Feature: Share Your Pictures of the Apocalypse from The Last of Us Remastered on PS4

It turns out that in-game photo modes really are the best thing since sliced bread. Back when inFAMOUS: Second Son added in a screenshot feature a few months back, we pondered whether more games should augment the addictive extra. Unsurprisingly, Naughty Dog has taken up the challenge, with the recently released The Last of Us Remastered sporting an even more in-depth toolkit, allowing you to take some seriously impressive snaps. As a consequence, we’ve pulled together a handful of our artistic scribes and decided to share some of our favourite shots – but we want to see yours in the comments section, too.

Depths of Despair

Graham Banas: I went into this room with the intention of capturing a picture of the ‘They Didn't Suffer’ thing, before realising I was not even in the right area, but I felt that I had to take a picture anyway, and noticed some rays of sunlight sneaking their way into the sewer. Then I fiddled with a bunch of the settings, and made sure that I had framed it up the way that I wanted.

Dry Your Eyes, Ellie

Sammy Barker: Tweaking the settings of your shot is important and all, but it’s equally imperative to catch something interesting. I love Joel and Ellie’s pose in this shot, with the youngster rubbing her eyes as her stand-in guardian watches over. I applied the ‘winter’ colour filter to this shot, and then toned it down until the colours looked slightly faded, as I wanted it to resemble an old photograph.

Falling

Graham Banas: Something about this area in the game always gave me a very Twin Peaks-esque vibe (which I love), so I just really wanted a picture of the location. It was surprisingly tough to get Joel and Ellie out of the image, but I think that it was worth it.

Party Pooper

Sammy Barker: This dining room area was one of my favourite parts in the PlayStation 3 version of The Last of Us, and it looks simply sublime in the next-gen re-release. It’s incredible to think that dozens of artists poured hours into creating an area that you spend barely five minutes in. For this shot I applied the ‘summer’ colour filter to emphasise the light pouring through the windows.

Shotgun summer

Jamie O’Neill: I wanted to recapture the "How are we getting to the bridge?" sense of wonderment from the original game's memorable E3 2012 gameplay demonstration. Therefore, I intentionally kept the image bright and hazy by using a ‘summer’ colour filter, and I tilted the picture with a camera roll to keep the viewer focused centrally on the Fort Duquesne Bridge. Finally, I positioned a psyched-up Joel with a shotgun on the left of the white border frame, because the early E3 demo taught us to be prepared for Hunters in The Hotel Grand.

The Great Pittsburgh Escape

Jamie O’Neill: Pittsburgh is a key section halfway through the game at demonstrating how lengthy and arduous this journey is for Joel and Ellie. I added a 77 per cent film grain – and a royal filter for a ruby grittiness to the bricks, all confined within a classic CRT frame – to create an impression of a World War II movie when Joel escapes from the Humvee. To keep this image consistent with my previous 'Shotgun Summer' photo, I turned up the brightness, and Joel is yet again situated on the left side of the image.

Readers

We’ve been asking you to send your best images to us via Twitter and Facebook. Here are some of our favourites.

Jake William

Jonathon Gonzalez

Justin Stephens

Robert Corbin

Skull Crusherx [Don't think that's his/her real name - Ed]

Alright, now we want to see your best photos. Simply access the URL to your shares from Twitter, Facebook, or another image host, and post them in the comments using the