Sony Camera
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The
The independent guide to getting the most from your Sony
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second edition
Digital Edition
100% UNOFFICIAL
jam-packed pages of expert photo advice
Essential kit advice • 21-page buyer’s guide • Professional tips and tricks
CONTENTS camera Buyer’s guide
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Sony Alpha 9
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Sony Alpha 6400
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Sony Alpha 7 III
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Sony Alpha 7R III
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Sony Alpha 6500
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Sony Alpha 6300
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Sony Alpha 6000
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Sony Alpha 99 II
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Sony Alpha 77 II
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Sony Alpha 68
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Sony RX10 IV
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Sony RX100 VI
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Sony RX1R II
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Sony RX0
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170
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Sony essentials Sony lenses
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15 must buy accessories
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Master Sony modes
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Techniques
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5 pro techniques for sharper shots
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Master new landscapes
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Portraits on the run
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Shoot your best black and white
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10 essential editing techniques
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Advanced Techniques
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Unlock the secrets of subtle lighting
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10 steps to stunning seascapes
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Professional guide to artistic nudes
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Creative sport & action
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Capture artistic architecture
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Buyer’s guide 2 1
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Sony Alpha 9 £4,300/$4,498 (body only) For blisteringly fast performance, impressive auto focus and stunning imagery, look no further Specifications Megapixels (effective) 24.2 Max resolution 6000 x 3376 Sensor information 35mm full frame 35.6x23.8mm Exmor RS CMOS sensor Lens data N/A Focus/macro N/A Shutter speed Mechanical Shutter:1/8000 to 30 sec, Bulb, AUTO: 1/32000 to 30 sec ISO sensitivity ISO 100-51200 Exposure modes Auto, P, A, S, M Metering options CW, S, MS Flash modes off, A, FF, SS, RS, Wireless7, Hi-speed sync. Connectivity NFC, Wi-Fi compatible Weight 673g Dimensions 126.9mm x 95.6mm x 63.0mm Batteries One rechargeable battery pack NP-FZ100 Storage Memory Stick PRO Duo, SD, SDXC, microSD memory LCD 3-inch Viewfinder 1.3 cm (0.5 type) electronic viewfinder (color),Quad-VGA OLED
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The key piece of tech at the heart of the Alpha A9, and one that’s had a knock-on effect on the performance of other components, is the 24.2MP full-frame stacked CMOS sensor. The stacked design means the integrated DRAM memory modules, a high-speed processing circuit and the BIONZ X image processing engine are all lined up behind the image sensor. This design has allowed Sony to push the data through the sensor, not around it, resulting in a sensor that reads data 20 times faster than would otherwise be possible, enabling the Alpha A9 to shoot at a blistering 20fps for 241 RAW files or 362 JPEG images. Designing the sensor this way doesn’t just have performance benefits – it should also deliver better noise performance, thanks to the light-gathering elements of the photosites being closer to the surface of the sensor. The Sony Alpha A9 is equipped with an
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The full-frame 24.2MP stacked CMOS sensor doesn’t disappoint 2
A 3,686K-dot electronic viewfinder with a staggering 120fps refresh rate 3
The tilting 3-inch touchscreen improves functionality 4
The top plate features a dedicated control for the camera’s drive modes
innovative 5-axis image stabilization that provides a shutter speed advantage of five stops. As you’d expect for Sony’s mirrorless flagship camera, video is well catered for. For a start, there’s 4K video recording across the full width of the full-frame image sensor. When shooting in this format, the camera uses full pixel readout without pixel binning to collect 6K of information, oversampling it to produce highquality 4K footage. Recording is also available in Super 35mm size. One of the most obvious differences between the Alpha A9 and its pro-spec DSLR rivals is the lack of an incorporated vertical grip; whether this is a good or a bad thing will depend on your personal preference. The hand grip itself is a decent size and pretty comfy, but your little finger will overhang the bottom of the camera. An optional GPX1EM grip extension is available, as well as a VGC3EM battery grip. Appropriately enough for a camera that has designs on being a tool for jobbing pros, the Sony Alpha A9 is based around a durable magnesium
WE SAY... The AF system Sony has blessed this camera with is not only incredibly quick, the tracking performance needs to be seen to be believed. Partner that with incredibly fast 20fps burst shooting, and a bright EVF that doesn’t blackout when you’re shooting, and you’ve got a camera that can mix it with the best.
alloy body that’s weather-resistant. Starting with the top plate, and to the left of the viewfinder there’s a dedicated control for the Alpha A9’s drive modes, with a focus mode selector round the collar to boot. Round the back, the most obvious difference from the Alpha A7R II is the very welcome arrival of a dedicated joystick control. Primarily for AF point selection, this can also be used to navigate the camera’s menu system. There’s also a proper AF-On button here – a must for many sports and action photographers – while the video record button moves to a more sensible spot just next to the viewfinder. Sony’s not mucking around with the AF system inside the Alpha A9, showering it with a staggering 693 phase-detect AF points that cover 93% of the frame – something even the likes of the Canon EOS-1D X Mark II and Nikon D5 will struggle to match. As you’d expect, there’s a plethora of autofocus settings available depending on what you’re shooting. For general shooting, and to keep things as simple as possible, either the Wide or Zone modes will take care of much of the decision making for you, while Center mode uses the central AF point. Not everything you want to focus on will be slap-bang in the center of the frame though, so there’s also a Flexible Spot mode (with the choice of three AF area sizes) that enables you to use the joystick to position the focus area pretty much anywhere in the frame. If you’re struggling to focus there’s also Expand Flexible Spot mode, which utilises additional AF points to assist with focusing. Flick the AF mode to AF-C and things really get interesting. You’ve got the same focusing area options as you have when shooting in the Alpha A9’s AF-S focusing mode, but
with a Lock-on setting too. Halfpress the shutter button, and with your subject selected the AF will instantly snap into focus, while a dizzying array of AF points will light up the viewfinder as it tracks your subject round the frame – thanks to the architecture of the sensor, the Alpha A9 is making 60 tracking calculations per second. We found that if you want to be really precise with what the camera tracks, then Lock-on: Flexible Spot M is the best option, as this allows you to select the specific part of the frame where the subject you want to track is. That said, if you’re shooting subjects that fill the frame and make predictable movements, then Zone mode can be very effective. Raise the camera up to your eye and start rattling off bursts of shots at 20fps with no viewfinder blackout, and the Sony Alpha A9 really does feel like the product of witchcraft. It’s almost a little unnerving at first, but you quickly embrace the stunning capabilities of the camera. Helpfully, there’s a subtle ‘shutter’ sound to reassure you that
something is actually happening, though you can switch to fully silent operation via the menu if required. If a burst rate of 20fps is overkill for what you’re shooting, you also have two slower drive modes to choose from. Landscape and studio photographers should still plump for the more densely populated 42.2MP Alpha A7R II, but that’s not to say the sensor inside the A9 falls short. The 24MP sensor is capable of delivering images rich in detail, especially when married with some of Sony’s G-Master lenses, and results compare favourably to those from the EOS-1D X Mark II and D5. The Alpha A9 doesn’t fail to impress. The autofocus system Sony has blessed the A9 with is not only incredibly quick, but the tracking performance has to be seen to be believed.Partner that with a incredibly rapid 20fps burst shooting speed, and a large and bright EVF that doesn’t black out when you’re shooting, and you’ve got a camera that’ll mix it with the best when it comes to shooting sports. Phil Hall
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Buyer’s guide 3
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Sony a6400 £949/$900 (body only) Meet Sony’s all-new mid-range mirrorless camera with incredible autofocus capabilities Specifications Megapixels (effective) 24.2MP Max resolution 6000 x 4000 Sensor information APS-C type (23.5 x 15.6mm) Exmor CMOS Lens data N/A Focus/macro N/A Shutter speed 1/4000 to 30 sec ISO sensitivity 100-32000 Exposure modes P,A,S,M Metering options CW, S, MS Flash modes off, A, FF, SS, RS, RE, Wireless Control, HSS Connectivity Wifi, bluetooth Weight 403g Dimensions 120.0mm x 66.9mm x 59.7mm Batteries NP-FW50 Storage SD Viewfinder 1.0 cm (0.39 type) EVF
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The Alpha A6400 is Sony’s new APS-C mirrorless camera, slotting in below the Alpha A6500 in the range. However, with Sony equipping the Alpha A6400 with some of its latest tech, most notably the advanced AF system, this camera could actually prove a more tempting proposition than the top-of-the-range A6500, a camera that’s now more than two years old. Like the A6300 and A6500, the Alpha A6400 features a 24.2MP APS-C Exmor CMOS sensor, but thanks to a front-end LSI and the latest BIONZ X image processor, Sony reckons processing speeds are 1.8x faster than the A6300 can manage. These enhancements have also allowed Sony to stretch the new camera’s ISO ceiling to an expanded upper limit of 102,400, compared to the A6500’s 51,200 (the A6400’s native range is 10032,000), while Sony also says
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The Alpha A6400 features a 24.2MP APS-C Exmor CMOS sensor and the latest BIONZ X processor
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The display can be tilted 180-degrees upwards, but the touchscreen isn’t as capable as we’d like 3
Camera layout is the same as the A6300 and A6500 4
The accessible mode dial allows for quick setting changes
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color reproduction has been greatly improved. One big omission from the A6400 is any form of in-body image stabilization. The Alpha A6400 features the same electronic viewfinder (EVF) as the A6300 and A6500, with a 2.36 million-dot unit with 0.7x magnification. There’s also a 3.0-inch display on the rear of the camera with a modest 921K-dot resolution. This screen is touchenabled, unlike the one on the A6300, but a little annoyingly it still has the same 16:9 aspect ratio – that’s great if you’re going to be shooting video regularly, but it sees the display shrink for stills, with black bars at either side of the image. Something vloggers will welcome, meanwhile, is the fact that the display can be tilted upwards 180 degrees, enabling you to frame yourself easily. Photographers will welcome the arrival of built-in interval recording on the Alpha A6400. This can be set to anywhere between 1 and 60 seconds, with the total number of shots able to be captured ranging
WE SAY... You could be forgiven for thinking that the Alpha A6400 is a minor upgrade over the A6300, and in many ways it is. But it’s the upgraded and highly advanced autofocus that really shines here. If this camera can help you increase your hit rate, regardless of the subject you’re shooting, that can only be a good thing.
from 1 to 9,999. To avoid the risk of changes to exposure over the shooting period, the AE tracking sensitivity can be adjusted to High, Mid or Low during interval shooting. The Alpha A6400 features a single SD card slot that’s compatible with UHS-I cards (not the faster UHS-II variants), while there’s also Wi-Fi, Bluetooth and NFC connectivity. Sony says the build quality of the Alpha A6400 has been upgraded over the A6300, although it’s not clear exactly how or where. Either way, the Alpha A6400 features a magnesium alloy body which is sealed against dust and moisture. Sony’s also bolstered the shutter, which has a lifespan of 200,000 cycles – double that of the A6300. There’s a pretty decent-sized handgrip, with the body of the A6400 following a virtually identical form factor to other A6000-series cameras. The A6400 also features an identical control layout to the A6300, with a good amount of well-marked controls at the rear, along with a free-moving control wheel that enables you to navigate menus and scrutinize images with ease. A nice addition is the My Dial feature, which enables you to repurpose the Alpha A6400’s main command dial and rear scroll when you press or hold a custom button. And this isn’t limited to just one set of functions – you can configure up to three sets, assigning them to separate custom buttons or one that cycles between them. To say the autofocus system on the 6400 is sophisticated is an understatement, and Sony’s boast that the A6400 features the world’s fastest autofocus at just 0.02 sec is just a small part of the story. The new camera features a hybrid AF system, with 425 phase-detect points supplemented
by 425 contrast-detect AF points (up from the Alpha A6300’s 25 contrast-detect AF points), and delivers 84% coverage of the frame. This is the first Sony camera to come equipped with Sony’s new Real-time Tracking and Real-time EyeAF technology. Real-time Tracking uses Sony’s latest predictive and recognition algorithms, including AI-based object recognition and color, subject distance (depth), pattern (brightness) and spatial information; that’s not forgetting face and eye detection. EyeAF has been an impressive feature of many Sony cameras in the last couple of years, and the A6400’s Real-time EyeAF looks to be the best implementation yet This means photographers can specify a subject by selecting it with the AF initially, and the camera will then track it automatically round the frame. Rather cleverly, if the subject has a face, the A6400’s AF will automatically use face and eye detection, but should the subject turn away the camera will revert to Real-time Tracking. Thanks to new AI algorithms, EyeAF delivers improved accuracy, speed and tracking performance, while the camera can now automatically track the preferred eye of your subject. In the menu you can choose Auto / Right Eye / Left Eye depending on your preference.
During our time with the A6400 we’ve been nothing but impressed with its autofocus system. While it performs impressively when used simply for generic wide-area focusing in AF-S, it really comes into its own when you select continuous focusing and Real-time Tracking AF. Whether you’re wanting to grab quick family snaps, or track and shoot fast-pace sports, the A6400’s AF doesn’t disappoint. Focusing is swift, and locks on to subjects with ease, while the fact that it will automatically detect faces and then eyes even more impressive. To partner its advanced AF system, the Alpha A6400 can shoot at up to 11fps with both AF and AE. The buffer performance has been improved over the A6300’s, with the A6400 able to shoot a total of 116 JPEG images compared to the A6300’s 30, while for raw shooting, the capacity has been increased from 21 to 46 shots. Should you want to shoot silently, you can do so at 8fps. However, what’s really exciting here is the A6400’s incredibly advanced autofocus system. It’s certainly one of the most sophisticated systems we’ve seen on any camera. The greatly improved focusing makes this a much more accessible camera than its predecessors. Phil Hall
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Sony essentials
Ultimate guide to...
Sony lenses Whether it’s crop-sensor or full-frame, A-mount or E-mount, this is your go-to guide for Sony lenses
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ith so many lens choices available, it’s easy to get lost in f-stop and focal length figures. But with this handy guide you can see how they’re constructed, notice the difference between a budget and high-grade lens, and quickly identify the right lens for you. You’ll quickly learn how lenses are coated for antiglare and anti-flare results, find out which lenses no photographer should leave home without, and when you should use a wide-angle, or opt for a telephoto. Prices vary massively when it comes to choosing the lens that’s right for you, which is why we’ve included a wide range of cheaper alternatives as well as something more costly for those that are keen to take photography more seriously. Whether you choose the slightly older A-mount lens, which bore its life in the form of Konica Minolta, or the newer E-mount lens will depend
on which Sony camera body you choose to buy. At the time of writing there are more lenses for the A-mount system, with E-mount lenses – on the whole – being a little more expensive. But there are good-quality optics on both mount systems, so there’s no need to worry if you’ve opted into one and not the other. Plus, you can get mount adaptors if you wish to use a particular lens that isn’t made for your camera’s native mount system. There are also other accessories you can get for your lenses, like teleconverters that magnify the effective focal length of your lens for a longer reach without having to break the bank. And filter systems offer a valuable addition to the lenses you own, which are particularly useful for landscapes and wildlife. So with that, let’s take a look at the three most essential lenses every photographer should have, or at least start off with.
“There are good-quality optics on both mount systems, so there’s no need to worry if you’ve opted into one and not the other”
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Sony lenses
The front element of a lens
This is the business end of your lens and will be exposed to the outside world the entire time you shoot.
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Coating on the front element
Sony essentials
Coatings on the front glass element of a lens are designed to prolong life and reduce flare when shooting in bright settings.
DoFFocusing distance
This shows you the focusing distance set on your lens in metres and feet. This helps you to calculate where you need to focus to calculate the size depth of field.
Essential lenses to get you started
The basic kit you need to start off your grand photgraphic journey
Zoom ring
If you’re unsure where to start with your Sony lens collection, you’ve come to the right place. Focal length refers to the distance between the centre of a lens and its focus, so with wide-angle focal length lenses we see a very wide field of view – reaching out to the edges of the scene in front of you. Then there are mid-length focal lengths like the dependable 50mm, which sit around the same focal length as the naked eye. After that you get into telephoto focal lengths, which extend further, telescopically reaching into your scene to bring far-away subjects perceptibly closer. Prime lenses have fixed focal lengths (50mm prime for example) but zoom lenses give the ability to go from a wider focal length (say 24mm) to a longer focal length (like 70mm). While zoom lenses are a lot more versatile in that you won’t have to carry around lots of lenses, they often contain many more pieces of glass inside the lens in order to do this. This brings with it the problem of diffraction and softness, so on the whole, prime lenses are Name, aperture value and sharper. However, that depends on the quality of focal length range the lens, and there are certainly some zoom lenses 4.5-5.6 denotes the maximum, widest aperture along the focal length range (it that are sharper than primes. Let’s take a look at increases from 4.5 to 5.6 as you zoom in), how a lens is put together and which lenses you 70-300 is the range of your focal length, the might want to include in your kit bag. rest denotes the type (read: quality) of a lens.
Take a look
Three essential lenses that should be in your kit bag
Sony DT 18-55mm f3.5-5.6 SAM II
Sony DT 50mm f1.8 SAM
Sony 55-300mm f4.5-5.6 SAM ED
This lens covers most angles for the general photographer. A generous 18mm wideangle for those who want to fit more in the frame – think landscapes and architecture – that also zooms in to a closer range of 55mm, perfect for portraits, product shots etc). This lens is more than ample for the majority of shooters. It also comes in versions for E and F-mounts.
There’s a reason why they call this lens the ‘nifty fifty’. It’s light, portable and unobtrusive. The wide aperture of f1.8 means dreamily soft bokeh and an added ability to shoot in low light without having to boost ISO, and where you want to keep things crisp with a fast shutter speed. This focal length is covered by the 1855mm lens, but prime lenses are generally sharper, lighter and give a better image quality.
The 55-300mm provides the longer reach the 18-55 and 50mm just don’t give. With this you can shoot action, sports and even wildlife for a low cost. This lens is sharp and versatile, and proves a good portrait lens between the 85 and 150mm focal length range, compressing the perspective so the foreground and background drop out of focus, despite only having an aperture range of between f4.5-5.6.
Price: £190/$220
Price: £149/$199 (approx)
Price: £319/$300
The zoom ring only appears on zoom lenses, primes won’t have this. It allows you to manually adjust the focal length of the lens along its focal length range.
Focus ring
Manually focus the lens with this ring. You may find you need to adjust then when autofocus struggles to work in low light, or if shooting macro.
“Telephoto focal lengths extend further, telescopically reaching into your scene�
Sony lenses
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Sony essentials
Master Sony modes Become an expert in Sony camera mode dial options and use them to take your best-ever images
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our Sony camera is an extremely advanced piece of technology and is designed to enable you to shoot a range of images in multiple photographic fields. Every situation and location requires a unique combination of camera settings, to capture the subject with technical perfection, or to introduce special effects, for artistic purposes. These parameters are accessed via the main shooting mode dial, which features numerous positions to unlock varying levels of creative control. The exact location of the mode dial on your camera may differ from other models, but you will find it placed so as to enable rapid access to settings, so you can easily change the current shooting mode to suit the type of images you want to take. Most cameras use a physical wheel design, so you
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can simply rotate the control, although some smaller bodies may consign mode selection to a menu. Either way, you will find modes for users of all skill levels, from fully automatic to complete manual control. Beginners will likely be more comfortable using Auto, where the camera chooses all settings for you, while enthusiast photographers will feel at home with those modes offering more in the way of user-defined customisation. For intermediate photographers, there are a variety of scene-specific modes, which can be used to tailor camera operation to capture better images under predicted environmental conditions. Here we will cover all of the modes available in detail, so you can make informed decisions about which is best for you.
Black and white landscapes Master Sony modes
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techniques
master new Landscapes Get the best results possible at unfamiliar locations with our pro guide
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hotography is always easier when you know what you’re dealing with ahead of time. Whether it’s the venue for a wedding reception or a location for a portrait shoot, there are significant advantages on offer when you have a clear idea of exactly what sort of compositions will be on offer and what the challenges are likely to be. This is very true of landscape photography. The better you know a particularly scene, the more likely it is that you will be able to capture a stunning
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image, as you are familiar with the way the light affects the scene and what the strongest focal points are, among many other factors. However, photography cannot always work this way; very often, we have to work successfully in situations in which we have to think on our feet. Over the next few pages, you’ll discover how to master new, unfamiliar landscape locations, so that you can make the most of scenes that you’ve never been to before – and might never visit again.
Black and white landscapes MASTER NEW LANDSCAPES Below
Grab an opportunity
Sometimes, you will only get one chance to shoot a certain scene, so you need to be able to make the most of it © Krzysztof Browko
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techniques
Portraits on the run
Portrait photographer Holly Wren explains the challenges of a quick portrait session, and how these can be overcome when time is limited
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hether your talent is working to a tight schedule, you are shooting on the fly or you need to meet an editorial deadline, time is sometimes limited on a shoot. Portraits can be challenging at the best of times, but even more so when shooting to a strict time schedule. Often as the photographer, you may have never met the subject before, visited the location or be able to control the light. So what are the key components of taking a successful, but quick portrait in these conditions? Over the following pages we’ll explore some simple ideas to keep in mind when working quickly.
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However, before considering the setup and location, it’s important to have the right kit. If you’re working hastily you’ll probably be moving quickly, setting up with speed and carrying your own gear, so you’ll need to keep your bag as simple and lightweight as possible. An ideal lens for this situation is the 50mm; nicknamed the ‘nifty fifty’, it’s popular because it’s small and lightweight, with a focusing distance that enables you to be close enough for a headshot, or further away for a full length portrait. Arguably, at 50mm you may see some distortion in the face, so consider having longer lenses to hand. An 85mm or 105mm are ideal
accompaniments, as the focal lengths are perfect for portraiture. They flatter the face, and offer a good amount of compression and wide maximum apertures for shallow depth of field and attractive bokeh. For your lighting, simple is better – work with natural light, and where needed consider adding in a silver or white reflector to push light back into the face and eyes. If you need to add more light, a single flash setup will be sufficient to shape the key light on your subject. Using a speedlight (off-camera) or location light will help make your shots look more considered. But the light needs to be softened, so take a modifier with a stand.
Portraits on the run Erika Putting the sun behind the subject creates a rim light, but as the sun is soft and diffused by the cloud the light is still quite even. So, a reflector is not needed to even the exposure All images Š Holly Wren
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techniques
shoot your best
black & white Explore the world of black and white photography and learn how to compose striking monochrome images with impact
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hen did you last see a black and white photograph that really inspired and excited you? More importantly, who took it – you? It’s very easy to get complacent, reaching a point where you can produce work that’s technically excellent and creatively sound, but is still lacking that all-important ‘wow’ factor. Putting a finger on exactly what it is that elevates an image from average to amazing is difficult, simply because there are so many factors involved. The lens you choose, the quality of the light, the angle you shoot from, the proximity to your subject – all these factors can either add impact or take it away. Henri Cartier-Bresson’s best-known photographs have impact, but it’s very subtle and a result of careful timing to capture the
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‘decisive moment’, rather than because he was photographing high drama. He took ordinary, everyday scenes and elevated them to fine art: a family picnicking on the banks of the River Seine; a man leaping over a puddle; a grinning child walking down the street clutching two bottles of wine. Although Cartier-Bresson’s images appear to be spontaneous, as though he wandered the streets, shooting on the move, he was actually far more premeditated, composing a scene to make use of geometry – lines, curves, shadows, shapes and frames – then waiting for someone to step into that ‘geometric pattern’. As he said in his book The Decisive Moment, “Photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise
organisation of forms which give that event its proper expression.” In contrast, American photographer William Klein, one of the fathers of street photography, was renowned for rejecting the rules of photography – using blur in his images, getting up close and personal with a wide-angle lens so you feel like you’re part of the story rather than a voyeur looking in. His compositions are often cluttered, with multiple points of interest. They seem raw and unplanned, sometimes technically flawed, but that gives them a vibrancy and urgency that few manage to achieve. Here we will explore the factors to consider when shooting and editing a black and white image with impact, along with tips on how to really upgrade your monochrome shots.
SHOOT your best black & white
Slowly does it Long exposures record motion in a scene and enable you to record the passing of time instead of merely freezing it. The misty sea here contrasts strongly with the dark basalt boulders filling the foreground patterns All images @ Lee Frost
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techniques
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essential eDITING techniques Read our guide to the fundamental aspects of a pro photographer’s processing workflow 108
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10 essential editing techniques
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More than pixels The RAW digital image captured by your camera’s sensor is very rarely in a display-worthy state – critical image editing is needed in order to do your subject justice Image © TJ Drysdale
e often talk about ‘essential’ techniques in the context of both taking photographs and then processing them in software. For even the most experienced digital photographer however, this term can seem a little opaque, with a level of uncertainty about what exactly constitutes essential in this case. While there is a great degree of personal judgement involved in deciding what shooting and processing actions are required for an image, there are some ‘tricks of the trade’ that must be employed in order to create the quality of images demanded by the world today. These cover the key elements of a successful image – correct exposure, balanced colour for a natural appearance and critical sharpness where it is most needed, such the eyes in a portrait. Other staple processing steps in a professional workflow encompass the application of local adjustments, via the use of brushes and selections. Furthermore, noise reduction, lens corrections and retouching work all combine to create images that truly demonstrate the quality of the camera, enabling the photographer to really get the most out of their equipment. Without these key techniques, the full potential of the work done in-camera can never be realised. Of course deciding how much an image requires editing is a skill in its own right. The choice to alter an element should be made if it acts as a distraction from the intended subject or when it impedes the rendition of natural colour and tone. For example, in order to meet the standards expected by high-end magazines, some skin retouching is necessary to remove distracting blemishes, while the colour in landscapes should almost always be adjusted to present the scene in a realistic way. In other cases processing will be required to achieve a specific ‘look’, for artistic purposes. While this may not be completely natural, it is essential if the style is needed for a specific function. In this guide we have compiled a list of the ten processing techniques we feel the modern photographer should be armed with by default, in order to remain commercially competitive and creatively motivated to experiment.
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