Indholdsfortegnelse for No. 420 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…

A flexible way to inject creativity into your images is to introduce artificial light, but there are a couple of things to keep in mind. You should control your camera’s sensor sensitivity to light via aperture and ISO, rather than setting the flashgun’s power too high, and take care to place diffused artificial lights at the periphery rather than at eye level. By having full control of the main light source, it’s possible to take photos that would be impossible to capture with natural light. One way to utilise flash is to underexpose on an overcast day while using it to fill in the shadows and illuminate just the subject. Or, you can combine it with long exposures of up to 30 seconds at night to freeze the motion of…

Bird Photographer of the Year has announced the winners of its 2020 competition, with Norwegian photographer Majed Alza’abi taking the top prize for his stunning impressionistic image of a pair of European shags. Alza’abi shot the image on the Norwegian island of Vardø, which is home to thousands of seabirds in the summer, and a popular destination for photographers. He says: “[T] here are a lot of opportunities for creative composition, playing with foreground and background; here I like the out-of-focus shag framing the in-focus individual, plus the bokeh of the sea as sunset approached.” In addition to showcasing the best in bird photography, BPOTY also supports bird conservation projects. Click the link to see more images from this year’s contest at the BPOTY website, where you can also order…

www.nikon.co.uk £1,719/$1,699 with 24-50mm lens For what’s supposed to be an entry-level full-frame mirrorless camera, the Nikon Z 5 is surprisingly well-specced. It’s fully weather-sealed, featuring five-stop in-body image stabilisation, a 24.3MP sensor that goes up to ISO51,200 in native settings, and a class-leading electronic viewfinder. It seemingly matches the more upmarket Nikon Z 6 feature for features in all the important places. Even the control layout is almost exactly the same as on the Z 6, offering a near-identical handling experience. There’s a thumbstick, a D-pad and an array of buttons to access key controls at the back, along with a touchscreen rear LCD and fingerand thumb-operated control dials in easy reach, and a pair of well positioned programmable Function buttons on the front. For those making the move…

Sigma has announced an updated Art Series version of its best-selling 105mm macro lens. The new Sigma 105mm f/2.8 DG DN Macro will be available for Sony E-mount and L-mount full-frame mirrorless cameras. The new lens has the same basic specification as the existing 105mm f/2.8 EX DG OS HSM, but has been completely redesigned for use on mirrorless cameras, and for inclusion in the company’s premium Art range of prime lenses. A key consideration has been to improve the optical quality of the lens; however a drawback of this approach means the DG DN version lacks built-in optical stabilisation, and furthermore, Sigma CEO Kazuto Yamaki has admitted that its autofocus performance won’t be particularly fast. Sigma says the optical build of the lens is designed to minimise ghosting and…

Tight crops with clean backgrounds are always appealing, but thinking wider is a very good way to add more depth to your photos. While a habitat shot can be quite easy to achieve with a telephoto lens, by going for the small-in-the-frame look and compressing the surroundings, switching to a wide-angle lens offers and unrivalled perspective. Plus, this technique doesn’t rely on fast, prime wide-angles, as you’ll often need to stop down in order to create more depth of field. Most variable-aperture lenses sharpen up considerably around f/8 and using a wide-angle zoom can allow for more flexibility in terms of camera placement – useful if you find that you need to trigger the camera remotely.…

From right-angle viewfinders that make shooting at ground level more comfortable to shutter-release cables and full-blown camera trap setups, there are a multitude of accessories available to help you capture challenging subjects. Wired shutter-release cables with extension leads allow you to put some distance between yourself and the subject, so you can quickly fire your camera at the right moment without being too close. A PIR motion sensor, which triggers the camera when movement is detected, enables you to hide the camera away and return to it later to see if an animal has come by.…

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1 HOUR The human eye has the ability to see an extraordinary amount of colour and detail, but we’re only able to see one part of the electromagnetic spectrum. Just outside our visible light range is infrared, and while we can’t see these light waves, we can use them to create striking images. If you’re serious about infrared photography you’d probably opt for a permanent camera conversion, but the method we’re going to show you is a much more affordable way of shooting infrared, and doesn’t require you to tamper with your camera, so it’s the perfect solution if you want to have a go at this niche genre for the first time. All you need is a DSLR or mirrorless camera, and an infrared filter that’s compatible with the…

Getting your subject within range of the camera is only half the battle. Once you’ve achieved that, then what? A viewfinder-filling subject seen through a telephoto lens isn’t a guarantee of success; it doesn’t matter how exotic the subject is, or if you’ve travelled for 20 minutes or 20 hours to see it, because there are a multitude of factors to consider before you press the shutter button. What are the lighting conditions like? How does the background look? What is the subject doing? Once you’ve considered these factors and you’re about to take the shot, the lighting suddenly changes and the subject starts to move. How quickly can you react to adjust your exposure or framing to suit the new and unexpected conditions? And should you now switch lenses…

This style can produce memorable images, and works well with strong, bold outlines and silhouettes. Generally, you’ll need a dark-coloured background along with a strong back or side light, or be shooting towards the light at sunrise or sunset to capture warm pastel shades. The best effects tend to be created when the difference in dynamic range between the light and shade is large; exposing for the very brightest highlights as they fall on the subject renders the shade completely black, allowing for the subtle light to really pop. Because ambient light can change quickly, it’s a good idea to practise being able to quickly dial in underexposure to override the metering system, which will attempt to produce a balanced and even exposure; if the camera were to expose the…

Mist can enhance the atmosphere in a landscape wonderfully, but more often than not, when we arrive at a stunning spot we’re met with an overcast sky or bright sunshine… However, you can alter the atmosphere later on using this simple technique. It’s not the same as capturing a misty scene on the day, but it’s a striking mood-changer, and introduces several key Photoshop skills, from isolating parts of an image with selections to using creative brush tips. The effect works best on landscapes that can be separated into a foreground, mid-ground and background, like the photo of Machu Picchu here – this way, we can paint in the mist so it looks as if it’s floating behind parts of the scene, which helps to create depth. We’ve supplied a…

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