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Photography Week - 05 April 2018

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T H E W O R L D ’ S B E S T-S E L L I N G D I G I T A L P H O T O M A G A Z I N E
5-11 A PR IL
I S S UE 28 9
INSPIR AT ION IDE A S IN-DEP TH RE V IEWS
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JOIN THE CLUB...
Welcome to the world’s
No.1 weekly digital
photography magazine.
If you’re already a
reader, thanks for your continued
support and involvement; if you’re
new to Photography Week, you’ve
come to the right place! In addition
to expert advice, brilliant tips and
step-by-step tutorials, every issue
features interactive galleries of the
best new photos, how-to videos on
essential shooting and editing
techniques, and in-depth reviews
of the latest camera kit.
But that’s not the whole story.
Photography Week is more than
a magazine – it’s a community
of like-minded people who are
passionate about photography.
To get involved, just follow any
of the links below and share your
shots and comments – your photo
might even appear on our cover!
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We’re more than just a magazine – read on and discover the many
ways you can interact with and enjoy Photography Week
CONTENTS
FIND OUT WHAT’S INSIDE THIS ISSUE
F E AT U R E
F E AT U R E
PHOTOGRAPH A
FEAST FOR THE EYES
Discover how to set up and
ŸĘŅŅƋƤÆå±ƚƋĜüƚĬ±ĹÚÏųå±ƋĜƴå
üŅŅÚƤŞĘŅƋŅŸƵĜƋʱŞųŅü域ĜŅűĬ
PHOTOS
GALLERY
kƚųŞĜÏĩŅüƋĘåÆåŸƋųå±Úåų
Ĝĵ±čåŸüųŅĵƤ±ųŅƚĹÚƋĘåƵŅųĬÚ
I N S P I R AT I O N
THE AURORA UP CLOSE
I N S P I R AT I O N
„ŞƼŞĬ±ĹåŞĜĬŅƋϱŞƋƚų域ƋƚĹĹĜĹč
Ĝĵ±čåŸŅüƋĘåcŅųƋĘåųĹXĜčĘƋŸ
ƵĘĜĬåüĬƼĜĹč±ƋƀLjØLjLjLjüååƋ
CRASH COURSE
GIVE YOUR PORTRAIT
PHOTOS THE EDGE
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Úų±ĵ±ƋŅŞåŅŞĬåŞĜÏƋƚųåŸ
PHOTOS
PHOTOSHOP
WORK THAT SMILE
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8±ÏåƤeƵ±ųåŅŞƋĜŅĹŸƋŅåĹʱĹÏå
ƼŅƚųŸƚÆģåÏƋŸűüå±ƋƚųåŸ
CRASH COURSE
GEAR
OUR TOP
CAMERAS
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Photography
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PHOTOSHOP
F
PRO
DONNA CROUS
Donna is a full-time
blogger and food
photographer. After
realising that she
needed to work on her
photography skills, Donna
taught herself food-styling
and photography skills
to create a unique style.
She was placed third in
the blogging category
of The Pink Lady Food
Photographer of the Year
Awards 2017.
http://tiny.cc/ot94ry
E
A
T
U
R
E
GOOD
ENOUGH
TO EAT
Food photography pro Donna Crous
shows our apprentice, 16-year-old
avid baker Benji Millar, how to
capture food shots that will
melt in the mouth
APPRENTICE
BENJI MILLAR
Benji, 16, studies
biology, psychology and
economics at college,
and took up baking two
years ago. He now bakes
up to six or seven times a
week, and photographs
his creations for his
blog. Benji also takes his
photography seriously,
and wants to develop his
skills to improve his blog,
so he joined Donna to
learn more about food
photography.
F
E
A
T
U
R
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TECHNIQUE ASSESSMENT
Benji and Donna got to work early. Benji had baked biscuits, bread and other
treats especially for the shoot, and Donna cast her eye over his camera setup
HIGHER I S O
Donna says... We were going to be shooting with natural
light and, on the day, it was relatively overcast. That meant
light levels were lower than normal, and so getting sharp
shots handheld was going to be tricky if we extended
the shutter speed. I suggested to Benji he use a higher
ISO to obtain a faster shutter speed in Manual mode,
and he could then alter the aperture and shutter speed
independently to suit each shot.
APER T URE CHOICE
SHOOT R AW
Donna says... Aperture choice will depend on the lens Benji
uses. On a 50mm lens an aperture of f/5.6 captures a depth
of field that allows the foreground and background to blur,
but keeps just enough definition in those areas for you to
recognise elements placed there. In this area of photography,
that might mean crushed rose petals or a pouring cup placed
in front of a cake for added visual attractiveness.
Donna says... An important part of this type of photography
is the flexibility to alter images in post-production. JPEG, a
lossy file format, is a flattened image which limits our ability
to edit certain settings like white balance, and to reduce
noise. Therefore, I suggested that Benji shoot in raw so that
he could make these adjustments with great accuracy on
the computer later on.
F
E
A
T
U
R
E
EXPOSURE 1/25 sec, f/5.6, ISO1000
LENS 105mm f/2.8
HOT SHOT
#1
BENJI SAYS…
Donna’s first words to me were wise: she told me
that I had to think about the viewers of the image.
I take a lot of photos for my blog, and she pointed
out that the trend now is to make the food look
approachable, as if the viewer could make it in
their own kitchen. She told me that I should set up
this Bundt cake side-on. Side-light adds texture
and form to the cake that can’t be matched when
front-lit (that is, with the light source behind me).
I borrowed Donna’s 105mm macro lens, and got
her to pour the chocolate mix over the cake. After
doing so I asked her to put the cup down in front
of the cake, and my instinct was to wipe off the
chocolate. Donna explained why I shouldn’t. “It’s
a nice touch to keep the chocolate dribble on the
side because it allows you to relate to the image –
even if you can’t make the cake, you can make the
mess. It feels home-made.”
PRO TIP
CATCH THE POURING
In order to capture as many images as possible
during the pouring of the chocolate mix, Donna
told Benji to put the camera into continuous high
burst mode. “It takes multiple images continuously
while the shutter release button is depressed,
meaning you won’t miss out on a shot while
pouring”, she explained. She reminded Benji to
shoot in bursts to avoid filling up the camera’s
buffer and hitting the write-speed limit of the card.
EXPERT INSIGHT
IT’S ALL IN THE DETAILS
Use simple elements to complement your dish.
8ŅųƤåƻ±ĵŞĬåØƵĜƋʱÆųŅƵĹƚĹÚƋϱĩåĜƋޱƼŸ
to keep earthy, neutral colours in your image.
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fabric. Together with this, a pretty beige cup was
used to pour the mixture rather than a standard
glass measuring jug.
F
E
A
T
U
R
E
EXPERT INSIGHT
ADD LIGHT
HOT SHOT
#2
BENJI SAYS…
Donna says... Benji found that the light was fading during certain
setups because the sun went behind clouds. His ISO was already
quite high, so I suggested he use a tripod and remote shutter
release to trigger the shutter. Using the remote meant he could
use a longer shutter speed to expose the image without the
danger of camera shake.
EXPOSURE 1/125 sec, f/4.5, ISO1000
LENS 18-55mm f/3.5-5.6
When I’m getting my food ready I’m already
building the picture in my mind, and this gave me a
focus on the next shot: I wanted to make an image
that looked as if this freshly baked bread was about
to be served up. I cut the end of the loaf and used
a slice as a prop beside the knife. I used my 1855mm at 30mm to include the whole of the bread
box, and Donna suggested I include a little bit of ivy
in the right-hand corner of the frame to balance the
towel wrapped round the bread on the left.
F
E
A
T
U
R
E
EXPOSURE 1/500 sec, f/3, ISO1000
LENS 105mm f/2.8
EXPERT INSIGHT
LAPTOP
HOT SHOT
#3
BENJI SAYS…
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taught me to create diagonal lines to lead the eye through the image, or
I could opt for triangles; groups of three are better visually than two or
four. With that in mind I set down three chia seed dessert pots. Focusing
on the closest one, the others fell into a creamy blur. I also put crushed
petals in the foreground to help draw the eye through the shot. The
vibrant raspberries and cherries on top accented the photo with colour.
Donna says... After completing one setup and
before moving on to the next, I take the card
out of my camera and put it in the computer: it’s
easier to spot mistakes or improve composition
on a larger screen. Once I’m happy, I’ll pop the
card back in the camera and continue.
F
E
A
T
U
R
E
SHOT OF THE DAY
EXPOSURE 1/500 sec, f/5.6, ISO1600
LENS 18-55mm f/3.5-5.6
OUR APPRENTICE SAYS…
My favourite shot of the day combined
everything that Donna had shown me.
FƤÏŅĵŞŅŸåÚ±üų±ĵåƵĘĜÏĘʱÚĜĹƋåųåŸƋ
all across the diagonals of the photo, and
included hands for that approachable,
home-made feel. Only ingredients that
could be used in the pretzel dough recipe
ƵåųåŞĬ±ÏåÚŅĹƋĘåƋ±ÆĬåţ8ĬŅƚųĜŸƤüŅų
ųŅĬĬĜĹčƋĘåŞųåƋDŽåĬÚŅƚčĘŅƚƋŸŅFƤŸŞųĜĹĩĬåÚ
it across the board. I then finished off the
shot with a small bunch of flowers for
decoration.
OUR PRO’S VERDICT…
EXPERT INSIGHT
DIFFUSE THE LIGHT FURTHER
Donna says... Depending on which
direction your window faces and what time
of day it is, direct sunlight may creep into
shots, leaving you with dark shadows and
bright highlights. It’s much more flattering
if we use a diffuser to spread the light a bit
to make softer shadows and highlights. It
works like a cloud does on an overcast day,
scattering the light wider. A diffuser panel
can usually be found inside the zipped
sleeve of five-in-one pop-up reflectors.
Benji did an incredible job with this
picture. He had certainly done his
homework with the aperture, shutter
speed and ISO triangle. Our setups
revolved around using different apertures
and angles, props and lenses, which
he grasped quickly. The lighting in this
image is stunning, and he has managed
to capture the contrast between the
shadows and the flour perfectly. Having
the flowers out of focus softens it
beautifully. He should be rightfully proud
of this and all his other images!
PRO TIP
COMPOSE WITH LIVE VIEW
Shooting from above can entail raising
your camera so high that you can’t lean
over and look through the viewfinder.
This is where a tilting and/or flip-out
Live View screen comes in handy.
F
E
A
T
U
R
E
EXPERT INSIGHT USE A REFLECTOR
1
When shooting using a window as a light source, the subject may
be backlit, so you’ll need to use a reflector to bounce light back to
üĜĬĬƤĜĹƤŸĘ±ÚŅƵŸţƚƋƵʱƋåüüåÏƋÚŅÚĜüüåųåĹƋěÏŅĬŅƚųåÚųåüĬåÏƋŅųŸĘ±ƴåũ
2
White fill is the most natural way
to bounce light, as it doesn’t
discolour the light.
Silver fill is more intense, and is
better to use when you’re faced
with strong, direct sunlight.
ESSENTIAL GEAR
Tools of the pro’s trade
1
CLEANING CLOTH
1
TRIPOD
Donna says… One piece of kit that is
absolutely vital is my cleaning cloth. It could
be a tea towel or a J-cloth, but I always tuck
something into my belt for when there’s a spill
or a bit of mess I need to tidy.I just have to be
careful it doesn’t drape down onto the food
while I’m shooting!
Gold fill is rarely used in Donna’s
style of food photography, but it
can warm up shadows.
Black is designed to absorb the
light, and reduce reflected light
from other surfaces.
When light levels fall, or if you want to
use a lower ISO to decrease noise, use a tripod.
Not only will this keep your camera steady for
sharp shots, but it makes it easier to fine-tune
compositions, as you can move things around the
board to see what works best.
PRO PORTFOLIO LIGHT BITES %ŅĹűŸåųƴåŸƚޱƋųĜŅŅüĘåųƤĵŅŸƋƤŸÏųƚĵŞƋĜŅƚŸŸĘŅƋŸ
Milkshakes
Messy dripping
cream with roses
and fun straws
makes the viewer
want to dive in and
grab one. I added
a touch of pink and
yellow tint for an
retro dreamy feel.
Chocolate cake
I like adding a
human element
to my images as
the viewer feels
part of the scene
and it tells a story.
This shot gives the
feeling of a job
well done.
Beetroot soup
The colour of
this soup is just
so beautiful and
needed to be the
main feature. The
pink fabric flowing
out of the frame
complements the
soup colour.
S
U
B
S
C
R
I
B
E
SUBSCR IBE TODAY AND ENJOY
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G
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XPOSURE
THE WEEK’S MOST INSPIRING READER PHOTOS
SILVER02
IAN ROSS PETTIGREW
“This is from a retro-inspired shoot, something glam from the 1970s; it’s amazing
the vintage clothes you can find cheaply when you go second-hand!”
http://tiny.cc/z2ljry
G
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THE WEEK’S MOST INSPIRING READER PHOTOS
VEIL SAIL
MIKE DAVIES
“I found an amazing ruined
abbey, and Doey, my beautiful
model, agreed to venture over
there with me at sunset to
capture some atmospheric
images. I used two off-camera
speedlights either side of her.”
http://tiny.cc/zpo7qy
MOONLIGHT SHADOW
ANDY HOWE
“This is the derelict West Pier
at Brighton in East Sussex,
England, shot at daybreak
POçBTQSJOHNPSOJOHw
http://tiny.cc/3ar2qy
G
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THE WEEK’S MOST INSPIRING READER PHOTOS
LILAC-BREASTED
ROLLER
GABRIELE BETTELLI
“I shot this photo in
South Africa’s Kruger
Park. The bird is a
lilac-breasted roller.”
http://tiny.cc/j7oxry
KIRKJUFELL
AURORA
REFLECTIONS
MICHAEL VER SPRILL
“The Northern Lights
were arching over the
clear Icelandic night
sky, and I wanted to
capture their reflection
along with that of
Kirkjufell mountain.”
http://tiny.cc/87m2py
G
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THE WEEK’S MOST INSPIRING READER PHOTOS
BRIGHT IDEAS
BASIA PAWLIK
“An example of how simple ideas can work. After seeing the white
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http://tiny.cc/0e5coy
PHOTOGRAPHY WEEK WANTS YOUR PHOTOS!
FACEBOOK
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FLICKR
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Taken a portrait you’re particularly proud of? Shot a sensational sunset you’d like to
show off? Then join the Photography Week Facebook community and share your best
photos today! You’ll get feedback from fellow readers and the Photography Week
team, plus the chance to appear in Xposure, or even on our cover!
I
N
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I T ’ S C O O L , T H AT
Images © Ross Franquemont
THE BEST THING WE’ VE SEEN THIS WEEK
SPY PLANE SHOOTS AURORA
BOREALIS AT 70,000 FEET
Pilot captures stunning close-up images of the Northern Lights
he Aurora Borealis, or Northern
Lights, is probably the world’s
ĵŅŸƋƤŞĘŅƋŅčų±ŞĘåÚűƋƚų±Ĭ
phenomenon, but we’re willing to bet you
haven’t seen photos of it quite like these.
These jaw-dropping images were captured
by Ross Franquemont from the cockpit of
his Lockheed U-2 spy plane as he flew at
70,000ft on a recent mission out of the UK.
T
“I had no idea how fast the aurora moved
and changed,” he tells The Aviationist. “It
danced around, changing shape several
times a second. That made it a challenge for
the photographer in a spacesuit sitting in
shaking metal can moving 500mph.” Click
the link to see more images. You can see
more of Franquemont’s photography at his
Facebook page (http://tiny.cc/qr06ry).
SEE MOR E IM AGE S
h t t p: // t iny. cc / k f 0 6 r y
S
K
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CRASH COURSE
ESSENTIAL PHOTO SKILLS MADE EASY
GI VE
YOUR
PHOTOS
THE
EDGE
Jason Parnell-Brookes
shows you how to add
drama to your portraits
using off-camera flash
Most of us have probably
used side-lighting in our
portrait photography at
MINS
some stage, even if we
didn’t necessarily realise that we were
doing so at the time. We get someone
to stand near a window and look at
the camera, and the natural light light
falls across their face. Or we place a
flashgun to one side of a subject so
that only half of their face is lit, and the
other half is in shadow.
For this Crash Course we’re making
use of the basic principles of sidelighting, but we’re tweaking the
technique to create a more dramatic
result. We’ll position our model so
that they’re a few feet away from the
light source and closer to the camera,
resulting in a low-key effect, with more
shadowed face and a harder edge to
their profile – we’re emphasising the
wonderful shapes and curves that are
created with this pleasing mix of sidelighting and backlighting. It’s a simple
technique once you get set up, so let’s
take a look at how it’s done…
30
S
K
I
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L
S
STEP BY STEP TAKE SIDES
1
SET UP THE FLASH
Place your light a few feet away from the
camera, aimed towards the right of the frame.
It doesn’t matter what kind of light source you
use; we’re using a single flashgun that’s being
fired into a silver umbrella to diffuse the light.
We set the flash to ¼ power.
2
KEEP IT DARK
The background needs to be dark to make the
model’s face stand out – placing our model
in front of a white backdrop would reduce the
effect of the white highlights around the edge
of her face. We’ve used a black fabric backdrop.
3
POSITION YOUR MODEL
Ask your model to stand directly in front of
the light, looking into it. To get that side-lit
effect, have them take a step or two towards
the camera. We got our model to move
approximately three feet from the softbox, to
harden the light on the profile of her face.
SHOOT FROM BEHIND
If you’re happy with shooting into
the light, try shooting from behind
the model. It’ll be tricky to get right,
but you’ll have a strong backlit
ŸĘŅƋØƤƵĜƋĘƤŸŅĵåā±ųĜĹčŅüƋĘåĬĜčĘƋ
ĜĹƤƋĘåƱÏĩčųŅƚĹÚţ
S
K
I
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L
S
STEP BY STEP TAKE SIDES
4
ADD A FLAG
To stop the light from spilling onto our
background we’re using a flag set up
between the light and the backdrop. A simple
piece of black card is sufficient to block the
light from the camera – just make sure it’s
not reflective on the other side, or it may
throw light onto the backdrop.
5
SHOOTING SETTINGS
With your model in place, set the camera to
manual mode, and dial in the flash sync speed
(1/200 sec in our case) and an ISO of 100. We
also set an aperture of f/5.6, which ensured
crisp focus from the model’s nose to the back
of her head with our 70-200mm lens.
6
WRAP THE LIGHT
You can now vary the quality of the light
without having to change a thing. Move
your model back towards the light and
you’ll notice the light wraps around more
of their face. By moving the model towards
the camera, away from the light, you’ll get a
harder edge to the profile.
E
D
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PH OTOS H O P
LEARN ESSENTIAL EDITING SKILLS FAST!
D O W NL O A D T HE
P R O J EC T F I L E S
h t t p : // t i n y. c c / 5h u 2r y
ON A PC OR MAC
HOW TO...
KEEP YOUR SUBJECTS SMILING
Discover how the latest additions to the Liquify filter enable you
ƋŅƤųåƋŅƚÏĘü±ÏĜ±Ĭüå±Ƌƚų埱ĹÚ±ÚģƚŸƋƤåƻŞų域ĜŅĹŸĜűűƋƚų±ĬƵ±Ƽ
n this video tutorial we’ll
show you how to use the
powerful Face Aware
features in Photoshop’s Liquify
filter to subtly reshape and
enhance the facial features of a
I
portrait subject. The Liquify
üĜĬƋåųƤŅüŅĬÚƵ±Ÿ±ųåĬ±ƋĜƴåĬƼ
crude tool, and it wasn’t easy to
produce natural-looking results,
but the new Face Aware sliders
and the Face Tool are intelligent
enough to recognise the
eyes, nose, mouth and even
the upper and lower lips,
enabling you to retouch
images – even group shots
– in a natural-looking way.
W AT CH T HE V IDEO
h t t p : // t i n y. c c /m g o t n y
WANT MORE PHOTOSHOP TUTORIALS? CHECK OUT PRACTICAL PHOTOSHOP
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magazine. Each month you’ll find an array of inspirational tutorials and accompanying video lessons that will
help you master Adobe’s industry-leading photo-editing software, plus amazing images from the world’s best
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AWA R D S
The last 12 months have seen some fantastic DSLRs and mirrorless cameras
launched, and here we present Photography Week’s pick of the very best
AWARDS: THE BEST CAMERAS OF THE YEAR 2018
OVERALL WINNER
AND BEST
HIGH-END DSLR
Nikon D850 £33,499/$3,297 (bbody-only)
Resolution, speed and power – the DSLR is back!
ith mirrorless cameras, or CSCs,
grabbing so much attention
in recent years, a few people
are starting to write off the DSLR as
old-school technology. Nikon isn’t one
of them, thank goodness, because
ŅƋĘåųƵĜŸåƵåƵŅƚĬÚĹűƋʱƴåʱÚƤƋĘå
D850. Following on from the D810, the
D850 improves on resolution, continuous
shooting speed and video capabilities,
±ĹÚʱŸ±ƤƋĜĬƋĜĹčƋŅƚÏĘěŸÏųååĹÚĜŸŞĬ±Ƽţ
Let’s start with the sensor. With 45.7
million pixels, this is the second-highestresolution full-frame camera on the
market. It doesn’t quite match the 50.6
million pixels of the Canon EOS 5DS,
but the Nikon D850 is so much more
powerful in other respects that a handful
of megapixels hardly matters.
Then there’s the seven-frames-persecond continuous shooting speed, a
useful increase over the D810, and an
impressive buffer capacity (for a high-
W
resolution camera) of up to 51 raw files.
But that’s not the end of the story. With
the optional MB-D18 Multi-Power Battery
Pack and EN-EL18B battery, the D850
can shoot at up to 9fps – that’s practically
dedicated sports DSLR territory.
To achieve this camera’s continuous
shooting potential you’ll need fast
memory cards; the D850 comes with
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The autofocus is the same high-tech
153-point AF system used in the actionorientated D5 and D500, while the tilting
touchscreen display has another trick: a
6fps silent live view mode for shooting in
situations where silence is essential.
As if that wasn’t enough, the D850
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full sensor, so there are no annoying
video crop factors. The D810 was a great
camera – but we think the D850 could be
an industry legend in the making.
WINNING FEATURES
1 New 45.7 megapixel full-frame sensor for
ultimate detail
2 7fps continuous shooting, 9fps with optional
battery grip
3 Advanced 153-point AF system from the
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AWARDS: THE BEST CAMERAS OF THE YEAR 2018
BEST ENTRY-LEVEL MIRRORLESS
Olympus OM-D E-M10 III £699/$6600
The E-M10 III packs real power in a pint-sized body
he E-M10 Mark III is the smallest
and cheapest camera in
Olympus’s OM-D mirroless
range, but that doesn’t mean it’s lacking
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The Olympus PEN range takes care of
the beginners’ market and smartphone
upgraders, and the OM-D range is left
to cater for more advanced users; so the
E-M10 III is a powerful little camera that
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expertise. Its size and power also make it
perfect for travel photography, especially
when teamed with the Olympus 1442mm EZ lens ‘pancake’ zoom lens.
Essentially, the E-M10 III is an update of
the Mark II, but it’s none the worse for that
because all the changes are worthwhile
and well thought-out. They include the
addition of 4K video, a more sophisticated
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121-point AF system, an improved image
processor, and enhancements to the inbody image stabilisation. None of these
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It might be small – it’s no larger than
an old-school compact film SLR – but
the E-M10 III handles really well, with twin
control dials and firm controls.
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rivals, the E-M10 III doesn’t have phase
detection autofocus, but its 121-point
contrast AF system is almost uncannily
fast for single-shot focus acquisition;
and while it’s not designed specifically
for action, the E-M10 III can still shoot
at 8.5 frames per second. With Live
Time exposures, multiple exposures
and more, this little Olympus is as
powerful as it is pretty.
WINNING FEATURES
1 Compact and lightweight
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3 4K video
AWARDS: THE BEST CAMERAS OF THE YEAR 2018
WINNING FEATURES
1 Superb 42.4-megapixel
full-frame sensor
2 Now with 10fps continuous
shooting for serious sports/
action photography
3 Excellent and growing, although
expensive, pro lens range
BEST HIGH-END MIRRORLESS
Sony Alpha 7R III £3,1199/$3,198 (bbody-onnly)
Breathtaking resolution, now at 10 frames per second!
ony’s Alpha 7R full-frame
mirrorless cameras have proved
a major hit – particularly the
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42.4-megapixel sensor. It’s not quite
the highest you can find for a full-frame
sensor – the Nikon D850 and the Canon
S
EOS 5DS go higher still – but it’s still
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combined with Sony’s latest pro lenses.
‰ĘåŅĹĬƼŸĹ±čƵĜƋĘƋĘåeƀƤFFƵ±ŸĜƋŸ
relatively pedestrian continuous shooting
speed – the inevitable drawback of a
high-resolution sensor. With the A7R
III, however, Sony has literally doubled
the speed, with the A7R III able to rattle
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every second, and capture up to 76
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has a silent shooting mode, making it a
supremely versatile pro workhorse.
WINNING FEATURES
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but is cheaper
2 External shutter speed and (some
lenses) aperture ring
3 Excellent all-round specs,
features and image quality
BEST ENTHUSIAST MIRRORLESS
'VKJmMN95£799/$899 (body-only)
The X-T2’s smaller sibling is surprisingly capable
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combine traditional external
controls with great specifications
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sensor and Film Simulation modes
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F
it does if you go for the range-topping
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lot cheaper, yet the sensor and many of
the key specifications are unchanged.
These include 4K video, a 91-point hybrid
contrast/phase detection autofocus
ŸåĹŸŅųرƖĉa{e{„ě£ě‰ų±ĹŸŸåĹŸŅų
and access to the range of excellent
8ƚģĜüĜĬĵ£ěĵŅƚĹƋĬåĹŸåŸţŅƚĹÚƋĘåƱÏĩ
is a tilting touchscreen display with touch
focus and touch shutter, and a really good
OLED electronic viewfinder.
AWARDS: THE BEST CAMERAS OF THE YEAR 2018
WINNING FEATURES
1 Better resolution than the 6D,
better autofocus, better
everything
2 Fast and effective Dual Pixel
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3 A good lens partner in the shape
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4 A fully articulating rear
touchscreen display is the icing
on the cake
BEST ENTHUSIAST DSLR
Canon EOS 6D II £1,728//$1,899 (body-only))
Better than the old 6D in every way, and now priced keenly
he original EOS 6D was Canon’s
cheapest full-frame DSLR,
offering a cost-effective stepping
stone up to the larger format – but it
also used a fairly low-resolution sensor
and an archaic autofocus system. Its
replacement, the EOS 6D Mark II, is a very
T
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full-frame sensor, an advanced 45-point
autofocus system and a fully articulating
rear touchscreen. It also benefits from
Canon’s Dual Pixel CMOS AF on-chip
technology for fast live view autofocus.
You don’t get 4K video – we assume
Canon wants to maintain differentiation
against models further up its range – but
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continuous shooting speed is handy for
a general-purpose camera. Canon’s 24105mm f/3.5-5.6 IS STM lens is smooth,
fast and a good match for this camera.
BEST ENTRY-LEVEL DSLR
Canon EOS 200D £539/$6649
Canon’s baby DSLR delivers real value for novices
anon has launched a lot of
cameras into a crowded entrylevel/novice market, but this one
deserves particular attention. The EOS
200D is the replacement for the tiny 100D,
Canon’s smallest-ever DSLR. It’s grown
slightly in size, but it’s worth it for the extra
C
performance and features this brings.
These include Canon’s latest
24-megapixel APS-C sensor; so while the
200D still uses Canon’s rather basic ninepoint autofocus system for viewfinder
shooting, the Live View mode benefits
from the speed and performance of
WINNING FEATURES
1 Small, affordable and attractive to novices
2 Fully-articulating touchscreen and Dual
Pixel CMOS AF
3 Great quality from Canon’s latest
24-megapixel sensor
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This works well with Canon’s stepper
motor lenses; the 18-55mm IS STM kit
lens is fast and near-silent in use.
The 200D doesn’t deliver any technical
fireworks, but it’s compact and competent
– and cheaper than the 800D and 77D.
AWARDS: THE BEST CAMERAS OF THE YEAR 2018
BEST HIGH-END COMPACT
'VKJmMN9' £1,199/$1,299
Classic styling combined with beautiful controls
ŅĵåƋĜĵåŸĬ域ųå±ĬĬƼĜŸƤĵŅųåţ
The trouble with multi-mode
cameras and interchangeable
zoom lenses is that they give you
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ÚåÏĜŸĜŅĹŸţ‰Ęå£ŎLjLj8űŸŸƋųĜŞŞåÚěƱÏĩ
approach restricts you to a single lens
ƵĜƋʱŸĜĹčĬåüŅϱĬĬåĹčƋĘØÆƚƋƤƋĘĜŸ
concentrates your attention on your
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extends to its external shutter speed,
S
lens aperture and ISO dials – this is
how cameras used to be!
It’s not all about hairshirts and
making do, though, because the
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optical/electronic viewfinder to
give you the clarity of an optical
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Ņü±ÚĜčĜƋ±ĬÚĜŸŞĬ±Ƽţ‰Ęå£ŎLjLj8
delivers great image quality, Fujilim’s
legendary and rich Film Simulation
modes and very good noise control.
WINNING FEATURES
1 Traditional exposure control dials are
wonderful to use
2 35mm-equivalent f/2.0 lens: the classic lens
for street photography and more
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AWARDS: THE BEST CAMERAS OF THE YEAR 2018
WINNING FEATURES
1 20fps continuous shooting
2 Silent mode
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BEST INNOVATION
Sony Alpha A9 £4,299/$4,498 (body-only)
Will it take the sports crown from Canon and Nikon?
nlike the Sony A7R III, which
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between continuous shooting
and resolution, the A9 is all about
sheer speed. Its 24-megapixel sensor
ĵĜčĘƋÆå±ƤŸƋåŞÚŅƵĹĜĹųåŸŅĬƚƋĜŅĹ
from the A7R series, but it’s still plenty
for big, detail-rich images – and it
can capture these at an incredible 20
frames per second at full resolution,
and with AE and AF tracking.
Frame rates like this are no good
without a substantial buffer capacity,
and the A9 has this covered too, with
the ability to capture 362 JPEGs or 241
raw files in a burst.
This is just the start. The A9 also has
a completely silent electronic shutter,
opening up whole new opportunities
üŅųƤŸŞŅųƋŸŞĘŅƋŅčų±ŞĘåųŸ±ƋĵŅĵåĹƋŸ
where cameras would normally be
Ž
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during shooting either; instead, the
screen refresh rate drops from 120fps
to 60fps. All this is made possible with
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ĜƋŸŅƵĹĵåĵŅųƼ±ĹڄŅĹƼűŸĜŅĹDŽ£
image processor.
Moving subjects are tracked by a
powerful 693-point AF system covering
93% of the image area, and images are
stabilised using a combination of the
A9’s own in-body five-axis stabilisation
system and the optical stabilisers in
some of Sony’s latest pro lenses, such
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Naturally, the A9 shoots 4K video
and uses oversampling (no pixel
binning) to produce the best results.
And this is all in a camera hardly
larger than the A7, which is why the A9
scoops our ‘innovation’ award.
A
P
P
S
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