Indholdsfortegnelse for No. 616 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 brilliant 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. JOIN THE PHOTOGRAPHY WEEK COMMUNITY AND START SHARING! FACEBOOK http://bit.ly/39py9lg TWITTER http://bit.ly/2vGadLP FLICKR http://bit.ly/2VIgsJO We’re more than just a magazine – read…

The exposure of a scene or subject is determined by three core parameters – shutter speed, aperture, and ISO – and changing each of these has its own trade-offs. The shutter speed determines how long the shutter is open for: a fast shutter speed will freeze motion, but could result in an underexposed image if there isn’t enough light, while extending the shutter speed could leave enough time for movement in your hands, or for moving elements such as the sky or people to become blurred. The aperture is an opening inside of the lens that is opened or closed to restrict the light flow, and this setting also directly affects your depth of field, or how much of your scene is in sharp focus; a wide aperture will flood…

1 EVALUATIVE The Evaluative metering mode, also called Multi-Zone or Matrix, is the default metering mode that’s suitable for most everyday scenarios. This mode takes into consideration exposure information across the whole scene, though it will put some bias towards your autofocus point (or points) to make sure that your subject is well exposed. By and large, this is the metering mode you should stick to for the majority of your shooting, until you find that you need to force the camera to overexposed or underexpose. 2 CENTRE-WEIGHTED This mode is similar to Evaluative mode, in that the camera will take into consideration a large portion of the scene on which to base its exposure settings. The key difference is that Centre-Weighted Average will bias more to the middle of…

1 ADD IN A BALL Now add a tennis ball in the perfect position. Shoot a ball in the same lighting, open the shot and make a loose selection with the Lasso Tool. Copy (Cmd/Ctrl+C) then go to your image and paste (Cmd/Ctrl+V). Hit Cmd/Ctrl+T to transform and position the ball, then change the blending mode to Lighten. 2 DODGE AND BURN There may be areas that look overly bright or dark or simply messy. The Dodge and Burn tools are ideal for tidying up. Set the Burn Tool to target Shadows, and use it to burn in any parts of the dark backdrop until they’re fully black. Switch to the Dodge Tool and use it to lighten dull areas that need a boost. 3 BALANCE THE LIGHT It can be tricky…

https://7artisans.store £216/$228 Lens maker 7Artisans was formed by a group of Chinese camera enthusiasts back in 2015. By the time its first lens went into production, only seven people remained from the original group, hence the company name. 7Artisans makes a number of lenses in a variety of mount options, and I’ve been impressed in the past by the company’s full-frame-compatible 50mm f/1.05 and 10mm f/2.8 Fisheye, both of which I’ve tested in Nikon Z-mount editions; indeed, I liked the fisheye lens so much that I bought one for myself. I also reviewed the recently released ultra-wide-angle but rectilinear 7Artisans 9mm f/5.6, which is a good option among Sony E-mount lenses. Most 7Artisans lenses, including the 50mm f/1.05, 10mm f/2.8 Fisheye and 9mm f/5.6, are fully manual lenses with no…

Panasonic has unexpectedly launched a new bridge camera that updates the seven-year-old Lumix FZ80 (sold as the FZ82 in Europe). The new version will be called the Lumix FZ82D in the UK and Europe, and the Lumix FZ80D in North America. Many of the key specifications of the newer version are the same as those of the 2017-vintage original, including the design, 60x built-in zoom, and 1/2.3-inch 18PM sensor. However, some new features are being added to the mix. For starters, there’s now a USB-C socket for easy charging, and the eye-level electronic viewfinder has been upgraded – the new EVF has a 2,360k-dot OLED with 0.74 magnification, doubling the resolution of the EVF on the existing model. The rear 3-inch LCD display also gets an upgrade, with its resolution…

Two popular filters for landscapes are a neutral density (ND) filter and a circular polarising filter. While image editing software gets better every year, the effects created by these filters are still extremely difficult to achieve even in the latest post-processing programs. 1 NEUTRAL DENSITY (ND) FILTER An ND filter acts a bit like sunglasses for your lens, blocking some of the light out depending on its strength. Reducing the light flow in this way enables you to shoot much longer exposures – a 10-stop ND will turn an exposure time of 1/30 sec into a massive 30 secs. 2 CIRCULAR POLARISING (CPL) FILTER A circular polarising filter (CPL) cuts out some of the scattered unpolarised light, so light coming into the sensor is reduced by up to two-thirds of…

1 FLICK THE MF SWITCH Most cameras will have a physical AF/MF switch on the lens or camera body. On kit lenses such as the Canon EF-S 18-55mm f/3.5-5.6 IS STM lens (above), it’s on the lens barrel so flick it to MF to begin focusing manually. Keep IS switches engaged if shooting handheld, or switch them off if you’re using a tripod. 2 FOCUS PEAKING Many modern cameras have a focus-peaking function. When focusing manually, this will overlay bright coloured lines such as red, yellow or blue around parts of your scene that are in sharp focus, to help you see these more clearly and get your focus spot-on. 3 FOCUS DISTANCE Keep an eye on the focus distance using the window or gauge on your lens, or pre-set…

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Stroboscopic photography involves firing a rapid burst of flashes to create a striking staccato effect that’s well suited to sports, action, or all sorts of other moving subjects. Most flashes have a stroboscopic mode – even many of the most basic models. However, it can be a challenge to make the effect look polished. A common pitfall is to attach the flash to the camera hotshoe. This tends to result in rather bland lighting, with spillage onto the backdrop that dilutes the effect. We’re much better off firing the flash off-camera for directional light from one side. This brings its own challenges in terms of positioning and triggering the flash, and it all needs to be captured with a long exposure in the dark. In this project we’ll explain how…

To match up our two flashes we need to set a delay. After some trial and error, we set our flash to the right of the camera to a 0.80 sec delay so it would fire at the end of the exposure. In normal circumstances this could be done simply by using rear-curtain sync, but that won’t work here because we need our other flash (the one set to stroboscopic mode) to begin pulsing at the start of the exposure, then carry on until the end so that the final pulse matches with the burst from the other flash unit. In the inset image you can see how the frame looks with only the stroboscopic flash firing from the right side of the camera. When we add in the second…

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 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 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 DIGITAL PHOTOGRAPHER The monthly kitbag essential for enthusiast and pro photographers, packed with tutorials, exclusive interviews and the latest reviews. https://bit.ly/3lH4ucX https://apple.co/2SJf6ff…

If you want to unlock the full creative potential of your camera and lenses, Manual mode is the way to go. While the semi-automatic Aperture and Shutter Priority modes can help out by making some of the core exposure settings for you, switching to Manual mode takes off the stabilisers and gives you total creative freedom, so that getting the shooting settings right is completely up to you. However, with this extra power comes extra responsibility, and it will be entirely down to you if an image doesn’t come out correctly! There will be occasions when shooting in Manual mode is the only option, such as when shooting with flash – if you use a semi-automatic mode the camera will try to base the exposure on the natural light, without…

It would be more accurate to refer to shutter speed as the ‘exposure duration’, as the speed at which the camera’s shutter curtains open and close is constant. Instead, what we’re changing is the length of time for which the camera’s sensor is exposed to light. There are times when creatively you may want to force a longer shutter speed, or slow it down. If you’re trying to capture an athlete in motion then you may opt for a rapid shutter speed of 1/2000 sec to freeze them; however, if you’re shooting a landscape on a tripod, you may want a shutter speed several seconds long, which will enable you to capture motion into moving elements, such as water or clouds in the sky, while the tripod ensures that all…

Pretty much all creative cameras have a control wheel towards the front of the grip and next to the shutter button for changing exposure parameters. More advanced cameras will also have a dial on the rear for changing a different exposure setting. For cameras with just one front dial, you make changes by holding down the Exposure Compensation button (it looks like a square with plus and minus symbols), and then rotating the dial. This is useful in both semi-automatic and manual modes. Be sure to keep an eye on your histogram (right). Bunched tones to the left of the histogram means you’ve lost detail in the shadows, while bunching on the right side means that the highlights have started to burn out, and in either case you might want…

NESTING GROUNDHOG BARB D’ARPINO “I am so lucky to have groundhogs nesting close to my home, as I’m able to observe and photograph their behaviour at close range – this female was collecting nesting material.” https://bit.ly/44HqL0t MOTOCROSS MARIO OTTAVIANI “This is the Italian motocross rider David Philippaerts, who’s best known for winning the MX1 World Championship in 2008.” https://bit.ly/3Akm016 IT’S A BUG’S LIFE RICHARD HARVEY “This 7-spot ladybird is munching on lunch number four of the day, courtesy of the aphids on our cherry tree. Shooting a ladybird in my garden is a sure sign that the weather is improving!” http://bit.ly/3DiGCWx COMMON SEAL NEIL SHAW “This seal would appear every morning, a short distance from the marina at Craobh Haven on the west coast of Argyll and Bute in Scotland.…

1 DARK SETTING If the ambient light is too strong it’ll interfere with our exposure and blur the subject. We need to shoot in a dark room like this, or at night. It needs to be dark enough so that the ambient light doesn’t register. After setting the exposure, take a test shot without the flash turned on to check that the frame comes out dark. 2 TRIPOD Our exposure length needs to be about one second long, so a tripod is essential to keep the camera still, avoiding camera shake. It’s best to use a low camera angle or crop off the legs as, when the light hits the floor, it can blend with the subject’s legs. A low angle helps to negate this by narrowing the view of the floor.…

A misty morning is one of the most magical times to head out with your camera. However, if the conditions aren’t right for fog or mist then you can easily create your own mist, or to enhance the appearance of naturally occurring fog, as you’ll discover in this video tutorial. In our scene the mist is rolling in over the landscape below, but there’s none around the tree, and we can paint some in to create a more atmospheric image. In visual terms, mist and fog are simply wispy patches of white and grey, and these can easily be recreated with Photoshop brushes. However, it can be tricky to get the shape of the mist right, so we’ve supplied 10 ‘mist’ brushes for you to use to enhance the atmosphere…