Innehållsförteckning för No. 534 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…

Open a Raw file in Photoshop CC and it will automatically launch Adobe Camera Raw in its own plug-in window (see below). The first thing to do is correct any lens distortions, such as barrel distortion from wide-angle lenses or pincushion distortion from using a telephoto optic. You’ll also want to fix any vignetting in the corners, and chromatic aberration where bright purple or green fringes appear along high-contrast edges; it’s near impossible for a lens to not have any chromatic aberration, though premium lenses do a better job at mitigating this. The last of the initial tweaks is to apply a crop, as there’s little point working on areas that will be cropped out of the final image. PRO TIP SHOOT RAW AND JPEG Set up your camera to…

So far we’ve covered global edits, so called because the various sliders will affect every part of your image equally. But what if you only want to edit a smaller portion of the frame, or a small, localised area? That’s where these three adjustment tools come in handy. The Graduated Filter tool acts a bit like a digital ND filter, affecting a large portion of your image: you can have a hard or soft edge depending on how you use it. There’s also the Radial Filter tool, which can be used to draw a circular or elliptical adjustment area, and the Adjustment Brush tool, which allows you to brush over an area you wish to edit, allowing you to apply edits with a high degree of precision. Once your selection…

The final step is to save your edited image, to lock in your edits and create a smaller, more manageable JPEG file. Click on your image thumbnail in the filmstrip, or hit Ctrl+A [PC] or Cmd+A [Mac] to select all of your images, then right-click on any image thumbnail and choose Save Image/s. In the Save options, set the destination to where you’d like the photos to be stored. To batch-rename a group of shots, you can set a custom filename and add sequential numbers, too – just be sure to add a two- or three-digit serial number in the File Naming dropdown box. For example, you can create a batch of images called Landscape_01. jpg right through to Landscape_100.jpg. You can also add the date on which the images…

The Society of International Nature and Wildlife Photographers (SINWP) has revealed the winners of its Bird Photographer of the Year 2022 competition, with Sarah Keates from the USA taking first prize for her charming image of a piping plover chick investigating a shell on a beach in Massachusetts. Bird Photographer of the Year is run in aid of the RSPB, one of the UK’s biggest nature conservation charities. This year’s contest attracted more than 1,500 entries featuring a huge variety of subjects, and raised over £2,000 for the RSPB, bringing the total raised over the five years that the competition has been running to more than £10,000. Click the link to see all the images from this year’s contest at the SINWP website, where you’ll also find information about joining…

We’ve become used to lens manufacturers adapting their DSLR lenses to modern mirrorless mounts, but now TTArtisan is doing the opposite, by finally offering its budget-priced fisheye lens in versions for Canon and Nikon DSLRs. The TTArtisan 11mm F2.8 Fisheye is already sold in Canon RF, Nikon Z, Sony E, Leica/Panasonic/Sigma L, and Fujifilm GF mirrorless camera mounts. The new versions of the lens offer a 180-degree angle of view on full-frame DSLRs. The manual-focus lens is constructed using 12 elements in 10 groups, including four high refractive index glass elements that help to control distortion and spherical aberrations. An extra-low dispersion element is also included to reduce colour fringing and chromatic aberration. The fisheye has a 10-blade iris, and a built-in clickable aperture ring. The minimum focus distance is…

This is what you’ll see when you open a raw file in Photoshop CC, as doing so launches the integrated Adobe Camera Raw (ACR) plug-in. Here you’ll find the features and tools to help squeeze out as much from the raw data as possible. Starting above, and continuing over the next 11 pages, we’re going to walk you through the 10 essential editing techniques in ACR – to make the most of your shots in post-processing, we believe that these are the only editing steps you’re ever going to need. So read on to learn everything from basic raw conversions to more advanced editing – and while written for ACR, much of this is also relevant for Lightroom Classic CC, which uses a similar interface and tools.…

1 SHARPEN YOUR SHOTS As mentioned, raw files have no in-camera sharpening applied, so they may look a little soft when compared to JPEGs, which have sharpening and noise reduction applied at the point of capture. To fix, this, head to the Detail panel and increase the Sharpening value to make the details in your image pop. By default, this slider is set to 40, though boosting it to a value of around 50 usually works well. For a black and white preview, where you can clearly see the sharpening effect, hold down Alt/Option as you drag the slider, and zoom in to the image. 2 REFINE WITH RADIUS & DETAIL Click the dropdown arrow next to the Sharpening slider to reveal the Radius and Details sliders, which you can…

1 GRADUATED FILTER The Graduated Filter is a bit like a souped up digital ND filter, in that you can apply graduated edits to part of your image, with a hard or soft transition between edited and unedited areas. Unlike an ND filter, it’s not just for exposure – you can also apply graduated edits to colour, white balance and more. It’s ideal for editing skies; just drag to draw a gradient, adjust its position and drag the green and red dotted lines to change the ‘hardness’ of the transition, and then tweak the settings on the panel on the right. 2 RADIAL FILTER For circular or elliptical areas, the Radial Filter excels. You start by drawing with the tool to define the ellipitical area you want to adjust (or…

1 CONVERT TO MONO Black-and-white conversions can look striking, and are a great way to get the most from a capture that was taken with poor exposure settings, or in this case, very flat lighting. Just above the Basic panel, you’ll need to change the Profile to Adobe Monochrome to get started on working up your mono image. 2 EDIT MONO ‘COLOURS’ Having access to the colour channels with a black-and-white conversion may sound a little odd, but it’s very handy. Here you can fine-tune the contrast of certain tones, making the green grass lighter or a blue sky darker by adjusting the colour channel sliders in the B&W Mixer panel (under Detail). 3 ADD SOME CONTRAST WITH A CURVE You may be familiar with Photoshop CC’s Curves adjustment, and…

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1 EVENING We joined Nikon School UK at the Centre of Excellence in London for a masterclass on capturing creative lowlight cityscapes (if you don’t use a Nikon the techniques here are applicable to any make of camera). We started by brushing up on our low-light theory, and then headed out onto the busy streets of London’s West End to capture traffic trails, before moving to the Embankment. First, we learned how camera settings and using a tripod are the two most crucial factors at play when shooting the city in low light. We looked at how a wide aperture, such as f/2.8, produces a shallow depth of field – perfect if you want to include bokeh effects in the background – while at the other end of the aperture…

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…

Unless you’re a professional news or sports photographer who needs to send JPEGs to a picture desk in real time, there’s no reason for not capturing raw files at the point of shooting. Thanks to their compressed file size, JPEGs are great for sharing and storing, but if you want to take your photography to the next level, you’ll need to be able to exploit the mass of image information contained in a raw file. Unlike JPEG, which actually stands for ‘Joint Photographic Experts Group’, ‘raw’ isn’t an acronym; it literally means the raw data straight from the camera. This extra data does come at the cost of larger files, and at up to four times the size it’s true that raw files will fill a memory card or hard…

With this next set of adjustments, you’ll really start to see the full potential of shooting raw files. It’s easy to change the exposure by a few stops if it’s too bright or dark, and pull back highlight detail to stop bright areas like clouds from clipping to pure white, while simultaneously lifting the shadows to reveal detail in darker areas. This simply wouldn’t be possible with smaller JPEG files, as much of the captured brightness information is discarded when JPEGs are compressed and processed in-camera, and contrast and colour adjustments are baked in. Raw files, on the other hand, are untouched, leaving you free to make contrast and colour adjustments at the editing stage – this is why raw files often look flat when compared to a JPEG straight…

1 NOISE REDUCTION Head to the Detail panel and click on the dropdown arrow next to Noise Reduction, then zoom into your image to see any noise clearly. Dragging the Noise Reduction slider to the right will soften detail throughout the image – the more aggressive your noise reduction, the softer the details will become. 2 DIAL DOWN GRAININESS The standard Noise Reduction slider reduces the ‘graininess’ you see from using a high ISO. As the name suggests, dragging the Detail slider to the right will bring back some detail to reduce the softening effect of the noise reduction, and the Contrast slider will boost the contrast. 3 BANISH CHROMA NOISE Chroma noise looks like colourful specks, and can be effectively targeted with the Color Noise Reduction slider, as well…

1 USE THE UPRIGHT MODES To fix geometric distortion in images quickly and easily, use the automatic upright modes in the Geometry panel, such as Auto for balanced perspective corrections; Level, which applies a level correction; Vertical, which applies level and perspective corrections, or Full, which applies, level, vertical, and horizontal corrections. 2 VERTICAL AND HORIZONTAL If you find yourself needing to take more control, click on the Manual Transformations panel, and adjust the Vertical slider to straighten distorted vertical lines. You can also drag the Horizontal slider in order to correct distortion in the horizontal plane. 3 GUIDED MODE For architectural shots that have defined straight lines, an easy way to make sure that your lines are straight is to click on the Guided mode. After this, draw at…

COLD MORNING ANDREAS LANZ “I took this shot just before sunrise one cold winter morning at the shore of a lake in the Bernese Oberland, the Alpine region of the Swiss canton of Bern. I visit this place often, and the shooting conditions are always different.” https://bit.ly/3CeGzxg GLASS ROBBY VAN MOOR “I shot this as an exercise to capture an image featuring light and glass.” http://bit.ly/3hILIFA JUST A BIT OUTSIDE STEVEN BULMAN “I believe it’s the lack of symmetry that makes this shot successful. Neither the placement of the setting sun, nor the rocks or reflecting ‘footy’ print are centered. Everything is proportionally off, and although there is balance, nothing is what might otherwise be expected.” http://bit.ly/3xvRTkC F-15E HOLDING SHORT OF THE RUNWAY CHRIS FITCH “A USAF F-15E Strike Eagle…

One of the most useful, and easiest to follow, ‘rules’ of photography is that every image should have a subject. Having a strong subject to draw the eye can lead to a more effective composition, and this is true whether you’re shooting a portrait or a landscape. But what if there’s no subject in sight? We’ve all come across beautiful scenes or gorgeous moments of light that don’t have a point of interest, but we go ahead and shoot anyway – and, as with our starting photo here, the resulting image will probably be decent enough, but slightly bland. If you have such an image you can use basic Photoshop skills to drop a subject into it. In this video tutorial we’re adding a stag to our misty woodland scene,…