Innehållsförteckning för No. 528 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…

IMAGE STABILISATION Alex says… Unless it’s a particularly windy day or I’m using a long super-telephoto like a 600mm lens, I don’t tend to use image stabilisation, as sometimes I think it can overcompensate. That said, plenty of photographers swear by it, so try shooting with it both on and off and see what works for you. FOCUS MODES Alex says… AF-C is essential, because the camera focuses continuously as you track the car. My preferred Area-AF Mode is Dynamic-Area AF. This allows me to choose my focus point, knowing that the camera will select an alternative focus point if my aim strays slightly, providing a little extra room for error. EXPOSURE SETTINGS Alex says… The shutter speed depends entirely on what you’re shooting. As a rule of thumb when…

A TEAM EFFORT This photograph was one of my first-ever pit-lane shots – and almost everyone’s favourite! We were in France, and I was very fortunate to be shooting during an amazingly vivid sunset. My intention was to freeze the pit crew as they worked, and show just how many people are involved in a racing team’s success. MINIATURE MOMENTS This was a shot I’d wanted to create for a long time. I used a 200mm lens so that I could sight the refuel from a distance. The image was captured at 1/500 sec, with an aperture of f/2.8, and is one example of the many little moments we often miss. SNOW DRIFTS My favourite-ever event – the Rallye Monte-Carlo Historique. For this shot, I stood at the side of…

Sony has announced the A7R V, a 61MP full-frame powerhouse aimed at pro and enthusiast landscape, portrait, wildlife and product photographers, and sporting 8K video and a new AI-drive subject recognition AF system. Sony keeps the 61MP BSI sensor of 2019’s groundbreaking A7R IV – this is still the highest resolution you can get in a full-frame camera – but, alongside 8K and the new autofocus smarts, adds a big boost in processing power and buffer capacity for burst shooting. It’s no surprise that the A7R V now comes with 8K video capture, though this will be with a 1.2x crop – hardly surprising, given that the resolution of the sensor would make oversampling the full-width readout a major processing overhead. Full-width capture is possible at up to 4K 30p,…

DO YOUR RESEARCH Alex says… If I’m at a circuit, I’ll do a lap in the morning to identify the best shooting spots. You don’t have that luxury when shooting a rally though, so I’ll spend time familiarising myself with the rally map and going through old photos to get acquainted with the stage and search out the best corners. AVOID OBSTRUCTIONS Alex says… When you arrive at your spot, consider your environment. Look for distractions in the background such as warning tape and emergency vehicles, and then consider the foreground. We moved from a spot today because a row of foxgloves obscured our composition. WORK WITH CROWDS  Alex says… You’ll have to contend with crowds, but you can use them to your advantage. Try shooting through groups or including them…

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30 MINS The contrast range between the darkest and brightest parts of a landscape scene will often be beyond your camera sensor’s dynamic range, and this is particularly likely to be the case during the golden hours (just before sunset or after sunrise), when the sun is low in the sky. You’re left with the choice of exposing for the sky, in which case the land will be plunged into shadow, or for the foreground, in which case the sky is likely to be an unpleasant blown-out wash of white. The solution is to use a graduated neutral density (ND grad) filter, which is dark at the top and ‘graduates’ to clear at the bottom. By placing the dark portion at the top, the exposure required for the sky is…

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…

THE PRO ALEX DENHAM CAMERA: NIKON D750 Alex’s motorsports journey started entirely by chance, when her petrolhead mum suggested she photograph a race for a college project. The budding photographer knew then and there that she’d found her calling, and a year later she was shooting for a touring car team. Alex has since covered huge automotive events such as the Goodwood Festival of Speed and the Monte Carlo Rally, and is a Tamron ambassador. See more of her work at www.alexdenham.com THE APPRENTICE STUART JONES CAMERA: NIKON Z 6II Stuart remembers the Group B ‘golden era’ of rallying in the mid 1980s, which he started photographing with his father’s trusty SLR. He later purchased his first Nikon DSLR, and has recently switched to the Nikon Z 6II. He’s keen…

1 GET A GRIP Alex says… I use Nikon’s MB-D16 Battery Grip. The extended battery life is of course very welcome, but the main reason I use it is to increase the weight of my D750. This might sound strange considering we’re always talking about lighter cameras, but when you’re using a large lens, a lighter body can make your setup feel top-heavy, and the DSLR and grip act as a counterweight. 2 DUAL WIELDING Alex says… I carry a Nikon D750 and D610. Typically, I’ll have my Tamron SP 70-200mm F/2.8 Di VC USD G2 attached to one camera and my Tamron SP 24-70mm F/2.8 Di VC USD G2 attached to the other. I do use super-telephoto zooms, but I tend to use these at race circuits, since they’re…

ANGEL FALLS DALE MASON “I took this photo at Bell Gorge on the Gibb River Road in Western Australia.” https://bit.ly/3y6oqyN SPRING ACER HELEN GEORGE “I photographed these acer leaves in high key, and I only noticed the aphids when I viewed the image on my computer. As much as aphids are a menace, I thought these particular ones looked cute walking along the stem.” https://bit.ly/3sjw9ab LOOKING FOR THE SUN MARIO OTTAVIANI “I took this photo on Monte Linzone in the province of Bergamo in Italy’s Lombardy region. During a hike I went through this small forest where the sun’s rays filtered through the canopy.” https://bit.ly/3Akm016 SPIRAL STEPS INSIDE SOUTH STACK LIGHTHOUSE JEFF GUILE “This was taken inside the lighthouse at South Stack, off the coast of Holyhead in North Wales.…

Nothing beats nailing a perfect long exposure in-camera, but sometimes this may not be possible. Perhaps you’ve seen the opportunity for a shot but don’t have your tripod or ND filter with you, or maybe you’d like to try the effect on one of your old landscape photos. Either way, you can mimic the look of motion blur in Photoshop using a combination of selection and masking techniques and filters, and we’ll show you how in this video tutorial. The key to the effect is the Radial Blur filter, and what’s great about this particular filter is the different types of blur effects you can create. You can choose between Spin, which creates a circular, whirlpool-like blur, or zoom, and the latter option can be used to mimic the look…