Innehållsförteckning för No. 353 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…

It’s been a fascinating decade for flash in photography. Never has there been so much choice in the world of lighting for studio and location. Previously our only options were expensive studio flash units powered by generators, then came big battery packs, until finally the ‘strobist’ movement happened. If you aren’t familiar with this turning point it was a man named David Hobby in the USA who coined this term. It was showcasing a subculture within flash photography, showing off work and techniques using humble speedlights and the regular flashgun. In the past two years the goalposts have been moved again by Profoto, who released the game-changing B1 unit which has now been emulated by almost every flash manufacturer. This battery-powered unit really did step everything up a level for…

When it comes to editing your W shots taken using flash on location, it really comes down to personal preference, and of course your original end goal or brief. You’ll find that your best friend here is the raw file format; your digital camera these days offers a huge amount of latitude in the files – this is the dynamic range. I would always recommend shooting in raw for full flexibility with highlight and shadow detail. Upon opening the file, first take a look and see how much shadow detail you want to recover, and likewise for the highlights; this will give you a solid base from which to build your edit. If an image starts out with no details in the shadows it’s far more beneficial to recover them…

Hasselblad has unveiled the X1D II 50C medium format mirrorless camera, an upgrade of the X1D-50c. The new camera sticks with a 50MP CMOS sensor at its heart, which promises images with 14 stops of dynamic range, while key upgrades include a new 3.6-inch LCD screen with a 2.36 million-dot resolution, and a 3.69 million-dot OLED electronic viewfinder with a 0.87x magnification. There’s also a new processing engine that’s said to reduce start-up time by 46% and shorten shutter lag compared to the X1D-50c, while also boosting burst speeds to 2.7fps and giving the viewfinder an increased refresh rate. Hasselblad has revised the body design for better handling, and has made adjustments to the user interface for better operation. Other features include a 3400mAh battery which can be charged through…

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1 HOUR Whether you’ve got a drawer full of old and unloved lenses, or you just want to take some photos with a bit of character, using legacy glass is a great way to get creative, and in this project we’ll show you how to go vintage. Rummaging through the loft or the stands at a car boot sale can be a photographer’s dream – you can uncover all kinds of weird and wonderful optics that are simply begging to be given a new lease of life. Many vintage lenses possess character that’s often missing from modern options, from unique vignetting and bokeh to the way they render contrast and colour; older lenses can also be a great way to shoot at apertures like f/1.2 at a fraction of the…

Although natural light can be an extremely beautiful thing, many high-end portraits are captured through the careful use of flash. Many photographers get discouraged by the first results that they achieve early on with flash, and it can seem bewilderingly complicated to balance the artificial light source that you’re bringing to the scene with the ambient light that’s already present. However, these are essential skills that are well worth mastering, as they open up a huge range of creative possibilities. Over the next few pages, professional photographer Tom Barnes will explain some of the secrets behind the results he achieves. He looks at the difference between speedlights and more advanced, specialist flash units designed for location work, and discusses what’s involved in balancing different light sources and the considerations involved…

SIMON; SOHO, LONDON PETER MCCONNOCHIE “I saw Simon shopping in an art store, and approached him just after he left – being noticed made his Sunday. He previously worked in the entertainment industry, and was shortly heading to Las Vegas to catch up with his friend Diana Ross!” http://tiny.cc/mkea8y JELLYFISH PORTRAIT JOE EISNER “I shot this picture with my Nikon D850 and Sigma 35mm f/1.4 ART lens at the Monterey Bay Aquarium in California.” http://tiny.cc/9gea8y CHILD WITH HIS HORSE ANDREA FUCÀ “This photo was taken in the village of Viscri in Transylvania, Romania.” http://tiny.cc/5dea8y LANTERN STATUE & SHADOW MIKE THORN “This is a statue in the Southgate shopping centre in Bath, UK. I took it with a fisheye lens to accentuate the shadow, and converted the image to black and…

Multi-processing raw files is a great way to squeeze maximum M detail out of landscapes and other high-contrast scenes, and, as you’ll discover in this video tutorial, the principle is simple: all you do is process an image a number of times, focusing on different areas – such as the land or sky – then blend the versions together in Photoshop. This gives us the best of both worlds: we can use Camera Raw’s tonal controls to tease out detail in different areas of the image, and then use Photoshop’s superior selection and compositing controls to bring everything together seamlessly. What’s more, by opening a raw file as a Smart Object in the main Photoshop editor, we can easily send the image back and forth between the two workspaces. DOWNLOAD…