Indholdsfortegnelse for No. 390 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://bit.ly/39py9lg TWITTER…

First and foremost, in terms of camera equipment, the right gear can only be chosen by you, the photographer. There are many websites, magazine articles and chapters in books telling you what the ideal camera, lens and settings are for a particular genre, and street photography seems to be one of the most featured right now; however, there is no such thing as the perfect camera, or the perfect technique. If you’re able to capture the type of photo you’re aiming for, stick with your current kit. Only look to change when you want to try a different approach or create a new style. I use the Olympus Micro Four Thirds system and the OM-D range of cameras, and I chose that system by doing research and deciding what was…

It’s easy to be so focused on our subject that we forget about the background. This is apparent when looking at the photos we’ve taken that day, and we either find the subject has been lost among a bush behind them, or has a lamppost or sign coming out of their head, or there’s someone else in the background doing something much more interesting. To eliminate these errors or use them to your advantage, your next thought, once you’ve spotted a subject, should be about the background, and what position you need to be in to isolate them, or use something behind them as a juxtaposition or aid. The more you do this, the more you’ll recognise an opportunity and get into the correct position quicker, saving you seconds on…

The biggest fear or hurdle the majority of people have when first getting into street photography (myself included) is being able to get close to strangers. One of the best tips I can give you to help you blend in is to be confident with your approach. This is easier said than done of course, but if you’re hesitant, looking at and then away from your subject, wondering whether to commit, you’re going to stand out, possibly look quite suspicious, and more than likely miss the shot. A tip to help build that confidence is a technique I’ve used many times. If I’ve spotted an interesting moment or person, I don’t want to make eye contact with them until I’m in my desired position. I’ll look beyond them and then…

NIKKOR AF-S 50MM F/1.8G Edging ahead of its Canon and Pentax counterparts, the Nikon AF-S 50mm f/1.8G delivers the best all-round performance and image quality. Even though it’s a little pricier, it’s still inexpensive, and good value for money. Like the Canon 50mm, it works equally well on APS-C and full-frame bodies, whereas the Pentax 50mm is specifically designed for APS-C cameras. The Canon EF-S 24mm pancake lens for APS-C format DSLRs is great for street photography, and easily fits in a spare pocket for whenever you need a fairly fast, wide-angle lens. The Nikkor AF-S DX 35mm is similarly useful, this time as a standard prime on APS-C format bodies. Moving on to Micro Four Thirds, the SLR Magic 26mm f/1.4 Toy is our top choice for a cheap,…

If you’ve been longing to mount your smartphone on your camera to act as an external monitor, your wish has come true: the new Sony Xperia 1 II can pair with Sony Alpha cameras to act as a second screen. This enables the Xperia 1 II to work in conjunction with Sony’s Alpha series of mirrorless cameras. Its 6.5-inch display is more than double the size of the 3-inch rear screens of Sony’s bodies. And it’s not just about the size of the screen: the 21:9 HDR OLED display boasts 4K resolution and a smooth 90Hz refresh rate, and is optimally tuned for image fidelity. Colour rendition is highly impressive, with an equivalent 10-bit display (achieved via 8-bit with 2-bit smoothing) that can display a spectrum of colour without exhibiting…

This may seem an odd tip to share, but it’s something many successful street photographers do. The reason I offer this tip is because, by sticking to a particular route for at least a year and a half on and off, you’ll see how the same location can change dramatically due to the different light at certain times of the day, at different times of the year and in different types of weather. Not only will you see how the light affects the same location, you’ll also see how much an area’s landscape can change from one month to the next. This is one of the reasons why I love street photography: not only are we creating art from everyday moments, we’re also capturing the history of people’s lives, fashion,…

If further proof were needed that smartphone cameras are gaining on DSLR and mirrorless cameras all the time in terms of pure image quality, Apple has announced the winners of its Night mode photo challenge, which invited entrants to share their best images taken using the Night mode feature on the latest iPhones – the iPhone 11, iPhone 11 Pro and top-of-the-range iPhone 11 Pro Max. The panel of judges selected six winning images from thousands of entries submitted by iPhone photographers around the world. The winning photos will be featured in a gallery on Apple’s website and on Apple’s Instagram feed (@apple), and will also appear on billboards worldwide. All iPhone 11 models feature Apple’s new wide sensor with 100% focus pixels, enabling users to capture what Apple says…

The best thing about any interchangeable-lens camera is that you can mount the ideal optic for the shooting opportunity at hand. The worst thing is that additional lenses can be expensive to buy and cumbersome to cart around, and many of us find that a couple of optics – a standard zoom and a telephoto – cover pretty much any eventuality, so we’re reluctant to spend a fortune on extra lenses that might end up gathering dust. But what if you could get an extra lens for fairly little outlay – one that’s reasonably compact, light and easy to pop into a spare corner of your camera bag? And what if that lens enabled a different style of shooting to your regular zoom lenses? That’s a win-win situation, and here…

N-PHOTO N-Photo is a monthly magazine for Nikon photographers, and is packed with technique and Photoshop video lessons every month. http://bit.ly/3atHLfO https://apple.co/2TNE26T DIGITAL CAMERA WORLD A monthly magazine that aims to improve your photography with an inspirational mix of amazing images and how-to articles. http://bit.ly/2RER7g6 https://apple.co/2RBrZqG PHOTOPLUS PhotoPlus is a monthly magazine for Canon photographers that features expert advice, tips and video tutorials on all things Canon. http://bit.ly/30FoOlQ https://apple.co/2vaIdzw PRACTICAL PHOTOSHOP Improve your Photoshop skills with the monthly guide to creating stunning images. Each issue comes with expert video lessons. http://bit.ly/2NJASNx https://apple.co/2tGYBam…

Street photography seems to be the in-vogue genre for both newcomers and experienced photographers around the world. People of all ages are posting their work on social media, and entering competitions, attending workshops, festivals and exhibitions, and the sheer volume of photos I see just in Street Photography International’s #SPiCollective pool of images (4.5 million) testifies to its enormous popularity. Some of the reasons for this popularity are its accessibility (you don’t need an invite or backstage pass to attend), the lack of equipment required (any one camera is enough), and the lack of expense (walk to your nearest town), and it’s a great way to keep your eye in if you work in other genres. Even though it’s called street photography, images don’t have to be taken on a…

When a location has most of the elements to make a great image and just needs the final factor (a subject) to enter the scene, my preparation and process is to get as much as I can correct in camera, rather than having to spend unnecessary time looking for something on a computer screen that I didn’t see initially. That’s not photography to me. Firstly, I get my exposure correct. Once that’s locked in, my next process is to decide on how best to compose the frame. All the time I’m looking through my viewfinder, I’m looking in all the corners and edges for any distractions and making minor adjustments to remove them – whether that’s changing my location or adjusting the position of my camera. The things I want…

Making sure you’ve charged your batteries and have enough free space on your memory cards are the first steps to being prepared for a day’s shoot. I transfer all my photos to an external hard drive at the end of the day, and clear my memory card in the morning before going out. When I’m out, I make sure to have my settings prepared depending on my location and the amount of light available. A good habit to get into is to check your shutter speed and depth of field every so often, or when you’re entering a location where the light differs greatly from previous spots. If I’m waiting at a point of interest, the first thing I do after studying the scene is to get my exposure correct.…

When I’m post-processing my images there’s nothing specific that I’m looking to do, and it’s all done aesthetically for each image. This is because the locations will be different from one day to the next. Learning how to post-process your work is really important in creating your own distinctive style. There was a time when I watched another photographer’s YouTube videos on post-processing, and adopted all of their processes for my own photos for a while – those images look terrible when I go back and view them now. It’s nothing to do with that photographer’s tips – it’s because I was using a technique that worked for someone else’s photos, not mine.…

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4 HOURS Photographing a wild animal in a photo studio isn’t exactly ethical – and besides, good luck trying to get a ring-tailed lemur to sit still for a 20-minute photo shoot! However, it’s possible to achieve studio-quality results using only natural light and a generous helping of Photoshop trickery. During a recent visit to a UK safari park, we made use of the bright conditions to produce a series of low-key ‘wildlife portraits’. Soft light is often favoured for portraits, but stylised low-key images can be produced using a single light. The harsh directional sun can somewhat simulate this by producing strong highlights and deep patches of shadow, and this can be amplified by shooting against a dark background, setting your metering mode to Spot Metering, and using different…