Innehållsförteckning för No. 589 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…

ADDICTED TO BASE Neil says… I underexpose by up to two stops and work in Manual mode. If you use exposure compensation in Aperture Priority you’ll constantly have to alter your ISO, and I want to remain as close to my base ISO as possible. I enable the histogram in Live View, too. as I trust it more than the light meter. READY, PRESET, GO! Neil says… I tend to set my own white balance presets via Preset Manual. I’ll have one preset that’s cooler and one that’s warmer, so that I can react depending on the situation. It’s important that you always shoot raw, so that if the white balance is off you can easily rectify it in post. HANDS-FREE Neil says… A remote shutter release might seem a…

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If you want to bring an extra level of dynamism to your still life or product photos, why not try playing with gravity and motion like this? With a combination of shooting skills, precise placement and a little Photoshop magic, images like this are within the reach of anyone with a camera. As for the lighting, we used three flashes to light our scene here, but if you want to keep things simple you could forego the flash altogether and use the ambient light from a window. Over the next few pages, we’ll go behind the scenes to see how a gravity-defying still life can be achieved. From the lighting setup to the careful posing to the simple post-processing, we’ll look at each stage in the workflow, and explain key…

One of the advantages to using red and blue as our two main colours here is that they can be easily altered to other shades if we want a different look. There are lots of colour-changing tools in Photoshop, but perhaps the easiest to use is the Color Mixer panel. Available in Camera Raw and Lightroom (and also through Filter > Camera Raw Filter in Photoshop) the panel lets you target eight different colour ranges and change the Hue, Saturation and Luminosity of each. Set it to Hue, then grab the target tool and drag left or right over colours in the image to instantly alter them. Then right-click and select either Saturation or Luminosity to tweak the results.…

If you’re a photographer who loves retro cameras, and also a keen Lego builder, then the world’s favourite brick maker has a couple of new-year treats in store for you in the shape of not one but two new retro camera sets. First up is the Retro Camera set (#31147), which is part of the 3-in-1 Creator series. As the name suggests, the pieces included in these sets can be used to build three different models – in this case a retro SLR or video camera, or an old-school analog TV complete with aerial. It’s a 261-piece set that’s recommended for Lego fans age eight years and older. The SLR has some neat features, such as a moving lens and ‘working’ film-wind handle, plus a hotshoe. You also get a…

1 ADD A LITTLE DEPTH Neil says… I usually emphasize light entering the woodland by using masks in Adobe Lightroom. Here, I used an inverted Radial Gradient to darken everything but the top-left portion of the image by subtly lowering the exposure. This helps to create a greater feeling of depth within the image. 2 CROP SHOP Neil says… The oak trees in Wistman’s Wood are so short it can sometimes prove impossible not to frame either bits of canopy or overly large amounts of ground. Cropping images to 16:9 is a good compromise, because it prevents those unwanted elements from dominating the frame. 3 MAKE THE GRADE Neil says… I tweak the Color Temp slider so it’s cooler, before using the HSL tab in the Color Mixer panel as…

1 CAMERA SETTINGS When using off-camera flash it’s usually best to set your exposure to Manual mode with ISO100. First, set the shutter speed to 1/200 sec and aperture to f/8, then take a test shot and either adjust the power of the lights or the aperture until the exposure looks right. Here we had our camera set to 1/200 sec, f/5.6, ISO100. 2 TRIPOD We arranged our three red watering cans, then poured water into the top one so that it would trickle into the opening in the lower can. Once captured, we could move the lowest can and string it up in a higher position, then repeat the process. A tripod is essential to keep all the frames in alignment. 3 TOWELS AND BUCKETS Messing around with water when using…

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 NEIL BURNELL CAMERA: NIKON Z 7II Neil left behind a career in graphic design to become a full-time pro photographer. His work has been exhibited far and wide, and he’s won a plethora of photography accolades, including the Landscape Photographer of the Year 2020 Black and White category. When he’s not hard at work on a project he’s running workshops, putting together books, and selling prints. His Wistman’s Wood photography is well known, so Keith has a unique opportunity to learn from one of the best: www.neilburnell.com THE APPRENTICE KEITH MALE CAMERA: NIKON D500 Devonshire-born-and-bred Keith used to shoot game. But after his best gun dog passed away he realised his new pup was gun-shy. This persuaded him to put down his gun and adopt a new type…

The International Landscape Photographer of the Year Awards has celebrated its 10th birthday by announcing the stunning winning images from its 2023 contest. More than 4,000 entries were received from professional and amateur photographers, showcasing breathtaking landscapes and natural features around the globe. Prizes are awarded for Photographer of the Year, based on a portfolio of at least four images, Photograph of the Year, and in a variety of Special Award categories. Australian photographer Tony Hewitt earned the coveted title of Photographer of the Year with a selection of abstract aerial photos of river beds and shorelines around Western Australia. Click the link to see more winning and commended images at the competition website. You can also order hardback books featuring images from previous contests. SEE MORE IMAGES https://bit.ly/3RSlosm…

1 LOAD INTO LAYERS Open Adobe Bridge and Cmd/Ctrl-click to select all the images that you want to combine, then go to Tools > Photoshop > Load Files into Photoshop Layers. Once open, go to the Layers panel and drag the layer you want to use as a base to the bottom. Alt-click the eye icon on this layer to hide all the others. 2 PAINT LAYER MASKS Highlight and reveal the layer above, then hold Alt and click the Add Layer Mask icon to add a full black mask. Grab the Brush Tool, hit D, then paint with white over areas you want to be visible. If you need to hide anything, hit X and paint with black. Continue revealing and masking the layers, one at a time. 3 REMOVE THE…

www.sigma-global.com £1,999/$1,999 The Sigma 60-600mm F4.5-6.3 DG DN OS Sports for Sony and L-mount cameras has some history behind it. In 2001, the so-called ‘Bigma’ was born, a unique lens for SLRs with a 50-500mm zoom range, and an updated version, weighing 1,840g, was launched in 2010. This was eclipsed in 2018 by the Sigma 60-600mm f/4.5-6.3 DG OS HSM Sports, weighing 2.7kg. Sigma chose not to add Sony E and Leica L mount options for mirrorless cameras, instead redesigning the ‘DN’ mirrorless version, which is still a hefty 2,485g. A similar contender for Sony shooters is the Tamron 50-400mm F4.5-6.3 Di III VXD. This one kicks off with the natural perspective of a 50mm focal length but doesn’t stretch as far into super-telephoto territory, topping out at 400mm. On…