Indholdsfortegnelse for No. 471 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…

The use of filtration to hold back exposure has been a common practice amongst professional photographers for many years. On reflection, the idea to create filters such as neutral density grads is far cleverer than it is often given credit for, perhaps because the concept is so straightforward. This simplicity can be a source of misconception, however, and many photographers who are unfamiliar with their usage can make mistakes when selecting filters. There are so many types and variations of the humble ND filter that identifying which make and model is the best fit for a specific image can feel like a minefield. Just what is the difference between a fixed and variable ND? Why would you select a hard grad over a soft grad? And what on earth is…

Digital cameras are highly complex pieces of technology. In terms of both hardware and software, there’s a lot going on underneath that casing that users rarely give a second thought to. The days of a camera being a light-tight box are long gone – they still are that at their most basic, but the process of exposure management is now a much more refined one. Filters are simply sheets of optical material you place in front of the lens, and might seem rather unassuming, uncomplicated items, but that doesn’t mean their usage is always straightforward. It’s important to understand how their integration with the rest of your gear needs to be carefully considered. The most obvious difficulty of using circular filters is the variable thread diameter of different lenses (here,…

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www.ricoh-imaging.eu £1,899/$1,999 The K-3 Mark III is the latest in a long line of Pentax DSLRs, and we’re always glad to see any new model from Pentax – it’s a reminder that DSLRs are still relevant, and that Canon and Nikon are not the only camera manufacturers still making them. The Pentax DSLR range has often been confusing, however. Its full-frame K-1 and its K-1 Mark II successor are straightforward enough, but Pentax APS-C DSLRs have come in all sorts of shapes, sizes and series. Before the K-3 Mark III, we’d regarded the K-P, now discontinued, as the flagship. Further down the scale we have the five-year-old K-70, which is still available and, oddly, has a more contemporary feel than the K-3 III (on-sensor phase-detect AF, vari-angle screen). There have…

While most cameras and smartphones can capture timelapse sequences, there’s a growing market for dedicated timelapse cameras that can be left in a location to capture, say a building being built, or a flower bud bursting into bloom. The new ATLI Eon, from timelapse specialist ATLI, is designed to give content creators a simple-to-use and affordable solution for timelapse shooting. The camera weighs just 140g, and snuggles into the palm of your hand, measuring 72 x 91 x 44mm. It’s powered by four standard AA batteries, and can keep shooting for 60 days when set up to shoot a single frame every 10 minutes. There’s no screen, but you can see what you’re shooting in the companion ATLI Cam app. Footage can be recorded locally using a supplied microSD card.…

Whenever you place something in front of a camera lens, especially an item which applies an optical effect, there will be some practical challenges. Although filters generally do what they’re meant to do, professional usage requires a deep understanding of how they work, and how best to use their particular features. Filter effects often introduce secondary impacts which may or may not be desirable, so recognising which case applies to your shooting situation is paramount. More specifically, it’s important to recognise when these filtration by-products introduce effects that are too insignificant to be of concern, or whether they’re too noticeable to ignore. When the latter occurs, some correction in software can provide the solution. The amount of post-shoot adjustment required can depend on the filters used, and the type of…

1 HOUR The evening golden hour has long been known as the best time of day to capture gorgeous landscape photos, but it’s being increasingly used by portrait photographers too. As the sun goes down the vibrant colours can create a stunning backdrop for portraits. And even if the sky doesn’t erupt into colour, it’s still a great time to head out for dramatic clouds. The key challenge to overcome is the strong backlighting we get when shooting towards the setting sun. This makes it tricky to get a balanced exposure, because the subject’s front will be in deep shade. If we’re using the natural light alone we could expose for the shade, but this will blow out the sky; or we could expose for the bright sky, but then…

It’s easy to forget the role that hardware filters have played in the development of photography as we know it today. Before it was possible to easily blend exposures, either in the darkroom or using software at the computer, it was critical to be able to control the amount of light entering the camera at the moment of image capture. As soon as we take our camera out of the studio and into the field, the issue of uneven brightness throughout the landscape starts to take effect. The intensity of light coming from the sky is almost always going to be greater than the reflected light from foreground elements, and this means that the top half of the frame is usually going to be exposed more than the bottom half.…

There was a time when the array of filters available on the market was slightly overwhelming. Companies such as Cokin provided a huge range of types and variants of filters, at a price many beginners could afford. This allowed photographers to try different photo styles for relatively little investment. However, this experimentation inevitably led to improper usage, creating a wave of photographs with wacky colour casts, odd transitions and over-filtration, and ultimately, this had a negative impact on the quality of images associated with some filter models. This has been replicated in the digital age, of course, with novice photographers – and some professionals, too – over-using the effects in Photoshop. However, the ease with which software filters can be removed or turned down on a stepless basis does at…

A stunning image of a lighthouse shrouded in ice has won the world’s largest photography competition, the CEWE Photo Award 2021. The image was taken by Manfred Voss from Germany, and also topped the Landscapes category. One of the awards judges said of Voss’s image: “It looks like something out of a fairytale.” The competition saw prizes awarded across 10 categories, including People, Animals, and Travel and Culture, under the overall theme of ‘Our World is Beautiful’, an appeal to find the good times during a period of increasing global strife. This year’s contest attracted more than 606,000 entries from 170 countries, with entrants able to submit up to 100 images. The contest is open to photographers of all interests and abilities, and 10 euro cents from each entry goes…

It might sound like something that requires a white coat and a clipboard, but LAB Color mode isn’t just for digital imaging boffins; it’s for anyone who wants to take control of colour in their photos, and in this video tutorial we’ll show you how it works. First, a little about colour modes. Most of the time we view and work on images in the RGB colour mode. This stands for Red, Green and Blue; any other colour can be made from combinations of these three. In RGB mode each pixel has a specific R, G and B value between 0 and 255, and this determines not just the colour intensity but also the brightness of the pixel – for example, if a pixel is R 255, G 255, B…