/
Текст
GIFT! POST-PRODUCTION BOOKAZINE
Ebook edition. See page 4
Konsta Punkka
“Develop your craft and
be passionate” p60
Glorious food!
Best Nikon Food
POTY shots p16
In the pink
The story behind
the Pink Bear p68
FROM THE EDITOR
This issue’s special
contributors…
Andrew Mason
PAGE 6
Silver fox Andrew shows our
apprentice how to photograph
red foxes in a cemetery in the
middle of a bustling city.
Matt Higgs
Festival photographer Matt
shares his top tips for shooting
everything from the main acts to
the madness on the sidelines.
Paul Wilkinson
PAGE 38
You need to know why something
works in order to find solutions
for when things don’t go
according to plan, reckons Paul.
Konsta Punkka
PAGE 60
Finnish wildlife photographer and
Nikon Ambassador Konsta tells
how he photographs all creatures
great and small.
LUAP
PAGE 68
Multidisciplinary artist and
photographer LUAP explains
why he travels the world in the
company of a pink bear.
Ian Jack
PAGE 86
N-Photo reader Ian documents
his trip to Southeast Asia where
he photographed exotic wildlife
and bustling metropolises.
Image: © Matt Higgs
PAGE 26
20 must-read tips for capturing
the excitement of a music
festival, see page 26.
Welcome to issue 166
We’re slap-bang in the middle of the festival season,
so this issue we’ve enlisted the help of pro music
photographer Matt Higgs to share his top tips for
capturing not only the main headline acts, but also
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the fringes of a frenetic music festival.
Wildlife photography doesn’t necessarily require
lengthy treks into the wilderness or sitting for hours-on-end in a
hide. Our apprentice heads to a central London cemetery to
photograph wild animals that live amongst us: wily red foxes.
We bring you the N-Photo verdict on Nikon’s latest mirrorless, the
]#9LLL1#Zlwk#dq#lqqrydwlyh#qhz#sduwldoo|#vwdfnhg#vhqvru/#lw#rļhuv#sur#
features in an enthusiast-level body. And we pit eight standard zooms
against each other to see which is the best upgrade from your kit lens.
We have a great selection of practical projects to try your hand at,
including travel photography, ultra-close-ups using bellows,
intentional camera movement in landscapes, and how to shoot
uhľhfwlrq0iuhh#frslhv#ri#duwzrunv/#soxv#krz#wr#eohqg#irfdo#ohqjwkv#
lq#DĿqlw|#Skrwr#dqg#xvh#wkh#Fxuyhv#wrro#lq#Skrwrvkrs1#Hqmr|$
Adam Waring, Editor
adam.waring@futurenet.com
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Contents
26
83
Festival photography
Pack the right kit and learn how
to conquer low light, adverse
weather and dense crowds
38
Have you ever stopped
taking photos and asked
yourself why?
78
NPOTY’s travel round
features your best images
from far-flung destinations
06
16 Lightbox
Festival photography!
26
Go Pro
38
Nikon Skills
41
Apprentice Our reader bags a series
of Super Shots that’ll rock your fox off!
The tastiest morsels from
Pink Lady Food Photographer of the Year
Pro advice
on capturing headline summer events
Paul ponders how, what, when
and – most importantly – why?
Clever close-ups, travel
scenics, curves and much, much more...
60
68 On Assignment
Nikopedia
70
N-Photo POTY
78
Win a Nikon Z f!
83
Interview Konsta Punkka on foxes,
Instagram and ‘old-school’ mentors
Artist LUAP travels
the globe with a life-size pink bear
Dual card slots, Nikon NX
Studio, Nikon F and Ask Matthew
Fit for a holiday
brochure; it’s the travel round of NPOTY
You’ve got to be in
it to win it – enter NPOTY 2024 today!
Free! 146 pages of
editing tips & tricks
Your free download is The Ultimate Guide to
Photography Post-Production. Learn the
skills to become an editing pro. From
tweaking portraits and landscapes, essential
compositing skills and everything in between.
https://bit.ly/photo-post-prod
4
84
86 Your Stories
Next issue
90
Back Issues
107
Parting Shot
114
Letters Get it all off your chest or
shower us with praise. It’s your call…
Ian immortalized a
dream trip to Borneo with his D200
Counting down the days
till N-Photo 167 pops through the door?
Fear of missing out?
We always keep a few spares
Just as Mike bought
a Z 8, Nikon released the Z 6III. D’oh!
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CONTENTS
NikonSkills
Master your Nikon today!
60
Konsta Punkka turned pro at 17 and now
spends 200 days a year working abroad
06
42 Wish your were here
44 Get up close and personal
Capture postcard-perfect travel scenics
How to use a set of macro bellows
Sly tips for photographing
foxes in urban locations
50 The perfect blend
Xxxxx
48 Movers and shakers
Use ICM to capture painterly abstracts Xxxxx
Blend
focal
lengths
to balance
scenes
xxxxx
xxxxx
xxxxx
xxxxx xxxxx
xxxxx
xxxxx xxxxx xxxxx xxxxx xxxxx xxxxx
BEFORE
Gear Zone
Nikon Z 6III
92
Standard zooms
96
Buyer’s Guide
108
Can the follow-up to Nikon’s
most popular mirrorless deliver the goods?
Our verdict on what
could be the most used lens in your kit bag
Your at-a-glance guide
to Nikon cameras and compatible lenses
www.digitalcameraworld.com
AFTER
52 Ahead of the curve
54 The art of copying art
Make creative colour shifts with curves
Archive a painting with your Nikon
VIE W 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
5
APPRENTICE
6
www.digitalcameraworld.com
THE PRO
NAME: Andrew Mason
CAMERA: Nikon Z 9
Andrew has always had a passion for
wildlife and the great outdoors, so it
wasn’t a surprise when he gave up a
successful law career to become a fulltime wildlife photographer. A decadeand-a-half later, he’s visited some of the
planet’s most challenging environments,
lent his skills to a wide variety of
publications and organizations such as
BBC Wildlife Magazine and the RSPB, and
passed on his skills as a tour leader and
tutor: www.andrewmasonphoto.com
THE APPRENTICE
NAME: Tom Bell
CAMERA: Nikon D500
Tom (@tombell_photography) was given
a camera by his grandparents at the
tender age of 13, and his work was soon
being featured in local newspapers. As
soon as he left school, he enrolled on a
photography course. Sadly, the campus
closed a year later, but that didn’t stop
Tom from picking up a D500 in 2016 and
blooming into an experienced wildlife
photographer. He’s photographed foxes
before, but with Andrew by his side, he’s
sure to sharpen his skillset even further.
Wildlife pro Andrew Mason takes our apprentice
to a cemetery that’s become a safe haven for foxes
T
he red fox is one of the UK’s most
polarizing residents. On the one
hand you have charming
childhood depictions such as
Basil Brush and The Fox and the
Hound. And on the other, you have
Jeremy Clarkson grumbling about them
www.digitalcameraworld.com
like an idling V8 and reports of illicit hunts
still staged across the countryside. Urban
foxes fare no differently, with some city
dwellers welcoming their bushy-tailed
visitors with open arms, and others
mistakenly considering them vermin.
Wildlife photographer Andrew Mason has
7
APPRENTICE
TECHNIQUE
ASSESSMENT
1
CAMERA SETTINGS
Andrew says… I use Manual mode
with Auto ISO, so I can control the
exposure using exposure
compensation, while having full control
of my shutter speed and aperture. I
spend most of my time shooting wide
open, but will stop down to increase
my DoF as and when I need to.
2
CUSTOM CONTROLS
Andrew says… If you’re not
customizing your Nikon camera or
lenses, then you’re not making the
most of them. Fn and L-Fn buttons are
there to provide you with quick access
to your most-used camera settings.
You can customize your Nikon’s
controls via the Custom Settings menu.
3
CUSTOM FOCUS
Andrew says… My Record button’s set
to ‘Cycle AF-area mode’; you tap it to
cycle through the modes. Fn1 is set to
Auto-Area AF via ‘Recall shooting
functions (hold)’. This allows me to use
my preferred mode to lock onto my
subject (usually single point), before
holding Fn1 to switch to Auto-Area AF.
8
PRO KIT
NIKON Z 9
Andrew says… The Nikon Z 9 is the
king of Nikon wildlife photography
cameras. It boasts a far greater battery
life than any other Z camera. The
vertical grip makes portrait-orientation
shooting with big, heavy lenses a cinch.
And the subject detection is so adept,
I’m certain the AI algorithms are
improving over time. It’s also weather
sealed and built like a tank.
spent much of his career championing the
UK’s misunderstood or underrepresented
species, such as kittiwakes, badgers and
ring ouzels. And he was eager to introduce
N-Photo to an urban fox hotspot that he’s
been documenting for years.
Andrew and Tom met at a cemetery on a
sweltering summer’s day. N-Photo had
agreed not to disclose the location in a bid
to respect both the cemetery and the
foxes. “It’s not that you don’t want people
to find these locations,” said Andrew as
Tom attached his Nikon AF-S 200-500mm
f/5.6E ED VR to his D500.
“But you do have to be a bit careful
nowadays. There have been instances
where word has gotten out about a
particular species on social media,
prompting hordes of photographers to
turn up. That’s not good for the animals
and it’s not good for the photographers.
Large groups are more likely to disturb
subjects, make it harder to capture a
unique image and are more likely to rub
site managers up the wrong way.”
“I travel all around the country to
photograph wildlife,” said Tom. “There’s no
shortage of subjects and locations.”
“Exactly,” replied Andrew. “Researching
good locations and immersing yourself in
the community is a major part of being a
wildlife photographer.”
Andrew cradled his Nikon Z 9 and AF-S
180-400mm f/4E TC1.4 FL ED VR: “It’s
important that you respect the location as
SUPER
SHOT #1
Camera:
Nikon D500
Lens:
200-500mm f/5.6
Exposure:
1/250 sec, f/5.6, ISO250
well as the wildlife. We need to respect the
cemetery by avoiding any details on the
gravestones. But with some clever
compositions and blurred backgrounds,
that shouldn’t be too much of a challenge.”
FANTASTIC MR PHOT
A couple of hours passed and the pair had
seen neither orange hide nor hair of the
cemetery’s foxes. “It’s just too hot for them
at the moment,” said Andrew. “But it does
look like we’ll get some cloud cover a little
later in the afternoon.”
They made the decision to split up for a
while and cover more ground. Then, at
roughly 3pm, the first fox appeared.
Andrew watched as it sauntered across the
path. Unfortunately, Tom was at the far
side of the plot and the fox was obscured to
him by headstones and long grass.
“Tom can’t see it,” said Andrew. “The
foxes are very used to humans here, but
www.digitalcameraworld.com
RED FOXES
they don’t like to feel boxed in.” As Tom
walked back towards Andrew, unaware of
the fox, the animal froze for a few seconds
before the apprentice managed to catch a
flash of orange as it scarpered.
“Not your fault Tom,” said Andrew. “At
least we know they’re about. We’ll stick
together from now on.”
They didn’t have to wait long. Tom
spotted two juveniles heading along a
hedgerow.
“Let them come to us,” said Andrew.
“Lying down helps. You’ll capture a more
flattering angle and can better stabilize
your lens.”
One of the foxes peeled off into the long
grass, but the other persisted along the
hedgerow.
“I use single-point AF to lock onto the
subject and use an Fn button to quickly
switch to auto-area AF (animals) once I’m
locked on. But with your DSLR, I’d
www.digitalcameraworld.com
EXPERT INSIGHT
ALL YEAR ROUND
Andrew says…
Foxes are a great wildlife subject
to focus on because they don’t
migrate and don’t hibernate. I
return to this cemetery location
all year round as you have the
mating season in January/
February, cubs born around
March with the potential for
scraps throughout much of the
year. Capturing a single great
wildlife image is a wonderful
experience, but you may find
documenting a species over
time infinitely more rewarding.
9
APPRENTICE
SUPER
SHOT #2
Camera:
Nikon D500
Lens:
200-500mm f/5.6
Exposure:
1/125 sec, f/5.6, ISO250
PRO KIT
LENSES
Andrew says…
A super-telephoto lens
is a wildlife photography
staple. If you’re just
starting out, you’ll want
to pick up a zoom lens over
Andrew’s AF-S 180-400mm f/4E TC1.4 FL ED VR
a prime lens, since the
was one of the last F-mount lenses released.
former will afford you more
versatility. Nikon’s AF-S
200-500mm f/5.6E ED VR and the new Z-mount equivalent – Z 180-600mm f/5.6-6.3
VR – are popular choices among amateur wildlife photographers. This is because they
both offer an unrivalled blend of zoom range and value. Granted, they’re not as fast as
a pro-grade zoom or prime, but you can learn to achieve shallower depths of field by
photographing subjects against distant backgrounds and employing exposure best
practices to minimize camera shake and maximize image quality.
10
stick to single-point AF, maybe dynamicarea AF if you’re capturing a running fox.”
Andrew was pleased to see that Tom was
already using continuous autofocus
(AF-C), as well as making use of his D500’s
10fps burst shooting (fast for a DSLR).
Suddenly, the cub squeezed through a
hole in the hedge and disappeared.
Andrew slowly rose from his prone position
and peeped over the foliage. “It’s curled up
in the shade of that bush,” he mouthed to
Tom, who rounded the hedge and
tentatively advanced towards the fox.
The fox cub didn’t so much as flinch as
the photographer gently lowered himself
to the ground and looked through his
D500’s viewfinder. Once Tom took a
couple of shots, he decided to lower his
ISO to 250. Remarkably, he managed
to capture a tack-sharp Super Shot #1
at just 1/250 sec, with an equivalent
700mm focal length.
www.digitalcameraworld.com
RED FOXES
EXPERT INSIGHT
THE RECIPROCAL
RULE
Andrew says… Shooting at long focal
lengths, the reciprocal rule is often
used to determine a suitable exposure.
You simply match your shutter speed’s
second denominator with your focal
length. So, if you’re shooting at
400mm (which would be 600mm on a
DX Nikon), you’d want to shoot at
1/400 sec (or 1/600 sec). Higherresolution sensors are more
susceptible to camera shake, so if
you’re using a big 45.7Mp sensor you’ll
likely have to opt for a shutter speed
that’s twice as fast or more. However,
many external factors can influence
camera shake, such as your shooting
position, the weight of your lens, the
VR tech you’re using and even your
ability to remain stock still. I’m able
to get sharp results with my Z 9 at
very slow shutter speeds.
HOW TO EDIT:
FOX PHOTOGRAPHS
1
BRIGHT LIGHTS
Andrew says… It’s very easy to blow
out foxes’ white fur, particularly when
photographing in bright sunlight.
Reducing the highlights in your
chosen editing software (I use Adobe
Lightroom) will help to bring back some
details. But if the highlights are clipped,
you’ll never recover the data.
2
EXPOSURE TWEAK
A photographer friend of Tom’s taught him
how to hold long lenses to minimize shake.
FLEETING FOXES
After a while, a second fox appeared and
the two cubs wandered off into the
neighbouring plot. “There’s a fine line
between following and bothering,” said
Andrew. “But they left of their own accord,
so let’s gently follow them from a distance
and see what happens.”
The photographers lie in wait for a fox cub
as it advances along the hedgerow.
www.digitalcameraworld.com
The photographers noticed that one of
the pups had joined up with an adult vixen,
who eyed them from afar. “The cubs have
reached that age where they’re branching
out on their own a little bit and are
extremely curious,” said the pro. “The
adults are much more wary.”
The beating sun was back out in full
force, so the animals spent most of the
time in the shade. However, the
photographers didn’t want to spook the
mother, so they hung back, hoping the
foxes would approach their position, but
they moved off again.
Andrew and Tom headed roughly in the
foxes direction at a slow pace. Several
minutes passed. “There’s no sign of…”
“Oh my word, there’s one right by you,”
said Tom as he carefully knelt on one knee.
A little cub was curled up in another
patch of shade, barely four feet from
Andrew’s position.
Andrew says… Increase the Exposure
and Shadows sliders to help lighten
your fox’s face. This is particularly
useful when the animal is
photographed in a shaded area. To
prevent the image looking too flat and
washed out, add punch to your subject
by increasing the contrast.
3
FOX POP
Andrew says… Adobe Lightroom has
some incredible new AI-powered tools.
The Lens Blur panel can help to blur
backgrounds, making your fox subject
pop. This is particularly useful if you
don’t have fast-enough glass to create
a suitably shallow depth of field.
11
APPRENTICE
Lying prone allows Tom to better support the
lens, by digging his elbows into the ground.
“Your 200-500mm f/5.6 might not be
quite as fast as my 180-400mm f/4, Tom,
but if you can frame the fox from this angle,
the bushes behind it are so far away that
you’ll still end up with a lovely shallow
depth of field.”
The apprentice crawled commandostyle around the snoozing fox and framed
it in front of an illuminated flower bed.
Andrew explained that his preferred
exposure method was pairing Manual
mode with Auto ISO, so he could quickly
use exposure compensation to react to the
changing levels of light. Tom dialled in a
little negative exposure compensation so
as not to blow out the highlights and
captured a couple of shots.
“Oh, brilliant,” he said under his breath
as a second fox cub appeared. Suddenly
he had two subjects.
Tom’s wealth of experience as an
accomplished amateur wildlife
photographer paid off. He shifted his
position ever so slightly and waited for the
second fox to move onto roughly the same
focal plane as the first, which he had
already locked onto using single-point AF,
and captured Super Shot #2.
“Excellent work, Tom,” said Andrew
after the pair of foxes had moved on.
“There were three ways to approach that
situation, and waiting for them to occupy
the same plane is often the preferable one.
You could have also used a narrower
aperture to create a larger depth of field, in
a bid to extend the plane of focus. And
when all else fails, you can simply accept
that one of your subjects will be blurred in
the foreground or background, and lock
onto your preferred subject.”
FOX TROTS
As the afternoon continued and the sun’s
intensity waned slightly, the fox activity
was becoming much more prevalent.
Better yet, the cemetery’s residents were
EXPERT INSIGHT
THE LOWDOWN
Andrew says… Getting down to your
subject’s eye level will produce a more
compelling image. Don’t be afraid to lie
on your stomach. As well as capturing a
more flattering angle, you’ll hold your
camera steadier and seem less
threatening to your wildlife subject.
12
Photographing from a prone position
creates a less threatening figure.
SUPER
SHOT #3
Camera:
Nikon D500
Lens:
200-500mm f/5.6
Exposure:
1/500 sec, f/8, ISO250
becoming more comfortable with Andrew
and Tom’s presence.
“These foxes are used to people,” said
Andrew. “If you behave like people in a
cemetery, quietly and calmly passing
through, they’re not going to feel
threatened. If you turned up in camo and
skulk about the place, they’d probably
disappear, because they’re not used to
that kind of behaviour.”
“Look,” said Tom, “one over there is
learning to hunt.” The apprentice pointed
towards a cub that was repeatedly
pouncing on something.
“That’s a case in point,” Andrew
explained. “Now they’re used to us, we’ve
the perfect opportunity to capture some
more natural behaviours.”
The photographers decided to get down
to the ground again and wait to see if the
foxes approached. After a few minutes,
two cubs were freely operating between
them, happy to snooze in the shade or
lower their guard for a quick scratch.
Eventually, one walked right past Tom.
www.digitalcameraworld.com
RED FOXES
It was so close that the apprentice had to
carefully shift his position in order to track
the animal. The cub stopped for a moment,
providing just enough time for Tom to lock
onto the closest eye and capture Super
shot #3, just as the animal proceeded to
do a big yawn.
“That shot would have been so much
harder to achieve if you weren’t using
back-button focus,” said Andrew. By
removing focus from the shutter button,
Tom was able to use AF-C and still focus
and recompose by simply holding down
the AF-ON button to lock focus and release
the button, before recomposing.
FOXY FRIENDS
Andrew and Tom were now surrounded
by three juveniles and had been roundly
accepted by them. But they couldn’t
believe their luck when the smallest of the
trio delivered them the final Super Shot on
a platter. The little fox plonked itself right in
the middle of a patch of petunias, shaded
beneath a small bush.
www.digitalcameraworld.com
Handholding is preferred to tripods and monopods, since the foxes
are constantly on the move and eye-level angles are preferred.
13
APPRENTICE
SUPER
SHOT #4
Camera:
Nikon D500
Lens:
200-500mm f/5.6
Exposure:
1/250 sec, f/8, ISO250
The photographers lie in wait, using
the ‘let-them-come-to-you’ approach.
14
“This is where single-point AF really
comes into its own,” said Andrew, as the
fox peeped through the flowers waving in
the gentle breeze. “When capturing scenes
like this, it’s worth increasing the delay of
your Nikon’s ‘Blocked Shot AF Response’,
found within the Custom Settings menu.
If you’ve focused on the eye and the wind
blows a flower in front of it, the camera will
delay refocusing, so long as the AF button
is held down. Try it, I don’t think this little
fox is going anywhere soon,” he said as the
animal yawned.
Tom increased the AF delay and locked
onto the animal’s eye. The shade meant
that the majority of the frame was evenly
lit, so nailing the exposure wasn’t a
challenge. An f/8 aperture was used to
render the flowers as sharp as possible,
while the animal’s distance from the
background still yielded a super-shallow
depth of field. All Tom had to do was wait
www.digitalcameraworld.com
RED FOXES
PRO
PORTFOLIO
ANDREW MASON
POLAR BEAR
Tom surveys the cemetery stones and long
grasses, which provide excellent cover for the
foxes as they move about their territory.
BE OUR NEXT
APPRENTICE!
for the cub to stare directly into his lens
and capture Super shot #4.
As the pair made their way out of the
cemetery, cooler temperatures had
tempted more foxes out into the open.
They were everywhere. “We think of
cemeteries in terms of mortality,” said
the pro, “but they’re actually a haven
for British wildlife.”
Image: © Neil Burnell
We’re looking for future apprentices to
accompany N-Photo on exciting
adventures! So, if you would like to
appear on these pages and get top
one-to-one professional tuition thrown
into the bargain, fill out our Apprentice
form at: https://bit.ly/npapprentice
Please fill out the form in its entirety
and be as detailed as possible with
your answers. Fingers crossed; the
next N-Photo apprentice could be you!
I photographed this female polar bear
from a small, inflatable boat as she
walked along the edge of the ice on the
coast of Svalbard. Nikon’s new supertelephoto lenses for Z mount are not only
tack-sharp and fast focusing, but much
lighter than the previous F-mount optics.
This makes hand-holding situations, like
this, much more comfortable.
PUMA
Chilean Patagonia is one of the best
places to photograph pumas. With the
backdrop of the iconic Torres del Paine
National Park, the scenery is nothing
short of spectacular. Photographing
pumas on foot is physically very
demanding but incredibly rewarding.
TOM’S COMMENT
Lying prone was a big takeaway.
I managed to capture Super
Shot #2 at 1/125 sec, with a
maxed-out zoom range,
because I could better support the lens.
SPOTTED FLYCATCHER
ANDREW’S VERDICT
Tom really didn’t need much
direction. The foxes appeared
late in the day, so four Super
Shots was a huge success.
www.digitalcameraworld.com
Next issue, our apprentice learns
the art of shooting infrared
landscapes with Neil Burnell.
One of a pair of spotted flycatchers that
nested in a gap in the brickwork under the
roof of my house. During lockdown, I
spent many hours photographing these
birds. I’ve been fortunate to travel to
some incredible places, but still enjoy
photographing my local wildlife.
15
© Jonathan Thevenet / Pink Lady® Food Photographer of the Year
Our favourite Nikon images from the Pink Lady®
Food Photographer of the Year competition
Les Liens du Vin
JONATHAN THEVENET
Winner, Errazuriz Wine Photographer
of the Year – People
A moment captured at the Aegerter estate
in Burgundy, France. The children and family
are all gathered around the harvest. The
transmission is running.
Camera:
Nikon D800
Lens:
17-35mm f/2.8-4
Exposure:
1/800 sec, f/4, ISO200
PINK LADY® FOOD PHOTOGRAPHER OF THE YEAR
LIGHTBOX
© Kishore Das / Pink Lady® Food Photographer of the Year
Rice Grain
Threshing
KISHORE DAS
Winner, The Philip Harben
Award for Food in Action
As the sun gracefully descends on the
horizon, casting a warm and magical golden
glow, a tribeswoman engages in the ancient
practice of threshing rice grains in the
courtyard of her home. With rhythmic
movements, she skillfully tosses the
harvested rice into the air.
18
Camera:
Nikon D850
Lens:
85mm f/1.8
Exposure:
1/1000 sec, f/1.8, ISO100
www.digitalcameraworld.com
PINK LADY® FOOD PHOTOGRAPHER OF THE YEAR
© Jo Kearney / Pink Lady® Food Photographer of the Year
Empty Shop, Cuba
JO KEARNEY
Winner, Politics of Food
A shopkeeper rests inside a greengrocer’s
shop in Cuba. The state shops tend to be
pretty empty. When food does arrive, there’s
a queue because the shops are subsidized
by the government, so food is much cheaper
than in the private stores.
Camera:
Nikon Z 6
Lens:
24-200mm f/4-6.3
Exposure:
1/100 sec, f/4, ISO1400
LIGHTBOX
© Sanghamitra Sarkar / Pink Lady® Food Photographer of the Year
Morning Work
Hanging Buri
(Yellowtail)
SANGHAMITRA SARKAR
20
Highly Commended, Tenderstem®
Bring Home the Harvest
MATTEO ALBERTI
The fishermen of Inle Lake prepare for
their work in the early morning.
Buri is Japanese for the fish Seriola quinqueradiata,
known in English as yellowtail. For centuries,
fishermen have filleted buri, salted them and dried
them for about 10 days. They wrap them in leaves
and long rice-straw ropes before hanging them in
front of their houses, exposed to the sea breeze.
Camera:
Nikon Z 7II
Lens:
14-24mm f/2.8
Exposure:
1/1250 sec, f/2.8, ISO250
WLQQHU)RRG,QȪXHQFHU
Camera:
Nikon D600
Lens:
35mm f/1.8
Exposure:
1/100 sec, f/2, ISO160
www.digitalcameraworld.com
© Matteo Alberti / Pink Lady® Food Photographer of the Year
PINK LADY® FOOD PHOTOGRAPHER OF THE YEAR COMPETITION
LIGHTBOX
© Paul Dodd / Pink Lady® Food Photographer of the Year
All the Cocktails
on the Menu
PAUL DODD
Winner, Marks & Spencer Food Portraiture
© Carolin Strothe / Pink Lady® Food Photographer of the Year
A set-piece showcasing the cocktails sold
by the Melbourne bar Martini and Co.
Camera:
Nikon Z 7II
Lens:
24-70mm f/2.8
Exposure:
1/25 sec, f/4, ISO220
Polenta Pizza with
Goat’s Cheese, Figs
and Chianti Grapes
CAROLIN STROTHE
Highly Commended, Pink Lady® Food
Photographer of the Year (Europe)
Inspired by beautiful chianti grapes, Carolin
had a recipe idea for this savoury autumn
pizza. The polenta base is topped with Chianti
grapes, green figs, goat’s cheese, sage, thyme,
rosemary, basil, tarragon, pink pepper and
some drizzles of acacia honey.
Camera:
Nikon D800
Lens:
50mm f/1.4
Exposure:
1/2 sec, f/4, ISO200
This is a selection of winning images from the Pink Lady® Food Photographer of the Year competition, which continues to tell important food
stories from across the globe through the very best photography. To see an online gallery of all the 2024 finalists, and for details of how to enter
the 2025 edition of the competition, which will open in September, visit www.pinkladyfoodphotographeroftheyear.com
22
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25
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Top 2
.
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or
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Festival
photography
Summer events make for memorable
times – and even more memorable
photos. Pro photographer Matt Higgs
shares his techniques for capturing
the big occasion on your Nikon
here’s nothing quite like a festival.
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26
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www.digitalcameraworld.com
www.digitalcameraworld.com
All images: © Matt Higgs
Matt Higgs
Matt Higgs is a professional music
photographer, based in London and
touring internationally. He’s worked
as an in-house photographer for
festivals including Download, Field
Day, Snowbombing, Wychwood and
Secret Garden Party. More info at:
www.matthiggsphotography.co.uk
27
Festival photography
1
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be
vi
he
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Ta k
The colour, the costumes, the smiles: events would be nothing without their
crowds. Here’s how you can make the most of festival-goers in your images
FOCUS ON THE FANS
What is a festival without its fans? Whether
you’re shooting for the event organizers or just
documenting it for posterity, a great place to begin
your photography is by focusing on those in
attendance with some portraits. Surrounded by
groups of mates, couples, families, or stag and hen
do’s in fancy dress, you’re sure to have an abundance
of potential subjects for your images. These kind of
evergreen shots work perennially in marketing
materials – happy faces never go out of fashion.
1 ű ǕǕ
subjects in front of, and use relatively shallow
ű ŮŊ Ůŋ\ŌĨ Ǖ
Ǔ Ǖ ǔǕ Ǖŕ
location. Using the setting sun’s warm backlight
ǓǕ ǓǕ Ǖŕ Ǖ
Ǔ ǔ Ǖǔ Ǖ\
1
LOOK FOR OFF-STAGE ACTIVITIES
!Ǖ Űǔ Ǖ
just the music acts performing on the main stages,
hiring roaming performers and running all
2
28
ǔ Ǖ ǕǕǕ Ű
something for everyone, of all ages, at all times.
These can provide a fantastic opportunity for
distinctive images that diversify your portfolio for
an event, and set it apart from every other taking
place across a busy summer.
Don’t be scared to get involved. Get close to all the
Ǖ Ǖ Ǖ ŕ ]ǕǕ
viewer of your image right in the middle of what’s
taking place. Explore all the corners of an event to
discover the magical moments hidden far from the
largest crowds.
USE A DOCUMENTARY APPROACH
Authentic moments always make for great
photos. With people making new friends and
having endless fun at an event they’ve looked
forward to all year, a strong photographic eye can
spot potential shots everywhere, without having to
construct them.
ǔ ŕ
image so that you’re ready to go, and stay aware
Ǔ Ǖ\% ǔ ǔ Ǖ
3
[1] Groups of
festival-goers, like
this hen-do party
at Wychwood, are
a fun and important
subject matter.
[2] You never know
what activities you
might discover
away from the
main stage...
[3] Nothing makes
for a better image
than one with
genuine smiles and
laughter; off-stage
entertainment can
provide lots of
unique moments.
[4] A documentary
‘Fly on the wall’
approach to
shooting leads to
photos that have
authenticity.
www.digitalcameraworld.com
TAKE IN THE VIBES
With people making new friends
and having endless fun, a strong
photographic eye can spot
potential shots everywhere
3
2
4
Set the scene
It can feel instinctive to try and get close to performing artists for frame-filling
shots, but images that set the scene are just as important in a set of photos.
Head to the back of the tent or crowd, lift your camera and slightly angle it so
that you can reveal all those in attendance as well as the stage and space itself.
If your camera has an adjustable screen, flipping it down can make framing your
composition much easier at this point.
The best moments for crowd shots are often at the end of a song, when
everyone’s arms are raised or streamers are launched falling down onto the
audience. Look out for crowd surfers and people on friends’ shoulders.
4
interaction starts to unfold – a hug, a ‘cheers’, a
random piggyback race – capture it. A smile or
laugh lights up a shot, and images of real attendees
simply can’t be matched by any hired models or
ǕŲ\% Ĩ ŎņŕňņņǔǔĨ
help you to grab these shots from a distance if you
don’t feel comfortable diving in too close.
www.digitalcameraworld.com
29
Festival photography
5
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With dozens of acts at the biggest events, festivals offer a great chance to
build a music photography portfolio. Use these tips to sound the right note
BASIC SETTINGS
! ŕǔ Ǖ Ǖ Ǖ
ǔǕǔŕǕ Ǖ ǕǕ
make festival photography an easy pursuit.
However, there are some basic settings you can
Ǔ Ǖ Ǖ
results that impress.
!ǕĨ / ]Ǖ ǔ Ǖ
ǔ Ǖ ǔ Ǖ Ǖ Ǖ űĨ Ǖ
Ǔ Ǖǔ ǔ ǔ
strong highlights and shadows. Second, maintain
Ǔ ŇŮňŋņĨǕ Ĩ
Ǔ ǕǕǔ Ǖ \
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you isolate your subject against busy backgrounds
with clean blur, thanks to a relatively shallow depth
ű ĨǕ 0&
Ǖ Ǖŕ\ 0&Ĩ ĨǕ
Ǖ ǔ ŲǕ
ensure a good exposure while maintaining your
target shutter speed.
5
30
COMPOSITION CONSIDERATIONS
There are no hard and fast rules for what
makes a great festival shot of a live artist, but there
are a few common factors that can lead to the best
\! ŕ ǕǕǔ ĨǕ ǎ
position your subject so that they are facing into the
frame, rather than placing them close to the edge of
the image, looking out.
Try to keep mouths and noses free of mics for
clean results. You can do this by either waiting until
the artist pulls away from the mic slightly, or by
shooting slightly angular to them rather than
Ǖŕ \% Ǖ Ǖ
ǕǕ Ǖ
ǔǕ ŕ Ĩ Ǖ Ǖ Ĩ
ǔǕǔ ŕ
mic stands, speakers and cables doesn’t dissect your
shot or obstruct the subject.
6
PLAN FOR THE WEATHER
Unfortunately, if there’s one guarantee for
Ǔ2#Ǖ ĨǕļ Ǖ
7
[5] Having a good
understanding of
camera settings and
how to alter them
on the fly allows
you to respond
to unpredictable
subjects.
[6] Positioning an
artist so that they
look in, rather than
out of a frame, can
lead to images that
feel more natural.
[7] Rain covers are
essential. Come rain
or shine, the show
must go on.
[8] A fast aperture
gives you the
best chance of
clean images in
challenging lighting.
www.digitalcameraworld.com
CAPTURE LIVE ACTS
It often helps to position your
subject so that they are facing
into the frame, rather than
placing them looking out
6
7
8
Lens choices
Energetic artists and low-light
conditions in tents and during
evening sets mean that fast
apertures are often critical for sharp
shots. Try to use lenses that provide
wide apertures of f/2.8 or wider. The cheapest option is a ‘nifty fifty’ – a 50mm
prime – which can go as wide as f/1.8 and can be brought for less than £250.
On a full-frame Nikon, 50mm is a good option for taking portraits on the fly and
documenting smaller stages.
My personal setup tends to revolve around the ‘holy trinity’ of f/2.8 lenses:
a 14-24mm wide-angle lens, for large scene-setting shots and confined spaces;
a 24-70mm standard zoom, for a variety of compositions on smaller stages,
portraits, and relatively wide images without distortion; and a 70-200mm
telephoto for picking off images of main-stage acts from a distance.
\ ļ
rain to be biblical or for temperatures to be roasting
– you might even be treated to both through the
course of one event.
With this in mind, it pays to be prepared. Basic
rain covers for cameras can be found for less than
ŸŇņ ǔǕ Ĩ Ǖ Ǖ
protection from the worst conditions. A lens cloth
and a sensor cleaning kit are also essential, as
thousands of people moving around on hot days
inevitably kick up lots of dust, and avoiding getting
Ǖ Ǖ ǔ Ǖ Ǖ \
Maintain a routine of regular lens cleaning to avoid
dust spots in your images.
www.digitalcameraworld.com
8
31
Festival photography
Embrace beams of light
that illuminate or draw
attention to the subject
9
’
it
p
he
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‘
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i
t
Sh oo
Getting into the front area is just one of the ways you can develop your craft
to get the most out of on-stage performances – try these effective techniques
WAIT FOR THE LIGHT
ǔ ǔ Ǖ Ĩ ŕǕǔ ǕǕ
can turn a good image into an amazing one.
Generally speaking, stage lighting follows patterns
of movement, and won’t change much until the end
of a song. So, at least for less active band members
and artists, you can really polish your images by
taking in the scene and carefully positioning your
shot’s composition to embrace beams of light that
illuminate or draw attention to the subject, and
timing your shutter release for the moment they are
at their prime.
! ŕǔ ǕǕǕ Ĩ ǔ
to shoot in burst and select the best moments from
Ǖ ǕǕŖ ǕŰ
Ǖŕ ǔ Ǖ\
9
32
PHOTO PIT RULES
ļ Ǖ ųǕ
pass for the festival, you’ll usually be entitled to
ű ǔ ǕŖ
the space between the stage and the barrier for the
ǎ Ǖ ǕŖ Ǖ
Ǖ \1 ű Ǖ
access to this area is that you have space to move
around and vary your angles, with fewer
obstructions such as crowd members in the way.
At some large events, however, tall stages may
mean that you need to position yourself towards the
back of the pit to avoid perspectives from directly
ǕĨǕ Ų Ǖ\5 ǔ
even need – event permitting – to bring a small step
in order to raise your shooting perspective.
10
[9] A well-timed
moment of light can
turn a flat image
into a dynamic one.
[10] The pit allows
photographers to
get clean and
close-up images.
[11] The more you
shoot, the more
you’ll be able to
anticipate moments.
[12] The rise of AI
has revolutionized
noise reduction.
www.digitalcameraworld.com
SHOOT IN ‘THE PIT’
12
10
Don’t fear noise
With the advent of AI-powered noise
reduction in Photoshop and Lightroom,
it is now possible to clean up images
shot at higher ISO settings, filled full of
damaging grain, more effectively than
ever. This can allow you to shoot at an
ISO level a few stops higher than you
may have previously considered, safe in
the knowledge that the results will still
be usable, potentially getting you out
of a jam in sticky lighting situations.
In Lightroom, all you need to do is
open your image in the Develop module,
go to the Detail panel, and click Denoise.
A new dialog box will now open: tick the
Denoise option and select your desired
Amount before clicking Enhance to
clean your image. Amounts of between
15-25% will dramatically reduce the
noise in your image, while maintaining
enough detail to still look natural.
11
12
LOOK FOR ‘MOMENTS’
& ļ ǔ ǔ Ǖ
Ǖ ǕǓ ǓǕ Ǖ ǔ ǔ Ǖ
composition perspective, the factor that will most
Ǖ Ǖ Ǖ ǕǕ
Ǔ Ľǔ ǔļ\
1ļ ŕ Ǖǔ
Ǖ ǕĨ Ǔ Ǖ
ǔǕ Ŗ
ǕǕĨ ǔ ŲǕĨ
Ű ǔ ǔ ǕǕ \
This could be a moment of eye contact with the act
when they stare straight down the barrel of your
lens, or some direct interaction between the crowd
and the artist or band members. The photo above,
where three members of nu metal band Blind
( ǔǕ ŕ ǕǕǔ ĨǕ
Ǔǔ ǔ ǔǕ ǕĨǔǔǕ
the energy of the entire set.
# Ǖ Ǖ ļ
happening at all times and knowing your settings
ǕǕ Ǖ Ǖ
ǔ Ǖ Ǖ\ ļ Ǖ
ǔ ǔ ǕǓ Ǖ Ǖ
Ǖǔ ǔǓ ǔ \
11
www.digitalcameraworld.com
33
Festival photography
Images from the audience
can feel much more in
the moment than
a close-up portrait
13
y
r
ge
a
m
i
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v
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e
v
i
Crea t
Once you’ve mastered the basics of performance photography, learn how
to use your surroundings to take your festival images to the next level
FRAME THE ARTIST
You don’t always have to be in the photo pit
řǓ ^1Ǖ ŇņŚ
get fantastic images of artists. Shooting from the
Ǖ
Ǖ ű
alternative perspectives on a performance, but also
add dynamic depth and context to an image by
including the defocused hands and heads of the
crowd in the foreground.
By carefully framing your subject between
defocused areas, you can draw increased attention
to your subject and add an element of creativity.
These images from the audience can feel much
ǔ Ǖǔ ǔ ŕ Ǖ
Ǖ ĨǕ ǔ Ű Ų \+Ǖ
long lens to compress your scene, less busy crowds
ǔ ǔ ŕ Ǖ
ǕǓ ļǕ ǕǕ \
image. But timing and exposing your shot can
ǕǕ ǕǕ ǔ
forward preparation.
Fire burns much brighter than most stage lights,
let alone the ambient lighting of most scenes. This
means that if you want to maintain detail, and not
have it burn out in a block of white highlight, you
need to be underexposing the rest of the scene
Ǖ\ ļ Ǖǎ ǔ
ŇŮʼnňņĨ ŇŮŇŋņņ
Ǔ ǔ Ǖ ĨǕǔ Ǖ
manually and being fast on your setting dials to
drag down your exposure in a split second.
Thankfully, although pyro is rarely used
ǕĨǕǕ ǎ
ǔ ǔǕ ǔ \1Ǖǔ Ű
two or three goes at it, and the opportunity to time
your shots for that key beat drop.
[13] Shooting
through the crowd
can lead to dynamic
results filled with
depth, like this
image of Faithless
at Big Feastival.
PERFECT PYRO
3 ļ ǔ ǔ Ǖ ű
ǕǕ œ%ŕ
pyro can be the foundation of a breathtaking live
CAPTURING CONFETTI
ļ Ǖ
production, you might be treated to a confetti
cannon burst or two during the festival. Firing
[16] Flash may
be permitted for
off-stage and
satellite activities.
13
14
34
15
[14] The production
of a set massively
dictates the kind
of images you can
expect to create.
[15] There’s an
element of luck with
confetti shots and
how the ticker tape
falls, but it can add
unrivalled depth
and atmosphere
to an image.
www.digitalcameraworld.com
CREATIVE LIVE IMAGERY
14
15
thousands of colourful paper shapes tens of metres
into the air over the act and crowd, these bursts can
make for some of the most stunning shots of the
entire event.
2 ŇŮŊņņ
the confetti in motion, and capture your images in
burst to allow you to select the frame with the most
pleasing arrangement of confetti pieces.
ǔ ǔ ǕǕ Ĩ
Ǔ ǕǕ Ĩ
ǓĨǕ ǕǕ Ǖ
Ǖ ^ ǔǕǕ ǔ
ǔ ǕĨǕ Ǖǔ ű Ǖ
ǔ Ǖ \ Ǖǔ Ĩ
Ǔ ǕĨ Ǖ Ĩ
frames Rou Reynolds of Enter Shikari.
www.digitalcameraworld.com
16
16
Using flash (when you’re allowed)
Unless you’re shooting on behalf of the production itself, you normally won’t
be allowed to use flash at festivals. However, there may be exceptions to this
rule when you’re capturing off-stage and satellite activities at an event, such as
silent discos, cabaret acts and interactive experiences.
In these environments, try to maintain a sense of the ambient lighting and
atmosphere by using your flashgun to add a complementary light source to a
scene, rather than wiping it out in a blinding burst of light. To do this, have your
standard camera settings for an ambient exposure, with the shutter speed no
faster than 1/200 sec, and manually adjust your flash’s output until the results
look natural. Adjust your flash head so it bounces off the ceiling when possible:
diffusing its light will lead to more evenly lit results.
35
Festival photography
17
e
v
i
t
c
pe
s
r
pe
w
ne
A
Cap off your festival with the big shot that sums it all up. Get ready for the finale,
and discover how the most experienced photographers get privileged access
THE POSTER SHOT
At larger events, sound towers provide lighting
and sound engineers with a line of sight to the main
Ĩ ǔǕ ǕǕ ǔ\
But these raised platforms also provide a great
perspective from which production and artist
photographers – with permission – can capture a
wider image of the action that looks down on the
crowd and the stage in its entirety. Here the entire
production can be visualized without a focus on the
Ǖ Ĩ ǎǕǕǕ ǔ Ǖ
images that many events end up using as their
website and poster backgrounds.
ű ǕǕ ǕǕ Ĩ
as possible with the middle of the stage. Use a
Ǖ Ĩ ŮŏĨ
plenty of detail across the scene.
THE BIG FINALE
The festival is drawing to a close, and the
ǕǕ ǕǕű ǕǕǔ \
Depending on the event, there may still be time for
ű Ǖ ŖǕ ű ű \5 ļ
want to go wide to get the staging, as well as the
Ǖ Ǖ ʼnņņǎǕ
air, in your frame.
Get into position and plan your composition long
Ǖǔ ǔ ] ļǕ
more than a minute or two to grab your photos. The
Ű
Ǖ
Ǖ Ǖŕ Ǖ ļ Ǖ
ǕĨ ǎű ǔǔǕ Ǖ ^
while a more angular perspective from the side of
the crowd can produce dynamic images, with the
stage lights spilling over the amassed faces.
ON STAGE
ļ ǕǕ Ǖ
directly, you may be allowed to shoot from the stage
itself for part of a set. While this perspective may
not seem very helpful, as your main subject will
likely have their back to you much of the time, it
allows you to position them with the audience in
front of them, for an image with real context.
As most stages are covered, and many festivals
take place in daylight, the biggest technical struggle
ǓǕ ǔ ǔ Ǖ
ǔ\
Ǖ Ǖ Ĩ Ǖ ǎ
Ĩ Ǖǎ
image’s shadows during editing for a more even
exposure. This shooting position can also be great
ǔǔŖ ǔǔ ǎ
obstructed from the pit shooting position.
18
17
18
36
19
[17] A shot from
the sound tower is
often used to
promote events.
[18] Shooting
on the stage
reveals who the
performance is for.
[19] Fireworks are
the ultimate SFX to
bring large festival
events to a close.
[20] Cherry-pickers
provide a platform
from which you can
capture a unique
perspective.
A NEW PERSPECTIVE
Get into position long before
this moment starts: you’re
unlikely to have more than a
minute or two to grab your photos
19
20
20
Cherry-picked
Many larger events may arrange for one
of their lead photographers to take a
sweeping wide shot of the festival
from a ‘cherry picker’. This involves
harnessing up before being raised
over the festival site from a backstage
production area, camera in hand. From
this aerial perspective, the scale of the
crowds and sometimes the entire site
can be shown.
Given the opportunity, use a shutter
speed able to capture a sharp image in
sometimes bouncy conditions, and have
a longer lens to hand, for more framefilling compositions if your shooting
position is some distance from the main
hubbub of activity. The angular and
golden light of sunset tends to be a
popular time for this shoot to take place,
as warm tones flood the scene and long
shadows stretch across the ground.
www.digitalcameraworld.com
37
Paul
Wilkinson
Go Pro
Paul Wilkinson FMPA FBIPP FSWPP is a multiaward-winning international photographer and
co-author of the best-selling book Mastering
Portrait Photography, and shares his skills
through the free companion site
MasteringPortraitPhotography.com. In this
monthly series he shares his experiences and
stories as he talks about the trials and
tribulations of becoming a pro photographer.
Tap into the
power of ‘why’
There are a million answers out there to almost
any situation: what to do, how to do it and when.
But there not nearly as many about the ‘why’
ithout a doubt, the time
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just a technique: it’s a
superpower in your toolset
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www.digitalcameraworld.com
GO PRO – PAUL WILKINSON
Photography: © Paul Wilkinson
Be more childlike and
ask ‘why?’, not ‘what?’
www.digitalcameraworld.com
39
Ingenious recipes for stunning shots
44
Get up close and personal
Achieve super-high magnifications using a
standard lens and a set of macro bellows
48
Movers and shakers
Experiment with intentional camera
movement to capture painterly abstracts
42
50
Wish your were here
The perfect blend
Document your next rural getaway with our guide to capturing postcard-perfect landscapes
BEFORE
Remedy diminished subjects and balance
compositions by blending focal lengths
AFTER
VIEW THE
VIDEO
52
54
Ahead of the curve
The art of copying art
Get to grips with the ultimate tonal tool in Adobe Archiving a physical painting with your Nikon
CC for making creative colour shifts
camera is more involved than you might think
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.
41
P rojec t one: Travel photography
Wish you were here
Matt Higgs shows you how to create postcardperfect images on your next getaway
Waterfalls, mountains, lakes and beaches...
Whether you’re spending your summer
exploring quaint stretches of the British
coast or hiking your way to lofty vantage
points in Europe, don’t forget to pack your
Nikon along with the sunscreen!
Travel affords not only the chance to relax
and unwind while seeing somewhere new,
but also gives you the perfect opportunity
42
to take some great photography. If you pack
light – say a compact tripod, a lens or two
and a couple of batteries – you won’t even
need to book in any extra luggage.
But how can you ensure that the images
you take while you’re away are worthy of
a five-star review? Here are our top tips for
shots that will induce travel envy in all your
friends and family...
Expert Tip
For dynamic landscapes with
a real sense of movement,
consider using a 10-stop ND
filter. Heavily restricting the
amount of light that can
enter a lens, these filters
allow you to use much longer
shutter speeds, which can
result in ethereal-looking
seas and lakes, as well as
streaky clouds to pep up
the skies in your scene.
www.digitalcameraworld.com
TRAVEL
Five travel tips
of interest
1 Points
Sweeping vistas that may look
breathtaking when you’re at the location
often don’t work so well as a photograph
without a point of interest to act as an
anchor for the viewer. This could be a
castle, a lone tree or a mountain. Look for
ways you can bring interest to your scene
while you’re framing it up.
composition
2 Consider
For the strongest landscape images,
it is almost always essential to begin with a
level horizon. It can be tempting to always
place the main subject of your image in the
centre; this can be a striking approach,
but you can also create strong and wellbalanced images by placing the subject
a third from either edge of the frame.
a tripod
3 Use
Slow down your shot-taking by using
a tripod where possible. It helps you not
only to achieve your desired composition
with accuracy – avoiding cropping later
– but also allow you to fine-tune settings
and fine-tune focus. A tripod also helps
ensure shake-free shots, even while using
slower shutter speeds.
Camera:
Nikon D750
Lens:
24-70mm f/2.8
Exposure:
191 secs, f/16, ISO100
Photography: © Matt Higgs
Above: Adding a strong ND filter enables
you to lengthen the exposure time and
bring dynamic blur to skies and water.
the aperture
4 Select
With landscapes, it can become
habitual to resort to the narrowest aperture
for the greatest depth of field. But very
narrow apertures can not only lead to
diffraction, resulting in a softer image, they
can also create flat-looking shots. A little
foreground blur can help direct the viewer’s
eye, so experiment with your aperture.
your image
5 Enhance
Raw images are designed to retain
as much visual information as possible, but
naturally look flat straight out of camera.
Use Lightroom or similar software to add
contrast and enhance colour. Don’t push
things so far that they appear unnatural,
but do carefully build atmosphere.
43
44
www.digitalcameraworld.com
EXTREME CLOSE-UPS
P rojec t two: Extreme close-ups
0DJQLȩTXH
Mike Harris uses a set of
bellows to capture ultra-closeups with a standard prime
Bellows are essentially adjustable extension tubes. They
work by increasing the distance between optic and sensor,
which, in turn, increases the minimum focusing distance.
This means you can transform a standard lens, like our
Nikon Z 40mm f/2, into an optic with true macro
capabilities and beyond. You can pick up Z- and F-mountcompatible bellows relatively cheaply. Nikon even released
its own range of F-mount bellows, some of which you can
still find on the used market. The problem with conventional
bellows is the lack of electronic connectors necessary for
the camera and lens to communicate. This means you have
to control everything manually. You can’t even change the
aperture unless your lens has a manual aperture ring.
That’s where the NOVOFLEX Automatic Bellows
(www.novoflex.de) comes in. This German-made accessory
maintains the connection between camera and lens, and is
available with a Z-mount attachment.
www.digitalcameraworld.com
45
More macro
If you want to get as close to your
subject as possible, you can of course
attach a macro lens to your bellows. But
a standout feature of the NOVOFLEX
Automatic Bellows, is the ability to
detach the Reversing Adapter and use it
as a fully automatic reversing ring with
compatible lenses. However, you can go
a step further by pairing the reversing
ring with the bellows to achieve even
greater magnification (up to a whopping
6:1 magnification ratio and higher).
close
1 Get
Unscrew the locking mechanism and
extend your bellows to achieve the desired
magnification – move the entire setup to alter
the composition. If you want to know how to
achieve a specific magnification ratio, you can
use an online extension-tube calculator. Bear in
mind that at higher magnifications, less light is
let into the camera. Live view is very useful here.
46
settings
2 Camera
Traditional bellows prevent camera/
lens communication, so you’ll need to use a lens
with an aperture ring to alter the aperture. Our
NOVOFLEX Bellows communicate seamlessly to
provide full functionality, including AF. We used
a narrow aperture of f/16 to increase the
unavoidably shallow DoF. You may need to up
your ISO if camera shake is an issue.
holy rail
3 The
Even with our Automatic Bellows, we
recommend focusing manually. You can focus
by retracting/extending the bellows, but this will
alter the magnification. This leaves using a
focusing rail or focus ring. A rail is more precise,
but moving the setup to focus when focus
stacking can cause anomalies due to altering
the framing, as can focus breathing.
www.digitalcameraworld.com
EXTREME CLOSE-UPS
duper shallow
4 Super
Extreme magnifications yield incredibly
shallow DOFs (above). Unless you’re shooting
something with very little depth you may need
to focus stack. Choose what you want sharp,
focus on the area closest to the camera and
capture the image. Adjust focus to where the
image begins to soften and take another shot.
Repeat until you’ve covered the entire subject.
www.digitalcameraworld.com
your stack
5 Import
Helicon Focus is a popular dedicated
and blend
6 Align
Highlight the stack in the Layers panel
focus-stacking software. But you can achieve
desirable results in Adobe CC. Begin by opening
your focus-stacked sequence in Adobe Bridge.
Highlight the images in the stack and select
Tools > Photoshop > Load Files into Photoshop
Layers. All of the files will now load into the
Layers panel of the same Photoshop document.
and select Edit > Auto-Align Layers. Ensure only
‘Auto’ is ticked in the Auto-Align Layers window
and hit OK. Once the images are aligned you can
start the blending process by selecting Edit >
Auto-Blend Layers. Check ‘Stack Images’ and
‘Seamless Tones and Colors’ in the Auto-Blend
Layers window and hit OK to start the blend.
47
P rojec t three: Landscape
Poetry in
motion
Ross Hoddinott shares
five ways to get creative
with camera movement
I’m always looking for ways to capture a scene less
conventionally. In this instance, the blowy weather
was proving a challenge – but, rather than fight
the conditions, I embraced them and applied the
Intentional Camera Movement (ICM) technique
to create a sense of flow.
your subject
1 Select
Intentional Camera Motion doesn’t suit just
any scene or subject. Look for scenes boasting
colour, contrast and strong, recognizable shapes.
This field of swaying poppies provided an
opportunity to capture a less conventional photo.
slow
2 Go
ICM is a technique where you move the
camera during exposure to create a more abstract
rendition of the landscape or subject. The technique
requires a relatively slow shutter speed. A good
starting point is 1/2 sec, but experiment with
different speeds from 1/4 sec to a second or longer.
an ND on standby
3 Have
To generate a sufficiently slow shutter speed,
select a low ISO and a narrow aperture. You can stop
down as far as f/22 if necessary – the effects of
diffraction are irrelevant when the image is blurry
anyway! If that still doesn’t provide you with the
shutter speed you desire, attach a neutral-density
(ND) filter to extend the exposure time.
forget to compose
4 Don’t
Composition is always important, even when
you are blurring the subject! Here, I positioned
myself looking along the crop rows and used a short
telephoto length to frame the scene tightly, with a
row leading into both bottom corners of the frame.
and try again
5 Try
ICM is a hit-and-miss technique, so try
different shutter lengths and movements to achieve
a result you like. Keep your panning action smooth
– begin your movement just prior to releasing the
shutter and until just after the shutter closes.
48
www.digitalcameraworld.com
INTENTIONAL CAMERA MOVEMENT
Expert Tip
The direction and speed of
camera movement affect
the image’s feel and flow.
A vertical or horizontal
motion is the most common
way to pan the camera, but
diagonal, circular or backand-forth motions can prove
equally effective.
Using a low ISO and a narrow
aperture enabled Ross to
lengthen the shutter speed and
achieve this creative effect.
www.digitalcameraworld.com
Camera:
Nikon Z 8
Lens:
Nikon Z 24-120mm f/4 S
Exposure:
0.3 sec, f/22, ISO64
49
AFTER
VIE W THE
VIDEO
www.bit.ly/np166blend
BLEND 2
P rojec t four: Affinity Photo
BLEND 1
%OHQGIRFDOOHQJWKVLQ$ȫQLW\3KRWR
James Paterson creates a balanced landscape by blending two photos
- one wide, the other slightly zoomed in - to enlarge distant scenery
Sometimes you can walk away from a
location with the gnawing feeling that you
didn’t quite find the best angle. It happened
to me in Iceland here. I took lots of shots of
the famous Kirkjufellsfoss mountain and
waterfalls, but it was a struggle to capture
the waterfalls and mountain from my
position. I simply couldn’t frame the
foreground waterfall without leaving the
mountain looking puny in the distance,
when in the flesh it felt huge and imposing.
This is often the case when shooting
50
landscapes with a wide angle lens. We want
to capture the details in the foreground, but
the exaggerated perspective you get with a
wide angle can leave the distant elements in
the scene looking small and insignificant.
The only way to make the distant details
larger in the frame is to use a different lens
or move closer to them, but this can mess
up your foreground composition.
There’s a solution to the problem that you
may not have thought of: focal length
blending. For this we need to capture two
frames – one wide, the other slightly
zoomed in – then blend them together
afterwards. Some might call it cheating, but
it can result in better-balanced landscapes
that might even convey how a place felt at
the time more effectively than the
exaggerated wide-angle version. It’s not a
difficult editing task but it can work wonders
on landscapes. The two frames are taken
moments apart so the light remains
consistent, which makes blending them
together a simple task in Affinity Photo.
www.digitalcameraworld.com
AFFINITY PHOTO
a selection
1 Make
Open the two landscape images.
Go to the version with the distant details.
Look for a uniform area of the land that
can blend seamlessly with the other
frame. Grab the Lasso tool from the
toolbar then drag a loose selection over
the mountain and sky and along the grass.
and position
2 Paste
Press Cmd/Ctrl+C to copy the
area, then go to the other image and press
Cmd/Ctrl+V to paste it in. Go to the Layers
panel and lower the opacity of the top
layer to 50% to see the layer below. Grab
the Move tool and to reposition the top
layer. Drag corners of the box to resize it.
the background
3 Select
Bring the layer opacity back
to 100% then hide the layer. Grab the
Selection Brush and check ‘Snap to Edges’
in the tool options. Highlight the bottom
layer and paint with the brush to select the
sky, mountains and grass. Click Refine,
increase the Border Width and hit Apply.
a mask
4 Make
Click the Add Mask icon in the
Layers panel to add a mask to the bottom
layer. Hit Cmd/Ctrl+D to deselect then
Cmd/Ctrl+I to invert the layer mask so
that the sky and background is hidden.
Drag the top layer below the bottom layer
so that the larger background fills the
transparent area in the mask.
Expert Tip
the blend
5 Smooth
Fine-tune the positioning of the
distant details by repositioning or resizing
the bottom layer until you’re happy with
the balance. You might need to paint on
the layer mask of the top layer to smooth
the blend between the two images. If so,
highlight the mask thumbnail and paint
with a soft-edged brush tip. Paint black to
hide parts of the layer or white to reveal.
www.digitalcameraworld.com
Tidy the edges
6 Zoom
in to inspect the edges and, if
needed, paint on the mask to hide with black
or reveal with white, until the two images work
together. Make any tonal adjustments you like.
A Lens Filter adjustment layer adds a blue cast,
while an HSL layer mutes the colours.
When we need to make a
precise selection to isolate
part of an image, the Refine
tool in Affinity Photo is
hugely useful. Within the tool
you will find a Border Width
slider which lets you expand
or contract the area of
refinement along the edge.
Expanding the area can be
useful for tricky areas like
grass or tree branches. To
expand it further, you can
also paint with the Matte
tool, one of three brushes.
The other two, Foreground
and Background, let you pick
which areas should be
included (Foreground) or
excluded (Background).
51
BEFORE
10 FREE
CURVES
PRESETS
Download from
www.bit.ly/
np166curves
AFTER
P rojec t five: Adobe CC
Ahead of the curve
James Paterson gets to grips with the ultimate
tonal tool for making creative colour shifts
Curves has long been one of the best
tonal tools in Photoshop and Lightroom.
Whether you want to boost contrast, tweak
brightness, experiment with creative
colour shifts or make any number of other
adjustments, Curves is the tool for the job.
As one of the Photoshop old guard that
has been around for decades, Curves is
something many of us simply couldn’t do
without. Admittedly, it isn’t the easiest of
tools to master, and there are plenty of
other simpler options available – but
avoiding Curves would be a mistake. With
a little practice, it quickly becomes the
most intuitive and versatile of tonal tools.
52
You’ll find a Curves command in lots of
different image-editing apps. As well as
Photoshop, Camera Raw and Lightroom,
Curves features in Premiere, InDesign
and more, so it’s worth taking a few
moments to master the tool.
What’s more, there’s a welcome new
feature for Camera Raw and Lightroom
users. Curves can now be used in
combination with masking tools, so you
can isolate part of an image, then tailor
your curves to that area. Here, we’ve used
the feature to make a series of targeted
edits, selectively boosting the contrast,
darkening the sky and shifting colours.
VIE W THE
VIDEO
www.bit.ly/np166curves
Expert Tip
Curves is a great tool for
making creative colour
shifts. Target the red, green
or blue channel, then drag
the curve up or down to shift
colours. Red adds red or
cyan; Green introduces green
or magenta; and Blue shifts
between blue and yellow.
To load your free presets for
Camera Raw and Lightroom,
click the preset icon, open
the flyout menu and choose
‘Import Profiles and Presets’.
www.digitalcameraworld.com
ADOBE CC
curve line
1 The
Go to the Curves panel in Camera
Raw or Lightroom. The ‘curve’ is a straight
diagonal line representing the tonal range
of the image, with shadows on the left and
highlights on the right. You can drag a point
on the curve, known as an anchor point, up
or down to change the overall shape. At any
point where the line goes above the original
diagonal, the tones will become brighter.
Where it goes below, tones will be darker.
histogram
2 The
The histogram is a representation
of all the pixels in an image, based on their
brightness. On the left side are the darkest
pixels; and on the right are the lightest.
Peaks indicate high numbers of pixels at
that point in the tonal range. If they are
clumped to the left, the image is dominated
by dark tones. If more peaks are on the right,
there are more light pixels. Here, most pixels
are in the midtone range.
points
3 Anchor
Anchor points let us adjust our curve;
you can add up to 14. You can drag the line
up or down with one point or drag the line
up, then pin part of it back to its original
diagonal, to affect a specific range. Another
option is to drag part of the line above the
diagonal, and another part below. Lifting
the highlights on the right and lowering
the shadows on the left creates an S-curve,
which boosts contrast.
5
6
3
2
1
6
and output
4 Input
Think of Curves in mathematical
terms. When you place an anchor point,
you see an input and an output value. The
input tells us the point on the tonal range
that is targeted, from 0 (full black) to 255
(full white). The output is the change you’re
making, so if the input is 50 and you drag
the point down to 40, the pixels that were
originally at 50 on the tonal range have
been darkened to 40.
www.digitalcameraworld.com
Curves
5 Local
Curves has recently been added
as an option for making local adjustments
in Camera Raw and Lightroom. Make a
mask to target part of the image, then use
Curves to alter that area. Here, we used
AI Masking to isolate the sky, then
darkened highlights by dragging the top
of the line down and pinning back the
rest of the line. We added more masks to
change the colours and boost the subject.
4
points
6 Useful
The bottom-left point represents
the black point of the image. If you drag
this point up the side of the graph, you
can ‘lift’ the blacks, leading to a more
muted matte look. But if you drag it
inwards, along the bottom of the graph,
you can ‘crunch’ the blacks to make
them deeper. Drag the white point at the
top-right inwards to crunch the whites, or
downwards for more muted highlights.
53
VIE W THE
VIDEO
www.bit.ly/np166copy
54
www.digitalcameraworld.com
COPY ARTWORK
P rojec t six: The big projec t
The art of
copying art
Photograph paintings the right
way with James Paterson’s
camera and lighting skills
Whether you want to capture a painting like this, digitize old
prints or reproduce any kind of canvas, there’s real skill in
copying artwork with your camera. Not only do you need
the colours to be accurate, you also need to master the
spread, angle and quality of the light to minimize glare and
show the work at its best. This painting by the artist
Bryan Hanlon has a wonderfully subtle colour palette.
To reproduce the painting in print and digital form, it needs
to be captured in the right way.
It starts with your choice of camera, lens and exposure
settings. Then comes the lighting. This is where an efficient
setup can make all the difference. You’ll need two lights, and
if reflections and glare are an issue then you can cut
through them by setting up for cross-polarization. The
cross-polarization technique is known for the colourful
effect you get when capturing transparent plastics. But the
uses don’t end there. In a copy work setup it can be
invaluable. We just need a polarized source of light and a
circular polarizing filter on our camera. It takes moments
to set up but it has a magical effect on reflections, which are
often the biggest headache when capturing artwork.
We’re not just talking about big patchy reflections, but also
the tiny, weaker reflected light that can cloud out fine details
and brushwork. The technique completely eradicates
the reflections, which makes it especially useful for dark,
glossy paintings that are more susceptible to glare.
www.digitalcameraworld.com
55
Get set up for copy work
1 Lighting
For the perfect copy work setup you
need two lights. We used Elinchrom flash heads,
placed at 45 degrees to the painting on either
side so that the light was angled across the
surface and didn’t bounce back at the camera.
Ensure they’re at the same distance from the
painting and on the same power.
LEARN HOW TO POLARIZE YOUR LIGHT SOURCES TO
CUT THROUGH ALL REFLECTIONS AND GLARE IN PAINTINGS
sheets
2 Polarizing
Placing a pair of polarizing sheets over
polarizer
3 Circular
The lens has a circular polarizing filter.
our lights lets us eradicate reflections. These
are inexpensive and can be found online. Get at
least two to polarize two light sources, and
make sure they cover the entire light. Both
sheets must be oriented the same way so the
light is polarized at the same angle.
This works in combination with the polarized
light from the flashes. Turn on the modelling
lights on the flashes then rotate the circular
polarizing filter until the reflections disappear.
Back off the polarization if it loses too much
texture, or if you see a blue tint in the shadows.
5
1
6
3
4
choice
4 Lens
Lens sharpness is key – prime lenses
are ideal as they tend to be sharper than zooms.
If it’s too wide-angle you might see distortion. A
focal length around 70-100mm is ideal. A macro
lens will have minimal distortion around the
edges. You don’t need autofocus, so you could
buy an inexpensive but sharp manual prime.
56
camera
5 Parallel
It’s important that the camera is
parallel to the painting. You can usually eyeball
this, but it helps to turn on the grid on the
viewfinder/live view screen to help you line up
the edges of the painting. Fill the frame as much
as possible so that you maximize the resolution
of the artwork.
2
chart
6 Colour
Colour accuracy is vital, so use a colour
chart like the Calibrite ColorChecker Passport
here. This needs to be captured under the same
lighting and camera settings as the paintings,
so either fix it beside the painting or, if there’s
not room, shoot it in front. Create a colour
profile using the chart later.
www.digitalcameraworld.com
Tips and tricks
for glare
1 Watch
The magical result produced by the
cross-polarization process is the complete lack of
reflections, which makes it an invaluable technique
for photographing artwork – especially the challenges
of dark, glossy paintings. Here, before rotating the
circular polarizer on the lens, the artwork picks up
a nasty reflection from the light source.
all reflections
2 Remove
After turning the polarizer, the
polarizers? Try this
3 No
If you don’t use polarizing filters,
reflection is gone, and the gold frame on
the left is almost black. This is the effect of
cross-polarization, the near-complete lack
of reflections. Small details can look
crisper, and the white flecks you often see
in photographed paint strokes disappear.
then all of the other tips mentioned here
still apply. Place two lights either side of
the artwork at 45 degrees, at the same
distance and same power setting. You can
use softboxes if you have them to diffuse
the light for a larger spread.
the spread
5 Check
We want the spread of light across
lights
6 Consistent
If you’re using more than one light,
the painting to be even. To easily check,
we can shoot a piece of white card and
examine whether there are any hotspots.
It can be easier to see if you underexpose
slightly, so temporarily close down the
aperture. If there’s uneven distribution,
back off the lights and increase the output.
avoid mixing brands or types of lighting.
Two of the same lights set to the same
power are ideal. Look for lights with a high
CRI (colour rendering index) rating. If
using modifiers, such as softboxes, make
sure they’re the same, as light takes on the
colour of any surface it bounces off.
www.digitalcameraworld.com
settings
4 Camera
Set your camera to shoot in Raw
format. As for exposure, use Manual mode
and set ISO100. Set aperture around f/8
and shutter speed 1/200 sec. Take plenty
of test shots and adjust the power of your
flashes (keep them both the same power)
until the light looks right.
57
Editing tips
FINISH OFF YOUR COPY WORK WITH SIMPLE PHOTOSHOP TRICKS
to the edges
1 Crop
You’ll probably need to crop the image
a drop shadow
2 Make
Consider adding a drop shadow. This
to the proportions of the artwork. But you may
find that the camera was not perfectly level or
parallel to the artwork. Try using the Perspective
Crop tool in Photoshop. This allows you to plot
points in the four corners of the painting, then
crop to make it perfectly rectangular.
can help the art stand out. In Photoshop, crop
to the edges then duplicate the layer (Cmd/
Ctrl+J). Go to Image > Canvas Size to extend
the canvas. Click the FX icon in the Layers panel
and choose Drop Shadow, then use the settings
shown and drag to change shadow's angle.
upsizing
3 Try
You may need to reproduce something
on a larger scale than the original artwork. If so
you can use upscaling in Photoshop, but don’t
push it too far. Try the Super Resolution tool in
Camera Raw. Right-click the image and choose
Enhance then check Super Resolution. A new
DNG file will be created that’s double the size.
Accurate colours every time
USE A COLOUR CHART AND CREATE CUSTOM PROFILES IN PHOTOSHOP AND DXO PHOTOLAB
If you want accurate colours,
you need to invest in a
calibrated colour chart.
Priced at £109, the Calibrite
ColorChecker Passport we
used isn’t cheap, but it is
very accurate. After taking a
Raw photo with the chart in
shot, we can use the bundled
software to create a profile. If
you have an Adobe account,
the Profile is saved in the
Adobe Profiles folder on your
drive. When you next open
Lightroom or Photoshop’s
Camera Raw the profile will
be listed in the Profile
Browser, ready to be applied
to other images. DxO
PhotoLab 7 (and above) has
a dedicated calibration tool
that streamlines the process:
simply choose the chart from
the list in PhotoLab, drag a
grid around it in the image,
and save the profile. You’ll
need to take a shot and make
a new profile every time you
change your lighting setup.
58
www.digitalcameraworld.com
THE N-PHOTO INTERVIEW
60
www.digitalcameraworld.com
KONSTA PUNKKA
Finland’s Konsta Punkka is a rising star
in the crowded world of wildlife
photography. The young Nikon
Ambassador tells Keith Wilson why he
owes his success to his obsession with
foxes, sharing Instagram and working
with some ‘old-school’ mentors…
● Wildlife photographer and ‘squirrelwhisperer’, Konsta Punkka is a
30-year-old Nikon Ambassador,
based in Helsinki, Finland.
● When he was 17, his photographic
hobby turned into a full-time job and
he now spends 200 days a year abroad
on commissioned work.
● His commercial clients include
outdoor, technology and lifestyle
brands such as Reima, Mercedes,
Karhu, Nokia, Samsung, Teknos
and Dermosil.
● Konsta’s wildlife and landscape
imagery has been published by Time,
Bored Panda, National Geographic,
Geo, Daily Mail, Elle and other major
media titles.
● He also specializes in leading photo
workshops in eastern Finland, as well
as tours to the spectacular Arctic
destinations of Lapland, Svalbard
and Greenland.
www.konstapunkka.com
www.digitalcameraworld.com
All images: Konsta Punkka
Konsta
Punkka
Profile
61
THE N-PHOTO INTERVIEW
hen I speak
to Konsta
Punkka, he is
sitting in his
car and
rubbing his
eyes. It’s
lunchtime on
the last
Thursday in
June and Konsta is
in the middle of a
shoot in southern Finland,
but he’s only just woken up. “I’m
sorry,” he says, “but we have been
shooting wildlife in the night-time
and sleeping during the daytime.” I
apologize for interrupting his sleep
and then remark that even at
night-time there is a lot of summer
light around in Finland, so sleeping
by day can’t be that much different.
“Actually, it’s a really good time to
photograph because you have nice
golden light throughout the whole
night,” he says. “The sun still goes
down a little bit in the southern part
of Finland but the light remains.”
Konsta reckons he spends about
200 days abroad each year, but
always prefers to be in Finland for
the bright Nordic summers and
freezing white winters. Despite these
contrasting seasons, they are his
favourite times for his highly
acclaimed nature photography…
These are two extreme times
of year for photography. Why
do you like them the most?
I think summer in the Nordic region
is the best time for wildlife
photographers because the animals
move around in the night hours, and
by switching your sleeping schedule
and staying out at the same time as
the wildlife you can have some
amazing encounters. It’s also when
most of the animals are having their
babies so there are a lot of things
happening at the start of the
summer. The harsh winter I like also
because it’s more extreme weather,
which means more extreme pictures
– the harsher and colder it is, you
can see it captured in the pictures.
Even the animals can be spotted
suffering from the cold.
Previous page:
Two of Europe’s
iconic mammals,
a Eurasian wolf
and European
brown bear, come
face to face in a
forest clearing in
eastern Finland.
Below: A red
squirrel hangs onto
a tree with its hind
legs while tucking
into a peanut
stolen from a
nearby birdfeeder.
Right: To get a
better idea of the
size of this iceberg,
look closely at the
bottom right to
see a polar bear
resting close to
the water’s edge.
As a teenager, which interest came
first – photography or nature?
I started with music photography,
shooting bands and people. When
I want to see this
area as my exotic
place and show it to
the rest of the world
I was 15 or younger, I always spent
our summer holidays in our cabin so
nature was always part of it too, part
of my normal routine. But I didn’t
come into photography from a
birdwatching background like many
others. I enjoyed photography for a
few years as a hobby then started
seeing wildlife and landscape
pictures on the internet, in books and
articles, and I was instantly hooked.
Then, one summer holiday, I went
out to the forest in the night-time and
saw my first foxes. I thought, “Yes,
this is the thing that I’d like to do.”
Finland has produced some superb
nature photographers, how much
of an inspiration were they to you?
When I started out, I had an amazing
62
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KONSTA PUNKKA
chance to know Jari Peltomaki and
other well-known, old-school Finnish
wildlife photographers. They
showed me their hides and they let
me come and join them because
they could see that I was so eager to
learn. I think they probably saw in me
something they had when they were
younger. They were kind enough to
take me when they were
photographing eagles or owls, and
I picked up really good information
and amazing knowledge from them.
A golden opportunity to learn from
great mentors. You can’t put a
price on that, can you?
No, you can’t. It’s really something
– they have spent years and years
doing their craft and the
www.digitalcameraworld.com
TAKE A WALK ON
THE WILD SIDE
ONE YEAR, KONSTA SET HIMSELF THE TASK
OF FINDING WILDLIFE IN THE MIDDLE OF A
MAJOR CITY TO GET A PICTURE THAT WOULD
SURPRISE EVEN THE LOCAL RESIDENTS…
Which photos stand out as major moments?
I was in New York City and my sole focus was to show
that even in the biggest cities you can find wildlife. I was
walking in Central Park, and after a few hours I went to
sit by the lake. Suddenly, two raccoons stood up against
the fence and started playing around. I used my 50mm
lens and shot them with skyscrapers in the background.
That photo was a real eye-opener for some people.
63
THE N-PHOTO INTERVIEW
knowledge they have and the
appreciation for nature and wildlife,
it’s amazing to be there with them.
Of course, when I get older I want to
do the same for the young ones, to
keep it going.
What was it about foxes, in
particular, that fascinated you?
Foxes have always been my numberone subject. It’s mainly red foxes. I
have photographs of Arctic foxes as
well and other foxes from around the
world. For me, wildlife photography is
not about going to Africa or trying to
find the rarest animal to tell a story
about conservation. It’s more about
looking at the local forest next door
where you find badgers and foxes.
I was so hooked that there was a
family of foxes that I had absolutely
no idea about, living in the forest
nearby. That realization and showing
that to people was maybe the first
reason. The fox is something that I
love because I can photograph them
in a park in Lapland or, as I have been
doing the past few days, surviving
in completely urban areas.
Yes, foxes are a great animal for
connecting people to wildlife in
city environments.
Exactly. It’s something I love, to show
the contrast. It’s not always beautiful
nature, you might also have a
massive, crazy factory in the
background with a fox family
living in front of it.
You’re also known as a ‘squirrel
whisperer’? Tell me more!
Well, it was Instagram. When I
started out as a teenager and
Instagram was fairly new, I didn’t
have too much knowledge about
where to find wildlife. There is this
island near my home in Helsinki, and
in winter there are birdfeeders, and
that attracts the red squirrels too.
So, that was the easiest place to
start, going out to that island and
seeing what I could find. In winter,
the red squirrels got very fluffy
from eating all that birdseed, so
I photographed them and posted
those images on Instagram, just
to get some photographs out
there and communicate with
other wildlife photographers.
Did you get a good response?
Yes, other people started to like my
photos of squirrels, so I went out
64
there every day to share the life of
squirrels on Instagram. When they
find a peanut, they might go to a tree
and hang down to eat it with their
front paws while holding onto the
tree with their back feet. I got a few
photos like that and they just went
viral. Then people started to say, ‘Ah,
you’re the squirrel whisperer!’ So, it
came from the Instagram fans, not
from wildlife photographers, but
from normal people who just enjoyed
my photos of the life of the squirrels.
What do you like to photograph
now with your wide experience?
Once I had developed a bit of a name,
there was a time when I was
travelling quite a bit with some
amazing photographic opportunities.
Now, after 15 years of photography,
I’m coming back more to Nordic and
European nature. For me, one of the
most interesting things is to show
animals in the city environment. For
example, last spring I spent quite a
few nights in London to shoot
landscape photos of foxes, to show
In the Nordics and my
home I don’t need to
travel to Africa or
anywhere else exotic
Above left: Portrait
of an Arctic fox
photographed on
the Norwegian
archipelago of
Svalbard.
Above right: A red
fox in mid-leap
while hunting for
small prey in a
Finnish forest.
Right: Konsta has
photographed a
family of urban
foxes thriving in
an industrial
landscape not far
from his home.
them in urban environments. It’s the
same here that I’ve been doing this
past week, to document the foxes in
factory areas. It’s made me realize
that in the Nordics and my home I
don’t need to travel to Africa or
anywhere else exotic. We have plenty
of wildlife photographers
documenting that already.
You just have to give yourself the
time to look for the local wildlife?
Exactly. That’s always been the
number-one ambition for me. I want
to see this area as my exotic place
and show it to the rest of the world.
Instead of scrambling around the
world and photographing lions too
much, it’s more about foxes and
badgers and raccoons and all kinds
of amazing wildlife that’s out there all
the time. We’re just too busy, as
humans, to acknowledge their
presence in our everyday life.
If I can show that to people, I think
that’s really something special.
Have you always used Nikon?
I started with Nikon when I was 15.
I had a family member, a mentor
of mine, who was a studio
photographer. I spent a summer
holiday in Finland where my job was
to photograph old Nokia phones and
all kinds of products, and borrowed
his camera. Then I saved up some
money and asked him which camera
I should buy. He was shooting
www.digitalcameraworld.com
KONSTA PUNKKA
Nikon, so I bought a Nikon so I could
borrow all his amazing lenses for my
photos outside.
Which Nikon model was that?
A Nikon D5100. It was my first DSLR
camera. After a while, I saved some
more money and got more gear.
I probably shot my first eight years
with Nikon. Then Olympus came
onto the market and there were big
names on Instagram they wanted on
board, and I was with them for three
or four years. Then Nikon came back
to me and made me a Nikon
Ambassador. But I had always kept
my Nikon gear in the background!
What’s the core kit that you pack?
I have the Z 9, which is my main
camera for pretty much everything,
and I have the Z 7II and the Z 5. The
66
Z 7II is my second camera and the
Z 5 I use as a remote-control camera.
With those I have the 14-24mm
wide-angle lens, the 35mm, 50mm,
70-200mm and the 400mm f/2.8
prime lens, that’s the longest lens
I have. I don’t have a 600mm or
800mm. I like to photograph animals
in the landscape instead of as long
lens portraits. Wearing camouflaged
clothing means I can get quite close
to my animal subjects. If they are
city wildlife, you can get quite close
in urban environments anyway.
Do your homework,
develop your craft and
be passionate about it
Above left: A pair
of young ibex size
each other up on
a rocky ledge,
against the snowy
backdrop of the
Swiss Alps.
Above right: A
rising moon makes
a spectacular
backdrop for this
long-lens shot of
an elk in the
twilight.
Do you ever use camera traps?
I’ve been trying. A few times on a few
projects, but it’s not something I
usually use. I like to be there myself
to take the photo. If I have remotecontrol cameras, it’s either the
remote trigger or the auto-capture,
which is the camera sensor itself
detecting the passing animal. I still
want to have control over capturing
those magical moments, so I prefer
to take the picture when the animal
is in the right place, instead of just
leaving the camera out to do it
automatically when I’m not there.
Which lens in your kitbag do
you regard as your go-to lens?
Normally, it’s the 400mm f/2.8
because it’s a good lens to start with.
Like, the first time you see a fox it’s
usually with a long enough lens.
www.digitalcameraworld.com
KONSTA PUNKKA
ONLINE DEDICATION
KONSTA BELIEVES SHARING HIS
IMAGES ON SOCIAL MEDIA HAS BEEN VITAL
TO RAISE HIS PROFILE AND PROMOTE HIS
WILDLIFE AND COMMERCIAL PHOTOGRAPHY
What are you doing in your marketing and
promotion approach to maintain your success?
Instagram and the internet was important in the
beginning. I was so into my hobby that I just wanted to
share it and I wanted to find other like-minded people.
My photos got a lot of attention all over the internet.
Some went crazy viral and then there were hundreds
of articles about my work in nearby forests and the
creatures you can find next door. It was a new
perspective for wildlife. So, Instagram gave me the way
to get my name out there. Over time, I have also
published books and entered competitions as well. It’s
all about dedication to your craft, working hard and
sharing your work. Then people can judge if you’re good
enough. Anyone can make it and, because of Instagram
and the internet, I was able to switch to being full-time.
on the situation. For wolves, I might
get a loan of a Nikon 800mm for a
few weeks, but mainly it’s the
400mm for hide shoots and for
shy animals as well, where you
have to wear camo clothing and
hide because their hearing and
smell is so incredibly acute.
I spend time out in the field in the
evening, during the night and early in
the morning, so you need the
aperture power to let in as much light
into the lens as possible in the dark.
The 70-200mm is my next go-to. If I
have already spent a few days with
the same fox family, I can attempt
some different landscape shots of
the wildlife, so the 70-200mm is
quite nice because you can crop in
and take nice close-ups and then
zoom out and take the wider scene.
Those two are my main go-to lenses.
Are they the lenses that you
use for photographing bigger
mammals like bears and wolves?
Yes. You are sitting in a hide in
eastern Finland and you have a
400mm on one camera and a
70-200mm on the other, depending
www.digitalcameraworld.com
You’re sailing to Scoresby Sund,
Greenland, in September. Have
you been there before?
I was there in June last year for a
10-day sailing trip. It’s absolutely
amazing. I went there with one of my
friends and then I thought this could
be a great trip to do with my
workshop people. So, we’re all going
to make the trip this September.
Do you enjoy photographing
landscapes, especially in a
special place such as that?
Yeah. Landscapes have always been
a big part of my photography.
Sometimes, I do more landscapes
than wildlife. When I started out it
was solely wildlife and then, for
many years, I only photographed
landscape and commercial work,
and sometimes if I could find animals
I would include them. But three years
before Covid came, I started full-time
again on wildlife and I haven’t
stopped since then. The landscape is
an important part for me as a wildlife
photographer because it helps me to
see the big picture beyond the
animal as well.
Yes, it’s about composing the
subject in those amazing settings.
When I see a fox, I don’t just rush into
the situation with a long lens, it’s
more like, ‘okay, the fox is running
there now, maybe if I loop around I
can capture it in the landscape with
the rising sun in the background.’
In Greenland, you have such amazing
but fragile nature, so you want to
capture the landscape and icebergs
as well. I have my 400mm lens with
me if we encounter polar bears, but
the voyage is mainly to capture the
crazy landscapes on offer.
What advice would you give
to someone who wants to be
a successful wildlife and
nature photographer?
I always recommend people go out
there and just photograph as much
as possible because you can learn
the basics from books and YouTube.
Regarding wildlife and landscape
photography as a career, you can’t
really predict it. Just keep it as a
hobby as long as possible because
it’s something that you don’t want
to ruin with too many eager career
goals, or because you want to
achieve competition wins. If you just
have the passion for wildlife and
nature and you manage to capture
some amazing photos, everything
else comes by itself. It’s all about the
pictures and the stories you can tell
about the wildlife we live with.
There’s no real shortcut.
And keep posting on social media?
When we’re using social media, for
the younger generation the use of
Instagram helps to find like-minded
people and to get your photographs
out there. There’s no point keeping
your photos on your computer
without sharing them anywhere.
It’s very important to get your work
out there so that it is recognized.
But I would also recommend to
participate in competitions and
appreciate the older generation
about how they have approached
their projects. Do your homework,
develop your craft and be passionate
about it. Then you can achieve your
goals – sometimes by happy
accidents as well.
67
ON ASSIGNMENT
1
Bear necessities
Artist LUAP explains why he travels the globe
in the company of a life-sized pink bear, along
with a back-breaking quantity of Nikon gear…
’m a multidisciplinary artist,
working across painting,
photography, print and
sculpture. When I’m not in
my studio, I’m exploring the
world with my camera and
the Pink Bear. The work
I create draws on my life,
especially my ongoing
journey of improving my mental
health through personal growth.
Also fundamental to my work are global
issues, such as environmental changes
and experiences of isolation.
The Pink Bear emerged from the
recesses of my childhood memories,
surfacing during my exploration of cognitive
behavioural therapy. Initially, I viewed the
Pink Bear as an alter ego: a mask concealing
my true self beneath a veneer of a happy
memory. Yet relying on this character to
navigate the world only fuelled negative
coping mechanisms, reinforcing the belief
that I didn’t quite fit in.
Over time, however, the Pink Bear also
underwent a transformative journey,
evolving into a beacon of strength and
68
resilience – qualities I aimed to embody.
Today, the Pink Bear symbolizes hope.
In the company of the Pink Bear,
contrasting landscapes become a canvas
for storytelling – mountains, surreal realms,
bustling cities and remote corners of the
world provide the stage. As my constant
companion, the Pink Bear transcends the
confines of youthful innocence, stepping
into a delicate space between reality and
make-believe.
In the pink
The photographs I create while travelling
are never computer-generated or collaged
together. Each shot of the Pink Bear is
achieved by a real figure wearing a humansize character suit. For me, there is a sense
of nostalgia and romance about taking my
photographic works live, rather than faking
the Pink Bear in post-edit.
In an age where everyone has a camera
in their pocket, to use full camera gear is
key to the authenticity that is so central
to my work. This commitment is also
a physical challenge as I negotiate the
practicalities of taking heavy equipment
(20kg) on missions that are frequently
arduous, if not flat-out dangerous.
Along with my Nikon D850, I use Nikkor
35mm, 50mm and 85mm f/1.4 primes, a
Nikkor 105mm f/2.8 macro, and the ‘Holy
Trinity’ of Nikkor 14-24mm, 24-70mm and
70-200mm f/2.8 zooms; plus Profoto
lighting kit and various tripods and stands.
While I once preserved my Nikon cameras
meticulously, worrying about their pristine
condition, I now embrace their use, even
if it means a splash of paint, a smudge of
dirt or a few scratches (a Nikon went under
a wave in Australia, and it still worked). They
are tools meant to be utilized, not stored
away for special occasions.
Overthinking the process, I believe, holds
back artistic expression. Understanding
the craft and its fundamentals is key:
education empowers you to break free
from rigid processes and explore new
possibilities and expressions.
LUAP recently announced a grant of
€250,000 to establish the LUAP Pink
Bear Scholarship, in collaboration
with The University of Europe for
Applied Sciences. For more details,
see www.luapstudios.co.uk
The Pink Bear transcends
WKHFRQȩQHVRI\RXWKIXO
innocence, stepping into
DGHOLFDWHVSDFHEHWZHHQ
UHDOLW\DQGPDNHEHOLHYH
www.digitalcameraworld.com
LUAP
2
3
4
5
[1] Time Can Escape You –
Chilterns, UK.
[2] Happy Camper –
Mexico City, Mexico.
[3] Rise Above Yourself –
New York, USA.
[4] Purple Star Light –
Lake Tekapo, New Zealand.
[5] The Eagle Rider –
Altai Mountains, Mongolia.
Images: © LUAP
[6] Amore – Venice, Italy.
6
www.digitalcameraworld.com
69
The only camera manual you’ll ever need...
70 Nikon Know-How Learn
72 NX Studio Edit only the
74 Nikon Rewind Nikon’s
76 Ask Matthew Best lens
how to best set up dual card slots
colours you want to change
first SLR changed photography
for bird photography, and more
Images: © Getty
For unrepeatable shooting
scenarios, like weddings or
travel photography, making
instant backups on a second
memory card as you shoot
gives real peace of mind.
NIKON KNOW-HOW
Dual card slots explained
Here’s how to double up on the potential of dual memory card slots
Sometimes twice as much really is twice
as good. Compared with the high-end Nikon
DSLRs before them, the first mirrorless Z 6
and Z 7 cameras were criticized for only
having a single memory card slot. That
removed the safety net of being able to
create instant backups on a second
memory card every time you press the
shutter button – as well as denying a whole
lot of other options we’ll come to later.
Another problem for many of us was that
the single slot of these cameras only took
the relatively uncommon XQD memory card
type, which are comparatively expensive
to buy and completely different to the SD
(SecureDigital) cards most of us have
70
amassed. Fortunately, the Mark II editions
of these cameras fell into line with the
majority of other high-end Nikon DSLRs
and subsequent mirrorless cameras by
featuring dual memory card slots, including
an SD slot, which enable you to enjoy
a wealth of useful functions.
TWO CARDS, MANY OPTIONS
If you have two memory cards in your
camera, the first thing to do is to choose
which slot to use as the ‘primary’ or default
card. You can do this separately for stills
and video. There are then three main
choices for use the secondary card,
which we’ll cover on the following page.
One factor to bear in mind is the speed of
your installed memory cards. One of the
reasons that Nikon went with XQD for its
mirrorless full-frame cameras was that it
was faster than SD Card; so XQD was better
suited to the likes of shooting 4K UHD video,
and could clear the memory buffer much
faster when shooting stills in high-speed
continuous drive mode.
However, the latest UHS-II class of SD
cards can deliver similarly fast speeds.
Indeed, while the top-flight Nikon Z 9 has
dual XQD/CFexpress card slots, the Z 5 has
dual SD UHS-II slots, and the downsized Z f
has one SD UHS-II slot alongside a smaller
microSD slot.
www.digitalcameraworld.com
NIKON KNOW-HOW
A game of cards
Here’s how to set up dual memory cards and make best use of them
LOAD UP
XQD cards (and CFexpress memory cards, which typically work in the same
slot) are expensive compared with SD cards. Even so, they’re an essential
purchase for many cameras if you want to take advantage of using both slots.
Sony XQD and Lexar SD cards, pictured here with a Z 6II, both click in securely,
and require a secondary push to release the catch for extracting them.
FORMAT ALL AREAS
It’s always a good idea to format your memory cards in-camera, rather than
in a card reader. When you go to the Setup Menu in a Nikon with dual card slots,
you get options for formatting each card individually. You’ll get a warning
message saying that all images will be deleted. When you format a card,
do not remove the card or turn off the camera until the process is completed.
PICK A CARD
Go to the Photo Shooting Menu and select ‘Primary slot selection’ from the
list. Here you can choose the card slot you want to use as the default for saving
still images. Use the up/down sections of the Multi Selector to highlight your
chosen card and press OK. If you later remove the memory card from your
primary slot, the camera will save stills to the alternative card slot instead.
SECONDARY SLOT OPTIONS
Just below ‘Primary slot selection’ is the ‘Secondary slot function’ option.
With ‘Overflow’, the camera will start saving images to the secondary card if the
primary card becomes full. With ‘Backup’, images are saved to both cards at the
time of capture, creating an instant backup. With the third option, Raw files are
stored to the primary card, while JPEGs are stored to the secondary card.
MOVIE DESTINATION
Head to the Movie Shooting Menu and you’ll see ‘Destination’. This works in a
similar way to ‘Primary slot selection’ in the Photo Shooting Menu, but for video
instead of stills. You’ll notice that, as well as choices for selecting either card,
the camera displays the total recording time available. If you often shoot stills
and video, it can be useful to use a separate card slot for each type.
PHOTO COPIES
If you’re travelling or on location, it can be useful to back up your stills and
video to additional cards, without having to bring a laptop or other device. In the
Playback Menu, there’s an option to ‘Copy image(s)’. Select the source memory
card from which you want to create copies, then select specific images or video
files, or simply select ‘ALL’ to back everything up.
www.digitalcameraworld.com
71
NIKOPEDIA
4
1
9
3
5
6
8
7
2
Ni kon NX St ud io
Where to get
Nikon NX
Studio
FREE DOWNLOAD!
NX Studio offers a suite
of tools for viewing,
processing and editing
images, and is tailored for
processing Nikon Raw files,
with the advantage that it
perfectly replicates Picture
Controls and other camera
settings. As new cameras
and firmware features are
introduced, NX Studio will
be the first software to
support them. It is free for
Windows or macOS users
from the Nikon website at:
http://bit.ly/nxstudio
72
Take control of colour
George Cairns shows you how to selectively adjust
colours in Nikon’s free NX Studio software
When you’re processing a
portrait, you might want to make
your subject’s surroundings –
such as the sky and trees in our
start image – look punchy and
vivid. But simply ramping up
the saturation may overcook
the skin tones, making them
look too magenta or orange.
You could set your Nikon to the
Portrait Picture Control option,
which is designed to keep skin
tones looking more natural, and if
you shoot in Raw you can always
set [PT] Portrait Picture Control
when you process the image in
Nikon’s free NX Studio software.
However, although the Portrait
Picture Control can help you get
more natural-looking skin tones,
you may still want to increase the
saturation of other colours to
create a more punchy and
attractive image.
Lightroom’s Vibrance slider
selectively boosts less-saturated
nature colours (such as blues and
greens) in an image without
oversaturating skin tones.
NX Studio lacks a Vibrance slider,
but you can tick the People or
Nature buttons in the Color
Booster panel to target particular
and adjust specific colour ranges.
For example, if you tick People
and drag the slider right, the
skin tones will be protected
from being oversaturated.
To selectively adjust the
saturation of individual colours,
we can use the LCH panel’s
Chroma drop-down option to
make the sky in our image look
more vibrant, while preserving
the original saturation of the girl’s
skin tones. We can also adjust the
saturation (or lightness and hue)
of specific colours.
www.digitalcameraworld.com
NX STUDIO
How it works: Chroma Curves
Use NX Studio’s Chroma adjustment to selectively enhance colours
LCH PANEL
1 To access the LCH panel, click here
to toggle open the Lightness, Chroma
and Hue Adjustment palette. This will also
give you access to the very useful Color
Booster panel.
click on the ’Switch to before and after view’
icon. Above the Before image is a handy
‘Restore before image to its starting state’
icon, so that you can see its original,
unprocessed colours.
COLOR BOOSTER
CHROMA CONTROLS
3 To access the colour-tweaking Chroma
Curve adjusting tools, click this drop-down
menu in the LCH panel and select Chroma.
RESET THE CURVE
BOOST THE BLUES
5 To enhance the slightly muted-looking
sky and give it more impact, we’ve placed
an anchor point on the section of curve that
controls the blues. By dragging the curve
upwards, we can selectively increase the
vibrancy of the blues in the sky without
over-saturating skin tones or other colours.
REDUCE PINK SATURATION
6 The pink hose and the stripes on
the girl’s top look a little garish in the
unprocessed picture, and they overpower
the more subtle colours. By dragging this
point in the graph downwards, we can
desaturate these colours just enough that
they don’t distract the eye.
NARROW THE ADJUSTMENT RANGE
BEFORE AND AFTER
4 It’ll be a great deal easier to gauge the
effectiveness of your colour adjustments
if you compare the original image with the
processed version, side by side. To do this,
PROTECT NEUTRAL COLOURS
8 When you adjust an anchor point
to increase saturation you can easily
oversaturate neutral (grey) colours. Tick
this box to protect neutral colours from
being adjusted.
2 To selectively boost the saturation of
typical nature colours such as blues and
greens, click the Nature button and drag
the slider right. However, this can also
oversaturate Caucasian skin tones. To
protect skin from turning orange, tick the
People button then drag the slider right.
anchor point, click on the point and drag the
Width slider to the left.
7 When we boost the colours of the
horse, we run the risk of making similar
skin tones become too warm and oversaturated. To narrow down the range of
colours that are adjusted by a particular
9 If you’re not happy with the result and
want to try again, click here to reset the
Chroma Curve to a straight line. This will
restore the photo’s adjusted colours to
their original states.
Jargon Buster
Color Lightness
This adjustable property in the LCH
panel is similar to Brightness or
Luminance in other image editing
apps, and adjusts how bright or dark
the image tones are.
Chroma Curve
Initially the Chroma Curve is
a straight horizontal line. By placing
points on the line and moving them
up or down, you create curves that
increase or decrease the saturation
of the corresponding colours.
STEP-BY-STEP
Sample and adjust specific colours in seconds
HERE’S HOW YOU CAN USE ANCHOR POINTS TO ALTER PARTICULAR COLOURS IN YOUR IMAGES WITH EASE AND PRECISION
1
SAMPLE THE SKY
Download our source file, portrait_start.NEF.
Click the LCH icon, and select Chroma from the
drop-down menu. Click the Add Anchor Point icon,
then click in the blue sky with the eyedropper to
sample that colour. A new square anchor point will
appear on the currently horizontal curve.
2
ADJUST THE SAMPLED COLOUR
Click on the square anchor point on the Chroma Curve,
and drag it upwards to increase the saturation of the
sampled sky colour. To include a wider range of blues
in the adjustment, so that all the tones in the sky are
boosted, drag the Width slider beneath the colour
graph to 0.10.
3
ADJUST HUE
Set the drop-down to Hue. Click the Add Anchor
Point icon and sample the blue sky again to add an
anchor point to the Hue curve. Drag the anchor
point downwards to remap the blues to a more
cyan hue. Set Width to 0.20 to adjust a wider
range of blues.
Download the project file from: https://bit.ly/nxs166
www.digitalcameraworld.com
73
NIKON REWIND
Nikon F
Nikon’s first SLR went to war, summited Everest and was
blasted into space. It introduced the world to F mount –
and left an indelible mark on the history of photography
The Nikon F is arguably the most
important camera Nikon ever released.
Every Nikon SLR and DSLR’s lineage can
be traced right back to this legendary
camera, launched in 1959. It was, then,
Nippon Kogaku’s first single-lens reflex
device, debuted the legendary F mount
and was quite simply the most advanced
SLR of its time. The camera combined a
truly formidable roster of mod cons
including easy access for loading/
removing film, depth-of-field preview
button, spring-loaded reflex mirror, mirror
lock up and an automatic diaphragm.
THE BEST AROUND
As the years rolled by, the Nikon F just
kept getting better and better, thanks to a
raft of modular accessories and upgrades
including interchangeable backs, prisms
and motor drives. It was the first SLR
compatible with a motor drive for 4fps
burst shooting (later models maxed out at
9fps). The camera was produced right up
until 1973, making it a faithful companion
for many photographers documenting the
Vietnam War. It even summited Everest in
1963 and was used to document NASA
missions including Apollo 15. A wide
variety of pre-AI lenses were released for
the system, with a plethora of future
F-mount offerings also compatible. The
F was succeeded by the F2 in late 1971.
Specifications
Film: 35mm
Mount: F mount
Focus: Manual
Exposure: Manual
Metering: No light meter
Shutter speed: 1/1000 sec
Lenses: Pre-AI, converted AI, AI, AI-S.
AF, AF-D, AF-I, AF-S (partially compatible)
Weight: 685g (24oz)
74
www.digitalcameraworld.com
NIKON F
Nikon F Photomic
The Nikon F Photomic was released in
1962. This was an evolution of the Nikon
F – as opposed to a whole new camera
– thanks to the addition of Nikon’s
Photomic viewfinder. This added a
built-in light meter, which was
subsequently upgraded in 1965 and 1967
via two more advancements in the
Photomic T and Photomic TN,
respectively. The Nikon F Photomic T
brought with it the world’s first TTL
metering system for an SLR camera,
while the TN added the world’s first
centre-weighted metering system. Proof
that even after its release, the Nikon F
continued to break new ground.
www.digitalcameraworld.com
75
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
use a D500 with a
Q I500mm
f/5.6 lens for
small birds in low light under
a woodland canopy. Should
I upgrade to a Z 8, or get a
400mm f/2.8 lens?
Not to be confused
with the ‘DX’
editions of Nikon’s
70-300mm lenses,
the AF-P is fullframe compatible,
should you upgrade
to an FX camera.
Mark Tims
Shooting small birds in the
shadows is a real challenge. If you
were to upgrade from your D500
to a Z 8, you’d naturally lose the 1.5x crop
factor advantage of a DX camera, although
you’d have a much higher-resolution image
sensor to enable more aggressive cropping.
Either way, a faster lens with a brighter
aperture would be a major benefit.
The Nikon AF-S 400mm f/2.8E FL ED VR
is a fabulous lens – but it’s hugely expensive
at around £12,999/$11,197, and you’d lose
a little telephoto reach. I’d recommend the
superb Sigma 500mm f/4 DG OS HSM
Sports. It’s scored very highly in our Big
Test of super-telephoto lenses back in issue
143. For a 500mm prime lens of its speed
and quality, it’s competitively priced at
around £4999/$5999.
A
have a Nikon D3400
Q Iand
a D7500, which
I use with a Nikon AF-S
70-300mm for air shows.
Can you recommend a lens
that will give better image
quality and performance?
Mike Davenport
I’d go for the newer edition of the
lens you have, namely the Nikon
AF-P 70-300mm f/4.5-5.6E ED VR.
It’s optically sharper, and has a better Pulse
stepping-motor-based autofocus system,
improved 4.5-stop VR stabilization and
a more accurate electromagnetically
A
controlled aperture diaphragm. It’s simply
a great lens that’s refreshingly compact and
lightweight, and costs around £589/$547.
That would be my first choice as an
upgrade, but the Sigma 100-400mm
f/5-6.3 DG OS HSM Contemporary is also
a very good and cost-effective lens, with an
effective zoom range of 150-600mm on
your two Nikons. That one costs around
£749/$799. Both of these lenses are
incompatible with some older Nikon DSLRs,
due to their electromagnetically controlled
aperture diaphragm and Nikon’s Pulse
autofocus system, but are fully compatible
with your D3400 and D7500.
told me
Q Somebody
that the Focus Peaking
option in my Z fc can be
helpful for accurate
manual focusing.
Can you explain
how it works?
Amanda Weeks
Without focusing aids
like a split screen or a
microprism, generally
featured in old film cameras, manual
focusing can be a tricky business in digital
cameras. A good trick for accurate manual
focusing is to use the ‘Focus Peaking’
A
For aperture speed, the Sigma 500mm Sports is
a good halfway house between Mark Tims’ f/5.6
lens and the extremely pricy 400mm f/2.8.
76
www.digitalcameraworld.com
YOUR QUESTIONS ANSWERED
Secondhand superstar
the retro look and feel
Q Ioflike
the Nikon Z f, but I’m not
ready to go mirrorless yet. Is the
Nikon Df a good used buy?
Damien Wilkinson
The Focus Peaking feature in mirrorless Z-series Nikons can make manual
focusing much easier, especially in critical situations like extreme close-ups.
option. As you focus manually,
outlines in objects within the image
frame that are in focus light up in your
chosen colour, both with the
viewfinder and the rear screen.
Go to the Custom Settings menu
and select option ‘d9’ in the Z fc, and
you can set Focus Peaking to On, as
well as selecting a Peaking Highlight
Colour. I tend to use ‘2 (standard
sensitivity)’, as I generally find that ‘1
(low sensitivity)’ is overly precise and
fiddly, whereas ‘3 (high sensitivity)’ is
a little too vague. It might seem a bit
odd, but the high-sensitivity option is
the least precise.
like to try
Q I’d
my hand at
astrophotography.
Can you recommend
a good (but not overly
expensive) lens to use
with my Nikon Z 5?
Keith Bartlett
For shooting expansive shots
of the night sky, a wide-angle
lens with a fast aperture
rating is the order of the day, so to
speak. Some prefer the versatility of
a zoom lens, in which case the Nikon
Z 14-24mm f/2.8 S works well,
although it’s quite bulky and is pricy
to buy at around £2379/$2497, which
may stretch your budget.
A good prime lens option is the
Nikon Z 20mm f/1.8 S, at around
£1149/$1047. This lens has a fast
f/1.8 aperture, which is even ideal for
astrophotography but naturally
doesn’t have such a wide angle of
view as the 14-24mm.
All things considered, the lens I’d
actually go for is the new Viltrox AF
16mm f/1.8, which has recently been
launched in a Nikon Z-mount option.
It’s super-sharp and really well-built
– and it’s a bargain at around
£515/$549. A neat handling extra for
night-time shooting is that the 16mm
features a colour OLED display,
which helps you keep a check on
lens settings in the dark.
The Nikon Df caused quite a stir when
it was launched, and paved the way for
the Z f. It still has a lot going for it.
A
The colour OLED display on the Viltrox 16mm helps you keep tabs on the likes
of focus distance and aperture – handy when you’re taking a shot in the dark.
www.digitalcameraworld.com
A
Matthew recommends…
Nikon Df
IT RECREATES CLASSIC 35MM FILM CAMERAS
LIKE THE NIKON FE – RIGHT DOWN TO THE
ABSENCE OF MOVIE SHOOTING!
RELEASED: 2013
PRICE NEW: £2339/$2749
SECONDHAND PRICE:
‘Excellent’ £829/$1,290
‘Good’ £734/$1100
Key points
A precursor to the
mirrorless Z f, the Df bucked
the trend of most Nikon
DSLRs that had a fairly
minimalist interface, with
only a few buttons and
dials. It’s rich in mechanical
dials that bring a more
tactile feel to digital
photography. The camera’s
top plate for ISO has
stacked dials to the left
and there are exposure
compensation, shutter
speed and shooting mode
dials on the right. In the
middle, a faux leather
covering on the viewfinder
roof adds old-school charm.
The only real catch is that
you can’t shoot video.
2. Dial it up
Dials enable instant
access to ISO, exposure
compensation and more.
1. Powerful processing
The Df uses the same image
sensor and EXPEED 3
processor as the pro D4.
3. Cable release
The shutter button has a
screw thread for accepting
a cable release.
Image sensor:
16.2Mp FX CMOS
Viewfinder:
Pentaprism, 0.7x, 100%
ISO range (expanded): ISO
100-12,800 (50-204,800)
Autofocus: 39-point
(9 cross-type)
Shutter speeds: 1/4000
to 30s, Bulb
LCD: 3.2-inch, 921k dots
77
PHOTOGRAPHER OF THE YEAR 2024
78
The search for the world’s best Nikon photographer
of 2024 continues! Each issue the monthly N-Photo
POTY 2024 photo contest’s top 10 images are selected
by the N-Photo team. This issue’s competition has the
theme of travel photography…
www.digitalcameraworld.com
NPOTY 2024
1
1. Peaceful Steps
BY YOUSIF ALBADI
This image of Abu Dhabi’s Sheikh Zayed Grand
Mosque blends magnificent architecture with a
human element. The sunburst, peeping through
the arch, was created using an aperture of f/8 and
shooting directly into the sun. The figure, captured
precisely as he walks into the pool of light, elevates
an already captivating image into its own league.
Camera:
Nikon D850
Lens:
24-70mm f/2.8
Exposure:
1/250 sec, f/8, ISO100
2. The Souk
BY GEORGE ROBERTSON
This image is a masterclass in isolating a subject.
Not only does the figure stand out due to the
bright yellow robe, but he’s been captured as he
passes through a shaft of light. Crucially, the
image is exposed for the figure, shrouding busier
aspects of the scene in shadow.
NPOTY is powered by
Camera:
Nikon D300
Lens:
18-200mm f/3.5-5.6
Exposure:
1/500 sec, f/5.6, ISO800
2
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
79
PHOTOGRAPHER OF THE YEAR 2024
3
3. Pot of Golden Light
BY ROBERT JUVET
4
Travel is a broad topic that can incorporate almost
any genre. This image from Waldstatt, Switzerland,
is a fine travel landscape image. It’s got everything:
a compelling subject, jaw-dropping sky, beautiful
lighting and a perfect arching rainbow.
Camera:
Nikon D850
Lens:
15-30mm f/2.8
Exposure:
1/640 sec, f/7.1, ISO1000
4. Gondolas in Venice
BY LAYERS21
Capturing the Milky Way core is one thing,
introducing an interesting foreground subject is
another thing entirely. Images like this take an
incredible amount of dedication and planning.
This result is out of this world.
Camera:
Nikon D300
Lens:
18-70mm f/3.5-4.5
Exposure:
25 secs, f/4.5, ISO3200
5
5. The Circle of Life
BY PIERRE DE LA SAUSSAY
This harrowing image of an elephant visiting its
deceased kin is an excellent blend of wildlife and
documentary photography. The mono conversion
removes colour distractions, forcing the viewer to
focus on the magnificent animal’s melancholy.
80
Camera:
Nikon D3500
Lens:
60-600mm f/4.5-6.3
Exposure:
1/1000 sec, f/8, ISO400
www.digitalcameraworld.com
NPOTY 2024
6
7
6. The Taj Mahal
BY GILOU
The Taj Mahal is one of the most photographed
landmarks in the world. It’s typically shot front-on,
reflected in a long pool in the foreground. But this
image is taken from a different perspective, with a
bench in the foreground, making it really stand out.
It’s proof that you can always find a different take,
no matter what you’re capturing.
Camera:
Nikon D2X
Lens:
17-55mm f/2.8
Exposure:
1/50 sec, f/14, ISO250
7. Hoi An Tailor
BY CRAIG HARDING
A great candid capture from the Vietnamese city
of Hoi An. We like how the door, yellow wall and
sewing table have carved the image into
unconventional thirds. The door and wall also
serve to frame the subject, resulting in an image
that provides plenty of context but is almost
entirely free from clutter.
Camera:
Nikon Z 6II
Lens:
24-200mm f/4-6.3
Exposure:
1/250 sec, f/6.3, ISO12,800
81
PHOTOGRAPHER OF THE YEAR 2024
8
8. Gone Fishing
BY CEDUBYA
This image of a fisherman on the Sal River in Goa,
India, is all about capturing the moment the net
was cast at its widest. 1/1000 sec was used to
freeze it in midair, and a burst of five shots were
captured so as not to miss the fleeting moment.
Camera:
Nikon Z 6
Lens:
24-85mm f/3.5-4.5
Exposure:
1/1000 sec, f/7.1, ISO320
9. Maasai Portrait
BY SARA PROEBSTING
The viewer is immediately drawn to the young
person’s eyes, perfectly sharp, looking directly at
the camera. A clean background ensures there are
no distractions and the facial expression prompts
the viewer to ponder the subject’s thoughts.
Camera:
Nikon D300
Lens:
24-70mm f/2.8
Exposure:
1/125 sec, f/5.6, ISO250
9
10
10. Walk On By
BY AFTERTHEBIRDS
This mono image appears to display the Adamski
effect; blending motion-blurred surroundings with
a sharp subject. The figure and umbrellas are
silhouetted – creating a striking foreground, while
the cliffs in the background add depth.
82
Camera:
Nikon D7100
Lens:
70-300mm f/4.5-6.3
Exposure:
1/3000 sec, f/4.8, ISO3200
www.digitalcameraworld.com
NPOTY 2024
3
4
2
WORTH
£2299!
GOLD
AWARD
5
1
WIN! A Nikon Z f
The overall winner of N-Photo’s Photographer of the
Year 2024 will receive the grand prize of a Nikon Z f!
When we reviewed the Nikon Z f, we called
it ‘Nikon’s best-looking camera since 1982!’
And now, together with Nikon UK, we’re
giving you the chance to win this full-frame
retro-style Z camera. It’s an incredible prize
that’s worth a whopping £2299/$1999.
Enter any of the 12 rounds of NPOTY 2024
to be in with a chance of taking Nikon’s
nostalgia-infused Z camera home – and
of being crowned N-Photo’s Photographer
of the Year 2024.
A blast from the... future?
The Z f is far from retro under the hood.
It’s built around a 24.5Mp full-frame CMOS
sensor and inherits some of the latest
advancements from the Nikon Z 8 and Z 9.
It’s powered by the latest EXPEED 7
processor, has a native ISO range of
100-64,000, and uses the same impressive
autofocus system as the Z 8 and Z 9.
It’s equipped with 299 focus points that
enable you to pinpoint your subject with
superb accuracy. This system is adept at
subject tracking, including humans (faces,
eyes), animals, birds and vehicles, ensuring
precision even in challenging shooting
conditions, down to an impressive -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 camera is also capable of achieving
up to eight stops of image stabilization with
www.digitalcameraworld.com
compatible lenses and is the first Nikon
camera to offer Pixel Shift Shooting. This
physically moves the sensor to capture
a sequence of up to 32 Raw images. When
blended together in Nikon NX Studio, this
creates a whopping 96Mp image.
Nikon’s Focus Point VR system takes
in-body image stabilization a step further by
employing the camera’s active focus point
to enhance stabilization around the subject.
It’s a serious video tool too, supporting
4K up to 60p; oversampled 6K footage up
to 30p for better quality 4K; and Full HD up
to 120p. It also shoots 10-bit internally and
records continuously up to 125 minutes.
Z f Features
1 The camera body has a leather-like textured
finish, adding to its retro charm.
2 Z 8/9 tech and totally new features make
this a modern camera beneath the hood.
3 Precision-milled brass control dials don’t
just look the part, they will patina with age.
4 Black-and-white switch allows you to toggle
seamlessly between colour and mono.
5 The rear LCD is fully articulating, rather
than tilting as seen on Nikons like the Z 6II.
6 Retro-style shutter button has a screw to
fit an after-market soft-shutter-release.
6
Nikon’s sexiestlooking camera
could be yours...
How to enter
HOW OUR COMPETITION WORKS
● Each issue, the N-Photo: The Nikon
Magazine team sets a theme – we
next want to see your best Creative
photography. Enter your photo(s) at
www.photocrowd.com/npoty24creative
● The deadline for entries is 29 Aug 2024.
The top 10 gallery will appear in N-Photo
168, on sale 26 Sep 2024.
● Here are our next three competitions:
Autumn Opens: 22 Aug Closes: 26 Sep
www.photocrowd.com/npoty24autumn
Food Opens: 19 Sept Closes: 24 Oct
www.photocrowd.com/npoty24food
Winter Opens: 17 Oct Closes: 21 Nov
www.photocrowd.com/npoty24winter
● 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
2024, and the overall N-Photo
Photographer of the Year 2024 –
and winner of the grand prize – will be
crowned in the issue that goes on sale
in January 2025. So, grab your Nikon and
start capturing photos. Good luck!
83
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
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Star Letter
XI
bought the Nikon Z fc
because it was retro,
good-looking and
smaller. However,
I’m disappointed
that it doesn’t have
a bird setting on it. It
doesn’t give me sharp
pictures, no matter which
setting I use.
Are they planning to
update the software to
include a bird focus setting?
I’m sad that the Z fc doesn’t
have this, but the Z f does:
it’s too big a camera for me
to use.
I always had a Pentax
until I couldn’t hold it steady
anymore. So I got a Nikon J5,
because it was small and
was supposed to do 40fps.
Sadly I could not get it to do
that – 10fps at best. Due to
the fact it didn’t have many
lenses, I sold it. When the Z
fc came out, I was delighted.
So please can you answer
me two questions. One: is
the software going to be
updated with a bird setting
in the future? And question
Image: © Mike Harris
Bird brain
We don’t expect to see
Bird AF in the Nikon Z fc,
but you don’t necessarily
need it… This was taken on a
D850 with Dynamic Area AF.
two is: which settings,
including focusing, should
I use to get in-focus birds,
both static and in flight?
I’m using a Nikon Z fc
with a Tamron 150-500mm
lens, and also the Nikon
50-250mm.
Heather J Hodges
The specialized Bird AF
subject detection mode was
originally available on the Z 8,
and later on the Z 9 (which
WORTH
£49
required a firmware update
to add this functionality).
However, we think it’s highly
unlikely that this mode will be
added to the Z fc via a future
update, because it uses an
older-generation EXPEED 6
processor rather than the
latest-generation EXPEED 7.
(Likewise, we don’t think we’ll
see it on cameras like the Z
6II and Z 7II either, which also
use the EXPEED 6, because
of the intensive processor
demand that the Bird AF
mode requires.)
While the Z fc’s Animal AF
mode can pick up birds if
they’re fairly static, it’s really
designed to recognize pets
like cats and dogs. For birds
in flight, try the more general
Wide-area AF (L) mode with
Continuous autofocus (AF-C)
and a fast shutter speed of at
least 1/1000 sec. You should
be able to capture good
results with a little practice.
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
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*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.
84
www.digitalcameraworld.com
READERS’ LETTERS
www.DigitalCameraWorld.com
Image: Nikon
Image: © Matthew Hall
The best from our companion website
Matthew Hall puts his capture of the Northern Lights in
Cambridgeshire down to following the tutorials from N-Photo.
I just wanted to say thank
you for all the N-Photo
magazines over the years.
If it hadn’t been for your
tutorials and advice in it,
I wouldn’t have captured the
aurora borealis from the
Fens in Cambridgeshire as
well as I did.
I used my faithful old Nikon
D3200 and a car roof as a
tripod substitute (I dashed
out to see it while it was in full
swing, so I didn’t have time
to set one up), and quite
a special moment was
captured forever. So, once
more, thank you for inspiring
me to try.
Matthew Hall
We occasionally sell promoted
copies of N-Photo bundled
with a bookazine through
newsagents, at a small
additional price premium.
While the same magazine is
available on its own via our
Magazines Direct website, we
appreciate that this isn’t so
convenient as popping to your
local newsstand.
The best way to ensure you
get your copy of the magazine
at the lowest price is to
subscribe: see our half-price
offer on page 24. And while
subscribers don’t receive
the physical bookazine you
might see in stores, we do
give away a digital edition of
each bookazine – so if you
are interested, you’re not
missing out!
1. Well played, Nikon!
Camera launches are almost always plagued by leaks, so Nikon did something
pretty much unheard of: it leaked the Nikon Z 6III itself! It released a teaser
video showing the camera being used, with a few tantalizing quotes, the Z 6III
logo and the announcement date of 17 June. Not only is this move unheard of,
it’s actually pretty inspired... https://bit.ly/4bkPyej
Image: RED
Seen the lights
2. Nikon buying RED is a bold power play
The dust has settled on the monumental announcement made by Nikon that
it was set to become the sole owner of RED Digital Cinema, which had just
launched the world’s first commercially available large-format global shutter
camera, in the form of the RED V-Raptor X. Could Canon’s fiercest rival get
a significant upper hand? Let’s get into it... https://bit.ly/4chAA9Y
We aim to please, Matthew.
Thanks for sharing your
shot – and your tip for using
the car roof to steady your
camera without a tripod.
Image: © Future
I am becoming very annoyed
with your increasingly
common habit of adding
extra magazines with the
current copy of N-Photo and
having to pay another £2 for
something I have already
received in an earlier
N-Photo. There are only so
many copies of Landscape
Photography you need!
Could I ask you to stop this
annoying practice? I’m sure
other readers are equally fed
up with having to pay extra.
Michael J Kemp
www.digitalcameraworld.com
Image: Nikon
Leave it out!
3. What exactly is a partially stacked sensor?
The new Nikon Z 6III possesses a spec sheet stuffed with intriguing features
– none more so than its partially stacked image sensor, a world-first. The
question is, what does “partially stacked” actually mean? Well, in terms of
performance, it enables the Nikon Z 6III to achieve speeds never before seen
on a 24Mp full-frame camera... https://bit.ly/3zcTvEe
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Sign up to our newsletter for the latest
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85
YOUR STORIES
1
[1] Kuala Lumpur’s gold-painted statue
of Murugan is the tallest in Malaysia.
Camera:
Nikon D200
Lens:
18-200mm f/3.5-5.6
Exposure:
1/500 sec, f/9, ISO800
Borneo voyage
Ian Jack sets off on a dream trip to Borneo, in
search of wildlife and culture, and returning
home with a memory card full of memories
MISSION: Embark on a once-in-a-lifetime trip to
Borneo and document the wildlife and culture
PHOTOGRAPHER: Ian Jack
LOCATION: Malaysia
KIT USED: Nikon D200 and AF-S DX 18-200mm
f/3.5-5.6G ED VR
have a background in
wedding and travel
photography, using 35mm
and medium-format
equipment. When it was
time to make the leap to digital, it was an
easy decision. In my mind, Nikon was
always head and shoulders above the rest.
I
76
My D200 has been my constant companion
ever since. My wife and I have always
enjoyed travel and, having completed the
Everest Base Camp trek in 2013, we’ve
always wanted to go to destinations that are
off the grid, immerse ourselves in the local
way of life and feel closer to nature.
Last year we had the chance to fulfil our
dreams and embarked on an unforgettable
Malaysian experience with Sundowner
Holidays. Borneo, the third-largest island in
the world, offers stunning landscapes,
unrivalled wildlife and a culture as diverse
as the land itself. It’s important to mention
that spotting wildlife in Borneo – let alone
capturing a half-decent image of animals
and birds – is never guaranteed. Here’s a
collection of my favourite photos.
The grand tour
Our Malaysian holiday wouldn’t have been
complete without a three-day tour of the
Malaysian capital, Kuala Lumpur. A mustsee destination is the Batu Caves [1]. The
colossal gold-painted statue of Murugan
stands at 140ft at the base of 272
coloured steps, leading up to a labyrinth
of beautiful caves. Early morning light is
key to capturing a fantastic golden glow
of the surrounding area.
While descending the myriad of steps
in the sweltering heat, pausing for an
abundance of photo opportunities, I came
across this macaque [2], happily tucking
into one of its five-a-day. Zooming into the
subject maximized the shallow depth of
field, allowing the sharp subject to
We’ve always wanted to go
WRGHVWLQDWLRQVWKDWDUHRȧ
the grid, immerse ourselves
in the local way of life
www.digitalcameraworld.com
BORNEO
2
4
3
5
[2] A close-up
portrait of a
macaque, chowing
down on some fruit.
[3] A chance
encounter with an
orangutan left Ian
with precious few
moments to capture
an image.
[4] Ian managed to
photograph this
Proboscis monkey
on a river cruise.
[5] Dark and
gloomy conditions
didn’t prevent Ian
from boosting his
ISO and capturing
this fine little
kingfisher.
www.digitalcameraworld.com
77
YOUR STORIES
Camera:
Nikon D200
Lens:
18-200mm f/3.5-5.6
Exposure:
1/250 sec, f/8, ISO100
6
[6] This stunning silhouette was
captured by centring the frame
and shooting against the sun.
pop against the soft background. In
Borneo, we visited the Sepilok Orangutan
Rehabilitation Centre. As we made our
way along the walkway, sitting on the
railing ahead of us was a fully grown
female orangutan [3]. We were unable to
stop for photos, but I managed to capture
three hasty images and this was the best.
We spent two full days cruising the
Kinabatangan River, searching for any
elusive wildlife hidden within the canopy
of the rainforest. Suddenly, we were
greeted by a family of proboscis monkeys,
darting from one tree to another. Luck was
on our side as I managed to come away
with this photograph [4].
Floating further down river, the canopy
formed a natural overhead tunnel and light
started to fade. A kingfisher landed on a
branch in the gloomy undergrowth [5]; it
was a challenge just to see the bird. With
the ISO turned right up, focus tracking
button depressed and exposure
compensation at +7, I took the shot.
While on Gaya Island, a tropical paradise
just off the West Coast of Borneo, my wife
took a stroll along a covered wooden jetty,
which stretched from our hotel onto a
golden beach beyond. I thought the
position of the sun would lend itself to
78
7
Camera:
Nikon D200
Lens:
18-200mm f/3.5-5.6
Exposure:
1/320 sec, f/9, ISO100
[7] Ian couldn’t resist capturing the
1483ft tall Petronas Twin Towers,
while visiting Kuala Lumpur.
a stunning silhouette [6]. Back in Kuala
Lumpur, I just had to capture a photo of
the iconic Petronas Towers. Doing justice
to this amazing structure certainly wasn’t
easy [7]. I took several images and
decided to use a large depth of field for
front-to-back sharpness.
Finally, my favourite image from the
trip. While sunbathing beside the pool,
I noticed a few hornbills in the surrounding
trees [8], flying from one branch to
another. I rushed back to our treehouse
to grab my camera, hoping to capture one
mid-flight. After about an hour – and many
images later – I finally had the shot.
SUBMIT
YOUR IMAGES!
To see your images here,
send a small portfolio to
mail@nphotomag.com
with ‘Your Stories’
as the subject
Ian’s Top Tips
• Be prepared. Research your destination
and always have your camera ready for
that unexpected photo opportunity.
[1] This magnificent hornbill in flight
was Ian’s favourite image of the trip.
• Make sure your battery – and spare
ones – are fully charged and plenty of
memory card space is available.
• Familiarize yourself with the layout of
your camera and its functions, so you
can alter your exposure seamlessly.
8
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NEW NIKON SKILLS
Image: © Harry Skeggs
Fine art
wildlife!
ALSO NEXT ISSUE
Nikon Creator Harry
Skeggs shares his
tips and techniques
for animal images
that are good enough
to hang in a gallery!
Infrared landscapes
Budget Z-series
primes under £250
Take a photowalk
Mechanical vs
electronic shutter
Flower portraits
ON SALE THURSDAY 29 AUGUST
•Contents subject to change
New gear, buying advice and the world’s toughest tests
Lab tests explained
REVIEW
92
Nikon Z 6III
With a groundbreaking
new partially stacked sensor,
the Z 6III packs pro features
into an enthusiast-level body
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.
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.
BIG TEST
Distortion
96 Standard zooms
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.
Far from bog-standard, these eight
everyday zooms make ace kit lens upgrades
BUYER’S GUIDE
108
Nikon cameras
& F/Z-fit lenses
Every current Nikon camera,
plus an exhaustive round-up
of lenses to put on ’em
Our scoring system
Our awards in a nutshell
BEST ON
TEST
The best
performance,
design and value
www.digitalcameraworld.com
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
91
REVIEW
Specifications
Lens mount: Nikon Z mount (FX)
Sensor: 24.5Mp CMOS partially stacked
ISO: 100 to 64,000 (204,800 expanded)
IBIS: 5-Axis, up to 8 stops
Viewfinder: 0.5in, 5760k-dot UXGA
OLED electronic viewfinder. 0.8x
Screen: 2100k-dot, Vari-angle TFT
touch-sensitive LCD
Max focus points: 299
Max shutter: 1/8000 (mechanical),
1/16,000 (electronic)
Burst speed: 120fps (DX format)
Video: 6K 60p, 4K oversampled,
FHD 240p
Video codecs: N-RAW (12 bit), Apple
ProRes RAW HQ (12 bit), Apple ProRes
422 HQ (10 bit), H.265/HEVC (8 bit/10
bit), H.264/AVC (8 bit)
Nikon Z 6III
Memory: CFexpress (Type B), XQD,
SDXC (UHS-II)
£2699/$2499 www.nikon.co.uk
Combining a ‘partially stacked’ sensor and
eye-popping viewfinder, the Z 6III takes Nikon’s
mid-range mirrorless camera to new heights
he Nikon Z 6III is the latest in
Nikon’s Z 6 line of mid-range
full-frame cameras. With a
lower megapixel count
compared to its pro
models (24.5Mp as
opposed to 45.7Mp), the
Z 6 range has more
manageable file sizes
than its costlier cousins.
But the Z 6III blurs the lines
between a pro and enthusiast
body, with an incredible spec
sheet that matches – and in some cases
exceeds – higher-end models.
It shares some of the same tech as the
similarly enthusiast-level Z f but ushers in
some serious upgrades and has more
up-to-date handling characteristics,
whereas the Z f has retro styling with
plentiful controls dials, more akin to a
classic Nikon 35mm film camera.
92
Battery: EN-EL15c
Size: 138.5x101.5x74mm (5.5x4x3in)
Weight: 760g (1lb 10.9oz)
Key features
While the sensor has the same megapixel
count as previous models, it’s an all-new
‘partially stacked’ sensor, which enables
much faster readout speeds than previousgeneration sensors. It’s not as flat-out
speedy as the fully stacked sensor in the
Z 8 and Z 9, but is nevertheless about
3.5x faster than the readout of Nikon’s
previous 24.5Mp sensors.
While it has a mechanical shutter, using
its electronic shutter enables blistering
shooting speeds of up to 120 frames per
second, although images are limited to
using DX crop mode, which are about 10Mp
in size. Dropping to 60fps enables full FX
24.5Mp images. If you do engage the
mechanical shutter, the frame rate drops to
a still-impressive 20fps for JPEGs and 14fps
for Raw images. Impressively, the Raw
buffer depth is cavernous, and is capable
of catering to over 1000 shots.
The control layout is near-identical to
previous Z 6 models, though the Playback
and Release Mode buttons swap places.
In normal use, the camera defaults to
using the electronic first curtain shutter or
mechanical shutter, depending on shutter
speed. In fully electronic shutter mode, you
might initially miss the physical and audible
feedback from the mechanical shutter
operating. It can be disconcerting at first,
with only the briefest of flashes indicating
that a shot has been taken, particularly
when set to the higher 120fps or 60fps
www.digitalcameraworld.com
NIKON Z 6III
The Z 6III has a vari-angle
screen and a battery grip is
available as an optional extra.
frame rates. There’s good news, however, in
that these super-fast frame rates come
complete with continuous autofocus and
exposure metering. Of course, you can set
an electronic sound to provide feedback.
The sensor is mounted onto an in-body
image stabilization (IBIS) device that offers
up to eight stops of stabilization, up from
five stops with the Z 6II. What’s more, the
IBIS is designed to pivot around the active
focus point, rather than arbitrarily shifting
the sensor. This gives even greater finesse
in keeping the intended subject sharp,
rather than basing stabilization on the
whole image frame. It’s the same system
that debuted in the Z f, and like that camera,
can be used for a trick ‘sensor-shift
shooting’ mode, where the sensor is shifted
by tiny amounts and a series of images are
taken, that can then be merged in Nikon’s
NX Studio for super-detailed high-resolution
shots equivalent to 96 megapixels.
The autofocus points are spread across
the length and breadth of the imaging
sensor, giving edge-to-edge autofocus no
matter where in the frame your subject is.
This time around it has 299 AF points
spread across the entire sensor, like the Z f,
and it’s not an insignificant increase over
the 273 points of previous Z 6-line cameras.
Autofocus works right down to an
exposure value of -10EV, which effectively
means the camera can focus on subjects
when lighting conditions are too dark for the
www.digitalcameraworld.com
Advanced subject tracking makes the camera adept at
automatically locking onto people, animal and vehicles.
naked eye to see clearly. That can be a
major bonus for night photographers, as
well as potentially making autofocus
possible for astrophotographers.
The camera is powered by the latest
generation of EXPEED 7 image processor,
as used in the Z 8, Z 9, and Z f. That’s a
major step forward from the EXPEED 6
processor used in the Z 6, while the Z 6II
featured a pair of EXPEED 6 chips.
The vari-angle touchscreen flips out to
the side and can be rotated 180 degrees up
and down for front-facing selfies or reversed
so the screen is tucked away for protection
when shooting with the viewfinder. When
shooting in a vertical orientation, the
information overlay automatically rotates
too. Some may still prefer the relatively
quick and easy operation of a tilt screen, as
featured on previous Z 6-line cameras, but
the front-facing facility of the vari-angle
screen makes the Z 6III much more useful
for vlogging as well as for taking selfies.
The electronic viewfinder of the Z 6III is
something of a masterpiece in its own right.
It’s the brightest and highest-resolution EVF
that Nikon has ever made. While previous
Z-system cameras’ EVFs top out at 3.69
million dots, this one has seen a significant
increase in the pixel count to 5.76Mp. The
EVF refresh rate is a super-smooth 60fps,
for a realistic-looking display, and it’s
incredibly bright, measured at 4000 nits,
which auto-adjusts according to the
ambient light. The EVF also has a DCI-P3
colour gamut, for a wider range of more
lifelike colours than previously, and, of
course, it’s fronted by Nikkor glass, to
ensure the projected image is crisp and
sharp right to the corners of the display.
Design and handling
The camera feels entirely natural in the
hand, with the bulbous grip that houses the
battery feeling comfortable to hold while
offering firm grip. Indeed, the physical build
of the camera is very similar to the previous
Z 6 line, but comparing them side-by-side
reveals that it’s a fraction bigger and
heavier, with a near-identical button layout,
aside from the Playback and Release Mode
buttons swapping places.
There is a noticeable lack of direct-access
buttons compared with the Z 8 and Z 9, but
hitting the ‘i’ button does bring up a quick
menu of commonly used settings, which
becomes second nature to access and can
be customized to your favourite functions.
The top-plate LCD is a little deeper than
previous models, and an illumination button
is a welcome addition, enabling you to see
your settings when shooting in dark
environments as the OLED display isn’t
particularly bright.
Performance
I was thoroughly impressed with the
performance of the Z 6III before even
93
REVIEW
The full-frame
Z-series lineup
With the arrival of the Z 6III, there are now seven
full-frame mirrorless Z-series cameras, giving
buyers something of a bewildering choice. So
what are the prime differences between them?
Z 5 £999/$1297
It lacks a top-panel display,
has a pedestrian 4.5fps burst
rate, and a slightly lower-res
24.3Mp sensor than the Z 6
II/III, while its rear LCD is only 1.04Mp rather
than 2.1Mp. But it has IBIS and card dual slots.
Z 6II £1599/$1597
With a 14fps max burst speed
and 200-shot buffer, the Z 6II
is a much better choice for
capturing action than the Z 5.
It’s a better video performer too, with uncropped
4K video, whereas the Z 5 has a 1.7x crop.
Z f £2149/$1997
The retro-look Z f may look
like a classic film SLR from
yesteryear, but inside it packs
the latest tech including an
EXPEED 7 processor, and better ISO, AF and
subject tracking than the Z 6II.
Z 7II £2399/$2597
It looks and feels like a Z 6II
with double the number of
megapixels, but the 45.7Mp
Z 7II is not as good a low-light
performer and has a slower 10fps burst rate.
It has more AF points, at 493 rather than 273.
Z 6III £2699/$2499
Packing much of the tech of
the Z 8 into a more compact
body, its partially stacked
sensor enables it to shoot
with an electronic shutter much of the time, and
it has the best EVF of any Nikon camera.
Z 8 £3299/$3697
With a fully stacked sensor
offering blistering readout
speeds, the Z 8 does without
a mechanical shutter entirely.
It has many direct access controls, can shoot at
up to 1/32,000 sec and has a 120fps burst rate.
Z 9 £4999/$5497
Aside from the bigger body
housing a higher-capacity
battery and duplicated
controls for easier vertical
shooting, there’s very little specs or tech-wise
between the significantly cheaper Z 8 and Z 9.
94
While the Z 6III may look all-but-identical to previous models externally, on the inside it’s
brimming with cutting-edge tech and the electronic viewfinder is the best we’ve ever used.
fully pressing the shutter button to take my
first shot. Just putting my eye to the
viewfinder gave an instant wow-factor. The
new OLED viewfinder combines high
dynamic range with an enhanced colour
gamut, as well as ultra-high-resolution, and
with none of the dreaded lag for which
electronic viewfinders have often been
notorious. The outcome is an incredibly
lifelike display that rivals an optical
viewfinder, but with the additional
attraction of a live preview for parameters
including exposure value, white balance and
alternative picture control settings like
portrait, vivid and landscape. In essence,
‘what you see is what you get’.
Next up, there’s the autofocus system.
The latest generation of subject-tracking
autofocus in Nikon Z-system cameras is
nothing short of excellent. In testing, the
camera tracked fast-moving basketball
players with unerring accuracy, consistently
picking out human forms and latching onto
them. Selecting the Person subject
recognition mode and setting the wide-area
focus mode, the camera unwaveringly
locked onto the basketballers’ faces and
eyes as they battled one-on-one, shooting
hoops. It certainly felt like a more reliable
performance than when using previous
Z 6-line cameras, and akin to the Z 8 levels
of speed and accuracy.
I found animal-recognition autofocus
similarly superb, seeking out a pet cat in a
range of indoor and outdoor environments
and switching to the animal’s head and then
eyes even at fairly lengthy distances. I had
the same positive experience with birds and
other animals. In most cases I was able to
set the autofocus subject recognition
system to ‘automatic’, with the confidence
that it would pick out my intended subject
matter. I’ve become used to recent Nikon
Z-system cameras finding vehicles like cars,
motorcycles, trains, planes and bicycles,
but the Z 6III even picked out a distant
lawnmower in one of my test shots.
Naturally, the bottom line in terms of
performance is image quality. The superb
sharpness, clarity and all-round optical
performance of Nikon’s Z-mount lenses has
always been a big draw to the Z-system, and
the Z 6III makes the very most of these
lenses. Sure, the 24.5 megapixel Z 6III
doesn’t tax the resolving power of lenses as
much as the 45.7 megapixel Z 8 and Z 9, but
pixel peeping reveals excellent levels of fine
detail and texture. In our lab tests, the Z 6III
scored higher than the Z 6II for resolution,
in the ISO100-6400 section of the range,
matching it at higher ISO settings.
There’s been talk in some quarters that
the speed of the partially stacked image
sensor comes at the expense of a drop in
dynamic range. I found that dynamic range
was actually very good, drawing level with
that of the Z f at all ISO settings. Our lab
tests for dynamic range returned very
similar results to the Z f and Z 6II, and were
actually slightly better than for the Z 9.
www.digitalcameraworld.com
NIKON Z 6III
The flip-out screen can be tucked against
the camera body for extra protection.
The Z 6III looks similar to the Z 6II, but its
deeper with a larger backlight top display.
In practical terms, I found I was able to push
the exposure compensation of Raw files in
Nikon NX Studio by a full +5 EV stops and
get very good detail in near-black shadows
with fairly little noise. The Z 6III compares
favourably with the Z 6II in this respect.
Our lab results for Raw signal-to-noise
weren’t quite as good as from the Z 6II at
high ISO settings but, again, similar to the
Z f. In real-world shooting, I found that the
Z 6III delivered clean image quality even at
super-high ISO settings, with impressive
retention of fine detail and texture.
Colour quality is up to Nikon’s usual high
standards. There’s a wealth of picture
control options to choose from, which you
can tweak to your own preferences. I’ve
always been a fan of Nikon’s Active
D-Lighting, which, in the Z 6III, gives the
typical advantage of reigning in very bright
highlights and boosting detail in very dark
shadows, for a more balanced overall
exposure. My only slight complaint with
Z-system cameras in general, and inherited
by the Z 6III, is I feel that all of the many and
varied options for Auto white balance can
sap a little of the warmth from very sunny
scenes, compared with switching to the
Daylight white balance setting. Many would
argue, however, that the results are simply
‘accurate’ and that there’s plenty of latitude
for making adjustments to Raw files.
When it comes to battery life, the Z 6III is
par for the course as a mirrorless camera.
Depending on how much you use the
viewfinder and rear screen, you can expect
about 360 to 390 shots from a fully charged
EN-EL15c battery. I’m a bit frustrated that
Nikon (among other manufacturers) no
longer supply a charger with its cameras,
instead relying on in-camera charging. Even
so, quick USB-C charging is supported and
chargers aren’t expensive to buy. A bonus is
that the Z 6III is backwards compatible with
older EN-EL15a and EN-EL15b Nikon
batteries, which have a slightly lower
capacity. Only the ‘b’ and ‘c’ versions of the
battery can be charged in-camera.
Video
Video capture tops out at 6K/60p rather
than 8K, but I suspect that’s more than
enough for most videographers and
content creators. On the plus side, 4K
UHD/60p footage from oversampled 6K
footage is very crisp and, thanks again to
the fast readouts of the partially stacked
image sensor, there’s negligible rolling
shutter effect. Reign in the resolution to Full
HD and 240p is available for 10x slowmotion video capture. Further options
include shooting 10-bit log files for
maximizing dynamic range and enabling
precise colour grading in post. Video
compression options include N-RAW
(12 bit), Apple ProRes RAW HQ (12 bit),
Apple ProRes 422 HQ (10 bit), H.265/HEVC
(8 bit/10 bit) and H.264/AVC (8 bit).
Introducing Nikon Image Cloud
Nikon has also launched Nikon Imaging Cloud
exclusively for Z 6III, a service that offers image
backup, over-the-air firmware
updates and image recipes.
The service automatically copies
images to the cloud and stores
them for 30 days for free, but they
can also be pushed to permanent
cloud storage services such as
Lightroom or Google Drive.
www.digitalcameraworld.com
Firmware updates are now installed over the air. A
yellow dot appears next to tool icons in the camera
menu to signal new firmware is
available for that function.
And up to nine ‘image recipes’
can be saved in the cloud to give
images a particular look, such as
film stocks, and once transferred to
the camera, they appear as Picture
Control profiles.
Signal to Noise Ratio
For signal-to-noise at ISO100, the Z 6III
edges ahead of the Nikon Z f and Z 5 and is
similar to the Z 6II, retaining similarly good
performance at high ISO settings.
Dynamic Range
There’s very little to choose between the Z
6III, Z 6II and Z f, all delivering very good
dynamic range under lab test conditions,
throughout the ISO range.
Resolution
Resolution throughout most of the ISO range
is virtually the same for all the Nikon 24.5Mp
cameras, with the Z 6III marginally ahead of
the Z 6II and Z 5 and slightly behind the Z f.
N-Photo verdict
My first reaction was that the Z 6III was pricey.
Now that I’ve got to know it, the Z 6III actually
seems very good value for money. The ‘partially
stacked’ sensor enables blistering performance,
the ultra-high-res EVF gives an ultra-realistic
display, and for night owl photographers, the
autofocus system can practically see in the dark.
All in all, this camera is an epic all-rounder.
Features
Build &
handling
Performance
Value
5
Overall
95
BIG TEST
Setting the
standard
Some standard zooms are so good that you rarely
need a different lens. Here are the best buys for
Nikon mirrorless cameras and DSLRs
S
tandard zoom lenses cover most
scenarios for general shooting,
so it pays to have a good one.
You can buy the vast majority
of Nikon mirrorless cameras
and DSLRs as a complete kit,
which includes a body and a
standard zoom, but that’s not
always the best option.
Many kit zoom lenses (from all
camera manufacturers, not just
Nikon) look and feel like they’ve been
built down to a price, rather than
pushing the envelope. Typically, they
have a relatively downmarket feature
set and a variable aperture rating,
which narrows at the longer zoom
setting. The excellent Nikon Z
24-70mm f/4 S kit lens is an exception
to this general rule; we’ve included it
in this Big Test to see how it measures
up against fancier fare.
So what do you really need from
a standard zoom? Well, a fairly
broad zoom range, stretching from
generous wide-angle coverage to
short telephoto reach, is often a
favourite demand. Lenses in the
constant-aperture shortlist with an
f/4 rating help to keep size and weight
to easily manageable proportions,
whereas ‘trinity’ f/2.8 standard
zooms are an f-stop faster, delivering
a tighter depth of field and faster
shutter speeds under low lighting
conditions. Let’s see how the main
contenders stack up in terms of price
and performance.
The contenders
96
£649/$899
£799/$897
£849/$999
£899/$1097
£959/$997
£1149/$1249
£1889/$1997
£1919/$1597
Image: © Getty
Sigma 24-105mm f/4 DG OS HSM Art
Nikon Z 28-75mm f/2.8
Tamron 28-75mm f/2.8 Di III VXD G2
Nikon Z 24-120mm f/4 S
Nikon Z 24-70mm f/4 S
Sigma 24-70mm f/2.8 DG OS HSM Art
Nikon Z 24-70mm f/2.8 S
Nikon AF-S 24-70mm f/2.8E ED VR
97
BIG TEST
Sigma 24-105mm
f/4 DG OS HSM Art
£649/$899
This pound-stretcher of a lens also
stretches the range for a standard
zoom, and marked a new era for Sigma
nnounced at the
tail-end of 2013,
the 24-105mm
launched as one
of Sigma’s very first Art lenses
in its Global Vision line-up.
With an extended zoom range
compared with the more typical
24-70mm, it comes pretty
close to its Nikon AF-S and
Z 24-120mm counterparts,
matching their constant f/4
aperture ratings.
The lens features 19 optical
elements, including two SLD
(Special Low Dispersion)
elements and two top-grade
FLD (Fluorite Low Dispersion)
elements to minimize colour
fringing and enhance sharpness
and clarity. Two aspherical
elements are also featured.
The Sigma is a little heavier
than the Nikon AF-S 24-120mm
(profiled on page 103), although
it’s very similar in size. It’s much
less expensive than the Nikon
lens in Europe, but there’s less
A
of a difference in the US. The
Sigma has a 82mm filter thread
compared with the Nikon’s
77mm. The construction of
both lenses feels similarly solid,
but the Sigma doesn’t feature a
weather-sealed mounting plate.
Like other Global Vision lenses,
it’s compatible with Sigma’s
optional USB Dock, for updating
firmware and fine-tuning
parameters like autofocus.
Sharpness
Centre
1 Sigma’s Super Multi-Layer
Coating is applied to
reduce ghosting and flare.
2 Compared with Nikon
Edge
How we test
We combine real-world shooting
with a range of lab tests
lenses, the operational
direction of the zoom ring
is reversed, which can take
some getting used to.
3 Construction is of very high
Performance
The Sigma delivers greater
centre-sharpness than the
Nikon 24-120mm, across the
zoom range, but at mid-zoom
settings, the Nikon is just a little
sharper towards the edges and
corners. The Sigma also wins
out for control over colour
fringing and distortions,
especially towards the wideangle end of the zoom range.
It’s a great-value buy for DSLRs,
and works well with Z-system
cameras via a mount adapter.
Features
quality, but weather-seals
are absent.
4 The ring-type ultrasonic
autofocus system is
whisper-quiet and snappy
for stills, but certainly not
ideal for shooting video.
Features
5 The lens features a focus
Build &
handling
Performance
Value
4.5
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
distance scale beneath a
viewing window, along with
mechanically linked fulltime manual override.
are disabled where possible, throughout labtesting, 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 Analyzer 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.
We judge the overall performance of each lens
by taking real-world shooting and lab test results
into account.
www.digitalcameraworld.com
STANDARD ZOOMS
Nikon
Z 28-75mm f/2.8
£799/$897
Bucking the trend for ‘trinity’ f/2.8
standard zooms, this lens slashes about
50 per cent off the weight – and the price
ypical ‘trinity’
standard zooms
combine a
24-70mm range with
a constant f/2.8 aperture, but
this one follows a different path.
You lose a noticeable chunk of
wide-angle coverage, but gain
a little at the long end, while
retaining that all-important fast
aperture rating throughout.
Better still, it’s not much more
than half the weight of some
24-70mm f/2.8 lenses, and only
costs about half as much too.
The lens was originally designed
by Tamron for Sony E-mount
cameras, but has been
reengineered by Nikon for
the Z system.
Although it’s not an S-line
lens, it’s smartly turned out,
with a dependable, weathersealed construction. Quality
glass includes three aspherical
elements, one ED element and
one Super-ED element. As usual
with Z-mount lenses, autofocus
T
is quick and virtually silent,
along with negligible focus
breathing to enhance video
performance. You don’t get the
additional customizable control
ring, L-Fn button or OLED
display featured in some of
Nikon’s top-flight lenses, but
that’s no surprise given the
competitive purchase price.
Sharpness
Centre
Features
1 There are no onboard
switches or customizable
control ring, but the focus
ring can be assigned to
other functions while the
lens is in autofocus mode.
2 The minimum focus
Edge
Performance
Centre-sharpness is as strong
throughout the zoom range as
in the top-end Z 24-70mm f/2.8
S, even when shooting wideopen at f/2.8, although extreme
edge- and corner-sharpness are
less impressive. There’s also
rather more distortion when
uncorrected in-camera, but
overall performance is
excellent. It’s the pick of the
crop for budget-friendly
standard zooms, especially
if you favour a faster aperture
for a tight depth of field and
shooting in low light.
distance is just 0.19m at
the wide end, stretching to
0.39m at the long end.
3 Bokeh is lovely and smooth
at f/2.8 and remains of
good quality when stopping
down a little.
4 Build quality feels robust,
despite the lightweight
design for an f/2.8 zoom,
and features weather-seals.
Features
Build &
handling
Performance
5 The lens’s 67mm filter
Value
5.0
Overall
attachment thread is small
for an f/2.8 zoom.
Distortion
Lab-test results aren’t always what they seem
A quick glance at the graph
suggests that some Z-system
standard zooms are virtually
zero-distortion lenses – but they’re
really not. To help reduce size
and weight, the current vogue is
for heavy reliance on automatic
in-camera correction for distortion,
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which can’t be disabled in the
shooting menu. It’s applied to
JPEGs and firmly embedded within
Raw files, without which many
lenses for mirrorless cameras
would be all but unusable. For
F-mount lenses, the Nikon AF-S
24-70mm is the worst of the bunch.
99
BIG TEST
Tamron 28-75mm
f/2.8 Di III VXD G2
£849/$999
The original version of this lens bypassed
Nikon cameras, but the Generation 2 edition
is a very tempting Z-mount option
he only thing wrong
with Tamron’s
original 28-75mm
f/2.8 lens was that
it wasn’t available for Nikon
cameras. The G2 edition puts
that right with a Z-mount
option, while adding a raft
of enhancements.
A redesigned optical layout
aims to increase resolution
and image quality. LD (Low
Dispersion) and GM (Glass
Moulded aspherical) elements
are featured, along with
high-tech coatings. The
autofocus system is also
revamped, with a VXD (Voicecoil eXtreme-torque Drive)
linear stepping motor that’s
twice as fast as in the original
lens. The G2 can also focus
marginally closer, giving a
slightly greater maximum
magnification ratio.
The G2 adds a customizable
lens-function button, nominally
for autofocus hold but
T
customizable for alternative
functions, via in-camera menus.
There’s also a USB-C socket,
enabling you to customize the
lens, for example reversing the
direction of the focus ring,
setting its overall travel, and
setting up A-B Focus mode.
This enables you to switch
between two stored focus
distances with a button-press
– great for video.
Sharpness
Centre
1 The G2 is redesigned,
with a more ergonomic
barrel that has a tougher,
scratch-resistant finish.
2 The G2 features multiple
weather-seals, typical of
most recent Tamron lenses.
Edge
3 A fluorine coating is added
to the G2’s front element,
to repel moisture and
greasy finger-marks.
Performance
Image quality proved very
similar to that of the Nikon Z
28-75mm f/2.8 (page 99),
hardly surprising considering
both lenses are based on the
same original. The Nikon is a bit
sharper in the centre in the
28-35mm sector of the zoom
range, whereas the Tamron is a
little sharper towards the edges
and corners, but there’s very
little in it. The Nikon lens also
exhibits less distortion in the
35-70mm sector.
Features
4 Handling is improved
compared with the original,
with a more tactile feel to
the zoom and focus rings,
along with a customizable
L-fn button.
Features
Build &
handling
5 The USB-C socket enables
Performance
Value
5.0
Overall
you to customize options,
using the free Tamron Lens
Utility for PC and Mac.
Nikon Z DX 16-50mm f/3.5-6.3 VR £329/$307
A lens that’s barely bigger than a pancake lens when retracted
Measuring a mere 32mm when retracted, this
Z-mount DX lens is unfeasibly small. Even when
it’s extended for use, the overall length is only
55-60mm, depending on the zoom setting. As
you’d expect in such a small lens, there are no
onboard switches. The optical design includes
four aspherical elements and one ED (Extra-low
Dispersion) element, and new-generation optical
100
VR has an impressive 4.5-stop effectiveness. The
companion HN-40 hood isn’t supplied with the
lens – it’s an optional extra for around £20/$25.
Sharpness is very good even when shooting
wide-open at the shortest zoom setting. However,
levels of sharpness drop off a little at mid to long
zoom settings, more so than with the broadly
similar Z 24-50mm FX format lens.
It’s an enticing lens in its own right – and
a no-brainer as a kit lens with any of Nikon’s
DX-format Z-system cameras.
www.digitalcameraworld.com
STANDARD ZOOMS
Nikon
Z 24-120mm f/4 S
£899/$1097
Nikon’s classic F-mount 24-120mm
standard zoom has been completely
redesigned for the Z generation
or years, many Nikon
photographers
have loved the 5x
zoom range and
constant-aperture design of
the AF-S 24-120mm lens for
DSLRs. This edition represents
a full redesign for Z-mount
mirrorless cameras. Typical of
S-line lenses, it has a high-end
design and build. The optical
path includes three ED (Extralow Dispersion) elements, one
aspherical ED element and
three aspherical elements.
Upmarket coatings include
ARNEO and Nano Crystal Coat,
as well as a fluorine coating on
the front element. Everything’s
wrapped up in a robust,
weather-sealed casing.
Unlike many lenses in this
group, this one features
additional handling exotica.
There’s a customizable L-Fn
button for the likes of AF-Hold,
and a customizable control ring.
That’s in addition to the zoom
F
ring and customizable focus
ring. As with most full-sized Z
lenses, there’s an A-M switch
for quick selection of autofocus
and manual-focus modes
without dipping into camera
menus, something that’s
omitted in more compact
Z-mount lenses.
The lens doesn’t feature a
retractable design so, for
stowage at least, it’s rather
larger than the Z 24-70mm f/4
S (page 102).
Sharpness
Centre
1 The lens features a
customizable L-fn button.
You can select its function
using the host camera’s
Custom Settings menu.
2 As well as a zoom ring and
Edge
a customizable focus ring,
there’s a third customizable
control ring near the rear.
3 As usual with FX format
Z-system wide-angle and
standard lenses, it lacks the
optical VR featured in the
equivalent F-mount lens.
Performance
Autofocus is fast, virtually silent
and accurate, while focus
breathing is negligible. It easily
beats the older AF-S 24-120mm
lens for sharpness at all zoom
and aperture settings, from the
centre of the frame to the edges
and corners. Colour fringing is
also much better controlled and
distortions are automatically
corrected. Naturally, it beats
Z 24-70mm lenses for reach.
Features
4 Following S-line tradition,
the lens is extensively
weather-sealed and has
robust build quality.
Features
Build &
handling
Performance
5 The A-M switch on the
Value
4.5
Overall
barrel is useful for quickly
swapping focus modes.
Nikon Z 24-50mm f/4-6.3 £449/$397
Amazingly compact and light for an FX-format standard zoom
Originally introduced as a kit standard zoom for
the Z 5, this lens has a similar retractable design
to the Z 16-50mm. It’s only 74x51mm when
retracted, and it’s certainly a lightweight at 195g.
The downsizing comes at a cost, though: it has
a relatively limited zoom range, along with a
variable aperture that shrinks to f/6.3 at the
long end. It has a plastic mounting plate that
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helps shed a few grammes, and is supplied
without a hood. (You need the HB-98 petalshaped hood for around £35/$47.)
Upmarket glass includes two ED elements and
three aspherical elements. Levels of sharpness
are excellent, and more impressive than from
the Z 16-50mm throughout the zoom range.
Colour fringing is also minimal.
Although the zoom range is comparatively
limited, the lens still delivers an expansive
field of view at the short end.
101
BIG TEST
Nikon
Z 24-70mm f/4 S
£959/$997
The original kit lens for the first-edition
Z 6 and Z 7 cameras still has a lot going
for it in compactness and performance
lthough it has a
similar retractable
design, this fullframe Z-mount
lens is much larger than the
DX-format Z 16-50mm (profiled
on page 100). It has a similar
actual to that lens’s full-frameequivalent zoom range, but a
faster f/4 aperture rating that
remains constant throughout
the zoom range.
The upmarket S-line design
includes an aspherical ED
element, three aspherical
elements and one ED element.
Nano Crystal Coat fends off
ghosting and flare, and a
front-element fluorine coating
repels moisture and grease.
The stepping-motor
autofocus system works with
speedy precision in almost
complete silence, and the
customizable focus ring is
useful. There’s an A-M switch,
so you can swap between
autofocus and manual focus
A
without having to resort to
camera menus.
As usual with full-frame
Z-mount wide-angle and
standard lenses, there’s no
optical VR. Thanks to the
in-body stabilization of all
FX-format Z-system cameras,
that’s only an issue if you want
to use the lens on a Z DX body,
none of which is stabilized.
Sharpness
Centre
1 Like all the lenses in our
test group, this one has a
metal mounting plate and
comes with a lens hood.
2 The minimum focus
Edge
Performance
This is the first Z-mount lens we
ever tested, and we thought it
was pretty fabulous at the time.
Despite the more ‘pro-grade’
Z lenses that have followed, its
image quality and performance
continue to impress. Sharpness
is everything we’d hope for in a
kit lens designed for Z 7 and Z
7II cameras, with their high
45.7-megapixel count. Colour
fringing is negligible, but
automatic in-camera correction
for distortion is very much
needed, and can’t be disabled.
Features
distance is 0.3m, and the
maximum magnification
ratio is 0.3x. The lens is
super-sharp for close-ups.
3 With its retractable design,
the stowage size of the lens
is an inch shorter than for
the Z 24-120mm on test.
4 An A-M switch enables
quick and easy swapping
between focus modes.
Features
5 The aperture remains
Build &
handling
Performance
Value
4.5
Overall
fairly well-rounded when
stopping down, despite the
lens only having a sevenblade diaphragm.
Colour fringing
It’s a non-issue for the Z-mount lenses on test
There’s virtually no colour fringing
from any of the Z-mount lenses in
the test group, throughout all the
aperture and zoom ranges, and
right out to the edges and corners
of the frame. That’s not the case
with the three F-mount lenses,
which all produce noticeable lateral
102
chromatic aberration towards the
edges of the frame, especially at
the short end of the zoom range.
As with distortion, the Nikon AF-S
24-70mm is the worst offender in
the group, but in-camera correction
is available in current and recent
DSLRs and Z-system cameras.
www.digitalcameraworld.com
STANDARD ZOOMS
Sigma
24-70mm f/2.8
DG OS HSM Art
£1149/$1249
This downsized delight is around half the
price of the equivalent Nikon F-mount zoom
igma’s Art lenses
have earned
truly excellent
reputations over
the years. This one is a direct
competitor to the Nikon AF-S
24-70mm f/2.8E ED VR for
FX-format DSLRs, and matches
it stride for stride on most
counts. It’s a little lighter in
weight and much shorter
physically, measuring 108mm
in length compared with the
Nikon’s oversized 155mm.
Although it’s not a fully
weather-sealed lens, it does
feature a rubber seal on its
mounting plate, and the overall
construction feels rock-solid,
with a sturdy metal barrel and
a brass mounting plate. The
zoom and focus rings are silky
smooth in operation, and the
ring-type ultrasonic autofocus
system is super-fast and highly
accurate. Better still, autofocus
comes with switchable options
for regular manual override,
S
plus manual priority autofocus.
With the latter, manual override
works without the need to wait
for AF to lock onto a subject.
Optical highlights include
three SLD elements and four
aspherical elements, in a
complex path of 19 elements.
A crucial bonus for handheld
shooting is optical stabilization
– no Nikon DSLRs feature
in-body stabilization. It gives
a four-stop advantage against
camera-shake.
Sharpness
Centre
1 The lens is quite weighty at
just over 1kg – only 50g
less than the competing
Nikon F-mount lens,
despite being smaller.
2 The minimum focus
Edge
distance of 0.37m gives a
maximum magnification
ratio of 0.21x.
3 The additional manual
priority autofocus mode is
available via an AF/MO/MF
switch. There’s also a
optical stabilization switch.
Performance
Images combine excellent
sharpness and contrast with
beautiful bokeh. Colour fringing
and distortions are fairly well
controlled, and vignetting is
quite low for this class of lens.
The Sigma can also take
advantage of automatic
corrections in recent Nikon
cameras, while firmware
updates can be applied via
Sigma’s optional USB Dock.
Features
4 A rubber gasket on the
mounting plate prevents
the ingress of dust particles
and moisture.
Features
Build &
handling
Performance
5 The zoom ring works in the
Value
4.5
Overall
opposite direction to those
of Nikon zoom lenses.
Nikon AF-S DX 16-80mm f/2.8-4E ED VR £499/$434 (Used, excellent condition)
Arguably Nikon’s all-time best F-mount DX standard zoom
This was Nikon’s most high-performance,
upmarket DX-format lens for DSLRs – until
production ceased a while ago. You might be
lucky enough to find a new one somewhere but,
with so many people switching to mirrorless
cameras, it makes a great secondhand buy.
The lens combines highly effective yet
conventional ring-type ultrasonic autofocus with
www.digitalcameraworld.com
a new-generation electromagnetically controlled
diaphragm. This helps with exposure consistency
in rapid continuous drive mode, especially
with speedy bodies like the D500 and D7500.
However, you can only shoot wide-open with
the lens on some older cameras, including the
D200, the D3000 and the D5000, which lack
compatibility with ‘E’ lenses.
The high-grade optical design offers four ED
elements and three aspherical elements.
103
BIG TEST
Nikon
Z 24-70mm f/2.8 S
£1889/$1997
The most high-tech lens in the group,
this one comes with a host of handling
extras and top-end performance to match
here’s a lot to be said
for using one of
Nikon’s less
expensive Z-mount
standard zooms on a slim-line
mirrorless body – but this
top-end f/2.8 lens is hard
to resist. The optical design
includes four aspherical
elements and two ED elements,
aiming to maximize clarity
while minimizing unwanted
aberrations, plus dual Nano
Crystal and ARNEO coatings to
virtually banish ghosting and
flare. Keep-clean fluorine
coatings are added front and
back, and there’s the usual
electromagnetically controlled
diaphragm for consistent
performance, even in highspeed continuous shooting.
For autofocus, the lens features
two stepping motors, driving
dual groups of elements, to
boost speed and accuracy.
Customizable extras include
an additional control ring and
T
an L-Fn (Lens Function) button.
The OLED display can show
aperture setting, zoom position
or focus distance, the last
of which comes with depth-offield indication – something
missing in most lenses for
mirrorless cameras, from all
manufacturers. Handling is
boosted by the lens’s lightness
compared with the equivalent
Nikon AF-S 24-70mm f/2.8
zoom for DSLRs.
Sharpness
Features
Centre
1 There‘s an OLED display
screen with a DISP button,
for cycling through the
various options.
2 The action of the L-fn
button is fully customizable
via the host camera’s
Custom Settings menu.
Edge
3 The control ring at the rear
of the lens is customizable.
Videographers might like
to assign it to stepless
aperture control.
Performance
All of Nikon’s FX-format
Z-mount standard zooms
deliver superb performance –
but this lens raises the bar even
higher, with stunning image
quality, more akin to best-inclass prime lenses. Epic
centre-sharpness is retained
out to the extreme corners.
There’s virtually no colour
fringing and, to all intents and
purposes, it acts as a distortionfree lens on Z-series bodies.
4 As we’d expect in a current
top-grade ‘professional’
lens, it’s comprehensively
weather-sealed and has
very robust build quality.
Features
Build &
handling
Performance
5 The lens’s 82mm filter
Value
5.0
attachment is typical for
a 24-70mm f/2.8 zoom.
Overall
Tamron SP 24-70mm f/2.8 Di VC USD G2 £1059/$1199
The ‘Generation 2’ edition of this lens is a big improvement
Tamron’s original 24-70mm VC USD was the top
budget alternative to Nikon’s F-mount f/2.8
zoom. The G2 edition has a revamped optical
design and a more comprehensive set of weatherseals. The five-stop optical stabilizer and
autofocus systems are also improved, although
the Tamron lacks the Sigma 24-70mm’s manual
override mode. Fine-tuning and firmware updates
104
can be applied via Tamron’s optional TAP-in
Console. Indeed, you’ll need firmware version
2.0 or higher if you want to use the lens with
Z-system cameras via a mount adapter.
The Sigma 24-70mm (page 103) proves
sharper, especially at mid to long zoom settings,
but the Tamron delivers very pleasing all-round
image quality, with smooth bokeh.
It has three LD (Low Dispersion) elements
and two XR (eXtra Refractive) elements.
www.digitalcameraworld.com
STANDARD ZOOMS
Nikon AF-S 24-70mm
f/2.8E ED VR
£1919/$1597
This F-mount standard zoom goes extralarge in physical dimensions but falls short
of Nikon’s Z-mount equivalent for quality
easuring 155mm in
length, this is one
of the biggest
standard zoom
lenses on the market, and it
weighs in at over a kilo. You’d be
forgiven for assuming it has an
internal zoom mechanism, but
it extends even further at both
ends of the zoom range. To
be fair, though, the competing
Z-mount lens is only about
an inch shorter.
Redesigned a few years ago,
this latest edition adds fourstop stabilization. It also gains
a new optical design, with four
ED elements and an HRI (High
Refractive Index) element,
aided by Nano Crystal Coat,
plus fluorine coatings on the
front and rear elements. The
nine-blade diaphragm is also
upgraded with electromagnetic
control: this enables more
accurate and consistent
performance, especially in
high-speed continuous drive
M
mode, but makes the lens
incompatible with some of
Nikon’s older DSLRs.
As with the two F-mount
Sigma lenses on test, this Nikon
has a conventional ring-type
ultrasonic autofocus system.
It’s snappy for stills and comes
with a focus distance scale
beneath a viewing panel, but
doesn’t allow for smooth
transitions while shooting video.
Sharpness
Centre
1 The lens has oversized
dimensions of 88x155mm
and weighs in at 1070g.
2 The minimum focus
distance stretches from
0.38m to 0.41m as you
extend through the zoom
range, with a maximum
magnification of 0.28x.
Edge
Performance
The lens is capable of brilliant
results, but proved relatively
uninspiring in our lab tests. It
loses out to full-frame Z-mount
standard zooms for sharpness,
especially towards the edges
and corners of the image frame.
Colour fringing can be very
noticeable at short to medium
zoom settings, when left
uncorrected in-camera, and
barrel distortion at the short
end is the worst of any lens
in the whole group.
Features
3 The electromagnetically
controlled aperture
diaphragm doesn’t work
with older Nikon DSLRs.
4 There’s a switch for M/A-M
focus modes, the former
of which gives priority to
full-time manual override
while in autofocus mode.
Features
Build &
handling
Performance
5
Value
4.5
Overall
The four-stop optical VR
has switchable Normal
and Active modes.
Nikon AF-S 24-120mm f/4G ED VR £1069/$1097
The latest edition of Nikon’s popular F-mount standard zoom
Building on the success of Nikon’s original AF-S
24-120mm VR, this later edition has a constant
f/4 aperture rather than a variable rating, along
with an upgraded optical stabilizer. Even so, it’s
been on sale since 2010, and the 3.5-stop
stabilizer is less effective than in most newer
Nikon lenses. On the plus side, VR comes
complete with switchable Normal and Active
www.digitalcameraworld.com
modes. The former includes automatic panning
detection, whereas the latter is more effective if
you’re shooting from an unstable platform.
Conventional internals include mechanical
control for the diaphragm and a ring-type
ultrasonic autofocus system – so there are no
incompatibility issues with older Nikon DSLRs.
Image quality holds up pretty well.
Three aspherical and two ED optical
elements are featured, and there’s a
distance scale beneath the viewing panel.
105
BIG TEST
The winner is…
Nikon Z 24-70mm f/2.8 S
It’s pricy and fairly weighty – but worth it
here’s not much that’s ‘standard’
about the Nikon Z 24-70mm
f/2.8 S standard zoom. It’s
bristling with high-tech finery,
including an OLED screen, while image
quality and performance make it a world
champion. If you don’t mind sacrificing
some wide-angle coverage in your f/2.8
zoom for big savings in weight and purchase
price, the Nikon Z 28-75mm f/2.8 and the
T
How the
lenses
compare
Tamron 28-75mm f/2.8 Di III VXD G2 are
the next-best options. There’s little to
choose between the two, but the Tamron
just edges it.
For slower f/4 lenses, there’s not much
difference in price or performance between
the Nikon Z 24-70mm f/4 S and the Nikon Z
24-120mm f/4 S. The retractable 24-70mm
is more compact whereas the 24-120mm
has more telephoto reach.
In the F-mount camp, our top choice is
the Sigma 24-70mm f/2.8 DG OS HSM Art.
It’s an excellent lens that, in our tests,
outperformed the much pricier Nikon AF-S
24-70mm f/2.8E ED VR at every step, as
well as being more compact in size. For
greater zoom range and outstanding value
for money, meanwhile, there’s no beating
the Sigma 24-105mm f/4 DG OS HSM Art
for full-frame DSLRs.
Sigma
24-105mm f/4
DG OS HSM Art
Nikon
Z 28-75mm f/2.8
Tamron
28-75mm f/2.8 Di
III VXD G2
Nikon
Z 24-120mm f/4 S
Nikon
Z 24-70mm f/4 S
Sigma
24-70mm f/2.8 DG
OS HSM Art
Nikon
Z 24-70mm f/2.8 S
Nikon
AF-S 24-70mm
f/2.8E ED VR
Contact
www.sigmaglobal.com
www.nikon.com
www.tamron.com
www.nikon.com
www.nikon.com
www.sigmaglobal.com
www.nikon.com
www.nikon.com
Street price
(UK, USA)
£649/$899
£799/$897
£849/$999
£899/$1097
£959/$997
£1149/$1249
£1889/$1997
£1919/$1597
Mount
F (FX)
Z (FX)
Z (FX)
Z (FX)
Z (FX)
F (FX)
Z (FX)
F (FX)
Equiv. focal length
(DX)
36-157.5mm
42-112.5mm
42-112.5mm
36-180mm
36-105mm
36-105mm
36-105mm
36-105mm
Elements/groups
19/14
15/12
17/15
16/13
14/11
19/14
17/15
20/16
Diaphragm
9 blades
9 blades
9 blades
9 blades
7 blades
9 blades
9 blades
9 blades
Optical stabiliser
4-stop
No
No
No
No
4-stop
No
4-stop
Autofocus type
Ultrasonic
(ring-type)
Stepping motor
Stepping motor
Dual stepping
motors
Stepping motor
Ultrasonic
(ring-type)
Dual stepping
motors
Ultrasonic
(ring-type)
Manual focus
override
Mechanical
Electronic
Electronic
Electronic
Electronic
Mechanical
Electronic
Full-time
Min focus distance
0.45m
0.19-0.39m
0.18-0.38m
0.35m
0.3m
0.37m
0.38m
0.38-0.41m
Max reproduction
ratio
0.22x
0.34x
0.37x
0.39x
0.3x
0.21x
0.28x
0.28x
Focus distance scale
Yes
No
No
No
No
Yes
Electronic
Yes
Mounting plate
Metal
Metal
Metal
Metal
Metal
Metal
Metal
Metal
Weather-sealed
mount
No
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Filter size
82mm
67mm
67mm
77mm
72mm
82mm
82mm
82mm
Hood
LH876-02,
included
HB-93A, included
Included
HB-102, included
HB-85, included
LH876-04,
included
HB-87, included
HB-74, included
Dimensions
(dia x length)
87x109mm
75x121mm
76x120mm
84x118mm
78x89mm
88x108mm
89x126mm
88x155mm
Weight
885g
565g
550g
630g
500g
1020g
805g
1070g
Features
Build & handling
Performance
Value
Overall
106
www.digitalcameraworld.com
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107
BUYER’S GUIDE
Nikon cameras
The current range of Nikon DSLR,
Coolpix & Z-series mirrorless cameras
NIKON D780
TESTED IN ISSUE 155 • £1999/$1997
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. The result is 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.
Sensor
EXPEED 6
Viewfinder
Pentaprism, 0.7x, 100%
ISO
AF
LCD
Max burst (buffer)
Memory card
NIKON D850
Sensor
51-point (15 cross-type)
3.2-inch, 2359k, tilt, touch
7fps (68-100 Raw)
Two SDXC UHS-II
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 3580-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/$1097
NIKON Z 30
TESTED IN ISSUE 155 • £559/$607
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
NIKON Z 50
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 • £729/$857
Sensor
DX Z-SERIES
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.
FX DSLRS
108
100-51,200 (50-204,800 expanded)
TESTED IN ISSUE 155 • £2299/$2497
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.
NIKON P950
24.5Mp, FX (6048x4024)
Processor
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.
20.9Mp, DX (5568x3712)
Processor
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 • £759/$957
Sensor
IT’S NOT JUST the retro chic styling that makes 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
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 5
TESTED IN ISSUE 155 • £999/$1297
Sensor
THE MOST AFFORDABLE FX format mirrorless
Nikon, 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
five-axis IBIS, which is a major plus point over the
DX format cameras.
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 • £1599/$1597
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 6III
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 166 • £2699/$2499
SPORTING A NEW partially stacked sensor that
enables a hybrid mechanical/electronic shutter for
up to 120fps frame rates, the 24.5Mp Z 6III includes
the top-line EXPEED 7 processor to offer near-Z 8
levels of performance in a more compact body.
Innovations include the world’s brightest EVF with
super-high-res 5.76Mp display and Nikon’s best-yet
low-light autofocus performance.
Sensor
24.5Mp, FX (6048x4024) partially stacked
Processor
EXPEED 7
Viewfinder
OLED, 5760k, 0.5-inch, 100%
ISO
AF
100-64,000 (50-204,800 expanded)
299-point
LCD
3.2-inch, 2100k, vari-angle, touch
Max burst (buffer)
120fps (DX crop), 60fps (full-size)
Memory card
NIKON Z F
One XQD/CFexpress, one SDXC UHS-II
TESTED IN ISSUE 157 • £2149/$1997
FX Z-SERIES
ITS RETRO DESIGN may be heavily inspired by the
classic Nikon FM2 film camera, complete with brass
dials for inputting exposure settings, but this stylish
full-frame mirrorless Nikon is crammed with the
latest tech. With an EXPEED 7 processor at its heart,
it has better ISO, AF and subject tracking capabilities
than the Z 6II, and a trick pixel-shift mode for
super-hi-res images.
Sensor
24.5Mp, FX (6048x4024)
Processor
EXPEED 7
Viewfinder
OLED, 3690k, 0.5-inch, 100%
ISO
AF
LCD
Max burst (buffer)
Memory card
NIKON Z 7II
100-64,000 (50-204,800 expanded)
299-point
3.2-inch, 2100k, tilt, vari-angle
7.8fps Raw (35 Raw), 30fps JPEG
One SDXC UHS-II, one MicroSD
TESTED IN ISSUE 155 • £2399/$2597
A MASSIVE 45.7MP super-high-res image sensor and
an 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 • £3299/$3697
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) stacked sensor
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 • £4999/$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) stacked sensor
Processor
EXPEED 7
Viewfinder
OLED, 3690k, 0.5-inch, 100%
ISO
AF
LCD
Max burst (buffer)
Memory card
www.digitalcameraworld.com
24.3Mp, FX (6016x4016)
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
109
BUYER’S GUIDE
Nikon AF-P DX 10-20mm f/4.5-5.6G VR
Nikon AF-S DX 10-24mm f/3.5-4.5G ED
Nikon AF-S 14-24mm f/2.8G ED
Nikon AF-S 16-35mm f/4G ED VR
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 12-24mm f/4 DG HSM | A
Sigma 14-24mm f/2.8 DG HSM | A
Tokina atx-i 11-16mm f/2.8 CF Plus
Tokina atx-i 11-20mm f/2.8
Tokina Opera 16-28mm f/2.8 FF
Nikon AF-S 24-70mm f/2.8E ED VR
Nikon AF-S 24-85mm f/3.5-4.5G ED VR
STANDARD ZOOMS
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
Tamron 28-75mm f/2.8 Di III RXD G2
Nikon AF-S 70-200mm f/2.8E FL 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 200-500mm f/5.6E ED VR
TELEPHOTO ZOOMS
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
Sigma 100-400mm f/5-6.3 DG OS HSM | C
Sigma 120-300mm f/2.8 DG OS HSM | S
Sigma 150-600mm f/5-6.3 DG OS HSM | C
Tamron SP 70-200mm f/2.8 Di VC USD G2
Tamron 70-300mm f/4.5-6.3 Di III RXD
Tamron 100-400mm f/4.5-6.3 Di VC USD
Tamron SP 150-600mm f/5-6.3 Di VC USD G2
SUPERZOOM
Nikon AF-S DX 18-140mm f/3.5-5.6G ED VR
Nikon AF-S DX 18-300mm f/3.5-6.3G ED VR
Nikon Z DX 18-140mm f/3.5-6.3 VR
Nikon Z 24-200mm f/4-6.3 VR
Nikon Z 28-400mm f/4-8 VR
Tamron AF 18-400mm f/3.5-6.3 Di II VC HLD
Tamron 35-150mm f/2-2.8 Di III VXD
Irix 15mm f/2.4 Blackstone
Laowa 20mm f/4 Zero-D Shift
Nikon AF-S 20mm f/1.8G ED
Nikon AF-S 24mm f/1.8G ED
WIDE PRIMES
110
LENS NAME
Nikon AF-S 8-15mm f/3.5-4.5E ED
WIDE ZOOMS
KEY: ■ BEST ON TEST ■ GOLD AWARD ■ GREAT VALUE Ratings/awards based on most recent review or Big Test. Current market prices are checked regularly with reputable stores to serve as a guideline. Prices correct at time of going to press.
Nikon-fit lenses
Nikon AF-S 24mm f/1.4G ED
Nikon AF-S 28mm f/1.8G
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
Nikon Z 28mm f/2.8 SE
NIkon Z 35mm f/1.8 S
Samyang 8mm f/3.5 IF MC CSII Dh Circular Fisheye
Pri
ce
Mo
£1449/$1246 F
£299/$308
F
£949/$900
F
£1619/$1749
F
£1149/$1097
F
£299/$357
Z
£2169/$2497 Z
£1069/$1347 Z
£1009/$1200 Z
£1259/$1299 F
£1169/$1299
F
£480/$449
F
£500/$529
F
£700/$700
F
£1919/$1597
F
£579/$500
F
£1069/$1097 F
£329/$307
Z
£449/$397
Z
£1899/$1997 Z
£959/$997
Z
£899/$1097
Z
£799/$897
Z
£1149/$1249
F
£649/$899
F
£1199/$1200 F
£849/$999
F
£2219/$2350 F
£589/$597
F
£2299/$2297 F
£10499/$9500 F
£1249/$1397
F
£289/$377
Z
£1199/$1247
Z
£2149/$2600 Z
£2199/$2697 Z
£1799/$1697
Z
£999/$1100
F
£1699/$2000 F
£1099/$1380 F
£699/$699
F
£2699/$3600 F
£849/$939
F
£1369/$1200 F
£599/$699
Z
£799/$799
F
£1249/$1399 F
£599/$497
F
£629/$697
F
£599/$637
Z
£949/$897
Z
£1399/$1297 Z
£699/$650
F
£1799/$1999 Z
£625/$480
F
£1179/$1100
F
£799/$720
F
£749/$680
F
£1999/$2000 F
£699/$700
F
£529/$530
F
£149/$197
F
£1799/$1700 F
£999/$1047
Z
£269/$277
Z
£959/$1000
Z
£529/$497
Z
£309/$307
Z
£899/$847
Z
£299/$280
F
un
t
/
DX
FX
DX
DX
FX
FX
DX
FX
FX
FX
FX
FX
DX
DX
FX
FX
FX
FX
DX
FX
FX
FX
FX
FX
FX
FX
FX
FX
FX
FX
FX
FX
FX
DX
FX
FX
FX
FX
DX
FX
FX
FX
FX
FX
FX
FX
FX
FX
DX
DX
DX
FX
FX
DX
FX
FX
FX
FX
FX
FX
FX
FX
DX
FX
FX
DX
FX
FX
FX
FX
FX
FX
Ma
x
zo o
1.9x
2x
2.4x
1.7x
2.5x
2.3x
1.7x
2.1x
1.65x
2x
0.19x
1.5x
1.8x
1.7x
2.9x
3.5x
5x
3.1x
2x
2.9x
2.9x
5x
2.7x
2.9x
4.4x
2.9x
2.7x
2.9x
4.3x
5x
2.5x
2.5x
5x
2.6x
2.9x
4x
3.3x
2x
10x
2.9x
4x
2.5x
4x
2.9x
4.3x
4x
4x
7.8x
16.7x
7.7x
8.3x
14.2x
22.2x
4.3x
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
m
St a
No
Yes
No
No
Yes
Yes
No
No
No
No
No
No
No
No
Yes
Yes
Yes
Yes
No
No
No
No
No
Yes
Yes
Yes
No
Yes
Yes
Yes
Yes
Yes
Yes
No
Yes
No
Yes
No
Yes
Yes
Yes
Yes
Yes
Yes
No
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
No
b
e
iliz
Your at-a-glance guide to the
current crop of Nikon-fit lenses
r
Au
to
u
fo c
s
Ultrasonic
Pulse
Ultrasonic
Ultrasonic
Ultrasonic
Stepping
Stepping
Ultrasonic
Stepping
Ultrasonic
Ultrasonic
Electric
Ultrasonic
Electric
Ultrasonic
Ultrasonic
Ultrasonic
Stepping
Stepping
Ultrasonic
Stepping
Stepping
Stepping
Ultrasonic
Ultrasonic
Ultrasonic
Stepping
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Stepping
Stepping
Stepping
Stepping
Stepping
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Stepping
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Stepping
Stepping
Stepping
HLD
Stepping
None
None
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Stepping
Stepping
Stepping
Stepping
Stepping
Stepping
None
ig
We
ht
485g
230g
460g
1000g
680g
205g
650g
485g
450g
1150g
1150g
555g
560g
940g
1070g
465g
710g
135g
195g
805g
500g
630g
565g
1020g
885g
905g
540g
1430g
680g
1570g
3250g
2300g
405g
795g
1140g
1355g
1955g
1490g
2700g
1805g
1160g
3390g
1930g
1500g
580g
1115g
2010g
490g
550g
315g
570g
725g
710g
1165g
653g
747g
355g
355g
620g
330g
305g
200g
600g
505g
135g
450g
125g
160g
370g
435g
Min
us
foc
0.16m
0.22m
0.24m
0.28m
0.28m
0.19m
0.28m
0.28m
0.19m
0.24m
0.26m
0.3m
0.28m
0.28m
0.38m
0.38m
0.45m
0.2m
0.35m
0.38m
0.3m
0.35m
0.39m
0.37m
0.45m
0.38m
0.18m
1.1m
1.2m
1.5m
2m
2.2m
0.5m
0.27m
0.5m
0.75m
1.3m
0.95m
0.6m
0.95m
1.6m
1.5-2.5m
2.8m
0.95m
0.8-1.5m
1.5m
2.2m
0.45m
0.48m
0.2m
0.5m
0.2-2.1m
0.45m
0.33-0.85m
0.28m
0.17m
0.2m
0.23m
0.25m
0.25m
0.25m
0.3m
0.3m
0.2m
0.18m
0.25m
0.2m
0.19m
0.25m
0.3m
Ma
g
ic
nif
ati
0.34x
0.17x
0.2x
0.15x
0.25x
0.21x
0.13x
0.16x
0.19x
0.2x
0.19x
0.09x
0.12x
0.19x
0.27x
0.22x
0.24x
0.2x
0.17x
0.22x
0.3x
0.39x
0.34x
0.21x
0.22x
0.2x
0.24x
0.21x
0.25x
0.2x
0.16x
0.22x
0.23x
0.48x
0.2x
0.38x
0.25x
0.15x
0.3x
0.21x
0.26x
0.12x
0.2x
0.16x
0.11-0.2x
0.28x
0.26x
0.23x
0.32x
0.33x
0.28x
0.35x
0.34x
0.17-0.18x
0.1x
0.17x
0.23x
0.2x
0.18x
0.22x
0.24x
0.24x
0.2x
0.23x
0.19x
0.18x
0.19x
0.2x
0.19x
N/S
on
Fil
te
iz
rs
None
72mm
77mm
None
77mm
67mm
112mm
82mm
67mm
None
None
77mm
82mm
None
82mm
72mm
77mm
46mm
52mm
82mm
72mm
77mm
67mm
82mm
82mm
82mm
67mm
77mm
67mm
77mm
112mm
95mm
62mm
67mm
77mm
77mm
95mm
82mm
105mm
82mm
67mm
105mm
95mm
77mm
67mm
67mm
95mm
67mm
67mm
62mm
67mm
77mm
72mm
82mm
95mm
82mm
77mm
72mm
77mm
67mm
58mm
52mm
67mm
77mm
42mm
72mm
52mm
52mm
62mm
None
e
s
de
ed
bla
iew
v
e
r
e
r
u
g
ue
ert
ti n
Ap
Iss
Ra
7
7
7
9
9
7
9
7
9
9
9
9
9
9
9
7
9
7
7
7
7
9
9
9
9
9
9
9
9
9
9
9
7
9
9
9
9
9
9
11
9
9
9
9
7
9
9
7
7
7
7
9
7
9
9
14
7
7
9
7
7
7
9
9
7
9
7
7
9
6
149
149
77
122
149
152
149
149
145
149
149
32
135
101
166
88
153
153
153
166
166
166
166
166
166
88
166
156
148
157
156
157
148
156
156
157
157
72
127
156
157
156
157
156
148
157
157
165
165
165
165
165
136
165
142
138
116
116
59
87
125
163
25
149
162
116
162
162
162
12
a
Aw
rd s
■
■
■■
■■
■■
■■
■■
■
■■
■
■
■
■■
■■
■
■■
■
■
■
■
■■
■
■
■■
www.digitalcameraworld.com
NIKON-FIT LENSES
LENS NAME
Pri
ce
Mo
un
t
/
DX
FX
Ma
x
m
zo o
St a
b
er
iliz
Au
to
u
fo c
s
ig
We
ht
Min
f
s
ocu
gn
Fil
te r
e
s iz
Tamron SP 35mm f/1.4 Di USD
DX
FX
FX
FX
FX
FX
FX
FX
FX
FX
FX
DX
FX
FX
DX
DX
FX
FX
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
None
None
None
None
None
None
None
None
None
Ultrasonic
Electric
Stepping
Ultrasonic
Ultrasonic
Ultrasonic
Stepping
Ultrasonic
Ultrasonic
600g
810g
474g
791g
560g
488g
680g
680g
660g
1170g
370g
405g
950g
665g
435g
265g
665g
805g
Viltrox AF 13mm f/1.4 Z
£383/$459
Z
DX
None
No
Stepping
420g
0.22m
0.1x
67mm
9
162
Z
Z
Z
Z
Z
F
F
Z
F
F
F
F
Z
Z
Z
Z
F
Z
Z
Z
F
F
F
F
F
F
F
F
F
Z
Z
Z
Z
Z
Z
Z
Z
F
Z
DX
DX
DX
FX
DX
FX
FX
FX
FX
FX
FX
FX
FX
FX
FX
FX
FX
DX
DX
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
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
Yes
No
No
No
No
Yes
Yes
Yes
Yes
Yes
No
No
Yes
Yes
Yes
Yes
Yes
Yes
No
No
Stepping
Stepping
Stepping
None
None
None
None
None
None
Ultrasonic
Ultrasonic
Ultrasonic
Stepping
Ultrasonic
Stepping
Stepping
Ultrasonic
Stepping
Stepping
Stepping
None
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Ultrasonic
Stepping
SSVCM
Dual stepping
SSVCM
Stepping
Dual stepping
None
None
300g
560g
270g
290g
240g
675g
650g
606g
740g
185g
280g
385g
170g
415g
1090g
2000g
815g
280g
320g
417g
875g
350g
595g
985g
755g
3800g
3090g
1460g
3810g
470g
1160g
995g
2950g
1245g
3260g
1470g
2385g
480g
730g
0.3m
0.28m
0.4m
0.126m
0.18m
0.25m
0.3m
0.57m
0.25m
0.45m
0.45m
0.58m
0.29m
0.4m
0.45m
0.5m
0.4m
0.5m
0.6m
0.45m
0.45m
0.8m
0.85m
1m
1.4m
2.6m
3.6m
3m
4.4m
0.8m
0.85m
0.82m
2.5m
2.5m
4.3m
4m
5m
0.9m
1.1m
0.1x
0.15x
0.1x
0.25x
0.2x
0.1x
0.19x
0.13x
0.5x
0.15x
0.15x
0.13x
0.17x
0.15x
0.15x
0.19x
0.18x
0.14x
0.1x
0.15x
0.15x
0.12x
0.12x
0.13x
0.24x
0.14x
0.15x
0.18x
0.14x
0.12x
0.11x
0.2x
0.17x
0.16x
0.14-2x
0.15x
0.16x
0.11x
0.09x
52mm
67mm
52mm
58mm
46mm
77mm
58mm
58mm
77mm
58mm
58mm
72mm
52mm
62mm
82mm
82mm
77mm
55mm
52mm
58mm
67mm
67mm
77mm
82mm
77mm
40.5mm
40.5mm
95mm
40.5mm
67mm
82mm
82mm
Drop-in
95mm
Drop-in
95mm
Drop-in
77mm
72mm
9
11
9
10
12
9
9
13
9
7
9
9
9
9
9
11
9
9
9
9
9
7
9
9
9
9
9
9
9
9
11
11
9
9
9
9
9
9
8
162
163
163
160
162
116
87
152
25
163
163
40
163
163
163
108
163
152
152
163
130
160
160
160
63
161
161
161
161
160
160
160
161
161
161
161
161
140
152
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
WIDE PRIMES
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 30mm f/1.4 DC HSM | A
Sigma 30mm f/1.4 DC DN | C
Sigma 35mm f/1.4 DG HSM | A
£269/$325
Viltrox AF 27mm f/1.2 Pro
£440/$545
Viltrox AF 33mm f/1.4 Z
£240/$316
Voigtländer 15mm f/4.5 Super Wide-Heliar Z Aspherical £849/$799
Voigtländer D23mm f/1.2 Nokton Z Aspherical
£649/$699
Zeiss Milvus 18mm f/2.8 ZF.2
£2190/$2300
Zeiss Milvus 35mm f/2 ZF.2
£1160/$1200
7Artisans 50mm f/1.05
£450/$349
Nikon PC-E Micro 45mm f/2.8D ED (tilt & shift)
£1899/$2050
Nikon AF-S 50mm f/1.8G
£179/$217
Nikon AF-S 50mm f/1.4G
£379/$447
Nikon AF-S 58mm f/1.4G
£1699/$1600
Nikon Z 40mm f/2
£229/$277
Nikon Z 50mm f/1.8 S
£499/$527
Nikon Z 50mm f/1.2 S
£1999/$1897
Nikon Z 58mm f/0.95 S Noct
£8299/$7999
Sigma 50mm f/1.4 DG HSM | A
£649/$849
Sigma 56mm f/1.4 DC DN | C
£449/$499
Viltrox AF 56mm f/1.4Z
£250/$299
Yongnuo YN50mm f/1.8Z DF DSM
£349/$359
Zeiss Milvus 50mm f/1.4 ZF.2
£1245/$1200
Nikon AF-S 85mm f/1.8G
£489/$477
Nikon AF-S 85mm f/1.4G
£1699/$1447
Nikon AF-S 105mm f/1.4E ED
£2099/$2097
Nikon AF-S 300mm f/4E PF ED VR
£1619/$2000
Nikon AF-S 400mm f/2.8E FL ED VR
£12199/$11197
Nikon AF-S 500mm f/4E FL ED VR
£10999/$10297
Nikon AF-S 500mm f/5.6E PF ED VR
£3229/$3397
Nikon AF-S 600mm f/4E FL ED VR
£12099/$12297
Nikon Z 85mm f/1.8 S
£699/$697
Nikon Z 85mm f/1.2 S
£2819/$2797
Nikon Z 135mm f/1.8 S Plena
£2699/$2497
Nikon Z 400mm f/2.8 TC VR S
£13499/$13997
Nikon Z 400mm f/4.5 VR S
£2849/$2997
Nikon Z 600mm f/4 TC VR S
£15499/$15497
Nikon Z 600mm f/6.3 VR S
£4999/$4799
Nikon Z 800mm f/6.3 VR S
£5799/$5997
Samyang AF 85mm f/1.4 F
£550/$530
Samyang MF 85mm f/1.4 Z
£319/$399
Viltrox AF 23mm f/1.4 Z
None
None
None
None
None
None
77mm
82mm
77mm
None
None
67mm
77mm
77mm
62mm
52mm
67mm
72mm
s
de
ed
ew
bla
e
r
evi
r
u
g
t
ue
er
ti n
Ap
Iss
Ra
F
F
F
F
F
F
F
F
F
F
F
Z
F
F
F
Z
F
F
Samyang MF 14mm f/2.8 Z
N/S
0.08x
0.15x
0.08x
N/S
N/S
N/S
N/S
0.2x
0.1x
0.26x
0.1x
0.14x
0.19x
0.15x
0.14x
0.19x
0.3x
n
tio
£429/$400
£359/$349
£559/$800
£899/$730
£349/$350
£499/$580
£559/$550
£599/$800
£499/$500
£1399/$1599
£599/$610
£459/$449
£779/$900
£629/$850
£449/$500
£359/$349
£649/$800
£829/$900
Samyang 10mm f/2.8 ED AS NCS CS
0.25m
0.28m
0.2m
0.28m
0.28m
0.2m
0.25m
0.2m
0.3m
0.27m
0.15m
0.25m
0.28m
0.25m
0.25m
0.3m
0.3m
0.3m
Ma
a
ific
6
6
7
9
6
7
8
8
8
9
7
9
9
9
9
9
9
9
113
142
105
142
70
116
104
25
125
149
12
162
116
116
111
163
125
111
STANDARD PRIMES
TELEPHOTO PRIMES
Sigma 85mm f/1.4 DG HSM | A
£929/$1199
F
FX
None
No
Ultrasonic
815g
0.85m
0.12x
86mm
9
160
Sigma 105mm f/1.4 DG HSM | A
£1249/$1599
£4699/$5999
£209/$229
£345/$379
£879/$719
£199/$249
£511/$495
£569/$499
£559/$499
£299/$277
£459/$557
£679/$647
£1049/$1047
£429/$490
£339/$449
£464/$419
F
F
F, Z
Z
Z
Z
F
Z
F, Z
F
F
Z
Z
F
F
F
FX
FX
FX
FX
DX
FX
FX
FX
FX
DX
DX
FX
FX
FX
FX
FX
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
No
Yes
No
Yes
No
No
No
No
No
No
Yes
No
Yes
No
Yes
No
Ultrasonic
Ultrasonic
None
Stepping
None
None
None
None
None
Ultrasonic
Ultrasonic
Stepping
Stepping
None
Ultrasonic
Electric
1645g
3310g
355g
405g
704g
474g
831g
619g
650g
235g
355g
260g
630g
715g
725g
515g
1m
3.5m
1.15m
0.8m
0.47m
37.5-45mm
0.35m
0.21m
0.25m
0.16m
0.29m
0.16m
0.29m
0.31m
0.31m
0.3m
0.12x
0.15x
0.4x
0.13x
2x
2-5x
1x
2x
2x
1x
1x
1x
1x
1x
1x
1x
105mm
46mm
67mm
58mm
None
None
77mm
67mm
67mm
52mm
52mm
46mm
62mm
67mm
62mm
55mm
9
9
None
7
7
8
11
13
7, 13
7
9
9
9
9
9
9
160
161
148
152
162
163
164
164
150
164
164
164
164
110
164
164
Sigma 500mm f/4 DG OS HSM | S
Tokina SZX Super Tele 400mm f/8 Reflex MF
Yongnuo YN85mm f/1.8Z DF DSM
AstrHori 18mm f/8 2x Periscope Probe Macro
AstrHori 25mm f/2.8 Macro 2-5x
Irix 150mm f/2.8 Macro 1:1 Dragonfly
Laowa 90mm f/2.8 2:1 Ultra Macro APO
MACRO
Laowa 100mm f/2.8 2:1 Ultra Macro APO
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 Macro 105mm f/2.8 EX DG OS HSM
Tokina atx-i 100mm f/2.8 FF Macro Plus
www.digitalcameraworld.com
a
Aw
rd s
■■
■■■
■
■■
■
■■■
■
■
■
■■
■
■
■
■
■
■
■
■■
■
■■■
■
■
■■
■■
■
■
■■■
■
111
Illustration: © Getty
PARTING SHOT
Pound for pound
Mike Harris went and bought a Nikon Z 8
just two months before the Z 6III
announcement – has he made a mistake?
ust over a year ago I replaced my
haggard D800 with the D850.
The best DSLR ever made was
(and still is) everything I could
possibly need from a camera.
But here at N-Photo, I spend a lot of my time
using Z-mount glass and not having a Z-Series
camera was becoming an issue. The natural
progression was a Z 8, but the launch RRP
was a little steep for my budget, so I bought
into the rumours that the Z 6III was well on its
way. And waited. And waited. And waited…
J
New camera day
By the time the Photography & Video Show
came around, I was fed up with the rumour
mill’s bogus release dates. Show deals
reduced the Z 8’s pricing to around £3,299
(as low as I’d seen it) so I offloaded some old
gear and took the plunge. Two months later,
Nikon launched the Z 6III. Darn.
If you’ve had a gander at our Z 6III review
(page 92) you’ll know just how much we love
it. If the Z 8 is a mini Z 9, the Z 6III is a mini Z 8.
The 24.5Mp sensor will be a bone of
contention for some. But since Nikon already
offers big 45.7Mp sensors in the Z 7II, Z 8 and
Z 9, I think it’s the right choice.
The only polarizing feature is the price. But
when you consider inflation, that partially
114
stacked sensor and all that high-end flagship
tech, you can see where the money’s gone.
My only real concern is that we could end up
with a mid-range £/$2000 hole in the
Z-series line-up, should the Z 6II be
discontinued in the near future.
So, if the Z 6III is such a fantastic camera,
am I regretting picking up a Z 8? Not one bit.
Don’t get me wrong, I could shoot on a Z 6III
for the next five years and it would fulfil my
every need. But the Z 8 has become great
value in today’s – admittedly expensive
– camera market. There’s an argument it’s
too good; unless you require vertical controls,
extended battery life, dual CFexpress cards
and an Ethernet port, it’s ostensibly a smaller
and lighter flagship Z 9 for a lot less.
Sure, the Z 6III isn’t insignificantly cheaper
than the Z 8, and its vari-angle screen, small
form factor and fewer megapixels will make
enough of a difference for many, but I have to
say, Nikon has kind of done it again. Just like
the Z 9, the Z 6III highlights how incredibly
decent value the Z 8 really is.
And that’s why I love my Z 8. It might not be
the undisputed heavyweight champion of the
world, but it is pound-for-pound the best
Nikon on the market. And with the Z 9, Z f and
now the Z 6III for company. The division’s
looking more competitive than ever.
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
Contributors
Matt Higgs, Richard Hill, Ross Hoddinott, Ian Jack,
Catherine Kirkpatrick, LUAP, James Paterson, Konsta Punkka,
Andrew Mason, Matthew Richards, Paul Wilkinson, Keith Wilson
Cover image
Getty
Photography
Future Photo Studio, Getty. All copyrights and
trademarks are recognised and respected
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Media packs are available on request
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matt.bailey@futurenet.com • 0330 390 6272
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chelsea.speakman@futurenet.com • 0330 390 6065
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matthew.johnston@futurenet.com
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