Innehållsförteckning för No. 479 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…

In the good old days of film, the only way you could compose a photograph was by peering through your camera’s viewfinder – unless you happened to use a large-format camera with a giant focusing screen. But with digital cameras, you have an alternative option – the preview screen. Composing images using the screen and Live View is recommended because by standing back and observing the screen, you get a better impression of how the image will look. The grid screen is also useful because it can help you decide where to position key elements, such as the horizon and the focal point.…

The traditional method of darkening the sky is with an ND graduated filter. ND stands for neutral-density: this means the dark part of the filter doesn’t affect the colours in the scene – it just reduces the brightness. ND grads are held over the lens (by hand or in a filter holder) and carefully positioned so the gradation between the dark and clear parts is imperceptible in the scene. They’re rectangular in shape and come in different strengths: 1-stop (or 0.3), 2-stop (0.6) or 3-stop (0.9).…

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3 HOURS We can’t all live inside a national park or constantly travel to photography hotspots all around the world. As such, most enthusiast or beginner photographers spend the lion’s share of their time getting out with their camera as and when they can. And that often means taking it out on walks. This article is all about embracing the idea of walking with your camera, but getting into a mindset where capturing images takes centre stage. Add in a little bit of planning and you can really maximise your time and, more importantly, end up with a series of photos that inspire you. When you embark on a photo walk you need to be prepared to photograph anything. It’s therefore a great way to exercise your creativity and refine…

Fujifilm has announced the INSTAX MINI EVO Hybrid Instant Camera (Mini Evo) – the ‘hybrid’ element being that it combines the usual instant camera print features with digital technology to enable you to store and reprint your photos. The idea is that, unlike with regular instant cameras, you save money by printing only the pictures you want, and you’ll also be able to print multiple copies as your pictures are captured and stored digitally. The Instax Mini Evo uses INSTAX MINI film, so you get card-sized analog prints, and it comes with an INSTAX Mini Evo smartphone app both for remote control and for printing photos straight from your camera roll – so it works as a smartphone printer too. The camera features what Fujifilm calls ‘lenses’, but which are…

WIDE-ANGLE LENS Prime or zoom, a wide-angle lens is a must. Remember, if your camera has a crop factor, you’ll need to take that into account. Ideally you want something around 16mm in full-frame terms. You may get some wide-angle distortion, but this can easily be corrected when you edit your image later. TRIPOD Your tripod and head combo needs to be sturdy, but light enough to carry. Carbon-fibre options are more expensive than aluminium, but give a good stability-to-weight ratio. A ball head is preferred by many landscapers: it allows you to position your camera quickly, and is lighter than a three-way head. LENS FILTERS Some filters can be replicated in post-processing, but polarisers and ND filters cannot. A polariser is great for removing glare and intensifying colour saturation,…

1 ANCHORS Solid, distinctive objects with plenty of detail make great, classic foregrounds. Look at the ground around you for shapes and structures that complement your background view. Rugged boulders, colourful wildflowers and gnarly tree stumps are all good contenders. A quick search to the left and right may reveal several different foregrounds that can set up your shot. 2 TEXTURES Although foreground textures are subtler than the more imposing anchors, they can be just as rewarding. These areas of contrasting patterns attract the viewer’s eye and add interest. Textures always exist in the natural world, so if you can’t find a satisfying foreground shape, get your wide‑angle lens really low and use the texture of whatever you’re standing on! 3 LEADING LINES Are there natural lines ‘pointing’ towards your…

On some prime lenses and older optics with a full complement of barrel markings, you can set the hyperfocal distance quickly in manual focus mode. Assuming that you want to focus to infinity to get everything sharp, line up the outer f/16 aperture marker with the infinity mark; now you can read off the closest distance that will be sharply focused with the inner f/16 mark. It’s possible that the scene may look blurred in the viewfinder, but your shot will be sharp from the closest distance indicated right through to the detail on the horizon.…

If you think the raw files you load into Lightroom or Camera Raw look flatter than you remember them when you viewed them on your camera screen, this is probably because when loaded into the raw editor they’re defaulting to Adobe Color and not the in-camera profile you set. By selecting Profile at the very top of the editing tools, you can browse different options to choose something you think works well, or simply match what you’d set in-camera. You’ll give your shot an instant boost without touching a single slider.…

You can create all kinds of fantastical images by using selections and layers in Photoshop, and in this video tutorial we’ll show you how to create this magical image of a fairy with the help of key compositing techniques. To begin with we need to cut out our subject by creating a selection, and to speed up this process we’ll make the initial selection with the useful Select Subject command. With the subject isolated we can then bring in a pair of wings – copied from a photo of a bird – and move them behind the body, so it looks like they’re attached to her back. This compositing step is best done with a combination of selection tools and layer masking, and we’ll utilise the powerful Select and Mask…

The landscape provides a rich, varied and ever-changing subject for the keen photographer. A typical approach to capturing the natural beauty of the great outdoors is to frame up with a wide-angle lens – anything from 16mm to 35mm is generally regarded as the focal length zone for shooting classic landscapes. But while a wide-angle lens means you fit more of a scene into your frame, this often causes extra compositional headaches that need to be overcome. Over the next 10 pages, we’ll delve deep into the best approaches for shooting stunning landscapes. We’ll show how bringing together the art of designing your image, shooting at the optimum time for the best light,, and using tried-and-trusted techniques to make sure your scenics technically hit the mark will ensure you’re never…

Finding a great view is often the best starting point for a classic scenic shot, but the view itself isn’t enough to be a solid landscape image. When you come across a pleasing vista, think of it as the background. This is the part of your shot where the viewer’s eye will ultimately rest – but to lead them through to this, you need something up front to draw them in. And when we say “up front”, we mean it! If you’re using a wide or ultra-wide lens, you want your foreground to dominate the bottom third of the frame, and that often means getting your lens really close to it. And don’t rule out vertical framing, as it can give you a great foreground and a great sky.…

A raw file contains lots of extra hidden detail, which can be revealed when the file is converted to a regular image format. Raws are much larger than JPEGs, but the extra space they’ll take up on your memory card is worth it if you want to get the best-quality shots. We’ll use Adobe Camera Raw here, but the process is similar if you use a different raw converter. 1 SHADOWS & HIGHLIGHTS In Camera Raw, open the Basic Panel and drag the Highlights slider to the left to compress the brightest tones. Now drag Shadows to the right to boost detail in the darker tones. Because a shadow-lift can make an image look slightly washed out or ‘muddy’, move the Blacks slider to the left to boost contrast and…

1 PEP UP CONTRAST When you want to increase contrast – that is, make dark areas darker and bright areas brighter – you may think that the Contrast slider is the way to go. But you can get much more control over the way contrast is added by using the Shadows, Highlights, Whites and Blacks sliders. These distribute the contrast boost more selectively – and if you push the Clarity and Texture sliders too, you can even adjust the micro-contrast within midtones. Using this suite of controls takes longer then simply adjusting the less-discerning Contrast slider, but the benefit is that it will allow you to fine-tune your contrast increase across the different tonal regions in the scene. Also, if you want a contrast control with a big impact, try…

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