THE BEST GLASS BAR NONE OUR PICK OF THE LENSES IN THE PHOTOGRAPHY WEEK AWARDS 2018 T H E W O R L D ’ S B E S T-S E L L I N G D I G I T A L P H O T O M A G A Z I N E 19-25 A PR IL I S S UE 291 INSPIR AT ION IDE A S IN-DEP TH RE V IEWS 37 THINGS PHOTOGRAPHERS DO WRONG AND HOW TO STOP DOING THEM W E L C O M E JOIN THE CLUB... 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 the best new 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 – your photo might even appear on our cover! JOIN T HE PHOTOGR APHY WEEK COMMUNI T Y AND S TAR T SHAR ING! FACEBOOK http://tiny.cc/7s2zgy TWITTER http://tiny.cc/xt2zgy FLICKR http://tiny.cc/nv2zgy We’re more than just a magazine – read on and discover the many ways you can interact with and enjoy Photography Week CONTENTS FIND OUT WHAT’S INSIDE THIS ISSUE NEWS F E AT U R E BLACKMAGIC IS BACK New camera packs Cinema 4K video into a handheld design F E AT U R E BANISH THOSE ERRORS! The photography mistakes we ±ĬĬƤĵ±ĩåØ±ĹÚĘŅƵƋŅüĜƻƋĘåĵ PHOTOS GALLERY kƚųŞĜÏĩŅüƋĘåÆåŸƋųå±Úåų Ĝĵ±čåŸüųŅĵƤ±ųŅƚĹÚƋĘåƵŅųĬÚ I N S P I R AT I O N I N S P I R AT I O N STARS OVER NEW YORK Timelapse imagines city’s ĹĜčĘƋƤŸĩƼƵĜƋĘŅƚƋĬĜčĘƋŞŅĬĬƚƋĜŅĹ CRASH COURSE WOODED WONDERLAND Learn how to capture magical portraits among the trees PHOTOS PHOTOSHOP PHOTOSHOP METEORIC MONTAGES ųå±Ƌå±ĹåƻŞĬŅŸĜƴåÏŅĵŞŅŸĜƋå Ĝĵ±čåƋĘ±ƋűŸŅƚƋŅüƋĘĜŸƵŅųĬÚ CRASH COURSE GEAR THE BEST LENSES 2018 Photography ååĩűŸŞĜÏĩŅü ƋĘåÆåŸƋŅŞƋĜÏŸ we’ve seen in the Ĭ±ŸƋŎƖƤĵŅĹƋĘŸ N E W S W H AT ’ S H O T THE WEEK’S TOP HEADLINES IN PHOTOGRAPHY BL ACKMAGIC L AUNCHES THE POCKE T CINEMA C AMER A 4K Second-gen model packs the latest video tech into a handheld design t may look like an oversized dual native ISO with a sensitivity range the body lends itself to those shooting digital camera from the 1990s, up to ISO25,600, while it’s also capable independent films and documentaries, but Blackmagic’s new Pocket of shooting Cinema 4K (4096 x 2160) at fashion shows, travel blogs, web videos, Cinema Camera 4K is packed with some up to 60fps and Full HD at up to 120fps. weddings, corporate video and sports. serious video tech. Not only that, but there’s the promise of On the rear is a 5-inch touchscreen 13 stops of dynamic range for great low- display, enabling users to adjust settings, light performance. add metadata and view recording status I It’s the second-generation Pocket Cinema Camera from Blackmagic – its first, 1080p, model was launched back Footage (including 10-bit ProRes and via tap and swipe gestures. There are in 2013 – and the new camera is again 12-bit raw recording) can be recorded also on-screen overlays for recording based around the Micro Four Thirds to UHS-II-compatible SD card or CFast parameters, histogram, focus and format, which means it can be used with cards, while a USB-C expansion port peaking indicators and more. a wealth of lenses from Panasonic and means you can record directly to the Olympus, as well as other lens makers same external disk drives that users will Blackmagic Pocket Cinema Camera such as Leica and Voigtlander. use for editing and colour correction. 4K yet, but it looks to be priced The Micro Four Thirds sensor offers a Blackmagic reckons the design of There’s no release date for the competitively at £1,029 / $1,295. F E A T U R E 37 THINGS PHOTOGRAPHERS DO WRONG… AND HOW TO STOP DOING THEM Photos soft? Exposures off? Compositions not working? Read on to discover how to fix the most common photography problems, fast! F E A T U R E WHY ARE MY PHOTOS BLURRED? Here are the top reasons your photos aren’t sharp, and what you can do about it NOT KEEPING AN EYE ON THE SHUTTER SPEED The rule of thumb for handholding your camera is to set a shutter speed equivalent to (or faster than) 1 divided by the focal length you’re shooting at, so that’s 1/50 sec when shooting at 50mm, for example; but it can still be difficult to keep a lens still at these shutter speeds. Stabilised lenses make a difference at slower shutter speeds, but they can do nothing about subject movement. If in doubt, use a shutter speed that’s twice as fast – you may need to increase the ISO. If your subject is moving, you might have to go faster to ‘freeze’ the movement, even if you’ve eliminated camera shake. 02 NOT TAKING CONTROL OF THE AF POINT Don’t leave it up to the camera to decide where to focus; it won’t know which feature you want sharp. If there’s something in front of the main subject, or the background is detailed, or there isn’t a lot of contrast between the main subject and the rest of the picture, then your camera may focus on something other than the subject. For absolute precision, choose a single AF point. The center spot is the most sensitive, although not ideal for dynamic compositions. For an off-center subject, you’ll need to use the ‘focus and recompose’ method: point the central AF point on the subject, half-press the shutter release to lock the focus, and then recompose the shot. Alternatively, use an off-center AF point that corresponds with the positioning of the subject in the frame. This is the best option if you’re taking pictures at close quarters; if you opt for the focusand-recompose method instead, the shift in camera position can mean that the point you locked focus on is now at a different distance relative to the position of the sensor, and may actually be blurred. 01 NOT WORKING HANDS-FREE A tripod is the best way to ensure sharp photos at very slow shutter speeds, but sturdy legs aren’t always enough if the camera isn’t perfectly stable. The action of pressing down on the shutter release button can jog the camera, so it’s worth triggering the shutter with a remote release, or using the self-timer or exposure-delay function for pictures that aren’t time-sensitive. Vibrations caused by the mirror moving (to expose the sensor to light) can also lead to soft shots. ŅƤųåĵåÚƼƋĘĜŸØƚŸåƋĘåÏ±ĵåų±űŸĵĜųųŅųĬŅÏĩěƚŞĵŅÚåŅų±ÏƋĜƴ±ƋåXĜƴåĜåƵ – in this mode the mirror is also moved out of the way. 03 F NOT USING THE OPTIMUM APERTURE There will be situations where you want to use a wide aperture to help you separate a sharp subject from a blurred background, but there will be other times when you want more of a scene to appear sharply 04 E A T U R E focused. It might be tempting to use the narrowest available aperture in such instances, but this can actually lead to softer pictures due to the effects of diffraction – incoming light rays being bent out of shape by the aperture blades – which is more noticeable at narrow apertures. It’s often preferable to sacrifice depth of field in order to deliver an image in which details are pin-sharp, and this is often in the middle of a the aperture range – around f/8 to f/11, although it varies from lens to lens. ZOOMING THE LENS AFTER YOU FOCUS Most of the zoom lenses made today aren’t in fact true zooms, or what are known as ‘parfocal’ lenses; rather, they’re ‘varifocal’ lenses. One of the drawbacks of this type of design is that the focus shifts as the lens is zoomed. This means that if you zoom in to lock the focus on a detail within a scene and then zoom back out to take the shot, there’s a good chance that the detail you want to appear sharp will now be blurred. If the zoom range isn’t too great, the change in focus may be subtle, while using a narrow aperture to give a large depth of field – the amount of front-to-back sharpness in a picture – can also mask any focus shift. But the easiest way to prevent focusing issues is to get into the habit of only focusing after you’ve zoomed. Once it’s part of your shooting regime, you won’t even have to think about it. 06 f/22 f/5.6 An aperture of f/22 may not give bitingly sharp results thanks to the effects of diffraction, XIFSFBTBOBQFSUVSFPGGNBZOPUPGGFSFOPVHIEFQUIPGmFMEGPSBTDFOJDTIPU NOT MAKING THE MOST OF MANUAL FOCUS When you use autofocus, there are a number of links in the chain that can break, leaving you with soft pictures. For instance, a lens may suffer from a back-focus or front-focus issue, where the sharpest focus is actually fractionally behind or in front of the edge that your AF point has locked on to. For this reason, for critical work where focus is everything, such as with ĵ±ÏųŅŞĘŅƋŅčų±ŞĘƼŅųĬ±ĹÚŸÏ±ŞåŸØĵ±Ĺƚ±ĬĜŸƋĘåƵ±ƼƋŅčŅţXĜƴåĜåƵ potentially makes this a piece of cake, enabling you to magnify details to 100%. However, some cameras use so-called ‘interpolation’ to create ƋĘåĵ±čĹĜüĜåÚƴĜåƵØųåŸƚĬƋĜĹčĜĹ±XĜƴåĜåƵĜĵ±čåƋĘ±ƋűŸĹŅƋŞ±ųƋĜÏƚĬ±ųĬƼ sharp, and therefore less reliable for judging accurate focus. One option here is not to magnify the image too far. Alternatively, shoot in raw and then fine-tune the picture style setting to produce a sharper, highercontrast preview image that’s easier to judge focus ‘snap’ on – shooting in raw rather than JPEG means the image will be unaffected by the effects of the picture control setting. 05 NOT USING THE CORRECT AF MODE a±ĹƼ%XŸĘ±ƴå±ƚƋŅüŅÏƚŸ modes for stationary subjects and moving subjects, and even a mode that automatically switches between the two, depending on whether the camera detects movement. However, cameras don’t always get it right, so for absolute peace of mind, always set the correct mode manually. 07 F E A T U R E WHY ARE MY SHOTS TOO BRIGHT/DARK? Here’s how to diagnose why your shots might be underexposed or overexposed NOT KEEPING AN EYE ON THE DYNAMIC RANGE Sometimes the dynamic range of the scene – the difference in brightness between the darkest and lightest areas – may be too wide for the camera sensor to cope with in a single exposure. The key to identifying this is to check the histogram: if it extends beyond both the left-hand and/or right-hand ends of the graph, then exposure compensation won’t make any difference. This is typically the sort of situation you’d encounter when shooting a backlit portrait, or a landscape at dawn or dusk. There are a variety of ways you can reduce the dynamic range of the scene so that it fits within the dynamic range of the camera’s sensor. These include using flash to brighten up a backlit portrait, or attaching a graduated neutral density filter (ND grad) to darken a bright sky in a landscape shot. With stationary subjects you could also try taking two or more pictures at different exposures, then blending the best bits of each in software. 09 A bright, foggy scene may appear too dark if you don’t apply positive exposure compensation: the camera wants to make the fog gray rather than white NOT USING EXPOSURE COMPENSATION Matrix metering does a fine job of producing balanced exposures for the majority of day-today photo opportunities. However, faced with an overly bright or dark subject or scene, the camera can get things wrong. Despite matrix metering essentially applying its own exposure compensation to deliver what it determines is an optimum exposure, it may not be accurate. Manually dialling in exposure compensation is far better than trying to rescue an underexposed or overexposed image later. Pushing the brightness of an image that’s very dark in Photoshop can lead to noise in shadows, while trying to eke some detail from burned-out highlights can lead to ‘digital-looking’ results. 08 In this situation, you could either expose for the buildings (top) or expose for the sky (bottom) in a single frame. The solution is to shoot both images, and blend the well-exposed areas of each image in Photoshop later (centre) IGNORING THE HISTOGRAM It’s easy to get caught up with composition and focusing and forget to check the histogram regularly, but getting the exposure right in-camera is far better than trying to fix things later. Don’t rely on the image playback to judge the exposure, as the ÆųĜčĘƋĹåŸŸŅüƋĘåX%Ï±ĹčĜƴå±ü±ĬŸåĜĵŞųåŸŸĜŅĹŅüƋĘåÆųĜčĘƋĹåŸŸŅü± shot. If a histogram is cut off at either end, this indicates that areas are ‘clipped’ to pure black or pure white, and so contain no texture or detail (in other words, areas that are underexposed or overexposed). If you find the preview of the image displayed alongside the histogram is too small, then try the highlights warning display instead if your camera has this. With this åĹ±ÆĬåÚØ±ųå±ŸƋĘ±Ƌ±ųåŞŅƋåĹƋĜ±ĬĬƼŅƴåųåƻŞŅŸåÚƵĜĬĬÆĬĜĹĩŅĹƋĘåX%ţ 10 F E A T U FORGETTING TO SHIELD THE EYEPIECE Did you know that light can enter the camera through the viewfinder and affect the exposure of a picture? Most of the time this doesn’t present a problem, because your face is glued to the back of the camera and shields the eyepiece, but if you switch to XĜƴåĜåƵØŅųüĜųåƋĘåŸĘƚƋƋåųƚŸĜĹč±ųåĵŅƋåųåĬå±ŸåØƋĘåĹƋĘåųåűŸ±ÏĘ±ĹÏå that light can leak in through the viewfinder. The effect is more obvious in shots taken with a long exposure, when strange, ghostly shapes and streaks can be burnt into the image, as can be seen in our photograph of a tree below. Using an eyepiece cap to block the viewfinder can help in these circumstances, but you might not have one of these to hand. It’s just as easy to drape a black lens cloth over the top of the camera instead – and you can use it to keep your lens clean, too. 11 eŸƋųŅĹčc%ĀĬƋåųŸƚÏĘ ±ŸƋĘåXååĜčƋŅŞŞåų enables you to use a long exposure in bright sunlight, but this is what can happen if you don’t keep the eyepiece covered… R E FUMBLING FLASH SETTINGS If you’re using fill-flash outdoors and find that your pictures are coming out too bright, it’s likely that either you’re too close to the subject or the shutter speed required to expose the shot necessarily exceeds the flash sync speed (the fastest shutter speed that flash can be used with, typically 1/200 sec). Switching to a narrower aperture is often the easiest way to fix this problem: the aperture controls the flash exposure, with narrower apertures reducing the exposure. On bright days this may mean that you end up using a narrower aperture than you’d like, bringing more of a scene into focus. In this situation, fit a standard ND filter to your lens; this will let you use wide apertures without overexposing. 13 1/200 sec at f/2.2, ISO200 NOT CHECKING THE METERING MODE If an image looks too bright or too dark, check that you haven’t accidentally set the wrong metering mode. Spot metering, for example, only meters a small part of the scene, and if you’ve manually selected an autofocus point over a very dark or bright area the spot reading will be based on that area. 12 1/200 sec at f/9, ISO200 F E A T U R E WHY DO MY PICS LOOK LIKE SNAPS? Here’s why your framing may be letting you down, and how to fix it NOT GETTING THE HORIZON LEVEL There’s really no excuse these days! A built-in virtual horizon option can help you get perfectly level seascapes and upright architecture. If your camera lacks this feature, activate the grid display instead – some cameras enable you to do this in the viewfinder as well ±ŸŅĹƋĘåXĜƴåĜåƵŸÏųååĹţFüƼŅƚų camera lacks both of these, use the AF points in the viewfinder to line up the feature you want to appear straight. You can, of course, correct a sloping horizon in Photoshop, but this can lead to a significant portion of the image being trimmed off when the correction is made. It only takes a few seconds to get it right in-camera, so you may as well save yourself some pain later. 14 It’s easy to miss distractions at the edges of the frame when shooting in the dark. If you’re planning a night shoot, zoom in on a test shot to check the edges of the frame NOT CHECKING THE EDGES OF THE FRAME When you’re focused on making sure that the subject looks its best, it’s easy to miss distracting elements at the edges of the frame. You can, of course, spend time in postproduction cropping a shot or cloning out unwanted features that were missed when you framed the shot in the viewfinder, but to make the best use of your time and the full potential of the camera’s sensor (and to get into the habit of taking the photograph you 15 want and not relying on editing), it pays to get it right in-camera. That’s easier said than done, especially when you consider that not all viewfinders provide 100% coverage. This explains why you may be surprised to see branches, leaves or street lamps creeping into your carefully composed shots when you play them back on the rear screen (above). So, before you press the shutter release button, run your eye quickly around the edges of the screen to check for possible distractions – zooming the lens out before recomposing your picture can help to pick out those things that may be hidden at the time of shooting. kųŸƵĜƋÏĘƋŅXĜƴåĜåƵØƵĘĜÏĘ±ĬƵ±ƼŸ shows the complete picture. ALWAYS SHOOTING FROM HEAD HEIGHT 16 *GZPVmOEUIFWJSUVBMIPSJ[POPSHSJEPWFSMBZ EJGmDVMUUPTFFPOUIFSFBSTDSFFOmUB traditional hotshoe bubble level instead If you find that your compositions lack punch, it may be because you’re not exploring all the angles. By making the effort to find a shooting angle that’s lower or higher than head height you can create a more interesting and unusual picture. F E A T U R E WRONG LEAVING TOO MUCH DEAD SPACE Here, the strong leading lines and symmetrical subject lend themselves to a tighter, vertical crop One of the first decisions to make when framing up a shot is whether the subject or scene suits a horizontal or a vertical format. Generally, taller subjects suit the latter format, although including some of the environment in a wider shot may add more interest. You can crop a vertical image out of a landscape-format shot when you edit the original shot, but you’ll also reduce the size of your image. If you’ve got the time, and space on your memory card, it’s worth ‘bracketing’ your composition, in the same way that you would bracket the exposures in an HDR photo, to cover all the possibilities. 17 NOT GETTING CLOSE ENOUGH eŸŞĘŅƋŅģŅƚųĹ±ĬĜŸƋŅÆåųƋ±Ş±ü±ĵŅƚŸĬƼĹŅƋåÚ×ŮFüƼŅƚų photographs aren’t good enough, you’re not close enough.” With this in mind, it’s easy to feel disheartened if you find yourself in a situation where you’re lacking in focal length. But while it’s true ƋĘ±Ƌüų±ĵåěüĜĬĬĜĹčŸĘŅƋŸĘ±ƴåĜĵŞ±ÏƋØƋĘåƼűųåĹŅƋ±ĬƵ±ƼŸ±ĹŅŞƋĜŅĹţųŅŞŞĜĹč an image can get you that full-frame impact – albeit at the expense of image size – but why not try composing shots so that your subject is positioned within the environment, rather than isolated from it? 18 NOT FINDING A POINT OF INTEREST If there are too many elements in a picture that aren’t working in harmony, the viewer’s eyes will wander around the shot looking for something to latch on to. One technique is to use the ‘rule of thirds’ to position the subject – this is particularly effective when the focal point is small in the frame. Another trick is to frame a shot so that there’s an odd number of elements, because this tends to result in a balanced composition. 19 RIGHT Even ‘stationary’ shots can show a peak moment. The second shot stands out because of the position of the clouds – the larger one appears to be streaming from the cathedral’s central pinnacle NOT CAPTURING THE DECISIVE MOMENT In any set of images, one will stand out as the best – the one in which everything ÏŅĵåŸƤƋŅčåƋĘåų±ƋƋĘåŸ±ĵå time. This ‘peak moment’ doesn’t have to be something as grand as a gymnast at the zenith of an elaborate spin; it could be a subtle shift in someone’s expression when you’re shooting a portrait, for example, or the position of clouds in a landscape shot. Naturally, the more frames you fire off in succession, the greater your chances of capturing the peak of the action or the defining moment you’re hoping for. That being said, timing is everything; if you see the moment through the viewfinder, then the chances are that you’ve missed the opportunity to record it. Trying to anticipate this moment before it happens is the key, and starting to shoot before it happens will increase your chances of capturing it. 20 F E A T U R E COMMON CAMERA ERRORS Here are eight familiar camera problems that photographers fall victim to NOT RESETTING THE CAMERA It’s a good idea to develop (and use) a default ‘grab and go’ setup that the camera can be reset to once you’ve finished taking a series of pictures. Doing this ensures that you can change any settings from a familiar set of parameters. For instance, if you forget to reset any exposure compensation you’ve dialled in, then subsequently dial in some additional compensation, you may end up with badly overexposed or underexposed results. The same can happen if you haven’t switched the camera to your preferred shooting mode or metering pattern, or if you’ve left the ISO really high. 21 WRONG COLOURS? WRONG WHITE BALANCE… Most photographers leave the white balance at its Auto setting, and with good reason: it generally does a decent job of removing colour casts and providing naturallooking results. It can remove some of the character of the light, though, leaching some of the warmth from a sunset shot, for example, and it can get things wrong under artificial lighting. Auto white balance can also change the colour temperature from shot to shot even when the lighting doesn’t change very much, which can cause problems if you decide to batch-convert a series of shots from the same location. To ensure consistency, and speed up your workflow, it’s worth switching to one of the manual presets, creating a custom white balance or dialling in the colour temperature manually. 22 NOT CHECKING CARDS AND BATTERIES How often have you found yourself out shooting only to discover that you only have room for a couple of pictures on the card that’s in your camera? Having to delete dozens of images to free up space while you’re out shooting is no fun! Try to get into the habit of downloading the contents of your memory cards, and formatting the cards, every time you return home from a shoot. Ensure that your battery has enough ģƚĜÏåƋŅčåƋƼŅƚƋĘųŅƚčĘ±ŸĘŅŅƋØƋŅŅţ)ƻÏåŸŸĜƴåƚŸåŅüXĜƴåĜåƵØŞĬ±ƼÆ±Ïĩ mode and shooting in cold conditions can all reduce the shooting time, so bring a backup battery in these circumstances. 23 NOT USING CONTINUOUS DRIVE MODE While you might expect the single-shot drive mode to be a perfectly good choice for general photography, the continuous low or continuous high options can be more effective at giving you sharper, more timely results. With single shot, not only can the action of pressing down and releasing the shutter release produce soft results, but taking your finger fully off the release can cause the camera to refocus the lens – although you can get around this by configuring the camera so that the AF function is removed from the shutter release. 24 NOT MAKING THE MOST OF AUTO ISO Some photographers turn their noses up at the thought of using Auto ISO, concerned that the camera will opt for a sensitivity that’s unnecessarily high, but it’s actually very useful. The Auto ISO function 25 can be tailored so that the camera is unable to push the ISO higher than a sensitivity you’ve dialled in, and you can also set a minimum shutter speed, improving your chances of taking sharp handheld photos. It also adds flexibility in manual mode, enabling you to set a combination of aperture and shutter speed to give you the look you want, with the camera adjusting the ISO to keep the exposure consistent. F NOT MAKING THE MOST OF PICTURE CONTROLS Don’t leave the picture style or picture control setting in its standard position for every shot. By shooting in raw, you can preview the effect that a picture style has on an Ĝĵ±čåÚƚųĜĹčXĜƴåĜåƵŅųŞĬ±ƼÆ±ÏĩØ but the original image will remain unaffected. This is particularly useful when shooting for black and white: using the monochrome picture control enables you to judge how a picture will work in greyscale, while the raw file will be saved with all the 26 E A T U colour information intact. This allows you to carry out the conversion later. It’s a different matter when you shoot JPEGs, because the picture style is ‘baked’ into the file. If you don’t like the look delivered by the picture style you’ve set you can try to fix things in Photoshop, but image quality is likely to suffer. It’s important to get a handle on picture styles when you’re shooting HD video too, because every frame of a video is basically a JPEG image, so the colour, contrast and sharpness are fixed at the time you record the footage. Filmmakers tend to use the neutral or flat picture styles, because these give lowcontrast results that hold up better to enhancements in standard videoediting software. R E ADAPTIVE DYNAMIC RANGE OVERUSE Adaptive dynamic range (different camera makers call it different things – Nikon Ï±ĬĬŸĜƋeÏƋĜƴå%ěXĜčĘƋĜĹč ƵĘĜĬå±ĹŅĹÏ±ĬĬŸĜƋBĜčĘĬĜčĘƋŅĹå Priority) is useful in situations where you’d struggle to reveal detail in both the highlights and the shadows of a scene, particularly where you can’t use an ND grad or combining exposures isn’t practical. However, it can make low-contrast scenes look flat, and it can cause problems if you’re applying exposure compensation – a shot may still appear too bright, even though you dialed in negative compensation. It may be worth deactivating adaptive dynamic range in these situations. 28 NEUTRAL MONO VIVID If you shoot in raw, the image will retain all its colour information, enabling you to visualise how an effect will work – but if you want to change it later, you can still do so NOT MAKING THE MOST CUSTOM MODES Ņĵå%XŸåĹ±ÆĬåƼŅƚƋŅÏųå±ƋåƼŅƚųŅƵĹƚŸåųěŸåƋƋĜĹčŸ modes, which enable you to bring up a specific camera configuration at the touch of a button (or turn of a dial). If you’re the kind of photographer who sticks to aperturepriority mode for 99% of your photography, then you may not have explored this option, but you’re missing out on one of the camera’s more convenient aspects. One particularly handy way it can make a difference is in enabling you to set up a dedicated video mode, which allows you to optimise the autofocus and other key settings without having to delve into the menu and make adjustments each time. 27 NOT USING THE ‘CORRECT’ FOCAL LENGTH Wide-angle lenses need to be used with care because they can deliver peculiar results – when used close up to shoot a portrait, for example, they can end up distorting a person’s features. They can also make backgrounds seem small and insignificant in landscapes. Switching to a lens with a slightly longer focal length and shooting from further away may be more desirable. 29 F E A T U R E LIGHTING, PROCESSING AND MORE… How you light your images and edit them is key to professional-looking shots NOT WAITING FOR THE RIGHT LIGHT Waiting for the best light is one thing we all know we should be doing, but when we have to squeeze in some quality time with our cameras where we can, well, sometimes we have to make the best of it. Even then, subtle changes in lighting can make a big difference to a photo, so it’s worth spending a few extra minutes at a location to make sure you’re not likely to miss out. Failing that, try to improve the lighting by, say, using a diffuser to produce soft illumination for close-ups, or using a reflector or a snap of fill-flash to create more balanced lighting in a portrait. 32 GETTING SLOPPY WITH FILTERS We all know how important it is to keep filters spotless, but even the highest-quality, highly buffed filters will give duff results if they’re not used properly. If you’re using a screw-on filter then it’s important to fit a lens hood when you’re shooting in bright conditions, otherwise there’s a risk of internal reflections degrading the image. It’s tougher to do this with a square üĜĬƋåųŸƼŸƋåĵŸƚÏĘ±ŸƋĘŅŸåüųŅĵXåå ±ĹÚŅĩĜĹØÆåÏ±ƚŸåƼŅƚűĬĬĹååÚ± specialist lens hood. Using your hand or your body to cast a shadow over the front of the lens is a good idea, but even then you can end up with ghosting – light reflecting from the surfaces of the filters and lenses – if the filter isn’t properly fitted. Always start with the slot nearest the lens; it’s easy to miss this if you’re shooting in low light or bad weather. 30 USING FLASH TOO FAR AWAY Using a wide aperture and increasing the ISO can make the light from a flash reach further, but the light is unlikely to be flattering. At the limits of its working distance, a flash essentially becomes a pinpoint light source, resulting in harsh shadows and red-eye. Either get closer, or switch it off. 31 Sometimes all it takes is for a cloud to move, and suddenly you’re presented with a more appealing scene INCORRECTLY POSITIONING ND GRADS ND grads are useful for scenes in which there’s a clear boundary between the sky and the foreground, but they’re less useful when a feature in the landscape protrudes into the sky – when the filter is positioned ƋŅƤÚ±ųĩåĹƋĘåŸĩƼØƋĘåųåűŸ±ųĜŸĩƋĘ±ƋƋĘåüå±ƋƚųåƵĜĬĬÆåÏŅĵåÚ±ųĩåųƋŅŅţ Using your camera’s depth-of-field preview can help you position the filter accurately, because the aperture will be ‘stopped down’, making the transition between the dark and clear parts of the filter obvious. However, when you’re photographing buildings, lighthouses and cliffs, use an ND grad with a soft transition, or do without the filter and bracket your exposures. 33 F NOT PROCESSING AN IMAGE It’s rare that a JPEG image straight out of the camera requires no subsequent work. To get an image looking its best, you may need to tweak the levels, fix a colour cast, add some additional sharpening or crop it. If you shoot raw files you have to process the images yourself, which adds time to your workflow, but at least you’ll be starting with the highest-quality file that your camera can produce, and changes that you make aren’t permanently applied to the original image. E A T U R E *NBHFTDBOBQQFBSnBUTUSBJHIUPVUPGUIFDBNFSB even when you’re shooting in JPEG format. Most images require some processing, even if it’s just to sharpen them and add contrast WRONG 34 RIGHT BEFORE AFTER NOT LOOKING AT IMAGES AT 100% Zoom in and check the image at 100% when carrying out edits that require a certain level of precision, such as sharpening, noise reduction and cloning out sensor spots. In some cases the changes will only be visible at this level of magnification. It’s also worth doing this after you’ve carried out changes to colour saturation or contrast, to check that details are still visible and that colour gradation is still smooth. 36 FORGETTING TO FIX LENS PROBLEMS XåĹŸÚĜŸƋŅųƋĜŅĹÏ±ĹÏųå±ƋåĵƼųĜ±ÚŞųŅÆĬåĵŸØŸŅĵ±ĩåƋĘĜŸ the first adjustment you apply when you process an image. If you don’t fix distortions, then images may not appear as sharp, lines that should appear straight, such as the horizon, will appear to bow, and the corners of an image may be darker than its center. You can apply some lens corrections in-camera, such as using vignetting control to reduce the amount of corner-darkening a lens introduces, but carrying out the adjustments post-shoot gives you finer control. If you do plan to apply lens corrections, then compose wider than normal, particularly when using a wide-angle lens, because the stretching and cropping that occurs when you correct a distortion can crop a surprising amount from the edges of a picture. 35 GETTING HEAVY-HANDED WITH IMAGE MANIPULATION Subtlety is often the key to good post-production work. Trying to fix overexposed or underexposed images can look obvious, while boosting saturation and sharpness too much can give shots a ‘digital look’. The best photography is about capturing the world as you see it, not as you imagine it to be. 37 S U B S C R I B E SUBSCR IBE TODAY AND ENJOY PHOTOGR APHY WEEK FOR JUS T 39 C /39 P AN ISSUE * To find out how you can get Photography Week delivered straight to your device every week for just a few pennies, simply search for Photography Week on any of the platforms below AVA IL ABLE ON YOUR DE V ICE NOW! http://tiny.cc/7bodfy http://tiny.cc/edodfy http://tiny.cc/heodfy *Available for a limited time only. Standard subscription offer varies across platforms/devices – please refer to specific store for the most up-to-date offer G A L L E R Y XPOSURE THE WEEK’S MOST INSPIRING READER PHOTOS 1950S PINUP NICK TURLEY “I just loved creating this 1950s pinup-style look with the very talented model Cherish Dawson. It took quite a few different editing techniques before I settled on this result.” http://tiny.cc/rd3cpy G A L L E R Y THE WEEK’S MOST INSPIRING READER PHOTOS THE SPRING IS HERE ENRIQUE EKOGA “Cherry trees in blossom in UIFçDJUZPG7JMMFOFVWFE"TDR JOçOPSUIFSO'SBODFw http://tiny.cc/u5rgsy #&&0/"304& TEDDY ALFREY “This photo was taken POçUIF*OEJBOB6OJWFSTJUZ Campus in Bloomington. *çVTFEB/JLPO4# Speedlight coming in from the left and a little in front PGUIFTVCKFDUBUUI QPXFSUIF#FFTTIBEPX JTçGSPNUIFTVOw http://tiny.cc/lyrgsy G A L L E R Y THE WEEK’S MOST INSPIRING READER PHOTOS $"-. DON WHITE i5IJTTIPUPGUXPFHSFUTXBTUBLFOBU8JMEXPPE-BLFJO)BSSJTCVSH Pennsylvania. I especially like the post-processing result.” http://tiny.cc/h7rgsy G A L L E R Y THE WEEK’S MOST INSPIRING READER PHOTOS CORN DU RICH WALKER i"UN$PSO%VJTUIFTFDPOEIJHIFTUQFBLJOUIF#SFDPO#FBDPOTJO4PVUI8BMFTw http://tiny.cc/bvrgsy 1)050(3"1):8&&,8"/54:0631)0504æ FACEBOOK http://tiny.cc/qi0oey FLICKR http://tiny.cc/rn0oey 5BLFOBQPSUSBJUZPVSFQBSUJDVMBSMZQSPVEPG 4IPUBTFOTBUJPOBMTVOTFUZPVEMJLFUP TIPXPGG 5IFOKPJOUIFPhotography Week'BDFCPPLDPNNVOJUZBOETIBSFZPVSCFTU QIPUPTUPEBZæ:PVMMHFUGFFECBDLGSPNGFMMPXSFBEFSTBOEUIFPhotography Week UFBNQMVTUIFDIBODFUPBQQFBSJO9QPTVSFPSFWFOPOPVSDPWFSæ I N S P I R A T I O N F ű k k X Ø B e Images © Skyglowproject.com THE BEST THING WE’ VE SEEN THIS WEEK HERE’S HOW NYC MIGHT LOOK WITHOUT LIGHT POLLUTION Filmmakers replace featureless skies above the Big Apple with stunning starscapes ew York may be one of the most photographed cities on Earth, but you won’t find too many night shots of the Big Apple featuring starry skies due ƋŅƤƋĘåŸåƴåųåĬĜčĘƋŞŅĬĬƚƋĜŅĹƋĘ±Ƌĵ±ĩåŸ Ï±ŞƋƚųĜĹčƋĘåĹĜčĘƋŸĩƼ±ÆŅƴåƋĘåÏĜƋƼ±ĬĬ ÆƚƋƤĜĵŞŅŸŸĜÆĬåØåƴåĹĜĹÏĬå±ųƵå±ƋĘåųţ Well now we can at least imagine what New York City starscapes might look like, ƋĘ±ĹĩŸƋŅŞĘŅƋŅčų±ŞĘåųŸ:±ƴĜĹBåüüåųĹ±Ĺ ±ĹÚB±ųƚĹaåĘĵåÚĜĹŅƴĜÏØƵĘŅűƴåƚŸåÚ compositing techniques to create a N timelapse film showing brilliant, star-packed ĹĜčĘƋŸĩĜåŸ±ÆŅƴåü±ĵŅƚŸc¥Ĭ±ĹÚĵ±ųĩŸ including Times Square, the Empire State ƚĜĬÚĜĹč±ĹÚƋĘåĘųƼŸĬåųƚĜĬÚĜĹčţĘåÚƚŅ are members of Skyglow, a project that raises awareness of light pollution and seeks ƋŅŞųŅƋåÏƋůåĹÚ±ĹčåųåÚűĹĜčĘƋŸĩĜåŸţ ĬĜÏĩƋĘåĬĜĹĩƋŅƵ±ƋÏĘƋĘåƴĜÚåŅţ¥ŅƚÏ±Ĺ learn more about Skyglow, and purchase books and other merchandise featuring stunning astrophotography, at the project’s ƵåÆŸĜƋåØƵƵƵţŸĩƼčĬŅƵŞųŅģåÏƋţÏŅĵţ W AT CH T HE MOV IE h t t p: // t iny. cc / 8 0 9 js y S K I L L S CRASH COURSE ESSENTIAL PHOTO SKILLS MADE EASY TAKE A WOODL AND PORTR A I T James Paterson demonstrates how to use a variety of compositional tricks and techniques to capture natural-looking candids among the trees Walks in the woods offer plenty of opportunities for great portraits, of both kids HOUR or adults. The landscape of ƋĘåüŅųåŸƋƋĘųŅƵŸƚŞƤ±ŞĬå±ŸĜĹč±ųų±Ƽ of colours, organic shapes and varying light that can be used to the portrait photographer’s advantage. We went to Wistman’s Wood on Dartmoor in Devon, UK for our shoot. This remote and atmospheric forest of stunted oak trees is a great place to shoot your portraits, but no matter 1 what type of forest you choose for your shoot, they all share certain features that can make for a variety of interesting compositions in portraits. With shots of people in woods, there’s a danger the frame will get too busy. A wide expanse of trees may be pleasing to the eye, but when it comes to portraits an overload of detail can be to the detriment of the subject. The key here is to find ways to simplify the scene and draw the eye to your subject, and we’ll explain a few ways in which you can do this. You ÏŅƚĬÚØüŅųåƻ±ĵŞĬåØƚŸå±ƤƵĜÚå±ŞåųƋƚųå for a shallow depth of field so the foreground and background branches are blurred. Or you could compose the frame so that the surroundings work in harmony with the subject. Useful compositional tricks, such as the rule of thirds and frames within frames, are a big help, because they can help you to visualise a tangled mess of branches into an arrangement that works for your portraits. With a little practice, these skills soon become second nature… S K I L L S STEP BY STEP WOODED WONDERLAND 1 USE NATURAL FRAMES One great compositional trick is to find a natural frame that you can incorporate within your frame. Look for branches and boughs that curve around, or gaps in tree trunks and bushes. Shoot through them, or ask your subject to pose by them so that they appear framed. 2 CREATE SOME DEPTH Creating depth in your portraits is a great way ƋŅ±ÚÚƋŅƤƋĘåĵ±čĜÏ±Ĭ±ƋĵŅŸŞĘåųåØ±ĹÚĘåĬŞŸ to lead the eye towards your subject. Find an angle to shoot from that enables you to include some out-of-focus details in the foreground as well as in the background. 3 USE THE LIGHT Under a canopy of branches there’s a lot of variation in the light, even on a flat, cloudy day. If your subject’s face is in shadow look for another angle, or ask them to turn towards the light for better illumination. Portraits are, after all, about the person, so we need to see them. AUTO ISO For a simple exposure set-up, select manual mode and auto ISO. You can now choose ±ƤŸĘƚƋƋåųŸŞååÚ±ĹÚ±ŞåųƋƚųåØ while the camera works out an ISO to suit. We need fast shutter speeds for handheld portraits, and light levels can be low under tree cover, so a wide aperture such as f/4 or f/2.8 will help here, as well as čĜƴĜĹč±ŸĘ±ĬĬŅƵÚåŞƋĘŅüĀåĬÚţ S K I L L S STEP BY STEP WOODED WONDERLAND 4 ADD CONTRASTING COLOUR Choose outfits with blocks of strong colour that contrast with the surroundings – stay away from greens, browns and other camouflage colours. Warm colours, such asƤorange and red, are ‘opposite’ to the cool huesƤof green and blue, so will help your subject to stand out. 5 LOOK FOR PATTERNS Trees and branches form wonderful web-like patterns in old woodlands or forests, so look for parts of the scene where you can show this off. There’s a danger of the frame looking too busy with these interesting backdrops, however, ŸŅƤƋųƼŸĜĵŞĬĜüƼĜĹčƋĘĜĹčŸƵĜƋĘ ±ƤŞƚĹÏĘƼĵŅĹŅÏŅĹƴåųŸĜŅĹţ 6 FIND AN ANGLE Get down low with a wide-angle lens and find a vantage point that enables you to include the tree canopy in the frame, then position your subject so they’re framed neatly within the scene. Watch out for how branches are angled, too – you don’t want one appearing to sprout from their head! QUICK TIP Portraiture is all about creating a connection with your subject, and camera height plays a part – try getting down lower to see the world from a child’s viewpoint. E D I T I N G PH OTOS H O P LEARN ESSENTIAL EDITING SKILLS FAST! HOW TO... MAKE A METEORIC MONTAGE D O W NL O A D T HE P R O J EC T F I L E S h t t p : // t i n y. c c / y o r g s y ON A PC OR MAC Discover how to blend images and effects together for stunning results, and learn some key compositing skills in the process n this video tutorial we’ll show you how to create a fantastical composite by blending textures, photos and brush effects. The basis for the effect is a texture of cracked I mud, which we’ll blend with a face before pulling apart the cracks to create flying debris. We’ll also employ ready-made brushes from the Adobe Creative Cloud App, which is a great resource. As for the beautiful backdrop, this is courtesy of Nasa – search online for ‘Nasa images’ ±ĹÚƤƼŅƚűĬĬüĜĹÚƋĘŅƚŸ±ĹÚŸŅü amazing photos, free to use. W AT CH T HE V IDEO h t t p : // t i n y. c c /a 1v d o y WANT MORE PHOTOSHOP TUTORIALS? CHECK OUT PRACTICAL PHOTOSHOP For more Photoshop tutorials, tips and advice subscribe to Practical Photoshop, the world’s premier Photoshop magazine. Each month you’ll find an array of inspirational tutorials and accompanying video lessons that will help you master Adobe’s industry-leading photo-editing software, plus amazing images from the world’s best Photoshop creatives, free downloadable content, and a beginner’s guide to the basics. iOS: http://tiny.cc/99ehfy Android: http://tiny.cc/l8ehfy Zinio: http://tiny.cc/g65jiy AWA R D S The past 12 months have seen some fantastic lenses launched, and here we present Photography Week’s pick of the very best AWARDS S : THE BEST LENSES OF THE YEAR 2018 BEST MANUAL-FOCUS LENS Irix 11mm f/4 £569/$525 (FFireffly) A fine lens from an exciting new name åŸĜčĹåÚĜĹƋĘåĘå±ųƋŅüƵĜƋǄåųĬ±ĹÚ±ĹÚÆƚĜĬƋĜĹUŅųå±ØFųĜƻ ĬåĹŸåŸ±ųåĹåƵÏŅĵåųŸƋŅƋĘå%XŸÏåĹåţĘåŎŎĵĵüxĉ ĜŸ±üƚĬĬěüų±ĵåƚĬƋų±ěƵĜÚåě±ĹčĬåĬåĹŸ±ƴ±ĜĬ±ÆĬåĜĹcĜĩŅĹ ±ĹÚ±ĹŅĹĵŅƚĹƋŸØ±ĹÚƚĹƚŸƚ±ĬĬƼØĜƋƤÏŅĵåŸĜĹƋƵŅƴåųŸĜŅĹŸţĘå ÏĘå±Şåų8ĜųåüĬƼĵŅÚåĬĘ±Ÿ±ŞĬ±ŸƋĜÏÆŅÚƼ±ĹÚĜŸŎǈǈčĬĜčĘƋåųØ ƵĘĜĬåƋĘåŅŞƋĜÏ±ĬĬƼĜÚåĹƋĜÏ±ĬĬ±ÏĩŸƋŅĹåĘ±Ÿ±ĵŅųåŸƚÆŸƋ±ĹƋĜ±Ĭ ĵ±čĹåŸĜƚĵ±ĹÚ±ĬĬŅƼÏŅĹŸƋųƚÏƋĜŅĹØ±ĹÚüĬƚŅųåŸÏåĹƋĵ±ųĩĜĹčŸ üŅųÆåƋƋåųƴĜŸĜÆĜĬĜƋƼţĘåŸåŸŅŞĘĜŸƋĜÏ±ƋåÚĵ±Ĺƚ±ĬěüŅÏƚŸĬåĹŸåŸ±ųå ĜÚå±ĬüŅųĬ±ĹÚŸÏ±ŞåŸØ±ųÏĘĜƋåÏƋƚųå±ĹÚƤĜĹƋåųĜŅųŸ D WINNING FEATURES 1 Super-wide angle of view 2%FQUIPGmFMENBSLJOHT BEST PORTRAIT LENS Canon EF 85mm f/1.4L IS USM £1,569/$1,5999 A superb fast, stabilised portrait lens ĘĜŸĜŸƋĘåĬåĹŸ±ĹŅĹƤŞŅųƋų±ĜƋŞĘŅƋŅčų±ŞĘåųŸĘ±ƴå ÆååĹƵ±ĜƋĜĹčüŅųţFƋűŸƤĹŅƋƋĘåü±ŸƋåŸƋ±ĹŅĹ)8íĂĵĵ ĬåĹŸôƋĘ±ƋĘŅĹŅƚųčŅåŸƋŅƋĘåŅĬÚåųüxŎţƖĵŅÚåĬƤôÆƚƋ ÏųƚÏĜ±ĬĬƼƋĘĜŸŅĹåĘ±Ÿ±ĹŅĹűŸĜĵ±čåŸƋ±ÆĜĬĜŸåųŸƼŸƋåĵÆƚĜĬƋĜĹØ ±ĹÚÏŅĵÆĜĹåÚƵĜƋĘƋĘåü±ŸƋüxŎţĉĵ±ƻĜĵƚĵ±ŞåųƋƚųåƋĘĜŸŅüüåųŸ ƚĹųĜƴ±ĬĬåÚŞŅƋåĹƋĜ±ĬüŅųĬŅƵěĬĜčĘƋŞŅųƋų±ĜƋƚųåĜĹÚĜüüĜÏƚĬƋÏŅĹÚĜƋĜŅĹŸţ ĘåŅŞƋĜÏ±ĬŞåųüŅųĵ±ĹÏåĜŸÆųĜĬĬĜ±ĹƋƋŅŅţĘåĬåĹŸÚåĬĜƴåųŸĘĜčĘ ÏŅĹƋų±ŸƋ±ĹÚĘĜčĘųåŸŅĬƚƋĜŅĹØƋĘ±ĹĩŸƋŅ±ŸŅŞĘĜŸƋĜÏ±ƋåÚŅŞƋĜÏ±Ĭ ÚåŸĜčĹƋĘ±Ƌ±ĬŸŅ±ĬĬŅƵŸüŅųĹå±ųěŸĜĬåĹƋ±ƚƋŅüŅÏƚŸţ T WINNING FEATURES 1 Combines an f/1.4 maximum aperture with IS 2 Excellent optical and autofocus performance AWARDS S : THE BEST LENSES OF THE YEAR 2018 #&458*%&"/(-&-&/4 Sony FE NNG( £1,699/$1,6698 Superb handling and image quality ĘĜŸĜŸŅĹƼűŸƵĜÚåŸƋ8)ěĵŅƚĹƋüƚĬĬěüų±ĵåĵĜųųŅųĬåŸŸĬåĹŸØ ±ĹÚĜƋüĜƋŸƋĘåÏŅĵŞ±ĹƼűŸeƀŸåųĜåŸÏ±ĵåų±Ÿ±ĹÚƋĘåeĿţ FƋ±ųųĜƴåÚ±ƋƋĘåŸ±ĵåƋĜĵå±ŸƋĘåŎƅěƐĂĵĵüxƖţíØƵĘĜÏĘ Ę±ŸƋĘå±ÚÚĜƋĜŅĹ±ĬŸƋ±ƋƚŸŅüŅĹƼűŸ:a±ŸƋåųÆ±ÚčåØÆƚƋüŅųƚŸ ĜƋűŸƋĘåƵĜÚåųØĬåŸŸŞųåŸƋĜčĜŅƚŸĬåĹŸƋĘ±ƋűŸĵŅųååƻÏĜƋĜĹčţĘå ŎƖěƖĉĵĵĵ±ƼĹŅƋÆå±:a±ŸƋåųĬåĹŸØÆƚƋĜƋŸƋĜĬĬĜĹÏĬƚÚåŸüŅƚų ±ŸŞĘåųĜÏ±ĬĬåĹŸåŸØƋĘųåå)%åĬåĵåĹƋŸ±ĹÚƤŅĹåŸƚŞåų)%åĬåĵåĹƋţ eƚƋŅüŅÏƚŸĜŸĹå±ųěŸĜĬåĹƋØ±ĹÚƋĘåÚųĜƴåěÆƼěƵĜųåĵ±Ĺƚ±ĬüŅÏƚŸĜŸ ŸĵŅŅƋĘ±ĹÚųåŸŞŅĹŸĜƴåţĜčĹåƋƋĜĹčĜŸƴåųƼƵåĬĬěÏŅĹƋųŅĬĬåÚØ±ĹÚ Ĝĵ±čåŸ±ųåŸĘ±ųŞ±ÏųŅŸŸƋĘåüų±ĵåüųŅĵüxĂţƅŅĹƵ±ųÚŸţ T WINNING FEATURES 1 Sony’s widest full-frame zoom to date, with great performance on offer 24PQIJTUJDBUFEPQUJDTTNPPUINBOVBMGPDVTBOEçOFBSTJMFOUBVUPGPDVT BEST TELEPHOTO LENS 5BNSPO41NNG%Jç7$64%( £1,349/$1,299 Pro performance without the pro price ĬŅĹčŸĜÚå±ÏŅĹŸƋ±ĹƋě±ŞåųƋƚųå ŸƋ±ĹÚ±ųÚǄŅŅĵ±ĹÚŸƚŞåųěƵĜÚå ǄŅŅĵØƋĘåƀǈěƖǈǈĵĵüxƖţíĘ±Ÿ ÆåÏŅĵåŅĹåŅüƋĘåůĘŅĬƼƋųĜĹĜƋƼűŅüĬåĹŸåŸ üŅų±Úƴ±ĹÏåÚ±ĵ±ƋåƚųŸ±ĹÚƤŞųŅüåŸŸĜŅĹ±ĬŸţ kƵĹěÆų±ĹÚƤƀǈěƖǈǈĵĵüxƖţíĬåĹŸåŸ±ųå åƻŞåĹŸĜƴåØƋĘŅƚčĘØƵĘĜÏĘĜŸƵĘƼƋĘĜŸ ±ĵųŅĹĜŸŸƚÏĘ±čųå±ƋÆƚƼţFƋűŸŸƋĜĬĬƤĹŅƋ ÏĘå±ŞØÆƚƋĜƋŸÏŅĵÆĜĹ±ƋĜŅĹŅüŅŞƋĜÏ±Ĭ ŞåųüŅųĵ±ĹÏåØÆƚĜĬÚŧƚ±ĬĜƋƼ±ĹÚĘ±ĹÚĬĜĹč ŞƚƋĜƋŅĹƤƋĘåŸ±ĵåüŅŅƋĜĹč±ŸĬåĹŸåŸ A ÏŅŸƋĜĹčƋƵĜÏå±Ÿ ĵƚÏĘţĘå:Ɩ ĵŅÚåĬĜŸ±ĵƚÏĘě ĜĵŞųŅƴåÚƴåųŸĜŅĹŅü ±ĵųŅĹűŸŞųåƴĜŅƚŸ ƀǈěƖǈǈĵĵüxƖţíţFƋ Ę±Ÿ±ĵåƋ±ĬÆ±ųųåĬØ Ƶå±ƋĘåųŸå±ĬŸ±ĹÚ± ĵŅĜŸƋƚųåěųåŸĜŸƋ±ĹƋüĬƚŅųĜĹå ÏŅ±ƋĜĹčŅĹƋĘåüųŅĹƋåĬåĵåĹƋţĘåųåűŸ±Ĺ ±ĬĬŅƼeųÏ±ěƵĜŸŸÏŅĵŞ±ƋĜÆĬåƋųĜŞŅÚüŅŅƋØ üĜƴåěŸƋŅŞĜĵ±čåŸƋ±ÆĜĬĜŸ±ƋĜŅĹƵĜƋĘƋĘųåå ĵŅÚåŸØ±ĹÚ±ĬŅĹčěų±Ĺčåe8ĬĜĵĜƋåųţ WINNING FEATURES 10OFPGUIFUISFFADMBTTJDQSPçMFOTFTZPVTIPVMEBJNUPçIBWFçJOZPVSLJUCBH2&YDFMMFOUPQUJDBMRVBMJUZCVJMEçRVBMJUZBOEIBOEMJOHNBLFBXJOOJOHDPNCJOBUJPO 3*UTBSPVOEIBMGUIFQSJDFPGçPXOCSBOEFRVJWBMFOUT A P P S MORE GREAT MAGA ZINES FROM THE MAKERS OF PHOTOGRAPHY WEEK N-PHOTO PHOTOPLUS N-Photo is a monthly magazine for Nikon photographers, and is packed with technique and Photoshop video lessons every month. PhotoPlus is a monthly magazine for Canon photographers that features expert advice, tips and video tutorials on all things Canon. http://tiny.cc/x2ehfy http://tiny.cc/i4ehfy http://tiny.cc/32ehfy http://tiny.cc/y5ehfy PRACTICAL PHOTOSHOP DIGITAL CAMERA WORLD Improve your Photoshop skills with the monthly guide to creating stunning images. Each issue comes with expert video lessons. A monthly magazine that aims to improve your photography with an inspirational mix of amazing images and how-to articles. http://tiny.cc/s6ehfy http://tiny.cc/l8ehfy http://tiny.cc/b7ehfy http://tiny.cc/99ehfy Check out these other fantastic photography apps for iPad & iPhone TEACH YOURSELF PHOTOSHOP Transform your images with the expert tips and advice in 50 Photoshop video tutorials. Discover the power of layers, blending modes, raw file editing and more with this easy-to-follow course. http://tiny.cc/2oxogy TEACH YOURSELF LIGHTROOM Unleash the creative power of the Lightroom digital darkroom with this 50-part video course. Enhance landscapes, master black and white, make gorgeous portraits and more. http://tiny.cc/dqxogy TEACH YOURSELF BLACK & WHITE PHOTOGRAPHY Master the fine art of monochrome using Photoshop CS, CC, Elements and Lightroom. Discover how to shoot and process everything from landscapes to portraits and fine art. http://tiny.cc/fq2smy PROFESSIONAL PHOTOGRAPHY MAGAZINE The magazine for pros, and anyone serious about photography. Every month we bring you news, interviews with the world’s top photographers, gear reviews and amazing images. http://tiny.cc/3y3coy C R E D I T S email@example.com FACEBOOK http://tiny.cc/qi0oey TWITTER http://tiny.cc/ml0oey FLICKR http://tiny.cc/rn0oey 9001 www.digitalcameraworld.com ADVERTISING Senior Advertising Manager Sasha McGregor firstname.lastname@example.org Account Director Matt Bailey email@example.com Senior Sales Executive Jamie McKay firstname.lastname@example.org MARKETING Head of Acquisitions Helen Harding LICENSING International Licensing Director Matt Ellis email@example.com THE TEAM Editor Jeff Meyer firstname.lastname@example.org Art Editor Alvin Weetman Production Editor Mike McNally TESTING TEAM Head of Testing Rod Lawton Lab Manager Ben Andrews REGULAR CONTRIBUTORS Ben Andrews, George Cairns, a±ųÏƚŸB±ƵĩĜĹŸØŅÚƤX±ƵƋŅĹØ James Paterson, Matthew Richards SENIOR CREATIVE TEAM Group Editor-in-Chief Chris George email@example.com Senior Art Editor Rebecca Shaw SENIOR MANAGEMENT Creative Director Aaron Asadi Editorial Director Paul Newman Head of Art & Design Rodney Dive MULTIMEDIA Videographer Gareth Jones APP SUPPORT Digital Controller Jason Hudson Future is an award-winning international media group and leading digital business. We reach more than 49 million international consumers a month and create world-class content and advertising solutions for passionate consumers online, on tablet & smartphone and in print. Chief executive =LOODK%\QJ7KRUQHNon-executive chairman5LFKDUG+XQWLQJIRUGChief Financial Officer3HQQ\/DGNLQ%UDQGTel+%DWK Disclaimer All contents © 2017 Future Publishing Limited or published under licence. All rights reserved. No part of this magazine may be used, stored, transmitted or reproduced in any way without the prior written permission of the publisher. Future Publishing Limited FRPSDQ\QXPEHULVUHJLVWHUHGLQ(QJODQGDQG:DOHV5HJLVWHUHGRIÀFH4XD\+RXVH7KH$PEXU\%DWK%$8$$OOLQIRUPDWLRQFRQWDLQHGLQWKLVSXEOLFDWLRQLVIRULQIRUPDWLRQRQO\DQGLVDVIDUDVZHDUHDZDUHFRUUHFWDWWKHWLPHRIJRLQJWRSUHVV Future cannot accept any responsibility for errors or inaccuracies in such information. You are advised to contact manufacturers and retailers directly with regard to the price of products/services referred to in this publication. Apps and websites mentioned in this SXEOLFDWLRQDUHQRWXQGHURXUFRQWURO:HDUHQRWUHVSRQVLEOHIRUWKHLUFRQWHQWVRUDQ\RWKHUFKDQJHVRUXSGDWHVWRWKHP7KLVPDJD]LQHLVIXOO\LQGHSHQGHQWDQGQRWDIÀOLDWHGLQDQ\ZD\ZLWKWKHFRPSDQLHVPHQWLRQHGKHUHLQ 9000 If you submit material to us, you warrant that you own the material and/or have the necessary rights/permissions to supply the material and you automatically grant Future and its licensees a licence to publish your submission in whole or in part in any/all issues and/or editions of publications, in any format published worldwide and on associated websites, social media channels and associated products. Any material you submit is sent at your own risk and, although every care is taken, neither Future nor its employees, agents, subcontractors or licensees shall be liable for loss or damage. We assume all unsolicited material is for publication unless otherwise stated, and reserve the right to edit, amend, adapt all submissions.