Innehållsförteckning för No. 496 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 brilliant 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. JOIN THE PHOTOGRAPHY WEEK COMMUNITY AND START SHARING! FACEBOOK http://bit.ly/39py9lg TWITTER http://bit.ly/2vGadLP FLICKR http://bit.ly/2VIgsJO We’re more than just a magazine – read…

Since photography is a visual medium, many photographers focus on the technical aspects of image-making and how the final results will look in print or on a screen. This is logical, of course, but we have to remember that our photos are literal representations of real scenes that we experienced in the field. If we’re to create an immersive viewing experience for our audience, we must consider how to best capture these other sensory characteristics. Only then can we effectively convey and encourage an emotional response – ultimately, the main goal of any photograph. Texture is a great place to start. Coastal locations offer a rich variety of contrasting textures, including the stark difference between the gritty sand of a beach and the scattered rocks, and the silky water which…

Working next to water can be both a blessing and a curse. On one hand, you have the additive, reflective light within the scene, which can greatly extend your shooting time, past sunset or before sunrise. It’s for this reason that movie production teams add water to the ground before shooting low-light scenes – more illumination is bounced back onto the subject. Colour is also intensified, as this reflected light picks up the tone of the sky and floods the landscape with it. Conversely, you also have the exposure challenges associated with introducing a large expanse of reflective material in one portion of the frame. Once the sun has reached a position just above the horizon it becomes difficult to correctly expose for each of the foreground, the sky and…

Seascapes are often defined by their broad range of tonal gradations and textural contrasts. While these can be exhibited to great effect, we must take care to preserve these subtleties during the editing process. Pastel-like colours should not become oversaturated, as they can take on an unnatural appearance and exhibit banding effects in areas of flat tones. The goal is to make small adjustments in order to render tones realistically. Where the sun is visible in the frame, ghosting and flare can be common issues in coastal shots, as an unbroken horizon provides few opportunities to hide the light source. The result can often be harsh and undiffused. In these cases, it helps to know how to reduce artefacts, while balancing exposure. Here, we’ll take you through the steps required…

The World Nature Photography Awards has announced the winners of its 2021 competition, with Amos Nachoum being crowned overall winner for his dramatic image of a leopard seal preparing to devour a gentoo penguin. Nachoum shot the photo, which also took first place in the Behaviour – Mammals category, in a lagoon on an island off the Antarctic Peninsula. The awards were established both to celebrate the best in nature photography and raise awareness of issues around sustainability and the environment. WNPA co-founder Adrian Dinsdale said: “Seeing these images cannot fail to motivate one to do everything to protect this fragile planet of ours.” Click the link to see more winning and placed images from this year’s contest at the WNPA website, where you’ll also find details of how to…

Lens maker Irix has released a new wide, fast prime lens for DSLRs. The Irix 21mm f/1.4 is billed as combining Swiss precision, Korean ingenuity and Japanese glass. The manufacturer recently released the full-frame Irix 21mm T1.5 Cine lens, and this new optic complements it as a dedicated photographers’ version. Built for professional use, it promises to deliver sharp, clear and crisp images with minimal distortions. This super-fast, wide-angle prime would be ideal for shooting anything from astrophotography and interiors to landscapes and architecture. It benefits from internal focusing, a weather-sealed design, distortion below 2% and a rigid, durable casing. It features 15 elements in 11 groups, including four ultra-low dispersion elements, four high-refractive elements and two aspherical elements. The lens is compatible with full-frame Canon EF cameras such as…

1 OBSERVE WATER MOVEMENT Take a moment before setting up to watch how the waves are moving around the various beach elements, which will depend on the weather and the tide height. This will allow you to select the best composition for a balanced frame. 2 STABILISE THE SETUP Set up your tripod, and secure it for maximum stability by extending the foot spikes or ensuring that any feet attachments are orientated for optimal balance. Where no accessories are available, push narrower feet deeper into the sand. 3 SET F/STOP Select an aperture to achieve the best depth-of-field for the current scene; in most circumstances, this should be between f/8 and f/14. We can then control the other properties of the exposure triangle to alter the appearance of the wave…

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30 MINS Plenty of photographers shy away from shooting fastmoving subjects because they can be difficult to photograph. But we reckon the steep learning curve can be made more palatable, because it’s easier to pracitise regularly than it is for some other subjects. If you’re learning to shoot sunsets, for example, you have to find a good location and hope the weather plays ball. If everything works out, you might get the chance to photograph a few different scenes, but only one during peak sunset conditions. If you want to learn to capture birds in flight, however, you can head to your local nature reserve and spend all day snapping anything that happens to swoop by and honing your technique. It’s also often assumed that you need specialist equipment to…

Water adopts a magical quality within the landscape. Whether it takes the form of a glassy lake, a bubbling stream or a tumbling waterfall, its fluidity adds a sense of energy and contrast of tone. Of all the bodies of water a photographer may encounter, the ocean is an undisputed favourite. In addition to all the characteristics above, the sea introduces a sense of finality to the landscape – a compositional full stop. For the same reason that it’s often a therapeutic experience to stand on a seashore and gaze out to the horizon, capturing this boundary within a photograph provides a unique imbalance of detail, which can be used to focus the attention of the viewer. There are of course challenges when it comes to achieving this. It’s all…

Colour can dramatically influence the overall mood of an image. Even a subtle change to the global colour bias can transform a scene, by altering its sensory relationship with the viewer. We think of low-temperature colours, such as reds and yellows, as warming, comfortable hues. These suggest a tranquil scene, such as a peaceful sunrise on a beach or the warmth of the setting sun experienced on a summer evening walk. Conversely, high-kelvin colours, such as blues, cyans and magentas, are regarded as harsher and more closely associated with the colder winter months, and less relaxing by default. With care, however, colours at both extremes can be used interchangeably. The key ingredient is knowing the tone and mood you want to achieve before you shoot a frame. Coastal locations offer…

1 FIND A COMPOSITION Here, we aim to emphasise the horizontal or vertical topography of seascape environments. Beaches are flat in nature, and where this raises compositional challenges, this ICM technique is an artistic solution to create balanced shots. 2 PREPARE YOUR TRIPOD We need to secure the legs and feet of the tripod to reduce rotational movement or wavy lines in our long exposure shot. Weight the tripod, and have all but the panning knob tightly locked. This will allow controlled movement in a single plane. 3 STOP DOWN We usually try to avoid closing down the aperture too much to prevent detail loss through diffraction. In this case, though, we’re intentionally blurring detail, so use f/22 or higher to obtain the required shutter speed for the ICM effect.…

SUNRISE UNDER THE PIER LLOYD LANE “A blanket of cloud was illuminated with some vivid colours prior to sunrise over the pier at Brighton on the south coast of England. To my surprise, the sun managed to pierce the clouds on the horizon, so I made a mad dash along the beach to compose the sun rising towards the middle of the pier while taking some 0.5-second exposures, and was rewarded with this shot and some wet feet.” http://bit.ly/2NhWpjJ EXPLICIT EMOTIONS [OF THE] ABSTRACT CHANCE LAMAR HILL “This is an abstract macro image of oil droplets, captured with my Sony A6000.” https://bit.ly/3CYzSNE CADILLAC FIN TOM DRESSEL “I shot this image at the World of Wheels car show in Pittsburgh, Pennsylvania with my Canon PowerShot G5X Mark II.” https://bit.ly/3HmfTJV SYCAMORE GAP…

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