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3 Simple Steps to Make Your Skies Pop in Lightroom

09 Jun

The post 3 Simple Steps to Make Your Skies Pop in Lightroom appeared first on Digital Photography School. It was authored by Jim Hamel.

You photograph a scene that includes a beautiful blue sky with puffy white clouds. You’re excited – until you look down at your LCD, only to see that the sky your camera captured is not what you see in front of you. It’s washed out. It has little or no detail. It looks overexposed, colorless, and really, really boring. So what do you do?

Here’s the good news:

You can fix this problem both quickly and easily in Lightroom. And you don’t need to be a post-processing wizard to make it happen.

In fact, there are three editing steps you can use to make your daytime skies pop. Each step is dead simple, and you can do just one of the steps, or you can do all three together.

Even if your sky already looks pretty good, these steps will help! Here’s a teaser of what it’ll do for your photos (with the unedited photo on the left and the edited photo on the right):

Photo of Big Sur: Example of sky enhancement using Lightroom

So if you’re ready to improve your skies in Lightroom, then let’s get started!

1. Darken the blues

Here’s the first step to enhancing a sky:

Darkening the blues.

This is simple to do in the HSL/Color panel in Lightroom’s Develop module. You’ll see a number of sliders that control individual colors – and you can adjust the hue, saturation, and luminance (brightness) of each color.

So find the Blue slider. Remember, the goal is to reduce the brightness of just the blue tones.

Then click on Luminance:

HSL/Color/B&W panel in Lightroom's Develop Module

And pull the Blue slider to the left.

How much should you adjust the Blue slider? Honestly, there’s no set amount or range of values for this change; it’ll just depend on each picture. But I don’t recommend making the blues too dark (otherwise, the sky will start to look unnatural).

Once you’ve made your Luminance adjustment, you may want to add more punch to the blues. So click on Saturation and push the Blue slider to the right. This will intensify the blues even further and give your luminance adjustment more bite.

By now, you should see a dramatic improvement in your sky. Sometimes, adjusting the blues is all you need to do!

Photo taken from Seven Mile Bridge in the Florida Keys: Example of sky enhancement using Lightroom

Note: As mentioned above, be careful not to go too far. Adjusting the blues too heavily can cause banding (i.e., separation of the colors into stripes) and other forms of image degradation.

2. Control the highlights

You may be wondering:

Why didn’t we start by toning down the highlights? After all, that would handle a lot of the washed-out areas of the sky.

The truth is that part of what makes a sky look great is deep, rich, blue tones combined with bright white clouds. If you crank down the highlights, yes, you will add detail to the clouds – but you will push the tones of the blues and whites together so that there won’t be the strong contrast you want.

That’s why we started by darkening the blue tones.

By the way, after darkening the blues, take a careful look at your photo. If there is sufficient detail in the clouds, you don’t need to recover the bright areas further. In fact, you may even want to increase the Whites or the Highlights to create more contrast between the blue sky and the white clouds.

Other times, however, your sky will still be too bright and the clouds will lack detail (even after adjusting the blues). If that’s the case for your photo, it’s time to tone down the brightest portions of the image by pulling down the highlights.

Highlights control in Basic panel of Lightroom's develop module

Here, you want to add detail to the sky, but not so much that your clouds turn gray. Let the histogram be your guide. Pull the Highlights slider to the left until there are no histogram peaks pressing up against the right-hand side of the graph.

Ideally, you’ll get an effect like this:

Photo of Lighthouse on Sanibel Island, Florida: Example of sky enhancement using Lightroom

3. Add a blue tint to the sky

At this point, your sky should be looking very good. In fact, in most cases, the two steps shared above should be all you need to make your sky pop.

If you have a particularly flat and lifeless sky, however, you may want to bring out the big guns: adding a tint.

To do this, you’ll need the Adjustment Brush. (By the way, you can use the Adjustment Brush for either of the two steps above, but you usually won’t need to.)

So click on the Adjustment Brush icon:

Adjustment brush and tint controls in Basic panel of Lightroom's develop module

Then find the Temp slider and drag it to the left. This will increase the amount of blue in the image – but only in places you paint with your brush.

Before you paint on the sky, there is one important thing you need to do:

Make sure the Auto Mask box at the bottom of the Adjustment Brush panel is checked. This will limit the brush to the sky so that it doesn’t bleed over into midground or foreground objects. Once Auto Mask is checked, go ahead and brush in the effect!

After you’ve brushed the relevant areas of the photo, you can always increase or decrease the blue tint by moving the Temp slider. You’ll end up with a beautiful blue sky!

Photo of the Portland Head Light: Example of sky enhancement using Lightroom

When should you adjust your sky with Lightroom?

You can do a lot to enhance a sky in Lightroom.

But the old adage about getting it right in-camera still applies. Try to get your sky looking as good as possible in the field with proper exposure techniques. And if you have a polarizing filter, consider using it; the effect will make a midday sky look much better. You might also work with a graduated neutral density filter to tone down the sky and help balance it with the foreground.

Sometimes, with the proper techniques, you won’t even need Lightroom to improve a sky. But there will also be times when you just can’t get it looking right, or you make a mistake in the field (e.g., you accidentally overexpose the sky).

And that’s when you’ll want to use the steps I’ve discussed above.

So the next time your sky isn’t looking its best, try using Lightroom to achieve the effect you’re after. Follow the three steps I shared – alongside your normal workflow – to create breathtaking skies!

Photo of Monument Valley: Example of sky enhancement with Lightroom.

Enhancing skies in Lightroom: final words

Lightroom offers some powerful sky enhancement tools – and now that you’ve finished this article, you know how to use them for great results.

So find some photos that include washed-out skies. And practice improving them with Lightroom! Pretty soon, you’ll be a sky-editing master.

The post 3 Simple Steps to Make Your Skies Pop in Lightroom appeared first on Digital Photography School. It was authored by Jim Hamel.

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How to Make a Photoshop Collage (in 9 Simple Steps)

19 May

The post How to Make a Photoshop Collage (in 9 Simple Steps) appeared first on Digital Photography School. It was authored by Natalia Robert.

Looking to make a collage in Photoshop? You’ve come to the right place.

In this article, I’m going to give you an easy, step-by-step process for creating a stunning collage – one that looks like this:

(It’s a perfect way to share photos from an event, a real-estate shoot, or even a family photo session!)

Let’s get started.

Step 1: Choose your collage photos

Before you actually create the collage, you’ll need to pick your collage photos – and you’ll need to do this carefully.

I recommend selecting images connected by a theme (such as a location, an event, or even a concept). Include a mix of subjects at different scales; for instance, pick some wide shots that show the entire scene, as well as some detail photos that show lots of texture and personality. Without one or the other, the story won’t be complete. And it won’t carry the level of emotion that you’re after.

Speaking of storytelling: It often does help to focus on the story you’re trying to tell. Do you want to offer a narrative surrounding an event? Do you want to clearly convey a meaningful concept? Make sure to take this into account when picking photos!

One more tip: If possible, include at least three photos and no more than eight. Too few photos, and you won’t be able to tell the full story. Too many photos, and you’ll confuse the viewer with clutter (plus, it’ll be tough to show off individual details).

Step 2: Open the selected images in Photoshop

Once you’ve picked your photos, open them all in Photoshop.

To do this, you can drag and drop files directly onto the document window, or you can select File>Open and click on the relevant images.

You should see the photos as separate tabs in the document window, like this:

Step 3: Create a new file for your Photoshop collage

Every Photoshop collage needs a background file where all the images will eventually be assembled.

While you can use an old collage template, if you’re making your first-ever collage, you’ll need to create a new document.

So select File>New in the Menu bar (or tap Ctrl/Cmd+N):

A New Document window should pop up, and you’ll need to dial in your file preferences.

The specifics will depend on what you plan to do with the collage as well as the sizes of your chosen photos. If you’re working with big JPEGs and you aim to print, you should probably pick a 5000+ pixel width and height. If you want to display your collage on a standard web page, however, a 1500 pixel width and height will do just fine (though you can always start big and resize later, as discussed in Step 8 below).

(I do recommend you make the file size a bit larger than the size you want in the end; that way, you can do a final crop to deal with any arrangement issues.)

Step 3: Add your images one at a time

Head to your first open photo, then select it.

To do this, you can drag with the Marquee tool:

marquee tool how to make a Photoshop collage

Or you can hit Ctrl/Cmd+A. You should see the marching ants around the border of your image:

Then choose Edit>Copy (or tap Ctrl/Cmd+C):

Finally, head over to the new document, then choose Edit>Paste (or tap Ctrl/Cmd+V):

This will add the photo to the blank document, but on its own layer.

Depending on the size and resolution of the new image, you may need to make some adjustments with Edit>Free Transform (or Ctrl/Cmd+T). For instance, my first photo was way too large:

a too-large photo how to make a Photoshop collage

So I used the Free Transform option to scale it down:

(Once you’ve activated Free Transform, simply drag the edge nodes until you get the result you’re after. You want an image that’s small enough to be comfortably moved around the canvas.)

Then repeat the above instructions for all the remaining collage photos.

Step 4: Arrange your photos

After you’ve added all the collage photos to your document, it’s time to do some arranging. This is where you shift the photos around until they tell your story.

After doing several collages, you’ll start to discover your preferred style; personally, I like to create symmetrical layouts as well as interlocking puzzles. But each story does have slightly different needs, so don’t be afraid to experiment!

To adjust the photo positions, you can select the Move tool (or tap V):

Then drag around all the images until you get a good result. If you’d like to resize any photos, use the Free Transform option discussed above.

With my pet collage example, I first tried a more symmetrical arrangement:

one version of the pet collage in Photoshop

But I settled on a puzzle-type composition:

another version of the pet collage in Photoshop

Step 5: Add image spacing

Once you’ve determined the layout and you’ve sized all the images, I recommend giving the design some space. It’s personal preference, but the effect is generally nice.

In other words, instead of a collage like this:

You want one like this:

It’s pretty easy to do; you simply create a thin, white border between the images. You can select each photo, then use the mouse or arrow keys to drag until you see white space. Or you can double-click on each image in the Layers panel:

This will open the Layer Style menu, where you can select the Stroke option:

Make sure the Position is set to Inside, the Blend Mode is set to Normal, and the color is set to White:

Then increase the Size until you see a nice border appearing around your images.

Unfortunately, this will crop the images somewhat – but depending on the look you like, it might be worth it.

Step 6: Merge all layers

At this point, you should have your collage laid out with perfect photo spacing.

Which means you’re ready to merge all the layers.

Simply select Layer>Merge Visible (or tap Ctrl/Cmd+Shift+E):

merging visible layers how to make a Photoshop collage

And the layers will merge into a single beautiful Photoshop collage!

Step 7: Crop the final image

Before you resize and export your collage, I recommend cropping any extra white space around the edges (you want the design to look even).

Just hit C or select the Crop tool:

Then drag at the edges of the photo to get rid of any unwanted areas:

Step 8: Resize

This step depends on your goals for the collage. If you want to print, you’ll need to resize based on printing requirements (which will generally involve leaving the image pretty large). If you want to post your collage on Facebook, Instagram, or Pinterest, however, consider sizing down to a maximum of 1500 pixels on the long end.

So select Image>Image Size (or tap Alt/Opt+Ctrl/Cmd+I):

Then dial in your preferred width and height.

Step 9: Save and export your collage

Last but not least:

Save and export!

You’ll want to select File>Save As:

Then choose a location and file name, make sure that Save as type is set to JPEG, and hit Save:

And select your preferred image quality (I usually go for around 8):

And you’re done! Photoshop will save your collage in the specified location.

How to make a Photoshop collage: final words

Well, there you have it:

A simple process for creating a collage in Photoshop. It’s bound to look great, so don’t be shy; share it all over your social media pages!

Now over to you:

Have you made any collages previously? Have any additional tips? Please share your advice (and collage photos!) in the comments below.

The post How to Make a Photoshop Collage (in 9 Simple Steps) appeared first on Digital Photography School. It was authored by Natalia Robert.

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8 Simple Guidelines for Capturing Spectacular Sunrise and Sunset Images

24 Jan

The post 8 Simple Guidelines for Capturing Spectacular Sunrise and Sunset Images appeared first on Digital Photography School. It was authored by Tim Gilbreath.

8 simple tips for stunning sunrise photography and sunset photography

When we are asked to think of popular subjects for landscape photography, images of beautiful sunsets and sunrises immediately come to mind.

What outdoor photographer worth their salt doesn’t have at least a couple of images of the sun dipping below the horizon?

In most people’s minds, sunrise and sunset photography is an easy thing to capture; the beauty and scale of the event itself should carry the photo, with minimal interaction from the photographer.

But is this really the case?

Unfortunately, it’s not. Unless you’re relying on luck alone, you’ll need to possess a few seeds of knowledge (eight, in this case!) to get you started capturing that epic sunrise or sunset.

None of these guidelines are difficult to comprehend, and they can all vastly improve your chances of properly capturing one of Mother Nature’s most incredible events.

So let’s jump right in!

1. Scout the location

As tempting as it is to just show up at a convenient location and start shooting, you greatly increase your chances of success by planning your sunrise or sunset photoshoot in advance. The first thing you’ll want to determine is the best location from which to shoot.

Pick a location that is out of the way of road and foot traffic, where you’re unlikely to be disturbed. Go to the location in broad daylight before the shoot, and ensure your view of the horizon will be unobstructed and free of any hazards.

The most important factor after the location is the time of day. Obviously, this will vary depending on whether you’re capturing a sunrise or a sunset.

But start by checking the weather. If your shooting time coincides with an approaching or recently-ended storm, the results can be staggering. Rain and storm clouds can add a dramatic layer of dimension to the scene.

You can also pinpoint the perfect time to shoot with an online tool or smartphone app that will display precise sunrise and sunset times for your location. Many low-cost (and sometimes free) solutions are available, including PhotoPills (for Android and iOS), and The Photographer’s Ephemeris (for Android and iOS).

2. Sunrise or sunset?

If you’re familiar with color temperature, you’ll know that there is a slight difference in the appearance of light at sunset versus sunrise. Early morning light tends to be cooler (higher blue) than light in the late evening, which leans toward warmer color casts consisting of orange and red.

Since there are different color temperatures at work here, you might need to adjust your photos, depending on the look you’re after. You can do this through your camera’s white balance settings, through warming or cooling filters, or via adjustments in post-production – where you’ll need to add or remove warmth to achieve the perfect final photograph.

Be aware that physical filters placed over your lens will degrade image quality slightly, because they’re an additional obstacle for light to pass through, so adjusting color temperature with camera settings or in post-production is often the better choice.

3. Plan your shots

Another important step to accomplish before heading out is to plan what you hope to achieve in your sunrise or sunset photo.

Ask yourself:

What look are you going for? Will you capture a definitive subject lit by the sunlight, or will the sunset itself be the star of the show?

Planning beforehand is also a great time to determine any other special considerations, such as whether you’ll be shooting an HDR (high dynamic range) photo.

If you do decide to use an HDR technique, you’ll need to prepare your camera for bracketed exposures to capture the full range of tones in the scene.

But while HDR can be a bit tricky to pull off, it’s a great way to produce some truly dramatic images!

4. Gather the proper gear

You can’t capture the right shot without the right gear, so make sure you have everything ready to go before you head out.

First and foremost, you’ll want to bring your tripod. Sunrises and sunsets are potential low-light situations (depending on the part of the sunset you’re trying to capture), so you’ll need a steady base for your camera.

Second, you’ll want to determine the right lens to use for the shoot. While beautiful landscapes can be captured using a 50mm to 85mm focal length, a wide-angle lens is preferred, including any zoom lenses that can shoot at 40mm or below. If you have a prime lens in the 12mm to 40mm range, you’ll have a better chance of capturing an even sharper image, and using a wide-angle lens will allow you to capture a vast, sweeping portion of the scene.

Do you own and use screw-on filters for your camera?

Although using filters can degrade image quality a bit, some can be useful here. A GND (graduated neutral density) filter, for instance, will darken the upper portion of the sky and keep it well-exposed and dramatic, even without HDR techniques.

A polarizing filter, on the other hand, may actually be a hindrance in these situations, so I recommend you avoid them.

(Polarizers reduce the amount of light coming in to the sensor, further increasing the required exposure time, which may not be ideal if you’re trying to freeze motion, such as ocean waves.)

5. Use the right settings

Before you even arrive at your photoshoot destination, you can choose the settings on your camera.

Since you’re shooting a landscape image, you’ll want to use a smaller aperture, such as f/8, f/11, or even higher, to maximize the depth of field and capture sharp detail throughout. If you’re using a tripod, this shouldn’t be a problem.

Although you can shoot in Manual mode, I personally prefer to shoot almost everything in A/Av (Aperture Priority mode). This way, I can lock in my aperture and let the camera choose a proper shutter speed. Since low-light situations like this can confuse the camera and you run the risk of overexposure, you can always use your camera’s exposure compensation settings to drop the brightness a bit.

If possible, you should use a low ISO, such as 100 or 200, to ensure there isn’t a lot of noise in the final shot. This should be very achievable if you’re working with a tripod. However, if you’re hand-holding your shot, you will need to bump the ISO up to get a shutter speed that’s fast enough to avoid a blurry photo.

This is also the time to choose your white balance, and as I mentioned above, you can use this setting to boost (or reduce) the warmth of your shot. If you’re after a warm, orangish image, set your white balance to the Shadow, Cloudy, or Daylight option.

And, of course, always shoot in RAW! To a certain extent, shadows and highlights that are lost in a shot can be recovered in post-processing later – but only if you have a RAW file.

6. Compose for interest

Now that the preparation is over, we get to the fun part! Once you’re on location and are ready to take the shot, you’ll need to consider your composition.

The most common error when shooting sunsets or sunrises is positioning the horizon exactly in the middle of the photo. While this can work, it normally causes a bit too much symmetry and can make the picture uninteresting.

Take a moment to look your scene over. Ask yourself: What part of the sunrise or sunset is the most dramatic? Are there any parts that aren’t that interesting?

Once you’ve done this, simply compose the shot to include more of the most dramatic scenery. If you have an angry, cloudy sky that accentuates the sunlight, let that occupy the upper two-thirds of the scene. If you have an interesting foreground or landscape but a less intriguing sky, let that occupy the bottom two-thirds of the image.

You want to draw the viewer into the composition, then let their eyes drift to the most dramatic part of the image.

7. Waiting for the right shot

If you already have experience shooting landscapes, you know that sometimes waiting is the name of the game. Because of the dynamics of natural lighting, a scene can completely change from one hour to the next – and sometimes even from one minute to the next.

That’s why a sunrise or sunset shoot is the time to be creative! Try different exposure times and play with your exposure compensation settings for different tones. Let the clouds and sun change positions, then reshoot, or try a slightly different angle.

Maybe even include additional subjects in the frame, and shoot them in the foreground against the sunrise or sunset. The longer you’re at the location shooting, the more variety you’ll end up with!

8. Don’t leave too early

One of the most common tips you’ll hear regarding sunset photography is to stick around after the sun dips below the horizon.

This is certainly good advice, as the entire dynamic of the scene changes after sundown.

Specifically, the tones, colors, and hues in the sky often become more saturated and dramatic. You’ll need to compensate for the loss of your main source of light, probably with a tripod – but it’s hard to deny some of the most beautiful images can be shot right after the sun is out of sight.

8 simple guidelines for sunrise and sunset photography: Conclusion

Now that you’ve finished this article, you should be ready to capture some stunning images at sunrise and sunset!

So get up early, stay out late, and create some gorgeous photos.

Now over to you:

Do you have any beautiful sunset or sunrise photography you’d like to share? Post it in the comments below!

The post 8 Simple Guidelines for Capturing Spectacular Sunrise and Sunset Images appeared first on Digital Photography School. It was authored by Tim Gilbreath.

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3 Simple Ways to Create Stunning Eyes in Your Portrait Photography

21 Nov

The post 3 Simple Ways to Create Stunning Eyes in Your Portrait Photography appeared first on Digital Photography School. It was authored by Gina Milicia.

portrait photography with beautiful eyes — Image model credits, clockwise from top left: Chris Milligan/Fremantle Media, Rachael Lever, Danny Spannerz/East Brunswick Tattoos, Tiffany Diaz

“Here’s looking at you, kid.”

Reclusive Hollywood legend Marlon Brando would always close his eyes when paparazzi tried to take his photo. He knew that without his eyes open the image wasn’t worth publishing.

The eyes are the single most important feature of any portrait. Beautiful eyes can make even the dullest portrait mesmerizing. Poorly lit, out of focus eyes, or eyes that lack connection, will weaken the impact of a portrait.

Here are my three favorite techniques to make eyes really stand out in your portrait photography.

1. Light

“Light makes photography. Embrace light. Admire it. Love it. But above all, know light. Know it for all you are worth, and you will know the key to photography.” – George Eastman

Eyes look best when they are lit well, with beautiful catch lights. Catch lights are the reflection of a light source in the eyes. The size, shape, and brightness of your catch lights depend on the light source you use.

An eye lit by windows — Two large, frosted windows from my studio create beautiful catch lights. Model: Bryana Karanikos

Naked Flash on camera — Diffused on-camera flash creates a slightly softer, rectangular catch light.

Eyes lit by a medium softbox off camera — A medium softbox, off-camera and positioned at 2 o’clock, gives a soft, natural catch light.

Badly lit eyes — Poorly-lit eyes without catch lights look cold and a bit creepy.

2. Expression

“You are what you think. All that you are arises from your thoughts. With your thoughts, you make your world.” – Anon.

Comparison of portrait photography with bad and good eyes — Model: Tiffany Dias

In the image on the left (above), Tiffany’s eyes are cold, and she looks nervous. After I gave Tiffany a visualization exercise, her eyes became warm, confident, and connected (see the right image above).

How you communicate, connect with, and direct your model is key to capturing a great expression in the eyes. If your model’s smile isn’t genuine, his or her eyes will appear cold and dull-looking. If your model is nervous or distracted, this too will be reflected in his or her eyes.

One technique I use to create a great expression is visualization. I ask my model:

If you could be anywhere right now, doing anything, where would that be? Tell me about that moment. Who is there? What does it feel like?

Once your model is in the moment of their visualization, their body language and expression changes.

3. Post-production

“Be willing to give that extra effort that separates the winner from the one in second place.” — H. Jackson Brown, Jr.

Post-production can lift your portrait photography from good to great – when it’s done well. The key to great post-production is to avoid overdoing it. It’s easy to get excited with all the tricks and enhancements that post-production software offers. It’s addictive, and much like opening a jar of Nutella, it’s very difficult to control yourself once you’ve begun.

I try and use the overnight rule when it comes to retouching. Once I’ve worked on an image, I won’t look at it again for at least a day. I find that my eyes constantly adjust to the modifications I’m making, so it’s more difficult to see when I’ve gone too far (which is also what happened when I dressed in the ’80s).

Here’s a step-by-step technique to enhance eyes using Adobe Lightroom:

Before and after images of eyes — Before and after: I’ve used Lightroom to make the eyes sharper and brighter and to enhance their color.

Step 1: Import your image into Lightroom and use the Basic panel in the Develop module to edit your shot. In this case, I’ve used one of my own beauty presets.

eye adjustments in Lightroom — Here are the basic adjustments I’ve used for this image.

Step 2: Zoom in on the eyes (“B” in the image below) and select the Adjustment Brush tool (“A” in the image below). You can also select the Adjustment Brush using the keyboard shortcut “K.”

Adjusting the eyes in portrait photography

Step 3: Next, you should adjust the eye color with the Adjustment Brush:

Increase the Temperature slider (A) to make the eyes appear warmer in tone.
Increase the Exposure slider (B) to brighten the iris.
Increase the Shadow slider (C) to bring more detail into the shadow area.
Increase the Sharpness slider (D) to make the eyes appear more detailed.

Adjust only the colored part (the iris) of your subject’s eye (highlighted in red in the image above) and set the brush to have a slight feather and a low flow so you can build up your adjustments slowly.

Step 4: Next, select a new Adjustment Brush (A, below), increase the Sharpness slider (B, below) by +22, and paint over the colored part of the eyes, eyelashes, and eyebrows. This will really make the eyes stand out.

Step 5: Finally, select a new Adjustment Brush. Set the Exposure slider to -29, and increase the Clarity to +10. Paint around the edge of the iris. This will darken the area slightly and give the eye more definition.

Here, the final portrait was imported into Adobe Photoshop, where I did a basic skin retouching to remove a few small blemishes.

And that’s it!

I’d love to hear about your techniques for enhancing eyes in portrait photography, and it’d be great to see some examples. So share them in the comments!

Gina is the author of several dPS eBooks, including Portraits: Making the Shot.

The post 3 Simple Ways to Create Stunning Eyes in Your Portrait Photography appeared first on Digital Photography School. It was authored by Gina Milicia.

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4 Simple Ideas to Expand Your Creativity

17 Sep

The post 4 Simple Ideas to Expand Your Creativity appeared first on Digital Photography School. It was authored by Megan Kennedy.

Creativity ebbs and flows.

But, as Maya Angelou said, the more creativity you use, the more you have. Whether inspiration is proving to be elusive, or you are looking for a new approach to your creative practice, these four simple photographic techniques can help spawn ideas to expand your creativity further.

ideas to expand creativity infrared post processing — An example of a false-color infrared effect made in Photoshop. Canon 5D Mark II | Canon EF 24-105mm f/4L IS USM | 1/80 sec | f/4.0 | ISO 250

1. Infrared photography and effects

In infrared photography (technically known as near-infrared photography), film or digital sensors record renderings of otherworldly scenery in wavelengths beyond the bounds of the human eye.

There are a few ways to achieve digital infrared photography. One method is to purchase an infrared filter like the Hoya R72 or the Kenko Infrared R72. These filters block visible wavelengths and permit a small amount of infrared light to reach the sensor.

Another way to achieve infrared photography is with an infrared camera conversion. Camera conversions involve removing a sensor’s hot mirror, a device that reflects infrared wavelengths of light. The hot mirror is then replaced with an infrared filter that blocks visible light instead. Infrared camera conversions can be done DIY style, or by sending the camera off to a conversion company.

ideas to expand creativity — An example of a false-color infrared effect made in Photoshop. Canon 5D Mark II | Canon EF 24-105 mm f/4L IS USM | 1/60 sec | f/4.0 | ISO 125

If you can’t get your hands on infrared photography equipment, you can also add infrared effects to images in post-production. By making adjustments in editors like Photoshop, imitation infrared effects can alter an image for eye-catching results.

2. Intentional camera movement

In terms of generating ideas to expand your creativity, intentional camera movement is a simple and refreshing technique. Intentional camera movement, or ICM, involves deliberately moving the camera during the length of your exposure for creative effect.

The process is simple:

Set your camera to a longer exposure, depress the shutter button, physically alter the camera’s orientation, and review the results. ICM images are rarely exactly the same, which makes the technique a captivating process that emphasizes the physicality and painterly quality of the photographic medium.

3. Creating a photogram effect

Sometimes, a complete change in artistic direction can be a welcome adjustment. Making a photogram is a simple yet valuable insight into the photographic process, and is often one of the first introductions to photography in art class.

The photogram is a cameraless form of photography which usually involves the placement of objects onto a light-sensitive medium like photographic paper. The arrangement is then exposed to light, creating a negative rendering of the objects on the developed paper.

Not everyone has access to the materials required to make a photogram. There is, however, a digital process that can be a great way to create a photogram effect.

Collect a handful of objects of different transparencies, arrange them on a flat light source, photograph the arrangement, and make a few adjustments in Photoshop. The project makes for an evocative take on the popular darkroom process.

4. Abstract light trail photography

Abstract photography is a genre that is full of ideas to expand your creativity.

Like ICM, abstract light trail photography encourages the physical movement of the camera by the photographer. By combining the use of a slow shutter speed with camera movement and isolated light sources, luminously-engaging abstracted images can be made.

Wait until it gets dark, grab your camera, and head out to locate streetlights, traffic lights, headlights, neon displays, LEDs, sparklers; anything that emits points of light.

Set a slow shutter speed, focus on a light source, depress the shutter button, and proceed to swing, angle, zoom, rotate, or (gently) shake your camera during the exposure. The process creates intricate light paintings that trace the path of the camera during the exposure.

Conclusion

New photographic techniques almost always stimulate ideas to expand your creativity.

Whether you’re making ICM photography, abstract light tails, infrared techniques and effects, or a simulated photogram series, new challenges and perspectives will help cultivate fresh ideas and hone your photographic skills.

The post 4 Simple Ideas to Expand Your Creativity appeared first on Digital Photography School. It was authored by Megan Kennedy.

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Fujifilm Instax Square SQ1 review: simple square-format fun

16 Sep

Fujifilm Instax SQ1
$ 120 | Instaxus.com

With the launch of the SQ1, Fujifilm now has three models that use their square format Instax film. This is the most stripped-down of the three, in terms of operation.

The Fujifilm Instax SQ1 is a stylish and easy-to-operate instant camera that makes use of the brand’s Instax Square format film. This new camera is a lot like shooting with a bulkier version of the Instax Mini 9/10/11, since it lacks many of the advanced features found on earlier Instax square cameras like the SQ6 or the SQ10. But it still manages to produce appealing Instax images, even if the shooter only has a very basic understanding of photography.

Key Specifications

Retractable lens (65.75mm, F12.6)
Full-automatic exposure control (flash always fires)
Variable shutter speeds from 1.6 to 1/400 sec including slow synchro for low light
Selfie mirror on front of lens
Selfie/close-up mode
Auto frame counter
Powered by two CR2 lithium batteries
Available in: Terracotta Orange, Glacier Blue and Chalk White

Operation

The Fujifilm Instax Square SQ1 operates on two CR2 batteries that you load into the back of the camera near the door where you load a pack of Instax Square film. On the back of the camera you’ll also find an automatic film counter showing you how many shots remain in your film pack and the camera’s viewfinder. Turn the camera on by rotating the lens to the ‘on’ position; if you are shooting a selfie or want a macro shot rotate the camera’s lens one more time to put it into ‘selfie’ mode (effective for subjects between 0.3 and 0.5m away).

Shooting with the Instax Square SQ1 is incredibly straightforward. Simply turn the camera on, look through the viewfinder and press the shutter on the front grip of the camera. If you’re shooting a selfie, use the small mirror on the front of the lens to frame the shot.

Usability

The viewfinder on the SQ1 is a tad small.

The SQ1 is bulkier than its Instax Mini counterparts, but that’s to be expected since it’s shooting on a much larger piece of film (Instax Square picture size is 62 x 62mm). The plastic build quality of the camera feels sturdy and the ribbed grip on the right hand side makes it comfortable to hold. Be mindful while handling the grip especially if the camera is turned on – the shutter is located on the grip and you might accidentally press it before you’ve framed the shot. Instax film isn’t exactly cheap and it can be frustrating to waste one of the 10 frames in a pack. That being said, some of my accidental shutter releases ended up creating pictures that I like quite a bit.

The shutter is located on the grip and you might accidentally press it before you’ve framed the shot

The SQ1 lacks some of the advanced features that you will find on the SQ6, like double exposures, landscape mode, lighten and darken modes, and a self-timer. It’s more similar to the entry-level Instax Mini cameras, with the big distinction being that it can shoot bigger pieces of square film.

Although the camera is larger than the varieties that shoot Instax Mini film, the SQ1 does feel more portable than 2018’s SQ6.

Image Quality

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You’ll get the best results from this camera when shooting outside in sunny conditions. But it does have a powerful-enough flash to work well once the sun sets. The auto-exposure occasionally did seem to struggle when shooting indoors with mixed lighting situations though. It’s the one time when I wished that the camera at least featured the lighter/darker setting found on some Instax models. Regardless of the lighting conditions, this camera’s simple lens is satisfyingly sharp (enough).

Conclusion

Although the Instax SQ1 lacks some of the features found on the more advanced SQ6 (which has an MSRP of $ 10 more), it’s incredibly easy to operate, has a stylish look, and produces Instax prints with mostly accurate exposures and eye-popping colors. The shutter placement takes some getting used to, but it’s comfortable in hand and not so bulky that you’ll leave it at home – and it’s certainly more fun to shoot with than the hybrid digital/analog SQ10. The simplicity of operating the SQ1 makes this an Instax Square camera that photographers and non-photographers will enjoy shooting with.

What we like

Easy-to-operate
Accurate exposures outdoors
Comfortable to hold and operate
Stylish look
Square format film

What we don’t like

Placement of shutter button
CR2 batteries can be difficult to find
No creative modes like double exposure or lighten/darken

Articles: Digital Photography Review (dpreview.com)

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Lomography’s new Analogue Aqua is an underwater ‘Simple Use’ film camera

30 Apr

Lomography has announced the release of the Analogue Aqua a new ‘simple use’ reloadable camera that comes packed an underwater case.

The Analogue Aqua is the latest version of Lomography’s take on the disposable 35mm film camera—this time with an aquatic twist thanks to its protective plastic housing, which is waterproof down to 10m (33ft).

The kit will be available in two versions, pre-loaded with one of two Lomography film stocks: Color Negative 400, for ‘classic analogue character’ or LomoChrome Purple for ‘violet tones that flourish and fade,’ in the words of Lomography. When you finish the 27-exposure pre-loaded film, you can put another roll in its place with the help of Lomography’s guide, giving you the convenience of a disposable camera with much less waste.

The camera itself operates on a single ‘AA’ battery, features a very rudimentary 31mm F9 lens, will focus on anything from beyond 1m (3ft) to infinity and has a permanent shutter speed of 1/120th of a second. In the event you need more light, the camera features a built-in flash that can fire once every 15 seconds.

Below are a few sample photos provided by Lomography:

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The Lomography Analogue Aqua ‘Simple Use’ camera is available in both the Color Negative 400 and LoomChrome Purple versions starting today for $ 40 on Lomography’s online shop. The first units will ship out in May.

Articles: Digital Photography Review (dpreview.com)

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DPReview TV: New show premiere! Host Don Komarechka combines photography and simple science projects

21 Mar

We’re adding a new show to the DPReview TV lineup, and you may have seen the work of our new host before. Don Komarechka is a landscape and nature photographer, and he’s a master of using macro photography and simple science experiments to turn otherwise unseen worlds into stunning images.

In this series he’ll share some of these projects so you can recreate them at home if you’re feeling ambitious – or you can just sit back and enjoy watching a mad scientist at work. In this first episode he demonstrates the ins and outs of photographing frozen soap bubbles. Check it out – and be sure to subscribe to our YouTube channel to get new episodes of DPReview TV every week.

Introduction
Mixture Recipe
Wind
Staging
Bubble Placement
Focus Techniques
Experimenting with Light
Video
Conclusion
3D Soap Bubbles

Articles: Digital Photography Review (dpreview.com)

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Making Sense of the Exposure Triangle – ISO, Aperture, and Shutterspeed Made Simple

26 Feb

The post Making Sense of the Exposure Triangle – ISO, Aperture, and Shutterspeed Made Simple appeared first on Digital Photography School. It was authored by Jackie Lamas.

Ever hear other photographers talking about shooting in manual mode, and using terms like ISO, aperture, and shutter speed and have no idea what they’re talking about? Then this article is for you. While making sense of the Exposure Triangle may seem overwhelming, you’ll learn everything there is to know so that you can get shooting in manual mode quicker!

Canon 6D, 28mm, f/5.6, 1/250, ISO 400

Everything in photography has to do with light

All three settings, ISO, aperture and shutter speed are collectively called the Exposure Triangle. They work together to allow more or less light to enter the camera depending on the light that you see with your eye in a given situation.

making-sense-of-the-exposure-triangle

For example, the brighter the light outside, the less you need to enter your camera to record the image. The less light around you, the more light you’ll need the camera to capture in order to make the image visible.

Each part of the Exposure Triangle works together to create a good exposure while controlling the camera fully to suit your creative direction.

What is ISO?

When making sense of the exposure triangle, you first need to understand ISO. ISO is the light sensitivity of the camera’s sensor.

So, think of this as your eye. When it’s really bright outside, your eyes tend to be less sensitive and need to strain less to focus, see, and look at the world around.

Image: When it’s particularly bright outside, like in this photo, use a lower number ISO. Cam...

When it’s particularly bright outside, like in this photo, use a lower number ISO. Camera settings: f/5.0, 1/800, ISO 200, 85mm shot on Canon 6D.

On the other hand, when you’re in a dark location with little to no light, your eyes strain and become more sensitive to any lights in the scene, helping you see better at night as well.

The same thing happens to a camera’s sensor. The more sensitive, the more light you’ll be able to pick up. The less sensitive, less light will enter the camera.

making-sense-of-the-exposure-triangle

ISO is measured in numbers ranging from 50 to 25,600 on some models. There is usually a button on your camera that is labeled ISO. This is where you’ll be able to change the ISO depending on the lighting situation.

Image: Here, we used auto mode to get an idea of the exposure we would need to take a photo of these...

Here, we used auto mode to get an idea of the exposure we would need to take a photo of these stuffed animals setting the ISO at 100.

The ISO also affects the quality of the image, so be careful when you’re using higher ISO numbers. They tend to record a lot of digital noise (or grain points) that you see when zoomed in.

As you can see in this photo, using a high ISO added more light than we needed.

Using a higher ISO can help you in low light situations when you want to keep a relatively fast shutter speed to avoid camera shake. However, you need that boost in light to help expose correctly.

Image: When you use a high ISO, your camera is more sensitive to light and causes digital noise – li...

When you use a high ISO, your camera is more sensitive to light and causes digital noise – little points on your image that make it look grainy.

Aperture

When making sense of the exposure triangle, you need to understand aperture next. Aperture, is the opening and closing of the lens. Measured in F-numbers, it affects both the amount of light entering the camera, and the depth of field in your image.

Camera settings f/2.5, 1/100, IS0 400, 50mm. In order to get the baby’s hand in focus and nothing else, we had to use an open aperture of f/2.5.

The depth of field is how much is in focus from foreground to background. A lower f-number will open your lens and let more light in, but it will also give you a narrower focus range (a shallow, or small depth of field). While a higher f-number will close your lens, and lessen the light entering, it will give you a wider focus range (a wide, or large depth of field).

making-sense-of-the-exposure-triangle

This is especially important to keep in mind when taking portraits so that you can determine how much you want in focus.

For an individual portrait, any f-number between f/2.8 and f/5.6 works great. You still have your subject in focus but you do get some bokeh (blurry background due to a low f/number).

Here we have a more open aperture and therefore less is in focus.

For groups of people, you’ll want a high f-number like f/8 or f/11 because, at a lower f/number, you have less depth of field. This means your plane of focus is narrower. If you have people standing outside the plane of focus, they will be blurry. Therefore, in order to have everyone in focus, a high f/number is best because it gives you a wider plane of focus.

Here we are using a closed aperture, allowing more to be in focus.

Again, opening and closing of the lens affects how much light enters the camera. Eventually, in manual, you’ll have to compensate with one of the other two settings to make up for the lack of light or excess of light entering your camera.

Image: To capture the bird and the landscape surrounding it, we used an aperture of f/9. Other camer...

To capture the bird and the landscape surrounding it, we used an aperture of f/9. Other camera settings are ISO 400, 1/250, at 28mm.

Use Av or A mode on your camera to play with aperture. The camera will set the shutter speed for you to maintain correct exposure. However, you’ll be able to see a noticeable difference in your depth of field and in light entering your camera.

Shutter speed

When making sense of the exposure triangle, shutter speed is the next thing you need to know. Shutter speed dictates the length of time that the shutter is open.

To get a silhouette, you’ll need a fast shutter speed. This image has a shutter speed of 1/1000, f/16, ISO 400, 28mm.

Shutter speed is measured from seconds to fractions of a second (slow to fast shutter speeds). The slower the shutter speed, the longer it stays open to capture light. The faster it opens and closes, the less light is captured to make your photo.

making-sense-of-the-exposure-triangle

For example, on a really bright afternoon, use faster shutter speed in order to create a good exposure. In a low light situation, like a nighttime scene or a dark cafe, a slower shutter speed can help capture enough light to make the photo.

In these two photos, we only changed the shutter speed and kept the other camera settings the same. You can see a significant difference in light.

Keep in mind, the slower the shutter speed, the more chance of camera shake occurring. Camera shake is an accidental blur due to the camera shaking, either in your hands, or due to some other force.

At slower shutter speeds, usually 1/125th of second or slower you are more likely to get camera shake. At faster shutter speeds this isn’t a problem as the camera opens and closes too quickly to register the shake.

Using a slow shutter speed can give you interesting images with movement. Camera settings f/6.3, 1/13, ISO 400, 50mm.

Shutter speed also allows you to show movement in your photos or freezes moments. Slow shutter speed will show more movement, for example, a child running or playing. While a faster shutter speed will freeze the moment or action that you’re capturing.

Manual Mode

Manual mode is where you have to set all three adjustments manually, therefore, giving you complete control of the light and look of your photo.

Think of these three as a pulley system, all working together. When one is moved, one or both of the other settings must also adjust and compensate.

making-sense-of-the-exposure-triangle

The photo on the left has a slow shutter speed, an open aperture, and low ISO. The slow shutter speed and open aperture help light enter. It also allows the camera to pick up the movement of the water.

In the photo on the right, we get more of an action shot of the water. This is because we have now changed the ISO to 1/2000 sec – a pretty fast shutter speed. With this fast shutter speed, we had to compensate for the loss of light from the fast shutter speed. So, we added light by using a higher ISO and a more open aperture. Even so, it wasn’t enough to get a correct exposure as the photo is a little dark.

The best way to get started in manual mode is to think about what kind of photo you want to make. Are you shooting still life? Is there enough light? Do you want to control your focus range? Is this a portrait? All of these things can help you to determine where to start.

making-sense-of-the-exposure-triangle

For example, you’re taking photos of your kid’s soccer game in the early evening, and there is still a lot of light left, but it’s not harsh. You want to freeze the action of the game, and so you’d start by setting a fast shutter speed first.

If you’re taking a portrait of someone, then you’d start with the aperture in order to control your depth of field. Then you’d adjust the other two settings accordingly.

Camera settings f/5.6, 1/100, IS0 400, 53mm.

For landscapes, you’d likely start with aperture and shutter speed. You may need a small aperture (eg f/11) to capture a wide plane of focus. Depending on whether there is water in your landscape, you may want to freeze the water or give it a silky look by slowing your shutter speed right down.

Knowing what you’re shooting and type of light will give you a starting point

Also, in manual mode, there is a built-in light meter. This meter looks like a tiny ruler either at the bottom of the live view or inside the viewfinder. It helps you determine if your photo is too bright (metering to the right), or too dark (metering to the left).

When the line is in the middle, or at zero, you’ve got what the camera considers a perfectly-exposed photo.

The ruler at the bottom of the live view, or through the viewfinder, can help you expose your photos correctly. To the right of the ruler your photo will be brighter, and to the left, it will be darker.

Aim to keep it in the middle as you practice in manual mode. Sett one of the adjustments and then move the other two to add or take away light accordingly until the meter is in the middle.

It’s all about practice and really getting to know what each setting does on its own before switching to full manual. This can feel overwhelming, so try using one of the other modes, like Tv/S or Av/A modes first. Doing so may give you a better understanding of the settings and more control over your photos.

Camera settings f/22, 30 seconds, ISO 200, 28mm.

Camera settings f/10, 1/640, ISO 400, 50mm.

Conclusion

The technical side of photography can sometimes seem overwhelming and it seems like there is always something new to learn before feeling confident. Making sense of the exposure triangle will set your creativity free and give you full control of your camera.

The post Making Sense of the Exposure Triangle – ISO, Aperture, and Shutterspeed Made Simple appeared first on Digital Photography School. It was authored by Jackie Lamas.

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Lomography releases Simple Use Camera preloaded with LomoChrome Metropolis film

20 Feb

Lomography’s latest Simple Use Camera, the LomoChrome Metropolis, is now available to purchase from the company’s online store. The camera is loaded with Lomography’s LomoChrome Metropolis ISO 100-400 film, operates off a single AA battery and features a built-in flash. The Simple Use Camera is reloadable, as well.

According to Lomography, its Simple Use Camera loaded with LomoChrome Metropolis film can be used to capture ‘grungy shots with muted colors and distinctive shadows.’ The camera includes three Color Gel flash filters (yellow, magenta and cyan), a built-in frame counter, direct optical viewfinder, 31mm F9 lens and 1/120 shutter speed.

In addition to the LomoChrome Metropolis ISO 100 – 400 film, the Simple Use Camera is also available with Black & White ISO 400, LomoChrome Purple ISO 400 and Color Negative ISO 400 film. The camera is available from Lomography now for $ 22.90 each.

Articles: Digital Photography Review (dpreview.com)

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Posts Tagged ‘Simple’

1. Darken the blues

2. Control the highlights

3. Add a blue tint to the sky

When should you adjust your sky with Lightroom?

Enhancing skies in Lightroom: final words

Step 1: Choose your collage photos

Step 2: Open the selected images in Photoshop

Step 3: Create a new file for your Photoshop collage

Step 3: Add your images one at a time

Step 4: Arrange your photos

Step 5: Add image spacing

Step 6: Merge all layers

Step 7: Crop the final image

Step 8: Resize

Step 9: Save and export your collage

How to make a Photoshop collage: final words

1. Scout the location

2. Sunrise or sunset?

3. Plan your shots

4. Gather the proper gear

5. Use the right settings

6. Compose for interest

7. Waiting for the right shot

8. Don’t leave too early

8 simple guidelines for sunrise and sunset photography: Conclusion

1. Light

2. Expression

3. Post-production

1. Infrared photography and effects

2. Intentional camera movement

3. Creating a photogram effect

4. Abstract light trail photography

Conclusion

Fujifilm Instax SQ1$ 120 | Instaxus.com

Key Specifications

Operation

Usability

Image Quality

Conclusion

What we like

What we don’t like

Everything in photography has to do with light

What is ISO?

Aperture

Shutter speed

Manual Mode

Knowing what you’re shooting and type of light will give you a starting point

Conclusion

Fujifilm Instax SQ1
$ 120 | Instaxus.com