Articles

Panoramas can be easily created in both Photoshop and Lightroom. The process in Photoshop is slightly more complex but offers greater control over the final result. Unlike Lightroom, Photoshop cannot stitch RAW files and will require your images to be in JPG format.

NOTE This article is accurate as of Adobe Photoshop CC 2018.

A beautiful golden sun was setting across an equally beautiful sea, its azure colour a reflection of the heavens. The purple tint of cirrus high in the atmosphere contributed to a scene unashamedly cliched, but irresistible to photograph. Stepping back several meters, I added an unspoilt golden beach to the composition. Good enough to release the shutter? Yes, but it could be better; walking slowly along the beach were a young couple. Arm in arm, they were lost in the moment and each other. I paused, allowing them to walk into my scene, now an exercise in sunset contre-jour and blissful romanticism. The decisive moment had arrived, and I committed to celluloid a beautiful moment that faded with the setting sun.

Somewhere between the 40 and 60mm focal length lies the unassuming world of the standard lens. Often overlooked for focal lengths providing more drama, a standard lens gives results with a natural perspective. Photography’s history can trace the 50mm lens back through the decades, so it should be no surprise that it became an industry standard. If we look a little closer at the qualities standard lenses provide, there is little wonder they gained favour, becoming one of the most important optics available. Today, their angle of view has been assimilated into that of standard zooms, generally occupying the middle zone of their range and, arguably, something of a detour from the more interesting extremes provided by such lenses.

This step by step tutorial will show you how to get that polarised blue sky look without the need for a polarising filter. This trick can also be used to emphasise blue water such as seascapes.

NOTE This article is accurate as of Adobe Lightroom Classic CC 7.3.

Light measurement is one of the most elementary requirements when capturing successful images and, without this or an external means of calculation, it fundamentally becomes a guessing game. It is how a camera determines the correct shutter speed, ISO and lens aperture to be used.

It was August 1982, and I was in Dubrovnik in what was once Yugoslavia, wondering the medieval back streets of a beautiful town. This was just my second trip outside of the UK, the first being to Tunisia a few months previous. It was these formative years of my traveling experiences that cemented my relationship with cameras, and the need to visually document my journeys. The Tunisian trip was an incredible starting point photographically, but my budget and equipment was very limited. Well used 50 and 135mm lenses were all I owned and, exploration of crowded souks and medinas quickly gave me a longing for a lens with a wider angle of view; something that allowed me to capture more of a scene when I could back up no more.

It is late spring, and the world is awakening after what feels like a long, dark winter. Outside, early flowers paint the garden with much needed colour and the first honey bees are starting to appear. In the house, our resident ant colony is busy seeking out food, some of their opportunistic members venturing into the bottom of the Amazon parrot’s cage for morsels of dropped fruit.