Innehållsförteckning för No. 411 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://bit.ly/39py9lg TWITTER…

USING FLASH Freeze the moment with a burst of light Whether you’re using a flashgun or studio strobes, you’ll want to use Manual mode for the best results. 1 MAXIMUM SYNC SPEED Don’t go above your maximum sync speed, usually around 1/200 sec, or you’ll start to see black bands appear when you use flash. 2 BE AWARE OF AMBIENT LIGHT If you’re shooting outdoors, you’re likely to be mixing flash with ambient light, which can lead to inconsistent results. Use a fast shutter speed of around 1/200 sec and a narrow aperture to block out more ambient light. 3 WATCH THE APERTURE You can end up with an overexposed image if you use both a wide aperture and flash – if necessary you can use an ND filter to…

1 HEAD TORCH A head torch will leave your hands free to set up equipment and adjust settings. Red lights are preferred, as it can take many minutes for our eyes to adapt in dark settings, and exposing them to a conventional light will upset this acclimatization – a red light will help you to see, but won’t ruin your night-adjusted vision in the process. 2 CAMERA We used a Nikon D800 for our astro shoot, but any DSLR or mirrorless camera is suitable for shooting star trails, although cameras that perform well in low light will give you an advantage when you’re shooting at higher ISOs. You could also use a bridge camera with a fast aperture. 3 LENS A wide-angle lens will help you to squeeze plenty of…

This simple technique is a creative way to show off an entire time-lapse sequence in a single photograph, and it’s a great way to show the passing of time in a garden or elsewhere. All you need to do is set up your camera on a tripod and engage the interval shooting setting. If your camera doesn’t have this feature, you can buy a remote cable release with a built-in interval timer. Alternatively, simply press the shutter every 20 minutes or so while you’re doing other things. The time-lapse method is a fantastic way of showing the transition between night and day, but you can also use the same technique for any sequence in which the subject changes over time, from a bowl of melting ice cream to the gentle…

Sony has finally unveiled the A7S III, its new flagship video-focused mirrorless camera, with the company looking to reclaim the title of best hybrid video camera from the recently launched Canon EOS R5. To that end the A7S III offers a number of practical advantages over its rival for run-and-gun filmmakers, including the ability to shoot 4K/60p for up to an hour non-stop, and superior battery life. It’s a different beast to the R5, more clearly aimed at videographers than its all-rounder rival. This is most obvious from the A7S III’s 12.1MP resolution, which is on the low side for stills photographers, but ideal for 4K video because it allows for full pixel readout without the need for processor-intensive techniques like pixel binning. The camera also has a new sensor,…

When you’re exposing for a particular scene, you’re actually carrying out a balancing act. The aim is to get just the right amount of light coming through the lens to hit the camera’s sensor, by adjusting three core variables: aperture, shutter speed and ISO. If you’ve only ever used auto and semi-automatic modes before, you might not have noticed that when you change a setting, the camera is automatically changing the other variables to create a balanced shot – close the aperture, for example, and the camera will need to extend the shutter speed to let in more light, or boost the ISO to make the sensor more sensitive to light. There are often trade-offs involved with changing settings, so to get the best creative results from your camera, refer…

Portraits can be quite tricky to take. This image of our model Claudia was no different, as she was entirely lit by this neon sign in a shop window. I locked off the white balance and set it to Fluorescent, so that I would consistently get a vibrant red colour from the neon, and set my camera to Manual mode to take control of the exposure. The neon sign was quite bright, so with my aperture opened all the way to f/1.4, I only needed to boost the ISO to 200 to get a shutter speed of 1/100 sec – fast enough to shoot handheld without camera shake. I also made sure that the focus was on Claudia’s closest eye to the camera, so that it would be pin-sharp in…

1 ALRIGHT ON THE NIGHT Planning in advance is vital when shooting astro images, and apps like Clear Outside and SkyView are great assets; the former helps you check visibility, and the latter helps you identify stars and constellations. Ensure that you have a freshly formatted high-capacity memory card, and fully charged batteries. 2 WHERE TO FOCUS Depending on what and where you’re shooting, you can choose to focus on distant lights, a friend holding a red light (about 50ft away), or a foreground subject. It’s likely that you’ll struggle to use AF, so we’d suggest switching to manual focus and using Live View. 3 SHOOT WIDE It’s important to let as much light into the camera as possible when shooting astro. Set your camera to Manual and dial in…

After we’ve spent so much time indoors, the sheer scale of a sweeping landscape can take on epic proportions. From open fields and rolling hills to huge dramatic skies, there’s a lot to take in. With a standard zoom lens, you’ll often struggle to squeeze as much of the scenery into the frame as you’d like. Mounting an ultra-wide-angle lens on your camera is a truly liberating experience for landscape photography, like taking the blinkers off and pulling more of the vista onto the sensor. You can’t beat a zoom lens for versatility, but many photographers only tend to use ultra-wide zooms at or close to their shortest focal length, and with that in mind, there’s something to be said for buying a prime lens instead. There are some high-quality…

One of the best features of digital cameras is their creative modes, namely the semi-automatic Aperture Priority (A or Av on the mode dial) and Shutter Priority (S or Tv) modes. They’re great for many situations, as they let you set of some of the exposure parameters, while the camera looks after the rest to produce a well-exposed shot; they can be especially helpful if you’re new to photography, as they free you up to concentrate on getting your focusing and composition spot-on. However, your camera also features a Manual mode (M) that allows you to take full control of your settings, but many less experienced photographers have never experimented that much with Manual, perhaps finding it too daunting, or too difficult to get good results with. And that’s a…

When you select your camera’s semi-automatic modes like Aperture Priority and Shutter Priority, you’re able to input some of the exposure data such as aperture, ISO and shutter speed. The camera will then use its built-in metering algorithms to work out the rest of the exposure to try to deliver a well-exposed shot. How the camera does this is affected by the metering mode. You have metering modes that scan the whole frame and try to work out the best exposure for a well-lit shot across the frame, or modes like spot metering, which only take into account a very small part of the frame. It’s worth noting that metering modes will affect your camera’s built-in light meter while you’re using Manual mode, but it’s up to you to dial…

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3 HOURS Photography is a great way to delve deeper into something you love –and if you’re passionate about astronomy, astrophotography will help you develop your knowledge of constellations and celestial bodies, and nurture your interest in the night sky. In this project we’ll show you how to photograph star trails. To do this effectively you’ll need to set up your camera in pitch-black conditions, find your focus manually, and prepare your camera to shoot a sequence of images from the exact same spot. You’ll then need to use Photoshop (or other suitable software) to blend your sequence together. The best star trail shots are often a credit to the photographer’s resolve: the longer the shoot, the more images you’ll capture, and more impressive your star trails will be. You…

1 SELECT YOUR STACK Begin by cycling through your images in Adobe Bridge to find your stack. Click the first image in the sequence, and then hold down Shift and click the last image to select the entire stack. Right-click on a selected image and choose Open in Camera Raw. 2 BATCH EDIT Select your entire stack in the left panel (using the Shift key). Now edit as you would normally using the various sliders – your edits will be syncronised across all your images. Before you click Done, it’s worth checking each shot, as now’s the time to fix any inconsistencies. 3 LOAD INTO STACK Open Photoshop and head to the top toolbar. Select File > Scripts > Load Files into Stack. Click Browse, and select all of the…

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