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THE WORLD’S BEST-SELLING DIGITAL PHOTO MAGAZINE
27 MAY-2 JUNE ISSUE 453
INSPIRATION IDEAS IN-DEPTH REVIEWS
FUJIFILM X-E4 REVIEW
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LEARN HOW TO CAPTURE STUNNING CREATIVE MACRO

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CONTENTS

FIND OUT WHAT’S INSIDE THIS ISSUE

FEATURE NHINOESSWTTASO36F0NOENWEFREAGTEUTRSEAS

PHOTOS INSPIRATION Free update brings new shooting
modes, options, and effects
CRASH COURSE PHOTOSHOP FEATURE
GEAR
ytteG © egamI revoC SMALL WONDERS
FUJIFILM X-E4
Master creative macro with pro
The X-E4 promises tips on kit and key techniques
cutting-edge image
quality in a retro PGHALOLTEORSY
rangefinder design.
Is this the perfect Our pick of the best reader
travel compact? Find photos from around the world
out in our full review INSPIRATION

IMAGES WITH IMPACT

New environmental photo
contest reveals its first winners
CRASH COURSE

LIGHT UP THE DARK

Use night-time illuminations
for dazzling portraits at night
PHOTOSHOP

PAINTING THE PAST

Discover how to restore and
hand-colour an old print

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WHEN YOU SUBSCRIBE

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W H ANTE’ WS SH O T

THE WEEK’S TOP HEADLINES IN PHOTOGRAPHY

A IDNDSST AA3H6O0 SOTNOEFRFUEPADT UART EE S

Modular action/360 camera gets new modes and improved image quality

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A action and 360 camera maker upright and level in Pro video mode in gets an improved Vivid colour profile,
Insta360 has announced a tandem with Insta360’s remarkable and all the Mods now offer four different
major update for its ONE R FlowState stabilisation system. in-camera sharpness settings.
Twin Edition modular camera. It builds
on the camera’s already formidable Also new is Loop Recording, which The Insta360 mobile app has two new
features and adds even more, and is gets round the problem of knowing Shot Lab templates: Horizon Flip, which
available as a free firmware update when to start and stop filming. This lets automatically mirrors your surroundings
which you can install via the mobile app you set up any of the lens Mods for in the sky for a futuristic effect, and
or the Insta360 Studio desktop software. continuous loop recording of up to 30 Overtaker, which overlays the number of
One of the big new features is a minutes, and sounds ideal for situations cars you pass for a ‘video game’ effect.
Horizon Lock mode for the 4K (action where you know something is going to
camera) Mod and the separately happen, but you don’t know when. TimeShift videos are now sped up to
available 1-inch Mod. It’s for when you’re 6x before being saved so that they take
filming in situations where it’s difficult to Insta360 says image quality has been up less space, and external mic audio
keep the camera steady – Horizon Lock improved, with the 4K Mod and 1-inch quality has been improved. There’s also
will do this for you, keeping your footage Mod now offering 4K 50fps shooting in a new wireless Roadie Remote, which
Pro video mode for content creators attaches to your car’s steering wheel for
with a 25fps workflow. The 1-inch Mod safer camera control while driving.

F E A TUR E

CLOSE AND CREATIVE
Macro photography provides many
opportunities for artistic images which are
never fully explored by photographers. The
genre is about far more than capturing a

literal record shot of a subject

hceneF reteP ©

ARTISTIC MACRO
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M acro is a fascinating and geologists, and they also happen to is rarely going to provide the engaging
challenging photographic look rather beautiful, making them the story that viewers might expect.
genre; it’s a blend of science perfect subjects for gallery display.
and artistry, combining the functional Similarly to wildlife photography,
with the decorative. Photography is a Of course, the approaches we it can be tempting to think of macro
powerful scientific tool, enabling us to should take to creating macro images as functional. Many photographers
study the world around us in precise will differ, depending on the end entertain the philosophy that closer
detail, an area where macro photo gear use of the resulting photographs. If is better, and that beyond the basic
excels. It can reveal features we would simple record shots are the name colour and detail of the subject there’s
never otherwise be aware of, and so of the game then a standardised little to experiment with in terms
can be an enlightening medium for compositional technique will help of composition, focus and camera
those researching the natural world. save you time and ensure clear views settings. Over the next few pages we’ll
Flowers, colourful insects and natural of the important details you want to explore the missed opportunities this
patterns are not only points of interest capture. However, if you’re looking at can result in, and look at how you can
for botanists, entomologists and the subject from the point of view of a craft the physical elements to produce
creative photographer, then ‘standard’ captivating multi-layered artworks.

F E A TUR E

KIT BREAKDOWN

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LIFE-SIZE OR GREATER
For small subjects, a lens which
enables 1:1 magnification or higher
will enable you to get close enough
to reveal minute details

segamI ytteG aiv tnemoM / tareenahT tuyaraS © IMAGE STABILISATION

Understand IS modes and types
for use in macro photography

IS can be a particularly useful feature
in a macro lens – high magnifications
exaggerate camera shake excessively,
making handheld macro a challenge.
While any IS (or VR, OIS etc.) feature will
help to reduce blur, some modes are
more helpful than standard functions.
Look for lenses with a macro IS mode –
for example Canon’s Hybrid IS, which
compensates for rotational movements
often seen in close-up shots. Alternatively
use something like Nikon’s Active VR,
which targets vibrations caused by
shooting at extreme or unstable angles.

M ost photographers are familiar the magnifying power of the optical whole frame with just a tiny proportion
with what a macro lens design and the resulting reproduction of the total subject.
does, and how it differs from size of the subject in the final frame.
conventional optics of similar focal For beginners, many lenses have a The next consideration is
lengths. However there are multiple ‘macro’ function, especially telephoto sensor size, as this will also affect
types of macro lens available these zooms, such as a 70-300mm. This is composition. An APS-C sensor has
days, as well as several options of somewhat misleading, however, as less total area, so the crop factor
camera format; this can complicate the such lens modes do not provide true will make frame-filling compositions
choice of gear considerably, and it’s macro magnification; the common easier. With a full-frame camera, post-
critical to understand just how various reproduction ratio is somewhere process cropping may be necessary
items impact the type of creative around half life-size (1:2) or less (1:4), to achieve this with the same focal
macro shots we can capture. which is still useful for larger objects, length, reducing overall file resolution;
Magnification ratio is the first but cannot provide frame-filling at life-size, however, this can exclude
important factor to consider, as this will compositions of very small subjects. a lot of the environment, which may
directly influence how close you can A true macro lens has at least a 1:1 not be desirable. Some photographers
get to your subject. To clarify, this does magnification, meaning the projection prefer a medium-format sensor,
not necessarily refer to the minimum is the same size as the real object, and because even at 1:1 there is still some
focus distance of a lens, but rather this allows the photographer to fill the extra space around the subject, to
provide context.

F E A TUR E

KIT BREAKDOWN CONTINUED

MACRO LENS TYPES

Pick the right lens for your creative macro
requirements
STANDARD MACRO

Many photographers’ first
macro lens is a 50mm or
60mm optic, with a 1:1, life-
size magnification. These
are easy to use, affordable
choices and are perfect for
creative flower photography.
The short focusing distance is
less useful for skittish insects
though, and less practical
overall. This lens is best for
everyday macro imaging.

inisenoB attehcirnE © SHORT TELEPHOTO

SENSOR SIZES The smaller the sensor in your camera, the more frame area the subject The 100mm range is often
will occupy. A full-frame or medium-format camera will offer a little extra room around the choice of enthusiast
the edges of the frame macro photographers.
These lenses allow you to
REVERSE LENSES work slightly further away
from the subject, making
High magnification photography need not break the bank 1:1 shooting more practical.
Expect image stabilisation
A technique which seems to have fallen out of favour in recent years, using a to be more common, and
reversed lens is a fantastic way to get creative macro images, with amazing levels full-frame compatibility. The
of detail. A reversing ring fits to the forward screw thread on your lens, enabling best compromise between
reverse mounting of the lens on your camera. This inverts the optical system and features, size and price.
provides extreme magnifying power. Wide lenses of around 35mm offer the highest
magnifications. Be aware, though, that you’ll lose all aperture control, so an older lens TELEPHOTO
with an aperture ring is the best choice for this.
Macro lenses with focal
lengths of 180mm or 200mm
are the choice for working
professionals. These offer
true life-size reproduction
from a good distance from
the subject, making them the
perfect candidate for insect
photography and skittish
subjects. They do tend to be
heavy, large and expensive,
but they’re also useful for
other genres such as wildlife.

SPECIALIST

There are some tilt/shift
lenses with true macro
focusing. These are great
for controlling focus and
extending depth of field.
There are also some lenses
which offer greater than 1:1
magnification. These are
both highly niche types, with
prices as impressive as the
creative freedom they offer.

F E A TUR E

PLAY WITH FOCUS

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ULTRA SHALLOW
Shooting at maximum aperture
greatly limits DOF in macro
photography, and this can be
used to creative effect, especially
where the subject also has minimal
depth – here, the extreme fall-off
in focus is attractive

inamieloS hehelaS ©

A s we’ve discussed previously, images which ‘pop’ with fields of of trying to beat it, or intentionally
macro photography can colour in multiple distance planes defocus the scene to turn the image
become a somewhat routine from the camera, and by using a into creative blobs of colour and light.
process, whereby we stick rigidly shallow depth of field we can diffuse The key is to observe the
to a style of shooting, to produce both foreground and background environment first, to discover the
formulaic images. Perhaps it’s details, to create attractive negative best combination of subject and
because of the association with space. We can also use this background. If the colour of an
scientific photography that we tend technique to introduce impactful, object is all that will remain, it needs
to become preoccupied with technical but undistracting natural frames, to fit with its surroundings. Look for
perfection when shooting macro using foliage or other environmental contrasting colours to introduce
images, seeking tack-sharp detail in elements close to the camera position. harmony, and adjust your composition
every frame. This is certainly a useful Venturing even further into the to optimally align all areas of a scene.
skill to have, since accidentally out-of- unusual, why not remove sharpness One thing to be aware of, however,
focus images are impossible to cover altogether? Go against the grain is image noise. This is a technical
up in close-up photography, but there and blur all sharp detail to produce aspect that can be easily forgotten.
are many more artistic possibilities to abstract images. There’s something When blurring large areas of your
explore beyond this. incredibly satisfying about defying image, you are flattening out detail,
Focus can be manipulated to convention in this way, and using making image grain more visible. At
convey depth in the subject’s the core elements of photography higher ISOs in particular, graininess
environment. When combined to produce a unique style. Either in out-of-focus areas can become
with careful arrangement of the use a slower shutter speed outside, a highly visible problem, so zoom in
composition, it’s possible to create incorporating wind blur instead and check as you shoot.

F E A TUR E

PLAY WITH FOCUS CONTINUED

SHOOT THROUGH COLOUR AFTER

Add depth and creative colour
washes for interest
BEFORE

CREAMY COLOUR

The diffused colour in the foreground
enhances the three-dimensional feel of the
shot and also lends a natural colour palette
to otherwise monochromatic surroundings

1FIND IDEAL ARRANGEMENT 2LOWER CAMERA HEIGHT
Look for flowers where you can pick a subject with colour behind Align the flowers so that they spread across the frame, but don’t
and in front of it. This allows the background and frame edges to be obscure the subject too much. Get down to ground level so that you
awash with colour, avoiding empty space. can shoot at a 90-degree angle for maximum depth.

3VARY APERTURE 4FOCUS MANUALLY
Begin wide open, but stop down by around one stop to make Shooting through foreground elements may confuse the
the foreground flowers more defined – we need to balance structure autofocus into ‘hunting’ – switching focus from the subject to
with clean detail. To control the lighting, diffuse sunlight, or use ND flowers closer to the camera. For reliable focusing, use manual
filters to allow flash. focus, which also allows for fine-tuning.

F E A TUR E

PLAY WITH FOCUS CONTINUED

PRACTICAL SPECIAL EFFECTS AFTER

Use household objects to create
abstract macro looks
BEFORE

ARTIFICIAL ABSTRACT

Incorporating non-natural elements can
allow us to create effects that are almost
impossible to achieve in nature. Here the
focus is clearly still the lone flower, but it’s
presented in a unique setting

1EXPLORE OBJECTS 2ARRANGE PROPS
Look for transparent items made from glass or plastic – your For this shot we placed the flower head between two glass
choice of material will alter the appearance of the subject when objects. The rear jar provided a neutral backdrop, while the
you shoot through it, so try both options if you have them. foreground glass warped the subject.

3MANAGE LIGHTING 4ADJUST COMPOSITION
Backlighting creates the most interesting glass pattern effect It’s often best to fill the frame with abstract scenes, to really sell
around the subject – here natural light was streaming in from behind the effect as intentional. This flower isn’t magnified at 1:1, but we’ve
our setup. Front lighting would create unattractive ‘glints’. excluded all environmental context so there are no distractions.

F E A TUR E

WORK WITH BACKGROUNDS
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I t’s surprisingly easy to overlook Right
the background of a macro shot. DETAILED, NOT
We tend to associate macro with DISTRACTING
super-shallow depth of field, and so we The aim with any
expect the background to be significantly macro background
out of focus in most images we shoot. is to offer a natural
This can cause us to neglect the backdrop context, with true-
when composing our images, with little to-life detail, and
attention paid to what is happening behind without unwanted
the subject. This is a fatal error: if anything, shapes and colours
the background plays an even more critical interfering with the
role in the success of a close-up image subject – this can
than in other photographic genres. be a challenge to
When we focus on a small object, at close achieve in confined
focusing distances, we are cropping out a environments
lot of the environment. The nature of using Below
a macro lens means a small area of colour COLOUR THEME
in the background can quickly become a When selecting a
frame-filling element, washing over the background pay
background and interacting with the subject close attention to
far more aggressively than we might have colour interactions,
first expected. This makes our choice of making sure that
shooting angle even more important. An the subject and
understanding of how background elements background work
control the mood of our images will help well together. Here,
our situational awarenes, when looking for the yellow and blue
subjects and planning our framing. hues complement
For reliably attractive backgrounds each other
when shooting outdoors, use foliage and inisenoB attehcirnE ©
other elements that exist in the immediate inamieloS hehelaS ©
environment, as these produce a lovely
natural look. Greens and blues give the
impression of vegetation and the sky,
which conveys an outdoor location. These
palettes can be used to tell a story about
the subject’s lifestyle and habitat, without
the need for any particular details or
literal references. Try shooting up at your
subject, which will not only give an unusual
perspective, but can also incorporate the
sky as a seamless, colourful background.
Where this is not possible, there are times
when controlling the background becomes
a case of replacing it entirely. Sometimes
there’s little we can do to rearrange the
background when shooting in the field, and
this is when bringing the subject indoors,
or introducing artificial elements behind
it, in-situ, has massive benefits. Producing
customised backgrounds to place in the
scene gives us free rein to select the ideal
colour, intensity and complexity of what
appears behind the main area of interest.

F E A TUR E

WORK WITH BACKGROUNDS CONTINUED

CREATE A MACRO LANDSCAPE

Macro expert Stewart Wood (www.stewartwood.com) shows you how to construct a miniature landscape scene

DANDELION FOREST CUSTOM BACKGROUNDS dooW trawetS © 7x
By carefully selecting natural items
and controlling background and light, Follow Stewart’s lead and print some
Stewart is able to produce amazing custom backgrounds – paper or card with
landscape-like macro scenes, with an array of colourful patterns that mimic
an intriguing lack of scale a natural environment. These can be placed
behind any subject, in the field or in the
studio, to produce bespoke styles on
demand. Try printing multiple colour
themes and brightness versions, for a full
range of creative options to match any
subject. You can further control background
styles with differential lighting.

1THE INGREDIENTS 2SET UP THE SCENE 3ADD A BACKGROUND
You will need some moss for the base, Place the moss on a base level to the To make the image better and give
dandelion seeds to use as trees, a spray bottle camera. Start to add dandelions seeds to the more colour you can add an object in the
for water droplets, and tweezers to place the moss using the tweezers, but be careful not to background. In this case I’ve used a simple
seeds into the moss. You may also need a break the seed off, or you’ill need to use a new background texture card, but you can also use
torch for additional light. one. You can place them randomly. paper or a coloured carrier bag, for example.

4LIGHTING AND CAMERA SETTINGS 5EDIT THE IMAGE 6ADD SOME WATER DROPLETS
For most of the shots you can use the For the final image you can be creative in To add character to the scene you can
ambient light, but you can also use a torch to the post-processing stage. Don’t be scared spray some water droplets onto the dandelion
light the scene or just the background. Set to adjust the settings in your post-processing seeds and moss, and then focus your camera
the camera for the correct exposure, and play software – you can push the blues and greens onto either a seed stem or water droplet – the
around to see what works best for you. around quite a bit to get the desired result. choice is yours.

F E A TUR E

CONTROL YOUR LIGHTING

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S ome aspects of macro TUNNEL VISION inamieloS hehelaS ©
photography require quite a Introducing focused light effects
bit of adaptation of the usual brings ‘normal’-scale illumination
techniques applied in other genres.
Focusing and depth of field is one, to the macro world. Since light
but another aspect that’s less thought gradients are often shallower on
about by many beginners is lighting, and small subjects, this increases the
this presents some major challenges.
The issue is not with overall exposure sense of being in the scene
– the same rules apply in macro as in
any other area – rather it relates to the impression of light at different times of
space you have to work in. The common day, controlling the colour and direction
working distances in macro imaging of the light on demand, regardless of
are mere centimetres from the subject, when you’re shooting.
making it tricky to place a flash to
evenly light the whole scene.
What usually ends up happening
is that the lens itself starts to cast a
shadow on the subject, when using the
minimum focusing distance of the optic.
This effect renders built-in flash all but
useless, with its unmovable position
on the camera’s top plate, and the
lens barrel between it and the subject.
However, even off-camera flashes can
be ineffective. We may find that the
flash is placed too high, or behind the
subject, or alternatively, with the light
too close, creating blown highlights.
In order to add soft, attractive lighting
we need to strictly control its diffusion,
direction and intensity. This might
involve spreading the light as much as
possible, or changing the direction to
light the subject at the best angle. The
aim is almost always to make the light
blend with the ambient illumination, to
make it appear as if the flash is sunlight,
so pay attention to shadow angle
and density. Remember that at high
magnifications light should be more
widely spread, since you’re capturing
a small part of a larger object, in which
light gradients are shallower.
Beyond ‘correct’ lighting though,
we have a wealth of creative options.
This feature is about adding that extra
element that sets your macro images
apart from the pool of record shots,
so think about how you can use light
to your advantage. This can be done off-camera flash offers great control
with natural light alone, for example over local lighting and spot-lighting
by using a diffuser to create a studio- effects. These techniques allow you
type high-key image. Alternatively, to mimic the sun to generate the

F E A TUR E

CONTROL YOUR LIGHTING CONTINUED

LIGHTING SETUP 1: LIGHT TENT LIGHTING SETUP 2: REFLECTOR

A light tent will soften the light from all directions, This enables you to create balanced lighting even
creating wraparound illumination. This is a good when shooting extreme close-ups. You can place a
starting point for creative editing, acting like a flat reflector on the other side of a subject from a flash
canvas, on which lighting effects can be introduced. to bounce some light back, in order to fill shadows.
You can buy a purpose-built light tent, or construct Alternatively, you can work with natural light only,
your own with multiple diffusion panels. reflecting sunlight for fill.

LIGHTING SETUP 3: BACKLIGHT makkaH inaH ©

This really pushes the natural feel in your macro
shots. Use the sun to backlight your miniature
subjects, or, for full lighting control, use a wireless
flashgun to fake the sun. The latter choice offers
total flexibility of light direction and colour
temperature for eye-catching effects.

DARK FIELD MACRO

Introduce some creative simplicity for striking images
For a simple but eye-catching style, shoot your
subject against a seamless black background.
Capturing an image that appears to have been shot
in a dark room enables you to only partially reveal
elements of the subject, or create eye-popping
contrast against the field of black; it also creates a
still-life look, with an artistic edge. Use your camera’s
max flash sync speed to eliminate ambient light.

F E A TUR E

PROCESS YOUR SHOTS

Give your macro shots a creative edge by adjusting light and colour

M acro retouching offers a host of Photoshop is a more subtle alternative. ESSENTIAL EDITING TOOLS
opportunities for creating artistic Next up, lighting suggests itself
effects. Much as with the actual The key software features for
shooting of macro photography, it can as a creative muse. Applying lighting creating macro masterpieces
be tempting to be highly conservative effects at the time of shooting is fun RADIAL FILTER
with the processing we apply to close- and effective, but there are some
up shots, focusing only on retouching technical challenges associated with this Where the subject only occupies a small
blemishes and adjusting contrast. But practical approach. Since your subjects area of the frame, the Radial Filter can
while these aspects certainly form part are so small compared to the size of apply a localised exposure effect. Similarly,
of any pro workflow, there are also more most flash heads, producing a focused a realistic focus fall-off can be created to
creative steps we can take to produce beam of light at the macro level can be control edge distractions.
shots with originality and flavour. unachievable. This is where the gradient
The first point of interest is colour. tools or brushes in software excel. It SHARPEN TOOL
When shooting insects or plants it can can be a simple case of stacking two
be important to preserve a natural exposures and brushing in a lighter area This tool enables excellent local detail
appearance for identification purposes. over the subject, for a spotlight effect. enhancement, which is non-destructive
However, since we’re looking at this Alternatively, we can look at creating when applied to a duplicate layer. This can
from a creative standpoint, accuracy artistic glows and beams, similar to be very effective for sharpening flower
is not always the best approach, as is those we might expect to see in a forest stamens or insect eyes.
the case in many aspects of artistic landscape scene.
photography. Try applying some BLENDING MODES
false-colour effects, to see what Finally, focus is a great element with
this does with subject depth and the which to experiment. DOF is probably Layer blending modes are ideal for
appearance of the natural surroundings shallow already, but applying tilt/shift adding colour effects to de-focused
in which it’s found. If you don’t want to effects, for example, is a targeted style, areas of macro scenes. It’s also possible
add a physical coloured background, with more artistic edge. Conversely, to composite bokeh effects using the Soft
adjusting the colour balance of local focus stacking, for increased DOF, Light, Lighten or Overlay modes.
areas of the shot with the Adjustment combined with additional lighting and
Brush in Lightroom or the Brush Tool in colour work, can be used to create
amazing macro scenics, offering a whole
new view of the hidden macro world.

BOKEH BANK Keep a file of background textures

Shoot a range of defocused background files, which can then be brought in to add interest
to future images. Much like a landscape photographer might assemble a bank of skies to
composite into other images, having a range of bokeh patterns and colours, of varying softness,
opens up a wealth of artistic possibilities for later blending. As you’re out shooting, switch to
manual and capture some out-of-focus frames, notably looking for specular highlights.

LET THERE BE LIGHT hceneF reteP © HSL
Shooting on an overcast day, or
heavily diffusing the sunlight, offers Hue, Saturation and Luminance enable
flat lighting upon which to create you to make targeted adjustments to
direction on demand – realistic effects colour. Good for a flower or insect with
can be achieved using a combination small, isolated patches of colour.
of selective adjustment tools
SPOT HEALING BRUSH

This is an ideal tool for quickly removing
blemishes, as it automatically fills the
target area with a sampled texture.

F E A TUR E

PROCESS YOUR SHOTS CONTINUED

TOP EDITING STEPS Discover some of the most common processing techniques for close-up flower images

CREATIVE PROCESS hceneF reteP ©
Selective adjustments are hugely
relevant in the field of artistic macro
image editing. It’s often important to
adjust image areas independently for

the most creative freedom

1BLACK AND WHITE POINTS 2ADJUST COLOUR BIAS 3LOCAL COLOUR
Set up the overall contrast of the shot Lots of greens can confuse the auto WB Add in creative colour to localised areas
by setting the black and white points in systems in many cameras, so be prepared of the shot. This might involve reducing the
Lightroom or Camera Raw. Move the sliders to remove excessive greens or too much saturation of a false background, or changing
until just before clipping occurs, or to suit the magenta to maintain a natural look, at least the hue of natural background colours. Here
image – this will ensure that you have a good to start with. If you colour-grade later, this will we’re using the Radial Filter to add a subtle
starting point without loss of detail. help to minimise unexpected effects. wash of blue to our background.

4SET LIGHT STRUCTURE 5RETOUCH DISTRACTIONS 6DODGE AND BURN
Either darken the edges of the frame, Remove blemishes to suggest that you To bring out some of the specular
using a light vignette, or use the Adjustment chose the ideal specimen, even if this wasn’t highlights of the background bokeh, we used
Brush or Radial Filter to add a spotlight effect possible. Here we’re using the Spot Healing the Adjustment Brush set to +0.50 Exposure
to selective areas of the scene. Here we’ve Brush to smooth out the petals, removing and clicked once on several highlights, with
brightened the flower and slightly darkened large pollen particles and scuffs. We also medium Flow. We also reduced the exposure
the background. removed stems from neighbouring plants. in some bright background areas.

F E A TUR E

10 TIPS FOR ARTISTIC MACRO SHOTS
Use pthheosteogkreayphteyc thon niqeuwe sctroeattaivkee hyeoiugrhmtsacro

1DIRECTIONAL LIGHTING CAMERA ANGLE
Try using off-camera flash Altering the angle of your lens to the
or diffused sunlight to add subject can have a huge impact on
sparkle and definition to close- background alignment – more so than with
up subjects. other genres. Pitching the camera just a
few degrees can transform an image
2CREATE LAYERS
Align the camera to include inamieloS hehelaS ©
clear foreground, middle and
background elements for an
immersive feel.

3BAVAOCKIDGREOMUPNTDYS

Negative space is useful.
Empty space, on the other
hand, is a void which pulls the
eye from the subject.

4CONTRAST COLOUR
Look for contrasting hues
to make your shots burst with
colour, to emphasise those
present naturally.

5IMMERSE THE VIEWER
Always focus on making
the viewer feel as if they are
small themselves, and within
the scene!

6DYNAMIC ANGLES
Get down low and shoot up
at small subjects, pushing the
bug’s eye aesthetic.

7FALSE COLOUR
Where you’re unable to
find a perfect background
naturally, add your own to add
necessary colour interactions.

8BRING IT INSIDE
For maximum control
over light and exposure bring
the subject into a studio
environment.

9FRAME WIDER
Don’t always fill the frame;
often the surroundings are
where the true story is found.

10EFOVECURSYTIHSING

Try shallow focus and greater
DOF to find the balance of
depth and distraction.

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FACEBOOK FLICKR PHOTOGRAPHY WEEK WANTS YOUR PHOTOS!
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I TI’ SN C OS P I OR LA ,T TI HO AN T

THE BEST THING WE’VE SEEN THIS WEEK

Gorilla by the Water by Kathleen Ricker, Photographer of the Year Mother of the Sea by Gabriel Barathieu, shortlisted, Reasons for Hope 1202 drawA yhpargotohP latnemnorivnE F2AP ysetruoc dna rehpargotohp ehT © segamI

SWTIUNNS NNIENWG PGHOORTILOLCAOINMTAEGSETSecretaryBlennybyStéphaneJamme,shortlisted,AmazingWildlife MangroveForestbyTrungAnh,3rdplace,ReasonsforHope
Winners of inaugural Environmental Photography Award are announced

A captivating image of gorilla has by the Water, a photo of a young male gorilla SEE MORE IMAGES
won the inaugural Prince Albert II which she took on a trip to Uganda.
of Monaco Foundation’s https://bit.ly/3f2YyLb
Environmental Photography Award, which The foundation launched the contest with
was launched to examine the relationship the theme ‘Humanity and Wildlife: Crossed
between humans and the environment. Destinies, Shared Territories’. The winners
The contest received an impressive 5,700 were chosen by a panel of pro photographers
entries from around the globe across three and environmental campaigners.
categories: Incredible Wildlife, Wildlife in
Crisis, and Reasons for Hope. Kathleen Click the link to see more photos and learn
Ricker took first place with her image Gorilla more about the competition. Images from the
contest will also feature in an Environmental
Photographer of the Year 2021 book.

C R A SS HK I CL OL US R S E

ESSENTIAL PHOTO SKILLS MADE EASY

TAKE A SHOT IN THE DARK

The darkest hours can result in dazzling portraits if you know how to find the
best light, or create your own. James Paterson offers some illumination…

1 We often think of twilight portraits. In this project we’ll explore a few a static subject we could simply use a
as the most atmospheric part techniques for capturing portraits after tripod and extend our shutter speed; but
of the day for photography. dark. We’ll begin by looking at how you with portraits we’re going to be restricted,
HOUR However, after dark can can make use of available lighting around as a person can only stay perfectly still
you, and then we’ll explain how you can for a moment, so in this scenario we need
also be a great time to head out with supplement these lights with your own. high ISOs and wide apertures. It’ll also
your camera, especially in a busy urban help if you have a camera that performs
setting, with coloured lighting from shop The biggest hurdle to overcome on well at higher ISOs – most modern DSLR
windows, passing traffic and neon signs a shoot like this is, of course, the lack and CSCs do – and a lens that offers a
all making for interesting and unique of light, and it means setting up your wide maximum aperture.
backdrops when you’re shooting camera for low-light photography. For

SK I LLS
STEP BY STEP FIND THE LIGHT AT NIGHT

1
FIND THE LIGHT

When you’re shooting portraits out on the streets
after dark, there will be little pockets of light here
and there that can be used to light the face. We
came across this spotlight after a few minutes of
walking around a city centre, and its power and

angle were perfect for our needs.

2
USE HIGH ISOS

We need to keep the shutter speed at around
1/100 to 1/200 sec – any slower and you’re
likely to experience camera shake or subject
movement. Here we’re in manual mode with the
ISO set to auto, which means the camera will
adjust the sensitivity to suit the scene. In this low-
light setting our ISO hovered around 6400.

3
SET THE MAX APERTURE

Open your aperture to its widest setting to
allow the maximum amount of light in – with
the 70-200mm lens we’re using we can open

up to f/2.8. A wide aperture also creates
a shallow depth of field, which creates a

tastefully blurred background.

SHOOT RAW both bright highlights and very deep or dark areas. A second, equally useful
rsmahneagadneoswthtsha.enRrtaehw’segoJrffPeeEarGtsefgrorhreemaatadetrr,owdoyhmnicahfmoric btwoeitanhdeejfiuxtsaotcntthlayestwhheohiosteat mlbikaeelartenhscisueilstpstohasest-iafsbhiolitoyt,
This is the kind of shooting scenario recovering detail in blown highlights you’d done so while shooting.
wsSehhtoetionretginycgoauanrftrceearamdllyaerrskah’wsowrilal wiotsftqweunoarmltithye. an
metering is tricky, as there will be

SK I LLS
STEP BY STEP FIND THE LIGHT AT NIGHT

4
METER OFF THE FACE

When a frame is largely dark, as is often the
case with night-time portraits, your camera’s
meter can be fooled into overexposing the
scene. If it does, consider using spot metering
and meter off the subject’s face, or dial in
exposure compensation to darken the image.

5
LOOK TO THE LIGHT

Often, street lighting comes from above, so an
upwards tilt of the chin can make the light fall
in a more flattering way across the face. Ask
your subject to angle their body towards the

light and lift their face towards it.

6
BACKGROUND BOKEH

Car lights, traffic signs and any other small
spots of lighting will be transformed into
silky-smooth, colourful bokeh when out of
focus. The longer the lens, the more you can
compress the perspective, and the larger

these colourful spots appear.

QUICK TIP

It sounds obvious, but keep yourself and your
geasrpsaafceesafatenrddkaerekp–asnhoeoyteinonbuysoyu,rwkeitll-lit

SK I LLS
STEP BY STEP LED LIGHTS AND EDITING

1 MAKE YOUR OWN LIGHT 2 EXPOSE FOR THE AMBIENT

An extra LED light is ideal for night-time portraits, Before turning on the LED we first need to find a good
especially if – like the Rotolight Neo 2 we’re using here – it spot with a colourful backdrop – the strips of colour-
allows you to alter the colour temperature. With dials for changing light here were ideal. We took a quick snap to
both brightness and colour temperature, we can balance determine the ambient exposure – as you can see here,
the LED lighting with the ambient street lights in the scene. the face is in shadow, but that’s what our LED is for.

3 BALANCE WITH THE LED 4 FINISH YOUR IMAGES

With our composition sorted we can turn on our LED and After your night-time shoot, use noise reduction to
use it to light the face – a portable light stand comes in tone down the grainy noise that’s impossible to avoid
handy here. Bringing a small light in close to the face like when shooting at higher ISO settings. If you use Lightroom
this will usually make it more flattering, as we increase its or Photoshop’s Camera Raw plug-in, head to the Detail
relative size in proportion to the face. This diffuses the light panel and increase Noise Luminance to tackle grainy
and makes it softer on the face. and unsightly noise.

MORE TIPS FOR LIGHTING UP THE DARK

FIND A LIGHT-FILLED BACKDROP SLOW SHUTTER TRICKS
Look for compositions where you can include a backdrop Why not try including moving traffic in the backdrop? With
that offers a range of lights, like a view down a busy street. a slower shutter speed you can blur the movement of the
A vantage point like this can be ideal, as you can include the background. You’ll need to hold the camera steady, or use
lights from both traffic and surrounding buildings. a tripod, and ask your subject to stand perfectly still too.

ED I T I NG

PHOTOSHOP

LEARN ESSENTIAL EDITING SKILLS FAST!

HHOOALWDNTODP...-HCOOTLOOSUR DPORWOJNELCOTADFITLHESE

James Paterson breathes https://bit.ly/2R2OM2l
new life into old prints by
restoring and colouring ON A PC OR MAC
them using a series of
straightforward
Photoshop skills

R estoring old photos is one of WATCH THE VIDEO
the most satisfying of digital
touch-up jobs. Not only are http://bit.ly/2zljpbl
you able to remove dirt, scratches and
all the other detritus of time – you can enhancements too. In this case the
also add your own creative input by sky in the original image was washed
colourising these old prints. This is a out, so I dropped in a few clouds from
relatively simple matter of painting another image to add depth to the
on different layers set to the Color scene. Touches like this might leave an
blending mode, a technique that – with archivist aghast, but if it makes sense
a little practice – even a complete visually then a little creative licence
Photoshop novice can master. can undoubtedly help you to produce
Often, the trickiest part of the a more engaging final image.
process is choosing which colours
to use. But with some images, a little
research can help. Here, for example,
my initial plan was to paint London’s
famous Tower Bridge with the iconic
bright blue styling that we see today.
But after a little digging, it emerged
that when the bridge first opened
in 1894 the cables were chocolate
brown (they were only painted blue
in 1982); I also discovered a painting
of the opening ceremony that proved
invaluable. It’s getting small details
such as these right that helps to lend
the restored photo extra authenticity.
If you like you can take things
beyond hand-colouring and add other

WANT MORE PHOTOSHOP TUTORIALS? CHECK OUT PRACTICAL PHOTOSHOP

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from the world’s best Photoshop creatives, free downloadable content, and a beginner’s guide to the basics.
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have kit they haven’t used in two years. Every single hidden-away camera and
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MIRRORLESS TEST

EXPERT OPINION ON THE LATEST KIT

FUJIFILM X-E4
A new rangefinder-style mirrorless that offers superb image quality

www.fujifilm.co.uk £799/$849

T he X-E4 is Fujifilm’s most Fujifilm’s X-E series, and it follows pwhitahs 4e2-d5efoteccutsapuotoinftosccuosvseyrsintegmth, e
compact interchangeable- the design of previous versions whole image area.
lens camera. As the latest in closely, but with Fujifilm’s latest
the brand’s X-E series of mirrorless 26.1MP X-Trans sensor. This gives it a The X-E4 is not really designed for
cameras, it has a rectangular modest increase in resolution over the the same kind of user as the X-T4,
rangefinder-like design rather than previous X-E3, but the real gain is a however. It can shoot at a frame rate
the mini-DSLR styling of the X-T newer generation of back-illuminated of 8fps with its mechanical shutter,
series. It’s a camera designed for sensor design, which brings a step or 10fps with its electronic shutter,
enthusiasts who value a classic, up in all-round image quality. It’s the but it’s not really a sports/action
compact design over all the bells same sensor that’s used in Fujifilm’s camera, not least because its size
and whistles of the X-S10 and X-T4. flagship X-T4, and this means the and shape make the handling a little
The X-E4 is the fourth camera in X-E4 also gets a powerful on-sensor awkward with longer lenses.

MIRRORLESS TEST FUJIFILM X-E4

1 There’s not even a bump on the front for 01 03
your fingers to grip, but that’s all part of 04 02
the X-E4’s minimalist design aesthetic.
2 The new XF 27mm f/2.8 R WR kit lens 06
is a super-slim pancake prime, and a key 05

part of the X-E4’s appeal.
3 The X-E4 is the fourth iteration of
Fujifilm’s range of rectangular rangefinder-

style mirrorless cameras.
4 The viewfinder is mounted in the top-left
corner of the rear, not on top like on other

Fujifilm cameras.
5 The touch-sensitive rear screen has a

tilting mechanism, but no sideways
movement for taking vertical shots.
6 There’s no four-way controller on the
back, but this small joystick does the job.
7 The X-E4 offers Fujifilm’s trademark
classic external exposure controls,
including a lens aperture ring and

a shutter-speed dial.
8 There’s an exposure compensation
dial – although it’s quite easy to forget

that you’ve applied it.
9 Naturally, the X-E4 takes all Fujifilm

X-mount lenses.

It can also shoot 4K video, but 09
only at a maximum 30fps frame rate,
and while the Fujifilm X-T4 and the 07
X-S10 have in-body stabilisation, this 08
camera does not, so for both stills and
video you’ll be reliant on lens-based
stabilisation, where available.

The other notable feature of the
Xca-Em4eirsaistsakreit sleonlds.wMitohsat mzoiroromrl,ebsust the
X-E4 kit option is a Fujinon XF 27mm
f/2.8 R WR ‘pancake’ prime, with a
40mm effective focal length and a
slim profile that perfectly matches
the slim camera body.
Key features
Two things set the Fujifilm X-E4 apart
from regular mirrorless cameras. One
is the rectangular rangefinder-style
design. Most mirrorless cameras are

MIRRORLESS TEST FUJIFILM X-E4

The X-E4 produced bright, vibrant colours
even under overcast skies; in this shot it’s
held on to the highlights in the clouds too

designed to look like DSLRs, with The X-E4’s Dynamic Range Priority mode has a mode dial, and you set the aperture
an electronic viewfinder on the top done a good job here, keeping detail in the and shutter speed electronically via
of the camera, but on the X-E4 the bright clouds and in the shadows under the pier menus and on-screen displays, the
viewfinder is built into the rear top- either, although if you decide the X-E4 has an old-school shutter speed
left corner. The X-E4 doesn’t have a camera is too awkward to hold you dial on the top, and the 27mm kit
grip for the fingers of your right hand, can get an optional handgrip. lens has a physical aperture ring.
The external exposure controls
on the X-E4 have become a Fujifilm Both of these have Automatic
trademark. Where most cameras have positions, so you still have the usual
Program AE, Aperture Priority,
Shutter Priority and Manual exposure
modes, but you achieve these with
combinations of aperture dial and
pshhuotttoegrrdaipahl seersttwinigllsl.oOveldi-ts, cbhuotonlefwilmer
photographers might have to do a
little head-scratching at first.

The Fujinon XF 27mm f/2.8 R
WR kit lens deserves a closer look,
too. This is a reworked version of a
lens Fujifilm has had in its X-mount
lineup for a while, and it adds a
physical aperture ring and weather
sealing, two small steps that are
really welcome. It’s a bold move for
Fujifilm to bundle a prime lens with

MIRRORLESS TEST FUJIFILM X-E4

The edge-to-edge sharpness of the XF 27mm f/2.8
kit lens is very good indeed – it has the feel of a
premium prime, not a cut-price ‘bundled’ lens

Bright outdoor shots like this aren’t a problem, this camera rather than a zoom, or the X-T4, both of which have
but in dimmer light neither the X-E4 nor its kit but it shows the company is aiming integrated grips. We paired the X-E4
lens have image stabilisation this camera at a particular type of with a Fujinon XF 16-80mm f/4 for our
enthusiast. You can, of course, use video tests, and that did feel a little
any X-mount lens with the X-E4, and large for the camera body.
you can buy it body-only for use with
lenses you already own. The electronic viewfinder isn’t the
highest-resolution display out there,
It’s worth pointing out that this is but with 2.36 million dots it’s still
not Fujifilm’s only classic rangefinder- perfectly crisp and clear for a camera
style camera. There’s also the like this. The rear screen is very good
Fujifilm X100V, with its hybrid optical/ too; it even has a tilting mechanism,
digital viewfinder and fixed 35mm although it doesn’t incorporate a
af/d2veaqncueivdalFeunjtiflielmnsX, -aPnrdo3th, aelsmoowreith sideways tilt like the X-T4, and the
a hybrid viewfinder and the ability X-S10 is better still with its fully
to swap lenses. artTichuelaXt-inEg4’sscrreeaerns.creen is touch-
Build and handling sensitive, and it’s really useful to
The X-E4 handles well, and the slim be able to tap the screen to switch
rectangular body is a good match for focus points, especially with the
the XF 27mm f/2.8 kit lens. If you camera on a tripod and when filming
switch to a larger lens, however, it video. What is annoying, though, is
doesn’t feel quite as well-balanced; if that the screen flips upside down if
you want to use longer Fujinon zooms, your ‘tapping’ finger gets close to
you might be happier with the X-S10 the EVF’s eye sensor – it’s as if the
camera imagines that you’re shooting

MIRRORLESS TEST FUJIFILM X-E4

accident), and the joystick takes care LAB TESTS
of all the menu navigation and focus
point settings. On the front there’s a RESOLUTION (LINE WIDTHS/PICTURE HEIGHT)
single control wheel, which is all this
We shot this using the X-E4’s Provia film camera really needs; this does have a 50
simulation mode, which is the closest to a central ‘click’ action that can be a little
standard, neutral rendition. You can also shoot too easy to activate unintentionally. 40
raw and choose your film simulation later Performance
a selfie, even when the screen angle The X-E4’s still image quality is 30
is quite shallow, and it proved pretty everything we’ve come to expect from
annoying during our video tests. In Fujifilm cameras. You can use the 20
fairness, although the X-E4 can shoot in-built film simulations for capturing
4K video perfectly well, it’s not really JPEGs, or you can shoot raw if you 10
a video specialist – there isn’t even a want to choose a colour profile later.
dedicated record button. 0100 200 400 800 1600 3200 6400 12800 25600
Round the back there’s no four-way There’s an interesting Dynamic NFuikjiofinlmZX5-0E4 SCoannyonAlEpOhaS6M4600Mk II
controller, just a small joystick. That’s Range Priority mode, which adjusts
fine – you don’t really miss the D-pad the camera’s ISO and tone curve to ‘fCiWomoaenrnaltfiogyenn’eshestEeasdOdvoeSitntchMagreii6lsaXpaII-2tiE6atlo4.nc1wadManegtPrhamsseineaeSsnntoctsshnotithyrit,vehAtietNhlipeei3khs2Xoa..-5n6MEZ44P05d0E0e.O,lDtSivhe Meserp6sitIeI
at all (the buttons on previous models match the brightness range of the
have been a bit too easy to press by scene; if you’re shooting JPEGs, it will SIGNAL-TO-NOISE RATIO (DECIBELS)
tweak the highlight and shadow curve
SSSXSPEEI1ZCNE5EESP.:6DOL6M:UR,2MMS: 4 AEBM0CPUHESXLG-AB4CAN;,,1PIEXC6IL-A0XETLECPR:LTI1ASRX5N:OE2SMLN6SCII.CNM1S:-M1HO15PSU/M4TI4I,MT,0NE20ART30GO.E5 erexgpioosnusrteolaptriotuvdideeytohue mkinigdhot fowncidee 60
231UECLCO../XH033DPVS-62E-MIV,TN0RIIOI0CAELC0H8GLOWI0ENSF1O-ENI,SN56NCET1-2DCOI,0D2TSER,OO0I0RAVT00:GRI0OELTEA-CLVY:DNDEF:SOD,G:WDT0E1I/W.-:8ST3IF0D1O9TI°6H-UH,0ICTCBN-1/IHL1SLC0SU2DTH0C,IEX%8RNTC0EGO0EO,NTH, have got from colour negative film.
1RU2ES1BCH-XCA7,R3HGDXEMA3BI3LMMEMICNWRPEO-IWGT1YH2PT6E:S3D6D4BIMGA,ETINTNSECIRLOYUN:DSI:NG Camera JPEGs can occasionally look 50
BATTERY AND SD CARD a little anaemic as a result, but you do
get a wide range of tones to work with 40
during editing. It’s almost like the stills
equivalent of log modes in video. 30

Speaking of video, the X-E4 shoots 20
oversampled 6K to produce its 4K
video files, which are sharp and full 10
of detail. We did take a few hours out
of the office to shoot some sample 0100 200 400 800 1600 3200 6400 12800 25600
video, but with no in-body stabilisation
this is a camera that’s best used on a Fujifilm X-E4 Canon EOS M6 Mk II
tripod, or perhaps on a gimbal. Nikon Z 50 Sony Alpha 6400
Rod Lawton
scTmeohenmegsXpait-epivtEiixi4tteiioeblnsec,.oabTutsuhntebt.woZte5h’0dthdeeoxpeCesacnptoutnlhliaasnhgdeiavSedonnayittshilgohweerr
VERDICT
DYNAMIC RANGE (EV)
While its small size and design
don’t make it quite as versatile as 14
a camera like the X-T4, the Fujifilm
X-E4 is capable of producing the 12
same quality of images, and it’s
easy to carry everywhere. It would 10
be ideal as a travel camera used
with Fujifilm’s smaller prime lenses 8
or zooms, and the optional XF
27mm kit lens is a case in point: the 6

pairing delivers great shots. 4

2

0100 200 400 800 1600 3200 6400 12800 25600

Fujifilm X-E4 Canon EOS M6 Mk II
Nikon Z 50 Alpha 6400

tDtohyenreastcmaeiinncerd.aeTnthgaeielXii-snEat4hmeisebcarasigpuharetbeloseftoaafnccdaampdtaeurrrkaie’nssgtapbpliaelirnttystyo. f

C AFMRNTEEOWHRME&ACSOFLMAUI&NTJGIELSFOESIONTLN!MS E S

26.1 megapixel, 3.0”, 180° degree 4K, 25p The 102 megapixel 3.2” LCD 4K, 30p Low-light AF,
X-Trans CMOS 4 sensor Tilting LCD screen movie large format sensor screen movie up to -5.5EV

oAirnvsbaillavilaecrbkle SEE WEBSITE FOR
AVAILABILITY

SEE WEBSITE FOR
AVAILABILITY

Low-light AF, 18 Film Compact & 6.0-stops of five-axis New “Nostalgic Neg.” Compact, weather
up to -7EV Simulation lightweight design image stabilization Film Simulation resistant body
mode Redeem a FREE
X-E4 modes GFX100s £450 TRADE-IN battery & dual
BONUS! battery charger!
Body only X-E4 X-E4 Body only See website
Call us to learn more
£799 + Hand Grip +27mm f/2.8 WR £5,499

£899 £949

Find out more about the NEW FUJIFILM X-E4 and GFX100S
by reading our latest posts at www.parkcameras.com/blog

Fujifilm XF27mm Fujifilm XF70-300mm Fujifilm GF80mm
f/2.8 R WR f/4-5.6 R LM OIS WR f/1.7 R WR

£419 NEW! £729 NEW! £2,099 NEW!

Stock expected soon! Stock expected soon! Stock expected soon!
See website to learn more. See website to learn more. See website to learn more.

Visit our website - updated daily or call us 7 days a week

www.parkcameras.com 01444 23 70 63

All prices include VAT. All products are UK stock.
E&OE. Please mention “Photography Week” when ordering items from this advert.
Prices correct at time of going to press; Prices subject to change; check website for latest prices.

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THEMMOARKEEGRRSEOAFT PMHAOGTAOZGINREASPHFRYOWMEEK

N-PHOTO PHOTOPLUS
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Nikon photographers, and is packed http://bit.ly/3atHLfO for Canon photographers that http://bit.ly/30FoOlQ

wleistshotnescehvneiqruyemaonndthP.hotoshop video https://apple.co/2TNE26T tfeuatoturiraelss eoxnpaelrlttahdinvgicse,Catinposna.nd video
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