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 C O N T E N T S
FIND OUT WHAT’S INSIDE THIS ISSUE
FEATURE NEWS
SONY ANNOUNCES NEW
FE 14MM F1.8 G MASTER
Plus: Polaroid Go is the world’s
smallest instant film camera
FEATURE
WILD ABOUT APERTURE
Pro tips on controlling depth of
field for creative wildlife shots
PHOTOS
GALLERY
Our pick of the best reader
images from around the world
PHOTOS I N S P I R AT I O N I N S P I R AT I O N
FLOWER POWER
Stunning garden images from
the RHS photo competition
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 N E W S
W H AT ’ S H O T
THE WEEK’S TOP HEADLINES IN PHOTOGRAPHY

SONY ANNOUNCES NEW

FE 14MM F1.8 G MASTER
Sony’s widest prime yet is set to be a star turn for astrophotography and more

ynoS ©

S ony has launched yet another

fast full-frame prime lens, the
FE 14mm F1.8 GM. The new
fans will point out, but the Sony lens is
designed to be smaller and lighter, and
to offer unrivalled performance.
F1.8 GM are 14 lens elements in 11
groups, with two XA lens elements to
minimise astigmatism, coma, distortion
optic is one of the company’s premium Size and weight are key to Sony’s and field curvature right out to the
‘G Master’ lenses, incorporating XA design for this lens. At 83 x 99.8mm edges of the frame, and one ED and
high-precision lens manufacture and weighing just 460g, Sony claims one Super ED element to suppress
technology in order to deliver the best it’s almost one-third the weight of its chromatic aberration.
possible image quality. nearest rival, and 35% shorter. Indeed, Sony is keen to highlight this lens’s
The only Sony lenses wider than this Sony’s figures suggest it’s a similar control of ‘sagittal flare’, an aberration
are the FE 12-24mm F2/8 G Master and weight to competing 14mm f/2.8 lenses, that can cause unnatural elongation
older, non-G Master FE 12-24mm F4 while being more than one f-stop faster. of point-light sources such as stars,
zooms. This is the widest Sony prime Sony’s aim was to design a compact which will be of particular interest to
lens yet, although it’s not the only 14mm and lightweight lens, but with no astrophotography fans.
f/1.8 lens on the market, as Sigma compromises, and inside the FE 14mm The lens uses an internal focusing
 N E W S
THE WEEK’S TOP HEADLINES IN PHOTOGRAPHY
mechanism with two high-thrust It also has a fluorine-coated front for most types of photography, but for
XD Linear motors to provide speed, element to repel moisture and oil. It astrophotography it could be crucial.
precision and quiet operation. It’s comes with an integrated lens hood, so Not only that, if Sony’s claims about
designed for videography as well as it’s not set up for front-mounted filters, sagittal flare correction and overall
stills photography, and to that end it has but it does have a rear filter slot and optical performance are borne out in
an external aperture ring and a ‘declick’ comes with a filter template. testing, this lens could become a go-to
switch for silent iris adjustment while The FE 14mm F1.8 G Master might optic for Sony shooters.
filming. This is in addition to Sony’s usual look like just another specialised and What’s most remarkable about this
customisable Focus Hold button. pricey G Master, but looks can be lens is its size and its price. At a fraction
The FE 14mm F1.8 GM is constructed deceiving. If you want an f/1.8 full- of the size of its main rival, the Sony FE
using metal and ‘engineering plastic’ – frame 14mm prime, the choice boils 14mm F1.8 G Master will go on sale in
presumably to keep the weight down – down to just this and the Sigma. That late May at a very similar price of around
and is sealed against dust and moisture. f/1.8 aperture might sound a luxury £1,400 / $1,600.

POLAROID GO IS THE WORLD’S

SMALLEST INSTANT FILM CAMERA
P olaroid has announced the
world’s smallest analog instant
camera, the Polaroid Go, along
with a miniature version of its classic
square-format instant film.
The Polaroid Go is positively tiny, at
just 105mm long, 84mm wide and 61mm
tall – which is considerably smaller than
the 107.6 x 121.2 x 67.3mm dimensions of
its rival, the Instax Mini 11.
“We spent years designing the
Polaroid Go camera from the inside out,”
said Polaroid designer Ignacio Germade.
“The camera’s internal components
are arranged like a three-dimensional
dioraloP ©

Tetris, using a careful composition to

achieve a simple and effortless exterior flash”, a double exposure mode, a is our biggest contribution to this yet.
and deliver the smallest size instant self-timer, a longer-lasting battery, a It is just really playful yet incredibly
analogue camera possible.” “newly developed selfie mirror” and well-designed, and it’s going to make
Indeed, the Go is so small that travel-friendly accessories including a it so easy for you to bring a totally
Polaroid has even suggested that it’s compact moulded case. different camera than your phone with
wearable – lifestyle images depict “Bringing innovation, product design, you wherever you go.”
the camera being attached with a creativity, and a little bit of attitude back The Polaroid Go costs £109.99 /
parachute pull-cord style strap attached to Polaroid has been our focus ever $99.99, with double packs of Polaroid
to a cord wrapped around the user’s since we took over as the new team Go film available for £18.99 / $19.99.
neck or over the shoulder. three years ago,” said Polaroid CEO, Pre-orders are open now on the
The new camera features a “dynamic Oskar Smolokowski. “The Polaroid Go Polaroid website.
 F E A T U R E

ANDY PARKINSON
Andy Parkinson is an
award-winning wildlife
photographer, regular
National Geographic
contributor and recent Nikon
ambassador. He only works with
wild animals, and he often speaks
about conservation, animal rights
and photography ethics.
See more of Andy’s work:
www.andrewparkinson.com
@andyparkinsonphoto

nosnikraP ydnA © segami llA

THE IMPORTANCE
OF APERTURE
Pro nature photographer Andy Parkinson explains how changing the
aperture can make a dramatic difference to your wildlife shots
O ne of the greatest mistakes a
wildlife photographer – amateur
or professional – can make is to
can pass to the sensor. Controlling the
size of the hole in your lens might be
crucial to making a good exposure, but
basics of what aperture is and how it can
be used, we’ll look which situations lend
themselves to different apertures, from
disregard the wealth of benefits that can it also allows you to get creative with f/2.8 all the way up to f/32. First, you’ll
be found by shooting at a wide variety sharpness and blur. Large apertures learn how to shoot dramatic, expansive
of aperture settings. So often it seems such as f/2.8 cause more of a scene habitat shots – images that almost look
that the pursuit of bokeh, or diffuse from to be blurred, whereas choosing a more like paintings, with front to back
surroundings, consumes the imagination, higher f-number brings more of a scene sharpness and filled with detail and
limiting the myriad ways in which into sharp focus. narrative, and then you’ll discover how to
individual encounters can be viewed, Over the following pages I’ll show produce detailed and intimate close-ups
and, as a result, the diversity of images you just what can be achieved by that are ethical but texturally rich.
that can potentially be produced. stepping back for a moment and giving Aperture is one of the single most
The aperture is created by a set of every individual opportunity more important camera settings that you have
sliding blades in a lens, which control consideration when it comes to your in terms of crafting images – let’s explore
the size of the hole through which light aperture choice. After a refresher in the together what can be achieved.
 F E A T U R E
WHAT’S APERTURE ALL ABOUT?
Let’s take a refresher on the role of aperture in making images

C hanging the aperture of

your lens is one of the
fundamentals of photography,
by overlapping blades that create a
diaphragm, the size of which regulates
how much light is let into the camera.
measurement of the diameter of
the aperture; rather, they represent
the ratio between the apertue
allowing you to alter both the Large apertures let more light into diameter and the focal length of the
exposure of a picture and how much the camera, while small apertures lens. An aperture of f/4 actually means
of it appears sharply focused. reduce the amount of light; that bit the focal length (f) divided by four, and
The aperture itself requires little is easy to understand. What can be an aperture of f/16 means the focal
explanation: it’s a physical hole in more confusing is the set of numbers length divided by 16. Using this rule,
the lens that light passes through to that represent the size of the aperture. you know that when a 400mm lens is
reach your camera’s imaging sensor. The first thing to understand is set to f/8, for example, the diameter
In most lenses, this hole is formed that f-numbers aren’t a physical of the aperture is 50mm.

APERTURE CONTROLS
Everything you need to know about
TAKING CONTROL
To change the aperture,
the aperture controls on your camera rotate the control dial on
the camera and look for
the different f-numbers
SHOOTING MODE in the viewfinder or on
To input an aperture the rear screen.
setting directly you
need to be shooting in
Aperture Priority or
Manual – lo ok for Av/A
or M on the mode dial.

EXPOSURE
The size of the aperture determines
the intensity of the light that makes it
through the lens to the camera sensor.

MAXIMUM APERTURE APERTURE RANGE

Lenses can be identified by the largest It’s the lens rather than the camera that determines the
aperture setting they offer. Larger apertures aperture range available – you can’t set f/2.8 on a 300mm f/4
let in more light, so a 300mm f/2.8 lens will lens for example. Zoom lenses sometimes have a ‘floating’
record more light than a 300mm f/4 lens aperture, which gets smaller as the lens is zoomed closer.
when used at its maximum aperture.
 F E A T U R E
WHAT’S APERTURE ALL ABOUT? CONTINUED
APERTURE AND LENS CHOICE
Not all apertures are available on all lenses, and you’ll have to pay more for ‘fast’ glass
Despite the majority of lenses offering a range
of apertures, they’re usually described by their MAXIMUM APERTURE
maximum or largest available aperture, such as You’ll find the maximum (largest) aperture
‘85mm f/1.8’ or ‘85mm f/1.4’. Many zoom lenses offered by a lens listed on its barrel or on the
have what’s known as a ‘floating’ aperture, where front face. Substitute ‘f/’ for the ‘1:’ – so in this
the maximum aperture changes as the lens is example, 1:2.8 means f/2.8.
zoomed. For instance, an 18-55mm f/3.5-5.6 lens
has a maximum aperture of f/3.5 at the wide end, ‘FAST’ GLASS FIXED APERTURE
but this narrows to f/5.6 when the lens is zoomed Lenses with large High-end zoom lenses
to the telephoto setting. You need to keep an maximum apertures have fixed or ‘constant’
eye on your shutter speed if you’re shooting in are known as ‘fast’ maximum apertures,
Aperture Priority mode, as it will become slower lenses, as they enable so the aperture won’t
in order to maintain the same exposure as the fast shutter speeds to shift as the focal
aperture gets smaller, which can lead to blurred be used – but they length changes.
pictures. Be prepared to increase the ISO to cost more.
compensate for this, or use Auto ISO and let
the camera handle it for you.

APERTURE RING
Some lenses have an aperture ring near the
lens mount, but in most cases the aperture is
adjusted via the camera controls.

CONTROLLING THE APERTURE If depth of field is important to your pictures, use Aperture Priority mode

APERTURE PRIORITY MODE F-NUMBERS DOF PREVIEW LIVE VIEW

For direct control of the aperture, Rotate the camera’s main dial If you use a DSLR, you won’t The image will be shown at the
shoot in Aperture Priority; you or use its touchscreen (where be able to see the effect of the selected aperture, but it can
can then select the aperture, and available) to change the size of the changing aperture through the be dark – unlike the image in
the camera will adjust the shutter aperture. You’ll be able to freely optical viewfinder. To see this, the electronic viewfinder of
speed for a balanced exposure. select f-numbers from the range you’ll need to activate Depth a mirrorless camera, which
To control both aperture and offered by the lens – the display of Field (DoF) preview, usually stays bright. So try using DoF
shutter speed, use Manual mode. will change as you do so. a button near the lens mount. in combination with Live View.
 F E A T U R E
ANIMALS IN THEIR ENVIRONMENT
Learn what to include and exclude from a scene for maximum impact

f/16

T he most important consideration

when you’re deciding at which
aperture to shoot is which parts
MOUNTAIN HARE FEEDING
ON AN EXPOSED PLATEAU
I was working at extremely close quarters
f/13
of the image you want to be in focus, and with this mountain hare, perhaps as little as
which parts you don’t. My general rule a few feet, and while I wanted to include
is that if an element adds to the image elements of the habitat, I preferred the
then try to include it, but if it detracts images in which the focus gradually fell
then try to exclude it. away, echoing the soft tones of the wind-
Critically important to maintaining the blown spindrift. As I was so close to the hare
painterly feel of this image of gannets it required a closed-down aperture of f/13 to
create the appropriate depth of field.
was to produce front to back sharpness,
and to achieve that I shot at f/16. I
still needed to maintain a fast shutter
speed of 1/400 sec to compensate for
the buffeting that I was getting, sitting
with my legs draped over 150m-high
cliffs while a surging, 65mph wind tried
its best to dislodge me. The habitat
in this image is every bit as important
as the birds themselves – it’s what
gives the gannets context, and it’s the
relationship between the gannets and
their environment that gives the image
its narrative.
 F E A T U R E
ANIMALS IN THEIR
CONTINUED
ENVIRONMENT
f/2.8

BISON AMONG TOWERING MOUNTAINS

Check your images regularly when shooting, so that you can make important decisions and refine your technique in the moment, not later when the
opportunity has gone. After exploring the possibilities I preferred the feeling of this image with the aperture wide open at f/2.8, with the sunlit bison
isolated in its winter landscape both by light and focus, yet the mountains still forming an impressive backdrop.

BROWN HARES AGAINST WINTRY TREES

f/4 Photographic composition is often about striking a balance, and in this
image I wanted to see the impressionistic outline of the distant trees,
but I did not want them to be so in focus that they became a distraction.
I wanted the trees simply as a textured backdrop against which to set off
the three hares, and an aperture of f/7.1 created this balance.

BENGAL TIGER IN DEW-COVERED GRASS

I photographed this tiger with my aperture wide open at f/4. Whilst
the surroundings were undeniably beautiful, had I brought more of
the dew-laden grasses into focus this would have created additional
distractions between the tiger and myself. As such I did all that I could f/7.1
to throw the foreground grasses as out of focus as possible, thereby
focusing the viewer’s attention on the tiger.
 F E A T U R E
CAPTURE DETAILED CLOSE-UPS
Explore all apertures when you’re looking to create intimate portraits

A compelling image
doesn’t necessarily
have to feature the
subject’s face: perhaps it’s
a detail in the patterns of a
bird’s wing that might make
an interesting composition?
Keep your mind open to
creative possibilities.
I generally prefer to shoot
intimate close-ups with the
aperture closed down, set to
f/11 and above; that way, if
the subject suddenly moves
position slightly, there’s
more chance of the image
remaining sharp. MOUNTAIN HARE
Bear in mind also the
significant reduction in
PORTRAIT
It’s of the utmost importance
effective depth of field as when working in close proximity
you move closer and closer to animals that your movements
to your subject. This hare f/8 and sounds are kept to an
portrait, in which only the absolute minimum. Approaches
eyes and nose appear sharp, must be made over significant
lengths of time, always paying
was actually photographed extremely close attention to
at f/8. While the general rule subtle behavioural cues from
for wildlife photography is to the subject. These mountain
always get the eyes of your hares are individual hares that
subject sharp, I believe that I’ve known and photographed
for years; I’ve established a bond
in moments such as these of trust with them over time, by
the nose needs to be sharp always working with the utmost
as well, otherwise it creates care and respect for them.
a distracting blurriness that
leads the eye away from
areas of critical sharpness.
When you’re working in
close proximity to animals
keep movements and sounds
to an absolute minimum,
and approach slowly over an
extended length of time.

STARTER SUBJECTS
Try working with local
subjects, perhaps birds or
mammals that are already
used to the presence of
people. Mute swans or
Canada geese are good SWAN PORTRAIT
choices, but always pay I explored all manner of apertures for these
attention to subtle cues in artistic swan images, from f/2.8 to f/22, and it
their behaviour. If they move was on f/11 that I decided to settle. I wanted the
away from you don’t follow or neck of the swan to drift completely out of focus,
harass them – it will take time f/11 washing away into a sea of white and leaving
for them to come to trust you. simply the distinctive orange bill representing
the sole punctuation of colour.
 F E A T U R E
CAPTURE DETAILED CLOSE-UPS CONTINUED
KAMCHATKA BROWN
BEAR RESTING
These bears have long snouts,
and so I needed to use an aperture
that would ensure that if the bear
suddenly turned to face me I’d still
be able to get both eyes and the
nose sharp. I often strive to achieve
extensive, textural detail in images
such as this, and so I framed this at
f/13 with my good friend’s mighty
800mm lens. It was critically
important to me that eyes, nose
and claws were all razor-sharp.

f/13

f/16

MUTE SWAN CYGNETS

This is another image born of my desire to work at close quarters. I had to
create a bond of trust, primarily with the parents but also with the cygnets,
and to do this I had to invest time, getting them used to not only my voice
but also to the way that I moved, and worked. As their parents slept close
by, I was trusted to stand over the sleeping cygnets; their contented,
relaxed faces told me they felt no concern. An aperture of f/16 allowed
me to ensure that all parts of the frame were razor-sharp.
 F E A T U R E
INTRODUCE MOVEMENT
Combine aperture and shutter speed for dynamic motion

KAMCHATKA BROWN BEAR RELAXING IN A RIVER

One of the great advantages of shooting with the aperture closed right down is
the increase in the depth of field. This image is improved by the front to back
f/32 sharpness, with the bear perfectly at home as he rests in the river. I closed my
aperture down to f/32 to increase the shutter speed as much as possible in order
to also blur the water slightly; in this instance it was 1/6 sec.

O pportunities for producing these

types of images might be more
difficult to come by, but they will
could just as easily be a UK bird species
such as a heron or dipper.
The second circumstance is when
them when you will have multiple
opportunities to get it right.
The most effective shutter speed
present themselves on occasion. I try there is repeatable behaviour, such will only be determined through trial
to introduce motion under two distinct as fulmars wheeling in dawn light or and error, but the three critical aspects
types of circumstance. The first, as a greylag goose bathing furiously. for you to consider are the speed of
illustrated by this image, is when a static Images with a sense of motion, or ones motion of the subject, your distance
subject, such as the paws of this fishing that require panning, where you move from the subject, and the focal length
bear waiting stoically in a river, has the the camera with the motion of the of the lens that you’re using. A good
motion of water passing around them. subject, produce far fewer successful base point at which to start is 1/20 sec
In this instance it is a brown bear, but it images, and so it’s best to only attempt and below.

TOP TIPS FOR MOTION IMAGES The kit and camera settings you’ll need to use for the best results

USE A STURDY TRIPOD CABLE RELEASE LOCK UP THE MIRROR STABILISATION MODES
Use a good, sturdy tripod from You’ll want to minimise any Lock up your camera’s mirror, if Many cameras now have in-
which to shoot. Whether you’re vibration of your camera that it has one. Once your composition body image stabilisation, while
panning with your subject you possibly can, so release the and your tripod are locked, lock even older DSLR lenses have
or simply shooting with your shutter remotely, either by using a up the mirror prior to taking the vibration reduction modes. If
tripod fixed, I find this piece of cable release or wireless remote, image, as this will help to reduce you’re shooting on a tripod, it’s
equipment is essential. or by using the self-timer. vibration further. not necessary to have this on.
 F E A T U R E
INTRODUCE MOVEMENT CONTINUED
GANNET TRAILS
This is a 4-second exposure which
shows the motion of circling
gannets up in the Shetland Islands.
With my camera mounted on a
tripod I reduced my ISO to its
minimum of 100, and then closed
my aperture right down to f/29.
I also employed a polarising filter
and graduated neutral density
filters to reduce the light entering
the camera, which helped to
faciliate the long exposure.

f/29

GREYLAG GOOSE BATHING

This greylag was bathing in front of me for several minutes, giving f/11
me ample opportunity to look for the shutter speed which
produced the most pleasing results. An aperture of f/11 gave me
plenty of depth of field to account for the bird’s erratic movements,
without bringing too much of the distracting background into detail.
The shutter speed that produced this effect was 1/20 sec.
 F E A T U R E
BLACK-AND-WHITE BACKDROPS
With less detail in the background, you can close your aperture down

f/20

W hile it’s something that a great

many photographers perhaps
overlook, there are advantages
absence of any distracting detail that
could be brought into focus you’ll be
free to shoot freely with your aperture
in direct sunlight, and ideally against
a backdrop which is in shadow. By
exposing for the sunlit parts of the
to framing your subject against all-white closed down, and capture a much animal or bird this will cause the
or all-black backdrops. This backdrop greater depth of field. backdrop, which would require a much
could be a snow-covered field, a milky In order to create a jet-black longer exposure, to fall into dramatic
white overcast sky, or distant shadowed backdrop, careful positioning is underexposure, often becoming
forests or cliffs. This is because, in the required. Your subject will need to be rendered as a rich, deep black.
 F E A T U R E
BLACK-AND-WHITE BACKDROPS CONTINUED
RED KITE GATHERING
f/4.5 Hindsight is an important learning tool and this
image represents a significant missed opportunity.
I should have increased my ISO above 200, and I
should have closed my aperture down beyond a
measly f/4.5, as that way I’d have brought more of
the kites into sharp focus. Hopefully me making
this mistake might prevent some of you from
doing the same!

f/4

f/8
BENGAL TIGER SPOT-LIT IN THE FOREST
Even though I knew that the forest would fall into underexposure I still opened up my aperture BROWN HARE RUNNING
to f/4, minimising the depth of field, in order to reduce the risk of stray grasses coming into focus
and forming annoying distractions. TOWARDS THE CAMERA
With no downside to me having my aperture
at f/8, the increase in depth of field made me
safe in the knowledge that if my autofocus
dropped off the hare’s eye, and onto its body,
the face would still be critically sharp.

THREE HARES ON AN ICE FIELD

Paying close attention while you’re shooting is critical,
and this ice sheet had some distractions on it that I did
not want to bring into focus. Fortunately, an aperture
f/5.6 of just f/5.6 was enough to bring all three of the hares
into sharp focus while rendering the out-of-focus
distractions invisible.
 S U B S C R I B E

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 G A L L E R Y
X P O S U R E
THE WEEK’S MOST INSPIRING READER PHOTOS

SLEEPING SWAN II
ALAN SMITH
“This is a re-edit of an image I took a couple of years ago in England’s Lake District
National Park, at Crow Park looking out towards the boat landings of Derwentwater. After
the blood moon had passed, the sun started to rise and made for some interesting
conditions. All the mist and amazing colours made it worth staying out longer.”
http://bit.ly/3jMY4HT
 G A L L E R Y
THE WEEK’S MOST INSPIRING READER PHOTOS

PROUD AS A PEACOCK
DAVID FEUERHELM
“I took this photo in the Swiss Garden at Shuttleworth College in Bedfordshire,
UK, and processed it as a black-and-white image in SilverEfex.”
https://bit.ly/3flC9Hi
 G A L L E R Y
THE WEEK’S MOST INSPIRING READER PHOTOS

PINK ROSE
ANNA UTKINA
“I shot this close-up of a rose with my Canon EOS 5D
Mark IV and EF 100mm f/2.8L IS Macro USM lens.”
https://bit.ly/3vdJEYD
 G A L L E R Y
THE WEEK’S MOST INSPIRING READER PHOTOS

LATE WINTER SUNSET

CHLO SMART
“I shot this landscape silhouette at Colerne in Wiltshire,
UK with my Canon EOS 1200D and 50mm f/1.8 lens.”
https://bit.ly/3j6rHpc

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 I N S P I R A T I O N
ITHET BEST
’ S THING
C OWE’VE
O LSEEN
, TTHISH WEEK
AT

noititepmoC cihpargotohP SHR ysetruoc dna rehpargotohP ehT © segamI

Poppies by Giuseppe Bonali - Winner, Creative category

Spring from the Air by Oliver Dixon - Overall Winner

BEAUTIFUL GARDEN IMAGES T0

Pigeon by Angela Rogers - Winner, Welcoming Wildlife category Fantasy Flowers by Jack Sedgwick - Winner, Under-11s category

PUT SOME SPRING IN YOUR STEP

Royal Horticultural Society announces the winners of its 2021 photo competition
T he UK’s Royal Horticultural Society
has announced the winners of its
2021 Photographic Competition,
showcasing a beautifully eclectic selection
rarely seen glimpse of the intricate and
symmetrically pleasing design of The Flower
Garden at Loseley Park, Surrey. The judges
praised the image for its detail, texture, and
of images from amateur and professional colour, which combine to give the photo a
photographers from around the globe. tapestry-like feel.
Oliver Dixon scooped the prestigious title Click the link to see all the winning and SEE MORE IMAGES
of Overall Winner for his image Spring from commended images at the RHS website, https://bit.ly/3vbpr4S
the Air (above, top-left). The striking aerial and for details of how to enter next year’s
shot, which also won the Gardens category, competition, which is now open to
was taken with a DJI Mavic 2 Pro, and gives a photographers of all ages and abilities.
 S K I L L S
CESSENTIAL
R A SPHOTO
H CSKILLS
O UMADER SEASYE

BUILD A PHOTO STUDIO

Need somewhere to photograph subjects without leaving the house?
Adam Waring converts a spare room into a home studio…

2 We may be seeing light at

the end of the pandemic
HOURS tunnel, but months of
enforced lockdown, for
room – after all, we weren’t going to
be receiving overnight guests for quite
some time…
There’s a little more to it than moving
or two. These come as rolls of hard-
wearing paper or vinyl, and not only
do they give you a clean surface to
shoot against, hiding light switches
long periods of which going outside the bedroom furniture out and lighting and wallpaper, but they can have a big
was against the rules, has presented kit in, though. For full control over your impact on the look and mood of photos.
photographers lots of challenges. light levels you need to make the room A white or pure black backdrop
Confined between our own four walls, as dark as possible, so that the only is ideal, but you can try a range of
just what do we shoot, and how? illumination comes from your studio colours for something a bit more
It’s forced us to think creatively, lights, so you might need to install vibrant. Textured backdrops can add
and while many photographers have some blackout blinds. extra interest, while printed scenes can
dabbled with using flash to light their As well as a pair of home studio depict everything from forest glades to
images, we went one step further and lights (available from around grimy city backstreets – all without you
set up our own home studio in a spare £200/$200), you’ll need a backdrop leaving the comfort of your own home.
 S K I L L S
STEP BY STEP HOW TO CREATE A HOME STUDIO
1
BACKDROPS
The splayed legs of traditional backdrop
supports eat up valuable studio space.
We used a Magna-fix kit (£125/$195), which
comes with steel plates that screw into the
wall; the backdrop is then fixed with magnets,
so it hangs nice and flush to the wall.

2
TWIN FLASH HEAD SET
Shooting in a small space means you don’t
need super-powerful lights; our budget
Interfit set are rated at 150Ws, which is plenty
of illumination for our 3x4m room. More
important is the ability to turn down the lights
sufficiently, to avoid blasting your studio
setup with too much light.

3
WHICH MODIFIERS?
White ‘shoot-through’ brollies go in front
of a light, creating a diffused light source,
while ‘reflector’ brollies are aimed away from
subjects and bounce the light back onto
them. Softboxes offer the best of both worlds:
the shiny inner surface directs light through a
diffused front panel, while reducing light spill
for greater control.

QUICK TIP
An 85mm prime is often cited as the ideal portrait lens, but in a cramped space you may find that this doesn’t allow
you to get far enough back from subjects. We used a 50mm f/1.4 in our makeshift studio, which gives a natural field
of view akin to that of human vision.
 S K I L L S
STEP BY STEP HOW TO CREATE A HOME STUDIO

4
LIGHT TRIGGERING
The usual way to trigger lights is via a cable
from your camera’s flash sync socket to one
of the flash heads, but a wireless trigger keeps
cramped studios clutter-free. The second
head is triggered by setting ‘cell’ mode; a light-
sensitive receptor detects the first flash firing,
instantly firing the second.

5
KEY & FILL SETUP
The power of each head is set separately. Here
our ‘key’ light is to our subject’s right set and to
1/2 power, to provide the main illumination, and
the ‘fill’ light is angled slightly behind them and
set to 1/4 power, to help separate them from
the background, and to ‘fill’ and soften shadows
cast by the key light.

6
SETTINGS AND ADJUSTMENT
Set a mid-range aperture for a good depth of
field, and a low ISO, such as ISO100, for the best
image quality, then adjust the power of the lights
for a good exposure. You can also move the
lights further away from the subject to reduce
the amount of light falling on them, but in a small
space this may not be possible. The shutter
speed has minimal effect; it’s the short but
intense burst of flash that freezes your subject.
 E D I T I N G
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 MIRRORLESS TEST
EXPERT OPINION ON THE LATEST KIT

SONY ALPHA 1
Staggering specs – and a pretty staggering price
www.sony.co.uk £6,499/$6,499

I f we were to list every key

feature of the Sony Alpha 1, this
would be a book, not a camera
mode that merges up to 16 separate
images taken in succession; this is
designed for static subjects, with
Video-wise, the Alpha 1 is the first
consumer mirrorless camera after the
Canon EOS R5 to capture 8K video;
review. First, it has a 50.1-megapixel the camera mounted on a tripod. not only that, it can capture 4K video
stacked CMOS back-illuminated The A1 has a sensitivity range of at up to 120fps. Footage can be saved
gapless sensor with separate pixel and ISO100-32,000, expandable to ISO50- to dual CFexpress Type A/SDXC card
circuit layers, hooked up to a Bionz XR 102,400; Sony says it can capture a slots as 10-bit 4:2:0 footage, or saved
processor with eight times the power dynamic range of up to 15 stops. as 16-bit raw via HDMI.
of the previous version. This doesn’t The resolution may not be the Sony says the A1’s passive heat
just improve the performance and the highest available for a full-frame dissipation system allows up to 30
image quality, but the responsiveness camera (it’s beaten by Sony’s minutes of 8K 30p recording, which
of the camera itself. own Alpha 7R IV), but it is the is a big improvement over the Canon
second-highest, and it’s all the R5 (though the R5’s recording time
Key features more impressive in light of the A1’s has subsequently been improved
If 50.1 megapixels isn’t enough, there’s formidable video and continuous with a firmware update).
also a 199MP pixel-shift Multi Shot shooting capabilities. The A1 matches the 4K recording
 MIRRORLESS TEST SONY ALPHA 1

1 The grip is substantial, but it still

barely offers enough height for an
average-sized hand.
2 The A1 does not have the highest
resolution in the Sony range, but few will
complain at the prospect of 50MP!
3 Support for the Sony E-mount is strong, 03
both with new Sony lenses and lenses from
third-party makers.
02
4 With 9.44 million dots, the Sony A1 has the
highest-resolution EVF yet, by some margin.
01
5 This ‘thumbstick’ controller is really useful
for setting the focus point.
6 The A1’s menu system is complex, but
many everyday settings can be accessed via
this function button.
7 You get dual CFexpress/SD Card slots, but
you’ll only need CFexpress for the fastest 04
video frame rates.
8 The stacked focus mode dial and
drive mode dial on the top plate are good 05
to have.
9 There’s even a dedicated exposure
compensation dial. 06
capabilities of the Sony Alpha 7S III,
then trumps it with 8K capture. What’s 07
more, the higher-resolution sensor
means you can still capture 4K even
in Super35 crop mode with 5.8K
oversampling. That’s a big advantage
for any movie makers with APS-C
E-mount lenses or Super35 format
cine lenses and adaptors.
It’s hard to say which is more
impressive – the A1’s video
capabilities or its continuous shooting.
Just as it puts the A7S III in the shade
for video, it makes the Alpha 9 II look 08
pretty pedestrian too, beating its
20fps shooting with 30fps and with
a buffer capacity to match (up to 155 09
compressed raw images in a burst).
Not only that; thanks to its Bionz XR
processor it has a superior electronic
distortion control tool, which all but
eliminates skewed verticals in fast
panning shots, for example.
 MIRRORLESS TEST SONY ALPHA 1

The A1’s image quality is impossible to fault, and

Sony lenses can be corrected automatically
in-camera for any distortion and corner shading

has the highest resolution yet seen, a The 9.44 million-dot EVF is
240fps refresh rate and blackout-free seriously impressive - the resolution
shooting in burst mode, plus five-axis means you just don’t see the dots. On
in-body SteadyShot Inside image top of that, there’s no lag, jerkiness
stabilisation for up to 5.5 stops of or smearing if you move the camera
shake compensation, and a 500,000- quickly.
shot mechanical shutter with a 1/400 The rear screen is altogether less
sec flash sync speed. impressive. It’s a 3.0-inch display
There is more – a lot more – but where most rival cameras have 3.2-
those are the main points. inch screens, and the 1.44 million-dot
The Alpha 1’s default multi-pattern metering resolution is adequate, and no more.
has done a great job here, but it can Build and handling Worse, it’s a tilting screen with no
sometimes favour shadows a little too The Alpha 1 is a little larger than sideways movement, and you can’t
much in backlit scenes Sony’s A7-series cameras, and is even flip it to face the front. Sony
comparable with the A9, but it’s continues to astound us with its
nevertheless quite compact for a technical advances, but its physical
The Alpha 1’s continuous shooting full-frame mirrorless camera, and if design seems to move forward
capabilities are aided by a 759-point you mount a premium G Master zoom much more slowly, if at all.
phase-detect AF system, covering like the FE 24-70mm f/2.8 you’ll still There are three control dials, or four
92% of the frame, and 425 contrast have a front-heavy camera kit. That if you count the EV compensation
AF points. These work with improved would be a good reason to get the dial. Each has a good, positive feel,
Real-Time Eye AF for animals and new optional VG-C4EM battery grip, which although the combined rotary
Real-Time Bird Eye AF. will also extend the battery life – controller and four-way pad on the
Other key features include a 9.44 though the 530 shots you get from the back feels a little smaller and trickier
million-dot electronic viewfinder that A1’s Z-series battery is pretty good. to grip with our thumb than we’d like.
 MIRRORLESS TEST SONY ALPHA 1
SONY A1 JPEG SONY A1 FROM RAW

Sony claims 15 stops of dynamic range for the A1’s sensor, but you have to go looking for it, either with S-Log modes for video or in raw files for stills – our
sample above shows the potential for highlight recovery

Sony has replaced its old, complex, it’s our imagination, Sony’s Bionz
and often random-seeming menu XR processor has improved the
structure. The new menu system is depth and fidelity of colours. Even
colour-coded for easier navigation, in-camera JPEGs look impressive –
but there are now three navigation though the A1 does seem to lean
tiers – tabs, menus and options – towards overexposure with heavily
and you still have to work out where backlit subjects, so you might need
to find the settings you need. We to keep an eye on the histogram.
wanted to increase the A1’s heat The video recording test was
threshold for longer 8K recording interesting. Sony claims 30 minutes
Focusing on the Alpha 1 is fast, positive times, for example; it turned out to of recording time at 8K 30p, but we
and, with the latest Sony lenses, silent. be amongst the power settings. didn’t get that. Our camera shut down
The rear joystick on the camera offers The shutter has a short, quiet after a little more than nine minutes,
fast focus point shifts action, quite unlike the more drawn- and worse, it wouldn’t start again until
out mechanical action of previous the temperature had come down.
generations of Alpha cameras. This wasn’t like waiting for the buffer
The stacked focus mode and to empty after a long burst – the
drive mode dials on the far left of Performance camera was actually unusable for
the top plate are a good idea – it’s The Alpha 1’s still image quality is around three minutes.
quite annoying to have access to everything we would expect and This was somewhat curious. Some
these functions buried in menus. hope for. Exposures are accurate, investigation revealed that the A1
Speaking of menus, with the A1 the resolution is terrific and, unless has two sensitivity settings. Once
 MIRRORLESS TEST SONY ALPHA 1
LAB TESTS
RESOLUTION (LINE WIDTHS/PICTURE HEIGHT)
50

40

30
The rear touchscreen display flips upwards, 20
but not sideways, and it can’t be rotated
forwards for vlogging 10

Is it our imagination, or has Sony made 0

some real strides in colour rendition? which comes with a slight crop factor, 100 200 400 800 1600 3200 6400 12800 25600
Sony Alpha 1 Canon EOS R5
you can carry out some smooth, slow Nikon Z 7II Sony Alpha 9 II
camera movements, too. However, We tested the Alpha 1 against the Alpha 9 II, Canon
we changed ours from Standard to Active Mode notwithstanding, the R5 and the Nikon Z 7II. Unsurprisingly, with 50MP on
High, it sailed right past our earlier A1’s stabilisation did not cope at all tap the A1 leads the pack here, resolving noticeably
nine-minute limit, and only stopped well with run-and-gun (or walk-and- more detail than the ~45MP EOS R5 and Z 7II.
at 18 minutes when our memory card gun) shooting. We compared both
became full. (Unfortunately, by this stabilisation modes (Active Mode was
time we couldn’t test it for longer with visibly better) with no stabilisation SIGNAL-TO-NOISE RATIO (DECIBELS)
our 128GB V90 card because that (terrible) and a Ronin SC gimbal (way
failed after the previous test. We think better than in-camera stabilisation). 60
it was the card, not the camera.) Interestingly, we could balance the
The A1’s image stabilisation results Alpha 1 and an FE 24-70mm f/2.8 lens 50

were a mixed bag too. For static on our Ronin SC, but we had to mount 40
filming, the in-body stabilisation it so far back to balance it that the 30
works really well. If you engage the viewfinder fouled the roll motor, and
Active Mode stabilisation setting, the combo was pretty heavy to hand- 20

hold and film with. 10

The Alpha 1 looks like a great 0
camera for video, but its IBIS doesn’t 100 200 400 800 1600 3200 6400 12800 25600
Sony Alpha 1 Canon EOS R5
replace a gimbal, and you might want Nikon Z 7II Sony Alpha 9 II
to user lighter lenses or primes to film Likely as a result of its larger, more light-sensitive
SENSOR: 50.1MP FULL-FRAME EXMOR with. On a tripod it’s fine, obviously. photosites being less susceptible to generating
RS CMOS IMAGE PROCESSOR: BIONZ XR Rod Lawton image noise, the Sony A9 II wins here by a
AF POINTS: 759 PHASE-DETECT, 425 significant margin.

VERDICT
CONTRAST-DETECT ISO RANGE: 100-
32,000 (EXPANDABLE TO 50-102,400)
STABILISATION: FIVE-AXIS, UP TO DYNAMIC RANGE (EV)
5.5 STOPS MAX IMAGE SIZE: 8,640 X
5,760PX (199MP WITH MULTI SHOT MODE) The Sony A1 is a technological 14
VIDEO: 8K 30P (XAVC HS 8K), 4K (XAVC triumph; a camera that really 12
HS 4K OR XAVC S 4K) UP TO 120P, 10- can do everything. Previously,
BIT 4:2:0 INTERNAL, 16-BIT RAW VIA cameras might offer speed, 10

HDMI VIEWFINDER: 9.44M DOTS, 100% resolution or video capability; the 8

COVERAGE, 0.9X MAGNIFICATION, 240FPS A1 offers all three. The price is 6
REFRESH RATE MEMORY CARD: TWO a major obstacle, however, and 4
CFEXPRESS TYPE A/UHS-II SD/SDHC/SDXC means that its appeal is limited 2
LCD: 3-INCH TILTING TOUCHSCREEN, 1.44M to photographers who need 0
DOTS MAX BURST: 10FPS MECHANICAL everything it does, not just one 100 200 400 800 1600 3200 6400 12800 25600
Sony Alpha 1 Canon EOS R5
SHUTTER, 30FPS ELECTRONIC SHUTTER or two of those things. Nikon Z 7II Sony Alpha 9 II
CONNECTIVITY: WI-FI 5GHZ AND 2.4GHZ, There’s no obvious clear-cut winner here. Our
BLUETOOTH SIZE: 129 X 97 X 81MM results seem to go against Sony’s claims of a
WEIGHT: 737G BODY ONLY, INCLUDING 15-stop dynamic range, but we don’t know Sony’s
BATTERY AND MEMORY CARD testing methods.
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