Innehållsförteckning för No. 515 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…

True macro lenses will focus at 1:1 magnification, meaning that the subject will be rendered at life-size in relation to sensor size. By adding extension tubes or close-up filters we can achieve magnifications beyond 1:1. I would recommend the addition of a flash and diffuser. This setup will allow you to capture sharp images with slower shutter speeds, and maintain image quality with lower ISO settings and high-quality lighting. The closer we are to our subjects, the shallower our depth of field will become, meaning that we need to develop a few skills to work around these challenges. Focus stacking is a technique which involves capturing multiple images at various focus distances, and then blending them together to achieve an image with a far greater depth of field than a…

Macro photography is fun, but no one said it was easy! Many of the mini-beasts we shoot are fast-moving, and don’t often stay still in the sunlight, which presents a few distinct challenges. Cooler or overcast weather can be an advantage for focus stacking, but perhaps the trickiest aspect of capturing motion is finding the balance between the depth of field and shutter speed. Much like wildlife and portrait photography, the critical focus should be on the eyes (unless we’re getting creative), and apertures of f/5.6 up to f/11 are usually required for single-frame images, depending on the light available. Bees are great subjects on which to practice your techniques, as not only are they pretty photogenic, but they’re also large enough not to require extra magnification in order for…

I believe that image processing is an art form in itself. We don’t need to have special skills, or spend hours changing the way an image looks, but editing is where we can imprint our unique vision on the file. Some people wish to do minimal adjustments, while others enjoy using filters and effects to achieve their particular vision. It takes time to reach a place where we’re settled with our own style. Personally, I don’t alter my images too much, although I did go through a nuclear HDR tone-mapping phase back in the day. Instead, I tend to make minimal adjustments and colour corrections within Lightroom and Photoshop, having already exposed the camera to hopefully achieve the best raw file available for processing. I try to avoid distracting elements…

To find out how you can get Photography Week delivered straight to your device every week for just a few pennies, simply search for Photography Week on any of the platforms below AVAILABLE ON YOUR DEVICE NOW! https://apple.co/2RjoI0a http://bit.ly/2txbB2B http://bit.ly/36kQ7TC *Available for a limited time only. Standard subscription offer varies across platforms/devices – please refer to specific store for the most up-to-date offer…

1 HOUR A polarising filter isn’t just a landscape photography essential: it’s the multitool of filters. Its ability to block polarised light from a specific direction reduces glare from sunlight, and boosts both contrast and colour saturation. This results in the punchier skies most people associate with polarisers, but these filters can also cut through reflections in water. If that wasn’t enough, a polarising filter’s light-blocking properties allow it to double as a handy one- or two-stop neutral-density filter. Polarisers are available to suit a variety of systems and budgets. Here we’re using NiSi’s new V7 Holder with True Color NC CPL (£199/$199), which can also house three 100mm filters in addition to the polariser. CPL stands for circular polariser; but although our NiSi filter is quite literally a circular…

Canon has announced new firmware updates for its EOS R system, with the standout feature an upgrade for the EOS R3 that enables the camera to shoot at 195fps, a new speed record for a consumer mirrorless camera. The new firmware version v1.2.0, which you can download from Canon’s website, brings several new features. But the most notable is the ability to set a ‘custom high-speed continuous’ Drive mode that makes it possible to shoot up to 50 images (in JPEG or raw) at an incredible 195fps. For comparison, the EOS R3’s main rival, the Nikon Z9, can shoot at a maximum 120fps, but only in a cropped 11MP mode. As always with maximum burst rates, there are caveats – including the fact that this speed will only be possible…

1 SET UP THE CAMERA Cameras such as my OM System OM-1 feature built-in focus stacking, which gives instant confirmation as to whether or not the stack was successful. This reduces the chances of missing an opportunity. Using cameras without this feature, or shooting at high magnifications, will require a manual focus stacking technique, which we’ll cover later in this feature. 2 CONSISTENCY IS KEY Each exposure must be identical, and all the images should be precisely aligned. If this is not achieved, the stacking process may not run smoothly or might deliver unreliable results. When using flash to light your macro subjects, use manual mode so that output remains the same in each frame, and also use manual focus to reduce inconsistencies. 3 EVERY LITTLE HELPS! Using the rule…

1 LOCATION MATTERS Immerse yourself fully in the scene, watching and learning the habits of your flighty friends. Being able to predict the movements of creatures and their behaviour in different situations will enable you to react quickly, and get set up as soon as the action starts to unfold. 2 CAMERA SETTINGS FOR NATURAL LIGHT Aperture Priority mode is a great place to start, so pre-select your desired aperture and ISO, paying close attention to the shutter speed. Alternatively, you can also use Manual mode with a fixed shutter speed and aperture, and auto ISO, instead. 3 FOCUS CONTROL Autofocus is unlikely to nail critical focus in close-up photography. Pre-composition, coupled with manual focus, is a useful technique for photographing bugs on the move. Look for a beautiful scene,…

1 OPEN LIGHTROOM Once Lightroom is open I first explore the files in search of the best potential images. Usually, I have a memory of certain moments from the shoot and so I tend to check for those files first. 2 CHECK STACKING SEQUENCE Once the image is located, check the focus stacking sequence to inspect the files and ensure both that the depth of field will overlap properly and that the images are precisely aligned. 3 ADJUST WHITE BALANCE Adjust to taste followed by basic adjustments to the exposure. Synchronise adjustments to the remaining images in the stack sequence to ensure they all have identical processing. 4 BEGIN FOCUS STACKING Select the files, right-click and choose Edit in > Merge to Panorama in Photoshop. Untick the Blend Images Together…

HANGING ON IN THERE STEVE PELLATT “The Quiraing on Scotland’s Isle of Skye. This lone tree growing out of the rocks is an iconic scene.” https://bit.ly/3Nare2m BEES ‘N’ PEAS SIMON WEEKS “A bumble bee on a sweet pea plant. Taken with my Nikon D7100 and Nikkor 18-105 f/3.5-5.6.” RETREAD STEVEN BULMAN “Retreads, or remoulded tires have undergone a process to replace the worn tread. I noticed this green-leafed weed was growing amongst the treads, and the image that came to mind was a symbolic one of new growth.” https://bit.ly/3xvRTkC BATEMAN’S MILKY WAY JON ALLARD “Bateman’s Tower overlooks the River Colne at Brightlingsea in Essex, south-east England. I captured this Milky Way image at 2.30am.” https://bit.ly/3yCbVf5 FACEBOOK http://bit.ly/39py9lg FLICKR http://bit.ly/2VIgsJO PHOTOGRAPHY WEEK WANTS YOUR PHOTOS! Taken a portrait you’re particularly proud…

The Smudge Tool might at first seem like it has a limited set of uses, but it can be employed to create all kinds of creative effects, including painterly treatments. The tool works simply by smudging colours into one another, and if we combine this effect with Photoshop’s array of realistic bristle brush tips, we can smudge a photo so that it looks like a painting. Even if you’re not much of an artist, you can quickly transform any photo into brush-based art. In this video tutorial we’ll look at the key features of the Smudge Tool, and explain how to set up your photo for an effect like this. In the case of our portrait, we can gradually build up the effect, following the natural lines, wrinkles and details…

The world is full of fascinating creatures and plants that can capture our imagination and inspire us to spend more time exploring our natural environment, whether that’s local woodlands, a nature reserve or your back garden. There’s nothing quite like noticing a weevil upon a beautiful flower, a bee covered in raindrops, or an adorable wolf spider, dancing his heart out to impress a potential mate. Macro photography is a rewarding genre, and allows us to develop skills to improve our overall technique and enhance other genres that we enjoy. For instance, focus stacking plays a role in high-magnification photography, where depth of field is limited, and this can be a useful tool for landscape photography too. Field macro photography presents us with a few challenges, but with the correct…

Natural light can provide us with wonderful opportunities to capture creative macro images. My preferred shooting mode is aperture priority, because I can quickly adapt to the changes in light by making adjustments to the exposure via the compensation dial. Mirrorless cameras with an electronic viewfinder allow us to see the effects of exposure settings before we press the shutter. This eliminates guesswork, and, in my opinion, helps to expand our creativity. As we increase magnification levels and include extension tubes, we become more reliant on flash to achieve enough light for a good exposure. However, by blending flash with ambient lighting we can have more creative control of our macro imagery. When we’re working close to our subject it’s difficult to avoid bleached highlights and solid black backgrounds, so…

Insects, plants and fungi are such fascinating subjects that there’s a temptation to magnify them as much as possible and fill the frame –however, this may actually be limiting our creativity. Quite often, the environment and weather conditions can add a lot of narrative and atmosphere, enhancing our images. In many ways, including extra elements does indeed make things more challenging because we now have to consider the entire frame, paying attention to any potential distractions in the photograph. Yet I truly believe these considerations will only benefit our image-making. Macro lenses with long focal lengths enable us to create fantastic out-of-focus backgrounds, and while this can work to isolate our main subject, it also creates opportunities to use colours, textures, and natural framing to create unique compositions. “THE ENVIRONMENT…

The Comedy Pet Photo Awards (not to be confused with the Comedy Wildlife Photography Awards, which have featured regularly in this slot) have announced the side-splitting finalists for this year’s competition. The shortlisted images are a rogue’s gallery of cats, dogs and more unusual pets, including a llama, captured in amusing expressions and poses. The contest has its serious side too, supporting a variety of animal and wildlife charities, with this year’s recipients including Dean Farm Trust, London Inner City Kitties, and the Wild at Heart Foundation. The winning photographer will take home a cash prize of £2,000, plus a further £5,000 to donate to an animal welfare charity of their choice. Click the link to see all the finalists at the competition website, where you can also vote for…

CHECK OUT THIS ISSUE’S FEATURE FOR TOP MACRO TIPS FROM A LEADING PRO A ‘full macro’ lens with 1.0x or 1:1 magnification at its shortest focus setting will reproduce small objects at full life-size on the image sensor. That might not sound like a big deal, but when you’re filling the whole image frame with something the size of a postage stamp it enables massive enlargement when viewing shots on screen or in print. Indeed, with ºthe mighty megapixel count of some of the latest full-frame mirrorless cameras, you can reveal near-microscopic levels of fine detail. But there’s a catch. Capturing such minute detail and texture places great demands on the optical quality of a macro lens, not to mention the photographer behind it. Shooting macro images demands a high…

N-PHOTO N-Photo is a monthly magazine for Nikon photographers, and is packed with technique and Photoshop video lessons every month. http://bit.ly/3atHLfO https://apple.co/2TNE26T PHOTOPLUS PhotoPlus is a monthly magazine for Canon photographers that features expert advice, tips and video tutorials on all things Canon. http://bit.ly/30FoOlQ https://apple.co/2vaIdzw DIGITAL CAMERA WORLD A monthly magazine that aims to improve your photography with an inspirational mix of amazing images and how-to articles. http://bit.ly/2RER7g6 https://apple.co/2RBrZqG  DIGITAL PHOTOGRAPHER The monthly kitbag essential for enthusiast and pro photographers, packed with tutorials, exclusive interviews and the latest reviews. https://bit.ly/3lH4ucX https://apple.co/2SJf6ff…