REVIEW: DJI RS 4

WE TEST DJI’S LATEST PRO

GIMBAL FOR CONTENT
CREATORS

CAPTURE STUNNING IMAGES DURING THE

MOST COLOURFUL SEASON OF THE YEAR
 W E L C O M E

FAREWELL
AND THANK Y0U...
Welcome to the final issue techniques, and photo inspiration at our
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 E
SU
IS
ST

CONTENTS
LA

FIND OUT WHAT’S INSIDE THIS ISSUE

ŅƴåųĜĵ±čåÙ:åƋƋƼ
NEWS
F E AT U R E

Ù:åƋƋƼ
CANON UNVEILS SELPHY
XQ20 PHOTO PRINTER
PHOTOS New model is compact and fully
wireless for on-the-go printing

F E AT U R E
ALL ABOUT AUTUMN
Pro tips for capturing the most
I N S P I R AT I O N colourful season in all its glory
PHOTOS
GALLERY
Our pick of the best reader
ŞĘŅƋŅŸüųŅĵƤ±ųŅƚĹÚƋĘåƵŅųĬÚ

I N S P I R AT I O N
WATER WORLDS
CRASH COURSE PHOTOSHOP Stunning winning photos from
Ocean Photographer of the Year

REVIEW CRASH COURSE

DJI RS 4 MOTION CAPTURES

Create dynamic and abstract
DJI continues to refine portraits with slow shutter speeds
ĜƋŸƤŞųŅčĜĵƱĬŅüüåųĜĹč
ƵĜƋĘƤĜĵŞųŅƴåÚŸƋ±ÆĜĬĜŸ±ƋĜŅĹ PHOTOSHOP
±ĹÚƤŅƋĘåųƚŞčų±ÚåŸţFŸ
ƋĘåƤŸĘŅŅƋĜĹčåƻŞåųĜåĹÏå
COLOUR CONTROL
Enhance out-of-the-camera
±ĬĬƤŸĵŅŅƋĘŸ±ĜĬĜĹčũ8ĜĹÚ
shots with the Calibration panel
ŅƚƋĜĹƤŅƚųųåƴĜåƵ
 N E W S

W H AT ’ S H O T
THE WEEK’S TOP HEADLINES IN PHOTOGRAPHY

C ANON UNVEILS NEW PORTABLE,

FULLY-WIRELESS PHOTO PR INTER
The Selphy QX20 is ideal for quickly printing your smartphone snaps on the go

© Canon

anon has launched a new The QX20 is designed to be a go- to edit, customise, and decorate photos

C pocket photo printer, the

Selphy QX20. Designed for
anywhere printer, and as such measures
just 102.2 x 145.8 x 32.9mm (4.0 x 5.7 x
with stickers and effects before printing.
The Selphy QX20 is compatible with
wireless use with smartphones and 1.3 inches), and weighs a mere 455g. Canon XS-20L, XC-20L, and XC-60L
other portable devices, the QX20 prints ‰ŅƤåűÆĬåƋųƚĬƼƵĜųåĬ域ƚŸåĜƋÏŅĹƋ±ĜĹŸ± photo paper packs, and these also
2.7 x 2.7-inch or 2.1 x 3.4-inch photos built-in battery that can be fully charged contain the necessary ink cartridge
on thermal sticker paper in around 40 in around 80 minutes over USB-C. for printing. Pack prices start from
seconds. You can choose from bordered The Selphy QX20 is compatible with âŎĉţĿĿĜĹƤƋĘ厄ţœĘåĹĜƋčŅåŸŅĹŸ±Ĭå
or borderless printing, and Canon claims iOS and Android devices via Canon’s ĜĹƋĘ厄ƤkÏƋŅÆåųØƋĘå}£ƖLjƵĜĬĬųåƋ±ĜĬ
that its thermal dye sublimation printing Selphy Photo Layout 4.0 app, which for $149.99, and will be available in
technology produces rich, vibrant colors, enables you to scan a QR code on white, red or dark gray colour options.
while the water-resistant printed output the printer for a hassle-free wireless Availability and pricing for the UK have
can last for up to 100 years. connection. The app can then be used yet to be confirmed.
 F E A T U R E

© Gettyimages
THE ULTIMATE
GUIDE TO AUTUMN
James Abbott reveals the secrets to capturing amazing
Ĝĵ±čåŸÚƚųĜĹčƤƋĘåĵŅŸƋåƼåěϱƋÏĘĜĹčŸå±ŸŅĹŅüƋĘåƼå±ų

tmospheric mist, warm colours spectacular as the Scottish Highlands. To shoot at the perfect time you’ll
A in the landscape, golden
hours that aren’t too early or
The photography skills you’ll need to
draw upon are generally the same as at
need to pay close attention to the
changing colour of foliage, and if the
too late, and, if you’re in the UK, one other times of the year, but the difficulty location is far away you may need to
of the most exciting events in the in shooting autumn comes from the fact search for local webcams that you can
wildlife photography calendar – the that seasons change at slightly different monitor to check for the onset of the
deer rut. These make autumn one of, times in different parts of countries: in season. Or even better, if you know a
if not the most, interesting seasons the UK, for example, it’s typically earlier local you can ask them to tell you when
üŅųŞĘŅƋŅčų±ŞĘåųŸţ‰ĘåƤĬ±ĹڟϱŞåĜŸ in the north and a little later in the south. autumn is about to reach its peak – it’s
awash with amazing opportunities – you Plus, peak autumn may not occur at often possible to estimate this a week
simply need to know when and where exactly the same time from year to year, or two before it happens. Here we’ll
to look for them – and locations can so you have to remain flexible as the dive into the best ways to capture this
be as simple as your local park or as season begins to change. magical, if all-too-brief, season.
 F E A T U R E

FOCUS ON LANDSCAPES
IN TRANSITION
Autumn’s bold colours and dramatic weather
conditions combine to create sublime results

During a temperature Sunrise is at a much more

inversion the sky is forgiving time than in
completely clear, but summer, so you don’t have
with mist you can still to be on location as early.
enjoy cloud that picks This was shot at 7am.
up sunrise colours.

Light trails from passing

cars add a burst of
colour and create a
strong lead-in line
through the gorge and
into the mist.

A long exposure of
ŎĂƤŸåÏŅĹÚŸĘåĬŞŸƋŅ
capture the slow
The use of a wide-angle lens has movement of the mist
captured the drama of this iconic as it enters and leaves

© James Abbott
Peak District location in the UK. the scene.

utumn is a season of many persistence and a bucket full of good

A facets, and two features that
always capture the imagination
luck will always be required; that said,
phone apps such as Clear Outside
SCENES TO LOOK FOR
Aim for higher ground with
are misty mornings and temperature are great for providing highly detailed sweeping valleys below
inversions. These incredibly weather forecasts.
atmospheric conditions can, of course, There are two ways of capturing When shooting mist from elevated
positions you can capture a wide range
occur throughout the year, but are misty conditions – you either shoot
of images, including traditional wide-
particularly prevalent in autumn due üųŅĵƤƵĜƋĘĜĹƋĘåĵĜŸƋØƵĘĜÏĘĜŸŅüƋåĹ angle scenics with mist pouring through
to the typically lower temperatures ÆåŸƋƤƵĘåĹϱŞƋƚųĜĹčĜĵ±čåŸŅüƋųååŸØ valleys, as well as tighter telephoto
at night, with clear skies and warmer or from an elevated position when images focusing more on details in the
temperatures in the morning. shooting wider landscapes. Being Ĭ±ĹڟϱŞåţ%åƋ±ĜĬŸĘŅƋŸŅüĀåĬÚŸØƋųååŸ
and hedgerows in this situation are often
This simple recipe can create ±ÆŅƴåƤƋĘåĵĜŸƋŞųŅƴĜÚ埱ÏŅĵŞĬåƋåĬƼ
captured in silhouette, which provides a
the most ethereal conditions for different result, because any tall more graphic type of image – and with
shooting, and experiencing them is the elements in the landscape scene, such golden light pouring into the scene the
photographic equivalent of winning as hills, can appear to be emerging from results can be simple yet spectacular.
the lottery; even when you know what a sea of haze. Here’s how to capture
to look for in the weather forecast it’s dramatic landscapes shrouded in mist
still very much a game of chance, so from elevated locations…
 F E A T U R E

FOCUS ON LANDSCAPES
IN TRANSITION CONTINUED
HOW TO SHOOT
MISTY SCENES
Capture atmospheric, ethereal
autumn mornings to add a sense
of mood in your landscapes

1 CHOOSE SETTINGS
Shoot in Aperture Priority at around
üxŎŎƤƋŅčåƋ±Ĭ±ųčåÚåŞƋĘŅüĀåĬÚ±ĹÚ
maximum image sharpness. ISO100 will
help you achieve slow shutter speeds that
capture the subtle movement of the mist.

TOP
KIT PICK
2 USE FILTERS
© Pawel Zygmunt

When shooting sunrises When shooting at sunrise you’ll need

and sunsets, a reverse ND ND grads to maintain sky detail, and the
grad can often be the best best option is a reverse grad. Reverse
grads reduce exposure around the horizon,
option because they’re designed
ƵĜƋĘĬ域åýåÏƋ±ƋƋĘåƋŅŞŅüƋĘåüų±ĵåţ
specifically for shooting in
situations where the area of sky
above the horizon is brighter
than the sky at the top of
the frame.
x3 © James Abbott

3 MANUALLY FOCUS
Manually focus one-third of the way
into the scene beyond the foreground
element that you’d like to be sharp and
in focus. Manual focus is best, because
© Gettyimages

autofocus can be fooled into locking onto

the wrong part of the scene.
 F E A T U R E

SHOOT IN GOLDEN AUTUMN LIGHT

ųĜĹč±ƚƋƚĵĹŸÏåĹ埱ĹÚƴĜÆų±ĹƋÏŅĬŅƚųŸƋŅĬĜüåÆƼŸĘŅŅƋĜĹč±ƋƋĘåÆåŸƋ
ƋĜĵåƤŅüÚ±ƼØÆŅƋĘüŅųƋĘåŸƚÆģåÏƋĜƋŸåĬü±ĹÚƋŅϱŞƋƚųåŸƋƚĹĹĜĹčųåüĬåÏƋĜŅĹŸ

ight is the most important as off-camera flash, but without all – not to mention that moody skies
L ingredient in photography;
ÆƚƋƤü±ųüųŅĵŞåųüŅųĵĜĹč
the hassle. For these situations, and
when shooting in bright light generally,
ϱĹƤåűÆĬåƼŅƚƋŅŸĘŅŅƋƋĘųŅƚčĘŅƚƋ
ƋĘåƤÚ±ƼØŸĜĹÏåƋĘåʱųŸĘĵĜÚÚ±ƼŸƚĹ
a purely functional role, light can a polarising filter can be an invaluable won’t be a problem.
introduce powerful moods to shots, accessory – not only does it take In a nutshell, then, as long as it’s
±ŸƤƵåĬĬ±Ÿĵ±ĩĜĹčÚĜüüåųåĹƋŸƚÆģåÏƋŸ the edge off harsh light, it can also not raining and the sky isn’t a bland,
ĬŅŅĩƤƴĜŸƚ±ĬĬƼĜĹƋåųåŸƋĜĹčţ increase saturation, perfect for making featureless sheet of monotonous grey,
For landscape images, shooting the most of autumn colours. most conditions are perfectly suitable
around sunrise and sunset is best, This kind of direct light is great for one form of autumnal photography
as you’ll be able to take advantage when the subject calls for it, but or another.
of soft, colourful light from the low ƵĘåĹƤŸĘŅŅƋĜĹčƵ±Ƌåųü±ĬĬŸ±ĹÚŸƋųå±ĵŸØ
sun. Shooting macro subjects after bright and direct sunlight are a
sunrise or late afternoon works well photographer’s worst enemy. When TOP
too, because the low sun can create shooting flowing water, overcast days KIT PICK
dramatic sidelight, which when are best because they provide even A polarising filter can be
combined with reflectors can create light, and the risk of highlights in the invaluable when shooting
strong effects that look as controlled water blowing is massively reduced reflections. As well as having
the ability to reduce and
sometimes remove reflections,
GOLDEN HOURS it can also accentuate them.
Sunrise and sunset are always
Just take care not to over-
good times to shoot landscapes,
and in autumn they make the
polarise the sky so that it
whole scene burst with colour becomes too blue.

© Gettyimages
 F E A T U R E

SHOOT IN GOLDEN AUTUMN LIGHT

CONTINUED

REFLECTIONS

© Gettyimages
XŅƵƵĜĹÚŸ±ųåĹååÚåÚüŅųϱĬĵ±ĹÚųåāåÏƋĜƴå
waters, so check the weather before any shoot

CAPTURE SYMMETRY
Shoot surreal mirror-images of the landscape
on calm, windless mornings

1 CHOOSE SETTINGS
åāåÏƋĜŅĹŸϱĹÆå
magical at any time
2 USE A POLARISER
eŞŅĬ±ųĜŸĜĹčĀĬƋåų
isn’t essential for
3 ADDITIONAL
FILTERS
¥Ņƚĵ±ƼĀĹÚƋʱƋƼŅƚ
of year, but in autumn ŸĘŅŅƋĜĹčųåāåÏƋĜŅĹŸØ ĹååÚ±ÚÚĜƋĜŅűĬĀĬƋåųŸ
light and colourful but it can help to make ƵĘåĹŸĘŅŅƋĜĹčųåāåÏƋĜŅĹŸØ
landscapes make ƋĘåųåāåÏƋåÚĜĵ±čå such as an ND to lengthen
x3 © James Abbott

them pop. Shoot on stronger. Simply rotate exposure and smoothen

near-windless mornings ƋĘåüųŅĹƋŅüƋĘåĀĬƋåųƚĹƋĜĬ choppy water, and
for smooth water, with ƋĘåųåāåÏƋĜŅĹĜŸ±ƋĜƋŸ possibly an ND Grad to
the camera in Aperture strongest when looking maintain detail in the sky,
USE FILTERSeŞŅĬ±ųĜŸĜĹčĀĬƋåųϱĹÏƚƋƋĘųŅƚčĘčĬ±ųåØ Priority at f/11 to f/16, ƋĘųŅƚčĘƋĘåƴĜåƵĀĹÚåųŅų which can be brighter than
åűÆĬĜĹčƼŅƚƋŅϱŞƋƚųåƵŅĹÚåųüƚĬųåāåÏƋĜŅĹŸĜĹƵ±Ƌåų and ISO at 100. using the LCD screen. the rest of the scene.
 F E A T U R E

CAPTURE WILDLIFE AND ITS

SEASONAL ACTIVITY
¥ŅƚϱĹƋ±ĩåĜĹÏųåÚĜÆĬåƵĜĬÚĬĜüåŸĘŅƋŸŅüÏųå±ƋƚųåŸčųå±Ƌ
±ĹÚƤŸĵ±ĬĬƤƵĜƋĘŅƚƋʱƴĜĹčƋŅƋų±ƴåĬƋŅü±ųěüĬƚĹčĬŅϱƋĜŅĹŸ

THE BELLOWING STAG

TOP Arguably one of the most iconic and sought-
KIT PICK after wildlife shots during autumn in the UK,
Unless you’re a pro with ±ƤÆåĬĬŅƵĜĹčŸƋ±čƋåĬĬĜĹčüåĵ±ĬåŸŅüĘĜŸŞųåŸåĹÏå
thousands of pounds to looks incredible on damp autumn mornings
spend on the best zoom or
prime telephoto lens, a great
alternative is the Sigma 150-
600mm f/5-6.3 telephoto
zoom. It provides an ultra-
versatile focal range to
help you get close
to action.

RECORD BEHAVIOUR
Document how the wildlife acts
All wildlife is exciting to photograph

© Gettyimages
±ƋƤƋĘĜŸƋĜĵåŅüƼå±ųØÆƚƋĜĹƋĘåŽUĜƋűŸÚååų
that provide the most interesting images
±ĹÚƤåƻĘĜÆĜƋƋĘåĵŅŸƋÚų±ĵ±ƋĜÏÆåʱƴĜŅƚų
during the rutting season. When shooting
deer, the males will be the most
ildlife is a challenging yet ŅųƤ±ŸƚŞåųDŽŅŅĵƋŅčåƋĜĹÏĬŅŸåţ
±ĹĜĵ±ƋåÚŅü±ĬĬØŸŅƤĬŅŅĩŅƚƋüŅųƋĘåĵ
roaring to make females aware of their
ŞųåŸåĹÏåØĬŅÏĩĜĹčƤ±ĹƋĬåųŸƵĜƋĘŅƋĘåų
W rewarding subject, and in
autumn you can take amazing
To entice animals closer, always use
suitable food; hedgehogs will eat dog
males, and covering their antlers in wildlife shots in your back garden, the and cat food (not fish-based), squirrels
bracken. The latter is a behaviour that local park or one of the many deer like nuts and seeds that can be hidden
even juvenile males take part in, so there
parks up and down the country. Deer among leaves or trees, and ducks are
±ųåŞĬåĹƋƼŅüƤŅŞŞŅųƋƚĹĜƋĜåŸƋŅϱŞƋƚųåĜƋţ
„åƋ±ĹƼŅüƤƋĘåŸåÆåʱƴĜŅƚųŸ±č±ĜĹŸƋ± are an incredible subject at this time best fed seeds rather than bread.
slightly misty backlit landscape, and of year, but smaller animals such as Deer are undoubtedly the stars of
ƼŅƚűųåŅĹƋŅƤ±ƵĜĹĹĜĹčüŅųĵƚĬ±ţ squirrels, hedgehogs and wildfowl autumn because of the rut that takes
±ĬŸŅƤĵ±ĩåüŅųƵŅĹÚåųüƚĬĜĵ±čåŸØ±ĹÚ place, and the dramatic change in their
are much more accessible. general behaviour as a result. Extreme
For these smaller animals, care must always be taken during this
ŸĘŅŅƋĜĹčƤüųŅĵ±Ĭ±ƼĜĹčŞŅŸĜƋĜŅĹŅųĬŅƵ time, because stags are pumped with
to the ground will provide the most testosterone, and red deer have sharp
aesthetically pleasing shots, because antlers. It’s best not to get too close to
you’ll be at the animal’s level rather the animals, so use a telephoto lens in
than looking down on them. Shoot the region of 150-600mm. Activity is at
© Gettyimages

early in the morning around sunrise its peak around dawn, so you’ll need to
ŅųƤÏĬŅŸåƋŅŸƚĹŸåƋüŅųƋĘåÆåŸƋĬĜčĘƋØ head out before sunrise to capture the
±ĹÚƤƚŸå±ĬåĹŸŸƚÏʱŸ±ƀLjěƖLjLjĵĵ best of the action.
 F E A T U R E

CAPTURE WILDLIFE AND ITS

SEASONAL ACTIVITY CONTINUED
SUBJECTS TO LOOK FOR Wildlife is often closer to home than you realise – you just have to know where to find it
3 PARK SQUIRRELS
Squirrels are a very common
type of animal, and are fairly easy
ƋŅƤĬŅϱƋåÆåϱƚŸåĹå±ųĬƼåƴåųƼޱųĩ
with trees has them. Take time to
observe their behaviour, and once
you feel ready, position nuts and
seeds out of shot to entice them to
the desired position.

1 THE ELUSIVE FOX

8Ņƻ埱ųåŅĹåŅüƋĘåĵŅųåÚĜþÏƚĬƋ±ĹĜĵ±ĬŸƋŅŞĘŅƋŅčų±ŞĘØÆƚƋü±ų
from impossible. If you know that foxes visit your garden, observe
when they’re most active – usually at dusk and dawn – and set up a
camera by an open window, or outdoors and controlled by remote.

x5 © Gettyimages
4 SIMPLICITY WITH WILDFOWL
The humble duck may not be the most exciting wildlife subject,
but with the right light in early morning or late afternoon, the
resulting images can easily exceed expectations. Use a telephoto
lens, and shoot from just above the surface of the water or from a
long distance.

5 PURE SIMPLICITY
A dew-covered spider’s web may
not be the most obvious wildlife

2 THE CHARISMATIC HEDGEHOG

Since hedgehogs are nocturnal, you’re most likely to see them
around dawn and dusk. Signs of hedgehog activity in your garden
subject, but this is one of the
屟ĜåŸƋƋŅĀĹÚ±ĹÚŸĘŅŅƋţeĜĵƋŅÆå
out soon after sunrise, as it doesn’t
are minimal, but light footprints and droppings are a giveaway, so take long for the dew to evaporate
observe their routes to see where to set up your camera. once direct sunlight hits the web.

DRESS FOR SUCCESS COMFORT IS KEY

What to wear on a wildlife shoot to ensure The most important thing
ÆŅƋĘƤÏŅĵüŅųƋ±ĹÚŞų±ÏƋĜϱĬĜƋƼ ±ÆŅƚƋƤÏĬŅƋĘĜĹčüŅųƵĜĬÚĬĜüå
photography is that you’re
There’s a misconception that wildlife photographers need warm, dry and comfortable
ƋŅƵå±ųϱĵŅƚā±čåÏĬŅƋĘåŸØÆƚƋƋĘĜŸϱĹÆåĵƚÏĘĵŅųå
problematic than wearing mid-tone or dark clothing of any
ÏŅĬŅƚųţœĜƋĘϱĵŅƚā±čåÏĬŅƋĘåŸØ±ĹĜĵ±ĬŸĵ±ƼĹŅƋÆå±ÆĬå
to see you, but they will be aware of your presence, so
there’s a greater chance of startling them. The most
© James Abbott

important thing is that what you’re wearing will keep you

warm and dry in all weather, and that you’re not wearing
strong deodorant or perfume/aftershave.
 F E A T U R E

WORK IN WOODLANDS
‰ĘåƵŅŅÚŸ±ųå±ĵ±čĜϱĬŞĬ±Ïå±Ƌ±ĹƼƋĜĵåŅüƼå±ųØÆƚƋĜĹ
±ƚƋƚĵĹƋĘååųƚŞƋĜŅĹŅüÏŅĬŅƚųĜŸ±ŸŞåÏƋ±ÏĬåƋŅÆåĘŅĬÚ

oods provide a wealth of

W photographic opportunities
in any season, but it’s during
autumn that the brightly coloured
foliage, high chance of mist, and the
abundance of macro subjects offer
the chance for truly magical images.
Finding a sense of calm amid the visual
chaos requires careful composition, but
lens choice can also play a vital role in
capturing more ordered scenes.
The best lenses for shooting in
ƵŅŅÚĬ±ĹÚ±ųåŞųĜĵ±ųĜĬƼƀLjěƖLjLjĵĵØƖĉě The composition
ŎLjĂĵĵŅųƖĉěƀLjĵĵţœĜƋĘƋĘåĬ±ƋƋåųƋƵŅ loosely conforms
options, it’s best to shoot at the longer to the rule of
thirds, with the
end of the focal range. Longer focal Lone trees, and
trunk in the
lengths are most effective for woodland those lit more
bottom corner
photography because you’ll need to brightly than
leading the eye
surrounding trees,
stand further back from the trees, which up the tree.
often look best.
means you won’t have to tilt the camera
back to fit the trees into the frame, which
results in converging verticals; shooting
at longer focal lengths from further back
results in perfectly straight trees. Mist has created a
The challenge this presents is that the sense of atmosphere,
distance between subject and camera as well as helping to
declutter the messy
requires you to compose with great care
background.
to avoid the inclusion of stray woodland
elements in the frame. Another tricky
aspect of woodland photography is the
low light levels, so you’ll need to shoot Warm light from the „ĘŅŅƋĜĹč±ƋüxĉʱŸ
with a tripod to avoid camera shake, and rising sun combined captured the twisted
look for trees that are lit from the sides, with the orange ĬŅĹåƤƋųååŸĘ±ųŞĬƼƵĘĜĬå
behind or from above to help make bracken creates a allowing the background
sense of season. to drop out of focus.
them stand out from the naturally dark
surrounding area.
x3 © James Abbott

AVOID DISTORTIONƀLjěƖLjLjĵĵƋåĬåŞĘŅƋŅĬåĹŸåŸ±ųååƻÏåĬĬåĹƋüŅųƵŅŅÚĬ±ĹÚ ENCHANTED SCENES Woodlands are naturally dark, but shafts of light
photography, as they require you to stand away from your subject Ņýåų±čŅŅÚÏʱĹÏåƋŅϱŞƋƚųååƋĘåųå±ĬŸÏåĹåŸ
 F E A T U R E

WORK IN WOODLANDS CONTINUED

© James Abbott
TOP
KIT PICK
A tripod is essential for
supporting the camera to
avoid camera shake in low
light, and when shooting with
a telephoto lens. A full-size
or even travel tripod will be
FANTASTIC FORESTS
Forests and woodlands are a magical
sufficient for mid-range
place as the season changes into telephoto lenses, such
autumn, with plenty of colourful , ±Ÿ±ƀLjěƖLjLjĵĵţ
moody shooting opportunities

BEFORE AFTER HOW TO PAN TREES IN A WOODLAND

Add a sense of dynamism with intentional camera movement
Static shots in woods look great, and there’s certainly a sense of calm imbued in this
ƋƼŞåŅüŞĘŅƋŅčų±ŞĘƼØÆƚƋĜƋÚŅåŸĹűƋƋ±ĩåĵƚÏĘåýŅųƋŅųĜĵ±čĜűƋĜŅĹƋŅĜĹģåÏƋŸŅĵå
creative motion blur into scenes using vertical panning. With a longer telephoto lens,
it’s easy to capture horizontal movement as well as vertical movement, so panning
with the camera attached to a tripod will drastically reduce horizontal movement of
the camera and emphasise the vertical blur.

1 USE A
TELEPHOTO LENS
The best lens for this is a
2 SHOOT IN
SHUTTER PRIORITY
Select Shutter Priority
3 COMPOSE AND
SHOOT
Compose the shot as if
ƀLjěƖLjLjĵĵØƵĘĜÏĘŸĘŅƚĬÚ and set the speed to you were taking a static
be attached to the between 1/8 sec and image. To shoot, loosen
tripod using the collar. If 1/30 sec – the exact the tripod head so you
x5 © James Abbott

ŸĘŅŅƋĜĹčƵĜƋʱƖĉěƀLjĵĵ speed you’ll need can tip the camera back,

ŅųƖĉěŎLjĂĵĵØŸĘŅŅƋ±Ƌ depends on how quickly release the shutter and
the longer end of the you tilt the camera and tilt the camera back to
zoom to avoid distortion. lens back. vertically pan.
 F E A T U R E

GET CREATIVE
ŽŸåĬĜčĘƋØÏŅĬŅƚų±ĹÚåƻŞŅŸƚųåƋŅƋ±ĩåĬ域ŅÆƴĜŅƚŸ
±ƚƋƚĵűĬŸĘŅƋŸƋʱƋŞųŅÚƚÏååƼåěϱƋÏĘĜĹčųåŸƚĬƋŸ

ith any genre of photography, of capturing mist, the possibilities capture wider scenic shots in order to
W it’s easy to get stuck in a rut
of producing a certain type of
become instantly more exciting.
Weather and light are always
make the most of autumn scenes, but
focusing in on abstract details using
image, but there’s always a plethora of important, but it’s the colours of light and colour is also a powerful way
different ways that you can approach autumn that truly sets it apart from the to create simple yet interesting images.
familiar subjects to create images that other seasons: vibrant yellows, glowing Creative possibilities are limited only
have an additional level of visual or oranges and deep reds make the by your imagination, so here and on
conceptual interest. once green landscape erupt in bright the next page we’ll give you five ideas
Focusing on the visual aspects of colours that can make reflections of to set you on your way to creating
autumn, weather and light are two the landscape in lakes even more autumnal images with a difference.
of the most important elements that impressive. Composing landscape
can make or break images, whether images based on the colours in a scene
you’re shooting wider scenics or macro becomes more effective than at other GET UP CLOSE WITH MACRO
From September until November, fungi
details. Shooting in the morning, when times of the year, so whether you’re ±ųåƤ±ƤĩåƼüå±ƋƚųåĜĹÆŅƋĘŅŞåĹŸŞ±Ï埱ĹÚ
the light is soft and warm, and leaves aiming for wide, close-up or abstract woodland in the UK, and they make an
and grass are covered in dew, is always shots, the natural characteristics of excellent subject for macro photography.
an easy win, but when you factor in autumn will often lend a helping hand. „ĘŅŅƋĜĹƋĘåƤå±ųĬƼĵŅųĹĜĹčŅųĬ±Ƌå±üƋåųĹŅŅĹØ
directional lighting and the chance You may think that you need to when the sun is low in the sky, to enjoy
directional lighting that can be controlled
ƵĜƋʱųåāåÏƋŅųƋŅÏųå±ƋåƵʱƋϱĹĬŅŅĩĬĜĩå
ϱųåüƚĬĬƼÏų±üƋåÚ±ųƋĜĀÏĜ±ĬĬĜčĘƋţ

TOP
KIT PICK
A macro lens is a great
addition to any kitbag
FOCUS ON DETAILS because of the wide range
Frosty autumn mornings can transform of tiny subjects that present
ƋĘåƤåƴåųƼÚ±ƼĜĹƋŅŸŅĵåƋĘĜĹč±ĬĜƋƋĬåĵŅųå themselves at this time of year.
special. Whether it’s ferns, grass or fallen From fungi to frost-encrusted
leaves curling in piles on the ground, many
foliage, you can get closer to
ƻƖÙI±ĵåŸeÆÆŅƋƋ

ÚĜýåųåĹƋĩĜĹÚŸŅüÚåƋ±ĜĬŸĘŅƋŸϱĹÆå
captured – just keep your eyes on the
űƋƚųåűŸĵĜĹƚƋĜ±åƵĜƋĘƤ±
ground, and a multitude of possibilities dedicated macro
ƵĜĬĬƤĜĹåƴĜƋ±ÆĬƼŞųåŸåĹƋƋĘåĵŸåĬƴåŸţ optic.
 F E A T U R E

GET CREATIVE CONTINUED

DYNAMIC ABSTRACTS
Swirl pools are small areas in streams and
below waterfalls where water is directed
ÆƼƤűƋƚų±ĬåĬåĵåĹƋŸĜĹƋŅāŅƵĜĹčĜűÏĜųÏƚĬ±ų
motion. The movement is slower than it
ĬŅŅĩŸØƤÆƚƋÆƼƚŸĜĹčåĜƋĘåų±ŞŅĬ±ųĜŸĜĹčĀĬƋåų
ŅųƤ±Ƶå±ĩc%ĀĬƋåųƼŅƚϱĹåƻƋåĹÚåƻŞŅŸƚųå
ƋŅ±ƤüåƵŸåÏŅĹÚŸƋŅϱŞƋƚųåƋĘåĵŅƴåĵåĹƋ
of fallen leaves in the pool.

COMPOSE WITH COLOUR

The vibrant colours of autumn can be sublime, and in some cases
ϱĹƤåƴåĹÆåŸƋųŅĹčåĹŅƚčĘƋŅÆå±ÆĬåƋŅĘŅĬÚ±ÏŅĵŞŅŸĜƋĜŅĹƋŅčåƋĘåųţ
Look for trees with turning leaves of bright yellow or orange standing
ŅƚƋ±č±ĜĹŸƋ±ĹåƚƋų±ĬƱÏĩčųŅƚĹÚôƼŅƚűĬĬĀĹÚƋĘåŸåƋƼŞåŸŅüŸƚÆģåÏƋĜĹ
old quarries and rocky areas of the landscape.

CONTRE-JOUR
Shooting into the light is a simple technique for creating dramatic
backlit images of a range of subjects. For natural-world images
ÚƚųĜĹčƤ±ƚƋƚĵĹØƋĘĜŸŸĜĵŞĬåƋåÏĘĹĜŧƚåϱĹƋų±ĹŸüŅųĵŸƚÆģåÏƋŸƋʱƋ
x3 © James Abbott

ĬŅŅĩƤƚĹĜĹŸŞĜųĜĹčƋŅƋĘååƼåĜĹƋŅŸŅĵåƋĘĜĹčĵƚÏĘĵŅųåŸŞåÏĜ±Ĭţ
œĘåĹƤŸĘŅŅƋĜĹčĜĹƋŅƋĘåĬĜčĘƋØåƻŞŅŸƚųåÏŅĵŞåĹŸ±ƋĜŅĹƵĜĬĬĹå±ųĬƼ
always need to be used.
 F E A T U R E

STEPS FOR EDITING AUTUMN SHOTS

eÚÚ±ĵ±čĜϱĬÆĬåĹÚŅüŸĘ±ųŞĹ域±ĹÚÏŅĹƋųŅĬĬåÚÆĬƚųƵĜƋĘƋĘåkųƋŅĹåüüåÏƋ

Like HDR, the Orton effect has

a bit of a mixed reputation but,
applied in the right way and used
sparingly, the effect is the ideal
accompaniment to autumnal
photography. Thanks to the
characteristics of this technique,
where sharpness and blur are
blended in a single image,
the effect complements the
atmospheric conditions of autumn
wonderfully well.

1 DUPLICATE BACKGROUND LAYER

Open your image in Photoshop, click
on the Background layer and press Ctrl/
Cmd+J twice to make two copies of the
layer. With the top layer selected go
toƤFilter > Blur > Gaussian Blur, set Radius
BEFORE ƋŅƖLjěƐLjŞĜƻåĬŸØ±ĹÚclick OK.

2 CHANGE BLENDING MODES

With the blurred layer still active, click
on the blending mode menu at the top-left
of the Layers panel (it’s set to Normal by
default), and select Multiply. Click on the
middle layer and set the blending mode
to Screen, before clicking back on the top
layer to make it active again.

3 MERGE AND DELETE LAYERS

Hold down Ctrl/Cmd+Shift+Alt+E to
merge the visible layers into a new layer
at the top of the stack. Now left-click on
the layer below, hold down Shift, and click
on the layer below that – now both layers
created in step 1 should be highlighted.
Drag both layers to the bin.

AFTER
SOFTNESS AND CLARITY
4 ADJUST LAYER BLENDING
Click on the top layer and then right-
click and select Blending Options from the
‰ĘåkųƋŅĹåýåÏƋčĜƴåŸĜĵ±č埱ŸŅüƋØ menu. When the dialogue opens, go to
ethereal look without reducing overall Blend If, hold down the Alt key, and drag
ƻƖÙI±ĵåŸeÆÆŅƋƋ

ŸĘ±ųŞĹ域ŅųƋĘåÏĬ±ųĜƋƼŅüĀĹåÚåƋ±ĜĬŸţ the right half of the slider on the left, below

FƋűŸƤĹŅƋƋŅåƴåųƼŅĹåűŸƋ±ŸƋåØÆƚƋ±ŞŞĬĜåÚ This Layer, to 60. Set Opacity to around
ŸŞ±ųĜĹčĬƼƋĘåųåŸƚĬƋĜŸĘĜčĘĬƼåýåÏƋĜƴå 30%, and click OK.
without being too obvious
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 G A L L E R Y

XPOSURE
AS WE SIGN OFF WITH OUR L AST ISSUE, WE LOOK
BACK AT SOME OF THE MOST INSPIRING READER
PHOTOS WE’ VE FEATURED OVER THE YEARS

MUTE SWAN
BARB D’ARPINO
“In Collingwood in Ontario, Canada there’s a stretch of water
that stays open through the cold winters, and many ducks and
geese overwinter there. This swan was laying on one of the ice
floes and keeping warm in its feathers.”
https://bit.ly/4gr2SkM
 G A L L E R Y
A LOOK BACK AT SOME OF OUR FAVOURITE IMAGES
TAKEN BY PHOTOGRAPHY WEEK READERS

SHOVELLING SPRINKLES
ANDREW HOLDING
“Ever feel like you are shoveling… sprinkles?”
https://bit.ly/3bExT22
 G A L L E R Y
A LOOK BACK AT SOME OF OUR FAVOURITE IMAGES
TAKEN BY PHOTOGRAPHY WEEK READERS

THE THINKER
CHRISTINE JACOBSON
“This New Zealand fur seal was resting on the rocks on the Wairarapa Coast (the
lower east coast of New Zealand/Aotearoa’s North Island. When I saw it in this
unusual pose I was immediately reminded of Rodin’s sculpture The Thinker.”
http://bit.ly/2TKs1yF
 G A L L E R Y
A LOOK BACK AT SOME OF OUR FAVOURITE IMAGES
TAKEN BY PHOTOGRAPHY WEEK READERS

CLAPHAM COMMON COLOUR

GEORGE JOHNSON
“The rush of two London Underground trains, proving that even something
BTEVMMBTBçUSBOTQPSUTZTUFNDBOTUJMMTIPXVTUIFCFBVUZJOBDJUZw
https://bit.ly/47r0UNm
 G A L L E R Y
A LOOK BACK AT SOME OF OUR FAVOURITE IMAGES
TAKEN BY PHOTOGRAPHY WEEK READERS

MILKY WAY OVER ES VEDRA, IBIZA

EDUARDO ROJAS RODRIGUEZ
“The Galactic Center over Es Vedrà, a small rocky island off the coast of the
4QBOJTIJTMBOEPG*CJ[B*UPPLBEWBOUBHFPGUIFBCTFODFPGUIFçNPPOBOE
the magnificent sky in this magical place.”
https://bit.ly/3OT8d8Y
 G A L L E R Y
A LOOK BACK AT SOME OF OUR FAVOURITE IMAGES
TAKEN BY PHOTOGRAPHY WEEK READERS

SKATING THE TARGET

JEAN-FRANCOIS CLOÜET
“I captured this shot of a skateboarder in Paris with
NZç/JLPO%BOE/JLLPSNNGMFOTw
https://bit.ly/3nfIgRm
 G A L L E R Y
A LOOK BACK AT SOME OF OUR FAVOURITE IMAGES
TAKEN BY PHOTOGRAPHY WEEK READERS

FIGHT’S ON: EASTERN CHIPMUNK

DOUG GRIFFITH
“As cute as they are, there’s a lot of fight in these little rodents, and these two,
who I photographed near my home in Ashton, Ontario, are working off a bit of
springtime aggression! The fighting went on for a good five minutes.”
IUUQCJUMZ,G"
 G A L L E R Y
A LOOK BACK AT SOME OF OUR FAVOURITE IMAGES
TAKEN BY PHOTOGRAPHY WEEK READERS

SCHLOSS NEUSCHWANSTEIN
MICHELE NARO
“The majestic Neuschwanstein castle, taken from another
perspective this time, from Hohenschwangau, the small
village that borders the Alpsee lake.”
https://bit.ly/3cPwlEV
 G A L L E R Y
A LOOK BACK AT SOME OF OUR FAVOURITE IMAGES
TAKEN BY PHOTOGRAPHY WEEK READERS

COSMIC LIGHTHOUSE: PHOTO ART

LARRY GRAY
“The ‘water’ in this image is a mixture of milk and water. Food colouring and a thickener
QSPWJEFEDPMPSBOETNPPUIUFYUVSF BOE*MJUUIFTFUVQVTJOHPGGDBNFSBGMBTIw
https://bit.ly/3TsrOyO
 G A L L E R Y
A LOOK BACK AT SOME OF OUR FAVOURITE IMAGES
TAKEN BY PHOTOGRAPHY WEEK READERS

CROSS OVER
CHRIS FITCH
“This shot of the Red Arrows was taken at the 2018 Royal
International Air Tattoo in Fairford, England. I used my
$BOPO%.BSLBOEB4JHNBNNMFOTw
https://bit.ly/39tBxPc
 G A L L E R Y
A LOOK BACK AT SOME OF OUR FAVOURITE IMAGES
TAKEN BY PHOTOGRAPHY WEEK READERS

DAHLIA
HELEN GEORGE
“I photographed this dahlia in natural light with the
flower placed in a large white ceramic dish. I placed
UIFEJTIJOGSPOUPGBMBSHFTPVUIGBDJOHXJOEPX
UIFCMVFCBDLHSPVOEJTçUIFTLZPVUTJEFw
https://bit.ly/3sjw9ab
 G A L L E R Y
A LOOK BACK AT SOME OF OUR FAVOURITE IMAGES
TAKEN BY PHOTOGRAPHY WEEK READERS

IS HE LOOKING?
NICK TURLEY
“This was taken at a local camera club, featuring model Lois
Rose in an old coraline dress designed by Karen Bowler.”
https://bit.ly/3ZnJf7p

THANKS TO ALL OUR CONTRIBUTORS FOR THE WONDERFUL

IMAGES YOU’VE SHARED WITH US AND YOUR FELLOW READERS!
 I N S P I  A T I O N

I T ’ S C O O L , T H AT
THE BEST THING WE’ VE SEEN THIS WEEK

Images © The photographer and courtesy Ocean Photographer of the Year

±ü±åĬ8åųĹ´ĹÚåDŽ±Æ±ĬĬåųŅØkƴåų±ĬĬƵĜĹĹåų ‰ŅÆĜ±Ÿ8ųĜåÚųĜÏĘØœĜĹĹåųØeÚƴåĹƋƚųåϱƋåčŅųƼ

BåĹĬåƼ„ŞĜåųŸØœĜĹĹåųØ8ĜĹåeųƋϱƋåčŅųƼ Shane Gross, Winner, Conservation (Hope) category

BREATHTAKNG IMAGES FROM

ABOVE AND BELOW THE WAVES
A final hit of inspiraton: Ocean Photographer of the Year reveals stunning winning photos
his is the final issue of Photography ĜĹŸŞĜųåÚƋŅŸƚÆĵĜƋƼŅƚųŅƵĹŞĘŅƋŅŸƋŅƤŸŅĵå
T Week (apologies if we’re just
breaking that news here – see the
of these prestigious competitions.
We’ll leave you with these breathtaking
Welcome page for more), and without a images from one of our favourite contests,
doubt our favourite part of producing the Ocean Photographer of the Year, which
magazine for the past decade and more has ƋĘĜŸƤƼå±ųƵ±ŸƵŅĹÆƼ±ü±åĬ8åųĹ´ĹÚåDŽ
been putting together this ‘Inspiration’ page, Caballero, with his stunning image of a rare SEE MOR E IM AGE S
featuring images from the world’s biggest Bryde’s whale about to devour a ball of bait. h t t p s : // bi t . ly/450 QV L X
photo competitions, as well as other nuggets ĬĜÏĩƋĘåĬĜĹĩƋŅŸååĵŅųåƤ±ĵ±DŽĜĹčĜĵ±č埱Ƌ
from the worlds of photo and video that the website – and we hope you’ve enjoyed
have caught our eye. We hope you’ve been ‘It’s cool, that’ as much as we have.
 S K I L L S

CRASH COURSE
ESSENTIAL PHOTO SKILLS MADE EASY

ABSTRACT PORTRAITS
Mike Harris shows you how to use slow shutter speeds and multiple
exposures to capture a series of motion-blur portraits

hen you think about shooting to allow indirect light to illuminate ųå±ĬĬƼĹŅƤųĜčĘƋŅųƵųŅĹčŅƚƋÏŅĵåţ

W portraits, long exposures

and movement are probably
among the last things that
your subject. You can use a dedicated
photography background like us, but a
plain wall or sheet will provide a suitable
œåűƴåƤŞųŅƴĜÚåÚ±üåƵƋĜŞŸƋŅŞŅĜĹƋƤƼŅƚ
in the right direction, but once you get
the hang of this technique you’ll get the
come to mind. But in this tutorial backdrop too. most out of it when you head off-piste.
we’re going to show you how you can Portrait photographers usually prefer Standard long exposures will reap
use motion blur to create a series of the flexibility of shooting handheld, but fantastic results, but once you’ve got
incredible abstract portraits in the in this case a tripod is essential due to the hang of this technique you can try
comfort of your own home. our use of slow shutter speeds, with broadening your creative possibilities
While our photographs might look like the goal of capturing motion blur, not by capturing a few in-camera multiple
they were shot using artificial lighting in ϱĵåų±ŸĘ±ĩåţkĹÏåƼŅƚųŸåƋƚŞĜŸƤųå±ÚƼØ exposures. Combining both long and
a studio, they were actually captured in the real fun can begin. multiple exposures can afford you a
a spare bedroom. The key is setting up This is a particularly enjoyable project little more control over the end product.
next to a large window or patio doors because it invites creativity, and there’s Here’s how to get started…
 S K I L L S
STEP BY STEP CAPTURE A SERIES OF MOTION-BLUR PORTRAITS

1
STUDIO SETUP IN A PINCH
Set up next to a large window, positioned
ƋŅƤƋĘåŸĜÚåŅüƼŅƚųĵŅÚåĬţFüÚĜųåÏƋŸƚĹĬĜčĘƋ
pours through the window it will create
ƚĹüĬ±ƋƋåųĜĹčĘĜčĘĬĜčĘƋŸ±ĹÚŸĘ±ÚŅƵŸØŸŅƤĵ±ĩå
sure the natural light is indirect, or wait for it
ƋŅÆåƤÚĜüüƚŸåÚÆƼÏĬŅƚÚÏŅƴåųØƋŅÏųå±ƋåŸŅüƋ
light and shade. We used a vintage textured
collapsible background from Lastolite
(£185/$230), but a plain wall or bed sheet
would be suitable alternatives.

2
FIX YOUR TRIPOD
The aim is to capture motion blur, leaving the
rest of the image sharp, and so the camera
needs to stay perfectly still due to the slow
shutter speeds needed. A sturdy tripod is
a must, and a remote release will help you
time your shots with the model’s movements
without jogging the camera.

3
CAMERA SETTINGS
We used shutter speeds ranging from 1/4 sec
to 1.3 secs, with the majority of our images
shot at 1/2 sec. ISO and aperture were used
to control the shutter speed. Even at f/2.8 we
had no trouble focusing – Single-point AF was
used to focus on the eye nearest the camera
at the beginning of each exposure.

QUICK TIP
Studio portraiture often requires good communication between the photographer and model, but for this technique
ĜƋűŸ±ÆŸŅĬƚƋåĬƼ域åĹƋĜ±ĬØÆåϱƚŸåƋĜĵĜĹčĜŸåƴåųƼƋĘĜĹčţFƋűŸƤ±ĬŸŅƵŅųƋĘÚĜŸÏƚŸŸĜĹčƵĜƋĘƼŅƚųŸƚÆģåÏƋĘŅƵƼŅƚűÚĬĜĩå
them to move ahead of time, while also inviting them to express themselves with their own movements.
 S K I L L S
STEP BY STEP CAPTURE A SERIES OF MOTION-BLUR PORTRAITS

4
LONG EXPOSURES
The majority of our shots were captured
ÆƼƤŸĜĵŞĬƼŸåƋƋĜĹčƚޱĬŅĹčåƻŞŅŸƚųå±ĹÚ
asking our model to perform a movement.
Long sweeping movements create abstract
trails of blur. Alternatively, having your model
remain stationary and then making smaller
movements, or vice versa, will produce a
sharper figure with wisps of blur.

5
MULTIPLE EXPOSURES
If your camera has a multiple exposure
ĵŅÚåƤƼŅƚϱĹÏŅĵÆĜĹåƋĘĜŸƵĜƋĘŸĬŅƵŸĘƚƋƋåų
speeds to create an effect that’s very similar
to ‘dragging the shutter’ when using flash. The
Ĝĵ±čåĘåųåĜŸ±ÚŅƚÆĬååƻŞŅŸƚųåôƋĘåƤüĜųŸƋ
shot was a conventional portrait, while for the
second exposure the model moved to create
the streaks of motion blur.

6
EXPERIMENT AT HOME
As you can see from our montage on the
first page, we came away with a plethora
ŅüƤÚĜüüåųåĹƋŸĘŅƋŸţ„ŅĵåƵåųåŞĬ±ĹĹåÚØ
but many were stumbled upon through
experimentation, so have fun playing around
with different shutter speeds, movements and
multiple exposures, and see what abstract
ŞŅųƋų±ĜƋŸƼŅƚƤϱĹÏŅĵåƚŞƵĜƋĘţ
 E D I T I N G

PHOTOSHOP
LEARN ESSENTIAL EDITING SKILLS FAST!

D O W NL O A D T HE
P R O J EC T F I L E S
h t t p s : // b i t . l y/47t Q r k i
ON A PC OR MAC

HOW TO...

CALIBRATE YOUR COLOURS W AT CH T HE V IDEO

h t t p s : // b i t . l y/4 d 9 P t e j

James Paterson reveals how he captures stunningly

colourful sunsets by using this secret weapon
ave you ever come back full of ŞĬ±Ƽ±ޱųƋţƚƋƋĘåĹƚĵÆåųŸƼŅƚų ÏŅĬŅƚųŸĘĜüƋŸØƋĘå±ĬĜÆų±ƋĜŅĹޱĹåĬĜŸ
H excitement after photographing
a glorious sunset, only to find
ϱĵåų±ÏĘŅŅŸåŸ±ųåĹűƋ±ĬƵ±ƼŸųĜčĘƋŅų
necessarily the best for your image.
±ĹƤŅƴåųĬŅŅĩåÚƼåƋŞŅƵåųüƚĬƋŅŅĬţ

ƋĘåųåŸƚĬƋŸƤ±ųåŸĬĜčĘƋĬƼƚĹÚåųƵĘåĬĵĜĹčũ ‰ĘĜŸĜŸƵĘåųåƋĘå±ĬĜÆų±ƋĜŅĹޱĹåĬ
It’s happened to me plenty of times.
When the last remnants of sunlight are
comes in. As you’ll see in this video
ƋƚƋŅųĜ±ĬØƵĜƋʱŧƚĜÏĩƋƵå±ĩŅüƋĘååÚ
EXPERT TIP
¥ŅƚϱĹÚųŅŞĜűĹåƵŸĩƼƚŸĜĹčƋĘå„ĩƼ
gently kissing the landscape, the sky ±ĹÚĬƚå{ųĜĵ±ųƼŸĬĜÚåųŸØƵåϱĹåĹųĜÏĘ åŞĬ±ÏåĵåĹƋƋŅŅĬĜĹ{ĘŅƋŅŸĘŅŞţkŞåĹƋĘå
ϱĹĬĜčĘƋƚŞƵĜƋʱƴĜŅĬåĹƋÆĬƚŸĘŅü the colours in the sunset; the results Ĝĵ±čå±ĹÚčŅƋŅ)ÚĜƋē„ĩƼåŞĬ±ÏåĵåĹƋţ
ųåÚŸØŅų±Ĺč埱ĹÚƼåĬĬŅƵŸţƚƋĘåųåűŸ ÚŅĹűƋĬŅŅĩŅƴåųěŞųŅÏ域åÚØƵĘĜÏĘŅüƋåĹ {ĘŅƋŅŸĘŅŞŅýåųŸ±üåƵŸƚĹŸåƋŸØÆƚƋĜü
the thing: your camera doesn’t see Ę±ŞŞåĹŸƵĘåĹƚŸĜĹčƋĘåšĜÆų±ĹÏå±ĹÚ ƼŅƚƵ±ĹƋƋŅÚŅƵĹĬŅ±ÚĵŅųåüųŅĵeÚŅÆåØ
ŅŞåĹƋĘå„ĩĜåŸÚųŅŞÚŅƵűĹÚÏĬĜÏĩƋĘå
ƋĘåŸåÏŅĬŅƚųŸĜĹƋĘ埱ĵåƵ±Ƽ±ŸƼŅƚų Saturation sliders. These controls aren’t
ÏŅčĜÏŅĹē:åƋaŅųå„ĩĜåŸē%ŅƵĹĬŅ±Ú
eyes – instead, it assigns them only for sunsets of course; you can use üųååŸĩĜåŸţ¥ŅƚűĬĬ±ĬŸŅĀĹÚůFĵŞŅųƋ„ĩĜåŸű
numbers. These vary across different them to fine-tune all kinds of images. here. We have supplied a set of sunset
camera brands and models, and your œĘåƋĘåųƼŅƚƵ±ĹƋƋŅüĜƻÏŅĬŅƚųϱŸƋŸØ skies for you to try out.
ƵĘĜƋåƱĬ±ĹÏå±ĹÚåƻŞŅŸƚųåŸåƋƋĜĹčŸ Ïųå±ƋåĹåƵÚåü±ƚĬƋŸŅųĵ±ĩåÏųå±ƋĜƴå
 :FaeX‰)„‰
EXPERT OPINION ON THE L ATEST KIT

DJI RS 4
dji.com £469/$549, £619/$719

gimbal is a great way to elevate

A your video production, enabling
you to capture more dynamic
footage without the jitters and jerks
usually associated with hand-holding
±Ƥϱĵåų±ţFĹƋĘåޱŸƋØčĜĵƱĬŸƋåĹÚåÚ
ƋŅƤÆåų±ƋĘåųĘå±ƴƼرޱĜĹƋŅŸåƋƚŞØ±ĹÚ
ĘŅųųåĹÚŅƚŸĬƼåƻŞåĹŸĜƴåţ8ŅųƋƚűƋåĬƼرŸ
ƋĘå„ĉÚåĵŅĹŸƋų±ƋåŸØ%IFʱŸŞƚƋ±ĬŅƋ
ŅüƤåüüŅųƋĜĹƋŅ±ÚÚų域ĜĹčƋĘåŸåĜŸŸƚåŸţ
The RS 4 is intended for lightweight
ŞųŅü域ĜŅűĬƚŸå±ĹÚƵåĜčĘŸŎţĉĩčØƵĘĜÏĘ
ĵå±ĹŸĜƋűŸü±ĜųĬƼ屟ƼƋŅĘŅĬÚ±ĹÚŅŞåų±Ƌåţ
However, it can cope with payloads up to
3kg in weight, which equates to a pretty
ŸƚÆŸƋ±ĹƋĜ±ĬĵĜųųŅųĬ域ϱĵåų±ŸåƋƚŞţ
8ƚųƋĘåųĵŅųåØƋĘå±ųĵŸ±ųå‰åüĬŅĹě
coated, making it much easier to
make small, smooth adjustments
when balancing your camera
ŅĹƋĘåčĜĵƱĬţ‰ĘåųåűŸ±ĬŸŅ
a helpful micro-adjustment
knob on the camera mounting
– it would be nice to see
this rolled out to the other
±ÚģƚŸƋĵåĹƋŞŅĜĹƋŸţ
Portrait-orientation video
is increasingly important for
ƴĬŅččåųŸ±ĹÚŅƋĘåųŸØ±ĹÚ%IFʱŸ
made it easy to swap between
the two shooting orientations
with the RS 4 – it’s just a case of
unclipping the camera mount and using
ĜƋŸ±ĬƋåųűƋĜƴåĵŅƚĹƋĜĹčŞŅĜĹƋţ%IFʱŸ
also given the RS 4 its fourth-generation
stabilisation algorithm, and the end result
ĜŸåüüŅųƋĬ域ŸƚŞåųěŸĵŅŅƋĘüŅŅƋ±čåţ
‰Ęå%IF„ĉĜŸŸŅĬÚƵĜƋĘåƴåųƼƋĘĜĹčƼŅƚ
need to stabilise a camera, plus a case
to keep all the pieces together when it’s
VERDIC T
ĹŅƋĜĹƚŸåţ‰ĘåųåűŸ±ĬŸŅ±ŅĵÆŅUĜƋƋʱƋ
ĜĹÏĬƚÚåŸ%IFűŸüŅÏƚŸÏŅĹƋųŅĬŸƼŸƋåĵØƵĘĜÏĘ
is used to adjust either the focus or the
üŅϱĬĬåĹčƋĘŅü±DŽŅŅĵĬåĹŸţ
 A P P S
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