Indholdsfortegnelse for No. 564 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…

When you’re photographing seascapes with long shutter speeds, the challenge is to balance the exposure correctly. This is where neutral density (ND) filters come in, allowing you to extend exposure times. ND filters come in different strengths for different lighting situations, enabling you to shoot long exposures without the risk of clipping highlights. Where extremely long shutter speeds are needed, simply combine two or more ND filters. Sometimes, the background and foreground need different exposure times to emphasise the dynamics of the scene. Graduated ND (GND) filters help here, as they feature a brightness gradient from top to bottom, and are typical used to allow you to correctly expose a darker landscape without overexposing the sky. Another essential filter for seascapes is a polariser, which is used to intensify blue…

1 USE THE RULE OF THIRDS You don’t have to put the main element in the centre of the frame, and placing subjects along the rule of thirds grid lines or at their intersections is very effective. One good strategy for coastal shots is to place the horizon on either the upper or lower gird line, so the sky fills the top third or two-thirds of the frame. 2 INCLUDE LEADING LINES Look for lines in the scene – either man-made elements like roads or natural features. These act as powerful compositional tools, leading the viewer into the scene. To maximise impact, try different angles and vary the orientation. 3 GET LOW Instead of capturing the scene as we normally perceive it, try lowering the perspective. This technique frames the…

BLEND IT Maximise the colour depth by working in 16-bit mode. You can gain full control and blend exposures manually with layer masks and brush tools. You can also use Photoshop’s Photomerge function to blend and eliminate ghost elements. REDUCE FLARE The Clone Stamp and Spot Healing Brush are both great tools for correcting any distracting flare. You can also add a Hue/Saturation adjustment layer, select an appropriate colour range and adjust the lightness sliders until the flare is removed. WORK ON COLOURS Optimise the atmosphere in your images by subtly adjusting colour using the Hue and Saturation controls. Photoshop als offers a raw filter option that allows you to specifically correct the colours according to your preferences. FINE-TUNE Enhance the overall contrast of the image by concentrating on the…

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A burst of flash lets us freeze motion, and a long exposure lets us create motion blur. Both are great skills to learn in their own right, but if you’re looking for a creative approach to action shots, the slow sync flash technique lets us have it all in a single frame. Sometimes called shutter dragging, this is where we use a flash with a longer-than-normal exposure to introduce motion blur. It’s a great trick to try for action or sports subjects, like our taekwondo expert here. By using a combination of flash and gelled LED lighting, we can create streaks of blur to convey the movement of the subject, along with flash to freeze the motion. Whenever we use flash, we’re effectively making two exposures in one. First there’s…

As well as blurring the motion of a subject, we can also use camera motion to create blur. For this shot we had the subject stay still, and I panned the camera from one side to another to create the blur. There are lots of other ways to get creative with shutter drag too. If you have a zoom lens you can get interesting results by zooming in or out during the exposure. You could also try including other lights in the frame, like fairy lights or coloured LEDs. To take it further, why not experiment by firing the flash at different points, like halfway through the exposure? Or perhaps experiment by having your constant lights pulse so that the blur is staccato. When you start to experiment, you’ll find…

The coast is the perfect place for taking spectacular pictures. The aim of the photographer should be to combine the beauty of the coastal landscape with its unique atmosphere in one image, and this often presents many challenges, as the environment can be harsh and the power of nature overwhelming at times, especially if you’re unfamiliar with the area in which you’re shooting. Planning is therefore one of the most important things, along with a technical understanding of how to compose shots and highlight colour. The secret to coastal photography is to engage with the surroundings so you can avoid creating images that the world has already seen. Coastal landscapes consist of a multitude of elements that are just waiting to be staged – that’s why it’s vital to pay…

WIDE-ANGLE With an angle of view of between 64 and 84 degrees, a wide-angle lens captures the entire scene and allows for a broad depth of field. Lenses such as the Canon RF 15-35mm f/2.8L IS USM are perfect for highlighting subjects at different distances while also bringing out elements in the foreground. ZOOM Zoom lenses are workhorses, opening up new perspectives with their versatile focal length range – with the Sigma 70-200mm f/2.8 DG OS HSM, for example, you can zoom in on isolated coastal features to put them in the spotlight. Zooms have a wide range of uses and are great for different genres, so they’re worth the investment. TELEPHOTO A telephoto lens such as the Tokina SZ 300mm PRO Reflex F7.1 MF CF compresses a scene visually…

Coastal areas are often vast landscapes, and at first this may feel overwhelming. Focus on a suitable composition that reflects the atmosphere and captivates the viewer; as with many other types of compositions, at the coast, less can often be more. When you arrive at an unfamiliar location, it’s important to first take in your surroundings. Focus on an area that you want to photograph and set up your tripod. A tripod is an essential tool in coastal photography, as it not only supports your camera for shake-free shots and long exposures, but also helps slow down your working process. To create balanced and powerful compositions, avoid trying to bring too many aspects into the frame, as this can be distracting for the viewer. Look out for any prominent features…

To enhance the effectiveness of your coastal images, an understanding of tonal range is essential. Both when you’re shooting and in post-production, the histogram will become your new best friend. The histogram displays the darkest tones in an image on the left, with the lightest tones on the right. The tonal range of a scene can be divided into five sections – blacks, shadows, midtones, highlights and whites. Generally, darker tones and bright highlights should not be ‘clipped’ on the histogram, as this means detail is lost in those areas. But some coastal shots can benefit from deep blacks and increased contrast – indeed, photographers often shoot against the sun to create stylish silhouettes. Lighting conditions in coastal areas can be challenging, and high-contrast scenes may require you to shoot…

Paul, tell us a bit about yourself and your photographic journey From a young age, I have always had an interest in photography – not what I would call ‘proper’ photography, but just point-and-click stuff in my early teens. I was at Art College in Belfast, and there I started learning photography as a medium. After I graduated, I took a job that wasn’t creative at all and fell away from photography. But in 2010 I joined a local camera club and it sparked my creative interest again. Ever since then, I have worked hard at developing my craft. What do you especially look for when you are capturing the beauty of coasts? I love making images by the sea – I’m drawn to water. Firstly, you have to be…

SHAGS GEORGE HART “A pair of shags photographed at the Bullers of Buchan, a collapsed sea cave close to the village of the same name in Aberdeenshire, Scotland.” https://bit.ly/3CSP6oH ANEMONE HELEN GEORGE “I photographed this anemone in high key, placing it in front of a window with a backdrop of mixed violas that were outside in the garden, which created a dreamy pastel bokeh. I used the macro setting on my Panasonic DMC-FZ1000.” https://bit.ly/44olETi LUMIERE DAVID MILLICAN “I shot this at the Lumiere Festival in Durham, England.” http://bit.ly/38lr7Q7 NOT SO WINDY POST PAUL HOPKINS “Used as a marker to guide medieval travellers going from Buckfast to Tavistock in Devon, England, this granite post has stood its lonely watch for centuries. It’s thought to have been erected in the 1400s, and…

1 DARK ROOM We need our backdrop to be as dark as possible, so that the only ambient light is coming from our LEDs. Either close all the curtains, or shoot outside at night. A plain, dark background will ensure the blur is as clear as possible. We fastened some black material for the background and floor. 2 CONSTANT LIGHTS The constant lights shining here illuminate the subject from behind to the right side as he moves. Effectively, they’re for the blurry part of the long exposure. We’ve used two LED lights here, one fitted with a red gel, the other fitted with a snoot to control the spread of light and set to create a warm colour. 3 FLASHES Two flashes are placed to the left of the subject…

If you’re wondering whether artificial intelligence will lead to the death of photography, here’s a good news story: AI is amazing at fixing noisy photos. We tested Adobe’s new AI-powered Denoise function on several noisy, high-ISO images. Our bird photo is a proper test – a heavily cropped, underexposed image shot in a dark forest at ISO 25,600. The Denoise Tool worked wonders on this and other grainy photos, giving better results than with Photoshop’s older manual noise tools. As you’ll see in this video tutorial, the tool is particularly effective at preventing colours from bleeding into one another. In our photo, the original colours were barely perceptible but the tool pulled out the blues and reds in the subject to an astonishing degree, and cleaned up and revealed details…

When you’re shooting by the coast, the weather conditions can quickly turn harsh. Wind, water and sand are among the biggest enemies of your optical or electronic kit. To weatherproof the camera, invest in a rain cover for protection. Depending on where you’re shooting, sea spray can also be an issue. One popular technique for protecting the lens – using an extra UV filter and taking it off just before shooting – is inconvenient when you’re shooting seascapes. When you’re working with long exposures and other filters it can soon become fiddly and add to the challenges you already face – and although you can use both a UV filter and, for example, and ND filter, the quality of your images may suffer. So always keep a microfibre lens cloth…

When it comes to coastal W photography, the right location, light and timing are crucial. Every country that has a coastline has well-known locations that are popular with landscape photographers. If you choose to visit such places, be prepared for them to be busy with tourists – and you’re also likely to be elbow to elbow (or tripod to tripod) with other photographers. While such spots give you the advantage of knowing the best places and angles to shoot from, they also restrict your freedom to compose and may be counterproductive, especially if you’re still honing your skills. Instead, look for places that are diverse and offer a variety of photo opportunities. This way, you can be creative and flexible, which will be reflected in your photographs. Once you’ve found…

One of the most important elements of coastal photography is the horizon – if this is not straight, the shot loses impact. The grid feature in your camera menu, or solutions such as Nikon’s ‘Virtual Horizon’ function mean you can see the horizon on screen, making it easier to compose. Pay attention to focal lengths, as some can introduce lens distortion. If you’re using a wide-angle lens, avoid shooting upwards or downwards and; if working with a telephoto lens, the compressed perspective will show little distortion.…

While much of the coastal landscape is static, you can introduce an element of movement into your images by shooting close to the sea shore. Capturing the movement of the tide by using long exposures will illustrate the flow of the water around rocks and other objects. 1 EXPERIMENT Start by trying out different framing options. Set up your tripod, placing paper plates or cardboard under the legs to prevent them from sinking into the sand. Use a lower perspective to improve the water dynamics and stretch the horizon. 2 SECURE CAMERA Mount your camera on the tripod and use a remote shutter release to avoid any camera shake when working with long shutter speeds. Depending on the wind conditions, you may need to add weight to the tripod to…

The winners of the 2023 Prince Albert II of Monaco Foundation Environmental Photography Award have been announced. The competition, which is in its third year, was established to celebrate photographers who help to raise awareness of environmental issues, with entrants invited to explore humanity’s relationship with nature. The images range from the beautiful and inspiring to photos that highlight the darker side of man’s impact on wildlife and the environment. This year’s competition received an overwhelming response, with more than 2,300 photographers from around the world submitting some 10,000 images across five categories: Polar Wonders, Into the Forest, Ocean Worlds, Humanity Versus Nature, and Change Makers: Reasons for Hope. Click the link to see all the winning and shortlisted images from this year’s awards at the competition website. SEE MORE…

1 ENHANCE COLOURS Open the image in Camera Raw or Lightroom and hit K for the Adjustment Brush. Paint roughly over the blurry parts of the scene to create a mask, then try increasing the Clarity value to crisp up the flowing lines for more defined blur. You can also lighten or darken the blur using the tool. 2 TIDY THE EDGES There are likely to be parts of the frame that look messy, either because you’ve included areas of backdrop or because of lens flare. Hitting K again will create another brush mask. Paint around the messy areas, then decrease Exposure to darken them. Repeat, if necessary, until they’re fully black. 3 CHECK THE SHADOWS Use Photoshop’s Burn Tool set to Range: Shadows to ensure the backdrop is fully…

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