Indholdsfortegnelse for No. 622 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…

TV MODE FOR MOVEMENT Although Mark was confident in using Manual mode for photographing landscapes, setting his aperture and shutter speed independently, Jakob suggested that he use the Shutter priority (Tv) mode so that he could enter a fast shutter speed of at least 1/1000 sec. His Canon EOS 5D Mark IV DSLR would then set the aperture automatically for a good exposure. Shutter speeds like this are crucial for freezing the fast race cars on the track. HIGH ISO FOR FAST ACTION Mark was used to setting his ISO at around 100-200 and using a tripod for his scenic photography, as it doesn’t matter how long his exposures are. However, Jakob advised him that when shooting motorsports he needed fast shutter speeds, and to achieve 1/1000 sec to 1/5000…

TRACKING SHOT AT DONINGTON PARK During a BTCC media day, I sat in the boot of a car to capture this tracking shot of the racers through the chicane. A slow shutter speed of 1/25 sec makes it look faster and more dynamic. SUNRISE AT LE MANS Shot with an EF 500mm f/4L with my Canon EF 1.4x III Extender to get the magnification to compress the shot so the car and sun are both big in shot. I exposed for the sun so the car was silhouetted. EUROPEAN LE MANS SERIES Working against the clock, I had to be very clear with my planning, and used a Canon 24-105mm lens to shoot wide enough. I dialled in -1.33 EV to underexpose the dark sky, just before an almighty downpour…

Photographers around the world have been capturing some stunning images of the northern lights in recent weeks, but these are among the most spectacular we’ve seen – and they were taken from 250 above the Earth. The images were captured by NASA astronaut Matthew Dominick, who’s become something of a star on X (formerly Twitter) for the stunning photographs he’s taken from orbit since he joined the crew of the International Space Station (ISS) in March. He recently captured a stunning set of aurora images, including a particularly striking shot of the Russian Soyuz spacecraft that’s currently docked at the ISS with the ethereal green glow of aurora in the background (above, top-left). Click the link to read more about Dominick’s photographic escapades, and to watch a video of how…

1 CROP TO THE EDGES You’ll probably need to crop the image to the proportions of the artwork, but you may find that the camera was not perfectly level or parallel to the artwork. Try using the Perspective Crop Tool in Photoshop. This allows you to plot points in the four corners of the painting, then crop to make it perfectly rectangular. 2 DROP SHADOW Consider adding a drop shadow, which can help the art stand out. In Photoshop, crop to the edges then duplicate the layer (Cmd/Ctrl+J). Go to Image > Canvas Size to extend the canvas. Click the FX icon in the Layers panel and choose Drop Shadow, enter the required settings and drag to change the shadow’s angle. 3 TRY UPSIZING You may need to reproduce something…

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…

Fujifilm has announced two new limited-edition Instax Mini Evo designs, which will be available in bundles as part of the company’s 90th birthday celebrations. The bundles come with a Instax Mini Evo in one of two limited-edition colours: Dark Silver or Titanium Gold, and each camera comes with a matching lens cap and camera strap, along with a camera case and “special packaging”. Internally the cameras are exactly the same as the standard Mini Evo – which is already available in silver / black and silver / brown if those are more your style. But to us, the new limited editions are more reminiscent of Fujifilm X-series cameras. The Dark Silver reminds us of the sexy Charcoal Silver Fujifilm X-T50, while the Titanium Gold brings back memories of the Champagne…

1 BE PREPARED A day at the track is a long day. Make sure you’ve got plenty of spare memory cards and batteries, plus sun cream, a hat, and food and drink. Waterproof shoes are also a must. 2 PLAN YOUR DAY Work out in advance where the sun will be for each race, and what corners make for a great shot. Look at previous events at the circuit and, if there’s time, walk the track to check which areas you can and can’t access. 3 WATCH YOUR BACKGROUNDS The car or driver may be the main subject, but one distraction in the background may make or break the image. Especially when shooting for clients, you can’t have any rival sponsors in the image. 4 WHETHER THE WEATHER Wet days…

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Whether you want to capture a painting like the one above, digitise some old prints, or reproduce any kind of canvas, there’s real skill in copying artwork with your camera. Not only do you need the colours to be accurate, you also need to master the spread, angle and quality of the light to minimise glare and show the work at its best. This painting by the artist Bryan Hanlon has a wonderfully subtle colour palette, and to reproduce the painting in print and digital form, it needs to be captured in the right way. It starts with your choice of camera, lens and exposure settings. Then comes the lighting – and having the right setup can make all the difference. You’ll need two lights, and if reflections and glare…

If you want accurate colours, you need to invest in a calibrated colour chart. The Calibrite ColorChecker Passport we used isn’t cheap, but it is very accurate. After taking a raw photo with the chart in shot, we can use the bundled software to create a profile. If you have an Adobe account, the Profile is saved in the Adobe Profiles folder on your drive. When you next open Lightroom or Photoshop’s Camera Raw the profile will be listed in the Profile Browser, ready to be applied to other images. DxO PhotoLab 7 (and above) has a dedicated calibration tool that streamlines the process: simply choose the chart from the list in PhotoLab, drag a grid around it in the image, and save the profile. You’ll need to take a…

THE PRO JAKOB EBREY CAMERA: CANON EOS R3 & R5 Jakob, 46, is one of the UK’s leading motorsports photographers. He established JEP, which is now the leading motorsports photography agency in the UK, in 1999. The multi award-winning JEP team specialises in coverage of events for championships, manufacturers, teams, drivers and sponsors. Since 2003, Jakob has been based at UK’s Silverstone race track. www.jakobebrey.com THE APPRENTICE MARK SEARLE CAMERA: CANON EOS 5D MK IV Mark, 63, is a retired lecturer. He travelled extensively overseas for work, and to make his downtime more interesting he bought a Canon EOS 750D. After a few years this led to an upgrade to a 5D Mark IV. Mark enjoys woodland, landscape and cityscape photography, but he wants to try his hand at fast-action…

NORTHERN PARULA HUNTING FOR INSECTS JIM CUMMING “It was warbler season this spring around the Ottawa area, and I was happy to find this male northern parula searching for a meal on a beautiful morning.” https://bit.ly/2S0j71H PICK’N’MIX NICK STRONG “These wave-washed pebbles on Pennan Beach in Aberdeenshire, Scotland, reminded me of the old pick’n’mix sweets.” https://bit.ly/3tXh6GI STRAW ARMY STEVEN BULMAN “Hay bales in a field in the Shuswap region of British Columbia in Canada.” https://bit.ly/3xvRTkC RED-WINGED BLACKBIRD SHANNON O’SHEA “I photographed this red-winged blackbird at the Orlando Wetlands Park in Florida.” https://bit.ly/3nVYfED FACEBOOK http://bit.ly/39py9lg FLICKR http://bit.ly/2VIgsJO PHOTOGRAPHY WEEK WANTS YOUR PHOTOS! Taken a portrait you’re particularly proud of? Shot a sensational sunset you’d like to show off? Then join the Photography Week Facebook community and share your best photos today!…

1 LIGHTING For the perfect copy-work setup you need two lights. We used Elinchrom flash heads, placed at 45 degrees to the painting on either side so that the light was angled across the surface and didn’t bounce back at the camera. Ensure they’re at the same distance from the painting, and set to the same power. 2 POLARISING SHEETS Placing a pair of polarising sheets over our lights lets us eradicate reflections. These are inexpensive, and can be bought online. Get at least two to polarise two light sources, and make sure they cover the entire light. Both sheets must be oriented the same way so the light is polarised at the same angle. 3 CIRCULAR POLARISER Our lens is fitted with a circular polarising filter, which works in…

The Filter Gallery is a creative hub for an abundance of effects in Photoshop. If you’re looking for a different look or a fun treatment, you’ll find plenty of vibrant options here. These are Photoshop’s more creative filters, as opposed to the image-editing/enhancement filters found in the Blur Gallery, for example. Among other things they can be used to give your image a pencil-sketch look, a painterly finish, or a pattern-like texture. All the filters in the Filter Gallery work by altering pixels using universal algorithms, so the effects aren’t tailored towards the content of the image, but rather the makeup of the pixel values, and as such, effects can sometimes seem tacky or generic. One way you can combat this is by combining several filters, as we’ve done in…

www.fujifilm-x.com £1,299/$1,399 (body-only) There was a time when a certain phone manufacturer would release tame S-versions of its flagship phones in between major numerical releases, both as a refinement of the previous model and to build momentum for the next big update. When Fujifilm opted to name the X-T30’s successor not the X-T40, but the X-T30 II, it felt like a refined but tame update to see Fujifilm through, and on which to debut a smattering of updates ahead of the next model. It’s safe to say, however, that the X-T50 is not another simple refinement. It has received big updates, both inside and out, which should put this camera firmly on the radar of anyone who’s looking for a premium retro-styled model. Traditionally, the X-T30 II and its predecessors…