Indholdsfortegnelse for No. 366 i Photography Week

Welcome to the world’s No.1 weekly digital photography magazine. If you’re already a reader, thanks for your continued support and involvement; if you’re new to Photography Week, you’ve come to the right place! In addition to expert advice, brilliant tips and step-by-step tutorials, every issue features interactive galleries of the best new photos, how-to videos on essential shooting and editing techniques, and in-depth reviews of the latest camera kit. But that’s not the whole story. Photography Week is more than a magazine – it’s a community of like-minded people who are passionate about photography. To get involved, just follow any of the links below and share your shots and comments – your photo might even appear on our cover! JOIN THE PHOTOGRAPHY WEEK COMMUNITY AND START SHARING! FACEBOOK http://tiny.cc/7s2zgy TWITTER…

Coastlines and seascapes are an ever-popular subject among landscape photographers for the wide variety of rock formations and beach detail on offer. However, one of the biggest draws of the environment is the obvious boundary between land and water, which can be used to create images with a clear direction, textural contrast and sense of movement. In no other location type is this division of habitat more visible – for humans the ocean is an inhospitable place, which adds to the sense of awe experienced when viewing an image that successfully captures the power of waves to shape the land. A shoreline is a deceptively challenging location to effectively photograph, however. As we’ve discussed, the movement of water has the potential to introduce energy to an otherwise static scene, but…

Although a river or body of water may be just one of many components of a landscape scene, its fluid and reflective properties make it highly noticeable to the viewer. As a consequence it’s imperative to ensure its presence functions to push the intended feel of the shot, rather than to distract the audience from areas more central to the narrative of the photograph. The water itself can be the intended subject, with a river, waterfall, lake or ocean filling the dominant proportion of the frame, or it can simply be shown as an additional aspect of the living landscape. It’s the remit of the photographer to decide which approach will be of greater benefit in terms of the impact of the final image. For creative photographs water provides many…

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1 EVENING We know that as soon as the word ‘walkies’ is uttered in front of a dog, there’s excited bouncing, running and barking to be endured until you get to the park. With all that pent-up energy it can be hard to get a good snap of your pet on your smartphone, with only wisps of hair and blurred fur visible as they zoom past. Opt instead for a DSLR and you’ll quickly see just how much more capable these are of capturing dynamic action shots as Fido charges around at full speed. However, it’s still difficult to balance the exposure, get focusing spot-on and compose images in a way that looks pleasing to the eye – never mind getting your dog model to behave well enough to let…

Fujifilm has unveiled its latest entry-level mirrorless camera, the X-A7. It follows in the footsteps of the previous X-A5, but introduces a handful of features that elevate it beyond its entry-level billing. These include a huge new 3.5-inch LCD touchscreen, which has a 2.76 million-dot resolution and a 16:9 aspect ratio, and which flips out at the side of the camera to face in a variety of angles. The model also inherits the AF lever common to its pricier X-series stablemates, which should make light work of menu navigation, focus point adjustment and image browsing. On the inside, Fujifilm has included a new 24.2MP APS-C sensor with 8.5 times the phase-detect pixels of the X-A5, which should help focusing to be speedy, as well as copper wiring to help reduce…

While seascapes and coastlines provide an endless source of dramatic subject matter, there’s arguably a limit to the style of images that can be captured in these environments. Shorelines are highly linear in form, so strong foregrounds are required to create depth, and careful composition is essential to avoid large expanses of empty sand. Streams and rivers, on the other hand, can be found in almost any landscape type, offering many opportunities to use water as part of a richly detailed and colourful wider scene. Streams and rivers can be found in forests, open countryside, running into lakes, and even running through gardens. While a beach is almost always structured in a predictable way, and must therefore be photographed from a similar angle, we have more scope for experimentation with…

A side from standard landscape retouching techniques, there are some software processes that seem especially applicable to scenes featuring water. These images can be highly graphic in nature, and lend themselves to a fine-art treatment style. Before we can apply creative editing, however, there are some standard actions that are often required to fix common problems in images that have been shot in wet environments. While we should take great care to avoid contaminants on the sensor or lens when shooting near a waterfall, for example, it’s almost impossible to remove all water spots at the moment of exposure. Removal of these should be a first step in the image retouching process. Where we intended to capture a glassy reflection, one of the biggest threats to the success of such…

1 TOO SMALL Here, Rupert is too far away to fill the frame. He’s lost amongst the background, and there’s no real focus to make him stand out from the rest of the scene. 2 JUMPING UP This shot improves on things, as the fur is slicked back as Rupert takes to the air. We can see his face more clearly, but he’s still too small in the frame. 3 WATCH FOR FUR Rupert is getting bigger in the frame as he gets closer, but here we’ve got him in a downswing as he lands on his fore legs, flopping the fur over his face. 4 ALMOST THERE We’re nearly there. Rupert is pushing off from his hind legs and the wind is pushing back his fur, allowing us to…

Light is arguably the most important raw material for photography, so things get a bit tricky when there’s not much to play with. Naturally, shooting outdoors in the middle of the night is particularly challenging, even when the subject in question is the Milky Way on a clear, star-studded evening. The night sky is not only very dimly lit, it’s also very large and constantly moving, and all of this means that you’ll have to choose a suitable lens wisely. To take in a generous portion of the Milky Way and avoid the further difficulty of stitching multiple images together, you’ll need a wide-angle prime or zoom lens. A focal length of around 7-10mm is ideal for Micro Four Thirds, or 10-14mm on an APS-C format camera, or around 14-20mm…

Water is central to all life on Earth, and for this reason the presence of water can have a profound effect on how we perceive the tone of a location. By incorporating water into a photograph it’s possible to introduce a sense of freshness, energy and life, elevating an otherwise flat scene to a dramatic vista with great depth and emotive potential. While many landscapes feature water in one form or another, the way in which this translates into a successful photograph differs from one location to another. Before attempting to capture an image of a body of water, it’s important to understand how and why your viewers will identify with it as a feature of your shot. It’s not necessarily the water itself that conveys drama, rather the way…

In contrast to oceans and rivers, a large proportion of the bodies of water we work with are significantly less mobile. Lakes and ponds are largely fixed in their shape and size, with little motion visible in surface details. This characteristic requires a different photographic approach if we’re to capture such features in a dramatic way – it’s a real challenge to produce an image of a stationary subject and still convey a sense of energy. While there are some images that benefit from the noticeable freezing of an object, in a landscape scene it’s often more appealing to demonstrate a sense of time passing – without this aspect, they can appear lifeless. While there are ways of conveying motion in still water, an alternative strategy is to learn how…

The winners of the 2019 Wildlife Photographer of the Year contest will be revealed next month, and ahead of the main event the organisers have shared 15 highly commended images from this year’s competition. As you can see above, the selected images range from the comical – a female raccoon poking her head out of the broken windscreen of a wrecked car – to images conveying the fragility (the intricate cocoon of a Cynamoth pupa, above, top-right) and the drama of the animal kingdom. Click the link to see more commended images at the competition website. This year’s contest attracted some 50,000 entries from photographers from 100 countries. The overall winners will be announced on October 15 at the Natural History Museum in London, and an exhibition of winning images…

In this video tutorial we’ll show you how to create a fantastical composite by blending textures, photos and brush effects. The basis for the effect is a texture of cracked mud, which we’ll blend with a face before pulling apart the cracks to create flying debris. We’ll also employ ready-made brushes from the Adobe Creative Cloud App, which is a great resource. As for the beautiful backdrop, this is courtesy of NASA – search online for ‘Nasa images’ and you’ll find thousands of amazing photos, free to use. DOWNLOAD THE PROJECT FILES http://tiny.cc/3e56bz ON A PC OR MAC WATCH THE VIDEO http://tiny.cc/a1vdoy WANT MORE PHOTOSHOP TUTORIALS? CHECK OUT PRACTICAL PHOTOSHOP For more Photoshop tutorials, tips and advice subscribe to Practical Photoshop, the world’s premier Photoshop magazine. Each month you’ll find…

SAMYANG XP 14MM F/2.4 With a generous viewing angle and superb image quality at its widest aperture setting, the Samyang XP 14mm f/2.4 manual-focus lens ticks all the important boxes for Astrophotography with a full-frame camera. The Sigma 14mm f/1.8 DG HSM Art is a whole f/stop faster, but coma and astigmatism are clearly noticeable towards the corners of the image frame. That said, the Sigma produces negligible aberrations when its aperture is narrowed to f/2.5. For astrophotography with a crop-sensor camera, Samyang’s 10mm f/2.8 ED AS NCS CS is the strongest prime lens on the market. It’s available in a large variety of mount options, but only the Nikon-fit version has built-in electronics. For full-frame-compatible zoom lenses, the Sigma 14-24mm f/2.8 DG HSM Art leads the field, pushing the…