Photography Week-July 2021

THE WORLD’S BEST-SELL ING DIGI TAL PHOTO MAGAZINE

8-14 JULY ISSUE 459

INSPIRATION IDEAS IN-DEPTH REVIEWS

NIKON Z FC UNVEILED

NIKON RELIVES THE GLORY
DAYS WITH NEW RETRO
MIRRORLESS MODEL

10 TECHNIQUES FOR
OUTDOOR PORTRAITS

GET OUT OF THE STUDIO, AND EMBRACE NATURAL LIGHT
AND AN ARRAY OF BACKDROPS FOR STUNNING RESULTS

WE L C OM E

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CONTENTS

FIND OUT WHAT’S INSIDE THIS ISSUE

FE ATURE NEWS

INSPIR ATION NIKON UNVEILS THE Z FC

PHOTOS PHOTOSHOP Retro-styled mirrorless camera
CRASH COURSE harks back to the SLR glory days

FE ATURE

THE GREAT OUTDOORS

Escape the studio to capture
stunning portraits on location

PHOTOS

GALLERY

Our pick of the best reader
ŞĘŅƋŅŸ üųŅĵƤ±ųŅƚĹÚ ƋĘå ƵŅųĬÚ

INSPIR ATION

BIG CATS IN DANGER

Exhibition highlights plight of
captivating but at-risk animals

CRASH COURSE

IF IT GROWS, IT GLOWS

Capture incredible fluorescent
üĬŅƵåų Ĝĵ±čåŸ ƵĜƋĘ Žš ĬĜčĘƋ

PHOTOSHOP

CREATE A SNACK STACK

Xå±ųĹ ĘŅƵ ƋŅ ŸåƋ ƚŞ ±ĹÚ ŸĘŅŅƋ
±ƤŸŞåÏĜ±ĬěåüüåÏƋŸ üŅŅÚ ŞĘŅƋŅ

GEAR JUST
39¢/39p
SIGMA 85MM PER ISSUE!
' ç%(ç%/ç"35
WHEN YOU SUBSCRIBE
œå ƋåŸƋ ƋĘå ĹåƵ ƴåųŸĜŅĹ
of Sigma’s popular SEE THE SUBSCRIPTION
fast 85mm optic that’s PAGE FOR MORE INFO
redesigned for mirrorless
Cover Image © Getty

N EWS

WHAT ’ S H OT

THE WEEK’S TOP HEADLINES IN PHOTOGRAPHY

THE Z FC IS A MIRRORLESS
BLAST FROM NIKON’S PAST

New retro-styled camera takes inspiration from Nikon’s classic FM2 SLR

© Nikon

T he Nikon Z fc has arrived in hobbyists or professionals. But, like touchscreen, which differs from the
all its retro glory, with the the Z50, the Nikon Z fc is a more tilt-only display on the Z50, and will
mirrorless camera sporting accessible camera, using a smaller DX- be ideal for vlogging. The new camera
a vintage design that harks back to format sensor that makes it compact also has a USB-C port for charging
the glory days of Nikon film cameras and relatively affordable. on the go, plus a range of dedicated
during the 1980s. A compact camera control dials.
that’s effectively a redesigned version Beneath its retro skin – which Nikon
of the Nikon Z50, the Z fc has a similar says is inspired by the Nikon FM2 SLR To match the Z fc’s vintage looks,
look to rivals like the Fujifilm X-T30 and from 1982 – the Nikon Z fc is almost Nikon is also releasing two new lenses
Olympus OM-D E-M10 Mark IV. identical to the Z50, offering the same with similar retro styling. The Nikkor Z
Nikon’s mirrorless cameras have 20.9MP DX sensor, Expeed 6 processor DX 16-50mm f/3.5-6.3 VR Silver Edition
mostly been full-frame affairs, such and autofocus performance. is, as the name suggests, a restyled
as the Z6 II, aimed at experienced version of the existing Z-series kit
But there are a few key differences lens, and there’s also a new Nikkor Z
too. The Nikon Z fc gets a vari-angle

N EWS
THE WEEK’S TOP HEADLINES IN PHOTOGRAPHY

28mm f/2.8 SE prime lens aimed at
street photographers, again is inspired
by lenses from the Nikon FM2 era.

‰ĘĜŸƤŅüüåųŸ ±Ĺ åŧƚĜƴ±ĬåĹƋ ĉƖĵĵ üŅϱĬ
length in full-frame terms, making it

±ƤŸƋųŅĹč ϱĹÚĜÚ±Ƌå üŅų ŞŅųƋų±ĜƋ ±ĹÚ
still-life shooting too.

© NikonDesign eyepiece (unlike the more modern mirrorless cameras like the Nikon Z6
© NikonFor those with a penchant for vintagerectangular one on the Nikon Z50),II use dual Expeed 6 chips to support
film cameras, it’s hard not to be while the logo on the front is straight faster burst shooting and more
charmed by the Nikon Z fc’s design. from Nikon’s 1970s-80s era. powerful video features.
It’s inspired by the Nikon FM2, a classic
film camera from 1982. Naturally, While it lacks advanced weather The Z fc certainly isn’t a slouch in
the Nikon Z fc features slightly more sealing, the Z fc’s magnesium alloy these departments, though, offering a
modern specs, but the design means body should ensure that it’s tough maximum of 11fps continuous shooting
it offers a slightly different shooting enough to withstand a few knocks.
experience to the Z50. ±ĹÚ ƋĘå ±ÆĜĬĜƋƼ ƋŅ ŸĘŅŅƋ ĉUxƐLjŞ ƴĜÚåŅ
Specs and features without a crop. However, it still only
The Nikon Z fc’s top plate The Nikon Z fc is powered by a accepts UHS-I memory cards, which
features three dials (shutter speed, combination of a 20.9MP DX sensor means your buffer will fill up relatively
exposure compensation and ISO), and Nikon’s Expeed 6 processor. While
and a small window that displays the latter is current, pricier Nikon ŧƚĜÏĩĬƼ ÏŅĵޱųåÚ ƋŅ ϱĵåų±Ÿ ƋʱƋ
accept faster UHS-II cards.
ƋĘå ±ŞåųƋƚųåţ ‰ĘĜŸƤĵ±ĩåŸ üŅų ± ĵŅųå
manual shooting experience, and it It has the same 0.39-inch, 2.36
also means the Zfc is the first Nikon million-dot viewfinder as the Z50, and
Z-series camera to support exposure Nikon’s latest hybrid autofocus system,
compensation in ‘Auto’ mode. which serves up Eye-Detection AF for
both humans and animals.
Alongside those dials, the Z fc also
features a couple of smaller touches One major benefit over the Z50 is
that are nods to the Nikon FM2. The that, rather than a tilting rear screen,
electronic viewfinder has a circular the Z fc has a vari-angle display (the
first on a Z-series camera) that rotates
around to the front for those who want
to shoot video or stills to camera.

The Nikon Z fc will be available
to buy from late July in a variety of
bundles. If you just want to buy the
camera body-only it’ll cost £899 /
$959, but you can also buy it with
various lenses, or in a lens kit with both
wide-angle and telephoto zooms.

F E ATUR E OUT IN THE OPEN

Shooting portraits outdoors

unlocks gorgeous lighting

±ĹÚƤƱÏĩčųŅƚĹÚŸØ ŞųŅƴĜÚĜĹč ±
stronger narrative. However,

ƋĘåƤŞĘŅƋŅčų±ŞĘåų ĹååÚŸ ƋŅ
master several key technique

adaptations in order to achieve

10themostsuccessfulimages
© Jörgen Petersen TECHNIQUES FOR BETTER
OUTDOOR PORTRAITS

Take your subjects out of the studio, and embrace flattering
natural light and varied environments for striking results

H igh-end portrait and fashion light is the simplest and arguably to use well, so that you won’t
shoots can become complex most flattering light source available, encounter unexpected obstacles.
very quickly. Once you start while the outside world offers an There’s also the matter of adjusting
using more than a single light, the endless variety of background your approach to composition and
photographer and lighting assistant’s effects and image themes, all at exposure in order to maintain control
workload increases exponentially, as the photographer’s fingertips. Many over the distribution of highlights and
they try to balance each light source professional portrait photographers shadows. You have to be mindful of
for the perfect look. Once they’ve insist on shooting in outside locations colour control, and the effects that
found this balance, they’re awarded environmental colour can have on the
with total control over the lighting üŅų ƋĘåŸå ų屟ŅĹŸţ FƋƤÏ±Ĺ Æå 屟Ĝåų ±ĹÚ appearance of your subject, too.
ratio and style – one of the greatest cheaper, and with a simplified lighting
advantages of shooting in a studio structure comes the ability to rapidly Over the next few pages you’ll
environment. However, a great deal create a particular look. discover essential techniques for
capturing striking outdoor portraits.
ŅüƤŞųåŞ±ų±ƋĜŅĹØ ĜĹÏĬƚÚĜĹč ŸåƋƋĜĹč ƚŞ ƋĘå Of course, shooting outside is not You’ll learn how to work with natural
lights and dressing a set, is required without its own challenges. There light, blend in flash, control colour
are hazards to identify and manage, temperature and choose the perfect
ƋŅƤŞųŅÚƚÏå ųåĬĜ±ÆĬå ųåŸƚĬƋŸţ both physical and practical. Planning background for stunning results, and
This is where shooting outdoors is always required to ensure that how to overcome common obstacles.
you know the location you intend
becomes highly attractive. Natural

F E ATUR E

WORKING WITH AMBIENT LIGHTING

You can choose to blend or overpower natural light for varying portrait looks

NATURAL BLEND SOFT SHADOWS

c±Ƌƚų±Ĭ ÏŅĹÚĜƋĜŅĹŸ Ï±Ĺ Ņýåų
beautiful wrapping light, but be
careful where you position your
subject to avoid excessive contrast,

ƚŸĜĹč ± ųåāåÏƋŅų ƋŅ ƱĬ±ĹÏå ƋĘĜŸ

HIDDEN SOURCE MATCHED COLOUR
œĘåƋĘåų ƼŅƚ ƚŸå ā±ŸĘ
FĹ ƋĘĜŸ Ĝĵ±čå ĜƋűŸ ÚĜþÏƚĬƋ ŅųƤ± ųåāåÏƋŅųØ ĵ±ƋÏĘ ƋĘå
to identify the light light colour to avoid
source – a sure sign of a ±ųƋĜĀÏĜ±Ĭ ĬĜčĘƋ ŸŅƚųÏåŸ
successful lighting blend. becoming obvious.

SOFT CONTRAST
There are no bright
hotspots or deep
shadows, which creates
an attractive, airy style.

© Jörgen Petersen 01 DIFFUSE THE LIGHT

L ighting is key in all areas of diffusing the light from the sun and SUNLIGHT MODEL
photography, but for portraiture spreading it widely. This provides silky,
you have to approach it with wraparound lighting of your subject, REFLECTOR
extra sensitivity. Light needs to flatter which is even, meaning no bright spots
the subject more than in any other of clipped highlights, or deep shadows Sunlight is extremely powerful, and you
genre, and it will be instantly noticeable under the eyes. have a limited scope for controlling its
if the distribution of highlights and directionality. It will therefore create
shadows is misplaced, or if the Sunlight is highly directional for deep shadows and bright hotspots on
intensity and colour balance of the ƋĘå ŸƚÆģåÏƋűŸ ü±Ïå Ĝü ĬåüƋ ƚĹÚĜýƚŸåÚţ ŽŸå
light is incorrect. Use too much flash ĵŅŸƋƤŅü ƋĘå Ú±ƼØ ŸĜĹÏå ƋĘå ŸƚĹűŸ ± ʱĹÚĘåĬÚ ÚĜýƚŸåų ƋŅ ŸŞųå±Ú ƋĘå ĬĜčĘƋ
and you’ll bleach the subject’s skin, position is always angled down or ±ĹÚ ŸŅüƋåĹ ŸĘ±ÚŅƵŸØ ƋĘåĹ ±ÚÚ ± ųåāåÏƋŅų
which will create distracting hotspots sideways on the subject. Moreover, ƚĹÚåų ƋĘå ŸƚÆģåÏƋűŸ ÏĘĜĹ ƋŅ üƚųƋĘåų ĀĬĬ ŸŅĵå
and make them seem inorganic – not the lighting from the sun is highly of the shadows under their eyes. Try taking
an attractive look! Conversely, fail to predictable. Yes, it is always possible them into the open shade – arguably
use enough flash, or place it at the for the light to change, due to weather the best place for soft, natural lighting.
wrong angle, and you’ll introduce deep changes, which can also radically alter „ƚĹĬĜčĘƋ ƵĜĬĬ ųåāåÏƋ Ņý ƋĘå åĹƴĜųŅĹĵåĹƋ
shadows where they shouldn’t be. Light the style of the image, but under any ĀųŸƋØ ŸŅ ŸƚÆģåÏƋ ĬĜčĘƋĜĹč ƵĜĬĬ Æå ĜĹÚĜųåÏƋţ
picks out the contours of the subject’s given condition the sun will never fail Watch out for uncontrolled dappled light
face and form, so well-considered light on you; you’ll never have to attend ĀĬƋåųĜĹč ƋĘųŅƚčĘ Ƌųåå ϱĹŅŞĜåŸØ ±Ÿ ƋĘĜŸ ƋŅŅ
placement is essential to make them to blown bulbs in your strobe or flat can introduce unsightly hotspots.
appear natural, and to complement batteries in your flashgun, and power
their body shape and facial features. will rarely be an issue. Furthermore
This is where natural light can be
a huge advantage. On overcast days, ƼŅƚƤÏ±Ĺ ųåĬĜ±ÆĬƼ ŞųåÚĜÏƋ ƋĘå ŞŅŸĜƋĜŅĹ
the clouds act as a gigantic softbox, of the sun, so while you might need
to wait for the appropriate moment,
nature will generally do a good job of
arranging your lighting for you.

F E ATUR E

WORKING WITH AMBIENT LIGHTING
CONTINUED

SUNLIGHT DIRECTION
Prevent sunlight from falling
ÚĜųåÏƋĬƼƤŅĹ ƼŅƚų ŸƚÆģåÏƋűŸ ü±Ïåţ
FĹŸƋå±ÚØƤƚŸå ĜƋ ±Ÿ ± ƱÏĩ Ņų ųĜĵ ĬĜčĘƋØ
adding to the natural feel without
uncontrolled facial shadows

© Jörgen PetersenUSE A SCRIM
© Andrea Piacquadio
02 SHOOT AGAINST THE LIGHT

e ŸÏųĜĵ ĜŸ ± Ĭ±ųčå ÚĜýƚŸĜŅĹ Ş±ĹåĬ ƵĘĜÏĘ One big misconception photographers Instead, shoot into the light, with the sun
who are new to outdoor portraiture have behind the subject. This will require some
Ï±Ĺ Æå ƚŸåÚ ƋŅ ÚĜýƚŸå ƋŅŞěÚŅƵĹ ŸƚĹĬĜčĘƋ is that placing the sun behind you, so that positive exposure compensation (start at
for a soft lighting quality. Often supported it falls directly onto the subject, is the best
by a frame, or by clamps on a couple option. However, this rarely provides the ±ųŅƚĹÚ ťŎ)šš ±ĹÚ ĜÚå±ĬĬƼ ŸŅĵå ĀĬĬ ā±ŸĘØ
of lighting stands, scrims are made for but it will create a lively image, with softer
outdoor photography, and create a similar ĵŅŸƋ ā±ƋƋåųĜĹč ĬĜčĘƋØ ĹŅų ƋĘå ÆåŸƋ Ĝĵ±čåŸ illumination of the subject’s face. Use a
quality of light to open shade. They’re of the subject themselves, who are likely wide aperture of f/2.8 or larger to produce
often placed above the subject to lower to be squinting with the sun in their eyes. a wash of light.
micro contrast, softening shadows under
the eyes and preventing blown highlights.
They’re very lightweight, so make sure you
weigh them down in windy conditions.

F E ATUR E

WORK WITH AMBIENT LIGHTING
CONTINUED

BEST LIGHTING CLOTHES AND EXPOSURE
CCESSORIES
å ĵĜĹÚüƚĬ Ņü ƋĘå ŅƚƋĀƋŸ ƼŅƚ ±Ÿĩ ±
Diffuse, spread and shape subject to wear. If their clothing is
űƋƚų±ĬƤ±ĹÚ ±ųƋĜüĜÏĜ±Ĭ ĬĜčĘƋ made of dark material this might

FLASHGUN SOFTBOX cause the background to be
overexposed, or the subject to
„ĵ±ĬĬ ā±ŸĘ ĜŸ ± ü±ų ĵŅųå
Şų±ÏƋĜϱĬ ĜĹěƋĘåěĀåĬÚ ±ŞŞå±ųƤƋŅ Æå ±ĬĵŅŸƋ ĜĹ ŸĜĬĘŅƚåƋƋå
lighting option than
strobes. Use a dedicated © Ekaterina Lobanova
softbox to soften your
shadows and highlights, O f course, as with all aspects of harder-edged light for a particular style.
üŅų ĵŅųå ā±ƋƋåųĜĹč ĬĜčĘƋţ photography, with advantages A wireless flashgun setup or battery-
come challenges. As we’ve powered strobe can be used to do this,
REFLECTOR SET mentioned, when we go outside we but care is needed to make this light
do lose a degree of control over the appear natural. One of the reasons
A kit containing white, direction and strength of the light, many beginners hate using flash is
silver, gold, black and and how it interacts with the subject. that their images appear cold and
Ƌų±ĹŸĬƚÏåĹƋ ųåāåÏƋŅųŸ For quick, uncomplicated lighting, washed-out, so we need to introduce
allows you to match the natural light can be a go-to source, just the right amount of light to make it
colour and lighting style but when we need to apply a certain seem like sunlight, while allowing the
ŅüƤƋĘå ±ĵÆĜåĹƋ ÏŅĹÚĜƋĜŅĹŸ light directionality, with a particular
üŅų ĵ±ƻĜĵƚĵ āåƻĜÆĜĬĜƋƼţ background for example, we can ĬĜčĘƋ ±Ĭųå±ÚƼ ŞųåŸåĹƋ ƋŅ Ƌ±ĩå ϱųå ŅüƤƋĘå
encounter difficulties. background or provide a fill light. We
HANDHELD DIFFUSER Clearly we can’t move the position
of the sun at will, so if a background ±ĬŸŅ ĹååÚ ƋŅ Æå ĵĜĹÚüƚĬ ŅüƤƋĘå ÏŅĬŅƚų
eĹ ŅĹěā±ŸĘ ŸŅüƋÆŅƻ ĜŸ or setting is not aligned in the way
ĀƻåÚ ĜĹ ŞĬ±Ïåţ e ʱĹÚĘåĬÚ that we envisioned we either need ŅüƤĬĜčĘƋØ ƵĘĜÏĘ ƵåűĬĬ ÚĜŸÏƚŸŸ Ĭ±Ƌåųţ
ÚĜýƚŸåų åűÆĬåŸ ƼŅƚ ƋŅ to wait for the sun to move, or we Whatever your intended effect,
±ĬƋåų ƋĘå ŸŅüƋĹ域 Ņü ā±ŸĘ need to have the skills and lighting
or natural light on demand, knowledge to overpower the ambient the artificial light should blend with
by changing the distance illumination with artificial light, using the natural. Even if you aim to make
from the subject. flash to dominate the scene and give flash the dominant source, the viewer
an impression of a new sun direction. must instantly accept that the light is
AIR CUSHIONED STAND Similarly, we might not always emanating from within the scene, not a
want flat, diffused light – for example, photographic light. In an urban setting
This enables you to mount we may need more sparkle and this can equally be the suggestion of
± ā±ŸĘ ±Ƌ ƋĘå ĘåĜčĘƋ ƼŅƚ
require. The air cushioning ±ƤŸƋųååƋĬĜčĘƋ Ņų ϱų Ęå±ÚĬĜčĘƋØ ÆƚƋ ĜƋ
is safer, as you’ll likely must appear that all of the light present
change height more often is ambient, or the audience will feel
than in the studio. detached from the scene.

ND FILTER

It’s a less obvious portrait
accessory, but an ND
ĀĬƋåų ƵĜĬĬ ±ĬĬŅƵ ƼŅƚ ƋŅ
shoot wide open in bright
sunlight while keeping
your shutter speed below
the camera’s maximum
ā±ŸĘ ŸƼĹÏ ŸŞååÚţ

F E ATUR E © Ekaterina Lobanova

WORK WITH AMBIENT LIGHTING
CONTINUED

03 OVERPOWER
AMBIENT LIGHT

There are times when
outside conditions are not
optimal for the style of image
you want to create, and in
these cases you can use
ā±ŸĘ ƋŅ ÚŅĵĜűƋå ƋĘå ŸÏåĹåØ
providing the majority of the
main light on the subject.
This is useful when you want
ƋŅ ±ųƋĜĀÏĜ±ĬĬƼ ÏʱĹčå ƋĘå ƋĜĵå
of day – faking a nighttime
åýåÏƋ üŅų åƻ±ĵŞĬåţ ‰Ęå ±Ĝĵ
is to alter the light ratio, so
that changes in the ambient
ĬĜčĘƋ ʱƴå ± ųåÚƚÏåÚ åýåÏƋ
on the appearance of the
subject – if the sun comes
out you might need to lower
the overall exposure, but it
won’t change the distribution
of highlights and shadows on
the subject.

OVERCAST LIGHT
Shooting on cloudy days
ŅýåųŸƤÆå±ƚƋĜüƚĬØ åƴåĹ ĬĜčĘƋĜĹčØ
ƵĜƋĘƤŸŅüƋƤŸĘ±ÚŅƵŸţ eÚÚĜĹč ā±ŸĘ
can introduce some necessary
added sparkle, although do watch
out for unwanted ‘coolness’

DOMINATE WITH FLASH ŽŸå ± üĬ±ŸĘčƚĹ ƋŅ ŧƚĜÏĩĬƼ ±ĬƋåų ƋĘå ĬĜčĘƋĜĹč ƱĬ±ĹÏå Ņü ƼŅƚų ŸÏåĹå

x4 © Peter Fenech

1METER THE BACKGROUND 2SET HIGHEST SYNC SPEED 3ADD THE FLASH 4CONTROL GLOBAL
Start by taking a meter reading To make the ambient lighting Turn on your ā±ŸĘčƚĹ ƋŅ ĀĬĬ BRIGHTNESS
from the environment, in any PAS less dominant than your added in the shadows on the subject.
mode. Make sure your exposure light set the camera’s highest Start at around 1/16th power, and Further control brightness with
compensation is set to zero at this synchronisation shutter speed, increase until you achieve the your aperture. To alter the overall
time. Next, lock in these settings which will often be 1/200 sec. correct exposure. Consider gelling image exposure leave the shutter
by switching to Manual mode. Don’t worry if your subject is speed and ISO alone and open
underexposed at this stage. ƼŅƚų ā±ŸĘ ±Ƌ ĘĜčĘåų ŅƚƋŞƚƋŸ ƋŅ or close down the aperture to get
your exposure centred.
ŞųåƴåĹƋ ± ůā±ŸĘƼű ĬŅŅĩţ

F E ATUR E

MANAGE COLOUR THEMES

Enhance or reduce the impact of environmental colour on your subject

COLOUR THEMES
Don’t forget colour
theory, and pair colours
that work well together in
your portraits. This
includes the background
colour, the colour of the
light and even the clothes
your subject wears

© Jörgen Petersen

T his is one area where we ÏŅĬŅƚųƤŅü ƋʱƋ ĵ±ƋåųĜ±Ĭţ ‰ĘĜŸ Ï±Ĺ Æå ROTOLIGHT
will experience the most beneficial, but the outside world
problematic elements of features a plethora of overlapping eĹ ±ĬƋåųűƋĜƴå ƋŅ čåĬĬĜĹč ± ā±ŸĘ ĜŸ ƋŅ
moving our portrait shoot outdoors. colours that do not complement natural ƚŸå ± ÏŅĹƋĜĹƚŅƚŸ ĬĜčĘƋ ƋʱƋ ŅýåųŸ ÏŅĬŅƚų
Large colour casts are easy to identify, skin tones. In any location featuring temperature adjustment. The Rotolight
because they’re highly visible and grass or vegetation, this can cause an series features a variable kelvin range,
difficult to ignore. If your subject unattractive green tint, which discolours allowing the user to match the colour
is suddenly very blue, then you’re the subject’s skin. To further complicate of the light to that of the environment.
probably going to notice it and be matters, this contamination might Continuous lights have less overall output
able to correct for it – and even if you occur only as a rim around the subject, ƋʱŠā±ŸĘØ ÆƚƋ ±ųå 屟Ĝåų ƋŅ ƚŸå üŅų ĬĜčĘƋ
somehow don’t spot it while shooting, meaning that not all of the skin tone blending. The Rotolight NEO 2 has an
you’ll have the chance to spot the issue needs to be adjusted evenly. adjustable colour temperature of 6300-
and quickly change the white balance ƐŎĂLjU ±ĹÚ üå±ƋƚųåŸ ± ā±ŸĘ ĵŅÚåţ
in post-processing. This is why shooting With this type of colour
raw is so critical for portraiture – the contamination falling on the subject,
additional image information makes viewers of our images may not know
it much easier to fine-tune the overall exactly why the shot looks ‘wrong’,
colour. The problems we’ll discuss here but the effect will be impossible to
are harder both to spot and to rectify – ignore, and any other efforts you
they’re issues with colour contamination may have made to create impact in
which can go unnoticed, and which can the composition could be essentially
be difficult to correct in software. wasted. What we need to do is identify
When light reflects off the surface potential problems early, so that we
of an object it picks up some of the can arrange the subject to prevent
contamination from happening.





F E ATUR E

MANAGE COLOUR THEMES CONTINUED

CAST CONTROL
Shooting during the golden hours
provides gorgeous warm lighting.
eƤ ‰k čåĬ Ï±Ĺ ĘåĬŞ ĵ±ƋÏĘ ±ĹƼ ā±ŸĘ
light to the ambient, while shooting

raw is essential to enable you to
ƋŅĹåƤÚŅƵĹ ŸƋųŅĹč Ņų±Ĺčå ϱŸƋŸ

© Ekaterina Lobanova

04 MATCH COLOUR WITH GELS 05 MANAGE COLOUR BLEEDING

While much colour correction work can be done in post-processing, Look out for unwanted colour bleeding onto your subject from
nearby environmental elements. While we do want to use plants
ā±ŸĘ ŞĘŅƋŅčų±ŞĘƼ ĜŸ ŅĹå ±ųå± ƵĘåųå ŞĘƼŸĜϱĬ čåĬŸ ųåĵ±ĜĹ ƚŸåüƚĬţ
eƤ ‰k Š ŅĬŅƚų ‰åĵŞåų±Ƌƚųå kų±Ĺčåš čåĬ Ƶ±ųĵŸ ƋĘå ĬĜčĘƋ üųŅĵ ƼŅƚų ±ĹÚƤƋųååŸ ±Ÿ ŸåƋ ŞĜåÏåŸØ ƋĘå čųååĹ ƋĜĹƋ ƋĘåƼ Ï±Ĺ Ï±ŸƋ ŅĹƋŅ ŸĩĜĹ ƋŅĹåŸ
ā±ŸĘØ ĵ±ĩĜĹč ĜƋ 屟Ĝåų ƋŅ ÆĬåĹÚ ĜƋ ƵĜƋĘ ƋĘå ±ĵÆĜåĹƋ ĬĜčĘƋţ ŽŸĜĹč ƋĘå ĜŸƤü±ų üųŅĵ ±ƋƋų±ÏƋĜƴåţ „Ƌ±ųƋ ÆƼ ŸĘŅŅƋĜĹč ĜĹ ų±Ƶţ ‰ųƼ ±ÚÚĜĹč ± čåĬĬåÚ
ā±ŸĘ ±Ƌ ĬŅƵ ŞŅƵåų ĘĜÚåŸ ƋĘå ĬĜčĘƋ ŸŅƚųÏåØ ƵĘĜĬå ĘĜčĘåų ŅƚƋŞƚƋŸ ŅĹ ā±ŸĘØ ±Ƌ ĬŅƵ ŞŅƵåųØ ƋŅ ĹåƚƋų±ĬĜŸå ƋĘå ƋĜĹƋØ Ņų ƋųƼ ±ĹÚ ŞųåƴåĹƋ ƋŅŅ ĵƚÏĘ
±ƤčåĬĬåÚ ā±ŸĘ Ï±Ĺ ŞųŅÚƚÏå ± ü±ĬŸå ŸƚĹĬĜčĘƋ ŸƋƼĬå ô ƋĘåŸå ±ųå ƚŸåüƚĬ ĬĜčĘƋ ųåāåÏƋĜĹč Ņý čųååĹåųƼ ÆƼ ±ÚÚĜĹč ± čŅÆŅ ÆåƋƵååĹ ƋĘå ŸƚÆģåÏƋ
ĜĹƤƋĘå čŅĬÚåĹ ĘŅƚųŸØ ƵĘåųå ůÏŅĬÚű ā±ŸĘ Ï±Ĺ Æųå±ĩ ƋĘå ĵŅŅÚţ ±ĹÚ ƴåčåƋ±ƋĜŅĹØ Ņýěϱĵåų±ţ

F E ATUR E

WORK WITH THE ENVIRONMENT

Put all the pieces together, and match your subject with the ideal conditions

THINK NARRATIVELY S hooting outdoor portraits is not 06 CONTROL
A big pro of outdoor shoots is the just a practical decision, done for DETAIL
diversity of location detail. Think the convenience of using natural
light. A studio is a great creative space, A drawback of shooting
about the mood and message but it doesn’t offer the opportunities for outdoors is that there
storytelling that external environments can be too much
do. Studio lighting and backgrounds are detail in the subject’s
highly standardised, and so they’re not surroundings. Our aim
inherently the most exciting or engaging is to make use of the
picture elements. Taking the subject colour, light and space
on location gives you the freedom to ±ýŅųÚåÚ ƋŅ ƚŸ ƵĘåĹ üųåå
use the features of a landscape to your of a studio, but still to
advantage, helping you to create a tightly control how much
narrative about your subject, or providing environmental detail the
a neutral-yet-interesting background; viewers see. Favour a
a diffused view of trees or colourful wider aperture to blur
flowers is far more immersive than a ĀĹå ƱÏĩčųŅƚĹÚ ÚåƋ±ĜĬŸſ
seamless plain background. at around f/2.8 on a lens
To take full advantage of these artistic of 16mm or wider, and
aspects we need to think about how f/5.6 above 100mm,
our subject will fit into the background there will be enough
in terms of tone and compositional visual information for
placement. As with any narrative we our audience to deduce
need to imagine continuity – the shot the setting without there
needs to make sense, with a logical being a detail overload.
pairing of subject and backdrop. Simply
taking the subject outside is not enough; 07 THE HUMAN
it’s critical to plan your shots and choose ANGLE
a location to better push a colour theme,
or textural setup. For example, if your Try to avoid having the
subject is wearing delicate clothing it subject merely stand
makes little sense to place them in a in an outdoor setting –
gritty, urban setting, unless this is an have them interact with
expressly intentional juxtaposition. it somehow. Where
While it’s good to break moulds, defy there’s a tree, ask your
conventions and question stereotypes, subject to rest against
we need to make our intentions clear. it. If there are colourful,
It’s important to make our vision easily overhanging branches,
identifiable, otherwise an image can be have the subject explore
distracting and confusing. them in the composition.
The way in which our subject interacts Where feasible, on a
with their background is also a point of beach shoot, have them
analysis. In a studio setting the common stand in the shallows,
approach is to place the person against a so that they interact
backdrop, removing any sense of depth. physically with the
If we follow this approach in the field watery environment.
we’ll miss an opportunity to complexify ƼƤÚŅĜĹč ŸƚÏĘ ƋĘĜĹčŸ
the scene in a natural way, so look to the audience can feel as
alter your angle, and overlap elements if they’re experiencing
of the environment with the subject the location through the
themselves. Consider ways in which human component of
the image.
ƼŅƚƤÏ±Ĺ ĵ±ĩå ±Ĺ Ĝĵ±čå ĬŅŅĩ Ĭ域 ĬĜĩå ĜƋ
© Ekaterina Lobanova was taken on a pre-planned photoshoot,
and more like a spontaneous study of a
moment or emotion.

F E ATUR E © Ekaterina Lobanova

WORK WITH THE ENVIRONMENT CONTINUED

LENS CHOICES

„åĬåÏƋ ƋĘå ÆåŸƋ ŅŞƋĜÏ üŅų ƼŅƚų
ŅƚƋÚŅŅų ŞŅųƋų±ĜƋ ĹååÚŸ
85MM F/1.4

A wide-aperture prime
allows you to greatly
reduce strong background
detail for impressionistic
results. You also have
the option to shoot and
stitch a canvas extension
for a image in the style
of the Brenizer method,
combining a shallow
ÚåŞƋĘ Ņü ĀåĬÚ ƵĜƋĘ ±
ƵĜÚåƤ±ĹčĬå Ņü ƴĜåƵţ

14-24MM F/2.8

ŅĵÆĜĹĜĹč ± ƵĜÚå ĀåĬÚ
of view with a wide
aperture, these lenses
produce a unique blend of
perspective and shallow
DOF – great if you’re using
an expansive sky as a
natural background.

70-200MM F/2.8

Compress the scene with
the longer focal length,
and allow backlighting to
āŅŅÚ ±ÏųŅŸŸ ƋĘå ŸĘŅƋ ±Ƌ
f/2.8. Useful for removing
excess peripheral detail.

SAFETY FIRST
When working with a model on
location, always scout the area
ĀųŸƋƤƋŅ ĜÚåĹƋĜüƼ ŸĬĜŞ Ę±DŽ±ųÚŸØ ŸĘ±ųŞ
objects and other potential hazards

F E ATUR E

WORK WITH THE ENVIRONMENT CONTINUED

CREATIVE INTENT

SUBJECT PLACEMENT
Don’t forget the framing
basics but, where the
environment allows, try to
make the subject appear
as part of the setting.

DOF CONTROL

%åŞƋĘ Ņü ĀåĬÚ ĜŸ ϱųåüƚĬĬƼ
chosen to suggest the
surroundings while
reducing distractions.

© Jörgen Petersen CLEAR CREATIVE DECISION
Think about how you can best make use of
the environment – here the photographer
uses the elements in an unconventional way.

I f studios are good for continuity in the ideal conditions for each 08 COMPOSITE FOR CONTROL
of lighting, while outdoor element; we can shoot the subject in
settings are more natural and one location and the background later, Software tools for selection and extraction
varied, then any way we can devise to choosing to match these at will. For of image elements are the best they’ve
combine these aspects is going to give this to work effectively it’s important ever been, so take advantage of the
us superior images. The two are not to understand the relationship ŞŅŸŸĜÆĜĬĜƋĜåŸ ƋĘåŸå Ņýåųţ „ĘŅŅƋ ƼŅƚų ŸƚÆģåÏƋ
polar opposites, especially today, in between focal length, subject and background independently to capture
the modern age of digital techniques distance, and horizon placement, and the best of each. Where you want to
and the safety net of almost unlimited know how to align each of these later, capture movement in the environment,
storage. As we’ve already discussed, should we choose to photograph ŸƚÏĘ ±Ÿ ƋųååŸ ŸƵ±ƼĜĹč Ņų Ƶ±Ƌåų āŅƵĜĹčØ
blending ambient light and artificially shoot with optimal settings for that
added light sources allows us to ƋĘåĵƤĜĹÚåŞåĹÚåĹƋĬƼţ background. Next, with your camera
combine the looks of controlled, The biggest threat to outdoor still on a tripod, move your subject into
indoor lighting, with conditions found position and shoot another frame, with
outdoors. This means we can dictate portraiture is the willingness of the optimal settings and focus for them.
how much the outside environment photographer (or lack of it) to vary the
contributes to our shot visually. angle and play with the dominance
Due to the varied range of lighting of the subject in the frame. Outdoor
accessories available today, and scenes offer depth that is largely
advances in software, it’s possible to unavailable inside, so make sure you
shoot image components separately, focus on the layers in the shot, to
create images which feel open and
unconstrained by the walls of a studio.

F E ATUR E

WORK WITH THE ENVIRONMENT CONTINUED

09 USE THE ENVIRONMENT

Natural frames, textured surfaces and
leading lines can all play a role in your
environmental portraiture. Seek out
compositions which make use of fore,
middle and background objects, which
suggest depth but also help focus
attention on the subject. For a creative
approach, shoot through foreground
objects using a longer lens, such as
a 70-200mm f/2.8 optic, and a wider
aperture, to introduce a wash of colour.
This helps create a lifestyle feel, popular
not only on social media but also in
advertising photography. You can also try
to show movement in shots – create the
impression that your subject is walking or
moving, to suggest the sense of space.

© Andrea Piacquadio
x3 © Peter Fenech
10 SHOOT WIDE ±ŞƋƚųå åƻŞ±ĹŸĜƴå åĹƴĜųŅĹĵåĹƋŸ ƵĜƋĘŅƚƋ ƚĹŞĬ屟±ĹƋ ÚĜŸƋŅųƋĜŅĹ

1AVOID ULTRAWIDE SETTINGS 2CLEAR THE EDGES 3KEEP LEVEL
We want to make the most of the outdoor Wide-angle lenses create the most Since minimising distortion is key here, try
location, showing the subject in their distortion at the edges, so keep your subject’s to keep the lens level and perpendicular to
surroundings, but traditionally we avoid wide- face closer to the frame centre. You can the subject. Unless it’s part of your image plan,
angle lenses for portraits. Steer clear of focal still use the rule of thirds, but if parts of the don’t shoot up at or down on the subject, as
lengths shorter than around 14mm to balance subject’s body get too close to the edges, this can create further stretching, disrupting
the angle with subject distortion. optical stretching will occur. body proportions.

© Dani Diamond F E ATUR E

TOP TIPS FOR
BETTER OUTDOOR PORTRAITS

Use this checklist to keep your outdoor shoots on track

1CHANGE ANGLE
Raise and lower the shooting
ĘåĜčĘƋ ƋŅ åƻŞĬŅųå ÚĜýåųåĹƋ
perspectives on the subject and
change background alignment.

2OVERPOWER OR BLEND
Choose if you want to use natural
light as the main source, or if you
ĹååÚ ƋŅ ÚŅĵĜűƋå ĜƋ ƵĜƋĘ ā±ŸĘţ

3WATCH YOUR F/STOP
Try both shallow and deep depth
Ņü ĀåĬÚ ƋŅ ÏŅĹƋųŅĬ ĘŅƵ ĵƚÏĘ ŸåƋƋĜĹč
detail is visible in the background/at
the edges.

4ALTER FOCAL LENGTH
Zoom in and shoot some wider
frames to change the ‘size’ of
background elements and their
presence in the composition.

5INTERACTION
Make your subject work with the
environment. Have them use scene
elements as props to touch or sit on.

6SCOUT FIRST
Before heading out on your
shoot, visit proposed locations to
ĀĹÚ ƋĘå ĵŅŸƋ Şų±ÏƋĜϱĬ ±ĹÚ ±ƋƋų±ÏƋĜƴå
compositions, and to identify issues.

7IDENTIFY HAZARDS
ŅĹŸĜÚåų Ÿ±üåƋƼ ĀųŸƋ ô ĬŅŅĩ üŅų
obstacles or potential trip hazards,
as well as unsafe structures. Check
tides and phone signal strength.

8CONTROL COLOUR
Keep an eye out for colour spill
onto your subject, and be mindful of
the impact on the viewer reaction.

9CONSIDER THE STORY
Pair subjects with logical
backgrounds, or juxtapose these for
Úų±ĵ±ƋĜÏ åýåÏƋţ eĬƵ±ƼŸ ĵ±ĩå ƋĘå
åýåÏƋ ĬŅŅĩ ĜĹƋåĹÚåÚţ

10COMPOSITE YOUR SHOTS
Try shooting each element
separately and compositing them in
software for maximum colour and
lighting control. Shoot raw for greater
ŞųŅÏ域ĜĹč āåƻĜÆĜĬĜƋƼţ

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GA L LE R Y

XPOSURE

THE WEEK’S MOST INSPIRING READER PHOTOS

ELTON’S GONE

LEE HESSION
“I captured this mono picture of a battered and abandoned

old piano with my Nikon D7200 and 18-55/f3.5-5.6 lens.”
https://bit.ly/3cXOamm

GA L LE R Y

THE WEEK’S MOST INSPIRING READER PHOTOS

EBONY AND IVORY

TOM MORTENSON
“A pair of whitetail deer, photographed in Vilas County in northern Wisconsin.

There are several leucistic or albino deer in this area, and they co-mingle
well with the more common brown-coated deer.”
https://bit.ly/32IySN1

GA L LE R Y

THE WEEK’S MOST INSPIRING READER PHOTOS

THE BENCH & SHADOWS

MIKE THORNBERRY
“This photo was taken in the centre of Bath, England, in the early-morning
light. I was trying to make an ordinary subject appear more interesting, and

I feel that the low light gives a film noir look to the image.”
https://bit.ly/3A6OIR1

GA L LE R Y

THE WEEK’S MOST INSPIRING READER PHOTOS

INFRARED DREAMS

GEORGE KURZIK
“This is the Veterans Memorial Bridge, which spans the Susquehanna River between
Columbia and Wrightsville in Pennsylvania. The image is a long-exposure HDR taken with
an IR-converted Nikon D610 and a 16-35mm lens fitted with a B+W 10-stop ND filter.”

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F N S P F RA ‰ F ON

F‰ ű „ k k X Ø ‰Be‰

THE BEST THING WE’VE SEEN THIS WEEK

Images © Steve Winter

STUNNING BIG CAT IMAGES
WITH A SERIOUS MESSAGE

Exhibition highlights growing plight of captivating but endangered animals

he Siena Awards Festival is set to reveal some of the world’s most elusive DISCOVER MORE
ƵĜĬÚƤϱƋŸ ĜĹ ƋĘåĜų űƋƚų±Ĭ ʱÆĜƋ±ƋØ ƵĜƋĘ ĘĜŸ
‰ return from 23 October, and one ĜĹčåĹĜŅƚŸ ƚŸå Ņü ŞĘŅƋŅčų±ŞĘĜÏ Ƌų±ŞŸ h t t p s : // b i t . ly/ 3j C 7pW y
ŅüƤƋĘå ĘĜčĘĬĜčĘƋŸ Ņü ƋĘå ŸĜƻěƵååĩ ±ĬĬŅƵĜĹč ĘĜĵ ƋŅ ŞĘŅƋŅčų±ŞĘ ŸĹŅƵ ĬåŅޱųÚŸØ
ÏåĬåÆų±ƋĜŅĹ Ņü ŞĘŅƋŅčų±ŞĘƼ ƵĜĬĬ Æå Ž„ ƋĜčåųŸØ Şƚĵ±Ÿ ±ĹÚ ģ±čƚ±ųŸ ĜĹ ±Ĺ åƻƋų±ŅųÚĜűųƼ
ŞĘŅƋŅģŅƚųűĬĜŸƋ „Ƌåƴå œĜĹƋåųűŸ ŸŅĬŅ åƻĘĜÆĜƋĜŅĹ ±ĹÚ ĜĹƋĜĵ±Ƌå Ƶ±Ƽţ
Ĝč ±ƋŸØ üå±ƋƚųĜĹč ŸŅĵå Ņü ƋĘå ŞŅƵåųüƚĬ ±ĹÚ
ĵŅƴĜĹč Ĝĵ±čåŸ ĘåűŸ ϱŞƋƚųåÚ ĜĹ ±Ĺ åüüŅųƋ ƋŅ œĜĹƋåų Ÿ±ƼŸ Ņü ĘĜŸ ƵŅųĩ× ŮFűĵ ƋųƼĜĹč ƋŅ
ų±ĜŸå ±Ƶ±ųåĹ域 Ņü ƋĘå ŞĬĜčĘƋ Ņü ƋĘåŸå üĜĹÚƤĜĵ±čåŸ ƋʱƋ ŞåŅŞĬå ʱƴå Ĺåƴåų ŸååĹ
ÏųĜƋĜϱĬĬƼ åĹÚ±ĹčåųåÚ ±ĹĜĵ±ĬŸţ ÆåüŅųå ƋʱƋ čĜƴå ƋĘåĵ ± ų屟ŅĹ ƋŅ ƵŅųųƼ ĹŅƋ
8ųŅĵ ƋĘå ĵŅƚĹƋ±ĜĹƋŅŞŸ Ņü ƋĘå BĜĵ±Ĭ±Ƽ±ŸØ ŅĹĬƼ ±ÆŅƚƋ ±ĹĜĵ±ĬŸØ ÆƚƋ ±ĬŸŅ ±ÆŅƚƋ ƋĘå
ƋĘųŅƚčĘ FĹÚĜ±űŸ ģƚĹčĬåŸ ±ĹÚ čų±ŸŸĬ±ĹÚŸØ ƋŅ åÏŅŸƼŸƋåĵŸ ƋĘåƼ ĬĜƴå ĜĹţŰ
ƋĘå ŅÏĩĜåŸ Ņü ƋĘå eĵåųĜÏ±Ĺ œåŸƋ ±ĹÚ „ŅƚƋĘ
America’s Amazonian rivers, Winter’s photos ĬĜÏĩ ƋĘå ĬĜĹĩ ƋŅ Ĭå±ųĹ ĵŅųå ±ÆŅƚƋ œĜĹƋåų
±ĹÚ ĘĜŸ ƵŅųĩØ ±ĹÚ üŅų ÚåƋ±ĜĬŸ Ņü ƋĘå åƻĘĜÆĜƋĜŅĹţ

SK I LLS

CRASH COURSE

ESSENTIAL PHOTO SKILLS MADE EASY

GLOW-IN-THE-DARK FLOWERS

James Paterson shows you how to capture psychedelic images
ŅüƤüĬƚŅųåŸÏåĹƋƤüĬŅƵåųŸ ±ĹÚ ŞĬ±ĹƋŸ ƚŸĜĹč ƚĬƋų±ƴĜŅĬåƋ ĬĜčĘƋ

1 Ultraviolet light can have a ŞųŅÚƚÏå ± ĬŅƋ ŅüƤƴĜŸĜÆĬå ĬĜčĘƋ ŠƋĘĜŸ ĜŸ ƋĘå visible light, it’s fine for our purposes.
dramatic effect on flowers bluey-purple light you often see). They
HOUR by revealing glowing colours work great on things like T-shirts and ‰ĘåƤ¬œ Ɩ üĜĬƋåų üĜƋŸ ŅĹƋŅ ƋĘå üųŅĹƋ Ņü ƋĘå
and details unseen by the glowing makeup because these surfaces torch to cut out more of the visible light
have strong UV reflectance, but with for a purer UV beam.
naked eye. Outside the visible spectrum flowers, the UV reflectance is weaker, so
instead we need a more concentrated When we shine the UV torch onto
of light, UV causes phosphors in certain UV beam in the form of a UV torch. flowers and leaves, the beam can reveal
substances and surfaces to store up lovely displays of glowing colours that
energy, which is then released as light. Thankfully, one of these won’t break transform the look of plants. Some
the bank – we used a Convoy S2+ UV flowers and leaves shimmer with
eƤŞĘŅŸŞĘŅų ĜŸ ŸŅĵåƋĘĜĹč ƋʱƋ åĵĜƋŸ LED flashlight and ZWB2 filter, which glowing dust-like displays, while others
visible light when activated by UV we purchased online for about £25/$32.
radiation – like your white T-shirt and This produces strong fluorescence in ƵĜĬĬ ųåƴå±Ĭ ƚĹåƻŞåÏƋåÚ ÏʱĹčåŸ ĜĹƤĬĜčĘƋ
teeth under UV ‘blacklights’ at a disco. flowers, and while it still gives off some and detail. To capture this, we can set
our camera up for a long exposure, as
However, those sort of disco lights
ĜüƤƵå Ƶåųå Ş±ĜĹƋĜĹč ƵĜƋĘ ĬĜčĘƋţţţ
won’t cut it here. The problem is they

SK I LLS
THE SETUP GET PREPPED TO SHOOT WITH UV LIGHT

Find a dark room and a few flowers, then turn on your
UV torch for stunning displays of colour and light

1 SAFETY GLASSES 2 FLOWERS & LEAVES 3 PLAIN BACKDROP

Exposure to UV light can be damaging Different plants will fluoresce in A dark plain backdrop will contrast
to the eyes, so before we get into different ways, and you may find some
don’t work at all, while others will give ƵĜƋĘƤƋĘå čĬŅƵĜĹč ÏŅĬŅƚųŸţ œå ƚŸåÚ ƋĘå
ƋĘĜŸ ƋåÏĘĹĜŧƚåØ ƵåƤĹååÚ ŸŅĵå åƼå you a magnificent show – you might
protection. Safety glasses are usually ÆĬ±Ïĩ ŸĜÚåƤŅü ± ĂěĜĹěŎ ŞŅŞěƚŞ ųåüĬåÏƋŅų
made of polycarbonate, which blocks Ÿåå ŸŞåÏĩŸ Ņü ĬĜčĘƋƤŅų ÚƚŸƋƼ čĬŅƵĜĹč here. You could try different colours
ultraviolet light; you could also and surfaces for your backdrop if you
ޱƋƋåųĹŸţ )ƻŞåųĜĵåĹƋ ƵĜƋĘƤ± ƴ±ųĜåƋƼ
ƚŸå ± ޱĜųƤŅü ÚåÏåĹƋ ŸƚĹčĬ±ŸŸåŸ Ņų of plants and flowers and see what ĬĜĩåØ ±Ÿ ƋĘåƼ ĵ±Ƽ ųå±ÏƋ ƋŅ ƋĘå ŽšƤĬĜčĘƋ
spectacles that have UV protection. results you can achieve. in unexpectedly delightful ways.

5 4
1 6

2

3

4 TRIPOD & SELF-TIMER 5 UV LIGHT 6 DARK ROOM

We need to paint our flowers with the Ultraviolet light is just outside the We need to shoot in a darkened room
so that the only light that’s recorded
ŽšƤĬĜčĘƋ Ņƴåų ± üåƵ ŸåÏŅĹÚŸ ƋŅ ÆƚĜĬÚ ų±ĹčåƤŅü ƴĜŸĜÆĬå ĬĜčĘƋ ƋʱƋ čŅåŸ üųŅĵ
up the detail and quality of the plants’ red at one end through orange, yellow, ĜŸ üųŅĵ ŅƚųƤŽš ƋŅųÏĘţ ¥Ņƚ ÏŅƚĬÚ ±ĬŸŅ
patterns, and this means using a tripod green, blue, indigo and violet; UV is
to keep the camera completely still. It’s just beyond violet. While we can’t see ŸĘŅŅƋƤŅƚƋÚŅŅųŸ ±Ƌ ĹĜčĘƋ ô ĜĹ ü±ÏƋØ ƼŅƚ
also a good idea to set a 2-sec self-timer it, we can see how it excites certain can experiment by shining your UV
delay to prevent camera shake when torch on outdoor surfaces, plants,
firing the shutter. Ÿƚųü±ÏåŸƤ±ĹÚ ŸƚÆŸƋ±ĹÏåŸ ƋŅ ĵ±ĩå ƋĘåĵ
±ĹÚƤåƴåĹ ĜĹŸåÏƋŸ ƋŅ ϱŞƋƚųå ±ĬĬ ĩĜĹÚŸ
čĬŅƵƤĜĹƤ±ĬĬ ĵ±ĹĹåų ŅüƤĜĹƋåųåŸƋĜĹč Ƶ±ƼŸţ
ŅüƤåƼåěϱƋÏĘĜĹč ŽšƤųåüĬåÏƋ±ĹÏåţ

SK I LLS

HOW TO CAPTURE FLUORESCING FLOWERS

1
UV FLASHLIGHT

The Convoy S2+ UV LED flashlight we used has
a concentrated UV beam, so keep it away from

eyes, even with your safety glasses on. This
365nm torch is mostly used by mineral-lovers
seeking out rocks and gems or testing minerals

at shows, but it’s also ideal for capturing
fluorescence in flower photography.

2
ATTACH A ZWB2 FILTER

This little circle of glass behaves as a
ĬŅĹčƵ±ƴåƤƱĹÚŞ±ŸŸ üĜĬƋåųØ ÏƚƋƋĜĹč ŅƚƋ ŸŅĵå
of the light spectrum outside the UV range;
by doing this we prevent visible light from
overpowering the weak UV reflectance in
flowers. You can tape the filter to the front of
the torch, or unscrew the head and fit it inside.

3
SET AN EXPOSURE

The correct exposure will depend on the
strength of the torch and the amount of UV
reflectance, so it may take some trial and error
to find the right shooting settings. As a starting
point, set your camera to Manual mode with
± ŸĘƚƋƋåų ŸŞååÚ Ņü ŎĂ ŸåÏŸØ ±Ĺ ±ŞåųƋƚųå Ņü üxí
±ĹÚ ±Ĺ F„kŎLjLj ŠŅų ŸŅĵå ƴ±ųĜ±ƋĜŅĹ Ņü ƋĘĜŸØ ŸƚÏĘ

±Ÿ üxŎŎ ±ĹÚ ƐLj ŸåÏŸšţ

SK I LLS

HOW TO CAPTURE FLUORESCING FLOWERS

4

FOCUS THEN LOCK

When shooting in low light like this the
camera’s autofocus has a tendency to hunt
around for the point of focus, so it’s best to turn
ŅĹ ± ĬĜčĘƋ ŠŅų Ĝü ƼŅƚűųå ŅƚƋŸĜÚåØ ŸĘĜĹå ± ųåčƚĬ±ų
torch light on your subject), then pre-focus on
the plant. Once the AF has locked on, switch to

manual focus to lock the focus.

5

START LIGHT PAINTING

After starting your long exposure,
ŸĘĜĹåƤƋĘåƤƋŅųÏĘ Ņƴåų ƋĘå üĬŅƵåųŸ ô Ƶå ϱĹ
concentrate the beam in different areas of
ƋĘåƤÏŅĵŞŅŸĜƋĜŅĹ ƋŅ ÆƚĜĬÚ ƚŞ ƋĘå ĬĜčĘƋĜĹč ŅĹ
both the subject and surrounding plants.

‰±ĩåƤĹŅƋå Ņü ƵĘĜÏĘ ±ų屟 üĬƚŅųåŸÏå ƋĘå
strongest, and arrange the flowers to include

these parts in the frame.

6

SCULPT WITH THE LIGHT

Experiment with the angle at which you shine
the torch, as a side-on light will help to reveal

the texture and detail in the flowers, while
ŞĬƚĹčĜĹč ŅƋĘåų ޱųƋŸ ĜĹƋŅ ŸĘ±ÚŅƵţ ƼƤŸĘĜĹĜĹč
the light at the front, back and sides of the
subject for varying lengths of time you can

mimic a two-, three- or four-light setup.

SK I LLS
HOW TO CORRECT AND ENHANCE COLOURS

ŽŸå ƋŅŅĬŸ ĜĹ {ĘŅƋŅŸĘŅŞ Ņų XĜčĘƋųŅŅĵ ƋŅƤÏŅųųåÏƋ ƋĘå ŸƋųŅĹč ÆĬƚå ÏŅĬŅƚų ϱŸƋŸ

1 SET WHITE BALANCE 2 USE COLOR MIXER 3 EXPOSURE CONTROL

Your flower photos are likely to have Even after adjusting the white balance It’s tricky to get light painting perfect
a strong blue colour cast, so it’s best in-camera, and you may find that some
to shoot in raw for greater headroom ƼŅƚųƤĜĵ±čåŸ ĵ±Ƽ ʱƴå ± ŸƋųŅĹč ÆĬƚå parts of the frame have received too
when correcting the colours. Select much light and others too little. If so,
the White Balance Eyedropper tool ƋĜĹƋØ ±ĹÚ Ĝü ŸŅ ƼŅƚ ϱĹƤƋŅĹå ƋĘĜŸ ÚŅƵĹ use the Adjustment Brush in Camera
in the Camera Raw/Lightroom Basic using the Camera Raw/Lightroom Raw/Lightroom to selectively paint in
panel, and click on a point that should Color Mixer panel. Go to the Saturation more or less exposure over areas that
tab, and select the Target tool. Click on need it – simply dial in the required
Æå ĹåƚƋų±Ĭ ŠĬĜĩå ƋĘå ÆĬ±Ïĩ ƱÏĩÚųŅŞ the overly strong colours and drag left exposure and start painting.
here) to correct colour casts. to tone them down, or drag right over
weaker colours to boost them.

WHAT IS FLUORESCENCE?

This type of photography can be

referred to using the convoluted term

‘UV-induced visible fluorescence

ŞĘŅƋŅčų±ŞĘƼű ŠŽšFš8 üŅų ŸĘŅųƋšţ eŸ

ƵåĬĬ ±Ÿ üĬŅƵåųŸØ ŽšƤĬĜčĘƋ Ï±Ĺ ŞųŅÚƚÏå
wonderful shows in certain rocks,

minerals, fungi and other organic

substances that naturally fluoresce.

The process of fluorescence occurs

when a substance absorbs UV radiation AFTER
– which is outside the visible range

of light – and then emits some of the

stored energy as visible light, causing

the objects to glow. Fluorescence

ĜŸ ƚƋĜĬĜDŽåÚ ĜĹƤĵ±ĹƼ ŞųŅÏ域åŸØ ŸƚÏĘ
as fluorescent strip lighting – inside

fluorescent light tubes is mercury

vapour that, when ionized by electricity,

emits UV radiation. The

tubes have a phosphor BEFORE
coating that converts

ƋĘåƤŽš ĜĹƋŅ ƴĜŸĜÆĬå ĬĜčĘƋØ
which is designed to

mimic warm tungsten

light while being more
energy-efficient.

E D I ‰ I NG

{Bk‰k„Bk{

LEARN ESSENTIAL EDITING SKILLS FAST!

HOW TO... WATCH THE VIDEO

CREATE A TASTY h t t p: // b i t . ly/ 2m q w s s p
FOOD STACK

James Paterson shows DOWNLOAD THE
PROJECT FILES
ƼŅƚƤĘŅƵ ƋŅ ŞĘŅƋŅčų±ŞĘ ƋĘĜŸ
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±ĹÚ ƋĘåĹ ŞĜåÏå ƋĘå Ĝĵ±čåŸ
ƋŅčåƋĘåų ĜĹ {ĘŅƋŅŸĘŅŞ ON A PC OR MAC

F loating food stack images are
ŞŅŞƚĬ±ų ĜĹƤüŅŅÚ ŞĘŅƋŅčų±ŞĘƼ
±ĹÚƤ±ÚƴåųƋĜŸĜĹčØ ±ĹÚ ĜĹ ƋĘĜŸ
ƴĜÚåŅƤƋƚƋŅųĜ±Ĭ ƵåűĬĬ ŸĘŅƵ ƼŅƚ ĘŅƵ ƋŅ ŞƚĬĬ
Ņüü ± ĵŅƚƋĘƵ±ƋåųĜĹč ƋųĜÏĩ ŸĘŅƋ ÆƼ ƚŸĜĹč
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{ĘŅƋŅŸĘŅŞ ƋåÏĘĹĜŧƚåŸţ
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ƵĜųåƤŞĬ±ƋüŅųĵŸ üŅų å±ÏĘ ĜƋåĵ ĜĹ ƋĘå ÆƚųčåųØ
±ĹÚ ƋĘåĹ ŞĬ±ÏĜĹč ƋĘå ĜƋåĵŸ ĜĹ ƋĘå ŸƋ±Ïĩ
±ĹÚ Ƌ±ĩĜĹč ƋĘå ŸĘŅƋţ œå ƋĘåĹ ųåĵŅƴå ƋĘå
ŸƋ±Ïĩ ±ĹÚƤŸĘŅŅƋƤ±Ĺ åĵŞƋƼ üų±ĵåţ
cåƻƋØ Ƶå ŞĜåÏå ƋŅčåƋĘåų ƋĘå üų±ĵåŸ ĜĹ
{ĘŅƋŅŸĘŅŞ ±ĹÚ ųåĵŅƴå ƋĘå ƵĜųåŸ ±Ƌ ƋĘå
åÚčåŸţ BŅƵåƴåųØ Ƶåűųå ŸƋĜĬĬ ĬåüƋ ƵĜƋĘ ƴĜŸĜÆĬå
ޱųƋŸ Ņü ƋĘå ƵĜųå ƋĘå üŅŅÚ ĜŸ ųåŸƋĜĹč ŅĹØ
±ĹÚ Ęåųå Ƶå ĹååÚ ƋŅ ƚŸå {ĘŅƋŅŸĘŅŞűŸ
ŞŅƵåųüƚĬ {±ƋÏĘ ‰ŅŅĬ ƋŅ ųåĵŅƴå ±ĬĬ Ƌų±ÏåŸ
Ņü ƋĘå ƵĜųåŸ ±ĹÚƤüĜĹ域å ƋĘå Ĝĵ±čåţ
‰ĘĜŸ ĜŸ ±ĬĬ ĵƚÏĘ å±ŸĜåų ƋʱŠĜƋ ŸŅƚĹÚŸØ
±ĹÚ ƵåűƴåƤŸƚŞŞĬĜåÚ ƼŅƚ ƵĜƋĘ Ņƚų ŸƋ±ųƋĜĹč
Ĝĵ±čåŸØ ±ĬƋĘŅƚčĘ ƼŅƚ Ï±Ĺ Ņü ÏŅƚųŸå ŸĘŅŅƋ
ƼŅƚų üŅŅÚ Ņü ÏĘŅĜÏåţ eĹƼ Ĭ±ƼåųåÚ üŅŅÚ ƵĜĬĬ
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ޱĹϱĩåŸ ŅųƤ± Ĭ±ƼåųåÚ Ï±ĩåţ

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