free download Digital Camera World magazine December issue. download Digital Camera World magazine February issue. Digital Camera World - Complete Photography Guide - Mastering Composition DOWNLOAD PDF Marcus Hawkins Editor, Digital Camera Magazine.
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Download Digital Camera World - January magazine for free from ebookbiz. To download click on the following link. Download Digital Camera World - December magazine for free from ebookbiz. To download click on the following link. Description. Digital Camera World February Digital Camera World is the definitive guide to digital SLR photography and will show you how to improve any .
James Mollison 1 55 Plean Street. Gene Smethwick Andrew says Getting up early when the water is usually at its calmest or shooting on days when there is very little wind are two obvious things to consider. Not when it comes to cost or convenience. Digital Camera August Press Q to toggle Quick Mask on and paint with black or white to fine-tune the selection by including or excluding areas. A wideangle lens or the wide end of a zoom takes in a much bigger view of the world. Another option is the Color Lookup Adjustment Layer . Five creative retro effects Learn how to give your images a retro feel with ease.
That way they feel elated and relaxed. A good portrait is all about the rapport you build with the subject. Even for large-scale weddings, John uses the Olympus system. What were the key elements to cover? What exactly goes into making a pro Nassari project? First up, John directs co-owner Nicolas for. Assistant Emily records the footage in 4K, checking the audio levels meticulously through a pair of headphones. After this section, John prepares for stills portraits of co-owner Paulo.
John shoots in Manual mode, with his flashgun set on manual power. Along with his two assistants, John alters www. Masterclass with John Nassari 1. This is the compact camera John uses to shoot panoramas.
A 12mm lens is attached, to capture the wide angle of view he needs. John loves working with a more discreet and quiet mirrorless body. On this shoot, John favoured shooting with the fast and light 25mm lens. This lens is the equivalent of a 50mm focal length on a full-frame. John needs a fixed base to shoot images from. He also uses the Manfrotto SPH panoramic tripod head. For the more composed food shots, he mounts his camera onto a tripod and uses an LED panel for added illumination.
The last but certainly not least element is to capture the two panorama images of the dining areas themselves. With Manual mode engaged, John takes 16 images at degree increments, using a stable Manfrotto tripod and panoramic head that enable www. You can subscribe to this magazine www. This meant I would often go to a location just to watch.
No grads were used. I would sometimes have only one shot on a 5x4 camera. I also used a light blue gel on the lens and a Velbon Sherpa CF tripod. I observe everything about that tree. Often I will go somewhere just to observe and sort of lose myself in the place. I do not believe the principles of Zen can be applied to image-editing. I spend years contemplating a location and I dedicate Digital Camera August www.
I still do. I contemplate how to capture this. With only one shot. Place your hands in a mudra position thumb tips together or lightly resting in your lap. They want to go deeper. Get to know your tools until camera operation becomes second nature. See how many steps you can break it down into — 10 or 12 steps are good. Observe them and let them pass. Place the tip of your tongue on the roof of the mouth. To develop intuition.
Breathe in and out naturally. Sit in a half-lotus position. Focus on a spot about a metre in front of you. The act has no religious connotations. Meditators often count their breaths to give their mind something to focus on. It can carry a sense of loneliness and longing with it. Be the object by describing its physical qualities. They are the opposite of conceptual.
Is there an object where that attention becomes focussed? If so. This is ironic. Someone once said that wabi-sabi nurtures all that is authentic by acknowledging three simple realities: Notice where attention draws you.
Tibetan Buddhism is packed with dizzying colour and designs. It has also made me more open to being able to see. I also look for form highlighted against space in my photography. If you think of Zen as an empty white wall. It has also made me more present and more able to see what is actually happening in any given moment. It carries so much meaning to it. Had they noticed the pattern of shadows. Sit in the presence of the subject.
Not Cartier-Bresson. See the YouTube video at www. Our lowest-priced option Digital versions of all gifts included with the Print edition Receive 13 issues in a 1-year subscription Always have your issues to hand.
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In the event of stocks becoming exhausted. Please allow up to 60 days for the delivery of your gift. Use it however you like! Do you live outside the UK? If you are interested in having your camera converted for infrared photography.
There are a couple of ways to capture infrared photography. Your AF system will also be affected. The first is to attach a filter onto the end of your lens. The second option. Infrared photography works well when shooting trees and old stone or brick structures. Infrared light starts just after this point. On the electromagnetic spectrum scale. The drawback? Once you convert your camera. Graveyards are popular with many infrared photographers.
ACS www. Keep the ISO low for optimum results. Find a spot of sun-drenched grass and ensure the image is correctly exposed. Zoom in on the back screen and get your main focal point sharp. If you want to check.
If your infrared camera has been converted to a high standard. You may need to adjust this if you encounter a problem called hotspots. Finally check the focus. For our shot. The biggest disadvantage to using a filter rather than a modified camera is that you need to expose the scene for a significant amount of time to let the light filter through to the sensor. See step 4. The beauty of using a modified infrared camera is you can shoot with it as you would your ordinary SLR.
Open in Adobe Camera Raw We shot in raw so that we could boost the contrast and tone of the image further. If you need to rescue any Highlights or tweak the Exposure you can also do this now.
Hotspots are an annoying technical flaw that appear like a lens flare in the centre of your image. Next comes the magic part! Create a new Channel Mixer adjustment layer. Make final adjustments Add a Curves Adjustment Layer and boost the contrast. You may also want to apply Dodge and Burn to the foliage for an even exposure.
The first is power: Lighting is another major consideration, especially as the light changes throughout the day if there are windows. Adding a flash into the mix will help to ensure as even an exposure as possible, come day or night. Set up and shoot. Make sure you 1 set up in a place that is going to remain undisturbed for a series of weeks, and in a place that is as dark as possible. Create an infinity curve by attaching a large white sheet of paper or plastic to a wall, then position the banana.
Take a shot when the light in the room is at its brightest. Add a flash and set it to Manual. Point the flash directly up to the ceiling and take a shot. Check the exposure and adjust the power. To shoot the timelapse, use an intervalometer at one-hour intervals. Next to Layer 0, click the film icon and select Add Media.
Next, you need to click the first image in the sequence, then click OK. Time-lapse enables you to dramatically speed up the natural progression of time.
Marcus Hawkins can help… Why do I need to know anything about composition? The idea is simple: Some pictures look OK with the subject in the middle. Before you press the shutter release. Even then. Use your feet! When you spot something worth shooting. But it really is effective at creating more balanced images. Do you want to develop your eye for a picture. The good news is that.
Zooming the lens can do that. But the chances are that a picture will feel more balanced when a key feature of the subject — such as the eyes in a portrait shot — is placed off-centre according to the Rule of Thirds or thereabouts.
Longer focal lengths compress the distance between objects in a scene so that they appear closer together. You can. Shoot in raw and crop the image when you process it if you need to. There might be a distracting background detail pulling attention away from the subject. Most digital cameras shoot in 3: This is particularly true with action shots. A horizontal orientation is usually better if you want to show a subject moving across a scene. Right Use a framing device to hide featureless or distracting areas.
As the name suggests. Try shooting through a man-made frame such as a window. Also consider the aspect ratio. What other tricks can I use to make my subject stand out? As well as thinking about the Rule of Thirds. Above Choose whether to compose with the camera held horizontally for a landscape-format photo or vertically for a portrait-format photo.
Diagonal lines are more dynamic than horizontal or vertical ones.
Many subjects will work equally well in both landscape and portrait. A change in position or standing further away with a longer lens would have helped to separate the statue from the building here.
Developing an awareness of potential distractions and doing something about them is important. Cast your eye around the edge of the frame before pressing the shutter release and take a step back to give a little breathing room. Leave more space in front of the subject than behind them. This trick works in all types of photography — try restricting your colour palette to three colours when shooting abstracts.
A classic mistake. You can also use the edges of the AF points in the viewfinder to keep the horizon plumb. This silhouette effect is close to what we want: I generally put the sun behind the subject. The human eye adjusts wonderfully to wide extremes of light like this — but as sophisticated as our SLR cameras are today.
Our rider is pretty close to a silhouette. This is the key to shooting in sunlight — you under-expose the image by at least two stops. But collapsible umbrellas fold up small. But this will darken the entire scene with it. With a shoot-through umbrella. For location work like this. It controls the spread of the light and makes it easy to create light fall-off. This capture gives you a good idea of what the image would look like without flash. I have an assistant holding the stand because umbrellas tend to fly away with the slightest breeze!
We have a 7ft collapsible light stand. To capture every detail. The flash is firing through the umbrella directly at my subject. If your flash unit has a built-in pop-up flash. It also has a hole for you to slide the umbrella right into it. The diffusion cap is left on to spread the light and make it softer. As you can see here. As you move your aperture dial on your camera. I need to get it as close as possible. I only use my flash in Manual mode. Your first job is to get it to 0.
That creates a faster light fall-off. The trick to that is to move the light as close to the subject as possible without actually seeing the umbrella in your shot. In my case. Shoot your subject from slightly below to get an epic feel. With your flash unit turned off. Also notice how the light actually falls off pretty well: I applied the Tonal Contrast filter at its default settings to give you the final image shown here. To get the broad. I asked him simply to look toward the light.
I got down on one knee. It gives that extra bit of crunch. Ele Milwright. Wilts Digital Camera August www.
Many of the photos I take are in dark arenas at night with poor lighting. We started the day by getting a lovely portrait of her Shetland pony. In direct sunlight you get very heavy shadows across the face of your subject. To capture the dark background. Ele is used to shooting in the Aperture Priority mode. Ele has the very basics of photography sorted. By under-exposing by two thirds of a stop.
She may want to look into investing in a prime lens for shooting in low light at her events. She understands the basic principles of photography. Although you have to be patient when it comes to photographing animals. At the post-production stage. Ginger Bread. E le has two horses. To ensure Ele kept his nose and eyes sharp. To eliminate this.
E le wanted to photograph one of her dogs sitting still with the other running behind. This small graph simply shows the range of pixels in the image.
As her dogs are extremely well-trained. You may also want to use a faster memory card. I held a diffuser over the dog to put him in a softer light. Although we had to have a few attempts to get the exact timing right.
If the graph peaks out of the right hand side of the graph. Digital Camera August Without the use of a diffuser. Ele has two dogs with dark fur. To set up the flashgun. To set up our shot. When she was close up to her dog. I explained to her that when taking portraits of dogs or humans. I suggested to Ele that we add flash so we could expose for the background. Without the use of flash. By sitting our subject in the shade against a luscious green background.
The only problem was that the sun was still high in the sky. The gold side works very effectively with this type of set-up and warms our canine subject up beautifully. By using an external flash to the side.
Ele has a lens with a variable focal length. Their bodies and faces go into shadow and often they appear featureless and are difficult to expose. By getting an assistant to hold it off-camera. With some horses. Turn over to see the results. D ogs with dark fur are much harder to photograph than dogs with lighter-coloured fur. We then balanced the ISO and aperture to make sure the scene was under-exposing by a stop. This helps ensure you have a correctly exposed sky to capture that striking blue and avoid the all-too-common washed-out look.
As we had a beautiful day in an idyllic countryside setting. She also needs to work on her composition. This will help her in low light and also to take more dynamic portraits. Reader Ele Milwright says I picked up lots of tips. She seemed to get on well with the Digital Camera August software. I was familiar with utilising focus points. Ele is full of creative ideas and has wonderful animals to work with. There was even more fun trying different lenses on my camera.
The Photo Fixer Claire Gillo says Ele has a great grounding of the basics of photography and is full of strong ideas. I would suggest that she carry on shooting in raw.
Please include your address and a daytime phone number. To help her reach the next level. Do you need help?
If you think you could benefit from a day out with the Photo Fixer. Ele has a very old version of Photoshop. Her images by the end of the day were much stronger. Take a quick tour of the tools here. Pressing Y will split the screen and give you a view of the before and after images. Clicking a pin will then enable you to access the changes and make further adjustments. Once a tool is selected you can then drag the cursor over the image. These include the Graduated Filter which you can switch to quickly by pressing M.
Each can be applied and attributes such as Temperature. Saturation and Sharpness can then be adjusted to enhance the image as you see fit. To see the area covered by that adjustment.
As a finishing touch. The Radial Filter and the Adjustment Brush give the most accurate enhancements. Auto is selected. Switch them on by clicking the small squares in the top left and right of the Histogram. Radial Filter Clipping warnings The Radial Filter initially seems limited with its circular or oval shape. This is the most accurate of the selective adjustment tools. The way the filter applies is also less than intuitive: The Shadow and Highlight clipping warnings are always helpful when making adjustments: A handy feature here is that you have two brush options — A and B — so if you need one brush to make sweeping changes to the sky and another smaller brush for the details.
When using the brush. You can quickly draw the gradient across the image as required. Adjustment Brush settings Adjustment Brush At the base of the standard adjustments are a set of values to change the Adjustment Brush settings.
See opposite. Use Refine Edge to tweak the selection. If any areas look wrong. Digital Camera August Press Q to toggle Quick Mask on and paint with black or white to fine-tune the selection by including or excluding areas. James knows exactly which Photoshop techniques matter most to you. Alt-click the Add Mask icon in the Layers panel to hide the selected area. If you use it to paint over areas like the sky here.
Zoom in closer to check the edges of your selection. A Curves Adjustment Layer  affects all the layers below it. Experiment by shifting the top and bottom points of the curve in the Red. When an image has a uniform backdrop like this. Another option is the Color Lookup Adjustment Layer . Once the images are placed.
Like all brush-based tools. By default the tool is set to Add. However it does slow it down somewhat. The key to perfecting your selection is the Refine Edge command. Once in Quick Mask mode. Many Photoshop tools have a Sample All Layers option that makes the tool behave as if the image were a single layer rather than a composite. Toggle it on or off by pressing Q. When making any selection.
You can also add by holding Shift. Experiment with ready-made tonal effects then. Green or Blue channels to introduce subtle colour shifts. The tool gets smarter as you add or subtract by learning more about the colours and tones you want it to snap on to. The Camera Raw filter  is also useful for tonal adjustments. Only tick it if you need to isolate complicated shapes. With Auto-Enhance ticked. Ensure that the Background Contents are set to white and click OK to open your new document.
Choose a normal. There is no need to add a new layer. In the dialog box that appears. In the properties dialog box.
Write your signature Create the Signature Brush 3 4 With the black foreground colour and this hard-edged brush. When doing so. You can now use this brush to add your signature onto your images.
Digital Camera August With your signature now written out. Try to occupy as much of the width across the canvas areas as possible. Five creative retro effects Learn how to give your images a retro feel with ease.
Color Lookup Adjustment Layers are meant for video clips. First add a Color Lookup retro effect see effect 1. You can add borders and grungy textures with Blend Modes. Add a Layer Mask and paint black to tidy the edges. Click the preview colours to open the Gradient Editor. Hold Alt and drag the Hue sliders to choose a colour for the highlights and shadows.
Add a Curves Adjustment Layer. Click Split Toning in the list of panels on the right. Copy and paste the main image in. By using a UV with a cheap lens. Will a UV degrade image quality? I always put the lens cap back on when the camera is being transported in my bag.
It will certainly prevent the front element of an expensive lens from getting scratched. If you are going to use one.
I try my best to protect the front of my lenses and will use a lens hood if I am shooting somewhere there is vegetation that might scratch the lens. If I am shooting somewhere like a beach where there is like to be windblown sand. Our expert Andrew James will have an answer Got a photographic problem? Send the details to digitalcamera futurenet. They can cause a slight shift in white balance. Mind you. Stuart Hamon Andrew says There is a case for the use of a UV on the front of a lens when it comes to protection.
It does feel as if you are going against sensible photographic practice when shooting into the light rather than with the light behind your shoulder and therefore front illuminating your subject.
In this case. It is a technique that is used in both still photography and video and can give an image a dramatic appearance. For example a silhouette can be one result of shooting into the light where the highlight detail is retained but everything else falls into deep shadow. Typically in a contrejour image there are extremes or shadows and highlights. By getting the dog to sit in front of a dark backdrop.
I often prefer to shoot subject backlit as it makes for a much more interesting image and I have certainly used the technique with every lens I own. Above Even the smallest of subjects can benefit from a touch of backlighting. When should I use this?
Naturally you can only photograph into the light when there is a strong light source present and there are no specific rules about how and when you should try it. Positioning the subject against a black background can help here as it also accentuates the rim lighting that looks so good on backlit images. How can I control exposure? You need to use exposure compensation to get the contre-jour look you want. For a basic silhouette. If you are shooting a backlit portrait then spot metering from the face of your subject will help to give you an exposure that works.
Do you have to use any particular type of lens to succeed with this technique? Lens choice is irrelevant to the overall technique and only relevant to the specific subject you are shooting. Obviously this is usually the sun but contre-jour can also be practiced with artificial lighting. A macro lens was used for this water droplets image. Above A medium telephoto lens was used for this dog shot. You need to take some time to get your exposure just right when a strong light source like the sun is in the frame.
Do I have to include the light source itself in the frame? Each of the three example images on the right image is backlit in one way or another. What effect does shooting into the light have? Put simply.
Superbly executed. This family seem to fill the entire frame, but they only occupy half of it. Heads up The most frequently shot frame-fillers are portraits. The power of eye-contact and dramatic close-up focus makes for some of the most arresting images.
In which case, stop down the lens to a small aperture. Just the eyes? Go for a wide aperture — and make sure you nail the focus on the eyes. Try positioning the image off to the side of the frame, with one eye on a point of power. Exaggerate features by using a wide-angle lens and getting in twice as close although no-one will probably thank you for it. Wideangle lenses anything from around 28mm and below exaggerate perspective, while telephoto lenses mm and above compress it.
Each has its own benefits and restrictions when it comes to composition. A wideangle lens or the wide end of a zoom takes in a much bigger view of the world. However, it becomes much harder to isolate interesting parts of the scene in front of you.
Telephoto lenses can help reduce the scene to the most important elements. It slows your shooting speed down and makes you consider the scene in front of you with a little more care. Shots of children and animals benefit greatly if you get down to their eye level — it creates a much greater sense of intimacy. Is that the feeling you want in your final photo though?
By changing shooting position, zooming in on the most significant part of the scene and using a portrait format to emphasise the height of the buildings, this is more vibrant. Pay particular attention to out of focus highlights in a background — the sky showing through gaps in tree foliage is a classic example.
Watch out for skies with no colour in them. A flat, greyed-out expanse can drain a picture of life. Be prepared to drop or raise the position of the camera and angle it up or down to isolate your subject against a softer, more uniform backdrop. Be aware that warm colours — oranges, reds, yellows — tend to leap out at the viewer, while cool ones — blues, greens — recede.
The son of commercial artists, many of his images display the eye of a painter in their compositions. No part of the frame goes to waste. There are only four elements to this photograph if you include the sky , so they need to work in harmony with one another. Here, the exposure has become a central feature of the composition, with detail-free deep shadows used as a solid presence in the final image.
A simple line leading through these areas of a picture to your centre of interest can be effective — picture a river snaking from the entire foreground to a tiny point on the horizon. Choice of lens and aperture are also vital components to creating depth.
Notice ce how how there there are no distracting ng elements. Choice of lens Find a frame As mentioned earlier, wide-angle lenses exaggerate perspective while telephoto lenses compress it. But with good technique, both can be used effectively to give a sense of depth.
Get down to ground level when photographing animals, for instance, select a wide aperture and blur grasses in front of them to provide a soft frame.
Combine this with an out-of-focus background which compliments the foreground trees, bushes or taller grasses , and your in-focus subject will appear sharper than ever. Your photo will have a pleasing 3D effect. One of the easiest ways to give your pictures depth is by finding a natural frame. Look for lines and shapes and repeated themes to create a sense of rhythm.
Think about placing contrasting patterns or textures next to each other — a sense of conflict always makes for a more exciting viewing experience. Mind the gaps To ensure your pattern has strength, make sure the photograph is balanced. You need to make it obvious to the viewer that the central focus of the photo is the pattern created by the collection of subjects, rather than the subjects themselves. Be prepared to wait for the right moment as well.
Why not try experimenting with slow shutter speeds to create swirling painterly patterns with moving objects? Specialising in documenting people and vanishing cultures, his work is typified by a strong sense of composition, timing and reading of light.
Shadows can form a central feature in his images, with silhouettes carrying added meaning and symbolic importance. It was shot in Glasgow, Montana and shows ranchers on horseback, as glimpsed through a broken wire fence.
Does the state of the fence echo the state of ranching in present day Montana? Do the long shadows hint of an end to it as a career? Does it simply show the harsh existence of the ranchers, emphasised by the dust and harsh glare? Compositionally, it shows Bill Allard thinking on his feet — with off-centre placement and exposure to bring out the shadows and make them a feature of the photograph. If you want to provide a more arresting viewing experience, try capturing action moving from the right of the frame to the left.
Why second curtain synch flash? While this gives you more control you can frame your subject more easily the trailing image moves across the frame in front of the sharp image. In the days of film, the choice of mount for a transparency or selective enlargement of a negative could help crop out unwanted detail.
The digital advantage brings faster, more creative cropping options.