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 7-13 JUNE
I S S UE 29 8
INSPIR AT ION IDE A S IN-DEP TH RE V IEWS
PANASONIC LUMIX GH5S THE ULTIMATE CSC FOR VIDEOGRAPHERS?
MONOCHROME MASTERCLASS LEARN TO SEE THE WORLD IN BLACK & WHITE
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JOIN THE CLUB... Welcome to the world’s No.1 weekly digital photography magazine. If you’re already a reader, thanks for your continued support and involvement; if you’re new to Photography Week, you’ve come to the right place! In addition to expert advice, brilliant tips and step-by-step tutorials, every issue features interactive galleries of the best new photos, how-to videos on
essential shooting and editing techniques, and in-depth reviews of the latest camera kit. But that’s not the whole story. Photography Week is more than a magazine – it’s a community of like-minded people who are passionate about photography. To get involved, just follow any of the links below and share your shots and comments – your photo might even appear on our cover!
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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 NEWS
‘BOKEH MASTER’ IS HERE Sigma’s flagship 105mm f/1.4 eųƋƤŸåųĜåŸ ĬåĹŸ čŅåŸ ŅĹ Ÿ±Ĭå F E AT U R E
CAPTURE AMAZING MONO %ĜŸÏŅƴåų ĘŅƵ ƋŅ ŸĘŅŅƋ ±ĹÚ åÚĜƋ ŸƋƚĹĹĜĹč ÆĬ±Ïĩě±ĹÚěƵĘĜƋå Ĝĵ±čåŸ PHOTOS
GALLERY kƚų ŞĜÏĩ Ņü ƋĘå ÆåŸƋ ųå±Úåų ŞĘŅƋŅŸ üųŅĵƤ±ųŅƚĹÚ ƋĘå ƵŅųĬÚ
F E AT U R E
I N S P I R AT I O N PHOTOS
I N S P I R AT I O N
GREAT APE SHOW åå ƋĘå ϱŞƋĜƴ±ƋĜĹč ŸĘŅƋŸ ÏĘŅŸåĹ üŅų ± ÏŅĹŸåųƴ±ƋĜŅĹ ÏʱųĜƋƼ ÆŅŅĩ CRASH COURSE
GET INTO DRIVE MODE Xå±ųĹ ƋĘå ŸåÏųåƋŸ Ņü ϱŞƋƚųĜĹč ü±ŸƋěĵŅƴĜĹč ĵŅƋŅųŸŞŅųƋŸ ±ÏƋĜŅĹ PHOTOSHOP
DISAPPEARING ACT a±ĩå ƼŅƚų ŸƚÆģåÏƋ ƴ±ĹĜŸĘ ƋŅ Ïųå±Ƌå ± čĘŅŸƋĬƼ ŞŅųƋų±ĜƋ åüüåÏƋ
CRASH COURSE GEAR
PANASONIC LUMIX GH5S {±Ĺ±ŸŅĹĜÏűŸ ĹåƵ ĵĜųųŅųĬ域 ϱĵåų± ĜŸ ŅŞƋĜĵĜŸåÚ üŅų ƴĜÚåŅØ ÆƚƋ ÚŅåŸ ĜƋ ÏƚƋ ƋŅŅ ĵ±ĹƼ ÏŅųĹåųŸ üŅų ŸƋĜĬĬŸ ŞĘŅƋŅčų±ŞĘåųŸũ
PHOTOSHOP
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W H AT ’ S H O T THE WEEK’S TOP HEADLINES IN PHOTOGRAPHY
SIGMA’S ‘BOKEH MAS TER’ LENS IS ON SALE NOW Flagship 105mm f/1.4 promises spectacular sharpness and beautiful blur
S
igma’s much-anticipated
bound to appeal to portrait and social
The design promises to minimize
wide-aperture f/1.4 Art lens,
photographers thanks to its exotic mix
axial chromatic aberration to deliver
the 105mm f/1.4 DG HSM | Art,
of an ultra-wide maximum aperture and
extremely high resolution, along with
moderate telephoto focal length.
ample peripheral light volume, allowing
has gone on sale for Canon, Nikon and
the area in focus to be rendered
Sigma shooters in the UK for £1,499, and is available for pre-order in the US,
Maxing out on elements
extremely sharply, while out-of-focus
where it costs $1,599. And you won’t
Sigma claims the new lens will
areas are attractively blurred.
miss out if you’ve got a Sony full-frame
combine outstanding resolution with a
camera, as there’s a version coming for
beautiful bokeh effect. To achieve this,
f/1.4E ED, the Sigma 105mm f/1.4 DG
Sony’s FE mount, although Sigma is still
it incorporates 17 optical elements in
HSM | Art features a much larger front
to confirm when that’s going to ship.
12 groups – for a prime lens, that’s an
element, which Sigma says will enable
uncommonly large number of elements.
the lens capture a significantly greater
its Art series range of lenses as the
These include three FLD glass, two SLD
volume of peripheral light, which should
‘bokeh master’. This is a lens that’s
glass, and one aspherical lens element.
minimize vignetting.
Sigma is billing the new flagship of
Compared to the Nikon AF-S 105mm
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Getty Images/Chris Winsor
BLACK & WHITE Chris Rutter shows you how to shoot, convert and process your shots to produce stunning mono images ven though a digital camera ĜŸƤϱޱÆĬå Ņü ϱŞƋƚųĜĹč ±Ĺ ±ĬĵŅŸƋ åƻ±ÏƋ ÏŅŞƼ Ņü ± ŸƚÆģåÏƋØ ƋʱƋ ÚŅåŸĹűƋ ĵå±Ĺ ƋĘĜŸ ĜŸ ƋĘå ÆåŸƋ ŅŞƋĜŅĹţ {ĘŅƋŅčų±ŞĘƼ ĜŸĹűƋ ±ÆŅƚƋ ŸĜĵŞĬƼ ųåÏŅųÚĜĹč ƋĘå ŸÏåĹå ĜĹƤüųŅĹƋ Ņü ƼŅƚſ ĜƋűŸ ± ŞųŅÏ域 Ņü ĜĹƋåųŞųåƋ±ƋĜŅĹØ ±ĹÚ ƋʱƋűŸ åƻ±ÏƋĬƼ ƵʱƋ ÏŅĹƴåųƋĜĹč ±Ĺ Ĝĵ±čå ƋŅ ÆĬ±Ïĩ ±ĹÚ ƵĘĜƋå ŅüüåųŸţ FƋ üųååŸ ƼŅƚ üųŅĵ ƋĘå ÏŅĹŸƋų±ĜĹƋŸ ŅüƤϱŞƋƚųĜĹč ± ĬĜüåěĬĜĩå Ĝĵ±čåØ čĜƴĜĹč ƼŅƚ ±ĬĵŅŸƋ ƚĹĬĜĵĜƋåÚ Ïųå±ƋĜƴĜƋƼţ eƋ ƋĘå Ú±ƵĹ Ņü ŞĘŅƋŅčų±ŞĘƼØ ÆĬ±Ïĩ ±ĹÚ ƵĘĜƋå Ƶ±Ÿ ƋĘå ŅĹĬƼ ŅŞƋĜŅĹØ ÆƚƋ ĹŅƵ ĜƋűŸ ± Ïųå±ƋĜƴå ÏĘŅĜÏå ƋʱƋ ÆŅƋĘ
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±ÏĩĹŅƵĬåÚčåŸ ƋĘå ĘĜŸƋŅųƼ ±ĹÚ Ĭåč±ÏƼ Ņü ŞĘŅƋŅčų±ŞĘƼØ ÆƚƋ Ï±Ĺ ±ĬŸŅ Æå ĵŅÚåųĹ ±ĹÚ ÏƚƋƋĜĹčěåÚčåţ Ĭ±Ïĩě±ĹÚěƵĘĜƋå Ĝĵ±čåŸ Ę±ƴå ± ƋĜĵåĬ域 ŧƚ±ĬĜƋƼØ ±ĹÚ ĜĹ ±Ĺ ±čå ƵĘåųå Ƶåűųå ÆŅĵƱųÚåÚ ƵĜƋĘ ÏŅĬŅƚų Ĝĵ±čåŸØ ĵŅĹŅÏĘųŅĵå ŞĘŅƋŅŸ ŸƋĜĬĬ ʱƴå ƋĘå ŞŅƵåų ƋŅ ĵ±ĩå ƋĘå ƴĜåƵåų ŸƋŅŞØ ŸƋ±ųå ±ĹÚ ƋĘĜĹĩţ ĘåƼ ±ĬŸŅ čĜƴå ƼŅƚ ƋĘåƤüųååÚŅĵ ƋŅ åƻŞåųĜĵåĹƋ ƵĜƋĘ ÚĜüüåųåĹƋ åüüåÏƋŸ ±ĹÚ Ƌųå±ƋĵåĹƋŸØ ŸƚÏĘƤ±Ÿ ÚŅÚčĜĹč ±ĹÚ ÆƚųĹĜĹčØ üĜĬĵ ĬŅŅĩŸ ±ĹÚƤüĜĬƋåų åüüåÏƋŸ ƋʱƋ ʱųĩ ƱÏĩ ƋŅ ƋĘåƤå±ųĬĜåŸƋ Ú±ƼŸ Ņü ŞĘŅƋŅčų±ŞĘƼ ÆƚƋ ±ųåƤŸƋĜĬĬ ±Ÿ ŞŅƵåųüƚĬ ƋŅÚ±Ƽţ
"#065 $)3*4ç3655&3 Chris has over 30 Ƽå±ųŸű åƻŞåųĜåĹÏå Ņü ŸĘŅŅƋĜĹč ±ĹÚ ŞųĜĹƋĜĹč ÆĬ±Ïĩě±ĹÚě ƵĘĜƋå Ĝĵ±čåŸţ Bå started ƵĜƋĘ ĀĬĵ ±ĹÚ Ƌų±ÚĜƋĜŅűĬ Ú±ųĩųŅŅĵ ƋåÏĘĹĜŧƚåŸØ ÆåüŅųå ŸƵĜƋÏĘĜĹč ƋŅƤÚĜčĜƋ±Ĭ ŎĂ Ƽå±ųŸ ±čŅţ ƵƵƵţÏĘųĜŸųƚƋƋåųŞĘŅƋŅčų±ŞĘƼţÏŅĵ
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WHAT TO LOOK FOR
Understanding how a subject will translate into black and white is vital üŅųƤŞųŅÚƚÏĜĹč ŸƚÏÏ域üƚĬ ĵŅĹŅ Ĝĵ±čåŸţ Båųå ±ųå ƋĘå ŞųĜĹÏĜŞĬåŸ ƋʱƋ ƵĜĬĬ ĘåĬŞñ ĘĜĬå ĵ±ĹƼ ŞĘŅƋŅčų±ŞĘƼ ŸĩĜĬĬŸ ±ųå ŸĜĵĜĬ±ų üŅų ÆŅƋĘ ÆĬ±Ïĩě ±ĹÚěƵĘĜƋå ±ĹÚ ÏŅĬŅƚų ŸĘŅƋŸØ ŸƚÏĘƤ±ŸƤÏŅĵŞŅŸĜƋĜŅĹ ±ĹÚ ƚĹÚåųŸƋ±ĹÚĜĹč ĘŅƵ ƋĘå ĬĜčĘƋ ĜŸ ü±ĬĬĜĹč ŅĹƤƋĘå ŸƚÆģåÏƋØ ƋʱƋ ÚŅåŸĹűƋ ĵå±Ĺ ĜƋűŸ ŸĜĵŞĬƼ ± ϱŸå Ņü ŸĘŅŅƋĜĹč ƋĘå Ÿ±ĵå ŸƚÆģåÏƋŸ ±ĹÚ ÏŅĹƴåųƋĜĹč ƋĘåĵ üųŅĵ ÏŅĬŅƚų ƋŅ ĵŅĹŅţ ƚÆģåÏƋŸ ƋʱƋ ųåĬƼ ŅĹ ÏŅĬŅƚų üŅų ƋĘåĜų ĵŅŅÚ Ņų ĜĵޱÏƋ ƵĜĬĬ ŅüƋåĹ Æå Ĭ域 ŸƚÏÏ域üƚĬ ĜĹ ÆĬ±Ïĩ ±ĹÚ ƵĘĜƋåţ Ņ ĜĹŸƋå±Ú Ņü ĬŅŅĩĜĹč ±Ƌ ƋĘå ÏŅĬŅƚųŸ ĜĹ ±
Getty Images/EyeEm
ŸƚÆģåÏƋ Ņų ŸƋųƚÏƋƚųå ĜĹ ƋĘå Ĝĵ±čå ƋʱƋ ƵĜĬĬ ŸƋ±ĹÚ ŅƚƋ üųŅĵ ƋĘå ƱÏĩčųŅƚĹÚţ eĬŅĹč ƵĜƋĘƤƋĘå ĵ±ĜĹ ŸƚÆģåÏƋØ ĜƋűŸ ŅüƋåĹ ƋĘå ŸĘ±ÚŅƵŸ ƋʱƋ ÚåüĜĹå ƋĘå ŸƋųƚÏƋƚųå Ņü ƋĘåƤÏŅĵŞŅŸĜƋĜŅĹ ĜĹ ÆĬ±Ïĩ ±ĹÚ ƵĘĜƋåØ ŸŅ ޱƼƤޱųƋĜÏƚĬ±ų ±ƋƋåĹƋĜŅĹ ƋŅ ƋĘåŸåţ ŅØ ĬŅŅĩ üŅų ÏŅĹƋų±ŸƋŸ Ņü ĬĜčĘƋ ±ĹÚ Ú±ųĩ ƋʱƋ ƵĜĬĬ čĜƴå ƋĘå Ĝĵ±čå ± ŸƋųŅĹč ŸƋųƚÏƋƚųåØ ±ĹÚ ƼŅƚűĬĬ Æå ŅĹ ƋĘå ųĜčĘƋ Ƌų±Ïĩţ ¥Ņƚ Ï±Ĺ ƋĘåĹ ƋųƼ ƋŅ ĜĹÏĬƚÚå ĵŅųå ŸƚÆƋĬå åĬåĵåĹƋŸ Ņü ÚåƋ±ĜĬØ ƋŅĹåŸØ üŅųĵ ±ĹÚ ƋåƻƋƚųå ƋŅ ±ÚÚ ÚåŞƋĘ ±ĹÚ ĜĹƋåųåŸƋţ
Getty Images/EyeEm
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ŸÏåĹåØƤƋųƼ ƋŅ ŞĜÏƋƚųå ĘŅƵ ƋĘå ÚĜüüåųåĹƋ ƋŅĹåŸØ ÚåƋ±ĜĬŸ ±ĹÚ čų±ŞĘĜÏ åĬåĵåĹƋŸ ƵĜĬĬ ƵŅųĩ ƋŅčåƋĘåų ƋŅ ŞųŅÚƚÏå ± ŸƋųŅĹč ÏŅĵŞŅŸĜƋĜŅĹţ ƚƋ ųåĵåĵÆåų ƋŅŅ ƋʱƋ ƋĘå Ĝĵ±čå ƼŅƚ ϱŞƋƚųå Ï±Ĺ Æå ŸĜĵŞĬƼ ± ŸƋ±ųƋĜĹč ŞŅĜĹƋſ ƵĜƋĘ ŸŅĵå ŸĜĵŞĬå Ĝĵ±čå ĵ±ĹĜŞƚĬ±ƋĜŅĹØ ƼŅƚ Ï±Ĺ åĹʱĹÏå ±ĹÚ ±ĬƋåų ƋĘå ųåĬ±ƋĜŅĹŸĘĜŞŸ Ņü ƋĘå ƋŅĹåŸ ĜĹ ƋĘåƤüĜűĬ Ĝĵ±čåţ Ęåųå ±ųå ĵ±ĹƼ ü±ÏƋŅųŸ ƋʱƋ Ï±Ĺ ĜĹüĬƚåĹÏå ƋĘĜŸ ųåŸƚĬƋØ ÆƚƋ ƋĘå ĵŅŸƋ ĜĵŞŅųƋ±ĹƋ ƋĘĜĹč ƋŅ ĬŅŅĩ ŅƚƋ üŅų ĜŸ ± ĵ±ĜĹ
1CAPTURE LIGHT
ĹÚåųŸƋ±ĹÚĜĹč ĘŅƵ ƋĘå ŧƚ±ĬĜƋƼ ±ĹÚ ÚĜųåÏƋĜŅĹ Ņü ƋĘå ĬĜčĘƋ ü±ĬĬĜĹč ŅĹ ƼŅƚų ŸƚÆģåÏƋ ƵĜĬĬ ±üüåÏƋ ƋĘå üĜűĬ Ĝĵ±čå ĜŸ ƴĜƋ±Ĭ üŅų ŸƚÏÏ域üƚĬ ÆĬ±Ïĩě±ĹÚěƵĘĜƋå Ĝĵ±čåŸţ ĘŅŅƋĜĹč ĜĹƋŅ ƋĘå ĬĜčĘƋ ƵĜĬĬ ŞųŅÚƚÏå Úų±ĵ±ƋĜÏ ųåŸƚĬƋŸØ ƵĘĜĬå ŸĜÚåěĬĜčĘƋĜĹč Ï±Ĺ ĘåĬŞ ƋŅ åĹʱĹÏå ŸĘ±Şå ±ĹÚ üŅųĵţ
2CAPTURE SHAPES
ĜƋĘŅƚƋ ÏŅĬŅƚųØ ĜƋűŸ ŅüƋåĹ ƋĘå ŸĘ±Şå Ņü ±Ĺ ŅÆģåÏƋ ƋʱƋ ÚåüĜĹåŸ ĜƋţ XŅŅĩ üŅų ŸƚÆģåÏƋŸ ƵĜƋĘ ŅƚƋĬĜĹåŸ ƋʱƋ Ïųå±Ƌå ŸƋųŅĹč ŸĘ±ŞåŸ ±č±ĜĹŸƋ ± ųåĬ±ƋĜƴåĬƼ ŸĜĵŞĬå ±ĹÚ ƚĹÏĬƚƋƋåųåÚ Æ±ÏĩčųŅƚĹÚſ ƋĘĜŸ ƵĜĬĬ Æå 屟Ĝåų Ĝü ƋĘå ƋŅĹåŸ Ņü ƋĘå ŸƚÆģåÏƋ ÏŅĹƋų±ŸƋ ƵĜƋĘ ƋĘå ƱÏĩčųŅƚĹÚţ
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Chris Rutter
©2017 Gabriela Tulian
WHAT TO LOOK FOR CONTINUED
3CAPTURE TONE
4CAPTURE MOOD
5CAPTURE TEXTURE
6CAPTURE CONTRAST
7CAPTURE FORM
8CAPTURE PATTERNS
8ųŅĵ Ú±ųĩ ±ĹÚ ÆųŅŅÚĜĹč ƋŅ ĬĜčĘƋ ±ĹÚ ±ĜųƼØ ƋĘå Ĭ±Ïĩ Ņü ÏŅĬŅƚų ĜĹ ÆĬ±Ïĩě±ĹÚěƵĘĜƋå Ĝĵ±čåŸ ĜŸ ĜÚå±Ĭ üŅų åĹʱĹÏĜĹč ĵŅŅÚţ ĘĜŸ Ï±Ĺ Æå åĹʱĹÏåÚ ÆƼ ŸåĬåÏƋĜƴåĬƼ Ú±ųĩåĹĜĹč Ņų ĬĜčĘƋåĹĜĹč ÚĜüüåųåĹƋ ±ų屟 Ņü ƋĘå Ĝĵ±čå ƚŸĜĹč ÚŅÚčĜĹč ±ĹÚ ÆƚųĹĜĹčţ
Chris Rutter
Chris Rutter
eĬŅĹč ƵĜƋĘ ƋĘå ĵŅųå čų±ŞĘĜÏ åĬåĵåĹƋŸØ ÆĬ±Ïĩ ±ĹÚ ƵĘĜƋå ĜŸ ±ĬŸŅ ±Ƥčųå±Ƌ ĵåÚĜƚĵ üŅų ϱŞƋƚųĜĹč ŸƚÆƋĬå ƴ±ųĜ±ƋĜŅĹŸ ĜĹ ƋŅĹåţ ĹÚåųŸƋ±ĹÚĜĹč ĘŅƵ ÚĜüüåųåĹƋ ÏŅĬŅƚųŸ ƵĜĬĬ ±ŞŞå±ų ±Ÿ ƋŅĹåŸ ĜĹ ƋĘåƤüĜűĬ Ĝĵ±čå ĜŸ ƋĘå ĩåƼ ƋŅ ůŸååĜĹčű ĜĹ ÆĬ±Ïĩ ±ĹÚ ƵĘĜƋåţ
Ęå ÏŅĹƋų±ŸƋ Ņü ÆųĜčĘƋ ĘĜčĘĬĜčĘƋŸ ±ĹÚ Ú±ųĩ ŸĘ±ÚŅƵŸ ĜŸ ŞåųüåÏƋ üŅųƤÏųå±ƋĜĹč ŸƋųĜĩĜĹč Ĝĵ±čåŸţ eĬƋĘŅƚčĘ ƼŅƚų ±ƋƋåĹƋĜŅĹ ĜŸ Úų±ƵĹ ƋŅƤƋĘå ÆųĜčĘƋåŸƋ ±ųå±ŸØ ĜƋűŸ ƋĘå ŸĘ±ÚŅƵŸ ƋʱƋ ŅüƋåĹ Ïųå±Ƌå ƋĘå ŸƋųŅĹčåŸƋ ÏŅĹƋų±ŸƋţ ĘĜŸ ƵŅųĩŸ ÆåŸƋ ƵĜƋĘ ŸĜĵŞĬå ŸƚÆģåÏƋŸţ
Chris Rutter
Getty Images/EyeEm
8ųŅĵ ƋĘå ģ±ččåÚ Ÿƚųü±Ïå Ņü ŸƋŅĹå ƋŅ ƋĘå ÚåĬĜϱƋå ÚåƋ±ĜĬ Ņü ʱĜųØ ƋåƻƋƚųå ĜŸ ± ĩåƼ åĬåĵåĹƋ üŅų ĵ±ĹƼ ÆĬ±Ïĩě±ĹÚěƵĘĜƋå Ĝĵ±čåŸţ ĘĜŸ Ï±Ĺ Æå ƚŸåÚ ±Ÿ ޱųƋ Ņü ± Ĭ±ųčåų ÏŅĵŞŅŸĜƋĜŅĹØ Ņų ±Ÿ ƋĘå ĵ±ĜĹ ŸƚÆģåÏƋţ ĜÚåěĬĜčĘƋĜĹč Ï±Ĺ ĘåĬŞ ƋŅ ÆųĜĹč ŅƚƋ ƋĘĜŸ ƋåƻƋƚųåţ
8Ņųĵ ĜŸ ƋĘå ƋĘųååěÚĜĵåĹŸĜŅűĬ ŸĘ±Şå Ņü ± ŸƚÆģåÏƋţ FƋűŸ Ïųå±ƋåÚ ÆƼ ŸƚÆƋĬå ƴ±ųĜ±ƋĜŅĹŸ ĜĹ ŸĘ±ÚĜĹčØ üųŅĵ ĬĜčĘƋ ƋŅĹåŸ ƋŅ ŸĘ±ÚŅƵŸţ ĘåŸå ƴ±ųĜ±ƋĜŅĹŸ ĬŅŅĩ ĵŅŸƋ åüüåÏƋĜƴå ƵĘåĹ ƋĘå ĬĜčĘƋ ŸŅƚųÏå ĜŸ ƋŅ ŅĹå ŸĜÚå Ņü ƋĘå ŸƚÆģåÏƋţ
åŞå±ƋĜĹč Ş±ƋƋåųĹŸ ĵ±ĩå ± čųå±Ƌ ŸƚÆģåÏƋ üŅų ÆĬ±Ïĩ ±ĹÚ ƵĘĜƋåţ Ęå ĩåƼ ƋŅ ϱŞƋƚųĜĹč ƋĘåŸå ĜŸ ŸĜĵŞĬĜÏĜƋƼØ ŸŅ ƋųƼ ƋŅ åƻÏĬƚÚå ±ĹƼ ±ų屟 Ņü ƋĘå ŸÏåĹå ƋʱƋ ÚĜŸƋų±ÏƋ üųŅĵ ƋĘå ĜĵޱÏƋ ÆƼ čåƋƋĜĹč ĜĹ ÏĬŅŸå Ņų ƚŸĜĹč ± ĬŅĹč üŅϱĬ ĬåĹčƋĘţ
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CAMERA SETTINGS
Choosing the right settings will make it easier to pre-visualise ĘŅƵƤƋĘåƤŸÏåĹåƤƵĜĬĬ åƴåĹƋƚ±ĬĬƼ ±ŞŞå±ų ĜĹ ÆĬ±Ïĩ ±ĹÚ ƵĘĜƋå ĹÚåųŸƋ±ĹÚĜĹč ĘŅƵ ÏŅĬŅƚųŸ ±ĹÚƤƋŅĹåŸ ƵĜĬĬ Ƌų±ĹŸĬ±Ƌå ĜĹƋŅ ƼŅƚų üĜűĬ ÆĬ±Ïĩě±ĹÚěƵĘĜƋå Ĝĵ±čå Ï±Ĺ Æå ÏʱĬĬåĹčĜĹčØ ÆƚƋ ƋĘåųå ±ųå ŸŅĵå ϱĵåų± ŸåƋƋĜĹčŸ ƋʱƋ ƵĜĬĬ ĘåĬŞ ƼŅƚ ƋŅ ŞųåěƴĜŸƚ±ĬĜŸå ƋĘå åüüåÏƋ ÆåüŅųå ƼŅƚ Şų域 ƋĘå ŸĘƚƋƋåųţ Ęå ĵ±ĜĹ ŅĹå ĜŸ ƋĘå aŅĹŅÏĘųŅĵå {ĜÏƋƚųå ŅĹƋųŅĬ ŠŅų {ĜÏƋƚųå ƋƼĬåš× ƋĘĜŸ čĜƴåŸ ƼŅƚ ± ÆĬ±Ïĩě±ĹÚěƵĘĜƋå ŞųåƴĜåƵ ŅĹ ƼŅƚų X % ŸÏųååĹØ ĜĹÚĜϱƋĜĹč ĘŅƵ ƋĘå üĜűĬ Ĝĵ±čå ƵĜĬĬ ĬŅŅĩţ eĬŅĹč ƵĜƋĘ ƋĘĜŸØ ƼŅƚ ±ĬŸŅ ĹååÚ ƋŅ ƚŸå ƋĘå ųĜčĘƋ ŸåƋƋĜĹčŸ ƋŅ čåƋ ƋĘå ÆåŸƋěŧƚ±ĬĜƋƼ ųåŸƚĬƋŸØ ±ĹÚ ±ĬŸŅ ƚĹÚåųŸƋ±ĹÚ ĘŅƵ ƋĘå åƻŞŅŸƚųå ±ĹÚ ƵĘĜƋå ƱĬ±ĹÏå ŸåƋƋĜĹčŸ ƼŅƚ ƚŸå ƵĜĬĬ ±üüåÏƋ ƋĘå üĜűĬ ųåŸƚĬƋţ
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PRE-VISUALISE IN-CAMERA ĘåŸå ŅŞƋĜŅĹŸ ƴ±ųƼ ÚåŞåĹÚĜĹč ŅĹ ƼŅƚų ϱĵåų±Ø ÆƚƋ ƋĘåƼűųå ü±ĜųĬƼ ŸƋ±ĹÚ±ųÚţ ¥Ņƚ Ï±Ĺ Ĭå±ƴå ʱųŞĹ域 ŅĹ ± ĬŅƵ Ņų ĵĜÚÚĬå ƴ±Ĭƚåſ ĜƋ ƵŅĹűƋ ʱƴå ±ĹƼ ŅÆƴĜŅƚŸ åüüåÏƋƤŅĹ ƋĘå ŞųåƴĜåƵ Ĝĵ±čåţ
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¥Ņƚ ĵ±Ƽ ĹååÚ ƋŅ ĜĹÏų屟å ƋĘå ÏŅĹƋų±ŸƋ üŅų ĬŅƵěÏŅĹƋų±ŸƋ ŸƚÆģåÏƋŸ Ņų ĜĹÏų屟å ĜƋ üŅų ĘĜčĘěÏŅĹƋų±ŸƋ ŅĹåŸţ
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8ĜĬƋåų )üüåÏƋ ĜŸ ŸĜĵĜĬ±ų ƋŅ ƚŸĜĹč Ƌų±ÚĜƋĜŅűĬ ÏŅĬŅƚųåÚ üĜĬƋåųŸ ±ÚģƚŸƋ ƋĘå ƋŅűĬ ųåĹÚĜƋĜŅĹ Ņü ÚĜüüåųåĹƋ ÏŅĬŅƚųŸţ
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¥Ņƚ Ï±Ĺ ±ĬŸŅ ±ÚÚ ±Ĺ Ņƴåų±ĬĬ ƋŅĹå ŸƚÏĘ ±Ÿ ŸåŞĜ± Ņų ÆĬƚå ƋŅƤƋĘå Ĝĵ±čåţ
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Getty Images/fStop
SHOOT IN RAW ĘŅŅƋĜĹč ų±Ƶ ų±ƋĘåų ƋʱŠI{): ŅüüåųŸ ƋĘå ĘĜčĘåŸƋ ŧƚ±ĬĜƋƼ ±ĹÚ Ĭ±ųčåŸƋ ų±Ĺčå Ņü ÏŅĹƴåųŸĜŅĹ ŅŞƋĜŅĹŸ üŅų ƼŅƚų ÆĬ±Ïĩě±ĹÚěƵĘĜƋå Ĝĵ±čåŸØ ÆƚƋ ƋĘåųå ±ųå ŸŅĵå ĬĜĵĜƋ±ƋĜŅĹŸţ ĘåĹ ƼŅƚ ŅŞåĹ ƋĘå Ĝĵ±čå ĜĹ åÚĜƋĜĹč ŸŅüƋƵ±ųå ŸƚÏĘ ±Ÿ XĜčĘƋųŅŅĵ Ņų ±ĵåų± ±Ƶ ƼŅƚűĬĬ ĬŅŸå ±ĹƼ ϱĵåų± {ĜÏƋƚųå ƋƼĬå ŸåƋƋĜĹčŸ ƋʱƋ ƼŅƚ ƚŸåÚØ ŸŅ ƼŅƚűĬĬ ʱƴå ƋŅ ŸƋ±ųƋ ƼŅƚų ÆĬ±Ïĩ ±ĹÚ ƵĘĜƋå ÏŅĹƴåųŸĜŅĹ üųŅĵ ŸÏų±ƋÏĘţ
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IN-CAMERA PICTURE STYLES Use your camera settings to predict how your final image will look ŸĜĹč ƼŅƚų ϱĵåų±űŸ aŅĹŅÏĘųŅĵå {ĜÏƋƚųå ƋƼĬå Ņų {ĜÏƋƚųå ŅĹƋųŅĬ ĜŸ ± čųå±Ƌ Ƶ±Ƽ ƋŅ ĘåĬŞ ƼŅƚ ŞųåěƴĜŸƚ±ĬĜŸå ĘŅƵ ± ŸÏåĹå ƵĜĬĬ ĬŅŅĩ ĜĹ ÆĬ±Ïĩ ±ĹÚ ƵĘĜƋåţ kĹ ± % X ƼŅƚ Ï±Ĺ ƚŸå XĜƴå ĜåƵ ĵŅÚåØ ƵĘĜÏĘ Ï±Ĺ ŸĘŅƵ ± ÆĬ±Ïĩě±ĹÚěƵĘĜƋå Ĝĵ±čå ŅĹěŸÏųååĹØ ƵĘĜĬå Ÿ ƵĜƋĘ ±Ĺ åĬåÏƋųŅĹĜÏ ƴĜåƵüĜĹÚåų Ï±Ĺ ŸĘŅƵ ƋĘå åüüåÏƋ ÚĜųåÏƋ ĜĹ ƋĘå ƴĜåƵüĜĹÚåųţ aŅŸƋ ϱĵåų±Ÿ Ņüüåų ± ų±Ĺčå Ņü ŅŞƋĜŅĹŸ üŅų ±ÚģƚŸƋĜĹč ƋĘå ÏŅĹƋų±ŸƋ ±ĹÚ ÆųĜčĘƋĹ域 Ņü ƋĘå åüüåÏƋØ ±ĬŅĹč ƵĜƋĘ ŅŞƋĜŅĹŸ üŅų
Chris Rutter
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±ŞŞĬƼĜĹč üĜĬƋåų åüüåÏƋŸ ±ĹÚ ƋŅĹĜĹčţ Ęå ÏŅĹƋų±ŸƋ ÏŅĹƋųŅĬ Ï±Ĺ ĘåĬŞ ƼŅƚ ƋŅ ƴĜŸƚ±ĬĜŸå ĘŅƵ ƋĘå üĜűĬ Ĝĵ±čå ƵĜĬĬ ĬŅŅĩØ ƵĘĜĬå ƋĘå üĜĬƋåų ÏŅĹƋųŅĬ Ï±Ĺ ĘåĬŞ ƋŅ čåƋ ± ÆåƋƋåų ų±Ĺčå Ņü ƋŅĹåŸ üųŅĵ ƋĘå ŸÏåĹåűŸ ÏŅĬŅƚųŸţ ĘåĹ ƼŅƚ Ƌ±ĩå ± ŸĘŅƋ ƋĘå ŞĬ±ƼƱÏĩ Ĝĵ±čå ƵĜĬĬ Æå ĜĹ ÆĬ±Ïĩ ±ĹÚ ƵĘĜƋåØ ÆƚƋ ƋĘå ±ÏƋƚ±Ĭ åüüåÏƋ ƵĜĬĬ ŅĹĬƼ Æå ±ŞŞĬĜåÚ ƋŅ I{): Ĝĵ±čåŸØ ĹŅƋ ų±ƵŸţ Fü ƼŅƚ Ƶ±ĹƋ ± ųåÏŅųÚ Ņü ĘŅƵ ƋĘå Ĝĵ±čå Ƶ±Ÿ ϱŞƋƚųåÚØ ŸĘŅŅƋ ĜĹ e ťI{): ĵŅÚåØ ŸŅ ƋʱƋ ƼŅƚ ʱƴå ± ųåüåųåĹÏå Ĝĵ±čå üŅų ƼŅƚų ų±Ƶ ÏŅĹƴåųŸĜŅĹţ
BASIC MONOCHROME MODE
INCREASED CONTRAST
RED FILTER EFFECT
ĘĜŸ ŸĜĵŞĬƼ ÏŅĹƴåųƋŸ ƋĘå ÏŅĬŅƚų Ĝĵ±čå ĜĹƋŅ ÆĬ±Ïĩ ±ĹÚ ƵĘĜƋåØ ŸŅ ƋĘå ųåŸƚĬƋ Ï±Ĺ ±ŞŞå±ų ± ĬĜƋƋĬå üĬ±Ƌţ ƚƋ ĜƋ ƵĜĬĬ čĜƴå ƼŅƚ ± čŅŅÚ ±Ĺ ĜÚå± Ņü ĘŅƵ ± ŸÏåĹå ƵĜĬĬ ±ŞŞå±ų ĜĹ ÆĬ±Ïĩ ±ĹÚ ƵĘĜƋåţ
eÚģƚŸƋĜĹč ƋĘå ÏŅĹƋų±ŸƋ ƵĜĬĬ čĜƴå ƼŅƚ ± ÆåƋƋåų ĜÚå± Ņü ĘŅƵ ƼŅƚų üĜűĬ Ĝĵ±čå ƵĜĬĬ ĬŅŅĩţ ųƼ ÆŅŅŸƋĜĹč ƋĘå ÏŅĹƋų±ŸƋ ĜĹ ƋĘå {ĜÏƋƚųå ŅĹƋųŅĬ ŸåƋƋĜĹčŸ üŅų ±ƤŞƚĹÏĘĜåų ųåŸƚĬƋ ƋʱŠƋĘå ŸƋ±ĹÚ±ųÚ ÏŅĹƴåųŸĜŅĹţ
ĘĜŸ ĜŸ ƋĘå ĵŅŸƋ ƚŸåüƚĬ ĜĹěϱĵåų± üĜĬƋåų åüüåÏƋ üŅų Ĭ±ĹڟϱŞåŸţ FƋ ƵĜĬĬ Ú±ųĩåĹ ƋĘå ÆĬƚåŸ Ņü ƋĘå ŸĩƼ ±ĹÚ ĜĹÏų屟å ÏŅĹƋų±ŸƋţ ĘĜŸ ƵĜĬĬ čĜƴå ƼŅƚ ±ƤÆåƋƋåų ĜÚå± Ņü ĘŅƵ ƼŅƚ Ï±Ĺ ÏŅĹƴåųƋ ƼŅƚų ÏŅĬŅƚų Ĝĵ±čåţ
HISTOGRAMS EXPLAINED Learn how to judge when the exposure is spot-on
NEUTRAL EXPOSURE
INCORRECT EXPOSURE
EXPOSED TO THE RIGHT
ĘåĹ ±ĬĬ Ņü ƋĘå ĘĜŸƋŅčų±ĵ čų±ŞĘƤĜŸ ÏŅĹƋ±ĜĹåÚ ƵĜƋĘĜĹ ƋĘå ĘŅųĜDŽŅĹƋ±Ĭ ±ƻĜŸØ ƋĘå åƻŞŅŸƚųå ĜŸ Ņĩ±Ƽţ ƚƋ Ĝü ƋĘå åĹÚŸ Ņü ƋĘå čų±ŞĘ ÚŅĹűƋ ųå±ÏĘ ƋĘå ĬåüƋ Ņų ųĜčĘƋ åÚčå Ņü ƋĘå ĘŅųĜDŽŅĹƋ±Ĭ ±ƻĜŸ ƋĘåĹ ƼŅƚ ÚŅĹűƋ ʱƴå ±ĹƼ Şƚųå ÆĬ±ÏĩŸ ŠĬåüƋš Ņų ƵĘĜƋåŸ ŠųĜčĘƋš ĜĹƤƋĘå Ĝĵ±čå ŠƋĘŅƚčĘ ± ŸƚÆģåÏƋ ĵ±Ƽ ĹŅƋ ÏŅĹƋ±ĜĹ ƋĘåŸåšţ
Fü ƋĘå čų±ŞĘ čŅåŸ Ņƴåų ƋĘå ĬåüƋ ŠŸĘ±ÚŅƵŸš Ņų ųĜčĘƋ ŠĘĜčĘĬĜčĘƋŸš Ņü ƋĘå ĘŅųĜDŽŅĹƋ±Ĭ ±ƻĜŸØ ƋĘĜŸ ĵå±ĹŸ ƋʱƋ ƼŅƚűƴå ĬŅŸƋ Ņų ůÏĬĜŞŞåÚű ÚåƋ±ĜĬƤĜĹ ƋĘå Ĝĵ±čåţ FƋűŸ ŅüƋåĹ ŞŅŸŸĜÆĬå ƋŅ ųåƋųĜåƴå ŸŅĵå ÚåƋ±ĜĬ ŠåŸŞåÏĜ±ĬĬƼ ĜĹ ų±Ƶ üĜĬåŸšØ ÆƚƋ ƋĘĜŸƤƵĜĬĬ ±üüåÏƋ ƋĘå ŧƚ±ĬĜƋƼ Ņü ƼŅƚų üĜűĬ ųåŸƚĬƋţ
e čŅŅÚ Ƶ±Ƽ ƋŅ ĵ±ĩå Ÿƚųå ƋʱƋ ƼŅƚ čåƋ ƋĘå ÆåŸƋ ŧƚ±ĬĜƋƼ ±ĹÚ Ĭ屟Ƌ ĹŅĜŸå ĜĹ ƼŅƚų Ĝĵ±čå ĜŸ ƋŅ ŸåƋ ƋĘå åƻŞŅŸƚųå ŸŅ ƋʱƋ ƋĘå ĘĜčĘĬĜčĘƋŸ ģƚŸƋ ųå±ÏĘ ƋĘå åƻƋųåĵå ųĜčĘƋ Ņü ƋĘå čų±ŞĘţ ĘĜŸ ĵå±ĹŸ ƋʱƋ ƼŅƚűĬĬ ʱƴå ƋĘå ƵĜÚåŸƋ ų±Ĺčå Ņü ƋŅĹåŸ ƵĜƋĘŅƚƋ ±ĹƼ ÆƚųĹåÚě ŅƚƋ ĘĜčĘĬĜčĘƋŸţ
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USING FILTERS Whether it’s in-camera or in post-processing, filters are the best way to ÏŅĹƋųŅĬƤÏŅĹƋų±ŸƋ ±ĹÚ ƋŅĹå üŅų Ïųå±ƋĜĹč ŸƋųĜĩĜĹč ÆĬ±Ïĩě±ĹÚěƵĘĜƋå Ĝĵ±čåŸ Ņƚ ĵ±Ƽ ƋĘĜĹĩ ƋʱƋ ƚŸĜĹč üĜĬƋåųŸ üŅų ÆĬ±Ïĩ ±ĹÚ ƵĘĜƋå ĜŸ ± ĬĜƋƋĬå ůŅĬÚ Ę±ƋűƤô ±ĹÚ ĜĹ ŸŅĵå Ƶ±ƼŸ ƼŅƚűÚ Æå ųĜčĘƋţ ¥Ņƚ Ï±Ĺ å±ŸĜĬƼ ųåŞĬĜϱƋå ƋĘå åüüåÏƋŸ Ņü ƋĘå ÏŅĬŅƚų üĜĬƋåųŸ ÆåĬŅƵ ±Ÿ ĬŅĹč ±Ÿ ƼŅƚ ʱƴå ± ÏŅĬŅƚų Ĝĵ±čå Šų±Ƶ Ņų I{):š ƋŅ ŸƋ±ųƋ ƵĜƋĘţ ƚƋ ƋĘå åüüåÏƋŸ Ņü ƋƵŅ Ƌų±ÚĜƋĜŅűĬ üĜĬƋåųŸ ô ŞŅĬ±ųĜŸåųŸ ±ĹÚ ĹåƚƋų±ĬěÚåĹŸĜƋƼ ô ±ųå ƴåųƼ ÚĜüüĜÏƚĬƋ ƋŅ ųåŞĬĜϱƋå ĜĹ XĜčĘƋųŅŅĵ Ņų {ĘŅƋŅŸĘŅŞØ ŸŅ ĜƋűŸ ĵƚÏĘ å±ŸĜåų ƋŅƤƚŸå ƋĘå ųå±Ĭ ƋĘĜĹč ±Ÿ ƼŅƚ ŸĘŅŅƋţ
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POLARISER ĘĜŸ üĜĬƋåų ƵĜĬĬ ĘåĬŞ Ú±ųĩåĹ ÆĬƚå ŸĩĜåŸØ ±ĹÚ ±ĬŸŅ ųåĵŅƴå ųåüĬåÏƋĜŅĹŸ üųŅĵ ĹŅĹěĵåƋ±ĬĬĜÏ Ÿƚųü±ÏåŸ ŸƚÏĘ ±Ÿ Ƶ±Ƌåųţ FƋ Ï±Ĺ ±ĬŸŅ čĜƴå ± ŸĬĜčĘƋ ÆŅŅŸƋ ƋŅ ƋĘå Ņƴåų±ĬĬ ÏŅĹƋų±ŸƋ Ņų ƼŅƚų Ĝĵ±čåţ kĹå üĜűĬ ŸĜÚåěåüüåÏƋ ĜŸ ƋʱƋ ĜƋ ÏƚƋŸ ŅƚƋ ŅĹå ƋŅ ƋƵŅ ŸƋŅŞŸ Ņü ĬĜčĘƋØ ±ĬĬŅƵĜĹč ƼŅƚ ƋŅ ƚŸå ĬŅĹčåų ŸĘƚƋƋåų ŸŞååÚŸţ
NO POL AR I SER
ORIGINAL COLOUR IMAGE Båųå ĜŸ ƋĘå ŅųĜčĜűĬ ÏŅĬŅƚų Ĝĵ±čå ŸŅ ƼŅƚ Ï±Ĺ Ÿåå ĘŅƵ å±ÏĘ ÏŅĬŅƚųØ ŸƚÏĘ ±Ÿ ƋĘå ųåÚx ÆųŅƵĹ Ņü ƋĘå ĘĜčĘĬ±ĹÚ ÏŅƵØ ƋĘå ÆĬƚåŸ ĜĹƤƋĘå ŸĩƼØ ±ĹÚ ƋĘå čųååĹŸ ĜĹ ƋĘå čų±ŸŸØ ųå±ÏƋ ƵĘåĹ ƼŅƚ ±ŞŞĬƼ å±ÏĘ Ņü ƋĘųåå üĜĬƋåųŸñ
WI T H POL AR I SER
RED FILTER
GREEN FILTER
BLUE FILTER
åÚ ĬĜčĘƋåĹŸ ƋĘå ƋŅĹåŸ Ņü ƋĘåƤÏŅƵ ±Ÿ ƋĘĜŸ ĜŸ Ņų±Ĺčåx ųåÚØ ÆƚƋ ĜƋƤʱŸ Ú±ųĩåĹåÚ ƋĘå ÆĬƚåŸ ĜĹ ƋĘåƤŸĩƼ ±ĹÚ ±ĬŸŅ added some contrast to ƋĘå čųååĹxƼåĬĬŅƵ čų±ŸŸ ĜĹ ƋĘå üŅųåčųŅƚĹÚţ ĘĜŸƤüĜĬƋåų ĜŸ ƚŸåüƚĬ üŅų ±ÚÚĜĹč ÏŅĹƋų±ŸƋ ƋŅ Ĭ±ĹڟϱŞå Ĝĵ±čåŸţ
Båųå ƋĘå čųååĹŸxƼåĬĬŅƵŸ Ņü ƋĘå čų±ŸŸ ±ųå ĬĜčĘƋåĹåÚØ ÆƚƋ ĜƋƤʱŸ ĬĜƋƋĬå åüüåÏƋ ŅĹ ƋĘå ŸĩƼ Ņų ƋĘå ÏŅƵţ ĘĜŸ üĜĬƋåų ĜŸ čųå±Ƌ üŅų ĬĜčĘƋåĹĜĹč üŅĬĜ±čåØ ±ĹÚ Ï±Ĺ ±ĬŸŅ ÆåƤƚŸåüƚĬ üŅų Ú±ųĩåĹĜĹč ±ĹÚ ±ÚÚĜĹč ÏŅĹƋų±ŸƋ ƋŅ ŸĩĜĹ ƋŅĹåŸ ĜĹ ÆĬ±Ïĩě±ĹÚěƵĘĜƋå ŞŅųƋų±ĜƋŸţ
Båųå ƋĘå ÏŅƵ ĜŸ ±ĬĵŅŸƋ ųåÚƚÏåÚ ƋŅ ÆĬ±ÏĩØ ƵĘĜĬå ƋĘå ŸĩƼ ĜŸ ĵƚÏĘ ĬĜčĘƋåųţ ĘĜŸ ĜŸĹűƋ ± ÏŅĵĵŅĹĬƼ ƚŸåÚ üĜĬƋåų üŅų ÆĬ±Ïĩě±ĹÚěƵĘĜƋå ŸĘŅƋŸØ ÆƚƋ ĜƋ Ï±Ĺ Æå ƚŸåüƚĬ üŅų åĵŞĘ±ŸĜŸĜĹč ƋĘå ĵŅŅÚ ƵĘåĹ ƼŅƚűųå ŸĘŅŅƋĜĹč ĜĹ ĵĜŸƋƼ Ņų ʱDŽƼƤÏŅĹÚĜƋĜŅĹŸţ
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USING FILTERS CONTINUED
Ɩ ŸåÏŸ ±Ƌ üxŎƅØ F kŎLjLj
Chris Rutter
SHOOT LIKE A PRO {ųŅÚƚÏĜĹč ± ĵĜĹĜĵ±Ĭ Ĝĵ±čå ĜŸ ±ĬĬ ±ÆŅƚƋ ųåÚƚÏĜĹč ƋĘå ĹƚĵÆåų Ņü åĬåĵåĹƋŸ ĜĹ ƋĘå ÏŅĵŞŅŸĜƋĜŅĹ ±ĹÚ ƚŸĜĹč ƋĘå ųĜčĘƋ ϱĵåų± ŸåƋƋĜĹčŸţ Ņ ųåÚƚÏå ƋĘå ÚåƋ±ĜĬ ĜĹ ƋĘå Ƶ±ƋåųØ ± ƋĘųååěŸƋŅŞ ŞĬ±ĜĹ ĹåƚƋų±ĬěÚåĹŸĜƋƼ ĀĬƋåų Ƶ±Ÿ ƚŸåÚţ ĘĜŸ ±ĬĬŅƵåÚ ± ŸĬŅƵåų ŸĘƚƋƋåų ŸŞååÚ ƋŅ Æå ƚŸåÚ ƋŅ ÆĬƚų ƋĘå ĵŅƴåĵåĹƋ Ņü ƋĘå Ÿĵ±ĬĬ Ƶ±ƴåŸØ ĵ±ĩĜĹč ƋĘå üŅųåčųŅƚĹÚ ±ŞŞå±ų ŸĵŅŅƋĘåų ±ĹÚ Ĭ域 ÚĜŸƋų±ÏƋĜĹč ƋʱŠƋĘå åýåÏƋ Ņü ƚŸĜĹč ± ü±ŸƋåų ŸĘƚƋƋåų ŸŞååÚţ Ęå ĵŅŅÚ Ƶ±Ÿ ±ĬŸŅ åĹʱĹÏåÚ ÆƼ ƚŸĜĹč ± ƋƵŅěŸƋŅŞ c% čų±Ú ƋŅ Ú±ųĩåĹ ƋĘå ŸĩƼţ
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IMPROVE YOUR SHOTS IN LIGHTROOM BåųåűŸ ĘŅƵ ƋŅƤƚŸåƤXĜčĘƋųŅŅĵ ƋŅ Ƌ±ĩå ƼŅƚų ĵŅĹŅ Ĝĵ±čåŸ ƋŅ ƋĘå ĹåƻƋ ĬåƴåĬ ƚÏÏ域üƚĬ ÆĬ±Ïĩě±ĹÚěƵĘĜƋå ÏŅĹƴåųŸĜŅĹŸ Ï±Ĺ Ƌ±ĩå ƋĜĵå ±ĹÚ Şų±ÏƋĜÏå ƋŅ ŞåųüåÏƋØ ÆƚƋ ĜƋűŸ ƵŅųƋĘ čåƋƋĜĹč ƋŅ ĩĹŅƵ ƵĘåĹ ±ĹÚ ĘŅƵ ƋŅ ƚŸå ƋĘå ų±Ĺčå Ņü ÏŅĹƋųŅĬŸ ±ƴ±ĜĬ±ÆĬå ƋŅ ĘåĬŞ ƼŅƚ čåƋ ƋĘå ŞåųüåÏƋ ĵŅĹŅÏĘųŅĵå Ĝĵ±čåţ Ęåųå ±ųå ĵ±ĹƼ ŸŅüƋƵ±ųå ŅŞƋĜŅĹŸ ±ƴ±ĜĬ±ÆĬå üŅų ÏŅĹƴåųƋĜĹč ƼŅƚų ų±Ƶ üĜĬåŸ
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üųŅĵ ÏŅĬŅƚų ƋŅ ÆĬ±Ïĩ ±ĹÚ ƵĘĜƋåØ üųŅĵ ƼŅƚų ϱĵåų± ĵ±Ĺƚü±ÏƋƚųåųűŸ ŅƵĹ ŸŅüƋƵ±ųå ƋŅ {ĘŅƋŅŸĘŅŞţ XĜčĘƋųŅŅĵ ĜŸ ± čųå±Ƌ ÏĘŅĜÏåØ ƋĘŅƚčĘ× ĜƋ ŅüüåųŸ ±ĬĬ Ņü ƋĘå ÏŅĹƋųŅĬŸ ƋʱƋ ƼŅƚ ÏŅƚĬÚ ƵĜŸĘ üŅųØ üųŅĵ ± ƵĜÚå ų±Ĺčå Ņü čĬŅƱĬ ĘĜčĘĬĜčĘƋ ±ĹÚ ŸĘ±ÚŅƵ ±ÚģƚŸƋĵåĹƋŸ ƋŅ Ÿåƴåų±Ĭ ŅŞƋĜŅĹŸ üŅų ±ÚģƚŸƋĜĹč ŸåĬåÏƋåÚ ±ų屟 Ņü ƼŅƚų Ĝĵ±čåţ eĬŅĹč ƵĜƋĘ ƋĘåŸå
ŞųåÏĜŸå ÏŅĹƋųŅĬŸØ ƋĘåųå ±ųå ±ĬŸŅ ± ų±Ĺčå Ņü ŞųåŸåƋ ŅŞƋĜŅĹŸ ƋʱƋ Ï±Ĺ ĘåĬŞ ƋŅ ŸŞååÚ ƚŞ ƼŅƚų ƵŅųĩüĬŅƵţ eŸ ƼŅƚűųå ƵŅųĩĜĹč ŅĹ ± ų±Ƶ üĜĬåØ ƼŅƚ Ï±Ĺ ±ĬŸŅ ±ÚģƚŸƋ ±ĬĬ Ņü ƋĘå ŸåƋƋĜĹčŸ ŅĹÏå ƼŅƚűƴå ±ŞŞĬĜåÚ ŅĹå Ņü ƋĘå ŞųåŸåƋŸØ ±ĹÚ åƴåĹ ųåƴåųƋ ƱÏĩ ƋŅ ƼŅƚų ŅųĜčĜűĬ Ĝĵ±čå Ĝü åƴåųƼƋĘĜĹč čŅåŸ ƵųŅĹčţ
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Filter presets ĘåŸå ŞųåŸåƋŸ Ņüüåų ŸĜĵŞĬå ŅŞƋĜŅĹŸ üŅų ųåÏųå±ƋĜĹč ƋĘå åüüåÏƋ Ņü Ƌų±ÚĜƋĜŅűĬ ÆĬ±Ïĩě±ĹÚěƵĘĜƋå üĜĬƋåųŸØ ƵĜƋĘŅƚƋ ƼŅƚ ʱƴĜĹč ƋŅ ĵ±ĹĜŞƚĬ±Ƌå ƋĘå ĵ±ĜĹ ƋŅĹå ÏŅĹƋųŅĬŸţ
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B&W presets ĘåŸå čĜƴå ŧƚĜÏĩ ±ÏÏ域 ƋŅ ± ų±Ĺčå Ņü ÆĬ±Ïĩ ±ĹÚ ƵĘĜƋå ůĬŅŅĩŸűØ ŸĜĵĜĬ±ų ƋŅ ƋĘå åüüåÏƋ Ņü ƚŸĜĹč ÚĜüüåųåĹƋ üĜĬĵŸţ
Black & White treatment ĬĜÏĩĜĹč ŅĹ Ĭ±Ïĩ ¼ ĘĜƋåØ ų±ƋĘåų ƋʱŠŅĬŅųØ ƵĜĬĬ ÏŅĹƴåųƋ ƼŅƚų Ĝĵ±čåØ ƵĘĜÏĘ ƼŅƚ Ï±Ĺ ƋĘåĹ ±ÚģƚŸƋ ƚŸĜĹč ƋĘå ÏŅĹƋųŅĬŸ ÆåĬŅƵţ
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Histogram ĜƋĘ ƋĘå ŸĘ±ÚŅƵŸ ƋŅ ƋĘå ĬåüƋ Ņü ƋĘå čų±ŞĘ ±ĹÚ ĘĜčĘĬĜčĘƋŸ ƋŅ ƋĘå ųĜčĘƋØ ƋĘå ĘĜŸƋŅčų±ĵ ŸĘŅƵŸ ƼŅƚ ƋĘå Ņƴåų±ĬĬ åƻŞŅŸƚųå Ņü ƼŅƚų ÏŅĹƴåųŸĜŅĹţ
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Tone controls ĘåŸå Ï±Ĺ Æå ƚŸåÚ ƋŅ üĜĹåěƋƚĹå ƋĘå Ņƴåų±ĬĬ åƻŞŅŸƚųåØ ÏŅĹƋų±ŸƋØ ŸĘ±ÚŅƵŸØ ĘĜčĘĬĜčĘƋŸ ±ĹÚ ÏĬ±ųĜƋƼ Ņü ƼŅƚų ĵŅĹŅÏĘųŅĵå ÏŅĹƴåųŸĜŅĹţ
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Tone curve ĘĜŸ åűÆĬåŸ ƼŅƚ ƋŅ ±ÚģƚŸƋ ƋĘå ĬĜčĘƋĹ域 ±ĹÚ Ú±ųĩĹ域 Ņü ƋĘå ÚĜüüåųåĹƋ ų±ĹčåŸ ŅüƤƋŅĹåŸ ƵĜƋĘĜĹ ƋĘå Ĝĵ±čåØ ±ĹÚ ƋŅ ĜĹÏų屟å Ņų ųåÚƚÏå ÏŅĹƋų±ŸƋţ
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Mix controls ĘåŸå ŸĬĜÚåųŸ åűÆĬå ƼŅƚ ƋŅ Ƌ±ĩå ÏŅĹƋųŅĬ Ņü ĘŅƵ ĬĜčĘƋ Ņų Ú±ųĩ each colour in the original image ĜŸ ųåĹÚåųåÚţ
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IMPROVE YOUR SHOTS IN LIGHTROOM CONTINUED FOUR ESSENTIAL TRICKS Enhance your monochrome shots with these techniques
1CHANGE THE TONAL MIX
2'*/& 56/& 5)& 8)*5&ç#"-"/$&
3ADD A GRADUATED FILTER
4POST-CROP VIGNETTING AND GRAIN
Ęå 屟ĜåŸƋ Ƶ±Ƽ ƋŅ ±ĬƋåų ƋĘå ƋŅűĬ ƱĬ±ĹÏå Ņü ƼŅƚų ÏŅĹƴåųŸĜŅĹ ĜŸ ƋŅ ƚŸå ƋĘå ŅűĬ aĜƻ ÏŅĹƋųŅĬŸţ ĘåŸå ±ĬĬŅƵ ƼŅƚ ƋŅ üĜĹåěƋƚĹå ƋĘå ƋŅĹå Ņü å±ÏĘ ÏŅĬŅƚų ĜĹ ƼŅƚų Ĝĵ±čåØ ĵ±ĩĜĹč ƋĘåĵ ĬĜčĘƋåų Ņų Ú±ųĩåųſ ƋŅ Ú±ųĩåĹ ± ÆĬƚå ŸĩƼ üŅų åƻ±ĵŞĬå ŸĜĵŞĬƼ Úų±č ƋĘå ÆĬƚå Š±ĹÚ eŧƚ±š ŸĬĜÚåųŸ ƋŅ ƋĘå ĬåüƋţ ±ƋÏĘ ŅƚƋ üŅų ůʱĬŅåŸű ±ŞŞå±ųĜĹč ±ųŅƚĹÚ ŸƚÆģåÏƋŸ Ņü ÚĜüüåųåĹƋ ÏŅĬŅƚųŸţ
Ęå :ų±Úƚ±ƋåÚ 8ĜĬƋåų ĜŸƤ± ŧƚĜÏĩ ±ĹÚ å±ŸƼ Ƶ±Ƽ ƋŅ ĬĜčĘƋåĹØ Ú±ųĩåĹ Ņų ±ÚģƚŸƋ ƋĘå ÏŅĹƋų±ŸƋ Ņü Ĭ±ųčå ±ų屟 Ņü ±Ĺ Ĝĵ±čåţ ĜĵŞĬƼ Úų±č ĜƋ Ņƴåų ƼŅƚųƤĜĵ±čåØ ±ĹÚ ƼŅƚ Ï±Ĺ ƋĘåĹ ±ÚģƚŸƋ ƋĘå åƻŞŅŸƚųåØ ĘĜčĘĬĜčĘƋŸØ ŸĘ±ÚŅƵŸ ±ĹÚ ÏŅĹƋų±ŸƋ ƋŅ ±ÏĘĜåƴå ƋĘå ųåŸƚĬƋ ƼŅƚ Ƶ±ĹƋţ eŸƤĜƋűŸƤĹŅĹěÚåŸƋųƚÏƋĜƴåØ ƼŅƚ Ï±Ĺ čŅ ƱÏĩ ±ĹÚ ųåě±ÚģƚŸƋ ƋĘå ŞŅŸĜƋĜŅĹ ±ĹÚƤƋĘå ŸĬĜÚåųŸ ±Ƌ ±ĹƼ ŞŅĜĹƋ ƋŅ üĜĹåěƋƚĹå ƋĘå åüüåÏƋţ
FƋ ĵ±Ƽ ŸŅƚĹÚ ÏŅƚĹƋåųěĜĹƋƚĜƋĜƴåØ ÆƚƋ ƼŅƚ Ï±Ĺ ±ĬƋåų ƋĘå ƋŅĹåŸ ĜĹ ƼŅƚų ÏŅĹƴåųŸĜŅĹ ÆƼ ±ÚģƚŸƋĜĹč ƋĘå ĘĜƋå ±Ĭ±ĹÏå ±ĹÚ ĜĹƋ ÏŅĹƋųŅĬŸţ 8Ņų åƻ±ĵŞĬåØ Ĝü ƼŅƚűƴå ĬĜčĘƋåĹåÚ ƋĘå ƼåĬĬŅƵŸ ±ĹÚ Ú±ųĩåĹåÚ ƋĘå ÆĬƚåŸ ĜĹ ƋĘå ŅűĬ aĜƻØ ƼŅƚ Ï±Ĺ üĜĹåěƋƚĹå ƋĘå åüüåÏƋ ÆƼ Úų±ččĜĹč ƋĘå ŸĬĜÚåų ƋŅ ƋĘå ųĜčĘƋ ƋŅ ĬĜčĘƋåĹ ƋĘå Ņƴåų±ĬĬ ƋŅĹå Ņü ƋĘå Ĝĵ±čåØ Ņų Ú±ųĩåĹ ĜƋ ÆƼ Úų±ččĜĹč ĜƋ ƋŅ ƋĘå ĬåüƋţ
ĘåŸå ƋƵŅ ÏŅĹƋųŅĬŸ ĜĹ ƋĘå )üüåÏƋŸ Ƌ±Æ ±Ƌ ƋĘå ÆŅƋƋŅĵ Ņü ƋĘå Ş±ĹåĬŸ ±ųå čųå±Ƌ üŅų ÆĬ±Ïĩ ±ĹÚ ƵĘĜƋå ÏŅĹƴåųŸĜŅĹŸţ {ŅŸƋě ųŅŞ ĜčĹåƋƋĜĹč ±ĬĬŅƵŸ ƼŅƚ ƋŅ Ú±ųĩåĹ Ņų ĬĜčĘƋåĹ ƋĘå ÏŅųĹåųŸ Ņü ƋĘå Ĝĵ±čå ƋŅ ÏŅĹÏåĹƋų±Ƌå ƋĘå ƴĜåƵåųűŸ ±ƋƋåĹƋĜŅĹ ŅĹ ƋĘå ÏåĹƋų±Ĭ ±ųå± Ņü ƋĘå ŸƚÆģåÏƋţ Ęå :ų±ĜĹ åüüåÏƋ ĜŸ ƚŸåüƚĬ üŅų ±ÚÚĜĹč ± üĜĬĵěĬĜĩå čų±ĜĹ åüüåÏƋ ƋŅ čĜƴå ± čųĜƋƋĜåųØ ųŅƚčĘåų ĬŅŅĩ ƋŅ ĵŅĹŅ Ĝĵ±čåŸţ
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GET TO GRIPS WITH CONTRAST Controlling overall contrast is the key to increasing impact for successful blackand-white images – and there are only two tools you need to get to grips with Ņ ĵ±ƋƋåų ĘŅƵ ϱųåüƚĬ ƼŅƚ Ƶåųå ƵĘåĹ Ï±ŞƋƚųĜĹč ƼŅƚų Ĝĵ±čåŸØ ÆĬ±Ïĩě±ĹÚěƵĘĜƋå ŸĘŅƋŸ ƵĜĬĬ ±ĬƵ±ƼŸ ĹååÚ ŸŅĵå åƻƋų± ƋƵå±ĩŸ ƋŅ åĜƋĘåų ųåÚƚÏå Ņų ĜĹÏų屟å ƋĘåĜų ÏŅĹƋų±ŸƋţ Ęåųå ±ųå ĵ±ĹƼ ÚĜüüåųåĹƋ Ƶ±ƼŸ ƋʱƋ ƼŅƚ Ï±Ĺ üĜĹåěƋƚĹå ƋĘå ÏŅĹƋų±ŸƋØ ÆƚƋ ƚųƴåŸ ±ĹÚ Ĭ±ųĜƋƼ Ņüüåų ƋƵŅ åüüåÏƋĜƴå ±ĹÚ ŸĜĵŞĬå Ƶ±ƼŸ ƋŅ ±ÏĘĜåƴå ±ĬĵŅŸƋ ±ĹƼ åüüåÏƋ ƼŅƚ Ƶ±ĹƋţ
Ęå ƚųƴåŸ ±ÚģƚŸƋĵåĹƋ Ï±Ĺ Æå ±ŞŞĬĜåÚƤĜĹ XĜčĘƋųŅŅĵ Ņų ±ĵåų± ±Ƶ ƋŅ ƼŅƚų ų±Ƶ Ĝĵ±čåŸØ ÆƚƋ ĜƋűŸ ±ĬŸŅ ŞŅŸŸĜÆĬå ƋŅ ±ŞŞĬƼ ĜƋ ±Ÿ ± ŸƋų±ĜčĘƋ ±ÚģƚŸƋĵåĹƋ ƋŅ ƼŅƚų Ĝĵ±čåØ Ņų üŅų ĵ±ƻĜĵƚĵ üĬåƻĜÆĜĬĜƋƼ ±Ÿ ±Ĺ ±ÚģƚŸƋĵåĹƋ Ĭ±ƼåųØ ƋŅ ±Ĺ Ĝĵ±čå ĜĹ ƋĘå ĵ±ĜĹ {ĘŅƋŅŸĘŅŞ ƵŅųĩŸŞ±Ïåţ Ņ ±ŞŞĬƼ Ĭ±ųĜƋƼ ƋŅ I{):Ø F88 Ņų { % Ĝĵ±čåŸ ĜĹ {ĘŅƋŅŸĘŅŞ Ø ƼŅƚ ĹååÚ ƋŅ ŅŞåĹ ƋĘå ±ĵåų± ±Ƶ 8ĜĬƋåųØ ƵĘåųå
ƼŅƚűĬĬ üĜĹÚ ĜƋ Ĺå±ų ƋĘå ÆŅƋƋŅĵ Ņü ƋĘå ±ŸĜÏ eÚģƚŸƋĵåĹƋŸ ƵĜĹÚŅƵţ Ĭ±ųĜƋƼ ±üüåÏƋŸ ƋŅĹåŸ ĜĹ ± ÚĜüüåųåĹƋ Ƶ±Ƽ ƋŅ ƚųƴåŸ× ĜƋ increases or decreases the local contrast ƵĘåųå ƋĘåųåƤ±ųå ±Úģ±ÏåĹƋ Ú±ųĩ ±ĹÚ ĬĜčĘƋ ƋŅĹåŸţ FĹÏų屟ĜĹč Ĭ±ųĜƋƼ ƵĜĬĬ ĵ±ĩå ƋĘå Ĝĵ±čå ±ŞŞå±ų ŸĘ±ųŞåųØ ±Ÿ ƋĘåųåűŸƤĵŅųå åÚčå ÏŅĹƋų±ŸƋØ ±ĹÚ ±ÚÚ ůŞƚĹÏĘţ åÚƚÏĜĹč Ĭ±ųĜƋƼ ƵĜĬĬ ĵ±ĩå ±Ĺ Ĝĵ±čå ±ŞŞå±ų ŸŅüƋåų ±ĹÚ čĜƴå ĜƋ ± ůčĬŅƵű åüüåÏƋţ
Ęå ÆåŸƋ Ƶ±Ƽ ƋŅ ±ÚģƚŸƋ ƋĘå čĬŅƱĬ ÏŅĹƋų±ŸƋ Ņü ƼŅƚų ÆĬ±Ïĩě±ĹÚěƵĘĜƋå Ĝĵ±čå ĜŸ ÆƼ ƚŸĜĹč ƚųƴåŸţ Ƽ Úų±ččĜĹč ƋĘå Ïƚųƴå ƚŞ ƋŅ ĵ±ĩå ƋĘå ƋŅĹåŸ ĬĜčĘƋåųØ ±ĹÚ ÚŅƵĹ ƋŅ ĵ±ĩåƤƋĘåĵ Ú±ųĩåųØ ƼŅƚ Ï±Ĺ üĜĹåěƋƚĹå ƋĘå ±ŞŞå±ų±ĹÏå Ņü ƋĘå Ņƴåų±ĬĬ Ĝĵ±čåţ a±ĹƼ ŸƋų±ĜčĘƋ ÆĬ±Ïĩ ±ĹÚ ƵĘĜƋå ÏŅĹƴåųŸĜŅĹŸ Ï±Ĺ Æå ± ĬĜƋƋĬå üĬ±ƋØ ÆƚƋ ÆƼƤ±ŞŞĬƼĜĹč ±Ĺ ěÏƚųƴå ƋŅ Ú±ųĩåĹ ƋĘå ŸĘ±ÚŅƵŸ ±ĹÚ ĬĜčĘƋåĹĜĹč ƋĘå ĘĜčĘĬĜčĘƋŸ ƼŅƚ Ï±Ĺ ±ÚÚ åƻƋų± ŞƚĹÏĘ ƋŅ ƼŅƚų Ĝĵ±čåØ ƵĜƋĘŅƚƋ ĬŅŸĜĹč ÚåƋ±ĜĬ ĜĹ ƋĘå ĘĜčĘĬĜčĘƋŸ Ņų ŸĘ±ÚŅƵŸţ ¥Ņƚ Ï±Ĺ ±ĬŸŅ ųåÚƚÏå ÏŅĹƋų±ŸƋ Ĝü ƼŅƚ ĹååÚ ƋŅ ÆƼ Úų±ččĜĹč ƋĘå åƻƋųåĵå ĬåüƋ Ņü ƋĘå Ïƚųƴå ƚŞ ƋĘå ƴåųƋĜϱĬ ±ƻĜŸ ±ĹÚ ƋĘå åƻƋųåĵå ųĜčĘƋ ÚŅƵĹſ ƋĘĜŸ ƵĜĬĬ ĬĜčĘƋåĹ ƋĘå ŸĘ±ÚŅƵŸ ±ĹÚ Ú±ųĩåĹ ƋĘå ĘĜčĘĬĜčĘƋŸţ
REDUCED CON T R A S T
NO CHANGE
MEDIUM CON T R A S T
HIGH CON T R A S T
BLOWN OU T
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CURVES
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GET TO GRIPS WITH CONTRAST CONTINUED CLARITY ĘĜŸ ÏŅĹƋųŅĬ ĜŸ ±ƴ±ĜĬ±ÆĬå ĜĹ XĜčĘƋųŅŅĵ ŅųƤ ±ĵåų± ±ƵØ ±ĹÚ ±ÚģƚŸƋŸ ƋĘå ĬŅϱĬ ÏŅĹƋų±ŸƋ Ņü ƋĘå Ĝĵ±čåţ ĘĜŸ ±üüåÏƋŸ ±ų屟 ƵĘåųå ƋĘåųå ±ųå ĬĜčĘƋ ±ĹÚ Ú±ųĩ ƋŅĹåŸ ĹåƻƋ ƋŅ å±ÏĘ ŅƋĘåųţ %ų±ččĜĹč the slider to the right increases the ÏŅĹƋų±ŸƋ ÆåƋƵååĹ ƋĘåŸå ±ųå±ŸØ ±ĹÚ Úų±ččĜĹč ĜƋ ƋŅ ƋĘå ĬåüƋ ųåÚƚÏåŸ ĜƋţ FĹÏų屟ĜĹč Ĭ±ųĜƋƼ ƵĜĬĬ čĜƴå ƼŅƚų ŸĘŅƋ ±ÚÚåÚ ůŞƚĹÏĘű ±ĹÚ ĵ±ĩå ĜƋ ±ŞŞå±ų ± ĬĜƋƋĬå ŸĘ±ųŞåųØ ÆƚƋ ÆåƵ±ųå Ņü ƚŸĜĹč ƴ±ĬƚåŸ ĵƚÏĘ ±ÆŅƴå ťƐLjØ ±Ÿ ƋĘĜŸ Ï±Ĺ Ïųå±Ƌå ƴĜŸĜÆĬå ůʱĬŅåŸű ±ĹÚ ±ųƋåü±ÏƋŸ ±ųŅƚĹÚ ƋĘå üĜĹå ÚåƋ±ĜĬ ±ĹÚ ±ų屟 Ņü ĘĜčĘ ÏŅĹƋų±ŸƋ ĜĹ ƼŅƚų Ĝĵ±čåţ åÚƚÏĜĹč Ĭ±ųĜƋƼ čĜƴåŸ ± ŸŅüƋåųØ Úųå±ĵěĬĜĩå åüüåÏƋØ ±ĹÚ Ï±Ĺ Æå ƚŸåüƚĬ üŅų ųåÏųå±ƋĜĹč ±Ĺ ĜĹüų±ųåÚ ĬŅŅĩţ
0 CL AR I T Y
-100 CL AR I T Y
-50 CL AR I T Y
+50 CL AR I T Y
+100 CL AR I T Y
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LEARN HOW TO DODGE AND BURN Once you’ve got your basic mono look, take control of tones by darkening, lightening and adjusting the contrast in local areas of your image ĜčĘƋåĹĜĹčØ Ú±ųĩåĹĜĹč ±ĹÚ ±ÚģƚŸƋĜĹč ƋĘå ÏŅĹƋų±ŸƋ Ņü ŸåĬåÏƋĜƴå ±ų屟 Ņü ±Ĺ Ĝĵ±čå ƋŅ ÏŅĹƋųŅĬ ƋĘå üĜűĬ ųåŸƚĬƋ ʱŸ ÆååĹƤ± ޱųƋ Ņü ÆĬ±Ïĩě±ĹÚěƵĘĜƋå ŞĘŅƋŅčų±ŞĘƼ ŸĜĹÏå ƋĘå Ú±ƼŸ Ņü ƋĘå Ƌų±ÚĜƋĜŅűĬ Ú±ųĩųŅŅĵţ ĜƋĘ
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ƼŅƚų ÚĜčĜƋ±Ĭ Ĝĵ±čåŸØ ƼŅƚ ʱƴå ± ĹƚĵÆåų ŅüƤåÚĜƋĜĹč ŅŞƋĜŅĹŸ ƋŅ ±ÏĘĜåƴå ƋĘåŸå ųåŸƚĬƋŸ ĜĹƤXĜčĘƋųŅŅĵØ ±ĵåų± ±Ƶ Ņų {ĘŅƋŅŸĘŅŞţ Ƌ±ųƋĜĹč ƵĜƋĘ ± ų±Ƶ üĜĬå ±ĹÚ ƚŸĜĹč ƋĘå eÚģƚŸƋĵåĹƋ ųƚŸĘ ĜĹ XĜčĘƋųŅŅĵ Ņų ±ĵåų± ±Ƶ ƵĜĬĬ čĜƴå ƼŅƚ ƋĘå ÆåŸƋ
ųåŸƚĬƋŸ ƵĘåĹ ƼŅƚ ĬĜčĘƋåĹ ŸĘ±ÚŅƵŸ ŅųƤÚ±ųĩåĹ ĘĜčĘĬĜčĘƋŸØ ±Ÿ ƋĘåųåűŸ ĵŅųå ƋŅűĬ ĜĹüŅųĵ±ƋĜŅĹ ±ƴ±ĜĬ±ÆĬå ĜĹ ± ų±Ƶ üĜĬå ÏŅĵޱųåÚ ƵĜƋĘ ± I{):Ø ÆƚƋ ĜƋűŸ ŅüƋåĹƤ屟Ĝåų ƋŅ ĵ±ĩå üĜűĬ ±ÚģƚŸƋĵåĹƋŸ ĜĹƤ{ĘŅƋŅŸĘŅŞ ƚŸĜĹč ±ÚģƚŸƋĵåĹƋ Ĭ±ƼåųŸţ
DARKEN SKY
LIGHTEN AND INCREASE CONTRAST
LIGHTEN SHADOWS DARKEN GROUND AREA
OR IGINAL
AF T ER
DARKEN BRIGHT HIGHLIGHTS
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LEARN HOW TO DODGE AND BURN CONTINUED
1CAMERA RAW ADJUSTMENT BRUSH
2ADD A 50% GREY LAYER
ADJUSTMENT LAYER 3CURVES
LEVELS LAYER 4ADJUSTMENT
eÚÚĜĹč ± ƚųƴåŸ ±ÚģƚŸƋĵåĹƋ Ĭ±Ƽåų ±ĹÚ ƋĘåĹ Ş±ĜĹƋĜĹč Ņƴåų ƋĘå Ĭ±Ƽåų ĵ±Ÿĩ ƵĜƋĘ ÆĬ±Ïĩ ŅĹ ±ĹƼ ±ų屟 Ņü ƋĘå üų±ĵå ƼŅƚ ÚŅĹűƋ Ƶ±ĹƋ ƋŅ ±ÚģƚŸƋ ĜŸ ±ƤƴåųŸ±ƋĜĬå Ƶ±Ƽ ƋŅ ĬĜčĘƋåĹØ Ú±ųĩåĹ ±ĹÚ ±ÚģƚŸƋ ƋĘå ÏŅĹƋų±ŸƋ Ņü ± ŸŞåÏĜüĜÏ ±ųå± Ņü ƋĘå Ĝĵ±čåţ 8Ņų ƋĘĜŸ ŸĘŅƋØ Ƶå ĵ±ŸĩåÚ ƋĘå ĘƚƋ ŸŅ ƋʱƋ ƋĘå ±ÚģƚŸƋĵåĹƋ ŅĹĬƼ ±üüåÏƋåÚ ƋĘå ƱÏĩčųŅƚĹÚØ ±ĹÚ ƚŸåÚ ± ŸƚÆƋĬå ěÏƚųƴå ƋŅ ±ÚÚ ± ĬĜƋƋĬå ÏŅĹƋų±ŸƋţ
ĜĵĜĬ±ų ƋŅ ƋĘå ƚųƴåŸ ±ÚģƚŸƋĵåĹƋ Ĭ±ƼåųØ ƼŅƚ Ï±Ĺ ±ĬŸŅ ƚŸå ± XåƴåĬŸ ±ÚģƚŸƋĵåĹƋ Ĭ±Ƽåų ƋŅ ŸåĬåÏƋĜƴåĬƼ ±ĬƋåų ±ų屟 Ņü ƋĘå Ĝĵ±čåţ XåƴåĬŸ Ĭ±ÏĩŸ ƋĘå ŸƚÆƋĬåƋƼ Ņü ƚųƴåŸØ ĘŅƵåƴåųØ ŸŅ ĜƋűŸ ƚŸƚ±ĬĬƼ ƋĘå Ĭ±ŸƋ ±ÚģƚŸƋĵåĹƋ ƋŅ ±ŞŞĬƼţ 8Ņų ƋĘĜŸ Ĝĵ±čå Ƶå åÚĜƋåÚ ƋĘå ĵ±Ÿĩ üĜųŸƋ ŸŅ ƋĘå XåƴåĬŸ ±ÚģƚŸƋĵåĹƋ Ƶ±Ÿ ±ŞŞĬĜåÚ ŅĹĬƼ ƋŅ ƋĘå ĘƚƋØ ƋĘåĹ ±ÚģƚŸƋåÚ ƋĘå ƵĘĜƋå ±ĹÚ ÆĬ±Ïĩ ŞŅĜĹƋŸ ƋŅ ĵ±ĩå ƋĘå ƋŅĹåŸ ĵ±ƋÏĘƤƋĘå ƱÏĩčųŅƚĹÚ ĵŅųå ±ÏÏƚų±ƋåĬƼ ƋʱŠÆåüŅųåţ
Ęå eÚģƚŸƋĵåĹƋ ųƚŸĘ ĜĹ ±ĵåų± ±Ƶ ŠŅų XĜčĘƋųŅŅĵš åűÆĬåŸ ƼŅƚ ޱĜĹƋ Ņƴåų ƋĘå ±ųå± ƋʱƋ ƼŅƚ Ƶ±ĹƋ ƋŅ ±ÚģƚŸƋ ƋŅ Ïųå±Ƌå ± ĵ±Ÿĩţ FƋűŸ ÆåŸƋ ƋŅ ŸƋ±ųƋ ƵĜƋĘ ĬŅƵ 8ĬŅƵ ±ĹÚ %åĹŸĜƋƼ ŸåƋƋĜĹčŸ Ņü ±ųŅƚĹÚ ƖĂŢØ ±ĹÚ ÆƚĜĬÚ ƚŞ ƋĘå ĵ±Ÿĩ ô ƼŅƚ Ï±Ĺ ±ÚÚ ±ų屟 ƋŅ Ņų ųåĵŅƴå ±ų屟 üųŅĵ ƋĘĜŸ ĵ±Ÿĩ ±Ƌ ±ĹƼ ŞŅĜĹƋţ ĘåĹ ƼŅƚ Ï±Ĺ ±ÚģƚŸƋ ƋĘå ŸĬĜÚåųŸ ô üŅų ƋĘĜŸ Ĝĵ±čå Ƶå ĜĹÏų屟åÚ ƋĘå åƻŞŅŸƚųåØ ĬĜčĘƋåĹåÚ ƋĘå ŸĘ±ÚŅƵŸØ ±ĹÚ ĜĹÏų屟åÚ ƋĘå ÏŅĹƋų±ŸƋ Ņü ƋĘå ĘƚƋţ
ĜƋĘ ƋĘå Ĝĵ±čå ŅŞåĹ ĜĹ {ĘŅƋŅŸĘŅŞØ Ƶå ±ÚÚåÚ ± ĹåƵ Ĭ±Ƽåų ƵĜƋĘ ƋĘå ĬåĹÚĜĹč aŅÚå ŸåƋ ƋŅ kƴåųĬ±ƼØ ƋĘåĹ ƵåĹƋ ƋŅ )ÚĜƋ ē 8ĜĬĬ ±ĹÚ ŸåĬåÏƋåÚ ĂLjŢ čųåƼţ ŸĜĹč ƋĘå ųƚŸĘ ƋŅŅĬØ ĜƋűŸ ƋĘåĹ ŞŅŸŸĜÆĬå ƋŅ ĬĜčĘƋåĹ ±ų屟 ÆƼ ޱĜĹƋĜĹč Ņƴåų ĜĹ ƵĘĜƋåØ Ņų Ú±ųĩåĹ ƋĘåĵ ƚŸĜĹč ÆĬ±Ïĩţ ĘåƋĘåų ƼŅƚűųå ĬĜčĘƋåĹĜĹč Ņų Ú±ųĩåĹĜĹčØ ƚŸå ± ƴåųƼ ĬŅƵ ŅޱÏĜƋƼ ŸåƋƋĜĹčØ ŸƚÏĘ ±Ÿ ƖŢØ ±ĹÚ ƚŸå ± ŸŅüƋěåÚčåÚ ÆųƚŸĘ ƋŅ åĹŸƚųå ƋʱƋ ƼŅƚų ÆųƚŸĘ ŸƋųŅĩåŸ ±ųåĹűƋ ƴĜŸĜÆĬåţ
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TONING AND SPECIAL EFFECTS Enhance your images by taking inspiration from classic black and white ŞųĜĹƋĜĹč ƋåÏĘĹĜŧƚåŸƤô Ņų ÆƼƤĜĹƴåĹƋĜĹč Ƌųå±ƋĵåĹƋŸ Ņü ƼŅƚų ŅƵĹ OR IGINAL
ųŅĵ ƋĘå å±ųĬĜåŸƋ Ú±ƼŸ Ņü ŞĘŅƋŅčų±ŞĘƼØ ÆĬ±Ïĩě±ĹÚěƵĘĜƋå Ĝĵ±čåŸ Ę±ƴå ÆååĹ ƋŅĹåÚØ ŞųĜĹƋåÚ ±ĹÚ ĵ±ĹĜŞƚĬ±ƋåÚ ƋŅ Ïųå±Ƌå ±Ĺ ±ĬĵŅŸƋ åĹÚĬ域 ų±Ĺčå Ņü åüüåÏƋŸ ƋŅ ÏŅĵŞĬåƋå ƋĘå üĜűĬ Ĝĵ±čåţ cŅƵ ƼŅƚ Ï±Ĺ ųåÏųå±Ƌå ƋĘåŸå åüüåÏƋŸØ Ņų ÏŅĵå ƚŞ ƵĜƋĘ ŸŅĵå Ņü ƼŅƚų ŅƵĹØ ƵĜƋĘŅƚƋ ʱƴĜĹč ƋŅ ŸŞåĹÚ ĘŅƚųŸ ĜĹ ± Ú±ųĩųŅŅĵ üƚĬĬ Ņü ±ÏųĜÚ ÏĘåĵĜϱĬŸØ ±Ÿ ƋĘåƼ ±ųå ±ĬĬ 屟ĜĬƼ ±ƋƋ±ĜűÆĬå ƋĘųŅƚčĘ ŸŅĵå ŸĜĵŞĬå ŸŅüƋƵ±ųå ƋƵå±ĩŸţ Båųå ±ųå üĜƴå ÚĜüüåųåĹƋ Ƌųå±ƋĵåĹƋŸ ƋʱƋ ƵĜĬĬ čĜƴå ƼŅƚų ÆĬ±Ïĩě±ĹÚěƵĘĜƋå ŸĘŅƋŸ åƻƋų± ĜĵޱÏƋ Ņų ± ÚĜüüåųåĹƋ ĵŅŅÚØ Ņų ŸĜĵŞĬƼ ĵ±ĩå ƋĘåĵ ĬŅŅĩ ĵŅųå ů±Ĺ±ĬŅčƚåű ƋʱŠ± ŸƋ±ĹÚ±ųÚ ĵŅĹŅ ÏŅĹƴåųŸĜŅĹţ a±ĹƼ Ņü ƋĘåŸå ±ųå ±ƴ±ĜĬ±ÆĬå ±Ÿ ŞųåŸåƋŸ ƋĘųŅƚčĘ ĵ±ĹƼ ŸŅüƋƵ±ųå Ş±Ïĩ±čåŸ ŸƚÏĘ ±Ÿ XĜčĘƋųŅŅĵØ ÆƚƋ ƼŅƚ Ï±Ĺ ±ÚģƚŸƋ ƋĘå ÚĜüüåųåĹƋ ŸåƋƋĜĹčŸ ƋŅ ŸƚĜƋ ÚĜüüåųåĹƋ Ĝĵ±čåŸØ Ņų åƴåĹ ŸƋ±ųƋ üųŅĵƤŸÏų±ƋÏĘ ƋŅ Ïųå±Ƌå ƼŅƚų ŅƵĹ ÆĬ±Ïĩ ±ĹÚ ƵĘĜƋå ĵ±ŸƋåųŞĜåÏåţ
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SPLIT-TONING ĘĜŸ ŞųŅÏ域 ĜĹƴŅĬƴåŸ ±ÚÚĜĹč ±Ƌ Ĭ屟Ƌ ƋƵŅ ÚĜüüåųåĹƋ ÏŅĬŅƚųŸ ô ŅĹå to the highlights and one ƋŅ ƋĘå ŸĘ±ÚŅƵŸ ô ƋŅ ±ÚÚ ĵŅŅÚ ±ĹÚ ĜĵޱÏƋ ƋŅ ±Ĺ Ĝĵ±čåţ 8Ņų ƋĘĜŸ ŸĘŅƋ Ƶå ƚŸåÚ ƋĘå ŞĬĜƋ ŅĹĜĹč ŅŞƋĜŅĹ ĜĹ XĜčĘƋųŅŅĵØ ±ĹÚ ±ÚÚåÚ ± ųåÚxÆųŅƵĹ tone to the highlights ±ĹÚ ± ŸƚÆƋĬå ÆĬƚå ƋŅ ƋĘå ŸĘ±ÚŅƵŸţ ƚƋ ƋĘå ÏĘŅĜÏå ŅüƤÏŅĬŅƚųŸ ĜŸ ±ĬĵŅŸƋ åĹÚĬåŸŸØ ŸŅ Ƌ±ĩå ƋĘå ƋĜĵå ƋŅ åƻŞåųĜĵåĹƋ ƋŅ üĜĹÚ ƋĘå ÆåŸƋ ŅĹåŸ üŅų ƼŅƚų Ĝĵ±čåţ
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LITHO PRINTING åÏųå±ƋĜĹč ƋĘå åüüåÏƋ Ņü Ƌų±ÚĜƋĜŅűĬ ĬĜƋĘŅčų±ŞĘĜÏ ŞųĜĹƋĜĹč Ƌ±ĩåŸ ± ĬĜƋƋĬå ƋĜĵå ƋŅ ŞåųüåÏƋØ ÆƚƋ ĜƋ Ï±Ĺ Ïųå±Ƌå ŸƋƚĹĹĜĹč Ĝĵ±čåŸţ Ęå ƱŸĜÏ åüüåÏƋ ųåĬĜåŸ ŅĹ ƋĘå ÏŅĹƋų±ŸƋ ÆåƋƵååĹ ŸƋųŅĹčØ Ú±ųĩ ŸĘ±ÚŅƵŸ ±ĹÚ ŸŅüƋØ čĬŅƵĜĹč ĘĜčĘĬĜčĘƋŸØ ±ĬŅĹč ƵĜƋĘ ±ƤŸƚÆƋĬå ƋŅĹåţ ĘĜŸ ĜŸ ±ÏĘĜåƴåÚ ÆƼ ±ÚÚĜĹč ĹŅĜŸå ƋŅ ƋĘå ŸĘ±ÚŅƵŸØ and tone to the midtones ±ĹÚ ĘĜčĘĬĜčĘƋŸţ åÚƚÏĜĹč Ĭ±ųĜƋƼ ƋŅ ÆåƋƵååĹ ěƖLj ±ĹÚ ěĂLj Ï±Ĺ ųåÏųå±Ƌå ƋĘå čĬŅƵ ĜĹ ƋĘå ĘĜčĘĬĜčĘƋŸţ
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CYANOTYPE Ƽ±ĹŅƋƼŞåŸ Ƶåųå ŅųĜčĜűĬĬƼ ƚŸåÚ ƋŅ ųåÏųå±Ƌå ÚĜ±čų±ĵŸ ±ĹÚ ÆĬƚå ŞųĜĹƋŸţ Ęå ŞųŅÏ域 Ƶ±Ÿ ±ĬŸŅ ƚŸåÚ ƋŅ ŞųŅÚƚÏå ŞųĜĹƋŸ ƵĜƋĘ ± ÏƼ±ĹxÆĬƚå ƋŅĹå ±ĹÚ ĘĜčĘ ÏŅĹƋų±ŸƋţ Ņ ųåÏųå±Ƌå ƋĘĜŸØ ±ÚÚ ± ÏƼ±ĹxÆĬƚå ƋŅĹå ƋŅ ƼŅƚų Ĝĵ±čå ÆƼ ±ÚÚĜĹč ± :ų±ÚĜåĹƋ a±Ş ±ÚģƚŸƋĵåĹƋ Ĭ±Ƽåų ±ĹÚ ÏĘŅŅŸĜĹč ± ÏŅĬŅƚų üųŅĵ ƋĘå {ĘŅƋŅčų±ŞĘĜÏ ŅĹĜĹč ŅŞƋĜŅĹŸØ ƋĘåĹ ±ÚģƚŸƋ ƋĘå ŅޱÏĜƋƼ ƋŅ ŸƚĜƋ ƼŅƚų Ƌ±ŸƋåţ eÚÚ ÏŅĹƋų±ŸƋ ƚŸĜĹč ±Ĺ ěÏƚųƴå ŅĹ ± ƚųƴåŸ ±ÚģƚŸƋĵåĹƋ Ĭ±Ƽåųţ
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INFRARED åÏųå±ƋĜĹč ƋĘå čĬŅƵĜĹčØ åƋĘåųå±Ĭ åüüåÏƋ Ņü ĜĹüų±ųåÚ üĜĬĵ ĜŸ 屟ĜĬƼ ±ÏĘĜåƴåÚţ ĘåųåűŸ ±Ĺ FĹüų±ųåÚ ŞųåŸåƋ ĜĹ XĜčĘƋųŅŅĵ ±ĹÚ ±ĵåų± ±ƵØ ƵĘĜÏĘ ƼŅƚ Ï±Ĺ üĜĹåěƋƚĹå ƚŸĜĹč ƋĘå åƻŞŅŸƚųåØ ƋŅĹå ±ĹÚ ÏƚųƴåŸ ±ÚģƚŸƋĵåĹƋŸţ ¥Ņƚ ŸĘŅƚĬÚ ƋųƼ ƋŅ ±ÏĘĜåƴå ƋĘå Ú±ųĩØ ÆĬŅÏĩåÚěĜĹ ŸĘ±ÚŅƵŸ ƋʱƋ ±ųå ± üå±Ƌƚųå Ņü ĜĹüų±ųåÚ Ĝĵ±čåŸţ ¥Ņƚ Ï±Ĺ ±ĬŸŅ ±ÚģƚŸƋ Ĭ±ųĜƋƼ ƋŅ ÆåƋƵååĹ ěƖLj ±ĹÚ ěĂLj ƋŅ ųåÏųå±Ƌå ƋĘå åƋĘåųå±Ĭ čĬŅƵ ƋʱƋűŸ ŸƼĹŅĹƼĵŅƚŸ ƵĜƋĘ ƋĘĜŸ åüüåÏƋţ
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HIGH KEY Fü ƼŅƚų Ĝĵ±čå ÏŅĹƋ±ĜĹŸ ŞųåÚŅĵĜűĹƋĬƼ ĬĜčĘƋ ƋŅĹåŸ ƼŅƚ Ï±Ĺ åĹʱĹÏå ƋĘĜŸ ĬŅŅĩ ÆƼ čŅĜĹč üŅų ± ĘĜčĘě ĩåƼ åüüåÏƋţ ĘĜŸ ĜŸ 屟ĜĬƼ ±ÏĘĜåƴåÚ ÆƼ ±ÚÚĜĹč ± ƚųƴåŸ ±ÚģƚŸƋĵåĹƋ Ĭ±ƼåųØ then raising the curve ƋŅ ĬĜčĘƋåĹ ±ĬĬ ƋĘå ƋŅĹåŸØ ƵĜƋĘŅƚƋ ĬŅŸĜĹč ƋĘå ÚåƋ±ĜĬ ĜĹ ƋĘå ĘĜčĘĬĜčĘƋŸţ Ņ čåƋ ƋĘå ŅŞŞŅŸĜƋåØ ĬŅƵěĩåƼ åüüåÏƋØ Úų±č ƋĘå Ïƚųƴå ÚŅƵĹ ƋŅ Ú±ųĩåĹ ƋĘå ƋŅĹåŸ Ņü ±Ĺ Ĝĵ±čå ô ƋĘĜŸ ƵŅųĩŸ ޱųƋĜÏƚĬ±ųĬƼ ƵåĬĬ üŅų Ĝĵ±čåŸ ƵĜƋĘ ĵŅŸƋĬƼ Ú±ųĩ ƋŅĹåŸţ
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ĘĜŸ ŞŅŞƚĬ±ų ŸŅüƋƵ±ųå ĜŸ ޱųƋƤŅü ƋĘå cĜĩ ŅĬĬåÏƋĜŅĹ Ņü ŞĬƚčěĜĹŸØ ƵĘĜÏĘ Ƶ±Ÿ ŞųåƴĜŅƚŸĬƼ ŅƵĹåÚ ÆƼ :ŅŅčĬåţ FƋűŸ ĹŅƵ ŅƵĹåÚ ÆƼ %ƻkţ ĜĬƴåų )üåƻ {ųŅ ŅüüåųŸ ± ƵĜÚå ų±Ĺčå Ņü üĜĬĵ åĵƚĬ±ƋĜŅĹ ŞųåŸåƋŸØ ±ĬŅĹč ƵĜƋĘ ± ƵĜÚå ų±Ĺčå Ņü ƋŅĹĜĹč ±ĹÚ ŞųĜĹƋ ůĬŅŅĩŸűţ Ęåųå ±ųå ±ĬŸŅ ÏŅĹƋųŅĬŸ ƋŅ üĜĹåěƋƚĹå åüüåÏƋŸ ±ĹÚ åƻŞŅŸƚųåţ Price: Free URL: ĘƋƋŞ×xxĹĜĩÏŅĬĬåÏƋĜŅĹţÚƻŅţÏŅĵ
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ĘĜŸ ±ÏÏåŸŸåŸ ŅĹƋųŅĬ {ŅĜĹƋŸØ ƵĘĜÏĘ ±ĬĬŅƵ ƼŅƚ ƋŅ ±ÚģƚŸƋ ƋĘå ÆųĜčĘƋĹ域 ±ĹÚ ÏŅĹƋų±ŸƋ Ņü ĜĹÚĜƴĜÚƚ±Ĭ ÏĜųÏƚĬ±ų ±ų屟 Ņü ƋĘå Ĝĵ±čåţ
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ĘåĹ ƼŅƚűųå converting colour images to mono
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2ON1 EFFECTS 10.5
kĹŎ )üüåÏƋŸ ƵŅųĩŸ åĜƋĘåų ±Ÿ ± ŞĬƚčĜĹ üŅų XĜčĘƋųŅŅĵ Ņų {ĘŅƋŅŸĘŅŞØ Ņų ±Ÿ ± ŸƋ±ĹÚ±ĬŅĹå ±ŞŞţ FƋ ĜĹÏĬƚÚåŸ ĬŅ±ÚŸ Ņü ÚĜüüåųåĹƋ ŞųåŸåƋ åüüåÏƋŸ üŅų ÚĜüüåųåĹƋ ŸƚÆģåÏƋŸ ±ĹÚ ĬŅŅĩŸØ ĜĹÏĬƚÚĜĹč ± ų±Ĺčå Ņü ÆĬ±Ïĩ ±ĹÚ ƵĘĜƋå ŅŞƋĜŅĹŸţ ŅĵޱųåÚ ƵĜƋĘ ĜĬƴåų )üåƻ {ųŅØ ĜƋ Ĭ±ÏĩŸ ŸŞåÏĜüĜÏ üĜĬĵ ĬŅŅĩŸØ ÆƚƋ ƼŅƚ Ï±Ĺ ±ŞŞĬƼ ÚĜüüåųåĹƋ üĜĬĵ čų±ĜĹŸ ±ĹÚ ÏŅĹƋų±ŸƋØ ±ĬŅĹč ƵĜƋĘ ƋŅĹĜĹč ±ĹÚ ÏŅĬŅƚų üĜĬƋåų åüüåÏƋŸţ Price: Free URL: ƵƵƵţŅĹŎţÏŅĵxŞųŅÚƚÏƋŸxåüüåÏƋŸŎLj
EXTRA FEATURES FĹ ±ÚÚĜƋĜŅĹ ƋŅ ƋĘå ƱŸĜÏ ÆĬ±Ïĩ ±ĹÚ ƵĘĜƋåƤåüüåÏƋŸØ kĹŎ )üüåÏƋŸ ±ĬŸŅ ŅüüåųŸ ± Ęƚčå ų±Ĺčå Ņü ±ÚģƚŸƋ±ÆĬå čų±ÚĜåĹƋŸØ ±ÚģƚŸƋĵåĹƋ ÆųƚŸĘåŸ ±ĹÚ åƴåĹ ± ĵ±ŸĩĜĹč ŅŞƋĜŅĹ ƋʱŠåűÆĬåŸ ƼŅƚ ƋŅ ±ŞŞĬƼ åƻŞŅŸƚųåØ ÏŅĹƋų±ŸƋ ±ĹÚ ŅƋĘåų åüüåÏƋŸ ƋŅ ĬŅϱĬ ±ų屟 Ņü ƼŅƚų Ĝĵ±čåţ ĘĜŸ ĵ±ĩåŸ ĜƋ ± ƴåųŸ±ƋĜĬå ŸƋ±ĹÚ±ĬŅĹå ±ŞŞĬĜϱƋĜŅĹØ ±ĬƋĘŅƚčĘ ĜƋ ÚŅåŸĹűƋ Ņüüåų ƋĘå üĜĬå ÆųŅƵŸĜĹč Ņų Ĝĵ±čå ĵ±Ĺ±čåĵåĹƋ ŅŞƋĜŅĹŸ ŅüƤXĜčĘƋųŅŅĵţ
ADJUS T MEN T BRUSH
3TOPAZ B&W EFFECTS
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EXTRA FEATURES eĬŅĹč ƵĜƋĘ ± ų±Ĺčå Ņü ŞųåŸåƋ åüüåÏƋŸ ±ĹÚ ĬŅŅĩŸØ ƋĘĜŸ ŞĬƚčĜĹ ŅüüåųŸ ŧƚĜÏĩ ±ÚģƚŸƋĵåĹƋŸ üŅų üĜĬƋåų åüüåÏƋŸØ åƻŞŅŸƚųåØ ƋŅĹĜĹč ±ĹÚ ÏŅĹƋų±ŸƋ ±Ƌ ƋĘå ƋŅŞ Ņü ƋĘå eÚģƚŸƋĵåĹƋŸ ƵĜĹÚŅƵţ %åĬƴå ÚååŞåųØ ƋĘŅƚčĘØ ±ĹÚ ƋĘåųå ±ųå ĬŅ±ÚŸ Ņü ÏŅĹƋųŅĬŸ ĜĹ ƋĘå ĵåĹƚŸ ÆåĬŅƵ ƋĘĜŸţ ĘåŸå ĜĹÏĬƚÚå ± XŅϱĬ eÚģƚŸƋĵåĹƋ ƋŅ ±ĬĬŅƵ ƼŅƚ ƋŅ ÚŅÚčå ±ĹÚ ÆƚųĹ üųŅĵ ƵĜƋĘĜĹ ƋĘĜŸ ޱÏĩ±čåØ ų±ƋĘåų ƋʱŠʱƴĜĹč ƋŅ ųåƋƚųĹ ƋŅ {ĘŅƋŅŸĘŅŞ Ņų XĜčĘƋųŅŅĵţ
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XPOSURE THE WEEK’S MOST INSPIRING READER PHOTOS
WINDGATHER DUSK LONG EXPOSURE KIERAN METCALFE “My son and I had driven to Windgather Rocks in England’s Peak District National Park to try and shoot the sunset. We were just packing up when I thought I’d get a last long-exposure shot, and I was surprised to see that the clouds had very kindly framed the rocks for me!” http://tiny.cc/6reqty
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THE WEEK’S MOST INSPIRING READER PHOTOS
LOUGH TAY IN 5)&ç%*45"/$& PETER WILLIAMS “Lough Tay is one of the NPTUçQIPUPHSBQIFE MPDBUJPOT JO $PVOUZ 8JDLMPX *SFMBOE UIBOLTçUP UIF TUVOOJOH TDFOFSZ of the lough surrounded by the Wicklow Mountains. This image was taken along Military Road, from where one can enjoy particularly good views.” http://tiny.cc/6neqty
(03*--" 30$, JODY SANCHEZ “This was shot at Ruby beach, on the Olympic Peninsula in Washington State, USA. I was XBMLJOH BMPOH $FEBS $SFFL which flows into the Pacific Ocean, when I saw this rock that looked like a gorilla.” http://tiny.cc/75fysy
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HANNAH NICK TURLEY “This was taken at my local camera club and features the very talented )BOOBI $BSUXSJHIU XIP EJE IFS PXO TUZMJOH BOE NBLFVQ w http://tiny.cc/rd3cpy
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THE WEEK’S MOST INSPIRING READER PHOTOS
HONEY BEE ON A PURPLE FLOWER TEDDY ALFREY i5IJT XBT UBLFO PO UIF *OEJBOB 6OJWFSTJUZ $BNQVT JO #MPPNJOHUPO *U XBT JO B MJUUMF USJBOHMF PG what appeared to be deliberate plantings for pollinators, and it was swarming with insects!� http://tiny.cc/lyrgsy
PHOTOGRAPHY WEEK WANTS YOUR PHOTOS!
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Taken a portrait you’re particularly proud of? Shot a sensational sunset you’d like to show off? Then join the Photography Week Facebook community and share your best photos today! You’ll get feedback from fellow readers and the Photography Week team, plus the chance to appear in Xposure, or even on our cover!
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F ű k k X Ø B e Images © Photographer/Remembering Great Apes
THE BEST THING WE’ VE SEEN THIS WEEK
Mountain gorilla, Democratic Republic of Congo, by Shannon Witz
ĘĜĵޱĹDŽååŸØ :ŅĵÆå c±ƋĜŅűĬ {±ųĩØ ±ĹDŽ±ĹĜ±Ø ÆƼ X±ƋĜĩ± c±ƋĘ
Bornean orangutan, Kabili Forrest Reserve, Borneo by Julie Duncan
Mountain gorillas, Rwanda, by Richard Denyer
THESE IMAGES WILL SAVE APES Winning photos chosen for book that will raise money for conservation projects mages from 10 photographers have been selected as the winning shots in the Remembering Great Apes competition, organised by the charity book publishing project Remembering Wildlife. The photos depict gorillas, chimpanzees, orangutans and bonobos in their natural environments, captured across Borneo and other African countries. The winning images will be displayed at ±Ƥč±Ĭ± åƴåĹƋ ĜĹ kÏƋŅÆåų ±Ƌ XŅĹÚŅĹűŸ ŅƼ±Ĭ Geographical Society, and will appear in a
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book, Remembering Great Apes, the proceeds from which will be distributed ƋŅƤÏŅĹŸåųƴ±ƋĜŅĹ ŞųŅģåÏƋŸ ±ÏųŅŸŸ eüųĜϱţ ƵŅƤŞųåƴĜŅƚŸ ÆŅŅĩŸ ĜĹ ƋĘå ŸåųĜåŸ ÆƼ ųĜƋĜŸĘ wildlife photographer Margot Raggett, Remembering Elephants and Remembering Rhinos, have already helped raise £315,000. Click the link to see the winning images at the Remembering Wildlife Facebook page, and visit www.rememberingwildlife.com to learn more about the project and to purchase the books.
SEE MOR E IM AGE S h t t p: // t iny. cc / 5t p5t y
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CRASH COURSE ESSENTIAL PHOTO SKILLS MADE EASY
SOUP UP YOUR AC T ION SHOTS Jason Parnell-Brookes demonstrates some handy techniques that will help you take your motorsports pictures to pole position Taking well-focused and sharp shots of fast-paced action such as motorsports DAY may sound hard, with your subjects moving at breakneck speed, but it is possible. Take time to enjoy yourself and to plan your shots, and you’ll capture images to be proud of.
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You’ll need to keep your camera steady and smooth. Panning is an important technique to master, and the right shutter speed is key to achieving an image that’s not only sharp, but which also captures a sense of speed. We travelled to a World Rally Championships event in Trier, Germany,
to take the shots for this Crash Course (fortunately there weren’t many actual crashes!). This event boasts the best drivers and vehicles in the world, tearing around at breakneck speeds, but you cab shoot similar images at any local rally – so let’s see what you need to do to guarantee winning shots.
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STEP BY STEP FOLLOW THAT CAR
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FRAME YOUR SHOT Not every position you shoot from will be ideal, especially if you only have a spectator ticket – you’ll be crowded in with many other people, fighting for space. If you find your view is obstructed, use it creatively. Frame the cars with bushes and trees to draw the eye to them.
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CAPTURE THE DUST As the cars slide around corners they’ll kick up dirt, gravel and water. And whatever the track conditions, plumes of smoke will billow up in places. Find a corner where the dust is visible and shoot that corner, making sure your composition emphasises the smoky, dusty atmosphere.
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NAIL THE JUMPS Depending on the location you visit there may beƤjumps or tight corners, and these can make for especially dramatic photos. Crouching or even lying on the ground will help you to emphasise the gap between an airborne car and the road, and will make it seem like the car is higher off the ground.
SHOOT EVERYTHING Not everyone has access ƋŅ ƋĘå ŞĜƋŸØ ÆƚƋ ĜüƤƼŅƚ Ï±Ĺ get in there it’s worth
shooting everything you can. If you’re creating a photo story, it adds
another angle to the package of photos that ƼŅƚ ŞƚƋƤƋŅčåƋĘåųţ
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STEP BY STEP FOLLOW THAT CAR
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PAN FOR GOLD Panning while shooting creates a sense of movement, keeping the car sharp and in focusƤƵĘĜĬå blurring the background. Use a slow shutter speed, turn on your camera’s image stabilisation and optionally mount your camera on a monopod, and use a narrow aperture of f/8 or f/11 to maximise the sharpness of the car.
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TILT AND ZOOM Tilt the camera to add dynamism to your shots. The more extreme the angle the more dynamic ĜƋűĬĬ ĬŅŅĩØ ÆƚƋ ƼŅƚűĬĬƤ±ĬŸŅ ĹååÚ ± ϱų ƋŅ Æå ÚŅĜĹč ŸŅĵåƋĘĜĹč Úų±ĵ±ƋĜÏţ ĘåƤ Ęåųå slid around the first corner and narrowly missed the bollard marking the apex of the turn.
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DISH THE DIRT As the cars come to the end of a rally stage you’ll notice mud and grass lodged in car parts and damage to the vehicles. Capturing these details helps to convey the lengths the drivers go to in order to achieve pole position, ±Ÿ åƴåųƼ üų±ÏƋĜŅĹ Ņü ±ƤŸåÏŅĹÚ ÏŅƚĹƋŸţ
QUICK TIP When you’re panning, the right shutter speed is key to capturing an image that’s both sharp and conveys a sense of speed. Try 1/60 sec as a starting point.
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PH OTOS H O P LEARN ESSENTIAL EDITING SKILLS FAST!
D O W NL O A D T HE P R O J EC T F I L E S h t t p : // t i n y. c c /d w b q t y ON A PC OR MAC
HOW TO...
SHOOT THE BREEZE James Paterson shows you how to make your subjects disappear into thin air for a ghostly portrait omething as simple as ±ƤŞĜåÏå Ņü ü±ÆųĜÏ Ï±Ĺ ±ÚÚ ± ųå±Ĭ ÆƚųŸƋ Ņü ÏŅĬŅų ±ĹÚ Úų±ĵ± ƋŅ ŞŅųƋų±ĜƋŸØ åŸŞåÏĜ±ĬĬƼ Ĝü ƼŅƚ üĜĹÚ ± ƵĜĹÚŸƵåŞƋ ĬŅϱƋĜŅĹ ±ĹÚ ± ƵĜĬĬĜĹč ĘåĬŞåųţ cŅƋƤŅĹĬƼƤĜŸ ü±ÆųĜÏ ü±ĹƋ±ŸƋĜÏ üŅų ÏŅĹƴåĹƋĜŅűĬ ŞĘŅƋŅŸØ ĜƋ Ï±Ĺ ±ĬŸŅ Æå ƚŸåÚ ƋŅ Ïųå±Ƌå Æå±ƚƋĜüƚĬ åüüåÏƋŸØ ĬĜĩå ƋĘĜŸ
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čĘŅŸƋĬƼ üĜčƚųåØ ±ĹÚ ĜĹƤƋĘĜŸ ŞųŅģåÏƋ ƵåűĬĬ åƻŞĬ±ĜĹ ĘŅƵ ĜƋűŸ ÚŅĹå ƚŸĜĹč ± ÏŅĵÆĜűƋĜŅĹ Ņü ŸĘŅŅƋĜĹč ŸĩĜĬĬŸ ±ĹÚ {ĘŅƋŅŸĘŅŞ ƋåÏĘĹĜŧƚåŸţ Ęå ü±ÆųĜÏ Ƶåűųå ƚŸĜĹč ĜŸƤ± ŸĘĜĹƼ Úų域ěĬĜĹĜĹč ĵ±ƋåųĜ±Ĭ ƋʱƋűŸ ĬĜčĘƋ åĹŅƚčĘ ƋŅ čåƋ ŞĜÏĩåÚ ƚŞ ÆƼ ƋĘå ƵĜĹÚ ±ĹÚ ƋĘĜĹ åĹŅƚčĘ ƋŅ ÚåüĜĹå ƋĘå ŸĘ±Şå Ņü ƋĘå üĜčƚųå
ƚĹÚåųĹå±ƋĘØ ÆƚƋ ±ĬŸŅ ĹŅƋ ŸŅ Ƌų±ĹŸŞ±ųåĹƋ ƋʱƋ ĜƋ čĜƴåŸ ƋĘå č±ĵå ±Ƶ±Ƽ ÆƼ ŸĘŅƵĜĹč ƋĘå ŞåųŸŅĹ ĜĹ ƋŅŅ ĵƚÏĘ ÚåƋ±ĜĬţ åűĬĬ ƋĘåĹ ƚŸå {ĘŅƋŅŸĘŅŞ ƋŅƤųåĵŅƴå ƋĘå ĬåčŸ ±ĹÚ ųåŞĬ±Ïå ƋʱƋ ±ųå± ƵĜƋĘ ± ŞŅųƋĜŅĹ Ņü ƋĘå åĵŞƋƼ ŸÏåĹå Ƌ±ĩåĹ üųŅĵ ±ĹŅƋĘåų üų±ĵåţ
W AT CH T HE V IDEO h t t p : // t i n y. c c /n y b q t y
WANT MORE PHOTOSHOP TUTORIALS? CHECK OUT PRACTICAL PHOTOSHOP For more Photoshop tutorials, tips and advice subscribe to Practical Photoshop, the world’s premier Photoshop magazine. Each month you’ll find an array of inspirational tutorials and accompanying video lessons that will help you master Adobe’s industry-leading photo-editing software, plus amazing images from the world’s best Photoshop creatives, free downloadable content, and a beginner’s guide to the basics. iOS: http://tiny.cc/99ehfy Android: http://tiny.cc/l8ehfy Zinio: http://tiny.cc/g65jiy
CSC TEST EXPERT OPINION ON THE L ATEST KIT
PANASONIC LUMI X GH5S Panasonic’s new camera is designed for video first and stills second, so what does this mean for photographers? www.panasonic.co.uk £2,199/$2,498 (body only) he GH5S is an unusual and highly specialised camera. Panasonic’s latest is an important crossover product that highlights the different demands of professional video, but also acts as a bridge to the world of stills photography.
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For stills photographers, the biggest turn-off will be the 10.2-megapixel resolution, although this corresponds well with the pixel dimensions of 8K video and should mean less noise. The GH5S has a ‘multi-aspect’ sensor ƵĘĜÏĘ Ï±Ĺ ±ĬŸŅ ŸĘŅŅƋ ĜĹ ƋĘåƤŸĬĜčĘƋĬƼ wider professional Cinema 4K format,
and can also capture stills in the Ɛ×ƖƤŅų ĉ×Ɛ üŅųĵ±Ƌ ƵĘĜĬå ŸƋĜĬĬ ƚŸĜĹč ƋĘå maximum sensor area. The GH5’s all-new sensor does bring a clever technological twist: Dual Native ISO. The sensor has dual ÏĜųÏƚĜƋŸ ƋʱƋ ϱĹƤŸƵĜƋÏĘ ƋŅ ± ĘĜčĘåų native sensitivity before the ‘gain’
CSC TEST PANASONIC LUMIX GH5S (light amplifying) processing occurs. The technology is complex but the outcome is simple: Panasonic claims it delivers less noise at high sensitivities, allowing an unprecedented maximum sensitivity (for Micro Four Thirds sensors) of ISO51,200. Apart from its modest resolution, the other disappointment is the lack of in-body stabilisation, although many ŅßƤ{ÂąÄšÂąĹ¸Ĺ…ÄšÄœĂ?ŹŸ ďüĚŸüŸ ÚŅ Ä˜ÂąĆ´ĂĽ Ĺ…ĹžĆ‹ÄœĂ?¹ď stabilisers built in.
01 Build and handling The GH5S feels pretty substantial. It’s built around die-cast magnesium alloy front and rear frames and comes with weather sealing to make it dust-, splash- and freeze-resistant. Ergonomically, it comes with a couple of little foibles that probably won’t bother Panasonic fans, but are worth mentioning nonetheless. The position of the Record button feels awkward: reaching it means either crooking your index finger at an awkward angle or moving your right thumb forward. The electronic viewfinder’s eye sensor is extremely sensitive, too, Ĺ¸Ĺ…Ć¤Ć‹Ä˜ĂĽ ųü¹ų ŸĂ?ųüüĚ ĆľÄœÄŹÄŹ Æď¹Ă?ÄŠ ŅƚƋ ÄœĂź ĆźĹ…ĆšĹłĆ¤Ä˜ÂąÄšĂšĂ˜ ß¹Ă?ĂĽ Ĺ…Ĺł ¹ĚƟ Ĺ…Ć‹Ä˜ĂĽĹł ŅÆģüĂ?Ć‹ passes within a few centimetres of Ć‹Ä˜ĂĽ ĂĽĆźĂĽĹžÄœĂĽĂ?ĂĽĹŁ ÂĽĹ…Ćš Ă?¹Ě ¹ÚģƚŸƋ Ć‹Ä˜ĂĽ üƟü sensor sensitivity, but that didn’t seem to help in our experience. However, the electronic viewfinder itself is bright, clear and crisp, with
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1 The GH5S has a Micro Four Thirds sensor with Dual Native ISO technology, but a SFTPMVUJPO PG KVTU çNJMMJPO QJYFMT 2 5IF FMFDUSPOJD WJFXmOEFS IBT BçSFTPMVUJPO of 3,680,000 dots, while the rear touchscreen DBO nJQ PVU TJEFXBZT GPS B WBSJ BOHMF WJFX 3 5IF NFNPSZ DBSE EPPS JT PO UIF SJHIU TJEF PG UIF CPEZ TFFO GSPN UIF SFBS BOE IPVTFT UXP 6)4 ** 4% DBSE TMPUT GPS IJHI RVBMJUZ , video recording. 4 5IF () 4 T WJEFP mSTU EFTJHO BOE GFBUVSFT BSF OPU PCWJPVT GSPN UIF UPQ PG UIF DBNFSB FYDFQU GPS UIF CJH SFE 3FDPSE CVUUPO
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CSC TEST PANASONIC LUMIX GH5S
5IF UPVDITDSFFO EJTQMBZ HJWFT ZPV RVJDL DPOUSPM PG UIF "' QPJOU QMBDFNFOU GPS DBSFGVMMZ GPDVTFE DMPTF VQT MJLF UIJT
very little lag or streaking, even in low light. The focus peaking mode is especially good, both in the electronic Ć´ÄœĂĽĆľĂźÄœÄšĂšĂĽĹł ¹ĚÚ Ĺ…Äš Ć‹Ä˜ĂĽ ųü¹ų X %ĹŁ Â‰Ä˜ÄœĹ¸Ć¤ÄœĹ¸ especially important in videography, where many shooters will prefer to focus manually.
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Performance The GH5S and its DFD (Depth From Defocus) autofocus system feels very fast and responsive. Resolution ÂąĹ¸ÄœĂšĂĽĂ˜Ć¤ÄœĆ‹ĹąĹ¸ Âą Ä?ųü¹Ƌ Ă?¹ľüų¹ ßŅų Ĺ¸Ć‹ÄœÄŹÄŹĹ¸Ă˜ delivering crisp, saturated images with great tonal range. Our lab tests are based around still images rather than video, but still yielded interesting information about the sensor’s performance. Testing was carried out using Panasonic’s own raw conversion software, a branded version of the SilkyPix application. In the lab, the ISO results were some of the best we’ve seen, which seems to bear out the improved
THE FOCUS PEAKING MODE *4ç&41&$*"--: (00% #05) */ 5)& &-&$530/*$ 7*&8'*/%&3 "/% 0/ 5)& 3&"3 -$% 8)*$) *4 &41&$*"--: *.1035"/5 '03ç7*%&0(3"1):
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1 Noise control 1BOTPOJD T %VBM /BUJWF *40 TZTUFN JNQSPWFT RVBMJUZ BU IJHI *40T CVU IBT JUT MJNJUT 2 Detail rendition %FUBJM JT DSJTQ DMFBS BOE TIBSQ CVU VMUJNBUFMZ MJNJUFE CZ UIF SFTPMVUJPO PG UIF .1 TFOTPS 3 Dynamic range 8JUI VOVTVBMMZ DPOTJTUFOU mHVSFT BDSPTT UIF ISO range, the GH5S does well here.
CSC TEST PANASONIC LUMIX GH5S
" /&8 5:1& 0' $".&3" The GH5S joins the Sony A7S II in a new category of mirrorless cameras made for videographers Until quite recently, video cameras and stills cameras were two very ĂšÄœĂźĂźĂĽĹłĂĽÄšĆ‹ Æü¹ŸƋŸţ ƚƋ Ć‹Ä˜ĂĽĆ¤ÂąĹłĹłÄœĆ´ÂąÄŹ Ĺ…Ăź good video features, first on DSLRs and then mirrorless cameras, has attracted the attention of both pro videographers and an increasing number of stills photographers who are being asked to shoot video. Sony was quick to exploit this growing market with the A7S, and now the A7S II. Like the Panasonic
GH5S, the A7S sacrifices resolution ßŅųƤÆüƋƋüų ÄŹĹ…ĆľÄ›ÄŹÄœÄ?Ä˜Ć‹ ŞüųßŅųľ¹ĚĂ?ĂĽ (thanks to the larger pixels) and more powerful 4K video features. These cameras are not designed to appeal to video amateurs, or to ųüÄ?ƚď¹ų Ĺ¸Ć‹ÄœÄŹÄŹĹ¸ ĹžÄ˜Ĺ…Ć‹Ĺ…Ä?ĹłÂąĹžÄ˜ĂĽĹłĹ¸ ģƚŸƋ dabbling in video. They are for video professionals looking for a more compact, adaptable and affordable ÂąÄŹĆ‹ĂĽĹłÄšÂąĆ‹ÄœĆ´ĂĽ ƋŅƤųüÄ?ƚď¹ų ĹžĹłĹ…ĂźĂĽĹ¸Ĺ¸ÄœĹ…ÄšÂąÄŹ camcorders. The great advantage
of these cameras is that they can work alongside a regular Sony or {ÂąÄšÂąĹ¸Ĺ…ÄšÄœĂ? Ă?¹ľüų¹ ŸƟŸƋüľ ßŅų ģŅÆŸ where you’re shooting video but ÄšĹ…Ć‹Ć¤Ĺ¸Ć‹ÄœÄŹÄŹĹ¸ĹŁ However, lots of stills cameras Ă?¹Ě ĚŅƾ Ĺ¸Ä˜Ĺ…Ĺ…Ć‹ ĉU Ć´ÄœĂšĂĽĹ…Ă˜ Ĺ¸Ĺ…Ć¤ĆľÄ˜Ćź exactly should you compromise on stills resolution with a camera like Ć‹Ä˜ĂĽ :BÄŊ „Ƌ¹ĚÚ ÆƟ ßŅų ŸŅľü ģ¹ųÄ?Ĺ…Äš as the pros and cons start to get technical‌
8&-$0.& 50 5)& #3"7& /&8 803-% 0' 7*%&0 +"3(0/ĂŚ Resolution
Noise
10.2MP isn’t much by today’s standards, but it’s an almost perfect match for 4K video. It’s more efficient than using the ‘pixel binning’ or ‘oversampling’ needed with higher-resolution sensors.
The lower resolution means larger photosites, less noise and better dynamic range, which are especially important for the GH5S’s smaller Micro Four Thirds format.
less compression and better quality. With a maximum bit rate of 400Mbps for internal recording, the GH5S goes well beyond the data rates of most rivals in the regular camera market.
Frame rates
Internal recording
Most rival cameras capture 4K video at up to 30fps, which is normal playback speed. The GH5’s powerful sensor and processor technology can double that, offering 4K at 60fps and Full HD at an amazing 240fps.
a¹ĚƟƤĂ?ųŅŸŸŅƴüų Ĺ¸Ć‹ÄœÄŹÄŹĹ¸Ä›Ć´ÄœĂšĂĽĹ… Ă?¹ľüų¹Ÿ can only output their best quality when you connect them to an external recorder with an HDMI cable. The GH5S can capture highquality video internally on its twin UHS-II SD cards.
10-bit video Most cameras capture 8-bit video, which is fine unless you need to edit (‘grade’) it later, when you can get issues with banding. The GH5S captures higher-quality 10-bit video.
Unlimited recording While most crossover stills-video Ă?¹ľüų¹Ÿ Ä˜ÂąĆ´ĂĽ ¹ƤųüĂ?Ĺ…ĹłĂšÄœÄšÄ? Ć‹ÄœÄľĂĽ ÄŹÄœÄľÄœĆ‹Ă˜ the GH5S offers unlimited recording, up to the capacity of the memory card or until the battery runs out.
Chroma subsampling The non-technical explanation ÄœĹ¸ Ć‹Ä˜ÂąĆ‹ Ć‹Ä˜ÄœĹ¸ ÄœĹ¸Ć¤Ä˜Ĺ…Ćľ Ć‹Ä˜ĂĽ Ă?¹ľüų¹ compresses colour data. The :BÄƤĂ?¹Ě Ă?¹ŞƋƚųü ĉ×Ɩ×Ɩ Ć´ÄœĂšĂĽĹ… internally, whereas rivals typically capture 4:2:0 video and need an external recorder to achieve the higher 4:2:2 quality.
Bit rate The GH5S works with dedicated video accessories MJLF UIF 9-3 QSP NJDSPQIPOF BEBQUPS
Again, this is connected with quality. Higher bit rates mean
Pro video features Â‰Ä˜ĂĽĆ¤:BÄ Ä˜ÂąĹ¸ Âą Ć‹ÄœÄľĂĽ Ă?Ĺ…ĂšĂĽĆ¤ÄœÄšxŅƚƋ socket, for synchronisation with other recording devices or multicamera set-ups.
CSC TEST PANASONIC LUMIX GH5S 5IF WBSJ BOHMF EJTQMBZ NBLFT JU FBTJFS UP FYQFSJNFOU XJUI BOHMFT BOE IFMQFE XJUI DPNQPTJOH UIF SFGMFDUJPOT JO UIJT TIPU
$0-063 &3303 Panasonic GH5S
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Canon EOS 5D IV
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Panasonic GH5
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Sony Alpha 7S II 4$03&4 $-04&3 50 ;&30 "3& #&55&3
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8F DPNQBSFE UIF 1BOBTPOJD () 4 T MBC SFTVMUT BHBJOTU UIPTF GSPN UISFF WJEFP PSJFOUBUFE SJWBMT UIF $BOPO &04 % *7 UIF 1BOBTPOJD () BOEç4POZ T A7 III – and found that the GH5S produced by far the lowest colour error.
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ISO3,200, fine and detailed texture ĹłĂĽÄšĂšÄœĆ‹ÄœĹ…Äš Ĺ¸Ä˜Ĺ…ĆľĂĽĂš Âą ľ¹ųĊüÚƤÚųŅŞ ßųŅľ there upwards. We also tried the GH5S in low light alongside the new Sony Alpha 7 III. By ISO12,800 the GH5S video was looking grainy, but the A7 III’s was smoother.
Rod Lawton
7&3%*$ 5 As a 4K video camera, the GH5S is extremely powerful and good value, and professionals will love its 10-bit 4:2:2 recording and high Ă†ÄœĆ‹Ć¤ĹłÂąĆ‹ĂĽĹ¸ĹŁ Â‰Ä˜ĂĽĹłĂĽĹąĹ¸ ĚŅ ÄœÄšÄ›Ă†Ĺ…ĂšĆźÄ› stabilisation, though, and the ĹŽÇˆÄ›ÄľĂĽÄ?ÂąĹžÄœĆťĂĽÄŹ ĹłĂĽĹ¸Ĺ…ÄŹĆšĆ‹ÄœĹ…Äš ÄœĹ¸ ģƚŸƋ too low for it to be a convincing stills camera. The GH5 remains the more tempting crossover stills-video camera.
30 20
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