The post Weekly Photography Challenge – Blurry Background appeared first on Digital Photography School. It was authored by Sime.
Welcome to this week’s photography challenge! The aim is to get you to try photographing new things every week, to maybe try photographing things you’ve not tried before, or to get you thinking in a different way to maybe create a different image if you have photographed the theme before.
Be inspired by the photos that others post, try recreate them for yourselves. You can contribute a photograph directly into the comments of this post (Scroll all the way down for the comments section) or you can share them in our Facebook group.
This week’s Theme is Blurry Background what will you do for your photograph?
Via: How to achieve Background Blur or Bokeh [click]
You can call it Bokeh or Blurry Background (Though Bokeh is the aesthetic quality of the blur produced in out-of-focus parts of an image.) but this week we want to see your background blur!
Unsure what we mean? Here are some great examples…
How to Achieve Background Blur or Bokeh
Four Ways to Generate Stunning Bokeh in Your Images
Tips for shooting out of focus city scapes
Remember to tag us in your photos if you post them on social media!
Closer you get, more chance of background blur you have – Yoda* (*not really) [click]
Good luck with your photograph and most of all have fun!
The post Weekly Photography Challenge – Blurry Background appeared first on Digital Photography School. It was authored by Sime.
Are you looking to create an image with a transparent background in Photoshop? Which is the best method? How do you save the final image in different file formats? Which formats allow saving transparent backgrounds? What are the use cases for transparent backgrounds? If you need help with any of these, the following article will answer all of these questions Continue Reading Photodoto
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The post How to Blur the Background in Photoshop: Step-By-Step Guide appeared first on Digital Photography School. It was authored by Megan Kennedy.
Do you want to know how to blur the background in Photoshop? While it’s generally best to create a shallow depth of field effect in camera, there are ways to create a realistic blur in Photoshop.
In this article, I’ll share two easy methods to produce a Photoshop blur effect, and I’ll also discuss when and why you should think about blurring the background in the first place.
Let’s get started.
How to blur the background in Photoshop: Field Blur
Photoshop’s Field Blur filter allows you to place pins on an image, which will introduce a blurred background effect.
To begin, open an image in Photoshop. For this example, I’m using a starter image with a relatively even degree of sharpness. The image also has room for significant foreground and background blur, so with the right tools, the effect should look very realistic.
Canon 5D Mark II | Canon EF 24-105mm f/4L IS USM | f/8 | 1/40s | ISO 200
Step 1: Convert the layer to a Smart Object
First things first:
Before you create any blur, convert the Background layer to a Smart Object. In a moment, you’ll be applying a Field Blur filter – and if your layer begins as a Smart Object, you’ll be able to adjust your blur filter at any time (long after it’s been added to the image).
So right-click on the Background layer (in the Layers panel) and select Convert to Smart Object:
The layer name will change from Background to Layer 0. The Smart Object icon will also appear in the bottom right corner of the layer’s thumbnail preview:
Step 2: Add the Field Blur filter
With Layer 0 selected, click the Filter menu, select Blur Gallery, and then Field Blur.
The Field Blur window will open, and you’ll see an initial pin positioned in the center of your image, creating a uniform blurred effect.
To start customizing the blur, reposition the initial pin by dragging it around the image. Also, by dragging the outer ring clockwise and counterclockwise, you can increase or decrease the intensity of the effect.
A Field Blur pin.
To build up the Field Blur effect in the background of a photograph, you’ll likely need more than one pin. In the Field Blur window, position your cursor over an area in the image and click once; this will add a new pin.
Then move the pin and/or adjust the intensity of the blur accordingly. To maintain sharpness in the foreground, place a pin over a foreground subject or zone and set the blur to 0.
(Note: You can delete pins by selecting them with the mouse and hitting the Delete key.)
As you work with the Field Blur filter, Photoshop will automatically assess the space between each pin to create an even result. In the example below, the difference in blur between the foreground pin (with the blur set to 0) and the background pin (with the blur set to 25) is blended to create a smooth effect that transitions across the entirety of the image.
However, some images will require more pins than others (depending on your desired outcome), so don’t be afraid to experiment a little.
Also, the Filter Gallery screen does contain a few extra adjustment panels, including Bokeh sliders and a Blur slider. The Bokeh effect is a little hit and miss, but it can be used to enhance the appearance of points of light, while the Blur slider works the same as adjusting Blur on a pin. And noise can be adjusted through the use of sliders on the Noise tab.
Once you are happy with the Field Blur effect, click OK. To make additional adjustments to the filter at a later time, simply double-click on the Blur Gallery effect in the Layers panel. The Field Blur window will open again, and you’ll be able to add further refinement.
Here’s my result:
How to blur the background in Photoshop: Iris Blur
The Iris Blur filter is another tool included in Photoshop’s Blur Gallery. It enables the selective blurring of an image, and it offers a more customizable range of depth of field controls compared to Field Blur.
Step 1: Convert the layer to a Smart Object
As with the Field Blur effect discussed above, start by opening your image in Photoshop and converting it to a Smart Object.
First, right-click on the image layer and select Convert to Smart Object. The name of the layer will change from Background to Layer 0, and a Smart Object icon will appear in the bottom right corner of the layer’s thumbnail preview.
Here’s the image I plan to blur; it has a bit of background blur already, but we can make it more impactful with the Iris Blur filter:
Canon 5D Mark II | Canon EF 24-105mm f/4L IS USM | f/4 | 1/125s | ISO 200
Step 2: Apply the Iris Blur filter
With Layer 0 selected, click on Filter>Blur Gallery>Iris Blur.
The Iris Blur window will open, and the first Iris Blur pin will be positioned in the center of your image.
You’re free to reposition the Iris Blur by dragging the pin. You also have a number of options for customizing the effect; by carefully manipulating the various handles surrounding the central pin, you can introduce a realistic background blur. I’ve labeled the handles below:
And here are the corresponding effects:
A = Roundness Adjustment. Dragging makes the blur shape either circular or square.
B = Blur Ring. Controls the degree of blur applied to the image.
C = Feather Points. Dragging adjusts where the blur effect begins.
D = Ellipse Handle. Dragging makes the ellipse rounder or more oval in shape.
As with Field Blur, multiple Iris Blur pins can be placed on the image to exaggerate or limit the spread of the blur effects. However, unlike Field Blur, the amendments made to each Iris Blur pin are global, so every pin’s blur level is adjusted to match the active pin.
To customize the blur of an individual pin, adjust the Focus dropdown slider located at the top left of the Blur Gallery window:
The Focus slider is located toward the top left of the Blur Gallery interface.
When you are finished, click OK. If you want to go back and edit any Iris Blur effects later, double click on the Blur Gallery filter layer (beneath the main image layer) in the Layer Panel. The Iris Blur window will open, allowing you to rework your edits.
Here’s a slightly exaggerated example of the results obtained with Iris Blur:
When is blurring the background a good idea?
The Field and Iris Blur filters are simple and impactful Photoshop tools. But when should you use them to blur the background in Photoshop, and when should you leave the background as-is?
You might want to use Iris or Field Blur if…
you want to draw attention to a subject;
you want to delineate between a foreground and background;
you want to convey depth;
you want to create an abstract effect.
Of course, there are plenty of other times when a Photoshop blur effect will do the trick. In general, look for images that feature a strong subject and/or exhibit a degree of open space or perspective that helps differentiate between foreground and background. You might even select an image already exhibiting a moderate amount of blur and enhance the effect in Photoshop.
How to blur the background in Photoshop: conclusion
Now that you’ve finished this article, you should be able to produce a realistic background blur using Photoshop.
Of course, it’s generally best to create blur using in-camera effects (e.g., a wide aperture for a shallow depth of field). But the Iris Blur and Field Blur filters offer a simple and effective way to create beautiful effects in post-processing.
So experiment with the Blur filters. Test out different effects. And your photos are bound to turn out great!
Now over to you:
Do you have any tips for blurring the background in Photoshop? Do you have a favorite background blur method? Share your thoughts in the comments below!
The post How to Blur the Background in Photoshop: Step-By-Step Guide appeared first on Digital Photography School. It was authored by Megan Kennedy.
The post How to Blur the Background in Lightroom: A Complete Guide appeared first on Digital Photography School. It was authored by Rick Ohnsman.
If you want to give more emphasis to your subject, you must minimize the background. The best way to achieve this is in-camera; you can focus on the subject but pick a wide aperture and a long focal length for limited depth of field. The result is a sharp subject but a blurred, simplified background:
The best way to blur the background in a photo is with a combination of focal length and aperture.
That is the ideal method. I’m going to teach you how to blur the background in Lightroom, but with the caveat that it is not the best way.
What if your image is sharp from front to back but the background now competes for attention? You didn’t think about it and made your shot with a smaller aperture, wide focal length, or both. Or perhaps you’re dealing with a smartphone image, where a small sensor size and a very short focal length almost always creates images with everything in focus.
Smartphone photos typically have a deep depth of field due to the small sensors and very short focal lengths. The image on the left is straight out of the phone. The version on the right had the background blurred with Lightroom to put more emphasis on the subject.
If you failed to get a blurred background in-camera, your next best option is Photoshop – or another sophisticated editing program that supports layers, selections, and functions like gradients and Gaussian blur.
As for Lightroom: It’s a fair option. It will work, but using it to blur your background probably ought to be thought of as a “rescue mission.” I don’t want to discourage you – Lightroom often can produce a very acceptable blur – but I’d strongly encourage you to shoot multiple images during your photo session and vary the aperture if you think you might want to soften the background.
But all the coulda, woulda, and shoulda regrets over how you might have made a better in-camera capture don’t count when the session is over, the images are already made, and Lightroom is the only editing tool you have.
So let me show you how to blur the background in Lightroom.
“Chuck” the rockchuck blended in a bit too much with the background. Using Lightroom, I blurred the areas around him to simulate a shot with a long lens and a wide aperture.
Two major steps
There are two major things to consider when blurring the background in Lightroom:
What area(s) you want blurred
The kind and amount of blurring you want
The what and how of masking
In Photoshop, defining the area you want to work with is typically done with selections. There are a variety of tools to create selections, and once you’ve made them, you’ll typically see the “marching ants” – the animated dotted-line border that defines your selected area.
But in Lightroom, there are no selections, and you’ll never see the ants. Instead, Lightroom uses what it calls “masks” to allow you to select areas where you want effects applied.
There are three local adjustment tools you can use in Lightroom to select areas and apply masks:
The Adjustment Brush
The Graduated Filter
The Radial Filter
Blurring the background with a Graduated Filter and the filter brush
This statue photo has a busy background. Background blurring techniques in Lightroom can help keep more attention on the subject.
Step 1: Drag a Graduated Filter from the right edge across the entire image. The Mask Overlay is turned on (in green).
Step 2: With the Graduated Filter still selected, get the filter brush tool. (Find the word “Brush” at the top of the editing panels and click that, not the picture of the brush). Either hold down the Alt/Option key while you work so the symbol inside the brush is a “-” sign or click the Erase option. Erase portions of the mask you don’t want to be blurred. The Auto Mask option can be helpful to find edges.
Step 3: Finish erasing the portions of the subject you want to be sharp. Then think about other areas that would be sharp if you had shot with a limited depth of field, such as the foreground. Erase those areas, too, making sure to use a very feathered brush with a low flow. After your image is masked, drag down the Sharpness slider to create the blur. (It’s good to toggle off the Mask Overlay here so you can see what you’re doing; just hit “O” on the keyboard to toggle it on and off.)
It’s probably best to think of your filter brush more as an airbrush than a paintbrush. There are four settings you can use to control its application:
Size: Changes the size of the brush. Roll the mouse wheel, use the left and right bracket keys, or use the slider.
Feather: Changes how hard the edge of the brush is and how rapidly the effect falls off. Use Shift while rolling the mouse wheel, Shift and the bracket keys together, or the Feather slider.
Flow: Controls how quickly the effect is applied with each stroke of the brush. Use the slider to adjust the flow, or with the brush tool selected, change the flow with the number keys on the keyboard. Using multiple strokes will build up the effect.
Density: Controls the maximum opacity of the brush effect. For example, if the Flow was at 100 but the Density was at 50, one stroke of the brush would apply the effect at 50% opacity.
It is possible to simply select the Adjustment Brush, drag the sharpness slider all the way down (“reverse sharpening”), and start painting away on your image, watching the painted sections become more blurred. (You are still creating a mask this way, but you will not see it unless you turn on the Mask Overlay).
The Adjustment Brush method might work fine if you don’t mind being imprecise about how finely the blur is applied, but it is not the best method for finer work.
Radial Filter
The Radial Filter has a shape that is restricted to circles and ovals. The effect radiates out from the center of the spot where it is applied. You can control its size, feathering, and orientation.
Using the Invert checkbox, you can also control whether the filter effect occurs outside the oval (the default), or inside the oval (if the Invert box is checked).
Blurring the background with the Radial Filter is a three-step process:
1) Mask the entire image with the Radial Filter. (Turn on the Mask Overlay to see where the mask is applied.)
2) Use the filter brush to erase portions of the mask you want to remain sharp.
3) Slide the Sharpness slider to the left for reverse sharpening (softening) of the masked areas.
The image on the left is prior to masking; the image in the center shows the masked area after removing the mask on the barn; the image on the right shows a blurred background.
The Overlay option
Being able to see where you’ve applied a mask makes things easier, so turning on the Mask Overlay option is a good idea. This can be done by either checking the box at the bottom of the screen labeled Show Selected Mask Overlay or by tapping the “O” key on your keyboard.
You can cycle through various overlay colors (which can help to make your mask stand out over different photo colors) by using Shift + O.
This background blur was created by simply loading the Adjustment Brush with the Sharpness slider turned down, then painting over the areas I wanted to soften. I added a Radial Mask with a slightly raised exposure to the fern to give added attention there.
Modifying masks
Though the Adjustment Brush, Radial Filter, and Graduated Filter are the only tools for applying masks, there are other tools for modifying them.
Auto Mask – Checking this box while working with a brush will help the brush find edges in your image and can make masking much easier.
Erase – You can use the Adjustment Brush to paint on a mask. When doing so, you will see a “+” symbol at the center of the brush. Clicking the Erase option will change the symbol at the center of the brush to a “-” symbol so that you can erase portions of the mask you already painted on. You can also easily switch from painting to erasing by holding down the Alt/Option key.
You can add or subtract from Graduated Filter or Radial Filter masks with the filter brush tool. If you are working with a Graduated or Radial Filter mask, you will see the word “Brush” appear to the right of the word “Mask.” Important: This is a different brush than the Adjustment Brush tool. It will allow you to add to or subtract from your existing Graduated Filter or Radial Filter mask.
Range masking
Lightroom has recently added what is called the Range Mask.
With Range Masking, you still apply an initial mask using the three tools mentioned above (the Adjustment Brush, the Radial Filter, and the Graduated Filter). But by turning on Range Masking, you can control more specifically where the mask is applied.
The Luminance Range Mask will allow you to selectively apply a mask to a range of luminance (brightness) in the photo, while Color Range Masking allows the mask to be applied to a range of color (hue). Being proficient with the Range Mask will serve you well as you become a more skilled Lightroom editor.
Clockwise from top left: 1) the Before image. 2) The background selected with the Color Range Mask. 3) The background blurred with one blur layer. 4) The background blurred with three duplicate blur layers.
Learning how to create a mask to work with the areas you want is the most important part of how to blur the background in Lightroom. Take time to carefully apply and fine-tune your masks. How convincing your final image will be is highly dependent on the careful application of your mask.
This is the original edited image. It had been foggy earlier in the day, and I wanted to emulate that look.
I first brought in Graduated Filters from both the right and the left with the Sharpen slider down to about -28.
I then brought another Graduated Filter down from the top with the Sharpen slider all the way down to -95.
I then added some additional masking with the Adjustment Brush tool, and I dropped the Sharpening down to about -33.
Here is the final result with some additional negative Dehaze added to my masks.
Creating the blur
Creating your masks will determine where your blurring effect is applied. It’s the more time-consuming and critical step.
But these next steps will determine how the blur looks.
Let’s say you have a person in your foreground as the main subject. You want them to be sharp, but you’d like to blur the background. Using the masking tools and techniques I’ve outlined above, here’s how I’d approach the image:
Drag a Graduated Filter across the image so the entire scene is masked.
Use the filter brush tool (the one that’s part of the Graduated Filter) to fine-tune the mask, erasing portions over the subject, adding back as needed, and perhaps also using the Auto Mask feature to help you better mask near the edges.
Now, with your Graduated Filter selected, drag the Sharpness slider down, perhaps all the way to the left.
See if dragging down the Clarity slider a bit helps achieve the blur you want. Use this more sparingly than the Sharpness slider as it can create a strange look if applied too strongly.
Play with the other sliders to see what effect they might have. Remember that each slider will only affect the masked area.
Double down on the blur
You might find that even if you drag your Sharpness or Clarity sliders all the way to the left, you still aren’t getting the amount of blur you’d like. Time to double down.
Once you’ve added the sharpening or clarity effect, right-click the pin and hit Duplicate. A copy of the adjustments will be applied on top of the existing adjustments, and the blur will be multiplied.
Still not enough? Repeat and duplicate again. You can make as many duplicates as you like, slowly building up the effect.
Top left: The Before image. Top right: The mask applied. Bottom left: The background blurred with one pass of reverse sharpening. Bottom right: The background blurred with three duplicates of the reverse sharpening adjustment.
When you blur the background in Lightroom, less is more
Let’s come back around to what I said at the beginning of this article:
Using Lightroom to blur your background is not the best way to achieve the look you’re after. Softening details with editing is a bit of fakery and cannot begin to truly reproduce the kind of bokeh blur achieved with a lens.
So instead of creating something that is immediately obvious and calls attention to itself, be subtle. If an untrained observer would say, “This looks like an editing effect,” you’ve failed.
Less can be more. Just a little reverse sharpening to the background and foreground simulates a narrow depth of field.
Spend whatever time it takes to create and refine your masks so that it’s not obvious where the edge is. Consider the different parts of the scene that should – and shouldn’t! – be blurred.
Then be sparing in your application of reverse sharpness and clarity. It’s always a good practice to take a break after an editing session to give your eyes a rest, then look at your image again later. You might even ask someone else to view the image. (They should not be able to tell that anything was doctored.)
Front-to-back sharpness or a simulation of limited depth of field? For this shot, there wouldn’t have been time to shoot it both ways, so the ability to blur the background in editing was useful.
How to blur the background in Lightroom: final words
In teaching you how to blur the background in Lightroom, I want you to be successful with your editing and make beautiful images.
So test out the techniques I’ve shared. And if you get good results, post some of your before and after images in the comments below!
Why should you blur the background of a photo?
You should always decide on the most important subject in your photo and use techniques to put the most attention on that subject. Sometimes backgrounds can be distracting, so blurring them while keeping the main subject sharp can be a good idea.
Is Lightroom a good application for blurring the background?
It works, but you will be using tools not especially created for this purpose. Adobe Photoshop or a different editing application with selections, layers, and Gaussian blur would be better.
Is there a Blur tool in Lightroom?
Not really. To blur backgrounds in Lightroom, you add reverse sharpness and reverse clarity over selected portions of the image.
What is the best way to blur the background in a photo?
The best way is to shoot your photos with a limited depth of field. Wide apertures and longer focal lengths would be the in-camera approach to the blurred background look.
Will the “Portrait mode” of newer smartphone cameras allow you to blur the background?
Yes, this mode actually takes multiple shots and combines them in-camera to create a blurred background effect. It might be better than what you can do in Lightroom, but it provides limited user control and is not nearly as good as what can be done with a traditional camera.
The post How to Blur the Background in Lightroom: A Complete Guide appeared first on Digital Photography School. It was authored by Rick Ohnsman.
The post 3 Rookie Mistakes to Avoid When Shooting on a White Background appeared first on Digital Photography School. It was authored by Lily Sawyer.
Because white background portraits are so common, many people think it’s an easy effect to achieve. Simply put your subject in front of the camera against a white background (preferably with a flash or strobe), and take the picture.
Unfortunately, it’s not so simple. Using the method described above would result in a photo with either a gray, dull, or muddy-toned background. The best possible result would be an off-white background after you have done some edits. That’s not the only issue, though; you’d see unwanted shadows everywhere, too.
I have replicated the setup with my little model, Sven (Kristoff’s beloved reindeer in the movie Frozen). It is easier doing this with a small-scale subject, as the lights are huge in comparison. With people, to do this to scale, you need to have massive octaboxes and flags. But this tutorial will show you the process clearly.
So here are three rookie mistakes to avoid when trying to achieve 100% pure-white background photography:
Mistake #1: The background is not lit properly
The background must be lit with approximately two stops more light than the subject. For example, if you want to photograph your subject at f/8, set your background lights to two stops brighter, so your meter reads f/16 on the background.
Note: You need to meter foreground and background lights separately, so that when metering for the main light (on the subject) you would turn the background lights off and vice versa. When both the background and main lights are on, your meter should still give you f/8 on the subject, because you are metering the light that falls on your subject and not on the background.
The photo below (right) shows what it looks like when you don’t light the background at all. You get a tone and color other than the intended white. In the photo on the left, the background was lit, but there was no main light illuminating the subject. Therefore, the resulting image is almost a silhouette of the subject.
My camera settings for all the shots in this setup were ISO 250, 1/160s, and f/8 (though the background gave a meter reading of f/16). The speedlights were set to 1/16th power (I rarely use my speedlights at full power, because the batteries run out very quickly).
The camera was a Nikon D750, which handles noise superbly, so ISO was not an issue. Two SB-910s and one SB-900 speedlight were used for this setup.
The photo below shows the setup with only the left background light firing.
You will notice in the two images below that only the right background light fired in the left photo, and only the left background light fired in the right photo. Such lighting is acceptable, of course, if that was your intention. The main light was positioned at a 45-degree angle on camera right. I wanted to bounce my flash onto the white rogue bender to modify the light.
You may also notice that in the left photo (above), there is a very slight shadow of Sven on the background behind him – because the left background light didn’t fire. When the background light did fire on the left, this shadow was eliminated (right photo, above).
Below is the setup with all three lights firing correctly.
Now that you have your background and main lights set up, you need to make sure these lights only hit the intended subject. This leads us to the next rookie mistake: separation.
Mistake #2: Not enough subject-background separation
Because the background lights are so much brighter than the foreground light, you need to separate them from the main subject. There are two key ways of doing this:
Flagging
Distance
Flagging
You can use anything black to flag your lights: the black side of a reflector, black cardboard sheets, or black foam core.
Black does not bounce light; instead, it absorbs light. It also blocks light from seeping through to places where you do not want it. If you don’t flag (block) your background lights, your subject will end up with a halo effect and look very backlit.
Distance
Once you have flagged your lights, you need to position your subject far enough away from the background (and from the background lights) that any light spillage won’t touch your subject. This depends on your personal preference and intention, of course – you may want some spill on your subject for a certain look or effect, or you may not.
If you do want some spill, make sure to run a few tests with various lenses, as chromatic aberration may occur around the edges of your subject due to the abundance of light. Some lenses are prone to chromatic aberration regardless of aperture, while others perform very well even at wide apertures, where chromatic aberration is most commonly observed. Also, be careful with the amount of spill you allow – you don’t want to chop off parts of your subject from the spill overexposure.
The photos above show a properly-lit Sven. The two background lights fired at f/16 and the main light fired at f/8. There are no unwanted shadows on the background, as was my intention.
However, I wanted to have a reflection and shadow in the foreground. This leads nicely to the third rookie mistake to avoid: a floating subject.
Mistake #3: The subject is floating
If you do not include some floor shadows, your subject will look like it is floating on white air, or like it’s cut out and pasted on a white sheet of paper.
The best tip for avoiding floating subjects is to use a reflective surface such as translucent white plexiglass, or white tile sheet, as a base for your subject to stand on. You can adjust the opacity of the reflection in Photoshop during post-processing, but having the reflection shows that your subject is planted firmly on solid ground.
The left image shows Sven floating, but the addition of the reflection (right) shows Sven standing on solid ground. The latter looks more pleasing and natural, and not like a cut-and-paste job.
Bonus mistake #4: Overexposed background
Be careful not to add too much light to the background. If you go past pure white and really overexpose a shot, the white will start almost glowing around the subject, just like if you had sun flare outdoors.
This lowers contrast and makes your subject look like they have a bit of a halo. You can see this overexposed effect in the images below:
White background photography mistakes: Conclusion
I hope this little tutorial has shed some light on basic techniques for creating a white background, and that it has solved any and all mysteries regarding how to achieve such a look.
If you have other, more advanced techniques, do share them in the comments below!
The post 3 Rookie Mistakes to Avoid When Shooting on a White Background appeared first on Digital Photography School. It was authored by Lily Sawyer.
The post Free Tools to Easily Remove a Background in Photos appeared first on Digital Photography School. It was authored by Ana Mireles.
Whether you’re replacing a dull sky, cutting-out a product or creating a collage, sooner or later you’ll need to remove a background in photos. Professionals and amateurs alike need an efficient tool for this task. Fortunately, there are some free alternatives in the market for all levels of expertise. Here, I’ll show you some of them.
Removing the background is usually very meticulous and tedious work. It is, however, one of the most needed edits. Because of this, developers have come up with different solutions. I’ll show you some of the free tools available, so you can choose what’s best for you.
Source Image
It’s easier to remove a background when your image is well exposed and when the subject has defined edges and a contrasting background. To better test the tools, I’ll use an image with these characteristics, but also one that doesn’t.
The second image will be a simple snapshot with a slightly underexposed subject, some hot points, and a busier background. Let’s see how each tool behaves in both situations.
Image 1 (left): 1/1000; f8; ISO 200. Image 2 (right): Snapshot in auto mode.
Edit Photos for Free
Edit Photos For Free is a website where you can remove the background. It’s free, without having to register for an account and without previous training or knowledge. You just draw the border, then indicate what is the foreground and the background; the program will do the rest.
Pros
It really is free, you won’t be asked to register or upgrade during the process, nor at the end of your work. No tricks as far as I can see.
You can download the final version without losing resolution.
You don’t need to have previous knowledge or skills – it is very user-friendly.
When the source image is well-exposed and has a contrasting background, it will do a very good job drawing the border automatically. Just by adjusting the tolerance value, I didn’t need to do any further adjustments for image number one.
Cons
It wouldn’t allow me to rotate image number two.
You can’t replace the background, you either leave the transparency or color it.
If the image foreground is not super clear, you will have to draw the edges yourself. I had to do this for image number two and refining the selection was not very intuitive.
The shadow and feather options didn’t do any noticeable changes.
Background Burner
Background Burner is free to use, however, you do need to register. As soon as you upload the image, it automatically runs the first selection.
Cons
I start with the cons because it’s the first impression I got. It’s free if you register, which means you are paying with your data. It’s not super invasive as it only asks for email and country. But still, it’s not ideal.
You can’t replace the background or color it. You’ll need to use another program if you want to do that. If you save it as JPG, though, it will automatically fill the background with white.
The automatic selection is not very intuitive. Here you can see how it did in both of my images. In this case, image number two was better, and it even gave me some choices to pick from.
Pros
The tools for fine-tuning the first selection are better than the previous website. It has the basic tools for refining easier things and pixel tools to go into details.
You can download the final version without losing resolution. You can even choose between JPG or PNG. Remember that to keep the transparency you need the PNG.
You don’t need to have previous knowledge or skills – it is very user-friendly.
It has the option to upgrade into a paid service if you need more accuracy and tools.
Photoscissors
Photoscissors is one of the most popular and known choices out there to remove a background in photos.
It’s one of the most complete tools. They even tell you that on the first page: “Remove a background and replace it with a transparency, solid color, or background image.” So, it already gives you more options than the past two websites.
Pros
The auto-selection didn’t do an amazing job, but the touch up is easier because of the slider that gives you more control over the brush size. It also has a good feathering system.
It allows you to easily replace the background with another image or color.
You can also create a shadow and control opacity and blur.
Cons
It’s free to use even without registering, but you can only download a low-resolution version. This is not very evident when you start working on your image, so you might end up losing your work or be forced to pay the upgrade. Unless a low-resolution is enough for your needs.
Extra
It has a hair selector that is very accurate. If you do many portraits, it may be worth considering a subscription.
GIMP
Gimp is a free and open-source editing program.
Pros
It has many selection tools that you can use and combine for selecting your background in a controlled and precise manner.
For Image 1 (left), I used the Fozzy selection tool and the Rectangle tool for details. For image 2 (right), I used the Scissors selection tool and the Free select for the details.
You can keep your background, shadow, and foreground in different layers to work independently and non-destructively.
You can do your entire project in it. Adjustments, collages, etc. without the need to use any other website or software.
Cons
You need to download the program onto your computer – you can’t work online.
It does require a learning curve, and it’s not the friendliest of interfaces.
Conclusion
To remove a background in photos has become easier and more accessible with technology, but there are no magic tricks. You do need patience, skills and good software, which often costs.
If you’re going to let the algorithm do most of the work, try different ones to see which one ‘reads’ your image better and saves you more time. If you’re ready to dive in and take charge, go with GIMP. The time you spend learning it becomes a skill that will save you time in a future project.
Do you have any other websites or tools to remove a background in photos? Let me know in the comments section.
The post Free Tools to Easily Remove a Background in Photos appeared first on Digital Photography School. It was authored by Ana Mireles.
The post DIY Lighting and Background Accessories for the Budget-Conscious Photographer appeared first on Digital Photography School. It was authored by Ana Mireles.
Do you want to take your photography to the next level, but don’t have the budget for professional equipment? Just a few dollars and a trip to the stationery shop can do the trick. Keep reading for some DIY lighting and background accessories using paper.
Professional photography studios have multiple lights and accessories to create their images. If you want to learn about them, here’s a great introduction guide.
However, when there’s no budget at hand, it’s time to get creative.
I’ll show you some ideas on how to create DIY lighting and background accessories using paper only. This has the intention of being a starting point to spark your creativity according to your needs and whatever you can find in your area.
DIY lighting and background accessories
DIY diffuser
There are two types of light, hard and soft. Hard light is very bright and usually, a condensed light that casts well defined, intense shadows and contrasting hot points.
It can be natural on very sunny days, or artificial from flash and strobes.
This can be great for certain types of photos, but other times it can be very unflattering for the scene.
Hard light with no diffuser. 0.5 sec, f/2.8, ISO 200
Soft light means that the subject is illuminated more evenly, the shadows become softer, and the entire mood is different.
Professionally, hard light is turned soft by using umbrellas or softboxes.
You can achieve a softbox effect using vellum paper as I did on the image below. In case you can’t find it, any type of tracing paper will do, or even oven paper from your kitchen.
Hard light turned soft with the use of DIY lighting accessories – vellum paper. You can also use tracing paper or oven paper. 0.5 sec, f/2.8, ISO 200
DIY Reflector
A light reflector bounces the existing light so that you don’t have to add a second source. This is very helpful to fill in shadows or darker areas of the image to bring out more detail.
You can find these in different sizes and colors, but the DIY stationery solution I chose was a foam board. It’s very light, easy to cut, and has a glossy exterior that maximizes the reflection.
1/5 sec. f2.8 ISO 200
In the above example, see how much light I gained just by placing a piece of foam board opposite the flash. It’s so much that I even lost the contrasting effect I wanted. However, I wanted to show you how big the difference is.
If you want less light, you can place it further away or change the angle. It takes some practice to learn how to use reflectors to light your subject, but it’s really worth it. If you need to block the light instead, you need to use flags, which you can achieve with black paper.
Creative uses
DIY Gels
Other DIY lighting and background accessories you can create are gels. Gels are pieces of colored, semi-transparent material that you can use to modify your light. Professional gels are graded to exact colors and density. This is because you can then compensate for the exposure and white balance in your camera and different light sources. However, for creative lighting, you can use simple cellophane paper or plastic index dividers.
1 sec. f. 2.8 ISO 200
Creating bokeh with wrapping paper or foil
Bokeh is an effect created by the lens when you send the background out of focus. You can easily create it by using crumbled metallic wrapping paper or aluminum foil as a background. If you want to create colored bokeh, buy wrapping paper with iridescent designs.
You can create a great bokeh background simply by using crumbled metallic wrapping paper or aluminum foil as a background. 1/10 sec, f/8, ISO 200
Once you place this background, light it from the side with any kind of lamp, flash or even window light. The most important thing though is to keep it out of focus. If you’re not sure how to achieve the shallow depth of field needed, check out this article.
Using paper to create a textured backdrop
Of course, you can make a backdrop with any kind of paper – that’s not news. However, I encourage you to add texture to it and see the difference. This, of course, makes a busier background, so it may not suit all subjects, but it can be a creative solution for many others.
This background was created using crumpled tissue paper. 1/5 sec. f2.8 ISO 200
I found that tissue paper is great because it’s cheap, light, easy to manipulate, and comes in multiple colors. You can just crumble it, cut it into pieces, and form patterns.
In this example, I cut it into squares and then twisted the center to create the ruffles, then pasted it all together with alternating shades of green.
Conclusion
So there you have it – some incredibly simple, and affordable DIY lighting and background accessories that you can buy on a small budget from almost any stationery store. Try these out, and if you have any other tips to add, please share them with us in the comments!
And for more photography DIY ideas, check out the following articles:
How to Make a DIY Lens Hood to Eliminate Lens Flare
How to Use Ordinary Items to Make DIY Photo Filters
DIY Photography: How to Make Your Own DIY Lightstick for Cool Photos!
DIY Photography Backdrops for Still Life and Product Photography
How to Make a DIY Photography Softbox (video)
Try this DIY Neutral Density Filter for Long Exposure Photos
DIY Food Photography Props on a Budget
The post DIY Lighting and Background Accessories for the Budget-Conscious Photographer appeared first on Digital Photography School. It was authored by Ana Mireles.
Shutterstock Editor, the stock image company’s free online image-editing web app, has added a new feature called Remove Background. With this tool, users can easily remove the background from images in order to isolate the subject, making it possible to incorporate the extracted element or person into other designs.
You asked, we listened! Announcing the Image Background Remover in #ShutterstockEditor that lets you remove the background from any image.
Shutterstock Editor offers users access to custom canvas sizes, such as ones intended for ebook covers and Instagram posts; users can also create their own custom canvas size. Images can be uploaded from an online destination using a URL or from the user’s computer, plus there’s the option of selecting an image from Shutterstock’s collection. The web app also offers access to free design templates.
The new Remove Background tool, which is found in the UI’s ‘Image Tools’ section, simply requires the user to select the areas of the image they want to keep and the areas they want to remove. When tested, the entire selection and removal process was very fast and accurate. The feature is live for all users now.
The post How to Choose the Perfect Photography Background appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
Choosing the perfect photography background is as important as choosing your subject. A background is usually best if it helps enhance your main subject and complements it.
First, you need to consider your subject and your intent for taking photos of it. Then, consider how your subject works with the background. Are your subject and background conflicting? If they are, you must then use some method of controlling the background.
Some subjects will look great in a photograph against their natural backdrop. A pink flower against foliage, for example. Others you’ll have to work with to make them stand out or to better relate to their surroundings. This depends on your intent.
What’s your intent for the subject?
Do you want your main subject to be the focus of the viewer’s attention? If so, you must manage your technique in making the photograph so that your subject is most obvious.
Isolating your subject can be achieved in many ways. Some of the main ways to accomplish this are:
Place it against a plain background
Make sure there’s enough tonal or color contrast between your subject and the background
Use a shallow depth of field to blur your background
In this example, the coffee cups are on a plain black background. Lack of detail and high contrast ensures the main subject stands out.
Alternatively, you may decide to incorporate your background into the meaning of your photographs. Placing your main subject in context with its surroundings can often add depth of meaning.
A typical example of this is an environmental portrait. This style of photography uses the background and surroundings to add narrative to the image.
In this portrait of a copper craftsman working on his art, the environment helps build a story. His father looking on, the tools and other items on the shelves behind, are all an essential part of the portrait.
My intent was to tell a story illustrating his occupation. If I’d photographed him against a plain background, the photograph would contain very little narrative.
How point of view determines background
Naturally, where you choose to stand will determine what is behind your main subject.
When you find an interesting subject, don’t only photograph it from one perspective. Move around it. See how it looks if you stand on the other side. The background may be completely different.
Even a slight change in your position can alter what will be visible in the background. Move to your left or right. Shift your view up or down a little. How does this change the relationship between your subject and background?
Coming at a low angle to make this landscape, I’ve included the ice boulders, mountains, and glacier in the background. The composition gives context to the ice in the foreground. If I had stood in the same place, looking down at the ice boulders, there would have only been rocks in the background.
Moving closer or further away from your subject also determines what’s in view behind your subject. Changing your lens focal length does too but in different ways. Moving closer with a wide-angle lens has a very different result than standing in the same spot and zooming in.
Always experiment to see what will be included and excluded.
How contrast determines background
If your main subject is darker or lighter than the background, this can determine the significance of the composition.
A dark subject against a light background looks very different than a lighter subject against a dark background. Generally, a dark background helps isolate a subject. It can also allow for more detail to be visible in the subject.
Choice of exposure can affect this, as in the photos above of the tree. Both were taken a few minutes apart. All I did was to expose for the tree in the first image and let the sky become overexposed.
In the second photo, I exposed for the sky to show the detail in the clouds. In both images, the tree is isolated, but the feel of the photos is very different.
Controlling depth of field to determine background
Depth of field control is a good way to manage your background. Choosing how much or how little is in focus allows you to manage your intention.
By completely blurring a background, you effectively isolate your subject. Partially blurring the background leaves some idea of what’s in the background. But it doesn’t have to be distracting.
In this close up of the detail on an old bicycle, I waited until the person on the other bike rode past. My settings were such that it’s obvious it’s a bike in the background.
If I’d chosen to take the photo with a shallower depth of field, the passing bike might have blurred completely. Then it would not have added anything to the photo. If I’d had everything in sharp focus, the passing bike would have been distracting.
Learn to control how much or how little of your composition is in focus. This is an essential tool in determining your background.
Making intentional choices about the background is essential to making strong photographs. I am often surprised when I’m teaching photography workshops how little attention people pay to the background.
It’s easy to become transfixed on a wonderful subject. Focusing on other aspects of photography like exposure, you must remember to look at the background as well.
Be intentional. Include only what you want to see. Limit or exaggerate the amount of background detail depending on what you want. The amount of control you have over the background will determine the strength of your photographs.
Do you have any other tips for choosing the perfect photography background? Share with us in the comments!
The post How to Choose the Perfect Photography Background appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
The post How to Change a Background in Photoshop for Still Life or Food Photography appeared first on Digital Photography School. It was authored by Ana Mireles.
Food photography is all about communicating an ambiance or mood. Plating, styling, and props will help, and using the right backdrop can go a long way to tie everything together. Learn how to use Photoshop to change the background without having to buy new ones.
To have the right background for every shot means having a lot of tabletops, pieces of wood, linen, etc. These things cost and take a lot of space. If you don’t have the budget or storage capacity for it, this article can help you out. By doing a good selection and using layers, I’ll show you how to change your background in Photoshop.
A precise selection is key to change your background
First, you need to be able to work separately on your background, for this, you have to select it. There are many selection tools in Photoshop, feel free to choose the one you want. However, I recommend the pen tool for more advanced selections. If you need some help with it check out: Why Learning the Pen Tool in Photoshop is Worth the Effort.
Use Photoshop selection tools to change your backdrop without affecting your subject
Once you’re satisfied you can duplicate the layer by going to Menu-> Layer->Duplicate layer.
Now add a mask by clicking on the Create Mask button from the bottom of the panel. Because you had your subject already selected, it will create the mask with that shape.
From now on, your changes will only be seen on the background that you had selected.
If you would like to understand masks better, check out Photoshop Masks 101.
Photoshop layers mask help you change the appearance of your background for food photography
Modify the colors to simulate a different background
Now you can freely modify the backdrop using any adjustment layers that control color, brightness, hue, saturation etc.
Just click on the Create New Fill or Adjustment Layer button from the bottom of the Layers panel to see all the choices.
Since you are working on separate layers, your original remains untouched and you can always go back to it if you do something you are not happy with.
Photoshop have many adjustment layers to choose how you want to change your backdrop in food photography
You can add as many layers as you want. For example, I modified the hue and saturation, then added a warming photo filter. Just be sure to always apply the mask to the layer (not the background) or the adjustments will show in the entire image.
A white background is easier to change
For this option, you need to have a texture ready before you start. You can buy them on stock photography websites, or you can make your own. I find it useful to photograph fabrics, wood, stones or anything I can use later so that I have many options available. For inspiration and details, you can read How to Create Your Own Unique Textures and Apply Them To Your Photography.
A white background allows you to incorporate textures and change the background of your food photography
Select the background like in the other example, only this time it might be easier because of the contrast created by the white background.
Easy to use selection tools like Quick Selection or Color Range can save you a lot of time, just pay attention to the edges and details.
Always zoom in to fine-tune your selection. Then save it by going to the menu Selection->Save Selection.
A good selection helps you change only the backdrop with Photoshop tools
Apply your texture as the new backdrop
Now add the texture you chose for your new background. You can do this by going to Edit->Place if you want it as a Smart Object. However, if you don’t plan to modify it then just paste it on top. Either way, it will create a new layer on top that will cover your original image.
To give visibility to your subject, load the selection you saved by going to the menu Selection->Load Selection. Then click the Add Mask button like in the first example.
Integrate your new background
Now you can see the cherries but they look a bit fake. To improve this, change the layer blending mode. I find Multiply does a very good job for this.
If you want to know more about blending layers watch this Comprehensive Guide to Photoshop Blend Modes.
Once you have done that, you can also adjust the opacity. The shadows now make the photo feel natural.
And you’re done.
It’s that easy to change your background in Photoshop!
If you want you can keep on working on it to make it more dramatic or moody. Make use of adjustment layers, filters, and even more textures until you get the effect that you want.
Photoshop allows you to use layers, filters and textures to create special moods in food photography
I hope you liked these ideas and found inspiration to keep on trying different things.
Go out and give it a try, and share your images with us in the comments section!
And to further improve your food photography, I’ll leave you here a list with some great articles.
Recommended readings
If you’re feeling more crafty, try making Easy and Affordable DIY Food Photography Backdrops.
Keep in mind you’ll also need some props, so check out these tips to DIY Food Photography Props on a Budget.
And if you’re ready to really jump in with both feet, you can’t miss The dPS Ultimate Guide to Food Photography.
The post How to Change a Background in Photoshop for Still Life or Food Photography appeared first on Digital Photography School. It was authored by Ana Mireles.
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