Photography is one of the most powerful arts of all time. It gives time a meaningful value, some might say even more valuable than memories. Photos can express deep emotional features of places, things, people, and objects. They are part of our legacy to the future generation. But it’s not all about the future, or the past. It’s about capturing Continue Reading
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The post 5 Basic Post-Processing Tips to Instantly Improve Your Photos appeared first on Digital Photography School. It was authored by Nisha Ramroop.
Are you a beginner looking to improve your post-processing skills?
That’s what this article is all about. In it, you’ll discover five post-processing tips that will immediately take your photos to the next level. Best of all, these tips aren’t even difficult to follow, and they require nothing more than the most basic image-editing program.
Let’s dive right in.
When the horizon isn’t straight, even the untrained eye picks up that something is off. They might not know exactly what’s wrong, but they’ll be aware that the scene seems out of order.
Which is why you absolutely must make sure your horizon is straight.
Fortunately, it’s very easy to correct the horizon; you can do it in any post-processing program.
Here are the instructions for straightening the horizon in Photoshop:
Step 1: Select the Crop tool
Step 2: Click the Straighten option at the top
Step 3: Click one side of your horizon and drag across the horizon line before you release
Your horizon will instantly straighten!
White balance is a setting used to balance the color of the light you shoot, in order to get it close to a neutral white.
You see, when the color of your subject is distorted by the existing lighting conditions, you need to use the white balance setting to save the day.
Now, one way to set the white balance correctly is to get it right in-camera. However, some photographers prefer to shoot in RAW with an auto white balance setting, and then adjust the white balance afterward.
If that’s your preference, then you’ll need to choose your white balance in a post-processing program. It’s generally easy to select a white balance option that adjusts for the lighting of your shot. You’re also free to experiment with different white balance options so you can choose the one that most reflects your creative vision.
For instance, the scene below has a Fluorescent white balance applied to it using Adobe Camera Raw.
And here’s the same scene but with a Shade white balance applied:
Do your images look a little flat?
One of the simplest ways to make your photos pop is to adjust the contrast. A contrast adjustment further separates the darkest and brightest areas of your image. In other words, it makes the dark tones darker and the light tones lighter.
Increased contrast, therefore, makes tones stand out and gives your photos a more three-dimensional feel. Compare the image above to the image below; I added contrast to the second image, which gives it a subtle pop.
Pretty much every image editor has a contrast slider. And boosting the contrast is often as simple as pushing the slider to the right.
So just remember:
If you’re struggling to make your photos more lively, try increasing the contrast. It’s a simple post-processing tip, but one that really works!
The saturation and vibrance adjustment sliders usually sit next to each other and can be confusing. Both of these add an extra color punch to your image, but they do so in different ways.
You see, saturation adjusts the intensity of all the colors in your image at once. If you push the saturation slider, you’re going to see color saturation increase across the board. Therefore, it’s an adjustment you want to use sparingly.
Vibrance, by comparison, is a “smarter” saturation tool, one that adjusts only the duller colors in your image. Increasing the vibrance will boost the less-saturated colors, but won’t affect colors that are already saturated.
Look at these two photos:
I boosted the saturation of the photo on the left, and I boosted the vibrance of the photo on the right.
Note that when you lower the saturation of your colors, your image takes on a more muted effect, like this:
In general, boosting the vibrance or the saturation will instantly improve your images.
Your images are most likely going to be displayed on the internet.
However, when you export your photos from most image-editing programs, you’re going to end up with blurry photos. Unless you sharpen for the web, that is.
There are a few ways to sharpen in Photoshop. Here is one you can try:
Step 1: Resize your image to the size you want it displayed. (If you sharpen your high resolution/original image and then resize it, the image will appear to lose its sharpness. Sharpening an image at your display resolution works better.)
Step 2: Duplicate your layer.
Step 3: Desaturate your new layer (from Menu, Image > Adjustments > Desaturate).
Step 4: Change your blend mode to Overlay. (Alternatively, you can use the Soft Light blend mode for a more subtle effect.)
Step 5: Now apply a High-Pass filter (from Menu, Filter > Other > High Pass) and choose a radius around 2.0 for an image of 730 pixels (on the long side). The Overlay option you chose above allows you to see how the radius affects the image so you can play around with it.
Note: The bigger your image, the larger your radius will be.
If the sharpness doesn’t look good on the entire image, you can use a layer mask and paint black over the areas where you want to hide the effect.
Step 6: Save for the web (from Menu, File > Save for Web). Check the Convert to sRGB box if unchecked.
If you’ve just begun your photography journey or if you’re looking to improve your basic editing skills, then these post-processing tips are a great place to start.
In fact, basic editing is often all you need to dramatically improve your photos.
So follow these tips, and watch as your images improve!
The post 5 Basic Post-Processing Tips to Instantly Improve Your Photos appeared first on Digital Photography School. It was authored by Nisha Ramroop.
The post Basic Photo Retouching in GIMP appeared first on Digital Photography School. It was authored by Ana Mireles.
Do you feel your photos are good but not great? Do you think something is missing in your images? You may just need a little post-production to give your images the punch they need to become eye-catching. Keep reading to learn some basic photo retouching in GIMP – a free software – that will make your photos pop.
GIMP is an image manipulation software you can download for free. If you’re not familiar with it, check my previous article, A Brief Introduction to GIMP. There are many things you can do with it. To start you up, I decided to do a quick overview of the most common adjustments for photo editing.
Most times you take a photograph without a tripod, you’re bound to have the horizon line leaning towards one side. You can easily fix this common problem by using the rotation tool. First, you may want to turn on the visibility of the grid. For this go to View -> Show Grid. If you want to make it wider or narrower, go to Image -> Configure Grid.
Now, to straighten the image, click on the rotation button from the toolbox to open the tool’s setting window. Then you can either drag the slider or type the degree of the angle you want. The last two options are there to re-position the rotation center point if you want. You can also do this by dragging the image itself.
After the rotation or other transforming methods like perspective, some parts of the canvas remain empty, and you need to crop them out. For this, click the Crop tool from the toolbox and drag around the part you want to keep. The part that will be cropped out becomes shaded. To fine-tune the selection click, and drag the edges. When you’re satisfied click on the image to apply the crop.
To keep an eye on the composition while cropping, you can put some guides to use as points of reference. For example, to play with symmetry put a guideline at 50%. Alternatively, put one at 33% and another at 66% if you want to follow the rule of thirds. You can do this by right-clicking the image window to open the main menu. From there, you need to go to Image -> Guides -> New Guide by percent.
For retouching, it’s always best to work on layers. That way, you can always go back if you don’t like how things are going. First, make sure the layers dock is visible. If it’s not, open it from Windows -> Dockables.
From there you can add a new empty layer from the blank page icon. Duplicate the current layer with the symbol of 2 squares, or delete it by dragging it into the paper shredder one.
By the way, if you don’t want to cancel the entire process you’ve done on a layer, you can go to the tab, Undo, and do it step by step. The Undo tab keeps a history dialogue allocated as a dock containing your latest actions. If the dock is not there, you can open it from Windows -> Dockables.
If your image is not well exposed, you can find the Adjustment tools to fix it in the Color menu. To access it, right-click on the image window and choose Colors. Then choose the tool that best suits the adjustment you need to do. To see these options more in-depth check the article Make your Photos Sparkle with GIMP. For now, I’ll just show you the Levels tool, which I find to be one of the most versatile.
With Levels, you can fix the color balance and tonal range of your image. GIMP gives you different choices to modify the Levels from the same window. You can move the sliders, enter the values underneath, use the eyedroppers to set the brightest, darkest and middle tones, and even use the auto-mode. They all make similar changes, but they can be more or less precise.
Remember to have the preview box checked so you can see the changes take effect before you apply them.
You can also apply a great variety of filters; from correcting ones like sharpening an image, to special ones like coffee stains. You can find all these options in the Main Menu -> Filters.
Feel free to experiment with them.
Finally, you can switch to the Multiple Windows Mode (in case you weren’t using it) by going to the menu Windows -> Single Window Mode and uncheck it. Then open the original file and a second window will open with the image so you can compare the side-by-side before and after images.
I hope you learned some useful tips to fix or boost your images.
If you’re interested in doing some more in-depth work on GIMP Check out the tutorials:
Have you used GIMP? What are your thoughts? Do you have any other tips to share in the comments? We’d love to hear from you.
The post Basic Photo Retouching in GIMP appeared first on Digital Photography School. It was authored by Ana Mireles.
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Peak Design is back at it again. This time, however, their crowdfunding campaign doesn’t involve a clever clip system or a new camera bag—it’s a tripod.
The Peak Design Travel Tripod has been eleven years in the making, according to Peak Design CEO Peter Dering. Tired of conventional tripod designs, Dering set out to rethink the tripod from the ground up, but following through on the dream would prove far more difficult than he imagined.
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The goal of the Travel Tripod, which will come in both aluminum and carbon fiber variations, was to design a tripod that removed all of the empty, negative space found in conventional tripod designs, and they managed to achieve just that. DPReview was sent a pre-production sample to take product photos of for this article and as you can see in the images, not a single bit of space was wasted throughout the tripod’s design.
The legs are contoured to the triangular center column, the cams to unlock the legs are stacked and can all be opened at once, and the cleverly thought out ballhead fits inside the contours of the legs to fold up into a unit that’s no larger in diameter than a Nalgene water bottle and shorter than two Nalgenes stacked on top of one another. The aluminum and carbon fiber versions weigh 1554g (3.43lbs) and 1210g (2.67lbs), respectively. When packed, the tripod measures just 6.35cm (2.5in) in diameter and 39.37cm (15.5in).
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| The Peak Design tripod folded up next to a folded up Manfrotto 190XB with a trigger-style ballhead. |
The head itself, which can support up to 9.1kg (20lbs) and reach a maximum height of 152.4cm (60in) with the legs and center column completely extended, uses a rotating dial around the edge to loosen and lock the head in position. Cameras are mounted onto the head using Peak Design’s Capture Clip mount and snap into place with a quick latch that’s secure on its own, but can also be locked using a secondary rotating dial.
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In addition to the tripod, the kit includes a Capture Camera Clip and dedicated carrying case that has a little pocket with an included hex key for tightening and loosening various elements of the tripod.
For a full run-down of the tripod and its specs, head on over to out our more thorough hands-on and to crowdfund the tripod, visit the Kickstarter campaign. A pledge of $ 289 will get you the aluminum version and a pledge of $ 479 will get you the carbon fiber version. The first tripods are expected to ship December 2019.
Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.
Articles: Digital Photography Review (dpreview.com)
The post A Short Introduction to Basic Photo Editing for Beginners appeared first on Digital Photography School. It was authored by Lily Sawyer.
If you’re a beginner, using editing software can be a daunting prospect. What if you can’t get a handle on the technology? What if it’s too complicated a process? What if it’s just too time-consuming? What if the images turn out horrible? So many what ifs! I get it; I’ve been there. In this article, I’m offering a very simple way of delving into editing if you’re a novice. These are basic principles that I hope will set you in good stead for more fancy editing in the future!
First things first.
You need to be able to see what is a good image and a bad image. The key is in your perception.
If you think heavily edited images are the perfect image, then your editing will lean that way and vice versa. If you think an overly-tinted image is perfect, then that would be your bar for perfection. We all have a bias towards something. However, for editing, I think we need to try and be as neutral as possible and leave our personal preferences for the moment.
To be able to see things objectively, we need to:
Once we have a basic grip of the above, then editing will be a breeze, and we can get more creative from a solid image base or what I’d like to call a clean edit.
The images below are the original RAW images opened in Bridge without any edits applied.
You can see there is a choice of Adobe color profiles. See the difference between the standard profile below left and the color profile used on the image on the right.
You can choose which profile you prefer.
To successfully understand the above, and make the edits towards them, it is important that you shoot in RAW format. If you shoot in JPEG, you are allowing the camera to process the image, discard pixels the camera deems unnecessary, and accept the color adjustments the camera has made. With a JPEG image, you have less control, are working on a great loss and compression of pixels at the very start and an already compromised image color.
You can read more about RAW processing in Bridge here.
Having said that, someone who is a really good, seasoned, experienced photographer may well shoot JPEGS and achieve the desired image they want. I am not there yet!
Secondly, the type of camera you use affects the original images you get.
A full-frame camera gives you the 35mm sensor – wider, more space, more light hitting the camera sensor and more pixels. What you see through the lens is pretty much what you get. A crop-sensor, on the other hand, works in the opposite way. The lens only allows you to use a portion of the sensor so that a 35mm lens mounted on a crop-sensor camera will only give you the point of view of a 52mm lens equivalent – a more zoomed-in longer focal length. You are losing some width, some light and some pixels.
Let’s dive in!
Correct exposure means getting the balance right between the 3 components of the exposure triangle. Namely: aperture, shutter speed, and ISO. Balancing all three correctly will give you a perfectly exposed image. That means no blown highlights or details are lost entirely in the shadow or darker areas of the image that should still be visible.
A most useful tool in determining whether your exposure is perfect is to look at the histogram when you are editing. Alternatively, you can view the histogram when you have just taken the photo as there is also a histogram on the LCD of many cameras these days. Simply put, a histogram is a representation of the tonal value distribution across your image in the form of a visual graph. Just by looking at a histogram (that graph on the top right corner of the image below), you can immediately tell whether there is an even spread of tonal values on the image judging from the troughs and crests on the graph or a stark contrast.
If the image you shot has incorrect exposure, then editing is your solution. You can move the sliders on your editing software to increase exposure if the photo is too dark or decrease your exposure if the photo’s too bright. You can usually recover some blown highlights in the case of overexposure.
Take a look at the image above. This is the RAW image opened in Bridge. You can see it’s a little bright with the histogram showing a tall mountain almost touching the right edge. When the histogram touches both left and right edges, this would indicate the dark and light parts of your images are clipped and therefore there is overexposure and underexposure in the image. This is an okay image as nothing touches the edges, but it is too bright for me.
The image on the left below shows an overexposed image with the exposure turned up and the image on the right shows an underexposed image with the exposure turned down. See what the histogram is doing in these images.
Simply put, white balance is the adjustment on your camera that reads the color temperature of the light you are shooting in in relation to neutral white. A perfect white balance should show white to be white as perceived in reality and there are no color casts that distorts the whiteness of white. You can, however, go for a warm white or a cool white by adjusting the white balance sliders. Generally speaking, what you don’t want is for white to look too yellow or orange or too cold like with a strong blue cast. Compare both photos below: too cool on the left and too warm on the right.
There is nothing rocket science about contrast in my opinion. It is simply to do with the strength of the blacks on the photo. After the adjustments above, our photo is still looking very flat. All that’s needed is a fiddle on the blacks, shadows, highlights and light areas. Just remember not to clip your blacks or whites or if you want a bit more contrast, not too much clipping. You can also use the curves tab (the one that shows a grid with a curvy line) for contrast adjustments.
I also played with the other sliders to get the result I wanted on the images above. Just do so gently – a touch here and there rather than extreme adjustments.
Remember, you are only after a clean edit at this stage. The images above show the same edits on the standard and color profiles. The results are different so deciding on your color profile matters.
If you click on to the third tab which shows two black triangles, you get to the panel where you can adjust noise and sharpening. Again, gentle adjustments are needed here.
It is vital to view your photo at 100% so you can see what the adjustments are doing to the image.
Luminance has to do with the smoothness of the pixels. You don’t want to go too much, or you lose definition.
Color has to do with how much the RGB pixels show up and extreme adjustments will either strip your image of color or make the pixels appear too saturated.
Now I have a clean edit, there is still so much I can do to this photo. The eyes are a tad soft so I will need to adjust that. I could add vignettes or change the appearance of the background. I could add sunflares or textures. The possibilities are endless. But most of that has to happen in Photoshop.
I hope this has helped you understand the basics of editing.
Please share your comments below or if you have any questions!
The post A Short Introduction to Basic Photo Editing for Beginners appeared first on Digital Photography School. It was authored by Lily Sawyer.
Have you ever wondered what difference studio light modifiers make to your portraits?
Are you even convinced that they make a difference in the quality of light? I thought I’d do a little experiment to show you the effects that a few basic studio light modifiers can have on your portraits.
For some, the right modifier may make an image great, and the wrong modifier could break it.
Firstly, if you are new to artificial lighting, let’s look at some technical terms.
Flash – an electronic artificial light source which gives out a brief, sudden burst of light. A flash is also known as a strobe in North America.
Reflector – a panel that bounces light back towards the source and comes in silver, gold, black, white, fabric or other material.
Light modifier – an object attached to the front of the flash to change the quality and effect of light entering the camera.
Shoot – through Umbrella – an umbrella made of translucent fabric that allows light to pass through it.
Diffusion – a material that scatters light evenly as it passes through, thereby making the light softer and with less glare and harshness.
Softbox – a closed chamber usually lined in white or silver fabric, available in various shapes (such as a square, rectangle, umbrella, octagon). A softbox confines the light from the flash and releases it through a diffusion material, thereby allowing more control as to the size and spread of light that reaches your subject.
Grid – usually made from fabric strips of material that are sewn together to form a 3D grid that is attached to the light modifier. A grid restricts the focus of light, making it more directional, allowing the photographer more control. It also limits or restricts the spill of light onto other areas.
Let’s start with the lighting diagram as shown below. My set-up consisted of 2 lights and the following:
You can also shoot with one light, of course, see here for a beginner’s tutorial on how to create dramatic portraits with one light.
Left: #1 Shoot-through umbrella facing away. Right: #2 Shoot-through umbrella facing toward.
For the above-left image, I used an umbrella as a shoot through with the flash facing away from the subject. You can see there is still light hitting the subject’s face, but the shadows on the left side of the face and the neck are a lot more pronounced and harsh. The light was not able to reach the reflector to the left of the subject at all.
Compare this with the image on the right. I turned the flash and umbrella 180 degrees so that the flash was facing the subject and shot from behind the umbrella. The shadows are much softer, more light has reached the subject, and you can also see the light hitting the sofa on the far left which means the reflector was doing its job of bouncing some light back.
Left: #3 Bare flash with hood. Right: #4 Umbrella softbox
For the above-left image, I shot using just the electronic flash and the hood that comes with it. As it is rather small, it restricts the spread of light a little and focuses it more on the area you are lighting.
The light spills only as the light leaves the hood. Shadows on the face here are still defined, and not as smooth as I’d like it, but it is much better than on #1, where the shadows are much darker and harsher.
In the above-right image, I used a deep umbrella softbox allowing me to face both the flash and umbrella away from my subject. The umbrella is silver-lined which bounces all the light back towards the subject through a diffuser fabric. The resulting light quality is softer and more evenly spread due to bouncing and diffusion.
Compare this to image #2 that used only the shoot-through umbrella without the bounce. Notice how the light quality is gentler on the skin and more evenly spread, with softer shadows on the neck and under the nose.
Left: #5 Softbox Without the Diffusion Panel. Right: #6 Softbox with diffusion panel.
I switched to a 90 x 60 rectangular softbox for the images above. The one on the left is an example without the diffusion panel that covers the softbox. Shooting your subject without the diffusion panel is like shooting with a hood, as per example #3 (the hood also has a silver lining), only the softbox is larger.
The light is flashed away from the subject onto the silver lining of the softbox and bounced from the silver lining towards the subject without having to go through a diffusion panel.
Comparing both images above, do you notice the softer quality of the light on the subject’s face on the image with the diffusion ‘on’? It is a subtle difference, but I can see it. Look even closer and you see the light without the diffusion is cooler and slightly harsher. It comes directly from the silver lining of the softbox not having gone through any diffusion.
This difference is noticeable on the sofa; the one on the left is a touch sharper and the one on the right darker and even. Compare the subject’s left eye (on camera right) – the shadow on the left image is stronger and deeper than the one on the right.
Such is the modifying effect of even just one diffuser fabric!
Left: #7 Softbox with the grid. Right: #8 Gridded softbox with the power adjusted.
I attached a grid to the light set-up above so that it’s a silver-lined softbox with a diffusion panel plus a grid attached on the front of the diffusion panel. This setup is called a gridded softbox.
Notice just how much of the light has been cut out. Light gets focused on the face, and there are very few spills of light on the clothes, arms and outer areas of the space photographed.
The resulting image is a lot darker, moodier, and warmer in tone. However, I feel this is too underexposed, and details on the dress get lost, when I wanted these to show. The green wall looked too black, and the dress seemed to blend too much into it.
On the above-right image, I kept the gridded softbox on and adjusted the flash power to my liking in order bring back the details I wanted. This new flash setting illuminated the face more and brought highlights back onto the hair and eyes. It also allowed a touch of light on the background too.
Finally, the end product I had in my mind used a textured background, so I added this texture to my dark green wall in Photoshop. For a step-by-step guide on how to add textures and creative overlays, see this post. In my opinion, the subtle texture adds more drama to the image and fits in better with the dark and moody lighting I was after.
Did you find this side-by-side comparison on light modifiers helpful? Please let me know and also share your studio lighting experiments in the comments below.
The post Side-by-side Comparisons of Basic Studio Light Modifiers appeared first on Digital Photography School.
Lightroom is anything but intuitive for new photographers. Its multitude of panels, sliders, menus, and buttons are enough to make your head spin. But fortunately, there’s hope for even the most beleaguered beginner.
Amid all the options and icons is a single panel in the Develop module that can handle most of the basic editing tasks you are likely to need on any given image. Appropriately titled “Basic,” this one panel contains a plethora of sliders each with its own unique effect.
Once you get the hang of these you’ll start to feel right at home with the way Lightroom works. The first step in becoming familiar with the Basic panel is understanding what each of the sliders does, so let’s examine each of them in detail.
You and Lightroom: A match made in heaven
The Basic panel is broken into three general areas; WB (or White Balance), Tone, and Presence.
Each has a few sliders that control specific types of edits and it’s not uncommon for 95% of your editing to be done right within this one panel.
Despite its meek-sounding name, the Basic panel is a powerful and highly effective tool that you can use to give your images the type of punch visual appeal you need.
These sliders are in the Basic panel, but they can do quite a lot.
Lightroom’s nomenclature can seem somewhat daunting, especially if you don’t have a background in photography or image manipulation. Temp is the abbreviated form of Temperature, though a true beginner would be forgiven for thinking it simply meant Temporary (Lightroom is not good at helping people learn these sorts of things.)
The temperature of an image, broadly speaking, is how warm or cool it appears. If you really want to dig deeper with White Balance this article is a good place to start.
Move the slider to the left and it will give your image a blue tint, but move it to the right and it will appear to have a yellow cast. If you are editing a JPG image this slider will let you change the value to ± 100, whereas shooting in RAW lets you go from 2,000 to 50,000.
The reason it’s called Temp is that you are adjusting the degrees Kelvin temperature of the white level of the photo. But you don’t need to know all the technical terminology to get good results. If a picture feels too cold or too warm, adjusting this one slider can go a long way towards fixing your photo.
This slider works in tandem with Temp to give your image just the right color cast. As you slide Temp back and forth, your White Balance will get closer to where you want it, but it might result in an image that looks somewhat green or red. You can then use the Tint slider to fix that, giving your image just the right look and feel.
If you prefer Lightroom to do a bit of the heavy lifting for you, you can use the large eyedropper icon in the top-left corner of the Basic panel to get your image most of the way towards a proper White Balance and Tint.
Click the eyedropper and then click on a light gray (not pure white) area of your image. Lightroom will adjust the Temp and Tint sliders to what it thinks are the best values for your image. It’s a good starting point and will often get you pretty close to the look you want.
Move this slider and you’ll quickly get an idea of what it does. It simply makes your picture brighter or darker. This is a global adjustment that affects all areas of the image including the light parts, mid-tones, and dark portions all get brighter or darker when you move the slider left or right. (Note: The Exposure slider mostly affects mid-tones although other tones are also affected.)
You can see this reflected in the histogram above the Basic panel. Move the slider to the left or right and the entire graph moves to the left or right.
Exposure is often used to compensate for when a picture doesn’t come out right from the camera. This usually happens if the camera wasn’t metering the scene properly or exposure compensation was enabled by mistake.
Exposure is like a blunt instrument that goes a long way towards making dark images lighter or light images darker. Then you can use additional sliders in the Tone section to fine-tune your picture.
You might have seen a slider like this on your TV. If you have ever adjusted the values, you probably noticed that as contrast increases, the picture also gets more vivid and punchier. That’s because higher contrast results in a greater degree of variance between light and dark areas.
The same holds true for the Contrast slider in the Lightroom Basic panel. Move the Contrast slider to the right and the bright areas will get brighter while simultaneously making the dark areas darker.
Contrast can also have a negative value which makes your image seem almost hazy since the farther you move the slider to the left the less difference there is between light and dark areas.
Most photographers don’t find negative contrast values particularly useful. But it can come in handy depending on the type of style you are going for in your image editing.
This slider, in conjunction with Shadows, works especially well if you shoot in RAW format. That is because much of your image data that might be discarded in a JPG file is still available to you when editing RAW files.
When you move the Highlights slider to the left it makes only the bright parts of your image darker. Conversely, when you move it to the right the bright parts get even brighter.
This works wonders on images where some parts are properly exposed but other parts are blown out and you want to decrease the exposure of just the bright parts.
Whereas the Highlights slider only affects the bright portions of an image, the Shadows slider lets you adjust the degree to which the dark areas get lightened.
Many photographers begin their editing by moving the Highlights and Shadows sliders, often by moving Highlights to the left just a bit and Shadows to the right. This will make dark portions of the image brighter while simultaneously making bright portions darker.
Some image editing programs only allow you to bring the highlights down and shadows up, but Lightroom takes a slightly different approach. You can, if you so choose, make the bright areas even brighter and the dark areas even darker by moving the sliders to the right and left, respectively.
Most photographers don’t take this approach but it’s nice to know you have it available if you want to use it.
While the Whites slider might seem somewhat similar to Highlights, it doesn’t actually adjust the brightness of lighter portions of an image. Rather, it makes the whiter areas more white. The effect might seem subtle, but careful adjustment of the Whites and Blacks sliders can have a similar effect to the Contrast slider but it offers you more fine-grain control over the outcome.
I often begin with a +25 adjustment on the Whites slider just to give my images a bit more punch and brightness and then adjust it as needed.
It’s easy to overdo it when adjusting the Whites slider. You might find that going much past 50 will give your images a strange and unnatural look so take care when editing that you don’t overdo it.
You can also get good results by moving the Whites slider to the right while also moving the Highlights to the left. This tends to result in a bit more even-handed editing while giving your images the added spark you might be looking for.
The Blacks slider works just like the Whites slider but in reverse. It makes the dark portions of an image more pure black which can give a nice sense of contrast and tone to a photo.
When you first adjust this slider it might seem like it has the same effect as the Shadows slider, but careful examination reveals a subtle difference in that it is not actually making the dark portions brighter or darker, but adjusting the intensity how black the darkest portions are.
Similar to the Whites slider you might get good results by lowering the black levels and then increasing shadow detail just a bit.
Of all the sliders in the Basic panel, Clarity is probably the one that is the least understood and depending on who you talk to, the most abused. Clarity does not adjust the overall contrast of an image but instead, it adjusts what’s known as edge contrast.
Whenever there are harsh lines or edges, adjusting the clarity slider to the right will make them stand out and have a little more pop or visual punch than they otherwise might. Moving it too far to the right will result in images that look artificial and unnatural, but it can be useful to use high values if they get you the result you want.
Conversely, you can move Clarity to the left to make your images appear softer and almost a bit ethereal.
Keen image editors will note that the Adjustment Brush tool contains an option called Skin Smoothing which is merely a -40 Clarity adjustment that you can paint in wherever you want. Using this on a person’s face has the effect of removing the appearance of pores and even small hairs that can, if overused, lend an unnaturally smooth look that you might see in magazines or other media.
Arriving a few years ago for Lightroom Creative Cloud users, the Dehaze slider does pretty much what its name suggests, although the results are not always as good as what users might want.
The idea of the Dehaze slider is that by moving it to the right on images with a bit of a foggy or hazy appearance, you can mitigate some of the issues causes lens imperfections or atmospheric intrusions.
It’s not a perfect solution, but if used in the right conditions it can go a long way towards fixing an image that might have otherwise ended up in the rejected pile.
Have you ever taken a picture that you thought would look awesome, but after importing it into Lightroom, just seemed kind of dull and boring? As if the lifeblood had somehow been sucked out of its colors? Vibrance aims to fix that and it works especially well on images of nature and landscapes.
Whereas saturation adjusts the overall color intensity of an entire image, Vibrance works by making duller colors more vivid. It’s also smart enough to leave skin tones alone which means you can make a scene look a little more interesting and colorful without resulting in portraits that are unnatural or oversaturated.
This option can take even the dullest and most boring image and add a massive punch of color. Or it can be used to turn vibrant pictures into faded black-and-white versions.
When you slide the Saturation slider to the right it increases the value of all the colors in an image, whereas moving it to the left has the opposite effect and can eliminate all color entirely.
Similar to the clarity slider, saturation is powerful but easy to overuse and I find that it’s best when adjusted in relatively small amounts.
If you are new to Lightroom and unsure of where to even begin, the Basic panel is a great way to get you where you might be trying to go.
Even though the goal of this guide was to give you a good understanding of the sliders in this panel the best way to learn is to try it out for yourself. Open up some images and start using the sliders and see what you can do with them. You might be surprised at your results!
Remember that Lightroom is non-destructive so you can always undo your changes which makes it even easier to edit or just experiment for fun.
The post Unlocking the Power of the Basic Panel in Lightroom appeared first on Digital Photography School.
I’ve been shooting these moody portraits lately and I thought about adding some creative overlays to a few to make them a little different and more interesting.
Here is a basic tutorial on how to add an overlay using Photoshop. Take your images from simple portraits (top) to textured backgrounds (above) above and finally to incorporating some surreal or artistic elements in the finished portraits (below).
First of all, I wanted my images to have a dark background and look more moody rather than smiling portraits. You can read here on how I have achieved these types of portraits in my home studio using natural light only.
Secondly, in order for you to be able to follow this tutorial, you need to have a good understanding of how to use layers and masks in Photoshop. It is a simple but extremely powerful tool which I believe to be the most fundamental editing technique you need to learn when using Photoshop.
Thirdly, you need to decide on the images that you wish to use as creative overlays. A quick search on Google provided me with some free overlays that have a high enough resolution to use with my images.
Designed by Freepik
It is essential that these overlays are in PNG format because it supports transparency. If the background isn’t already transparent (which is indicated by the checkered grey and white boxes), you can extract the image from the background if need be before you can use it as an independent overlay. But that’s a lot more work.
I will walk you through this process step-by-step. You will need to refer to the layers shown on the Photoshop screenshots below to be able to understand the process.
Once you open your image in Photoshop it will become the Background Layer. In my case, here I have renamed the layer as the file name “lsp-portraits-13” which appears at the very bottom of the file next to the “eye” icon. This just means it is visible and it is what I am showing you now.
The texture I’m using is called Chambord as you can see on the layer name. You can easily add a new image onto an existing open Photoshop file two ways:
The latter is the long-winded way. The former is quicker and it is the smarter way too because Photoshop automatically makes the new texture a Smart Object. That means it matches the size of your image yet you can still change the scale without losing any pixels.
Change the blend mode of your texture image layer (Chambord in this case) to Overlay on the Layers tab. Add a layer mask to the Chambord layer and remove the texture from the person on the image by painting on the mask with black using a soft brush.
Your layer should look like the second layer below with the “eye icon” turned on. You can also adjust the opacity of your texture to your liking by moving the layer opacity slider next to the blend mode.
Note: If you don’t mask out the texture, the person will also be covered in texture and would look really odd! You only want the texture to fill the background and nothing else.
The set of leaf overlays, however, come as one image, so I’ve had to use the latter method mentioned above. I opened the overlay file separately in Photoshop and used the marquee tool to select the specific leaf I wanted to use. Then I copied and pasted it onto the other file that I was working with the portrait image opened.
It is essential that you set the blend mode for each texture overlay to “Overlay”. You can experiment with various modes but for this type of work, I’ve found the Overlay and Soft Light modes tend to be the most suitable.
You can see that I added a mask on the leaf layer so that I could remove anything else around the specific leaf that I didn’t want to use. I have added four leaves in total to this image, each one on separate layers with their respective masks. I have also played around the opacity for each layer.
You will also notice that three of the leaves have a separate Levels Adjustment Layer on top of them. This is a simple way of adjusting the look of the overlay, for example, brightening it, darkening, increasing the contrast, etc. You just need to make sure that you clip the levels layer to the corresponding overlay it is adjusting by pressing Alt+Cmd/Ctrl+G. The arrow down indicates it is clipped (only applies to that and no others) to the layer below it.
You will also notice that there is a layer called Group 1 with the folder icon next to it. I grouped all four overlays after I have made individual adjustments with the levels layers. This is in case I want to make further adjustments to all of them, I only have to clip the adjustments to the Group rather than repeating myself for each overlay layer. Especially if all the adjustments are to be exactly the same anyway.
You can do this by selecting all the overlay-related layers and choosing “New group from layers” from the drop-down menu at the top of the Layers panel.
Although the leaves are now where I wanted them to be, the leaves are far too saturated for my liking and they stand out too much. Not to mention they do not match the green tone of the entire image.
To correct this, I added a Hue/Saturation adjustment layer and clipped it to Group 1 so that it only affects that group and not the other layers. I played with the sliders to get the green looking similar to the green leaves on the little boy’s shirt. I wanted the overall image to have the look and feel of an old illustrated postcard with subdued tones and muted colors.
If you want to keep all the layers and the original image, you need to save your file as a PSD image (Photoshop Data File). As long as you don’t merge or flatten the layers, you will have access to all the original elements used in making your composite image.
This is a non-destructive process but the files can take up a large space on your computer drive. However, if you change your mind later on about some of the elements, you can always go back into it without starting from scratch. Just choose the layer you wish to make changes on.
You must also save a compressed version of your image, usually a JPEG, which is a flattened lossy file. It is much smaller and only contains the final finished image without all the layers that went into creating it.
So that’s the simple process of using overlays! Below are the other two images showing the various layers using exactly the same process as shown above.
I hope you enjoyed this little tutorial.
Have you used texture overlays before? If you have more tips, please share them below.
The post Basic Photoshop Tutorial – How to Add Creative Overlays to Your Portraits appeared first on Digital Photography School.
Back in university, in an early morning class, a lecturer held up a large photograph and asked, “What could be wrong with this image?” We craned our necks to have a good look and a student said brightly “It’s underexposed!”
“Nope” the lecturer shook his head. Another student piped up, “It’s the perspective that’s wrong!” Nope, it wasn’t that either. Perplexed, a final student called from the front row, “It’s unfocused.”
“You probably need an eye test”, suggested the lecturer.
The photograph depicted a brightly painted image of graffiti. The green and pink text looped around the image and off the page with movement and precision. The artwork, sourced in the street, covered the entirety of the photograph with no context but the artwork. It was to this that the lecturer drew our attention. “The problem here is intent”, he said. “The person who took this photo republished it for an exhibition as if it were their own work. But just because you take the photo, doesn’t mean the image is yours.”
As a fledgling photographer, this concept fascinated me. How can an image not be mine if I’m the one to take it? Let’s look at some of the ethical issues that surround street-art and photographing graffit.
Graffiti is a popular subject for photographers. Its imagery is wild, free and eye-catching. Often refreshed by new artists staking out wall space, it’s a convenient way to source new material too. But before taking the snap, consider the difference between photographing an image of a piece of graffiti or presenting the street-art within context.
Think of it this way; a musician can sample other music to make a new composition. But downloading the actual song without compensating the musician is unethical and in most cases a breach of copyright – especially if the work is then redistributed.
A good rule of thumb is that if the graffiti takes up more than half the photo, you are copying the graffiti, not creating a new composition. If you sell or display an image that is largely someone else’s work, in some circumstances, this may amount to copyright infringement.
Having said that though, the nature of an unsolicited graffiti artist’s work is illegal in itself, which makes it less likely for the artist to lodge a lawsuit. Frankly though, when it comes down to it, it shows a lack of respect from one artist to another and can lead to problems with your reputation as a photographer.
Because this image was written for construction purposes and not art, it is free to photograph.
It is often difficult to pinpoint the artist of a specific graffiti piece. I’ve had some luck googling the text of the graffiti to track down the artist and ask permission. While some artists are sheepish about being tracked down, others are happy to give consent. Especially if I offer them a free print of their work to compensate. Just make sure to ask if they actually want to be identified as the artist of the artwork.
It can be hard to pinpoint the artist of a piece of graffiti.
A final issue to be considered when photographing graffiti is the application of the law. As noted above, you should think (and where necessary, seek advice) about whether photographing graffiti may infringe on someone else’s intellectual property rights – but that is not the only legal issue.
Very often, graffiti is placed in locations that are not accessible to the public. That is either because it is on someone’s private property or access to an area is limited by law to certain people only (for example train tunnels and government buildings). You should be careful to stay aware of your surrounding and remember that while your photography can be a ticket to new ideas and self-discovery, it is not a get out of jail free ticket.
Finally, while it is generally okay to take photos of things visible from public spaces, it is not always legal or advisable to take a photo of some things. Areas in this category will generally be obvious in your own country but it may be less clear in other countries. It is important to remember that laws vary from place to place and what is completely acceptable in one place may be illegal in another.
If you’re ever unsure, the old maxim “it’s better to be safe than sorry” is likely never truer than in some circumstances where you might be trespassing or inadvertently entering a restricted area.
Photographing graffiti can be tricky. In addition to all the other things you need to think about when taking a photo, there are added considerations because another artist’s work is also involved. If you take the time though, graffiti photography provides unique opportunities to build on someone else’s work by making your own contribution.
Editor’s note: In some cities of the world like Melbourne and Medellín (Colombia), graffiti is legal in certain areas and even encouraged by the city. You can see artists at work and even get an opportunity to talk to them about the messages and meaning in their art.
The post A Basic Look at the Ethics and Rules for Photographing Graffiti by Megan Kennedy appeared first on Digital Photography School.
This article will walk you through some tips for how to set up a basic portrait post-processing workflow that can help you save time and stay organized.
When you’re new to photography, everything is exciting. Every time you come home with a full memory card, it’s a mad rush to the computer to see what you have captured. You’re eager to see every image and each one is treated as a separate entity with every technique you’ve come across. This is great. That excitement is what will keep you moving forward with photography and it is how you rapidly learn and grow as a photographer. That’s how it was with me, at any rate.
What happens, however, as you start taking more and more images? For example, regular portrait sessions a couple times a week can lead to an overwhelming amount of photographs. Approaching every frame as an individual becomes time-consuming and inefficient. If you’re not careful, you’ll have a backlog of images going back months and months. Often, many of your photos will be forgotten at the wayside.
The solution to this problem is to develop a portrait post-processing workflow.
Straight out of the camera before any adjustments in Lightroom or Photoshop.
After portrait post-processing workflow steps in this article were applied.
In the simplest terms possible, a workflow is a checklist of repeatable actions that you work through as you go through a task. If it helps, in business the equivalent be would systems and in manufacturing, it could be compared to an assembly line.
You can have a workflow for any part of the photographic process, from planning and coordinating sessions to setting up and tearing down equipment and finally the post-processing stage.
This article will outline the steps of the post-processing workflow that I’ve been using on my portraits for a few years.
Because every photographer has their own way of importing, organizing and editing their images in Lightroom (and other software), this article starts at the beginning of the post-processing stage for individual images. It assumes you will have already imported your photos into Lightroom and you have already edited (culled) down to the keepers.
This workflow uses both Adobe Lightroom and Photoshop. Each program offers its own strengths. To take advantage of them, consider using both with the Adobe Photographer membership – get 20% off (only $ 7.99/month) by using this link only for dPS readers.
The first step is to conduct any color corrections to your image. I do this in one of two ways. The first involves a ColorChecker Passport. If you don’t have one, just skip past it (or purchase one here on Amazon.com and follow along).
In your Lightroom catalog, find the photo you took with the ColorChecker Passport in it. Go to File>Export and export the image as a DNG to a folder where you can find it.
To work in the ColorChecker Passports proprietary software, you need to export your image as a DNG.
Now open the software that came with your Xrite ColorChecker Passport, and import the DNG you just exported into it.
The software does a pretty good job of aligning the photo to the ColorChecker, but if it fails, just follow the instructions on the screen.
The Xrite ColorChecker Passport’s software allows you to create custom color profile unique to each lighting setup.
Press the Create Profile button and give it a name that has something to do with the images you are going to be working on. For example, if you’re working on portraits of Jane Doe in a wedding dress which you took on April 15th of 2017, you could name the profile: JaneDoeWeddingDress041517. That’s optional, of course, but it will help you should you decide to revisit these photos in six months time.
Now, reopen Lightroom, find the image of the ColorChecker Passport, and open it in the Develop Module. Scroll down the panels on the right until you find the Calibration tab.
At the top, there will be the word Profile followed by Adobe Standard. Click there and choose the profile name that you just made in the external software (in the example below I called it “PortraitWorkflow”.
Once created and imported into Lightroom, color profiles can be returned to at any point in the future.
This process has built a custom color profile, individual to the lighting present in the scene. This is a vital step if you want to get the most accurate colors in your photographs.
In the right-hand panel, scroll back up to the top basic panel. Select the eyedropper. To correct the white balance in your image, click in any of the white or gray boxes on the ColorChecker in your image. That will correct your white balance automatically. Each box will have a different effect on your images, so feel free to go through them all to see which works best, or which you prefer.
Any of the white and gray squares can be used to set your white balance. They all have different effects, so experiment until you’re happy.
Press CTRL/CMD+Shift+C and in the dialog box click the Check None box. Tick off only the boxes for Calibration and White Balance, and then click Copy.
Setting the color profile and white balance to an entire set of images at once can save you heaps of time.
With your settings copied, you can go back to the Library Module and select all of the photos that you want these settings applied to. Select them and press CTRL/CMD+Shift+V to do this.
Make sure you deselect the group of images afterwards by pressing CTRL/CMD+D.
If you don’t have a ColorChecker Passport, you can set your white balance manually by using the eyedropper (click on something neutral in the image) and sliders at the top of the Basic tab. Once you’re done, you can copy and paste the settings to the other images in your set as described above.
To adjust white balance manually, use the eyedropper and sliders at the top of the Basic panel.
The next step is to find the Lens Corrections tab and click both the Enable Profile Corrections box and the Remove Chromatic Aberration box.
Enabling lens corrections will correct any distortion, vignetting and chromatic aberrations in your images.
Doing this will correct any distortion caused by your lenses and it will usually deal with any chromatic aberrations. It’s a simple step, but it can make a world of difference to your final images.
Before you move on, however, always zoom in and move around your image looking for any chromatic aberrations (look at the edges of the image) the software failed to correct. It’s usually very good, but sometimes it will fail in tricky lighting situations where there’s a lot of backlighting. For portraits, pay close attention to catch lights in the eyes. If you find any chromatic aberrations there, simply go to the Manual section of the Lens Correction tab, choose the eyedropper and click into any color halos that you find.
For portraits, I try to keep my basic adjustments at this stage to a minimum. I will use the exposure slider as needed, the White and Black sliders minimally, keep the Clarity slider between +15 and -15, and often reduce the Vibrance to -10.
For more natural portraits, keep your adjustments subtle.
The reason for keeping these adjustments minimal is that they are global adjustments (apply to the entire image). I prefer to work with local adjustments in Photoshop, which give you much more control over the image. But, it is also possible to do local adjustments in Lightroom using the Adjustment Brush, Radial Filter and Graduated Filter if you would prefer.
NOTE: When working on proofs to send to clients so they can make their final image selections, this is where I usually stop. There is little need to spend up to an hour retouching a photo that will never see the light of day. Colour corrections and maybe a few small contrast adjustments are almost always enough at this point.
If you intend to work in black and white and you like doing your conversions in Lightroom, this is the stage where I do the conversion process using the black and white sliders.
If you intend or prefer to do your conversion in Photoshop, then skip this part and make it the first step once your image is opened inside Photoshop.
With the Raw processing complete, it’s time to export (or open) your image into Photoshop. Press CTRL/CMC+Shift+E to bring up the Export dialogue box. Choose a location and name appropriate to your own organizational system and export the image as a TIF or PSD (either of those formats will retain all your layers when you save your work). Close Lightroom and open your image in Photoshop.
NOTE: Alternatively you can open your RAW file directly from Lightroom into Photoshop by right-clicking the image and selecting: Edit In > Edit in Adobe Photoshop – OR – Edit In > Open as Smart Object in Photoshop.
The first step of this workflow in Photoshop is to remove temporary blemishes from your subject’s skin. Create a new empty layer by pressing CTRL/CMD+Shift+N and pressing OK.
You can use either the Spot Healing Brush Tool or the Healing Brush Tool, or a combination of both. Once you’ve selected your tool, ensure that the All Layers option is selected in the drop-down menu labeled Sample. Also, ensure that you are working on the new empty layer (you just created above) in order to keep things non-destructive.
While using the healing brushes, zoom in to at least 200% on your image and use a brush that is only slightly larger than the blemish you are trying to remove. If you are using the Healing Brush tool, take a new sample after every click by pressing Alt/Option+Click to ensure the best results.
How far you go is going to be a matter of personal preference. I like to limit this step to only temporary blemishes and leave scars and beauty marks unless I’m asked to remove them by the subject.
Before blemish removal.
After blemish removal.
Note: It is possible to remove blemishes in Lightroom, but it is a time consuming and awkward process compared to Photoshop in my opinion. If Lightroom works better for you, go ahead and use it.
Although we already covered color corrections in the first step, I like to revisit it at this stage. For example, in this image, the background is still too warm for my taste. Create a new Hue/Saturation adjustment layer.
In the Properties tab, find the icon that looks like a pointing hand. Click it and then find a place in the image you want to adjust the colors. In this image, it’s in the background.
With the pointer selected, click into any area of a colour cast you want to change.
Now adjust the sliders in the Hue/Saturation Layer until it has the desired effect on the color you are trying to change.
In this image, the background and the subject shared a lot of the same warmth. To keep them separate, use a layer mask. Click into the layer mask on your Hue/Saturation layer and press CTRL/CMD+I to invert it (hide all).
Now select the Brush tool (B) and set your foreground color to white and your opacity and flow to 100%. Paint into the areas (on the mask not the layer) you want to be affected by your Hue/Saturation layer. If you mess up, just switch your foreground color to black and paint over the mistake.
Before Hue/Saturation Adjustments
After Hue/Saturation Adjustments
The next step is to deal with contrast. Instead of using the contrast sliders at the raw processing stage, it is best to use a technique like dodging and burning for small, local adjustments to get the most control over your images. There are a lot of different methods for dodging and burning, but I prefer the gray layer method.
By using multiple layers, you can obtain really fine control over the contrast and the tones in specific parts of your image with little effort. For example, you can have a set of layers for skin tones, another set for the clothes, a set for hair, and another set for eyes all independently adjusted. You can learn how to dodge and burn here.
Before dodging and burning.
After dodging and burning.
The last step of my workflow before saving is to use a High Pass filter to sharpen things up a bit. To use the High Pass filter, merge all of your existing layers into a new one by pressing CTRL/CMD+alt+Shift+E. Zoom into 100%, select the layer that was just created, and go to Filter>Other> High Pass.
As long as you are working with a high-resolution file, set the radius between two and five. If you’re working with a smaller file, move the slider to the left until the preview image looks like a faint outline of your original image (as seen below). Press OK.
It’s pretty easy to go overboard with the High Pass filter. Try to keep it as subtle as possible.
On the Layer Palette, change the blending mode to Soft Light or Overlay. This is more personal preference than anything, but Overlay will give a far more pronounced effect than Soft Light. I prefer Soft Light for portraits and Overlay for other subjects. The last step is to reduce the opacity of the High Pass layer. Zoom into 100% and move the opacity slider to the left until you can barely see the effect.
Use either the Soft Light or Overlay blending modes for your High Pass layer. Soft Light will be more subtle, while Overlay will be more pronounced.
When the image is finished it’s time to save it. This will different for everyone depending on your own organizational system, but I prefer to save files as 16-bit TIFFs with layers intact. Doing this means that you can go back and adjust any part post-processing at any time. It also means you can go back to your full resolution file at any time to create smaller images for web use and the like without potentially losing them. The downside to this is that 16-bit TIFF files can get very large and they do take up a fair amount of hard drive space, but to me, the peace of mind is worth it.
Straight out of the camera and before any adjustments in Lightroom and Photoshop.
After adjustments and retouching in Lightroom and Photoshop.
The amount of time it takes to get through this workflow varies from image to image. Some photos take five minutes, others take closer to an hour. Overall, having a workflow like this will save you countless hours of work. Knowing exactly what steps you’re going to take before you sit down removes a lot of guesswork and saves time. This is invaluable when you start doing sessions a couple times a week.
Obviously, this exact workflow may not be for you. However, I encourage giving it a try and then developing your own workflow that fits in with your style and existing skills.
The post Basic Portrait Post-Processing Workflow Tips to Help You Save Time and Stay Organized by John McIntire appeared first on Digital Photography School.
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