Indholdsfortegnelse for No. 426 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…

It’s common knowledge that early morning and evening are preferred times for landscape photography. Sunrise and sunset provide an ideal combination of directional, detail-enhancing light and attractive, warm colours. These are accompanied by soft shadows, caused by the greater refraction of light as it passes through the atmosphere at a more oblique angle. Such lighting is loved by landscape shooters because it not only brings out texture in natural surfaces and adds a warm glow to highlights, but because the exposure is easier to manage, since the tonal spectrum is a better fit for the dynamic range of most cameras. Anyone who has taken images during these times, however, will be aware of certain difficulties that come with managing such high-saturation, low-angle sunlight. While the warm colours are naturally attractive…

Midday sunlight isn’t the first choice for most genres of photography. The high position of the sun produces a very flat image, due to a lack of direction that generates few shadows. This, combined with the intense, undiffused light can create images that are lacking in bold colour, with unsightly bright hotspots. Many photographers choose to put their cameras away once the day moves towards noon, but even in bright daylight conditions there are still opportunities to be had. A core skill is being able to identify which locations and subjects are best suited to being photographed, and which are best left to more sympathetic times of the day. Part of the challenge is in the selection of a shooting angle. If you attempt to shoot from the same perspective…

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1 HOUR Wildlife photography can be a challenging endeavour, and one of the hardest techniques to master is capturing a bird in flight. Many birds are extremely agile on the wing, which makes them unpredictable and therefore difficult to track. As with any photographic technique, practice makes perfect, so we visited the Hawk Conservancy Trust in Andover, UK, to hone our snapping skills during their fantastic flying displays. A long lens is a must, but with birds regularly flying close (and sometimes into) the crowd, you don’t need to invest in a big 600mm lens; anything above 200mm (in 35mm terms) will do, and unless you’re taking shots in particularly dark woodland, or at dusk, a fast aperture isn’t a must either. In fact, using a narrower aperture of around…

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 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…

Leica has announced the Q2 Monochrom, its latest monochrome camera. As the name suggests, the Q2 Monochrom is to the Q2 as the M10 Monochrom, released earlier this year, is to the M10. That means the Q2 Monochrom swaps out the 47.3-megapixel full-frame sensor used in the Q2 for a newly developed 47.3-megapixel mono sensor. Compared to the standard Q2, the ISO range is different on the Leica Q2 Monochrom, running from ISO100 to 100,000 compared to 50-50,000. Dynamic range also differs – and not for the better, dropping to 13 stops compared to 14 stops on the Q2. The Q2 Monochrom can shoot 4K video (in black and white of course) at frame rates of either 30 or 24fps, and Full HD at up to 120fps. Sticking with the…

Cloudy conditions and blank, white skies are not the most enticing properties for outdoor photographers, and over years it can become a natural response to see this sort of weather forecasted and choose to stay indoors, rather than head out with a camera. This is justified in part, as overcast light doesn’t help to bring out texture in the landscape, and nor does it add attractive backlighting to outdoor portraits, side lighting to macro subjects, or glassy, colourful reflections to architectural studies. However, as any pro photographer should recognise, these conditions are perfect for capturing something unique. While flat light is not particularly dramatic, it has redeeming qualities. Generally, the tonal range is a little more compressed, which reduces the overall contrast in a scene, and this enables you to…

If you live in the UK you’re most likely aware of the classic jokes surrounding the unpredictable weather we have to endure. When out shooting, it’s challenging enough to manage rain, wind and less-than-ideal lighting, but this is multiplied exponentially by continuously shifting light. It’s something a photographer shooting in any temperate country or region must be prepared for, with overcast conditions rapidly giving way to short bursts of high-contrast sunlight, followed by stormy skies and closing mist and rain. It’s certainly helpful to pre-plan the camera settings you’ll need for expected conditions, as this frees you to simply set up and get straight to shooting once you’re on location, with minimal need for adjustments. However, in the case of shifting weather patterns this isn’t going to be practical, and…

Most of us normally work on our images in the RGB colour mode. In this mode, each pixel is given a specific value for red, green and blue, and these combine to create millions of colours. RGB mode is the principal mode for most editing work, but it does have drawbacks. In RGB mode the colour and brightness of your image are linked; adjust the red, green or blue value of any pixel and, as well as changing the colour, you’ll also affect the brightness. This is where Lab mode comes in. Lab stands for Lightness, A and B channels, and these represent an entirely different set of values for each pixel. The Lightness values determine how bright the pixels are, while the A and B values determine the colour.…

Saying that you need to alter your approach to capturing light according to a given scene might seem like an obvious statement. However, it’s surprising how often we forget to do this once presented with a photogenic subject. In our effort to quickly capture the scene before the opportunity is lost, photographers can fail to tailor their shooting techniques to make the most of the angle, intensity and colour balance of the light. This is even truer in the digital age, as we’ve become more accustomed to being able to correct lighting and colour in post-processing. Of course, exposure can be corrected with ease in raw processing applications, and in Photoshop multiple frames can be blended for a wider dynamic range, and lighting effects can be applied or removed at…

FOCUSING METHODS Mist and low light can confuse autofocus and also make judging focus visually a challenge. Employ hyperfocal focusing or the double-distance method to ensure predictable focus coverage for a given f-stop and focal length. Stormy conditions are often a great opportunity to shoot dramatic images. The dark clouds contrast wonderfully with the landscape, and set up rare conditions where the sky can actually be darker than the foreground – a reversal in the usual tonal distribution. This enables you to create shots with depth, and you’ll be able to capture detail in all areas of the frame without using hardware filters or software exposure blending. By adding an ND filter you can push this effect even further, if you feel it’s necessary. In most cases the ‘bad’ weather…

If you thought panoramas were all about sweeping landscapes, think again. The Epson International Pano Awards is the biggest and most prestigious competition for panoramic photography, and the winners of the 2020 competition have just been announced – and while there are plenty of landscapes among the winning and commended images, the contest also showcases the amazing breadth and variety of panoramic photography. This year’s competition received a record-beating 5,859 entries from 1,452 professional and amateur photographers in 96 countries, with open and amateur prizes awarded in categories ranging from conventional subjects such as landscape and architecture to smartphone and aerial photos, and VR/360 images. We’ve picked out three of our favourite images above – click the link to see the full spectacular selection of winning and commended images from…

www.hasselblad.com £5,990/$6,400 The Hasselblad 907X 50C achieves two remarkable things. It’s an affordable entry point to Hasselblad’s modular medium-format system, and it also resurrects the classic Hasselblad 500 film camera range, at a price that makes bringing these cameras out of retirement a feasible proposition – especially as many are still working today. Hasselblad’s modular medium-format cameras now come in two types. You have the big, bulky and expensive H6, the latest in the Hasselblad H series of digital SLRs. This is sold with a 100MP digital back, with a sensor roughly the size of old medium-format 645 (6 x 4.5cm) film, once you allow for a few millimetres of rebate around the film area. This is so-called ‘full-frame’ digital medium format, and the H6D-100C costs around $33,000, body-only. Now…