Indholdsfortegnelse for No. 489 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 method of activating autofocus by half-pressing the shutter release is the default setup on many cameras. But although it may be familiar, it isn’t necessarily the most effective way of working with AF. Many pro sports and wildlife photographers reassign AF activation to the AF-On button, usually located on the back of the camera. This button is designed to be accessible to your thumb, and by turning on back-button focusing you can activate AF without using the shutter release. It takes a little practice, but this method has the advantage of splitting the role of AF activation and image taking between both buttons, meaning that you don’t have to lift your finger from the shutter release to refocus. It also makes it easy to switch between single and continuous…

These days, most people understand the role that editing plays in the photographic workflow, even those who don’t take a deep interest in producing images. The term “to Photoshop” something has often had negative connotations of trickery or fake news, but now the function and potential of image editing are better known and more widely accepted. Such is the extent of this shift that there is now an expectation for images to be heavily processed, especially by image buyers and commercial clients. If you want to remain relevant and produce eye-catching images that follow or lead current trends in photo styles, advanced colour control is essential. Let’s look at a common raw workflow that demonstrates the most used tools today, some of which are only just starting to become popular…

Today’s autofocus systems are incredibly advanced, and in enthusiast or pro models the range of customisation options is staggering. It’s important to understand how each of these work, and how making adjustments to AF behaviour can affect your image hit rate. Firstly, consider changing the AF tracking sensitivity, which will dictate how quickly your camera refocuses when another object passes between you and your subject. If this is happening repeatedly, in a sports game for example, then turning down sensitivity will reduce any frustrating loss of subject focus. Furthermore, you should try changing your AF area – many of us leave this set to auto, but if you know more precisely where your subject is going to be, Zone AF or Spot AF modes allow more targeted focusing with fewer…

SUNRISE OVER THE PIER LLOYD LANE “With a high tide and crashing waves, I saw an opportunity to capture a sunrise over the Palace Pier in Brighton, UK, using the newly built groyne in the foreground. I took some 0.5-second exposures, trying to capture the movement of the sea around the groyne as the sun rose above the pier.” http://bit.ly/2NhWpjJ ORCHID ANNA UTKINA “I shot this macro image of an orchid with my Canon EOS R5 and Zeiss Makro-Planar T* 2/100 ZE lens.” https://bit.ly/3vdJEYD ELECTRIC JELLYFISH ROSS FARNHAM “I was at the Brands Hatch motor racing circuit in Kent, UK, for one of the last race meets of 2021, which was truck racing. It’s always a popular family event and there’s lots of off-track entertainment, including a funfair, which makes…

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…

Ricoh has announced the Ricoh Theta X, the latest in the company’s line of 360 cameras, which boasts up to 11K resolution, a large touchscreen, and a removable battery and memory card. The Theta X feels like the true successor to the Theta Z1, which was, technically, followed up by the Theta Z1 51GB last year, although that camera only had a larger internal memory. The Theta X boasts significantly greater resolution than the Z1, thanks to its twin 48MP image sensors. These enable it to capture stills at both 11K (11,008 x 5,504 pixels) and 5.5K (5,504 x 2,752), while for video it can record up to 5.7K 30p or 4K 60p (compared to the 6,720 x 3,360 stills and 4K 29.97p video of its predecessor). Perhaps the biggest…

High dynamic range (HDR) photography is finally coming through its gaudy phase and photographers, both professional and amateur, are starting to better understand how exposure blending should be used in practice. While dedicated HDR software can be used to tone-map images from multiple bracketed frames, there are now options for more natural blending techniques. Not only does newer software use AI to add in skies and composite other elements, but you can also use classic applications, such as Adobe Lightroom, to create files with more information in the highlights and shadows. By using this approach, you can apply your standard raw editing workflow to images containing more data than any single file could. This allows for natural and fully accessible adjustments, producing images without the edge halos and flat appearance…

Videographers are familiar with the concept of shooting images with a flat profile. Shooting in Log mode produces video files that preserve a greater range of tones, meaning there’s more scope for colour grading later. The same approach can apply to still images. We already ETTR (expose to the right), which is a first step in this process as it captures a greater range of detail and colour information. However, if you plan to make big artistic editing adjustments it’s better to shoot in flatter lighting and aim to capture images with as little contrast as possible. Although this might appear to contradict the effort we put into finding the best light and capturing it using filters, for certain popular image looks this can be the best approach. Many digital…

The Sony World Photography Awards has announced the shortlists for its 2021 Student and Youth contests, showcasing an impressive selection of images from young photographers. The Youth competition is open to photographers aged 12-19. Between June and December last year, entrants were able to submit images to monthly competitions, each with a different theme such as street photography, landscape and portraiture. The Student competition is open to photographers aged 18-30 who are currently enrolled in higher education. The subject brief for this year was ‘Connections’, with Sony asking entrants to submit a portfolio of five to 10 images documenting how they, or a subject they’ve photographed, interacts with the world around them. The winners of each competition will win a selection of Sony photography equipment. Click the link to see…

There are lots of tools in Photoshop and Lightroom for adjusting the look of your black-and-white photos. Most of them are easy to get the hang of; more often the challenge lies in committing to a certain monochrome look, especially when there are so many sliders and settings to choose from. Should you go for this bold, contrasty look? Or will a subtle matt effect be more suited to your photo? How about adding a vignette? Opening up the shadows? Dropping the blues? And so on. It’s the age-old editing conundrum: stick or twist? Thankfully, there are features that can help you overcome image-editing analysis paralysis, and one such tool is Profiles. As you’ll discover in this video tutorial, they give you a range of options for one-click treatments, offering…

Photography is a bit of a contradiction in that, since its inception, it has remained largely unchanged in its functionality and yet has also been revolutionised to unimaginable heights, certainly by 19th century standards. Indeed, parallels can be drawn with the aviation industry – today’s airliners are a culmination of decades of research and wonders of electrical and mechanical engineering, yet at their core, they still use the same design principles that inspired the Wright brothers’ first aircraft back in 1903. At their heart, cameras are still light-tight boxes that capture tonal variation in different parts of a scene. But at the same time, the technology they showcase, and how this can be used in contemporary ways, demands that we regularly reassess our creative approach. As new technologies are introduced…

Raw editing allows you to make extreme colour adjustments on the fly with little, if any, degradation of image integrity. So why would you want to go to the trouble of using specialist hardware accessories to create custom white balance settings when you can simply set whatever colour temperature you want in your raw editing software? Colour accuracy is subjective, which can be a benefit, but also means that your idea of what is ‘correct’ might differ from someone else’s – and if that someone is your client you may have a problem. For certain subjects, using a standard colour balance is more reliable. If you’re shooting a product, for example, then the colours must appear the same for everybody. The same is true in commercial architecture photography. In these…

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15 MINS If you use a camera with an interchangeable lens for long enough, it’s inevitable that something unwanted is going to settle on the sensor at some point. Many cameras feature a built-in sensor-cleaning function, which causes the sensor to vibrate in an attempt to remove particles of dirt, but while this can be hand y in a pinch, sooner or later a more invasive solution will be required. The easiest way to clean your sensor is by using a simple air blower to shift unwanted build-ups – don’t be tempted to blow into the camera yourself, though, as this could cause tiny particles of saliva to stain your sensor. Oil- and water-based stains require a wet cleaning solution and although consciously introducing fluids to the inner workings of…