Innehållsförteckning för No. 352 från Photography Week

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When we seek to enhance the light in our files, it’s often because the existing light is dull, drab and murky. If there’s not a lot of contrast or colour, the landscape can look a little grey and lifeless. There can be some good news if you are shooting in uninspiring light, however. If the scene is relatively low in contrast, due to overcast or shadowy conditions, this low-contrast light can be easily captured by our camera sensors, without losing important tonal information in the highlights and shadows. However, keep an eye on the histogram to ensure that what you are capturing is optimised for later use in post. If you rely on automatic metering, cameras generally place these dull tones in the middle of the histogram and darker tones…

When you introduce compositing into your workflow, you also introduce many new ways of enhancing the light. For instance, if you like the way Mother Nature illuminates the scene, the technique may involve locking off your camera on a tripod and taking a series of images over a period of minutes or hours. As the light changes in different parts of the landscape, an exposure is taken. Then in post-production, the images are combined and the areas with the best light are revealed using layers and masks. It’s time-consuming to capture the images, but it’s relatively straightforward to process because all the files are in registration. This approach can be extended by combining two or more landscapes together, although there can be challenges where the two landscapes meet. Sometimes a…

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1 EVENING Light painting is a great way to get into long‑exposure photography, and offers up a world in which we can control light and shape it to suit our needs. Most of the time we’ll use a powerful torch in low light or at night to visually paint a scene, and the results can be spectacular. However, in this project we’re going to take a different approach, and place gelled torches in hollow plastic rods covered in translucent paper to create a light wand that features heavily in the creation of the final image. The torch we’re using also has a stroboscopic effect built in, and we’re using this to mimic a style reminiscent of 1980s film posters. Think of films like Tron and The Terminator, in which the…

Sony has beefed up its E-mount lens range with two new telephoto optics aimed at sports and wildlife photographers, the FE 600mm f/4 GM OSS and FE 200-600mm f/5.6-6.3 G OSS. While the pro-specced 600mm G-Master prime lens, of which more shortly, might be getting a lot of the attention, it’s the more affordable 200-600mm f/5.6-6.3 optic that will no doubt end up being adopted by more photographers. While it lacks some of the fanciness of its stablemate, it’s almost a sixth of the price, but is still loaded with a slew of tech to keep the sports, wildlife and nature photographer happy. Five extra low dispersion elements join a single aspherical element to keep aberrations to a minimum, with a Nano AR coating applied to boost light transmission. Eleven…

Most photographers use Photoshop, Lightroom or Capture One to edit their files, although there are a number of new apps on the market that are very attractive and well priced. Fortunately, when it comes to learning how to use layers, adjustment layers and adjustment brushes, the basic technique is exactly the same, and can be applied to most image-editing software. Any differences are limited to the way the menus and tools operate in your preferred software. There are some advantages in learning how to use Photoshop rather than Lightroom or Capture One, however, because of the extra control you have over masks, and the types of adjustments you can make. For instance, if you need to make a very precise mask that reveals a hill or tree but hides the…

There may be times when a landscape simply has too much light, perhaps on bright sunny days without a cloud or a shadow to be seen. Add in top or front lighting and the resulting landscape can be a tad boring. In fact, this typifies what we’re taught to avoid as landscape photographers yet, as with poor weather, sometimes we need to shoot what we are presented with. We can learn a technique from portrait photographers when working outdoors or under harsh studio lighting: base the final exposure on the highlights and let everything else darken down naturally. The technique begins exactly the same in that we need to ensure our capture exposure is correct and definitely not clipping the highlights – retaining detail in the highlights is very important.…

As the name suggests, the Dehaze command reduces atmospheric haze in landscape images. Found within Lightroom and Photoshop’s Camera Raw workspace, the command is a slider that not only lets you reduce the haze, but also allows you to go the other way and make your photos look more hazy. Of course, the effect isn’t a magic trick that actually eradicates haziness. Instead, it works by applying a boost in contrast and sharpness to a specific part of the tonal range – the part that usually correlates with hazy highlights in landscapes. As such, we can exploit the effect not just for hazy scenes, but also for other types of shots where we might want to use the boost in contrast and detail in other, equally effective ways. Take the…

We all know that the best landscape photographs require great light, but we also know that, unfortunately, the ideal light isn’t always present when we need it. If we live close to a location, or perhaps we visit each year for holidays, then making numerous return visits to get the best light at the right time of day, the right time of year, and with the right weather conditions is possible, and can prove to be a worthwhile project. But what if you only get one chance to photograph a great landscape? What if you’re travelling overseas and you’re unlikely to ever visit the location again? There is no ‘what if’ – you take your photographs, and hope you can do ‘a little something’ with the files when you get…

There are no rights or wrongs when it comes to digitally adding light to a landscape, but there are lots of opinions. Certainly, if you add to light that’s already present in the landscape you’re more likely to end up with a result that’s natural and believable. Compare this to a scene in which the prevailing lighting direction is from one side and you introduce light onto a tree or a rock from the opposite direction. It might be a creative outcome, and it might be what you want to achieve, but it won’t look natural. For some photographers, creating a result that is absolutely believable is paramount, while for others this is less important. It’s interesting to listen to photographers debate the merits of post-production. Images will be denigrated…

Why? “Because we can.” That was Nikon’s reasoning for creating a spectacular 8K timelapse movie, entitled Earth, Wind & Inspire, using footage shot at dozens of locations across North America with four of its Z 7 full-frame mirrorless cameras and no less than 50 Nikkor lenses of various vintages. The footage was shot separately by two Nikon staffers, Mark Kettenhofen and Chris Ogonek. Kettenhofen chose to visit some of his “bucket list” locations in the US, including Mount Rainier National Park and Bears Ears National Monument, while Ogonek chose to showcase Canadian locations such as Banff National Park and Niagara Falls. Both shot at least 300 images for each sequence at a frame rate of 30fps, giving them at least 10 seconds of footage to work with. The lenses used…

FIVE THINGS TO LOOK FOR… 1 A circular ND resists light leaks. It’ll only fit one thread size, but a stepping ring can be used to adapt it to a smaller lens. 2 You’ll need a filter holder and adapter ring to use a square ND, but these can be used with multiple lenses. 3 Eye-catching effects like silky-smooth daytime seascapes will require a dense ND1000 (10-stop) filter. 4 Colour casts can be corrected, but there’s no cure for the loss of sharpness some cheaper filters can introduce. 5 A square ND system opens up possibilities for stacking filters like a polariser or ND graduated filters. B+W XS-Pro Digital ND MRC Nano £52-226/$67-270 www.manfrotto.co.uk Screw-in filters may not quite have the kudos of a square or rectangular filter system, but…