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INSPIR AT ION IDE A S IN-DEP T H RE V IEWS
INSTANT IMPACT! EXPERT ADVICE TO HELP YOU CAPTURE IMAGES THAT WILL REALLY TURN HEADS
PHOTOGRAPHY DRONES OUR TIP PICKS FOR AERIAL SHOOTING
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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. 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!
CONTENTS FIND OUT WHAT’S INSIDE THIS ISSUE NEWS
PANASONIC UNVEILS G90
New G-series model gets 20.3MP sensor and improved AF tech F E AT U R E
IMAGES WITH IMPACT
Pro secrets for capturing shots that stand out from the crowd PHOTOS
GALLERY
Our pick of the best reader Ĝĵ±čåŸ üųŅĵƤ±ųŅƚĹÚ ƋĘå ƵŅųĬÚ
F E AT U R E
I N S P I R AT I O N PHOTOS
I N S P I R AT I O N
AIR SHOW
Winners of SkyPixel’s Aerial Photo & Video Contest revealed CRASH COURSE
CLASSIC COMPOSITION
Enhance your shots with six essential framing techniques CRASH COURSE
PHOTOSHOP
PHOTOSHOP
SMALL WONDER
Shrink your subject to create an fun and captivating composite
GEAR
DRONES FOR PHOTOGRAPHY
From fun copters you ϱĹƤĬ±ƚĹÏĘ üųŅĵ ƼŅƚų ʱĹÚƤƋŅ ŞųŅěčų±Úå ±ĜųÏų±üƋØ we check out six great options for getting your photography off the ground
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W H AT ’ S H O T THE WEEK’S TOP HEADLINES IN PHOTOGRAPHY
PANASONIC ANNOUNCES THE LUMI X G90/G95
Image credits: Panasonic
New G-series camera gets a 20.3MP sensor and improved AF tech
anasonic’s G series has
Four Thirds sensor, it packs a 20.3MP
is on board, combining the power of
been looking a little unloved
alternative, once again without an
sensor-based image stabilization with
recently, with the focus more
optical low-pass filter. This works with
lens-based stabilization. The former
on the company’s compact camera
the company’s latest Venus engine to
is also effective in the absence of the
line and full-frame Lumix S1 and S1R
record 4K video to a maximum 30p for
latter, with a maximum compensatory
models. But now the company has
an unlimited length of time, in addition
effect of five stops.
shown it’s serious about continuing to
to Full HD videos, while V-Log L is also
supporting the G series with the launch
included on the camera as standard – a
2.36 million dots as the G80’s, and the
of the Lumix DC-G90 (G95 in the US).
move that might not please S1R and S1
same magnification that’s equivalent
The new camera follows 2016’s G80/
owners, who have to pay extra for this.
to 0.74x in 35mm terms, while the rear
G85, but in place of that camera’s 16MP
Panasonic’s 5-axis Dual I.S. 2 system
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The OLED viewfinder offers the same
display retains its 1.04 million-dot
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THE WEEK’S TOP HEADLINES IN PHOTOGRAPHY
was announced in February last year, although it did reveal that it Ƶ±ŸƤÚåƴåĬŅŞĜĹč ƋĘå XåĜϱ %: resolution and 3-inch dimensions,
unit. Panasonic has also added the now-
Vario-Summilux 10-25mm f/1.7
although, interestingly, it’s now an OLED
familiar exposure compensation, ISO
ŅŞƋĜÏ üŅųƤƋĘå ŸƼŸƋåĵ ±Ƌ {ĘŅƋŅĩĜű ĜĹ
screen rather than the G80’s LCD.
and white balance row of buttons on
September. This, the company claims,
its top plate, mirroring the design of the
is the world’s fastest constant-aperture
recent S1R and GH5S among others.
f/1.7 wide zoom.
Wi-Fi has been carried over from the G80, although the new model follows other recent Lumix releases in also
Another change concerns the rotating dial on the camera’s back plate,
Lens options
which takes the place of the four-way
The G90/G95 will be bundled with the
DFD autofocus
directional buttons on the G80, while
same G Vario 12-60mm f/3.5-5.6 ASPH
Other features include an autofocus
the remaining controls have also been
lens as the model it updates, although
system that makes use of Panasonic’s
shuffled around. Sadly, a joystick-type
it will also be available with a new
Depth From Defocus (DFD) technology,
focus lever is nowhere to be seen,
Lumix G VARIO 14-140 mm f/3.5-5.6 II
together with a 9fps burst shooting
although you can use the touchscreen
ASPH. Power O.I.S. lens. Ostensibly a
option that drops to 6fps when focus
to set the AF point.
replacement for the Lumix G Vario 14-
offering Bluetooth connectivity.
Elsewhere the camera has an
140mm f/3.5-5.6 ASPH Power O.I.S that
Photo mode that captures at 30fps is
SDHC/SDXC card slot that supports
was released six years ago, the new lens
also on board, while new Sequence
UHS-II cards, together with ports
matches the G90 in offering a dust- and
Composition and Auto Marking options
for microphones and headphones,
drip-proof build.
also make an appearance.
the latter of which wasn’t included
is set to work continuously. A 4K
The Panasonic G90 will be available
on the G80. Its battery can also be
from June, with an anticipated retail
same DSLR-like form as the G80,
powered through the camera’s USB
price of £899.99 / $899 for the body
the model has been redesigned for
port, although sadly this appears to be
only, and £1,079.99 / $1,079 for a kit
“maximum comfort and easy one-
the older Micro B format, rather than
with the G Vario 12-60mm f/3.5-5.6
handed operation”. Resistant to splashes
the USB Type-C port that’s become
ASPH lens. A further kit with the Lumix
of water and dust, it adopts a slightly
common on such cameras.
G VARIO 14-140mm f/3.5-5.6 II ASPH
While the new camera retains the
more angular design than the G80, with
The company hasn’t added to its
more defined edges and a peaked flash
G-series camera line since the GX9
Power O.I.S is due to arrive with a £1,259.99 / $1,259 price tag.
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All images © Peter Eastway
F
ENDS OF THE WORLD Even with exotic locations like Easter Island, you might need to do something more to give your images impact. Here a 10x ND ĀĬƋåų ±ĬĬŅƵŸ ƋĘå ÏĬŅƚÚŸ ƋŅ ÆĬƚų
CREATE IMAGES WITH IMPACT How can we produce head-turning photos that really grab the viewer’s attention? Peter Eastway guides us with his expert shooting and editing tips ttracting the attention of an audience is becoming more and more difficult. These days, not only is everyone a photographer – forever armed with a camera in their pocket thanks to the rise of the smartphone – but social media has made it incredibly easy for snappers
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to broadcast their work. While these developments great in many respects, the downside of them is that people are increasingly inured to photography, and even very good photos can get taken for granted, and swiped through with barely a second thought. Because of this, our photos need to
have more impact than ever before if we want them to be noticed. Over the next few pages, Peter Eastway explores a range of ways to ensure that your photos turn heads and hold people’s attention for longer than a split second, from finding strong subjects to framing, and adding impact in post-production.
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FIND SUBJECTS WITH IMPACT The world is awash with images, so to create interest you need to shoot something a little different
hotographs that turn heads are usually full of impact – the impact of colour, the impact of light, and the impact of a location. Our eyes simply like to see something interesting and intriguing – so, for example, rather than a plain blue sky, people generally react more strongly to wispy strands of mist curling around a mountain peak. The easiest way to create images with drama and impact is to photograph subjects and scenes that already exhibit these features. This may mean changing the time of day or the types of weather you shoot in, or travelling to locations where the subject matter is so different to your usual surroundings that it has impact on your audience at home. Finding the best, most impactful subjects to shoot can simply be the result of happenstance, but you’ll improve your chances if you set out to purposely capture images with impact; chances are you’re already doing this to some extent. You might start with an exotic location or subject – like a temple in Bhutan, as in the image on the following page. The small kingdom’s culture, architecture and landscape are completely different to the likes of the United Kingdom and Australia, and it’s this difference that can give your images impact. Of course, the same photographs may hold rather less interest for a Bhutanese audience – what has impact for one audience may have less impact for another. But the search for new and exotic locations is a great excuse for planning a trip away and experiencing a culture different to your own. When you’re at an exotic landscape or with your exotic subject, the light, camera angle, composition and gestures can have a huge impact on the resulting photos, so follow some standard photography advice: be there and shoot lots! When travelling, we might not be able to return to a subject as often as we’d like or when the weather is perfect, but we can ensure the alarm is set to wake up for that sunrise, no matter how unlikely a good one is. Being out there and constantly on the hunt for opportunities is the best way to capture images with impact.
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FIRST LIGHT Even in the case of dramatic subjects like this, photographing it with great light and weather remains critical; a 2am start was required to capture this sunrise
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FIND SUBJECTS WITH IMPACT
CONTINUED
INTERESTING WEATHER Early morning mists climb around the surrounding hills to create drama
ATTRACTIVE LIGHTING Side-lighting on the hills and backlighting on the clouds create extra interest
EXOTIC LOCATION There are few countries in the world that are as distinctive as Bhutan SIMPLIFIED COMPOSITION Behind the hills is the local town – excluding it creates a sense of solitude, which adds more impact
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FIND SUBJECTS WITH IMPACT
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DIFFERENT CAMERA ANGLES Fü ƼŅƚ ʱƴå ƋĘå ÆƚÚčåƋ üŅų ± āĜčĘƋØ or perhaps you own a drone, looking for aerial camera angles ƵĜƋĘ ± ÚĜýåųåĹÏå Ï±Ĺ ±ÚÚ ŸåųĜŅƚŸ impact to your photographs
UNIQUE APPEAL Take a different approach for greater impact
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INTERESTING LOCATIONS
While it’s certainly possible to capture photographs with impact close to home, if you’re looking for an easier way to turn heads choose a location that has impact built in, whether it’s landscape, people or architecture.
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VARIED CAMERA ANGLES
Shooting from eye-height is expected, ŸŅ åƻŞåųĜĵåĹƋ ƵĜƋĘ ÚĜýåųåĹƋ ϱĵåų± ±ĹčĬåŸ where you’re looking up or down on your subject, or from behind or inside. How can you surprise your viewers?
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DRAMATIC WEATHER PATTERNS
Photos with impact can be taken on bright sunny days, but choosing weather patterns like storms, lightning, mist and fog create Ĝĵ±čåŸ ƵĜƋĘ ± ŞŅĜĹƋ Ņü ÚĜýåųåĹÏå ±ĹÚ čųå±Ƌåų variety – and therefore more impact.
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DISTINCTIVE SUBJECTS
The choice of subject or centre of interest is central to impact – look for something that is distinctive or unusual, whether it’s a building, a tree or a mountain, then think ±ÆŅƚƋ ĘŅƵ ƋŅ ϱŞƋƚųå ĜƋ åýåÏƋĜƴåĬƼţ
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RIGHT TIME OF DAY
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SIMPLE COMPOSITION
The best times of Ú±ƼƤ±ųåĹűƋ ĹåÏ域±ųĜĬƼ sunrise and sunset. Choose an interesting lighting pattern; generally side-lighting and backlighting are more interesting than front-lighting.
Photographs with impact are invariably simple, and are not complicated with unnecessary diversions. Look for simple, clean compositions to maximise impact.
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PRODUCE A CREATIVE COMPOSITE There are no limits to what you can create
FIRE DANCE The original exposure had a Ú±ųĩƤƱÏĩčųŅƚĹÚØ ŸŅ ± ĵŅųå impactful composition was created by copy and pasting ‘onlookers’ from other frames
ow do you take photographs with impact? Or perhaps we should ask, how do you ‘make’ photographs with impact? Today, you don’t have to rely on something happening in front of your lens – you can create something from your imagination. There appear to be two schools of thought popular in photography today. On the one hand, some photographers believe that photographs should be based in reality – they should be factual and representative of something that really happened or existed. This is a traditional viewpoint, perhaps reflecting what people understand to be the history and purpose of photography. An alternative view is that photography can also be an art form. Just as we use language for poetry as well as scientific papers, we can also use photography in our creative pursuit of producing images with impact. However, just because something is new and different, that doesn’t make it good. A badly produced composite image is just that, badly produced and of little value. In this way, the process of
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creating a photograph with impact can be far more challenging than searching or waiting for something to happen in real life. Suddenly we’re starting with a blank canvas, and more questions arise, like: where do our ideas come from? Creative photography doesn’t have to be composite photography – the process of combining two or more different images into one – but it often is. Composites can allow us to explore more complicated ideas, or to achieve our results more simply. For instance, in the photograph of the man floating above the ground on the following page, a mechanical lift and harness could have suspended the subject, but it was much easier to use composite images to create the intended ‘impact’ – the impression of someone floating. There are many ways you can create composite images. Some photography artists don’t try to make their composites believable, preferring to produce a ‘fantasy’ or ‘painterly’ result. Other photographers pride themselves in creating images that look real, challenging us to figure out how they
were done. The choice is yours, but both approaches require time and precise Photoshop work.
LAYER UPON LAYER åƴåų±Ĭ åƻŞŅŸƚųåŸ ƵĜƋĘ ÚĜýåųåĹƋ ÏĬŅƚÚ Ş±ƋƋåųĹŸ and mountain crests were layered on top of the original exposure to create a taller mountain
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PRODUCE A CREATIVE COMPOSITE CONTINUED FROM ABOVE Adding several clouds as separate layers around the islet adds impact by giving a sense of height and ‘looking down and through’ the clouds above
THE FLOATING SURFER
My portrait of Taj Burrow, who’s well known for aerial manoeuvres while surfing, had him floating above the sand
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STRAIGHT PORTRAIT FIRST
This is the concept image, åƻÏåŞƋ ±ģ ĜŸĹűƋ āŅ±ƋĜĹč ģƚŸƋ ƼåƋţ eƤŸƋų±ĜčĘƋ ŞĘŅƋŅčų±ŞĘ ĜŸ Ƌ±ĩåĹ ô ± bit like an artist makes sketches ÆåüŅųå ƋĘå ĀűĬ ޱĜĹƋĜĹčţ
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BACKGROUND IRREALITY
The background clouds and water are blurred using a long exposure. Taj sits out for this exposure – and this image becomes the background.
TAJ BURROW, 2005
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CAPTURE THE EXPRESSION
A series of portraits are then taken, with Taj asked to ham it up for the camera. During postproduction, the best image for the composite is selected.
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ADD SHADOW
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POSITION TO TASTE
A mask or selection is made around Taj. He will be cut out and dropped into the image using layers in Photoshop.
EXPRESSION AND GESTURE A number of images were taken in the same location, concentrating on the right facial expression and hand gestures Although a strong shadow is unlikely to be thrown in these lighting conditions, painting in a shadow underneath Taj enhances ƋĘå ĜĵŞų域ĜŅĹ Ņü ĘĜĵ āŅ±ƋĜĹčţ
POSITIONING FOR IMPACT Once the subject is cut out, he can be moved around into a position that has the most impact
LONG EXPOSURE BACKGROUND A two-minute exposure for the background creates an uneasy sense that something’s not quite ‘real’ in the image
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CUT OUT THE SUBJECT
COLOUR GRADE To complete the rendition and produce more impact, a warm colour grade was applied to the image overall
Once Taj is on his separate layer in Photoshop, he can be moved around at will – higher, lower or just right!
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MAKE EXPOSURE ADJUSTMENTS When you’re in front of an amazing subject, capturing ƋĘåƤÆåŸƋ åƻŞŅŸƚųå ÆåÏŅĵåŸ ĜĹÏųåÚĜÆĬƼ ĜĵŞŅųƋ±ĹƋ
IMPORTANCE OF SMALL AREAS The trees in the water were bleached out by sunlight, requiring a second exposure to provide the detail necessary for full impact
BALANCING AREAS In the landscape, it’s usually the sky that needs to be balanced with the foreground, even when it’s lit by sunlight – three exposures were taken of this scene
odern cameras are incredibly good at capturing detail across a huge dynamic range, but this detail can be ‘hidden’ within the raw file or, in extreme cases, you may need to bracket your exposures in order to record detail satisfactorily. However you choose to work, to create images with impact you need to provide detail where it is needed. You can have images with bald white skies or jet black shadows if this is your style, but you’ll still need to retain detail in the areas that matter. With modern cameras and raw processing software capable of capturing and retaining such a wide range of tones, the temptation is to capture everything you need in a single exposure. You can then use highlight and shadow sliders to retain detail globally, throughout the image, and technically it’s a great solution – but aesthetically it might not be what you want. Blending together two different exposures, or the same file processed
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with two different exposures, allows us to control the exposure selectively, rather than globally. In the photo on the next page of Milford Sound in New Zealand, globally controlling the highlights would have darkened down both the sky and the reflection in the water, yet the key to the photograph’s impact is the reflection: if that’s darkened down, the photo doesn’t have as much impact. So, rather than processing the file globally, the choice was to process the foreground independently of the sky, controlling the exposures separately. We all know that there’s more than one way to edit a file, and you would be correct in thinking that you could still process this file globally and then edit selectively afterwards. However, applying too much shadow and highlight control in processing makes fundamental changes to the image’s tonality, and you may find that processing different areas separately produces a superior result.
RETAINING DETAIL Here a single image was processed twice, once for the bright water, the second time for the dark rocks in the foreground, and the exposures were layered together
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MAKE EXPOSURE ADJUSTMENTS CONTINUED MATCHING HEAVEN TO EARTH
Drama and impact are only revealed if you get the exposure correct, in all the right places
MILFORD SOUND, NEW ZEALAND ND FILTER To produce the sheen on the Ƶ±ƋåųØ ± ĹåƚƋų±Ĭ ÚåĹŸĜƋƼ ĀĬƋåų was needed to enable the two-minute exposure
SINGLE EXPOSURE You can control exposure with one exposure processed twice, or two bracketed exposures
COLOUR ADJUSTMENT Why was the colour balance adjusted? Simply personal preference. This is an interpretation of the scene, not a record
HORIZON HIGHLIGHT IMPORTANT Keeping the long highlight on the horizon is key to the sense of depth in the composition
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PROCESS THE FOREGROUND
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ADD MASK
Ęå ŅųĜčĜűĬ ĀĬå ĜŸ ŞųŅÏ域åÚ ĜĹ ±ŞƋƚųå kĹå ±ĹÚ ŅƚƋŞƚƋ ±Ÿ ± ŎƅěÆĜƋ F88x{ % ĀĬåţ kĹĬƼ ŅĹå exposure was taken, a two-minute exposure ƚŸĜĹč ± ŎLjƻ c% ĀĬƋåųţ
Next a mask is added to the top layer and, using a black brush, the bottom of the image is masked out, to reveal the lighter foreground on the layer below.
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PROCESS THE SKY
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PRODUCE SPOT OF SUNSHINE
Ęå Ÿ±ĵå ų±Ƶ ĀĬå Ƶ±Ÿ ŞųŅÏ域åÚ ±č±ĜĹØ this time producing an exposure tailored to the bright sky and the clouds. Notice how the üŅųåčųŅƚĹÚ ųåāåÏƋĜŅĹ ĜŸ ÚƚĬĬåųţ
Curves adjustment layers and masks are used to lighten the foreground – these adjustments are made to the midtones and not to the limited shadow tones.
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LAYER UP IN PHOTOSHOP
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VIGNETTE AND COLOUR GRADE
Ęå ƋƵŅ ĀĬåŸ ±ųå ƋĘåĹ ŅŞåĹåÚ ĜĹ {ĘŅƋŅŸĘŅŞØ and the darker exposure of the sky is copied and pasted as a new layer on top of the lighter foreground image.
To complete the image, adjustments are made to the colour of the seaweed on and around the log, and the image is vignetted stylistically.
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PERFORM SELECTIVE EDITS
Editing our files enables us to make changes that aren’t possible in-camera – take advantage of this to maximise impact ew photographs are taken where the tonality throughout the image is perfect. Usually a photograph will look ‘better’ if some areas are darkened down from the original exposure, and other areas are lightened. In the darkroom, we called the techniques burning-in and dodging. Today, some describe it as ‘tonal mapping’, meaning you take certain tones and ‘remap’ them to new values. In other words, we lighten and darken the image selectively, one subject, object or area at a time. A photograph that has great impact may have just one or two selective adjustments; others may have dozens, and you’d be surprised just how often
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‘amazing photographs’ have been selectively edited and interpreted by the photographer. It’s an essential technique, and one that can be mastered in Photoshop, Lightroom, Capture One and so on. However, we don’t need to restrict ourselves to tonal mapping. Selective adjustments can be made to colour balance, colour saturation, contrast, sharpening, blurring, noise and so on. The most difficult skill to learn isn’t the actual post-production techniques; rather it’s deciding what selective adjustments need to be made. This comes with practice, but also with critically analysing other photographs, asking yourself what makes them so
ADD TEXTURES AND OVERLAYS e ā±Ƌ ±åųĜ±Ĭ ŸÏåĹå ĜŸ åĹʱĹÏåÚ ƵĜƋĘ ÏŅĬŅƚų ±ĹÚ ÏŅĹƋų±ŸƋØ ±ĹÚ ± ųŅÏĩ ±ųƋ painting overlaid for additional impact
NO LIMITS With the foreground nicely side-lit, drama was added by darkening the sky and lightening the waves below the horizon
successful and why they have impact. Then, when you’re looking at your own work, ask yourself what changes would make the image simpler, clearer and purer? How can you get the subject to stand out against its background so that it has more compositional impact? In the image on the following page of the boab tree in Northern Australia, the desire was to isolate the tree within a field of long grasses and make it stand out. To achieve this, the sky needed to be desaturated, the grasses lightened and the tree given more contrast – and from there it was just a matter of using appropriate adjustment layers to selectively edit the file for maximum impact.
BUILD UP THE DRAMA Using selective editing, the foreground was lightened and contrast added to the stormy sky, adding impact to an originally dull image
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ANALYSE FIRST, EDIT SECOND
To add impact, first decide what the photo needs, then make the necessary adjustments selectively
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ANALYSE THE RAW FILE
Think about how the subject can be made ĵŅųå ÚŅĵĜűĹƋţ BåųåØ ƋĘå Ƌųåå ĀčĘƋŸ ±č±ĜĹŸƋ ± colourful sky, so the shapes of the branches are lost, while the grasses are also too dark.
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DESATURATE THE SKY
Two Hue/Saturation adjustment layers are added with masks, one to desaturate the blues in the sky, and the other to remove the pinks in the clouds.
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LIGHTEN THE BRANCHES
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STRENGTHEN TRUNK
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LIGHTEN THE GRASSES
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VIGNETTE AND FINESSE
Using adjusted channel masks, the branches of the trees are lightened with two Curves adjustment layers. Channel masks enable precise targeting of tones.
BOAB TREE, KUNUNURRA, AUSTRALIA REMOVE CONFUSING SKY The strong blues and pinks detracted from the oranges in the tree branch and were removed
Two more Curves adjustment layers were added, one to add contrast to the trunk, the second to darken the sky near the horizon, so the lighter trunk has more impact.
A further two Curves adjustment layers with masks are used to lighten up the grasses around the base of the tree, completing the steps for tonally re-mapping the image.
STRENGTHEN THE TRUNK Rather than lightening the tree trunk, the sky behind was darkened to give it more impact
LIGHTEN THE GRASSES Lightening the grasses brings the foreground of the landscape to life
CHANNEL MASKS When it comes to creating ĵ±ŸĩŸ Ņų ŸåĬåÏƋĜŅĹŸ üŅų ĀĹå detail, a channel mask can be incredibly helpful
With image editing, the devil is in the detail. A further seven adjustment layers are added to čĜƴå ƋĘå Ĝĵ±čå ĜƋŸ ĀűĬ ƋŅűĬĜƋƼţ
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APPLY FINISHING TOUCHES
Edit your images to perfection so they retain impact after a first glance
CROPPING FOR IMPACT Just because your camera has a Ɩ×Ɛ Ņų Ɛ×ĉ ų±ƋĜŅ ƴĜåƵĀĹÚåųØ ƋʱƋ doesn’t mean every photo has to. Crop the image for a ÏŅĵŞĬåƋåĬƼ ÚĜýåųåĹƋ ĬŅŅĩ
mpact in a photograph comes not only from the subject and how it has been handled, but in the way the final image is presented. It’s a bit like chocolate – if the chocolate has lots of fancy paper and ribbon wrapping it up, the ‘impact’ is much greater than a family block purchased at the local supermarket! So how do we wrap up our photographs to maximise impact? Some photographers look at introducing filter effects, texture screens and fancy borders. These can work, but the trend these days seems to be away from
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NOISE OR GRAIN? FĹ ƋĘå Ú±ƼŸ Ņü ĀĬĵØ čų±ĜĹ Ƶ±Ÿ ޱųƋ Ņü ƋĘå photographer’s creative suite. Today you can Ïųå±Ƌå ŸĜĵĜĬ±ų åýåÏƋŸ ƵĜƋĘ {ĘŅƋŅŸĘŅŞűŸ cŅĜŸå ĀĬƋåųŸ Ņų ± ų±Ĺčå Ņü ŞĬƚčěĜĹŸ
the quick digital fixes. The majority of photographers prefer a purer approach to their work, even if digital techniques are required to achieve the result. However, the choice is always yours. One of the easiest ways to add impact is to remove unwanted elements within the frame – and this means cropping. While there’s an art to filling the viewfinder with perfect content, there’s no rule that says you can’t design a photograph with a different or nonstandard ratio frame. Maybe a square would look better than a 2:3 rectangle, or perhaps you’d like to create a 16:9 panorama? Within the image you can apply a multitude of subtle adjustments. For instance, warming up the foreground colour balance and cooling down the background can enhance a feeling of depth. Desaturating the colours around your subject, rather than adding saturation to the subject, can help it stand out and provide more impact. And as we’ve seen earlier, ‘tonal mapping’ or selective editing is fundamental to our editing process. To finish, undertake some image sharpening (not too much, however). You
might also like to add a little creative noise or ‘grain’, and maybe a subtle black border to help your photograph stand out on the screen or in print – all in the interests of extra impact.
EXTRA HEIGHT The castle at Cardona in Spain is a wide, ŸŞų±ƵĬĜĹč ±ý±ĜųØ ÆƚƋ ÆƼ ŸŧƚĜŸĘĜĹč ƋĘå ŸÏåĹå ĜĹƤŞŅŸƋěŞųŅÚƚÏƋĜŅĹ Ƶåűųå ±ÆĬå ƋŅ čĜƴå ĜƋ ĵŅųå height and greater impact
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APPLY FINISHING TOUCHES SUBTLE EDITS THAT MATTER
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CHANGE SUBJECT SHAPE
By tweaking the shape of your subject, people are more likely to ĬŅŅĩ ±Ƌ ĜƋ ô ÆåϱƚŸå ĜƋűŸ ÚĜýåųåĹƋţ Lake Oberon is a famous landmark in Tasmania. Here it is in the process of being stretched and squished.
KEEP BORDERS SIMPLE We want our viewers to concentrate on the photograph, not the border, so keep it simple!
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CONTINUED
The small tweaks that make a big difference to an image’s impact
CROP
You don’t have to stick with your camera’s aspect ratio. Cropping an image to remove unnecessary elements can sometimes greatly increase its impact by drawing attention to key areas.
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COLOUR GRADING
Humans respond to nuances ŅüƤÏŅĬŅƚų ô ŸŅ ƋĘå ĹåƻƋ ŸƋåŞ ŸĘŅƚĬÚ be to consider your grading options, such as desaturation or perhaps adding an intentional colour cast for extra impact.
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ADD GRAIN (NOISE)
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SHARPEN TO TASTE
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SIMPLE BORDERS
:ų±ĜĹ ĜŸ ± ŞŅŞƚĬ±ų åýåÏƋ üŅų adding impact to an image. We can ƚŸå {ĘŅƋŅŸĘŅŞűŸ eÚÚ cŅĜŸå ĀĬƋåų üŅų this – try the Gaussian option with Monochromatic ticked, and tweak the Amount slider.
CROP Feel free to crop your image to remove unwanted areas that can diminish the impact of your composition
While too much sharpening can indeed look odd, a correctly sharpened photograph will have greater presence and impact. Make sure not to omit this essential editing step.
MICRO MANAGING It can’t be emphasised enough: photos with impact have everything right about them. Be Ÿƚųå ƋŅ Āƻ Ņų åÚĜƋ åƴåĹ the smallest areas
NOISE AND SHARPENING Consider adding a small amount of noise to reduce the ‘digital look’, and sharpen just enough to make your subject pop
The addition of fancy borders can actually detract from the photograph itself, while a simple, minimalistic border can add a little more impact. This was created with Nik Silver Efex.
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10 TOP TIPS FOR PRODUCING IMAGES WITH IMPACT
Some final ideas to consider for creating shots with that extra ‘wow’ factor
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CAPTURE SUNRISE 03ç46/4&5
Optimise the beauty of daylight, not with a photograph of the sunrise or sunset itself, but of the sunlight raking across the landscape for great impact.
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ULTRA WIDE-ANGLE
You can exaggerate the size and scale of your subject by getting in really close with an ultra wide-angle lens. Just using this lens creates spatial impact.
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SUPER TELEPHOTO COMPRESSION
Pick out tiny sections of the landscape with a 400mm or
COLOUR TONE FOR IMPACT Take a popular subject like Horseshoe Bend in Arizona and ŞƚƋ ± ÚĜýåųåĹƋ ŸŞĜĹ ŅĹ ĜƋ ĜĹ post-production. Here the image has been given a rich, orange tone; like it or hate it, it has impact!
600mm lens, and you can then juxtapose a tree or hill against a dramatic mountain backdrop.
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ADD PEOPLE FOR SCALE
Impact can be enhanced when you include a person in the frame in order to show size and context. Find a real person, or drop one in during post-production.
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ISOLATE WITH DEPTH 0'ç'*&-%
Use a prime lens with a maximum aperture of f/1, f/1.2 or f/1.4 to strongly isolate your subject against a painterly, blurred backdrop – this can be hugely åýåÏƋĜƴå üŅų ŞŅųƋų±ĜƋŸţ
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REMOVE THE SKY
Whether you’re shooting aerials from a plane or vistas from the top of a hill, remove the sky from your frame to create a scene that’s almost abstract, without context, for more impact.
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CHANGE EXPOSURE INTENTIONALLY
{ųŅÏ域 ƼŅƚų ĀĬåŸ ŸŅ ƋĘå Ĝĵ±čå ĜŸ very dark and contrasty, leaving just the highlights and hints of what lies in the shadows for ĜĵޱÏƋ ƵĜƋĘ ± ÚĜýåųåĹÏåţ
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MAKE MIRROR IMAGES
An oldie, but a goodie! Make a ÏŅŞƼ Ņü ƼŅƚų Ĝĵ±čåØ āĜŞ ĜƋ ±ĹÚ ƋĘåĹ
join it back together to create an eye-catching mirror image. What kind of faces can you see in there?
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STRONG B&W TONES
Converting an image to monochrome can make a ÚĜýåųåĹÏåØ ÆƚƋ ƵʱƋ ±ÆŅƚƋ čĜƴĜĹč ĜƋ a rich colour cast or tone as well? Pick the right subject for lots of in-your-face impact.
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EXPLORE THE MACRO WORLD
FĵޱÏƋ ĜŸ ±ĬĬ ±ÆŅƚƋ ĀĹÚĜĹč ŸƚÆģåÏƋŸ ƋʱƋ ±ųå ÚĜýåųåĹƋ ±ĹÚ ĹŅƋ widely photographed – have you explored the miniature world up close with a macro lens yet?
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XPOSURE
WINNING AND COMMENDED IMAGES FROM GURUSHOTS’ ‘ YOUR FAVOURITE INDOORS SHOT!’ CHALLENGE Photography Week has joined up with GuruShots – the ‘world’s greatest photography game’ – to print the winning images from a series of photo challenges. Over 40 million votes were cast in the Your Favourite Indoors Shot challenge, and these are the winners…
CLOISTER OF THE BISHOPS DIEGO ELORZA HONRADO Top Photographer http://tiny.cc/yzfv4y
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GURU SHOTS’ ‘ YOUR FAVOURITE INDOORS SHOT!’ CHALLENGE
NOTRE-DAME BASILICA OF MONTREAL AJITKUMAR L BARIDUN Top Photo http://tiny.cc/l2fv4y
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GURU SHOTS’ ‘ YOUR FAVOURITE INDOORS SHOT!’ CHALLENGE
A BEAUTIFUL SPIRAL
ANDY FOWLIE Honourable mention http://tiny.cc/34fv4y
IN TO THE DEEP
DETLEV BAUERNFEIND Honourable mention http://tiny.cc/v7fv4y
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GURU SHOTS’ ‘ YOUR FAVOURITE INDOORS SHOT!’ CHALLENGE
THE REST OF THE DANCER
RICARDO ROMAN (ATELIER BUENAVISTA Honourable mention http://tiny.cc/eagv4y
MY WORKSHOP
JULIE TEAGUE Honourable mention http://tiny.cc/5agv4y
THE SPIRAL STAIRCASE MANISH SHARMA Honourable mention http://tiny.cc/ecgv4y
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GURU SHOTS’ ‘ YOUR FAVOURITE INDOORS SHOT!’ CHALLENGE
GALERIE DES GLACES, VERSAILLES FRÉDÉRIC PALLANCA Honourable mention http://tiny.cc/3jgv4y
BASILICA DI SANTA MARIA SOPRA MINERVA GOTTFRIED GIERLINGER Honourable mention http://tiny.cc/glgv4y
SCHOOL BENCH IN DECAY KARL SMITS Honourable mention http://tiny.cc/nggv4y
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GURU SHOTS’ ‘ YOUR FAVOURITE INDOORS SHOT!’ CHALLENGE Honourable mentions
CHURCH OF DECAY
PALACE OF CATALAN MUSIC
INSIDE THE OCULUS
STEVE MESTDAGH http://tiny.cc/negv4y
ALEX REIPERT http://tiny.cc/jfgv4y
PÉTER BRANTZEN http://tiny.cc/lmgv4y
FEEL THE FAITH
STAIRS IN HOTEL LOBBY
WAITING FOR THE SUN
ANDY DOGARU http://tiny.cc/mngv4y
LEA BAUM http://tiny.cc/yogv4y
ANNA MARIA BANASIAK http://tiny.cc/dqgv4y
VATICAN MUSEUM
A CEILING TO REMEMBER
KINGS WINERY
DAVID ABBOTT http://tiny.cc/osgv4y
ADAM STUBBE http://tiny.cc/vtgv4y
DRAGANA JANKOVIC http://tiny.cc/uugv4y
GuruShots is a platform for people who love taking photos. GuruShots believes that taking photos is an amazing way to express one’s self. Wanting it to be fun and meaningful they turned the sharing of photos into an exciting game packed with plenty of opportunities to show off people’s talent. Every month almost 4 billion votes are cast in over 500 challenges! Find out more at www.gurushots.com
PHOTOGRAPHY WEEK WANTS YOUR PHOTOS!
FACEBOOK http://tiny.cc/qi0oey
FLICKR http://tiny.cc/rn0oey
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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F ű k k X Ø B e Images © The photographer and courtesy SkyPixel
THE BEST THING WE’ VE SEEN THIS WEEK
Clockwise from top-left: aŅĹƋ ±ĜĹƋ aĜÏĘåĬ by Deryk Baumgärtner – Grand Prize; BƚĹčųƼ BĜŞŞŅŸ ÆƼ a±ųƋĜĹ ±ĹÏĘåDŽ ô 8ĜųŸƋ {ųĜDŽåØ c±Ƌƚųåſ Bagan ÆƼ ĜƋŅĬÚ ¬ĜŅĵåĩ ô åÏŅĹÚ Prize, Architecture; Throwing IT to the Moon, ÆƼ ±±ƴĜ {ƚųƋŸ±ĩØ ĘĜųÚ {ųĜDŽåØ ŞŅųƋ
THESE ARE SKYPIXEL’S BEST AERIAL IMAGES OF 2018 Contest showcases stunning stills and videos captured by drone users kyPixel, the aerial photography and videography community set up in conjunction with drone maker DJI, has announced the winners of its 2018 Aerial Photo & Video Contest. The competition awards prizes for still images and video across several categories, and the 2018 contest attracted over 30,000 entries from aerial photographers across 141 countries. The Grand Prize for photos was taken by Deryk Baumgärtner from Germany for his
jaw-droppingly beautiful image of the aŅĹƋƤ ±ĜĹƋ aĜÏĘåĬ ĵŅűŸƋåųƼ ĜĹ cŅųĵ±ĹÚƼØ France, while the Grand Prize for video went to Ain Raadik from Australia for his short film Adventure: A Collection of Moments & Memories, documenting his travels across ĘĜŸ ĘŅĵå ÏŅƚĹƋųƼØ cåƵ ¬å±Ĭ±ĹÚ ±ĹÚ I±Ş±Ĺţ We’ve picked our some of our favourite photos above – click the link to see all the winning images and videos at the competition website.
SEE MOR E IM AGE S h t t p: // t iny. cc / 1m d14y
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CRASH COURSE ESSENTIAL PHOTO SKILLS MADE EASY
CL ASSICS OF COMPOSI T ION Jason Parnell-Brookes shows you how to improve your compositions by making use of a few simple, tried and tested principles The first thing you need to learn about in photography is how to use your camera DAY and lens properly to capture well-exposed and sharp images. But there’s no point in having shots that
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are sharp and well-exposed if they’re not well composed, so after learning the technical basics, composition is the first creative skill you need to master. e ƵåĬĬěÏŅĵŞŅŸåÚ ŸĘŅƋ ƵĜĬĬ ĵ±ĩå ĜƋƤ屟Ƽ for the viewer to identify a subject, will
hold their attention, and might even tell them a story. Here we’ll show you how to nail composition every time whatever the subject – landscapes, portraits, wildlife or macro – by calling on a few basic, easy to learn principles.
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STEP BY STEP COMPOSITIONAL BASICS
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LEADING LINES
You want viewers to spend time studying your photos and engaging with them, and a good way of encouraging this is to look for lines that lead the eye through an image. Here, the road winds ĜĹ ±ĹƤ ěŸĘ±Şå ƋĘųŅƚčĘ ƋĘå ÏåĹƋųå Ņü ƋĘå üų±ĵåØ leading the viewer towards the distant hills.
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RULE OF THIRDS
Perfect central compositions are fine, and great for square crops, but for most subjects the rule of thirds is generally the way to go. If you split your image into three, both vertically and horizontally, and place points of interest along those lines or at intersecting points, an off-centre composition usually looks more pleasing.
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SUBJECT LOOKING IN
An old cinematography trick is leaving space in the frame in the direction a subject is looking; here our model looks camera-left, so we leave space on that side. It feels more natural because we instinctively look where we’re going, and having the subject look into space mimics that.
THE GOLDEN RATIO Without getting overly technical, the golden ratio is a mathematical equation that Ïųå±ƋåŸ ±ƤÏŅĹÏĘ ŸĘåĬĬěĬĜĩå ŸĘ±Şåţ
Placing subjects of interest along the lines or within the curled part of the shape will strengthen your image.
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STEP BY STEP COMPOSITIONAL BASICS
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SUBJECT LOOKING OUT
Having a subject look out of the frame can work well, too. Here, a vintage train carriage provides an atmospheric backdrop that suggests a story, and the composition invites the viewer to question what the subject is looking at, and in this case thinking about.
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MACRO CROP
In macro photography the subject should be large in the frame so the viewer can make out the tiniest details, so don’t be afraid to fill the frame with it – depth of field is so shallow that the background is indecipherable.
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WORK THE OPTIONS
Don’t be satisfied with just one composition when you’re shooting. kĹÏåƤƼŅƚƤʱƴå ± ŸĘŅƋ lined up, experiment with the framing, trying out vertical, horizontal and even angular orientations; you don’t have to stick to portrait orientation for portraits, for example.
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PH OTOS H O P LEARN ESSENTIAL EDITING SKILLS FAST!
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 s d w4y ON A PC OR MAC
HOW TO...
BUILD A BORROWER
W AT CH T HE V IDEO h t t p : // b i t . l y/ 2 t u x O K Z
Honey, we shrunk the model! James Paterson shows you how to create a surreal image composite using camera and Photoshop skills ne of the most magical things about Photoshop is the ability it gives you to transport your ŸƚÆģåÏƋ ƋŅ ± ÚĜüüåųåĹƋ ŞĬ±ÏåƤô ±ĹÚ ƋĘĜŸ case, into a different scale as well. With ±ƤüåƵ ŸĜĵŞĬå ŸĩĜĬĬŸ ƼŅƚ Ï±Ĺ Ïųå±Ƌå ±ĬĬ ĩĜĹÚŸ ŅüƤü±ĹƋ±ŸƋĜϱĬ ÏŅĵŞŅŸĜƋåŸØ ÆƚƋ ĜƋűŸ not just about image-editing wizardry; ĵƚÏĘ Ņü ƋĘå ʱųÚ ƵŅųĩ ĜĹ ƋĘĜŸ ŞųŅģåÏƋ ĜŸ ÚŅĹå ĜĹěϱĵåų±Ø ±ĹÚ ĜƋűŸ Ęåųå ƋʱƋ ƋĘå effect comes to life.
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kĹå Ņü ƋĘå ƋĘĜĹčŸ ƋʱƋ ĵ±ĩåŸ ±ƤÆ±Ú composite stand out is the mis-match of ĬĜčĘƋĜĹč Ņų ŞåųŸŞåÏƋĜƴåƤô ƋƵŅ ƋĘĜĹčŸ ƼŅƚ can only do so much to fix in Photoshop. ųƼƤƋŅ ŞĬŅĹĩ ± ŞåųŸŅĹ ĜĹƋŅ ± ų±ĹÚŅĵ ŸĘŅƋØ ±ĹÚ ÏʱĹÏåŸ ±ųå ĜƋűĬĬƤĬŅŅĩ ƵųŅĹčţ Ęåųå ĹååÚŸ ƋŅ ÆåƤÏŅĹŸĜŸƋåĹÏƼ ÆåƋƵååĹ ƋĘå ƋƵŅ ŸĘŅƋŸ× ƋĘåƤ±ĹčĬåŸ ĹååÚ ƋŅ ĵ±ƋÏĘ ƚŞØ ±ĹÚ ƋĘå ĬĜčĘƋĜĹč ĹååÚŸ ƋŅ ĬŅŅĩ ŸĜĵĜĬ±ųţ Ņ ĜĹ ƋĘĜŸ ƴĜÚåŅ ƋƚƋŅųĜ±Ĭ ƵåűĬĬ üŅÏƚŸ ŅĹ achieving consistency between the two
photos we need for this project: one of Ņƚų ĵĜĹĜ±Ƌƚųå ŸÏåĹåØ ƋĘå ŅƋĘåų ŅüƤŅƚų üƚĬĬěŸĜDŽå ŸƚÆģåÏƋţ Ņ ĘåĬŞ ƚŸ ƵåűĬĬ ĵ±ĩå use of our secret weapon: a miniature posing doll. By placing it in roughly the Ÿ±ĵå ŞŅŸå ±Ÿ Ƶåűųå čŅĜĹč ƋŅ ŸĘŅŅƋ Ņƚų üƚĬĬěŸĜDŽå ŞåųŸŅĹØ ƵåűĬĬ Æå ±ÆĬå ƋŅ ϱŞƋƚųå natural shadows that fall across the scene. Then, by matching up the poses, Ƶå Ï±Ĺ ĵ±ĩå ƋĘå ŸĘ±ÚŅƵŸ ĬŅŅĩ ±Ÿ Ĝü ƋĘåƼ belong to our full-size person!
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
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P H OTO B Y B R A D E N J A R V I S
MINI TEST
DRONES Drones are no longer just a novelty for radio-controlled flying enthusiasts: there’s a flying camera out there for you
FIVE THINGS TO LOOK FOR... Check the drone use regulations where you are: flying drones in built-up areas or near airports is usually prohibited.
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Cheaper drones are controlled by ±Ĺ ±ŞŞ ŅĹƤƼŅƚų ŞĘŅĹåØ but a dedicated controller may offer more range.
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Drones are power-hungry beasts. Flight times are rarely more than 30 minutes per battery charge.
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Cheap beginner drones can be trickier to fly than models packing tech like GPS tracking and collision avoidance.
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Spending more on a drone will often get you a larger ϱĵåų± ŸåĹŸŅųØ ƵĘĜĬå ± gimbal is a must for smooth footage.
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MINI TEST: DRONES
DJI Mavic Air
DJI Phantom 4 Pro V2.0
£769/$799 www.dji.com
£1,589/$1,499 www.dji.com
Ęå a±ƴĜÏ eĜų ĜŸ ± ŸƋƚĹĹĜĹč ƋåÏĘĹĜϱĬ ±ÏĘĜåƴåĵåĹƋØ and an incredibly capable drone that could well be ƋĘå ŅĹĬƼ üĬƼĜĹč ϱĵåų± ƼŅƚűĬĬ åƴåų ĹååÚţ ĜƋĘ üųŅĹƋØ ÚŅƵĹƵ±ųÚ ±ĹÚ ųå±ųěü±ÏĜĹč ÚĜŸƋ±ĹÏå ŸåĹŸŅųŸØ ƋĘå drone can identify obstacles and not just warn the ŞĜĬŅƋØ ÆƚƋƤ±ĬŸŅ ŞĬŅƋ ± ÏŅƚųŸå ƋŅ ±ƴŅĜÚ ƋĘåĵţ Ęå eĜųűŸ ĵ±ƻĜĵƚĵ ŎLjĩĵ ų±Ĺčå ĜŸ ƴåųƼ ĜĵŞų域ĜƴåØ ±ĹÚ %IFűŸƤŸĵ±ųƋŞĘŅĹå ±ŞŞ ĜĹÏĬƚÚåŸ ŸŅĵå ÏŅŅĬ åüüåÏƋŸţ All this computing power does come with a ÚŅƵĹŸĜÚåţ Ęå ƱƋƋåųƼ ĬĜüå ĜŸ ± ŧƚŅƋåÚ ƖŎ ĵĜĹƚƋåŸØ ±ĹÚ is somewhat less in real-world conditions. Unfolding ƋĘå eĜų ĜŸ ±ĬŸŅ ŸƚųŞųĜŸĜĹčĬƼ ƋųĜÏĩƼţ eŸ ƵĜƋĘƤŅƋĘåų %IF ÚųŅĹåŸØ ±Ĺ åƻƋų± 8ĬƼ aŅųå Ş±Ïĩ ĜŸ ±ƴ±ĜĬ±ÆĬåØ ƵĘĜÏĘ bundles useful extras like a case and spare batteries – but you’ll need to part with another £180/£200. The controller folds away beautifully (you can even ƚĹŸÏųåƵ ƋĘå ŸƋĜÏĩŸšØ ÆƚƋ ĜƋ ĜŸ ± ĬĜƋƋĬå üĜÚÚĬƼØ ±Ÿ ƋĘå čųĜŞŸ that hold your phone in place can make it hard to swipe up to activate the phone screen. It’s also not ideal that the screen is below your hands; bigger controllers position it above.
The Phantom was a revolutionary product at launch. Earlier versions included the first drone to feature a čĜĵƱĬěŸƋ±ÆĜĬĜŸåÚ Ï±ĵåų±Ø ų±ƋĘåų ƋʱŠųåŧƚĜųĜĹč ƋĘå user to supply their own. Its rugged body design means that while it’s no longer the obvious choice for beginners or consumers (for whom folding products Ņüüåų ±Ƌ Ĭ屟Ƌ ƋĘå Ÿ±ĵå Şų±ÏƋĜϱĬĜƋƼšØ ƋĘåųåűŸ ± ĬŅƋ ƋŅ appeal to aspiring pros. If you’re going to be putting the drone in the back ŅüƤƼŅƚų ϱųØ ±ĹÚ ÚŅĹűƋ ĵĜĹÚ ĜƋ Ƌ±ĩĜĹč ƚŞ ĵŅŸƋ Ņü ± specialist backpack (rather than just a side pocket like ƋĘå a±ƴĜÏ eĜų ±ĹÚ ŅƋĘåųŸšØ ƋĘå {ʱĹƋŅĵ ĉ {ųŅűŸ Ĭ±ƋåŸƋ update is very tempting. Redesigned props for quieter üĬĜčĘƋ ±ųå ÚåüĜĹĜƋåĬƼ ŞĬ屟ĜĹčØ ±ĹÚ ƋĘå ĹåƵ kÏƚ ƼĹÏ ų±ÚĜŅ ŸƼŸƋåĵØ ƵĘĜÏĘ ĵ±ĩåŸ ŎLjíLjŞ ƴĜÚåŅ ŞŅŸŸĜÆĬå ŅĹ ƋĘå ĵŅĹĜƋŅųŸØ ĜŸ ± ŞĬƚŸ Š±ĬƋĘŅƚčĘ ĜƋƤƵŅĹűƋ ƵŅųĩ ƵĜƋĘ older controllers). Fü ƼŅƚűƴå ±Ĭųå±ÚƼ čŅƋ ± {ʱĹƋŅĵ ĉ {ųŅØ ƋĘåųåűŸ ĬĜƋƋĬå ų屟ŅĹ ƋŅ ƚŞčų±Úå ƋŅ ƋĘå ƖţLjţ 8Ņų ŅƋĘåųŸØ ƋĘĜŸ ĜŸ ± čųå±Ƌ ÚųŅĹå ƋʱƋ ŅüüåųŸ ŸƚŞåųÆ ƴĜÚåŅ ŧƚ±ĬĜƋƼØ ±ĹÚ ĜƋűŸ ± ŸŅĬĜÚ choice if you have professional photographic ambitions.
PROS Folds away neatly; 4K 60fps 100Mbps video; object avoidance with course correction
PROS Large-sensor image quality; design classic; subject tracking
CONS 8ĬĜčĘƋ ƋĜĵå Şåų ƱƋƋåųƼ Ïʱųčå ÏŅƚĬÚ ÆåƤÆåƋƋåųſ case costs extra
CONS Not cheap; size feels a little bulky compared to foldaway alternatives
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MINI TEST: DRONES
DJI Spark
1BSSPU "OBm
£449/$399 www.dji.com
£550/$550 www.parrot.com
The Spark is DJI’s entry-level drone. Although it doesn’t üŅĬÚ ĬĜĩå ƋĘå ÏŅĵޱĹƼűŸ ŞųĜÏĜåų a±ƴĜÏ ĵŅÚåĬŸØ ƼŅƚ ÚŅ čåƋ ± ų屟ŸƚųĜĹčĬƼ ųƚččåÚ ÆŅÚƼØ ±ĹÚ ƋĘå ŞųŅŞåĬĬåųŸ ÚŅ ±Ƌ Ĭ屟Ƌ üŅĬÚØ ŸŅ ĜƋ ĜŸĹűƋ ±ÏƋƚ±ĬĬƼ ƋʱƋ ÆƚĬĩƼţ Videographers have to settle for Full HD 1080p ųåŸŅĬƚƋĜŅĹ ų±ƋĘåų ƋʱŠĉUØ ÆƚƋ ƋĘå ŧƚ±ĬĜƋƼ ĜŸ åƻåĵŞĬ±ųƼØ and the resolution is certainly more than adequate for sharing your footage on YouTube. The Spark also ޱÏĩŸ ƋĘå ±ÆĜĬĜƋƼ ƋŅ Ƌų±Ïĩ ŸƚÆģåÏƋŸØ ±ĹÚ ĜƋűŸ ± üå±Ƌƚųå that works well. Where the Spark really shines is its gesture recognition. You can launch the drone from the palm of your hand and have it capture a few predefined shots of you with simple gestures that it picks up through its camera. The trick hasn’t quite been ŞåųüåÏƋåÚ ÆƼ %IFØ ÆƚƋ ĜƋűŸ ŸƚųŞųĜŸĜĹčĬƼ čŅŅÚţ Fü ƼŅƚűÚ Şųåüåų ± ĵŅųå Ƌų±ÚĜƋĜŅűĬ ÏŅĹƋųŅĬ ĜĹƋåųü±ÏåØ ƋĘå Ş±ųĩ Ï±Ĺ Æå üĬŅƵĹ üųŅĵ ƼŅƚų Ÿĵ±ųƋŞĘŅĹåØ ƵĘĜĬå üŅų ±Ĺ åƻƋų± ƊŎƐLjxâŎĂLjØ ƼŅƚ Ï±Ĺ ŸŞåÏ ƋĘå Ş±ųĩ 8ĬƼ aŅųå Combo to get a dedicated controller that ups flying ų±Ĺčå üųŅĵ ŎLjLjĵ ƋŅ ĂLjLjĵ ĜĹ )ƚųŅŞåØ ±ĹÚ Ɩĩĵ ĜĹ ƋĘå ţ
±ƋĘåų ƋʱŠŞƚŸĘ ƚŞ ƋĘå eűüĜűŸ ŞųĜÏå ±ĹÚƤƵåĜčĘƋ ƵĜƋĘ sensors of questionable use (not to mention the extra ŞųŅÏ域ĜĹč ŞŅƵåų ųåŧƚĜųåÚ ƋŅ ʱĹÚĬå ƋĘå Ú±Ƌ±šØ {±ųųŅƋ leaves the business of avoiding obstacles very much to ƋĘå ŞĜĬŅƋţ FĹ åƻÏʱĹčåØ ĜƋűŸ ĵ±Ĺ±čåÚ ƋŅ ĩååŞ ƋĘå ŞųĜÏå ±ĹÚ ŞŅųƋ±ÆĜĬĜƋƼ ĵ±Ĺ±čå±ÆĬåØ ƵĜƋĘ ƋĘå Ĭ±ƋƋåų ĘåĬŞåÚ ÆƼ ƋĘå supplied hard-fabric zip case. Although the carbon-fibre elements of the body feel a ĬĜƋƋĬå ÏĘå±ŞØ ƋĘĜŸ ĜŸ ŸƋĜĬĬ ŅĹå Ņü ƋĘå ÆåŸƋěÆƚĜĬƋ üų±ĵåŸ ŅĹ ƋĘå ĵ±ųĩåƋØ ±ĹÚ ĜƋűŸ ƴåųƼ 屟Ƽ ƋŅ ŅŞåų±Ƌå ƋʱĹĩŸ ƋŅ ±ƚƋŅĵ±ƋĜÏ Ƌ±ĩåěŅüüØ Ĭ±ĹÚĜĹč ±ĹÚ :{ ěƱŸåÚ ųåƋƚųĹěƋŅěĘŅĵåţ Ęå ƵåĬĬěÆƚĜĬƋ üŅĬÚĜĹč ÏŅĹƋųŅĬĬåų üå±ƋƚųåŸ ± ĘĜĹčåÚ ŞĘŅĹåěčųĜŞØ and is easier and more logical to operate than some ųåÏåĹƋ ÏŅĹƋåĹÚåųŸ üųŅĵ %IFţ 8Ņų ŸŅĵå ų屟ŅĹØ ƋĘŅƚčĘØ Parrot charges extra for in-app features like follow-me modes that DJI includes as standard. Ęå čĜĵƱĬ ĜŸ ŞŅƵåųåÚ ŅĹĬƼ ŅĹ ƋƵŅ ±ƻåŸØ ųåĬƼĜĹč ŅĹ software to handle sharp turns. But it can rotate 180 degrees upward for an unobstructed angle that most ÚųŅĹåŸ Ï±ĹűƋ ĵ±Ĺ±čåØ ±ĹÚ ĜƋ üå±ƋƚųåŸ DŽŅŅĵØ ƵĘĜÏĘ ĜŸ unheard of at its price point.
PROS Very portable; gesture-based flight controls; fairly affordable
PROS 4K at 100Mbps with HDR; folds down small; ŎíLjàƤƴåųƋĜϱĬěƋƚųĹ čĜĵƱĬ
CONS Flight time disappointing; no controller ±ŸƤŸƋ±ĹÚ±ųÚ
CONS kĹĬƼ ƋƵŅě±ƻĜŸ čĜĵƱĬ ÏŅĹƋųŅĬſ ŸŅĵå üå±ƋƚųåŸ ±ųå in-app purchases
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MINI TEST: DRONES
PowerVision PowerEye
Ryze Tello
£3,300/$3,000 www.powervision.me
£99/$99 www.ryzerobotics.com
The PowerEye is a great example of the benefits to consumers of shopping in a market that’s dominated ÆƼ ŅĹå Æų±ĹÚ Š%IFØ ĜĹƤϱŸå ƼŅƚ Ƶåųå ĜĹ ±ĹƼ ÚŅƚÆƋšţ FƋ ĵ±ĩåŸ ĹåƵƤÏŅĹƋåĹÚåųŸ ĬŅŅĩ ʱųÚ üŅų Ƶ±ƼŸ ƋŅ ĜĵŞų域 ô ±ĹÚ ÆƼƤϱųųƼĜĹč ±Ĺ ĜĹƋåųÏʱĹčå±ÆĬå ϱĵåų± ޱÏĩĜĹčƤ±ƤaĜÏųŅ 8Ņƚų ĘĜųÚŸ ŸåĹŸŅųØ ƋĘĜŸ ĵŅĹŸƋåųƤŅü ± ÚųŅĹå ĜŸ čƚĹĹĜĹč üŅų ŞųåĵĜƚĵ ŸƋ±ƋƚŸØƤ±ĹÚ ŅüüåųŸ čųå±Ƌ video quality. There’s no showy 5K resolution mode like you get ƵĜƋĘ ŸŅĵå ĘĜčĘěåĹÚ ųĜƴ±ĬŸØ ÆƚƋ ƋĘå ĉU ƐLjüŞŸ ƴĜÚåŅ impresses. The two batteries supplied each split into two for shipping (so they’re not too big for airline ϱųųƼěŅĹ ųƚĬåŸšØ ±ĹÚ ƋĘå ĵ±Ĺƚ±ĬĬƼ üŅĬÚĜĹč ±ųĵŸ ±ĬĬŅƵ for a surprisingly compact travelling position in the (included) travel case. We were only able to test the drone on a very gusty Ú±ƼØ ±ĹÚ ƵĘĜĬå ƋĘå ŸƼŸƋåĵ ŸƋųƚččĬåÚ ƋŅ ĘŅĬÚ ŞŅŸĜƋĜŅĹ ±Ƌ üĜųŸƋØ ĜƋ ƵŅĹ ŅƚƋţ Ęå ÏŅĹƋųŅĬ ±ŞŞ ±ĹÚ ųåĵŅƋå ±ųå Ĭ域 ÏŅĵŞĬåƻ ƋʱŠ%IFűŸ ŅüüåųĜĹčŸØ ƵĜƋĘ üåƵåų ŸŅüƋƵ±ųå üå±ƋƚųåŸØ ÆƚƋ ƋĘå 8{ ŠüĜųŸƋěŞåųŸŅĹ ƴĜåƵš ϱĵåų± ĜŸ Ņü ± ĘĜčĘ ŸƋ±ĹÚ±ųÚØ ±ĹÚ Úƚ±ĬěŞĜĬŅƋ üĬĜčĘƋ ĜŸ ƋĘåųå üŅų ŞųŅŸţ
This budget microdrone proudly proclaims that it’s ŮŞŅƵåųåÚ ÆƼ %IFŰØƤƵĜƋĘ ƋĘå ÚųŅĹå čĜ±ĹƋ ŞųŅƴĜÚĜĹč ±ƤÚåÏåĹƋƤ±ųų±Ƽ Ņü ŸŅüƋƵ±ųå üå±ƋƚųåŸ ±ĹÚ ŞŅŸĜƋĜŅĹĜĹčƤŸåĹŸŅųŸţ ƋĜĬĬěĜĵ±čå ŧƚ±ĬĜƋƼ ĜŸ ŸƚųŞųĜŸĜĹčĬƼ ų屟ŅűÆĬå ŅƚƋÚŅŅųŸØ ƋĘŅƚčĘ ĜĹÚŅŅųƤĜĵ±čåŸ Ï±Ĺ ĬŅŅĩ ±ƤÆĜƋ ĹŅĜŸƼţ Ņ ĩååŞ ƋĘå ŞųĜÏå ÚŅƵĹ ƋĘåųåűŸ ĹŅ :{ Ø ƼŅƚ ʱƴå ƋŅƤÏʱųčå ƋĘå ƱƋƋåųƼ ĜĹŸĜÚå ƋĘå ÚųŅĹå ƴĜ±Ƥ Ø ±ĹÚ ƼŅƚ üĬƼ ĜƋ ƵĜƋĘ ƼŅƚų ŞĘŅĹå Š±ƤÏʱųčĜĹč ŸƋ±ƋĜŅĹ ±ĹÚ ±ÚÚěŅĹ č±ĵå ÏŅĹƋųŅĬĬåųŸƤϱĹƤÆå ƚŸåÚ ô ƼDŽå ŅüüåųŸ ĜƋŸƤŅƵĹšţƤ ĜÚåŅ ĜŸ ųåÏŅųÚåÚ ÚĜųåÏƋĬƼ ƋŅ ƼŅƚų ŞĘŅĹå ±ŸƤƋĘåųå ĜŸĹűƋ ± ĵåĵŅųƼ ϱųÚ ŸĬŅƋØ ŸŅ ƼŅƚ ĵ±Ƽ experience some dropped frames and stutters. The ϱĵåų± ĜŸ ŸƋ±ÆĜĬĜŸåÚ ĜĹ ŸŅüƋƵ±ųå ŅĹĬƼØ ÆƚƋ ƋĘå ƀƖLjŞ video looks good considering that handicap. The camera is fixed to the drone chassis with no ĜĹÚåŞåĹÚåĹƋ ĵŅƴåĵåĹƋØ ƋĘŅƚčĘØ ŸŅ ƼŅƚ ϱĹűƋ ŸĘŅŅƋ video from a straight-down bird’s-eye view. Fü ƼŅƚ Ƶ±ĹƋ ƋŅ ĬŅŅĩ ÏŅŅĬ üĬƼĜĹčØ ƼŅƚ Ï±Ĺ Ĭ±ƚĹÏĘ üųŅĵ ƼŅƚų ʱĹÚØ Ņų åƴåĹ ƋĘųŅƵ ĜƋ ĜĹƋŅ üĬĜčĘƋØ ƵĘĜĬå ŅƋĘåų modes let you record 360-degree videos.
PROS Near-pro-level build and video; three-year 24-hour no-questions guarantee
PROS Bargain price for its features; great indoors; good control app
CONS Software a little lacking; pricey; controls can feel a bit soft
CONS You can’t tilt the camera; lack of on-board recording compromises video quality
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