Indholdsfortegnelse for No. 527 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…

To create your own seasonal still life, collect a handful T of fallen leaves and set up indoors on a table. We’re going to use a macro lens, so depth of field will be limited, meaning we can make a complementary background from the extra leaves that will fall out of focus. For the main focal point, place a few drops of water on the main leaf with a fine-tipped artist’s brush, and focus on the lead droplet. You can light the still life using natural window light; for more directional lighting, use an LED light, too. Even with extra lighting and a wide aperture, such as f/4, the shutter speed is going to be slow. To counter this, mount the camera on a tripod and use Live View to…

There are lots of parkland locations in the UK where red deer roam free. Although these animals are captive, their ability to move around such a big space means you need to exercise some solid skills to get close enough for a good image. Luckily, autumn is the perfect time to do this, as it’s when they breed. It’s important to remember that red deer are large animals, and during the rutting season they can be dangerous, so keep your distance by using a telephoto lens. As your subject is likely to be moving, make sure you have your AF mode switched to Continuous (AI-Servo), and that you can take a burst of shots in quick succession, rather the default single-shot mode. A lot of wildlife shooting is reactive, so…

When the leaves really turn, you’re presented with a fleeting opportunity to catch a shot that’s awash with colour and texture. We say it’s fleeting, because if the wind gets up, that moment will pass, as all those leaves will soon be on the ground! To increase your chances of bagging a colourful canopy, take the time to recce possible locations where the leaves are already on the turn. Pick places close to home that you can get to quickly, and don’t worry about the surrounding environment – for this shot, a copse of trees planted as a noise suppressor next to a busy road is just as good as a fairy glade! You’re only interested in the canopy, so what lies adjacent to it is outside the frame. Once…

It’s not always easy to arrive at a location at the right time – often the light isn’t right, or the angle of the sun too high, or the colours too dull. While there’s no substitute for nailing the shot in-camera, if you want to change the mood after the fact then there are a few tools in Photoshop that can help. In the tutorial on the following page, we’ll show you how to totally alter the atmosphere in a woodland scene with a combination of brush skills, layer blending modes and adjustment layers. With these simple tools, you can change the colours to give the scene a dreamy atmosphere, add in spots of flare, and even suggest wisps of mist. We’ve suggested specific colours and settings for you to…

The idea that applying an effect that desaturates an image to increase detail may sound impossible, but by applying a bleach bypass effect to your images, you’ll see how this effect is much more useful than simply applying a movie-style colour effect to your shots. It will change the colouring of your images slightly, but they will maintain a natural look, and the effect can be controlled with ease. The bleach bypass effect has been around for a long time, and was first used in the movie industry as a colouring effect. As the name suggests, when processing the transparency film the bleach step was missed out, resulting in increased contrast with desaturation and washed out-looking midtones. The effect has been replicated in Photoshop, and while there are several ways…

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3 HOURS We often speak of the new ‘Big Five’, when referring to the world’s most popular animals to photograph, but if we were to have a British Big Five then the red deer would almost certainly be featured. Britain’s largest land mammal is a wildlife photography favourite, thanks to its magnificent features, and it’s synonymous with autumn. Autumn plays host to the red deer rut, one of the UK wildlife calendar’s headline events. Not only is the landscape looking its beautiful best, but so are the deer. Magnificent bucks sport full heads of antlers as they bellow and strut around to assert their dominance, attaching themselves to large herds of hinds and clashing with other potential suitors. For enthusiast wildlife photographers, there’s perhaps no better place to capture the…

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Lens maker TTartisan has launched a new 50mm f/1.4 tilt lens in Sony E and Leica L mounts. As a purely ‘tilt’ lens, it’s made for creative depth of field control, not for correcting converging verticals and other perspective issues. It’s not just the creative potential that makes this lens exciting, but the price. TTartisan will be selling this lens for just just £229 /$229, which is far below what we’re used to seeing for lenses of this type. It’s not just the special optical formulation that’s required that can push the price up, but the engineering needed to create a swiveling tilt action that can also be rotated to suit the orientation of the subject. Essentially, with a tilt lens you can change the plane of focus of the…

Misty conditions are a common feature of autumn scenes, and the type of mist that often makes for the best images happens after a clear but cold night. Although it’s hard to predict, we often get a few mornings of misty conditions in a row, so keep a watchful eye on the weather in your area, and get out there before sunrise if you think it’s a possibility. Mist that hugs the ground is often best photographed from a higher vantage point, and shooting into the light as the sun starts to appear can add an extra creative twist to your shots.…

It’s often assumed that good autumnal images can only occur in natural environments. Of course this isn’t the case, but we all think about leaves and colours, and don’t consider how they can be used in context. Although the visual aspects of what we perceive as ‘autumn’ can be short-lived, when it happens, it happens everywhere! That means the warm colours and carpet of fallen leaves give you the opportunity to add seasonal context to manmade environments as well as natural scenes. When the season is underway, revisit familiar urban settings like towns and villages, and capture images that show how their character is transformed under the autumnal veneer.…

Mist is a wonderful mood-setter, but for it to appear naturally, the conditions must be just right. Natural fog only occurs when drops of moisture in the air cool suddenly. The rapid cooling transforms the invisible gas to visible droplets – think of warm breath on a cold day. It happens a lot where warm air above water meets cold land, or when a cold night air falls over warm ground. These kinds of conditions happen fairly often, but if you’re looking for guaranteed atmosphere, why not take matters into your own hands? You might think of a fog machine as a filmmaker’s tool, used in horror films to heighten the atmosphere. But they’re fantastic for stills, too, and they’re not as expensive, nor as difficult to use, as you…

1 CREATE A LEVELS ADJUSTMENT LAYER Open the image and click on the Create new Fill or Adjustment Layer icon (the black and white circle at the bottom of the Layers panel). Select Levels from the menu, and when the dialog box opens, type 200 in the box below the histogram set to 255. Close the box and change the layer blending mode to Multiply. 2 USE A BLACK & WHITE LAYER Click on the Create new Fill or Adjustment Layer icon and select Black & White. When the adjustment layer dialog box opens, close it immediately, because the default settings are perfect, then reduce the opacity of the layer to 40% – this setting is found at the top-right of the Layers panel, and is set to 100%. 3…

BLACK AND WHITE SINK ALEXANDER FENZL “I took this photo in a bathroom at an abandoned go-karting centre.” https://bit.ly/3lnVBrv RING RUSTY STEVE PELLATT “There are many iconic photography locations in Northumberland in northern England, but arguably Holy Island/Lindisfarne is the finest. The island is accessed via a causeway which becomes impassable for several hours at a time.” https://bit.ly/3Nare2m ALSTROEMERIA ANNA UTKINA “I captured this macro image of an alstroemeria, commonly known as the Peruvian lily or lily of the Incas, with my Canon EOS R5 and Canon RF 100mm f/2.8L Macro IS USM.” https://bit.ly/3vdJEYD CHURCH DOORS COVE JEFF GUILE “We were taking a short break in Tenby in southwest Wales when we came across this small secluded cove by chance one evening. We returned the next day, and I took…

If you were to take the same raw photo with two different makes of camera, the chances are that you’d notice slight differences in the way the photos looked when you opened them in Lightroom or Camera Raw. This is because the colours are rendered slightly differently depending on how the raw data is converted to RGB data – so a Canon raw file can look markedly different to one from a Nikon camera, even when all the settings are identical. If you’re not happy with the look of the colours in your photos, the Camera Calibration panel can help. Found in both Adobe Camera Raw and in Lightroom’s Develop module, these controls may not seem immediately useful, but as you’ll discover in this video tutorial they offer a fine…

Every season of the year has its pros and cons when it comes to photographic opportunities, but when you look at autumn’s long list of benefits, you can understand why it’s a time of year that has been getting creative people excited for centuries. As the green canopy of summer begins to evolve into more muted but highly evocative oranges and reds, and the skeletal shapes of trees and woodlands start to appear, the transformation of the natural world seems made for inspirational photography. With sunrise and sunset occurring at more civilised hours, and changeable weather that can bring glorious sunshine one minute and dark, stormy skies the next, autumn’s appeal is undeniable. Of course, there are some downsides. Unpredictable and cooler weather can drive you inside – although on…

1 SHOOT LOW DOWN A big beanbag is the ideal support to rest your camera on, as a tripod may be too high. To frame up on your subject through the viewfinder, you’ll need to be at ground level, so take a groundsheet to protect your clothes. 2 KEEP IT TIDY It’s common for small outdoor subjects to be sprinkled with foreign objects that have been splashed by the rain. This will spoil your shot, so use a small paintbrush and a pair of tweezers to clean up your subject. 3 GET CLOSE WITH A MACRO LENS Some fungi are really small, so you need a lens that can focus close enough to fill the frame. The best option is a macro lens, but you can still get great results…

1 CHECK YOUR HISTOGRAM The camera’s meter is likely to underexpose your misty landscape shot. Take a test shot at the exposure the camera is giving you, and take a look at the brightness histogram. It’s likely that most of the tones will be bunched in the middle of the graph, with very few to the right-hand side. If you have the sun in the frame you may see a highlight peak to the right, but the majority of tones will probably still be in the middle. You need to compensate for this. 2 ADD COMPENSATION Dial in some positive exposure compensation to move the tones to the right and brighten the shot. Start with a setting of +1, and review the result on both the histogram and the LCD…

No photographer can resist the appeal of an autumnal scene reflected in a calm lake, but conditions need to be right for the reflection to have depth and be well-saturated. That means strong lighting from sunlight is required, and ideally this will be early or late in the day when the sun is lower. Although a polarising filter will intensify the colours present, they will also suppress any reflections, so if you have one fitted, you’ll need to back it off to its minimum setting or remove it. One of the trickier aspects of reflection shots is working out where you should place the horizon. It can be tempting to place it in the middle of the frame to show the symmetry between the real and reflected content, but while…

1 HIRE A FOG MACHINE First, get hold of an inexpensive fog machine. You can buy these outright from around £30/$35, or hire them. You also need the liquid for it, which costs about £10/$10 and lasts for ages. The machine takes about five minutes to heat the liquid, then spurts out a stream of fog. 2 POWER IT UP If you don’t want to be restricted to mains sockets, consider getting a power inverter. These turn your car battery into a usable power source (make sure it’s suitable for the wattage of your fog machine). You can even connect this to an extension cable for extra reach. 3 LOOK INTO THE SUN Wait for a still, windless day. A spot with direct sunlight is best, as this results in…

1 CUSTOMISE A GRADIENT Go to the Layers panel, click Create Adjustment Layer and choose Gradient Map. Click the gradient strip, then double-click the ‘colour stop’ icon at the bottom left. Choose a purple (#472084) and click OK. Now, open the colour stop icon opposite and choose a yellow (#FFD200). 2 ADJUST THE COLOURS Reduce the opacity of the layer to 25%. Click Create adjustment layer and choose Solid Color. Select a purple tone (#320227) and click OK. Set the layer’s Blending Mode to Exclusion. Add a Color Balance adjustment layer with extra red and yellow in the midtones and highlights. 3 PAINT A FLARE Click Create New Layer and set the blending mode to Linear Dodge (Add). Next, take the Brush tool, right-click, and set Hardness to 0. Set…

The winners of the 2022 Ocean Photographer of the Year contest have been announced, showcasing a selection of stunning images captured on and below the waves around the world. Ben Thouard from French Polynesia took the title of overall winner for his spectacular image showing a surfer being ‘wiped out’ by one of the biggest waves in the world. The wave, which forms off the southwestern coast of Tahiti in French Polynesia, is known as Teahupo’o, after a local village, which translates to ‘place of skulls’. “This is an unseen part of surfing,” Thouard says of his image. “I have so much respect for both the wave and the surfers, surfing such a heavy wave is a huge challenge.” The Ocean POTY awards feature several categories, including Wildlife, Adventure, Young…

www.canon.co.uk £519/$499 The RF-S 18-150mm f/3.5-6.3 IS STM is an 8.3x super-telephoto zoom that’s been designed for Canon’s new line of APS-C EOS R cameras. With a full-frame equivalent focal range of 28.8-240mm, the lens offers prospective buyers a compact superzoom that’s been designed with the EOS R7 and EOS R10 in mind. Using the same RF mount as full-frame bodies like the Canon EOS R and EOS R5, this new optic can also be mounted on these non-cropped cameras, although it will switch to a cropped shooting mode with reduced resolution – so this course of action isn’t really intended for full-frame users. That aside, the RF-S 18-150mm f/3.5-6.3 IS STM shapes up as a highly capable budget superzoom. Performance While you obviously shouldn’t expect performance on par with…