Unique landscapes.

Learn how to shoot scenery with a shallow depth of field.

The lens aperture is one of the three settings (along with shutter speed and ISO) that control exposure, as it determines how much light falls on the sensor. However, it also has an effect on the creative look of the image because it controls the depth of field too — the zone of sharpness either side of the point of focus.

The principle is quite simple: the smaller the aperture, the greater the depth of field.

While that bit is straightforward, a little confusion is caused by the way

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Story behind the shot.

Photographer James Sheppard lets us in on the secrets behind his beautiful flower shot.

What made you decide to take this lovely photo?

I went for a day out at Exbury Gardens in Hampshire back in May. I had heard that the spring flowers were in full bloom, so I took my camera to get some colourful floral shots. I came across these pink azaleas, and decided that they would make a great macro subject due to the beautiful detail on the petals and in the centre of the flower.

What camera and settings did you use to get these

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Still life.

Master the skitts needed for setting up a fantastic stitt life shot.

The best thing about still life photography is that you can really take your time to get it perfect. When shooting moving subjects, it can be tempting to stick your camera in Auto mode for fear of missing a shot, but if your subject is stationary then you can experiment until you get it right. That’s why it is a fantastic genre for practising with manual modes.

What’s more, there are subjects wherever you look. You don’t have to stick to a bowl of fruit or vase of

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Photo castaway: #7 Jon Hicks

We’ve theoretically packed travel photographer Jon Hicks off to a desert island, but been kind enough to allow him to take along a few photo-based luxuries. Here are his choices


I’d take my Canon EOS 5D Mk III. It’s my latest camera — bought in September last year -and it’s great for its fantastic definition, and how well it performs at high ISOs with low levels of noise. I’ve recently got into stargazing, and this camera gives me everything I need for astrophotography -it’s a must on a desert island!


Keeping with the stargazing theme, I’d

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By Ian Ward

Camera: Canon EOS5D Mk II Lens: EF 180mm f/3.5LMacro

Exposure: l/125sec at f/11 (ISO 800)

Ian says: «This was taken in Bentley Wood in the New Forest. The small pearl-bordered fritillary had just emerged and it was a perfect specimen! I spent time searching for the butterfly in a good position with a clean background and used a higher ISO rating as I was handholding.»

LEE FROST: I’m used to being presented with images in Expert Critique that have obvious flaws, and it makes my job easier because I’ve got something to write about! But my immediate


My shot: Chubby Chandler.

A jinx and a blessing are never far apart. When Graeme McDowell, who is no longer with us (International Sports Management), won the 201 o US Open, I couldn’t help but feel we were jinxed. Our players had never won a major, you see. I felt happy for Graeme, but what about our lads? When Louis Oosthuizen won the Open Championship a month later, I thought, okay, we’re fine now. After Charl Schwartzel won the Masters and then Rory Mcllroy the US Open, I went from feel blessed. After what happened to Darren Clarke at the Open Championship, I wonder

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By Lindsey Bucknor

Camera: Sony Alpha 700

Lens: Tamron SPAF 200-500mm f/5-6.3 Di

Exposure: l/500sec at f/6.3 (ISO 800)

Lindsey says: «This leopard cub was six metres off the ground and I had to compose the shot from a vehicle. As the cub was in shade, I boosted the ISO to 800 to ensure a fast shutter speed and waited for a hint of eye contact before firing off a series of images. This was my favourite.»

LEE FROST: Having tried my hand at a little wildlife photography from a vehicle while in Namibia last year, I know only too

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Learn to shoot long exposition

Follow our in-depth guide and capture movement in the land, sea, sky and people by slowing your shutter speed…

The exposure of a scene is determined by three different elements — the aperture (the size of the lens opening through which light passes), the shutter speed (the time that the image sensor is exposed to this light) and the ISO (the sensitivity of the sensor). You need to balance all three together in order to capture a ‘good’ exposure, in which the important parts of an image are neither too dark (underexposed) or too bright (overexposed).

Most of the time,

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Jacques Tatis legendary 1967 film is a masterpiece of physical comedy and a send-up of modern living. Visually generous and shot in 70mm, the film continues to resonate with still photographers.

Playtime (1967) is the great labor of love crafted over three years by the maverick French filmmaker Jacques. It was shot in 70mm on a set purpose-built at the edge of Paris, and its genesis is the stuff of legend.

Tati was a slow-moving perfectionist who had made the international hits Les Vacancies de Monsieur Mr. Hulot’s Holiday in 1953 and Mori Oncle {My Uncle), an Academy Award winner, in 1958. In each film Tati plays Hulot, an affable middle-aged bungler at odds with the rhythms and values of contemporary society. Playtime was intended as his magnum opus, an enormous

Continue reading Jacques Tatis legendary 1967 film is a masterpiece of physical comedy and a send-up of modern living. Visually generous and shot in 70mm, the film continues to resonate with still photographers.

Its in your Nature

Change is afoot in commercial photography. Depending on how one chooses to see it, the convergence of stills and video is either a new opportunity or a sign of the coming apocalypse. Photographer Tyler Stableford has chosen to embrace the change. It’s energizing his creativity and reinventing his business.

«The marketplace is going to change tremendously in the course of my career,» says Stableford, «beyond even what I can predict. I’m going to strive for the intersection of profitability and creativity. From a business perspective, if you can hold onto that, you’re not a victim of change; you’re an agent

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