Indholdsfortegnelse for No. 499 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 FOR LIGHTS Phil says: “Although Michael was used to shooting in Manual mode for landscape photos, when using lights in a studio for portraits there’s no ambient light to factor in, so you control the aperture, shutter speed and ISO, and then adjust your lights to get the desired exposure. We started off shooting at f/5.6, 1/200 sec and ISO100 on our Canon 5Ds, and tweaked our lighting power to around half (4.8) to star with for our first setup.” AF SETUP “Michael needed a bit of help to get the best out of the autofocus system on his Canon EOS 5DS R,” says Phil. “I showed him how to use a Single AF point setup for more accurate focusing, but you have to be very precise, and…

EXPERT INSIGHT USING A REFLECTOR Phil was keen to show Michael how using a reflector on the opposite side to a one-light setup is a quick and simple way to fill in shadows for a brighter, less contrasty and less moody look. Our main light was so big that Tyla’s face was well lit, so using a large polyboard reflector here only results in a subtle difference between these two portraits, but you can see how the shadows have been lightened and softened in the image on the right. PHIL’S COMMENT For this setup we went for brighter lighting, for a lifestyle-type portrait with vibrant colours. We used a large overhead 130cm octobox, with the light set to 4.8 power for less shadows. We also used a large white-sided polystyrene…

1 MANUAL FOR CONSISTENCY Keeping your exposure consistent in Manual mode will make your life easier when using lights for portraits indoors. Start off around f/5.6, 1/200 sec, ISO100 and go from there. 2 PRACTICE MAKES PERFECT With your exposure fixed (see above), you can then practice with your lights; change their power, position, height, angle, distance from subjects and learn how it changes your images. 3 GET A BUDGET LIGHTING KIT Invest in a studio lighting kit. A budget two-flash head lighting kit with softboxes won’t break the bank, and will make your portraits so much brighter without ugly shadows on faces. 4 HAVE FUN! Experiment with your lighting. Make mistakes. Learn from them. Enjoy trying new things. Have fun and you’ll soon gain confidence with lights. 5 FINE…

To find out how you can get Photography Week delivered straight to your device every week for just a few pennies, simply search for Photography Week on any of the platforms below AVAILABLE ON YOUR DEVICE NOW! https://apple.co/2RjoI0a http://bit.ly/2txbB2B http://bit.ly/36kQ7TC *Available for a limited time only. Standard subscription offer varies across platforms/devices – please refer to specific store for the most up-to-date offer…

1 HOUR In this project we’ll show you how to balance camera settings, ambient light and flash to isolate a subject. The most important factors when isolating a subject from its background are lighting and focus, and in this case we’re going to be using two methods to control these variables: changing the aperture and changing the shutter speed. We’re using a flashgun on a light stand with a shoot-through umbrella to diffuse the light, placed camera-left of our still-life subject. For the first method we’ll only change the aperture value of our lens (the f-stop) to darken the background, and then light our subject with flash to make the fruit stand out from the scene. For the second method we’ll change the shutter speed to darken the background, and…

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…

Nikon has announced the Nikkor Z 800mm f/6.3 VR S, a highly portable prime lens for its mirrorless system that’s aimed squarely at wildlife photographers. At £6,299 / $6,497, the lens certainly isn’t cheap; however, it’s little more than a third of the price of the Nikon 800mm f/5.6E FL ED VR F-mount DSLR lens. So while some will question the lens’s f/6.3 maximum aperture, it’s likely that many photographers will consider it a worthwhile trade-off for that lower price. By using the design advantages afforded by the Nikon Z lens mount and incorporating a Phase Fresnel (PF) lens element, Nikon has made the Nikkor Z 800mm f/6.3 VR S an incredible 2.3kg lighter and 16% shorter than the 800mm f/5.6E. Nikon says this makes the new Z-mount 800mm practical…

1 PRO STUDIO LIGHTS AND WIRELESS TRIGGERS Phil favours the excellent quality, reliability and robustness of the Profoto D4 studio flash heads. “As well as being powerful, they also allow you to reduce the power to very low settings for wider aperture shots, and with the mains power packs, recycle time is super-quick as well for slicker shooting,” he explains. “I use the PocketWizard Plus X triggers for remotely firing the flash heads, but if I’m shooting on location I use my affordable battery-powered Godox lighting heads and triggers.” 2 FULL-FRAME CAMERA “I still love the image quality of my workhorse Canon EOS 5D Mk III bodies. Both are still going strong, and I’m not still using them just because I’m a tight Yorkshireman and don’t want to upgrade!” laughs…

BREAKING APART PAUL CRONIN “Storm Eunice hit the UK early one morning in February. It was a very powerful storm with strong winds, but there was very little rain and some great light at times. These waves metamorphosed into what looked like a face in front of me.” https://bit.ly/3u5CDu7 SUNRISE ON THE RIVER AVON SHANE NURDIN “The sun rising above the river Avon at Bradford-on-Avon, near Bath in south-west England, on a January morning.” https://bit.ly/3ux78Z3 SAFE PLACE LINDA NIERLINA “I took this photo in the forest reserve at Dundaga in Latvia. I love how the sun is gently illuminating the trees.” https://bit.ly/3uQThwM BRIDGE AT MONTALEGRE PAULO SILVA “This bridge at Montalegre in Portugal was the scene of a bloody battle between French troops of Napoleon’s army and Portuguese and British…

The problem with the above method is that by stopping down your aperture you capture a broad depth of field, which means more of the scene (front to back) will be in focus. The solution is to add a neutral density filter. This uniformly blocks out light entering the lens, so your scene gets darker. You can then keep your aperture at the same value, and simply increase the amount of flash (as in step 3) to get the same exposure with a shallower depth of field. We recommend using a variable neutral density filter so that you can change the aperture as you desire, and therefore change the strength of the ND accordingly. However, you’ll get a darker view through your viewfinder, and you’ll need to increase the flash…

WATCH THE VIDEO https://bit.ly/36ejZqK DOWNLOAD THE PROJECT FILES https://bit.ly/pho_133 ON A PC OR MAC Even though Photoshop has offered video tools for several years, many users still don’t know they exist – and those who do may assume that Photoshop is unsuited to editing videos. But not only is it possible to edit video in Photoshop, it can also be a sensible way for photographers to work with moving images. As you’ll discover in this video tutorial, the great thing about using Photoshop to edit video is that you can take lots of the things you already know about stills editing, and apply them to video. You can use brilliant tools like the Camera Raw filter to tone your footage, and even add layer effects, like blending modes, to combine…

PRO PHIL BARKER CAMERA: EOS 5D MARK III Phil began his career working as an assistant photographer when he was just 13, and is now a professional photographer based in Bath, UK. He’s worked for Future PLC, the publishers of Photography Week, as a studio and location photographer for the last four years, and specialises in portrait and product photography. To see his stunning portfolio go to bit.ly/3uMOdcM APPRENTICE MICHAEL BROWN CAMERA: CANON EOS 5DS R Michael, 59, lives in West London, and is a retired airfield operations officer. He’s been into photography since he was a teenager in the days of 35mm film. His first Canon EOS camera was an EOS 600D, and he bought a full-frame 50MP EOS 5DS R three years ago. Michael enjoys landscape photography, but…

MICHAEL’S COMMENT For this shot, we kept the same black velvet backdrop and mid-sized octobox softbox on our model’s right, but then Phil placed a strip softbox behind her to add what he called some ‘hair light’, which, he explained, helps to subtly separate the subject from the background. Shooting slightly further back for a horizontal composition, I opened my aperture to f/4 to capture more depth of field. PRO TIP HAIR LIGHTING “Adding a second light, known as a hair, rim, or back light, to highlight the back or side of a subject’s hair or head helps to give your portraits that pro look,” says Phil. “We first tried using a flash head with a grid but found the results were too bright, so I switched to the strip…

EXPERT INSIGHT HOW TO USE COLOURED GELS Adding gels (basically sheets of thin translucent coloured plastic) is a cheap yet really effective way of transforming your lights and portraits. “You can buy proper gel holders and pre-cut gels, but we just used big sheets and taped them in front of the lighting heads (inside any diffusers),” says Phil. “Using gels is also a quick way to turn your white background into any colour without buying lots of new coloured paper rolls.” PRO TIP MODELLING LIGHTS An often overlooked benefit of using studio lights is that you can utilise the modelling light function to enable you to see how each light is falling on your subject,” says Phil. “Also, if you’re shooting in a dark studio – with the main lights…

Pink Lady Food Photographer of the Year is one of our favourite photography competitions – as much for some of the mouth-watering subjects as for the outstanding quality of the featured images – and the shortlist for this year’s contest has been announced. The shortlisted photographers will now compete for prizes across 24 categories, and for the title of overall winner. The competition features images that capture every aspect of food production, preparation and consumption, from photos of fishing and farming through to elaborate images of restaurant dishes, and colourful shots of people around the world enjoying street food and celebratory feasts. We’ve picked out a few of our favourite images above – click the link to see all the shortlisted images, and learn more about the competition, at the…

This method relies on the fact that your flashgun is compatible with your camera’s high speed sync mode (called Auto FP on our Nikon DSLR). In this mode, the flashgun ‘pulses’ the flash for the duration of the exposure time, rather than firing a single burst of flash light, enabling the use of shutter speeds faster than the camera’s maximum flash sync speed (1/200 sec on entry-level cameras; 1/250 on advanced models). Beyond the max sync speed, the shutter is never fully open, so the image is exposed through a moving ‘slit’; with a regular burst of flash part of the image would be obscured by the moving shutter blind as the flash fires, resulting in a band of uneven exposure.…

www.tamron.eu £1,199/$1,399 At first glance, the Tamron 150-500mm looks similar to its DSLR-format 150-600mm G2 sibling. The range of switches, for triple-mode VC (Vibration Compensation), auto/manual focusing and an autofocus range limiter, is pretty much identical. Unlike many other Tamron lenses, the ‘VC’ optical stabiliser has switchable operating modes: Modes 1 and 2 are for static and panning shots respectively; Mode 3 is a ‘framing priority’ option that only applies stabilisation during actual exposures. This makes it easier to track erratically moving objects in the camera’s viewfinder or on the rear screen, similar to Mode 3 on some Canon telephoto lenses and Nikon’s ‘Sport VR’ mode. This lens is completely different to Tamron’s 150-600mm in terms of autofocus. The DSLR-based lens uses a conventional ring-type ultrasonic system, but the 150-500mm…