Innehållsförteckning för No. 560 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…

To master exposure technically, we first need to touch on the exposure triangle. Balancing the three components of aperture, shutter speed and ISO enables us to control the volume of light falling on the sensor, and is paramount to producing a perfectly exposed image. When these are set correctly according to the light falling on your subject, you will produce the best image possible. A well-balanced, detailed and correct exposure will result when shooting with a predetermined ISO and selecting the favoured shutter speed or aperture, such as f/11, f/16 or f/22 for landscapes. A correct exposure is one in which the camera has captured all the details in the shadow and highlight areas, without any loss of information, resulting in an evenly exposed photo. Our eyes are incredibly efficient…

Knowing when to use aperture or shutter priority will help you to control exposure creatively. Even pros can get stuck in a cycle of using the same modes out of habit. Capturing seascapes and the dramatic flows of the ocean crashing against the rocks is a great time to choose shutter priority, as the shutter time has a significant impact on the desired exposure. Slowing down the exposure can help blur the water’s movement, add motion and result in a creatively correct exposure. This can be more interesting than freezing the water with a faster shutter speed. If your aim is to be inventive with the depth of field while exposing accurately, shoot in aperture mode and vary the focus. A portrait of a surfer captured at f/2.8 looks different…

Capturing the entire dynamic range can sometimes be a challenge for your camera, especially when areas of both bright light and dark shadows are present. Hardware filters and exposure bracketing are two ways in which we can manage exposure differences to capture high-contrast scenes. Hardware filters, such as those made by Lee, reduce the amount of light reaching the sensor, and balance the exposure between foreground and background. They’re preferable to exposure bracketing, as you only need to shoot one image instead of several frames at different exposures. Using a graduated neutral-density filter in-camera helps to hold back the brightness of the sky, giving the correct exposure without the need to blend exposures in post-production. “FILTERS AND EXPOSURE BRACKETING ARE TWO WAYS TO CAPTURE HIGH-CONTRAST SCENES” When it’s not possible…

1 SELECT APERTURE OR SHUTTER PRIORITY MODE When shooting in aperture or shutter priority mode, the camera will meter and calculate the exposure automatically. Apply exposure compensation to override it and achieve your desired effect in-camera. 2 CENTRE EXPOSURE COMPENSATION Start by setting the exposure compensation function on your camera to 0. From this, you can judge the range of tones, and darken or lighten your image to correct the exposure to the level you require. 3 NEGATIVE EXPOSURE COMPENSATION If the scene is too bright, move the dial to the left by -1 to -2 stops to apply negative exposure compensation. You can also use this to creative effect, to make silhouettes of subjects. 4 POSITIVE EXPOSURE COMPENSATION If the scene is too dark, apply positive exposure compensation by…

www.sony.co.uk £1,499/$1,298 In the world of prime lenses, no focal length is more talked I about than 50mm, which is wide enough and long enough for many different areas of photography. A ‘nifty fifty’ is often one of the first lenses in a photographer’s kit bag. Sony has introduced the FE 50mm F1.4 GM as a replacement for the ageing Zeiss Planar T* FE 50mm F1.4 ZA lens in its medium-distance prime lens lineup. Launched in 2016, the Zeiss is known for its clinical sharpness, bokeh abilities and its quality build but it was a heavy lens with a big price tag. The FE 50mm F1.4 GM joins Sony’s family of f/1.4 prime G Master lenses, including the 24mm F1.4 and the 85mm F1.4. With the 50mm, Sony now offers…

Comica has announced the Comica CVM-VM30, which it says is the first consumer shotgun microphone to come with a built-in wireless transmitter built directly into the microphone, which can beam the audio to a separate receiver. Shotgun microphones are among the most frequently used mics around. They offer high-quality sound recording with excellent noise isolation, and are often the first choice for interviews and direct-to-camera video. However, they tend to be lacking in basic wireless functionality, often requiring complicated DIY wireless systems, where the audio has to be simultaneously recorded externally and synced along to the video later during the editing process. The VM30 is a super cardioid condenser shotgun mic, and can be used in the traditional wired method, or over a 2.4Gz wireless connection. The microphone has a…

Fewer photographers use the zone system in the digital age, due to the ease with which we can check instant image previews and visualise clipped detail. However, the famous exposure scale still allows us to quickly calculate how the highlights, midtones and shadows will look in our head before shooting. This is useful in event photography, where we must balance creativity with exposure constraints, for example in a clipped wedding dress. Zone V is midtone grey, so if we place a bright subject in zone VI it will look unnatural, while shadow areas will be pushed into zone 1 and clip. Decide which tones you need to maintain the most, and use exposure compensation to keep all others in-range.…

A histogram is a tried and tested tool that can help you determine the correct exposure for any given scene. It represents the distribution of tones in an image, displaying them in a graph format that ranges from pure blacks on the left through shadows, midtones and highlights to pure whites on the right, making it a useful indicator to help you master exposure. Ideally, a well-balanced histogram of a typical scene is one that’s centred with even peaks, and just reaches the edges, showing that you’ve captured the entire dynamic range of the photo. A histogram showing clipped highlights (where the graph is bunched to the right) or clipped shadows (where the graph is bunched to the left) can be managed by reducing the exposure (and darkening the image)…

1 FRAME YOUR SCENE When you have found your composition, think about how you want to position your filter. Typically, you’ll align the filter’s transition area with the horizon line, although this is trickier if trees or buildings break the horizon. 2 DETERMINE THE EXPOSURE RANGE A meter reading of the brightest part of the image and midtones will help you to recognise which filter strength is best to apply, so that you can tonally match the sky and foreground details correctly. 3 ATTACH YOUR FILTER HOLDER Once you’re happy with your metering, attach your filter holder to your camera lens – if you’re using slot-in filters – and make sure this is securely in place before you’re ready to introduce your filter. 4 CHOOSE YOUR FILTER Adding a neutral-density…

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This image was captured in Marbury Country Park, Cheshire, UK, which is a great location for fungi. I chose this elegant cluster of milking bonnets as it provided just the right number of mushrooms and a range of sizes. I added impact via LED lighting, and a water mist to create the rain effect and droplets. 1 KEEP IT CLEAN Arguably the hardest aspect of fungi photography is finding a photogenic subject. Many species are not attractive, and most specimens are half eaten. Subjects need a clean background too, not surrounded by busy patches of vegetation or other elements that could detract from the image. 2 HOW LOW CAN YOU GO? Most nature subjects look best at their own level, so set up your tripod and camera at the same…

Mastering exposure is one of the most fundamental elements you can learn in photography to help bring your creative vision to life. With the variations of light that can be present within a scene, getting the correct exposure in-camera is crucial. It’s one of the first skills we learn when starting out with a camera, and while it can take a reasonable amount of practice to understand the basics, with a little experience we can confidently understand how to manage any scene. However, as with any aspect of a creative medium, it’s possible to allow our work to become formulaic as we focus on the same subjects many times over several years. Even full-time professional photographers, who have extensive experience of managing camera settings in challenging conditions, can lose track…

The exposure triangle is a staple representation of the relationship between camera settings. However, it can be tricky to see how this relates to maximising image quality, and doesn’t account for techniques such as exposing to the right (ETTR). This graph shows how ETTR is all about balancing practicality and the physics of digital light capture. At the left side, while shutter speed is fast and depth-of-field is large due to a narrow aperture, image noise, diffraction and reduced dynamic range are problematic. On the right, noise is low, but the risk of camera shake and blown highlights reduce data capture. The yellow zone shows where noise, colour data, DOF, shake risk and dynamic range optimally align.…

MANUAL (M) While it’s seen as a professional choice, full manual only provides an advantage in static lighting. Use this in a controlled studio setting, or to prevent exposure changes between frames, when shooting segments for a panorama, for example. APERTURE PRIORITY (A, AV) This is the mode that’s most commonly used by pros, as it allows maximum control over all image parameters, with a speed advantage over Manual. Shutter speed can still be indirectly controlled, but the overall style is defined by depth of field. SHUTTER PRIORITY (S, TV) When you’re likely to be changing the look of an image through exposure duration, such as at a sporting event where you nned fast shutter speeds, this mode offers the quickest workflow. Direct shutter speed control is more precise than…

While capturing a correct exposure is generally desirable, the definition of a ‘good’ or ‘correct’ image is subjective, and you may want to capture and image that’s a little lighter or darker than what is strictly correct. There may also be tensions between the practical considerations and artistic ones, and it isn’t always desirable to have a perfectly centred exposure. Photography is ultimately a creative medium, and there will be occasions when you’ll want to manipulate the exposure for creative effect. Underexposing by a small amount can add drama and colour saturation to an otherwise flat scene, while in other circumstances, gentle overexposure can breathe life into drab conditions. The professional approach to any creative image is moderation. Start with an exposure that you know is technically correct, with a…

LION IN CEPHEUS DOUG GRIFFITH “Sharpless 2-132 is a very faint emission-type nebula in the constellation Cepheus, close to the border with Lacerta. It’s thought to be somewhere between 10,000 and 12,000 light years from Earth. I captured this image from Beckwith Township in Ontario, Canada.” http://bit.ly/3K8fA95 FEMALE KESTREL LOOKING FOR LUNCH ALAN GIBBLE “I photographed this kestrel on a road running alongside the runway of Lancaster Airport outside Lititz in Pennsylvania. It was perched on the barbed wire looking for mice and insects in the grass below.” http://bit.ly/3FQmeza PRAYING MANTIS TOM DRESSEL “I was with a friend exploring an abandoned highway and tunnel in Pennsylvania that’s now used as a walking and biking path. My friend spotted this praying mantis on the road among some leaves and vegetation.” https://bit.ly/3HmfTJV…

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