Wel­come to is­sue 58

NPhoto - - From The Editor -

Ask most pros – or most pros who have to turn their hand to a bit of ev­ery­thing in their day-to-to-day work – and they’ll tell you that the one thing that took their pho­tog­ra­phy to a whole new level is flash; not cam­era fea­tures, not this lens or that lens, but flash.

Some pho­tog­ra­phers, of course, will avoid flash like the plague, partly be­cause done badly it can ruin a photo, and partly be­cause it’s just one more thing to think about. Done well though, it can pro­vide ev­ery­thing from a sub­tle, barely no­tice­able pop of fill-flash, to a dra­matic burst of light that can com­pletely trans­form a photo. And as with most things in pho­tog­ra­phy it re­ally isn’t as daunt­ing as it seems. In fact, as James Pater­son’s su­perb fea­ture on flash ex­plains, us­ing it couldn’t be eas­ier, if you know where to start – namely, page 16 of this is­sue.

If flash re­ally isn’t your thing though, don’t de­spair: we’ve also got a bril­liant Big Project on cap­tur­ing ex­treme close­ups of flow­ers (p46); a step-by-step guide to us­ing ND grads for beau­ti­fully bal­anced land­scapes (p34); and an in-depth round-up of the best fil­ter sys­tems on the mar­ket (p110). All that, plus the in­spi­ra­tional story be­hind the photo that was 4,000 hours in the mak­ing (p102), and the fan­tas­tic – and fan­tas­ti­cal – work of fine-art por­trait pho­tog­ra­pher Kirsty Mitchell (p94), which has to be seen to be be­lieved. En­joy!

Paul Gro­gan, Edi­tor

paul.gro­gan@fu­turenet.com

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