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Make macro shots sharp throughout
James Pater son reveals how to expand an images depth of field by focus stacking in Photoshop CS
What youll need
Photoshop CS4 or CS5
What youll learn
How to load images into layers, use Photoshops auto – align and auto – blend features, and use Layer Masks to tweak the effect
It only takes
20 minutes
Depth of field is determined by three things: focal length, distance to subject and aperture. With close – up photography, depth of field is naturally limited, firstly because macro lenses usually have long focal lengths, but also because you have to get so close to your subject. This leaves you with a very shallow plane of focus, which in many cases is what the photographer wants. But what if you want sharpness throughout your subject?
The answer is to shoot several images, each with a tiny focus adjustment, then use Photoshop to bring all the sharp parts together into one seamless, pin – sharp image.
Create beautiful blur post – shoot
George Cairns reveals an easy way to take precise control over depth of field in Photoshop.
When shooting a small object up close, you can adjust your lenss focal point manually so that your subjects key details look sharp, while the rest of the features gradually soften into a delicate lens – induced blur. This effect can enhance an image by creating an abstract background blur that complements colours and details in sharper areas and draws attention to a specific part of the shot.
Getting the focal point spot on can be tricky, especially if youre shooting with a wide aperture such as f/4. But dont panic, because there is another way. By capturing the image above with a tight aperture of f/22 we were able to get more of
the watch in sharp focus, and then control the depth and the intensity of the bokeh in Photoshop.
Here, well show you how to mimic a realistic bokeh using Photoshop CS5s sophisticated Lens Blur filter, which can add the natural – looking blur effects produced by various lenses.
Tour de force
He works 14 – hour days and drives 5,000 miles while hiding from rival photographers, but Tour de France veteran Pete Goding wouldnt have it any other way…
Many say “shoot what you love”. Are you a keen cyclist? No actually, Im not. But when youre photographing the Tour de France you cant help but fall in love with cycling. You travel the length and breadth of France, you open yourself up to new cultures and experiences, and you see parts of the country that you never even knew existed.
I must have covered at least seven Tours now, and the last four or five Ive done the full three weeks. Agencies want you to be there all the time, so you get up at 8am and you dont finish until 10pm, and you travel thousands of miles. I ended up covering about four or five thousand miles with the 2011 Tour.
IMAGES OF THE YEAR
From a chance encounter to a carefully scouted scene, from formal assignments to whimsical excursions, the circumstances behind great pictures are as varied as the people who shoot them. The winners of this years contest have one thing in common: the ability to recognize and capture a singular, shining moment.
RUNNER – UP
And hes not finished shooting the cathedral. “LANDSCAPE WINNER
JAVIER AGOSTA
Inspired by a published image of fog rolling over San Franciscos Golden Gate Bridge, Javier Acosta was determined to get a shot of it himself.
TRUE COLORS
Nikon makes a stylish entrance to the interchangeable – lens compact market
Over the past few years its become de rigueur for most camera companies to release a mirrorless compact – body camera. Weve now seen them from Olympus, Panasonic, Samsung and Sony. Now Nikon is jumping into the category with its Nikon 1 system, the Jl and VI. Though the VI was not yet available at press time, we were able to spend some quality time with the Jl.
Nikon debuts its CX sensor in the Л, a 10.1MP jobbie that, in terms of size, sits right smack between a compact camera sensor and an APS – C sensor. The key advantage to stepping down to this size from APS – C is that the camera can accommodate smaller lenses, which Nikon provides in four flavors: a 10 – 30mm f/3.5-5.6, a 30 – 110mm f/3.8-5.6, a 10mm f/2.8 pancake and a 10 – 100mm f/4.5-5.6 zoom. Using a unique new mount, they are indeed petite and easy to carry, with collapsible zooms that further minimize depth. There will be an adapter for F – mount lenses, but wed hate to foul this little beautys lines by screwing on bigger glass.
While we were initially skeptical of the sensors size, we were impressed by the quality of the Jls stills and video. Image noise is well controlled, and it holds on to detail surprisingly well. Shooting speed is also impressive: 10 frames per second with shot – by – shot autofocus in burst mode.
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