Digital Camera Magazine -julkaisun June 2018 -irtonumeron sisällysluettelo

FIRST LOOK THE Kickstarter-funded Rollei Instant Kamera is the first new Rolleiflex camera in more than five decades. A lot has changed since the last Rolleiflex TLR was launched in the 1960s: while the new camera continues the twin-lens line, with a three-element 61mm aspherical lens on the front and a top-down viewfinder that provides a 1:1 preview of your picture and allows for waist-level shooting, the Instant Kamera takes Fujifilm’s Instax instant film.. The camera features an ambient light meter and the lens can have its aperture set to f/5.6, f/8, f/16, f/22 or ‘Bokeh’, while shutter speeds can be adjusted from 10-1/500 sec. Multiple-exposure and long-exposure modes are available, and there’s also a built-in flash that can be turned off if you want to use the ambient light…

IF YOU start looking hard enough, you’ll notice there are shapes everywhere! Coffee cups are the perfect circles, radiators form rectangles, square grid panels spread across office ceilings… and that’s just to name a few. Once you start looking you’ll be amazed at what you can find. To make this more of a challenge, why not spread the project over a week and look for a different shape each day? For example: Monday squares, Tuesday triangles, Wednesday rectangles, Thursday circles, Friday diamonds, Saturday stars and Sunday hexagons! Once you’ve got a good collection together, start thinking of alternative ways to display them.…

AS A professional sports and action photographer, Canon Ambassador Samo Vidic shoots the world’s top athletes for worldleading brands and publications. But in his latest project, Samo wanted to shine a light on a sometimesoverlooked group – disabled athletes who’ve overcome the odds to achieve great things in the sports they love. “Disabled athletes are rarely seen in the media in comparison with non-disabled ones,” Samo says. “I wanted to show different kinds of sports people, to highlight them and tell their often amazing life-changing stories.” In this photography project, he wanted to emphasise the athletes’ sporting prowess and the considerable obstacles that they have had to overcome. His two camera bodies for these thought-provoking shoots were the Canon EOS 5D Mark IV and the Canon EOS 6D Mark II,…

TAP on any image to view full-screen WILDLIFE and conservation photographer Sam Hobson doesn’t need to travel to the other side of the globe to capture wildlife images: “It’s right there on your doorstep,” he says. Sam grew up in the London borough of Wimbledon, and despite living in the city he was always immersed in nature. He describes himself as a feral child, who spent many hours exploring the wild wastelands and staying out for hours on end. “My mother let me be a bit wild,” he says. Sam’s mother undoubtedly played a key role in his interest for the genre. “She had a thing for David Attenborough,” he jokes. “She called him her heart throb! We always had lots of pets, including a giant African land snail.” Sam’s…

THE rule of thumb for shooting sharp pictures without a tripod is to make sure the shutter speed doesn’t drop below the focal length, expressed as a fraction. For example, a 50mm lens shouldn’t be used at a shutter speed slower than 1/50 sec, and 1/500 sec should be the minimum with a 500mm lens. It’s a good idea to factor in the crop factor of the camera sensor too, so a 500mm lens on an APS-C camera gives an effective focal length of 750-800mm (depending on the camera). Your mileage may vary when it comes to this rule. Some photographers are able to take sharp pictures below the minimum recommendation, while others can get blurred results at shutter speeds that are twice as fast. Practising your handholding technique can…

PUZZLEWOOD This month, two readers join technique editor Claire Gillo for a day of fantastic photography at an ancient 14-acre woodland – and popular filming location – in the Forest of Dean READER 1 Mike Martin CAMERA: Olympus OM-D E-M1 Mark II LOCATION: Gloucestershire SINCE taking early retirement at the end of 2016, Mike has had the time to fully focus on his photographic hobby (or, as he puts it, his “obsession”). Much of his time is spent producing creative portraits, either in a studio or on location, which have resulted in a number of awards in exhibitions and competitions. Landscape is his Achilles heel – as he puts it – as you have to be in the landscape to photograph it, which he acknowledges doesn’t happen enough. www.mikemartinphotography.co.uk READER…

RATE MY PHOTO KATE SAYS: I was on a trip in the Arctic, mainly with polar bears and walrus in mind for subjects, as well as the stunning polar landscape. One day we came across some Arctic reindeer grazing, and I was able to get close enough to two of them to get a few photos. I just lay there and watched them for a while, and one briefly looked up and moved forward. While he was grazing I couldn’t fully see his face as it was hidden by the lay of the land, so the timing on the shot was important. It was shot on my Canon 7D Mk II and 100-400mm lens at 400mm. The exposure was 1/640 sec at f/5.6 and ISO 100. I was shooting in…

TAP on any image to view it full-screen TONY Ray-Jones died of a rare form of leukaemia aged 31, with his work unpublished and largely unknown. Following the posthumous publication of a book of his photographs, A Day Off: An English Journal (1974), his reputation has steadily grown. He’s now regarded as one of the most influential documentary photographers of his time. How did he get into photography? Born in 1941, Ray-Jones began taking photographs while studying graphic design at the London College of Printing. Through his photography teacher, Rolf Brandt, he met Rolf’s brother, the photographer Bill Brandt, who encouraged him to continue his work. In 1960, he won a two-year scholarship to Yale University. While living in America, he met the photographer and former Harper’s Bazaar art director…

WHEN you buy a portrait prime, you often need to make the choice between image stabilisation or a super-fast f/1.4 aperture. This new 85mm gives you both, with no compromise in features or image quality. Typical of recent upmarket designs, the lens has a complex optical layout, in this case based on 14 elements arranged in 10 groups, complete with a wellrounded nine-blade diaphragm and Air Sphere Coating to reduce ghosting and flare. The speedy ring-type ultrasonic autofocus system and image stabiliser are whisper-quiet in operation, although stabilisation starts and stops with a bit of a clunk. Performance Sharpness at wide apertures isn’t quite as impressive as from the competing Sigma 85mm f/1.4 lens. It’s very close at the centre of the frame but drops off towards the corners –…

EVEN more so than with APS-C format cameras, the Micro Four Thirds system makes it notoriously difficult to blur the background in portraits. With a 2.0x crop factor, this lens gives an effective focal length of 90mm, but its actual focal length of 45mm and modest f/1.8 aperture rating put it on the back foot. Small and amazingly light at 116g, this Olympus lens nevertheless feels reasonably robust and has a metal mounting plate. The stepping motor autofocus system is very quiet and pretty rapid, and the electronically coupled manual focus ring operates with smooth precision. Performance Sharpness is good rather than great but doesn’t drop off much when you shoot wide-open, so consistency is good. At f/1.8, bokeh is a little glitchy compared with the 85mm lenses on test,…

TYPICAL of Sony’s top-flight G Master lenses, this one is immaculately turned out. Build quality is rock-solid, with a weather-sealed construction. There’s no lack of high-tech features either. It’s the only lens in the group to feature a focus-hold button, which can be very useful while composing handheld portrait shots. There’s also a hands-on aperture ring with a ‘de-click’ option, enabling smooth aperture transitions when shooting video. The optical path includes an XA (eXtreme Aspherical) element which Sony claims has increased precision to enhance the quality of bokeh. There are also three ED (Extra-low Dispersion) elements to boost sharpness and contrast while reducing colour fringing. The aperture remains extremely well-rounded when stopping down, thanks to an 11-blade diaphragm. Performance Sharpness is very good at f/1.4 and stunning when stopping down…

Profiles can include Color Lookup Tables – or LUTs. These are simply data files that remap one colour to another. You can make a LUT in Photoshop by saving and exporting any Adjustment Layer settings. Begin by opening an image in Photoshop, then add any Adjustment Layer [1]. We’ve used a Gradient Map layer here [2] to apply one of the ‘Photographic Toning’ gradient sets [3]. You can include more than one Adjustment Layer in your LUT if you like: we’ve created a Color Balance layer [4] to add a touch of blue. Once done, highlight the Background layer then go to File > Export > Color Lookup Table [5]. After exporting the LUT [6], open any image in Camera Raw. First choose the Adobe Standard Profile. Next, go to…

The Control Point tool is at the top of the Local Adjustments gadget. When you add a control point, it appears on the image as a circular area, with the same adjustment sliders offered by the Graduated Filter tool. However, these adjustments are automatically masked so that they only apply to areas of tone similar to those under the crosshairs in the centre of the circle. You can drag on the edge of the circle to extend the adjustment over a larger area, but it will still only affect the tones under the crosshairs. It’s a quick way to modify smaller areas.…

THE Panasonic Lumix FT7 shares a smattering of similar specs as the previous FT5/FT6 models, but gains a big boost in waterproofing – it’s rated to 31 metres compared with a previous 13m. It’s the first rugged compact to get a built-in electronic viewfinder and it’s the first in the FT range to feature 4K video recording, as well as Panasonic’s 4K Photo and Post Focus options. Surprisingly, the FT5’s GPS system has been dropped and there’s no depth indicator, although the FT7 retains Wi-Fi, a compass and an altimeter. It will be available in black, orange and blue, and is priced at £399. www.panasonic.co.uk…

IN THE foggy landscape of idyllic Lapland, Finland, you’ll most likely find photographer Tiina Törmänen setting up her camera. Tiina is a specialist in winter and forest photography, and no doubt in her element every time she’s back in the natural environment. This image was shot early one morning in Syöte National Park. “If you want to shoot misty morning scenes, you need to learn about your local weather situations,” Tiina says. “Perfect conditions require calm weather with no heavy winds.” To capture a misty scene, Tiina recommends you get yourself to a high vantage point. “If you’re in the mist, then you can’t see anything!” she says. “But once you can get somewhere high, then you are able to see it from above and the view is totally different.”…

DO ALL photographs have to be in focus? For this photo project, go against tradition and shoot a series of blurred images. Make the audience question the scene and show another perspective. While you’re deciding what to photograph, consider selecting bright colours or perhaps focus on just one object. You could also try to shoot a familiar scene you’ve done before, and see the results of it being out of focus. To set up your shot, switch the lens to manual and turn the ring right round to pull the focus. Play around with the camera settings to make your image brighter or darker, as subjects will differ. Consider what you want to achieve, and think of the photo as more abstract rather than a clear subject. Also think about…

OVER the next six issues, I’ll look at the process of undertaking a ‘365’ project (taking a daily photo for one year) – from planning and execution to all the tips and tricks you need for editing and sharing your work. If I’ve learned one thing from doing a 365 project, it is that taking a picture every day of the year makes you a better photographer. Like any skill worth mastering, photography is all about practice, so the daily repetition of a 365 project hones your skill set. Solve problems in new ways and it will refine your instincts about what makes a good photo. This is how you find your own voice and make pictures that sum up who you are. Give thought to what you can do…

ONE of Samo’s subjects was the Slovenian swimmer Darko Duric. Despite being born with only one arm and no legs, he has become a Paralympian, a double world champion and has broken the world record in the 50m Butterfly S4 class. When shooting Darko’s portrait and action shot, Samo wanted a shot that conveyed his striking story with immediacy. “Darko only has one arm, but the water gives him wings, somehow. That’s exactly what I wanted to show,” he explains. The sports shoot took place at a pool in Ljubljana, Slovenia. With Darko posing on a diving board for the portrait, Samo got two assistants to throw buckets of water at him from left and right, creating wing-like shapes with the water. Samo froze the movement of the water with…

TAP on any image to view full-screen TAMMY Marlar has been a professional photographer for three years. Before that, she had a fulfilling 20-year career in global conservation, working with organisations including Tusk Force and The Born Free Foundation. “Animals and the natural world have always been my biggest love, as a child through to adulthood,” she says. Forced to take a career break in 2013 for medical reasons, Tammy discovered her love for photography when she enrolled on a course at the Putney School of Art in south-west London. “The best thing about nature photography is that it puts you in a mental state of searching for beauty,” she says. “I love storytelling and particularly the challenge of eliciting maximum emotion from a scene. I enjoy the variety, the…

THE LAST SUNSET NAME: Jake Colvin LOCATION: Oregon, USA KIT: Canon EOS 500D with 14mm lens EXPOSURES: Composite. Mountain: 1/100 sec at f/10, ISO 100. Milky Way shot: 30 sec at f/4, ISO 3,200 WEBSITE: 500px.com/outinoregon TAP here to view this image full-screen SEPARATION NAME: Laura Pannack LOCATION: London KIT: iPad, Affinity Pro EXPOSURE: Not known WEBSITE: www.laurapannack.com See www.laurapannack.com/separation-1 for the rest of the portraits in Laura Pannack’s ‘Separation’ series. TAP here to view this image full-screen GHOST OWL NAME: Karsten Mosebach LOCATION: Germany KIT: Nikon D800 with AF-S Nikkor 70-200mm f/2.8G ED VR II lens EXPOSURE: 1/6 sec at f/9, ISO 400 WEBSITE: www.karstenmosebach.de This image is taken from a larger series, The Realm of the Barn Owl, which was awarded the Fritz Pölking Prize 2017 from the…

TAP on this image to view it full-screen WHEN did you begin taking photographs? Ted Leeming: After I left college, I did various jobs including freelance photography, then I was a staff photographer on an Operation Raleigh expedition to Patagonia. When I returned, I got involved in renewable energy and set up a consultancy with a friend of mine. 12 years later in 2004, I needed a break and decided to live in my camper van for a year and develop a portfolio of landscape work. At the end of that period I set up as a professional photographer, focusing entirely on the outdoors. Morag Paterson: I always had a camera when I was young, but photography was really just a vague hobby until I met Ted. After that, I…

DESIGNED for APS-C format Fujifilm bodies, this lens gives an effective focal length of 84mm, ideal for portraiture. However, because depth of field is mostly based on actual rather than effective focal length, it’s at a disadvantage when it comes to blurring the background. The ‘APD’ lens cures the problem with an ultra-fast f/1.2 aperture rating and a nanotechnology engineered ‘apodisation filter’. This enables in-focus areas to rendered sharply, while defocused areas are melted away into soft, creamy goodness. The apodisation effect works best at wide apertures and, so you can make the most of it, the lens comes complete with an additional three-stop neutral-density filter. Even so, apodisation slightly reduces light transmission, as indicated by a second set of red numbers on the aperture ring. Performance The quality of…

IF YOU’RE using an APS-C camera, a 50mm f/1.4 lens is ideal for portraiture. Compared with most own-brand optics, the Sigma is much larger and weighs 815g, about three times the weight of competing Canon and Nikon lenses. Now four years old, the 50mm was one of Sigma’s first ‘Art’ designation prime lenses in its Global Vision line-up. The optical layout includes an aspherical element and three SLD (Special Low Dispersion) elements. Typical of Sigma’s f/1.4 Art lenses, there’s no image stabilisation. The lens also lacks weather seals but has a thoroughly pro-grade feel to its construction and handling. Ring-type ultrasonic autofocus is super-fast and quiet, with the usual availability of manual override. Performance Wide-open, this Sigma beats every other lens on test for centresharpness, although corners are comparatively soft…

INSTEAD of following the f/1.4 trend set by most manufacturers’ upmarket optics, Tamron has concentrated on building f/1.8 primes, including 35mm, 45mm and 85mm lenses. The slightly narrower aperture rating enables a more compact, lightweight build, while the use of Vibration Compensation counteracts camera-shake in handheld shooting. The lens is beautifully built with a robust, weather-sealed construction. Dual nano-structure and conventional coatings are applied to minimise ghosting and flare, and a fluorine coating is also applied to the front element. As with the Sigma lenses on test, an optional USB docking console is available for updating firmware. Performance Sharpness at f/1.8 is both very good and extremely consistent across the image frame. The effectiveness of stabilisation enables shutter speeds of around 1/10 sec on full-frame cameras, matching the performance of…

www.canon.co.uk 1 Canon PowerShot G1 X Mark III £1,089/$1,099 THE G1 X Mark III packs a 24.2MP APS-C sensor, but unlike the fixed-focal-length Fujifilm and Ricoh APS-C cameras, Canon’s top-line compact stands out by sporting a 3x 24-72mm-equivalent zoom lens. It contains this within a fairly compact body with minimal lens protrusion, yet Canon has still fitted a zoom ring around the lens, a dedicated EV compensation dial, and a generous grip sculpting front and rear. Both the 2,360k-dot OLED EVF and 3-inch, 1,040k-dot vari-angle screen are a pleasure to use, with the latter being touch-sensitive. Canon’s excellent 49-point Dual Pixel AF is DSLR-fast and accurate, and the speed continues with up to 9fps burst shooting. As you’d expect for an APS-C sensor, image quality is high, with great detail…

Generally speaking, you should only sharpen in ACR if you are completing the image direct from raw and not intending to make any other changes in Photoshop. Because we’re going to explore both options, click on the Hand tool to exit the Graduated Filter panel, then click the Snapshots tab (the one on the far right). Click the New Snapshot icon at the bottom of the panel, and name it ‘Before Sharpening’. This will save you loads of time later, as it allows you to bring up all the raw adjustments you’ve made so far in a single click.…

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TAP here to view this image full-screen GREEN BEANS Andy Grimshaw, UK 1st place, One Vision Imag ing Cream of the Crop Kit: Phase One IQ280 Exposure: 1/500 sec, ISO 50 2018 PINK LADY FOOD PHOTOGRAPHER OF THE YEAR OPEN TO PROFESSIONAL AND AMATEUR, THE AWARDS CELEBRATE THE BEST IN FOOD PHOTOGRAPHY AND FILM. THE EXHIBITION IS SHOWING AT GLOUCESTER SERVICES, M5, THROUGH JUNE, LES RENCONTRES D’ARLES IN JULY, AND THE LUDLOW ASSEMBLY ROOMS FROM AUGUST TO OCTOBER. www.pinkladyfoodphotographeroftheyear.com HONEYCOMB ANIKO LUEFF, UK 1st PLACE, FOOD BLOGGERS “Little honeycomb pieces are stacked on a dark plate.” Kit: Canon EOS 6D with 105mm lens Exposure: 1/10 sec at f/2.8, ISO 400 TAP on any image to view it full-screen TAPAS UPON TYNE DEREK SNEE, UK 1st PLACE, MARKS & SPENCER FOOD ADVENTURES…

PHOTOGRAPHERS Against Wildlife Crime is an international collective of award-winning photographers who have joined forces to use their powerful images in a new, self-titled book. Featuring the work of Brent Stirton, Brian Skerry, Karl Ammann and Chris Packham, to name but a few, Photographers Against Wildlife Crime is only available to order online at the collective’s website. “I am thrilled to work with some of world’s best photographers to produce a book that will not tiptoe around this subject,” says co-founder of the project, journalist Keith Wilson. Photographer Britta Jaschinski, co-founder, adds “Our images are the proof that photography matters. Without photography the world’s conscience will wither.” www.photographersagainstwildlifecrime.com; £40/$TBC…

IF YOU want to take a different angle on the street genre, then pay attention! Ryan Hardman has been shooting street photography for three years now, and started his project On The Bus! after becoming inspired by Dougie Wallace’s Age Of Wealth and Nick Turpin’s Night Bus projects. Ryan decided to create his own bus series in Plymouth, with his aim being to capture people in these transient moments. Ryan captured many people from all different backgrounds and ages using the transport, from commuters going to work to young and carefree clubbers heading out at night. “Street photography is about having lots of patience,” he says, “and lots of walking too!” If you want to try something similar, some people might not like what you’re doing. “I do not hide…

HAVE you ever considered framing your images with objects around you? In this photo project we’re going to show you how to shoot through structures, then merge the images together to make a triptych. When it comes to finding the perfect set-up, look for railings, gates, holes in walls – literally anything you can point your lens through! The urban environment lends itself to this project, however you could also do it in a natural environment if you can find the right framing devices. To make sure the images merge well together, set each main focal point so it focuses in the distance. Open the aperture to a wide setting (like f/2.8 or f/3.5) so the surrounding edge of the frame blurs slightly. This makes it easier to merge at…

WHETHER you are heading off on your first safari or nipping down to your local duck pond, the wildlife and nature you encounter will provide you with endless opportunities for great images. With some careful thought about techniques and the right gear, you’ll be able to shoot photographs good enough to enter in the next Wildlife Photographer of the Year competition. Wildlife photography requires some patience and a good degree of skill, but it has become much more accessible to all, thanks to the impressive high-ISO performance of the latest DSLRs. Inspiration from TV shows such as the BBC’s Blue Planet has made us much more aware of the natural world and as photographers, we should all be looking to capture it in its raw beauty. Perhaps the toughest task…

TAP on any image to view full-screen BEN Cherry has been fascinated by nature since he was five. “I was dragged around nature reserves by my dad,” he says. “Photography came into my life aged 11, and has steadily grown into my obsession.” Ben studied zoology at university to get a better understanding about wider issues in conservation, but what he took from his degree was the importance of science communication. “How do we engage as many people as possible with important conservation projects, both good news stories and bad? Visual media is one of the most powerful methods of doing this.” Ben has already achieved a great deal in his career. Not only has he photographed a wide variety of wildlife, he’s also been fortunate enough to have had…

✗ AVOID EXTENDING YOUR LEGS TOO MUCH If your tripod legs have spindly bottom sections, don’t extend these first – go for the most substantial ones first. Avoid extending the tripod higher than you really need to; even the best ones wobble at full height. ✓ MAKE YOUR TRIPOD SOLID It’s no use if the tripod legs are bouncing around on spongy vegetation. Push them through it until they meet something solid. Some tripods have spikes under their rubber feet – use these for extra stability when shooting. ✓ CONSIDER THE LENS POSITION If you’re adjusting the angle of the lens, ensure the top leg locks are firmly pushed to their stops. If you’re using a telephoto lens, make sure one leg extends out directly in front, under the barrel,…

1 Timing All photography relies on timing, but when photographing horses running and jumping, there is a point when they will look best. Time your shot so the horse’s movement gives an attractive shape. On a jump, this is often on the upward trajectory. 2 Keep it fast Your camera’s shutter speed needs to be as high as possible if you want to freeze the motion of a moving horse and rider. Think of 1/500 sec as a minimum, but you’ll often need to be over 1/1,000 sec to get a pin-sharp image. 3 Zoom in tight You don’t have to get the whole horse in the frame for every shot. Zoom in tight for interesting details or really powerful abstracts, or just try a crop on the head for…

CSC www.canon.co.uk THERE are rumours that Canon will launch a full-frame mirrorless camera range in the near future – but for now, its mirrorless ambitions stay confined to its APS-C format EOS M cameras. The EOS M50 is only the second EOS M model to have an electronic viewfinder; it’s the first to shoot 4K video; and it’s being sold at a pretty competitive price. This could be the EOS M camera where Canon has finally got the balance right. The sensor is Canon’s now familiar 24-megapixel Dual Pixel CMOS AF unit, teamed up with a Digic 8 processor. The EOS M50 will normally be sold body-only or with Canon’s retracting 15-45mm kit lens. Build and handling The EOS M50 looks and feels very much like a miniature DSLR, right…

ON A full-frame DSLR, an 85mm prime lens is the ideal optic for portraiture. It enables you to capture head-and-shoulders or half-length portraits at a comfortable working distance, so you’re close enough to direct your subject without being in their face. The typical widest aperture of f/1.4 or f/1.8 enables a tight depth of field, so you can throw fussy backgrounds out of focus and bring the attention onto the portrait-sitter. Relatively wide apertures also mean you can keep shutter speeds fast enough to freeze any slight movement on the part of the camera or the person being photographed, retaining a natural look without flash. Naturally, on a crop-sensor camera, you’ll need a lens with a shorter focal length to achieve the same equivalent effect. We’ve included specialist ‘portrait’ lenses…

SMALLER and lighter than any other 85mm lens on test, this one nevertheless boasts an f/1.4 aperture rating. It’s based on a very traditional design with 10 optical elements, none of which is aspherical, and it doesn’t even feature Nikon’s ED (Extra-low Dispersion) glass. One nod to modernism is that nano-structure coatings are applied to combat ghosting and flare. The layout of the lens offers a fairly wide focus ring towards the front, and a focus distance scale beneath a viewing panel towards the rear. Autofocus is based on an ultrasonic ring-type system that incorporates full-time manualpriority override. A nine-blade diaphragm enables a well-rounded aperture when stopping down a little, and the metal mounting plate has a weather-seal ring. Performance Sharpness drops off noticeably at wide apertures, but it’s very…

BIGGER and weightier than any of the other 85mm lenses on test, this Sigma is the only one in the group to tip the scales at more than a kilogram. Measuring 95 x 126mm and weighing 1,130g, it’s quite a handful. A relative latecomer to Sigma’s Global Vision party, it wasn’t launched until late 2016. Similar in design to the 50mm Sigma, this lens has one aspherical elements and two rather than three SLD elements, along with a nine-blade diaphragm. Build quality and handling feel almost identical, although the 85mm lens adds weather seals to its dust and splash-proof construction. Performance The ring-type autofocus system is super-fast and whisper-quiet but, as with the Sigma 50mm lens, there’s no image stabilisation. Sharpness is exceptional across the entire image frame, even at…

UNIQUE among 85mm portrait lenses, Canon’s new contender combines a super-fast aperture rating with image stabilisation, and delivers impeccable image quality to boot. It’s a fabulous lens for full-frame portraiture but it certainly doesn’t come cheap. If you don’t use a Canon camera, the Sigma 85mm f/1.4 delivers image quality that’s even better in some respects, although it lacks image stabilisation. It’s our top choice for shooting on Nikon and Sony E-fit bodies. Sony’s G Master lens runs a close second to the Sigma, but is much pricier to buy. The Tamron is two-thirds of a stop slower and rather less expensive, yet delivers image quality that’s almost as good, while also featuring highly effective image stabilisation. For portraiture on an APS-C format Canon and Nikon DSLRs, the Sigma 50mm…

Within your Layers panel, you will end up with three different styles of sharpening in the same file. By right-clicking on the layers’ names, you can rename them to avoid any confusion, with the top layer as High Pass; the next one down as Unsharp Mask (USM); the next as Unsharpened Raw; and the bottom layer as Sharpened Raw. By using the eye icons alongside each layer, you can switch the various layers on and off to see the different styles of effects you’ve created, and decide which one works best for your image.…

For the Dodge and Burn tools to work, you have to be working on an imagebased layer. This allows you to take advantage of the tool’s ability to focus on Shadows, Midtones or Highlights. By setting the range to one of the three tonal areas, the biggest change will occur in the target area. If you accidentally brush over an unselected target area, the brush will have very little effect. In the image on the right the Burn tool was set to Shadows to darken the fur, so the white whiskers have been largely unaffected.…