow apertures such as f/16 for
landscapes as this leads to greater depth

VIDEO

www.bit.ly/np156stack

of field. But at these narrow apertures,
diffraction comes into play and fine details
render a little more softly. Every lens has
an aperture at which it is sharpest, and by
utilizing focus stacking, we have the luxury
of choosing it. This ‘sweet spot’ is usually
a couple of stops down from the maximum
aperture of the lens, so if the maximum is
f/4, the sweet spot is around f/8. A wide
aperture means less depth of field, but if we
shoot for a focus-stack, we can shoot more
frames then blend them. Here’s how…

www.digitalcameraworld.com

AFFINITY PHOTO

a focus merge
1 Start
Open Affinity Photo then go to File
> New Focus Merge. Click Add, navigate
to your folder of photos and drag to select
them all, then hit Open. Click the OK
button and sit back while Affinity Photo
automatically seeks out and combines the
sharp parts from each photo for you.

the results
2 Inspect
At this point you might find that
you’re done. But sometimes the merge
will not be perfect. Landscapes can have
issues, as patches of background detail
between stems or branches may be blurry,
or the wind may cause plants to move
between frames like the flower here.

a sharper frame
3 Find
The Sources panel lets us view each
image in the blend, so we can click back
through the original frames to try to find a
sharper match for our flower. Click the eye
icon in the panel then click through each
image in the list. This image has a sharper
flower than the one in the blend.

to improve
4 Clone
Highlight the image in the Sources
panel that you want to source from, then
click the eye icon again to go back to the
merged view. Using the Clone tool (it
should be selected for you), paint over
the problem area to clone from the source
image into the blended image. Continue to
paint in sharp parts from any other area.

Expert Tip

messy areas
5 Fix
The grass also looks messy
because the wind has moved it between
frames. Go to the Layers panel and click
the New Pixel Layer icon then grab the
Inpainting tool. Set Current and Below
in the sample options at the top, then
paint to remove the grass.

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a sky
6 Blend
The sky is a bit blown out but we have
another frame with a darker sky. Open and
copy this in (Cmd/Ctrl+C to copy, Cmd/Ctrl+V
to paste), then add a layer mask and paint
with black over the land so that only the sky is
visible. We finished by dodging and burning.

Use a tripod and adjust the
focus ring slightly over
a series of frames (or use
focus bracketing). The tricky
part is deciding how many
shots you need and the
increments between them.
For landscapes you may only
need three or four. But if you
want to include details close
to the camera, the depth of
field shrinks to a mere sliver.
For a macro subject, you
might need 40 or 50 frames.

P rojec t ﬁve: Adobe CC

BEFORE

AFTER

Mix up your landscapes
James Paterson shows you how to get to grips with
the spectacular AI-powered Landscape Mixer tool
The Landscape Mixer tool is one of
Adobe Photoshop’s new range of filters
that uses artificial intelligence to
automatically alter your photos. This filter
takes elements from other landscape
photos and mixes them in with yours.
Here, the filter has mixed in a sunset
mood from another photo and added a
long exposure look to the sea to give the
choppy waters a misty quality.
Like most automated AI tools, the
results are impressive yet far from
perfect. The leap in technology here
is truly staggering; the ability to
automatically recognize the different

parts of a photo and then splice
in another landscape is genuinely
impressive. However, while marvelling at
the technology, you’re also likely to notice
plenty of dodgy patches. Aside from the
image looking very low res and low quality
afterwards, the effect can have an
adverse effect on important details.
Here, the application has changed
the rock formations that are integral
to the scene. But with a few simple layer
skills, it’s easy to take the best parts from
the filter effect and mix them in with
manual enhancements of your own
to create an improved image.

VIE W THE

VIDEO

www.bit.ly/np156mix

Expert Tip
To blend images using layer
masking in Photoshop, use
the Lasso tool to make a
rough selection of the area
you want to use and copy and
paste it into another image.
Next, use Transform (Cmd/
Ctrl+T) to resize and position
the new area, then add a layer
mask. Now you can paint with
black using a soft-edged
brush to gradually blend the
edges of the new part so that
it fits in with the scene below.

www.digitalcameraworld.com

ADOBE CC
Mixer
1 Landscape
This AI-powered neural filter splices
elements from other landscapes into your
own by adding textures like snow, foliage or
rocks to the surfaces in your original photo.
Open your landscape, go to Filter > Neural
Filters and turn on Landscape Mixer (if it’s
your first time, you’ll need to download it).
Landscape Mixer is – at time of writing – in
Beta mode, so it’s not the finished article.

a landscape
2 Choose
Here, you’ll find a collection of
15 thumbnails of preset landscape scenes.
The results can differ, so click through them
to find one that works for you. Here, we’ve
used the bottom left preset, which – as
a similarly watery scene – recognizes the
sea and adds a long exposure effect. You
can then fine-tune the results with the
strength slider below the presets.

images
3 Custom
As an alternative to the preset
scenes supplied by Adobe, you can load
your own landscapes into the mix using the
Custom tab. As such, you can splice all sorts
of scenes together. From the dropdown,
either choose from other open images in
Photoshop or search your computer for a
different image. You can drag a box over the
preset window to target parts of the scene.

1
4

6
5
the mood
4 Change
Mood-changing sliders can be used
solo or with the preset images. The Sunset
slider is the best, giving us an intense sunset
colour. The Night slider works well, while
Day is less impressive. The seasons sliders
are rather poor: Spring tends to add green
edges; Summer a rough yellow texture;
Autumn is like summer, but more brown
and Winter covers things with snow.

www.digitalcameraworld.com

the effect
5 Rework
Once done, choose Output: New
Layer and OK. The effect may need tidying.
We selected the rock formation from the
original image with the Object Selection tool,
copied to a new layer and blended with the
sunset using the Harmonization filter. We’ve
recovered the grass texture by copying the
original layer, changing the blend mode to
Luminosity then masking out the grass.

Subject
6 Preserve
Check ‘Preserve Subject’ to exclude
the subject from the effect. This can be
useful if your subject becomes overly
‘mixed’ along with the rest of the scene.
It may leave the subject looking out of place,
so try checking ‘Harmonize’ to balance the
colours and tones. This only works if the
subject can be detected. Here, the rocks are
not detected so we need to fix it manually.

P rojec t six: The big projec t

Do the can-can
James Paterson creates a
stunning gravity-defying
still-life with watering cans
If you want to bring an extra level of dynamism to your still
life or product photos, why not try playing with gravity and
motion like this? With a combination of shooting skills,
precise placement and a little Photoshop magic, images like
this are within the reach of anyone with a camera. As for the
lighting, we used three flashes to light our scene here, but
if you want to keep things simple you could forego the flash
altogether and use the ambient light from a window. Over
the next few pages, we’ll go behind the scenes to see how
a gravity-defying still life can be achieved. From the lighting
setup to the careful posing to the simple post-processing,
we’ll look at each stage in the workflow, and explain
key photography skills that can prove invaluable for
all kinds of creative projects.
Our budget here didn’t stretch to 21 watering cans plus
five assistants to pour the water, so instead we shot our set
of just three watering cans in stages over several frames,
using a tripod to keep the frames in alignment. This is one
of the advantages of having control over the lighting, the
positioning of the subjects and the framing. It gives us the
freedom to shoot our image in several stages, making sure
one part of the frame is perfect before moving on to the
next. Once the set of images are captured, it’s a fairly
simple task to bring everything together in Photoshop.

VIE W THE

VIDEO

www.bit.ly/np156can
www.digitalcameraworld.com

CREATIVE STILL LIFE

The budget here didn’t stretch
to 21 watering cans and an army
assistants to pour the water so
we turned to Photoshop.

www.digitalcameraworld.com

In the studio

GET SET UP FOR CREATIVE STILL-LIFE
PHOTOGRAPHS LIT WITH FLASH

settings
1 Camera
When using off-camera flash it’s usually
best to set your exposure to Manual mode with
ISO100. First, set the shutter speed to 1/200
sec and aperture to f/8, then take a test shot
and either adjust the power of the lights or the
aperture until the exposure looks right. Here we
had our camera set to 1/200 sec, f/5.6, ISO100.

2 Tripod
We arranged our three red watering
cans then poured water into the top one so that
it would trickle in the opening in the lower can.
Once captured, we could move the lowest
can and string it up in a higher position, then
repeat the process. A tripod is essential
to keep all the frames in alignment.

and buckets
3 Towels
Messing around with water when using
high-powered studio flashes can be a recipe for
disaster, so we made sure to keep our
equipment and wires well away from the water,
with plenty of towels on hand to mop up
splashes between shots, and several buckets
placed to catch the falling water.

3
2

4 Backdrop
A plain backdrop is usually the best
choice for still life work, as it places the
attention on the subject. We taped a roll of blue
paper to the wall – the masking tape is easily
removed later in Photoshop. A dark backdrop
like this helps the water drops to stand out (they
would be less clear against a lighter backdrop).

grid
5 Wire
A wire mesh frame is held aloft with
four light stands. We used an old frame from the
garden for this, but any similar grid-shaped
object will do. With our watering cans strung
up on wire and hooks, the grid allows us
to quickly move the hooks until each can
is in place exactly where we want it.

setup
6 Lighting
We have a three-light setup here using
portable studio lighting units. Two lights are
fitted with softboxes and placed to the left side.
Directional lighting like this helps to emphasize
contours on the watering cans. A third flash is
placed to the right and behind, fitted with barn
doors to stop light spilling onto the backdrop.

www.digitalcameraworld.com

CREATIVE STILL LIFE

Creative still-life
and lens
1 Camera
Prime lenses tend to be sharper than zooms,
which makes them ideal for studio still life and
product photography, where optimum sharpness
and quality can make a huge difference. A pin-sharp
lens such as the Nikon Z 50mm f/1.2 S here is ideal
for studio still life work, especially when paired with
a high-resolution camera such as the Nikon Z 9.

cans
2 Watering
All sorts of objects could work for

the objects
3 Position
The key is in posing the objects

a tablet
4 Use
Connecting the camera to a tablet

a creative still life. We used three red cans,
each suspended with thin hanging wire
and hooks. Gaffer tape also came in handy
to attach the wires to parts where they
could not be tied. The thinner the wire,
the easier it is to remove in Photoshop.

in the most pleasing way. Our positioning
is a bit like a jigsaw puzzle. Each time
we moved a can, we needed to ensure
its position matched up with the previous
arrangement. We moved two cans at
a time, leaving the third in position.

can be hugely useful both for arranging
the still life and firing the shutter. A larger
screen makes it easier to judge the
composition and fix the lighting. We stuck
bits of masking tape to the screen to plan
out where the watering cans would go.

the water
5 Backlight
Water drops stand out best when

the water
6 Pouring
With everything set up, we could

they are backlit for an extra sparkle. Our
bare flash placed behind and to the right
creates the backlit effect. It also creates
an attractive halo around the edges of
the cactus. When backlighting like this,
be aware that lens flare may fog the
image, so keep the flash out of the frame.

pour water into one can then capture
it trickling into the next. It’s impossible
to keep completely out of the frame when
doing so. So when we are in the frame it’s
important not to block the lights as this
will alter the overall effect and make it
harder to combine the shots later.

www.digitalcameraworld.com

Combine frames in Photoshop

into layers
1 Load
Open Adobe Bridge and Cmd/Ctrl-click
to select all the images that you want to
combine, then go to Tools > Photoshop > Load
Files into Photoshop Layers. Once open, go to
the Layers panel and drag the layer you want to
use as a base to the bottom. Alt-click the eye
icon on this layer to hide all the others.

LEARN HOW TO BRING A SET OF STILL LIFE PHOTOS
TOGETHER AND REMOVE WIRES WITH PHOTOSHOP

layer masks
2 Paint
Highlight and reveal the layer above
then hold Alt and click the Add Layer Mask icon
to add a full black mask. Grab the Brush tool, hit
D, then paint with white over areas you want to
be visible. If you need to hide anything, hit X and
paint with black. Continue revealing and
masking the layers, one at a time.

the wires
3 Remove
Make a new empty layer at the top of
the stack. Grab the Remove tool, check Sample
All Layers in the tool options at the top, then
paint to remove all the wires, tape and anything
else until the image looks tidy. You can click
once, hold Shift and click again to make a
straight line, useful for removing wires.

Experiment with colours
USE THE COLOR MIXER PANEL IN CAMERA RAW AND LIGHTROOM TO MAKE QUICK HUE CHANGES
One of the advantages to
using red and blue as our
two main colours here is
that they can be easily
altered to other shades,
if we want a different look.
There are lots of colourchanging tools in
Photoshop, but perhaps the
easiest to use is the Color
Mixer panel. Available in
Camera Raw and
Lightroom (and also
through Filter > Camera
Raw Filter in Photoshop)
the panel lets you target
eight different colour
ranges and change the Hue,
Saturation and Luminosity
of each. Set it to Hue, then
grab the target tool and
drag left or right over
colours in the image to
instantly alter them. Then
right-click and change
to either Saturation
or Luminosity to tweak
the results.

www.digitalcameraworld.com

THE N-PHOTO INTERVIEW

All images: Gareth Cattermole

Gareth
Cattermole
Proﬁle

● Born in Pinner, Middlesex, Gareth
Cattermole is the chief entertainment
photographer for the international
image agency Getty Images.
● His images have won numerous
awards from the UK Picture
Editors Guild.
● Gareth studied photography at
college in Watford before joining the
London-based celebrity photo agency
Big Pictures, then moving on to Getty
Images in 2003.
● He now spends most of his days on
set, on red carpets, shooting behind
the scenes or taking portraits of the
world’s leading actors, musicians
and athletes.
● A Nikon Ambassador, Gareth is a
perfectionist about his photography.
He once said: “I think far too much
about too many things far too often.”
www.garethcattermole.com

www.digitalcameraworld.com

GARETH CATTERMOLE

Photographing celebrities might sound like a
glamorous job, but Gareth Cattermole claims he
is never star-struck. For him, it’s always about
getting the best possible picture. He tells Keith
Wilson why he is rarely happy with his results…
www.digitalcameraworld.com

THE N-PHOTO INTERVIEW

alented Gareth
Cattermole
doesn’t look
like he’s been
a Getty
Images
photographer
for over 20
years. He looks
far too young.
Maybe the job isn’t
as stressful or ageing
as I thought, but early into
our interview he confirms that he
was a mere youth when he started.
“I was very young and with hair!” he
laughs. “Yes, it’s 20 years at Getty
Images, it will be 21 in January, and I
was with another agency three years
before that, so I started very young,
which is quite unheard of now.” By
that, Gareth means he was one of the
last agency photographers to begin
when film was king and his early days
were spent as an office junior trainee.
“Not an apprenticeship,” he explains,
“but it was that sweeping the
darkroom floor type of thing. There
are very different ways into it now.”
At high school, young Gareth
wasn’t academically inclined; he
struggled at his studies, not realizing
at the time that he was dyslexic.
Fortunately, when his art teacher
introduced him to photography, he
suddenly saw a way forward. “It
made me realize that there were

other options that didn’t involve
going to university, so straight off
the bat I said I wanted to be a
photographer.” Which is exactly what
happened, even if it did mean he had
to sweep the darkroom floor…
You excel at many types of
photography, so is that variety
a reflection of your curiosity?
I say this – and some people think I
say this while expecting praise, which
I’m not – but I always find issues with
my work. I can look at any picture of
mine and find fault in it all the time.

Previous page:
Eddie Redmayne
and Jessica
Chastain attend
the UK premiere
of The Good Nurse.
Below left: Ben
Kingsley poses in
the Getty Images’
Portrait Studio.
Below right: Actor
Bill Nighy at the
13th annual Dubai
International Film
Festival.

So you’re hypercritical about
the pictures you produce?
Oh yes! You’re almost never going
to turn in a good set of pictures
because of the level of perfectionism
that I put upon myself – and that is
also put upon me by my peers. That’s
how we work, nothing but the very,
very best. That’s a tough one to fulfil

What you’re really
doing, when you’re
shooting concerts
and music, you’re
almost hunting

every day. In terms of the variety, the
great thing about Getty Images is
that you find yourself in some very
strange situations and you can run
with those as much as you want.
We’re assigned all over the world to
do all manner of different things, and
it just depends on how curious you
are, or how far you want to go down
those roads.
How do you mean?
Years ago I was part of a team that
did a hotel launch in Morocco. We’re
there to cover the celebs turning up
and one of the guests was Kelly
Slater, a world champion surfer. For
me, being into surfing but growing up
in Harrow and Wembley, our paths
would never have crossed. But he

www.digitalcameraworld.com

GARETH CATTERMOLE

was a guest there, so I asked if I
could do some portraits of him on
the beach. It depends on how curious
you are. I can tick a box and cover an
event, but for me it’s about digging
deeper and pushing further.
It sounds like the typical work
practice of a press photographer,
which is what agencies such as
Getty Images have become?
That’s what we are. It’s funny,
even with my time as a paparazzi
photographer at Big Pictures at the
beginning of my career, people say
to me, ‘Ooh I wouldn’t talk about that
now, you shouldn’t mention that,
aren’t you ashamed of that?’ and
I say, ‘no’, because it taught me
huge skills that I use now.

www.digitalcameraworld.com

Above: Adele
performs on stage
at the BST Hyde
Park concert.

SUITS YOU, SIR!
BY SETTING UP A MINI STUDIO IN A
CHANGING ROOM, GARETH GOT THIS
IMPROMPTU PORTRAIT OF ROLLING
STONES GUITARIST RONNIE WOOD…
Your profile of Ronnie is quite different
to many others that I’ve seen of him…
I was at a book signing in Selfridges and I randomly
asked if there was any chance we could do a quick
portrait in a changing room in Selfridges! It was a
small Colorama (background paper) and just one
light. It’s quite simple. And maybe a reflector to give
a bit of lighting to the side. I don’t overcomplicate the lighting because
I just need it to do one thing, and he was great. I think it was because he’s a
painter, so he appreciates that maybe someone is there to create something.

THE N-PHOTO INTERVIEW

Which skills are they?
I was setting up a quick portrait
studio for a shoot and I asked where
this person was going to be leaving
the building from, so I set this studio
up right in the doorway that they’d
have to walk through! And the guy I
was with said, ‘What do you want to
do that for? There’s a massive space
over there.’ But I said, ‘If I do it there,
that person has to walk somewhere
else and they’re just going to turn
around and say to me, no! But if they
walk through the doorway, they can’t
really say no, can they?’
It’s like a trap?
That’s it. And I’m not ashamed of the
life that I lived early in my career, I
think it’s really grounded me and it’s
given me some skills that other
people don’t have. But you’re right,
we are ultimately press. I really am
a jack of all trades.
On your website, your portraits
of athletes look more like models.
Some are even unrecognizable, but
it’s not always about who they are?
Well, yeah. I’ll have to check but
I don’t like putting the name of
the person under the photo on
my website. I do a lot of stuff for
FIFA and only in the past couple of
years am I getting into football.
I was never really into football before.
Interestingly, a lot of brands use me
because I’m not interested in
football, I not shocked by who these
people are, I’m not in awe of Messi.
Is that really how you feel?
I’m in awe of their talent, but I’m not
going to pull out a shirt and ask him
to sign it because that’s not me,
I’m not into that. I suppose my eye
on them is different. It’s not really
a sporting eye, it’s more of who they
are, as a portrait. No one has ever
really said that to me, what you said,
but it’s true, it’s all about the image.
And then you have The Elvies…
Oh yes, The Elvies! The work on the
website pinballs all over the place
from Elvis tribute artists to Messi, to
supermodels and huge celebrities.
That’s how I’ve always been with my
career. One day I’m doing The Elvies
and the next I’m at the Queen’s
funeral in Westminster Abbey. I like
that. In some ways, I’ve not carved
out a name for myself in any

particular genre, like sport or
fashion, but I like that I do different
people all of the time.
Is the subject’s fame important
for making a good portrait?
I think it’s difficult; we often talk
about this as photographers. When
you’re hanging around with each
other on those jobs and you often
talk about portraits you’ve seen,
and you sometimes say, ‘That’s
not a great picture, but it’s a
massive person.’
What is it you’re looking for?
I think that it impresses nonphotographic folk, but to the
community that we are it doesn’t
matter who the people are. To us,
you’re looking at the lighting, you’re
looking at the textures and the
shadows and the highlights. That’s
what we’re looking at. My mum will
say, ‘I love that picture you did of so
and so.’ Technically, it will be awful,
but she’ll love it because of the
person or the story behind it.

Good photography
will always be good
photography, even
if it’s a picture of
an absolute nobody

Above left: Taylor
Swift during her
Reputation
Stadium Tour at
Croke Park, Dublin.
Above right: Elvis
tribute artist Lee
Alexander at the
annual gathering
in Porthcawl.
Right: Lionel Messi
poses ahead of an
award ceremony
in Milan.

So she’s a fan of whoever
you have photographed?
Exactly that. Good photography will
always be good photography, even if
it’s a picture of an absolute nobody.
You can take a poor picture of David
Beckham and okay, it’s an image of
David Beckham, but ultimately if
the photography is not great, it will
only go so far.
When photographing a celebrity,
how do you manage to come up
with something that’s different
and not just another shot?
What a lot of people don’t
understand is that often we don’t
get very long with someone and
sometimes you don’t even know
you’re going to get these people.
For example, the portraits I have of
Messi were random because I didn’t
even know that he was going to come
in to where I was set up. So, you can’t
research too much and say, ‘I’m
going to shoot him like this’. It’s just
about getting a portrait of them.
You have to react quickly.
You want to walk away with
something, but you have a finite time
to shoot them and you want to milk
as much as you can out of that.
I suppose my skill is that I can wring
dry that time. I was always taught to
get your headshot first because it’s
like your cover. Once you’ve got your
covers knocked off you can get some
other bits and pieces. Every situation
is different, you’ve just got to get

www.digitalcameraworld.com

GARETH CATTERMOLE

www.digitalcameraworld.com

what you can out of that person,
which isn’t easy with celebrities.
You also shoot performers such
as Adele and Taylor Swift on stage,
does that change how you work?
Working with those two artists gives
you such a high and such a buzz
because, when you work with them
time and time again, you understand
how they’re going to perform. I cut
my teeth on things like that as a
youngster. It’s a completely different
approach, it’s about being in the right
places. You know what it’s like? It’s
like fishing, you always feel like you’re
going to catch something, but you
never know what you’re going to get!
I love that feeling of being there,
witnessing these things. Being part
of it is pretty special, it’s a different
feeling entirely to portraiture.

Yes, I suppose that a portrait in the
studio puts you always in control?
What you’re really doing, when
you’re shooting concerts and music,
is almost hunting, that’s what you
turn into. In some ways, I like the fact
that you can’t control anything with
the music, you’ve got to work with
what’s there, whereas with
portraiture it’s very controlled and
it can be very hard to get something

Ultimately, my role was
to give a viewpoint of
that event from that
angle, for history

Above: The coffin
of Queen Elizabeth
II, with the Imperial
State Crown resting
on top, leaving
Westminster Abbey.

out of that person. Sometimes,
you walk away and say, ‘thank God,
I got something’.
With portraits, do you have certain
lenses that you always turn to?
Absolutely, but I’m not one of these
guys who says I’ve got to shoot it on
an 85mm wide open. I like an 85mm
but wide open I struggle when you’ve
got this massively out of focus nose!
A 24-70mm is good for portraiture
when something happens in front of
you and you need to go wide all of a
sudden. I like a 50mm, I even like a
28mm. Most people will say you
can’t use anything wider than a
50mm for a portrait, but I use
different lenses that are not the
norms. Even with shooting music,
sometimes you want a 600mm,
sometimes you want a 600mm with

www.digitalcameraworld.com

GARETH CATTERMOLE

MENTORS MATTER
GARETH RECOGNIZES THAT HE OWES A LOT
OF HIS SUCCESS TO THE MENTORS WHO
HAVE HELPED HIM ALONG THE WAY…
In the early days, did you have a photography
mentor to help you along with your career?
Throughout my career, I can pinpoint every few years
a mentor that has been there, who has been like an
anchoring point for me. It’s given me that kind of path
for points to look forward to and aim for, so at high
school it would have been my art teacher, and at
college it was my tutor. Then it became an Australian
photographer who was working in London called Andy
Zakeli. He was my mentor when I was at Big Pictures,
the paparazzi agency I was working for, and when
I moved to Getty Images, it was a photographer called
M J Kim, who is now Paul McCartney’s photographer.
M J and Andy have been massive mentors in my career.

a converter, sometimes you want a
500mm, 400mm, 300mm… you go
to these events with all the kit, you
have a walk around and work out
what you need. I’m quite well known
for turning up with a lot of stuff!
So what is in your kitbag, or is it a
collection of cases and rucksacks?
If I’m shooting portraits and putting
a studio up, it’s a lot of kit. If I’m flying
to, like, Toronto, I’ll max out the hand
luggage, take two Peli cases with
me and a lot of luggage in the hold.
At Getty Images, we probably have
every piece of Nikon equipment to
choose from, but the problem with
that is, if you’ve got every piece
of equipment, you can sit there
debating too long about how
you’re going to shoot something,
you can overthink it.

www.digitalcameraworld.com

Some jobs are once-in-a-lifetime,
like the Coronation. What were
you assigned to do?
Getty Images had over 25
photographers for that occasion and
each of us is in a different position
throughout the day. I was in the
position within Westminster Abbey
from where I also shot the Queen’s
funeral. It’s a very historic position.
I went back through historical
imagery shot from that same
position to see what we were going
to get because, ultimately, there’s no
run-through for that. Like you said,
it’s once-in-a-lifetime, so I went back
through the imagery: right, this is
what we’ve got to play with, this is the
angle, but ultimately my role was to
give a viewpoint of that event from
that angle, for history.
What lenses were you shooting
with at the funeral and coronation?
For the funeral, it was always going
to be more of a wide shot, and for the
Coronation again wide, but a bit
tighter too. It was difficult because
you wanted to go tight as they were
coming towards you, and then switch
quickly. I had three Z-series cameras
– one was with a 24-70mm, another
with a 100-400mm, because it’s a
nice light lens to use, and then I had
600mm, but there was no need for
super tight. You’re trying to do a lot
in that time and, when the King
is coming towards you, you’re trying
to shoot, shoot, shoot, change;

Next Month
Swedish nature
and wildlife
photographer
Mattias Klum

shoot, shoot, shoot, change; it’s
not shooting all on one lens.
And all of the pressure of the
occasion you must have felt too?
It’s funny, but I wasn’t nervous at all,
I was really excited. Sometimes you
get nervous, not because you don’t
think you’ll do a good job, but you
worry that you’re going to miss
something, or that you’re going to
have a technical issue. On the night
before both events I went down and
checked my MiFi – I’ve got a MiFi
device for every internet provider
and I was checking which one had
the fastest speed to get pictures out.
There’s a lot of black and white
in your portfolio. Why is that?
Yeah, I get a lot of ribbing from other
photographers saying my cameras
don’t shoot in colour! I find black and
white a very simple way of looking at
something. I like colour but there’s
a lot to look at in a colour picture.
I think black and white is an easier
picture to read. Sometimes, a picture
that works in black and white doesn’t
work so well in colour, and that’s a
fact. What you see on my website or
Instagram is the choice I make about
that picture, and a lot of it is black
and white. I just like it. Even in
college, we could produce colour
work or black and white, and I chose
black and white every time because
I wanted to dev it, I wanted to do the
whole process. It’s just a simple
way of photography.
Do you feel now that you were
fortunate to begin your education
in photography using film?
I’m lucky I got through as one of
those last photographers who shot
on film. At Big Pictures, after a day
of shooting you’d dev your own film,
cut up your own film and chinagraph
what images you thought would
work. It was a real training ground.
I think you had a different way of
shooting things back then and it gave
me some amazing training. I love
shooting film, even now. I’ve got a
Pentax 6x7, but the film is very
expensive and it’s not accessible to a
lot of people. Digital is great because
I can go shoot something and then
whack it on the computer here
straightaway and do whatever I want
with it. I love both and I love that I did
both. I love that I was part of both.

ON ASSIGNMENT

When twilight falls

Images: © Louis Izard

Photography graduate Louis Izard tells how
a final-year university project led to his work
appearing in an exhibition of upcoming artists

he work I am exhibiting at
EMERGENCE is from my
final university project
Terra Nullius: Volume 2.
It is a result of my interest
in the transitional period
of twilight, the inevitable
darkness that follows
and how it visually alters
and changes our perception
of familiar landscapes.
This body of work also includes a focus
on coastal locations where the natural
elements of land and sea influence
continuous change, captured just as
darkness set in. I wanted to visualize this
lack of visibility and clarity by introducing
a haze to my photographs, which was
produced with prismatic refraction.
The beautiful coastlines are warped into
otherworldly abstract scenes that challenge
the observer’s perception of a traditional
landscape. They also become a more
accurate depiction of my experience
navigating them. I got lost, spooked and
overwhelmed – and the refractions
are my visualization of those feelings.

I have always had an interest in the
passage of time as well as the way light
affects an image. Most of my previous
projects were shot at night as I find
it to be a time of transformation and new
discovery. Arriving at a location at twilight
allowed me to watch this transitional period
take place, being present to the changes
of light and atmosphere makes you aware
and sensitive to these differences.

Local landmarks
The photographs from my project were
taken at Holywell Bay and Perranporth
on the north coast of Cornwall. I chose
these areas due to their stunning beauty
during the day and I wanted to see how
they would change as darkness set in.
As I became more familiar with exploring
these areas, I narrowed down particular
compositions that I wanted to photograph
in different conditions. After scouting these
environments during the day, I noted
down particular locations and landmarks
to further explore and photograph at night.
Beyond the rough route created in
advance, the majority of the photographs

come from my responses and reactions to
the changing elements around me as the
darkness set in. I wanted the way I saw and
felt each landscape to come across in my
work. If there were disruptions, from sand
or darkness for example, I used a prism to
create a visualization in the Raw image.
I shot with a Nikon D810, which is great
in very low light, and the amount of noise
created in the images is minimal. My Nikon
AF-S 24-85mm lens gave me a broad focal
length so I wasn’t distracted by having
to frequently switch to a different lens.
I also used an LED work light for the
foreground along with ambient light
coming from nearby towns on the horizon.
The main challenges I faced during my
project were finding the perfect weather,
tide conditions and light level while battling
to keep my tripod still in the strong coastal
winds to shoot a range of exposures
between one and 30 seconds.
Louis Izard is exhibiting at EMERGENCE,
an exhibition by Southwest-based
photography graduates and emerging
photographers, until 4 November 2023,
at MAKE Southwest, Bovey Tracey,
Devon. Entry is free. For further info,
see: www.makesouthwest.org.uk

I have always had an
interest in the passage
of time as well as the way
OLJKWDȨHFWVDQLPDJH
www.digitalcameraworld.com

LOUIS IZARD

5
6

[1] Louis used a triangular prism
to refract light and create a sea
of visual disruption across the
bottom of the image of the
Holywell dunes.
[2] On top of the cliffs around
Perranporth, Louis placed the
post in the centre as a focal
point to ground the composition.
[3] Looking out of the mouth
of Holywell Cave as daylight
started to fade into darkness.
[4] This cliff shot produced
a fog affect with the prism.
[5] The top of Perranporth
cliff shows the night sky
submerged in darkness.
[6] An LED work light came
in handy to stretch shadows
across the darkened dunes.

www.digitalcameraworld.com

The only camera manual you’ll ever need...
70 Nikon Know-How Just how do

74 Ask Matthew More of your

Nikon DSLRs focus in Live View mode?

niggles negated by our Nikon know-all…

How Live View autofocus works

NIKON KNOW-HOW

In Live View mode, the camera’s regular AF sensor is disengaged and the camera’s imaging sensor takes over

01
01

01 PHASE-DETECTION (VIEWFINDER) AUTOFOCUS
When you’re using a DSLR viewfinder to compose your shots, the mirror inside the
body reflects the image up into the viewfinder, but a percentage of the light passes
through the mirror [1] on to a sub-mirror mounted on the back [2]. This then reflects
the light down to the phase-detection AF sensor [3]. When you take the shot, the
mirror and sub-mirror flip up to expose the camera imaging sensor.

02 CONTRAST (LIVE VIEW) AUTOFOCUS
When you switch to Live View, the mirror inside the DSLR flips up [1], along with the
sub-mirror on the back [2]. The image is no longer reflected up into the viewfinder or
down on to the phase-detection AF sensor. It passes straight through to the imaging
sensor [3], which relays the image ‘live’ to the LCD display on the back of the camera.
The image on the sensor is also used to check and adjust the focus.

Live View autofocus

Nikon DSLRs have two autofocus systems, not one! Let’s look at Live View AF
The design of the single lens reflex camera
is clever because it enables you to see your
subject through the camera lens. This is
achieved with a mirror inside the body,
which reflects the scene up on to a focusing
screen. This image is reflected into the
correct orientation with an optical
pentaprism, then seen through the
viewfinder. At the moment of exposure, the
mirror flips up and out of the way so that the
image passes through to the back of the

camera, and then the shutter opens to
expose the image on the main sensor.
When autofocus systems came along,
camera makers needed a way to get the
autofocus sensor in the light path while
you’re composing and so they made the
main mirror semi-transparent and added a
hinged sub-mirror to the back, which
reflected light down to the autofocus
sensor, mounted in the base of the body.
This sensor checks focus using the

principle of ‘phase detection’, which
compares two slightly offset images of the
same subject and uses the distance
between them to work out which way to
focus, and how far. It’s fast and efficient.
Adding a Live View mode to digital SLRs
gave camera makers another problem. In
Live View, the mirror lifts so that the image
can pass straight to the sensor. This means
that the sub-mirror can no longer reflect
the image to the autofocus sensor.

www.digitalcameraworld.com

NIKON KNOW-HOW

7KHGLȨHUHQW$)DUHDPRGHV
Live View mode brings its own autofocus options. Here’s
a run-down of what’s available and when you should use it

Face-priority AF
best for snapshots

Wide-area AF
best for general use

When you’re in this facedetection mode, your Nikon
will constantly scan the scene
for human faces and, when
it finds one, will focus on it.
It can be useful for taking quick
snapshots of friends and
family, and is especially useful
for photographers who’ve just upgraded to a DSLR from a regular
compact, but most serious photographers would probably prefer
the predictability of the standard autofocus modes.

The term ‘Wide-area AF’ is a
little misleading because it
suggests that the camera will
select the focus point
automatically across a wide
area of the image. In fact, this
mode is equivalent to the
single-point AF mode in
viewfinder shooting. You use the multi-controller to place the
autofocus point where you want it (just as we’ve moved the green
box) and the ‘Wide-area’ simply refers to the size of this AF point.

Normal-area AF
best for precision

Subject-tracking AF
best for movement

Again, the reference to ‘area’ is
misleading, since this is also
a single-point AF mode. This
time, though, the AF point is
smaller. The smaller autofocus
point makes it easier to
pinpoint specific subjects,
getting a precise part
pin-sharp, though you do have to set the focus point more
carefully. With Wide-area and Normal-area AF modes, you can
move the AF point anywhere on the screen, even into the corners.

Again you can set the position
of the focus point in the frame
using the multi-controller. This
time position it over your
subject, and then press the OK
button to ‘lock’ focus on that
subject. If you change the
position of the camera, or the
subject moves within the frame (which is likely with sports or
lively wildlife), the autofocus point will track it. With mobile
subjects, wait for them to come to the AF point then lock focus.

7$.(&21752/

The basics of Live View

This is how you activate and use Nikon’s latest Live View system

Activate Live View

Information display

Focus area

Focus mode

On this Nikon, Live View is
activated by this switch. On other
models, it may be via a button on
the back. The mirror inside the
camera flips up, the viewfinder
goes dark and the scene is
displayed on the rear LCD.

Live View has its own set of focus
modes, and you usually access
these via the information display
– to see this, press the ‘i’ button
on the back of the camera. On
some models, such adjustments
may be made via the menus.

You need to choose what to
focus on. Nikon’s DSLRs offer a
choice of Face-priority AF,
Wide-area AF, Normal-area AF
and Subject-tracking AF modes.
For everyday shots, Normal-area
AF tends to be the most useful.

The focus modes in Live View
are similar to those in regular
viewfinder photography. In AF-S
mode, the camera focuses when
you half-press the shutter button
but in AF-F mode the camera
focuses constantly.

www.digitalcameraworld.com

NIKOPEDIA
/,9(9,(:969,(:),1'(5

+RZFRQWUDVW$)ZRUNV
Live View contrast AF works on a different principle to regular ‘phase-detection’ autofocus sensors
BACK
FOCUS

BACK
FOCUS

Phase detection autofocus is fast
but you can’t use it with Live View.

CORRECT
FOCUS

FRONT
FOCUS

Contrast autofocus is slower,
but lets you focus in Live View.

PHASE-DETECTION AUTOFOCUS
Phase detection autofocus sensors compare two offset images of the
subject. If they don’t line up, the subject is not yet in focus. This system
provides much more information than contrast autofocus. The distance
between the images tells the camera how much it needs to refocus by,
while the relative positions of the two images tell it whether it needs to
focus either nearer or further away. The camera knows the correct
focus position even before it starts refocusing.

CONTRAST AUTOFOCUS
Contrast autofocus doesn’t offer this head start. The camera can only find
out which way to focus and how far by trial and error. It might refocus the
wrong way before going the right way, and it will have to go past the peak
focus point to find out where it actually is. This happens comparatively
quickly, but phase-detection AF nevertheless still offers a speed advantage.
Live View autofocus is accurate, but it requires patience and is better suited
to fairly static subjects rather than moving subjects.

1,.21.12:+2:ȃ&217,18('
CONTRASTING APPROACH
The solution was to use ‘contrast
autofocus’, as found in compact cameras.
It’s based on the fact that an image
(or adjacent points on an image) will always
have the highest contrast when it’s in focus.
Contrast autofocus involves trial and
error. The camera has to change the focus
and then see how this affects the contrast.
If it goes up, it shows the camera is moving
the focus in the right direction, but it’s just
as likely the camera will move the focus the
wrong way and then have to backtrack.
That’s not all. The camera won’t know
it’s found the focus point until it goes past
it and the contrast starts to fall again, at
which point it will have to backtrack once
more. This is the reason why contrast
autofocus is slower. It has to make an
adjustment, check the result and try again
as it zeroes in on the correct focus point.

You probably won’t be aware that
all this is going on. Modern contrast
autofocus systems are faster and more
efficient than early versions, and you may
simply be aware that the focus is ‘hunting’
more in Live View mode than when you’re
using the viewfinder.

SLOW BUT SURE
While contrast autofocus is slower than
phase-detection AF, it does have some
great advantages. For a start, it works
across the whole frame. In Live View
you can use the multi-controller to move
the focus point anywhere you like, right
up to the edges of the picture.
Contrast autofocus is also better suited
to face recognition; the camera can
automatically locate and focus on any
faces. Most enthusiasts would probably
prefer to pick the focus point manually,

but this is a selling point in cameras
designed for novices who are upgrading
from a compact camera.
The other thing to bear in mind about
contrast AF is that it remains active while
you’re shooting movies. The camera can
refocus as your subject moves while
you’re filming or, if you use the Subject
Tracking AF mode on the newer models,
it can track it around the frame.
When you switch to Live View, you do
have to learn new focusing tricks. However,
once you understand it, Live View autofocus
stops looking like the poor relation. It’s
slower, but accurate and, in some
instances, it is more effective.
Mirrorless Z-series Nikons are effectively
in Live View mode all the time; therefore,
in order to focus quickly, have phase
detection autofocus points built into
the main imaging sensor.

www.digitalcameraworld.com

NIKON KNOW-HOW

/LYH9LHZIRFXVPRGHV

The AF area mode controls what the camera focuses
on, but the focus mode controls when it focuses
AF-S: SINGLE-SHOT MODE
The camera focuses when
you half-press the shutter
button, and holds that focus
until you press the button
fully. This is the most
predictable option if you’re
AF-S
using the Normal-area or
Wide-area AF modes. You can use it for the face-detection and
subject-tracking modes, but you lose the advantage of the AF
algorithms, which enable the camera to keep up in real time.
AF-F: FULL-TIME-SERVO AF
In this mode the autofocus
stays active, so you don’t
need to keep the shutter
button half-pressed. The
camera refocuses constantly.
AF-F mode is most useful for
AF-F
face-detection and subjecttracking, where subject distances may be changing. Perhaps
the most important application, though, is the movie mode.
MF: MANUAL FOCUS
You may not use manual
focus a great deal in normal,
viewfinder photography. But
manual focus makes more
sense in Live View, because
you can use the zoom
MF
buttons on the back of the
camera to magnify any area of the screen and achieve precise
focus. It takes time, and the camera has to be on a tripod, but
it’s an extremely effective focusing technique.

3877,1*,7,17235$&7,&(

Love your Live View!

Here are six situations where Live View, and
Live View AF, can really make a difference
We’ve all got used to the speed and responsiveness of regular
phase-detection autofocus when we shoot with the
viewfinder, and Live View autofocus can seem slow by
comparison. But there are situations where the advantages of
Live View AF easily outweigh the slower responses.
LOW-LEVEL SHOOTING
Live View is perfect when you
can’t get your eye to the camera’s
viewfinder. You can see the LCD and
the focus indicators from a distance,
and if your camera has
an articulating display,
ground-level macro
shots and dramatic
low-level perspectives
are easier still.

REMOTE CONTROL
Nikon’s Snapbridge app makes it possible to take
pictures remotely using a smartphone or tablet. The camera’s
Live View display is transmitted to the device, where you can
check the focus, change camera settings, and shoot.

MAKING MOVIES
Before Live View autofocus, you had to
focus before you started filming, but thanks to
Nikon’s AF-F mode, the camera can focus
constantly as you film – though you might still
want to focus manually for creative reasons.

VIBRATION REDUCTION
With the mirror flipped up and out of
the way, there’s less mechanical movement
inside the camera, and less risk of vibration.
That’s why more advanced Nikon DSLRs have a mirror
lock-up (MUP) mode, but in Live View you don’t need it.

:K\\RXGRQȇWQHHG$))LQHWXQH
The AF Fine-tune feature can improve the camera’s
focus accuracy, but you don’t need it in Live View…
With Nikon’s phase-detection
autofocus system, the
distance from the lens
mount to the AF sensor has
to match the distance from
the lens mount to the sensor
precisely. Tiny discrepancies
can show up in focus-critical
work like close-ups. That’s
why Nikon includes the
manual AF Fine-tune feature
in its more advanced DSLRs.
But this isn’t necessary when
you focus in Live View. The
focus is being checked using

www.digitalcameraworld.com

the image sensor itself. If it’s
sharp, it’s sharp, and that’s it
– there’s nowhere for any
error to creep in. This is one
of the most compelling
arguments for Live View,
where this kind of control
and accuracy is essential.

EXPOSURE PREVIEW
Want to know what your picture will look like with some
positive or negative EV compensation applied? You can’t tell
from the viewfinder image, but when you’re using Live View
the image on the LCD display will lighten or darken according
to your exposure settings.

EXTENDED INFORMATION
The viewfinder will display
basic exposure information, such
as the shutter speed, lens aperture
and ISO setting, but Live View can
display so much more. You can
monitor the autofocus mode, flash
setting, Picture Control, Active
D-Lighting mode, a real-time histogram
and more besides.

YOUR QUESTIONS ANSWERED

Ask Matthew...

Our resident Nikon expert Matthew Richards answers your
questions and solves your problems. If you have a Nikon-related
question, email it to mail@nphotomag.com

Z 30’s reference
Q My
manual says to
charge the battery from
a computer via the supplied
cable, but it takes ages. Is it
safe to use a fast charger?
Mick Banks
Unlike most Nikon cameras, the
Z 30 is supplied with no battery
charger, just a USB-C cable.
As you say, the reference manual suggests
charging the battery in-camera from a
computer, but this can take nearly eight
hours. One option is to buy the optional
Nikon MH-32 battery charger separately
(£37/$45), or a third-party equivalent.
Another solution is to buy a plug-in USB-C
PD (Power Delivery) charger, which typically
delivers at least 20W compared with just
2.5W from a computer USB port. However,
do make sure you also purchase a PDcompatible charging cable. Another option
is to use a PD-compatible power bank, so
you can recharge and even directly power
your camera when you’re out and about.

That’s particularly useful if you’re shooting
a lot of video, for which the Z 30 is ideal.

intrigued about the
Q I’m
different electronic
and mechanical shutter
mode options in my Z 6II.
How do they differ in
practice and what are
the pros and cons?
Stephen Haskin
In the Custom Setting menu
of most Z-system cameras,
you’ll find Auto, Mechanical and
Electronic front-curtain shutter options.
Fully mechanical is generally best but
‘shutter shock’ can degrade sharpness,
especially when using macro and ultratelephoto lenses. Electronic front-curtain
shutter reduces shock but the maximum
available shutter speed drops to 1/2000
sec. The default ‘Auto’ mode selects the
most appropriate option depending
on shooting conditions.
Note that the

In the Z 6II and Z 7II, as well as the original
Z 6 and Z 7, the different shutter options
are available in the Custom Setting menu,
position d5.

shutter in the Z 8 and Z 9 is fully electronic,
so there’s no other option available.
There’s also a ‘Silent Photography’
option in the shooting menu that uses
a fully electronic shutter. This is good for
macro photography as there’s absolutely
no shutter movement at all to jog the
camera. However, this mode also disables
flash, long exposure noise reduction, flicker
reduction and any confirmation beeps.

have a nasty
Q Ihabit
of losing
lens caps, which
has become
quite
pricey
over the
years. Is
there a viable
alternative for
protecting my lenses?

The ANKER PowerCore III Sense 20,000
mAh (£50/$53) is ideal for recharging
your battery in-camera, and for
powering most recent Z-system
cameras directly.

Fred Pearce

A
74

You’re certainly not the only one!
I remember lens caps from years
ago that used to come with a cord

www.digitalcameraworld.com

YOUR QUESTIONS ANSWERED

Secondhand superstar
ancient D90 has finally
Q My
given up the ghost. What
is the best-value DX format
mirrorless camera to buy
secondhand?
William Rawling
Matthew recommends…
The Z 30 is good but has no viewfinder
and the Z fc is lovely if you like retro styling,
but the Z 50 is probably the best all-round choice.

The top-quality Hoya NXT Plus UV filter is available in a wide range
of different thread sizes. The 77mm option costs around £60/$50.

attached so you could just let them
dangle when you’re shooting, instead
of putting them down somewhere and
forgetting them. There are still a few
on the market nowadays, if that takes
your fancy as a practical solution.
Another solution is to use a
screw-in UV (Ultra-Violet) or
‘protection’ filter. You can screw this
into the filter attachment thread on
the front of a lens and leave it in place
pretty much all of the time. It guards
against your lens’s front element
picking up any scrapes and scratches
even when in use, as well as when it’s
packed away, and means you’re
always ready to shoot without first
having to remove your lens cap (and
being in danger of losing it).

bought a Lexar
Q I’ve
Professional 1667x
SDXC memory card
but it seems no faster
than my old cards for

transferring data to my
computer. Why is this?
Jane Deacon
I use those exact memory
cards myself and think
they’re great value for
money. The 128GB and 256GB
versions typically cost around
£32/$40 and £65/$70 respectively,
but they’re of the latest UHS-II type
and are capable of fast read speeds
of up to 250MB/s. Most of my
older cards can only muster
around 80MB/s.
For fast read speed, there are three
factors to bear in mind. Firstly, you’ll
need a memory card reader that’s
compatible with the latest SD UHS-II
specification. Secondly, if you’re using
a USB-C cable, many of those sold are
only intended for charging devices
and aren’t compatible with fast data
transfer. Thirdly, if you’re copying files
to a computer with a hard disk rather
than an SSD (Solid State Drive), the
write speed of the hard disk can be a
limiting factor. You can also
experience a slowdown when
copying large numbers of files,
where a high-speed primary
buffer becomes full.

Nikon Z 50
THE Z 50 IS THE BEST ALL-ROUND OPTION
FOR A DX FORMAT MIRRORLESS CAMERA
RELEASED: 2019
PRICE NEW: £899/$857
SECONDHAND PRICE:
‘Excellent’ £580/$600
‘Good’ £540/$550

2. Tilting touchscreen
The 3.2-inch, 1040k dot
touchscreen tilts up and
down, making it easy to
shoot from creative angles.

The Z 50 was Nikon’s
first DX format Z-system
camera. There are plenty
on the secondhand market,
with significant savings
to be made. It has the same
DNA as the newer Z fc and
Z 30 but it has more
assured handling with its
sculpted hand grip and
modern control layout. It
has a high-res electronic
viewfinder, which isn’t in the
Z 30. It delivers excellent
image quality and is highly
capable for shooting 4K
UHD video.

3. Z mount
The Z-type lens mount
makes the camera fully
compatible with Nikon’s
entire range of DX and FX
format Z-system lenses.

Key points
The excellent UHS-II compliant
SanDisk Extreme Pro SD Card
Reader comes complete with an
integral USB-C cable and costs
around £20/$20.

www.digitalcameraworld.com

1. Electronic viewfinder
The 2360k resolution 0.39inch OLED viewfinder gives
100 per cent coverage of
the image frame.

Sensor: 20.9Mp CMOS DX
Processor: EXPEED 6
AF points: 209 phasedetection points
Shutter speeds: 1/4000 to
30 sec, Bulb
ISO range: ISO100-51,200
(204,800 expanded)
Viewfinder: OLED, 2360k,
0.39-inch, 100%
Rear screen: 3.2-inch, 1040k,
tilting touchscreen
Memory: 1x SD/HC/XC UHS-I
Size: 1127x93x60mm
Weight: 450g
Battery, life: EN-EL25,
280-320 shots

PHOTOGRAPHER OF THE YEAR 2023
76

The search for the world’s best Nikon photographer
of 2023 continues! Each issue the monthly N-Photo
POTY 2023 photo contest’s top 10 images are selected
by the N-Photo team. This issue’s competition has
the theme of Autumn…
NPOTY is powered by

WIN! A WhiteWall Photo Lab voucher Worth £100!
Witness your work as a glorious gallery-quality print from award-winning online photo laboratory WhiteWall.
The winner, as judged by the N-Photo team, will receive a £100 WhiteWall voucher to have their entry
printed in a range of stylish options including acrylic, aluminium, giclée and canvas in a huge array of sizes.
See everything WhiteWall has to offer by visiting its website here: www.whitewall.com/uk

www.digitalcameraworld.com

1. Colour of Autumn 2. Autumnal Breath 3. Doff your Inkcap
BY HAYLEIGH

BY ALIUS IMAGO

BY TONYNORTH

You’d be hard-pressed to find a more creative
image. A light board backlit the translucent
petals, while an aperture of f/8 provided tack
sharpness. Textures were then overlaid in post
to create this fantastic painterly result.

This image of a ring-necked pheasant is
bursting with autumnal hues. Morning rays
have formed liquid-gold rim light while fallen
leaves and a wide-open 500mm focal length
have blurred into a treasure trove of bokeh.

A mushroom-photography masterclass. The
low-down angle was used to capture the gills
on the underside of the caps. Focus stacking
rendered the fungi sharp, front to back, and
the subject pops due to the bokeh backdrop.

Camera:

Nikon Z 7II

Camera:

Nikon D4

Camera:

Nikon D500

Lens:

85mm f/1.8

Lens:

500mm f/4

Lens:

105mm f/2.8

Exposure:

1/125 sec, f/8, ISO100

Exposure:

1/160 sec, f/6.3, ISO1250

Exposure:

1/20 sec, f/6.3, ISO250

www.digitalcameraworld.com

PHOTOGRAPHER OF THE YEAR 2023

4
5

4. The Crown

5. Val Pesarina

6. Stormy Night

BY AMANDA HAWES

BY MAURO_M

BY HBOURESHROCKN

A stag with a crown of bracken is what
everyone wants to capture at Richmond Park.
The clean, blurry background and foreground
interest isolates the subject and, although the
nose is hidden, the eye is visible and sharp.

This Dolomites scene is all about light and
layers. Soft light avoids harsh shadows, and
brushes the craggy landscape and autumnal
trees. The trees, mountains and sky form
layers to create a real sense of depth.

This striking example of an aurora was shot in
the middle of a storm, so we’re impressed by
the sharpness. The noise reduction is top
notch and we love how the green hues pop,
without overpowering the rest of the image.

Camera:

Nikon D850

Camera:

Nikon D810

Camera:

Nikon Z 7II

Lens:

200-500mm f/5.6

Lens:

24-120mm f/4

Lens:

20mm f/1.8

Exposure:

1/2000 sec, f/5.6, ISO2000

Exposure:

1 sec, f/8, ISO100

Exposure:

1.6 secs, f/1.8, ISO2500

www.digitalcameraworld.com

AUTUMN

7. Fuji on Film

8. Jumping Spider

BY PHILIP GRAHAM

BY KRISZTINA MÁCSAI

At 24mm, Mount Fuji was too far away to fill the
frame, so we love this creative composition, using
a frame within a frame to draw the viewer directly
towards the subject. The Japanese maple tree has
been used to obscure the sun and prevent lens
flare, and the gorgeous colours have been teased
out expertly in post-production.

Even if you’re not a fan of spiders, you can’t deny
that this little chap looks rather cute. The viewer
is immediately drawn to the sharp eyes, while
the leaf behind blurs into obscurity, creating
a beautiful, clean backdrop. We also like the use
of negative space on the right portion of the
frame, allowing the image to breathe.

Camera:

Nikon D750

Camera:

Nikon D750

Lens:

24-120mm f/4

Lens:

100mm f/2.8

Exposure:

1/100 sec, f/11, ISO100

Exposure:

1/50 sec, f/11, ISO400

www.digitalcameraworld.com

PHOTOGRAPHER OF THE YEAR 2023

9. Fall
BY YRED
We just love the colour grading of this image. The
cool water contrasts beautifully with the warm,
russet hues. The tree canopy and leaves frame the
waterfall, which has been beautifully blurred via
a two-second shutter speed. An excellent image!
Camera:

Nikon D750

Lens:

24-85mm f/3.5-4.5

Exposure:

2 secs, f/16, ISO100

10. Gold Leaf
BY IGOR KOREN
This still life is an excellent concept. A glass
surface was used to create the reflection and the
image has been angled so the pane forms a
seamless backdrop. The final touch is an extremely
tasteful example of colour popping.

10
80

Camera:

Nikon D7200

Lens:

18-140mm f/3.5-5.6

Exposure:

1/8 sec, f/5.3, ISO100

www.digitalcameraworld.com

NPOTY 2023

3
4

WORTH

£5299!

GOLD
AWARD

5
1

WIN! A Nikon Z 9

The overall winner of N-Photo’s Photographer
of the Year 2023 will receive the grand prize of a Nikon Z 9!
6

When we reviewed the Nikon Z 9, we called
it: “Simply the best camera ever!” And now,
together with Nikon UK, we’re giving you the
chance to win the flagship Z camera. It’s
an incredible prize that’s worth a whopping
£5299/$5499. All you have to do is enter
any of the 12 rounds of NPOTY 2023 to be
in with a chance of taking Nikon’s most
advanced camera home and being crowned
N-Photo’s Photographer of the Year 2023.

Mirrorless behemoth
The Nikon Z 9 features some truly ferocious
specs, as you’d expect from a pro-grade,
full-frame, flagship camera. It boasts
a stacked 45.7Mp CMOS sensor and runs
via Nikon’s EXPEED 7 image-processor.
It also packs Nikon’s most advanced AF
system and can shoot bursts at an
astonishing 120fps, making it the most
powerful Nikon camera on the market.
It’s the first pro-grade camera to feature
an all-electronic shutter, allowing for those
incredible burst speeds and 1/32,000 sec
maximum shutter speed. At full 45.7Mp
resolution, the Z 9 can capture JPEGs at
a jaw-dropping 30fps and Raws at a stilllightning-fast 20fps. The new AF system
can detect nine kinds of simultaneous
subject and boasts five times more autoarea AF points than the Nikon Z 7II.
The back-side illuminated sensor results
in superior low-light performance and the
EVF is the world’s brightest, and offers
blackout-free shooting. The Nikon Z 9 has
a deep grip with duplicated essential

www.digitalcameraworld.com

controls for comfortable vertical shooting.
The camera is fully weather sealed to
withstand extreme temperatures and
records data to a pair of CFexpress Type B
(or XQD) card slots. It comes with built-in
Ethernet port, in-camera Wi-Fi FTP, as well
as 5G smartphone connectivity via USB-C.
The Nikon Z 9 is also a powerful tool for
video capture. It can shoot at an astounding
max resolution of 8K 60p and 4K 120p,
while a built-in microphone can capture
24-bit PCM linear audio. You can also
capture 4K 60p UHD footage oversampled
from 8K, to boost quality without having
to store and work with huge 8K files.

Z 9 Features
1 The deep grip extends to the underside, and

duplicated controls allow vertical shooting.
2 There are no fewer than four programmable

Fn buttons for customized camera setup.
3 On the inside, a revolutionary sensor and

fast processor enable a shutter-free design.
4 There are oodles of direct-access controls,

along with a mode dial.
5 Unlike on the Z 6/7 line, there’s a dedicated

AF mode button for switching focus modes.
6 A dual-axis flip-out touchscreen comes

out in both horizontal and vertical planes.

The Nikon Z 9 is
quite simply Nikon’s
most powerful
camera ever!

How to enter
HOW OUR COMPETITION WORKS

● Each issue, the N-Photo team sets
a theme – we next want to see your
best winter images. You can enter your
chosen photograph(s) by visiting:
www.photocrowd.com/npoty23winter
● The deadline for entries is 23 Nov 2023.
The top 10 gallery will appear in N-Photo
158, on sale 21 December 2023.
● Winter is the last round of the year. We’ll
be crowning the overall winner of NPOTY
2023 in N-Photo 159, on sale January 18
2024. But don’t worry if you missed out
on your chance to enter, because we’ll
also be launching N-Photo’s
Photographer of the Year 2024.
● It goes without saying that all images
must be shot on Nikon cameras!
● Please ensure your entry does not
contain a watermark and is submitted
with the necessary EXIF data: the model
of the camera and lens, and the shutter
speed, aperture and ISO used.
● 12 competitions will appear throughout
2023, and the overall N-Photo
Photographer of the Year 2023 –
and winner of the grand prize – will be
crowned in the January 2024 issue.
So get out there and start shooting
your best photographs today!

READERS’ LETTERS

Readers’ letters

We’d love to hear your thoughts on the mag and all things photographic! You can write
to us, message us or share your images in the following ways:
mail@nphotomag.com
twitter.com/nphotomag
facebook.com/nphotomag
instagram.com/nphotomag

Star Letter
Click the bird

enjoyed the apprentice
feature published in the
September 2023 issue
(N-Photo 154) on the
red kites at Gigrin
Farm. I’m very new to
photography (I started
with a Z fc in August
2022) but I have spent a lot
of my time photographing
red kites this past year.
I recently upgraded to a
Z 8, so it’s good to see the
camera settings they used
and apply them myself. I
agree with all the advice
given in the article, but
thought I’d add a few points
of my own...
1. Don’t let a lack of reach
stop you shooting
I traded in my AF-S
200-500mm while I await
the delivery of the new
Z 180-600mm. As such, I’ve
been shooting at Gigrin Farm
with ‘only’ a Z 24-120mm S.
But this hasn’t held me back,
firstly because the kites can
come quite close, but
secondly the 45.7-megapixel
sensor of the Z 8 allows me

to crop my photos and still
have plenty of detail to work
with! Bigger lenses do come
in handy at Gigrin, but you
can achieve some amazing
photographs there when
using a smaller lens too!
2. Go handheld
A tripod can be useful, but it
can take up valuable space
inside some of the hides.
Given how fast these birds
are, you can be quicker to
react and follow the kites
without the restriction of a
tripod. Take a small beanbag
to rest a big lens on if it helps.
3. It takes practice
When I started out, I took
a ‘spray and pray’ approach.
It’s very easy to take home
thousands of photos, where
most of them are of half
a kite, or out of focus.
In the few hours you are at
Gigrin Farm, you have plenty
of time so take your time.
Pick out one bird from the
crowd and follow it, keeping
it in frame and in focus.
It may perform different
manoeuvres and be the

WORTH

£49

David shot his red kite image using a relatively short-telephoto
24-120mm zoom – aided by the Z 8’s 45Mp sensor.

perfect model for you, but it
may just fly out of shot too.
4. Play back your photos
This can distract you from
being in the moment, but I
find it helps to check what
you’ve already taken to make
sure you are using the right
settings. If your photographs
look dark or out of focus,
something’s not right with
your setup. I also use this
opportunity to delete any
bad photos. If you’re worried
about missing a photo
opportunity, just half-push
the shutter button and you’ll
be back to shooting.

5. Take in the moment
Whether it’s red kites or
other wildlife, take a moment
to appreciate it with your
own eyes too. You may miss
something if you’re looking
in the viewfinder all the time.
I keep a log on Instagram
(@d.j.leitch), which is mostly
full of red kite photos. This
one was taken with the Z 8
and 24-120mm lens at
1/3200 sec, f/4, ISO800.
David Leitch
Thanks for your additional
bird photography tips, David,
and for sharing your brilliant
shot taken with your new Z 8!

WIN! A copy of Afﬁnity Photo 2

Write our star letter and you’ll win a copy of the amazing Affinity Photo* for Mac or PC from Serif. This
feature-packed software is just as powerful as programs that retail for many times its price – and all
without having to pay a monthly subscription fee. With full support for Raw files, layers and ‘professional’
features such as Curves and live filters, it also boasts top-class focus stacking, HDR merging, panorama
stitching and batch processing. Affinity Photo is available for Mac, PC and iPad, and files can be easily shared
between devices so you can continue editing on the move. It opens Photoshop files, too. www.affinity.serif.com

*Winners will need to create an Affinity user account to download the app. The prizes are issued in accordance with the standard Affinity EULA and there’s no cash alternative.

www.digitalcameraworld.com

READERS’ LETTERS

www.DigitalCameraWorld.com

Image: Nikon Peru

The best from our companion website

Sal takes umbrage at ‘baited’ wildlife shots, but shooting in a
controlled environment is a valuable training ground, we reckon…

I just read the September
2023 (N-Photo 154)
apprentice article, ‘High as a
kite’. Baiting birds for the sake
of a good photograph is not
good for two reasons. Firstly,
the birds become dependent
on human interaction to
survive. Secondly, if the
images are positioned as
nature shots you diminish
the work of true nature
photographers. What’s next,
throwing mice on frozen
snow for an owl shot?

Nikon Peru has come up with an ingenious campaign to prove the power
of real photography over AI-generated images. AI image generators have
claimed to be able to replace photographers by offering cheaper, faster
alternatives to the real deal. Nikon’s campaign is a testament to the beauty
of what they call ‘Natural Intelligence’. https://bit.ly/3PvY9Sk

which meet my wildlife
photography needs. But with
its focus on new technology,
I’m finding N-Photo has less
and less to offer me. To that
end I’m looking at allowing my
subscription to expire next
year and to replace N-Photo
with a magazine that is not
aligned with any system but
focuses more on the image
than on the equipment.
Are you planning anything
that will cause me to rethink
my decision?

Image: Eadweard Muybridge

Take the bait

1. Nikon ads prove AI will not replace real photography

Peter Smith

Sal DeFini

Less mirrorless
I have been a loyal N-Photo
subscriber since issue #5,
and have enjoyed learning
about technique and reading
about latest developments in
equipment. Despite the allure
of the new technology, I have
decided not to upgrade to a
mirror-free system but to
stick with my D500 and
existing stock of lenses,

www.digitalcameraworld.com

Image: James Artaius

To say that these are photographs that changed the world is no small claim
– and yet, such is the colossal impact of these images, it can’t be overstated
how important they were. World Photography Day gives us the opportunity
to look back at how still photography remains important for all aspects of
our lives. https://bit.ly/3ZyvBvX

3. Who uses the write protect tab on memory cards?

Images: © Nikon

As we said in the introduction,
red kites had been hunted to
near the point of extinction,
and Gigrin Farm is part of a
conservation programme to
re-establish a sustainable
population. But we also need
to be sure that our apprentice
comes away with some decent
shots, which is only practical
in such an environment. See
this issue’s Apprentice (page
6) for more on the ‘great bait
debate’. We’d love to hear
other readers’ thoughts!

2. Photographs that changed the world

We write N-Photo with both
DSLR and mirrorless readers
in mind. In our Big Tests we
try to strike a balance
between F-mount and
Z-mount lenses (while
catering for users of cropsensor Nikons too), but with
the entire camera market (not
just Nikon) moving towards
mirrorless, DSLR lenses are
getting thinner on the ground.
Dare we say that other
photo mags will be even
less relevant, as they’ll cover
mirrorless for the likes of Fuji,
Canon, Sony and so on…

Peter has no intention of going
mirrorless, preferring to stick
with his faithful D500.

I’m usually excited about having more knobs and dials and things to fiddle
with. But this is one that I’ve never ever fiddled with in the almost quarter
century I’ve been using SD cards: the write protect tab. Actually, that’s a bit
of a fib. I have fiddled with it – because the only thing it has ever contributed
to my life is causing three cards to fail on me. https://bit.ly/3P7CzVk

YOUR STORIES

Camera:

Nikon D3300

Lens:

70-300mm f/4.5-5.6

Exposure:

1/1000 sec, f/5.6, ISO200

[1] David doesn’t heavily edit
his motorsport images but he
will remove the odd distraction
like a bright bin or speaker.

Pole-position pics

Podium pot shots

for some unobstructed views of the circuit,
such as this shot taken at Knickerbrook
corner [1] – a great spot for some exciting
action. The benefit of shooting from this
vantage point is that the corner is slightly
higher than the spectator position and, by
kneeling down, you can capture an eye-level
view. The low angle gives a bit more impact
to the picture. I used AF-C to continuously
focus on the car as it approached and a fast
shutter speed of 1/1000 sec to prevent
motion blur. Although my 70-300mm lens
allowed me to get close enough, I still
needed to crop into the image slightly to get
a better composition. I also cloned out
some bright red bins and some speakers,
which were distractions.
Having taken a number of shots of
individual cars, I wanted to capture an
image that conveyed the intense
competition of a race. This shot was also
taken at Knickerbrook [2]. There is always
the possibility of someone coming off and, if
you’re lucky, you can capture the right front
wheel lifting off the ground. My settings

All of the images here have been taken
at Oulton Park race circuit in Cheshire.
This is my local racetrack – situated
approximately 30 minutes from my home.
The circuit is a great venue for amateur
photographers wanting to capture on-track
action, because it doesn’t have a great
deal of high safety fencing, which allows

I wanted to capture an image
that conveyed the intense
competition of a race

David Handley takes his Nikon D3300 for a spin
around his local racetrack and captures the
high-octane action from behind the fence
MISSION: Capture pro-quality motorsport images
from behind the spectator fence at Oulton Park
PHOTOGRAPHER: David Handley
LOCATION: Wrexham, Wales
KIT USED: Nikon D3300, Nikon AF-P 70-300mm
f/4.5-5.6E ED VR

y lifelong interest in
photography started when
I first saw my father’s
holiday snaps at the tender
age of eight. Over the years,
I’ve tried various genres, but at the
moment, I’m enjoying action photography,
more specifically motorsport.
The biggest challenge is keeping up with
the racing cars or motorbikes when
panning. They travel at such high speeds,
I often capture half a car, or miss it

completely and capture just the tarmac!
I was always a Canon man, but my 40D had
developed an autofocus problem and it just
wasn’t worth repairing. So, when I won a
Nikon D3300 in a photography competition,
I thought I would see how it coped with
action subjects. I purchased the Nikon AF-P
70-300mm f/4.5-5.6E ED VR, after having
read some positive reviews, and have
been pleased with the results.

www.digitalcameraworld.com

MOTORSPORT

Camera:

Nikon D3300

Lens:

70-300mm f/4.5-5.6

Exposure:

1/800 sec, f/6.3, ISO200

[2] A bit of cropping is often inevitable
when you’re photographing a faraway
subject and can help to fill the frame.

[3] Four people in one sidecar?
Maybe look a little closer – it’s
actually an optical illusion.

David’s
Top Tips
• Always make finding a suitable
background your priority when visiting
a race circuit. A messy, cluttered
background will spoil what could
otherwise be a winning shot.
• Learn how to pan with your subject.
This will help you maintain accurate
focus, frame a good composition and
– if you’re confident enough to begin
slowing the shutter speed down – add
a real sense of speed.

www.digitalcameraworld.com

Camera:

Nikon D3300

Lens:

70-300mm f/4.5-5.6

Exposure:

1/1250 sec, f/7.1, ISO800

• Be patient and practise. If you don’t
get it right there’s usually another lap
to follow. And don’t worry about what
you’re shooting to begin with. Even
a track day is an ideal opportunity
to master your craft.

YOUR STORIES

Camera:

Nikon D3300

Lens:

70-300mm f/4.5-5.6

Exposure:

1/1000 sec, f/7.1, ISO800

remained fairly similar and, once again,
I had to crop into the image slightly.
An 80-400mm lens with a full-frame
equivalent focal length of 120-600mm
would have been ideal. But, for now, my
70-300mm and its full-frame equivalent
105-450mm is certainly usable enough.
This shot [3] was taken at a small
motorcycle meeting, where they also had
sidecars racing. It looks like the sidecar has
four people on board instead of the normal
two, but there’s actually a sidecar behind,
following the same line. They must have
been rubbing tyres! Raising the ISO was
key to achieving a fast enough shutter
speed in dull conditions.
For this shot [4], I experimented using
Aperture Priority instead of my normal
Shutter Priority and set an aperture of f/7.1
to achieve a greater depth of field. In order
to do this, I had to increase the ISO to 800.
As it was a dull day, I added a little exposure
compensation to boost the exposure. In
post-processing I cloned out some bits of
rubber that were on the track and made
a few minor adjustments to the exposure,
contrast and clarity. I finished off the
image with a little sharpening.

It looks like the sidecar
has four people on board
instead of the normal two
86

[4] The latest Nikons perform very well
at high ISOs and a touch of noise is
always preferable to a blurry image.

[5] Slightly wider compositions
provide room for error, since
there’s more frame for your
subject to move within. You can
then crop the image in post.

Camera:

Nikon D3300

Lens:

70-300mm f/4.5-5.6

Exposure:

1/2500 sec, f/6.3, ISO800

The final shot in my Oulton Park
collection was taken at Lodge Corner [5],
which is another popular spot with
photographers. Although it is one of the
slowest corners on the circuit the
motorbikes still come round at incredible
speeds. I find it difficult to keep track of
subjects here, because a safety barrier
obscures your line of sight as the racers
enter the corner. With a little practice and
not zooming in too far – so there’s plenty
of room for the subject to move within
the frame – I have been able to capture
some good images here.

SUBMIT
YOUR IMAGES!

To see your images here,
send a small portfolio to
mail@nphotomag.com
with ‘Your Stories’
as the subject

www.digitalcameraworld.com

New gear, buying advice and the world’s toughest tests
Lab tests explained
Sharpness
A chart with multiple sharp boundaries
is photographed, the extent of blur at
the centre, mid and edges showing how
many line widths per picture height the
lens can resolve. Simply put, the bigger
the numbers the sharper the lens.

BIG TEST

94 Fast telephoto zooms

Eight constant-aperture 70200mm (or thereabouts!) lenses on test

PREVIEW

88 Nikon Z f

First look at the retro full-frame
mirrorless full of cutting-edge tech!

Fringing
Chromatic aberration is visible as
purple or green fringing around
high-contrast boundaries, caused by
different wavelengths being focused on
different areas of the sensor. The larger
the number, the worse the score.

Distortion
BUYER’S GUIDE

PREVIEW

Stunning new prime
with brilliant bokeh

We rate this ‘affordable’
super-telephoto zoom

Nikon Z
135mm
f/1.8 S Plena

REVIEW

Nikon
Z 180600mm VR

106

Nikonfit lens
and camera list

Our exhaustive guide
to glass and gear

Our scoring system

Our awards in a nutshell

BEST ON
TEST

The best
performance,
design and value

www.digitalcameraworld.com

A lens that bulges towards the edges of
the frame produces barrel distortion,
shown as a negative score. Pincushion
distortion produces a positive score.
A score of zero indicates no distortion.

GREAT
VALUE

A product that
gives you more
for your money

GOLD
AWARD

The very best kit
that really sets the
standard

1.0

Forget about it!

2.0

Below average

3.0

Good for the money

4.0

Excellent product

5.0

Best-in-class

HANDS-ON PREVIEW

Nikon Z f

Speciﬁcations

£2299/$1999 www.nikon.co.uk

Sensor: 24.5Mp CMOS FX

The Nikon Z f doubles down on retro charm,
but now with the build quality to back it up

Autofocus: 299 points, 89x96%

Processor: EXPEED 7
coverage, -10EV
ISO: 100-64,000
Burst shooting: 7.8fps Raw, 30fps JPEG

he Nikon Z f isn’t the
manufacturer’s first
attempt at reviving the
style of film cameras
for the digital age. The
Nikon Df came along in
2013, but failed to take
off enough to garner any
sequels. In 2021, Nikon
released the Z fc and got a
very different reaction.
Nikon has repeated several
times that the demand for the Z fc
has far exceeded its expectations, clearly
showing that there is serious appetite for
cameras with a vintage aesthetic. And the
Nikon Z fc was well received. However,
almost immediately after its release, users
asked for a full-frame version with the same
classic styling, so it seemed almost
inevitable that Nikon would deliver just that.
It appears Nikon is fully onboard the
vintage-inspired camera train with the
release of the Nikon Z f, a full-frame version
of the Z fc that is finally the true digital
successor to the classic Nikon FM2 film
camera, popular with pros and enthusiasts.

Key features

Video: 4K60p, 4K30p, FHD 120p

Despite its retro exterior, the Nikon Z f
incorporates the latest advancements from
the company’s flagship models, the Nikon
Z 8 and Z 9. Its core features include a
24.5Mp full-frame sensor, powered by the
EXPEED 7 processor, which enhances
autofocus performance, expands the file
format options, improves in-camera
stabilization and provides exceptional
low-light capabilities with an extended
ISO range of up to 64,000.
The Nikon Z f boasts the same impressive
autofocus system as the Z 8 and Z 9,
equipped with 299 focus points that cover a
substantial 89% by 96% of the sensor area.
This system is adept at subject tracking,
including humans (faces, eyes), animals,
birds and vehicles, ensuring precision even
in challenging conditions as dark as -10EV.
Unique to the Nikon Z f is the introduction
of subject detection algorithms that
function seamlessly in manual focus
mode or when using adapted manual focus
lenses, enhancing exposure accuracy based
on recognizing the subject. The Nikon Z f
is capable of achieving up to eight stops

Image stabilization: Up to 8 stops
Screen: 3-in, fully articulated
EVF: 3690k-dot OLED
Storage: 1x SD UHS-II, 1x Micro SD
Weight: 710g
Size: 144x103x49mm
of image stabilization with compatible
lenses and offers pixel shift imaging, which
combines multiple shots to create even
higher-resolution images. Furthermore,
in a world first, the Z f introduces the Focus
Point VR system, taking stabilization a step
further and employing the camera’s
focus point to enhance in-body image
stabilization. For videographers, the Nikon
Z f offers versatile video recording
capabilities, supporting 4K video at various
frame rates (60p, 30p, 24p) and Full HD up
to 120p. Video enthusiasts will appreciate
features such as focus peaking, zebra
stripes, waveform display in live view,
fine ISO control, and an enhanced video

www.digitalcameraworld.com

NIKON Z F
4

Nikon Z fc

information display. The camera can record
continuously for up to 125 minutes, making
it a viable choice for filming extended
video projects.

Build & handling
It has to be said, if you are a fan of the
vintage styling of cameras like the Nikon
FM2, you will instantly fall for the Nikon Z f.
Where the Nikon Z fc borrowed some of
the stylings of that classic camera but
cut corners in design and build quality,
the Nikon Z f doubles down on copying
the classic FM2 perfectly.
The quality of the body feels exceptional,
using a solid and robust magnesium alloy
chassis, with dials made of brass that not
only feel much more secure than the Z fc,
but will also wear with use – the same as
vintage cameras from the past. However,
like the reference camera, the Z f does
feature a shallow grip that will make it
trickier to hand-hold with larger lenses.
Now, many people will instantly dismiss
this as a hipster camera – but we don’t

know why that is a ‘dirty’ term. As
photographers, we not only care about how
our images look but also care about the look
of all the gear that we shoot with. The
camera has manual dials for shutter speed
and ISO – although, with no auto setting on
the dials, it is not immediately obvious how
to put it into these settings without dipping
into the menu system (which we were
unable to do our my brief hands-on).
The aperture is controlled using the front
wheel and is displayed on the small display
up top, which is thankfully larger and easier
to read than the dial from the Z fc. There is
also a switch to flick from stills to video,
different shooting modes, as well as
swapping the camera from colour to
monochrome picture styles.
The Nikon Z f styling isn’t all vintage;
there are a few modern twists as well. It has
a fully articulating screen on the rear, so you
can vlog or shoot from awkward angles, and
there are all the modern ports present for
charging the battery in-camera via USB-C
or connecting headphones or microphones.

The Nikon Z fc might not have the same build
quality as the larger Z f, but it still looks pretty
much the same with its pretty vintage design.
The important difference, however, is the Z fc
can be had for significantly less money,
currently retailing at around £879/$959.
You will miss out on some of the very best
technology offered by the Z f, and be limited
to a APS-C-sized DX sensor, but if you aren’t
planning on using this as a professional camera
then the Z fc may well be perfect for your needs.

One confusing addition to the Nikon Z f is
its microSD card slot, which sits alongside
the single SD UHS-II slot. We are not entirely
sure why the camera was not given two
standard SD card slots – but suspect it
must be down to fitting everything into the
camera body, although much smaller
cameras have dual SD card slots.
The other alternative was just to include
one slot, and we suppose if given the choice
of just a single SD card or both an SD and
microSD combo, then the latter is evidently
the better proposition. But microSD is just
not fast enough for many applications that
the camera can be used for, like 4K video
or fast burst rates with long buffers. Nikon
suggested that the microSD would

Features
1 The rear LCD is fully articulating, rather than

tilting as seen on cameras like the Z 6II.
2 The ‘grip’ is a shallow bump, and not nearly

as deep as those on a ‘traditional’ DSLR.
3 The 24.5Mp full-frame sensor has 299 AF

points spread over the entire image frame.
4 There are dials for setting shutter speed,

ISO and exposure compensation.
5 The top-plate LCD is limited to only showing

the aperture, set by the front command dial.
6 The camera body has a leather-like textured

In keeping with its retro credentials, a B&W
switch sits below the shutter speed dial.

www.digitalcameraworld.com

We got hold of the Z f for a hands-on preview,
and will bring you our full verdict next issue!

finish, adding to its retro charm.

HANDS-ON PREVIEW

Get a grip
The NIkon Z f has a very small bulge on the front
that helps provide a bit of grip – it’s nowhere
near as deep as found on cameras like the Z 6II.
If you’d like something a little more substantial,
there’s a SmallRig Grip, which screws into the
tripod mounting plate and extends the size of
the grip, while matching the leather-look texture
of the camera body. Note that this doesn’t
provide any additional control functionality
or extend the shooting time in the way that a
battery grip does. It is set to retail for £45/$40,
but Nikon UK is bundling the grip with camera
for orders until the end of October.

There are two kit lens options,
a 40mm f/2 prime and 24-70mm
f/4 zoom, as shown here.

make a good backup card, although
currently it is not exactly clear how this
would function without further testing.
One of the most significant downsides
to Nikon’s new vintage-inspired cameras
is that they have relatively few lenses that
are designed to match, and most Nikon Z
lenses are styled to suit the modern
Z-system cameras. There are only three
retro-look ‘SE’ lenses to date, which have
matching silver detailing to match the Nikon
Z f (and Z fc): the Z 28mm f/2.8 SE, Z

Pick a colour…
Like the Z fc, the Z f will be available in a range of
colours exclusively from the Nikon store, as well
as in standard black, which will also be available
from other camera retailers too. The entire
colour range will be available right from launch,
and they are rather more subdued than the
colour variants available for the Z fc, which were
perhaps a little on the brash side. There is no
price premium for the coloured Nikon Z f
variants compared with the standard all-black
camera, unlike the brightly coloured Z fc
variants, which in the UK cost an additional £50.

40mm f/2 SE (available as a kit option) and
Z DX 16-50mm f/3.5-6.3 SE VR (which, as a
DX lens, will only work in crop mode on a
Nikon Z f). It’s a shame that Nikon hasn’t
restyled its full-frame Z 24-70mm f/4 S as
an SE edition, considering that this lens is
also available as a kit option with the Z f.
That said, you can use any Z-series lens
on the Z f, as the differences with the SE
lenses are purely cosmetic. They don’t have
manual aperture rings, for example, though
when in autofocus mode, the manual focus
ring can be reappropriated for other
functions, including setting the aperture.

respectable video specs and it looks like it
will be a very capable body for anyone
creating video content for YouTube or social
media, topping out at 4K 60p video, and
employing the latest in Nikon’s subject
recognition and tracking autofocus
technology. Also now with a fully
articulating screen, the camera also looks
to be a great choice for vloggers who also
care about how their camera looks.

Performance

Early verdict

In our hands-on time with the camera, we
were unable to save any images to take
away, so stay tuned for the full review next
issue, when we will get the chance to really
put it through its paces. However, with the
EXPEED 7 processor used to great acclaim
in the latest Nikon Z 8, and a 24.5Mp sensor
similar to that in the Nikon Z 6II, we have
high expectations for this camera to be a
great blend between those two models.
One of the most exciting new features of
this, or any camera, is Nikon’s new VR
system, which promises to offer steadier
footage by locking the image stabilization to
the focus point rather than just using the
normal pitch and yaw of the camera, it will
also try to match the movement and
positioning of the subject. It sounds as
interesting as it does confusing, and we are
really looking forward to putting it into
practice to see if it offers comparatively
better footage than other systems.
While the Nikon Z f isn’t being positioned
as a true filmmaker’s camera, it has

The Nikon Z f is sure to steal the hearts of
vintage camera enthusiasts. From the
moment we laid our hands on this camera,
it stirred up a wave of nostalgia for the
bygone days of shooting film. The camera’s
body represents a significant upgrade from
Nikon’s first attempt in this segment, the
Nikon Z fc, with the Z f body boasting a
more substantial presence with its robust
brass dials and a weighty feel reminiscent of
the classic Nikon FM2 film SLR that served
as its inspiration.
Although we haven’t had the opportunity
to capture any images or video with the
camera just yet, the anticipation of what
it offers is compelling. With its 24.5Mp
full-frame sensor and Nikon’s cutting-edge
EXPEED 7 processor, this camera
promises enhanced subject tracking,
higher ISO capabilities, and superior video
performance to match the best of Nikon’s
cameras. This camera certainly feels like
the vintage-inspired camera that Nikon
should have made all along.

www.digitalcameraworld.com

NIKON Z 135MM F/1.8 S PLENA
2
3

The lens renders out-of-focus highlights – or
‘bokeh’ – as beautiful, near-perfect circles.

Features

Nikon Z
135mm f/1.8 S Plena
4

£2699/£2499 www.nikon.co.uk

Nikon thinks that its portrait prime is so
good, it has even given it a special name…
ot since the Z 58mm f/0.95 Noct
has Nikon decided that one of its
lenses was so good it deserved
its own name, but with its latest
release the company is ready to introduce
the Nikon Plena to the world, its first
signature lens since the Noct.
Fancy names aside, the Nikon Plena is
actually its long-awaited 135mm portrait
lens for the Nikon Z mount that has been on
its lens roadmap for some time, officially
titled the Z 135mm f/1.8 S Plena.
But what does Plena mean? It’s derived
from the Latin term plenum, which denotes
the state of a space being completely full.
According to Nikon, the name was chosen
to reflect the lens’s ability to fulfil the user’s
creative vision with superior light, aiming to
deliver the ultimate sharpness, even wide
open, with perfect bokeh.
Reading the specs list for the Plena,
it looks like Nikon has spared nothing
in the creation of this lens, and it looks
destined to earn its place next to the
Nikon Z 58mm f/0.95 Noct as one
of the most coveted Nikon Z lenses.

www.digitalcameraworld.com

The Nikon Z 135mm f/1.8 S Plena has a
wide open aperture of f/1.8, which coupled
with its 11 aperture blades should
render almost perfectly round bokeh.
Nikon appears especially proud of the
bokeh this lens can produce, describing it
as “ethereal”. Indeed, in the marketing
images Nikon has provided, the quality of
the bokeh looks very impressive indeed,
although we will reserve judgment until we
are able to test it for ourselves.
Nikon has made the bold claim that the
lens will show its full sharpness all the
way down to f/1.8, with the Plena also
having a minimum aperture of f/16. The
manufacturer also promises that the Plena
will show absolutely no vignetting, even fully
open, so it will be interesting to get this into
our lab and put this to the test.
To achieve all this optical goodness, the
lens is constructed of 14 groups made up of
16 elements, including four ED elements,
one aspherical element and an SR element,
plus Meso Amorphous Coat and ARNEO
Coat, which should reduce aberrations,
sagittal coma, and flare. And for that

1 At the front, the lens has an 82mm-

diameter thread for the fitting of filters.
2 In addition to a manual focus ring, there’s

a secondary customizable control ring.
3 The word ‘Plena’ is etched onto the barrel,

denoting the lens’s special status.
4 There are a pair of programmable lens-

function buttons on the lens barrel.
5 Inside, an 11-bladed aperture contributes

to the lens’s stunning circular bokeh.

perfect bokeh, the Nikon Plena apparently
produces no ‘onion ring’ effect. In terms of
build, the lens has two custom function
buttons on its body and an 82mm filter
thread. It is a pretty substantial piece
of glass, weighing in at a whopping 995g
(2.2lbs) and measuring 139.5x98mm
(5.49x3.86in). While this is a lens that will
be most commonly used in the studio, out
in the field this will certainly be a notable
weight to carry around. Though for outside
use, the lens is fully weather-sealed and
comes with a lens hood and case.

Early verdict
Without exception, every Nikon ‘S-line’ lens
for its Z-series range of mirrorless cameras
has boasted sensational image quality, so
by singling this one out with its own name,
Nikon clearly has big expectations for the
Plena. And while Nikon’s Z 58mm f/0.95 S
Noct’s prohibitive price tag made it feel like
more of a Z-mount tech demo than a lens
many of us would actually buy, the Plena’s
relatively ‘affordable’ asking price puts
it in range of pro portrait photographers.

REVIEW
6
4
3

Nikon Z 180-600mm
f/5.6-6.3 VR

1
2

Speciﬁcations
Mount: Nikon Z (FX)
Construction: 25 elements / 17 groups
Angle of view: 13.7-4.1 degrees

£1799/$1697

Diaphragm blades: 9

Introducing the first ‘affordable’ ultra-telephoto
zoom for Z-system mirrorless cameras

Minimum focusing distance: 1.3-2.4m

Minimum aperture: f/32-36
Maximum magnification ratio: 0.25x
Filter size: 95mm
Dimensions: 110x315.5mm
Weight: 1955g (2140g inc tripod collar)

he Nikon Z 180-600mm
f/5.6-6.3 VR aims to
deliver seriously ultratelephoto focal lengths
along with an impressive
overall zoom range,
at an ‘affordable’ price
of around $1697/$1799.
To put that into context,
the Nikon Z 100-400mm
f/4.5-5.6 VR S ($2497/£2299)
zoom and Nikon Z 400mm f/4.5
VR S ($2997/£2871) prime lenses give less
telephoto reach and are considerably
pricier to buy. The Z 180-600mm is more
of an ultra-telephoto zoom for the masses.

Key features
The 180-600mm zoom range is a standout
feature of this lens. It kicks off with
a moderate viewing angle of 13.7 degrees
at the short end, and powers through to just
4.1 degrees at the long end. The former
works really well at relatively short to

medium distances, while the latter really
covers the distance when you can’t get as
close as you might like. To help keep the size
and weight of the lens to manageable
proportions, the optical design includes an
aspherical element, which also has the
potential to reduce distortion. The optical
path has six ED (Extra-low Dispersion)
elements, enhancing contrast and colour
accuracy and minimizing colour fringing.
Autofocus is of the linear stepping motor
variety, with the potential for fast response
and effective tracking while shooting stills,
along with smooth and virtually silent focus
transitions for video. The autofocus range
limiter switch can lock out the short section
of the range closer than six metres. When
the full range is enabled, the lens can focus
down to 1.3m at the short end of the zoom,
rising to 2.4m at the long end, with
a maximum reproduction ratio of 0.25x,
which gives plenty of close-up potential.
The Z 180-600mm comes complete with
optical VR, claimed to be worth 5.5 stops.

Build and handling
Although it’s not classified as one of Nikon’s
premium S-line lenses, the Z 180-600mm
feels sturdy and robust, with very good
build quality. The construction incorporates
a set of weather-seals, although Nikon says
the lens isn’t guaranteed to be dust and
drip-resistant in all conditions. A bonus
in terms of both build quality and handling
is that the zoom and focus mechanisms are
fully internal. As such, the physical length
remains fixed throughout the entire zoom
and focus ranges. At ultra-telephoto focal
lengths, it can be difficult to pick out
subjects in the viewfinder like birds and
planes in flight, or racing vehicles on a track.
In practice, it can be a big help to locate
them using the short end of the zoom range
then zoom. That’s particularly easy with this
lens, as the zoom ring operates very
smoothly and has a short throw of just

www.digitalcameraworld.com

NIKON Z 180-600MM F/5.6-6.3 VR
Sharpness (centre)

Weighing in at 2kg, handheld shooting is viable, but there’s also a tripod mounting collar.

Levels of sharpness are fabulous throughout
the entire zoom range, not only in the central
region of the image frame but right out to the
extreme edges and corners.

Fringing (edge)

The lens is ideal for capturing motorsports
close-ups from a safe distance.

It’s a dream to use with Z-series cameras’
animal AF for pin-sharp shots of wildlife.

90 degrees from 180mm all the way to
600mm. The fact that there’s no extending
inner barrel also avoids the risk of dust and
moisture being ingested by the lens.
Naturally, shooting handheld gives you
greater freedom of movement than using
a tripod or monopod, especially when
tracking erratically moving subjects.
At 2140g complete with tripod mounting
ring, the Z 180-600mm is certainly
no lightweight, but it’s entirely viable for
prolonged periods of handheld shooting.
The tripod ring is completely removable,
dropping the weight to 1955g.
To help retain a good balance when you’re
using a tripod, monopod or gimbal, the
tripod mounting ring works well and gives
the usual ability to easily switch between
landscape and portrait orientation shooting.
Again, the internal zoom mechanism is a
bonus, as it keeps the centre of gravity
pretty constant throughout the zoom range.
The A/M focus mode switch enables easy
switching between autofocus and manual
focus modes, without in-camera menus.
In autofocus mode, you can also switch
instantly to manual focus by twisting the
focus ring, which is electronically coupled
and operates very smoothly.
Or you can assign other functions to the
focus ring while in autofocus mode, like
control over aperture, ISO and exposure
compensation.
Similarly, there’s an array of four
customizable L-Fn (Lens Function) buttons,
situated at 90-degree increments around
the barrel, just forward of the zoom ring.

Performance

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In our real-world tests, the lens proved
highly impressive, delivering superb
sharpness, clarity, contrast and colour
rendition, throughout the zoom range.
We used the lens at a motocross event
under thick black clouds and the lens locked
onto bikes and riders – even at very long
distances – and tracked them tenaciously.
Colour fringing is very minimal
throughout most of the zoom range and
pincushion distortion at all focal lengths is
minor. So all in all, the Z 180-600mm
delivers excellent image quality and
all-round performance, plus great handling
characteristics, making it very good value.

Features
1 There are switches for auto/manual focus,

and to limit the autofocus range to 6m-plus.
2 Optical vibration reduction is rated at

5.5-stops, but there’s no VR on/off switch.
3 The lens rotates within its mounting collar,

for easy horizontal and vertical shooting.
4 The zoom ring goes from 180mm to

600mm with a smooth 90-degree twist.
5 The lens features a rank of customizable

function buttons around the barrel.
6 With internal zoom and focus, the length of

the lens remains constant, easing balance.

Colour fringing is minimal at most focal
lengths, even at the extreme edges and
corners of the frame. It can be noticeable at
the longest zoom setting but is fairly slight.

Distortion

Pincushion distortion is of a low order and
quite consistent throughout the entire
zoom range. As with colour fringing, it
can be virtually eliminated by automatic
in-camera correction.

N-Photo verdict
For action, sports, wildlife, bird and aviation
photography, the Nikon Z 180-600mm is a
humdinger of a lens. Its monster zoom range
really covers the distance and it’s razor-sharp
at all focal lengths. The lens is just about
lightweight enough for long periods of handheld
shooting, for which the highly effective optical
VR and customizable function buttons really
earn their keep. It’s a top performer and very
good value for money at the price.
Features
Build &
handling
Performance
Value

Overall

BIG TEST

Fast telephoto
zooms

Faster is better when it comes to telephoto
zooms, but prices range from ‘affordable’
to astronomical. Here are the best buys...

ny zoom lens is a versatile tool
but fast telephoto zooms are
particularly multi-talented.
Enthusiast and professional
photographers have long been
using them for wide-ranging
shooting scenarios, from
action, sports and wildlife
to weddings and other events.
A 70-200mm f/2.8 zoom is
regarded as one of the ‘trinity’
of zooms, along with similarly fast
f/2.8 wide-angle and standard zooms.
But it’s not the only choice.
Compared with budget telephoto
lenses, there are two main upsides to
fast telephoto zooms. Firstly, you can
get a tight depth of field, especially
towards the long end of the zoom

range, ideal for blurring the
background and making the main
object in a scene really stand out.
Secondly, you can maintain fast
shutter speeds even under low
lighting conditions, for freezing
motion without bumping up your ISO.
That helps to retain fine detail and
keeps noise to a minimum.
If you need greater reach from
a fast telephoto zoom, Nikon and
Sigma both make 120-300mm f/2.8
lenses, They’re weighty beasts but
intriguing options. At the other end of
the scale the Nikon Z 70-180mm f/2.8
and AF-S 70-200mm f/4 are relatively
compact, lightweight and affordable.
Let’s take a closer look at what all the
contenders have to offer.

The contenders

£1099/$1449
£1199/$1397
£1299/$1247
£1449/$1299
£2159/$2347
£2339/$2397
£2709/$2799
£9449/$9497
Image: © Getty

Sigma 70-200mm f/2.8 DG OS HSM | S
Nikon AF-S 70-200mm f/4G ED VR
Nikon Z 70-180mm f/2.8
Tamron SP 70-200mm f/2.8 Di VC USD G2
Nikon AF-S 70-200mm f/2.8E FL ED VR
Nikon Z 70-200mm f/2.8 VR S
Sigma 120-300mm f/2.8 DG OS HSM | S
Nikon AF-S 120-300mm f/2.8E FL ED SR VR

BIG TEST

Sigma 70-200mm
f/2.8 DG OS HSM | S
£1099/$1449

Bigger, better and a real steal at the price,
Sigma’s latest 70-200mm f/2.8 zoom
lives up to its ‘Sports’ classification
igma’s long-running
70-200mm f/2.8
OS lens was a
popular, budgetfriendly option. It delivered
good overall performance, had
an effective optical stabilizer
and was keenly priced. The
replacement ‘Sports’ lens is
noticeably larger and heavier,
weighing in at 1805g, despite
having a magnesium alloy
barrel. The more robust design
also features a full set of
weather-seals, whereas the
preceding lens had none.
More than just an update, the
new lens is redesigned from the
ground up. The new optical path
features 24 elements in 22
groups, incorporating one SLD
(Special Low Dispersion)
element and no less than nine
top-grade FLD (‘Fluorite’ Low
Dispersion) elements. There’s
also a particularly well-rounded
aperture, with 11 diaphragm
blades. The autofocus system

can be switched to auto-priority
or manual-priority modes, the
latter enabling manual override
with continuous autofocus.
The design also features three
function buttons, which can
be configured as AF-start or
AF-stop via in-camera menus.
The new optical stabilizer has
switchable static and panning
modes, the latter working in
landscape, portrait and even
diagonal orientation.

Centre

Sharpness and contrast are
fabulous throughout the entire
zoom range, even when
shooting wide-open at f/2.8.
Autofocus is rapid and
consistently accurate, and
while stabilization isn’t quite
as effective as in the Tamron G2
lens for static shots, it proved
better for panning during our
tests. Ultimately, it’s a big lens
that really goes extra-large
on performance.

We combine real-world
shooting with a range of tests

Features
1 Fluorine coatings are

applied to the front and
rear elements, and there’s
a large 82mm filter thread.
2 There are three AF-start/

Edge

stop buttons around the
central section of the lens
for landscape and portrait
orientation shooting.
3 Excellent build quality

Performance

How we test

Sharpness

includes a magnesium
alloy barrel and a set of
weather-seals.
4 It’s about the same size

as most other 70-200mm
f/2.8 lenses but 350g
heavier at 1805g.

Features
Build &
handling

5 The tripod mount ring

Performance
Value

5.0

Overall

To test real-world performance, we use lenses
in all sorts of lighting conditions, for indoor and
outdoor shooting scenarios. We check for good
build quality and handling, smooth and precise
operation of all controls, and we test the speed
and accuracy of autofocus. We typically test
full-frame compatible lenses on a range of FX and
DX bodies, whereas APS-C format lenses are just
tested on DX cameras. These include DSLRs like
the D850 and D7500, and mirrorless cameras
like the Z 7II and Z fc.
In-camera and Raw processing corrections for
chromatic aberration, distortion and vignetting

can’t be removed but the
foot can be detached to
save a little size and weight.

are disabled where possible, throughout
lab-testing, to better reveal the true optical
performance of each lens. In our lab, we test
lenses under controlled conditions, shooting
specialist test charts and processing the results
with the Imatest Master and DxO Analyser suites.
Test shots are taken across the range of
apertures and zoom settings (where applicable),
then analysed for sharpness, chromatic
aberrations (colour fringing) and distortion.
Finally, our experts judge the overall
performance by combining the results
of real-world testing and lab tests.

www.digitalcameraworld.com

FAST TELEPHOTO ZOOMS

Nikon AF-S 70-200mm
f/4G ED VR
£1199/$1397

Slower but slimmer than the other lenses
on test, it’s a compact little cracker. But with
limited availability, grab one while you can
ike the Sigma
120-300mm f/2.8
lens on test, this
Nikon 70-200mm
f/4 has now been discontinued
but you can still pick up one
new if you shop around, and it
makes a very good secondhand
buy. In other respects, the two
lenses couldn’t be more
different. The Nikon is much
smaller and only about a
quarter of the weight. A telltale
sign of its slimness is that the
filter thread is just 67mm
compared with the Sigma’s
much larger 105mm.
The Nikon has a sophisticated
control system. 4-stop VR
(Vibration Reduction) comes
with switchable Normal and
Active modes, the former
featuring automatic panning
detection while the latter is
more suited to shooting
from an unsteady platform.
An autofocus range limiter
switch is also fitted. In keeping

with its lightweight 850g build,
the lens doesn’t come with a
tripod mounting ring, but one
is available as an optional extra.
The optical line-up includes
three ED (Extra-low Dispersion)
elements plus an HRI (High
Refractive Index) element,
aiming to boost sharpness
and contrast while reducing
chromatic aberrations. Nikon’s
renowned Nano Crystal Coat
is also applied to keep ghosting
and flare to a minimum.

Sharpness
Centre

1 The compact size and

weight make it a good
fit for travel photography
and it gives a 105-300mm
effective zoom range if
you use it on a DX body.
2 Nano Crystal Coat and
Edge

Super Integrated Coating
tackle ghosting and flare.
3 The lens is compatible with

Nikon’s TC-1.4, TC-1.7 and
TC-2.0 teleconverters, the
last of which shrinks the
effective aperture to f/8.

Performance
Levels of sharpness are highly
impressive, even when shooting
wide-open at f/4, throughout
the entire zoom range. The
autofocus system is fast and
unerringly accurate, and
stabilization lives up to its
4-stop billing. However, it’s
pricey for an f/4 zoom, costing
around the same as the faster
Sigma and Tamron 70-200mm
f/2.8 F-mount lenses on test.

Features

4 The ultrasonic autofocus

system is quick and quiet,
and enables full-time
manual override.

Features
Build &
handling
Performance

5 The lens barrel doesn’t

Value

4.5

Overall

physically extend at longer
zoom settings.

Distortion
Amounts of distortion are fairly minimal
Fast telephoto zooms exhibit minor
barrel distortion at the short end of
the zoom range, negligible
distortion at mid-range settings,
and a little pincushion at the long
end. That’s true of most of the
lenses in this group, but the Nikon Z
70-180mm and Z 70-200mm lenses

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are virtually distortion-free. But
there’s a catch – the Z 70-180mm
relies on automatic in-camera
corrections for distortion, which
can’t be disabled. The Nikon AF-S
70-200mm f/4 gives the most
noticeable pincushion distortion
at the long end, when uncorrected.

BIG TEST

Nikon
Z 70-180mm f/2.8
£1299/$1247

This remarkably compact and lightweight
f/2.8 zoom is only about half the size and
half the weight of the Z 70-200mm VR S
his relatively new
Z-system lens from
Nikon keeps things
small and simple.
It teams up with the excellent
Z 17-28mm f/2.8 and
Z 28-75mm f/2.8 lenses,
completing an alternative trinity
of fast, constant-aperture f/2.8
zooms that are more compact,
lightweight and much less
expensive than their rangetopping S-line counterparts.
The optical path includes no
less than five ED (Extra-low
Dispersion) elements, one
Super-ED element and three
aspherical elements, the
combination aiming for superb
contrast and clarity. Unlike the
F-mount lenses on test, the lens
features a linear stepping motor
for autofocus. It’s fast and
snappy for stills, while enabling
smooth and virtually silent
focus transitions when shooting
video. Unlike most constantaperture telephoto zooms,

there’s fairly little elongation of
the lens as you zoom from the
shortest to the longest setting.
There are no onboard switches
apart from a zoom lock, so you
need to delve into the host
camera’s menus to swap
between autofocus and manual
focus. There’s also no optical
VR, which isn’t too much of an
issue if you’re shooting with an
FX Z-system body, all of which
have in-body stabilization,
but you’ll get no stabilization
at all with a DX camera.

Sharpness

Features

Centre

1 All three Z 17-28mm, Z 28-

75mm and Z 70-180mm
lenses share the same
67mm attachment thread.
2 There’s good close-up

potential, with a minimum
focus distance of 0.270.85m through the zoom
range, enabling up to a
0.48x reproduction ratio.

Edge

3 The only onboard switch

is for zoom lock, but our
test sample showed no
signs of zoom creep
whatsoever.

Performance
Image quality is excellent,
combining very good sharpness
with beautifully soft bokeh. In
our tests, we got 3-stop
effectiveness in stabilization,
when using IBIS in a Z 7II, which
is good rather than entirely
great. In-camera corrections
take care of any colour fringing
and distortion, although the
latter can’t be disabled.

4 At just 795g, it’s even
Features

lighter than the AF-S
70-200mm f/4 on test.

Build &
handling
Performance

5 The aperture is based

Value

4.5

on a well-rounded nineblade diaphragm.

Overall

Going the distance
70-200mm is the classic
zoom range for fast telephotos
Most lenses in this test group have a classic
70-200mm zoom range, with a constant aperture
of either f/2.8 or f/4. The Nikon Z 70-180mm
f/2.8 is very similar, while the Nikon and Sigma
120-300mm f/2.8 lenses naturally give longer
telephoto reach. This sequence of shots
shows the results of various focal lengths.

70mm

120mm

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FAST TELEPHOTO ZOOMS

Tamron SP 70-200mm
f/2.8 Di VC USD G2
£1449/$1299

The G2 (second-generation) version of
Tamron’s 70-200mm f/2.8 zoom is much
improved, with some significant updates
ith exotic features
and a wealth of
upgrades packed
into its metal barrel,
the Tamron G2 feels every inch
a pro-grade lens. Its optical
design has been refined to
increase sharpness and
contrast, while reducing colour
fringing, ghosting and flare.
The autofocus system is
uprated for faster, more
accurate performance, and the
VC (Vibration Compensation)
system has three switchable
modes and up to 5-stop
effectiveness. Adding to regular
static and panning modes, the
third stabilization mode only
applies stabilization during
actual exposures, leaving
the viewfinder unadulterated.
Along with a full set of
weather-seals, the lens has a
fluorine coating on the front
element. The Tamron G2
has a tripod mount ring with
an Arca-Swiss compatible foot.

180mm

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However, the Tamron’s
mounting ring can be
completely removed, without
leaving a protruding stub. The
lens is also noticeably smaller
and about 300g lighter than the
Sigma, and has a more typical
77mm filter thread.
Another similarity with the
Sigma lens is connectivity with
an optional USB docking
station. Tamron’s ‘TAP-in
Console’, is used for
customization, fine-tuning and
applying firmware updates.
A key update over the previous
edition of the lens is that the G2
is compatible with Tamron’s
1.4x and 2.0x teleconverters.

Sharpness

Features

Centre

1 To further reduce ghosting

and flare, this G2 edition of
the lens has revised nanostructure coatings.
2 The metal barrel includes

weather-seals, and the
front element has a
fluorine coating.

Edge

3 Optical highlights include

XLD (eXtra Low Dispersion)
and LD (Low Dispersion)
lens elements.
4 Triple-mode stabilization

is highly effective for static
and panning shots, plus
tracking moving subjects.

Performance
Autofocus is very fast and
operates with excellent
precision. Image quality is very
good overall with lovely bokeh,
but it’s not quite as sharp as the
Nikon and Sigma 70-200mm
f/2.8 zooms on test,

200mm

Features
Build &
handling

5 For compatibility with

Z-system cameras via an
FTZ or FTZ II mount
adapter, you will need
firmware 2.0 or higher.

Performance
Value

4.5

Overall

300mm

BIG TEST

Nikon AF-S 70-200mm
f/2.8E FL ED VR
£2159/$2347

It’s the best F-mount 70-200mm f/2.8 that
Nikon has ever made, but it’s a lot pricier
than competing Sigma and Tamron lenses
hen it was launched
back at the tail end
of 2016, this latest
edition of Nikon’s
F-mount 70-200mm f/2.8 lens
became our instant favourite
telephoto zoom. Compared
with the previous edition, it has
an uprated optical design that
features a fluorite glass
element, six ED elements, one
HRI element and the bonus of
Nano Crystal Coat as well as
Super Integrated Coating.
Suffice it to say that the optical
layout is designed for top
performance.
The revised dual-mode VR
system has automatic panning
detection plus a ‘Sport’ mode
that doesn’t interfere with the
viewfinder image and avoids a
slowdown in continuous
shooting. An electromagnetic
diaphragm is also added, to
ensure greater exposure
consistency in rapid continuous
drive mode. Both of these

facets are incorporated into
Z-system lenses, with Sport
VR mode being available from
FX mirrorless camera menus.
A dual-mode autofocus
system gives priority to either
automatic focusing or manual
override, and there are AF-ON/
lock buttons on the magnesium
alloy barrel.

Sharpness
Centre

Features
1 The lens has an

electromagnetic
diaphragm, fluorite glass
elements, Extra-low
Dispersion elements and
optical Vibration Reduction.
2 AF-ON/lock buttons are
Edge

Performance
Sharpness and contrast are
legendary throughout the zoom
range. Again, though, the Sigma
Sports lens goes toe to toe with
the Nikon for sharpness in
real-world shooting, while
matching other aspects of
the Nikon’s image quality,
autofocus speed and the
efficacy of stabilization.
Following a price drop, this fully
pro-grade lens is better value
than it used to be, but it’s still
around twice the price of the
competing Sigma and Tamron
F-mount lenses.

featured between the
zoom and focus rings.
3 The tripod mounting

ring isn’t removable
but you can detach the
mounting foot.
4 Unlike lenses with stepping

motor autofocus systems,
this one has a mechanical
focus distance scale.

Features
Build &
handling

5 The VR system is rated

Performance
Value

4.5

Overall

at 4-stops and comes
complete with switchable
Normal and Sport modes.

Sharpness and blur
Bokeh is an important factor
Fast tele-zooms are often used for portraiture
and other scenarios where you want to blur the
background and isolate the main point of interest
in a scene. Wider apertures enable a tighter depth
of field, exaggerating the effect. Shooting at
85mm, these images show the difference
between using the widest aperture of an f/2.8
and f/4 zoom, compared with an f/1.8 prime lens.

100

f /4

/2.8
f /4

f /1.8

Shooting at fairly close range, depth of field is fairly tight at 85mm even at f/4, but noticeably
tighter at f/2.8, while background blur is significantly better with an 85mm prime at f/1.8.

www.digitalcameraworld.com

FAST TELEPHOTO ZOOMS

Nikon Z 70-200mm
f/2.8 VR S
£2339/$2397

Full of finery, it’s simply the finest
70-200mm f/2.8 lens in the world,
but commands a high purchase price
his Z-mount
70-200mm zoom
has a stellar optical
design that includes
two aspherical elements, six ED
(Extra-low Dispersion)
elements, a fluorite element
and an SR (Short-wavelength
Refractive) element. Dual
high-tech coatings include both
ARNEO and Nano Crystal Coat.
The lens isn’t just a feast of
fine glass. Autofocus is
incredibly rapid yet virtually
silent, based on two
synchronized stepping motors.
There’s highly effective 5-stop
optical VR, based on voice coil
motors, which works a treat
on the DX format Z 50 and
is even better when used
in conjunction with the in-body
stabilizers of Nikon’s full-frame
Z-series cameras.
Trick features include an
OLED display for viewing
various shooting parameters,
along with dual customizable

L-Fn (Lens function) buttons.
As well as zoom and focus
rings, there’s a third stepless
control ring which is also
customizable. Build quality
is as good as you’d expect from
one of Nikon’s top-notch S-line
lenses, the 70-200mm
completing Nikon’s highly
impressive set of pro-grade
trinity f/2.8 wide-angle,
standard and telephoto zooms.

Sharpness
Centre

1 This lens has an OLED

display with a button for
cycling through the likes
of aperture, focus distance
and depth of field.
2 Super-fast autofocus
Edge

Performance
It’s simply the sharpest lens
in the group, by quite a margin,
not only in the central region
of the frame but right into the
extreme edges and corners.
Vignetting is minimal and
there’s excellent resistance
to ghosting and flare. Overall
performance and handling are
stunning. It’s an undeniably
expensive lens but you really
do get what you pay for. This
Z-mount optic is sure to
become an instant classic.

Features

is based on two linear
stepping motors to drive
independent focus groups.
3 A third customizable

control ring can be
assigned functions like
aperture, ISO and exposure
compensation.
4 An L-Fn button and rank of

L-Fn2 buttons can be set to
various functions.

Features
Build &
handling

5 An autofocus range limiter

Performance
Value

5.0

Overall

can lock out the short
end of the range closer
than 5m.

Colour fringing
Chromatic aberrations tend to be well controlled
As with distortion, all of the lenses
in this test group manage to keep
colour fringing to a minimum.
In most cases, lateral chromatic
aberrations are barely visible even
towards the extreme corners of the
image frame, when shooting at
either end of the zoom range.

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Fringing tends to be even more
negligible at mid-zoom settings. The
least impressive lens in the group at
controlling chromatic aberrations is
the Nikon AF-S 70-200mm f/2.8 at
the short end of its zoom range but
in-camera correction is available in
recent and current Nikon cameras.

101

BIG TEST

Sigma 120-300mm
f/2.8 DG OS HSM | S
£2709/$2799

Upscaling comes at a cost but this Sigma is
still a lot of lens for the money, and much
less expensive than the Nikon competitor
t’s a big ask to deliver
50 per cent more
telephoto reach
than a 70-200mm
lens while maintaining a
constant f/2.8 aperture. The
result is a big lens that weighs
in at almost 3.4kg. That’s more
than twice the weight of most
top-flight 70-200mm lenses.
And while it retains internal
zoom and focus mechanisms,
the lens also measures about
1.5 times longer than most
70-200mm f/2.8 lenses and
has a wide girth, along with an
oversized 105mm filter thread.
Despite being the first lens
in Sigma’s Sports line, it
nevertheless features a Custom
modes switch, with autofocus
speed, autofocus limiter
distance and optical
stabilization effects being
customizable via the optional
USB Dock. It was also Sigma’s
first lens to feature weatherseals, although it doesn’t have

fluorine coatings on the front
and rear elements. It also lacks
the dual switchable autofocus
modes and the AF-ON/hold
buttons featured in the newer
70-200mm Sports lens. Both
lenses have an SLD (Special
Low Dispersion) element but
this one only has two top-grade
FLD (‘Fluorite Low Dispersion)
elements, whereas the
70-200mm lens has nine.

Sharpness
Centre

1 Although officially

discontinued, the lens is
still available and makes a
great secondhand buy.
2 Measuring 121x291mm

Edge

and weighing 3390g, it’s
certainly not a lens to be
taken lightly.
3 There’s no additional

Performance
Even at f/2.8, this lens delivers
fabulous contrast and centresharpness throughout the
entire zoom range. There’s
absolutely no drop-off in
centre-sharpness at the long
end of the zoom range, while
stopping down by an f/stop or
two makes corner-sharpness
similarly impressive. Colour
fringing and distortions are
very minimal at all focal lengths.
It’s a fabulous lens, and great
value at the price.

Features

‘Manual Override’
autofocus mode,
as featured in the Sigma
70-200mm Sports.
4 The 3-way autofocus

limiter switch can lock out
either the long or short end
of the range, helping to
avoid excessive hunting.

Features
Build &
handling
Performance

5 The first of Sigma’s ‘Sports’

Value

4.5

Overall

lenses, it was also the first
to include weather-seals.

Cover the distance
Teleconverters extend your reach
Nikon, Sigma and Tamron all make 1.4x and 2.0x
teleconverters, the latest editions of which are
fully compatible with the brands of lenses on test.
This can give you up to double the maximum focal
length, for example turning a 70-200mm lens
into a 140-400mm zoom. However, you lose
an f-stop with a 1.4x teleconverter, and the lens
will effectively be two f/stops slower with a 2.0x.

102

Good-quality teleconverters don’t come cheap. The latest Nikon Z 1.4x and
2.0x teleconverters cost around £579/$547 and £629/$597 respectively.

www.digitalcameraworld.com

FAST TELEPHOTO ZOOMS

Nikon AF-S 120-300mm
f/2.8E FL ED SR VR
£9449/$9497

This 120-300mm f/2.8 lens boldly goes
where no telephoto zoom has gone before,
apart from the direct equivalent from Sigma
or seven years, the
Sigma 120-300mm
represented a
world-exclusive,
combining a relatively long
telephoto zoom range with
a fast and constant f/2.8
aperture. Nikon put an end
to that in 2020 with its own
F-mount lens, which offers
an identical zoom range and
aperture rating, but at threeand-a-half times the price.
Optical highlights include
an ED element, two fluorite
elements and one SR (Shortwavelength Refractive)
element, along with Nano
Crystal and ARNEO coatings.
There’s a fast and near-silent
ring-type ultrasonic autofocus
system, an electromagnetic
diaphragm and a 4-stop VR unit
with switchable Normal and
Sport modes. AF-lock, AF-ON
and memory recall functions
are also available. Ring-type
ultrasonic autofocus is typical

of high-quality F-mount lenses,
which were predominantly
designed with stills
photography in mind. They’re
less suitable for shooting video,
as autofocus tends to snap
from one focus distance to
another, rather than enabling
a smooth transition. Either way,
the lens has particularly solid
build quality and includes a full
set of weather-seals.

Sharpness
Centre

1 Switchable autofocus

modes give priority to
autofocus or manual focus
override, as well as fully
manual focusing.
2 Dual Normal and Active VR
Edge

modes can be selected via
a switch at the rear.
3 The action of the forward

Performance
In our tests, the Nikon
120-300mm lost out slightly
to the competing Sigma for
sharpness at all zoom and
aperture settings, apart from
when combining the shortest
focal length with the widest
aperture. In other respects,
it had marginally less colour
fringing, but slightly more
pincushion distortion. It’s
a trusty beast for the most
demanding professionals, but
adds little to the original Sigma.

Features

rank of pushbuttons can be
switched between AF-lock
or AF-ON.
4 As with the smaller

AF-S 70-200mm f/2.8
lens, a focus distance
scale is mounted beneath
a viewing window.

Features
Build &
handling

5 Like with the similarly

Performance
Value

4.5

Overall

weighty Sigma 120300mm, strap eyelets are
built into the barrel.

Supersized telephotos
For greater reach and optimum performance,
it pays to buy the right tool for the job
When you need more telephoto reach than your
lens can supply, an extender is an attractive
option, as featured on the facing page. It’s
cheaper to buy than a bigger, more powerful
telephoto lens, and much easier to carry around.
However, an extender is much like a glorified
magnifying glass. It magnifies a relatively small

www.digitalcameraworld.com

section of the image circle produced by the
lens to which it’s attached, but it also magnifies
every flaw. You’ll notice a slight loss of sharpness,
while autofocus speed and accuracy can take a
hit. So it pays to invest in a super-telephoto zoom
if you need greater reach. The aperture rating will
typically be slower, but not by much (if at all).

The Nikon AF-S 200-500mm f/5.6E ED VR is
an excellent super-telephoto lens, at around
£1249/$1397. Also check out our full review
of the new Z 180-600mm f/5.6-6.3, page 92.

103

BIG TEST

The winner is…
Nikon Z 70-200mm
f/2.8 VR S
This Z-mount lens is simply
the best fast telephoto zoom
e’ve seen some spectacular
Z-mount zooms from Nikon but
the Z 70-200mm f/2.8 VR S is
one of the absolute best. For
class-leading image quality and all-round
performance, it’s simply the finest
70-200mm on the planet. The Nikon Z
70-180mm f/2.8 is an excellent compact,
lightweight and less expensive alternative.

How the
lenses
compare

For DSLRs, top-flight photographers are
likely to go for the Nikon AF-S 70-200mm
f/2.8, but the newer Sigma Sports
competitor matches the Nikon in pretty
much every aspect of handling,
performance and image quality. That’s
no mean feat considering that the Sigma
is only about half the price to buy, and the
Tamron comes pretty close as well.

The similarity in performance and
difference in price is even more pronounced
when comparing the Nikon and Sigma
120-300mm f/2.8 lenses, the latter only
costing less than a third of the price.
At the small end of the scale, the Nikon
AF-S 70-200mm f/4 lens makes a good
travel companion if you don’t mind not
having such a fast aperture.

Sigma
70-200mm f/2.8
DG OS HSM | S

Nikon
AF-S 70-200mm
f/4G ED VR

Nikon
Z 70-180mm
f/2.8

Tamron SP
70-200mm f/2.8
Di VC USD G2

Nikon
AF-S 70-200mm
f/2.8E FL ED VR

Nikon
Z 70-200mm
f/2.8 VR S

Sigma
120-300mm f/2.8
DG OS HSM | S

Nikon
AF-S 120-300mm
f/2.8E FL ED SR VR

Website

www.sigmaglobal.com

www.nikon.com

www.tamron.com

www.nikon.com

www.sigmaglobal.com

www.nikon.com

Street price

£1099/$1449

£1199/$1397

£1299/$1247

£1449/$1299

£2159/$2347

£2339/$2397

£2709/$2799

£9449/$9497

Mount

F, FX

Z, FX

F, FX

Z, FX

F, FX

Effective focal length
(DX)

105-300mm

105-270mm

105-300mm

180-450mm

Elements/groups

24/22

20/14

19/14

23/17

22/18

21/18

23/18

25/19

Diaphragm

11 blades

9 blades

Min aperture

f/22

f/32

f/22

Optical stabilizer

2 modes, 4 stops

None

3 modes, 5 stops

2 modes, 4 stops

5 stops

2 modes, 4 stops

Autofocus type

Ultrasonic
(ring-type)

Stepping motor

Ultrasonic
(ring-type)

Stepping motor

Ultrasonic
(ring-type)

Internal zoom/focus

Yes/Yes

No/Yes

Yes/Yes

AF limit/hold
switches

Yes/Yes

Yes/No

No/No

Yes/No

Yes/Yes

Yes/No

Yes/Yes

Min focus distance

1.2m

1.0m

0.27-0.85m

0.95m

1.1m

0.5-1.0m

1.5-2.5m

2.0m

Max magnification

0.21x

0.27x

0.22-0.48x

0.16x

0.21x

0.2x

0.12x

0.16x

Filter size

82mm

67mm

77mm

105mm

112mm

Weather seals

Yes

Included accessories

Hood, soft case

Hood

Hood, soft case

Tripod ring

Supplied

Option

N/A

Supplied

Dimensions
(dia x length)

94x203mm

78x179mm

83.5x151mm

88x194mm

89x203mm

89x220mm

121x291mm

128x304mm

Weight

1805g

850g

795g

1485g

1430g

1440g

3390g

3250g

Features
Build & handling
Performance
Value
Overall

104

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Issue 155

Issue 154

Issue 153

Issue 152

Issue 151

Issue 150

Autumn landscape tips
● Best mirrorless for you
● Shoot fantasy portraits

●

100 outdoor photo tips
● Filter holder systems
● Birds of prey Apprentice

●

Shoot dramatic scenes
● Music photography tips
● Standard zooms on test

●

Inspiring travel images
● Shoot summer scenes
● Fast budget Z primes

●

Wildlife skills revealed
● Nikon Z 8 review
● Fine art flowers

●

always be learning” p60

Issue 149
Master landscape filters
● Wide-angle lens test
● Tasty food photography
●

winner revealed! p86

25 landscape tips
● Macro lens test
● Trend-setting portraits

840mm in one! p98

Issue 148

Issue 147

Issue 146

Issue 145

Issue 144

20 tips for spring shots
● Budget telephoto lenses
● How to shoot flowers

●

Best photo software
● All-weather landscapes
● Urban portraiture

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105

BUYER’S GUIDE

Nikon cameras

The current range of Nikon DSLR, Coolpix & Z-series mirrorless cameras
NIKON D7500
THE D7500 SHOEHORNS the best bits from the
now discontinued pro-grade D500 into a smaller
more affordable body. The control layout makes
everything is easy to get at, and there’s a top-plate
info LCD, 51-point autofocus system, fast 1/8000
sec shutter speed and 8fps continuous drive rate.
Video resolution stretches to 4K.

DX DSLRS

Sensor

EXPEED 5

Viewfinder

Pentaprism, 0.94x, 100%

ISO
AF
LCD
Max burst (buffer)

NIKON D780
Sensor

51-point (15 cross-type)
3.2-inch, tilt, touch
8fps (50 Raw)
SDXC UHS-I

24.5Mp, FX (6048x4024)

Processor

EXPEED 6

Viewfinder

Pentaprism, 0.7x, 100%

ISO
AF
LCD
Max burst (buffer)
Memory card

NIKON D850

100-51,200 (50-204,800 expanded)
51-point (15 cross-type)
3.2-inch, 2359k, tilt, touch
7fps (68-100 Raw)

Two SDXC UHS-II

TESTED IN ISSUE 155 • £2699/$2797

THE D850 GOES extra-large in megapixel count with
a 45.7Mp image sensor. Further attractions include a
high-spec 153-point autofocus system and fairly recent
EXPEED 5 processor. For live view and video capture,
however, the contrast-detection autofocus system is
massively inferior to that of Nikon’s mirrorless cameras
and the D780.

Sensor

45.7Mp, FX (8256x5504)

Processor

EXPEED 5

Viewfinder

Pentaprism, 0.75x, 100%

ISO
AF
LCD
Max burst (buffer)
Memory card

NIKON D6

64-25,600 (32-102,400 expanded)
153-point (99 cross-type)
3.2-inch, 2359k, tilt, touch
7fps (29-200 Raw)
One XQD/CFexpress, one SDXC UHS-II

TESTED IN ISSUE 155 • £6799/$6497

THE D6 HAS the best autofocus module of any DSLR
in Nikon’s history, based on a 105-point system in
which all of the points are cross-type. Eye-detection is
also available in 3D tracking mode and the 14fps burst
rate is impressive. The flipside is that the D6 only has a
20.8Mp image sensor. One significant advantage over
the Z 9 is a 3,580-shot battery life.

COOLPIX

SMALLER & LIGHTER than the
P1000, the P950 has broader
appeal, but a smaller full-frame
equivalent zoom range of
24-2000mm. Like all bridge
cameras, image quality is the
pay-off for unrivalled versatility.
£849/$797

Sensor

20.8Mp, FX (5568x3712)

Processor

EXPEED 6

Viewfinder

Pentaprism, 0.72x, 100%

ISO
AF
LCD

100-102,400 (50-3,280,000 expanded)
105-point (105 cross-type)
3.2-inch, 2359k, touch

Max burst (buffer)

14fps (105-186 Raw)

Memory card

Two XQD/CFexpress

NIKON P1000

ANOTHER BRIDGE CAMERA,
the P1000 offers a zoom range
equivalent to 24-3000mm in
full-frame terms, so it’s ready
for any shooting situation. The
camera has a 16Mp sensor and
supports Raw photography.
£1049/$997

NIKON Z 30

DX Z-SERIES

106

100-51,200 (50-1,640,000 expanded)

TESTED IN ISSUE 155 • £2299/$2197

THE D780 TAKES the D750’s winning design and
handling cues, but adds on-sensor phase-detection
autofocus and EXPEED 6 processing, inherited
directly from the Z 6, resulting in a capable and
natural-feeling DSLR for shooting stills in viewfinder
mode, coupled with the same kind of performance
as a mirrorless camera in live view.

NIKON P950

20.9Mp, DX (5568x3712)

Processor

Memory card

FX DSLRS

Current market prices are checked regularly with reputable stores to serve as a guideline. Body-only prices quoted unless stated. Different lens bundles are available. Prices correct at time of going to press.

TESTED IN ISSUE 155 • £1049/$997

TESTED IN ISSUE 155 • £594/$657

THE Z 30 LOOKS and feels like the Z 50 with the
viewfinder lopped off, and the tilting rear screen
replaced by the vari-angle screen of the Z fc. The
rangefinder style makes the camera about 20mm
shorter and 40g lighter. The Z 30 is good value for
vloggers, with little difference in image or video
quality between it and the Z 50/Z fc.

Sensor

20.9Mp, DX (5568x3712)

Processor

EXPEED 6

Viewfinder

None

ISO
AF
LCD
Max burst (buffer)
Memory card

100-51,200 (100-204,800 expanded)
209-point
3-inch, 1040k, vari-angle, touch
11fps (30-35 Raw)
SDXC UHS-I

www.digitalcameraworld.com

NIKON CAMERAS

NIKON Z 50

TESTED IN ISSUE 155 • £849/$857
Sensor

DX Z-SERIES

WITH ITS DOWNSIZED DX format image sensor,
the Z 50 nevertheless inherits the same oversized
lens mount from full-frame Z system bodies. The
slimline build makes the most of the mirrorless
design ethic. The 20.9Mp image sensor matches the
megapixel count of the later Z fc and Z 30. It’s a real
joy to use and very travel-friendly.

EXPEED 6

Viewfinder

OLED, 2360k, 0.39-inch, 100%

ISO
AF
LCD
Max burst (buffer)
Memory card

NIKON Z FC

100-51,200 (100-204,800 expanded)
209-point
3.2-inch, 1040k, tilt, touch
11fps (30-35 Raw)

SDXC UHS-I

TESTED IN ISSUE 155 • £879/$957
Sensor

IT’S NOT JUST the retro chic styling that make the Z fc
so alluring. The direct-access shutter speed, exposure
compensation and ISO dials, as well as the usual
command dial for aperture control, enable a really
hands-on approach to creative shooting. It features
highly competent people/animal autofocus modes,
along with a vari-angle touchscreen.

20.9Mp, DX (5568x3712)

Processor

EXPEED 6

Viewfinder

OLED, 2360k, 0.39-inch, 100%

ISO
AF
LCD
Max burst (buffer)
Memory card

NIKON Z 5

100-51,200 (100-204,800 expanded)
209-point
3-inch, 1040k, vari-angle, touch
11fps (30-35 Raw)
SDXC UHS-I

TESTED IN ISSUE 155 • £1299/$1297
Sensor

THE MOST ‘AFFORDABLE’ FX format mirrorless
Nikon camera, the Z 5 costs much less than the Z
6II, although it lacks a top-panel OLED display. Dual
card slots enable instant backups while you shoot.
Like all other FX format Z-system cameras, the Z 5
features 5-axis IBIS, which is a major plus point over
the DX format cameras.

24.3Mp, FX (6016x4016)

Processor

EXPEED 6

Viewfinder

OLED, 3690k, 0.5-inch, 100%

ISO
AF
LCD

100-51,200 (50-102,400 expanded)
273-point
3.2-inch, 1040k, tilt, touch

Max burst (buffer)

4.5fps (100 Raw)

Memory card

Two SDXC UHS-II

NIKON Z 6II

TESTED IN ISSUE 155 • £1999/$1997
Sensor

THE Z 6II HAS a pair of late-generation EXPEED 6
processors, a superb 3690k OLED electronic
viewfinder and tilting 2100k touchscreen, as well as
an identical control layout to the Z 7II. But with fewer
megapixels to process, the Z 6II beats the Z 7II with
a 14fps rather than 10fps drive rate, and the buffer
holds around twice as many Raw files.

24.5Mp, FX (6048x4024)

Processor

Dual EXPEED 6

Viewfinder

OLED, 3690k, 0.5-inch, 100%

ISO
AF
LCD
Max burst (buffer)
Memory card

NIKON Z 7II

100-51,200 (50-204,800 expanded)
273-point
3.2-inch, 2100k, tilt, touch
14fps (19-200 Raw)
One XQD/CFexpress, one SDXC UHS-II

TESTED IN ISSUE 155 • £2949/$2997

FX Z-SERIES

A MASSIVE 45.7MP super-high-res image sensor and
astonishing 493 phase-detection AF points in its hybrid
autofocus system are the chief enhancements over the
Z 6II. Dual XQD/CFexpress and SDXC memory card
slots are a big bonus over the single XQD slot of the
original Z 7, and the bigger memory buffer enables
much longer bursts.

Sensor

45.7Mp, FX (8256x5504)

Processor

Dual EXPEED 6

Viewfinder

OLED, 3690k, 0.5-inch, 100%

ISO
AF
LCD
Max burst (buffer)
Memory card

NIKON Z 8

64-25,600 (32-102,400 expanded)
493-point
3.2-inch, 2100k, tilt, touch
10fps (46-82 Raw)
One XQD/CFexpress, one SDXC UHS-II

TESTED IN ISSUE 155 • £3999/$3997

SHARING THE SAME new-generation EXPEED 7
image processor as the Z 9, the Z 8 is step ahead of
the Z 6II and Z 7II, boasting ‘intelligent’ autofocus
recognition and tracking for vehicles in addition to
people and animals. Its fully electronic shutter
matches the Z 9’s 1/32,000 sec max shutter speed
and 20-120fps burst rate.

Sensor

45.7Mp, FX (8256x5504)

Processor

EXPEED 7

Viewfinder

OLED, 3690k, 0.5-inch, 100%

ISO
AF
LCD
Max burst (buffer)
Memory card

NIKON Z 9

64-25,600 (32-102,400 expanded)
493-point
3.2-inch, 2100k, v/h tilt, touch
20fps Raw (79-1000 Raw), 120fps JPEG
One XQD/CFexpress, one SDXC UHS-II

TESTED IN ISSUE 155 • £5299/$5497

HEADLINE ATTRACTIONS INCLUDE shutter
speeds up to 1/32,000 sec and a 120fps continuous
drive rate in JPEG mode – dropping to 20fps Raws,
albeit with a massive 1000-shot buffer. A built-in
vertical grip offers duplicated shooting controls and
houses an EN-EL18d battery with sufficient stamina
for 700-770 shots.

Sensor

45.7Mp, FX (8256x5504)

Processor

EXPEED 7

Viewfinder

OLED, 3690k, 0.5-inch, 100%

ISO
AF
LCD
Max burst (buffer)
Memory card

www.digitalcameraworld.com

20.9Mp, DX (5568x3712)

Processor

64-25,600 (32-102,400 expanded)
493-point
3.2-inch, 2100k, v/h tilt, touch
20fps Raw (79-1000 Raw), 120fps JPEG
Two XQD/CFexpress

107

BUYER’S GUIDE

Nikon-fit lenses
St

W
ei

Ap
er
tu
re
bl
ad
Is
su
es
er
ev
ie
we
Ra
d
ti n
g

FX
DX
DX
FX
FX
DX
FX
FX
FX
DX
FX
FX
DX
FX
DX
FX
DX
DX
DX
FX
FX

1.9x
2x
2.4x
1.7x
2.5x
2.3x
1.7x
2.1x
1.65x
2x
2x
0.19x
1.9x
1.5x
2.4x
2x
1.5x
1.8x
1.4x
1.7x
2x

No
Yes
No
No
Yes
Yes
No
No
No
No
No
No
No
No
Yes
Yes
No
No
No
No
No

Ultrasonic
Pulse
Ultrasonic
Ultrasonic
Ultrasonic
Stepping
Stepping
Ultrasonic
Stepping
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Modulated
Ultrasonic
Electric
Ultrasonic
Electric
Electric
Electric

485g
230g
460g
1000g
680g
205g
650g
485g
450g
555g
1150g
1150g
810g
940g
440g
1100g
555g
560g
735g
940g
569g

0.16m
0.22m
0.24m
0.28m
0.28m
0.19m
0.28m
0.28m
0.19m
0.24m
0.24m
0.26m
0.28m
0.28m
0.24m
0.28m
0.3m
0.28m
0.28m
0.28m
0.28m

0.34x
0.17x
0.2x
0.15x
0.25x
0.21x
0.13x
0.16x
0.19x
0.13x
0.2x
0.19x
0.23x
0.23x
0.19x
0.2x
0.09x
0.12x
0.12x
0.19x
0.2x

None
72mm
77mm
None
77mm
67mm
112mm
82mm
67mm
72mm
None
None
72mm
82mm
77mm
None
77mm
82mm
82mm
None
82mm

7
7
7
9
9
7
9
7
9
7
9
9
9
9
7
9
9
9
9
9
9

149
149
77
122
149
152
149
149
145
89
149
149

£989/$1070
£229/$250
£1919/$2400
£579/$500
£1069/$1097
£329/$307
£449/$397
£2099/$2300
£799/$997
£969/$1097
£859/$897
£1149/$1299
£639/$899
£1199/$1200

F
F
F
F
F
Z
Z
Z
Z
Z
Z
F
F
F

DX
DX
FX
FX
FX
DX
FX
FX
FX
FX
FX
FX
FX
FX

5x
3.1x
2.9x
3.5x
5x
3.1x
2x
2.9x
2.9x
5x
2.7x
2.9x
4.4x
2.9x

Yes
Yes
Yes
Yes
Yes
Yes
No
No
No
No
No
Yes
Yes
Yes

Ultrasonic
Stepping
Ultrasonic
Ultrasonic
Ultrasonic
Stepping
Stepping
Ultrasonic
Stepping
Stepping
Stepping
Ultrasonic
Ultrasonic
Ultrasonic

480g
205g
1070g
465g
710g
135g
195g
805g
500g
630g
565g
1020g
885g
905g

0.35m
0.25m
0.38m
0.38m
0.45m
0.2m
0.35m
0.38m
0.3m
0.35m
0.39m
0.37m
0.45m
0.38m

0.22x
0.38x
0.27x
0.22x
0.24x
0.2x
0.17x
0.22x
0.3x
0.39x
0.34x
0.21x
0.22x
0.2x

72mm
55mm
82mm
72mm
77mm
46mm
52mm
82mm
72mm
77mm
67mm
82mm
82mm
82mm

7
7
9
7
9
7
7
7
7
9
9
9
9
9

138
125
138
88
153
153
153
138
153
153
153
153
153
88

£900/$1400
£2119/$2350
£295/$347
£385/$397
£629/$597
£2299/$2300
£10499/$9500
£10999/$12397
£7599/$7000
£1399/$1400
£289/$377
£1299/$1247
£2399/$2600
£2419/$2700
£1799/$1697
£999/$1100
£1699/$2000
£1099/$1380

F
F
F
F
F
F
F
F
F
F
Z
Z
Z
Z
Z
F
F
F

FX
FX
DX
DX
FX
FX
FX
FX
FX
FX
DX
FX
FX
FX
FX
DX
FX
FX

2.9x
2.9x
4.3x
4.3x
4.3x
5x
2.5x
2.2x
2x
2.5x
5x
2.6x
2.9x
4x
3.3x
2x
10x
2.9x

Yes
Yes
No
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
No
Yes
No
Yes
No
Yes
Yes

Ultrasonic
Ultrasonic
Stepping
Stepping
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Stepping
Stepping
Stepping
Stepping
Stepping
Ultrasonic
Ultrasonic
Ultrasonic

850g
1430g
400g
415g
680g
1570g
3250g
3500g
3360g
2300g
405g
795g
1140g
1355g
1955g
1490g
2700g
1805g

1m
1.1m
1.1m
1.1m
1.2m
1.5m
2m
2m
1.95m
2.2m
0.5m
0.27m
0.5m
0.75m
1.3m
0.95m
0.6m
0.95m

0.27x
0.21x
0.22x
0.22x
0.25x
0.2x
0.16x
0.25x
0.27x
0.22x
0.23x
0.48x
0.2x
0.38x
0.25x
0.15x
0.3x
0.21x

67mm
77mm
58mm
58mm
67mm
77mm
112mm
Drop-in
52mm
95mm
62mm
67mm
77mm
77mm
95mm
82mm
105mm
82mm

9
9
7
7
9
9
9
9
9
9
7
9
9
9
9
9
9
11

156
156
148
148
148
137
156

Nikon AF-S 14-24mm f/2.8G ED
Nikon AF-S 16-35mm f/4G ED VR

WIDE-ANGLE ZOOMS

Nikon Z DX 12-28mm f/3.5-5.6 PZ VR
Nikon Z 14-24mm f/2.8 S
Nikon Z 14-30mm f/4 S
Nikon Z 17-28mm f/2.8
Sigma 8-16mm f/4.5-5.6 DC HSM
Sigma 12-24mm f/4 DG HSM | A
Sigma 14-24mm f/2.8 DG HSM | A
Sigma 18-35mm f/1.8 DC HSM | A
Sigma 24-35mm f/2 DG HSM | A
Tamron SP AF 10-24mm f/3.5-4.5 Di II VC HLD
Tamron SP 15-30mm f/2.8 Di VC USD
Tokina atx-i 11-16mm f/2.8 CF Plus
Tokina atx-i 11-20mm f/2.8
Tokina AT-X 14-20mm f/2 PRO DX
Tokina Opera 16-28mm f/2.8 FF

Nikon AF-P DX 18-55mm f/3.5–5.6G VR
Nikon AF-S 24-70mm f/2.8E ED VR
Nikon AF-S 24-85mm f/3.5-4.5G ED VR
Nikon AF-S 24-120mm f/4G ED VR
Nikon Z DX 16-50mm f/3.5-6.3 VR
Nikon Z 24-50mm f/4-6.3
Nikon Z 24-70mm f/2.8 S
Nikon Z 24-70mm f/4 S
Nikon Z 24-120mm f/4 S
Nikon Z 28-75mm f/2.8
Sigma 24-70mm f/2.8 DG OS HSM | A
Sigma 24-105mm f/4 DG OS HSM | A
Tamron SP AF 24-70mm f/2.8 Di VC USD G2

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101

■

■■
■■■
■

ize

at
io

fic

l te

ni
ag

s
to

ili

om
zo
ax

nt
ou

TELEPHOTO ZOOMS
Nikon AF-S 70-200mm f/4G ED VR
Nikon AF-S 70-200mm f/2.8E FL ED VR
Nikon AF-P DX 70-300mm f/4.5-6.3G ED

TELEPHOTO ZOOMS

108

135
142
32
135

■

STANDARD ZOOMS
Nikon AF-S DX 16-80mm f/2.8-4E ED VR

STANDARD ZOOMS

Current market prices are checked regularly with reputable stores to serve as a guideline. Prices correct at time of going to press.

Tokina atx-i 17-35mm f/4 FF

Nikon AF-S DX 10-24mm f/3.5-4.5G ED

F
F
F
F
F
Z
Z
Z
Z
F
F
F
F
F
F
F
F
F
F
F
F

Nikon AF-P DX 10-20 mm f/4.5-5.6G VR

DX
/

£1449/$1246
£299/$308
£949/$900
£1619/$1749
£1149/$1097
£379/$357
£2099/$2497
£1149/$1347
£1099/$1200
£599/$700
£1259/$1299
£1269/$1299
£699/$800
£729/$950
£500/$500
£1279/$1300
£480/$449
£500/$529
£625/$630
£700/$700
£560/$599

KEY: ■ BEST ON TEST ■ GOLD AWARD ■ GREAT VALUE

Aw
a

Nikon AF-S 8-15mm f/3.5-4.5E ED

WIDE-ANGLE ZOOMS

Your at-a-glance guide to the current crop of Nikon-fit lenses

Nikon AF-P DX 70-300mm f/4.5-6.3G ED VR
Nikon AF-P 70-300mm f/4.5-5.6E ED VR
Nikon AF-S 80-400mm f/4.5-5.6G ED VR
Nikon AF-S 120-300mm f/2.8E FL ED SR VR
Nikon AF-S 180-400mm f/4E ED VR TC1.4
Nikon AF-S 200-400mm f/4G ED VR II
Nikon AF-S 200-500mm f/5.6E ED VR
Nikon Z DX 50-250mm f/4.5-6.3 VR
Nikon Z 70-180mm f/2.8
Nikon Z 70-200mm f/2.8 VR S
Nikon Z 100-400mm f/4.5-5.6 VR S
Nikon Z 180-600mm f/5.6-6.3 VR
Sigma 50-100mm f/1.8 DC HSM | A
Sigma 60-600mm f/4.5-6.3 DG OS HSM | S
Sigma 70-200mm f/2.8 DG OS HSM | S

76
137
148
156
156
137
156
72
127
156

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www.digitalcameraworld.com

W
ei

Ap
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ev
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Ra
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g

F
F
F
F
F
F
Z
F
F
F

FX
FX
FX
FX
FX
FX
FX
FX
FX
FX

4x
2.5x
4x
4x
2.5x
2.9x
4.3x
4.3x
4x
4x

Yes
Yes
Yes
Yes
No
Yes
No
Yes
Yes
Yes

Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Stepping
Ultrasonic
Ultrasonic
Ultrasonic

1160g
3390g
1930g
2860g
15700g
1500g
580g
765g
1115g
2010g

1.6m
1.5-2.5m
2.8m
2.6m
2-5m
0.95m
0.8-1.5m
1.5m
1.5m
2.2m

0.26x
0.12x
0.2x
0.2x
0.13x
0.16x
0.11-0.2x
0.25x
0.28x
0.26x

67mm
105mm
95mm
105mm
Drop-in
77mm
67mm
62mm
67mm
95mm

9
9
9
9
9
9
7
9
9
9

148
156
137
137

£599/$500
£629/$700
£990/$1000
£579/$650
£749/$900
£275/$400
£370/$580
£500/$630
£235/$250
£699/$650

F
F
F
Z
Z
F
F
F
F
F

DX
DX
DX
DX
FX
DX
DX
DX
DX
DX

7.8x
16.7x
16.7x
7.7x
8.3x
11.1x
16.7x
18.8x
11.1x
22.2x

Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes

Ultrasonic
Ultrasonic
Ultrasonic
Stepping
Stepping
Ultrasonic
Ultrasonic
Ultrasonic
Electric
HLD

490g
550g
830g
315g
570g
430g
585g
540g
400g
710g

0.45m
0.48m
0.45m
0.2m
0.5m
0.39m
0.39m
0.39m
0.49m
0.45m

0.23x
0.32x
0.31x
0.33x
0.28x
0.33x
0.33x
0.34x
0.25x
0.34x

67mm
67mm
77mm
62mm
67mm
62mm
72mm
67mm
62mm
72mm

7
7
9
7
7
7
7
7
7
7

27
136
74
136
136
99
136
115
136
136

£560/$480
£1140/$1100
£640/$775
£1599/$1900
£765/$1000
£3699/$3400
£799/$720
£749/$680
£1899/$2000
£2099/$2200
£649/$700
£1999/$1997
£529/$530
£159/$177
£1799/$1700
£980/$1047
£289/$279
£959/$1000
£479/$499
£229/$300
£799/$850
£299/$280
£429/$400
£465/$500
£339/$349
£499/$800
£900/$730
£350/$350
£499/$580
£559/$550
£599/$800
£499/$500
£699/$900
£599/$520
£1399/$1599
£600/$610
£449/$499
£779/$900
£629/$850
£629/$799
£449/$500
£349/$399
£699/$800
£629/$799
£829/$900
£649/$600
£458/$459
£280/$320
£239/$279
£2419/$2700

F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
Z
Z
Z
Z
Z
Z
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
Z
F
F
F
F
Z
F
F
F
F
Z
Z
Z
F

FX
FX
DX
FX
FX
FX
FX
FX
FX
FX
FX
FX
FX
DX
FX
FX
DX
FX
FX
FX
FX
FX
DX
FX
FX
FX
FX
FX
FX
FX
FX
FX
FX
DX
FX
FX
DX
FX
FX
FX
DX
DX
FX
FX
FX
FX
DX
DX
DX
FX

None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
Yes
No
No
No
No

None
None
Body-driven
Body-driven
Body-driven
None
Ultrasonic
Ultrasonic
Ultrasonic
None
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Stepping
Stepping
Stepping
Stepping
Stepping
Stepping
None
None
None
None
None
None
None
None
None
None
None
Electric
Ultrasonic
Ultrasonic
Electric
Stepping
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Stepping
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Stepping
Stepping
Stepping
None

653g
747g
305g
670g
290g
885g
355g
355g
620g
730g
330g
645g
305g
200g
600g
505g
135g
450g
125g
160g
370g
435g
600g
530g
810g
474g
791g
560g
488g
680g
680g
660g
400g
475g
1170g
370g
405g
950g
665g
865g
435g
265g
665g
1200g
805g
480g
420g
300g
270g
880g

0.28m
0.17m
0.14m
0.2m
0.25m
0.25m
0.2m
0.23m
0.25m
0.21m
0.25m
0.28m
0.25m
0.3m
0.3m
0.2m
0.18m
0.25m
0.2m
0.19m
0.25m
0.3m
0.25m
0.2m
0.28m
0.2m
0.28m
0.28m
0.2m
0.25m
0.2m
0.3m
0.14m
0.14m
0.27m
0.15m
0.25m
0.28m
0.25m
0.28m
0.25m
0.3m
0.3m
0.4m
0.3m
0.2m
0.22m
0.3m
0.4m
0.25m

0.1x
0.17x
0.2x
0.15x
0.1x
0.18x
0.23x
0.2x
0.18x
0.37x
0.22x
0.17x
0.24x
0.24x
0.2x
0.23x
0.19x
0.18x
0.19x
0.2x
0.19x
N/S
N/S
N/S
0.08x
0.15x
0.08x
N/S
N/S
N/S
N/S
0.2x
0.22x
0.11x
0.1x
0.26x
0.1x
0.14x
0.19x
0.18x
0.15x
0.14x
0.19x
0.15x
0.3x
0.4x
0.1x
0.1x
0.1x
0.11x

95mm
82mm
None
None
None
None
77mm
72mm
77mm
77mm
67mm
77mm
58mm
52mm
67mm
77mm
42mm
72mm
52mm
52mm
62mm
None
None
None
None
None
None
None
None
77mm
82mm
77mm
None
None
None
None
67mm
77mm
77mm
77mm
62mm
52mm
67mm
82mm
72mm
67mm
67mm
52mm
52mm
95mm

9
14
7
7
7
9
7
7
9
9
7
9
7
7
9
9
7
9
7
7
9
6
6
7
6
7
9
6
7
8
8
8
6
7
9
7
9
9
9
9
9
9
9
9
9
9
9
9
9
9

142
138
12

Sigma 150-600mm f/5-6.3 DG OS HSM | S
Sigma 200-500mm f/2.8 EX DG
Tamron SP 70-200mm f/2.8 Di VC USD G2
Tamron 70-300mm f/4.5-6.3 Di III RXD
Tamron SP AF 70-300mm f/4-5.6 Di VC USD
Tamron 100-400mm f/4.5-6.3 Di VC USD
Tamron SP 150-600mm f/5-6.3 Di VC USD G2

n
ize

at
io

fic

l te

ni
ag

s
to

ili

om
zo
ax

nt
ou

Sigma 150-600mm f/5-6.3 DG OS HSM | C

156
148
109
148
137

DX
/

£699/$699
£2699/$3600
£849/$900
£1330/$2000
£14999/$25999
£1449/$1200
£699/$699
£325/$450
£799/$799
£1279/$1400

Sigma 120-300mm f/2.8 DG OS HSM | S

Sigma 100-400mm f/5-6.3 DG OS HSM | C

KEY: ■ BEST ON TEST ■ GOLD AWARD ■ GREAT VALUE

Aw
a

TELEPHOTO ZOOMS

NIKON-FIT LENSES

■

SUPERZOOMS
Nikon AF-S DX 18-140mm f/3.5-5.6G ED VR

SUPERZOOMS

Nikon AF-S DX 18-300mm f/3.5-6.3G ED VR
Nikon AF-S DX 18-300mm f/3.5-5.6G ED VR
Nikon Z DX 18-140mm f/3.5-6.3 VR
Nikon Z 24-200mm f/4-6.3 VR
Sigma 18-200mm f/3.5-6.3 DC Macro OS HSM | C
Sigma 18-300mm f/3.5-6.3 DC Macro OS HSM | C
Tamron 16-300mm f/3.5-6.3 Di II VC PZD Macro
Tamron AF 18-200mm f/3.5-6.3 Di II VC
Tamron AF 18-400mm f/3.5-6.3 Di II VC HLD

■■
■
■

WIDE-ANGLE PRIMES
Irix 15mm f/2.4 Blackstone
Laowa 20mm f/4 Zero-D Shift
Nikon AF DX 10.5mm f/2.8G ED Diagonal Fisheye
Nikon AF 14mm f/2.8D ED
Nikon AF 16mm f/2.8D Diagonal Fisheye
Nikon PC 19mm f/4E ED (tilt & shift)
Nikon AF-S 20mm f/1.8G ED
Nikon AF-S 24mm f/1.8G ED
Nikon AF-S 24mm f/1.4G ED
Nikon PC-E 24mm f/3.5D ED (tilt & shift)
Nikon AF-S 28mm f/1.8G
Nikon AF-S 28mm f/1.4E ED
Nikon AF-S 35mm f/1.8G ED
Nikon AF-S DX 35mm f/1.8G
Nikon AF-S 35mm f/1.4G
Nikon Z 20mm f/1.8 S
Nikon Z DX 24mm f/1.7
Nikon Z 24mm f/1.8 S
Nikon Z 26mm f/2.8

WIDE-ANGLE PRIMES

Nikon Z 28mm f/2.8
NIkon Z 35mm f/1.8 S
Samyang 8mm f/3.5 IF MC CSII Dh Circular Fisheye
Samyang 10mm f/2.8 ED AS NCS CS
Samyang 12mm f/2.8 ED AS NCS Diagonal Fisheye
Samyang MF 14mm f/2.8 Z
Samyang 14mm f/2.8 AF
Samyang 14mm f/2.4 XP
Samyang 14mm f/2.8 IF ED UMC
Samyang 20mm f/1.8 ED AS UMC
Samyang 24mm f/1.4 ED AS UMC
Samyang T-S 24mm f/3.5 ED AS UMC (tilt & shift)
Samyang 35mm f/1.4 AS UMC AE
Sigma 8mm f/3.5 EX DG Circular Fisheye
Sigma 10mm f/2.8 EX DC HSM Diagonal Fisheye
Sigma 14mm f/1.8 DG HSM | A
Sigma 15mm f/2.8 EX DG Diagonal Fisheye
Sigma 16mm f/1.4 DC CN | C
Sigma 20mm f/1.4 DG HSM | A
Sigma 24mm f/1.4 DG HSM | A
Sigma 28mm f/1.4 DG HSM | A
Sigma 30mm f/1.4 DC HSM | A
Sigma 30mm F1.4 DC DN | C
Sigma 35mm f/1.4 DG HSM | A
Sigma 40mm f/1.4 DG HSM | A
Tamron SP 35mm f/1.4 Di USD
Tamron SP 35mm f/1.8 Di VC USD
Viltrox AF 13mm f/1.4 Z
Viltrox AF 23mm f/1.4 Z
Viltrox AF 33mm f/1.4 Z
Zeiss Milvus 15mm f/2.8 ZF.2

www.digitalcameraworld.com

■

12
116
116
59
25
87
125
111
25
149
153
116
150
134
125
12
113
142
105
142
70
116
104
25
125
12
12
149
12
154
116
116

■

■
■
■■

■■

■■■

111
152
125
111
125
142
144
152

■
■■
■
■

109

W
ei

Ap
er
tu
re
bl
ad
Is
su
es
er
ev
ie
we
Ra
d
ti n
g

FX
FX
FX
FX
FX
FX
FX
FX
FX
FX
FX
FX
FX
FX
FX
FX
DX
FX
FX
DX
FX
FX
FX

None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
Yes
No
No
Yes
No
No

None
None
None
None
None
None
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Stepping
Ultrasonic
Stepping
Stepping
None
Ultrasonic
Stepping
Ultrasonic
Electric
Stepping
Stepping
None
None

675g
735g
1350g
650g
606g
740g
185g
190g
280g
385g
170g
415g
1090g
2000g
575g
815g
280g
540g
950g
320g
417g
875g
970g

0.25m
0.22m
0.3m
0.3m
0.57m
0.25m
0.45m
0.45m
0.45m
0.58m
0.29m
0.4m
0.45m
0.5m
0.45m
0.4m
0.5m
0.29m
0.4m
0.6m
0.45m
0.45m
0.5m

0.1x
0.2x
0.2x
0.19x
0.13x
0.5x
0.15x
0.15x
0.15x
0.13x
0.17x
0.15x
0.15x
0.19x
N/S
0.18x
0.14x
0.29x
0.18x
0.1x
0.15x
0.15x
0.15x

77mm
82mm
95mm
58mm
58mm
77mm
58mm
58mm
58mm
72mm
52mm
62mm
82mm
82mm
77mm
77mm
55mm
67mm
72mm
52mm
58mm
67mm
77mm

9
9
9
9
13
9
7
7
9
9
9
9
9
11
8
9
9
9
9
9
9
9
9

Samyang 135mm f/2 ED UMC

£489/$430
£1699/$1600
£1799/$1980
£2099/$2200
£6299/$5700
£1819/$2000
£6299/$5500
£12999/$11200
£10999/$10300
£3229/$3600
£12999/$12300
£18999/$16300
£699/$800
£2999/$2797
£13499/$14000
£2815/$3250
£15499/$15497
£6299/$6500
£320/$300
£550/$530
£319/$399
£449/$500

F
F
F
F
F
F
F
F
F
F
F
F
Z
Z
Z
Z
Z
Z
F
F
Z
F

FX
FX
FX
FX
FX
FX
FX
FX
FX
FX
FX
FX
FX
FX
FX
FX
FX
FX
FX
FX
FX
FX

None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

No
No
No
No
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
No
No
Yes
Yes
Yes
Yes
No
No
No
No

Ultrasonic
Ultrasonic
None
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
SSVCM
Stepping
Stepping
Stepping
None
None
None
None

350g
595g
635g
985g
2930g
755g
2900g
3800g
3090g
1460g
3810g
4590g
470g
1160g
2950g
1245g
3260g
2385g
539g
480g
730g
830g

0.8m
0.85m
0.39m
1m
1.9m
1.4m
2.3m
2.6m
3.6m
3m
4.4m
5.9m
0.8m
0.85m
2.5m
2.5m
4.3m
5m
1m
0.9m
1.1m
0.8m

0.12x
0.12x
0.5x
0.13x
0.12x
0.24x
0.16x
0.14x
0.15x
0.18x
0.14x
0.15x
0.12x
0.11x
0.17x
0.16x
0.14-2x
0.16x
0.11x
0.11x
0.09x
N/S

67mm
77mm
77mm
82mm
52mm
77mm
52mm
40.5mm
40.5mm
95mm
40.5mm
52mm
67mm
82mm
Drop-in
95mm
Drop-in
Drop-in
72mm
77mm
72mm
77mm

7
9
9
9
9
9
9
9
9
9
9
9
9
11
9
9
9
9
8
9
8
9

Sigma 85mm f/1.4 DG HSM | A

£929/$949

None

Ultrasonic

815g

0.85m

0.12x

86mm

Sigma 105mm f/1.4 DG HSM | A

£1249/$1600 F
£1099/$1399 F
£2599/$3400 F
£4699/$6000 F
£4999/$6600 F
£209/$229
F, Z
£439/$399
F, Z
£320/$379
Z
£980/$1285
F
£1400/$1800 F
£3180/$4490 F
£1760/$2200

FX
FX
FX
FX
FX
FX
FX
FX
FX
FX
FX
FX

None
None
None
None
None
None
None
None
None
None
None
None

No
No
No
Yes
No
No
No
Yes
No
No
No
No

Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
None
None
Stepping
None
None
None
None

1645g
1130g
2400g
3310g
4900g
355g
310g
405g
570g
1210g
1140g
1060g

1m
0.87m
2.5m
3.5m
7m
1.15m
1.7m
0.8m
1m
0.8m
0.8m
0.8m

0.12x
0.2x
0.13x
0.15x
0.11x
0.4x
0.34x
0.13x
0.1x
0.13x
0.13x
0.28x

105mm
82mm
46mm
46mm
46mm
67mm
72mm
58mm
72mm
77mm
86mm
77mm

£449/$495
£569/$499
£519/$499
£299/$280
£459/$557
£579/$647
£939/$1047
£429/$490
£339/$569
£424/$429
£1300/$1840

FX
FX
FX
DX
DX
FX
FX
FX
FX
FX
FX

None
None
None
None
None
None
None
None
None
None
None

No
No
No
No
Yes
No
Yes
No
Yes
No
No

None
None
None
Ultrasonic
Ultrasonic
Stepping
Stepping
None
Ultrasonic
Electric
None

831g
619g
650g
235g
355g
260g
630g
715g
725g
515g
807g

0.35m
0.21m
0.25m
0.16m
0.29m
0.16m
0.29m
0.31m
0.31m
0.3m
0.44m

1x
2x
2x
1x
1x
1x
1x
1x
1x
1x
0.5x

77mm
67mm
67mm
52mm
52mm
46mm
62mm
67mm
62mm
55mm
67mm

11
13
7, 13
7
9
9
9
9
9
9
9

Zeiss Milvus 35mm f/2 ZF.2
7Artisans 50mm f/1.05
Nikon PC-E Micro 45mm f/2.8D ED (tilt & shift)

STANDARD PRIMES

Nikon AF-S 50mm f/1.8G
Nikon AF-S 50mm f/1.8
Nikon AF-S 50mm f/1.4G
Nikon AF-S 58mm f/1.4G
Nikon Z 40mm f/2
Nikon Z 50mm f/1.8 S
Nikon Z 50mm f/1.2 S
Nikon Z 58mm f/0.95 S Noct
Samyang 50mm f/1.4 AS UMC
Sigma 50mm f/1.4 DG HSM | A
Sigma 56mm f/1.4 DC DN | C
Tamron SP 45mm f/1.8 Di VC USD
Tokina Opera 50mm f/1.4 FF
Viltrox AF 56mm f/1.4Z
Yongnuo YN50mm f/1.8Z DF DSM
Zeiss Milvus 50mm f/1.4 ZF.2
Zeiss Otus 55mm f/1.4

ize

at
io

fic

l te

ni
ag

s
to
Au

ili

om
zo
ax

Zeiss Otus 28mm f/1.4 ZF.2

F
F
F
F
Z
F
F
F
F
F
Z
Z
Z
Z
F
F
Z
F
F
Z
Z
F
F

Zeiss Milvus 21mm f/2.8 ZF.2

DX
/

£1999/$2300
£1449/$1850
£3759/$5000
£1699/$1200
£450/$349
£1899/$2050
£229/$220
£159/$280
£459/$450
£1699/$1600
£229/$280
£499/$700
£2099/$2099
£8299/$7999
£350/$370
£649/$950
£449/$499
£499/$550
£879/$999
£263/$299
£288/$359
£1160/$1200
£2900/$4000

KEY: ■ BEST ON TEST ■ GOLD AWARD ■ GREAT VALUE

Aw
a

Zeiss Milvus 18mm f/2.8 ZF.2

STANDARD PRIMES

BUYER’S GUIDE

116

87
152
25
130
130
40
140
140
122
108

■
■■

130
152
130
152
152
130

■■
■

TELEPHOTO PRIMES
Nikon AF-S 85mm f/1.8G
Nikon AF-S 85mm f/1.4G
Nikon PC-E Micro 85mm f/2.8D (tilt & shift)
Nikon AF-S 105mm f/1.4E ED
Nikon AF-S 200mm f/2G ED VR II
Nikon AF-S 300mm f/4E PF ED VR
Nikon AF-S 300mm f/2.8G ED VR II
Nikon AF-S 400mm f/2.8E FL ED VR
Nikon AF-S 500mm f/4E FL ED VR
Nikon AF-S 500mm f/5.6E PF ED VR
Nikon AF-S 600mm f/4E FL ED VR
Nikon AF-S 800mm f/5.6E FL ED VR

TELEPHOTO PRIMES

Nikon Z 85mm f/1.8 S
Nikon Z 85mm f/1.2 S
Nikon Z 400mm f/2.8 TC VR S
Nikon Z 400mm f/4.5 VR S
Nikon Z 600mm f/4 TC VR S
Nikon Z 800mm f/6.3 VR S
Samyang 85mm f/1.4 IF UMC
Samyang AF 85mm f/1.4 F
Samyang MF 85mm f/1.4 Z

Sigma 135mm f/1.8 DG HSM | A
Sigma APO 300mm f/2.8 EX DG HSM
Sigma 500mm f/4 DG OS HSM | S
Sigma APO 800mm f/5.6 EX DG HSM
Tokina SZX Super Tele 400mm f/8 Reflex MF
Tokina SZ Super Tele 500mm f/8 Reflex MF
Yongnuo YN85mm f/1.8Z DF DSM
Zeiss Planar T* 85mm f/1.4 ZF.2
Zeiss Milvus 85mm f/1.4 ZF.2
Zeiss Otus 85mm f/1.4 ZF.2
Zeiss Milvus 135mm f/2 ZF.2

140
124
25
124
29
63
14
143
143
143
143

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124
151
143
143
146
141
40
140
152

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124

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9
9
9
9
9
None
None
7
9
9
9
9

124

143

■■

148
152

■

MACRO
Irix 150mm f/2.8 Macro 1:1 Dragonfly
Laowa 90mm f/2.8 2:1 Ultra Macro APO
Laowa 100mm f/2.8 2:1 Ultra Macro APO

MACRO

Nikon AF-S DX 40mm f/2.8G Micro
Nikon AF-S DX 85mm f/3.5G ED VR Micro
Nikon Z MC 50mm f/2.8
Nikon Z MC 105mm f/2.8 VR S
Samyang 100mm f/2.8 ED UMC Macro
Sigma 105mm f/2.8 EX DG OS HSM Macro
Tokina atx-i 100mm f/2.8 FF Macro Plus
Zeiss Milvus Makro Planar 100mm f/2 ZF.2

110

F
Z
F, Z
F
F
Z
Z
F
F
F
F

150
150
150
110
150
150
150
110
150
150

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www.digitalcameraworld.com

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N-Photo ss
157
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ON SALE THURSDAY 23 NOVEMBER
•Contents subject to change

PARTING SHOT
Future PLC Quay House, The Ambury, Bath BA1 1UA
Editorial
Editor Adam Waring
adam.waring@futurenet.com • 0330 390 6026
Senior Art Editor Rebecca Shaw
Deputy Editor Mike Harris
Production Editor Chris McGine
Lab Manager Ben Andrews
Contributors
Mark Bauer, Gareth Bevan, Gareth Cattermole, Neil Freeman,
David Handley, Louis Izard, Catherine Kirkpatrick, Tom Mackie,
James Paterson, Edyta Rice, Matthew Richards, Keith Wilson

Cover image Edyta Rice
Photography
Future Photo Studio, Getty. All copyrights and
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A rural icon
Mike Harris on Sycamore Gap. Once the
heart of the Northumberland National Park,
now a gaping hole that’s impossible to fill
f all the lone trees in the UK, the
one at Sycamore Gap was the
most famous. It was situated
smack bang in the middle of
Hadrian’s Wall and featured in
the movie Robin Hood: Prince of Thieves. The
unique beauty spot’s photogenic nature and
Dark Sky location made it a favourite among
landscape and astro photographers, but it
was also sought out by thousands of hikers,
daytrippers and local residents year upon
year. It was a bastion of rural England, a
symbol of the Northumberland National Park.
It was even named English Tree of the Year
by the Woodland Trust. And now it’s gone.

A gap in the landscape
The felled tree was found on 28 September
2023. At the time of writing, a police
investigation is ongoing, but the damage has
already been done. You cannot simply replace
a three-century-old tree. The prospect of the
stump growing new shoots has provided
some solace, but this is by no means a
certainty. And how can anything measure up
to the majesty of what was? It was a textbook
specimen, the muse of millions of
photographers and a movie star.
But it’s the local residents I feel for most.
Campsites and B&Bs line the adjacent

114

Military Road. The nearby Twice Brewed Inn’s
logo is a silhouette of the sycamore tree and it
runs various stargazing events throughout
the year. The Vindolanda Charitable Trust
relies on footfall through its two museums
and then you have the 84-mile National Trail.
Sycamore Gap is arguably the area’s biggest
draw – you have to assume its felling will
impact tourism and local businesses.
Two weeks before the tree was hacked
down, I attempted to walk the National Trail
with a friend but had to pull out due to a knee
injury and illness. In a cruel twist of fate,
I threw the towel in just 1.5 miles from the
gap. I was devastated. I’d wanted to
photograph it for years, but consoled myself
with the promise of returning next summer
to finish the trail and photograph the tree...
The felling isn’t an isolated incident. In 2021
an osprey nest was cut down at Llyn Brenig
and nature reserves across the country
regularly report acts of vandalism. It makes
me want to refrain from geotagging locations
on Instagram or stop photographing them
altogether. But then again, isn’t photography
at least partially responsible for fuelling the
world’s passion for natural spaces? That
passion is evident in the nationwide outrage
that followed the felling. I can only hope it’s
enough to deter other would-be vandals.

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