Innehållsförteckning för No. 416 från Photography Week

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Many of us know this situation: you’re driving down the highway during late afternoon, and it’s pouring down. Suddenly the rain stops and everything is bathed in golden light. But since it’s not a good idea to stop on the highway, and most of the time there are no promising locations nearby, you just think what you could have done with the same conditions at your favourite location. Is there a way to plan for shooting those landscapes in such conditions? Yes, if only to a certain extent. You have to know from which direction the storm or rain is coming in, and how long it will last. The best way to do this is to check a high-definition weather radar readout with a mobile app. This will enable you…

There are few things more beautiful than fog floating in and rolling over the hills. To capture this sort of image you need floating fog, a viewpoint that sticks out of the fog, some knowledge of the direction in which the wind is pushing the fog, and the height it’s flowing at. It’s also good to know which elements of the surrounding landscape may affect the flow, and the light is an important factor: ‘blue hour’ shots are recommended, since the highlights of direct sunlight on the fog surface are often too bright for good results. If the fog is moving fast due to wind, a sturdy tripod is needed. The best opportunity to plan such shots is when the wind pushes low stratus clouds or fog against a mountain…

Wildlife Photographer of the Year is one of the biggest events on the photography awards calendar, and ahead of the announcement of this year’s winners the organisers have shared 16 highly commended images – and if these photos are anything to go by, the winners really will be something special. WPOTY is run by the UK’s Natural History Museum, and this year’s contest attracted 50,000 entries from professional and amateur photographers around the world. As ever, conservation is very much a focus, with many images highlighting endangered species and environmental threats. The full list of winners will be announced on 13 October, with an exhibition of images opening at the Natural History Museum on October 16. Click the link to see more commended photos from this year’s contest, and winning…

www.fujifilm.co.uk £749/$699 Fujifilm is perhaps best known for its classically designed X-series cameras, with external exposure controls and traditional handling. It also makes entry-level mirrorless cameras in its X-A range, designed for first-time users and smartphone upgraders. The X-T200 sits right in the middle between these two camera ranges, with simplified controls for novices, but providing an electronic viewfinder like the more advanced models. The X-T200 follows on from the Fujifilm X-T100 that was released in 2018, with a (much) better rear screen, faster processing, proper 4K video plus a ‘digital gimbal’ feature, and improved autofocus. Overall, it’s such a clear improvement that Fujifilm might want to watch out that it doesn’t start cannibalising sales from its more upmarket cameras – although after spending a bit of time with this…

Panasonic has unveiled its latest video-focused fullframe mirrorless camera, the Lumix S5. The big trend in full-frame cameras right now is this kind of hybrid model, and the Lumix S5 joins the growing list options for YouTubers and video creators. A smaller (if sadly not cheaper) version of the Panasonic Lumix S1, the Lumix S5 is a tempting package for those who are new to full-frame shooting, and who were slightly underwhelmed by the video capabilities of the Nikon Z5. Built around a 24.2MP full-frame sensor, the S5 attempts to address all the criticisms made of previous L-Mount cameras like the S1, including their weight, size, AF speed and lack of an articulating screen. This means we get a 714g body (compared to the 1kg heft of the S1) with…

Fog and mist can be key elements in visual storytelling. Painters have a canvas; landscape photographers have fog. It’s our white space in which we can arrange the picture elements. But this means it’s important to find convincing compositions, and know how to give a photo structure. Try to find the best angle of view to give every element enough space to be effective. Work with intersections and staggered arrangements. Leading lines, structures and patterns are more important than colours – although during autumn, you can use autumnal leaves to catch the eye. It’s also important to look for the right subjects for fog photography. Since the background is often non-existent – just a grey or white surface – look for motifs that suit your current conditions. Shooting a big…

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30 MINS If you want to shoot long-exposure landscapes you need a set of neutral density filters of different strengths that screw on to the end of your lens, or slot into a holder, right? The problem with those is that you have to carry around a pouch of filters for use in different lighting conditions, plus a holder for the slot-in variety – but you can eliminate the need for all that by carrying a single variable ND filter in your kit bag. To adjust the strength of a variable ND you rotate its front element to increase its light-blocking power. The optical quality of these filters generally isn’t quite as good as that of fixed-strength filters, but they’re good enough for most situations, and here we’ll show you…

RESOLUTION (LINE WIDTHS/PICTURE HEIGHT) We tested the X-T200 against the Canon EOS M6 II, Olympus OM-D E-M10 III and Nikon Z 50. The X-T200 performs as we’d expect, with its 24.2MP sensor slotting in between the 16.1MP Olympus and the 32.5MP EOS M6 II. The Nikon Z 50 produces sharp shots from its 20.9MP sensor. SIGNAL-TO-NOISE RATIO (DECIBELS) The X-T200 turns in a respectable performance, level-pegging with the EOS M6 II. You might expect the X-T200’s fewer megapixels to translate to greater light sensitivity, but that’s not the case. DYNAMIC RANGE (EV) The X-T200 doesn’t capture as much dynamic range as its rivals. We’d expect this to steadily reduce with each increase in ISO sensitivity, but the X-T200 gets a second wind at ISO6,400.…

The rain is beating against the windows, the sky is a leaden grey, and the world just looks drab – and the weather forecast doesn’t look too promising either. Your frustration is slowly growing, especially if it looks like you’ll have to write off an expensive photo trip as a disaster because of bad weather. Perhaps understandably, many photographers think in this way. But over the next few pages of this feature you’ll learn how to handle such ‘bad’ conditions – and perhaps even learn to love them. In my opinion there’s only one kind of bad weather for landscape photography: an all-blue sky with harsh sunlight at lunchtime. But back to stormy and misty weather – your new favourite weather conditions for atmospheric pictures. To master truly dramatic landscapes,…

Many people think of wide-angle lenses when it comes to landscape photography, but using telephoto lenses broadens your options during misty days. I normally use a 70-200mm to compress the elements in a scene, but even longer lenses are suitable. Try to find interesting lines and shapes in the landscape. Be aware that camera sensors don’t have the same contrast range as the human eye, so emphasise edges in postproduction, but still try to keep a natural look without halos or too much contrast.…

Bad weather means muted conditions, muted light and muted colours, and therefore a good option can be to focus on structures and patterns. Foggy and misty scenes are often good candidates for minimalist black-and-white, photography, particularly with some contrast enhancement. When the conditions are mostly the same for several hours a day, you can try to work conceptually and in a series, and this can be an interesting approach with characteristic elements of particular landscapes – think of the various series of mono images featuring gnarly trees, hay barns and so on that you’ve seen. Another option is to keep the same frame all the time – or just with a little variation – and to wait for changes in the structure of the clouds or fog. Perhaps it’s not…

RED JOAQUÍN ALONSO ARELLANO RAMÍREZ “I often prefer to work with ambient light, but in this case I used a single Profoto monolight, directed onto my model from above. The idea was to demonstrate how you can get a great photo using just a single source of light, and also by focusing on a single element, in this case the hair of the model.” http://tiny.cc/g8qizy PUFFINS GEORGE HART “I photographed these puffins close to the Bullers of Buchan, a collapsed sea cave near Peterhead in Aberdeenshire, Scotland.” https://bit.ly/3g0cOlD FIRE ESCAPE CHARLIE LITTLE “I though the interesting shapes of this old fire escape contrasted with the foliage would work well in mono.” https://bit.ly/2WSy5qc ASTRANTIA JANE DIBNAH “I shot this astrantia using my Canon EOS 7D Mark II and EF 180mm f/3.5…

We’ve become used to seeing Adobe roll out regular updates to Photoshop, Camera Raw and Lightroom, and this summer it came up with the goods once again. The real showstopper is Select Subject. First introduced in 2018, the command uses AI to isolate your subject with an auto selection. It’s always been impressive, but the latest updates take it to a new level. It can now cut out hair, and the results are impressive, even with windswept hair as in our image above. With a single click, we can now make a complex cutout and isolate a subject from their background. This will save time for those who know how to cut out hair using Select And Mask, but it’s perhaps more useful for those who don’t; within seconds, even…

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