Indholdsfortegnelse for No. 615 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…

Sharpening is my secret step – I believe this really brings everything together. No matter how careful you are with retouching, you may realise that a few of the hairs are slightly softer than their neighbours. Start with the Sharpen Tool to go over those areas to add texture (with Mode set to Normal and Strength at 30%). Then, I would usually apply an overall sharpen by going to Filter > Other > High Pass. From there, you can tweak the Radius and preview how much sharpening will be applied before clicking OK. Change the blending mode to Soft Light.…

1 REDUCE THE YELLOWS There is a slight yellow cast to the model’s teeth. To address this, add a Hue/Saturation adjustment layer, select Yellow and reduce the Saturation. Move the Lightness slider to the right to brighten areas containing yellow. 2 MASK TEETH This adjustment reduces yellow across the whole image, spoiling the model’s skin tone. Create a selection around the teeth using a Lasso Tool or Quick Selection Tool. Select the mask, feather the selection and fill with white. 3 TARGET ADJUSTMENTS To maintain natural colour variation, target the strongest yellows by altering the Colour Adjustment range using the sliders at the bottom of the Hue/Saturation dialogue. Avoid sharp gradations by over-restricting the range. 4 LIFT EYE EXPOSURE Create a new layer group and name it Eyes. Now add…

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Road cycling is fast-paced and dynamic, making it a very exciting sport to photograph - learn to navigate the challenges of shooting high-speed subjects and you’ll yield striking and captivating imagery. Advances in autofocus speeds and ISO capabilities have made shooting the sport more accessible than ever, mitigating the need for top-of-the-range gear. Grab your camera body and a long lens, and you’re away. The best cycling images convey a sense of speed and adventure. By adjusting just a couple of key settings you can turn what would otherwise be a slow and pedestrian-looking image into a dramatic shot. It all boils down to conveying movement in a still image – do that and your images will always grab attention. HOW TO PHOTOGRAPH ROAD CYCLING LIKE A PRO 1 SCOUT…

Nikon has announced a 35mm f/1.4 mirrorless lens, just weeks after Canon launched one of its own. And while the lenses have their differences, the biggest one is the price: Nikon’s lens is about a grand cheaper than Canon’s. The Nikkor Z 35mm f/1.4 is Nikon’s long-awaited wide-angle Z system lens, ideal for street photography, reportage and documentary work, carrying a retail price of £649 /$599.95. That compares to the similarly long-awaited Canon RF 35mm f/1.4L VCM with its £1,819.99 / $1,499 / price tag. That’s an £1,170 /$899 difference. Again, they’re very different lenses that do very different things; Canon’s is a premium L-series lens, and one of its new generation of hybrid photo-video optics. Nikon’s, meanwhile, is not even a member of its premium S-series family. Still, if…

1 CREATE TWO COPIES Load your photos into Photoshop and duplicate the image twice, by using the keyboard shortcut Ctrl/Cmd+J, or by right-clicking on the background layer and selecting the ‘Duplicate layer’ option. 2 RENAME AND GROUP Name the top layer ‘High frequency’ (for texture details) and the middle ‘Low frequency’ (colour and tone information). Group the layers by selecting them and pressing Ctrl/Cmd+G. Name the folder ‘Frequency separation’. 3 SET UP LOW-FREQUENCY LAYERS Expand the group folder, turn off visibility for the high frequency layer and select the low frequency layer. Go to Filters > Blur > Gaussian Blur. In the dialog box, set the radius to 5-10 pixels, so that the image looks blurred yet retains its shape. 4 SET UP HIGH-FREQUENCY LAYERS Turn the visibility on for…

1 ASSESS YOUR SHOTS I select shots that require minimal editing, checking for sharp focus and strong composition. If these are acceptable and the hair needs adjustments, I can fix it later. This leaves me free to capture the essence of the moment during the shoot. 2 IDENTIFY CHALLENGES Using Capture One during the session allows me to keep track of images and review them as I shoot. Once I’ve decided what images I want to edit, I start noting down things that need editing, as this will help me in my next steps. 3 ARRANGE LAYERS Start importing images from Adobe Bridge, then create new layers. Pinning layers allows me to go back at any point without having to delete everything and start again. As you get more in-depth…

There are many reasons why you should add a dramatic backdrop to your portraits, whether you’re working for a client or just making images for fun. And, if you follow a few simple steps, it’s easy to do. Firstly, rather than thinking of adding or replacing a backdrop, it’s better to think of pairing a portrait with a new background – they are two halves of the same picture, just as they would be if you had captured them together in the original shot. The lighting, the focusing and the geometry all must work together. Examine the lighting in particular, and make sure it matches up – if the lighting is different for your subject than for the background, the believability is gone. For the shot on the following page,…

FULL MOON WITH CRATERS JIM CUMMING “When photographing a full moon you unfortunately don’t capture a lot of detail in the craters, but when you photograph a half moon you get plenty of detail… so, I put two half moons together, and voila!” https://bit.ly/2S0j71H INDOOR MACRO FLOWER JANE ROBERTSON “An attempt at macro photography that I think came out rather well.” BLACK-CROWNED NIGHT HERON EPPO W. SMIT “Taken at the Kaanapali resort on the Hawaiian island of Maui.” https://bit.ly/3oE7lHo JUST A FEW YARDS UPRIVER DOM HAUGHTON “Taken at the Three Shires Head in England’s Peak District. We deliberately left it until late to come to this very popular spot, only to find that it was still extremely busy at the waterfall area by the bridge that we wanted to shoot.…

Image retouching has become an integral part of the photographer’s workflow. However, with portrait photography in particular, the level of work carried out, and the effects this can have on the representation of the ideal body form, have been heavily scrutinised in the wider media in recent years. On the other hand, most of our subjects expect (indeed, often demand) that we retouch images of them, and so the old saying that everything in moderation is the best solution applies to this genre. Pro photographers understand that sensitivity is required, and therefore, we should always aim to promote our subject’s best qualities. Even when the situation calls for extensive editing, we can still work to retain a sense of authenticity in our portraits. This can be achieved by first defining…

The AI-powered Object Selection Tool has become one of the most useful selection tools in Photoshop. It’s able to recognise the content of your photos, and seek out the edges of objects, enabling you make a precise selection of even tricky subjects within seconds. If you hover over objects within an image and the tool displays you a handy overlay preview to show what will be included; you then simply click on the area to make a selection. You can go on to cut out the area, or apply a selective adjustment, use filters, or make any other changes. In this issue’s video tutorial we’ll show you how to use the tool to make the leopard and cub stand out from their surroundings, by blurring and toning the background. They’re…

www.sigmauk.com £1,299 /$1,399 Sigma lenses have long impressed me, ever since the 35mm film days of my youth. However, everything shifted up a gear in 2012 with the advent of the company’s ‘Global Vision’ lineup of Art, Contemporary and Sports lenses. The new Sigma 50mm F1.2 prime is definitely of the Art variety, designed to maximise creative expression, and takes on all comers in a bid to be one of the best lenses for Sony cameras and L-mount cameras on the market. There’s actually no shortage of Sigma 50mm lenses available in E-mount and L-mount. I’ve already been won over by the slightly slower Sigma 50mm F1.4 DG DN Art, and the relatively small, fun-sized Sigma 50mm F2 DG DN Contemporary primes. In the E-mount camp, the fully fast f/1.2…