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 W E L C O M E

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Welcome to the world’s
No.1 weekly digital
photography magazine.
If you’re already a
reader, thanks for your continued
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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
brilliant 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.
‰ŅƤčåƋĜĹƴŅĬƴåÚØģƚŸƋüŅĬĬŅƵ±ĹƼ
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ways you can interact with and enjoy Photography Week
 CONTENTS
FIND OUT WHAT’S INSIDE THIS ISSUE
NEWS
NIKON LAUNCHES TWO
NEW TELEPHOTO ZOOMS
180-600mm and 70-180mm
lenses announced for Z mount

F E AT U R E
MACRO ON A BUDGET
Shooting amazing close-ups
without spending big on kit
PHOTOS
GALLERY
F E AT U R E Our pick of the best reader

© Getty
Ĝĵ±čåŸüųŅĵƤ±ųŅƚĹÚƋĘåƵŅųĬÚ

I N S P I R AT I O N
ONE IN HALF A MILLION
Enjoy (some) of the entries to the
world’s biggest photo contest
CRASH COURSE

PHOTOS I N S P I R AT I O N MUSIC TO THE EYES

Top tips for capturing the action
on and off stage at festivals
PHOTOSHOP
CRANK UP THE CLARITY
Boost midtone contrast to
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CRASH COURSE PHOTOSHOP

REVIEW
JUS T
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Cover Image © Getty

other smart features. We

put it through its paces
 N E W S

W H AT ’ S H O T
THE WEEK’S TOP HEADLINES IN PHOTOGRAPHY

NIKON UNVEILS T WO NEW

Z-SER IES TELEPHOTOS
A monster 180-600mm f/5.6-6.3, and an affordable 70-180mm f/2.8

© Nikon
The new Nikon Z 180-600mm f/5.6-6.3 VR. Image credit: Nikon

ikon has announced two new telephoto for DSLRs. It’s aimed at, and to repel moisture and make dust and

N Z-series telephoto zooms, the

Z 180-600mm f/5.6-6.3 VR
super-telephoto and the Z 70-180mm
f/2.8, a fast all-purpose telephoto zoom.
Starting with the Z 180-600mm
f/5.6-6.3 VR, this lens had actually
been listed as a 200-600mm lens on
the Z-series lens roadmap – so the
official announcement offers a bonus
20mm reach at the wide end.
Nikon sees this lens as the Z-mount
successor to its popular AF-S 200-
500mm f/5.6E ED VR F-mount super-
priced for, enthusiast wildlife, aviation
and motorsports photographers. It
offers Vibration Reduction rated at 5.5
stops to keep shots pin-sharp even
when shooting handheld, and a Sport
mode stabilizes the viewfinder image,
making it easier for you to capture
unpredictable or fast-moving subjects.
The lens is constructed from 25
elements arranged in 17 groups,
including six ED (Extra-low Dispersion)
elements, one aspherical element
and a fluorine-coated front element
smudges easier to clean.
The high-speed Stepping Motor
(STM) is whisper-quiet during focusing,
making the lens as useful for shooting
video as for stills. Tracking is said to be
rock-steady when used in conjunction
with Z-series mirrorless cameras with
animal or vehicle subject detection.
The focal range extends all the
way from 180mm to 600mm with a
70-degree twist of the zoom ring, and
it offers a minimum distance of 1.3m at
180mm, and 2.4m at 600mm.

THE WEEK’S TOP HEADLINES IN PHOTOGRAPHY
If even 600mm isn’t long enough for
you, the Z 180-600mm f/5.6-6.3 VR is
compatible with Nikon’s TC-1.4x and
TC-2.0x Z-series teleconverters, which
further extend the reach to a maximum
840mm or 1200mm respectively; and
those aforementioned ED elements
reduce axial chromatic aberration,
even when using a teleconverter.
The lens comes with a tripod foot
that can easily be switched from
landscape to portrait orientation, or
removed for handheld shooting or
replacing with an Arca-Swiss foot.
The lens has weather-sealing –
although, as Nikon points out, this isn’t
as comprehensive as the protection
you’ll find on the top-of-the-range
S-line lenses. It’s relatively light, tipping
the scales at a shade under 2kg with the
tripod foot removed.
It’s reasonably compact too,
considering the monster telephoto
reach, measuring approximately 100mm
in diameter by 315.5mm length. An
internal zoom mechanism means the
lens doesn’t extend during focusing.
The Nikon Z 180-600mm f/5.6-6.3
VR will be available from August at a
launch price of £1,799 / $1,699.95.
N E W S
The Z 180-600mm f/5.6-6.3 VR is aimed at enthusiast sports and wildlife shooters
Nikon Z 70-180mm f/2.8
The big selling point of the Z 70-180mm
f/2.8 is that it’s around half the price of
Nikon’s Z 70-200mm f/2.8 VR S ‘trinity’
lens. Like the S-line lens, this one has a
fast, constant f/2.8 aperture that’s great
for portraits, lifestyle, sports, nature,
landscapes, cityscapes, events, and
more – even in low light.
As it ‘only’ extends to 180mm rather
than 200mm, its focal length is 20mm
shorter than the pricier lens, and it
doesn’t have built-in image stabilisation
– although full-frame Nikon Z-series
The new Nikon Z
70-180mm f/2.8
© Nikon
cameras all boast in-body image
stabilisation. The lens does come with
weather-sealing, although Nikon does
point out that it’s not as comprehensive
as in the more expensive lens. Quiet
focusing and suppressed focus
breathing make the lens a good option
for video shooting too.
It’s very capable when it comes to
close-up shooting. The minimum focus
distance is just 0.27mm at the short
end and 0.85mm at 180mm, but the
lens can be combined with Nikon’s
teleconverters for near-macro levels
of magnification. With the TC-2.0x
attached, the focal length extends to
360mm with a reproduction ratio of
0.96x – only a smidgen shy of the 1x
ratio of a true macro lens.
The lens is constructed from 19
elements in 14 groups, including five
)%ƤŠ)ƻƋų±ěĬŅƵ%ĜŸŞåųŸĜŅĹšåĬåĵåĹƋŸØ
ŅĹåƤŸƚŞåųě)%åĬåĵåĹƋ±ĹÚƋĘųåå
aspherical elements. The front element
has an antifouling coating for easy
cleaning It weighs just 795g, and is just
151mm long, making it travel-friendly for
a telephoto zoom. A zoom lock switch
locks the lens at the 70mm position,
preventing ‘lens creep’ when you’re on
the move. The lens will be available
from July, pried at £1,299 / $1,249.95.
 F E A T U R E

© Getty
SHOOT BRILLIANT
MACRO ON A BUDGET
Dan Mold shows you how to get incredible close-ups with basic
camera kit, a few everyday items, and a good dose of creativity

here’s a whole new world just ųåŸåųƴåØƋŅŸƋĜĬĬĬĜüåŸŅüĜűĹĜĵ±ƋåŅÆģåÏƋŸ %åŞƋĘŅüüĜåĬÚرĬŸŅųåüåųųåÚƋŅ±Ÿ

T waiting to be discovered with
your camera – all it requires is
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macro accessories. This will help you get
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them into extraordinary photographs
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macro rabbit hole. We’ll also take you
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techniques that you can try out around
your home or in the garden.
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becomes extremely limited when you’re
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with higher aperture values such as
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to create an image with a broader range
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 F E A T U R E

1 GET THE RIGHT MACRO GEAR

Kit yourself out with the right equipment to take amazing macro imagery

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M photography that draws on a
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allow you to incrementally adjust your
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and then add to your kit bag as you go;
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CREATIVE CAMERA FROM £400 / $500
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PROFESSIONAL TRIPOD FROM £100 / $130
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 F E A T U R E

1 GET THE RIGHT MACRO GEAR

CONTINUED

STEADY YOUR
ACCESSORIES FOR PRO MACRO PHOTOS SUBJECTS WITH A
RING LIGHT FROM £25 / $30 ‘PLAMP’
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)ÚĜƋĜĹčŸŅüƋƵ±ųåŸƚÏʱŸ will help to keep the stem
{ĘŅƋŅŸĘŅŞĜŸĜÚå±ĬüŅų ŸƋå±ÚƼØŸƋŅŞŞĜĹčĜƋĵŅƴĜĹč
enhancing your macro about too much in the
images with exposure and MINI REFLECTOR FROM £20 /$25 wind when you’re shooting
ÏŅĬŅƚųƋƵå±ĩŸØ±ĹÚ±ĬŸŅüŅų eƐLjÏĵŞŅųƋ±ÆĬåĂěĜĹěŎųåāåÏƋŅų ŅƚƋÚŅŅųŸţ‰ŅŞƋĜŞ×ÆųĜĹč±
ƋåÏĘĹĜŧƚ域ƚÏʱŸüŅÏƚŸ ĜŸƤĜÚå±ĬüŅųƋĜĹƼŸƚÆģåÏƋŸØ±ĹÚϱĹ second sturdy tripod with
stacking – you can use be used to bounce and manipulate you on your photoshoots
{ĘŅƋŅŸĘŅŞűŸ{ĘŅƋŅĵåųčå ƋĘåűƋƚų±ĬĬĜčĘƋرĬĬŅƵĜĹčƼŅƚƋŅƚŸå so that you can clamp your
command to blend together ĬŅƵåųF„kƴ±ĬƚåŸüŅųÆåƋƋåųĜĵ±čå plamp onto it and give
Ÿåƴåų±ĬĜĵ±č域åƋƋŅÚĜýåųåĹƋ quality and also have more control ƼŅƚųŸåĬü±ŸåÏƚųåƱŸåţ
üŅÏƚŸÚĜŸƋ±ĹÏåŸţ over the lighting.
 F E A T U R E

2 GO MACRO ON A BUDGET
You don’t have to spend a fortune on specialist kit – here
±ųåƤüŅƚųÆƚÚčåƋěüųĜåĹÚĬƼƵ±ƼŸƋŅŸĘŅŅƋÏĬŅŸåěƚŞŸ

USE A REVERSING RING

Give a standard lens macro abilities
by using this economical add-on

Shoot through a
lens backwards
using a reversing
ring to increase your
ĵĜĹĜƚĵƚĵüŅÏƚŸ
distance

1 GET YOUR
REVERSING RING
åƴåųŸĜĹčųĜĹčŸ±ųåƵĜÚåĬƼ±ƴ±ĜĬ±ÆĬåŅĹĬĜĹåØ
and won’t break the bank. Make sure you
čåƋŅĹåƋʱƋĀƋŸƼŅƚųϱĵåų±ĵŅƚĹƋØŸƚÏʱŸ
±ĹŅĹ)8ŅųcĜĩŅĹ8رĹÚƋʱƋĜƋʱŸƋĘåÏŅųųåÏƋ
ĀĬƋåųƋĘųå±ÚüŅųƼŅƚųĬåĹŸţ

2 ATTACH YOUR LENS

eĹĀĬĵěåų±ƐĂĵĵŅųĂLjĵĵŞųĜĵåĬåĹŸ
ƵĜĬĬƵŅųĩƵåĬĬرŸƋĘåƼŅüƋåĹʱƴå±ŞĘƼŸĜϱĬ
aperture ring that enables you to change the
aperture when the lens is mounted in reverse.

3 RACK THE FOCUS

ŽŸĜĹčƋĘåųå±ųX%ŸÏųååĹŅųĬŅŅĩĜĹč
ƋĘųŅƚčĘƋĘåƴĜåƵĀĹÚåųØĵŅƴåƼŅƚųϱĵåų±
ƱÏĩ±ĹÚüŅųƋĘƚĹƋĜĬƼŅƚųŸƚÆģåÏƋĜŸŸĘ±ųŞØƋĘåĹ
take the picture.

CLOSE-UP FILTERS
Screw a close-up filter onto your
ĩĜƋƤĬåĹŸƤƋŅüŅųÏåĜƋƋŅüŅÏƚŸÏĬŅŸåų

ĬŅŸåěƚŞĀĬƋåųŸ±ÏƋĬĜĩåĵ±čĹĜüƼĜĹččĬ±ŸŸåŸƋʱƋ
ƼŅƚϱűƋƋ±ÏĘƋŅƋĘåŸÏųåƵěĜĹüųŅĹƋĀĬƋåųƋĘųå±Ú
ŅĹŸƋ±ĹÚ±ųÚĬåĹŸåŸØ±ĹÚ±ĬĬŅƵ±ĹŅųĵ±ĬĬåĹŸƋŅ
ÆåƤ±ÆĬåƋŅüŅÏƚŸĵƚÏĘÏĬŅŸåųţ

1 CLOSE-UP FILTER STRENGTH

ĬŅŸåěƚŞĀĬƋåųŸÏŅĵåĜĹƴ±ųƼĜĹčŸƋųåĹčƋĘŸ
üŅųŸĘŅŅƋĜĹčŸƚÆģåÏƋŸŅüÚĜýåųåĹƋŸĜDŽåŸ±ĹÚ±Ƌ
ÚĜýåųåĹƋÚĜŸƋ±ĹÏåŸţ8Ņųĵ±ƻĜĵƚĵƴåųŸ±ƋĜĬĜƋƼØÆƚƼ
±ƤŸåƋƵĜƋʱų±ĹčåŅüŸƋųåĹčƋĘŸţ

2 FILTER THREAD SIZE

ĘåÏĩƋĘåĀĬƋåųƋĘųå±ÚŸĜDŽåŅüƋĘåĬåĹŸƼŅƚ
ƵĜŸĘƋŅƚŸåƵĜƋĘƼŅƚųÏĬŅŸåěƚŞĀĬƋåųŸØ±ĹÚÆƚƼ
ƋĘåĵĜĹƋʱƋŸĜDŽåţ‰ĘåĀĬƋåųƋĘųå±ÚŸĜDŽåĜŸ屟ĜĬƼ
üŅƚĹÚŅĹƋĘåĜĹŸĜÚåŅüƼŅƚųĬåĹŸϱŞŅųŅĹƋĘå
lens barrel.

3 IMAGE QUALITY
{ƚƋƋĜĹč±ĹƼ±ÚÚĜƋĜŅűĬčĬ±ŸŸĜĹüųŅĹƋŅüƼŅƚų
ϱĵåų±ĬåĹŸƵĜĬĬÚåčų±ÚåĜĵ±čåŧƚ±ĬĜƋƼØŸŅ
a dedicated macro lens is always the best
ŸŅĬƚƋĜŅĹţĬŅŸåěƚŞĀĬƋåųŸ±ųåƴåųƼÆƚÚčåƋěüųĜåĹÚĬƼØ
ĘŅƵåƴåųØĵ±ĩĜĹčƋĘåĵ±čŅŅÚÏĘŅĜÏåĜüƼŅƚģƚŸƋ
want to give macro a try.
 F E A T U R E

2 GO MACRO ON A BUDGET CONTINUED

EXTENSION TUBES
Extension tubes fit between your
camera body and lens so you can
focus closer
)ƻƋåĹŸĜŅĹƋƚÆ埱ų屟ƚŞåųěƚŸåüƚĬƋŅŅĬƋʱƋ
allow you to turn a regular optic like a kit lens
Ņų±ĂLjĵĵŞųĜĵåĜĹƋŅ±ĵ±ÏųŅĬåĹŸØŅųĵ±ĩå
±ƤÚåÚĜϱƋåÚĵ±ÏųŅĬåĹŸüŅÏƚŸåƴåĹÏĬŅŸåųţ

1 GET THE RIGHT CAMERA MOUNT

eƴ±ųĜåƋƼŅüĵ±Ĺƚü±ÏƋƚųåųŸØŸƚÏʱŸUåĹĩŅ
±ĹÚ„Øĵ±ĩååƻƋåĹŸĜŅĹƋƚÆåŸţa±ĩåŸƚųå
ƼŅƚÆƚƼ±ŸåƋĜĹƋĘåųĜčĘƋĀƋüŅųƼŅƚųϱĵåų±
ĵŅƚĹƋØŸƚÏʱŸ±ĹŅĹ)8ŅųcĜĩŅĹ8ţ

2 MANUAL OR AUTOFOCUS
Extension tubes come in a cheaper manual
ƴ±ųĜåƋƼØƵĘĜÏĘųåŧƚĜųåƼŅƚƋŅĜĹŞƚƋüŅÏƚŸ±ĹÚ
exposure settings manually.
It can be worth spending the
extra on ‘auto’ tubes – these
have electronic contacts
that allow exposure settings
±ĹÚ±ƚƋŅüŅÏƚŸƋŅÆåƚŸåÚţ

3 STACK ’EM UP!

Extension tubes are
usually available in a trio
ŅüÚĜýåųåĹƋŸĜDŽåŸØŸƚÏʱŸ
ŎƖĵĵØƖLjĵĵŅųƖƅĵĵØ
which you can stack to
increase or decrease your
working distance.

SMARTPHONE MACRO
Give your smartphone camera macro
capabilities with this nifty hack

The best camera you have is the one you have

ƵĜƋĘƼŅƚرĹÚĵŅųåŅüƋåĹƋʱƋĹŅƋƋʱƋűŸƋĘå
camera on the smartphone in your pocket.
BåųåűŸĘŅƵƋŅĬåƋƼŅƚųŸüŅÏƚŸŸƚŞåųěÏĬŅŸåüŅų
incredible macro shots…

1 FIND AN OLD CD OR DVD DRIVE

¥ŅƚĵĜčĘƋʱƴåŅĹåŅüƋĘåŸåč±ƋĘåųĜĹčÚƚŸƋ
±ƋĘŅĵåØÆƚƋĜüĹŅƋƼŅƚϱĹŞĜÏĩŅĹåƚŞŅĹå±Ƽ
üŅų±ųŅƚĹÚƊĂţ±ųåüƚĬĬƼƋ±ĩåƋĘåÚųĜƴå±Ş±ųƋ±ĹÚ
åƻƋų±ÏƋƋĘå%ěųå±ÚĜĹčĬåĹŸţ

2 ATTACH IT TO A HAIRCLIP
ŽŸå±ʱĜųÏĬĜŞƋŅĘŅĬÚĜƋĜĹŞĬ±Ïåſ±üåƵƋĜĹƼ
ÚųŅŞŸŅüŸƚŞåųčĬƚå±ƋƋĘååÚčåŸƵĜĬĬĘåĬŞĜƋŸƋĜÏĩ
to the hairclip – just make sure you don’t get any
čĬƚåŅĹƋĘåüųŅĹƋŅųƱÏĩŅüƋĘåĬåĹŸţ

3 TAPE THE HAIRCLIP TO YOUR PHONE

cŅƵØƋ±ŞåƋĘåʱĜųÏĬĜŞƋŅƋĘåƱÏĩŅüƼŅƚų
ŞĘŅĹåŸŅĜƋŸĜƋŸāƚŸĘƵĜƋĘƋĘåϱĵåų±ĬåĹŸţ
Give it a quick wipe to remove any unwanted
ĀĹčåųŞųĜĹƋŸ±ĹÚƼŅƚűųåčŅŅÚƋŅčŅú
 F E A T U R E

3 SHOOT BEAUTFUL MACRO

BUTTERFLIES AND INSECTS
Capture the amazing detail in insects in your
č±ųÚåĹƤŅųƤ±ƋƤƼŅƚųƤĬŅϱĬƤűƋƚųåƤųåŸåųƴå

ŅƚűÚÆå±ĵ±DŽåÚ±ƋƋĘåÚåƋ±ĜĬ
Y ŅüƤŸŅĵåŅüƋĘåƋĜĹƼÏųå±ƋƚųåŸ
and critters that visit your
č±ųÚåĹرĹÚčåƋƋĜĹčÏĬŅŸåƵĜƋʱ
macro lens will enable you to capture
ƋʱƋÚåƋ±ĜĬţBåųåØƵåűĬĬĬŅŅĩ±ƋŸŅĵå
ƚŸåüƚĬƋĜŞŸüŅųŞĘŅƋŅčų±ŞĘĜĹčĜĹŸåÏƋŸţ
FƋűŸ±ĬƵ±ƼŸƵŅųƋĘĵ±ĩĜĹčƋĘååüüŅųƋ
ƋŅčåƋƚŞå±ųĬƼرŸĹŅƋŅĹĬƼƵĜĬĬƼŅƚ
ÆåčųååƋåÚÆƼ±ĵ±DŽĜĹčå±ųĬƼĬĜčĘƋ
üųŅĵŸĘŅŅƋĜĹčĜĹƋĘåÆĬƚåĘŅƚų±ŸĜƋ
Ƌų±ĹŸĜƋĜŅĹŸĜĹƋŅƋĘåčŅĬÚåĹĘŅƚųØƼŅƚűĬĬ
also be able to catch early morning
dew droplets which will add extra
sparkle to your shots.
a±ĹƼĜĹŸåÏƋŸØĬĜĩåÚ±ĵŸåĬüĬĜ埱ĹÚ
Úų±čŅĹüĬĜåŸØ±ųåƋŅųŞĜÚĜĹƋĘåå±ųĬƼ
hours and only start to move around
once the sunlight starts to warm them
up. This makes it easier to get close
ƋŅƋĘåĵرŸƋĘåųåűŸĬ域ųĜŸĩŅüŸÏ±ųĜĹč
ƋĘåĵŅüüţIƚŸƋÆåϱųåüƚĬĹŅƋƋŅĩĹŅÏĩ
the branch they’re perched on with
ƼŅƚųƋųĜŞŅÚØŅųčåƋƋŅŅÏĬŅŸåţ
PRO TIP: FOCUS PEAKING
Focusing is very tricky when shooting
ĵ±ÏųŅ±ĹÚÏĬŅŸåƚŞƋŅƼŅƚųŸƚÆģåÏƋØ
±ŸƤƋĘåÚåŞƋĘŅüĀåĬÚÆåÏŅĵåŸƴåųƼ
ŸĘ±ĬĬŅƵØčĜƴĜĹčƼŅƚģƚŸƋ±ƋĘĜĹŸĬĜƋĘåų
ŅüƤŸĘ±ųŞüŅÏƚŸØåƴåĹƵĜƋĘĘĜčʱŞåųƋƚųå
ƴ±ĬƚåŸĬĜĩåüxƖƖţkĹåųåÏåĹƋĜĹĹŅƴ±ƋĜŅĹ
ƋʱƋĵ±ĹƼϱĵåų±ŸŅýåųĜŸüŅÏƚŸ
Şå±ĩĜĹč×ƵĘåĹƚŸĜĹčXĜƴåšĜåƵŅĹ
ƋĘåƤųå±ųX%ŅųåĬåÏƋųŅĹĜÏƴĜåƵĀĹÚåųØ
this places a vibrant outline around
±ĹƼƤŸĘ±ųޱų屟ƵĜƋĘĜĹƼŅƚųŸÏåĹåƋʱƋ
±ųåĜĹƤüŅÏƚŸţ8ŅÏƚŸŞå±ĩĜĹčĵ±ĩåŸĜƋ
ĵƚÏĘ屟ĜåųƋŅ±ŸŸåŸŸƵĘĜÏĘޱųƋŸŅü
ƋĘåŸÏåĹå±ųåŸĘ±ųŞØ±ŸƼŅƚϱĹƋĘåĹ
ĵ±Ĺƚ±ĬĬƼƋƵĜŸƋƋĘåüŅÏƚŸĜĹčųĜĹčƚĹƋĜĬ
ƼŅƚŸååƋĘåüŅÏƚŸ
peaking
outline appear
over your
subject exactly
where you
Ƶ±ĹƋƋĘåüŅÏƚŸ
to be.

PRO MACRO FEATURES

1 FOCUS BRACKETING
„Ņĵåϱĵåų±ŸØĬĜĩå±ĹŅĹűŸ)k„
ñĹÚƅØʱƴå±üŅÏƚŸÆų±ÏĩåƋĜĹč
ĵŅÚåƋʱƋų±ŞĜÚĬƼĀųåŸŅý±ŸåŧƚåĹÏåŅü
ŸĘŅƋŸØÏʱĹčĜĹčƋĘåüŅÏƚŸÚĜŸƋ±ĹÏåÆƼ±
Ÿĵ±ĬĬ±ĵŅƚĹƋĜĹÆåƋƵååĹüų±ĵåŸţ8ŅÏƚŸ
Æų±ÏĩåƋĜĹčƵĜĬĬĜĹÏų屟åƋĘåÏʱĹÏåŅü
čåƋƋĜĹč±ŸĘŅƋĜĹƵĘĜÏĘƋĘåüŅÏƚŸĜŸåƻ±ÏƋĬƼ
ƵĘåųåƼŅƚƵ±ĹƋĜƋƋŅÆåرĹÚ±ĬŸŅčĜƴåŸ
ƼŅƚ±ƤƱƋÏĘŅüĜĵ±čåŸØƋĘåŸĘ±ųŞåŸƋ±ų屟
ŅüƵĘĜÏĘƼŅƚϱĹÆĬåĹÚƋŅčåƋĘåųüŅų±ŞĜĹě
ŸĘ±ųŞŸĘŅƋţFüƼŅƚųϱĵåų±ʱŸƋĘĜŸüå±Ƌƚųå
then it’s certainly worth experimenting with.
2 FOCUS DISTANCE WINDOW
This is a window on your lens that tells
ƼŅƚåƻ±ÏƋĬƼƵĘåųåƋĘåüŅÏƚŸÚĜŸƋ±ĹÏåĜŸ
ŸåƋţ‰ĘĜŸĜŸʱĹÚƼüŅųŧƚĜÏĩĬƼŸåƋƋĜĹčƋĘå
ĬåĹŸƋŅĜƋŸĘĜčĘåŸƋĬåƴåĬŅüĵ±čĹĜĀϱƋĜŅĹØ
ŸƚÏʱŸŎ×ŎƋŅŞųŅÚƚÏåĬĜüåŸĜDŽåŸĘŅƋŸØŅųƋŅ
ŸåƋĜƋƋŅŎ×ƖüŅųʱĬüěĬĜüåŸĜDŽåĜĵ±č埱ĹÚŸŅ
ŅĹţ„ŅĵåŸŞåÏĜ±ĬĜŸƋĬåĹŸåŸŅýåųåƴåĹĵŅųå
ĵ±čĹĜĀϱƋĜŅĹØŸƚÏʱŸĂ×ŎØƵĘĜÏĘƵĜĬĬƋ±ĩå
ƼŅƚĜĹĀƴåƋĜĵåŸÏĬŅŸåųƋʱĹĬĜüåŸĜDŽåØʱĹÚƼ
üŅųƋĘåƋĜĹĜåŸƋŅüŸƚÆģåÏƋŸţeĬ±ųčåüŅÏƚŸĜĹč
ųĜĹčĜŸ±ĬŸŅÚåŸĜų±ÆĬåüŅų±ĀĹåųĬåƴåĬŅü
ÏŅĹƋųŅĬƵĘåĹŸåƋƋĜĹčƋĘåüŅÏƚŸţ
3 DSLR MIRROR LOCKUP
Even tiny vibrations are picked up and
recorded as camera shake when you’re
ŸĘŅŅƋĜĹčÏĬŅŸåěƚŞŸţ‰ĘåŸĜĵŞĬå±ÏƋĜŅĹŅü
pressing the camera shutter button can
ĜĹƋųŅÚƚÏåϱĵåų±ŸĘ±ĩåØŸŅĜƋűŸƵŅųƋĘƚŸĜĹč
ƋĘåƖěŸåÏŸåĬüěƋĜĵåųĵŅÚåŅų±ųåĵŅƋå
ŸĘƚƋƋåųųåĬ屟åĜüƼŅƚʱƴåŅĹåţFüƼŅƚƚŸå
±%„XØƋĘåĵĜųųŅųŸĬ±ŞϱĹÆååĹŅƚčĘƋŅ
ŞųŅÚƚÏåƋĜĹƼƴĜÆų±ƋĜŅĹŸ±ĹÚϱƚŸå±ŸŅüƋåų
ŸĘŅƋØŸŅüŅųƋĘåŸĘ±ųŞåŸƋŞŅŸŸĜÆĬåĵ±ÏųŅ
ŞĘŅƋŅčų±ŞĘŸŅű%„XØƋĘåŸŅĬƚƋĜŅĹĜŸƋŅ
åűÆĬåaĜųųŅųXŅÏĩƚŞĵŅÚåţ
 F E A T U R E

3 SHOOT BEAUTFUL MACRO

BUTTERFLIES AND INSECTS CONTINUED
POSITION
To make your insect shots
ĵŅųåĜĹƋĜĵ±ƋåرƴŅĜÚŸĘŅŅƋĜĹč
at head height and get down
ĬŅƵŸŅƋʱƋƼŅƚűųååƼåěĬåƴåĬ
ƵĜƋĘƼŅƚųŸƚÆģåÏƋţƚƋƋåųāƼ
shots look great when you
ŸĘŅŅƋƋĘåĵüųŅĹƋěŅĹØŅų
ŸĜÚåěŅĹرŸĜĹƋĘĜŸåƻ±ĵŞĬåţ

BACKGROUND
{±Ƽ±ƋƋåĹƋĜŅĹƋŅƋĘå
background and make sure
it’s as well lit as your subjects
so that it also looks vibrant.
„ĘŅŅƋƵĜƋʱƵĜÚå±ŞåųƋƚųåØ
and put distance between
your subject and backdrop
ƋŅƤåĹʱĹÏåƱÏĩčųŅƚĹÚÆĬƚųţ
LIGHTING
FĹŸåÏƋŸĵ±ƼĬ±ĹÚĜűĹƤ±ųå±
ƋʱƋűŸŞŅŅųĬƼĬĜƋØŸŅϱųųƼ±
Ÿĵ±ĬĬĵĜųųŅųŅųųåāåÏƋŅųƵĜƋĘ
ƼŅƚØƵĘĜÏĘƼŅƚϱĹƚŸåƋŅ
manipulate natural light and
bounce it back onto your
miniature subjects.

1/2000 ISO
f/2.8 SEC 200
© Getty
 F E A T U R E

4 HOW TO GET CREATIVE

MACRO EFFECTS
Turn the ordinary into the extraordinary with these alternative approaches

© Getty
hile dedicated macro lenses
W ±ųåĜÚå±ĬرĹÚ域åĹƋĜ±ĬĜü
you want to shoot macro
ŞųŅü域ĜŅűĬĬƼØƼŅƚϱĹŸƋĜĬĬ±ÏĘĜåƴå
ü±ĹƋ±ŸƋĜÏųåŸƚĬƋŸƵĜƋĘŅƋĘåųĬåĹŸåŸØ
ŸƚÏʱŸ±XåĹŸÆ±ÆƼŅų±ŸƋ±ĹÚ±ųÚ
ƋåĬåŞĘŅƋŅƋʱƋϱĹüŅÏƚŸ±Ƌ±
ų屟ŅűÆĬƼÏĬŅŸåÚĜŸƋ±ĹÏåţBåųå±ųå
ŸŅĵååƻ±ĵŞĬåŸŅü±ĬƋåųűƋĜƴåŅŞƋĜÏŸţ

1 USE A CREATIVE LENS

{ŅųƋų±ĜƋŅųŸƋųååƋŞĘŅƋŅčų±ŞĘåųŸĵ±ƼŅƵĹ
±ĹåƻŞåųĜĵåĹƋ±ĬĬåĹŸĜĹƋĘåüŅųĵŅü±XåĹŸÆ±ÆƼ
„ޱųĩƖţLjرXŅĵŅčų±ŞĘƼ{åƋDŽƴ±ĬŅųŸĜĵĜĬ±ųţ
‰ĘåŸå±ųåĹűƋĵ±ÏųŅĬåĹŸåŸØÆƚƋĜüƋĘåüŅϱĬ
ĬåĹčƋĘƤĜŸĬŅĹčåĹŅƚčĘƼŅƚűĬĬÆå±ÆĬåƋŅčåƋƋĜčĘƋĬƼ
ÏųŅŞŞåÚĜĵ±čåŸŅüƼŅƚųŸƚÆģåÏƋŸƋʱƋƵĜĬĬĬŅŅĩ
ƋŅƋ±ĬĬƼÚĜýåųåĹƋƋŅĜĵ±čåŸƋ±ĩåĹƵĜƋʱƋƼŞĜϱĬ
ĵ±ÏųŅĬåĹŸØĘåĬŞĜĹčƋŅÏųå±ƋåŸĘŅƋŸƋʱƋųå±ĬĬƼ
stand out.

XåĹŸÆ±ÆƼűŸŅĵŞŅŸåų
housing attaches to your
lens mount – combine it
ƵĜƋĘŅĹåŅüƋĘåÆų±ĹÚűŸ
Optics (like the Sweet 50)

© Getty
and a Macro Converter.

2 USE A TELEPHOTO TO CAPTURE

ÙŅÚÚƼXĬåƵåĬĬƼĹ

(3&"5ç."$30%0'&''&$54
eŸĜƋűŸŸĜĵĜĬ±ųƋŅƵʱƋƋĘåĘƚĵ±ĹåƼåϱĹŸååØ
±ĬåĹŸƵĜƋʱĂLjĵĵüŅϱĬĬåĹčƋĘĜŸÏŅĹŸĜÚåųåÚ
ƋŅŅýåų±ůŸƋ±ĹÚ±ųÚűƴĜåƵţeĹƼĬåĹŸ±ÆŅƴåƋĘĜŸ
üŅϱĬĬåĹčƋĘĜŸĵŅųåDŽŅŅĵåÚĜĹØƵĜƋʱűųųŅƵåų
±ĹčĬåŅüƴĜåƵرĹÚĜŸϱĬĬåÚ±ƋåĬåŞĘŅƋŅţa±ĹƼ
ƋåĬåŞĘŅƋŅDŽŅŅĵŸôŸƚÏʱŸ±ƀLjěƐLjLjĵĵŅų
ĂĂěƖĂLjĵĵô±ųåÆƚÚčåƋüųĜåĹÚĬƼرĹÚÆåϱƚŸå
ŅüƋĘåĜųƋåĬåŞĘŅƋŅDŽŅŅĵų±ĹčåϱĹÆåƚŸåÚƋŅ
čåƋųåŸŞåÏƋ±ÆĬåĵ±ÏųŅųåŸƚĬƋŸØƵĜƋĘƋĘåĘĜčĘ
ĵ±čĹĜĀϱƋĜŅĹÏŅĵŞų域ĜĹčƋĘåŞåųŸŞåÏƋĜƴå±ĹÚ
making it easier to blur backgrounds when using
±ƵĜÚå±ŞåųƋƚųåţ„ŅĵåƋåĬåŞĘŅƋŅDŽŅŅĵŸŅýåų±
ųåŞųŅÚƚÏƋĜŅĹų±ƋĜŅŅüŎ×ƖØƵĘĜÏĘĜŸʱĬüěĬĜüåŸĜDŽåţ
 F E A T U R E

4 HOW TO GET CREATIVE

MACRO EFFECTS CONTINUED

© Getty
3 CAPTURE BOKEH TO CREATE A MOOD
aŅųĹĜĹčĜŸ±ĵ±čĜϱĬƋĜĵåüŅųŞĘŅƋŅčų±ŞĘĜĹčĜĹŸåÏƋŸØŸŅÆåŸƚųåƋŅčåƋƋŅƼŅƚųĬŅϱƋĜŅĹ
ÆåüŅųåƤŸƚĹųĜŸåţFĹŸåÏƋŸƋåĹÚƋŅÆåƋŅųŞĜÚƚĹƋĜĬƋĘåŸƚĹƵ±ųĵŸƋĘåĵƚŞØŸŅƼŅƚϱĹčåƋÏĬŅŸå
ƵĜƋĘŅƚƋƤŸÏ±ųĜĹčƋĘåĵŅýţ¥ŅƚűĬĬ±ĬŸŅʱƴåƵŅĹÚåųüƚĬĬĜčĘƋƵĘåĹŸĘŅŅƋĜĹčĜĹƋĘåčŅĬÚåĹĘŅƚųØ
±ĹÚƤÚåƵÚųŅŞŸƤŅƴåųüŅĬĜ±čåϱĹÆåƋų±ĹŸüŅųĵåÚĜĹƋŅÆå±ƚƋĜüƚĬÆŅĩåĘţœå±ųÏĬŅƋĘåŸƋʱƋƼŅƚ
ÚŅĹűƋƤĵĜĹÚčåƋƋĜĹčÚĜųƋƼØŅųÆųĜĹ豪Ĭ±ŸƋĜÏŸĘååƋƋŅĬĜåŅĹرŸƼŅƚűĬĬƵ±ĹƋƋŅčåƋåƼåěĬåƴåĬƵĜƋĘ
ƼŅƚųƤĜĹŸåÏƋŸƚÆģåÏƋŸüŅųĵŅųåĜĹƋĜĵ±ƋåŞŅųƋų±ĜƋŸţ

TOP TIP
aŅƴåĵåĹƋĜŸĵ±čĹĜüĜåÚƵĘåĹ
ŸĘŅŅƋĜĹčĵ±ÏųŅØŸŅåƴåĹƋĘå
Ÿĵ±ĬĬƴĜÆų±ƋĜŅĹŸüųŅĵŞų域ĜĹčƋĘå
shutter button can introduce camera
ŸĘ±ĩåţœĘĜĬå±ϱĵåų±űŸƖěŸåÏŸåĬüě
ƋĜĵåųĜŸ±ŸŅĬƚƋĜŅĹØƋĘååƻƋų±ƋĜĵåƵĜĬĬ
slow you down. It’s better to invest
in a remote shutter release so you
ϱĹüĜųåƼŅƚųϱĵåų±ųåĵŅƋåĬƼ
without having to touch the
camera body.

4 CAREFUL COMPOSITION
‰±ĩåƋĜĵåƋŅĀĹåěƋƚĹåƼŅƚųÏŅĵŞŅŸĜƋĜŅĹŸØ
±ĹÚƤÆå±ųĜĹĵĜĹÚƋʱƋƋĜĹƼĵŅƴåĵåĹƋŸŅüƋĘå
ϱĵåų±ØĬåĹŸŅųüŅÏƚŸʱƴå±ÚĜŸŞųŅŞŅųƋĜŅűƋåĬƼ
Ĭ±ųčåĜĵޱÏƋŅĹƋĘåĀűĬųåŸƚĬƋţaĜĹĜĵĜŸĜĹč
© Getty

ĵŅƴåĵåĹƋƵĜĬĬÆå屟ĜåųĜüƼŅƚűųåƚŸĜĹč±ƋųĜŞŅÚØ
±ĹÚ±üŅÏƚŸŸĬĜÚåųŅųų±ĜĬϱĹÏåųƋ±ĜĹĬƼĘåĬŞƋŅŅţ
 F E A T U R E

5 FOCUS STACK FOR

TOTAL SHARPNESS
Discover the art of focus stacking, and use in-camera skills
and Photoshop to produce stellar results with total clarity

chieving a totally sharp shot can be much more ϱŞƋƚų屟åųĜåŸŅüĜĵ±čåŸØüŅÏƚŸĜĹčŅűÚĜüüåųåĹƋޱųƋŅü

A ÚĜüüĜÏƚĬƋƤƵĘåĹŸĘŅŅƋĜĹčĵ±ÏųŅŞĘŅƋŅčų±ŞĘƼÆåϱƚŸå
ƼŅƚųÚåŞƋĘŅüüĜåĬÚÆåÏŅĵåŸĵŅųåŸĘ±ĬĬŅƵ±ŸƼŅƚų
ŸƚÆģåÏƋčåƋŸÏĬŅŸåųƋŅƋĘåüųŅĹƋŅüƼŅƚųĬåĹŸţ‰ĘĜŸĵå±ĹŸƋʱƋ
åƴåűųåĬ±ƋĜƴåĬƼűųųŅƵ±ŞåųƋƚųåŅüüxŎƅŅųüxƖƖØƵĘĜÏĘƵŅƚĬÚ
ƚŸƚ±ĬĬƼÚåĬĜƴåųčŅŅÚŸĘ±ųŞĹ域ƋĘųŅƚčĘŅƚƋ±ŸÏåĹåØƵĜĬĬŅĹĬƼ
ŞųŅƴĜÚå±ŸĘ±ĬĬŅƵƱĹÚŅüŸĘ±ųŞĹ域ƵĘåĹŸĘŅŅƋĜĹčÏĬŅŸåěƚŞŸţ
‰ĘåŸŅĬƚƋĜŅĹĜŸƋŅÏųå±Ƌå±üŅÏƚŸŸƋ±Ïĩţ‰ĘĜŸĜŸƵĘåųåƼŅƚ
ƼŅƚųƤŸƚÆģåÏƋĜĹå±ÏĘüų±ĵåØƋĘåĹĵåųčåƋĘåŸĘ±ųŞåŸƋŞĜåÏåŸ
ŅüƤå±ÏĘŸĘŅƋƋŅŞųŅÚƚÏå±ĹĜĵ±čåƵĜƋʱĵƚÏĘčųå±ƋåųÚåŞƋĘ
ŅüƤüĜåĬÚţeŸĬĜÚåųų±ĜĬĜŸʱĹÚƼüŅųƋĘĜŸØ±ŸƼŅƚϱĹĩååŞƋĘå
üŅÏƚŸƤŸåƋ±ĹÚų±ÏĩƋĘåƵĘŅĬåϱĵåų±±ĹÚĬåĹŸüŅųƵ±ųÚŅų
ƱÏĩƤ±ĬŅĹčƋĘåŸƚÆģåÏƋƋŅƋ±ĩåƼŅƚųŸĘŅƋŸØĩååŞĜĹčåƴåųƼƋĘĜĹč
ĜĹƤŞųŅŞŅųƋĜŅĹţFüƼŅƚÚŅĹűƋʱƴå±üŅÏƚŸų±ĜĬƼŅƚϱĹŸĜĵŞĬƼ±ÚģƚŸƋ
ƋĘåüŅÏƚŸĜĹŸĵ±ĬĬĜĹÏųåĵåĹƋŸÆåƋƵååĹå±ÏĘŸĘŅƋţ

BEFORE AFTER

f/8

1/40
SEC

ISO
100

1 DEPTH OF FIELD
Focusing close to your subject means depth
ŅüĀåĬÚĜŸĬĜĵĜƋåÚØåƴåĹƵĜƋʱĘĜčʱŞåųƋƚųåØŸŅ
üŅųƋŅƋ±ĬÏĬ±ųĜƋƼƋĘåÆåŸƋÆåƋĜŸƋŅŸƋĜƋÏĘƋŅčåƋĘåų
±ƤŸåųĜåŸŅüŞĘŅƋŅŸţ

PRO ADVICE
FOCUS LIMITERS

eŸƋĘåűĵåŸƚččåŸƋŸØ±üŅÏƚŸĬĜĵĜƋåųĜŸ
±ƚŸåüƚĬüå±ƋƚųåĜĹÏĬƚÚåÚŅĹĵ±ĹƼĵ±ÏųŅ
ĬåĹŸåŸţFƋ±ĬĬŅƵŸƼŅƚƋŅĬŅÏĩƋĘåüŅÏƚŸ
ÚĜŸƋ±ĹÏåƋŅ±ų±ĹčåŅüŞųåŸåƋÚĜŸƋ±ĹÏåŸØ
ƵĘĜÏĘÏŅĵåŸĜĹʱĹÚƼĜüƼŅƚĩĹŅƵƼŅƚűųå
čŅĜĹčƋŅÆåŸĘŅŅƋĜĹč±ŸƚÆģåÏƋģƚŸƋ±üåƵ
ÏåĹƋĜĵåƋų埱Ƶ±ƼرŸƼŅƚϱĹåűÆĬå
the closest range in your limiter to stop
ƋĘåĬåĹŸĘƚĹƋĜĹč±ĬĬƋĘåƵ±ƼƋŅĜĹĀĹĜƋƼţ
eĬƋåųűƋĜƴåĬƼØĜüƼŅƚűųåŸĘŅŅƋĜĹ豪ŅųƋų±ĜƋ
Ÿåƴåų±ĬĵåƋų埱Ƶ±ƼØƼŅƚÏŅƚĬÚŸƵĜƋÏĘ
ƋĘåĬĜĵĜƋåųƋŅƋĘåLjţĂĵƋŅĜĹĀĹĜƋƼŸåƋƋĜĹčţ
2 APERTUREeĵåÚĜƚĵ±ŞåųƋƚųåƴ±ĬƚåĬĜĩåüxíĜŸƋƼŞĜϱĬĬƼƋĘåůŸƵååƋŸŞŅƋűŅü±ĬåĹŸţFƋŅýåųŸčŅŅÚ
ŸĘ±ųŞĹ域Øĵ±ĩĜĹčĜƋ屟ĜåųƋŅŸƋ±ÏĩƼŅƚųŸĘŅƋŸƋŅčåƋĘåųţ
 F E A T U R E

5 FOCUS STACK FOR

TOTAL SHARPNESS CONTINUED
SHOOT A FOCUS STACK
PRO TIP:
USE A LENS HOOD FOR
CLEARER SHOTS

œĘåĹŸĘŅŅƋĜĹčŅĹŸƚĹĹƼÚ±ƼŸØʱųŸĘ
ŸƚĹĬĜčĘƋϱĹϱƚŸåʱDŽå±ĹÚ±ĬŅŸŸŅü
ÏĬ±ųĜƋƼØŸŅĜƋűŸƵŅųƋĘƚŸĜĹč±ĬåĹŸĘŅŅÚƋŅ
make sure your images have maximum
contrast and sharpness. Some lenses
ÚŅĹűƋÏŅĵåƵĜƋʱĬåĹŸĘŅŅÚرĹÚ

1 USE A FOCUS SLIDER RAIL ÆƚƼĜĹčŅĹåϱĹÏŅŸƋ±ƋĬ屟ƋƊĂLjx

„åƋƚŞƼŅƚųϱĵåų±ŅűŸƋƚųÚƼƋųĜŞŅÚƵĜƋʱüŅÏƚŸĜĹčŸĬĜÚåųų±ĜĬ±ƋƋ±ÏĘåÚƋŅƋĘåƋųĜŞŅÚĘå±Úţ âƅLjţBŅƵåƴåųØƵĜƋʱÆĜƋŅüĜĹčåĹƚĜƋƼ
cŅƵØƤüų±ĵåƚŞŅĹƼŅƚųŸƚÆģåÏƋ±ƋƼŅƚųÚåŸĜųåÚĵ±čĹĜĀϱƋĜŅűĹÚüŅÏƚŸŸŅƋʱƋƋĘåÏĬŅŸåŸƋޱųƋ ƼŅƚϱĹĜĵŞųŅƴĜŸå±ĬåĹŸĘŅŅÚŅƚƋŅü
ŅüƤƼŅƚųƤŸƚÆģåÏƋĜŸŸĘ±ųŞţ:ŅĜĹƋŅa±Ĺƚ±ĬĵŅÚåƋŅĬŅÏĩƋĘåŸåƋƋĜĹčŸ±ĹÚƚŸå±Ĺ±ŞåųƋƚųåŅüüxŎŎüŅų a cylindrical crisps tube and a small
ÆåƋƋåųƤŸĘ±ųŞĹ域ĜĹå±ÏĘĜĹÚĜƴĜÚƚ±ĬĜĵ±čåţ‰±ĩåƋĘåĀųŸƋŸĘŅƋØĵŅƴåƋĘåŸĬĜÚåųüŅųƵ±ųÚ±ƋĜĹƼ±ĵŅƚĹƋØ ±ĵŅƚĹƋŅüÚƚÏƋƋ±ŞåţeĹÚĜü±ĬĬåĬŸåü±ĜĬŸØ
ƋĘåĹųåŞå±ƋƋĘåŞųŅÏ域ØŸĬŅƵĬƼĵŅƴĜĹčƋĘåŸĬĜÚåųüŅųƵ±ųÚƚĹƋĜĬƼŅƚűƴåϱŞƋƚųåÚåƴåųƼޱųƋŅüƼŅƚų you can use your hand as a sunshade.
ŸƚÆģåÏƋĜĹŸĘ±ųŞüŅÏƚŸţ

2 OPEN YOUR SET OF IMAGES

kŞåĹeÚŅÆåųĜÚčå±ĹÚűƴĜč±ƋåƋŅƋĘåƱƋÏĘŅüĜĵ±čåŸĜĹƼŅƚųŸƋ±Ïĩţ
FüƼŅƚűƴåŸĘŅƋų±ƵĀĬåŸØƼŅƚűĬĬĹååÚƋŅŅŞåĹƋĘåĵ±ĬĬĜĹ{ĘŅƋŅŸĘŅŞűŸeÚŅÆå
±ĵåų±±Ƶ±ĹÚåÚĜƋƋĘåĵØĵ±ĩĜĹčŸƚųåƋʱƋ±ĬĬŅüƼŅƚųåÚĜƋŸ±ųåÏŅĹŸĜŸƋåĹƋţ
eĹ屟ƼƵ±ƼƋŅÚŅƋĘĜŸĜŸƋŅåÚĜƋƼŅƚųĀųŸƋĜĵ±čå±ĹÚčåƋĜƋĬŅŅĩĜĹčŞåųüåÏƋØ
ƋĘåĹŸåĬåÏƋ±ĬĬŅüƋĘåŅƋĘåųų±ƵĀĬåŸƵĜƋĘƋųĬxĵÚťeţcŅƵØųĜčĘƋěÏĬĜÏĩŅĹ
ƋĘåĜĵ±čåƋĘƚĵÆűĜĬØÏĘŅŅŸå„ƼĹÏ„åƋƋĜĹčŸØ±ĹÚĵ±ĩåŸƚųå±ĬĬŅüƋĘååÚĜƋ
ŅŞƋĜŅĹŸ±ųåƋĜÏĩåÚţBĜƋkUØƋĘåĹŸ±ƴåƋĘåĜĵ±č埱ŸI{):ŸĜűĹåƵüŅĬÚåųţ
3 BLEND THE SHARPEST PARTS TOGETHER
±ÏĩĜĹųĜÚčåØűƴĜč±ƋåƋŅƼŅƚųüŅĬÚåųŅüåÚĜƋåÚI{):Ÿ±ĹÚŸåĬåÏƋ±ĬĬ
ŅüƋĘåĵØƋĘåĹčŅƋŅ‰ŅŅĬŸē{ĘŅƋŅŸĘŅŞē{ĘŅƋŅĵåųčåţFĹƋĘåĵåĹƚƋʱƋ
±ŞŞå±ųŸØĬå±ƴåX±ƼŅƚƋŸåƋƋŅeƚƋŅØĵ±ĩåŸƚųåĬåĹÚFĵ±č埉ŅčåƋĘåųĜŸ
ƋĜÏĩåÚ±ĹÚŞų域kUţcŅƵčŅƋŅƋĘåX±ƼåųŸޱĹåĬ±ĹÚŸåĬåÏƋ±ĬĬŅüƋĘåĬ±ƼåųŸ
ÆƼÏĬĜÏĩĜĹčƋĘåƋŅŞŅĹåØĘŅĬÚĜĹčÚŅƵĹ„ĘĜüƋ±ĹÚÏĬĜÏĩĜĹčƋĘåÆŅƋƋŅĵŅĹåţ
cŅƵØčŅƋŅ)ÚĜƋēeƚƋŅěĬåĹÚX±ƼåųŸţ„åƋĬåĹÚaåƋĘŅÚƋŅ„Ƌ±ÏĩFĵ±čåŸ
±ĹÚƋĜÏĩ„å±ĵĬ域ŅĬŅųŸ±ĹÚ‰ŅĹåŸØ±ĹÚŞų域kUƋŅĀĹĜŸĘţ
 G A L L E R Y

XPOSURE
THE WEEK’S MOST INSPIRING READER PHOTOS

GOAT
RODRIGO GODINEZ
“This is one of my nephews’ pets. The photo was taken in Crosby, Texas.”
https://bit.ly/3CziEHM
 G A L L E R Y
THE WEEK’S MOST INSPIRING READER PHOTOS

BEAUTIFUL JUNK
THOMAS POHLIG
“This image is from a series called ‘Beautiful Junk’. I have a love for all things old
BOEçSVTUFE*BNESBXOUPUIFVOJRVFUFYUVSFT"MMUIFJNBHFTJOUIFTFSJFTXFSFUBLFO
at a place called Woods Hole Farm in Southern New Jersey, USA. I used a Nikon Z6 II
with a 50mm lens set to f/8 at 1/60 of a second.”
https://bit.ly/3NyMouz
 G A L L E R Y
THE WEEK’S MOST INSPIRING READER PHOTOS

VERTIGO
GEORGE KURZIK
“This is an intentional camera movement image created in the Pep Ventossa
style using eight separate images combined. It was taken in the Emerson
Bromo-Seltzer Clock Tower in Baltimore, Maryland.”
https://bit.ly/2QrRzC5
 G A L L E R Y
THE WEEK’S MOST INSPIRING READER PHOTOS

SUNSET COLORS...
JIM STRIPE
“This was taken while I was waiting to set up for an astrophotography event.
While the stars and Milky Way did not disappoint, the view of the summer
flowers and setting sun and clouds made the wait worthwhile.”
https://bit.ly/3NAXz6d

PHOTOGRAPHY WEEK WANTS YOUR PHOTOS!

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FACEBOOK FLICKR photos today! You’ll get feedback from fellow readers and the Photography Week
http://bit.ly/39py9lg http://bit.ly/2VIgsJO team, plus the chance to appear in Xposure, or even on our cover!
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 I N S P I R A T I k N

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

Images © The photographer and courtesy CEWE Photo Award

B±ĹčĜĹčkĹÆƼĜĬĬUĬĜŞŞ eaĜųųŅųŅüaƼœŅųĬÚcŅƖÆƼ8åüå„ŞĜåĬĵ±ĹĹ

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WORLD’S BIGGEST PHOTO CONTEST

TOPS HALF A MILLION ENTRIES
The winners of the CEWE Photo Award will be announced on July 12
, he CEWE Photo Award is the
T world’s largest photo competition of
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ƋĘĜŸƼå±ųűŸÏŅĵŞåƋĜƋĜŅĹţ
 S K I L L S

CRASH COURSE
ESSENTIAL PHOTO SKILLS MADE EASY

MUSIC TO THE EYES

The festival season is here, and Adam Waring shows you how
to capture the sights and sounds of a musical extravaganza

estivals offer lots of great ƋŅĬå±ƴåƼŅƚųƴ±Ĭƚ±ÆĬåĩĜƋƚűƋƋåĹÚåÚ ƵĜÚåě±ĹčĬåƐĂĵĵŞųĜĵåƵĜƋʱü±ŸƋ

F opportunities to cut your teeth

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ƵŅųƋĘϱŞƋƚųĜĹčƵĜƋĘƤƼŅƚųϱĵåų±ţ
There are a few things you’ll want to
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shots, but these are generally on
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 S K I L L S
HOW TO CAPTURE THE SIGHTS AND SOUNDS OF A FESTIVAL

1
AFTER-DARK EXPOSURES
œĜƋĘƋĘåÆĜččåŸƋƱĹÚŸÏŅĵĜĹčŅűüƋåųÚ±ųĩØ
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čåĹåų±ĬĬƼŸĘŅƋĹå±ųŅƚųĵ±ƻĜĵƚĵ±ŞåųƋƚųåØ
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eƚƋŅF„kŸŅƋʱƋƵåÏŅƚĬÚƋ±ĩåüƚĬĬÏŅĹƋųŅĬ
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ĜĹÏų屟ĜĹčƋĘåF„k±ŸĹåÏ域±ųƼţ

2
GO-TO CAMERA SETTINGS
„åƋƋĜĹčƚŞĜĹÚ±ųĩØÆƚŸƼŸŞ±ÏåŸĜŸĹűƋĵƚÏĘüƚĹØ
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ƼŅƚųϱĵåų±űŸåŧƚĜƴ±ĬåĹƋšţ

3
GOLDEN RULES
‰ĘåųåűŸ±ĬĬŸŅųƋŸŅüÏĬƚƋƋåųŅĹŸƋ±čåرĹÚĜƋűŸ
ĜĵŞŅųƋ±ĹƋĹŅƋƋŅůÏƚƋŞåŅŞĬåĜĹʱĬüűƵĜƋĘĵĜÏ
ŸƋ±ĹÚŸØüŅųåƻ±ĵŞĬåXĜĩåƵĜŸåØƋ±ĩåϱųåƋŅ
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čƚĜƋ±ųÆƚƋĜĹÏĬƚÚåƋĘåƵĘŅĬåĜĹŸƋųƚĵåĹƋØÚŅĹűƋ
ŅÆŸÏƚųåƱĹÚĵåĵÆåųŸÆåĘĜĹÚŅÆģåÏƋŸô±ĹÚ
ÆåŸƚųåƋŅĜĹÏĬƚÚåƋĘåŞŅŅųÚųƚĵĵåų±ƋƋĘå
back in group shots!

QUICK TIP
Fĵ±čåŸƵĜĬĬƋƼŞĜϱĬĬƼ±ŞŞå±ųÚ±ųĩŸƋų±ĜčĘƋŅƚƋŅüƋĘåϱĵåų± ƵĜĬĬƋĘųŅƵĜƋ±ĬĬŅƴåųƋĘåŞĬ±Ïåţ8ŅųĵŅŸƋŅüŅƚųŸĘŅƋŸƵå
±ĹÚƵĜĬĬųåŧƚĜųååÚĜƋĜĹčţeĬƵ±ƼŸŸĘŅŅƋų±ƵرĹÚåƻŞåÏƋƋŅ ųåÚƚÏåÚœĘĜƋ埱ĹÚBĜčĘĬĜčĘƋŸƵĘĜĬåÆŅŅŸƋĜĹčĬ±ÏĩŸ±ĹÚ
change the white balance for each shot, as the lighting „ʱÚŅƵŸƋŅåƴåĹƤŅƚƋƋĘåÏŅĹƋų±ŸƋţ
 S K I L L S
HOW TO CAPTURE THE SIGHTS AND SOUNDS OF A FESTIVAL

4
GET IN CLOSE
Lesser-known artists offer an opportunity
ƋŅčåƋÏĬŅŸåųƋŅƋĘåüųŅĹƋţ:åƋ±ŸÏåĹƋų±Ĭ±Ÿ
ŞŅŸŸĜÆĬåØŸŅƋʱƋƋĘå±ųƋĜŸƋŸ±ųåŅĹƋĘ埱ĵå
ŞĬ±ĹåØƵĘĜÏĘƵĜĬĬĘåĬŞĩååŞƋĘåĵ±ĬĬĜĹüŅÏƚŸ
while also ensuring that they appear at a
ÏŅĹŸĜŸƋåĹƋŸĜDŽåţ„ƋŅŞÚŅƵĹƋĘå±ŞåųƋƚųå±ĬĜƋƋĬå
ŸŅƱĹÚĵåĵÆåųŸƋŅƵ±ųÚŸƋĘåƱÏĩųåĵ±ĜĹĜĹ
üŅÏƚŸţeϱĵåų±ƵĜƋʱƋĜĬƋĜĹčŸÏųååĹåűÆĬåŸ
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ųåƴåĬĬåųŸƋŅÏŅĵŞŅŸåƋĘåŸĘŅƋţ

5
ELEVATED VIEWS
kƚƋÚŅŅųŸƋ±č埱ųåŅüƋåĹŞĬ±ÏåÚƋŅƵ±ųÚŸ
ƋĘåƤÆŅƋƋŅĵŅü±ŸĬŅŞåŅų±ĵŞĘĜƋĘå±ƋųåØŸŅ
ƋʱƋĵŅųåŞåŅŞĬåϱĹŸååرĹÚƋĘĜŸŅüüåųŸ±
great opportunity to show the epic scale of
ƋĘååƴåĹƋÆƼĜĹÏĬƚÚĜĹčƋĘåÏųŅƵÚĜĹƋĘåüų±ĵåţ
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ŸŅƤƋʱƋĜƋĜĬĬƚĵĜűƋåŸƋĘåĵ±ŸŸåŸ±ŸƤƵåĬĬ±Ÿ
ƋĘåƤŞåųüŅųĵåųŸţ

6
STRANGER THINGS
‰ĘåųåűŸ±ĬŅƋĵŅųåƋŅüåŸƋĜƴ±ĬŸƋʱĹƋĘåƱĹÚŸſ
ƋĘåųåűŸ±ĬĬŸŅųƋŸŅüŸĜÚååĹƋåųƋ±ĜĹĵåĹƋčŅĜĹč
ŅĹØƵĘåƋĘåųĜƋűŸŸƋųååƋƋĘå±ƋųåčųŅƚŞŸŅųģƚŸƋ
ŅƋĘåųüåŸƋĜƴ±ĬěčŅåųŸØ±ĹÚƋĘåƼűĬĬƚŸƚ±ĬĬƼÆå
Ę±ŞŞƼƋŅŞŅŸåüŅų±üųĜåĹÚĬƼŞĘŅƋŅčų±ŞĘåųţ
 E D I T I N G

PH OTOS H O P
LEARN ESSENTIAL EDITING SKILLS FAST!

W AT CH T HE V IDEO
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HOW TO...

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here are lots of tools that can
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Lightroom, Clarity works by increasing
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grey point in an image. When you
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increase in Clarity boosts contrast
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also has a big impact on the crispness
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which can leave images looking
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 S O F T WA R E T E S T
EXPERT OPINION ON THE L ATEST KIT

© Daniel Monteiro

DXO PURERAW 3
If your raw files look disappointing then
you’ve been using the wrong software

www.dxo.com £115/$129 (£69/$79 upgrade)

hile many swear by Adobe
W Camera Raw and Lightroom,
in terms of raw processing
they aren’t actually the best tools
around. Adobe’s raw engine does
a good job with colour profiles, AI
masking, tonal adjustments and basic
lens corrections, but it isn’t the best
software for noise reduction. And
while Adobe Lightroom Classic and
Photoshop may be among the best
photo-editing software applications
you can get, but they aren’t perfect,
especially for editing raw files.
Raw editing is PureRAW 3’s
speciality. Its lens correction profiles
tackle global lens sharpness issues
but also edge softness, all through
DxO’s correction profiles, which have
been developed in-house for tens
of thousands of camera-and-lens
combinations. It also uses DeepPRIME
XD AI-powered noise reduction and
detail enhancement to produce
spectacular results – the worse the
original raw file, the more dramatic
ƋĘåƤƋų±ĹŸüŅųĵ±ƋĜŅĹţ
 SOF T WARE TEST DXO PURERAW 3

WITHOUT DXO PURERAW 3 WITH DXO PURERAW 3

© Rod Lawton
Compare the PureRAW 3 DNG and Lightroom raw versions side by side in Lightroom and the image quality is pretty remarkable. For low-ISO images shot on
good cameras and lenses the difference is small, but visible nonetheless. With higher ISOs or less capable camera gear, the quality gap widens considerably

However, there are no editing

“DXO SAYS PURERAW 3 PRODUCES UP TO 2.5 tools in PureRAW 3. For that, you can
use your regular software, such as
STOPS OF NOISE CONTROL IMPROVEMENT – Lightroom. PureRAW 3 is simply a
batch-processing tool for producing
THAT CLAIM LOOKS PRETTY CONSERVATIVE” higher-quality raw files. DxO claims
DeepPRIME XD can produce up to 2.5
stops of improvement in noise control,
but everything we’ve seen makes that
look like a pretty conservative claim.

Key features
DxO PureRAW 3 works in a simple
way. You feed it a batch of raw files,
and it processes them into high-
quality linear DNG files that behave
like regular raw files in your software,
but with DxO’s corrections applied.
You can use PureRAW 3 as a
standalone program, adding the files
or folders you want to process, and
launching it directly by right-clicking
files in Windows Explorer or the Mac
Finder. Or you can run it from within
Lightroom, where the PureRAW 3
To use PureRAW 3, simply launch it as a standalone program and then drag files or folders on to its
plug-in will add processed versions
window for processing
of your files to your catalogue in a
 SOF T WARE TEST DXO PURERAW 3
WITHOUT DXO PURERAW 3
Zoom in on the detail of the picture on the previous page and you can see that the PureRAW version is noiseless, whereas Lightroom’s is granular.
The definition in the PureRAW version is also far superior
You can choose whether your raw files are
processed as JPEGs, TIFFs or DNG (raw) files,
BOEçTFMFDUXIJDIPQUJDBMDPSSFDUJPOTBSFBQQMJFE
at the same time
subfolder alongside the originals.
The principle is the same as
previous versions, but PureRAW 3
adds a number of new features and
capabilities. The first and most
important of these is DeepPRIME XD
(eXtreme Detail), which uses AI and
±ƤĬ±ųčåųĹåƚų±ĬĹåƋƵŅųĩƋŅŞųŅÚƚÏå
DxO’s best-yet noise-reduction
abilities and detail enhancement.
eĹÚƤƵĜƋĘƋĘåųåĬ屟åŅüƋĘĜŸƴåųŸĜŅĹØ
DeepPRIME XD now works with
Fujifilm X-Trans sensors and their
WITH DXO PURERAW 3
non-standard colour filter layout.
PureRAW 3 also now offers
queued batch processing, with the
ability to move images around within
the queue while processing is being
carried out. You can also apply
different processing for different
batches. There are new crop
options to reflect the original aspect
ratio, the ‘maximum rectangle’
(largest crop), or the full sensor
area together with blank distorted
areas around the edges where lens
corrections have been applied,
which may be useful if you want to
use content-aware fill tools.
You don’t have to output files in
the DNG format. PureRAW 3 can also
generate ready-to-share corrected
JPEG images and now, in version 3,
TIFF files. TIFF export will give you
better quality for editing without
going down the raw/DNG route.
Design and interface
DxO has added some new features
to the PureRAW 3 interface, but it
© Rod Lawton
remains as simple to use as it was
before. You can start it up, drag a
folder of images onto its window
(‘Lightbox’), click the ‘Process Now’
button, choose your output settings,
and leave PureRAW to get on with the
processing while you do other things.
There’s more choice in the
processing settings than before, but
they’re still pretty straightforward.
You can now choose between JPEG,
TIFF and DNG (raw) output files, and
you don’t have to accept all of DxO’s
automatic corrections – you can
disable those you don’t need.
Launching PureRAW 3 by right-
clicking files or from within Lightroom
is a little different, but you still get the
same choice of output settings.
Performance
There are two aspects to PureRAW
3’s performance: speed and image
quality. If you use the DeepPRIME
processing, each image can take a
minute or more to process. If you
don’t use DeepPRIME, the processing
 SOF T WARE TEST DXO PURERAW 3

We tried PureRAW 3 on raw files from a Pentax KF fitted with a 70mm f/2.4 Limited Edition lens. The difference between the PureRAW rendering (left)
and Lightroom’s (right) is striking.

is a lot quicker, and you still get DxO’s
excellent lens corrections.
The image quality is pretty
remarkable, especially if you compare
DxO’s DNGs with raw files side-by-
side in Lightroom. For low-ISO images
shot on good cameras with good
lenses, the difference is small but
visible nonetheless, and with higher
ISOs or older camera gear, the quality
gap widens considerably. Often, it
New in PureRAW 3 is the queueing system,
hardly looks like the same sensor or
where you can view images in the queue for
the same lens were used.
processing. Here, you can also change the
PureRAW 3 does have a couple
order, add more files and mix the output
ŅüƤŧƚĜųĩŸ±ĹÚĬĜĵĜƋ±ƋĜŅĹŸţFƋÚŅåŸĹűƋ
settings if required
support all camera-and-lens
combinations, and our early version
didn’t include a correction profile for
the fairly recent Sony FE 20-70mm f/4
G lens. Also, when you create DNG
files, PureRAW applies sharpening, so
you have to remember to disable that
in your raw editor later, otherwise
you’ll be sharpening images twice.
Perhaps the biggest drawback
is the size of PureRAW’s DNG raw
files, which are two or three times
larger than the originals. That’s
unavoidable because they’re
‘demosaiced’ raw files, each pixel in
which contains full RGB colour data,
not the mosaic of red, green, and
blue pixels in regular raw files.
Rod Lawton

MAC: ANY CPU (INTEL CORE WITH SIX

CORES OR HIGHER, OR APPLE SILICON
RECOMMENDED), 8GB OF RAM (16GB
RECOMMENDED), 4GB OR MORE OF
AVAILABLE HARD-DISK SPACE, MACOS 11
(BIG SUR), 12 (MONTEREY), 13 (VENTURA)
PC: ANY CPU SUPPORTING SSE 4.1
(INTEL CORE WITH SIX CORES OR HIGHER
RECOMMENDED), 8GB OF RAM (16GB
RECOMMENDED), 4GB OR MORE OF
AVAILABLE HARD-DISK SPACE, MICROSOFT
WINDOWS 10 VERSION 20H2 (64-BIT) AND
ABOVE, MICROSOFT WINDOWS 11
VERDIC T
PureRAW 3 isn’t just for pixel-peepers. The improvements it offers in
čåĹåų±ĬƤĜĵ±čåŧƚ±ĬĜƋƼ±ųå±ŞŞ±ųåĹƋØåŸŞåÏĜ±ĬĬƼĜĹĜĵ±čåŸϱŞƋƚųåÚƵĜƋĘŅĬÚåų
ŅųƤÏĘå±Şåųϱĵåų±čå±ųرĹÚޱųƋĜÏƚĬ±ųĬƼ±ƋĘĜčĘåųF„kŸåƋƋĜĹčŸţFƋűŸĜÚå±ĬüŅų
anyone who wants to stick with their regular photo-editing software, but wants
better quality raw files to work from. It’s especially interesting as a Lightroom
add-on, as it delivers all the advantages of raw but with a quantum leap in
quality. PureRAW 3 might not seem particularly cheap for what is essentially
±ƤƱƋÏĘŞųŅÏ域ĜĹč±ĹÚŅŞƋĜĵĜŸĜĹčƋŅŅĬØÆƚƋĜƋűŸ±üų±ÏƋĜŅĹŅüƋĘåŞųĜÏåŅü
upgraded camera gear and better lenses.
 C R E D I T S

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