Indholdsfortegnelse for No. 393 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…

For some photographers, post-production is all about fixing problems that happened at the time of capture. A better approach is to optimise your exposures when you take the photograph and then use post-production to further interpret your images. This isn’t to say we don’t use post-production to fix our landscape photos, but if you can improve a poor-quality file with post-production, imagine how much better it could be if you started with a good-quality file. So before we move into processing and editing landscape photos, how do we ensure that we capture the best possible files in the first place? Use the camera to maximise image quality at every step, from the file format (raw, not JPEG) to the exposure settings that are appropriate for the subject. WHY SHOOT IN…

When it comes to processing landscape shots, there are many different options – in fact, it seems that every photographer has a special technique or plugin that creates the magic for them. While these techniques and plugins are great, there isn’t a single approach that will work for every photo. But that’s good, because creative photography isn’t about using someone else’s presets – it’s about exploring a photograph yourself, and producing an image that means something to you. For instance, when it comes to colour, some people like a desaturated, almost faded colour palette, while others are happier with strong, vibrant colours that will knock your socks off. It’s not that one approach is right or wrong, but different approaches can communicate different feelings to your viewers – and that’s…

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1 HOUR Wide-angle lenses are usually associated with landscapes, and most often used in conjunction with narrow apertures for a greater depth of field, but the recent launch of the Nikon Z 24mm f/1.8 S begs the question: why would you need such a wide aperture on a wide lens? And while prime lenses traditionally offer superior quality compared to a zoom, the Z 24-70mm f/4 S standard zoom is already as sharp as most people could possibly wish for. One answer is that portraits are usually shot with shallow apertures, so that you can concentrate the viewer’s attention squarely on the subject. So a fast and wide prime is perfect for environmental portraiture, where you show the subject in the context of their wider surroundings, but still blur the…

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…

Ricoh has announced the development of its next Star-series lens, the HD Pentax-D FA* 85mm f/1.4 SDM AW. The second of the manufacturer’s high-performance “new generation D FA*” single-focus lenses, the HD Pentax-D FA* 85mm f/1.4 SDM AW joins a series of optics which Ricoh promises deliver “perfect image quality”. Its 85mm focal length is equivalent to 130mm in 35mm terms when mounted on Pentax APS-C DSLRs, which combined with the wide f/1.4 aperture will make this a candidate for the best portrait lens on the market. The new lens follows in the footsteps of the previous new generation D FA prime, the HD Pentax-D FA* 50mm f/1.4 SDM AW. Full specs and pricing are yet to be revealed, but we know that the 85mm f/1.4 will feature nine aperture…

We’ve seen how Photoshop can be used to make exposure adjustments, both globally and selectively. It can also be used to make colour and tonal adjustments, but to some extent these techniques can similarly be achieved in Lightroom and Capture One. So, what can Photoshop do that can’t be done in a raw processor? Until recently, luminosity masking was only available in Photoshop, although now it’s now also available in Capture One. The idea behind luminosity masking is to create very accurate masks using the brightness values of the pixels, rather than manually drawing a mask, which can be time-consuming and inaccurate. For example, instead of drawing a lasso around an object, like a rock (which may or may not be completely accurate), you can create a luminosity mask based…

NEW OSLO TORE BUSTAD “This is a modern-art sculpture in Olso’s Barcode Project development.” http://bit.ly/2Wmxfm6 TRIP THE LIGHT FANTASTIC JOHN HEWITT “In January 2020 the Daedulum Luminarium visited Launceston, Tasmania. It was part of the MONA FOMA summer festival, and consisted of a series of airlocked chambers featuring the effect of natural light on and through various plastics.” http://bit.ly/3a9wBMV LOOK INTO MY EYES SHANNON O’SHEA “A black-crowned night heron, photographed at the Gatorland Bird Rookery in Orlando, Florida.” http://tiny.cc/5wwn7y ME AND MY SHADOW GILL STAFFORD “This is an image of me taking a photo of my shadow on Pensarn Beach at Abergele in North Wales.” http://tiny.cc/9vsf1y FACEBOOK http://bit.ly/39py9lg FLICKR http://bit.ly/2VIgsJO PHOTOGRAPHY WEEK WANTS YOUR PHOTOS! Taken a portrait you’re particularly proud of? Shot a sensational sunset you’d like to show…

Built in November 1969, this TVR Tuscan V6 recently celebrated its 50th birthday, and we wanted to capture the beautiful flowing lines of the classic coupe in a photoshoot; however, the car’s usual home, a suburban garage, didn’t really work as an appropriately stylish backdrop. Ideally, we’d have brought the car into a studio and lit it with a dozen flashes, but we didn’t have a huge studio or a dozen flashes – but, as you’ll discover in this video tutorial, we can get the high-quality studio car look without a studio. Instead we can call upon two of a photographer’s most powerful tools: Photoshop and flash lighting. By lighting the car with flash, we’re able to overpower the natural light so that it plays a minimal role in the…

Should a landscape photograph depict reality, or can a landscape be imaginary? There are two schools of thought, and in both cases using post-production to best represent your creativity is necessary. In the days of film, after the negative was exposed and processed, a print would be made as a second stage of creativity. It was a two-step process – capture followed by post-production. With digital photography, the process is the same. We can think of our raw files as our negatives, while our postproduction is the processing of a file for printing or sharing on social media. For me, it’s the post-production that gives us the opportunity to be different, to express ourselves, to explore different ideas of seeing and ways of thinking. Cameras do one thing only: make…

If Lightroom and Capture One are so good at processing raw files, why do we need to use Photoshop? In practice, many landscape photographers don’t use Photoshop unless they need to do specific tasks, and perhaps the most obvious of these tasks is creating composite images. Unlike raw processors, Photoshop can’t work directly with raw files. Instead, when you open a raw file in Photoshop, it automatically takes a diversion into Adobe Camera Raw (ACR) where the file can be converted into a format like TIFF, PSD or JPEG. You can make many of the same adjustments in ACR as you can in Lightroom, so this stage will feel quite familiar if you use Lightroom. In ACR, you can save the edited photo, and this is something you need to…

French photographer Florian Ledoux has won first prize in the inaugural Nature TTL Photographer of the Year competition with a stunning aerial image of crabeater seals resting on an ice flow in Antarctica. Ledoux, who captured the image, entitled Above the Crabeater Seals, with a DJI Phantom 4 Pro+ said: “For me, it is very important to show the state of the Arctic and Antarctic regions, and to have an image from there win this award is important exposure.” Will Nicholls, founder of Nature TTL and a professional wildlife cameraman and photographer said: “Florian’s image provides a unique angle that is not often seen in wildlife photography.” The competition attracted some 7,000 entries from wildlife, landscape and macro photographers in 117 countries. Click the link to see all the winning…

www.sigma-imaging-uk.com £1,999/$1,899 The Sigma fp is a camera that defies labels. It’s so small that you can carry it around in a trouser pocket; admittedly, that’s without a lens fitted, but it does give you a fair idea of just how compact this camera is. But despite looking like a chunky compact camera, the Sigma fp is in fact a full-frame interchangeable lens camera that’s designed for both serious stills shooting and 4K video. This is Sigma’s first full-frame digital camera, but already this 24.6-megapixel mirrorless camera has its own family of lenses and accessories. Thanks to Sigma’s partnership with Panasonic and Leica in the L-mount alliance, there’s a healthy number of lenses available for the fp, with the promise of over 40 primes and zooms by the end of…