Category: Photography

  • How to Easily Make Images ‘Pop’ with these Luminar 4 Tips

    The post How to Easily Make Images ‘Pop’ with these Luminar 4 Tips appeared first on Digital Photography School. It was authored by Christian Hoiberg.

    Luminar 4 tips. Sunset behind muntains with cloud reflection on water.

    Luminar 4 has become a popular photo-editor since it’s release, partly due to it’s groundbreaking AI tools used to replace skies, introduce elements or give an overall ‘pop’ to your image. However, these Luminar 4 tips go beyond the AI tools and teach you how to quickly make your images look more impressive.

    In this article, I want to show you how we can transform this rather ordinary sunset panorama into something more visually pleasing that’s sure to grab people’s attention.

    Luminar 4
    The original raw file we’re going to work on

    To avoid making this too complicated, I’m going to avoid using layers and masks and instead show you a series of very basic tips that you can immediately implement into your workflow.

    Let’s get started and dive into these Luminar 4 tips:

    1. Use AI only when needed

    While Luminar 4 has become widely known due to its Artificial Intelligence tools such as the AI Sky Replacement Tool and AI Augmented Reality Tool, you should avoid using them for every image.

    These types of composite tools are a very personal choice (there are many opinions on both sides of the discussion, but I don’t want to delve into that now), but there’s no secret that it’s an easy way to make a boring photo interesting.

    If you’ve got a boring blue sky, you can easily replace it with a more colorful or dramatic one. This can be fun and useful at times, but I strongly recommend that you avoid replacing the sky or introducing elements to it all the time.

    Most images simply don’t need to be worked on in such a way. Most of the time, it ends up looking more distracting than attractive.

    Luminar 4 Tips
    Use the AI Augmented Reality Tool only when needed – it won’t always look good

    For example, using the AI Augmented Reality Tool to introduce a flock of birds or a rainbow in the image we’re working on in this article makes no sense. It looks misplaced.

    Reserve these tools for particular images only.

    2. Don’t forget about the basic adjustments

    Playing with the various AI tools, adding sun rays, or dramatic effects can be fun, but don’t forget about the basic raw adjustments; these are crucial for the image and will set the basis for further development.

    The basic adjustments I’m talking about can be found in the Light Tools inside the Essentials Category. More specifically, I’m talking about the following sliders:

    • Temperature
    • Tint
    • Exposure
    • Highlights
    • Shadows
    • Whites
    • Blacks

    To enhance the warm sunset feel and give the image a little more contrast, I increased the Temperature and Tint, darkened the Exposure (as a result of the next adjustments), darkened the Highlights and increased the Shadows, Whites and Blacks.

    Luminar 4 Lights Tool
    After applying basic adjustments

    By applying these few basic adjustments, we’ve introduced some more details in the shadows, increased the contrast, and warmed the image slightly.

    3. Correct mistakes using AI Enhance and AI Structure

    Now, I said that you should only use AI tools when they’re absolutely needed, but the AI Enhance and AI Structure tools are the exceptions. Unlike the other tools, they don’t add or replace anything. Instead, they use Artificial Intelligence to ‘correct’ the image.

    I’ve always been a skeptic of these types of automatic tools (I still have nightmares about the good ol’ Photomatix days), but these two have proved me wrong. AI can have a place in photo editing.

    Don’t get me wrong – pulling too much in these sliders is going to make the image look overly edited. But applied at a lower amount, they can add a lot to it.

    Luminar 4 AI Enhance
    After applying AI Enhance and AI Structure

    For this example, I applied them with the following settings:

    • AI Accent (AI Enhance): +9
    • AI Sky Enhancer (AI Enhance): +20
    • AI Structure Amount: +19

    As you can see, these adjustments have made the sky and image ‘pop’ a little more than previously. The nice part about these tools is that they don’t add any unwanted noise or grain to the image.

    4. Add a vignette

    A vignette is commonly used to shift the focus of an image towards its more interesting parts by darkening the surroundings.

    This is a particularly useful tool when the borders of an image are bright. That’s not quite the case in this image, but I do find that darkening the outer areas can help emphasize the setting sun.

    Luminar 4 Vignette
    Adding a vignette darkens the corners and puts the emphasis on more important aspects

    I recommend using the Vignette tool with some caution too. Don’t go to the extreme, as that will quickly make the vignette too obvious and distracting.

    It’s also a good idea to use the ‘Choose Subject’ button to set the midpoint of the vignette, it won’t always be in the middle! For example, if you’ve got a person standing to the left of the image and they’re the main subject, that should be the middle point.

    5. Add a glow (but be careful!)

    Techniques such as the Orton Effect is loved by landscape photographers, and it’s a technique that’s been around since the 1980s (created by Michael Orton). This technique can easily be replicated in Luminar 4. In fact, it can be found two places.

    The Orton Effect tool is found in the Portrait Tools Category. By placing it here, Skylum has made it clear that this particular effect is mostly meant for portraits.

    For other genres of photography, you can use the Glow Tool found in the Creative Tools Category. This tool introduces a nice soft glow to the image that can help give that much desired ‘dreamy’ atmosphere.

    Luminar 4 Glow Tool
    The image after using the Glow Tool

    BUT don’t go all-out and apply this technique at a high amount. That’s going to look more distracting than appealing and will make the image look amateurish.

    Instead, apply this at a low amount. If you’re feeling brave and have some knowledge about Luminar 4, this is a technique that’s best added through a mask.

    6. Midtone contrast is your friend!

    For years I’ve been using Luminosity Masks in Photoshop to introduce Midtones Contrast. However, in Luminar 4, it’s done with a simple slider found inside the Advanced Contrast tool in the Professional Category.

    The problem with adding contrast to the entire image is that you essentially brighten the brightest parts and darken the darkest. This quickly results in clipping of the shadows and highlights.

    Luminar 4 Tips
    Applying the Midtones contrast is more efficient than adding contrast globally

    By introducing contrast to the midtones only (i.e. any pixel that’s neither bright nor dark), you avoid this problem and get a much more desirable result.

    This is one of my most important Luminar 4 Tips that will make your image pop. Go try it for yourself!

    7. Adjust the focus by using the Adjustable Gradient Tool

    The final tip I’m going to share in this article is one that’s not necessary for this particular image. It’s something that’s going to do wonders in the majority of your images. Use the Adjustable Gradient Tool to shift the focus in your image.

    Very often, I find the foreground or sky to be too distracting in images. There’s no reason why a foreground should be as bright and sharp as the main subject of the image. Remember, our eyes naturally gravitate towards the brightest parts, which is where you want the main subject to be.

    The Adjustable Gradient Tool is an easy solution that even complete Luminar beginners can take advantage of (there are more advanced methods that are superior, but I’ll save that for another time).

    You can switch between the Top and Bottom gradient and choose the gradient’s orientation in order to better fit your image. It’s possible to add adjustments to both the top and bottom at the same time.

    Luminar 4 Tips
    I used the Adjustable Gradient to darken the foreground and shift the focus upwards

    For this example, I only applied adjustments to the Bottom as I wanted to remove some details in the rocks visible in the lower part of the image. All I did was increase the Exposure, Highlights and Vibrance.

    This tool is also used to darken/recover a bright sky. For those scenarios, simply choose Top and increase the Exposure or Shadows.

    Conclusion

    The truth is, you don’t need to spend hours upon hours editing your images to make them look impressive. Applying a few simple adjustments can often be enough to give that extra pop.

    In the 7 Luminar 4 tips shared above, we’ve managed to take an ordinary sunset image and make it slightly more appealing:

    Luminar 4 Tips
    Original Image
    Luminar 4 Tips
    Final Image

    I hope that you found these Luminar 4 tips useful and that you can apply these techniques and tools into your workflow. I would love to see the images you’ve edited, so make sure to leave them in the comments below!

    Make sure to have a look at my popular eBook ‘A Photographer’s Guide to Luminar 4′ if you’d like to learn how you can take full advantage of all the organizing and processing tools and create professional-looking images with this popular photo editor. There, you’ll learn everything you need to know about organizing and editing, as well as receive several step-by-step workflows you can use for yourself.

    The post How to Easily Make Images ‘Pop’ with these Luminar 4 Tips appeared first on Digital Photography School. It was authored by Christian Hoiberg.


    Digital Photography School

  • Things Photographers Will Do For The Perfect Shot (video)

    The post Things Photographers Will Do For The Perfect Shot (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

    With everything happening in the world at the moment, I thought we could all do with a bit of a laugh. So, I found this video that shows some of the crazy things (and poses) that photographers do to get the perfect shot.

    So take a look, and let me know if you have done any of these “moves” to get just the right shot. Let’s face it, most of us will have at least done one of them!

    Share with us in the comments section, along with the photo you achieved from your position.

    You may also like:

    • Why Using Ant’s View Perspective Can Take Your Photography to the Next Level
    • Prime Lenses: Can you really zoom with your feet?
    • Examples of Perspective Change for More Dynamic Images
    • Perspective in Photography – Don’t just stand there move your feet!
    • 5 Great Yoga Exercises for Photographers (with Illustrations)
    • Change of Perspective in Photography – Start from the Top
    • How to Improve Your Photography by Changing Perspective

    The post Things Photographers Will Do For The Perfect Shot (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


    Digital Photography School

  • Weekly Photography Challenge – Kitchen

    The post Weekly Photography Challenge – Kitchen appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

    Since we are all stuck indoors, this week’s photography challenge topic is the KITCHEN!

    Weekly Photography Challenge – Kitchen
    Taken in low light with my phone and some macro filters. An empty tin and the pepper shaker. © Caz Nowaczyk

    That’s right! Get creative and take some shots of your kitchen. You can use flash or ambient light. Do close-ups of your cutlery draw, tea and coffee canisters, or food in your pantry. Take photos of food preparation and cooking. Photograph the results! Do wide-angle shots of the entire scene too. Blur them out, use intentional camera movement, or whatever you like!

    Try creating a series that work together too, if you like.

    So, check out these pics to give you some ideas, have fun, and I look forward to seeing what you come up with!

    Weekly Photography Challenge – Kitchen
    A close-up of my trail mix. Shot with my phone and close-up filters. © Caz Nowaczyk
    Weekly Photography Challenge – Kitchen
    A grater and knife handle. Try a series and see how they might work together. © Caz Nowaczyk

    Check out some of the articles below that give you tips on this week’s challenge.

    Tips for photographing the KITCHEN

    The 6 Top Photoshop Tools for Still Life Photography

    Simple Methods for Creating Better Still Life Images

    Tips for Getting Started with Still Life Photography

    What is Ambient Light in Photography? An Explanation for Beginner Photographers

    How to Practice Your Photography Skills by Getting Creative in the Kitchen

    Quick Video Tutorial – 8 DIY Photography Hacks for the Kitchen

    Tips for Styling and Photographing Interiors

    3 Tips for Photographing Mixed Lighting in Interiors

    Blur and Creative Photography – Why Your Images Don’t Need To Be 100% Sharp

    Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.

    Share in the dPS Facebook Group

    You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

    If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSkitchen to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

    The post Weekly Photography Challenge – Kitchen appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


    Digital Photography School

  • Canon Explorers of Light – Q&A with Photographers Bob and Dawn Davis

    The post Canon Explorers of Light – Q&A with Photographers Bob and Dawn Davis appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

    Canon Explorers of Light  – Q&A with Photographers Bob and Dawn Davis Featured Image

    In this Canon Explorers of Light Q&A series, we interview several professional photographers who are a part of Canon’s Explorers of Light program.

    The Explorers of Light Program, running since 1995, boasts some incredibly talented photographers. These photographers have spent years honing their craft, and influence and educate other photographers of all levels – something, we at dPS, can respect and relate to.

    In this Canon Explorers of Light Q&A series, we interview photographers Bob and Dawn Davis. They share their experiences and give tips to upcoming photographers.

    A bird in flight. Photo by Photographers Bob and Dawn Davis
    Photo: © Bob & Dawn Davis Photography

    Photographers Bob and Dawn Davis

    How did you get into photography?

    I was inspired by my father, who always had a camera or movie camera within arms-reach. Growing up, I played with Polaroid, where you had to coat the photographs and mount them onto the cardboard included with the pack of instant film. Also, all kinds of Kodak cameras, 126, 110, and Disc cameras.

    I became addicted to captured moments and anything that caught my eye, and I was on a first-name basis with the one-hour lab in the Jewel near my home. 

    Once I got into high school, I took my first photography class. Mrs. Morrison encouraged my passion for documenting everyday moments. She said to me, “you can make a living in photography as a photojournalist!” 

    That was it; I knew my life’s calling. 

    I joined the school newspaper and yearbook, had a front-row seat to current events, and in my senior year, I won the National Honor Society Scholarship in Photojournalism and subsequently attended Columbia College in Chicago. 

    Simultaneously, a small newspaper, The Daily Southtown Economist, hired me. Eventually, work took up all my time. I decided to leave college and work full time, setting my sights on a position at the Chicago Sun-Times, working alongside John H. White, Pulitzer Prize winner in feature photography. I realized my dreams in 1989 when I was hired full time at the Chicago Sun-Times, where I was a staff photographer covering daily news until 2004.

    A couple in the back of a cab photographed from the back window. Photo by Photographers Bob and Dawn Davis
    Photo: © Bob & Dawn Davis Photography

    What was your first camera setup?

    My first camera purchase was a Canon AT1 with a 50mm 1.4 lens, 28mm 2.8, and a 200mm 2.8 lens, which fueled my passion for photography in high school. 

    Eventually, I had the Canon AT1 modified to accept the highspeed motor drive that would allow for five frames per second. I was pursuing sports photography, and the local weekly newspaper, The Star, hired me as a freelancer to photograph the local football team who were heading to State. Score!

    What camera gear do you use now and why?

    I am a lifelong Canon user, and I’m blessed to be a part of The Canon Explorers of Light Educational Program. I purchased my own Canon EOS 1D digital camera. I love Canon color and glass period!

    My current Canon kit is the EOS 1DX MkIII and EOS R for bodies; lenses to photographers are like brushes to fine art painters. 

    I use the RF 28-70 f2.0, RF 50mm f1.2, EF 16-35 f2.8 vIII, EF 24-70 f2.8 vII, EF 70-200 f2.8 IS vII, 100-400 f4.5 5.6 vII, 300 f2.8 vII, 1.4x vIII, 2x vIII and 10-600EX RT Speedlites. I love the speed and low light focus capability of both the EOS 1DX MIII and EOS R full-frame mirrorless bodies. There’s no situation I cannot cover with these cameras.

    Light painting behind a bride and groom at a wedding in the evening. Photo by Photographers Bob and Dawn Davis
    Photo: © Bob & Dawn Davis Photography

    What area of photography do you specialize in, and why did you move into that field?

    I love capturing real authentic moments and fashion-inspired portraits. I would call our style timeless and classic with an editorial twist. Currently, I practice in wedding, portraits, and wildlife photography. 

    Honestly, being a lifelong photojournalist, there isn’t much I haven’t covered in my career, so I’m prepared for anything. 

    Canon Explorers of Light  – Q&A with Photographers Bob and Dawn Davis
    Photo: © Bob & Dawn Davis Photography

    I’ve photographed every president since Ronald Reagan and captured the most exclusive events for A-list celebrities. I love photographing the once-in-a-lifetime moments that unfold at weddings and special events.

    A wedding party. Photo by Photographers Bob and Dawn Davis
    Photo: © Bob & Dawn Davis Photography

    Are you working on any exciting projects you’d like to share?

    I love weddings and events, but I’m transitioning into destination wildlife, travel photography, and workshops. Photography is a powerful medium to tell stories and share a message. I want our wildlife and destination work to inspire people to think and be grateful for the abundance of beauty that surrounds us and that we need to be stewards of our planet and environment!

    A herd of elephants in black and white. Photo by Photographers Bob and Dawn Davis
    2019-04-17 – Mashatu Game Reserve, Tuli, Botswana, Africa – Photo Safari. Photo by Bob Davis © Bob & Dawn Davis Photography & Design

    If you could share any photography tips with our readers, what would they be?

    Practice, practice, practice! I learned from Michael Jordan while covering his many NBA championships that before every game, he would be on the floor before anyone else and practice the basics. He was ready and confident, so when the moment came for the big shots, he was prepared. I still practice and push myself to be green and growing, and always be prepared no matter the assignment.

    Men making a toast at a wedding. Photo by Photographers Bob and Dawn Davis.
    Photo: © Bob & Dawn Davis Photography

    Bob’s personal biography

    My cameras have always been a passport, allowing me a front seat to history. While at the Chicago Sun-Times newspaper for 14 years, I covered countless historic events, such as presidential elections, Michael Jordan’s entire career with the Chicago Bulls, many faiths, celebrations, and rituals. I’ve traveled around the world for weddings and human-interest stories for nonprofit organizations.

    I have since moved on from the newspaper industry. Now, I have created an endeavor with my wife, Dawn Davis – Bob & Dawn Davis Photography & Design. 

    A groom photographed through a window with a reflection of trees and afternoon sun. Photo by Photographers Bob and Dawn Davis
    Photo: © Bob & Dawn Davis Photography

    Our client list reads like a “Who’s Who” of entertainment’s elite. We had the honor of photographing A-list weddings such as Eva Longoria & Tony Parker’s wedding in Paris, Salma Hayek & François-Henri Pinault’s wedding in Italy, La La Vazquez & Carmelo Anthony’s TV wedding in New York, Tracey Edmonds & Eddie Murphy’s wedding in Bora Bora, ABC’s TV show The Bachelorette Ashley’s wedding to J.P. in California, along with many other fabulous events with Oprah Winfrey. 

    I was commissioned to work on the book America 24/7, which was featured on the Oprah Winfrey show and was a New York Times Best Seller.

    Our work has been featured in publications such as People, OK, O Magazine, InStyle,  Inside Weddings, Town & Country, Munaluchi, Grace Ormonde, Modern Luxury Brides, and dozens of others.

    I am honored to be a member of the Canon Explorers of Light, Westcott Top Pro Elite, and SanDisk Extreme Team. Dawn and I are the authors of two books, Lights Camera Capture, and We’re Engaged!

    I am happily married to my wife, Dawn, and together we have two beautiful children, Bobby and Alli.

    A close-up of a Lion's face. Photo by Photographers Bob and Dawn Davis
    Photo: © Bob & Dawn Davis Photography

    The post Canon Explorers of Light – Q&A with Photographers Bob and Dawn Davis appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


    Digital Photography School

  • The dPS At-Home 7-Day Photography Challenge – Week Three

    The post The dPS At-Home 7-Day Photography Challenge – Week Three appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

    dps-at-home-7-day-photography-challenge

    As many of us around the world are continuing self-isolation, and social distancing (whoever thought that would be a thing?) due to the C-word, we thought we’d make it a little less boring and stressful and give you (and us) an “At-Home, 7-Day Photography Challenge.”

    This is week three of the challenge (see week one here, and week two here. You can still do those challenges, as there are no deadlines on any of these).

    These are all things you can try in and around your home.

    As always, we would love to see your results in the comments section. That way, we can connect and share, and keep ourselves occupied with something positive and creative!

    At-Home, 7-Day Photography Challenge – Week Three

    Day 1

    Go through some of your photos on your computer or hard drive, and give this post-processing challenge a try: Simulating False-Color Infrared Photography in Photoshop. You can get some fantastic results.

    Day 2

    This one uses the open-source editing program, GIMP. Download it and give this a try: Creative Uses for the GIMP Jigsaw Pattern.

    Day 3

    This one requires some close-up filters, but if you don’t have those, try macro lenses or even try putting a magnifying glass in front of your lens! Just experiment. Exploring Your Home with Close-Up Filters

    Day 4

    This one can be fun too. DIY: How to Create a Coffee-Stained Texture for Aging Images in Photoshop. If you aren’t a coffee drinker, use tea ?

    Day 5

    Look for patterns and repetition around your home or garden. Photograph them and then play with them in edit to make them black and white, or bold and bright! How to Use Pattern and Repetition in Photography Effectively

    Day 6

    Take photos (or use ones you already have), and turn them into monochromatic images in your favorite post-processing application: How to use Monochromatic Color to Convey more Emotion in your Photography

    Day 7

    This is another color-focussed one. How to Create Abstract Photos with Colored Paper. Find some colored bits of paper (or material) around your home and try this one out.

    I can’t wait to see your images!

    The post The dPS At-Home 7-Day Photography Challenge – Week Three appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


    Digital Photography School

  • Take Time to Practice These Three Composition Skills Around Your Home

    The post Take Time to Practice These Three Composition Skills Around Your Home appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

    Practice composition skills around your home featured image

    Now is a good time to practice composition skills. With many people having to self-isolate, it means you may not be able to enjoy regular life. This will include being able to get out and photograph the subjects you typically take pictures of.

    Make good use of the time to practice. This is not something photographers do as much as other artists. You can imagine that to play a song on a guitar or the piano, you must first practice it. It’s easy for a photographer to pick up a camera and get a pretty well-exposed photo without the need to practice. This can make you lazy, and not make time to work on aspects of your photography that need improving.

    Take Time to Practice These Three Composition Skills Around Your Home
    © Kevin Landwer-Johan Nikon D800, Lens 105mm, 1/400 sec., f/10, ISO 400

    In this article, I want to encourage you to think outside the subject. Consider taking photos only to work on improving one aspect of your craft – composition.

    Find subject material in your environment. Things you would not normally consider taking pictures of. Aim to make interesting and varied compositions by exploring and experimenting.

    Practice composition skills

    When you practice anything at all, you will get better at it. When was the last time you engaged in improving your composition skills through practice? Have you ever picked up your camera with the sole aim of getting better at using the rule of thirds or any other aspect of composition?

    Focus on using negative space for a day, or a week, and you’ll find you incorporate more of it into your photographs.

    By repeating what you are doing, you can learn a skill so well that you don’t have to consciously think about it. It will take time and practice to reach this level, but it is quite natural. Whatever you set yourself to practice, in time, you will be able to use that skill without having to think much about it. This is one great way to build your intuition.

    Pick two or three composition rules to work on. I’m writing about the rule of thirds, negative space and filling the frame. But you can work on any you like. The key is to not be so concerned about your subject or creating masterpiece photos, it is to practice and learn.

    Consider yourself doing this to be like a musician practicing scales. Their aim is not to go out on stage and play scales, but they know that practicing them will help them play better when they do perform.

    Yellow mango against blur glass for practice composition skills
    © Kevin Landwer-Johan Nikon D800, Lens 105mm, 1/320 sec., f/7.1, ISO 800

    Practice the Rule of Thirds

    Let’s start with the most well-known rule of composition in photography, the rule of thirds. This is one many people know and use. To put into practice composition skills, you need to concentrate on the rule, not the subject so much.

    Don’t worry if you are not producing great photos. This exercise is designed to help you better understand when to use the rule of thirds.

    You might like to use a single subject or various things around you to practice composition skills. For this exercise, I walked around my garden and in my house to create compositions using the rule of thirds.

    Take Time to Practice These Three Composition Skills Around Your Home
    © Kevin Landwer-Johan Nikon D800, Lens 105mm, 1/400 sec., f/10, ISO 400

    Experiment with each subject you photograph. Compose it in different ways, but make sure to have it somewhere on one of the ‘thirds’. Don’t only take the first composition you think of. If you place your subject on the left for your first picture, place it on the right hand third for the second one. Then rotate your camera 90 degrees and place your subject on a lower third intersection.

    Rule of Thirds grid
    The Rule of Thirds grid

    Push yourself to try out compositions you normally wouldn’t. Don’t think about your results as right or wrong. Or even good or bad. The point of practice is to improve, so if you’re taking photos you don’t particularly like, think about them. Why don’t you like them? What can you do to improve?

    Practice using the rule of thirds until you feel you’ve made some good progress with it. Do you have a better understanding of how to use it well?

    Rose one a plain background for practice composition skills
    © Kevin Landwer-Johan Nikon D800, Lens 105mm, 1/400 sec., f/10, ISO 400

    Using negative space to practice composition skills

    Negative space is not a bad thing – at least not when it’s included in compositions intentionally. Negative space is the area of a photograph that is not the main center of attention.

    Often there will be nothing at all in these areas – no shapes, lines, or texture.

    At other times there will be some detail, but it will not draw attention away from the main subject at all.

    Coffee pot in contrast for practice composition skills.
    © Kevin Landwer-Johan Nikon D800, Lens 105mm, 1/320 sec., f/7.1, ISO 800

    During our photography workshops, one of the most common mistakes I see people make is to leave too much empty space above a person’s head. This is not usually well-composed negative space. It’s there because the photographer was not paying enough attention to what surrounded their subject.

    Practice composition skills by creating photos with strong negative space. Use blank areas to help your main subject stand out. Use a blank wall, a shallow depth of field, or a light subject with a dark background.

    There are many ways you can include negative space positively in your pictures.

    Again, don’t aim to make masterpieces. Making ‘mistakes’ is healthy when you are practicing.

    Experiment and try out various compositions, both horizontal and vertical. Leave space on the left, right, below and above the same subject. Study them together on your computer. Which one do you like the most?

    Padlock on a grill
    © Kevin Landwer-Johan Nikon D800, Lens 105mm, 1/200 sec., f/4.5, ISO 800

    Aim to fill the frame

    Filling the frame is something I aim to do every time I take a photo. Sometimes this can mean much of my frame is filled with negative space. So long as it’s intentional and adds to the photo, that’s fine.

    To fill the frame well it’s as much about what you leave out as to what you include. Most important is to be aware of what’s within the four edges of your composition and make sure that it’s relevant to the photo you’re taking.

    Sometimes filling the frame can mean coming in ultra-close to your subject so you don’t include all of it. Other times you may choose to move back or zoom out to include some of the surroundings because they are relevant.

    Always look around the edges of your frame. What’s in the corners? Are the background elements supporting your main subject? If not, move it, move yourself, or use another technique to eliminate the unwanted element.

    Moving even a little can alter the perspective of how elements within your frame relate to each other. As an example of this, I photographed the same objects on my table. The plastic bottle behind my main setting is distracting.

    To eliminate it from my composition, I moved lower and to the right a little. In this situation, I could have also moved the bottle.

    coffee set up for practicing composition skills
    © Kevin Landwer-Johan Nikon D800, Lens 105mm, 1/80 sec., f/5, ISO 800
    coffee set up
    © Kevin Landwer-Johan Nikon D800, Lens 105mm, 1/80 sec., f/5, ISO 800

    Conclusion

    Taking time to practice composition skills may sound a bit boring – just as someone learning the piano might get bored practicing scales.

    Try it and see. You may find you enjoy it after a while. Like anything, it takes time for the practice to pay off, so don’t give up easily.

    Do you have any other tips you’d like to add? Please share them with us in the comments.

    The post Take Time to Practice These Three Composition Skills Around Your Home appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


    Digital Photography School

  • Create Light Beams in GIMP that Glow Without Any Plug-ins

    The post Create Light Beams in GIMP that Glow Without Any Plug-ins appeared first on Digital Photography School. It was authored by Ana Mireles.

    Create Light Beams in GIMP that Glow Without Any Plug-ins

    Do you want to create light beams with GIMP? While previous versions of GIMP used a process called Alpha to Logo, it’s not available in the latest version. Not to worry, you don’t have to download any plug-in or script-fu, as I’ll show you a step-by-step example to do them manually.

    Create Light Beams

    GIMP’s open-source nature can be the most attractive thing for some people and the most off-putting for others. Create light beams used to be a one-click operation, but the script-fu was removed since version 2.10.4. There’s a way to get it back and install it separately, but you can also create them using GIMP’s basic functions.

    How to Create Light Beams in GIMP

    1. Design the shape

    Open the image or canvas where you want to create light beams.

    Now create a new layer, I strongly recommend you to name them as you go because you will need a few of them.

    Do this in the designated space on the top. Then choose Fill With Transparency and click OK.

    Add transparency layers

    In this new layer, draw the shape of your light beam using the Path Tool. Make sure the Edit Mode is set to Design and start drawing.

    If you want to create curves, just hold the mouse button and drag the anchor point.

    Design light beams

    Once you have the shape you want, choose the color by clicking in the patches you find on the left panel.

    Then right-click in any anchor point of your shape and choose Edit > Stroke Path from the menu.

    Stroke the designed path

    This will open a pop-up window.

    Select Paintbrush and Emulate Paintbrush.

    This will apply the effect using the settings you have in your Paintbrush tool as if you had painted the shape.

    2. Create the beam

    Now, the stroke needs to start looking like a light beam. For this, you need to draw a lighter outline to it. The easiest way is to right-click on the layer and choose Alpha to Selection.

    Alpha to selection

    Go back to the color swatches and choose a lighter hue, or even white.

    Create another transparency layer, then go to Edit > Stroke Selection. In the pop-up window choose Stroke Line and set the value that will determine how thick you want it.

    Create light beams outlines
    Here I disabled the visibility of the first stroke. You don’t have to do this, it was only to show you how the second stroke does an outline.

    Deselect everything and click on the Layer Mask button.

    Set it to black (full transparency). This will cover the entire outline you created before, but that’s OK, you’ll make it visible in the next step.

    Pick the Paint Brush tool and set the color to white.

    Then lower the opacity of the brush and paint over your light beam to slowly make the outline visible. After that, with full opacity, paint over some parts to create highlights.

    add some highlights
    I used full opacity only in the curves because that’s where I want the highlights to be.

    3. Make it glow

    Duplicate this layer and delete the mask. Lower its opacity and then go to Filters > Blur > Gaussian Blur. The value is up to you, I started with 22. Repeat this process a second time, this time changing the values in the Opacity and the Blur filter.

    create light beams that glow

    This is how you can create light beams that appear to glow. If you feel like adding a neon effect, keep on reading to learn how.

    4. Add some color for a neon effect

    With the top layer selected, add a new transparency layer.

    Then set the color you want in the swatches.

    Since you’re going for a neon effect, I recommend you choose something ‘electric’.

    Use the Paint Brush tool to add some colored splats on your design.

    create neon light beams

    Change this layer to Soft Light blending mode at the top of the Layers panel.

    Then create another one and do the same with another color. Change this one to HSL Color.

    create light beams using GIMP

    That’s it! Your neon glowing light beam is ready.

    Feel free to skip any step or add some more to make it your own.

    Remember, the good thing about doing them manually is that you have full control over the outcome.

    Extra tip:

    If you want it to swirl around something, like mine, just erase or cover with a layer mask the parts that should go behind the subject.

    Incorporate light beams in your photography

    Conclusion

    Scripts and plug-ins can save some time, but they aren’t necessarily available or easy to install. Granted, you don’t always know the individual commands that were automated and that makes it difficult.

    This process, however, is meant as a starting point to make it less daunting and allow you to get creative. I hope you liked this technique to create light beams in GIMP without any plug-ins.

    Want to learn more GIMP Tutorials? You may like:

    • A Brief introduction to GIMP Software
    • Creative Uses for the GIMP Jigsaw Pattern
    • How to Use Gimp for Basic Photo Re-Touching
    • Make your Photos Sparkle with GIMP
    • 5 Top Tips for Working with Gimp

    The post Create Light Beams in GIMP that Glow Without Any Plug-ins appeared first on Digital Photography School. It was authored by Ana Mireles.


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