Innholdsfortegnelse for March 2019 i Digital Camera Magazine

Rather than relying on a telephoto lens to change the composition of her frames, Amy’s prefers multiple lenses with a choice of fixed focal lengths. She spends a lot of time during the shoot dashing around on her feet, when an interesting car, scene or group presented itself. “Don’t use a superzoom to capture intimate, exciting moments from afar,” she says. “Pop a wider lens on and dive in. Keep longer lenses for moments where the viewer really does need to feel like an onlooker – picking out details of cars such as wheel arches and rear quarters, for example.” Wide-angle lenses are rarely used for automotive photography. “These should be avoided when shooting cars. They will distort the car that a bunch of people have painstakingly designed every inch…

10 new projects for you to try this month, from the naked human body to a whole outdoor alphabet There are many ways to capture a glass breaking on a hard surface. Many professionals use flash and a trigger system that is activated by the sound of the glass smashing – but if you don’t have this techie gear to hand, we’re going to show you our easy hack. You will need a strong continuous light source and also be prepared to clean up afterwards – this is going to get messy! Before we get started, let’s highlight some safety procedures. First, lots of glass will fly everywhere, so wear shoes and clean up properly afterwards. We would also recommend that you wear protective eye gear. It can be useful…

As we’ve seen, shooting in colour and converting to black and white afterwards gives you more flexibility than working solely in mono. And you’ll come to appreciate the extra information in raw files during editing. We’ve put together two tutorials to cover the two most popular image-editing packages – there’s more than one way to go about mono conversions, but these techniques are easy to learn and master. If you want to take things further, then try Silver Efex Pro, part of DxO’s Nik Collection. This works as a plugin within Photoshop and Lightroom, and recreates black-and-white film and darkroom effects. Our review of Silver Efex Pro in our January 2019 issue said the scope of what it offers is “mind-boggling”, with effects ranging from subtle to dramatic and intense.…

1 CYANOTYPE Add a Gradient Map Adjustment Layer and choose a colour from the Photographic Toning options. Adjust Opacity as required; to add contrast, use an S-curve on a Curves Adjustment Layer. 2 LITHO PRINTING Use layers and Adjustment Layers to get this effect. It’s all about the contrast between strong shadows and soft highlights. Add some noise to the shadows, and tone to the midtones and highlights. 3 HIGH KEY Why not take a predominantly light-toned image even further and push it to extremes? Add a Curves Adjustment Layer and raise the curve to lighten all the tones, without losing the highlight detail.…

Confusingly, a colour with a low colour temperature is described as ‘warm’ and a colour with a high colour temperature is classed as ‘cold’. This is because colour temperature is based on the colours radiated when a black object (such as a piece of iron) is heated: it will turn from red to white and eventually blue. This principle helps when setting the colour temperature manually, although not all cameras let you do this. Use a preset or dial in a Kelvin (K) value with a lower colour temperature to avoid yellow casts and make a picture look cooler. Use higher Kelvin values to remove blue casts and add extra warmth. AWB 3,000-7,000K Auto White Balance (AWB) only operates accurately within a restricted range of colour temperatures. Presets 3,200-7,000K The…

Strong colours Auto White Balance can interpret a scene which has a strong colour across the frame as being a cast that needs to be removed. That’s why sunsets can appear wishy-washy. In these situations, reach for a preset that matches the light. Colour casts Whether it’s the green hue of leaf-filtered light in a forest or the tint of light reflected by a coloured wall (note the blue cast of this bounce flash-lit shot), AWB can struggle. To remedy this, try creating a Custom white balance. Long exposures Strong neutral-density filters enable very long exposures to be used in bright daylight, but they typically create a blue or magenta cast across the image. Shoot raw and you can correct the colours when you process the image. Low light In…

Download and register by 30 April 2019 1 Download For Windows, enter www.bit.ly/ff7windows into the Location or Address field of your web browser; for macOS, enter www.bit.ly/ff7macos into the Location or Address field of your web browser. Don’t enter these addresses directly into Google or another search engine: they won’t work. 2 Register Visit the registration page via www.bit.ly/dc213forge and complete the form to receive your licence code via email. Your details will not be passed on to other companies. 3 install You can install your copy of Filter Forge 7 as soon as you’ve downloaded it: it will work as a trial edition until you receive your licence code via email. 4 Get creative! Use this guide to get started, and visit www.filterforge.com for more help.…

There’s a lazy, hazy feel to this photo. You could almost imagine it’s taken from a deckchair by the water. The sun is blown out, but we should be able to get some of the details back around the edges. The sensor on the camera is a warren of dust bunnies, some of which are hiding in the shot, so I’ll need to fix them. While others might be tempted to fix the haze, I actually think it’s a key element in the photo, so I’m going to enhance it. The final thing I’m going to do is create a black-and-white version of the photo. The colours are quite muted, so the options are to either remove the colours or amplify them. I’ll then add a warm tone to match…

Manfrotto Pro Light RedBee backpacks Two new compact backpacks are designed to make it easier for advanced photographers to transport their gear. The Pro Light RedBee-310 is £160/$198 while the Pro Light RedBee-110 is priced at £140/$176. www.manfrotto.co.uk 1TB SD card (really) If you’re looking for a new memory card, head to page 117 for our in-depth test. One card that didn’t make it in, though, is the new 1TB Lexar SDXC card. It offers read speeds of 95MBps, and costs £400/$500. www.lexar.com New L-Bracket for Nikon Z cameras British manufacturer 3 Legged Thing was invited to develop this product by Nikon. It allows you to switch easily between portrait and landscape orientations and goes on sale in February for £90/$100. www.3leggedthing.com Fine-art photo paper from Fujifilm Fujifilm’s latest photo…

Canon EOS-1D X Mark II £5,429/$5,499 The 1D X is the tool of choice for many pros, but it’s nearly twice the price of the E-M1X, with no stabilisation, slower burst rates, less functionality and fewer megapixels. Reviewed: Issue 180 Nikon D5 £6,169/$6,499 Like the Canon 1D X, the D5 boasts better ISO performance than the E-M1X, but it likewise lacks an electronic viewfinder or a rear screen that moves in any way. Reviewed: Issue 179 Panasonic Lumix GH5 £1,599/$1,599 While it’s not a pro body, Panasonic’s GH5 is a formidable hybrid camera whose video specs made it the preferred option for many videographers. It still holds a slight edge. Reviewed: Issue 190…

SDXC memory cards There are speed thrillers aplenty It’s a sign of how far SecureDigital memory cards have come that many of them now outstrip CompactFlash for read and write speeds. At least, that’s the case if your camera and other devices can take full advantage of UHS-II cards. In the UK, the Integral UltimaPro X2 V90 card offers the best balance of performance and price; while in the USA, the Lexar Professional 2000x wins out. Set your sights slightly lower in terms of performance and the Delkin Prime, the Integral UltimaPro X2 V60 and the Sony M Series UHS-II cards are all great value. For UHS-I cards, the SanDisk Extreme Pro 95MB/s delivers standout performance at a sensible price, while all of the Integral cards offer great value. It…

It doesn’t take long to exhaust the potential of your on-camera flash, and once you decide you need more power and flexibility than your flashgun can offer, you’re ready for a studio flash system. These can look complicated, but in reality they’re actually quite straightforward, consisting principally of three items: flash units, light stands, and lighting modifiers, like softboxes. A studio flash system gives you lots of power, fast recycle times and the ability to shape and position the light much more controllably than you can with regular flashguns. Some offer sophisticated TTL auto flash control, just like a regular flashgun, but they all offer manual control over the flash power. This is straightforward to work with, especially when you’re using more than one flash; you’ll probably find it’s a…

1 What is the title of the collection of seminal essays by Susan Sontag that was published in the 1970s? A In Camera B On Photography C Essays on Imaging D Is Photography Art? 2 What is the crop factor of a Micro Four Thirds mirrorless camera? A 1.5x B 2x C 2.7x D 4.3x 3 Which of these is not a 35mm black-and-white film? A HP5 B FP4 C Tri-X D E6 4 A 2x teleconverter has which characteristics? A Halves the focal length, and reduces maximum aperture by two stops B Halves the focal length, and enlarges maximum aperture by two stops C Doubles the focal length, and reduces the maximum aperture by two stops D Doubles the focal length, and enlarges the maximum aperture by two stops…

THE GREAT OUTDOORS STAGE Landscape, wildlife and more 10:30-11:00 It’s in the air Jason Parnell-Brookes 11:30-12:00 Walking with polar bears Andy Skillen 12:30-13:00 Make the most of your travels, no matter the weather Andreea Paciu, Matt Arnold 14:30-15:00 Photography as adventure Karl Holtby 15:30-16:00 Using long exposure in outdoor photography Nigel Forster WEDDING & PORTRAIT STAGE Taking pictures of people 12:00-12:30 Resilience when running a wedding business Laura Babb 13:00-13:30 In a sea of rich tea, be a ginger nut: How to find inspiration outside the wedding industry to make your work unique Jessica Milberg 14:00-14:30 Creative lighting on location Rocco Ancora 15:00-15:30 One light? No problem! Lisa Beaney 16:00-16:30 Four images in 60 seconds James Musselwhite BEHIND THE LENS Professional photographers share tips and tricks, and talk about their…

Complete A - Z Listings J 66 1903 FOTOGRAFI www.1901fotografi.co.uk Fine leather neckstraps, wrist straps and camera bags. E 71 3 LEGGED THING www.3leggedthing.com Not just another tripod, but a culmination of smart British design and craftsmanship. B 104 ACCSOON GIMBALS www.ukhp.co Professional gimbal stabilisers, designed to allow smooth handheld shooting with DSLRs and mirrorless cameras. G 92 ACEBIL EUROPE www.acebil.eu Camera support specialists, with products including video sliders, pedestals, remote heads and jib arms, as well as tripods. C 139 ADAPTALUX www.adaptalux.com Innovative miniature lighting studio that’s ideal for macro photography. A 57 ADVANCED CAMERA SERVICES www.advancedcameraservices.co.uk Camera-repair specialists renowned for their infrared and UV sensor conversion services. H 103 ADVENTURE SPORTS & OUTDOORS www.oakmays.co.uk Distributors of the Panzer range of rugged hard cases. H 100 AERIAL MOTION PICTURES…

Pete Souza White House photographer Pete has had a unique insight into the daily lives of two American presidents. On page 134, he talks political opinion, and capturing images inside the White House. Amy Shore Automotive photographer Find out what happened behind the scenes on a shoot with Amy on page 8. We shadowed her at a classic car gethering to see how she captures her distinctive look. Simon Roy Wildlife photographer It’s our March issue, and Simon is on hand to give you the best tips for photographing ‘mad’ March hares.Check out his advice, from fieldcraft to gear, on page 34. Benedict Brain Creative photographer Our regular columnist often opts for a minimal approach, but this month he embraced intensity and made sense of a colourful, chaotic scene. See…

Framing shots Amy looks for elements to shoot through and frame her pictures.“Light, colour, shapes – that’s all you’re trying to arrange in your picture,” she says. “If it’s a dull day, focus on colour and shapes. If you’re lacking colour, focus on light and shapes. The best way I try to lead my viewer into the image is by making sure there’s something in the foreground.” Viewfinder vs vari-angle screen Amy composes her shots mainly by looking through the viewfinder.“I like to really feel the images, and I don’t find that Live View gives me that.” For a few trickier angles, she uses her camera’s folding LCD screen.“Using the pull-out screen on my Nikon D850, I like to shoot car detail shots from above.”…

Amy’s post-processing is the final element that make her shots so recognisable. From the beginning of her career, she’s worked hard to make her own presets without copying others. She batch-processes her images in Camera Raw. “I am inspired by photographers such as Ragnar Axelsson, Sebastião Salgado, Harry Benson and Wes Anderson, but I’m pretty sure that none of my work looks like theirs,” she says. “When I first started shooting, I’d play around with settings, look at other people’s images that I really liked, and really think, ‘How have they made their picture look like that?’ I created a preset I was happy with, and it worked as a really nice recipe.”…

If you shoot in raw you can get the best results possible by converting to black and white in Lightroom or Adobe Camera Raw (which use essentially the same tools). Working on the raw image data provides more room for manoeuvre, and there are eight colour channels to control exactly how the colours will be converted to greyscale. USING LIGHTROOM’S BLACK & WHITE TREATMENT Lightroom offers a sophisticated way to adjust tones based their original hues 1Make basic adjustments Before converting an image to black and white in Lightroom, it’s best to correct white balance and process the image so it looks how you’d like in colour. Doing this is important, because it gives you a better starting point to work from once you convert to mono… 2 Convert to…

A potential drawback of being able to neutralise any colour cast is that there’s a risk of sucking some of the life out of a picture. After all, the colour of the light may be what drew you to take the picture in the first place. But dialling a white balance preset that has a higher or lower colour temperature than the scene requires to display neutral whites can produce interesting results. For example, as highlighted on the previous page, Auto White Balance can remove some of the heat from a shot taken at sunset or sunrise. You can fix this by choosing a preset that’s designed to warm up cooler scenes, such as Cloudy or Shade. Likewise, you can boost the cool tones of a shot taken at twilight…

Sponsored by mpb.com Winner Marco Tagliarino This image stood out immediately, because I feel as if I’m part of the scene. I can almost feel the wooden stool I’m sitting on, and a hand of cards in my fingers. The photograph has atmosphere, authenticity, textures and characters – it is so alive I can almost smell the cigarette smoke and hear the talk between the players. I want to be there right now – that, for me, is what great travel photography is all about. A brilliant shot. 2nd Andrew Robertson Such a stunning image. It’s graphic, arresting, unusual, beautiful and, in lots of ways, mysterious. How did the photographer get the shot? Was he walking on dangerous ice? Is this the tip of a mountain island under the water?…

Sometimes detail is overrated. We photographers obsess a lot about detail (me as much as anyone else), perhaps partly because raw files let us rescue a phenomenal amount at the tonal extremes. But just because we can, should we? We’re taught that blown-out highlights are a no-no – but sometimes they can enhance the mood. This image of the River Camel is a case in point. Initially, my detail-rescuing instincts kicked in, and I clawed back a little cloud detail. But for me it killed the wonderfully tranquil mood, and drew attention to a messy hot spot on the water. So instead I went the other way, and increased the exposure and warmth in the sky. Clipping? Who cares! 1 Retouch distractions After opening in Camera Raw and levelling the…

This issue we’re going big on a very small but significant item – the in-camera memory cards we all use to store the photos we’ve just taken. It’s easy to be too nonchalant when you buy a new card – but there’s a lot more to this buying decision than simply picking out the cheapest big-brand option with the capacity you want. We brought in no fewer than 39 different cards to find out which ones deliver on performance while keeping the cost down. Discover our findings, along with advice on what you should be looking for to best suit your own camera, on page 117. The mirrorless camera advance of recent months into pro territory continues with Olympus’s re-imagining of its flagship E-M1 series. Going far beyond the Mark…

For speed classifications, SD cards have historically had Class 6 and Class 10 ratings. These signify continuous, sustained write speeds of at least 6MBps and 10MBps respectively, suitable for 720p or 1080p movie capture. The UHS-I data bus standard launched a few years ago increased maximum transfer speeds to 104MBps, while the latest UHS-II standard gives a further potential increase to 312MBps. A revised video capture rating of U3 was also introduced, to hallmark compatibility with 4K UHD movie capture. This is now being replaced by V (Video Speed Class) ratings, for example V30 and V90 cards enabling 30MBps and 90MBps sustained write speeds respectively, ideal for 4K or 8K movie capture.…

BEST ON TEST GOLD AWARD VALUE AWARD DJI Osmo Mobile 2 £129/$139 www.dji.com s the name suggests, the Osmo Mobile is designed exclusively for mobile phone videography. Its spring-loaded clamp effortlessly accommodates even the largest phones, and the gimbal arm can rotate through 90 degrees for seamless switching between landscape and portrait orientation. Build quality is plasticy, but the Osmo still feels good in the hand, partly thanks to the ergonomic handle shape, and also the light 485g weight. A Although there are few physical buttons, the Osmo is crammed with features. Not only will it automatically detect when you intend to pan and tilt the camera and smooth this motion, you can also choose between modes like Walk and Sport to adjust the intensity of the stabilisation. There’s even…

The Photography Show is a unique annual opportunity to try out all the hottest new cameras and accessories, listen to top photographers from around the world share their insights and secrets, see stunning image galleries, and snap up super-special show deals. Whether you’re pro or beginner, and whatever your favourite subjects or specialisation, there is something for you. We reckon there is so much to see and do, you need to come for more than one day! We have lots of new features this year, as well as old favourites. A big addition is that The Photography Show now includes The Video Show. Video has always been a part of The Photography Show – but now there is a separate programme of events to help those who are, or want…

THE GREAT OUTDOORS STAGE Landscape, wildlife and more 10:30-11:00 The magic of Madagascar Paul Stanbury 11:30-12:00 Close encounters Alex Hyde 12:30-13:00 Weddings come rain or shine Scott Johnson 13:30-14:00 A beautiful silence Steve Gosling 14:30-15:00 Travel photography storytelling with natural light Jacob James 15:30-16:00 Behind the photograph Charlie Waite WEDDING & PORTRAIT STAGE Taking pictures of people 11:00-11:30 Who do you want to be? Pippa MacKenzie 12:00-12:30 The art of high volume headshots Carmel Jane 14:00-14:30 Developing portraiture: from style to shoot Jamie Stoker 15:00-15:30 Working together: wedding photography and videography Laura Babb & Leanne Perrinsr 16:00-16:30 Marketing to your niche, booking your ideal clienty Marianne Chua BEHIND THE LENS Pros share tips and tricks, and talk about their latest projects 10:55-11:00 Welcome from Nikon Neil Freeman & Ricci Chera…

Filter Forge 7.0 (Windows & macOS) With thousands of effects on tap and 12,000 more to download, Filter Forge could be the most powerful image-editing plugin you own. Explore its potential on page 70, where you’ll also find full download instructions. Download offer ends 30 April 2019. START COLLECTING THE NEW SETS! 9 all-new tips cards Our collectible cards bring you condensed shooting advice you can store in your kit bag until it’s needed. Each card offers suggested exposure settings to try initially, plus tips for improving on that first test shot. This issue’s cards focus on lighting faces and shooting with black-and-white in mind. Photography Show guide Your 48-page guide to March’s big event. Look for the guide at the end of this magazine, or download your free PDF edition…

1 Nikon D850 The D850’s weathersealed body enables Amy to keep shooting whatever the weather. “This is my primary camera, and a go-to combination with a 35mm lens attached.” 2 Nikon D5 “I’ve only just moved to the D5 this year.” The 153-point AF system on this full-frame DSLR provides Amy with wide coverage and precise focusing, for both moving vehicles and stationary ones. 3 Nikkor 35mm f/1.4 lens This lens is mounted to Amy’s D850. The 35mm focal length provides a natural angle of view, similar to the perception of the human eye. 4 Nikkor 85mm f/1.4 lens “Attached to my D5, this is perfect for capturing those moments that are just that little bit further away from me.” 5 Nikkor 50mm f/1.8 lens “This was my first proper…

1 MANUAL MODE As Amy isn't shooting vehicles at high speeds, she is able to take a fully manual approach. 2 APERTURE By setting her prime lenses to their maximum f/1.4, Amy achieves her characteristic wide-aperture look. 3 ISO Because she is using a wide aperture and working in bright daylight, Amy doesn't need to set a high ISO as she shoots. 4 SHUTTER SPEED The light is even during the event. Outside, the shutter hovers at the around the same value.…

When Huang Yikai arrived at the Tsminda Sameba Cathedral in Georgia, he didn’t want to do what many before him had already done: capturing the building directly from the front and including a wide view of the sky and surrounds. Instead, Huang took several different approaches to come up with his own take on the landmark. First, he filled the frame with the subject, capturing it from a side-on angle that accentuated the different layers of its architecture. After the shoot is where Huang really made the image come alive, though. Thanks to some colour fine-tuning in Photoshop, he made a vision in pink that really complemented the golden tones of the rising sun falling on the cathedral. Camera settings To capture the image, Huang used his Leica SL camera…

For this challenge, we’re encouraging you to create your own photo alphabet. This idea sounds simple – mundane even – but it’s a great way to train your photographic eye and see everyday objects differently. In terms of kit, you’ll probably find a flexible telephoto lens is easier to work with, as it’ll enable you to zoom in and out and isolate letter shapes more easily. We used an 18-200mm lens for this reason, and left the tripod at home. The daylight was strong enough to work without it, plus we wanted our hands free to find funky shooting angles. We set the camera to Aperture Priority, generally using an aperture of f/5.6 and a low ISO of 200. This enabled us to concentrate on looking for shapes and strong…

An essential tool in darkroom printing, dodging and burning involves selectively brightening (dodging) and darkening (burning) different areas of the image, to draw the viewer’s eye to certain points. We’ve performed this process in colour, before conversion into black and white. DODGING Open your image in Photoshop and select the Dodge tool (displayed as a racquet icon) from the Tools palette. Dodging works by painting a brush over desired areas, so first select the size of the brush you need. (It’s at the top left of the screen, just underneath the menu.) Next, select Shadows, Midtones or Highlights and the Exposure required, expressed as a percentage. Then just paint the brush where the dodge effect is required on the image. To stop the image clipping, tick Protect Tones. In the…

The tools available in a raw converter – such as Lightroom, Camera Raw or your camera maker’s own software – give you a range of white balance presets to choose from, just like the ones on your camera. You can also set the temperature manually, or use an eyedropper tool to create a custom setting for each image. Selectively adjusting the colours in areas of the image may also be an option. 1 Default option Viewing before and after versions of the image can help when you’re making adjustments. The default option is the white balance used when the raw file was created. 2 Presets The selection of presets mirrors the ones available on the camera. You may find that the results available in third-party software give subtly different results…

Sponsored by Winner Javad Rezaei A stunning photograph, in composition, subjects and colours. The child’s hand on her mother’s face brings an intimacy and shows a genuine moment, when it could so easily have been a rather static, staged image. There is a glory to this portrait, which many photographers aspire to but most do not attain. 2nd sdnim03 This image just jumps out, with its brilliant use of graphic composition and popping colours. Details like the doormat, the tiny window and the fabulous hanging fruit (or is it huge chillis?) reveal so much about this place, and each takes on a greater importance for being individual tactile elements in a quiet scene. A lovely image. 3rd Lou tubaelmas The saturated colours and contrasting lines and shapes of this image…

Welcome to one of the most powerful and versatile image editing packages you’re likely to use. Filter Forge offers thousands of effects you can apply to your photos, helping you find precisely the look you want to achieve. Search and Favorite options make it easy to locate the effect you want quickly. If that’s not enough, you can also use Filter Forge’s integrated editor to make your own effects. You can arrange blurs, gradients, colour adjustments, distortions and more into a ‘network’, with controls that dictate how one effect combines with the next. You can also share your effects with the online Filter Forge community, and enjoy access to over 12,000 more effects through that same community. While it’s of less use to photographers, Filter Forge also offers a huge…

Whenever they’re shooting buildings of any kind, inside and out, most people tend to aim up (or occasionally aim down) at what they’re seeing. This takes walls that are normally parallel and tilts them in or out visually. It can look cool, but sometimes you need things to look as they are, and straighten everything up. You could use a tilt-shift lens, which is expensive. For interiors, shooting at close to mid-room height with a spirit level (either in-camera or on the hotshoe) will help. These camera-based solutions are not always possible, so we have to rely on software to correct this. The key area for doing this in Lightroom or Camera Raw is Transform. There are two sections to look at: Upright and Transform. Upright mixes automatic tools with…

Every month two of our resident expert Photoshop experts are challenged to interpret one raw file in any way they see fit. Over the following pages, they reveal their rationale and show how you can achieve their looks… The original raw by Lauren Scott This shot of the River Camel near Padstow takes advantage of a low winter sun to capture evocative lighting. Lauren took it with a Nikon D800, with a 24-85mm f/3.5-4.5 lens set to 24mm. The histogram shows a pretty even tonal range, although obviously there’s clipping where the sun and its reflection appear. Sean McCormack Sean McCormack is a photographer and writer, based in Galway on the west coast of Ireland. Raw warrior 1 wants to create… A warm monochrome conversion James Paterson After a decade…

Considered photography can be a rather earnest affair, but shots of lighter moments like family snaps and days out with friends are far more likely to adorn the fridge or kitchen noticeboard. For many, fun memories can often be often more appealing than the shots we’ve worked hard on – and a Polaroid frame is a cool way to show them off. Here you’ll build a frame to Polaroid dimensions, then add a pic and style it up with a suitably retro treatment to share. It doesn’t take long to do – and for those who want to be economical on paper and ink, you can get four Polaroids to a sheet of A4. Once you’ve created your frame, call it ‘Polaroid Frame’ and save it as a Photoshop (PSD)…

THE GREAT OUTDOORS STAGE Landscape, wildlife and more 10:30-11:00 The way I see it Chris Upton 11:30-12:00 Mirrorless landscapes Jim Cossey 12:30-13:00 How to become a superhero Karen Thurman 13:30-14:00 It’s in the air Jason Parnell-Brookes 14:30-15:00 Photography as adventure Karl Hotby WEDDING & PORTRAIT STAGE Taking pictures of people 11:00-11:30 Natural light portraits Imogen Dyer & Mark Wilkinson (Weekly Imogen) 12:00-12:30 Great family portraits Ross Grieve 13:00-13:30 It’s not about other photographers – it’s about you! Karen Massey 14:00-14:30 Small is beautiful Gavin Hoey 15:00-15:30 Don’t say cheese: Curating memories as a documentary wedding photographer Kevin Mullins BEHIND THE LENS Pros share tips and tricks, and talk about their latest projects 10:55-11:00 Welcome from Nikon Neil Freeman & Ricci Chera 12:00-12:40 Remembering wildlife Margot Raggett and Wildlife Photographers United…

THE GREAT OUTDOORS STAGE Landscape, wildlife and more 10:30-11:00 From insects and frogs to puffins Victoria Hillman 11:30-12:00 Entrusted into our care Craig Jones 12:30-13:00 In his element Mark Gilligan 13:30-14:00 Wildlife photography around the world Roie Galitz 15:30-16:00 Filming underwater wildlife with DSLR and action cams Jack Perks WEDDING & PORTRAIT STAGE Taking pictures of people 11:00-11:30 Being yourself: Being authentic in the wedding business Abigail Steed 12:00-12:30 Working with the whole market: Making the wedding process easier for LGBTQ couples Jess and Karolyn, Honey & The Moon 13:00-13:30 Getting three looks in a 10-minute male portrait session John Nassari 14:00-14:30 Creative flow posing and lighting: Using off-camera flash and LEDs Steven Neeson 15:00-15:30 Smartphone weddings Victoria Grech BEHIND THE LENS Pros share tips and tricks, and talk about…

GO BY TRAIN The NEC is a short walk across a covered bridge from Birmingham International Station – a 70-minute journey from London. Get 25% off your ticket with Virgin Trains at www.virgintrains.co.uk/nec GO BY CAR Birmingham is at the hub of the UK motorway network, and is close to the M5, M6, M40 and M42. If you’re using satnav, enter the postcode B40 1NT. The NEC has its own car parks, and charges £16 per day (£12 if you book in advance). Follow the signs when you arrive at the NEC for the correct car parks for The Photography Show, then take the free shuttle bus (or walk). GO BY AIR Birmingham Airport is only a short distance away from the NEC, and has a free Air-Rail Link between…