Innehållsförteckning för No. 356 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…

Post-processing of images has become an essential part of the digital photographer’s workflow, and there are a vast array of photo editing software packages available, from highly simplified programs for beginners to high-end specialised tools used by professional photographers and retouchers; and of these options, some clearly lead in terms of popularity and number of users. While it’s good to have a variety of software to choose from, it can be daunting when it comes to choosing a package to start with, and the sheer variety and sophistication of the tools available can leave you feeling overwhelmed. In this guide, we’ll cover all of the key areas of post-processing in an effort to help you build a structured and effective workflow, from essential adjustments such as exposure control and contrast,…

Colour correction is the area where shooting in raw provides arguably the greatest advantage, as applications like Camera Raw and Lightroom give you the option to change the white balance of an image at any time, just as you might in-camera. Presets are available that mirror camera white balance settings, including Cloudy, Daylight and Tungsten, for rapid one-click adjustments, and there are Temperature and Tint sliders for fine-tuning. You can also neutralise colour casts easily using the White Balance tool – simply click once in an area of neutral grey to remove a colour cast. Beyond this, highly advanced colour and tone adjustments can be made using Curves – you can manipulate the curves for each of the RGB channels independently, to either remove or apply colour casts, for correction…

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Canon has announced two new models in its PowerShot compact camera range, the G5 X Mark II and G7 X Mark III. The PowerShot G5 X found a lot of love among enthusiasts wanting a DSLR-like shooting experience inside a far more compact form, and while the second-generation model seeks to stick with that winning formula there have been quite a few changes. The G5 X Mark II is the first Canon camera of its kind to have a pop-up EVF inside a compact body. This is released via a catch to its side, and needs to be pulled back before being used, a setup that apes the likes of Sony’s RX100 Mark III, RX100 Mark IV and RX100 Mark V. The viewfinder itself is a 0.39-inch type with a…

While digital camera technology is constantly improving, people’s perception of image quality evolves in equal measure – even nonphotographers are now able to recognise when an image has been ‘Photoshopped’, and are even aware of when an editing technique has failed. It’s therefore vital that photographers recognise the need to develop their post-processing skills, so that they have a rounded skill set and are able to both produce quality images in-camera, and intelligently process these files with an end product in mind. In most cases we’ll start our image editing with basic adjustments such as brightness and contrast, colour correction and sharpening. These are often referred to as ‘essential’ adjustments, since errors in these areas are the most noticeable if left uncorrected, and they should be applied to every image…

While noise reduction, sharpening and lens corrections may be subtle, they can make the difference when submitting work for commercial use. If you shoot in JPEG format it’s possible to select the level of sharpening that’s applied to your images in-camera. This is quite limiting, however, since these changes are non-reversible, and so any over-sharpening is difficult to eliminate. This is especially inconvenient because the amount of sharpening an image requires depends to a large extent on its output destination – images bound for the web often don’t need as much sharpening applied as those destined for print. The same principle is applicable to noise reduction, in that it’s better to have full control at the post-processing stage. In Lightroom and Camera Raw, the level of sharpening is controlled by…

MUTE SWAN BARB D’ARPINO “In Collingwood in Ontario, Canada there’s a stretch of water that stays open through the cold winters, and many ducks and geese overwinter there. This swan was laying on one of the ice floes and keeping warm in its feathers.” http://tiny.cc/yml68y THE BATHING ALBINO GARTER SNAKE MICHAEL ATKINSON “This was taken at Coast To Coast Exotics, a reptile store in Darlington UK.” http://tiny.cc/1iq27y LITTLE YELLOW TUK-TUK JOHNNY WILSON “I love old vintage cars, bikes, basically any kind of vehicle, and I was glad to get this shot of an Italian tuk-tuk to add to my gallery!” http://tiny.cc/4ul68y DIAGONAL MONOCHROME LUCA SANTORO “I decided to use an angled composition to add a sense of dynamism to this outdoor portrait.” http://tiny.cc/h9fmty TRANSMITTING MIKE VER SPRILL “This is the…

It’s always desirable to achieve I an accurate exposure at the shooting stage, as this minimises post-processing work, and generally reduces the chance of software-induced artefacts like image noise and banding. It also encourages the photographer to be mindful of overexposure and loss of highlight detail, which can’t be recovered at the computer. It’s almost always necessary to tweak exposure and contrast, however – contrast is often lacking in out-of-camera shots, while an image that looked accurate on a 3.5-inch LCD screen may seem slightly too bright or dark when enlarged. Furthermore, an ‘accurate’ shot – one that produces a balanced histogram and ticks all of the technical boxes – may not be the most punchy and attractive image possible; technically correct does not always mean exciting or dramatic. There…

It’s critical that you keep an I organised and structured database. This should be backed up to ensure you have redundant copies of every shot should your main storage location be compromised, and it should be easily searchable, so that you can quickly find images later. It’s important to remember that once you start with an organising workflow, it’s helpful to stick to it from that point on to minimise the chance of misplacing files and creating search conflicts. For example, when utilising Lightroom to organise your work, it’s a good idea to store all images for that collection in a single folder; this will feel counterintuitive if you’ve been manually sorting files into folders based on date or genre on your hard drive, but it will make it easier…

Earth Photo is an international environmental photography project developed jointly by the UK’s Royal Geographic Society and Forestry England, which aims to “stimulate conversations about our world, its inhabitants and our treatment of both”. The winners of its 2019 competition have been announced, and Elisabetta Zavoli won the overall prize and People category for her image The Landfill Midwife, a striking portrait of a midwife in Jakarta who moonlights as a trash-picker to earn extra money. Like other images in the contest, Zavoli’s photo, which you can see above along with three shortlisted entries from the contest, powerfully documents humanity’s relationship with the environment. Click the link to see more images, and to learn more about the project, at the Earth Photo website. An exhibition of images is at the…

Of all the powerful retouching tools found in Photoshop, the Patch Tool tends to get overlooked in favour of staples such as the Clone Stamp Tool and the Spot Healing Brush Tool. But while between them those other tools will take care of most of your retouching needs, there are certain jobs for which the Patch Tool is perfect, and in Photoshop CC it’s even more effective thanks to the addition of the intelligent Content-Aware feature found elsewhere in the software. Used on the right image it’s often a faster solution than brush-based alternatives, and in this video tutorial we’ll show you how to use the Patch Tool to quickly and seamlessly remove a set of footprints from an image of a beach. DOWNLOAD THE PROJECT FILES http://tiny.cc/ohp88y ON A…