T H E W O R L D ’ S B E S T-S E L L I N G D I G I T A L P H O T O M A G A Z I N E

13-19 JULY 2023 I S S UE 564

INSPIR AT ION IDE A S IN-DEP T H RE V IEWS

REVIEW: SONY ZV-E1

WE GET CREATIVE WITH
40/:4ç.045108&3'6-
VLOGGING CAMERA YET

LEARN HOW TO CAPTURE STUNNING

SEASCAPES AND COASTAL SCENES
 W E L C O M E

JOIN THE CLUB...

Welcome to the world’s essential shooting and editing
No.1 weekly digital techniques, and in-depth reviews
photography magazine. of the latest camera kit.
If you’re already a But that’s not the whole story.
reader, thanks for your continued Photography Week is more than
support and involvement; if you’re a magazine – it’s a community
new to Photography Week, you’ve of like-minded people who are
come to the right place! In addition passionate about photography.
to expert advice, brilliant tips and ‰ŅƤčåƋĜĹƴŅĬƴåÚØģƚŸƋüŅĬĬŅƵ±ĹƼ
step-by-step tutorials, every issue of the links below and share your
features interactive galleries of shots and comments.
brilliant photos, how-to videos on Jeff Meyer, Editor

JOIN T HE PHOTOGR APHY WEEK

COMMUNI T Y AND S TAR T SHAR ING!

FACEBOOK TWITTER FLICKR

http://bit.ly/39py9lg http://bit.ly/2vGadLP http://bit.ly/2VIgsJO

We’re more than just a magazine – read on and discover the many
ways you can interact with and enjoy Photography Week
 CONTENTS
FIND OUT WHAT’S INSIDE THIS ISSUE
F E AT U R E
F E AT U R E
CAPTIVATING
COASTLINES
Expert tips for planning and
capturing stunning seascapes

PHOTOS
GALLERY
Our pick of the best reader
Ĝĵ±čåŸüųŅĵƤ±ųŅƚĹÚƋĘåƵŅųĬÚ

I N S P I R AT I O N
NATURE, FOR BETTER
AND FOR WORSE
ŅĹƋåŸƋÏåĬåÆų±ƋåŸƵĜĬÚĬĜüå±ĹÚ
highlights environmental issues

CRASH COURSE
CAPTURE THE ACTION
WITH SLOW SYNC
ŅĵÆĜĹåÆĬƚųųåÚĵŅƋĜŅĹƵĜƋĘ
sharp detail for amazing effects
PHOTOS I N S P I R AT I O N PHOTOSHOP
DISCOVER NEXT-GEN
NOISE REDUCTION
Ĭå±ĹƚŞŞųŅÆĬåĵŸĘŅƋŸƵĜƋĘ
Lightroom’s AI Denoise tech

CRASH COURSE PHOTOSHOP

JUS T
REVIEW 39¢/39p
SONY ZV-E1
Sony’s latest vlogging
PER ISSUE!
WHEN YOU SUBSCR IBE
camera is one for the SEE T HE SUBS C R I P T ION
ŞųŅŸØƵĜƋĘƋŅŞěŅüěƋĘåě PAGE FOR MOR E INFO
line image stabilisation
Cover Image © Getty

and subject tracking.

±ĹĜƋŅƚƋěŸĘŅŅƋƼŅƚų
iPhone? Find out in our
ĜĹěÚåŞƋĘųåƴĜåƵ
 F E A T U R E

GARDSKAGI LIGHTHOUSE, ICELAND

“The tide was at the perfect level
ƋŅƤÏųå±Ƌå±ÏƚųƴåÚĬĜĹåĬå±ÚĜĹčüųŅĵ
ƋĘåƤüŅųåčųŅƚĹÚƋŅƋĘåĬĜčĘƋĘŅƚŸåØŰŸ±ƼŸ
landscape pro Paul Killeen. “The soft
pastel colours of the sky work well with
ƋĘåÏŅŅĬåųƋŅĹåŸŅüƋĘåųŅÏĩŸţŰ
© Paul Killeen

180 ISO
21MM f/22 SEC 100

CAPTURE COASTS
Capture breathtaking coastal scenes by engaging with the elements
±ĹÚƤʱųĹ域ĜĹčƋĘåĜųűƋƚų±ĬÆå±ƚƋƼ Words by: Kim Bunermann Images by: Paul Killeen

he coast is the perfect place Planning is therefore one of the pay attention to details, and bring in
T for taking spectacular pictures.
The aim of the photographer
most important things, along with a
technical understanding of how to
unconventional perspectives, so that
you can stand out from the crowd.
should be to combine the beauty of compose shots and highlight colour. Focus on specific factors, such
the coastal landscape with its unique The secret to coastal photography as colours and shapes, to create
atmosphere in one image, and this is to engage with the surroundings so compelling photos that will take your
often presents many challenges, as you can avoid creating images that portfolio to the next level. Over the
the environment can be harsh and the world has already seen. Coastal next few pages we’ll give you insights
the power of nature overwhelming at landscapes consist of a multitude into how you can improve the quality
times, especially if you’re unfamiliar of elements that are just waiting to of your coastal shots with the right kit,
with the area in which you’re shooting. be staged – that’s why it’s vital to compositions, and editing techniques.
 F E A T U R E

PACK YOUR GEAR

Prepare for any situation with the right kit

SLIEVE LEAGUE, IRELAND

Paul Killeen took this image in
5 ISO challenging conditions. “I was perched
16MM f/10 SEC 160 ŅĹƋĘååÚčåŅü±ÏĬĜýƵĜƋĘĉĂĵŞĘƵĜĹÚ
±ĹÚĜĹÏŅĵĜĹčų±ĜĹØŰĘ埱ƼŸ

hen you’re shooting by the filter and, for example, and ND filter, to prevent them from sinking. A solid © Paul Killeen

W coast, the weather conditions

can quickly turn harsh. Wind,
the quality of your images may suffer.
So always keep a microfibre lens cloth
ƋųĜŞŅÚĜŸŅĹĬƼʱĬüƤƋĘåƱƋƋĬåƋĘŅƚčĘô
you need to use a suitable tripod head
water and sand are among the biggest in your bag, and remember to wipe the for extra support. There’s always the
enemies of your optical or electronic lens clean every now and again. question of whether a ball head or
kit. To weatherproof the camera, Coastal areas are often vulnerable geared head is better for coastal shots.
invest in a rain cover for protection. to strong winds, which can be another A ball head is a good all-rounder that
Depending on where you’re shooting, challenge. Pack a sturdy tripod, along allows you to quickly adjust different
sea spray can also be an issue. with an additional weight to provide setups but lacks other features; a
One popular technique for extra stability. Before setting off for geared head gives you more options
protecting the lens – using an extra your shoot, check that all tripod parts and allows for finer adjustments.
UV filter and taking it off just before are still tight – these can come loose After a shoot, make sure to wipe
shooting – is inconvenient when you’re over time, but are easily tightened your equipment down with a cloth,
shooting seascapes. When you’re up with the help of an Allen key. and, if sand has gotten into the tripod
working with long exposures and other Remember that sand is not the best joints, disassemble it and clean it
filters it can soon become fiddly and surface upon which to place your immediately. This way, you will maintain
add to the challenges you already face tripod; a good tip is to take paper the quality of your equipment and
– and although you can use both a UV plates, and place them under the legs extend its working life.
 F E A T U R E

PACK YOUR GEAR CONTINUED

THE POWER OF FILTERS PICK FLUORINE COATING
Use ND and polarising filters to boost your coastal shots Take advantage of the right finish
to protect your lenses
If you’re thinking of investing in a
new lens for coastal shots, you
should consider the type of lens
ÏŅ±ƋĜĹčţeĬƋĘŅƚčĘƼŅƚϱĹƚŸåĀĬƋåųŸ
to protect the lens when you’re
shooting by the coast, if you’re
buying a lens you should make sure
ƋʱƋƋĘåüųŅĹƋåĬåĵåĹƋĜŸĀĹĜŸĘåÚ
ƵĜƋʱāƚŅųĜĹåÏŅ±ƋĜĹčţ‰ĘĜŸƤÏŅ±ƋĜĹč
has the advantage of repelling
Ƶ±ƋåųÚųŅޟرĹÚĜƋ±ĬŸŅŅýåųŸŸŅĵå
protection against dust and dirt and
makes for easier cleaning. Since the
coastal atmosphere is rich in salt,
water accumulates and breaks
down the front element, and the
coating prevents this layer of salt
from causing scratches.
When you’re photographing seascapes :ų±Úƚ±ƋåÚc%Š:c%šĀĬƋåųŸĘåĬŞĘåųåØ
with long shutter speeds, the challenge is ±ŸƤƋĘåƼüå±Ƌƚųå±ÆųĜčĘƋĹ域čų±ÚĜåĹƋ
to balance the exposure correctly. This is üųŅĵƤƋŅŞƋŅÆŅƋƋŅĵرĹÚ±ųåƋƼŞĜϱĬƚŸåÚ
ƵĘåųåĹåƚƋų±ĬÚåĹŸĜƋƼŠc%šĀĬƋåųŸÏŅĵåĜĹØ to allow you to correctly expose a darker
allowing you to extend exposure times. landscape without overexposing the sky. GET A
c%ĀĬƋåųŸÏŅĵåĜĹÚĜýåųåĹƋŸƋųåĹčƋĘŸüŅų eĹŅƋĘåų域åĹƋĜ±ĬĀĬƋåųüŅųŸå±ŸÏ±ŞåŸ CLEAR VIEW
ÚĜýåųåĹƋĬĜčĘƋĜĹčŸĜƋƚ±ƋĜŅĹŸØåűÆĬĜĹčƼŅƚ ĜŸƤ±ƤŞŅĬ±ųĜŸåųØƵĘĜÏĘĜŸƚŸåÚƋŅĜĹƋåĹŸĜüƼ When working in bright light
to shoot long exposures without the risk of blue skies and reduce glare on water conditions, a screen loupe is
clipping highlights. Where extremely long ±ĹÚƤŅƋĘåųŸĘĜĹƼŸƚųü±ÏåŸţ a useful accessory to take with
you. This blocks out light and
shutter speeds are needed, simply œĘåĹƼŅƚ±ƋƋ±ÏʱĀĬƋåųØƋĘååƻŞŅŸƚųå
allows you to see the camera’s
ÏŅĵÆĜĹåƋƵŅŅųĵŅųåc%ĀĬƋåųŸţ ƋĜĵåƵĜĬĬĹååÚƋŅÆåųåϱĬÏƚĬ±ƋåÚţ‰ŅĀĹÚ
preview screen clearly, so
Sometimes, the background and out the new exposure time, check your you can check for detail
üŅųåčųŅƚĹÚĹååÚÚĜýåųåĹƋåƻŞŅŸƚųåƋĜĵåŸ ĀĬƋåųűŸĵ±Ĺƚ±ĬŅų±Ĺ±ŞŞôƋĘĜŸƵĜĬĬÚåŞåĹÚ and sharpness.
to emphasise the dynamics of the scene. ŅĹƋĘåŸƋųåĹčƋĘŅüƋĘåĀĬƋåųƼŅƚ±ųåƚŸĜĹčţ

CHOOSE YOUR OPTICS An overview of the effects of different focal lengths for coastal photography

WIDE-ANGLE ZOOM TELEPHOTO

œĜƋʱűĹčĬåŅüƴĜåƵŅüÆåƋƵååĹƅĉ±ĹÚ Zoom lenses are workhorses, opening up A telephoto lens such as the Tokina SZ
íĉÚåčųååŸØ±ƵĜÚåě±ĹčĬåĬåĹŸϱŞƋƚųåŸ new perspectives with their versatile focal ƐLjLjĵĵ{kåāåƻ8ƀţŎa88ÏŅĵŞų域åŸ
the entire scene and allows for a broad ĬåĹčƋĘų±ĹčåôƵĜƋĘƋĘå„Ĝčĵ±ƀLjěƖLjLjĵĵ a scene visually and adds dynamism. This
ÚåŞƋĘŅüĀåĬÚţXåĹŸåŸŸƚÏʱŸƋĘå±ĹŅĹ üxƖţí%:k„B„aØüŅųåƻ±ĵŞĬåØƼŅƚϱĹ Tokina lens impresses with its compact
8ŎĂěƐĂĵĵüxƖţíXF„Ž„a±ųåŞåųüåÏƋüŅų zoom in on isolated coastal features to put telescopic design, making the lens shorter
ĘĜčĘĬĜčĘƋĜĹčŸƚÆģåÏƋŸ±ƋÚĜýåųåĹƋÚĜŸƋ±ĹÏåŸ them in the spotlight. Zooms have a wide ±ĹÚĵŅųå±ýŅųÚ±ÆĬåţFĹčåĹåų±ĬØĜƋűŸƵŅųƋĘ
while also bringing out elements in the ų±ĹčåŅüƚŸåŸ±ĹÚ±ųåčųå±ƋüŅųÚĜýåųåĹƋ combining such lenses with a teleconverter
foreground. genres, so they’re worth the investment. to extend their focal length even more.
 F E A T U R E

PLANNING IS KEY
Get the most from the coast by planning your visits around the tides

MOODY ATMOSPHERE CONTRASTING ELEMENTS

The cold tonal range Strong colour contrast
ŅüƤÏŅĬŅƚųŸÏŅĹƴåƼŸƋĘå makes the derelict pier stand
atmosphere of the blue out even more against the
hour and transfers this natural beauty of the sea
feeling to the viewer

MAGICAL WATER
A long exposure of
around 10 minutes
softens the sea and the
clouds, transforming
them into a mysterious-
looking haze

STRAIGHT HORIZON LINE

A continuous straight horizon
adds a calmness to the image,
and acts as a clear dividing line
BLUE HOUR AT BRIGHTON PIER between the sea and the sky

401 ISO
16MM f/11
© Paul Killeen

SEC 100
TIME IT RIGHT
For maximum impact, capture
ADAPT TO coastal shots during the blue
hen it comes to coastal ĘŅƚųƤ±ĹÚčŅĬÚåĹĘŅƚų
THE LIGHT
W photography, the right location,
light and timing are crucial.
Shooting in the midday sun is
usually not ideal when it comes
The most popular times for pros to
capture coasts are at the blue and golden
Every country that has a coastline has ƋŅÏŅ±ŸƋ±ĬŞĘŅƋŅčų±ŞĘƼţBŅƵåƴåųØ hours, which take place just before and
well-known locations that are popular if you’re at the seaside in bright after sunrise or sunset. Pre-dawn and
with landscape photographers. If conditions, why not make the most of post-sunset are perfect times to add
you choose to visit such places, be it by focusing on coastal structures magical blue tones to your shots, though
prepared for them to be busy with that stand out due to the intense the post-sunset light lasts longer than
light and shadows. To highlight during pre-dawn.
tourists – and you’re also likely to be
these features, you can convert Golden hour light falls at an angle that
elbow to elbow (or tripod to tripod) with creates long shadows, so pay attention to
other photographers. images to black and white
your position, and avoid appearing as a
While such spots give you the in post-processing. shadow in the shot. If you photograph
advantage of knowing the best places directly into the sun, use a lens hood,
ŅųƤŸĘĜåĬÚƋĘåƋŅŞŅüƋĘåĬåĹŸƵĜƋĘƼŅƚų
and angles to shoot from, they also
hand. Since the light is less intense during
restrict your freedom to compose and Set yourself a shooting schedule, these hours, this is the
may be counterproductive, especially and arrive at the location at least perfect time to increase
ĜüƤƼŅƚűųåŸƋĜĬĬĘŅĹĜĹčƼŅƚųŸĩĜĬĬŸţ an hour before you’re due to start the exposure time and
Instead, look for places that are shooting. This will give you enough capture the scene
artistically, and to enhance
diverse and offer a variety of photo time to decide on some compositions
those natural colours,
opportunities. This way, you can be and set up your camera. If you plan choose a custom white
creative and flexible, which will be ƋŅƤŞĘŅƋŅčų±ŞĘ±ƋĹĜčĘƋØĵ±ĩåŸƚųå balance. Apps such as The
reflected in your photographs. Once to visit during daylight to familiarise Photographer’s Ephemeris
you’ve found the perfect stretch of ƼŅƚųŸåĬüƵĜƋĘƋĘåŸƚųųŅƚĹÚĜĹčŸţa±ĹƼ Ņų:ŅĬÚåĹBŅƚųkĹåϱĹ
factors can influence the results, help you create a shooting
coastline, make yourself aware of its
schedule, while Tides Near
ÏŅĹÚĜƋĜŅĹŸţXŅƵƋĜÚå±ĹÚĘĜčĘƋĜÚå ŸŅĜƋűŸƤƵŅųƋĘϱŞƋƚųĜĹčƋĘåĬŅϱƋĜŅĹ aåčĜƴåŸƼŅƚ±ÏĬå±ų
will have a big impact both on your more than once. Take advantage of overview of the tide times
freedom of movement around the familiarity with the environment, and at a particular location.
coast and on your compositions. try out new compositions.
 F E A T U R E

CREATE BALANCED COMPOSITIONS

Make the most of seascape lines to direct the
ƴĜåƵåųűŸƤč±DŽåƤƵĜƋĘƤŸĜĵŞĬåƤ±ĹÚƤåüüåÏƋĜƴåüų±ĵĜĹč

BRIDGE TO NOWHERE
“This old bridge on a beach in
181 ISO Dunbar, Scotland, had long been
17MM f/22 SEC 100 ŅĹĵƼĬĜŸƋŅüĬŅϱƋĜŅĹŸØŰ{±ƚĬ
says. “I knew the tide would be
close to the level I wanted, but
FƤčŅƋĬƚÏĩƼƵĜƋĘƋĘåÏŅĬŅƚųŸŰ

INCLUDE
NEGATIVE SPACE
Add some minimalism
to your coastal images by
giving the main element room
to breathe. By adding some
negative space, the focus is
DISCOVER IN-CAMERA
directed the subject, helping
FEATURES
it to stand out clearly Get your camera ready for the
and increasing its coast to improve composition
© Paul Killeen

impact. One of the most important elements of

coastal photography is the horizon – if
this is not straight, the shot loses impact.
oastal areas are often vast compositions, avoid trying to bring too The grid feature in your camera menu, or

C landscapes, and at first this

may feel overwhelming. Focus
many aspects into the frame, as this can
ÆåÚĜŸƋų±ÏƋĜĹčüŅųƋĘåƴĜåƵåųţXŅŅĩŅƚƋüŅų
ŸŅĬƚƋĜŅĹŸŸƚÏʱŸcĜĩŅĹűŸůšĜųƋƚ±ĬBŅųĜDŽŅĹű
function mean you can see the horizon
on screen, making it easier to compose.
on a suitable composition that reflects any prominent features around the area Pay attention to focal lengths, as some
the atmosphere and captivates the – whether those are man-made features can introduce lens distortion. If you’re
viewer; as with many other types of such as a pier, jetty or lighthouse or using a wide-angle lens, avoid shooting
compositions, at the coast, less can natural ones, such as a cave, rock upwards or downwards and; if working
ŅüƋåĹƤÆåĵŅųåţ formation or headland – that will add with a telephoto lens, the compressed
perspective will show little distortion.
When you arrive at an unfamiliar extra layers and textures to the image.
location, it’s important to first take in When you’ve settled on the basic
your surroundings. Focus on an area framing, focus in closer, by either getting
that you want to photograph and set up physically nearer to the subject or by
your tripod. A tripod is an essential tool zooming in. This means the essential
in coastal photography, as it not only elements of your frame are given full
supports your camera for shake-free attention, minimisng clutter. Fine-tune
shots and long exposures, but also helps your composition by looking out for lines
slow down your working process. that you can use to direct the viewer’s
To create balanced and powerful gaze towards the key elements.
 F E A T U R E

CREATE BALANCED COMPOSITIONS

CONTINUED

16MM f/16
126
SEC
ISO
100
SIMPLIFY FRAMING
Use the effectiveness of time-
tested photography rules to draw
DAWN AT STROOVE the viewer’s attention
Paul says: “This was taken in Donegal.
a±ĹƼŞĘŅƋŅčų±ŞĘåųŸŸĘŅŅƋƋĘĜŸŸÏåĹåĜĹ
landscape, but I opted for portrait to make
ƋĘåĵŅŸƋŅüƋĘåčųå±ƋĬå±ÚĜĹčĬĜĹåŰ

1 USE THE RULE OF THIRDS

You don’t have to put the main
element in the centre of the frame, and
placing subjects along the rule of thirds
grid lines or at their intersections is very
åýåÏƋĜƴåţkĹåčŅŅÚŸƋų±ƋåčƼüŅųÏŅ±ŸƋ±Ĭ
shots is to place the horizon on either the
ƚŞŞåųŅųĬŅƵåųčĜųÚĬĜĹåØŸŅƋĘåŸĩƼĀĬĬŸ
the top third or two-thirds of the frame.

2 INCLUDE LEADING LINES

XŅŅĩüŅųĬĜĹåŸĜĹƋĘåŸÏåĹåôåĜƋĘåų
man-made elements like roads or
natural features. These act as powerful
compositional tools, leading the viewer
into the scene. To maximise impact, try
ÚĜýåųåĹƋ±ĹčĬ埱ĹÚƴ±ųƼƋĘåŅųĜåĹƋ±ƋĜŅĹţ

3 GET LOW
Instead of capturing the scene as we
normally perceive it, try lowering the
perspective. This technique frames the
main subject and foreground elements,
but includes more details and textures,
© Paul Killeen

giving the image another layer and

creating a sense of scale.
 F E A T U R E

IMPROVE EXPOSURES
Enhance depth to convey the unique atmosphere of coastal areas

0.8 ISO
17MM f/20 SEC 320

PRECIOUS STONE
“I got soaked making this image, but it was
ƵŅųƋĘĜƋØŰŸ±ƼŸ{±ƚĬţŮFƚŸåÚ±ĹƚĵÆųåĬĬ±ƋŅ
protect my gear as the waves washed
±ųŅƚĹÚĵåţFŸĘŅƋƋĘĜŸŸÏåĹå±ųŅƚĹÚƐLj
ƋĜĵåŸƋŅϱŞƋƚųåĜƋģƚŸƋ±ŸFʱÚƴĜŸƚ±ĬĜŸåÚŰ

© Paul Killeen

o enhance the effectiveness midtones, highlights and whites. scenes may require you to shoot
T of your coastal images, an
understanding of tonal range
Generally, darker tones and bright
highlights should not be ‘clipped’ on
more than one exposure to capture
all elements at their best. One way of
is essential. Both when you’re shooting the histogram, as this means detail is doing this by shooting three or more
and in post-production, the histogram lost in those areas. But some coastal bracketed exposures to capture the full
will become your new best friend. shots can benefit from deep blacks range of tones in the scene, and then
‰ĘåƤĘĜŸƋŅčų±ĵÚĜŸŞĬ±ƼŸƋĘåÚ±ųĩåŸƋ and increased contrast – indeed, combining them either in-camera or
tones in an image on the left, with photographers often shoot against in software to create a high dynamic
the lightest tones on the right. The ƋĘåƤŸƚĹƋŅÏųå±ƋåŸƋƼĬĜŸĘŸĜĬĘŅƚåƋƋåŸţ ų±ĹčåŠB%šĜĵ±čåƋʱƋÏŅĹƋ±ĜĹŸ
tonal range of a scene can be divided XĜčĘƋĜĹčÏŅĹÚĜƋĜŅĹŸĜĹÏŅ±ŸƋ±Ĭ±ų屟 well-exposed tones from the darkest
into five sections – blacks, shadows, can be challenging, and high-contrast shadows to the brightest highlights.
 F E A T U R E

IMPROVE EXPOSURES CONTINUED

CREATE ARTISTIC BLUR Use long exposures to create fine-art images of moving water
While much of the coastal landscape is static, you can introduce an element of movement into your images by shooting close to the sea
ŸĘŅųåţ±ŞƋƚųĜĹčƋĘåĵŅƴåĵåĹƋŅüƋĘåƋĜÚåÆƼƚŸĜĹčĬŅĹčåƻŞŅŸƚųåŸƵĜĬĬĜĬĬƚŸƋų±ƋåƋĘåāŅƵŅüƋĘåƵ±Ƌåų±ųŅƚĹÚųŅÏĩŸ±ĹÚŅƋĘåųŅÆģåÏƋŸţ

1 EXPERIMENT
„Ƌ±ųƋÆƼƋųƼĜĹčŅƚƋÚĜýåųåĹƋüų±ĵĜĹč
options. Set up your tripod, placing paper
2 SECURE CAMERA
aŅƚĹƋƼŅƚųϱĵåų±ŅĹƋĘåƋųĜŞŅÚ±ĹÚ
use a remote shutter release to avoid any
3 MANAGE SETTINGS
Because of the longer exposure time
and the increased amount of light falling
plates or cardboard under the legs to camera shake when working with long on the sensor, work with minimum ISO
prevent them from sinking into the sand. shutter speeds. Depending on the wind ƴ±ĬƚåŸţĘŅŅŸå±Ĺ±ŞåųƋƚųåŅüüxŎŎŅų
Use a lower perspective to improve the conditions, you may need to add weight to higher to enhance sharpness and adjust
water dynamics and stretch the horizon. ƋĘåƋųĜŞŅÚƋŅƤåĹŸƚųåŸƋ±ÆĜĬĜƋƼţ your focus point.

4 CONNECT SHUTTER REMOTE

Attach your remote shutter release
to the camera, as it’s almost impossible
5 ADJUST FILTRATION
eƋƋ±ÏʱĹÚ±ÚģƚŸƋ±Ĺc%ĀĬƋåų±ĹÚÏĘåÏĩ
that there’s no spray on the lens. When
6 RIGHT TIMING
When working with exposure times
Ņü±ųŅƚĹÚLjţĂŸåÏØƵ±ĜƋüŅųƋĘåƵ±Ƌåų
to manually release the shutter without ƵŅųĩĜĹčƵĜƋĘÏĜųÏƚĬ±ųĀĬƋåųŸØĵ±ĩåŸƚųåƼŅƚ movement to come towards you, then take
causing camera shake. Alternatively, you don’t move the focus point when you attach ŸŅĵåƋåŸƋŸĘŅƋŸţ‰ĘåĜĹƋåĹŸĜƋƼŅüƋĘååýåÏƋ
can select the self-timer function from your it. Use an app to calculate the optimum depends on both the water movement and
camera menu. åƻŞŅŸƚųåƋĜĵåƵĜƋĘƋĘåĀĬƋåųĀƋƋåÚţ your shutter speed.

MAXIMISE IMPACT These four editing steps will maximise the colours and depth of coastal images

BLEND IT REDUCE FLARE WORK ON COLOURS FINE-TUNE

a±ƻĜĵĜŸåƋĘåÏŅĬŅƚųÚåŞƋĘÆƼ The Clone Stamp and Spot Optimise the atmosphere in your Enhance the overall contrast of
working in 16-bit mode. You Bå±ĬĜĹčųƚŸĘ±ųåÆŅƋĘčųå±ƋƋŅŅĬŸ images by subtly adjusting colour the image by concentrating on
can gain full control and blend for correcting any distracting ƚŸĜĹčƋĘåBƚå±ĹÚ„±Ƌƚų±ƋĜŅĹ the details. Use the Dodge and
exposures manually with layer ā±ųåţ¥ŅƚϱűĬŸŅ±ÚÚ±Bƚåx ÏŅĹƋųŅĬŸţ{ĘŅƋŅŸĘŅޱĬŸŅýåųŸ± Burn tools to manually highlight
masks and brush tools. You can Saturation adjustment layer, select ų±ƵĀĬƋåųŅŞƋĜŅĹƋʱƋ±ĬĬŅƵŸƼŅƚ elements or to visually de-
also use Photoshop’s Photomerge an appropriate colour range and ƋŅŸŞåÏĜĀϱĬĬƼÏŅųųåÏƋƋĘåÏŅĬŅƚųŸ emphasise them. Sharpen your
function to blend and eliminate adjust the lightness sliders until according to your preferences. Ĝĵ±čåŸåĬåÏƋĜƴåĬƼţBåųåØƋ±ųčåƋåÚ
ghost elements. ƋĘåā±ųåĜŸųåĵŅƴåÚţ åÚĜƋĜĹčϱĹŞųŅƴåĵŅųååýåÏƋĜƴåţ
 F E A T U R E

PRO ADVICE
World Landscape Photographer of the Year Paul Killeen
gives advice on capturing successful coastal images

DOWNHILL AT DUSK
“When everything is just perfect – the
1/6 ISO
17MM f/22 weather conditions, the foreground and a

© Paul Killeen
SEC 100
great subject – that’s a rare thing in
Ĭ±ĹڟϱŞåŞĘŅƋŅčų±ŞĘƼŰ

Paul, tell us a bit about

yourself and your “I LEARNT THE HARD WAY... SALT
photographic journey
From a young age, I have
always had an interest in
WATER KILLS GEAR”
photography – not what tidal times. Download tide and weather What equipment do you use most
I would call ‘proper’ photography, but apps, as they will help you to choose regularly for your coastal shoots?
just point-and-click stuff in my early ƼŅƚųƤĬŅϱƋĜŅĹŸţ„ŅĵåĬŅϱƋĜŅĹŸųå±ĬĬƼÚŅ FŸĘŅŅƋƵĜƋʱ±ĹŅĹ)k„ñƋŞųåŸåĹƋţ
teens. I was at Art College in Belfast, and look better when the tide is at a certain In my bag, there are a few lenses that
there I started learning photography as ĬåƴåĬţBŅƵåƴåųØƋĘåŅĹĬƼƵ±ƼŅüč±ĜĹĜĹč help me deal with most locations I
a medium. After I graduated, I took a job this knowledge is by going to the same ŞĘŅƋŅčų±ŞĘØĜĹÏĬƚÚĜĹč±ŎƅěƐĂĵĵر
that wasn’t creative at all and fell away location a few times. ƖĉěŎLjĂĵĵ±ĹÚ±ƀLjěƐLjLjĵĵţXåå8ĜĬƋåųŸ
üųŅĵŞĘŅƋŅčų±ŞĘƼţƚƋĜĹƖLjŎLjFģŅĜĹåÚ Use filters to add mood to a scene are an extremely important part of my
a local camera club and it sparked my and get creative with exposure times. gear – I have a variety of graduated
creative interest again. Ever since then, I Adjusting your settings, such as ISO or filters and neutral density filters. These
have worked hard at developing my craft. üxŸƋŅŞØϱĹÏʱĹčåƼŅƚųåƻŞŅŸƚųå±ĹÚ help balance highlights and shadows
drastically change the look of an image. in camera and lengthen exposures, as I
What do you especially look for when Don’t be afraid to shoot the same scene often produce long-exposure work. I like
you are capturing the beauty of coasts? a number of times. Clouds move, as to shoot my images correctly in camera,
I love making images by the sea – I’m ÚŅåŸƤƋĘåüĬŅƵŅüƵ±ƋåųĜĹå±ÏĘĜĵ±čå so the correct use of filters is important
drawn to water. Firstly, you have to ƼŅƚƤĵ±ĩåţkĹÏåƼŅƚűųåƱÏĩĘŅĵåØÏĬå±Ĺ in achieving this. As I shoot a lot of long
be careful with your equipment – I’ve your equipment, including the tripod. exposures filters are vital, but I will also
learnt the hard way that salt water Stay safe, and never take unnecessary use filters to introduce mood into an
kills expensive gear! When planning a risks in order to get an image. And most image and enhance whatever conditions
seascape shoot, I will always look at the importantly, have fun! there may have been on location. Of
 F E A T U R E

PRO ADVICE CONTINUED

A SLEEPING GIANTŮFƋƋŅŅĩĵåŎƐŸĜƻěĘŅƚų
STORM OVER BALLYVAUGHAN
ųŅƚĹÚěƋųĜŞģŅƚųĹåƼŸƋŅƋĘĜŸĬŅϱƋĜŅĹƋŅĀűĬĬƼčåƋ
“I have a soft spot for a square crop, and
an image that I was pleased with. It just shows
151 ISO this image suits it so well. Using the path
ƋʱƋŞåųŸĜŸƋåĹÏåޱƼŸŅýŰ 16MM f/10 SEC 100 Ƶ±ŸŅÆƴĜŅƚŸÆƚƋåýåÏƋĜƴåرĹÚƋĘå
ÏŅĹÚĜƋĜŅĹŸƵåųåƵŅĹÚåųüƚĬŰ

162 ISO
16MM f/11 SEC 320

course, a sturdy tripod and a shutter

release button are also necessary when
I’m making my work.

How do you sell your photography?

I have an Etsy shop at present and I
sell my fine art prints from there. Some INFINITY
people prefer to make contact through “I was actually hoping for some colour
my website or social media to make on the morning of this shoot, but instead
I got a grey start to the day. Filters helped
a purchase, and that’s fine too. I don’t
ƋŅ±ÚÚĵŅŅÚƋŅƋĘĜŸĜĵ±čåŰ
make my images with the view of making
money or getting print sales, it’s my
passion. Too many great images are
only ever seen on social media when
someone is scrolling on their phone.
BŅƵåƴåųØĜĹĵƼŅŞĜĹĜŅĹØƋĘåųåűŸĹŅÆåƋƋåų
way of viewing photography than looking
at a large fine-art print. It’s the final piece
of the photography jigsaw.

What has been the proudest moment

ĜĹƤƼŅƚųϱųååųŸŅü±ųũ
X±ŸƋƼå±ųØFƵ±ŸƴŅƋåÚƋĘåkƴåų±ĬĬœĜĹĹåų
ĜĹƋĘåœŅųĬÚX±ĹڟϱŞå{ĘŅƋŅčų±ŞĘåų
competition for an image called ‘Souls
Tied’ – that was surreal. I also won
the Black & White Category in the UK
X±ĹڟϱŞå{ĘŅƋŅčų±ŞĘåųŅüƋĘå¥å±ų
ƖLjƖƖØƵĘĜÏĘƵ±Ÿ±ĬŸŅŸŞåÏĜ±ĬţB±ƴĜĹč
ŅƋĘåųĜĵ±čåŸüå±ƋƚųåÚĜĹX{k‰¥Ņƴåų
the years has also been amazing. For
321 ISO
ƐƻÙ{±ƚĬUĜĬĬååĹ

ĵƼƤƵŅųĩƋŅŸĜƋ±ĬŅĹčŸĜÚåƋʱƋŅüŸŅĵå 21MM f/22 SEC 100

ŅüƤĵƼü±ƴŅƚųĜƋåĬ±ĹڟϱŞåŞĘŅƋŅčų±ŞĘåųŸ
is really pleasing.
 F E A T U R E

ESSENTIAL TIPS FOR

COASTAL PHOTOGRAPHY
What to do – and what not to do – for top seascape shots

BALBRIGGAN LIGHTHOUSE
“I shot this from under an umbrella as
DO: SLOW DOWN the rain fell. I used the negative space
ŽŸåƋĘåÏʱų±ÏƋåųĜŸƋĜÏåýåÏƋŅüĬŅĹč above the lighthouse to give the main
exposure times to capture water artfully. ŸƚÆģåÏƋųŅŅĵƋŅÆųå±ƋĘåŰ
Alternatively, blur moving clouds to add
calm and movement to a scene.
126 ISO
DO: FILTER IT 60MM f/16 SEC 100
ŽŸåĀĬƋåųŸƋŅÆŅŅŸƋÏŅĬŅƚųŸØĜĹÏų屟å
your shutter speed without overexposing
highlights, and balance the exposure in
high-contrast scenes.

DO: LOOK FOR LINES

Integrate leading lines into your
composition to create dynamism and
draw the viewer’s eye directly to the
ĵ±ĜĹƤåĬåĵåĹƋŸţ

DO: CLEAN EQUIPMENT

Taking care of your equipment after a
shoot at the coast is essential to maintain
its quality and extend its life.

DO: BREAK THE RULES

Rules are useful guidelines, but you
ŸĘŅƚĬÚ±ĬƵ±ƼŸƋųƼƋŅåƻŞåųĜĵåĹƋţaŅƴå
out of your comfort zone by testing out
ĬŅƋŸŅüÚĜýåųåĹƋƋåÏĘĹĜŧƚåŸţ

DON’T: MISS MAGIC HOURS

If there’s one thing worth getting up
really early or staying up late for as a
photographer, it’s the golden and blue
ĘŅƚųŸţa±ĩåƋĘååýŅųƋ±ĹÚƼŅƚųÏŅ±ŸƋ±Ĭ
Ĝĵ±čåŸƵĜĬĬÆåĹåĀƋţ

DON’T: CLUTTER THE FRAME

8ŅÏƚŸŅĹŸŞåÏĜĀÏåĬåĵåĹƋŸ±ĹÚ
adjust the framing in their favour. Use
compositional guidelines to draw
attention to the main elements.

DON’T: EXCLUDE FOREGROUND

Including coastal features such as
āŅƵåųŸØčų±ŸŸåŸ±ĹÚųŅÏĩŸĜĹƋĘå
foreground of the frame gives your
images additional layers of depth.

DON’T: FORGET DETAILS

Coastal scenery can be overwhelming –
focus on details and structures to create
images with impact.

DON’T: NEGLECT MONOCHROME

a±ƼÏŅ±ŸƋ±ĬŸÏåĹ埱ĹÚŸƚÆģåÏƋŸƵĜĬĬ
ÆåĹåĀƋüųŅĵÆåĜĹčÏŅĹƴåųƋåÚƋŅÆĬ±Ïĩ
© Paul Killeen

and white in post-production to bring out

shapes and textures.
 G A L L E R Y

XPOSURE
THE WEEK’S MOST INSPIRING READER PHOTOS

SHAGS
GEORGE HART
“A pair of shags photographed at the Bullers of Buchan, a collapsed sea
cave close to the village of the same name in Aberdeenshire, Scotland.”
https://bit.ly/3CSP6oH
 G A L L E R Y
THE WEEK’S MOST INSPIRING READER PHOTOS

ANEMONE
HELEN GEORGE
“I photographed this anemone in high key, placing it in front of a window with a
backdrop of mixed violas that were outside in the garden, which created a dreamy
pastel bokeh. I used the macro setting on my Panasonic DMC-FZ1000.”
https://bit.ly/44olETi
 G A L L E R Y
THE WEEK’S MOST INSPIRING READER PHOTOS

LUMIERE
DAVID MILLICAN
“I shot this at the Lumiere Festival in Durham, England.”
http://bit.ly/38lr7Q7
 G A L L E R Y
THE WEEK’S MOST INSPIRING READER PHOTOS

NOT SO WINDY POST

PAUL HOPKINS
“Used as a marker to guide medieval travellers going from Buckfast to
Tavistock in Devon, England, this granite post has stood its lonely watch for
centuries. It’s thought to have been erected in the 1400s, and now serves as
an attraction to photographers or a rubbing post for the local cattle.”
https://bit.ly/3reue4I

PHOTOGRAPHY WEEK WANTS YOUR PHOTOS!

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
FACEBOOK FLICKR photos today! You’ll get feedback from fellow readers and the Photography Week
http://bit.ly/39py9lg http://bit.ly/2VIgsJO team, plus the chance to appear in Xposure, or even on our cover!
 OVER 3,000 FREE SIX MONTH SELL OR TRADE ALL PRODUCTS
PRODUCTS DELIVERY WARRANTY IN YOUR KIT THOROUGHLY
AVAILABLE for all products available on all Get a no obligation TESTED &
in store and at over £50 to a UK used products* quote at CHECKED
parkcameras.com mainland address *unless specified parkcameras.com by our experts

E OUR RAN
SE GE
TO

RE
CLCIK HE
Make the most
OR
of your money A
N
SC
If you’re looking for a new camera or lens on a budget, why not
check out the range of pre-loved products available from Park Cameras?

We have an extensive range of products from leading brands including

Canon, Nikon, Fujifilm, Sony, Leica, Panasonic, Sigma and many more!

Our quality assurance processes are well established to ensure that when you buy pre-owned camera
equipment from us the experience is completely stress-free. Nothing could be easier than trading-in
with us too, simply sell us your used camera or used lens and exchange it for something else.

LONDON
Visit our website - updated daily
53-54 Rathbone Place,
www.parkcameras.com LONDON, W1T 1JR
or call us 7 days a week
SUSSEX
01444 23 70 63 York Road, BURGESS HILL,
West Sussex, RH15 9TT

Don’t just take our word for it...

“Great used equipment service “I wouldn’t go anywhere else!
I really appreciate the service which Park Cameras offer. Their product Awesome service, always quick to dispatch and item arrived in perfect
ratings are spot-on and really bear scrutiny. I know I can trust their used condition. Great value for a second hand Nikon 24-70mm, best prices
equipment to be better that described. Excellent!” around, I wouldn’t go anywhere else!”
- Rob P. - Dyllan E.
 I N S P I  A T I O N

F ‰ ű „   k k X Ø  ‰ B e‰
THE BEST THING WE’ VE SEEN THIS WEEK

Images © The photographer and courtesy Prince Albert II of Monaco Foundation Environmental Photography Award
Polar Fox by Knut M Selmer, 2nd place, Polar Wonders Flood ÆƼaĜÏĘåĬåX±ŞĜĹĜØ„ĘŅųƋĬĜŸƋåÚØBƚĵ±ĹĜƋƼšåųŸƚŸc±Ƌƚųå

Predator vs PredatorÆƼĬåĵåĹƋ8ŅĹƋ±ĜĹåØƐųÚŞĬ±ÏåØFĹƋŅƋĘå8ŅųåŸƋ My Kingdom by Simon Biddie, 1st place, Ocean Worlds

IMAGES CELEBRATE NATURE’S

BEAUTY, AND ITS STRUGGLES
Stunning winners of the Environmental Photography Award are announced
he winners of the 2023 Prince Albert impact on wildlife and the environment.
T II of Monaco Foundation
Environmental Photography Award
This year’s competition received an
overwhelming response, with more than
have been announced. The competition, 2,300 photographers from around the world
which is in its third year, was established to submitting some 10,000 images across five
celebrate photographers who help to raise categories: Polar Wonders, Into the Forest,
awareness of environmental issues, with Ocean Worlds, Humanity Versus Nature,
SEE MOR E IM AGE S
entrants invited to explore humanity’s ±ĹÚƤʱĹčåa±ĩåųŸ×屟ŅĹŸüŅųBŅŞåţ
h t t p s : // bi t . ly/ 3pDKg c 0
relationship with nature. The images range ĬĜÏĩƋĘåĬĜĹĩƋŅŸåå±ĬĬƋĘåƵĜĹĹĜĹč±ĹÚ
from the beautiful and inspiring to photos shortlisted images from this year’s awards
that highlight the darker side of man’s ±ƋƤƋĘåÏŅĵŞåƋĜƋĜŅĹƵåÆŸĜƋåţ
 S K I L L S

CRASH COURSE
ESSENTIAL PHOTO SKILLS MADE EASY

GE T A K ICK WI TH SLOW SYNC

James Paterson shows you how to combine long exposures
with flash for an eye-catching slow-speed sync effect

burst of flash lets us freeze flash and gelled LED lighting, we can light plays a negligible role, but here,

A motion, and a long exposure

lets us create motion blur.
Both are great skills to learn
create streaks of blur to convey the
movement of the subject, along with
flash to freeze the motion.
ÆƼƤŸƋųåƋÏĘĜĹčŅƚųŸĘƚƋƋåųŸŞååÚƋŅ±
second or so, the divide is obvious.
‰ĘåƤ±ĵÆĜåĹƋåƻŞŅŸƚųåÏųå±ƋåŸƋĘå
in their own right, but if you’re looking Whenever we use flash, we’re ÆĬƚųØƤ±ĹÚƋĘåüĬ±ŸĘåƻŞŅŸƚųåüųååDŽåŸ
for a creative approach to action shots, effectively making two exposures in ƋĘåƤüĜűĬĵŅƴåĵåĹƋŅüƋĘåŸƚÆģåÏƋţ
the slow sync flash technique lets us one. First there’s the flash exposure, This might look like a Photoshop
have it all in a single frame. Sometimes in which the subject is lit by the near- effect, but everything is done entirely
called shutter dragging, this is where instant burst of light. But there’s also in-camera. There’s an element of trial
we use a flash with a longer-than- the ambient exposure, where the light ±ĹÚåųųŅųĜĹƤƋĜĵĜĹčƋĘåĵŅƋĜŅĹŅüƼŅƚų
normal exposure to introduce motion in the scene – whether it be natural ŸƚÆģåÏƋ±ĹÚƱĬ±ĹÏĜĹčƋĘåĬĜčĘƋĜĹčØƤÆƚƋ
blur. It’s a great trick to try for action daylight, room lights or other artificial when the combination of light sources
or sports subjects, like our taekwondo lighting – plays a part. The flash can ÏŅĵåŸƤƋŅčåƋĘåųĜĹƋĘåųĜčĘƋƵ±ƼØƋĘå
expert here. By using a combination of ÆåƤŸŅŞŅƵåųüƚĬƋʱƋƋĘå±ĵÆĜåĹƋ results can be jaw-dropping.
 S K I L L S
SLOW SYNC SETUP
Learn how to capture both sharp and blurred action with a combination of constant and flash lighting

1 DARK ROOM 2 CONSTANT LIGHTS 3 FLASHES

We need our backdrop to be as dark The constant lights shining here Two flashes are placed to the left of the
±ŸƤŞŅŸŸĜÆĬåØŸŅƋʱƋƋĘåŅĹĬƼ±ĵÆĜåĹƋ illuminate the subject from behind to subject here: a rear flash fitted with a blue
ĬĜčĘƋĜŸƤÏŅĵĜĹčüųŅĵŅƚųX)%Ÿţ)ĜƋĘåų the right side as he moves. Effectively, gel to give us a strong edge highlight,
close all the curtains, or shoot outside they’re for the blurry part of the long and a side-on flash fitted with a softbox
at night. A plain, dark background will exposure. We’ve used two LED lights to provide a gentler illumination (this one
åĹŸƚųåƋĘåÆĬƚųĜŸ±ŸÏĬå±ųƤ±ŸŞŅŸŸĜÆĬåţ here, one fitted with a red gel, the other also had a blue gel inside to tint the light).
We fastened some black material for fitted with a snoot to control the spread The rear light is set to manual power, and
the background and floor. ŅüƤĬĜčĘƋ±ĹÚŸåƋƋŅÏųå±Ƌå±Ƶ±ųĵÏŅĬŅƚųţ the softbox is set at 1/16 power.

3 2
1

4
5

4 CROSS LIGHTING 5 PLAN THE MOTION 6 EXPOSURE & FOCUS

Separating the lighting like this, so There’s an element of trial and error Our camera here is set to Manual
ƋʱƋƤƋĘåÏŅĹŸƋ±ĹƋĬĜčĘƋĜĹčĘĜƋŸƋĘåŅĹå ĜĹƤƋĜĵĜĹčƋĘåĵŅƋĜŅĹŅüƼŅƚųŸƚÆģåÏƋţ„Ņ mode, with aperture f/6.3, ISO100,
side and the flash the other, will help to plan ahead by going through the sort of shutter speed Bulb. Focusing can be a
ensure the blurry and sharp parts don’t action you want. Then figure out what challenge. Ask the subject to stand in
overlap. Make sure you keep the flash you want the final position to be. Here their final position, pre-focus on it and
ĵŅÚåĬĬĜĹčĬĜčĘƋŸŅüüرĹÚ±ĹčĬåŅųƤüĬ±č we wanted Mitch to finish with a kick, move them to their start position. If it’s
all the lights to prevent them spilling ŸŅƵåƵŅųĩåÚŅĹƋĘåŞĬ±ÏåĵåĹƋŅüƤƋĘå a side-to-side motion then focusing
ŅƴåųƤŅĹƋŅƋĘåÚ±ųĩƱÏĩÚųŅŞţ flash so that it would best show this. is easier, as they’ll always be a similar
distance from the camera.
 S K I L L S
HOW TO BRING DOWN THE CURTAIN

1
THE FIRST CURTAIN
The default for flashes is to fire at the start of
±ĹƤåƻŞŅŸƚųåØƵĘĜÏĘĜŸųåüåųųåÚƋŅ±ŸƋĘåüĜųŸƋ
or front curtain. But when using a slow shutter
speed, it can appear a bit strange. I took a shot of
myself running from one side of the frame to the
ŅƋĘåųţ‰ĘåÆĬƚųųƼޱųƋŸŅƴåųĬ±ŞƋĘåƤŸĘ±ųŞޱųƋŸØ
±ĹÚĜĹƋĘĜŸĜĵ±čåĜƋ±ŞŞå±ųŸƋʱƋFűĵƤ±ÏƋƚ±ĬĬƼ
moving backwards.

2
SET REAR CURTAIN SYNC
To fire the flash at the end of the exposure
instead, use rear curtain sync. If you have a
compatible wireless trigger, set it on the trigger.
Or you can use a hotshoe-mounted flashgun,
then set the off-camera flashes to optical trigger
mode so they fire on detecting the flashgun.

3
NATURAL MOTION
When set to rear curtain sync, the flash will fire
just before the second curtain closes the shutter
(or for electric shutters, just before the sensor
readout stops). This results in better definition,
with a clearer divide between flash and blur,
which makes more sense visually, as the blur
trails behind my motion.
 S K I L L S
HOW TO BRING DOWN THE CURTAIN

4
TRY COLOUR GELS
Try adding colours to your constant lighting to
tint the blurry parts of the photo – we used a red
gel in front of one of our two LEDs. If you’re using
bicolour LEDs you can also experiment with
ÚĜüüåųåĹƋÏŅĬŅƚųƋåĵŞåų±ƋƚųåŸţBåųåƵåŸåƋƤƋĘå
LED to 2700 Kelvin for a warm tint.

5
BUILD THE LIGHTING
Start by working out an exposure for the constant
lights, so leave the flash off to begin with and find
a manual exposure that works for you. A good
stock setting is a shutter speed around 1 sec (or
use Bulb), aperture f/8, ISO100. Next turn on the
flashes. Don’t touch your exposure settings –
tailor the flash power to suit.

6
USE BULB MODE
Bulb Mode can help us time the shot to finish
at the perfect moment, as we can simply end
the exposure by releasing the shutter. This way
we need not worry about timing a one- or two-
ŸåÏŅĹÚåƻŞŅŸƚųåƋŅƋĘåĜųĵŅƴåĵåĹƋŸţFƤŸĜĵŞĬƼ
ĘåĬÚĵƼüĜĹčåųŅĹƋĘåŸĘƚƋƋåųØƋĘåĹƤĬåƋčŅ±ƋƋĘå
apex of the kick.
 S K I L L S
BOOST THE BLUR
Enhance your slow-sync photos in Lightroom and Photoshop with these simple editing tips

1 ENHANCE COLOURS 2 TIDY THE EDGES 3 CHECK THE SHADOWS

Open the image in Camera Raw or There are likely to be parts of the frame Use Photoshop’s Burn Tool set to Range:
Lightroom and hit K for the Adjustment that look messy, either because you’ve Shadows to ensure the backdrop
Brush. Paint roughly over the blurry included areas of backdrop or because ĜŸüƚĬĬƼƤÆĬ±ÏĩţFƋƤϱĹĘåĬŞƋŅ±ÚÚ±
parts of the scene to create a mask, of lens flare. Hitting K again will create temporary adjustment layer like this to
then try increasing the Clarity value another brush mask. Paint around the overly lighten things, so that you can see
to crisp up the flowing lines for more messy areas, then decrease Exposure ƵʱƋĹååÚŸƋŅÆåÆƚųĹƋĜĹţƤ‰Ęå%ŅÚčå
defined blur. You can also lighten or to darken them. Repeat, if necessary, tool can also be useful. Set it to Range:
darken the blur using the tool. until they’re fully black. Lighten to lift streaks that are a little dim.

TAKE IT FURTHER WITH PANNING BLUR

Use camera movements while shutter dragging to create amazing blur effects

As well as blurring the motion of a subject, we can

also use camera motion to create blur. For this
shot we had the subject stay still, and I panned the
camera from one side to another to create the blur.
There are lots of other ways to get creative with
shutter drag too. If you have a zoom lens you can
get interesting results by zooming in or out during
the exposure. You could also try including other
lights in the frame, like fairy lights or coloured
LEDs. To take it further, why not experiment by
firing the flash at different points, like halfway
through the exposure? Or perhaps experiment by
having your constant lights pulse so that the blur is
staccato. When you start to experiment, you’ll find
there are all sorts of creative possibilities.
 E D I T I N G

PH OTOS H O P
LEARN ESSENTIAL EDITING SKILLS FAST!

W AT CH T HE V IDEO
h t t p s : // b i t . l y/43Vc 3D K

D O W NL O A D T HE
HOW TO... P R O J EC T F I L E S
h t t p s : // b i t . l y/p h o _ 14 8

MASTER LIGHTROOM’S
ON A PC OR MAC

AI-POWERED DENOISE TOOL

Adobe’s new addition to Lightroom and Camera Raw uses AI to fix noisy images
f you’re wondering whether image shot in a dark forest at ISO ÏŅĬŅƚųŸƵåųåƱųåĬƼŞåųÏåŞƋĜÆĬåÆƚƋƋĘå
I artificial intelligence will lead
ƋŅƤƋĘåÚå±ƋĘŅüŞĘŅƋŅčų±ŞĘƼØ
ƖĂØƅLjLjţ‰Ęå%åĹŅĜŸå‰ŅŅĬƵŅųĩåÚ
wonders on this and other grainy
ƋŅŅĬŞƚĬĬåÚŅƚƋƋĘåÆĬƚ埱ĹÚųåÚŸĜĹ
ƋĘåŸƚÆģåÏƋƋŅ±Ĺ±ŸƋŅĹĜŸĘĜĹčÚåčųååØ
here’s a good news story: AI is amazing ŞĘŅƋŅŸØčĜƴĜĹčÆåƋƋåųųåŸƚĬƋŸƋʱĹƵĜƋĘ ±ĹÚÏĬå±ĹåÚƚޱĹÚųåƴå±ĬåÚÚåƋ±ĜĬŸ
±ƋüĜƻĜĹčĹŅĜŸƼŞĘŅƋŅŸţœåƋåŸƋåÚ {ĘŅƋŅŸĘŅŞűŸŅĬÚåųĵ±Ĺƚ±ĬĹŅĜŸåƋŅŅĬŸţ that were almost invisible in the original
eÚŅÆåűŸĹåƵeFěŞŅƵåųåÚ%åĹŅĜŸå eŸƼŅƚűĬĬŸååĜĹƋĘĜŸƴĜÚåŅƋƚƋŅųĜ±ĬØ Ĝĵ±čåţFűÚÚĜƋĜŅĹØĹŅĜŸåĜĹƋĘåŸĘ±ÚŅƵŸ
üƚĹÏƋĜŅĹŅĹŸåƴåų±ĬĹŅĜŸƼØĘĜčĘěF„k ƋĘåƋŅŅĬĜŸޱųƋĜÏƚĬ±ųĬƼåüüåÏƋĜƴå±Ƌ Ƶ±ŸŸĵŅŅƋĘåÚŅƚƋţcŅƋåƋʱƋƼŅƚϱĹ
Ĝĵ±čåŸţkƚųƤÆĜųÚŞĘŅƋŅĜŸ±ŞųŅŞåųƋåŸƋ ŞųåƴåĹƋĜĹčÏŅĬŅƚųŸüųŅĵÆĬååÚĜĹčĜĹƋŅ ŅĹĬƼ±ŞŞĬƼ%åĹŅĜŸåƋŅų±ƵüĜĬåŸôĜƋűŸĹŅƋ
ô±Ęå±ƴĜĬƼÏųŅŞŞåÚØƚĹÚåųåƻŞŅŸåÚ ŅĹå±ĹŅƋĘåųţFĹŅƚųŞĘŅƋŅØƋĘåŅųĜčĜűĬ ÏƚųųåĹƋĬƼ±ƴ±ĜĬ±ÆĬåüŅųI{):Ÿţ

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: https://apple.co/2GcA3Jc Android: http://bit.ly/2NJASNx Zinio: http://bit.ly/37ke9Qf
 MIRRORLESS TEST
EXPERT OPINION ON THE L ATEST KIT

SONY ZV-E1
Does this small and powerful vlogging camera justify its high price?

www.sony.co.uk £2,350/$2,199 (body only)

he vlogging camera space is recognition and tracking system dynamic range and ISO range of
T heating up, with manufacturers
targeting content creators with
pulled from its top-of-the-line
professional camera, the A7R V.
80-102,400 (expandable up to
409,600), powered by the Bionz XR
products tailored specifically to their However, the ZV-E1 is still dogged processor and the dedicated AI chip
needs. Sony was one of the first to by the same question as the rest of from the A7R V. The camera inherits
identify this market, and has produced the vlogging camera market: when the the impressive autofocus features from
several cameras in its vlog-focused video on an iPhone is so good (and is the A7R V, including person and animal
ZV line, including the ZV-E10 and the getting better), is there a need for a subject recognition that tracks limb
ZV-1F, both of which were aimed at dedicated £2,350 vlogging camera? and body movements, so you can
the entry-level vlogger, with 1-inch or focus on partially obscured subjects.
APS-C sensors and affordable prices. Key features In terms of video specifications, the
Now Sony has something for the The Sony ZV-E1 uses the same ZV-E1 can capture 4K 60p footage
more serious vlogger: the ZV-E1. It’s ŸåĹŸŅųƤ±ŸƋĘåeƀ„FFFرĹÚüå±Ƌƚų埱 without pixel binning, and the camera
a full-frame vlogging camera, with 12MP back-side illuminated sensor supports S-Log and 10-bit 4:2:2 all-
image stabilisation and a subject with an impressive 15-plus stops of intra internally and can be connected
 MIRRORLESS TEST SONY Z V-E1

to an external monitor using a micro-

HDMI for recording. It’s also capable
of live video streaming at 4K 30p or
Full HD 60p via USB-C.
Sony markets the ZV-E1 as the
02
perfect tool for in-camera content
creation, providing plenty of creative
options and one-touch controls for
shooting settings. The camera offers
a redesigned menu, incorporating 01
the best features from Alpha and FX
bodies, as well as a My Style quick
menu for easy adjustments. The ZV-E1
comes with Cinematic Vlog settings,
featuring preset LUTs that can be
combined to adjust the footage’s look
and mood. Users can also load their 03
own LUTs for in-camera processing.
The ZV-E1 also features a new
Frame Stabilizer mode that uses
eFƤƋŅƋų±ÏĩƋĘåŸƚÆģåÏƋ±ĹÚĵ±ĜĹƋ±ĜĹ
selected subject framing, and a
Dynamic Active mode that attempts
to stabilise the scene with a fixed
crop. The camera also has Auto
Framing, which adjusts the frame
ƋŅƤĩååŞƋĘåŸƚÆģåÏƋÏåĹƋųåÚţ 07

1 The zoom lever works with Sony PZ lenses to

smoothly zoom in and out while shooting.

2 The ZV-E1 comes with a windscreen to

04
reduce microphone noise when you’re
shooting outdoors.
06
3 The ZV-E1 features a full-frame sensor, and
will work with Sony’s E-mount lenses. 05
4 Sony has added custom function buttons
that are customisable for quick access to the
features you use most.

5 The ZV-E1 has a fully articulating vari-angle

screen for awkward shooting angles.

6 Common settings can be found around the

control dial on the rear of the camera.

7 A custom dial can be set to change any of

the settings, such as aperture or ISO.
08
8 A button on the top quickly activates Sony’s
enhanced background depth feature.

9 The top switch sets the camera to photo, 09

video, or S&Q modes, for slow and fast motion.
 MIRRORLESS TEST SONY Z V-E1

Sony’s latest autofocus tracking is incredibly fast

© Gareth Bevan
and accurate – you don’t have to worry about focus,
and can concentrate on other aspects of filming
© Gareth Bevan

Fine-grained control options are The disadvantage of the Sony ZV-E1’s smaller
available for crop modes, including sensor is that it limits the ability to crop images
size, and how quickly the crop will and maintain quality, although it should be
change between subjects. However, enough for social media or online usage
cropped footage is recorded in Full HD
and not 4K, and the camera enables
users to record original 4K footage
externally via HDMI while recording
cropped footage internally. The ZV-E1
dynamically adjusts its aperture value
The ZV-E1’s video footage has a more
when multiple faces are detected,
accurate tonal range and more natural
© Gareth Bevan

ensuring everyone is in focus.

processing than the HDR-heavy video filmed
on a smartphone camera
Build and handling
The ZV-E1 feels every bit as premium
as its price tag suggests. Despite The ports and SD card slot on the The ZV-E1 is easy and intuitive to
sharing the same design ethos as ZV-E1 are on the side, behind robust use; you can just pick it up and get
other cameras in the line, the plastic doors rather than rubber flaps. These great-quality footage without knowing
body of the ZV-E1 feels thicker and blend in with the design, but there much about videography. But there’s
sturdier, with the buttons and dials are no markings, so you need to learn a professional depth, too, so novices
feeling more hard-wearing. which port is behind each door. can become familiar with settings and
 MIRRORLESS TEST SONY Z V-E1

The stills performance of the ZV-E1 is excellent, as has long been the case
with Sony cameras. Images are sharp, with excellent natural colours and
fantastic dynamic range. However, this camera’s priority isn’t stills, and it’s
held back by its 12.4MP sensor, which is smaller than the norm nowadays.

© Gareth Bevan
expand their video capabilities, while you use power zoom lenses, but you sensor and its larger pixels can
more experienced users can jump in. could take this camera out for a day’s shine, with improved dynamic range
The size of the ZV-E1 is pretty exploring without battery anxiety. capturing the tones and shadows
special. Placed next to my Fujifilm more effectively; and the additional
X-E4, the Sony was only marginally Video performance depth of field was superior to any
bigger with its grip. I used the ZV-E1 For the purposes of testing, I used ‘cinematic mode’ on the phone.
with one of Sony’s best lenses, the FE ƋĘåƤϱĵåų±±ŸĜüFƵåųå±ƴĬŅččåųØ However, 4K video direct from
24-70mm F/2.8 GM, but it was a poor ƵĜƋĘƤ±ƴĜÚåŅčŅĜĹčŸƋų±ĜčĘƋƚŞŅĹĵƼ the ZV-E1 is no better than from
match. The grip is substantial enough hypothetical YouTube channel. I shot other cameras I’ve tested. The latest
for smaller lenses – something like footage in 4K 24fps without S-Log or 4K vlogging cameras from Canon,
the FE 24mm F/2.8 G lens would be any other settings requiring extra Panasonic or Fujifilm are pretty similar,
perfect – but with larger lenses, it was post-production work; those options especially if you use them for social
difficult to keep steady during filming. are available for more creative media, streaming or vlogging video.
Heavier lenses like the 24-70mm filmmakers, but I wanted to work with Where the ZV-E1 shines is in its
made the camera front-heavy, pulling footage straight from the camera, as subject recognition and tracking. Sony
the weight forwards on the grip, so it appears to be Sony’s intention. has one of the best human subject
became uncomfortable to keep the The ZV-E1 produced some quality recognition systems around, and it’s
camera held up to the eye for long. footage, with a more accurate capable of tracking people down to
Battery life is good – I went a tonal range than I captured on my their skeletal movements. Filming
whole day filming short 4K clips with phone, with more natural processing people, the camera kept the focus
autofocus and image stabilisation, as compared to the HDR-heavy phone locked on the subject’s head even
well as shooting stills. This will vary if video. This is where the full-frame when they were facing in another
 MIRRORLESS TEST SONY Z V-E1

moving while filming other people LAB TESTS

or wildlife, the Active IS and tracking
autofocus are a perfect combination
for this – you can comfortably get RESOLUTION (LINE WIDTHS/PICTURE HEIGHT)
handheld stable footage without the
use of an additional gimbal.
The built-in microphone on the
ZV-E1 beats the mics on most regular
mirrorless cameras. The microphone
has automatic directional audio,
which did a good job at picking up
and isolating my voice, especially in
Compact, lightweight noisier environments. However, the
and packing plenty of microphone still is not as full and
useful features, the rounded as a larger external mic.
;7&NBLFTBçGJOF 8FUFTUFEUIF;7&BHBJOTUUIF'VKJmMN9)4 
vlogging camera Stills performance the Canon EOS R6 Mk II and the Panasonic Lumix
The ZV-E1’s stills are typically good S5 II. With ‘only’ 12.1MP, the ZV-E1 doesn’t score
for a Sony camera. They’re sharp, with highly in our resolution test, although while
outright detail capture is mediocre, its excellent
direction, and when they turned to excellent natural colours and fantastic high-ISO image quality means detail isn’t
face the camera it swapped to eye dynamic range. Again, the ZV-E1’s obscured by noise at higher sensitivities.
focus faster than I could blink. Only autofocus and tracking system works
occasionally did it incorrectly identify well, and focus was lightning fast on
and lock onto inanimate objects. everything. It’s especially impressive SIGNAL-TO-NOISE RATIO (DECIBELS)
Image stabilisation is a mixed with human subjects; eye tracking is
bag. The ZV-E1 is meant to be used never perfect on any camera system,
handheld, so offers three levels of but in bursts of shots on the ZV-E1,
stabilisation to compensate. Standard Sony’s system had a high hit rate. Stills
stabilisation was fine for slow zooming are not this camera’s primary purpose,
or panning, but try to walk or move however, and the ZV-E1 is held back
with the camera and footage quickly by only having a 12.4MP sensor, which
became unusable. Swapping to is considerably smaller than what is
Active or Dynamic Active stabilisation now the norm for any digital camera.
helped, though at the cost of a fairly This limits the ability to crop images
significant crop. I also struggled to fit while maintaining quality, although it
in buildings and other large objects will be more than enough for social
This test compares the noise generated by the
once the crop was applied. media or most other online use cases. cameras at different ISO settings, so while
The mileage you get from the Gareth Bevan we’d expect to see it fall as ISO increases, the
image stabilisation depends on what ZV-E1’s image quality holds up very well.
you want to film and the lens you own.
The image stabilisation is useful when
VERDIC T DYNAMIC RANGE (EV)
The ZV-E1 is an excellent vlogging
camera. It’s small, compact
and lightweight while packing
SENSOR: 12.1MP FULL-FRAME CMOS IMAGE in features such as an image-
PROCESSOR: BIONZ XR LENS MOUNT: stabilised full-frame sensor,
SONY E-MOUNT VIEWFINDER: ELECTRONIC subject recognition and auto-
VIEWFINDER, 2.36-MILLION DOTS LCD tracking. Stills quality is also
SCREEN: VARI-ANGLE TOUCHSCREEN fantastic, though limited by the
LCD, 3.0 INCHES, 921,600 DOTS VIDEO 12MP sensor. The ZV-E1 is similar
RECORDING: 4K UHD AT UP TO 30FPS, FULL to Sony’s A7C, which offers better
HD AT UP TO 120FPS AUTOFOCUS: PHASE- stills and is more affordable.
DETECTION AND CONTRAST-DETECTION Though the ZV-E1’s relatively low pixel count
scores against it for detail capture, it pays
AUTOFOCUS CONNECTIVITY: WI-FI, dividends for capturing the maximum possible
BLUETOOTH DIMENSIONS: 122.5 X 72.8 X dynamic range – great if you’re shooting in
94.8MM WEIGHT: 492G (BODY ONLY) less-than-ideal lighting.
 C R E D I T S

[email protected]

FACEBOOK TWITTER FLICKR

IUUQCJUMZQZMH IUUQCJUMZW(BE-1 IUUQCJUMZ7*HT+0

www.digitalcameraworld.com
9001

ADVERTISING Editor Jeff Meyer SENIOR CREATIVE TEAM

UK Commerical Sales Director [email protected] Content Director
Clare Dove Chris George
[email protected] Art Editor [email protected]
Alvin Weetman
Head of Market Senior Art Editor
Matthew Johnston Production Editor Warren Brown
[email protected] Mike McNally
SENIOR MANAGEMENT
Account Sales Director Reviews Editor Senior Vice President – Games,
Matt Bailey Gareth Bevan Entertainment, Tech & Sports
[email protected] Kevin Addley
Lab Manager
MARKETING Ben Andrews Managing Director – Music,
Head of Acquisitions Photography & Design
Helen Harding REGULAR CONTRIBUTORS Stuart Williams
Mike Harris, Marcus Hawkins,
LICENSING ŅÚƤX±ƵƋŅĹØI±ĵåŸ{±ƋåųŸŅĹØ Head of Art & Design
International Matthew Richards Rodney Dive
Licensing Director
Rachel Shaw APP SUPPORT
[email protected] Digital Controller
Jason Hudson

Disclaimer
All contents © 2023 Future Publishing Limited or published under licence. All rights reserved. No part of this magazine may be used, stored, transmitted or reproduced in any way without the prior written permission of the publisher. Future Publishing Limited (company number 2008885)
JTSFHJTUFSFEJO&OHMBOEBOE8BMFT3FHJTUFSFEPGmDF2VBZ)PVTF 5IF"NCVSZ #BUI#"6""MMJOGPSNBUJPODPOUBJOFEJOUIJTQVCMJDBUJPOJTGPSJOGPSNBUJPOPOMZBOEJT BTGBSBTXFBSFBXBSF DPSSFDUBUUIFUJNFPGHPJOHUPQSFTT'VUVSFDBOOPUBDDFQUBOZSFTQPOTJCJMJUZGPSFSSPSTPS
inaccuracies in such information. You are advised to contact manufacturers and retailers directly with regard to the price of products/services referred to in this publication. Apps and websites mentioned in this publication are not under our control. We are not responsible for their contents
PSBOZPUIFSDIBOHFTPSVQEBUFTUPUIFN5IJTNBHB[JOFJTGVMMZJOEFQFOEFOUBOEOPUBGmMJBUFEJOBOZXBZXJUIUIFDPNQBOJFTNFOUJPOFEIFSFJO
9000

If you submit material to us, you warrant that you own the material and/or have the necessary rights/permissions to supply the material and you automatically grant Future and its licensees a licence to publish your submission in whole or in part in any/all issues and/or editions of
publications, in any format published worldwide and on associated websites, social media channels and associated products. Any material you submit is sent at your own risk and, although every care is taken, neither Future nor its employees, agents, subcontractors or licensees shall be
liable for loss or damage. We assume all unsolicited material is for publication unless otherwise stated, and reserve the right to edit, amend, adapt all submissions.