Indholdsfortegnelse for No. 581 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 Tom shoots in Manual mode when photographing his landscapes and Paul recommended he stay in this mode for wildlife shots too. The weather was rainy and overcast, so the light levels were fairly constant throughout the day. Paul suggested starting with an aperture of around f/8 for good sharpness when shooting the owls, and boosting the ISO until he had the desired shutter speed. Generally 1/2000 sec is a good choice for wildlife, but with more stationary subjects around 1/400 sec is usually fast enough. HIGH-SPEED BURST With landscapes you usually have the luxury of taking your time and firing off just a single exposure. Wildlife photography can be a lot more fast-paced and frantic, so a high-speed burst setting, such as the top 20fps continuous modes on…

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30 MINS Windmills are among the most picturesque man-made structures to be found on the landscape. These once-functional buildings are now mostly relics of a bygone era, but that’s not the case with Wilton Windmill in Wiltshire, UK, which has been lovingly restored and preserved, and still uses the power of the wind to grind grain into flour in the age-old manner. So how can we capture an image that conveys the motion of those magnificent sails? Just as we use ND filters to shoot long exposures that can turn a churning sea into a milky blur or moving clouds into painterly streaks, we can use them to blur moving elements in a scene to capture that movement. In this case, rather than exposures that are several seconds, or minutes,…

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 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 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  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…

Canon has announced three new lenses, including two world-first optics: the RF 200-800mm f/6.3-9 IS USM, which is the first 800mm super-telephoto zoom, and the RF 24-105mm f/2.8L IS USM Z, which increases the range of a 24-70mm trinity lens by 50% while retaining the f/2.8 aperture and optical performance. At the other end of the performance – and price – scale, Canon has announced the RF-S 10-18mm f/4.5-6.3 IS STM, the first ultra-wide lenses for its line of APS-C RF-mount cameras. Canon RF 200-800mm f/6.3-9 IS USM As if the RF 200-800mm’s zoom range wasn’t impressive enough, the lens is also compatible with Canon’s RF 1.4x and 2x teleconverters, giving it an astounding maximum reach of 1600mm. While this is one of Canon’s ‘Big White’ telephotos, possessing weather sealing…

1 EF-EOS R MOUNT ADAPTER Paul recently upgraded to an EOS R5 mirrorless body, and uses the EF-EOS R mount adapter so that he can keep using his older Canon EF lenses. 2 FIND LOCAL HOT SPOTS Find nature reserves close to you that you can visit on a regular basis. Wildlife photography is a numbers game, so the more times you visit a particular location, the more likely you are to bag a top shot. 3 PRACTISE MAKES PERFECT Practise photographing birds in your garden by setting up a makeshift hide with some camouflage netting – you’ll be surprised what you can attract with a basic feeding station. 4 HIRE A LENS For big shoots or a once-in-a-lifetime trip, for example an African safari, consider hiring a high-quality telephoto…

In this issue’s video tutorial we’ll show you how to create striking mono using nothing more than the adjustment sliders and tools in Adobe Camera Raw. As well as enabling you to convert images to mono effectively, Camera Raw also has powerful selective editing tools, enabling you to perform the dodging and burning that are essential for creating contrast in black-and-white images. And because all your edits are non-destructive and fully adjustable, you’ve got lots of scope to experiment. DOWNLOAD THE PROJECT FILES https://bit.ly/3stnqPn ON A PC OR MAC WATCH THE VIDEO http://bit.ly/2f8daco…

PRO PAUL FOWLIE CAMERA: CANON EOS R5 Paul has been a pro wildlife and landscape photographer since 2010. He’s based in Yorkshire, and runs workshops in the Lake District, the Yorkshire Dales, Scotland and Scandinavia, and is also the author of A Year with Nature: A Photographic Guide to Wildlife. We met up with him to visit some of his scenic bird and wildlife hides, to see what wildlife we could shoot on an unusually rainy summer’s day. To book one of Paul’s workshops and see his inspiring images, visit his website at https://bit.ly/3NNxKA4 APPRENTICE TOM LECHTHALER CAMERA: CANON EOS R5 Tom is a keen amateur photographer who’s based in Manchester. He loves the outdoors, and when he’s not working he loves to spend his time photographing landscapes. While he’s…

1 POP-UP WILDLIFE HIDE While Paul has dedicated timber bird-watching hides at many of his sites, he also uses these one man pop-up style hides from Nitehawk. They come in various colours and camouflage options, and conveniently fold away into a backpack for easy transportation. These came in handy when photographing the little owls in the rain, as they allowed us to stay out of the drizzle and remain hidden so we didn’t spook our skittish subjects. 2 SUPER-TELEPHOTO ZOOM When Paul needs to travel light he turns to the Canon RF 100-500mm F4.5-7.1L IS USM, which has a wide-spanning focal range, from 100mm short telephoto to 500mm super-telephoto for zooming in on distant and smaller subjects. It has a focus limiter switch, which makes focusing faster if you know…

The Red Bull Illume Image Quest competition has revealed its 2023 shortlist, showcasing a spectacular selection of adrenalin-fuelled adventure and action sports images and videos. The 250 images cover a vast range of activities, from extreme sports like freediving and parkour to more traditional pursuits such as rock climbing, kayaking, surfing and mountain biking. The international judging panel comprises 52 experts from the worlds of sports and photography. The top 50 shortlisted images will go forward to the finals, and the winners will be announced during a three-day event in Sölden, Austria, starting on November 28, which in addition to the awards ceremony will feature talks, workshops, and opportunities for networking. Click the link to view all the shortlisted images, and to read the inspiring stories of how they were…

www.nikon.co.uk £1,299 /$1,247 The Nikon Z 70-180mm f/2.8 proves that relatively fast f/2.8 constant-aperture telephoto zooms don’t always have to be big and heavy. While most ‘trinity’ wide-angle, standard, and telephoto zooms are hefty affairs, Nikon’s Z 17-28mm f/2.8, Z 28-75mm f/2.8, and Z 70-180mm lenses are relatively compact and lightweight. We were impressed with Tamron’s 70-180mm f/2.8 Di III VXD lens for Sony cameras, and this is essentially a re-engineered version of that lens. One thing lacking in the Z 70-180mm is optical image stabilisation. All Nikon full-frame Z-mount cameras have IBIS (in-body image stabilisation), but it tends to be less effective with telephoto lenses, and while this lens is also a good choice for DX cameras, on which it gives an effective 105-270mm zoom range, those cameras don’t…