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2018-05-03 Photography Week

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THE BEST PHOTO GEAR 2018
PHOTOGRAPHY WEEK AWARDS: DRONES, ACTION CAMS, TRIPODS & MORE
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
3-9 M AY
I S S UE 293
INSPIR AT ION IDE A S IN-DEP TH RE V IEWS
FLOWER
POWER
LEARN HOW TO CAPTURE YOUR
GARDEN IN ALL ITS GLORY
W
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C
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M
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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.
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CONTENTS
FIND OUT WHAT’S INSIDE THIS ISSUE
NEWS
MEIKE MK 85MM F/1.8
New portrait lens announced
üŅųƤ±ĹŅĹüƚĬĬěüų±ĵå%„XŸ
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FLOWER POWER
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č±ųÚåĹŸĘŅƋŸƵĜƋʱŞųŅ
PHOTOS
GALLERY
kƚųŞĜÏĩŅüƋĘåÆåŸƋųå±Úåų
Ĝĵ±čåŸüųŅĵƤ±ųŅƚĹÚƋĘåƵŅųĬÚ
8 ) e‰ Ž  )
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PHOTOS
F c „ { F  e‰ F k c
FILL IN THE BLANKS
eĵ±DŽĜĹčeFųåƋŅƚÏĘĜĹčƋŅŅĬϱĹ
üĜƻåƴåĹƱÚĬƼÚ±ĵ±čåÚŞĘŅƋŅŸ
e„BkŽ„)
CREATE A MACRO FLASH
‰ų±ĹŸüŅųĵƼŅƚųŞŅŞěƚŞüĬ±ŸĘƵĜƋĘ
a crisps can and tissue paper
PHOTOSHOP
PHOTOSHOP
MAKE A MIRROR MIRAGE
:åƋŸƚųųå±ĬųåŸƚĬƋŸƚŸĜĹčϱĵåų±
ƋųĜÏĩŸ±ĹÚÏŅĵŞŅŸĜƋĜĹčƋåÏĘĹĜŧƚåŸ
e„BkŽ„)
: ) e 
BEST PHOTO
GEAR 2018:
OUR TOP PICKS
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W H AT ’ S H O T
THE WEEK’S TOP HEADLINES IN PHOTOGRAPHY
MEIKE UNVEIL S MK 85MM F/1.8,
I TS FIRST AUTOFOCUS LENS
New portrait-friendly optic is compatible with full-frame Canon DSLRs
T
25mm f/2, and a 25mm T2.2 cine lens.
hird-party lens manufacturer
with nine elements in six groups. It
Meike has taken the wraps
measures 75mm long on its own, and
off its first lens with autofocus
133mm if the optional hood is attached,
lens is only available in Canon’s full-
while a 67mm thread allows for filters
frame EF mount, although Meike’s
capabilities, the MK 85mm f/1.8.
At the moment the MK 85mm f/1.8
ƋŅƤÆåĵŅƚĹƋåÚţkƋĘåųŸŞåÏĜüĜϱƋĜŅĹŸ
website initially stated that it would also
and fast aperture the MK 85mm f/1.8
include a minimum focusing distance
be available in the Nikon F and Sony E
should appeal particularly to portrait
of 0.85m and a maximum magnification
mounts, so it may yet become available
photographers. Meike promises that
ratio of 1:1.8.
for those systems.
With its portrait-friendly focal length
Pricing and availability for the new
the lens will produce smooth, attractive
background blur, while the all-metal
Canon-only
lens are yet to be confirmed, although
frame should ensure durability.
Meike has had a busy year. Back in
as with other Meike optics we expect
February it added three additional prime
it to be available through Amazon and
lenses to its lineup, the 50mm f/1.7 and
competitively priced.
The lens is designed with a multicoated front element, and is constructed
F
PRO
CLIVE NICHOLS
Clive is one of Britain’s top
garden photographers,
and has been a pro for
over 30 years. His clients
include magazines such
as Country Life, The
English Garden, Gardens
Illustrated and House &
Garden. Clive was the
Gordon Rae Photographer
of the Year in 2017, and
regularly leads workshops
on plant and garden
photography across the
UK. For more info visit
www.clivenichols.com
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GREAT
GARDEN
PHOTOGRAPHY
Top garden photographer Clive
Nichols shows our Apprentice how
to capture marvellous macro
shots of plants and flowers
at RHS Garden Wisley
APPRENTICE
STEVE JARRATT
Steve’s first proper
camera was a Canon
T70 film camera, and
after several compacts
ĘåƤƚŞčų±ÚåÚƋŅĘĜŸüĜųŸƋ
DSLR, a Canon EOS 5D
Mark III with L-series
lenses – and while it
cost him a small fortune,
after seeing the images
his kit produces he has
no regrets. Steve shoots
everything – architecture,
animals, gardens – but
the shallower the depth of
field the better.
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TECHNIQUE ASSESSMENT
Clive helped Steve set up his DSLR to capture sharp
and well-exposed close-up plant photos
CL I VE’S TOP 10 T IP S FOR
GARDEN PHOTOS
A TRIPOD
1 USE
A tripod is great if you want a broad depth of field, and so
need a fast shutter speed to enable a narrower aperture. Using
one also enables me to compose images precisely.
YOUR ALARM
2 SET
The best light for flower photography is usually the first
hour of daylight, especially on sunny days. This is the ‘golden
hour’, when plants and gardens are at their most photogenic.
THE WEATHER FORECAST
3 CHECK
I always check the weather forecast the night before a
R AW POWER
Clive says: “Always shoot in
raw, as it’s the best image
quality and you can easily
adjust exposure, contrast
and colours post-shoot
in Adobe Camera Raw, as
well as adjusting settings
like white balance easily.”
Steve adds: “I often shoot
in Canon’s smaller M-Raw
format, as the files are big
enough for my needs, save
on space on memory cards
and my Mac, and still offer
the same editing options as
a full-size raw file.”
shoot. I look for days when there is little or no wind, because this
makes garden and flower photography easier.
MIRROR LOCK-UP
4 USE
For garden vistas when using a tripod, using mirror
lock-up ensures that your images are pin-sharp, giving them a
professional look.
A LIVE VIEW
5 TAKE
When your camera is mounted on a tripod you can
use Live View to focus incredibly accurately, especially when
shooting wide or zoomed-in views of gardens.
STABILIZATION
6 IMAGE
Use this only when hand-holding – it’s especially useful if
you’re using a longer focal length of around 100mm or over.
A PIC OF THE PLANT LABELS
7 TAKE
If you’re in a garden where the plants are named,
take a quick pic of the label of the plant or flower that you’re
photographing for future reference.
WHERE YOU NEED TO BE
8 PLAN
:±ųÚåĹŸÏʱĹčåŅƴåųƋĜĵåØŸŅĵ±ĩåŸƚųåƼŅƚűųåĜĹƤƋĘå
ųĜčĘƋŞĬ±Ïå±ƋƋĘåųĜčĘƋƋĜĵåţ‰ĘåųåűŸĹŅŞŅĜĹƋƤčŅĜĹčƋŅŸĘŅŅƋ±
rose garden in early spring when nothing is out.
AV MODE
Clive got Steve to shoot
in Av (aperture priority)
mode, so that he could set
the aperture and leave the
camera to adjust the shutter
speed for a standard
exposure. “This way, you
can control the depth of
field,” Clive explains. “Set
a wide aperture (such as
f/4) for a shallow depth of
field to blur the background
behind a flower. Set a
narrower aperture where
you want to keep flowers
sharp from front to back.”
A GOOD GARDEN NEARBY
9 FIND
It’s much easier to shoot a local garden as you don’t have
to travel miles to find a good location. Remember: in the spring
±ĹÚŸƚĵĵåųØƼŅƚƤųå±ĬĬƼĹååÚƋŅÆåĜĹč±ųÚåĹŸ±ųŅƚĹÚÚ±ƵĹØ
which can be as early as 5am.
CONSIDER SHUTTER SPEED AND APERTURE
10 To
freeze the movement of flowers blowing in the
wind, you need a relatively fast shutter speed – around
1/250 sec or above. Use large apertures, such as f/4, to blow
ƱÏĩčųŅƚĹÚŸŅƚƋŅüüŅÏƚŸüŅų±ƤĹĜÏåÆŅĩåĘţ
F
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EXPOSURE 1/60 sec, f/5.6, ISO200
LENS Canon EF 100mm f/2.8L Macro IS USM
PRO TIP
BRIGHTER SHOTS
HOT SHOT
#1
STEVE SAYS…
We compared the effect of using different macro lenses with my 70300mm zoom (Clive’s 180mm macro was a revelation, enabling me to
shoot extreme close-ups of these red cornus stems without tramping
all over the plants). I shot this with my 100mm macro on a tripod, with IS
turned off to avoid it causing blur, and Clive explained about using Live
View and zooming in to focus precisely. Shooting up close at 100mm, the
wide aperture of f/5.6 has completely blurred the backdrop.
If Steve needed to brighten or darken his images,
Clive told him to use exposure compensation. “As
he’s using Av mode, the aperture will stay fixed
while you dial in positive or negative exposure
compensation. I suggested he start off with +/1-stop and review his results.”
F
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EXPOSURE 1/250 sec, f/4, ISO200
LENS Canon EF 180mm f/3.5L Macro USM
HOT SHOT
#2
STEVE SAYS…
Clive suggested shooting into the sun to use it
±ŸĹ±Ƌƚų±ĬųĜĵĬĜčĘƋƤüŅų±ŸĘŅƋŅüƋĘĜŸŞųåƋƋƼMount
Aso pussy willow. Many plants have fine fibres or
hairs, which catch the light and generate lovely
highlights. I love the extremely shallow depth of
field Clive’s 180mm macro lens delivers, and its
bokeh effects compared to my 100mm. Plus, it
helps to both isolate the subject and provide an
abstract, dream-like background. It’s odd because
we don’t perceive the world in this way – it’s an
artificial effect, but we’ve become so accustomed
to seeing the world through a lens.
EXPERT INSIGHT
LIVE VIEW
“I need to focus manually when photographing
plants, otherwise the autofocus jumps around
and focuses on the wrong parts of the foliage,”
says Clive. “Use your DSLR’s Live View mode to
compose your shot, use the spirit level on screen
to keep it level and to use the rule of thirds to
position the focal point. Now focus by pressing
the magnifying glass button to zoom to x10 view,
switch the lens from AF (autofocus) to MF (manual
focus), then adjust the focusing ring until your
chosen area is in focus. Press the zoom button
again to zoom back out.”
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EXPOSURE 1/250 sec, f/5.6, ISO400
LENS Canon EF 70-300mm f/4-5.6L IS USM
HOT SHOT
#3
STEVE SAYS…
Following Clive’s guidance, I shot these agave
parryi cactus leaves by looking for shapes and
composing the leaves like a mountain scene. By
cropping out the edges of the plant you start to
get a more abstract image, looking like some
bizarre alien landscape with slightly pointy hills.
The colour scheme is also lovely, with the deep
red thorns in sharp contrast to the pale green
flesh. I could have photographed this cactus from
six different viewpoints and ended up with six very
different shots.
EXPERT INSIGHT
LOOK FOR TEXTURES
“Clive suggested looking for interesting textures
and abstract images,” Steve says. “For the shot of
red stems (above, centre) the rear stems were a
silver-white, which helps the red pop. Clive had a
great tip for shooting the texture of the snake bark
maple tree (above right). It was lit by the sun, but
that created an area of shadow, so Clive stood in
front to soften the ambient light for a more even
result. I love capturing the movement of water
(above left). In this case I had to up the shutter
speed all the way to 1/8000 sec – the maximum
of my Canon 5D Mk III – to keep the drops sharp.”
F
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HOT SHOT
#4
STEVE SAYS…
While Clive wandered around the glasshouse to
check out potential subjects, I practised with my
100mm macro lens. Clive had already shot the bird
of paradise flower, but all of sudden the sun came
out and I took my chance. The colours were so
ĵƚÏĘĵŅųåƴĜÆų±ĹƋƵĘåĹĬĜƋÆƼƋĘåŸƚĹĬĜčĘƋرĹÚƤƋĘå
åƻŞŅŸƚųåĬåƴåĬĘåĬŞåÚƋŅÚ±ųĩåĹƋĘåƤƱÏĩčųŅƚĹÚţ
In this case, I got lucky; sometimes photography is
ģƚŸƋ±ÆŅƚƋÆåĜĹčĜĹƤƋĘåųĜčĘƋŞĬ±Ïå±ƋƋĘåųĜčĘƋƋĜĵåţ
EXPOSURE 1/250 sec, f/3.5, ISO200
LENS Canon EF 100mm f/2.8L Macro IS USM
F
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EXPOSURE 1/60 sec, f/3.2, ISO200
LENS Canon EF 100mm f/2.8L Macro IS USM
PRO TIP
LATIN NAME PLATES
HOT SHOT
#5
STEVE SAYS…
This was another practice shot with the 100mm macro, and I really liked
the colour of the background – although it was just shredded bark in a
large planter, it was coming out slightly purple, which is a complementary
colour to yellow. I had to take the shot several times, because even
though the 100mm macro lens has image stabilization, I was shooting
handheld, and it was tricky to get the central flower head in sharp focus.
IƤalso used +1-stop of exposure compensation to brighten the flowers.
“I always snap a plant’s name plate before taking
a picture of it, so I have a record of all the things
I shoot,” says Clive. “It’s too easy to forget or mix
ƚŞƤƋĘåŞĬ±ĹƋŸűX±ƋĜĹűĵåŸƵĘåĹƱÏĩĘŅĵå
looking at photos on screen!”
F
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SHOT OF THE DAY
EXPOSURE 1/500 sec, f/5.6, ISO200
LENS Canon EF 70-300mm f/4-5.6L IS USM
OUR APPRENTICE SAYS…
OUR PRO’S VERDICT…
This shot of a protea cynaroides makes use of another break
in the clouds. The South African plant is perfectly backlit by
the sunlight, which was nicely diffused by the glasshouse.
Not only does it bring the pink colour to vivid life, contrasting
with the dark foliage behind, but it also highlights the tiny
hairs on the petals (or ‘bracts’, to be precise). The thing that
always amazes me with a good macro shot is all the detail
you simply don’t see with the naked eye – when viewed
in close-up you can even see the fibrous nature of all the
individual flowers that make up the centre.
Steve was feeling the cold when we were out in the
garden, and he preferred the warmth of the glasshouse
at Wisley! We were lucky that one of the beautiful king
protea flowers was in full bloom and backlit by late
afternoon sun when the clouds broke. Steve has cleverly
added contrast, which has left the background quite
Ú±ųĩØƋĘƚŸĵ±ĩĜĹčƋĘåŞųŅƋ屟Ƌ±ĹÚŅƚƋÆåƋƋåųţeŸƤƵå
were inside, there was no wind, so subject movement
was not an issue, and Steve has captured the flower in
pin-sharp detail.
F
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3
2
WITH0UT REFLECTOR
4
WITH REFLECTOR
ESSENTIAL GEAR
The kit Clive relies on for beautiful flower shots
TELEPHOTO MACRO LENS
“I love using this Canon EF 180mm f/3.5L Macro
USM lens for close-ups of garden plants and flowers,” says
Clive. “It gives me a better working distance – so I don’t
need to be really close to plants, or too close to bugs and
butterflies, scaring them off. Plus the 180mm focal length
and wide f/3.5 aperture capture a lovely shallow depth of
field, to help subjects stand out, with beautiful bokeh.”
TELEPHOTO ZOOM LENS
“I ƚŸåƋĘå±ĹŅĹ)8ƀLjěƖLjLjĵĵüxĉXƤŽ„aƵĘåĹ
photographing particular areas of a garden, to compress
the perspective and make the plants and foliage appear
densely packed,” says Clive. “This is a classic yet still sharp
telephoto zoom lens, and I have no need for a 70-200mm
f/2.8 lens because I have my 180mm f/3.5 macro or 2470mm f/2.8 lens to cover that option.”
TRIPOD
“A tripod enables me to use a slower shutter speed
without worries, use a low ISO of 100 for less noise, and
compose and focus shots more accurately via Live View,”
says Clive. “I usually shoot at around f/8 to f/11 and ISO100
for the best quality. I also use the mirror lock-up and twosec self-timer when using a tripod.”
REFLECTOR
“A reflector can be a garden photographer’s best
üųĜåĹÚƵĘåĹƤƼŅƚƵ±ĹƋƋŅÆŅƚĹÏåŸŅĵåĬĜčĘƋĜĹƋŅƋĘå
ŸĘ±ÚŅƵŸƋŅƤÆųĜčĘƋåĹƚŞƼŅƚųŸĘŅƋŸŅüüĬŅƵåųŸ±ĹÚŞĬ±ĹƋŸĜü
the sunlight isn’t in exactly the right position,” says Clive, “As
you can see, there’s a clear improvement using a golden
reflector for this shot of the abutilon ashford red flower.”
1
2
3
4
PRO PORTFOLIO CLIVE’S GREAT FLOWER PHOTOS Clive talks us through three of his favourite garden images
RHS Garden at
Wisley, Surrey
The blue
camassia
meadow had
reached its
peak of flowering, and I waited until late
in the day so I could capture the low
backlighting on the flowers and cherry
tree behind.
Morton Hall,
Worcestershire
This garden
is famous for
its meadow of
snake’s head
fritillary. I arrived at sunrise, shooting into
the sun with a wide-angle focal length
of 24mm and being careful to avoid flare
entering the lens.
Keukenhof
Gardens,
Holland
Shot at probably
the best spring
garden in the
world. I used a 70-200mm telephoto
zoom lens at 200mm for a frame-filling
shot of one of the borders, packed with
tulips and daffodils.
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XPOSURE
THE WEEK’S MOST INSPIRING READER PHOTOS
MULTNOMAH FALLS
JODY SANCHEZ
“This was my first trip to see the gorgeous Multnomah Falls in
Oregon’s Columbia River Gorge. The timing was important in order
to capture this scene with so many people around.”
http://tiny.cc/75fysy
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THE WEEK’S MOST INSPIRING READER PHOTOS
FINAL RESTING PLACE
ANDREW BRADBURY
“This photo was taken at Afon
Goch estuary on the island of
Anglesey, off the northwest
coast of Wales. This boat has
been here for many years, and
at low tide you can walk out to
the sandbar on which it rests.”
http://tiny.cc/fbgysy
BUTTERFLY ON ZINNIA
TEDDY ALFREY
“This photo of a butterfly
POçB[JOOJBXBTUBLFOJOUIF
formal garden at the T.C.
Steele State Historic Site
OFBSç#FMNPOU*OEJBOBw
http://tiny.cc/lyrgsy
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THE WEEK’S MOST INSPIRING READER PHOTOS
POISON IVY
NICK TURLEY
“This was taken at a cosplay event at my local camera club, for which Holly
Norpack created a fantastic costume of Batman’s foe Poison Ivy.”
http://tiny.cc/rd3cpy
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THE WEEK’S MOST INSPIRING READER PHOTOS
THE FOREST FLOOR
NEIL SHAW
“While this image doesn’t show it in its entirety, it’s always nice to find a gem of a
location that no other photographer appears to have documented. This was the case
with this image, but I had a long wait for the ideal conditions to materialise, snow
and fog being the perfect conditions for the shot I had in mind.”
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PHOTOGRAPHY WEEK WANTS YOUR PHOTOS!
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Taken a portrait you’re particularly proud of? Shot a sensational sunset you’d like to
show off? Then join the Photography Week Facebook community and share your best
photos today! You’ll get feedback from fellow readers and the Photography Week
team, plus the chance to appear in Xposure, or even on our cover!
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I T ’ S C O O L , T H AT
Images © Nvidia
THE BEST THING WE’ VE SEEN THIS WEEK
THIS SMART RETOUCHING TOOL
REPAIRS PHOTOS LIKE MAGIC
Nvidia’s deep learning tech can fill in missing areas of even badly damaged images
esearchers at Nvidia have created a
deep learning image-retouching
tool that can intelligently reconstruct
incomplete photos. While ‘smart’ retouching
tools are nothing new – the Content-Aware
tools in Photoshop are pretty much the
industry standard – the tech that Nvidia is
showcasing looks incredibly impressive.
While Photoshop’s Content-Aware Fill
analyses surrounding parts of the image to
fill in what it thinks should be there, Nvidia’s
tech is a much more sophisticated solution.
R
For instance, when trying to fill a hole
ƵĘåųåƤ±ĹåƼåƵŅƚĬÚÆåĜűŞŅųƋų±ĜƋرŸƵåĬĬ
as using information from the surrounding
area Nvidia’s tool knows an eye should be
there, and is able to fill the hole with a
computer-generated eye.
Check out the two-minute video to get a
taste of what this new technology is capable
off. There’s no word on when we’re likely to
see it become widely available, but for now
it gives us a remarkable glimpse into the
near-future of image editing.
W AT CH T HE V IDEO
h t t p: // t iny. cc /pd30 s y
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CRASH COURSE
ESSENTIAL PHOTO SKILLS MADE EASY
MAKE A SIMPLE MACRO FL ASH
Jason Parnell-Brookes shows you how to get macro shots that pop
using nothing more than a crisps can and some tissue paper
You can get some very
sophisticated, and pretty
expensive, lighting for
MINS
macro photography, but
here we’re going back to basics with a
cheap-as-chips lighting trick for great
30
macro photos. You can lock away your
light stand and flashgun for a welldeserved break; all you need for this
fun tutorial are your camera’s pop-up
flash, an empty crisps can and a piece
of tissue paper. You’ll also need very
basic DIY skills – we’ll be getting crafty
with scissors and cutting the can down
to size before fixing it to your camera
with rubber bands – but the quality of
light that’s funnelled onto the subject
is worth the minimal effort involved.
S
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STEP BY STEP FUNNEL YOUR FLASH
1
SET UP YOUR CAMERA
A full-power pop-up flash is too powerful for
close-up work, so start by reducing the power
to -1 stop. How you do this will vary depending
on your camera – on our Nikon DSLR we
pressed the flash button on the side of the
camera, and, keeping it depressed, scrolled
the sub-command dial until we reached
standard flash mode. We then used the
command dial to drop the power to -1 stop.
2
SHAPE THE CAN
Offer your crisps can up to the pop-up flash
and see which bits you need to cut for it to fit
around the unit while it’s raised up. Mark the
shape with a pen before cutting it to size. Cut
the front off at an angle so the top of the tube
protrudes further than the bottom, so that the
light from the flash is forced down across the
area in front of the lens.
3
ADD TISSUE PAPER
Use tissue paper taped across the angled cut
to diffuse the light and soften shadows, but
don’t use too many layers, or the flash power
will be significantly reduced and you won’t be
able to light your subjects properly. If you want
something more robust, try a white shower
curtain cut to size.
SILVER LINING
Look for a can that’s silver
or white on the inside, as
ƋĘĜŸƵĜĬĬųåāåÏƋƋĘåĬĜčĘƋ
üųŅĵƼŅƚųā±ŸĘų±ƋĘåųƋʱĹ
absorbing it, giving you
more powerful illumination.
We’re using the can from a
well-known brand of crisps
ƵĘĜÏĘʱŸ±ŸĜĬƴåųĀĹĜŸĘŅĹ
the inside (and which we
have a taste for), but other
varieties are available!
S
K
I
L
L
S
STEP BY STEP FUNNEL YOUR FLASH
4
ATTACH YOUR DIFFUSER
Make holes in the can with scissors and poke
rubber bands through them to strap the can
around your camera. Using rubber bands
makes it easy to take the can off when you
want to shoot something other than a closeup, as we did while walking around this forest.
5
GET IN CLOSE
With a macro lens on the camera, set an
aperture of f/11 or f/16; depth of field gets
shallower as you focus closer, but a narrower
aperture counteracts this a little. We’re using
an ISO of 1250 and a shutter speed of 1/80 sec
to ensure that the background areas that aren’t
lit by the flash are well exposed.
6
EXPERIMENT
Try a different composition by orienting your
camera vertically; this often suits tall, thin
subjects. If you’re photographing delicate
subjects such as fungi, be aware of how close
your makeshift diffuser is, and you don’t want
to do knock into them and cause damage.
QUICK TIP
Set your white balance to ‘flash’ for
accurate colour reproduction
E
D
I
T
I
N
G
PH OTOS H O P
LEARN ESSENTIAL EDITING SKILLS FAST!
HOW TO...
CREATE A SURREAL LANDSCAPE COMPOSITE
James Paterson shows you how to create a convincing fantasy reflection
ŸÏåĹåƤÆƼϱĬĬĜĹčŅĹƤ±ƤÏŅĵÆĜűƋĜŅĹŅüϱĵåų±±ĹÚ{ĘŅƋŅŸĘŅŞŸĩĜĬĬŸ
e photographers love a
good reflection. Whether
it’s a subject captured in a
mirror-like lake or a perfect puddle,
or a fleeting moment caught in a
window, reflections are ripe
material for all kinds of dynamic
images. Reflections also lend
themselves well to surreal or
conceptual images, and in this
video tutorial we’ll use reflections in
a slightly unusual way, by creating
an endless landscape of mirror-like
pools – and all you need for this is a
single circular mirror.
Of course, you also need a few
Photoshop compositing skills. But,
as with all the best composites, the
real work takes place in-camera.
We’ll take several shots of our
scene and subject, making sure the
conditions and lighting stays
consistent, before piecing them all
together to come up with our
surreal montage. To give it an extra
aura of mystery you’ll add a little
mist, and drop in a few distant
mountains for a dramatic backdrop.
When a frame is built from lots
ŅüƤŞĘŅƋŅŸƋĘåŞųŅÏ域ŅüŅŞåĹĜĹčØ
copying, pasting and closing can
get monotonous, so to speed things
up, in the project files we’ve
included an Action that automates
the job for you. Used in combination
with Photoshop’s Batch command,
this will enable you to work through
an entire folder of photos in no time.
W
W AT CH T HE V IDEO
h t t p : // t i n y. c c / 0 b t d o y
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 / w 9 k w s y
ON A PC OR MAC
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 lots of great photography accessories launched,
and here’s our pick of the best drones, tripods, software, lighting and more
AWARD
D S : THE BEST GEAR OF THE YEAR 2018
#&4540'58"3&
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The low-cost Photoshop rival does it again
ffinity Photo started out as a Mac-only product,
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Photoshop alternative. In designing Affinity Photo, Serif has
left behind its budget software roots and concentrated
on building the best possible product from the ground
up. Affinity Photo is designed for power, speed and
responsiveness, with live filter effects, HDR merge and
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just an affordable one-off purchase price.
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BEST STORAGE SOLUTION
Drobo 5C
£349/$320 (d
drives extra)
Your long-term storage solution
hotography is a storage-hungry
undertaking, and there can’t be many
photographers who haven’t had to
boost their computer’s internal storage with
external hard drives. But regular external drives
eventually fill up and sometimes fail and the
Drobo 5C addresses both of these issues, using
up to five disk drives in a flexible desktop RAID
system. Unlike regular RAID setups, though, it
lets you mix and match drive brands and sizes
and even ‘hot-swap’ drives while the unit is
running. You can swap out faulty drives when a
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replace it with a larger one.
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D S : THE BEST GEAR OF THE YEAR 2018
#&45"$5*0/$".&3"
(P1SP)FSP#MBDL
£399.99/$399.999
The Hero6 Black stands above the rest
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player in the action cam
market, with scores of rivals
offering similar products at lower
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Hero6 Black’s specifications that make
it an award winner, but its all-round
usability, durability and adaptability.
It can capture 4K video at up to 60
G
frames per second,
and full HD video
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slow-motion effect.
It’s waterproof down to
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for an additional case, it offers both
raw and HDR capture, and it has GPS,
an accelerometer and a gyroscope
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WINNING FEATURES
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BEST DRONE
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£769/$799
Is this the drone that will win you over?
rones are becoming a big part
of the photography market, but
until now they’ve been expensive,
bulky and intimidating – or at least all the
best ones have. The DJI Mavic Air is small
and light – it’s just 430g, and hardly larger
than a smartphone when folded up – and
it’s good value for what you get. It comes
with a three-axis mechanical gimbal,
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HD transmission and 4K video at 30fps.
¥ŅƚϱĹƚŸåŞųåŸåƋƤüĬĜčĘƋޱƋĘŸƋŅÏųå±Ƌå
dynamic videos, and there are seven
onboard cameras and sensors.
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and excellent image stabilisation. We
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£280
A high-end flash at a mid-range price
t’s not just the price that makes the Modus 600RT
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battery, which delivers not only a much longer life
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it ideal for keeping up with fast-paced shooting. You can
get the Modus 600RT on its own, but we think
the wireless kit is even better. It includes
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off-camera flash control, and you can
add more flash units later to create
sophisticated lighting setups.
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Get great video with your smartphone
he best recent smartphones are capable
of capturing surprisingly high-quality
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trouble is, their shape makes them awkward to
handle and encourages the capture all sorts
of wobbly, badly-thought-out footage. That’s
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just the bits you want, so you could
detach one handle and the bar to make
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D S : THE BEST GEAR OF THE YEAR 2018
#&45-*()5*/(
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£299/$400
Versatile lighting with great features
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panels for the movie and stills industry, and its Anova Pro
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the ambient lighting or create deliberate colour contrasts. And
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stand, and there’s a unique ‘flash’ mode the offers up to 500%
more power and zero recycle time.
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Gitzo proves that you get what you pay for
he price tag may be jawdropping, but you don’t have
to spend very long with Gitzo’s
Systematic range of tripods to see
where the money has been spent.
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surprisingly light and exceptionally
rigid; in short, everything you could
want in a camera support.
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Systematic Series 4, which is just
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range. These break down into three
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which is available with a choice of
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well without a column too), heads
and other accessories, which means
the costs can mount up, but the
engineering, usability and stability
offered by these Systematic tripods
ĜŸƤĘƚčåĬƼĜĵŞų域Ĝƴåţ
WINNING FEATURES
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A
P
P
S
MORE GREAT MAGA ZINES FROM
THE MAKERS OF PHOTOGRAPHY WEEK
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N-Photo is a monthly
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Check out these other fantastic photography apps for iPad & iPhone
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