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How to Do Storytelling With Your Images: 8 Useful Tips

25 May

The post How to Do Storytelling With Your Images: 8 Useful Tips appeared first on Digital Photography School. It was authored by Ben McKechnie.

how to do storytelling with your images

As a photographer of people and cultures, I spend a lot of time thinking about storytelling with my images – how I can convey emotions and narratives through a few simple frames.

Beginners often fail to think about the storytelling aspect of photography, and that’s okay. When you’re just starting out, it’s important to focus on lighting, composition, and camera settings. But once you’ve familiarized yourself with those key concepts, what’s the next logical step? How do you hook people for more than just a few seconds?

Storytelling.

How to do storytelling With Your Images

In this article, I share eight tips to get you started with storytelling in photography, accompanied by my own images to help illustrate the points. The photos may be taken in far-flung locations, but I promise you: the tips I offer can be applied anywhere on Earth.

1. Include small details to tell a story in a single frame

Imagine your task is to tell the story of a person. A parent, or even yourself.

How would you do it?

A standard portrait wouldn’t tell the full story. A person’s full story is often in the details: a picture of their desk, travel books strewn across a bedroom floor, a close-up of their hands dirty from working in the garden, a wide-angle portrait of them surrounded by a few of their favorite things.

So the next time you’re photographing a person, try to include small details that add to their story.

How to do storytelling With Your Images

I didn’t visit India to focus my lens on poverty alone. However, when trying to tell the story of Mumbai, it would have been dishonest of me not to include it. Confronted with the scene above, I saw the gap between the rich and poor. The small details here are my subject’s plastic bag, the skin condition on his arm, and his frail body. A big (and still important) detail is his juxtaposition with a backdrop of expensive high-rise buildings.

2. Aim for variety in a series of shots

This storytelling tip is related to the last point:

You must take a variety of different images of a single situation. Whether you want to photograph a camel market in India, a farmers’ market in a Chicago suburb, or your niece’s birthday party, just creating one type of photo won’t tell the whole story.

Instead, you need portraits, wide-angle shots, shots from up high, shots from down low, action shots, zoomed-in details, and more. All of these perspectives combined tell the whole story.

In the image series below, I tried to tell the story of a sunrise hot air balloon flight over the ancient, temple-strewn plain of Bagan, Myanmar. Capturing a variety of images was key to my success.

do storytelling images
do storytelling images
do storytelling images

3. Take control of the entire frame

Now that you’re thinking about telling stories, you’re not just a photographer; you’re a storyteller, too. And that role involves taking control of the whole frame.

In other words:

Don’t just think about your subject, their lighting, their positioning. Be aware of the whole scene in front of you, including surrounding details, backdrops, shadows, bright areas, etc.

Sometimes, I lie flat on the ground with my camera. Why? I want to include environmental details in the frame that improve the shot through storytelling. I get strange looks, but I don’t care; it’s the price of telling the real story.

do storytelling images
The Holy Man of Umananda Island (Assam, India).
Here, I wasn’t just thinking about the position of this gentleman’s face. I was also aware of his three-headed Hindu spear – a key detail in his story – and the flowers on its tips.
do storytelling images riverfront barges
I tried to tell the whole story of this chaotic riverfront by zooming out and including multiple subjects (Dhaka, Bangladesh).

4. Plan ahead with a shot list

Whether you’re heading out into your hometown for some street photography or to the Eiffel Tower for some vacation photography, why not create a shot list? I’m talking about ideas for specific shots, angles you want to try, and people you might include in the frame.

Research the kind of shots that other photographers have taken at your destination. Seek out new angles that’ll produce fresh storytelling even at well-known locations.

do storytelling images taj mahal
A traditional Taj Mahal composition that I just had to include on my shot list. I focused on capturing beautiful light and clean lines instead of a brand-new angle.
do storytelling images dog taj mahal
Sometimes seeking out fresh angles is a real pain in the neck, especially when you’re photographing buildings like the Taj Mahal. I jumped for joy when I saw this dog showing the Taj some serious love at sunset. I’d like to think even animals can appreciate how awesome this building is.

5. Learn to narrow down, trim, and exclude

Uploading a hundred photos to Facebook, all of a similar setting and taken from the same few angles, is a surefire way to lose people’s attention. Those 100 photos could easily be narrowed down to the 10 essential storytelling shots.

So learn to be selective! Start sharing only your best images.

Loktak Lake (pictured below) was so spectacular that I wandered around a single hilltop taking hundreds of images. It was bliss. A lot of the results were great, but would I really want to dump them all online for friends, family, and followers to sift through? No, I would not!

Instead, it’s important to find a few favorites that tell your subject’s story:

How to do Storytelling With Your Images
Manipur, India
How to do Storytelling With Your Images
Manipur, India

6. Emotions are an important part of storytelling

To capture emotions, you’ll primarily need people and faces. Emotion can also be communicated through body language, so capturing whole bodies works sometimes, too.

How to do Storytelling With Your Images

At the marvelous Mother’s Market in Manipur, India, I met these lovely ladies (above) animatedly playing a board game. I broke the ice by asking if I could join in. They said “No,” but it made them laugh and I got permission to shoot away. The best photos came after they’d forgotten about me; their natural expressions returned and I was able to capture their emotions.

7. Don’t forget about the basics

In your bid to learn storytelling, don’t forget about settings, composition, and lighting. It’s all too easy to fall out of touch with photography basics, especially when you’re first learning to tell a story with pictures.

After all, when you’re thinking about storytelling, you might start to drift away from photographic fundamentals.

So instead of replacing composition, settings, and lighting with storytelling, make sure everything works together. A shot with beautiful light, excellent composition, perfect exposure, and a great story? That’s how you capture people’s attention!

How to do Storytelling With Your Images
A lady on a train in Shan State, Myanmar.

8. Use narrative structure

How does a traditional novel or movie work? Novels and movies are stories, so they contain beginnings, middles, and ends.

You can do the same with your photos!

If you’re just starting out taking a series of storytelling pictures, try creating a chronological narrative. It’s by no means the only or even recommended narrative structure to follow, but it’s a fun and easy way to practice.

You might tell the story of a single day in a place you know well. Start with sunrise, then take photos throughout the day as the light changes. Conclude the series with sunset and night shots.

Here, I attempted to tell the story of day and night on the rivers running through the cities of Chittagong and Dhaka:

How to do Storytelling With Your Images
How to do Storytelling With Your Images
How to do Storytelling With Your Images
How to do Storytelling With Your Images

Telling a story with pictures: final words

Now that you’ve finished this article, you’re ready to begin telling stories with your photos!

So remember these tips, get out there with your camera, and have fun.

Now over to you:

Have you tried doing storytelling photography? What was it like? Did you enjoy it? Share your thoughts and storytelling images in the comments below!

The post How to Do Storytelling With Your Images: 8 Useful Tips appeared first on Digital Photography School. It was authored by Ben McKechnie.


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10 of the Most Useful Photoshop CC Shortcuts

20 Oct

The post 10 of the Most Useful Photoshop CC Shortcuts appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

photoshop-cc-shortcuts-list

Learning photography well requires a lot of study and practice. Figuring out what the dials and buttons on your camera do takes time and focus. Choosing what to photograph and how you want it to look is challenging for many photographers.

Once you’ve taken some photos, another challenge to face is how to get them looking their best. This is where you need to learn a whole new set of computer skills. The more particular you are about the way your photos end up, the better post processor you need to become.

photoshop-cc-shortcuts-list

Adobe makes two of the most popular photography post-processing programs. Lightroom and Photoshop have been industry standards for many years. As the software develops, it becomes more and more complex. There are many built-in tools to make the user experience more fun. But to make use of them you will need to study and practice.

Photoshop CC Shortcuts

Making the most of your keyboard is about the best way to ensure not only greater speed, but more enjoyment when using Photoshop. The software has many cool shortcut keys that speed up your workflow. They also help you maintain unbroken concentration when you are working on a photograph.

With so many shortcuts, it’s not practical to sit down and learn them all at once. Looking at them in the software does little to inspire. This is why I’ve come up with a list of ten Photoshop CC shortcuts that I think you will find helpful.

From time to time, I make a point of learning a few more. I’ll search for five to ten shortcuts and make a list. I place this next to my computer monitor and refer to it when Photoshopping.

If you’re not used to using keyboard shortcuts with Photoshop, they might seem a bit fiddly at first. Like learning to touch type, the more you practice, the easier it becomes, and the less you have to think about where you are putting your fingers. Learning to use shortcut keys in Photoshop is a similar experience, but you can easily break it down and learn a few at a time.

1. Clone Stamp Tweaks

The clone stamp is one of the most used tools in Photoshop. It’s powerful and flexible to do everything from removing small blemishes to recreating whole portions of a composition. Here’s a couple of keyboard shortcuts that make it even more useful.

Use Alt+Shift+arrows (Opt+Shift+arrows on Mac) to offset the selection area.

Alt+Shift+<> (Opt+Shift+<> on Mac) rotates the selection

Using [] scales the source.

These shortcuts only work when you have a North American keyboard selected in your operating system.

photoshop-cc-shortcuts-list

2. Last-Used Filter

When you’re processing batches of images, you’ll often want to repeatedly use the same filter. To apply the previously used filter, use Ctrl+F (Cmd+F on Mac). Reapply the last filter used, but display dialog box to alter settings use Ctrl–Alt–F (Cmd+Opt+F on Mac)

photoshop-cc-shortcuts-list

3. Lock Transparent Pixels

In Photoshop, using the / key locks transparent pixels. This is helpful when painting or compositing. Working on a layer with transparent pixels, you will avoid affecting them using the keyboard shortcut.

10 of the Most Useful Photoshop CC Shortcuts

4. Color Fills

Use Shift+Alt+Backspace (Shift+Opt+Backspace on Mac). This fills opaque pixels on a layer with the foreground color. Shift+Ctrl+Backspace (Shift+Cmd+Backspace on Mac) fills with the background color.

photoshop-cc-shortcuts-list

5. Marquee Tool Tweak

Drawing a marquee by default happens from the edge. To draw a marquee selection from center Alt+drag (Opt+drag on Mac)selection.

10 of the Most Useful Photoshop CC Shortcuts

6. Selection Help

To bring back a selection you deselected, use Ctrl+Shift+D (Cmd+Shift+D on Mac). This will restore the last active selection. It is super helpful if you deselect and then notice something else you need to alter.

photoshop-cc-shortcuts-list

7. Layer Mask Speed

Ctrl+\ (Cmd+\ on Mac) switches between Layer and Layer Mask Ctrl+2 (Cmd+2 on Mac) to switch back. This is a pure workflow time saver. It allows you to keep your mouse active on the image rather than dragging it back and forth to the layers panel.

10 of the Most Useful Photoshop CC Shortcuts

8. Brush Tool Cursor

With the Brush Tool selected hitting the Caps Lock shows only the cross-hair cursor. This allows you to position your cursor more precisely. It’s also a good shortcut to know how to undo. If you’ve inadvertently turned caps lock on while using the Brush Tool, you may wonder why you can only see a crosshair. Hit the caps lock again, and your normal cursor will reappear.

photoshop-cc-shortcuts-list

9. Revert to Last Saved

F12 reverts the file to the last saved instance of it. This is a quick and easy way to review changes you are making to an image.

10 of the Most Useful Photoshop CC Shortcuts

10. Screen Space Savers

F keys to show/Hide panels. Memorizing these keyboard shortcuts will give you so much more screen space to use. If you are confined to a single monitor, making use of these shortcuts can change the way you use Photoshop.

F5 – Show/Hide Brushes panel

F6 – Show/Hide Color panel

F7 – Show/Hide Layers panel

F8 – Show/Hide Info panel

Alt–F9 – Show/Hide Actions panel

10 of the Most Useful Photoshop CC Shortcuts

Conclusion

I suggest you use this list as a starting point. Not all these shortcuts will be helpful for everyone. Think about the actions you use repetitively when using Photoshop and search to discover if there are keyboard shortcuts to make your life simpler.

Making a note and keeping it near your computer will help you commit these shortcuts to memory. Once you have them, do some more research and make another list of shortcuts you’d like to learn. Making a concerted effort and being consistent with using these shortcuts, you will learn them quickly.

There are over 500 keyboard shortcuts for Photoshop. Master these, and then you can also customize your own.

If you’ve got a few favorite shortcuts you think others may not be aware of, please share them in the comments below.

 

The post 10 of the Most Useful Photoshop CC Shortcuts appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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Useful Ways You Can Use the Olympus Live Composite Feature for Long Exposures

16 Sep

The post Useful Ways You Can Use the Olympus Live Composite Feature for Long Exposures appeared first on Digital Photography School. It was authored by Mark C Hughes.

Olympus has a number of unusual features for longer exposure photography. Aside from the classic bulb style photography, there are two other specific long exposure features available with Olympus cameras: Live Time and Live Composite. These two functions, although related, treat longer exposures quite differently and can produce quite interesting results. Both are really fascinating tools for photographers looking to experiment. Both use computational features of your camera to allow you to get an image in a different way. Although we will briefly discuss Live Time, this article primarily focuses on the Olympus Live Composite feature.

olympus-live-composite-feature

The Live Composite feature on Olympus Cameras lets you mix light sources for long exposure

Live Time

Live Time is like the bulb function on old film cameras that held the shutter open as long as the bulb was depressed but with a twist. With modern cameras, you open the shutter by pressing once and then close it by pressing it a second time. As with any bulb function, you end up holding the shutter open for as long as you want but without a set time on the camera.

In the film days, you would just guess how long you wanted (or use a light meter and a stopwatch). With most digital cameras, there is a function to allow you to hold the shutter open for an extended time. However, for many makes of cameras, you won’t see the image until the camera has closed the shutter, taken a noise reduction image, and then processed the image.

Live Time in Olympus cameras is a little different. It allows you to see the image on your display developing during the process while the shutter remains open. As the exposure lengthens, you see the image form as more and more light gets added to the entire image. The image gets brighter on the back panel, and it is really cool to see the image created live.

This process allows you to decide when you have held the shutter open long enough. Like the old bulb settings, you decide how long the image progresses. You press to start the exposure and press to stop.

Image: Long Exposure images simply mean that light sources get brighter

Long Exposure images simply mean that light sources get brighter

Fundamentally, Live Time is just a manually extended exposure time that allows you to watch the image develop as you take it. It is still a pretty cool feature.

Problems with long exposure photography

The trouble with Live Time (and any long exposure image with any camera for that matter), is that bright things get brighter faster than the dark areas.

This means that dim, infrequent events in lower light environments with some point sources of light will be overwhelmed by the point sources. When you have enough light to expose the dark areas properly, this usually means that the lit areas have far too much accumulated light. Everything in the frame gets treated the same.

Image: A still Image of a fire provides lots of detail and freezes the action of the flames.

A still Image of a fire provides lots of detail and freezes the action of the flames.

olympus-live-composite-feature

Long Exposures tend to smear the light as the light sources persist.

Enter Live Composite

Live Composite is a particularly unique feature present in Olympus cameras that is not currently offered by other camera makers at this time.

Live Composite is similar to Live Time, in that you are taking a longer exposure image, but Live Composite is just light additive for new sources of light, not existing sources. What this means is that Live Composite takes a base image and then only adds new light to the image that was not present in the original base image. This means that light sources seen in the original reference image do not get brighter. Only new lighting or new light sources that move in the frame will appear in the final image.

olympus-live-composite-feature

Live Composite of a campfire shows that the entire image is not getting brighter

The mechanics of Live Composite

Using Live Composite is a two-step process; first, it requires you to take a base or reference image exposure. This image forms the base layer of the composite image. Then you take subsequent additional images at intervals with only new light in the field of view added.

This allows you to take a static image of a colorful background under low light conditions and add only new light sources.

Just like Live Time, you get to watch the image develop right before your eyes.

olympus-live-composite-feature

After the base image is taken, only new light sources (such as a lightning bolt) show up

How to use It

Turning on Live Composite on your Olympus camera is not the most prominent process. It is a bit hidden. Live Composite is a type of manual mode setting, so that is where you find it on the camera.

However, before you use Live Composite, you need to decide a few key parameters for your base composite image – specifically initial shutter duration, ISO and aperture.

You set the shutter time duration in the menu (out of the function itself) before setting the camera to shoot. However, you set the ISO and aperture as you go.

Useful Ways You Can Use the Olympus Live Composite Feature for Long Exposures

Turning on Live Composite varies a little between cameras (the EM1X does it slightly differently), but for most Olympus cameras, you simply set the mode selector dial to Manual (M) and adjust the time to beyond the 60-second shutter duration. At that point, you get a Bulb, LiveTime, and then LiveComp setting. LiveComp is the one you want for Live Composite. On the EM1X, you set the mode selector dial to B (bulb) and then turn to LiveComp. Everything else is the same.

At this point in time, you set your ISO and Aperture. This, combined with the shutter time duration you set in the menu system for cycling the images, will be used to set your base composite image. For instance, if you set the shutter timing to 4 seconds, plan on using an aperture of f/4 and ISO of 800. You will use those values for the base reference composite image.

To activate Live Composite, set up your composition, focus your lens, and then press the shutter for the reference image. The composite is now ready to start.

Next, when you press your shutter button again, the image creating process begins! The camera will open the shutter and add to the image as each time period compares to the base image. Any new light gets added to the composite at the end of each cycle. The image changes and grows on your display as Live Composite progresses.

It is very cool to watch as your image develops.

Does Live Composite mean you can take images that you couldn’t before?

Image: Lightning storms work incredibly well with Live Composite, especially if there is a lot of ne...

Lightning storms work incredibly well with Live Composite, especially if there is a lot of nearby light sources (such as streetlights)

Yes and no. You could take the images separately and combine them as a composite, but as a single image, you would not have been able to do it. Also, there are certain types of images that are way easier to take with the Live Composite function than would be possible to achieve in a single image.

Live Composite also forces you to change your approach to certain images. As part of that change, it may actually take longer to take some images (because you need to create a base/reference every time), but you get the benefit of seeing if it is doing what you want.

What kind of image works well with Live Composite?

Several specific types of images can get the full benefit of Live Composite. These include star trails, lightning flashes, fireworks, night photography with bright lights present, and light painting.

You can take all of these in other ways, but using live composite allows you to see if the image is turning out how you want.

Most of these images all require manual focus and manual settings for your exposures. All require some trial and error and pretty much all benefit from the use of a tripod. In theory, you might be able to take these images without one, but in reality, the requirement to be steady really limits those cases.

Star Trails

In astrophotography, taking an image of stars can be particularly daunting. This is because the earth is rotating and the stars are relatively dim. What this means is that you need a fast enough shutter speed to freeze the motion of the star but also need to leave the shutter open long enough for the start to appear on your image. If you leave the shutter open too long, you will see a streak or smear instead of a star. If you leave the shutter open even longer, the stars leave even longer trails that are circular. In the northern hemisphere, these star trails appear to rotate around the North Star.

Image: Star trails occur when you take astrophotography shots and leave the shutter open for an exte...

Star trails occur when you take astrophotography shots and leave the shutter open for an extended period of time. The stars create a trail. This image was taken with the shutter open for 27 minutes

With conventional digital cameras (or film cameras for that matter), working at night can be a challenge. The shutter duration required to create star trails are long, and you can’t see what your image is like until you’ve completed the entire exposure duration. In addition, if you have made an error in focus or composition, you won’t see it until the entire process is complete. There are ways to combine star trails together in post-processing, but the Live Composite allows you to do it in a single exposure.

With Live Composite, you can see the image develop. Particularly with star trails, this allows you to quickly figure out if you want to have your image in a different setup or use a different point of interest so that the star trails work with your composition.

You also have the ability to have star trails show up when there is an illuminated object in the foreground.

Lightning

Another significant challenge for photography is capturing images of lightning, particularly in areas where there are light sources. As anyone who has attempted to take lightning images knows all too well, this is a difficult type of photography.

olympus-live-composite-feature

Lightning strike captured using the Olympus Live Composite Feature.

The main difficulties of capturing lightning images are fourfold. Lightning is difficult to schedule, so you have to wait to find a storm to photograph. Depending upon your position relative to the storm, you need to find a vantage point to capture images that are reasonably clear (you need to be able to see the lightning from a distance) and have a perspective that forms a reasonable composition. More common vantage points are across a field, across a valley or from highrise building.

Next, you need to hope the lightning is not blocked or shrouded by rain (a common companion to lightning). This will interfere with your sightlines. Lighting is often at leading and trailing edges of storms, but if you are at the wrong end, the lightning will simply light up the sky.

Finally, taking images at night always presents a problem for trying to achieve focus. Focusing in the dark means that you can’t see what you are focusing on and the light from the lightning hasn’t lit up your subject yet.

If you have the right conditions, you can take the base image and wait for the lightning strike and the image to develop. You just wait until lightning strikes in the field of view.

For a detailed guide on photographing lightning, see this Ultimate Guide to Photographing Lightning.

Fireworks

Fireworks is an interesting subject for live composite. It actually isn’t faster to take images, but I think it takes better images. Fireworks requires you to manually focus where you think the images are, set the time, aperture, and ISO for a darker setting than your camera will want, then wait.

Image: Fireworks also work well, although it is a two-step process for every image.

Fireworks also work well, although it is a two-step process for every image.

Without Live Composite, you simply open the shutter and wait. The image gets brighter, and the duration is based upon a little trial and error.

With Live Composite, you take the reference image and then wait. When the fireworks start, you hold the shutter and watch the screen. You press the shutter when you have the image you want.

Unfortunately, you need to take a new reference image each time, so you end up with additional steps. However, the results are at least as good (and often better) as simply guessing an exposure time.

Night photography with bright lights and light painting

olympus-live-composite-feature

Capturing car tail lights and headlights will appear but the street lights don’t get overly bright

Night photography featuring bright lights, such as carnivals or street performers using fire at night, can turn out really well with Live Composite. So can images where lights are moving, but you don’t want the background to get brighter.

You can also use Live Composite for light painting. This is particularly useful if you have someone helping you when you are taking a light painting image.

Light painting is a technique for taking an image under low light conditions with a long exposure and lighting up the object with controlled use of flashes or light sources. The neat thing about using Live Composite for light painting is that you can have light in the image when you are taking the image with the light painting because only new light gets added. It also means that dark objects won’t show up, and the bright surfaces behind them will remain illuminated.

Image: Live composite allows you to do light painting with light sources present in the image (not t...

Live composite allows you to do light painting with light sources present in the image (not the greatest light painting image!)

Conclusion

Live Composite is a unique feature in Olympus cameras that allow you to make composite images in-camera that previously would only be able to be created with two separate images and a bunch of post-processing. It is another useful tool for your photography kit.

olympus-live-composite-feature

The Olympus Live Composite feature is a unique tool to allow you to be creative with low light images.

Have you used Olympus Live Composite Feature before? What are your thoughts? Share with us in the comments!

 

olympus-live-composite-feature

The post Useful Ways You Can Use the Olympus Live Composite Feature for Long Exposures appeared first on Digital Photography School. It was authored by Mark C Hughes.


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Video: 15 actually useful Photoshop shortcuts to help speed up your workflow

16 Mar

Photoshop Training Channel on YouTube has published a video detailing 15 useful, relatively unknown Photoshop keyboard shortcuts for power users. Unlike many similar videos, this channel’s video digs into actually useful shortcuts that many users are unlikely to know, including how to resize and rotate cloned content using keyboard keys, improving Puppet Warp tool control, and more.

The video is applicable to North American keyboards and includes both Windows and macOS shortcuts. Most tips build upon commonly known tools and shortcuts, offering ways for professionals to reduce the amount of time they spend clicking and sliding. Adobe maintains a large list of Photoshop shortcuts for Windows and Mac users here.

Articles: Digital Photography Review (dpreview.com)

 
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5 Genuinely Useful Photoshop Actions

06 Jun

I use Lightroom for basic editing and raw conversions, but I still like to tweak my photos in Photoshop. Mostly, that’s just about familiarity. I’m a Photoshop addict. Technically, it makes sense to do as much editing in the raw convertor as possible—perhaps all of it—but I like the blank canvas that is Photoshop more than the frog-marched workflow of raw convertors. Besides, there are still things you can see and do in Photoshop that aren’t possible in Lightroom.

Although I might spend a fair while in Photoshop doing labor-intensive things, for the most part, I’m looking to edit photos quickly and naturally so they might be broadly acceptable for publication. I want my pictures to look good without going down the path of fancy effects, which would often narrow their salability.

Create photoshop actions

One way I can quickly tweak photos in Photoshop CC is to have a collection of Actions available. This article will show you five useful Photoshop Actions (available for download at the end of the article) curated and/or adapted by me that have nothing to do with 1970s summery film effects, light leak effects, or anything like that. Those are for another day.

Make Buttons for your Actions

Before we get down to the Actions, consider putting your Actions window into “Button Mode” once you’ve recorded or downloaded them. This makes actions more usable since it avoids you having to scroll down to find them. Nothing is faster than single clicks to get your images looking good, even if you have to back up sometimes.

You can customize the colors of your Action buttons if you want, perhaps assigning a different color to each type of edit.

Photoshop actions button mode

Observe and Adapt

One of the purposes of this article is to show you some neat tricks in Photoshop that you can incorporate into Actions. You’ll be able to see what’s happening and use the same tools to achieve different or better things. These Actions also make use of channel masks, which enable precise, flawlessly nuanced selections of color and tone for different types of edits.

Channels selections, Alpha channel, Photoshop CC

These Actions make heavy use of channels, selections, and layer masks.

Action #1 Saturation Boost

Ever since “vibrancy” was introduced, the use of saturation masks has diminished. The purpose of a saturation mask is to gradually mask the most or least saturated areas of an image, depending on whether you invert the selection or not. We can still use such a mask to create a saturation boost Action. It is made using Photoshop’s HSB/HSL filter.

HSB/HSL filter

The HSB/HSL filter has a psychedelic effect on the image.

An inverse saturation mask addresses the least saturated areas of the image more strongly, but there’s still an outside chance of clipping the RGB channels with it (i.e. overexposing or underexposing them and losing detail). In this Action, a “blend if” blending option has been added to give extra protection to shadows and highlights.

Method

  1. Create a duplicate layer (Cmd/Ctrl + J).
  2. Apply an HSB/HSL filter (RGB & HSB settings) to the duplicate layer – it will turn a weird color.
  3. Invert the colors of the layer (Ctrl/Cmd + I).
  4. Select the green channel under “channels”, right-click and create a duplicate channel (label it “Sat Mask”).
  5. Go back to layers and delete the duplicate layer.
  6. Back in channels, Ctrl/Cmd + click on the “Sat Mask” channel you just created (you should see marching ants on your open photo at this point).
  7. In layers, create a hue/saturation adjustment layer.
  8. Add +25 of saturation in the hue/saturation dialogue box (or any value that might be useful).
  9. Go to Layer > Layer Style > Blending Options.
  10. Under Blend If > This Layer, move the sliders inwards to 245 and 10 (or in that vicinity).
  11. Hold down the Alt key to split these sliders into two, moving the inner halves to values of 70 and 160. This feathers the selection to avoid harsh transitions in tone. Click “OK”.
  12. Delete the “Sat Mask” channel.
  13. Ctrl/Cmd + E to merge all layers.

50-50 view of HSB/HSL filter and regular photo.

If the effect of the Action is too strong or weak for your liking, you can hit Ctrl/Cmd + Z to unblend the layers and alter the saturation value. Then simply blend again. This action is much the same as using the vibrancy slider only in fast button form.

Action #2 Mid-Tone Contrast +50

This relatively simple action injects contrast into the mid-tone to highlight areas of an image and leaves shadow areas untouched. Adding contrast in this way also intensifies the color. It’s akin to a curves adjustment, leaving the lower part of the curve untouched.

Photoshop contrast

Although it’s hard to appreciate in a side-by-side comparison, perhaps you can see the snappier highlights and slightly increased mid-tone saturation to the left side of this image. Shadows remain untouched.

Method

  1. Go to the channels palette and click on the RGB channel while holding down the Ctrl/Cmd key. This creates a selection on your background layer.
  2. Switch to your layers palette and hit Ctrl/Cmd + J keys, which will paste your masked selection onto a new layer.
  3. Go to blending modes (top left of the layers palette), and select Soft Light. Contrast is added to the mid-tone/highlight portions of your picture.
  4. Adjust the layer opacity to taste (set at 50% in the supplied Action).
  5. Ctrl/Cmd + E to merge down the layers.

Action #3 Refined Clarity

This Photoshop Action is similar to the previous one in that it’s a type of contrast adjustment which protects the shadows. The main difference is that this one uses Clarity, which it borrows from ACR.

In terms of appearance, this Action reveals more textural detail than a straight contrast adjustment by emphasizing edges and small changes in tone. It affects the saturation less.

Clarity slider, clarity settings

The image on the left has some Clarity applied to it, but the shadows are protected to avoid the kind of crunchy look that occurs with a similar amount is applied in a raw converter (right).

(The Clarity slider gives much the same effect as “high radius, low amount” Unsharp Mask sharpening, which was a thing about 10 years ago.)

If you want to give flat images extra pop with a greater impression of depth and detail, this Photoshop Action works well. Once again, it uses a Blend If modifications to refine the result, avoiding the grunge that often makes excessive Clarity unsightly. By tapering the result from shadows to highlights, it does most of its work in the mid to high tones.

Method

  1. Create a duplicate layer (Ctrl/Cmd + J).
  2. Label the layer “Clarity”.
  3. Open ACR by clicking on Filter > Camera Raw Filter.
  4. Drag the Clarity slider to 100% (ignore the harsh result).
  5. Click OK and be returned to Photoshop.
  6. Open the blending options (Layer Style > Blending Options or double-click to the right of the layer name).
  7. Go to Blend If > Underlying Layer. Hold down the Alt key and drag the right-hand side of the shadow triangle on the left all the way to the far right.
  8. Click OK.
  9. Adjust the layer opacity to taste (the supplied Action is set to 60%).
  10. Ctrl/Cmd + E to merge layers.

Action #4 Shadow Noise

In recent years, the Auto button in Lightroom and ACR has improved to such an extent that I sometimes click on it as an alternative starting point. The result is akin to a mild HDR effect. In particular, it tends to cut out the high contrast in images.

Photos that are intended for sale (however optimistically) don’t generally benefit from being loaded with hard-to-see, blocky detail.

In an image such as this one, I might hit Auto in the raw converter to unblock some of the shadows (as is the case in the top section of the picture: notice the railings, man’s coat, and architectural details).

Of course, the problem with bringing out shadow detail is that it invites noise. Depending on your camera and its settings, it might invite a lot of noise. If we create a Noise Reduction Action using a channel mask, we can target the darkest areas of an image. What’s more, the mask is perfectly feathered, so it will seamlessly apply more or less noise reduction according to the tones of the image.

On the right side of this image, you’ll note that the brighter areas are masked off (redder areas) and thus excluded from noise reduction.

The downside of creating a Photoshop Action for noise reduction is that normally you’d adjust the settings according to the properties of each photo. However, there’s nothing to stop you creating several noise reduction actions for different picture profiles. As well, you could integrate a noise reduction plugin that assesses each picture individually.

Method

  1. Create a duplicate layer and name it “Reduce Noise”.
  2. Apply noise reduction to the duplicate layer.
  3. Go to channels and Ctrl/Cmd + Click on the RGB channel, creating a selection.
  4. Hit Shift + Ctrl/Cmd + I to invert the selection.
  5. Click on “Save Selection as a Channel”.
  6. With the selection visible (marching ants) go back to layers and add a mask to your duplicate “Reduce Noise” layer.
  7. Delete the remaining extra channel (“Alpha 1” if you didn’t rename it).
  8. Ctrl/Cmd + E to merge the layers.

Action #5 Web Sharpen

Sharpening is a contrast adjustment, where adjacent edges are made brighter and darker according to their tone to create the illusion of sharpness. The aim is to emphasize these edges without overdoing it and creating haloes.

One way you can control sharpening is with a luminosity mask, which automatically modifies the amount of edge contrast applied depending on how bright or dark it is. The beauty of this is that it’s subjective. Like other channel masks, it fades the effect of your edit based purely on the content of the image. The only control you have to think about is opacity, which might be greater or smaller depending on the size of the image.

channels mask, luminosity mask, Photoshop

By applying a luminosity mask, sharpening is proportionately reduced in the darker parts of the image (shown as deep red). This ensures that less attention is given to any noisy shadow areas, which we don’t want to sharpen. The Action also shields bright highlights from sharpening using a Blend If setting.

I find that this Action at 10% opacity works well on web images of between 800 and 1200 pixels wide.

Method

  1. Create a duplicate layer and name it “Sharpen”.
  2. Open channels, hold down the  Ctrl/Cmd key and click on the RGB channel, creating a selection.
  3. Click on the “Save selection as channel” icon at the bottom of the channels palette. A new channel will appear called “Alpha 1”.
  4. Deselect it by hitting Ctrl/Cmd + D or by clicking Select > Deselect.
  5. Click on your “Sharpen” layer to make it live.
  6. Go to Filter > Unsharp Mask and select a high value of 400-500, a radius of around 0.8 to 1.2, and a value of 0.
  7. Ctrl/Cmd + click on the “Alpha 1” channel in the channels palette (the selection will reappear as marching ants).
  8. Go back to the layers palette and with your “Sharpen” layer selected, click on the “Add layer mask” icon. This modifies the sharpening effect.
  9. Click on Layer> Layer Style > Blending Options.
  10. Move the right-hand slider under “This Layer” to 245.
  11. Holding down the Alt key, split the left-hand side of this slider and move it to around 220.
  12. Click OK.
  13. Adjust the layer opacity to taste (the download action is set at 10%).
  14. Delete Alpha 1 channel.
  15. Ctrl/Cmd + E to merge layers.

Photoshop Action Crashes

Occasionally, for reasons unclear to me, Photoshop Actions seem to crash and will not thereafter work without a Photoshop restart. A sure sign that this has happened, aside from inaction and error messages, is that the button in “button mode” changes color.

Download the Set

Download these actions here for free. To install: open the download directly into Photoshop or load from within Actions.

Finally

If an Action doesn’t improve the photo as you’d hoped, you can delete or add elements as you wish, perhaps with different settings or to refine the result. I hope this article inspires you to experiment with some of Photoshop’s more powerful tools. Good luck!

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Nikon D5 firmware update adds useful ‘recall shooting functions’ feature

26 May

Nikon has released firmware version 1.30 for its D5 professional DSLR, and the new camera software offers a new feature that’s potentially very useful: recall shooting functions.

The “recall shooting functions” option is now available for Custom settings f1 (custom control assignment) and can be configured so that pressing and holding specific controls will recall previously saved exposure settings (including shutter speed and aperture). The function is designed to allow for quick changes of shooting parameters in variable light conditions.

The function can be assigned to the Preview button, Fn1 button, Fn2 button, AF-ON button, Sub-selector center, AF-ON button for vertical shooting, or Lens focus function buttons. If you are using a WR-1 or WR-T10 remote control, it can also be assigned to the Fn buttons on those controls. An addendum to the camera manual that explains the new function in more detail can be downloaded on the Nikon website.

All other changes in this update are fairly minor. The focal lengths of some AF-S and AF-I lenses that are displayed with a teleconverter attached to the camera have been updated, and the time zone display in the Setup Menu only shows the names of major cities in the currently selected time zone. There are also a couple of minor bug fixes.

To read the full change log or download the new firmware for yourself, head over to the Nikon website.

Articles: Digital Photography Review (dpreview.com)

 
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Adobe Premiere Pro CC just got some really useful AI-powered features

05 Apr

Yesterday, Adobe announced a ‘massive update’ to Adobe Camera Raw, Lightroom CC, and Lightroom Classic CC, adding new Adobe RAW and Custom profiles that showed the company was taking color and tonality more seriously. But that wasn’t the only update to come out of Adobe this week.

In preparation for NAB 2018, Adobe has also updated its video editing applications with useful new features for both After Effects and Premiere Pro users, and some really cool Adobe Sensei AI integration specifically for Premiere Pro.

The video above gives you a good overview, or you can can keep reading to dive a bit deeper.

Adobe After Effects

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After Effects received a few interesting new features, including a new Advanced Puppet tool for creating complex motions, and Master Properties that allow you to apply changes to individual effects across multiple versions of a composition. Or, to let Adobe explain it:

With Master Properties, you can create compositions that allow you to control layer properties in a parent composition’s timeline. You can push individual values to all versions of your composition or pull selected changes back to the master.

Adobe has also added Immersive Environment into After Effects, providing 360-degree and VR content creators with a more efficient workflow.

Adobe Premiere Pro

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Master Properties and the Advanced Puppet tool are pretty neat, but to see the most useful and impressive new features you’ll have to open Premiere Pro.

First and foremost, the new Color Match feature leverages the Adobe Sensei AI to automatically apply the color grade of one shot to another. This feature comes complete with Face Detection so Premiere can match skin tones where necessary, and a new split-view allows you to see the results of your color grade as you go, either as an interactive slider or as a side-by-side comparison.

You can see the feature demoed in the video below:

In addition to Color Match and Split View, Adobe has used the Sensei AI to make some audio improvements as well. Autoducking will automatically turn down your music when dialog or sound effects are present, generating key frames right on the audio track so you can easily override the automatic ducking or adjust individual key frames as needed.

Finally, Adobe has also added Adobe Stock integration into the apps for purchasing and pulling in stock video footage or motion graphics, and a new Learn panel in Premiere Pro gives new users “a place to start with targeted tutorials that guide them through the foundational steps of video editing.”

To learn more about all of these updates, head over to the Adobe Blog where there’s a good breakdown of all of the most important new features in both Adobe After Effects CC and Premiere Pro CC. Or, since these updates are live right now, update your Creative Cloud apps and give the new features a try for yourself.

Press Release

Adobe Creative Cloud Empowers Creatives to Thrive in the Video Age

New Release Accelerates Workflows for Color, Graphics, Animation and Audio with Adobe Sensei

SAN JOSE, Calif. — April 3, 2018 Ahead of the 2018 NAB Show, Adobe today announced a major update in Adobe Creative Cloud, giving video professionals new tools to automate and expedite time-consuming production tasks without sacrificing creative control. Available today, the updates include powerful new capabilities for refining color, creating graphics and crafting audio, along with enhanced VR tools, improved collaboration, integration with Adobe Stock and advanced artificial intelligence powered by Adobe Sensei.

With the growing demand for video, the opportunity for content creators has never been greater, but video professionals are faced with new pressure to deliver more work in less time while ensuring content stands out and meets high audience expectations. In addition, creators must optimize for different platforms, ensure accessibility, meet required broadcast standards and deliver numerous versions of content across languages and regions. This tremendous shift in the way video professionals work requires more refined and streamlined workflows to reduce time to production, giving video creators more time to focus on their craft.

“The demands and pace of video content creation are reaching levels we’ve never seen before. The time pressure on video professionals means the need for powerful and efficient creative tools has never been greater,” said Steven Warner, vice president of digital video and audio at Adobe. “Adobe video apps like Premiere Pro and After Effects give them that power which, combined with the services available in Creative Cloud, provides broadcasters, media companies, filmmakers and YouTubers a complete ecosystem to bring their stories to screen faster than ever.”

Ranging from Hollywood to Sundance, feature films to premium television channels, a growing number of industry-leading professional editors are using Adobe Premiere Pro CC to bring their creative visions to life. Projects that premiered this year include The Florida Project, The Square, Only the Brave and 6 Below; indie hits RBG, Clara’s Ghost and Search; and award-winning series MINDHUNTER and Atlanta.

Attendees at this year’s NAB Show can get a closer look at the newly available features and hear from industry experts at the Adobe booth (#SL4010, South Hall in the Las Vegas Convention Center) and at over 140 partner booths from April 9–12.

Video and Audio Workflows: Streamlined and Fine-Tuned

New feature highlights include:

  • Edit more powerfully with color and light in Premiere Pro CC – Powered by Adobe Sensei, Color Match two shots with one click, applying editable Lumetri adjustments from one clip to another to achieve visual consistency in scenes and across whole projects. Compare shots using the new split-view.
  • Create animation and graphics more quickly in After Effects CC – Stacked behaviors and effects in combination with timeline-based animation now make the creative process more visual and intuitive. Apply changes to individual effects across multiple versions of a composition with a single adjustment using new Master Properties. Also, complex motions can be made to any surface mesh with the new Advanced Puppet tool.
  • Sound even better with Sensei-powered audio workflows – Automatically adjust soundtrack audio around dialog, whether for a single clip or an entire project, with Sensei-enabled autoducking, now available in Adobe Premiere Pro.
  • Bring art to life faster with Character Animator – Animate personas more quickly and efficiently with a library of behaviors and custom triggers. Drag layers from the Puppet panel into the Triggers panel to apply and refine existing behaviors or create new ones with intuitive new drop targets.
  • Add 360 degrees of creativity with improved tools for immersive content – Adobe Immersive Environment is now available in After Effects CC, simplifying the immersive workflow to move more efficiently through clean-up and effects tasks. New support for the Microsoft Windows Mixed Reality platform offers a wider range of headsets to choose the best tools for the job.
  • Collaborate more easily in Team Projects – For the ultimate in project collaboration, real-time presence shows when teammates are online and new badges indicate when a project has been updated.
  • Get content you need with Adobe Stock – With direct access to millions of curated HD and 4K videos, select clips for establishing shots, fill in the final gaps in projects or enrich storytelling with visual variety. Add sophistication and polish to video content with professionally designed Motion Graphics templates, including animated titling and lower thirds graphics with editable effects and text.
  • Learn panel for new users – Premiere Pro beginners now have a place to start with targeted tutorials that guide them through the foundational steps of video editing. The new Learn panel is just a click away whenever it’s needed.

Pricing and Availability

The new features for Adobe Creative Cloud announced at NAB are now available with the latest version of Creative Cloud.

For more information on pricing, visit https://www.adobe.com/creativecloud/plans.html.

Multiple subscription plans for Adobe Stock are available at https://stock.adobe.com/plans.

Articles: Digital Photography Review (dpreview.com)

 
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18 useful Lightroom shortcuts for beginners

16 Jan

Adventure and lifestyle photographer Lucy Martin put together this useful little video that goes over her favorite Lightroom shortcuts. There are 18 in all, and while they’re all probably a little basic for the power users out there—L = lights out, X = reject, etc.—the beginners reading this will definitely pick up a few new shortcuts to add to their repertoire.

We’ve listed all 18 below, just like Martin did in the video’s description, but check out the video to see all of the min action:

  • G – Go to Grid (Library Mode)
  • E – Enter Loupe View
  • L – Lights Out
  • P – Pick/Flag Photo
  • X – Reject Photo
  • CAPS LOCK – Auto Next Photo
  • CMD + DELETE – Delete all Rejects
  • D – Go to Develop Module
  • \ – Before & After Shortcut Key Lightroom
  • Y – Before & After Side-by-Side
  • V – Black& White
  • R – Resize & Rotate (Crop)
  • Q – Spot Removal Tool
  • H – Hide Adjustment Pins
  • CMD + Z – Undo Last Action
  • CMD + C – Copy Develop Settings
  • CMD + P – Paste Develop Settings
  • CMD + / – Show All Shortcuts

If you have any favorites you want to add to this list, drop them in the comments. And if you found the video helpful, you can check out more from Martin on her YouTube channel.

Articles: Digital Photography Review (dpreview.com)

 
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Useful Software For Photo Enthusiasts

13 Dec

Nowadays you can call anyone with an Instagram account a “photography enthusiast”. However, what I meant was “newbie photographers”. Those, who instead of cropping their snaps muse over the best composition before the picture is taken. Those, who instead of applying filters fiddle with curves and white balance. Those, who feel like the Wizard of Oz behind their shutter – Continue Reading

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Affinity Photo for iPad adds extremely useful drag-and-drop feature with iOS 11 update

22 Sep

One of the useful features added to the iPad with the update to iOS 11 this week was drag-and-drop between the operating system’s “Files” app and other applications on the tablet. And popular photo editor Affinity Photo has already updated its iPad app to take advantage of this really handy feature.

Now, if you want to edit a photograph in the Affinity Photo app, all you have to do is drag it from the files app into Affinity… that’s it. No need to get the image onto your iPad in some other, more convoluted way—as long as it’s accessible from your Files app (read: in a cloud-connected folder on your Apple computer) you can drag it into the app.

What’s more, you can drag multiple files in at once for HDR merging, panorama creation, and focus stacking. Here’s the description direct from Serif, the makers of Affinity Photo:

Thanks to iOS 11’s new Files app you can now drag and drop multiple images straight into Affinity Photo for iPad and start editing. This is tremendously useful when working with HDR merge, image stacking and panoramas and will provide an instant boost to your workflow. And if you ever receive images, or even PSD files, via email, you can now open and edit that file – with all layers intact – by simply dragging it in.

Affinity Photo made a big splash with their iPad release, calling it “the first full blown, truly professional photo editing tool to make its way onto the Apple tablet.” As Serif builds more and more functionality into the app, they’re hoping to close the gap between mobile and desktop editing. This represents a big step in that direction.

Learn more about Affinity Photo for iPad by clicking here. And if you’re more of a desktop editor sort of person, don’t forget to check out our review of Affinity Photo 1.5.2 posted this week!

Full Review: Affinity Photo 1.5.2 for Desktop

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