Innehållsförteckning för No. 349 från 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 the best new 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 – your photo might even appear on our cover! JOIN THE PHOTOGRAPHY WEEK COMMUNITY AND START SHARING! FACEBOOK http://tiny.cc/7s2zgy TWITTER…

There are many factors that can influence the dynamic range of a camera, most of which are technical, and certainly not essential knowledge for camera users. But it’s advantageous to understand the way in which cameras detect light. and how this relates to the dynamic range of your own camera. In order for detail to be reproduced in a digital image, enough light must fall on the sensor to expose it sufficiently for the current sensitivity. If this isn’t set high enough, or it’s already at the maximum native ISO value, then no digital signal will be created, producing a textureless, ‘blocked’ shadow area. At the other extreme, if a pixel fills with light too quickly it will stop capturing information for the remainder of the exposure, resulting in a…

The dynamic range of a camera is a fixed attribute that a photographer can do little to control. The capabilities of the internal components of the camera define the limits within which you must work to create a successful image. However, the difficulties you might experience will vary depending on the lighting present in the scene that you’re attempting to photograph. The direction of light, its colour and its intensity all combine to challenge us and our photographic equipment in different ways. These variables are influenced by the time of day, shooting location, camera position and level of light diffusion, in addition to the type and nature of the subject. The angle at which light enters, crosses and interacts with objects within the frame alters the degree of visible contrast…

1 APPLY STANDARD RAW PROCESSING Open your bracketed exposures in a raw editor and sync files. In Adobe Camera Raw select the required images, click Synchronize and choose all parameters. Apply distortion, chromatic aberration and vignetting correction. 2 CREATE HDR Click Open Images to move into Photoshop. Separate exposures will open as individual documents. Go to File > Automate > Merge to HDR Pro, choose Add Open Files to select your lens-corrected series, select all documents and click OK. 3 SAVE A 32-BIT FILE Change the mode to 32 bit. This will bring up a simplified window. Leave all settings at their default position. The preview image may look poorly exposed, but this will be addressed later. Click OK, then save the merged file as a TIFF. 4 COMPRESS RANGE Reopen this…

Street photography is not only an immensely popular genre, it’s also among the oldest of all the photographic genres – it was back in 1838 that Louis Daguerre shot his famous photo of Boulevard du Temple in Paris, which is acknowledge to be the first photo ever to show a human being. Now YouTuber Guy Jones has created a captivating 20-minute video that celebrates the history of street photography in 182 images – one for each year from 1838 to 2019, set to a soundtrack of music from the various time periods and recording changes in fashion, architecture, transport and more. Click the link to watch the video, entitled Street Photography – A Photo For Every Year. You can see more of Jones’s fascinating historical videos at his YouTube channel…

Peak Design, the accessory maker known for its camera bags, straps and innovative clips that simplify carrying your kit, has unveiled its first tripod. The Peak Design Travel Tripod is described as the product of a complete re-examination of traditional tripod design. The idea was to eliminate the dead space within the typical tripod, and the result is billed as the “world’s most portable, packable, and easy-to-set up tripod”. While it’s marketed as a travel tripod, and has a maximum extension of 152.4cm with the centre column raised, the legs don’t invert in the same way as on most travel tripods, but follow the more conventional design for speedy set-up. The tripod can support 9.1kg in total, which satisfies the vast majority of DSLR/mirrorless camera and lens combinations, and collapses…

In terms of difficulty, highlight management is arguably more challenging than shadow retention, since loss of detail is not only influenced by exposure but also by the limitations of pixel capacity. Once a photosite is saturated with light it will no longer capture detail, and essentially becomes redundant. If a pixel is allowed to saturate it will introduce a point of pure white into the digital image, with a tonal value of 255. This is not seen in the natural world, so any area of pure white will degrade the credibility of the shot and can act as a distraction to the viewer if left unchecked. Once a highlight has ‘blown’ detail, it can’t be recovered, whereas there is often some usable luminance captured in shadow areas. Furthermore, bright sunlight…

Other than speed of operation, dynamic range is the largest limitation to creativity imposed by our camera equipment. For every image we take we are working within the boundaries set by our target of retaining adequate shadow and highlight detail, which inevitably introduces an element of standardisation to the photographic process. In some commercial settings this may not pose too much of a problem, but if the intention is to produce a unique style, for standout images, this approach may prove overly formulaic. While capturing a full range of detail is imperative in the pursuit of technical perfection, there are occasions when choosing to push exposure to the limits of the dynamic range and beyond can be used for dramatic effect. Stripping detail from the sky to create a solid…

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1 HOUR A tripod has two sections: the legs and the head. While the legs provide support, the head facilitates the movement of your camera once it’s fixed to the legs, and this is an equally important part of the setup that you need to choose carefully, because this is the part you’ll mostly be adjusting as you compose your images, using the legs for stability and levelling. In this tutorial we’ll be covering the basics of tripod head use, and the different kinds of head you’re likely to come across There are several different kinds of heads, but there’s no one-head-fits-all solution, as each has a specific use. Some tripods come with heads as part of the package, but you can also buy the legs and head separately. Cheap…

Regardless of the development of photographic technology and image-capture processes, the essentials of producing a photograph do not change, and have remained constant since the earliest days of the medium. With a standard camera we are attempting to capture light in a small range of wavelengths, which only constitute a narrow selection of the full electromagnetic spectrum. While we are specifically targeting visible light – wavelengths between 380 and 700 nanometres, which the human eye is able to detect – light intensity is independent of this, and can present a challenge to imaging equipment. Even the highest-quality film emulsions and most advanced digital sensors are limited by the maximum and minimum quantity of light they are able to process in a single frame, and this is known as dynamic range…

While highlight clipping is caused by an excess of light, dark shadow areas are a result of a deficit of exposure. Although preference should be given to preserving the highlights in a scene, this will often result in underexposed shadows. Generally speaking these are less unsightly than pure white skies or sunlight hotspots, but widespread blocks of darkness can create an unbalanced composition and detract from the intended subject. As previously discussed, it’s easier to recover shadow detail in post-processing, since clipping is less common, but there are other considerations when choosing how this extreme of the tonal range should be represented in your images. First and foremost there is the signal-to-noise ratio, a phenomenon unique to digital imaging that directly impacts the perceived quality of the file. Colour and…

1 SELECT YOUR GEAR There’s no perfect camera, but choosing a package that’s capable of producing high-resolution images will help when recovering tones during editing. A sturdy tripod, ball head, L-bracket and ND grad filters are also important companions, since long exposure images are often utilised in this genre. 2 LOCATION, WEATHER AND TIMING Researching a location by using online maps is a great way to plan an image prior to arriving. Visit at varying times of the day to determine the time with the most impactful lighting. Closely monitor the weather; cloudy, overcast days are excellent conditions for high-contrast photos. 3 COMPOSE, FOCUS AND EXPOSE Look for distinctive textures, forms and shapes – combining architectural angles and lines with an interesting sky is a great starting point. For tack-sharp images…

This scene of Lake Bled in Slovenia looks like it’s come out of a fairy tale, so we’ve given it a suitably enchanting treatment: black-and-white infrared. Genuine infrared images can only be captured in-camera, using either a dense IR filter or an IR-converted spare camera; but the glowing white foliage, dark skies and fine grain that are characteristic of infrared images are fairly easy to replicate in Photoshop, using a combination of tonal tools and simple filter effects, as you’ll discover in this issue’s video tutorial. DOWNLOAD THE PROJECT FILES http://tiny.cc/ted06y ON A PC OR MAC WATCH THE VIDEO http://bit.ly/2pk7bix WANT MORE PHOTOSHOP TUTORIALS? CHECK OUT PRACTICAL PHOTOSHOP For more Photoshop tutorials, tips and advice subscribe to Practical Photoshop, the world’s premier Photoshop magazine. Each month you’ll find an array…