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Achieving a dramatic stormy sky is a common pursuit for many photographers, and often they go to some lengths to make it happen. Here Adam has used a 4-stop graduated neutral density filter to darken the sky so we can appreciate the textures of its clouds while still noticing the details of the water in the lower part of the frame. I also think that a degree of contrast enhancement has followed in software and created an even greater tonal difference between the dark clouds and those patches of sky where the clouds are broken. The result is a great deal of drama. In fact, there is so much drama that it is quite difficult to see beyond it to take in what the subject actually is. I like the silhouetted branches in the foreground for the depth they lend, but we donneed the fence at the bottom. I ve cropped the scene to remove it, and in doing so have also taken away the tree on the right that was containing our vision and forcing a tunnel effect into the centre of the frame.

Canon EOS 300DWhat I wanted to do next was undo some of that contrast so more detail in the scene can be made visible. Igoing to use a colour layer to pour tone into the shadows while at the same time moderating the highlights —and, of course, adding a colour.

I picked a dark amber on a layer faded to 10% opacity, and then once the layers were merged I decreased the colour saturation. I think the final result works well, and is just a more moderate version of what Adam sent in. So often in photography, as in many things, it is better to avoid the extreme, and to apply self-control. I like Adamshot, though, and he wins picture of the week. Chevy bonnet Canon EOS 300D, 18-50mm, 0.3sec at f/13, ISO 100 I know colour  is a popular effect, but very few pictures can carry it off. When we use a spot of colour, the eye is immediately drawn to where it is applied and our brain expects that to be the most important part of the scene. Here the most important part of Davidpicture is not the fact that the car has been sold, but its bonnet —a mess of texture, tone and finishes. The yellow sticker takes the eye away from what is really interesting —the shape of the car, what we can see through the back window, the windscreen wiper and the curving chrome of the engine grille. The immediate solution to the problem of the yellow sticker is to get rid of it —which I did simply by copying the area next to it and pasting that over the colour. With the changed dynamic of the shot, I noticed there is too much sky and contrast. I cropped to leave only a hint of sky, and then darkened that and the lower corners to maintain the viewers  attention in the middle of the picture. Suddenly, the view through the back windows is more of a draw, and the eye can travel from the front grille, over the bonnet and right up to the lozenge-shaped frame. Again, I solved the contrast issue with a colour layer. This time it is a purple that I hoped would produce a selenium effect once laid over the image, and then faded and desaturated. In Photoshop, a colour layer is created via Layer>New Fill Layer>Solid Color, then I set the opacity to 10% and selected the colour from the picker. Church in Austria Leica M8.2, 50mm A common misconception when shooting interiors like this is that a wideangle lens is needed, when in fact a longer lens often does a better job. The Leica M8.2 has an almost full-frame sensor, which applies a 1,33x conversion factor to your focal length-making Frank s 50mm act more like a 66mm. The point about using long lenses is that you can stand back and not look up so much-avoiding the converging verticals and barrelling you can get with wider focal lengths at short focus distances. Canon EOS 300DFrank has done a great job, but there is still a bit of work to do on what convergence there is and fractionally straightening the scene. In Photoshop, I used the perspective correction and distort modes in Edit>Transform, and dragged the top of the picture wider to combat the inward leaning. The distort mode just dragged the middle point slightly to the right to straighten the image. I used Levels to add impact via contrast, and injected a little red to the midtones, as they are looking slightly cool from the daylight. To add  oomph , I created a duplicate layer, which I turned monochrome via a green-based Channel Mix. This layer was blended to Overlay with an opacity of 37%, to lend weight to the shadows and to apply some bleaching to the highlights. This just increases the definition of the detail in the scene and enhances the three-dimensional qualities of the amazing reredos, its paintings and its sculptures. Frank tells me that this Austrian church was used for the wedding in The Sound of Music His picture is really rather good, so well done, but this is architecture and we have to get things absolutely straight.

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