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Celebration

This time of year is all about celebration.

Capture the moments - it could be portraits, family shots, Christmas day, or New years eve.

As always don't capture the norm, think about the subject and what it means to you. Be creative, think and plan ideas to help you get a unique view on the project.

For instance you could visit a homeless shelter over the holiday period and document people having a fun time, this wold make for some very interesting pictures.

Or capture the fireworks on New years eve.

Good luck!

Alternative car trails

This project will give you a chance to have some fun with your photography.

Shoot from inside a moving car at night as a friend drives slowly along a well-lit road.

You will need an exposure of around 30 seconds. Use a tripod set up in the passenger or back seat and trigger the shutter with a remote release.

An easy set up would be;

Shutter priority: TV or S Shutter speed: 30’’ Focus: Set the lens to infinity (If you don’t have infinity then auto focus on the dash of the car, then move the lens back to manual focus so it does not try and refocus when taking the shot. ISO: 400 Lens: Go for a wide lens to capture as much as possible around 12mm - 24mm

If you don’t have a remote release then just be very carful when pressing the trigger button.

If you want to do something a bit more advanced and you have a flash speed light press the test button once during the exposure, be carful not to distract any other drivers!

If you are really brave and have a clamp you could always attache the camera to to outside of the car!!!

Have fun, be carful and good luck.

#car trails #alternative car trails

Painting with light

This is a fun a easy project. You can create some stunning imagery with this technique and really get a different look and feel to your images.

The idea is to create light in areas that you want, so you end up with an individual image and the great thing is it will improve your understanding of light, how it works, distance it travels, how its absorbed, reflected and seen. You can think about it before or just go out and do

To do this I recommend spending some time in graveyards…Yes I know! It can be quite funny as people walking by can get freaked out if they see you - go with a friend so you don't get to spooked! but they are usually in dark places with minimal light pollution - street lights etc which you want to avoid because of over exposing.

EQWIPMENT LIST

A Tripod

A torch - The LED ones don't work as good as they don't spread out the light but instead make lines which can be cool but for now use an old fashioned bulb one, they are still about and can be bought easily enough.

A remote - If you have one but not essential

A lens with infinity focus - If you don't have one then don't panic!

THE STEPS

Put the camera on to a tripod

Put the ISO to 100

Set the camera to shutter priority - TV or S

Set the shutter speed any where from ten to fifteen seconds which will look something like this on the camera 10” & 15"

Set the lens to manual focus M or MF

Set the lens to infinity focus, you do this by adjusting the focus ring.

If your lens does not have an infinity setting then use the touch to focus on the subject while using automatic focus A or AF - the camera should make a bleeping noise once it has focused. Once it has focused switch it to manual focus M or MF so that it does not try to refocus while you take the picture!

Once these steps are complete its time to take the picture, preferably using a remote to minimise camera movement. Use the torch to paint in areas of a gravestone or what every subject you have decided to photograph.

Every time you do this keep the torch moving in a painting motion, the longer the light is left in an area the more it will expose, so if its left in an area to long it will start to over expose. It will probably take you a few attempt to get it right but when you do..You will know!

TIPS

Make sure you have at least one spare battery as you will use them up fast due to the long exposures - keep them in a sock (A clean one is always a good idea) cold will drain them very quick. Also make sure your memory card is large enough to store lots of data - Take a back up incase.

You might want to wrap up warm to - trust me there is nothing worse than standing in the cold taking pictures while you are numb from the face down!

Good luck!

Camera club project - Sun sets

Sun sets /are arguably one of the most beautiful things you can photograph. To capture a great sun set you also need to have a few other elements for it to work. It’s time to move up a level with the projects and start using multiple skills to improve your pictures. A sunset is pleasant to look at but if you don't think about how you will photograph one it will look very static and boring.

Some things you can think about to help you create an amazing sun set or sun rise.

Composition

Using the previous project about composition spend 70 % of your time getting this correct. Think about the rule of thirds, going low or high, left to right, lead in line, etc. Take as much time as you need to get an interesting shot, you may want to spend just time looking through the cameras view finder to work out the perfect angle and composition.

Exposure

Even though this is basic it needs to be right. Over exposing is very easy when it comes to photographing the Sun, it is bright after all! Take plenty of exposures / bracketing to ensure you get the perfect exposure. If you are confident enough think about using High Dynamic Range.

Editing

This is an essential part of the process especially if you want to create the perfect sun set. Think about how you can warm the picture up by adjusting the white balance or use a colour effect which was a project we covered recently to add drama. If you are feeling very confident then you could even use Photoshop to adjust layers and create a truly one of a kind image.

Lightroom basics

Lightroom basics and HDR

#photography #lightroom #HDR

ND Filters - Long Exposures

If you want to improve your photography then having the right equipment is essential. One of the most basic things you can buy to achieve better images is an ND filter (Neutral Density Filter). An ND filter reduces the amount of light reaching the sensor without affecting the colours, hence the term ‘Neutral’ this then allows you to use long shutter speeds during day time.

If you take a 3 second exposure outside during the day the image would most certainly be overexposed. If you use an ND filter you would be able to achieve long exposure times and at the same time capture any moment, such as water, clouds or trees. The most popular images using ND filters are ones of waterfalls that look like mist, steam or paintings.

If you're in the right place and the wether conditions are just right you can create stunning images. most ND filters variety in price but at around £20 - £30 you can purchase a relatively good filter which will make your images look like a professional photographers.

When you use an ND filter you will need to calculate the new exposure which will be explained below. You can download apps that help you work it all but but its quite simple to work out.

The filter number is what is used to calculate the exposure times, for instance an ND64 will take out 6 stops and an ND1000 will take out 10 stops.

A stop in either direction is either double (an increase in a stop) or half of the amount of light (a decrease in a stop) entering the lens. This can be achieved by either changing the aperture, shutter speed or ISO.

Because we want long exposures its common sense to lower the shutter speed. If the exposure goes over 30’’ you will need to use BULB mode found at the end of the shutter speeds or displayed as B on the camera dial and a remote to time it right.

Step 1

Place your camera on to a tripod

Step 2

Get the composition correct and focus using M or MF (manual focus)

Step 3

Set the cameras ISO to the lowest possible for example (100 ISO)

Step 4

Take a light reeding known as a base exposure

Example

Shutter speed 1/120

Aperture F8.0

ISO 100

Step 5

Attach the ND filter

Step 6

Use the chart below or an app to determine the new correct exposure.

Step 7

Take the picture (You may want to use a remote or delayed timer to stop camera shake)

Example

Calculation using an ND1000 filter. Notice that the shutter speed is the only setting changed.

Base exposure

Shutter speed 1/120

Aperture F8.0

ISO 100

Calculated Exposure

Shutter speed 8 Seconds

Aperture F8.0

ISO 100

Calculation chart for a 6, 10 and 15 ND filter.

#photography

Colour Effects

Colour effects are a great way to add drama to your pictures and are used by many photographers. Follow these simple steps to create your own light filled picture.

Step 1. In this months Practical Photography magazine are giving away 27 free colour effects. Download here: http://www.practicalphotography.com/downloads/

Step 2. Open your image File>open. Open the effect pack you have just downloaded by again using File>open and select one.

Step 3. Press Ctrl+A to select it, Ctrl+C to copy it and then Ctrl+W to close.

Step 4. Press Ctrl+V to paste the colour effect on to the image

Step 5. Press Ctrl+T to put it in to Free Transform Mode. Hold the Shift Key down and at the same time drag the corner of the bounding box until the image is completely covered by the colour effect.

Step 6. Go to the Layers Panel(If you cant find them go to Window>Layers and change the blend mode to Soft Light, Overlay, Soft Light, etc simply experiment with the different options. The Layers Panel its set to Normal by default so just look for the word Normal and click on the arrow pointing down to make the changes.

Step 7. If you want to increase the effect simply press Ctrl+J this will duplicate the layer and boost the effect.

Step 8. Go to the Layer panel and click on the Mask icon. Use a soft brush and paint over the area you don’t want the effect to be. By pressing D followed by X for a black foreground colour paint over the area you don’t want to see

Before & After

#photography #dslr learning #dslr photography #photoshop

Composition

Composition is arguably one of the key factors in making a photograph. Without it, an image will lack energy and life. To keep a viewers interest a picture must guide their eye on a mini journey. Some people are lucky enough to have a natural eye they can simply and easily compose the camera in a way that produces great looking and interesting images. If you lack that ability (I myself am not a natural but that's another story) then following the main composition steps listed below will help develop the skill.

The more you practice the easier it will become, it will be like you're on auto-pilot with your subconscious practically doing everything for you. I would advise spending a large amount of time working on improving composition, learning what works and why. Like a painter, it's a skill that is developed over a lifetime of trial and error.

Select three of the ‘Rules’ below and take a picture showing that particular composition guide. If you are feeling brave try using several ‘Rules’ in one picture. I always advise taking a picture how you normally would then implement a ‘Rule’. As you take more pictures you will see over the space of several frames that you improve quite drastically.

Change your Point of View

This is the obvious rule. Don't be a tree! Move around as much as possible in all directions while looking through the camera's viewfinder. It might only be an inch or a foot difference in a composition which will make or break a picture. Spend enough time looking for a great angle before even thinking about taking a picture.

Crop Tool

A great way to finalize your composition is to use the crop tool which can be found in most editing software such as Lightroom & CS6 Photoshop.

Rule of Thirds

The rules of thirds is a great way to simply compose any image. By dividing the frame into 9 equal rectangles, 3 across and 3 down you give yourself a grid to work with. Most cameras display this grid in live view mode. By placing the important element of the scene along one or more of the lines or where the lines intersect you will create a very appealing image. Most people will naturally want to position a subject in the center of an image, the rule of thirds trains you to position subjects off center which will produce better results.

Centered Composition and Symmetry

Our brains love symmetry so it's only natural that this will produce a great picture. In order for this to work divide the picture equally from the center with either side being symmetrical. Think of it like the butterfly painting you did at school.

Foreground Interest and Depth

Having interest in the foreground will jump out to viewers. It will also add depth as the main focus will be in the front naturally leading the viewer's eye into the middle of the picture. This works extremely well with wide angled lenses.

Frame Within the Frame

This is very similar to the rule of symmetry. This is very popular with architectural photography as arches and pillars can easily be used to frame a building creating a frame within the frame.

Leading Lines

Probably the second most popular rule used after the rule of thirds. Leading lines are basically anything that draws the viewer's eye into the picture. Natural lines such as trees, streams, and rivers are perfect for this as well as man made objects. By composing these elements in such a way they become lines that the eye will follow. They can be used to direct the viewer's eyes to any part of the picture.

Rule of Space

This rule is about directing the viewer's attention to a place you want them to. If a subject is not looking directly into camera or looks out of the frame, there should be enough space for the subject to look into. This then intrigues the viewers into what the subject is looking at. People viewing this kind of image will naturally look at the area where the subject is looking at.

Fill the Frame

If you want to make an impact then fill the frame with the subject. Portraits are a prime example. Make the whole picture a magnified version of what you would normally do. This will create drama as well as impact.

Left to Right Rule

This rule is designed around that fact that our eyes are used to reading left to right. By placing the focus point of the subject more to the right side of the frame will create pleasing images. This is why advertisers place the product/logo at the bottom right-hand side of an advert.

Golden Ratio

This is the most complicated of all the composition rules but in my humble opinion the best. Leonardo Fibonacci devised a series of numbers that will produce an aesthetically pleasing composition. This composition is known as the Fibonacci Spiral.The Fibonacci Spiral was created from a series of squares using Fibonacci’s numbers, with the length of each square being a Fibonacci number. A series of diagonal points on each square will then create a path for which the spiral can flow through the frame. Using the spiral as a tool to compose a photograph will allow the viewer to be led around the image in a natural flow.

Day for Night Photography

This is a very old trick that is used in films. It enables you to shot during the day time and make the image look like night time. This has huge benefits as it means you can keep very high shutter speeds and shoot whenever you want to without the need of flash lights.

There are a few things to consider to enable you to get the best results.

Make sure the sun is behind the subject.

Shoot during the golden hour to avoid harsh shadows.

Underexpose by at least 2 stops.

The highlights are not blown out/overexposed.

A clear separation between the sky and the foreground.

Taking the pictures

Take pictures as normal, if you are having problems then put the camera on to a tripod and set the camera to AV or A and select an aperture of F11. This will get you an image that is workable in photoshop. If you have a polarising filter then this will help stop reflections and also take one stop of the exposure, it will also add some contrast.

Post production

Step 1 Add a Hue/Saturation Adjustment Layer. Click the icon that looks like a hand pointing with left and right arrows, then click somewhere in your sky to select the Blue color range. Adjust the Lightness to -50 to darken the sky.

Step 2 Add a Brightness/Contrast Adjustment Layer. Set the Brightness to -50 to darken the image.

Step 3 Add a Color look up Adjustment layer. Under the 3DLUT File dropdown, select NightFromDay.CUBE. Set the Opacity of the Color Lookup Adjustment Layer to around 60% - 70% in the Layers panel.

Step 4 Add a Curves Adjustment Layer. Set two points as shown in the photo, simply drag the line to the points.

Step 5 Use the Dodge and Burn tool to darken and lighten areas. Set the Range to Midtones and the exposure to around 50%. Paint in the areas you would like to adjust.

Before

After

#photography #stamford #day for night

LEVITATION PHOTOGRAPHY

Equipment: Tripod, DSLR Camera, Photoshop

Step 1: Think of an interesting idea and research some locations that will enhance the image, take your time with the creative process.

Step 2: Mount the camera on to a tripod and set the cameras exposure from taking a light reeding. If in doubt then put the camera on to aperture priority (A or AV) and set the aperture to F11.

Step 3: Take a picture of nothing but the scene, take several to be sure you have the best angle and light. Once happy keep the camera in the same position and don't move it. This is the first image that will be used later to help create the levitation image.

Image 1 - Scene only

Step 4: Now place the stool or what ever your using for support in the scene, along with the main subject or object you want to photograph . You may have more than one person or object in the picture, if so place them all in the scene at the same time.

Step 5: Take the picture, take as many as you need to, but remember don't move the camera or tripod.

Image 2 - Scene with model and props

Step 6:

1. Open Photoshop

2. Go to File / Open and open both images

3. Select the first image and press cmd A then cmd C

4. Go to the second image and press cmd V

5. If you cant see the Layers pallet go to Window / Layers

6. Use the Move tool to line the images up, the very top tool (Use the eye on the Layers pallet to make sure they are aligned)

7. Select Layer 1 and then select the Eraser Tool, set the Hardness to 0 (This can be seen at the top)

8. Erase the objects that are supporting the model or object, be carful, zoom in and take your time.

9. If there are obvious differences with the pictures when erasing this is due to shadows that have appeared in the second image. To adjust this go to Image / Adjustments / Brightness & Contrast. Take the Brightness down until it matches.

10. Make any other adjustments needed such as Colour etc

See this video for a visual step by step reference: https://www.youtube.com/watch?v=ChJCeTSBWCg

Final image

#photography #levitation photography

Hyperfocal Distance & Focusing

If you want to take the sharpest possible images, particularly landscapes understanding hyperlocal distances is simply invaluable. Hyperfocal focusing enables you to get the sharpest possible photographs with maximum depth of field. It is extremely important when incorporating close objects in the scene.

Hyperfocal distance is the focusing distance that gives your photos the greatest depth of field, an example is a landscape picture where you want everything (foreground and background) to appear sharp.

If you focus on the foreground, the background will appear blurry in the image, if you focus on the background, the foreground will look out of focus. To achieve both you focus at a particular point between the foreground and the background, which makes both the foreground and the background elements of the scene appear reasonably sharp. This focusing point is called the hyperfocal distance.

The technical definition of hyperfocal distance is ‘The closest focusing distance that allows objects at infinity to be sharp and in-focus’

Think of “infinity” as the horizon or stars at night. By this definition, the hyperfocal distance of your lens will vary with apertures and heres why.

If the aperture is wide, such as F2.8 you will need to focus quite far away for objects at infinity to appear in focus. However, at a small aperture such as F16 distant objects will continue to be sharp even if your lens is focused more closely. There for with smaller apertures the hyperfocal distance will be closer to your lens.

The focal length of the lens also has a huge impact on hyperfocal distance. As you zoom in your hyperfocal distance moves further away. For a 20mm lens you may need to focus just a few feet from your lens to get the horizon sharp. For a 200mm lens the hyperfocal distance may be hundreds of feet away.

It is important to note that if you focus at the hyperfocal distance the image will be sharp from half that point to infinity. So if the hyperfocal distance for a given aperture and focal length is ten feet, everything from five feet all the way until the horizon will appear sharp.

Not all photographs require you to use hyperfocal distance. For example if you are stood on a mountain and there are no objects in your foreground it would be silly to focus at the hyperfocal distance because the nearest object is at infinity. Instead, you should focus on the distant mountains or horizon. Hyperfocal distance is only useful when objects that are both close and far away from your lens need to be sharp. Since you are actually focusing between these objects, neither is perfectly sharp they are both simply close enough or “acceptably sharp”. When you don’t have a nearby object in the scene you can completely ignore hyperfocal distance.

Most lenses don’t produce details very well at wide apertures, particularly towards the edges of the frame. Each lens has a “sweet spot” where it optically performs the best. These are usually around F11 & F16.

The most common method of finding a photo’s hyperfocal distance is to use a chart like the one below. There are also apps available for your phone which are much simpler to use.

To use a hyperfocal distance chart follow these steps.

1 Choose a lens, and be sure to note the focal length that you are using.

2 Pick an aperture value.

3 Find the hyperfocal distance that corresponds to your chosen focal length and aperture.

4 Focus your lens at the hyperfocal distance. This can be done by estimation.

5 Now, everything from half that distance until infinity will be sharp.

Some other methods you can try out are below, however they are not completely perfect.

The Live View Infinity Focus Method

1 Take a photograph, set at the aperture that you plan to use, focused on the farthest background object in your image.

2 Review the resulting image at a high magnification (preferably at 100% zoom). Scroll down the photograph until you find the closest point that still looks acceptably sharp (everything past this point to the foreground should look blurry). This point is the hyperfocal distance.

3 Focus your lens at this point. Be sure not to change your aperture.

4 Now, everything from half that distance until infinity will be sharp.

The Blur Focus Method

For this method enter live view mode at the widest aperture that the lens offers. Then focus the lens so that both the foreground and the background are equally blurry – that focus distance is the hyperfocal distance.

1 Turn the lens to manual focus.

2 Select the widest aperture available on the lens (typically somewhere from F1.8 to F4.

3 Turn on live view.

4 Focus the lens so that the closest object and the furthest object in the scene are equally blurry.

5 Don’t touch the focus ring anymore as its already set to your hyperfocal distance.

6 Set the desired lens aperture. Now everything from half the hyperfocal distance until infinity will be sharp.

Put this in to practice and watch as you develop better quality images, start to understand depth of field and composition more. Good Luck!

#photography #dslr learning #dslr photography #hyperfocal distance

New Workshops & Trips for 2017

DSLR Learning are proud to introduce some amazing new workshops for 2017 that will help improve your photography and technical ability. Alongside you will find some jam-packed weekend and day trips away helping you meet new people and share your passion whilst learning new skills. Have a look on our website and see if any take your fancy. www.dslrlearning.co.uk Please note that all trips & workshops are on a first come first serve basis. We are expecting the trips and workshops to be booked up fairly quickly so please book soon to avoid disappointment.

#workshops #trips #new workshops

Camera Club Project Collodion process / wet plate process

Collodion process / Wet plate process

A Collodion process also known as a wet plate process is a personal favourite of mine. Invented in 1851 it requires the photographic material to be coated, sensitized, exposed and developed within the span of about fifteen minutes, necessitating a portable darkroom for use in the field. The collodion process produced a negative image on a transparent support (glass). We can achieve a similar version digital using Photoshop. I've used a picture I took in the studio a few years ago. I would advise taking a portrait of someone with interesting features, a more 'mature' looking person works well because of the contrast range in the wrinkles.

1. Apply High Pass sharpening

Open your portrait image in Photoshop and press Ctrl+J to copy the Background to a new Layer. Next go to Filter>Other>High Pass and set the Radius to 10 Pixels for a head and shoulders shot, or 5 Pixels for a waist level portrait. Now go to the Layers panel and click on the Blending modes dropdown menu at the top that’s set to normal by default, and select Overlay from the list of options.

2. Add Lens and Movement Blur

Hold down Ctrl+Shift+Alt+E to merge the visible Layers into a new Layer at the top of the stack. This will now be active. We need to do this because adding blur to the previous Layer will not show up. Next Go to Filter>Blur>Lens Blur on the main Photoshop menu and use all of the default settings except for Radius, which should be set to 60. Click OK. Go back to the menu and click on Filter>Blur>Motion Blur. When the dialogue box opens set the Angle to 10, Distance to 50 and hit OK.

3. Mask out an area of blur

Click on the Layer mask icon at the bottom of the Layers panel to Add layer mask – it’s the icon showing a rectangle with a circle in the centre. Press D on the keyboard to set the foreground and background colours to black & white. If white appears in the foreground hit X to switch to black. Now press B on the keyboard and select a large soft edge brush (around 1500 px) to mask out blur over the central part of the face. If you make a mistake press X to bring white to the foreground and paint over the offending area. Take time when doing this because what you’re aiming for is a believable shallow depth-of-field effect.

4. Convert to black & white with the Channel Mixer

Click on the adjustment layer icon at the bottom of the the Layers palette – it’s the half- black half-white circle. Select Channel Mixer from the list of options. Next check the Monochrome box to convert the image to black & white. Now it’s time to create the highly detailed skin effect, so as a starting point set Red to -100, Green to 0 and Blue to 200. Now move the red slider to the right until the image is as bright as you’d like it to be. If highlights are blowing out drag the Green slider to the left. My final settings for this portrait were Red -56, Green -22 and Blue 200. All images are different so you’ll have to experiment on an image by image basis.

5. Lighten and dull the image

Go back to the adjustment layer icon and select Curves from the list of options. Left mouse click in the centre of the curve and drag up and to the left slightly to lighten the image a touch more. Hit OK when you’ve finished. Click on the adjustment layer icon again, and this time select Levels. Set Output to 10 for blacks and 220 for whites. This will dull the image slightly to give it a more authentic look.

6. Select and Copy a texture

Now it’s time to mimic the smudged emulsion effect typical of the wet plate collodion process. Open your texture image and convert it to black & white if it isn’t already. Next hold down Ctrl+A to Select All, then Ctrl+C to Copy. Click on the tab for the portrait image and press Ctrl+V to paste the texture onto the image. Go to the Blending modes menu on the Layers panel and select Multiply from the list to add a degree of transparency to the Layer.

7. Duplicate the texture and change Blending modes

Hold down Ctrl+J to make a copy of the texture Layer, and then press Ctrl+I to invert it. Now go to the blending modes menu and select Screen from the list. Press V on the keyboard, then left mouse click and drag the layer so the two textures are skewed. Hold down Shift and left mouse click on the texture Layer below so both textures are now selected. Press Ctrl+G to group the Layers, and reduce Opacity to around 70%. You can do steps 6 and 7 multiple times with different textures.

8. Sepia tone the image

Go to image / Adjustments / Photo Filter... When the dialogue box opens click on the dropdown menu that’s set to Warming filter (85) by default and select Sepia. Drag the Density slider to the right until it’s set to between 20 – 50% This will give the image a natural warm look. The wet plate collodion effect is now complete. You can now keep all the Layers intact or Flatten the image go to Layer / Flatten Image.

9. Textures for you to experiment with.

#photoshop #wet plate #collodion process #cs6

Top 10 DSLR Cameras to buy

I'm often asked advice on which camera to buy. This is a difficult question to answer as its down to several things including budget, taste, mega pixels, frame rate, the list can go on and on. My advice is to look for a versatile camera that can give you a good mix of what your looking for. I hope this list helps with your research but also remember good pictures can be taken with any camera as long as you know the basics, if you are struggling then you can always buy our PDF Beginners Masterclass which will give you all the information you need to get started. BUY HERE for just £10

1. Canon EOS 5D Mark IV

One of the most complete DSLRs ever seen

£3499.00

Stunning performance

Advanced AF system

Expensive compared to rivals

4K video options limited

Canon's 5D series of cameras has a rich heritage – the original EOS 5D bought full-frame photography to the masses, the Mark II unleashed Full HD video capture for the first time on a DSLR, and while the Mark III became a firm favourite amongst photographers. The 5D Mark IV pretty much tweaks and improves on everything before it. With a new sensor that delivers pin-sharp results, a 61-point AF system that's incredibly advanced and some very polished handling, the 5D Mark IV has to be one of the best DSLRs we've seen.

2. Nikon D810

Nikon's full-frame favorite combines sky-high resolution with solid build and value

£2399.00

Handling and image quality

Good value for a pro camera

Beaten for resolution by the 5DS

Modest continuous shooting speed

The full frame Nikon D810 might be getting a little old compared to rivals, but the Nikon is still a great buy. It's built like a tank, it handles beautifully and it doesn't cost the earth. It's expensive compared to APS-C DSLRs, but for a pro camera it's actually quite cheap, and Nikon has ditched the anti-aliasing filter usually placed in front of DSLR sensors in order to maximise its formidable resolution. If you're into sports, action and wildlife photography, the Nikon D5and D500 have faster continuous shooting speeds, but neither can match the D810's outright image quality and value for money.

3. Canon EOS 5DS

Proof that more can mean better: the 5DS sets a new standard for DSLR photography

£2314.00

Incredible resolving power

Not that expensive considering

Huge files, especially raw files

Demands the best lenses

With 50.6 million effective pixels, the 5DS is by far the highest resolution full-frame DSLR on the market. The same goes for the 5DS R, which is identical to the 5DS, but features an anti-aliasing cancelation filter over the sensor to help resolve a little more detail. Pixel-packed sensors can be compromised, but not here. Image quality is superb, with fantastic detail, well controlled noise and good dynamic range. The 5DS is now the benchmark for full-frame image quality, but it's not quite perfect. There's no Wi-Fi or Ultra HD video recording, and huge image file sizes necessitate decent memory cards and a fast computer. The 5DS out-resolves any other full-frame camera on the market in our lab tests.

4. Nikon D500

Nikon's baby D5 is perfect for the action photographer

£1679.00

Stunning 173-point AF system

Rugged, metal body

Relatively low pixel count

Video still limited

Nikon has taken their flagship D5 DSLR and most of its high-end features and distilled all of this into a smaller, but still very durable metal body. The full-frame sensor is replaced by an 20.9MP APS-C sized chip, so it hasn't got quite the same resolving power as the D7200, but it does mean the D500 can shoot at a rapid 10fps, while the 153-point AF arrangement is perhaps the best autofocus system out there right now. A brilliant all-rounder, it excels at fast action like sports and wildlife photography.

5. Canon EOS 7D Mark II

As fast as pro DSLRs but priced for amateurs, the 7D Mark II ticks all the boxes

£401.00

Tough build

Hybrid AF and 10fps shooting

Expensive for an APS-C camera

Cheaper EOS 760D has more pixels

Just like D500 above, the EOS 7D Mark II borrows much from its big brother, the EOS-1D X (recently replaced by the EOS-1D X Mark II), bringing 10fps shooting and a professional autofocus system to the amateur market. Now you can shoot action and sports like the pros, but at a price within the reach of enthusiasts. The 7D Mark II isn't just a high-speed specialists, it's a terrific all-round camera. It's tough, with an alloy body and weather-sealed controls, it has a great sensor with an advanced dual-pixel hybrid autofocus system, and it's a powerful video camera too.

6. Nikon D7200

Versatile, powerful and capable of excellent results – perfect for enthusiasts

£656.00

Excellent 24MP sensor

Powerful 51-point AF system

Soon to be outshone by the D500

6fps shooting merely average

Cheaper than the D500 and while it doesn't offer quite the same pro-spec performance, the Nikon D7200 does offer a bit more in the way of resolution. Using Nikon's excellent 24-megapixel APS-C format sensor with no anti-aliasing filter, it produces some of the sharpest images you'll see outside of professional full-frame cameras. The D7200 doesn't match the D500's sheer speed or out-and-out build quality, but it can still shoot at 6 frames per second for up to 100 JPEG photos or 27 raw files, and it uses a 51-point autofocus system taken straight from Nikon's pro DSLR range.

7. Nikon D750

A full-frame DSLR with performance, versatility and value

£1599.00

Good 24MP full frame sensor

Tilting screen, handy for video

Nikon D610 is cheaper still

Nikon D810 is not a whole lot more!

Like the looks of Nikon's D810 further up the top, but don't want to shell out quite that much, then look no further than the 24MP full-frame D750. It doesn't have that magnificent 36-megapixel sensor that the D810 does, but its 24-megapixel alternative still delivers top quality results, especially at high ISO settings. The D750 is also a bit more versatile than the D810, with a faster 6.5fps continuous shooting speed, a handy tilting screen and a lower price – and you still get the enhanced autofocus system and Picture Control 2.0 options of the D810.

8. Nikon D3300

Cheap cameras don't always bring compromise - the D3300 is basic but brilliant

£319.00

Terrific 24MP sensor

Excellent value for money

Basic external controls

Maybe too small for some hands

At the opposite end of the spectrum to some of the full-frame DSLRs here, the D3300 is cheap as chips, has one of the sharpest APS-C sensors there is and a neat retracting kit lens. It's proof that you don't have to pay a fortune to get a great camera, and we say its sheer value for money makes it just as impressive as much more advanced (and much more expensive) alternatives. It has the same 24-megapixel non-antialiased sensor as the best of Nikon's APS-C format DSLRs, and although the controls are designed to be simple for novices, in the right hands the little D3300 is a match for cameras costing far more.

9. Canon EOS Rebel T6i / Canon EOS 750D

A compelling combination of top-notch ergonomics and a superb sensor

£554.99

Impressive features

Easy to use

Slow AF system

Dated menu system

Pay a bit more cash over the D3300 and you get a quite a lot more camera for your cash. The 24.2-megapixel sensor delivers stunning image quality with impressively low noise levels at high ISO sensitivities. The EOS Rebel T6i (known as the EOS 750D outside the US) also receives much-improved autofocus and exposure metering systems over Canon's older T5i / 700D, as well as built-in Wi-Fi with NFC pairing. Although outwardly similar to its T5i / 700D predecessor, that does mean you get the same articulating, touch-sensitive screen to enjoy. A very capable piece of kit for those looking to get into DSLR photography.

10. Pentax K-1

Pentax's first full-frame DSLR has a lot to offer

£1799.00

Impressive features

Competitive price

Slow AF system

Dated menu system

The K-1 offers a rugged build and a full-frame sensor at a relatively affordable price. It's not cheap, but it compares favourably with the likes of the Nikon D810, Canon 5D Mark III and Sony Alpha 7R II. Pentax's Pixel Shift Technology is clever, and it's great that the company has managed to produce a mode that can be used when the camera is hand-held, although the impact is subtle. Less of an all-rounder than the 5D Mk III, the K-1 makes an excellent camera for landscape, still life and portrait photography, or any genre that doesn't require fast autofocus and which benefits from a high pixel count for detail resolution.

#dslr camera #top 10 dslr cameras to buy #top 10 dslr cameras 2016

How to take a time lapse on a DSLR camera

Hi Everyone,

Welcome. This is a bit of a half post as I'm moving house in a couple of weeks and also suffering with a bad back. I will start adding more in-depth posts very soon.

Ive added some information about time lapse have a reed below and feel free to comment.

Time lapse can be a lot of fun, it takes a little while to get it right but once you do its easy. Below is some simple step by steps on how to go about it.

TIME LAPSE

Credit - Peter Mead

1. Choose your subject carefully

Remember time laps can take a long time - Are you wanting to stand around for hours and hours or do a short video?

2. Length of the event

If there are big changes that happen over a short amount of time its best to shoot more often, for example every 2 seconds. (flower blossoming)

If there are small changes over a longer period of time its best to have longer intervals between shots. For example every hour. (building site)

This decision will effect how your final time laps will look, the more often you shoot the more seamless and smooth the time laps will be.

3. Frames & Interval

Most movies are around 24-30 frames per second; the more frames per second the smoother the movie. If we select 24 fps that would be enough to create a smooth effect.

Now we need to think about how long the movie is going to be Lets say 30 seconds. We can now use this information to find out how many frames we need to capture.

(24) fps x (30) seconds = (720) Frames

First you need to estimate how long the actual event lasts. For instance if something was about 4 hours long (or 14,400 seconds) this will give us the interval number.

(14,400) seconds (length of actual event) divided by (720) frames (frames needed for final movie) = (20) second intervals between shots

4. Setting the camera

Most modern DSLR cameras have a setting that will enable you to select the frames and intervals between shots.

If your cameras does not have this setting then you will need an intervalometer, a remote that fits in to your camera which can be programmed to your needs.

5. File format

Set the file format to JPG, this will help save space on the memory card and each image is only seen for a short wile.

6. White balance

Set the cameras white balance to manual and decide what looks best. This will keep all the images looking the same. If it was left on auto white balance when light changes your camera would automatically adjust for this meaning all the images would look different.

7. Set the camera to manual

Set the camera to manual and take a light reading. You can look at the image and see if the exposure is correct just from a single image.

8. Take the images

Don’t leave your camera on its own!

9. Edit the images

Edit the images in Lightroom adjusting the colours and any other features you wish to make. If you batch process every image will look relatively similar.

10. Start making the movie

This is the easy part. Using a free software such as time-laps-assembler will makes it very simple to do in just a few clicks. Download here: http://www.macupdate.com/app/mac/33252/time-laps-assembler/download

#photography #beginner photography #dslr learning #dslr camera #night photography #step by step time laps #how to do a time laps #how to take a time laps #time lapse

How to take a time lapse on a DSLR camera

Hi Everyone,

Welcome. This is a bit of a half post as I'm moving house in a couple of weeks and also suffering with a bad back. I will start adding more in-depth posts very soon.

Ive added some information about time lapse have a reed below and feel free to comment.

Time lapse can be a lot of fun, it takes a little while to get it right but once you do its easy. Below is some simple step by steps on how to go about it.

TIME LAPSE

Credit - Peter Mead

1. Choose your subject carefully

Remember time laps can take a long time - Are you wanting to stand around for hours and hours or do a short video?

2. Length of the event

If there are big changes that happen over a short amount of time its best to shoot more often, for example every 2 seconds. (flower blossoming)

If there are small changes over a longer period of time its best to have longer intervals between shots. For example every hour. (building site)

This decision will effect how your final time laps will look, the more often you shoot the more seamless and smooth the time laps will be.

3. Frames & Interval

Most movies are around 24-30 frames per second; the more frames per second the smoother the movie. If we select 24 fps that would be enough to create a smooth effect.

Now we need to think about how long the movie is going to be Lets say 30 seconds. We can now use this information to find out how many frames we need to capture.

(24) fps x (30) seconds = (720) Frames

First you need to estimate how long the actual event lasts. For instance if something was about 4 hours long (or 14,400 seconds) this will give us the interval number.

(14,400) seconds (length of actual event) divided by (720) frames (frames needed for final movie) = (20) second intervals between shots

4. Setting the camera

Most modern DSLR cameras have a setting that will enable you to select the frames and intervals between shots.

If your cameras does not have this setting then you will need an intervalometer, a remote that fits in to your camera which can be programmed to your needs.

5. File format

Set the file format to JPG, this will help save space on the memory card and each image is only seen for a short wile.

6. White balance

7. Set the camera to manual

Set the camera to manual and take a light reading. You can look at the image and see if the exposure is correct just from a single image.

8. Take the images

Don’t leave your camera on its own!

9. Edit the images

Edit the images in Lightroom adjusting the colours and any other features you wish to make. If you batch process every image will look relatively similar.

10. Start making the movie

#photography #beginner photography #dslr learning #dslr camera #night photography #step by step time laps #how to do a time laps #how to take a time laps #time lapse

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