Indholdsfortegnelse for No. 551 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…

AV MODE Andrew’s first job was to make sure Dave was using the right camera settings. He set Dave’s Canon EOS R5 to Aperture Priority mode (Av on the mode dial). This is a semi-automatic mode that allows you to choose the aperture, so that you can achieve the desired depth of field required for his shots, and the ISO to control how sensitive the camera is to light; the camera will then set the shutter speed required for a correctly exposed image. If need be you can override the exposure setting by dialing in exposure compensation. SHOOT RAW One of the big advantages of an interchangeable-lens system, whether it’s a DSLR or a mirrorless camera, is that you have the option to shoot raw images. Raw isn’t an acronym…

ANDREW’S COMMENT As the sun came up, we walked towards some groynes at the other end of the beach, and we spotted a young seal pup. There’s always potential for overlap between landscapes and wildlife, so if you’re heading out to shoot either, it’s worth carrying the right lenses to shoot both; a telephoto lens is great for zoomed-in landscapes as well as for wild subjects like this seal. Our pup was a fantastic subject, and stayed incredibly still for us. We stayed at a safe distance, and used our long telephoto lenses to zoom in to get frame-filling portraits. I laid prone on the beach to get eye-level with the seal, so that it was easier to blur the background, especially with a wide aperture, for a more intimate…

DAVE’S COMMENT I had a fantastic day shooting with Andrew. I picked up some invaluable advice, and I was able to take some pictures that I was really proud of. I mainly shoot wildlife using my EOS R5 and Canon RF 100-500mm F4.5-7.1L IS USM lens, and landscape photography has always been a bit of a grey area for me. The two genres often overlap though, so I’ve wanted to find a way to improve my landscape and seascape shots for a while. Andrew has answered many questions I’ve had, and I’m looking forward to putting what I’ve learned into practice and becoming a more well-rounded photographer. ANDREW’S VERDICT Our favourite shot of the day came from shooting the groynes at Happisburgh, where we had the brilliant morning light. Using…

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Photographing the Milky Way can be a tricky pursuit. But when the stars align (literally), the reward is worth it. Your camera can see and capture far more than your own eyes, and I still get excited every time I see my camera’s rear screen light up with the surreal colours and textures of outer space. But to capture a successful Milky Way core requires a bit of planning, and a few key techniques. Thankfully, digital photography – and its ability to capture seemingly endless exposures – has made what was an extremely challenging genre in the days of film far more accessible. With astro, practice makes perfect – even if conditions aren’t ideal – so read on and discover the crucial tips that will guide you towards capturing spectacular…

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…

Sigma has announced three new Contemporary series prime lenses for a range of mounts. Two of the new optics – the 17mm f/4 DG DN and 50mm f/2 DG DN – are full-frame lenses for Sony E and L-Mount, while the 23mm f/1.4 DC DN is an APS-C lens for Sony E, L-Mount and Fujifilm X mount. Alongside the new lenses, the manufacturer has also confirmed pricing and availability for its first ever lenses for Nikon’s Z mount – a trio of F1.4 Contemporary optics – which it announced in February. The Sigma 23mm f/1.4 DC DN C is a crop sensor lens (as indicated by the DC in the product name), which as mentioned, will be available for Sony, Fujifilm and L-Mount. It joins Sigma’s current set of four…

DAVE’S COMMENT I met up with Andrew z Happisburgh at 7am, giving us time to get to the location for sunrise and set up our cameras. We headed to the coast, where you’ll find the Happisburgh lighthouse and its iconic red and white stripes. Shooting it at ground level wasn’t very photogenic, as the grassy foreground was a bit scrappy and muddy, due to it still being winter, but once we’d started walking down the beach, another image presented itself – this time with the brilliant cliffs illuminated by the sunrise, with the lighthouse peering over behind. I used a 70-200mm telephoto lens to zoom in so that I could ensure the lighthouse wouldn’t be lost in the frame, and used a tripod. We waited for some dog walkers to…

DAVE’S COMMENT Further down the beach we arrived at a group of sea defences and groynes. I wanted an image in which the wooden posts were sharp but the water was smooth and blurry. With Andrew’s guidance, I set up my camera on a tripod with my Canon RF 100-500mm F4.5-7.1L IS USM attached, so that I could zoom in on the distant groynes. I then attached my 10-stop ND filter, which meant I could turn a 1/30 sec exposure into 30 seconds. Using Manual mode, I dialled in an aperture of f/14 for strong sharpness throughout, then focused on the closest post to maximise depth of field. PRO TIP CHECK YOUR HISTOGRAM The histogram is a graph that shows the distribution of tones in an image, running from highlights…

1 CHECK THE WEATHER Always check the weather as close to your shoot as possible for the most accurate forecast. I use the Met Office website to check the weather in the UK. 2 SHOOT IN THE RAIN Don’t be perturbed by inclement weather; most camera kit has some degree of weather sealing, and can take a few splashes. Bleak and rainy conditions can often make for dramatic lighting and atmospheric images. 3 EXPAND YOUR DYNAMIC RANGE Cameras can only capture a limited range of tones from shadows to highlights in a single frame. It’s often worth taking a bracket of photos several stops apart, both underexposed and overexposed, then merging them into an ‘HDR’ (high dynamic range) image in software. 4 DRESS FOR THE WEATHER Wear warm and waterproof…

“I SAID BEAT IT!” DOUG GRIFFITH “This is one of a series of images that I called ‘Fun with Blue Jays’, taken at a favourite location in rural West Ottawa, Ontario, Canada. In the winter the jays can be very feisty and competitive, and in this shot one appears to be saying ‘Beat it!’ to another who’s trying to land on the same patch of snow.” http://bit.ly/3K8fA95 MIDNIGHT DIP JOHN BAKER “This photo was taken along the seafront in Plymouth in south-west England. There are many entry steps built into the rocks where people swim from. The weather and light were poor, so I decided to convert this image to mono and add a cold tint to give the impression of night time.” http://bit.ly/3NRscmq SPINNAKER TOWER CARL DANIEL “This is…

DOWNLOAD THE PROJECT FILES https://bit.ly/39mTa1m ON A PC OR MAC WATCH THE VIDEO https://bit.ly/3nu1a6s Photoshop’s Sky Replacement Tool uses machine learning to identify the sky in a landscape image, select it, and replace it with another sky of your choice. As you’ll discover in this video tutorial, you can replace a dull sky with a more exciting one with just a few clicks, and without the need to create complex selections. You can choose from a host of preset skies, including sunsets and dramatic cloud formations, or add skies from your own image collection. Once you’ve added the new sky there are a range of options for adjusting the lighting and colour of both the sky and the landscape. There’s a debate around whether the act of sky replacement tarnishes…

PRO ANDREW JAMES CAMERA: CANON EOS-1D X MARK II & EOS R6 Andrew has more than 20 years’ experience working on photo magazines, and now runs the online photo learning site www.foto-buzz.com, as well as hosting landscape workshops on England’s Norfolk coast. His images have won prestigious photo awards. We met up with him for sunrise at Happisburgh, to shoot some of his favourite spots along the Norfolk coastline. You can see more of Andrew’s work at https://bit.ly/3FXBsCE APPRENTICE DAVE CURLEY CAMERA: CANON EOS R5 Dave was an independent financial adviser for over 40 years and has recently retired, which has given him the time and freedom to get out with his camera and take photos. He’s got a keen passion for photographing wildlife, specialising in otters and birds, but…

ANDREW’S COMMENT After a fantastic morning at Happisburgh, we headed to Cromer to shoot the iconic pier. The lovely weather had seemingly evaporated, and we were left with rainy downpours and dark moody skies. But that’s life, and damp conditions can still make for decent shots and a varied portfolio. Initially I had planned to shoot straight down the pier from above, to include the wonderful foyer and make a symmetrical shot, but the vans surrounding the entrance scuppered my plan. So we moved along the promenade to get this perspective, which crops out the messy pier entrance. A black and white conversion has helped to boost the contrast. EXPERT INSIGHT BULB MODE Neutral-density filters can enable exposure times of up to several minutes, especially when you use a 10-stop…

1 TELEPHOTO ZOOM LENS A zoom with a long telephoto reach may sound like an odd choice for seascapes, but Andrew carries a telephoto lens with him whenever he shoots at the coast. Andrew started the morning shooting on his Canon EF 100-400mm f/4.5-5.6L IS II USM, with a focal length ranging from short telephoto at 100mm to a powerful 400mm at the top end. This makes it possible for Andrew to crop out scrappy foregrounds and focus his composition on a specific focal point, such as a distant lighthouse or details of waves breaking. It’s also handy for shooting any wildlife he may unexpectedly come across. 2 PROFESSIONAL TRIPOD A sturdy tripod is a must-have for anyone looking to get into seascape and landscape photography. It allows you to…

Music photography website So.co has announced the winners of its first Music Photographer of the Year awards, showcasing a stunning selection of images featuring some of the biggest names in rock and pop. Neil Lupin was crowned Music Photographer of the Year by the panel of expert judges. Lupin, whose star-studded portfolio includes images of U2, Oasis, Queen and Metallica, was chosen from a shortlist of 10 photographers who were voted for by the public. Belinda Enthoven won Image of the Year for her picture of Tom Fletcher from McFly striking a classic rock star pose while performing at the O2 in London. Dave Hogan, who has photographed everyone from David Bowie to Lady Gaga, and was the official photographer at Live Aid, won the Legend award. Click the link…

www.panasonic.co.uk £1,999/$1,997 (body only) As someone who’s used the A Lumix S1 since its launch in 2018, and the original Lumix S5 since 2020, I’ve watched Lumix full-frame steadily grow into a system that has rightly become revered among photographers and videographers alike. The one thing that’s held it back from capturing the attention of the masses, however, was the contrast-based Depth-from-Defocus autofocusing system that Panasonic developed and has championed for years, despite much of the competition adopting phase-detection-based AF setups. Uncharacteristically late to the innovation party, Panasonic is aiming the phase hybrid AF-powered Lumix S5 II squarely at “creators” – that annoying tribe of people who make content for a living or a pastime, in the hope of someday turning it into a career. People like me. To win…