Indholdsfortegnelse for No. 495 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…

MANUAL MODE Raju mostly shoots in the semi-automatic Shutter Priority mode, so Sean was keen to bring him out of his comfort zone and get him shooting in Manual mode, where he’d be able to take more control of his camera settings. In Manual mode you can independently set the three exposure parameters: shutter speed, aperture and ISO value. Sean also set Raju’s camera to shoot raw, as raw files capture more detail and exposure information than JPEGs, making it much easier to adjust the exposure, white balance and more when editing images later. CAMERA SETTINGS After setting Raju’s camera to Manual mode Sean set the White Balance to Cloudy, as it was a very overcast day. He dialed in a shutter speed of 1/1000 sec, which was fast enough…

1 SHOOT RAW Raw files contain extra exposure information that makes it easier to correct the exposure and white balance when editing back home. 2 WAIT FOR ACTION Try to wait for your wildlife subject to become active for more engaging pictures. For our birds of prey this meant waiting for them to squawk, preen, fight among themselves, or fly. 3 WRAP UP WARM Make shooting outdoors in the cold more comfortable by wrapping up warm, with thermals and thin gloves that enable you to easily adjust your camera settings. 4 STOCK UP ON SPARES Don’t risk having to end a shoot early because your memory card is full or your battery has run out of juice! Bring plenty of spares so that you don’t miss any magical moments. 5…

Concrete might not be the first thing that springs to mind when you think about photogenic subjects, but the Global Cement and Concrete Association (GCCA) wants to persuade you otherwise – and looking at the winning images from its Concrete in Life photo competition we’d say they’re onto something. Entrants were invited to submit images capturing the importance of the ubiquitous building material around the world across four categories: Urban Concrete, Concrete Infrastructure, Concrete in Daily Life and Sustainable Concrete. Agung Lawerissa was named overall winner for his photograph of children playing football beside the iconic Merah Putih Bridge in Indonesia. Sustainability was an important theme of the contest, which coincided with the launch by the GCCA of a commitment to net-zero concrete by 2050. Click the link to see…

1 SHOOT FOR A STACK The problem we often have with toy photos like this is that the subject is close to the camera, which limits depth of field even at narrow apertures. Focus stacking is the answer. If your camera has this feature, set it up to take a series of focus-shifted frames. 2 ALIGN THE LAYERS Go to the set of images in Bridge, highlight them, and go to Tools > Photoshop > Load files into Photoshop layers. In Photoshop, hold down Shift and click between the top and bottom layer in the Layers panel to highlight all the layers, and go to Edit > Auto-Align Layers. Select Auto and hit OK. 3 BLEND THE LAYERS With all the layers still highlighted go to Edit > Auto-Blend Layers and OK the…

DALMATIAN PELICAN A Dalmatian pelican on Lake Kerkini in Greece. The time of day before the sun breaks the horizon (and after it sets) is known as the blue hour, and this image makes it clear why. BISON I took this image on an icy winter morning in Poland’s Białowieża forest. I exchanged a quick glance with this male bison, and managed to get the shot before he headed off into the safety of the forest. VIXENS I’m not sure what these vixens were fighting over – perhaps territory. One was taking a drink in the dyke when the other shot across the bank and launched this apparently unprovoked attack!…

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2 HOURS Have you ever wished your favourite toys and models were life-size? In this project we’ll show you how to make them appear so, by employing a combination of shooting skills and editing tricks. One such skill is forced perspective. Used in all sorts of productions, from fun YouTube videos to big-budget Hollywood movies, forced perspective photography enables you to play with scale by combining objects of different sizes into a realistic whole. Best of all, it doesn’t require any fancy Photoshop skills, just basic items and some time to perfect the angles. Another trick we’ll employ here is the age-old technique of ‘smoke and mirrors’. The term refers to the old magic trick of creating floating objects with mirrors while using smoke to obscure the tell-tale seams in…

You can also create scenes that combine models and props at home. Here, we’ve created a Godzilla-like scene using a toy car and dinosaur (a Therizinosaurus, if you’re asking). As with our forced-perspective image, we’ve used flour and baking powder to create snow. We photographed the scene in a darkened room, using torches to backlight the falling snow and dinosaur for a dark, moody result. To make the torchlight look like headlights, we shot two torches next to the car, then copied the highlights and pasted them over the car, using the Lighten blend mode in Photoshop to combine the brighter parts.…

www.canon.co.uk £319/$299 Canon faced some criticism for its big and hefty early RF-mount lenses, which somewhat negated the slimline advantage of mirrorless EOS R-series cameras. More recently, though, a spate of compact and lightweight lenses have seen the pounds drop off – they include the RF 35mm f/1.8 IS Macro STM and the RF 50mm f/1.8 STM. The RF 16mm f/2.8 STM is the latest prime to join the catwalk club, with slinky dimensions and a weight of just 165g, while delivering an ultra-wide viewing angle that’s ideal for shooting everything from cramped architectural interiors through sweeping landscapes to the starry night sky. Optical highlights include an aspherical element to boost sharpness and reduce distortion, and Super Spectra Coating to minimise ghosting and flare. To help with the latter, you…

THE PRO SEAN WEEKLY  CAMERA: CANON EOS 5D MK IV Sean lives in rural mid-Wales, and works as a professional wildlife photographer and as a guide for travel company Wildlife Worldwide, leading photography trips. He also runs his own photography workshops and 1-to-1 sessions. We met with him at the Gigrin Farm Red Kite Feeding Station, where he has his own wildlife hide, and where up to 600 red kites feed every day. Check out Sean’s work on Instagram @seanweekly, and visit his website to see more images, and for information on workshops  https://bit.ly/35Jsh9D THE APPRENTICE RAJU MISRA CAMERA: CANON EOS 77D Raju is a retired police sergeant who loves nothing more than getting out and about with his camera. He has a particular passion for wildlife photography, and managed…

1 MINI TRIPOD 1 For low-level shots from his hide Sean often mounts his camera and lens to a Koolehaoda MT-01 mini tripod with a Neewer Professional gimbal head attached. This helps to support the weight of his camera and lens, and makes it easy to pan and tilt to track birds as they move. It’s also a very portable and compact setup, making it ideal for shooting on the move. 2 SHORT TELEPHOTO ZOOM 2 Much lighter and portable than a big 300mm prime lens, yet they’re still exceptionally sharp and versatile. The zoom range on a 70-200mm gives you more options than shooting with lenses like a 300mm or 400mm prime, and they’re handy for environmental shots, where you want to include more of the surrounding habitat. 3…

WINTER HYDRANGEA HELEN GEORGE “The dried, dead flowers of a hydrangea photographed after heavy frost using the high-key function on my Panasonic DMC FZ1000.” https://bit.ly/3sjw9ab MISSION GOLDFINGER LUCA SANTORO “This shot was inspired by the James Bond film Goldfinger, with my model Cinzia Maraglino wearing gold body paint.” https://bit.ly/3fv7b0p BEDFORD TOW TRUCK JOHN NEW “This photo was taken in an old scrapyard. I got permission from the owner to look around, and this truck took my eye – aside from its age and nostalgia appeal, the rust and patina drew me in straight away.” https://bit.ly/3hI6Jgu FIRE WAVE TOM DRESSEL “This image was taken in the Valley of Fire State Park in Nevada; this particular rock feature is called the Fire Wave. Captured with my Canon 77D and a 10-22mm lens.”…

1 TRIPOD A tripod will allow you to set up your composition and then leave the camera in place while you arrange the toy. It also enables you to take a sequence of photos, and then combine the best parts from each. What’s more, it gives you the option to shoot for a focus stack to extend your depth of field. 2 PLATFORM To create a forced perspective shot look for a suitable scene with a road or other surface that will be fairly easy to mimic, then create a platform that looks similar. Here we’ve drilled a hole into a piece of wood and attached it to a tripod plate, then fastened sandpaper on the top to serve as the surface of the road. 3 SNOW Atmospheric details like snow, rain or…

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