NEW
The
CSC Camera Book A definitive guide to shooting mirrorless
180
pages of expert advice
38 lenses
featured
in-depth reviews
first edition
Digital Edition
n Telephoto n Macro n Wide-angle n Prime n Zoom
Master landscapes Shoot stand-out vistas
CANON
Perfect portraiture Learn the art of posing
OLYMPUS PANASONIC FUJIFILM LEICA
Understand composition Discover professional tips
SONY
HASSELBLAD
CONTENTS What is a CSC? Pro interviews: Making the switch
8 12
Buyer’s Guide Panasonic G9
22
Panasonic GX9
24
Panasonic GH5
26
Lens buyer’s guide: Panasonic
29
Sony Alpha 7R III
30
Sony Alpha 9
34
Sony Alpha 7S II
38
Sony Alpha 6500
40
Lens buyer’s guide: Sony
42
Fujifilm X-H1
44
Fujifilm X-T20
48
Fujifilm GFX 50S
52
Fujifilm X-Pro2
56
Fujifilm X-T2
58
Fujifilm X-E2S
60
61
82
22
44 6
12
84
102
8
Lens buyer’s guide: Fujifilm
62
Hasselblad X1D-50c
64
Lens buyer’s guide: Hasselblad
67
Leica M-D
68
Leica TL2
70
Leica SL
72
Lens buyer’s guide: Leica
74
Canon EOS M5
76
Canon EOS M100
78
Lens buyer’s guide: Canon
80
Olympus Pen-F
82
Olympus OM-D E-M10 Mark III
84
Lens buyer’s guide: Olympus
87
Techniques The art of composition
120
90
Master posing for portraits
102
Shoot landscape photography
112
10 essential wildlife techniques
120
Get more from the scene
130
Tell a story in pictures
144
Perfect your processing
158
Build and maintain an image library
170
130
206
158 7
Buyer’s guide 2
1
w w w. p a n a s o n i c .c o.u k
Panasonic Lumix GH5
3
£1,700/$2,000 (body only) Panasonic’s flagship Micro Four Thirds mirrorless camera blurs the lines between stills and video Specifications Sensor 20.3MP Live MOS sensor (17.3 x 13.0mm) Focal length conversion on lens 2x Memory 2x SD card slot Viewfinder OLED EVF, 3,680k dots Max video resolution 4K (3,840 x 2,160) ISO range 200-25,600, expandable to 100-25,600 Autofocus 225-zone DFD contrast AF Max burst rate 60fps (4K photo), 30fps (6K photo), 12fps Screen Vari-angle 3.2-inch touchscreen TFT, 1,620k dots Shutter speeds 60-1/8,000 sec, Bulb Weight 725g (body only, with battery and memory card) Dimensions 139 x 98 x 87mm Power supply Lithium-ion battery (supplied), 410 shots
Panasonic is hoping that this model will appeal to a wider market of enthusiast photographers 26
The Lumix GH5 forms part of the line-up of Panasonic’s top-ofthe-range GH series of mirrorless cameras, which have carved out a real reputation among videographers thanks to their breadth of movie-making features. Panasonic launched this model hoping that it will not only cement the brand as the number-one choice for the professional videographer, but will also appeal to a wider market of enthusiast photographers, who are looking for a highly capable camera that can shoot great stills and movie footage. Features The GH5 features a 20.3MP Micro Four Thirds sensor with no lowpass filter, for maximum detail. While the resolution matches that of the Lumix GX8, Panasonic says it’s a different sensor, and claims it’ll yield the best image quality yet from a Lumix camera. There’s also a Venus Engine, with
1
Inside the GH5 is a newly-developed 20.3-megapixel Micro Four Thirds sensor, which Panasonic says delivers its best quality yet 2
The electronic viewfinder boasts a very high resolution of 3,680k dots, together with 0.76x magnification and a longer-than-usual 21mm eye point for easier viewing 3
A lot of thought has gone into the controls. The White Balance button is convex, the ISO button is flat with two dimples, and the EV compensation button is concave
1.66x faster processing power thanks to an additional processor core, with Panasonic promising more natural, true-to-life images with better noise control. The GH5’s sensitivity range improves on the GH4’s, running from ISO 100-25600 compared to 200-25600 on the GH4. The reduction in base sensitivity to ISO 100 is welcome, especially if you want to take advantage of some of those fast Micro Four Thirds prime lenses in bright conditions. It would have been nice to have seen the ISO range extended further at the higher end of the range, where the GH5 loses out to rivals like the Nikon D500 and Sony Alpha 7S II. The Lumix GH5’s electronic viewfinder brings a staggering 3,680,000-dot resolution and 0.76x magnification, while the 3.2-inch touchscreen vari-angle display has a resolution of 1,620,000 dots and
employs Panasonic’s WhiteMagic technology for increased brightness. The GH5 also gets Panasonic’s Axis Dual IS II anti-shake system. This in-body image-stabilisation system works in tandem with Panasonic’s range of optically stabilised lenses to deliver up to five stops of correction. Much has been made of the ability to extract 8MP still images from 4K footage in the past, but the GH5 takes this idea even further, offering what Panasonic calls 6K Photo. This means it will be possible to extract 18MP still images (at either 4:3 or 3:2 ratios) from ultra-high-quality video footage at 30fps at an unlimited burst rate. Very impressive stuff. The GH5 will also allow 4K Photo extraction, but this will now be possible from footage captured at 60fps – staggering when you consider that a £5,000/$6,000 Canon EOS-1D X Mark II has a maximum burst rate of 14fps. (Admittedly, this is from a 20.2MP full-frame sensor.) If you require the full sensor resolution, the GH5 can shoot at up to 12fps with focus locked at the first shot, or 9fps with continuous AF – that’s with a 100-shot raw buffer, too. Finally, there’s built-in Wi-Fi and NFC, as well as a low-energy Bluetooth connection that establishes a permanent connection between the camera and your smart device for easy transfer of images. Given the GH4’s video capabilities, it’s no surprise to see the GH5 sporting an impressive movie spec. Rather than using a cropped area of the sensor when shooting 4K as was the case with the GH4, the GH5 uses the entire width of the chip and then downsamples the footage in-camera. This also means that framing won’t be cropped, and you’ll be able to use your lenses as if you’re shooting stills. Currently the Lumix GH5 allows you to shoot Cinema 4K (4,096 x 2,160) at 60p with a bit rate of 150Mbps, while Full HD video is obviously also possible, up to a very impressive 180p. Build and handling The Panasonic Lumix GH5 is actually 13% larger than the GH4, but it’s all the better for it. Panasonic has done away with the GH4’s built-in flash; this design tweak, combined with the magnesium alloy chassis and large, purposeful hand grip, means the GH5 feels every inch the high-end professional piece of kit it’s meant to be. It’s also fully weather-sealed, and freeze-proof down to -10 degrees
2
1
3
Detail rendition
Image noise
Dual Image Stabilisation
The GH5 uses Panasonic’s latest sensor and processor combination, and delivers very good image quality
Panasonic’s noise control is first-rate, and the GH5 holds up well against rival cameras with larger sensors
The GH5 features in-body stabilisation, which works alongside the optical stabilisers in Lumix lenses
Meet the rivals The cameras taking on the Panasonic GH5…
For more camera reviews, visit www.techradar. com/cameras
Fujifilm X-T2 £1,400/$1,600 The X-T2 does shoot 4K video, but it’s more of a stills camera. Handling is superb, while the 24MP images deliver lovely colours and excellent detail. Reviewed: Page 58
Olympus OM-D E-M1 II £1,850/$2,000 The E-M1 II doesn’t have quite the same breadth of video features, but it’s more compact and offers faster burst shooting speeds.
Sony Alpha 7S II £2,900/$2,700 The modest pixel count delivers higher dynamic range than its rivals and lower noise than rivals at higher sensitivities – but this comes at a price. Reviewed: Page 38
27
BUYER’S GUIDE
lens buyer’s guide:
sony
Having secured a foothold in the professional mirrorless landscape and travel photography market, Sony is a serious contender
W
hile it took some time for mirrorless cameras to be considered a genuine option for professional use, cameras such as the Sony a7R and the latest generation model, the a7R III, have become a favourite among expert
landscape and travel shooters. While these are full-frame models, they remain compact enough to offer an advantage over a DSLR. Alternatively, cameras like the a6500 contain APS-C format sensors and the array of dedicated lenses in the E Mount provide
Sony E 18-135mm F3.5-5.6 OSS £570/$800 (approx) rating
For APS-C format cameras, the ‘standard’ focal range usually bundled with the camera body is in the region of 18-55mm. This 18-135mm lens offers greater reach while maintaining compact dimensions and minimum weight. The minimum focusing distance of 45cm, combined with the f/5.6 maximum aperture and circular aperture blades, mean pleasant bokeh can be created for attractive backgrounds to close-up subjects and portraits. Optically, the lens does not quite achieve the image quality you’d get from a professional prime, but delivers good sharpness and contrast. Autofocus is very usable, offering smooth and quiet operation, allowing images to be captured
42
prospective Sony users with a great choice of quality and compact optics for use in both general and niche areas of photography. This is reflected in the prices, which vary in their accessibility, but for a working professional there are many great-value options.
Sony FE 24-105mm F4 G OSS £1,199/$1,680 (approx) rating
rapidly in everyday situations. Build quality is also admirable, while handling is comfortable – zoom and focus rings are smooth, offering the right balance of resistance. A great all-purpose lens.
Technical data Manufacturer
Sony
Web
www.sony.co.uk
Elements/construction
16/ 12 Groups
Angle of view
76°-12°
Max aperture
f3.5
Min aperture
f36
Min focus distance
0.45 m
Mount Sony E-mount Filter size
55mm
Length
88 mm
Diameter
67.2 mm
Weight
325g
A common indicator of a professional lens is a constant aperture, where the maximum available f/number does not vary as the focal length is altered. This 4x zoom lens covers all the main focal lengths for standard photography, while maintaining f/4 at all settings, making it ideal for medium-to-low light shooting of interiors, portraits and events. This combines well with the optical image stabiliser to allow the photographer to shoot at a shutter speed below that equal to the focal length of the lens. The optics are excellent, featuring Extra Low Dispersion (ED) glass to minimise chromatic aberration and Sony’s own Nano AR coating to reduce internal reflections and
associated ghosting and flare effects. An unusual and versatile additional feature is the on-lens AF Stop button, which allows focus to be locked on the subject as pressure is removed from the shutter release.
Technical data Manufacturer
Sony
Web
www.sony.co.uk
Elements/construction
17/ 14 groups
Angle of view
84°-23°
Max aperture
f4
Min aperture
f22
Min focus distance
0.38m
Mount Sony E-mount Filter size
77mm
Length
113.3mm
Diameter
83.4mm
Weight
663g
BUYER’S GUIDE
Sony E PZ 16-50mm F3.5-5.6 OSS
Sony E 18-200mm F3.5-6.3 OSS
£319/$450 (approx)
£719/$1,000 (approx)
rating
Pancake lenses are frequently found as kit lenses for CSCs, although these are fixed in focal length. This zoom lens is not much bigger than some pancake models, measuring a little under 30mm in length when retracted and weighing only 116g. This makes it incredibly portable and an ideal travel companion. The focal lengths are useful for street and candid photography and are complimented by a fast AF system and image stabiliser. Optically, there are better lenses out there, with peripheral sharpness and vignetting a common problem, however centre sharpness is good. The focusing distance is also quite low, allowing decent
rating
reproduction of fine details in larger close-up subjects. This optic is not a specialised model, but fills its niche well, and is a good everyday lens for a Sony E-mount camera.
Technical data Manufacturer
Sony
Web
www.sony.co.uk
Elements/construction
9/ 8 groups
Angle of view
83°-32°
Max aperture
f3.5
Min aperture
f36
Min focus distance
0.25m
Mount Sony E-mount Filter size
40.5mm
Length
29.9 mm
Diameter
64.7 mm
Weight
116g
How the LENSES compare
Zeiss Sonnar T* FE 55mm F1.8 ZA
Contact
www.sony.co.uk
Street price
Tokina FÍRIN 20mm F2 FE MF
Superzoom lenses are designed solely for convenience, providing a huge range of focal lengths, from wide to upper telephoto. There is often a trade-off in image quality and while this is noticeable with this Sony 18-200mm zoom, sharpness is relatively good throughout the whole focal range, even at the widest aperture. At over 500g, this optic is not light, though more portable than multiple lenses. The zoom and focus rings are sizeable, providing an easy grip and speedy operation. A potential drawback is that the lens barrel extends noticeably as the zoom ring is turned, making the photographer quite conspicuous, although focusing is all internal, so
the 67mm filters won’t rotate. The 30cm focusing distance and focal range make the lens a good choice for portraits, although f/6.3 limits bokeh and low-light shooting.
Technical data Manufacturer
Sony
Web
www.sony.co.uk
Elements/construction
17/ 12 groups
Angle of view
76°-8°
Max aperture
f 3.5
Min aperture
f40
Min focus distance
0.3m
Mount Sony E-mount Filter size
67mm
Length
99mm
Diameter
75.5mm
Weight
524g
Samyang 100mm f2.8 ED UMC Macro
Zeiss Distagon T* FE 35mm F1.4 ZA
www.tokinalens. com
www.samyanglens global.com
www.sony.co.uk
www.sony.co.uk
www.panasonic. com
£969/$1,355
£700/$980
£389/$540
£1,619/$2,265
£319/$450
£899/$1,250
Elements/Groups
7/ 5
13/ 11
15/ 12
12/ 8
6/ 6
16/ 12
Angle of view
43°
92.66°
24.8°
44°
70°
83°-23°
Min focus distance
0.5m
0.28m
0.3m
0.3m
0.2m
0.35m
Maximum aperture
f/1.8
f/2
f/2.8
f/1.4
f/2.8
f/4
Minimum aperture
f/22
f/22
f/32
f/16
f/16
f/22
Mount
Sony E-mount
Sony E-mount
Sony E-mount
Sony E-mount
Sony E-mount
Sony E-mount
Filter size
49mm
62mm
67mm
72mm
49mm
55mm
Dimensions (D x L)
64.4 x 70.5mm
69 x 81.5mm
72.5 x 149.1mm
78.5 x 112mm
62.6 x 20.4mm
66.6 x 75mm
Weight
281g
490g
730g
630g
69g
308g
Sony E 20mm F2.8
Zeiss VarioTessar T* E 16-70mm F4 ZA OSS
OVERALL OVERALL
43
BUYER’S GUIDE
lens buyer’s guide:
Leica
Offering both full-frame and APS-C format mirrorless cameras, Leica complements these with a huge selection of excellent lenses
A
n iconic brand and an undoubted favourite for documentary and street photographers, some of the most recognised photographs through history have been captured on Leica cameras. You could argue that the German company
has been producing a compact system for decades – its M line of rangefinder models offer top-quality images in a condensed and discreet body form. The latest-generation M10 is by no means big, but the L Mount cameras are Leica’s true CSCs. The TL lens range is
Leica Elmarit-TL 18mm f2.8 ASPH £1,020/$1,430 (approx) rating
Holding the title of the world’s smallest wide-angle lens for APS-C format cameras, this Leica 18mm is the perfect partner to the CL mirrorless camera, weighing an almost insignificant 80g, while still offering f2.8. The lens is exceptionally sharp at the centre of the frame, with an admirable performance at the edges. Although chromatic aberration is visible, it is barely noticable and easily removed in processing, as is the case with distortion of straight lines in images. The dimensions of the lens body make it pocketable, and although this likely comes at the cost of build quality, this is not too evident. The lens seems more
74
already comprehensive, and includes numerous professional-specification optics. If you can’t find what you need in the L mount, there is a huge variety of M and R mount Leica lenses that can be adapted for use on your CL or TL2. TL lenses also fit the Leica SL.
Leica Summicron-TL 23 f2 ASPH £1,199/$1,680 (approx) rating
plastic-y than other Leica models, but the metal mount lends it a professional feel, in line with the construction of the various other cameras that it will be paired with.
Technical data Manufacturer
Leica
Web
us.leica-camera.com
Elements/construction
8/ 6 Groups
Angle of view
75°
Max aperture
f2.8
Min aperture
f16
Min focus distance
0.3 m
Mount Leica L Filter size
39mm
Length
21 mm
Diameter
60 mm
Weight
80g
Equalling the 35mm focal length, that has long been a favourite amongst rangefinder users looking to shoot street life images, this 23mm prime is small, lightweight and bright. The f2 aperture allows good control over depth-of-field and extends the lens’ usefulness in low light. The minimum focusing distance of 35cm is an added bonus, providing opportunities for wider-framed environmental portraits. However, when the lens is focused at this extreme, the aperture is automatically stopped down to a maximum of f2.8, cutting out a full stop of light. Sharpness is good, especially when the aperture is closed to f4 and above. No image stabiliser is present, but the
relatively wide angle of view should mean that is not much of noticeable problem. Autofocus may be slightly slower than expected, but is still capable. Commonly available 52mm filters are compatible.
Technical data Manufacturer
Leica
Web
us.leica-camera.com
Elements/construction
9/ 6 groups
Angle of view
64°
Max aperture
f2
Min aperture
f16
Min focus distance
0.35m
Mount Leica L Filter size
52mm
Length
37mm
Diameter
63mm
Weight
154g
buyer’s guide
Leica APO-MACRO-ELMARIT-TL 60/F2.8 ASPH
Leica Summilux-TL 35 f1.4 ASPH
£1,945/$2,720
£1,900/$2,660 rating
Sporting a very bright f1.4 maximum fnumber, this could be considered the standard professional lens for users of the Leica CL and TL cameras. Although not officially weather-sealed, the barrel is well put together, offering a professional handling experience. The focus ring makes up a large percentage of the lens’ length, making operating the focus mechanism easy. Even when shooting wide open, the resolution and contrast are very good, making f1.4 a genuinely useable option when big prints are the end goal. Metal is the primary construction material, so photographers can be confident that the internal workings are well protected from the odd knock or
rating
scrape. Due to the light-gathering capabilities, the host cameras can find focus quickly and accurately, although a depth-of-field scale is notable by its absence.
Technical data Manufacturer
Leica
Web
us.leica-camera.com
Elements/construction
12/ 8 groups
Angle of view
45°
Max aperture
f1.4
Min aperture
f16
Min focus distance
0.4m
Mount Leica L Filter size
Internal (E60)
Length
77mm
Diameter
70 mm
Weight
428g
This is a true macro lens, offering life-sized 1:1 magnifications. With a focal length of 60mm and a minimum focus distance of just 16cm, this optic could be just as comfortably used for portraits, where the user would like to throw the background completely outof-focus. Once again, handling is very well thought-through, and the manual focus ring is large and textured for a comfortable grip. Also, full-time manual focusing is possible, even when autofocus is active, so AF can be used to find general focus and then the photographer can apply manual tweaks at will. While build is good overall, full weather sealing is not included, so the user
cannot be guaranteed a safe shoot in adverse outdoor conditions. At under 350g, weight shouldn’t be too much of an issue, although the price may be, depending on your budget.
Technical data Manufacturer
Leica
Web
us.leica-camera.com
Elements/construction
10/ 9 groups
Angle of view
27°
Max aperture
f 2.8
Min aperture
f32
Min focus distance
0.16m
Mount Leica L Filter size
60mm
Length
89mm
Diameter
68mm
Weight
320g
How the LENSES compare
Leica APO-Summicron – SL 90 f2 ASPH
Leica Summilux - M 35 mm f1.4 ASPH. (Adapted)
Leica Macro - Elmar - M 90 mm f4 (Adapted)
Leica Noctilux - M 50 mm f0.95 ASPH (Adapted)
Leica Summilux-SL 50 f1.4 ASPH.
Leica FisheyeElmarit-R 16mm f2.8 (Adapted)
Contact
leica-camera.com
leica-camera.com
leica-camera.com
leica-camera.com
leica-camera.com
leica-camera.com
Street price
£4,100/$5,740
£3,749/$5,245
£2,430/$3,400
£7,730/$10,824
£3,700/$10,800
£600/$840
Elements/Groups
11/ 9
9/ 5
4/ 4
8/ 5
11/ 9
11/ 8
Angle of view
27.3°
63°
27°
46.7°
47.9°
180°
Min focus distance
0.6m
0.70m
0.77m
0.95m
0.60m
0.30m
Maximum aperture
f2
f1.4
f4
f0.95
f1.4
f2.8
Minimum aperture
f22
f16
f22
fxxx
f22
f16
Mount
Leica L bayonet
Leica M
Leica M
Leica M
Leica L bayonet
Leica R Mount
Filter size
67mm
46mm
39mm
60mm
82mm
N/A
Dimensions (D x L)
73 x 102mm
56 x 46mm
52 x 41mm
73 x 75.1mm
88 x 124mm
71 x 60 mm
Weight
700g
320g
240g
700g
1065g
460g
OVERALL OVERALL
75
TECHNIQUES
Clean up your backgrounds
Look beyond the subject and consider what’s behind the main point of focus Anything that unwittingly draws attention away from the subject is a compromise to your photo. Even with a wide-open, shallow aperture these distractions usually come in the form of hard, man-made lines or stray background elements. These can include areas of contrasting colour that break up uniformity, don’t complement the colour of the subject or objects that are too close and therefore not in focus enough for attention-grabbing detail to be recognised. If the distraction is moving, such as another animal, wait until it has moved from view before releasing the shutter. Even moving the camera several centimetres can be enough to remove background elements from the composition, either pushing them out of frame or behind the subject itself.
Dress appropriately
Don’t forget to put some thought into the clothing you wear when photographing wildlife. Nothing will break your concentration faster than being too cold, wet, hot or generally uncomfortable.
Left
Above
Beautiful light and subjects can be easily ruined with conflicting background elements such as man-made objects
With a clean background free of distractions, the viewer can fully appreciate the clean lines and beautiful colours of the image
Red deer distraction
Red deer dawn
consider perspective
Change your position and get down low for a compelling view One of the best ways to obtain a clean and aesthetically pleasing image is to get eye level with the subject, especially with animals that are low to the ground. If you can get your camera roughly head height to the subject, the background will be further away than if you were looking down from up high. This gives a cleaner look, allows the subject to really pop from the frame and the low-level perspective offers a much more interesting view by providing a glimpse at the animal’s perspective on the world. Top
Right
Water level pelican
Morani
Laying the camera just millimetres from the water’s surface, the lake’s background is diffused and the viewer’s focus is drawn straight to the dalmatian pelican
One of the most regal lions in the Maasai Mara is Morani, but to capture that feeling of grace, eye contact was essential
Make eye contact
An important element for the ultimate viewer engagement Ensuring eye contact with the subject of your photo does something crucial: it draws the viewer in by commanding attention, making it one of the most powerful tools in gaining a connection with the subject. Often it is the final ingredient needed to make a good image a great one.
Capture character
A static subject can be visually boring, even in good light, so look for behaviour to add more impact While extremely captivating behaviour such as a fighting or hunting can really elevate your image, don’t forget to think about the smaller, less-pronounced behaviour, as it can often still have a big impact. Even a photo of something as grand as a lion can be dull if it’s just sitting around sleeping, but waiting for it to wake up and yawn can transform the image. The same principle applies to even the smallest of species, such as birds – capturing one singing with its beak open results in a far more appealing image than a straightforward bird on a stick. Left
Waking lioness After watching this lioness sleep for almost an hour, the wait was rewarded with a brief yawn before it walked away
125
TECHNIQUES
Why process your images?
before
While digital camera technology is constantly improving, people’s perception of image quality evolves in equal measure – even non-photographers are now able to recognise when a shot has been ‘Photoshopped’ and are even aware of when an editing technique has failed. It is therefore vital that photographers recognise the need to develop their postprocessing skills, so that they have a rounded skill set and are able to produce quality images in-camera and intelligently process these files with an end product in mind. In most cases we will start our image editing with basic adjustments such as brightness and contrast, simple colour correction and sharpening. These are often referred to as ‘essential’ adjustments, since errors in these areas are the most noticeable if left uncorrected and should be applied to every digital image as standard. Beyond these, most software offer tools to precisely control colour via colour profiles, remove unwanted lens distortions and apply localised edits, which affect only part of an image. Next you might consider using a third-party plug-in – ‘satellite’ software which can apply further bespoke effects and correct highly specific technical defects. These are optional edits and some of the effects they provide can be created manually, however they are often very powerful and offer great advantages in speed and versatility.
© Peter Carr
The key reasons for editing and how it fits with your workflow
Above
Dramatic sunset
Adjust global contrast
While composition is good, the original image lacked contrast and colours are not vibrant enough. With some careful exposure and contrast adjustments, this scene now shows its full, colourful potential
Below
Washed out
Lighting was too uniform in this macro shot. With a crop, curves adjustment and a darkening of the edges using a layer mask, the eye is now drawn to the insect
after
before
Create condensed lighting
160
TECHNIQUES
after
Adjustment versus manipulation Image editing has long been steeped in controversy, but is it justified? There can come a point where more of an image is created in software than in-camera. For some genres like photojournalism, this raises moral questions regarding authenticity, while some argue this is more digital art than photography. However, there is a distinction between adjusting and manipulating an image – creativity should never be discouraged. Photographer Vladimir Kochkin says, “Photoshop is only one of the photographer’s tools – if you opened a photo on a computer, analysed and decided that processing is not required, that means so be it. If you think that the treatment is needed, then it should be imperceptible to the viewer.” Sometimes creative use of effects produces images that are more impactful than those treated with ‘safe’ editing techniques. Here, Ronny Garcia wanted to create a surreal scene with a fairytale look
© Ronny Garcia
Right
At the extremes
161
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