Digital SLR Photography

WELCOME TO THE MARCH 2021 issue of Digital SLR Photography. They say all good things must come to an end and this, the 172nd issue, is also our last. The magazine, launched in the latter part of 2006, was created by myself and the art editor Luke Marsh, the design genius behind the look and feel of the magazine. Over the years we’ve seen the magazine’s sales grow to the heady heights of reaching number two in the market, but the decline of both the publishing and photographic markets, along with the major impact of Covid, has made it no longer possible to continue with the magazine. We’re incredibly proud of what we’ve achieved over the years and I’d like to take the opportunity to thank the key contributors that…

Daniel Lezano With over 35 years as a photographer and over 25 years on magazines, editor Lezano is passionate about photography, in particular portraits. www.instagram/lezanophoto Caroline Schmidt A professional portrait photographer and journalist, Caroline specialises in children’s photography, delivers workshops and 1-to-1 mentoring. carolineannphotography.co.uk Jordan Butters With a finger on the pulse of all things photography, Jordan is a regular contributor and a talented professional photographer. jordanbutters.co.uk Ross Hoddinott OUTDOOR He’s not only an award-winning nature photographer, a leading expert in landscape and wildlife photography, he’s a top tutor, too. rosshoddinott.co.uk Lee Frost LANDSCAPES A long-standing regular contributor, Lee is a fountain of knowledge when it comes to shooting landscapes and delivering expert tutorials. leefrost.co.uk James Abbott LANDSCAPES James is an award-winning editorial, advertising and commercial photographer, specialising in portrait and landscape photography. jamesaphoto.co.uk Mark Bauer LANDSCAPES One of the UK’s leading landscape…

Dreams of Assynt by Simon Atkinson www.simonatkinsonphotography.com “My first wild camp after the first national lockdown here in the UK and what better place to escape to than Assynt, Cul Mor to be precise. The trip was everything I'd dreamt it would be: dramatic weather, incredible light, solitude and a good night in the tent! I was looking for a composition when this small patch of wild flowers caught my attention. Focus stacking was used for front-to-back sharpness.“ Fujifilm X-T3 with 11mm lens. Exposure: Nine brackets at f/11 (ISO 100). Glen Etive by Simon Atkinson www.simonatkinsonphotography.com “After withstanding an incredible winter storm on the summit of Buachaille Etive Beag with winds in excess of 50-60mph, the weather finally began to calm down and clear up, allowing some incredible light to shine through down into Glen Etive.…

CAMERA: CANON EOS 5DS / LENS: CANON 24-70MM & 16-35MM ZOOMS THE SUCCESS OF any landscape image is hugely dependent on the quality of light you shoot it in, and this in turn is dictated mostly by prevailing weather conditions. In the UK we get to enjoy every possible type of weather, from bright sunshine and blue skies, to snow and frost, raging storms and grey, damp, drizzly days. It all helps us to produce images that capture the character of a scene. When it comes to creating atmospheric, moody or mysterious images, nothing beats mist and fog. It reduces the landscape to soft shapes and hazy outlines. Three dimensions become two and aerial perspective means that tones become brighter with distance. The light is diffuse, shadows fade away and fine detail…

CAMERA: NIKON D750 / LENS: TOKINA 100MM F/2.8 MACRO PORTRAITS OF SUBJECTS cheek to cheek might seem like a simple concept but to really emphasise the genetic similarities and difference between people, as well as secure the viewer’s attention, every detail matters. The misalignment of features, too much space between subjects and an unbalanced crop have the power to undo what could be a compelling portrait, but done well and they’re captivating. When you’re working with heads of different sizes, which is often the case when mixing generations or siblings, it’s not as simple as placing them next to each other. You need to pose them so that they're slightly overlapped and at equal head height to achieve that uniform, piercing eye contact and impression of symmetry. These simple but powerful portraits work…

CAMERA: SONY ALPHA 7R III / LENS: SONY FE 16-35MM F/2.8 GM WATERFALLS ARE A firm favourite of landscape photographers and for good reason. Whilst you wait between the golden hours, waterfalls, in the right lighting conditions, can be wonderful subjects to shoot. When it’s overcast the light is soft and diffuse, which means you significantly reduce your chances of burning out highlight detail and strong contrast. It’s best to still keep a check on your histogram’s highlight warning though. There are a number of approaches to photographing waterfalls so you’re never short on choice. One that works well is to get up close, in a position where it’s safe and the camera won’t get wet, and to use an ultra wide-angle lens to capture the falls dramatically thanks to exaggerated angles.…