NIKON'S TELE TUBBIES OUR VERDICT ON NEW 24-70MM & 200-500MM THE WORLD’S BEST-SELLING DIGITAL PHOTO MAGAZINE Photogreahi weer, : hy isreanon ad Uy } | HOW TO SHOOT STUNNING OUTDOOR PORTRAITS©800006 — Rhelerenty JOIN THE CLUB... Welcome to the world’s | essential shooting and editing SP Nox weekly digital techniques, and in-depth reviews PY photography magazine. | of the latest camera kit Bi youre already a But that's not the whole story fader, thanks for your continued | Photography Week is more than support and involvement: if youre | a magazine - it's a community new to Photography Week. you've | of like ninded people who are come to the right place! In addition | passionate about photography, to expert advice, brilliant tips and | To get involved, just follow any step-by-step tutorials, every issue | of the links below and share your features interactive galleries of the | shots and comments - your photo best new photos, how-to videos on | might even appear on our cover! JOIN THE PHOTOGRAPHY WEEK COMMUNITY AND START SHARING!AnBeReobrY | CONTENTS — |_ FIND OUT WHAT'S INSIDE THIS ISSUE GOPRO UNVEILS VR RIG (Omni bundles six Heroas to capture 360-degree video MASTER THE LIGHT Get great results from portrait shoots using only natural light GALLERY The very best reader images from around the world IT'S COOL, THAT... High-velocity gimbal enables aerial filming at 350mph IN-CAMERA MONO Use your picture presets to shoot in black and white ENHANCE COLOUR Correct casts and boost dull tones in Adobe Camera Raw NEW NIKON ZOOMS Nikon updates sic 24-70mm and unveils an affordable super-telephotoWHAT'S HOT THE GOPRO OMNI IS THE VR ACTION CAMERA YOU'RE LOOKING FOR Hero4-based six-shooter promises to be relatively affordable seem like the everyman VR camera solution the company promised, at leastit’s far more approachable than company's previous $15,000 (about £10,400) 360-degree camera contraption. the GoPro Odyssey, conoan/s uber Tesco ona hexadecimal cube that holds sic Hero Black cameras, Allthe cameras are programed to Not only isit less expensive than the Odyssey, i's simpler too in that it comes with hardware inside the rig that synchronizes all of the footage at a'per- pixel Levet’ Wannabe videographers will also be able to grade and cut their footage with Kolor.a piece of the resulting picture produces a 360-degree Video, which can be viewed and explored in virtual reality Using one of the number of VR headsets coming onto the market VR-video software that GoPro acquired last April ‘The big differentiator between the two products (besides the price, GoPro hasn't revealed pricing or availabilty for the Omni yet, but ithas announced that the rig will come in The Omni won'tbe cheap. Youcan | obviously) is that unlike the Odyssey the anall-in-one bundle that includes all _| bet that the all-in-one bundle willbe | GoPro Omniisn't designed to record in the necessary cables and cameras. expensive given that each camera costs | 30. Despite its inability to record in 3D. Of course, should you happen tohave | £399/$429 on its own multiply that | however, the Omni should appeal to six GoPro cameras sitting around she-fold and you'r looking at a hefty (semi) professional videographers who collecting dust, you can also just slot_—_|_ price tag of around £2.400/82.575 ‘want to get their toes wet with shooting them into the housing. at least. But while the Omni doesn't for the VR formatON SALE NOW A NEW TAKE ON FAMOUS FACES “WHETHER PEOPLE ARE COMFORTABLY AT EASE IS NOT SOMETHING I’VE EVER BEEN INTERESTED IN. ” NADAV KANDER ever miss an su, subscribe and save upto 54%: bt y/praphaSOOCOU®@® Honkmec and dog um darroor work for Our expert Ben Brain challenges P two semi-pro photographers to see what results they can 7 achieve working with m Formal portraits models in natural light relatively new interest his LRPS fromOOCOU®@® CHALLENGE 1 EXPLORE CREATIVE WAYS TO USE LIGHT ED HEFFER FoR he fis challenge, workeda | betndthem and abankof testing nue ofccatone Faia sng |" ncet-ocer backs criocassctendstectuice QUSEMD) "crecoeagescem tee patra potato tte ast wut pronto bedltnape he soe pston mote eacoon hence in a nearby park provided the “ to fine-tuning exposure and retouching Hrs nacooe perfect location with areas forthe | ‘models to sit, sunlight streaming in from Camera Raw and Photoshop, EXPERT OPINION + Ed's choice of classic portrait focal length (85mm) has produced a flattering result » He has avoided underexposing this strongly backlit mage by using alarge white reflector » Framing the shot so that Holly is looking across the diagonal adds a dynamic qualityOOCOU®@® CHALLENGE 1 AFTER making the decision touse | __ Mick explored a number of different a dark backdrop for his first set of poses and compositions with Holly. portraits with Holly. Mick set about 2) but found that shooting from finding a location with suitably slightly below her eye level soft ighting. A sheltered spot provided the strongest images, ‘making her appear tall and e ame daesticel . slovely cose ofdapplea ching. QL PP confident tose stnbutes have a eee oie ee creas iat toprtovide some filightusing two | vertical fee created by the tee. end by TriGrip reflectors. Holly's focused expression, Mick has caught Holly ina relaxed pose asking her to lean against the tree has heloed to achieve this There's plenty of room in the frame for Holly tolook into The choice ofa large aperture has allowed the backdrop to be rendered as an attractive blurOOCOU®@® CHALLENGE 2 USE THE LOCATION TO ADD INTERESTOOQOCOU®® CHALLENGE 2 MICK asked Claire to pose in a variaty of spots. including among tree stumps. ona park bench and against some bushes, Ben was able to manipulate the light sing a large TriGrip diffuser held over Claire to reduce contrast. with ‘white reflector placed lower down to boost the light levels. For this shot. Mick asked Claire to peer around stone pillar, keeping her hand in view. Using asilver reflector acided ‘a surprising amount of illumination: without it, Claire's face would have been in shadow. The larger format of this reflector enabled Mick to iluminate Claire's body ‘as well as her face. Composing the shot in 2 portrait format made perfect sense, echoing the clear verticals of the pillar and the tree in the distance. The tree also helps to frame Claire's side-it hair, The background gives a sense of place without being distracting, thanks to the large aperture There's just the right ‘amount of separation between Claire's left eye ‘and the pillar Does Claire's lower hand add anything to the image? :OOOOOGO We were equipped with a series of reflectors, but Lastolite's larger TriGrip and “TriFlip sets became the kit of choice. These units offer the convenience of a hana. allowing the photographer or ‘model to hold one in place with one hand. TriFlip kits also have different sleeves, enabling you to achieve different e ‘To prevent your portrait sitter from squinting, position them so that their backs towards the sun and use a reflector to bounce light onto them. Feather the reflected light rather than bouncing it directly into their eyes - especially if you're using a foil reflector ~ unless you want your model to be screwing up their face in discomfort! The direction in which a modelis looking in an image is such an important consideration, so be specific with your directions. Pick out a feature in the area ~ a tree, a building, even your ear! - and ‘ask them to focus on it. Itwas very interesting to see the different waysin which two photographers approach portraiture. Both Ed and Mick Started out with clear ideas of the type of picture they wanted to achieve - I hope | was able to provide enough assistance to ‘enable them to do this!Conary] MASTER FINE ART BE es) rama ar — delivered straight To find out how you can get to your device every week for just a few pennies, simply search on any of the platforms below for AVAILABLE ON YOUR DEVICE NOW! oa B ezinio shttaltinycc/61ixkx pttolfrinvcclGxdxkx ttorlftiny.cclbrixkx "wailable fra limited time only. Standard subscription offer varies across platforms/cevices~ please refer tos6000600 XPOSURE THE WEEK'S MOST INSPIRING READER PHOTOS VANISHED DAVID BALL A long exposure has blurred the sea and sky almost to nothin fragileTHE WEEK'S MOST INSPIRING READER PHOTOS MONOCHROME PILLARS ‘ADRIAN JONES The soft textures of the shallow water and sand contrast nicely with the hard lines of the forest of pillars ‘natotiny.cclbutsay FRANCE 300ST LIGTHART The shuttered beach huts, subdued colours and overcast sky add to the slightly bleak feel of a seaside resort devoid of crowdsOST INSPIRING READER PHOT! GOLDFINCH NEIL BURNELL The subject is perfectly sharp despite the 600mm focal length, which together with an /8 aperture blurs the backdrop beautifully nttolftiny.cc/w4k COLOURS RIOT VIJAYARAJ PS Areveller at the Holi festival, also known as the festival of colours, in Chennai, India, The festival is traditionally celebrated by Hindus, but has become opular across South Asia httac/iny.cc/oz0sayROAD TO NOWHERE PHIL MERCER Phil has used a wide-angle lens to create a z00m burst style effect in the tiles of the tunnel, which becomes more striking the longer you stare att OWTH PETER SCHMIOTCHEN, Peter's beautifully composed and exposed image captures both the fragility of nature and the power of the elements fl THE WE! MOST INS IRING R ER PHOTOSTHE WEEK'S MOST INSPIRING READER PHOTOS STRANGER 117 - MARK “Lstarted my 100 strangers project as a means to improve my portrait photography and, more importantly, because I thought it was cool. As soon as I had had my first successful stranger interaction Tknew that it would be addictive, and I wauld be completing the project come what may.” niplhinyce/oix — buplinwcfBkeola 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!00600000000 IT'S COOL, THAT Stel e=) te ema ala) Akh HOW TO KEEP YOUR VIDEO SCO NPL raed f you think you're capturing High-velocity gimbal captures silky aerial footage strapped to fighter jet Prete Ts 0 erect Christmas. check out this video. It was Ree er eg ae) a specially developed gimbal to keep Posse ee eae sce Se ec See te Cee eerie filming company Blue Sky by California oer Tver atee eae Sky wanted a high-velocity gimbal that could be used on ajet: mast existing See need Use at speeds of up to 125 knots ee Pe tree tee ener eee eee ee Peet ee epee a rmeer ete ere pare rector Eee ee eee ne nee etre ecient)600066 aa CRASH COURSE K- ESSENTIAL PHOTO SKILLS MADE EASY DISCOVER THE DRAMA OF BLACK AND WHITE Sometimes you need to stop seeing the world in colour. Rod Lawton gets back to mono basics We see the world in colour, \we respond to colours, and today’s cameras can reproduce colour with amazing fidelity andl depth. So why shoot in black and white? Black-and-white photography can be sed to give pictures an ‘antique’ look but it has creative benefits too. The lack of colour means it's already one step removed from reality, so people are ‘mate likely to look at the way you've ‘made the photograph and less likely to be distracted by the subject matter. Also, if you remove colour from the equation, itbecomes much easier to explore shapes, lines and tones and turn them into satisfying compositions. Most digital cameras have ablackand white mode ~ for example you can use the Monochrome Picture Control options on Nikon DSLRs, and the Monochrome Picture Styles on Canon cameras. ‘Apart from choasing the appropriate camera setting, shooting black an white is technically no different to shooting colour. What you do have to change is how you ‘see’ and compose pictures. Monochrome photography depends on shapes, tones and textures. bbut most of us are attracted by colour, and you should make the most of Contrasts in both tone and lighting.STEP BY STEP GOING MONO TRY A TRIPOD AA tipod isnt essential but putting your camera on cone does teave your hands free to experiment with the camera settings and the mono options. you use the viewfinder to compose your shots youll still see the seene in fullcolour. but when the picture appears on you camera's LCD itl bein black ‘and white CAMERA SETTINGS Selecting the monochrome cor black and white setting on your camera doesn't change ‘any of the key exposure settings, but it does alter the way the image is processed. Note that i's a good idea to shootin raw if you have the option, so that you can revert toa colour version of the image later if you want if only shoot JPEGs you won't be able to access the colour information TRAIN YOUR EYE ‘One of the big advantages of digital black and white photography is that you can see straight away if your shots are working or not Even better. ty switching to Live View mode ifyou have this option as it enables you to compose your pictures in black and white too.STEP BY STEP GOING MONO BE BOLD WITH ANGLES Black and white photography relies on visual impact. lines become much more. important. CHANGE YOUR SETTINGS On adil, overcast day black ‘and white pictures can lack ‘contrast. but many OSLRs ‘and CSCs enable you to fine- tune in-camera mono effects impact. You can @ the contrast for a and you may also have ption to simulate various lens fitters and toning effects. PROCESS IN-CAMERA ng as you shoot raw ‘able to fine-tune the your mono images to your heart's content in your camera's raw processing software - here we've produced sepia-toned and ‘eyanotype versions of our mono subjectTeach yourself Teach poise if Teach yourself Black & White Lightroom Photography Photography Teach y ourself. photography Fete a Nee ON ADIEU SR) URL oE Ooecd ae FE an Teach yourself Teach yourself Teach yourself Photoshop Fhotoshop Raw in Photoshop Elements 12 Get the book and DVD w re my! magazines. cO.ul ‘photo0000000 RAW IN PHOTOSHOP LEARN ESSENTIAL EDITING SKILLS FAST! ad PCN) Este teNieee er Se HOW TO... CORRECT AND ENHANCE COLOURS Use the colour-editing tools on Adobe Camera Raw's Basic panel to quickly correct colour casts and produce more vibrant-looking images ‘camera colour presets such | may suffer from colour casts as well__| on Camera Raw’s Basic panel can be {as Vivid or Natural enable you | ~ and again if you shoot JPEGs these | used to neutralise colours casts, and to to produce a range of effects, | unwanted tints will be more challenging | produce a range of different looks, from but if you shoot JPEGs these effects will | to correct in Photoshop than if you were | a vivid colour palette to a more natural, be baked into your images, makingit | working with raw files, less saturated look harder for you to correct and enhance Ifyou shoot raw you'll have much Inthis video lesson we'll show colours at the editing stage. more colour information to work with | you how to use Camera Raw’s tools Ifyou use the wrong white balance | when processing your images. The to quickly correct a colour cast and setting when shooting, your photos colour boosting and correction tools ‘| enhance a shot's drab-looking colours. WANT TO LEARN HOW TO USE RAW IN PHOTOSHOP FASTER? GET THE WHOLE COURSE NOW! IF you don't want to wait a whole year to learn how to use raw in Photoshop, you can download our whole course from the Photography Week app for ust $9,99/47.9, We'll be including one part of the course every week until the end ofthe year in the magazine, so the choice is yours: wait and take the course for free, or buy it now and learn Faster, with all the videos in one place! ‘ntto-ftiny ce/Teshoxee00 BIG REVIEW EXPERT OPINION ON THE LATEST KIT We check out two new lenses from Nikon: an update on its classic standard zoom, and a super-telephoto zoom that breaks new ground range-wiseBIG REVIEW NIKON Bigger, better, faster, more - it’s anything but a standard zoom rear elements have fluorine coatings to repel moisture and muck. Despite weighing over a kilogram. handling is refined and reasonably well balanced on big bodies like the D810. The lens extends to as much as 378mm ‘when zooming out to 24mm, or 205mm with the hood attached, However, the hood doesn't rotate when the inner barrel moves back and forth, The revamped AF system snaps to attention with amazing speed. Centre sharpness is spectacular. even at £/28, although comer sharpness lags behind somewhat. Colour fringing is also evident towards the comers of the frame, but this is automatically corrected in recent Nikon cameras, or when using Nikon's Capture Nx-D raw processing software. Barrel distortion is noticeable at 24mm. which isn't especially surprising, (of more concem isthe fact the vignetting is fairly pronounced at £/2.8 throughout the 200m range. Ghosting and flare can be problematic as well FULL-FRAME COMPATIBLE Yes FOCAL LENGTH 24-70mm (36-105mm equivalent on OX) IMAGE STABILIZER Yes MINIMUM FOCUS DISTANCE 0,36-0.41m MAX MAGNIFICATION FACTOR 0.26x MANUAL FOCUS OVERRIDE Full-time FOCUS LIMIT SWITCHES No INTERNAL ZOOM No INTERNAL FOCUS Yes FILTER SIZE 82mm DIAPHRAGM BLADES 9 WEATHER SEALS Yes SUPPLIED ACCESSORIES Hood, soft case, caps DIMENSIONS (diameter x length) 88x155mm WEIGHT 107g PRICE £1850/$2400BIG REVIEW NIKON Big, butch and surprisingly affordable, this lens puts the ‘super’ into super-telephoto Nikon is a third of a stop faster than the ‘competing Sigma and Tamron lenses. ‘Autofocus therefore remains available even with a 1.4x teleconverter fitted. if your camera has (/8 AF compatibility The lens isnt fully weather sealed, but it does have the usual rubber gasket ‘on ts mounting plate to help keep out moisture, Switches give access to an autofocus limiter and normal/sport ‘options for VR. The VR sport made aims to give optimum stabilisation for fast- moving subjects, as well as avoiding a low-down in continuous shocting The autofocus speed isn't massively Quick butit's accurate and reliable, while the Vibration Reduction is good for 45 stops. Sharpness and contrast are very {good, too, and there's minimal colour fringing, thanks to three ED (Extra-low Dispersion) elements. Distortions and vignetting are also negligible. and resistance to ghosting and flare is good. Overall performance is very impressive, especially considering the down-to- earth price of this lens FULL-FRAME COMPATIBLE Yes FOCAL LENGTH 200-S00mm (300-750mm equivalent on DX) IMAGE STABILIZER Yes MINIMUM FOCUS DISTANCE 2.2m MAX MAGNIFICATION FACTOR 0.22x MANUAL FOCUS OVERRIDE Full-time FOCUS LIMIT SWITCHES Yes (6m-) INTERNAL ZOOM No INTERNAL FOCUS Yes FILTER SIZE 95mm DIAPHRAGM BLADES 9 WEATHER SEALS Sealed mount SUPPLIED ACCESSORIES Hood, soft case, caps DIMENSIONS (diameter x length) 108x268mm WEIGHT 2300g (including tripod collar) PRICE £1180/51400MORE GREAT MAGAZINES FROM THE MAKERS OF PHOTOGRAPHY WEEK N-PHOTO PHOTOPLUS PRACTICAL. PHOTOSHOP Check out these other fantastic photography apps for iPad & iPhone ee SEAN tens Transform your images with the expert tips and advice in $0 | of the Lightroom digital use Adobe's professional- new photography skills Photoshop video tutorials, darkroom with this 50-part level raw file editor to make with this 30-part video Discover the power of layers, | video course. Enhance ‘amazing prints from your training course designed blending modes, raw file landscapes, master black photos. Every important tool | to stimulate your editing and more with this | and white, make gorgeous | in Camera Raw explained in creativity and boost your easy-to-follow course. portraits and more. detail by our experts. photographic confidence.~ Rigigatenty hyweek @futuren. f) © _ FACEBOOK TuITTER FLICKR ADVERTISING THE TEAM SENIOR CREATIVE TEAM Account Director Ealtor Group Editor-in-Chief f eo Art Editor J Group Art Director Production Editor MARKETING Direct Marketing Executive ‘rcrrat eorvions W TESTING TEAM Head of Digital Head of Testing ‘App Production uucensinc n 4 Senior Licensing & Syndication Imaging Lab Manager ‘App Release Manager Manager x Matt ‘Acquisition Campaign Manager REGULAR CONTRIBUTORS Daniel Meat SENIOR MANAGEMENT ye, Rod L TT DEVELOPMENT Editorial director thew Rt Director - Future Fotio ‘mucrimeota ‘App Developer Managing director Producer E Product & Technology Videographer Director F