Digital photographer annual

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MASTER THE ART OF PHOTOGRAPHY

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PERFECT PORTRAITS
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A DEFINITIVE COLLECTION FOR ENTHUSIASTS AND PROFESSIONALS



Welcome To

With the soaring accessibility of image-sharing platforms, the
popularity of digital photography shows no sign of waning. We
all want to see the awe-inspiring sights, treasured memories and
stunning compositions of our family and friends. But whether
you are a grass roots amateur, an aspiring expert or even a paid
professional, there are always new tricks to be learned. Digital
Photographer Annual collates all the best advice for newbies
and veterans looking to realise their creative ambitions. Start
by unveiling our top industry secrets, before finding inspiration
from seasoned professionals who specialise in fields varying
from food to fashion. Next, our in-depth guides tackle techniques
for shooting specific subjects (from wildlife to portraits) and

effects (from macro to mono). Lastly, learn how to overcome
the competition with insightful step-by-step career and how-to
guides that illuminate alternative avenues for growing your profile
as a professional photographer. Pick up your camera and let’s go!



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The publisher cannot accept responsibility for any unsolicited material lost or damaged in the
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Digital Photographer Annual Volume 3 © 2016 Imagine Publishing Ltd
ISBN 9781785464638

Part of the

bookazine series


CONTENTS

TECHNIQUES

INSPIRATION
22

LIGHT AND COLOUR

32

ANIMAL MAGIC

36

SURF’S UP

40

MUSIC MATTERS

46

FASHION PHOTOGRAPHY
ON A BUDGET

40

6

HOW TO SHOOT FINE
ART: BLACK & WHITE

74

VITAL KIT TRICKS
FOR MACRO

84

CAPTURE STUNNING
CUISINE

90

ESSENTIAL SKILLS
FOR URBAN
PHOTOGRAPHY

100

NATURAL PORTRAITS

106

CAPTURE VIVID VISTAS

116

SHOOT BENEATH
THE SURFACE

122

UNDERSTAND &
CONTROL DEPTH
OF FIELD

130

ONE SHOT STORIES

138

CAPTURE FAMILY
PORTRAITS

EYE FROM THE SKIES

26

54

60

SUPER SPORT

74


GUIDE TO
GETTING PERFECT
SHOTS

CAREER

OUR TOP TIPS ARE
JUST WHAT YOU NEED

148

10 WAYS TO BUILD A
PRESS PORTFOLIO

152

MARKET YOURSELF ON
INSTAGRAM

156

10 HABITS OF
SUCCESSFUL
PHOTOGRAPHERS

160

CONSTRUCT A CAREER
IN ARCHITECTURE

164

SHOOT FOR THE SKIES

168

FIND INSPIRATION ALL
AROUND YOU

172

CROWDFUND YOUR PHOTO
PROJECTS

152

PAGE 8
“To reach the top of your
game, you need to work
hard, hone skills that
maybe never existed
before, absorb lots of
information, take failure
on the chin and persevere”

08

7


DIGITAL PHOTOGRAPHER ANNUAL

GUIDE

TO
GETTING
If taking better photos is
one of your New Year’s
resolutions, these top
techniques are just what
you need

P

hotography is a continual learning
process. No matter how good you think
you are, or how many years you’ve
been shooting, you can get better.
There will always be new subjects to shoot,
techniques to try and technology to master.
However, that’s no bad thing, because if
it were easy, everyone would be a master
photographer and we’d lose interest very
quickly. What makes photography so inspiring
and challenging is that it’s actually quite
difficult to take great pictures. Despite the
amazing digital technology we all have access
to these days, photography will always be a
creative process. You can buy the best camera
in the world, equip yourself with an arsenal of
lenses and every gizmo that’s out there, but
at the end of the day, the success of every
photograph you take is down to you, and your
equipment is only there to record what your

eye sees.
To reach the top of your game, you need
to work hard, hone skills that maybe never
existed before, absorb lots of information, take
failure on the chin and persevere. You need to
re-assess and evolve, and develop your own
style and vision so your work stands out from
the crowd. That’s a tall order for anyone, and
it can take years to progress from producing
half-decent snaps to works of art. However,
it’s worth every morsel of effort because the
sense of satisfaction gained from taking great
photographs is immense, and once you’ve got
there, the skills amassed will never leave you –
a bit like riding a bike.
Right

Lead-in lines
The use of the road and glowing light
trails enhance and draw the viewer into
this stunning frosty capture
© Javier de la Torre Garcia

8

PERFECT
SHOTS


GUIDE TO PERFECT SHOTS

9



DIGITAL PHOTOGRAPHER ANNUAL

1

Fill the
foreground

Foreground interest leads the viewer’s eye into a
shot and creates a strong sense of depth
Shooting from a low camera angle will allow
you to really make a feature of the foreground,
as you don’t have such a clear view of the
middle ground, whereas shooting from chest
height or eye-level gives a more natural
perspective. Composing in portrait format also
gives you more space to work with.
What can be used as foreground interest?
Pretty much anything really – rocks, rivers,
paths, walls, puddles, driftwood, fences – there
are always plenty of natural or man-made
options in the landscape to choose from.
How much foreground should you include?
There are no hard and fast rules here. A ratio
of 1/3 sky to 2/3 landscape is a nice balance,
but if you want to really exploit the foreground,

you can reduce the proportion of sky to just a
narrow slice across the top of the frame.

Foreground considerations
There are many different features, both natural and man-made, that you
can utilise in your landscape image as effective foreground interest

1

Man-made
subject
matter Boats
such as these
not only feature
appealing
colours but,
with careful
composition,
their curves can
be used to direct
the eye into
the landscape
beyond it.

10

2

Colour
separation

The colour of
the seaweed
at the bottom
of the frame
contrasts
with all the
other tones
in the scene,
and therefore
makes for ideal
foreground
interest.

All images © Lee Frost

One of the main elements in a landscape
composition is the area closest to the camera
– the foreground. Emphasising it will not only
help to give your images a strong sense of
distance, depth and scale, but it also provides
an entry point into the image for the viewer.
The strength of the foreground is controlled
mainly by lens choice – the wider the lens, the
more foreground you can include. Moderate
wide-angle focal lengths around 15-18mm
(24-28mm full frame) are ideal as they’re
wide enough to let you make a feature of the
foreground, but not so wide that the rest of the
scene pales into insignificance. If you go wider
– down to 10mm (15/16mm on full-frame) –

you can create really strong images, but you
need to get in really close to the foreground
otherwise the composition will look empty.

3

Subtle
features
Sometimes,
potentially
effective
foreground
subject matter
can be easily
overlooked –
experience is key
in identifying and
utilising features
that will work
photographically.


GUIDE TO PERFECT SHOTS

Above-left

Portrait orientation
Many professional landscape photographers
favour using their camera in a portrait
orientation, as this enables them to take better

advantage of foreground subject matter

Top

Landscape format
Shooting in the landscape format can make it
difficult to make effective use of foreground

4

Fleeting foreground When shooting
coastal scenery, you may be able to make
use of the tide as foreground interest by
carefully timing your shots.

5

Get down low Many foreground options
only make themselves apparent if you
adopt a low shooting position, without
extending out the tripod legs.

Above

Fill the foreground
The glowing foreground draws the viewer into
this image and leads the eye around to the
lighthouse in the distance

11

DIGITAL PHOTOGRAPHER ANNUAL

Above

Below

Reduce the colour palette

Less is more

The more effective composition
identifies an appealing pattern –
though it shows less of the subject, the
image is more successful as a result

Avoiding the temptation to include
everything that’s on offer often
ultimately results in more
effective compositions

By omitting both the sky and the tufts
of grass, the scene is reduced to its
bare bones and the image is even more
effective for it

All images © Lee Frost

Left

Focus on a pattern

2

your compositions are looking
Simplify your Ifcluttered
and confused, adopt a
composition more streamlined approach

One of the trickiest aspects of photography
is composition. This is mainly because it’s
completely down to you. Only you can decide
what to include in a shot, what to leave out,
and how to arrange the elements in a scene so
they form a visually interesting whole.
The temptation is usually to try and cram
too much into the frame, on the basis that
the more you give the viewer to look at, the
more they’ll like the shot. Unfortunately, the
opposite often applies. Cluttered compositions
are confusing. They lead to sensory overload,
and lose our attention instead of holding it. But

12

once you start stripping away unnecessary
details, you’ll quickly realise how little is really
required to create a photographic masterpiece.
Weather conditions can help when it comes

to compositional de-cluttering. On clear, sunny
days our senses are bombarded with colour
and detail. But throw some mist or fog into
the equation and it’s a different story. Scenes
are simplified. Fine detail is lost and only the
boldest features stand out.
Zoom lenses are your ally too, allowing you
to home in on selected areas and exclude
anything else from the composition that

overcomplicates it. The longer the focal length,
the narrower the angle of view and the more
selective you can be – the top end of a
70-200mm, or 75-300mm is ideal for isolating.
The key is to think about what you’re doing.
Ask yourself why you’re including certain
elements and see if the composition is
improved by excluding them. As well as using
your lenses, physically move closer to your
subject. Don’t be afraid to simplify during postproduction by cropping the image. A square
crop can work really well, adding a sense of
balance and harmony to the composition.


GUIDE TO PERFECT SHOTS

3

Make use of
ND filters

Using extreme ND filters to extend
exposures allows you to record the
passing of time, not freeze it
One of the most popular techniques to emerge in recent years is
the use of extreme ND filters like the Lee Big Stopper to record
motion in a scene. Attach one to your lens and the exposure
increases by 1,000 times. Even in broad daylight this means you
can be using exposures of several minutes instead of fractions of
seconds. Result? Moving water turns to milk, drifting clouds to
delicate streaks of colour. Swaying trees and grass become ghosts
in the landscape while people and traffic moving along busy
streets often don’t record at all! It’s amazing – and addictive.
To get the best from your ten-stopper you need to bear in mind
a few factors. First, don’t use it all the time, just because you can.
It won’t make a silk purse out of a sow’s ear and like all creative
effects, it can get tiresome when overused. Second, vary exposure
times to suit the scene. On a windy day you may find that 60
seconds is long enough because the clouds are drifting nicely,
whereas in calmer conditions you may need to expose for ten
minutes to achieve the desired effect. Use the first shot as a test
shot then adjust exposure as required. Don’t automatically reach
for your ten-stopper either – a lower density such as a six-stop
ND may work better. If you keep the shutter open for too long, you
can lose the sense of motion you were trying to capture.
Light leaks can be a problem with ND filters. Avoid them by
closing the viewfinder blind and covering the distance scale
window on your lens. Ensure the ND filter is closest to the lens,
with the foam gasket facing the lens. Drape a cloth over the filter
holder if necessary to stop light creeping in.

Standard exposure
This image was taken with
a shutter speed of 1/60sec,
capturing all the detail in
the water.

Long exposure
A 60-second exposure
with the Lee Big Stopper in
place has turned the water
into what looks like a mist.

Inset

Potential problems
Be aware that you need to use a
very stable tripod and a solid ball
head when shooting exposures
longer than around one second,
particularly in windy conditions

Moderate option
With a Lee Little Stopper
in place instead, a foursecond exposure has been
achieved, enabling some
of the detail in the water to
be preserved.

Below

Simplify through
exposure
Using a long exposure time is an
effective means of simplifying your
overall composition by decreasing
detail in skies and oceans


DIGITAL PHOTOGRAPHER ANNUAL
Far-left

Underexposed file
By underexposing, you are
relying on being able to
retrieve shadow detail

Middle

Expose to the right
Doing so preserves plenty of
shadow detail while avoiding
clipping highlights

Left

The final file
This is the final image
processed by the RAW
software application

4

Use the If you want the best RAW files then you
histogram need to ensure they’re exposed correctly

Getting the exposure right is easier now than
ever before thanks to the amazing metering
systems in digital cameras. That said, exposure
error still does occur, and it’s usually in those
extreme situations that produce the best
images – so you need to be on your game.
The most accurate and reliable way to
assess exposure is by using the histogram for
an image. It’s more useful than the preview
image because it shows you the distribution
of tones in the digital file, from the darkest
shadows on the far left to the brightest
highlights on the far right.

If you want to produce the best RAW file,
you need to use a technique that is known as
exposing to the right. This involves giving the
image as much exposure as you can without
clipping the highlights, and is so named
because when you do that, the tonal graph for
the image shifts over to the right side of the
histogram, which is where the sensor records
most of the tonal information. Use your
camera’s exposure compensation to gradually

increase the exposure in 1/3 stop increments
until the highlights start to clip, then use the
frame before.

5

RAW files shot this way tend to look
overexposed but provide you with the most
versatile digital negative to work from. You can
then adjust the exposure during processing to
correct it, or interpret it creatively to achieve
the effect you had in mind when the shot was
taken. For example, you may want to go for a
dark, dramatic look, or conversely, brighten the
image even more for a delicate high-key effect
– this works well on backlit scenes. The great
thing about shooting in RAW is that you can
process it in as many different ways as you like
and you’ll always have the original file.

Use window
light creatively

You don’t need fancy studios to create stunning
portraits, as daylight can be far more evocative
Of all the different forms of illumination you
can use to shoot indoors, window light is
considered by many photographers to be the
most effective, mainly because it’s so versatile.
Generally, the larger the window is, the softer

and more even the illumination. Small windows
such as skylights produce a small ‘pool’ of
light, whereas large windows tend to flood your
subject with light so contrast is lower, shadows
are less harsh and the light softer.
Most portrait photographers prefer bright
overcast weather for window-light portraits as
the light is much softer, shadows are weak and
you can produce beautiful results.
Where you position your subject in relation
to the window should be given careful
consideration. If your subject is side on to
it, one half of their face will be lit and the
other half in shadow. This is the most popular
All images © Lee Frost

14

approach, especially with men and older
people, as the bold side-lighting reveals the
texture of the skin, while the gradual fall-off
in light and shade emphasises modelling. If
you don’t want dense shadows, position a
large white reflector opposite the window.
Another option is to ask your subject to face
the window so the light floods over their face.
This can produce beautiful results in overcast
weather, when the light is naturally soft.
To soften the light coming through a window,
tape a sheet of white muslin or net curtain over

it. This will produce more flattering illumination
and take the hard edge off direct sunlight.
Left

Window light only
Many photographers think they need to
use speedlights to create artistic effects,
but window light is often all that’s required


GUIDE TO PERFECT SHOTS

6

Compose
for impact

Inject some excitement into your
photographs to get your captures
leaving you with goosebumps
Putting a finger on exactly what elevates an image from average
to amazing is difficult, simply because there are so many factors
involved, but these simple steps are a good place to start:
Get closer Winding compositions impress no one, so don’t be
afraid to get up close and personal with your subject, whether it’s
a landscape or a person. Use your feet or your zoom to crop out
unwanted detail and fill the frame.
Change your viewpoint Shooting at normal eye level gives us a
realistic view of the world. However, realistic rarely means exciting,
and by intentionally shooting from a lower of higher viewpoint, you

can add a sense of surprise and drama to your images.
Go wider Wide-angle lenses are exciting. They stretch, distort
and swallow vast areas whole with their ravenous angle of view,
offer seemingly endless depth of field and capture the world in a
way the eye naked eye never could.
Into the light If you want drama, nothing beats shooting
contre-jour. Contrast is increased, solid shapes turn to silhouettes,
shadows rush towards the camera… You might get lens flare, but
so what – it can add interest. The highlights may blow out too –
shock horror – but be a devil and run with it. Throw some backlit
smoke or mist into the mix and you’ve got the ingredients for
winning images.
Frame your subject A great way to draw attention to your main
subject is by putting a frame around it. That could be a natural
feature – overhanging branches, the mouth of a cave, a rock arch
– or man-made, everything from doorways to bridges work. Adding
a vignette during post-production works well too.
Below

Scene within a scene
Stepping back and using a wider-angle
optic has enabled a more intriguing,
impacting effect to be created

FINAL IMAGE

Work in progress

RAW

7

CONVERSION

Photographer Lee Frost
knew that he wanted to
create a low-key black
and white portrait – this
sequence of images
shows the original RAW
file, the initial RAW
conversion and the final
monochrome result

Pre-visualise
your work

Pre-visualising an image can mean the
difference between success and failure
If digital imaging has a downside, it’s
that it tends to make photographers
adopt an, ‘Oh, I can sort that later’
mentality. True, post-production makes
it possible to deal with a multitude of
sins, but if you want to realise your full
potential as a photographer, you need
to be more disciplined. That means not
only thinking about what you’re doing
when the shot is taken, but also about
how you want the edited image to look,

as it could sway your approach behind
the camera. It’s called pre-visualisation.
You may want to convert to black and
white, for example, in which case you
need to make sure the scene you’re
shooting will translate well. Setting your
camera to Monochrome mode will let
you pre-visualise how the final shot

might work by showing the preview
image in black and white, even though
the RAW file will be colour. Similarly,
if you intend the final image to be
cropped, you need to make sure no
important elements are going to be lost.
ND grad filters are usually essential
when shooting landscapes, to ensure
detail is recorded in the sky. But if
you pre-visualise the sky in the final
image as being bright and washed
out, then you can dispense with the
grad, or if you want the sky to be dark
and dramatic, you may decide to use a
stronger grad than normal.
A great benefit of pre-visualisation
is that it forces you to engage more
with the whole picture-making process,
rather than firing away in ignorant bliss.

15

DIGITAL PHOTOGRAPHER ANNUAL

8

A digital camera is only as good as the
Optimise
lenses on it. How you use those lenses
image quality will dictate how sharp your shots are

DSLRs offer higher resolution, wider dynamic
range and better noise control than ever
before, while optical technology is so good
now that the latest generation of lenses have
never been sharper. Despite these advances,
however, you still need to use your equipment
carefully and considerately if you want to get
the best from it.
Part of the problem is that DSLRs are so
good now that they show up the slightest
optical flaws. Wide and ultra-wide zooms suffer
from diffraction, an optical aberration that
reduces image sharpness. You can minimise it
by buying the best lenses you can afford and
also shooting at f8 or f11 whenever possible, as
these are usually the sharpest apertures.
Achieving front-to-back sharpness without
stopping down to f16 or f22 may seem
impossible, but if you use hyperfocal focusing,

you’ll often find that you get enough depth of
field at mid-range apertures. This technique
involves focusing on a specific distance (the
hyperfocal distance) to maximise depth of
field for a given focal length and aperture.
Basically, when you focus on the hyperfocal
distance, depth of field will extend from half
that distance to infinity.

BEFORE

There are hyperfocal charts online and apps
for your smartphone and tablet, but to give
you an idea, if you stop your lens down to
f11, the approximate hyperfocal distances for
different focal lengths are:
APS-C Sensor DSLR
(at f11)
Focal
Length
10mm

HF
Distance

Full-frame Sensor
(at f11)
Focal
Length

HF
Distance

0.5m

16mm

0.7m

12mm

0.7m

20mm

1.1m

16mm

1.2m

24mm

1.6m

20mm

1.8m

28mm

2.2m

24mm

2.5m

35mm

3.5m

28mm

3.5m

For example, if you’re shooting at 16mm
with a crop-sensor camera and you focus on
the hyperfocal distance of 1.2 metres, depth
of field will extend from 60cm to infinity.
After you’re done shooting, when you get
around to processing your RAW files, applying
lens corrections is also advised to optimise
optical quality. This is in addition to other
obvious steps, such as keeping your lens
elements and filter clean.

FINAL IMAGE

Left

Below

Above

The flawed third

Front to back sharpness

To infinity

Merely focusing a third of the way
into the scene is an approach that
will often let you down, especially
when making big prints

Failing to achieve maximum depth
of field will inevitably undermine the
success of images such as this, with both
very near and very far subject matter

The final image is pin sharp
from foreground to infinity
at a focal length of 45mm,
captured at 1/8 sec at f8

© Lee Frost

© Lee Frost

16

GUIDE TO PERFECT SHOTS

Maximise sharp focus
Use a perspective control lens for nocompromise front-to-back sharpness

1

Set up a tripod The
adjustments you will
need to make to the
lens to maximise the
sharpness are so fine
that it is only possible
to do with the camera
attached to a tripod.

2

Reset and compose
Ensure movements
on the lens are reset
to zero. Compose
your image. Tilt-shift
lenses are good if your
foreground subject is
very close to the camera.

3

Identify focus
points Check around
your composition for
the key elements that
require sharp focus.
Tilt movements for
landscape photography
usually need a small
amount of downward tilt.

Focus Find the
optimum near and far
focus. This will normally
be at, or close to, the
hyperfocal distance. The
DOF preview button is a
useful tool if your camera
has one.

9

Add
rim-lighting

Give your portraits a more professional finish
by using a flashgun to add a cool rim-light effect
One quick and easy way to pep up your
portraits is to place a light source behind
your subject. This will add a bright rim

to their outline, and their glowing edges
produce separation from the darker
background. It’s commonly used in portrait
photography to back-light the hair, and is
especially useful at providing a halo effect
when the edges of your subject merge into
the shadows of the frame.
You can use anything for your rim light. If
you’re shooting outdoors in bright daylight,
you can position the Sun behind them to
add golden glowing edges for a more prolooking finish. To get a good exposure, either
use a reflector to bounce light back towards
the face, or your camera’s pop-up flash to
lift the shadows and reduce contrast.
A flashgun is a better option to light the
back of your subject, as you’ve got much
FINAL IMAGE

4

BEFORE
Above

Tilt Release the
unlocking knob and
gradually tilt the lens
until better near-to-far
focusing is seen. When
you think you are close,
lock the tilt in position.

5

Refine Review the
key areas from front
to back for sharpness
and fine tune the tilt.
It’s common to ‘back
off’ the first adjustment.
Remember to make final
adjustments to exposure
and filters. Shoot.

6

Without a rim-light
With only one light source, the edges
of the subject get lost in the dark
shadows of the background, and the
lack of separation makes the image a
feel a bit flat

Right

Add a rim-light
By positioning a second light source
behind the subject, it’s easy to backlight the hair. This lighting effect will
give your subject glowing edges and
has a more accomplished finished
look than without it

Inset

Use off-camera flash
Get a set of wireless radio triggers to
fire your flashguns remotely. Attach
the receiver to your flashgun and fit
the transmitter to your camera’s hotshoe. Once they’re set to the same
channel, you’re ready to shoot

more control and can use it anytime and
anywhere. Of course, you’ll need a set
of wireless radio flash triggers too. For
truly high-end results, it’s best to use two
flashguns: one for the key light to illuminate
the face, and the other to be positioned
behind for the rim light.
If you’re indoors, pick an uncluttered and
dark background – such as a hung curtain
or bedsheet – to provide a good separation
effect. You’ll need your camera set to Manual
mode, with your ISO set to 400, your shutter
speed at 1/160sec and your aperture set to
f11. With your flashguns manually set to 1/8
power, position one a few feet behind your
subject pointed towards their head. Place
the other in front and to one side, with a
modifier – like a softbox – to diffuse the
light. The use of flashguns tends to provide
a much more high-end feel.

DIGITAL PHOTOGRAPHER ANNUAL

© Ben Davis

10

A bigger
picture

Stitch your shots

Shoot multiple frames and stitch them together to
create ultra-high super-resolution photographs
Ever increasing mega-pixel offerings are
just one of the temptations to upgrade your
camera. But with the right approach, it’s easy
to create images with a super-resolution – of
say 90MP – when your camera has a 24MP
sensor. Having a higher resolution allows you
to cram in even more detail to your images,
and gives the option to make even bigger
prints. The other key benefit of this technique
is it allows you to put more of the scene into
a single image, beating the restrictions of your
lens’s minimum focal length.
This super-resolution is achieved by
shooting a number of overlapping frames, and
then stitching them together with specialist

software. But before you shoot, you need
to make sure all your camera settings are
switched to manual. Decide how much of the

scene you want to include, and then meter
from a brighter part of the total frame to
set your exposure, so you don’t blow your
highlight detail. You’ll also need to set your
White Balance and focus manually too, so each
image has identical settings.
Your frames should overlap by a third to
provide the software with plenty of information
to make a good stitch. As you shoot you need
to pivot the lens around its optical centre –
also referred to as the ‘nodal point’ – so take
care as you compose between shots. If the
camera doesn’t rotate on this vertical axis
you’re likely to encounter parallax error, and
your component frames won’t quite match up.
A dedicated panoramic tripod head will keep
your sensor positioned for seamless stitching
to guarantee consistently perfect results.

Use Lightroom and Photoshop
together to put together your
super-resolution captures

1

Process your RAWs Open your files in

Lightroom or Adobe Camera Raw and
apply the Lens Corrections to all the images.
Export the files as JPEGs.

FINAL IMAGE

Top

Beginning and end
Before you shoot you need
to work out where you
want your final image to
start and finish, so have it
mapped out in your mind
as you take each shot

Load your images Open up all
your images in Photoshop, and go to
File>Automate>Photomerge to load up the
stitching controls.

2

Right

Fit it all in
This shot is comprised
of 29 overlapping
frames, and has been
stitched together using

the Photomerge tool
in Photoshop to create
an image with a superresolution of 90MP. It
was shot with an 85mm
lens. It would have been
impossible to fit the
entire cathedral into a
single frame

18

3

Create your stitch Click Add Open
Files, select Auto and make sure Blend
Images Together is ticked. Click OK and
wait for your image to be created.


GUIDE TO PERFECT SHOTS

FINAL IMAGE

Get the medium
format look
Master the Brenizer method to
capture a super-shallow depth of
field in your people pictures
You can use the same technique of
shooting overlapping images and stitching

them together to create a wider angle of
view in tandem with a shallow plane of
focus to mimic the look of medium-format
cameras. It’s called the Brenizer method –
named after wedding photographer Ryan
Brenizer, who developed the technique,
and gives results otherwise impossible to
achieve in a single shot with a DSLR and a
standard lens.
Stand close enough so that only
their head and shoulders fill the frame,
meaning you’ll need at least nine frames
to completely capture your subject. If you
want to include more of the background
you’ll have to shoot even more overlapping
frames – so you’ll end up with about 20
shots to stitch together in Photoshop.
Inset

Set your camera manually
Meter from a brighter part of your final
image and set the exposure manually so
you keep the settings consistent. You’ll
need to set the focus and white balance
manually too

Left

The medium format look
This final image is made up of 15 separate

frames stitched together to create an
exaggerated depth of field with a wide
angle of view, giving you the sought-after
medium-format look by just using a
standard DSLR

1

Switch to Manual You’ll need to set
everything manually so the settings stay
the same. Once you’ve set your focus on
your subject’s nearest eye, switch the AF/
MF button to the manual position.

2

Fill the frame Use a longer focal
length so your subject fills the frame,
and shoot down the body taking in some
background. Ensure each shot overlaps
by about 30 per cent.

3

Edit and stitch Load your overlapping
files into Photoshop or Elements and
use the Photomerge tool to blend your
images. Once it’s done, use the Crop tool
to trim the edges and save it as a JPEG.

19


INSPIRATION
22

EYE FROM THE SKIES
Capture the world from above

26

LIGHT & COLOUR
Compose beautiful landscape shots

32

ANIMAL MAGIC
Get the best wildlife images

36

SURF’S UP
Improve your angles for sports photos

40

MUSIC MATTERS
Take shots of memorable moments

46

FASHION PHOTOGRAPHY
ON A BUDGET
Explore your inexpensive photo options

54

SUPER SPORT
Hone in your photography techniques

20


“Consider what your
project is about, and
decide on which genres
or artists will add to the
feeling you want to create”
21


DIGITAL PHOTOGRAPHER ANNUAL

22


INSPIRATION

Eye from
the skies

Meet aerial and landscape photographer
Timo Lieber and discover his stunning
take on our world from above

L

Left

Alpine runs
The colour scheme of this series is purposely
minimal, incorporating a simplistic snowy
backdrop, focusing on the fun and chaotic
nature of humans skiing
All images © Timo Lieber

ondon-based aerial and landscape photographer Timo
Lieber (www.timolieber.com) has travelled amazingly
far in the last two years and his industry success is even
more impressive when you consider how recent his
introduction to the imaging world has been. “It started several
years ago with me picking up my first DSLR,” Lieber says. “Once
I realised what it allowed me to achieve I was instantly hooked.”
Since 2013, Lieber has gained recognition in competitions
such as the prestigious Wildlife Photographer of the Year and
Landscape Photographer of the Year, as well as National
Geographic’s Traveller photo contest. There’s no doubt his
technique is masterful, but it’s the way he views the world
that truly leaves viewers entranced. “Although captured in
every finest detail, the subjects of my large-scale photographs

are often shrouded in mystery. It is important for me to draw
the viewers’ attention and keep them guessing or discovering
hidden details and layers of the image.”
On describing his style, Lieber expresses a love for simple,
but striking compositions, saying that he relies on light as the
key ingredient in the mix. “Unlike my pilots, I like bad weather,”
he begins. “It can lend a more muted elegance to a scene
compared to pink sunrises. The interplay of elements that
form some of nature’s most incredible shapes and patterns
fascinates me; therefore I am always on a look out for strong
graphical elements in my photographs.”

23


DIGITAL PHOTOGRAPHER ANNUAL

Lieber notes that the style of his work might
have changed slightly since its inception. “I
started out shooting landscapes as a silent
observer of nature’s magnificent landscapes,
but many of my recent works focus more on
the ways and results of human interactions
with nature.” With frames often made up
solely of shapes and patterns, Lieber wants
to transcend the boundaries between the
figurative and the abstract.
Photographers are always looking for new
ways to capture familiar subjects, and the
beauty of shooting from the skies is the fresh

perspective it can bring, even with subjects
that have been seen hundreds of times before
from the ground. Is this the reason that Lieber
chose to specialise in the genre? “I find aerial
photography spectacular not only in [the] way
it showcases our world from a unique vantage
point, but also in how
resulting photographs
demand attention and
inspire interpretation…
I love to see the
surprise on people’s
faces after they have
read the captions.”
Lieber’s photo
series have seen him
travel across the globe,
spanning continents
to capture a diverse
portfolio of natural
sights. His early work showcases the beauty
of vast, untouched landscapes, such as the
Arctic Circle and the world’s largest desert,
and it’s the former location he favours most. “I
have always been drawn to the Arctic. I made
countless trips to Iceland and also spent
time in Greenland and Arctic Norway. There
is something fascinating about the light and
landscape in that part of the world.”
Of course, aerial photography is not the

most instantly accessible genre, but there is
help at hand for those keen to learn and Lieber
himself is always happy to share his advice
with novices, advocating that they “keep things
simple”, while also recommending detailed
planning ahead of a shoot: “don’t waste time
once you are airborne”, he says.
Aerial photographers have a few different
options to considers when it comes to
getting airborne. Lieber personally loves
photographing from helicopters because of the
increase in compositional scope they offer: “It
is easier to reach the target and their ability
to hover allows [better] framing,” he says. “I
started aerial photography from small planes
and they are perfectly fine, too.” Logistics
always have to be the first consideration,
however. “It depends on the location and the
budget,” Lieber explains.
When shooting from a helicopter, bits of
kit, such as a safety harness, are undoubtedly

essential. In terms of camera gear, there are
some key pieces that Lieber uses frequently. “I
mostly use a Nikon D810, but I have also used
80-megapixel medium-format cameras in
the past.” He explains that the tool of choice
depends on the task and subject at hand, as
well as the required resolution.
“For the sole reason of image quality, I prefer

prime Zeiss lenses over zooms. They are a bit
of a pain to use in the air, but I have yet to find
a zoom that matches the quality of my primes.
I also have a gyro and a little geotagger that
tells me exactly the coordinates of each shot.
Clearly [these aren’t] essential, but pretty cool
and helpful if you are out shooting a lot.”
A good photographer is marked out by so
much more than just his kitbag, and although
aerial photography is a somewhat niche field,
Lieber doesn’t think the skill set pertaining
to actual photography
changes in any way
with altitude. “The
main difference from
being on the ground
is dependence on the
craft’s pilot, so choose
wisely. I put a lot of
emphasis on safety, but
you will be surprised
how much some pilots
know about aerial
photography and are
prepared to help you
get the most out of your airborne time.”
As you might expect, aerial photography
is not without its complications. First of all,
how do you approach the composition when
the view is entirely two-dimensional? Lieber,

of course, has embraced these limitations
and made them work to his advantage and
admits that he loves “the element of surprise
that compressing complex landscapes into
two-dimensional canvasses offers. The viewer
is then left wondering if they are looking at a
photograph at all.” He has found subtler ways
to introduce form and texture in his work,
however. “For a more three-dimensional look
I use early morning or late evening light to
illuminate a scene. There are many ways to
achieve the artistic vision.”
Maintaining a high enough shutter speed to
keep everything pin-sharp is also a constant
struggle faced by the aerial photographer.
“As a wise man once put it, a helicopter
is a thousand pieces of metal trying to
shake themselves apart.” It can be tricky to
balance the exposure when shooting from
a fast-moving plane in low light conditions,
particularly when trying not to push the ISO
beyond a certain level. “A sharp lens is needed
so that you can shoot wide open,” Lieber
shares. “Camera stabilisers [and] gyros can
help deal with that, but they are expensive and
not essential in a starter-kit.”

“I love the element
of surprise that
compressing

complex landscapes
into two-dimensional
canvasses offers”

24

EXPERT
TUTORING
Lieber is happy to partner with
fellow photographers wanting to
learn more about the aerial genre.
In most parts of the world, he can
organise a helicopter and teach
1:1 from the air. Email him at
to
find out more.

Lieber’s top tips
for aerial success
Outline the specifics
Plan your shoot in as
much detail as possible
so you don’t waste time
once you are airborne.
Pick your aircraft If
you shoot from an airplane, choose a
high-wing one, as otherwise the wings
will constantly be in the frame.
Restrict your glass Limit the amount
of gear you take into the skies, as it is

difficult to change lenses during the
flight. These days, I rarely take more than
two lenses and I prefer prime lenses over
zooms. Let the pilot be your zoom.
Shoot with multiple cameras If you
have two camera bodies, take them both.
Be communicative Keep things safe
and talk to your pilot, as they can make
all the difference.

Above

Earth patterns
This series is a showcase of naturally occurring patterns,
which Lieber describes as “vibrant, ethereal, rarely seen
and rarely appreciated.” Each individual image captures
a unique combination of colour and light