Innehållsförteckning för No. 601 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…

WHITE BALANCE I often use the Basic Panel sliders in Lightroom to correct colour casts, adjust the colour temperature of the scene and control the Tint for a more natural range of colours. SATURATION AND VIBRANCE I use these tools to enhance or tone down colours, as they impact all colours and the least dominant ones, respectively. For more precise control, use Point Color or other sampling tools. HSL Fine-tune specific colours to achieve the desired look. The Hue, Saturation and Luminance sliders alter the shade, intensity and brightness of the selected colour range. COLOR GRADING This will influence the impact of the image, based on the depth of colour. Independently add or neutralise colours in the highlights, midtones and shadows.…

LOCAL ADJUSTMENT BRUSHES Editing software offers brush tools, so you can paint onto specific areas of the image and then make selective exposure adjustments. GRADUATED FILTERS Enables gradual exposure adjustments across the image, such as darkening the sky while keeping the foreground unchanged. RADIAL FILTERS Creates circular or elliptical selections with controllable feather measurements so you can brighten or darken specific areas. LUMINANCE RANGE MASKS Layers and masks allow complex exposure adjustments to specific parts of an image. Range masks allow precise tonal targeting. DODGE AND BURN TOOLS These are commonly used to selectively lighten (dodge) or darken (burn) targeted areas based on a specific tonal range.…

1 ADD A MOVABLE LAYER Start by adding a black Solid Colour layer above your Background layer – the black background will make it easy to move the lighting effect around at a later stage. You can toggle the layer on and off by clicking the layer visibility (eye) icon. 2 ADD A FLARE The process varies between software. In Photoshop go Filter > Render > Lens Flare. Select the 105mm Prime option, resize using ‘Brightness’ based on the focal length and resolution of your image, and place the flare where your light source would be. 3 REMOVE THE BACKGROUND Click OK to apply the filter. Change the layer blending mode to Screen to remove the black background, and then adjust the placement and size of the flare layer, considering…

MACRO MARBLES NICK STRONG “This is a close-up image of some marbles, which I shot in my home studio.” https://bit.ly/3tXh6GI DARLING HARBOUR, SYDNEY, AUSTRALIA PHILIP EDWARD WOOD “This is the Darling Harbour Woodward Water Feature in Sydney, Australia. The angle of the sun against the wet spiral pattern caught my eye, inspiring me to capture my own interpretation of this piece of architectural art.” https://bit.ly/3Ov32dU THE SILENT DISCO IN THE CLOUDS DOM HAUGHTON “Fanal Forest on the island of Madeira is an extraordinary location, quite unlike any other I’ve visited. Each tree has a unique shape and character, and it was fun to observe how they interacted with one another. In this image I saw a dancefloor, with the main subject strutting across the stage in front of a supporting…

Photoshop’s Shadows/Highlights command has long been one of the most useful tonal tools on offer in the software. Initially, the tool offers two simple sliders: one lets you lift the shadows, while the other darkens the highlights. However, as you’ll discover in this issue’s video tutorial, hidden away are a wealth of other options that give you a fine degree of control over the balance of tones in your scene. Shadows/Highlights really comes into its own with landscapes. Like our Icelandic seascape here, a typical landscape photo will be dominated by very bright and very dark tones, as skies tend to be lighter than the land below. This makes it tricky to achieve a balanced exposure, as the contrast between the two areas is so great. Thankfully, there’s often far…

Fujifilm has unveiled its most advanced Instax camera to date, the Instax Mini 99. The new model, which uses Instax Mini film packs, adds a host of creative options to the ‘instant’ point- and shoot experience, including colour effects and vignettes. The Instax Mini 99 looks a little like a cross between the Instax Mini 40 and Mini 90 Neo Classic, with the same retro rangefinder film camera aesthetic, although in a chunkier Instax form. On the top of the camera are two manual dials, one of which enables you to apply colour effects including Faded Green, Sepia, and Light Leak to images via LEDs that flash inside the camera as the film is exposed. Other controls enable you to adjust the brightness of images and add a vignette. New…

1 BLACK AND WHITE POINTS Most raw workflows should start by setting the black and white points, which define the tonal parameters of the file. Hold down the Alt/Option key to visualise when clipping starts to occur, setting the sliders to just before warnings appear. 2 ADJUST HSL I needed to create separation between the green foliage and the bronze leaves and mud behind. To do this I reduced the yellow hue and saturation, which makes natural greens ‘fresher’. I also reduced green luminance to remove the presence of sheen. 3 USE POINT COLOR To target the underlying reddish soil and brown foliage, I used the eyedropper in the Point Colour tab in Lightroom to select this range. I checked ‘Visualise Range’ to see which colours were selected, then further…

1 AUTO BLEND SHOTS In this high-contrast scene, I captured a bracket of three exposures, which I then blended together using Lightroom’s Merge to HDR function, loading all of the tones into a single frame for later adjustment. 2 ADJUST MAIN PARAMETERS 2 On the merged image, I set the black and white points, introduced some extra clarity, and pulled back some of the highlight detail. In order to monitor clipping, I toggled the clipping alerts by clicking on the triangle symbols on the histogram. 3 ADJUST TONAL SHIFT The use of a strong ND filter has given the image a yellow tone. I wanted to remove this from the shadows, so to target this range I created a luminance range mask, selected a highlight with the eyedropper, and refined…

The British Wildlife Photography Awards, which celebrate the incredible diversity of animals, plants, and ecosystems across the UK, have announced the winners of the 2024 contest. This year’s overall winner is Ryan Stalker, for his striking image of a football covered in goose barnacles that washed up off the coast of Dorset after drifting across the Atlantic. The goose barnacle is a non-native species to the UK, normally being found in the tropics, and the image illustrates how ocean waste can enable the migration of invasive species, as well as harming marine life and causing pollution. Stalker’s image, entitled Ocean Drifter, also took first place in the Coast & Marine category. Other categories include Animal Behaviour, Animal Portraits and Botanical Britain. Click the link to see more winning and commended…

www.viltroxstore.com £420/$545 The Viltrox AF 27mm F1.2 Pro picks up the baton from some T seriously good f/1.4 lenses that are available in Fujifilm X, Nikon Z and Sony E mount options. We were impressed by the Viltrox AF 23mm F1.4 Z, Viltrox AF 33mm F1.4 Z and Viltrox AF 56mm F1.4 Z, which are all pretty much the same size and weight, plus the slightly larger Viltrox AF 13mm F1.4 Z. Personally, I was so impressed by these four lenses that I bought them outright as my go-to lenses for when I’m shooting with my Nikon Z fc camera. Combining fast and consistently accurate autofocus with good handling characteristics, Viltrox’s back catalogue of lenses include de-clicked aperture rings and are terrific value at the price, although the 23mm, 33mm…

Very few photographic genres offer the same range of lighting, colour and detail that can be found in a landscape. Changing weather, the shifting position of the sun in the sky, and the steady progress of the seasons afford us the opportunity to capture familiar locations in new ways almost every day, which goes some way to explaining why landscape photography is such a popular genre. The downside of so many photographers shooting landscape images is that it has become almost impossible to capture a truly unique shot of a well-known landmark. Instagram is awash with photos of places such as Durdle Door in Dorset, Yosemite National Park in the USA, Lake Louise in Banff National Park, Canada, and, more recently, the misty skeletal forests of Madeira or the wild…

The range of colours visible in a landscape scene is vast. Even under flat lighting or in seemingly drab locations, there are a plethora of analogous colours hiding in the scene – subtle variations, the sum of which creates a natural palette that the human eye can identify and relate to. This spectrum can be both a blessing and a challenge. It’s one of the aspects that makes landscape photography so appealing, but it also means that becoming a deft hand at post-processing is a crucial skill. Over-working colour can break down the smooth gradations we’re accustomed to seeing and introduce uncomfortable jumps and shifts, which instantly make the scene look strange and unattractive. “Colour adjustment is a vital aspect within post-production, and plays a crucial role in enhancing and…

Exposure and colour in photography are often discussed independently as if they’re unrelated topics; however, it’s important to remember that the brightness of an image directly impacts the appearance of colours. In landscape photography, the decision is often taken to underexpose slightly to maintain highlight detail but also to create richer colours that appear more saturated. This means that you need to be mindful of how your exposure choices affect the colour fidelity of your photos. In scenic imaging, this can be challenging due to the tonal range of many compositions. The sky is usually brighter than the foreground by a significant margin, which means colours will be impacted differently in each area of the frame. This is why localised adjustments are hugely important in landscape editing. Most advanced software…

Landscape photography can often be seen as a literal genre, with the aim of simply capturing the scene before the camera exactly as it is. However, this attitude has changed over recent years, thanks to the advent of social media trends, and AI software features such as Generative Fill in Adobe Photoshop. Although these tools can be controversial, and have stretched the definition of digital photography, they have also opened up a whole world of creative and cultural possibilities. I’ve always believed that the impact of the final image is the end goal for a photographer, and that we must be free to take whatever steps are necessary so that the viewer can connect with our subject. If that means adjusting the colours and lighting conditions of a scene because…

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The Brenizer method is the brainchild of renowned wedding photographer Ryan Brenizer. It’s sometimes referred to as the bokeh panorama, owing to the wide frame and super-shallow depth of field that characterizes the style of these images. Bokeh panoramas boast shallower depths of field than are achievable with a wide-angle lens, and give APS-C and full-frame users the ability to produce portraits with a large-format aesthetic. The key to this technique is to use a fast telephoto lens to achieve the characteristic portrait depth of field, and constant camera settings that won’t change between frames to create a seamless blend. Once you’ve settled on a white balance preset, locked your exposure, and used AF to focus on your subject, you need to switch to manual focus so as not to…

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