As a fashion photographer, I can say that the model is the key to good people photography. Aside from an elaborate concept, a professional team, an interesting location, fine light setting, good equipment and finally your editing skills, it’s the model’s looks and attitude that define the quality of your shooting results. So it might be important to keep her Continue Reading
The post How To Get The Most Out Of A Model Shoot appeared first on Photodoto.
The wedding timeline can be different for every couple. That’s why you need to learn to ask important questions, such as whether they’ve considered a ‘First Look’ or would rather keep it traditional. This simple decision can change the entire course of the day in terms of taking portraits.
Let’s dive in and look at the pros and cons of having the couple see each other before the wedding ceremony.
Traditionally, the bride and groom don’t see each other until the bride walks down the aisle. It’s thought to be good luck, and keeps in line with centuries of tradition.
A ‘First Look’ is where a couple decides to see each other either before the wedding ceremony or before the important events begin. This new concept is growing in popularity, with many couples opting to go for the first look rather than keeping the ceremony traditional.
Sometimes, as is normal with weddings, other factors will determine whether keeping it traditional or doing a first look is best in terms of both the photography and the day’s timeline.
One pro of having a first look is when the wedding day timeline calls for it due to a schedule that might interfere with the bride and groom portraits. For example, if there isn’t enough time to take portraits after the ceremony because the couple would rather attend their cocktail hour, doing a first look earlier in the day will give you enough time to capture the couple. (Click here for other tips on overcoming common wedding day setbacks).
Another example is if the sun sets early on the wedding day and you’re not sure you’ll have enough light to take the couple’s portraits. This is where a first look can let you choose the best time during the day for the portraits.
Another pro of the first look is that when a couple sees each other before the ceremony it can calm their nerves and help them relax for the portraits. A first look can also act as a seamless transition into the bridal portraits without anyone else being present or having to wait for guests to move to the next event.
The first look will usually give you more time for bridal portraits. After the ceremony, many of the guests will want to congratulate the couple, which can eat up your precious time. They may also want photos taken of them with the couple, cutting further into your bridal portrait time.
A first look can make the transition to the couple’s portraits smoother on a wedding day.
I tell couples that the first look is usually the only time during the entire day they’ll be completely alone. This helps them savor each moment and really lean into each other during the photos. Since the first look typically lasts about ten minutes, it’s easy to transition into portraits of the couple. This works in your favor, as you get to spend more time with the bride and groom capturing real emotions before you seamlessly transition into the couple’s portraits.
A first look can bring out a lot of those nervous emotions and relax the couple before the day unfolds.
One major con of doing a first look is it usually happens in the hottest part of the day or when the sun is at its brightest. First looks are typically done between 11am and 3pm. Photographing in the midday sun has its challenges, and the harsh direct light can sometimes mean changing locations for the bride and groom portraits.
Try to find a covered walkway, or somewhere that keeps the couple out of the sun. Look for large trees with lots of shade, but be aware of spotted light. In direct sunlight it may be easier to find big natural reflectors that bounce light back onto your subject. You can also help fill the shadows with flash or a photo reflector.
Another con to the first look can be the couple needing to get ready much earlier than anticipated just to fit it into the day’s schedule. Be sure to communicate with the couple so everyone knows the best time to photograph the first look and how long it will take.
You can set up the first look in many different ways. A common way is to place the groom in a position where the bride comes come from behind and taps the groom on the shoulder. The groom then turns around and faces the bride. This is where emotions run high, and you can photograph from all angles so they can enjoy the moment.
The best angle is to photograph the groom facing away from the bride as she comes behind him. Then switch to the other side to get the groom’s reaction of seeing his soon-to-be bride in her dress. If you have an assistant photographer, place them at the opposite end of where you are so you can cover it from all angles.
Give the couple time to take in the moment and simply enjoy it.
Another way to do the first look is to have the groom facing the same direction the bride will be walking from. This will give you an instant reaction to them seeing the bride in her dress, so be ready to photograph all of those real emotions.
When you place the groom, take some solid portraits of him to help him relax before the bride walks into the scene. Talk to him, making sure your tone is soft, positive and excited.
Tell the couple that it’s their time, you don’t exist, and that they should just enjoy the moment. Let them know that kissing, hugging and looking into each other’s eyes is what the first look is all about.
Once the couple has relaxed and finished with the first look, move right into the portraits by taking them to the location you’ve scouted (if it’s different from the first look location).
A first look helps you get the most out of your wedding timeline for bride and groom portraits. It also helps the couple relax and feel even more excited about walking down the aisle. Having this beautiful and emotive experience will create more authentic photos, and give you more time to create them.
Ask your next client if they’d like a first look, and refer to these tips when answering their questions. You may be able to help make their special day even more special.
Have you ever photographed a first look? Let us know in the comments.
The post Photographing a ‘First Look’: The Pros and Cons for Wedding Photographers appeared first on Digital Photography School.
Low-light Images often have noise issues, particularly in the dark areas.
So you’ve decided to take night time photographs. But the light is so low you’re worried about noise. You want the image sharp and the blacks to be black. And noise reduction reduces sharpness, so it’s going to be a problem. (Noise is always a problem with low-light images.)
In these situations you should always shoot at your camera’s lowest ISO setting and increase the duration of the exposure, right? Well, maybe not. The counterintuitive solution might be to increase the ISO and take multiple images of the same subject.
Single image at ISO 1600 and cropped showing lots of noise.
Hang on a minute. If increasing the ISO increases noise, how will reshooting the scene at a higher ISO improve low-light performance? Won’t it just increase the noise?
Conventional approaches to noise reduction reduce the sharpness of the image, making them soft or blurred. And blending multiple images won’t reduce the noise. Or will it?
Cropped image of stacked and blended images at ISO 1600.
The other potential problem is that long exposures don’t always work. Some night photography involves taking images of objects that move, and shorter exposures can help control that movement.
Low-light image at ISO 1600 (single image).
Adobe Photoshop has powerful tools that let you blend multiple images, but most of these blend modes won’t help. However, there is a way to blend images in Photoshop to reduce noise. The key to shooting with a higher ISO to improve low light performance is to shoot multiple images of the same scene using the same settings (i.e. white balance, focus, aperture and shutter speed).
While the technique is fairly straightforward, it does take some discipline.
Stacked and blended image of six images at ISO 3200.
The key is understanding what causes noise. In general there are two types of image noise – chromatic and luminance. Chromatic noise is color aberrations where there are none, while luminance noise is variance in light levels where there is none. Both are instances where the sensor has registered some data that isn’t there. (It’s common in sensitive electronic equipment such as digital sensors.)
If you take a single image, the noise is part of that image. But if you take a second image in the same location, chances are the noise won’t be in the same spot (unless you have a bad sensor). The noise actually moves around.
If you think about exposure in simple terms, it’s the amount of light that hits the sensor or film. Changing the aperture from f/4 to f/2.8 doubles the amount light hitting the sensor. Similarly, if you decrease the ISO from ISO 400 to ISO 200 you need twice as much light for the same image.
But taking a properly exposed image and then blending a second properly exposed image doesn’t actually improve your exposure. Is there another way?
Cityscape at ISO 400 (single image).
The short answer is “Yes”. This technique relies on the fact that the noise moves around on the sensor. You can take one image at ISO 400, or you can take two images at ISO 800. As long as the total length of exposure (assuming the same aperture) is similar, while the noise will have gone up you’ll effectively have the same image. That’s because you’re simply doubling the amount of light on the sensor at ISO 800, and there’s a proportional increase in sensitivity. Similarly, if you take four images at ISO 1600 you should end up with the same exposure.
But what if I use ten images?
Ten images at 1600 blended.
You may be thinking, “So what? At ISO 1600 I now have ten noisier images than my image at ISO 400. How does it improve my camera’s performance and reduce noise?”
The answer is to stack them, and then blend them together using a particular method in Photoshop.
By importing the images as a stack of layers in Photoshop and blending the stack together, you can improve your image quality. Using my earlier example, if you use ten images at ISO 1600 you effectively have an image comparable to an ISO 400 image.
Single image at ISO 400 with a tight crop.
Ten stacked and blended images at ISO 1600.
As I said earlier, while this technique is pretty straightforward it’s not exactly obvious. Following the steps is critical.
You don’t get extra resolution. But you do get less noise, and the image seems sharper.
Pick a subject (not the night sky) that’s under low-light conditions and take multiple images of the same perspective at a higher ISO than you’d normally use – 1600, 3200 or even 6400. (Don’t use ISO values in the extended range because they’re not native to your camera’s sensor.)
Manually set your focus so it doesn’t change between shots. You should either shoot the images in RAW format or make sure all the White Balance settings are the same. Using RAW lets you edit the white balance later, but fixing it before you taking the shots will also address the issue. Take one image at a lower ISO value (probably with a long shutter) and many at the high ISO value. This will allow you to compare the results.
Step 1: Ensure all the images have the same White Balance. (You can correct RAW images together if you shoot in RAW.)
Use a RAW Processor to match the White Balance and Exposure
Step 2: Import the images as layers into Photoshop. (Bridge and Lightroom both can do this).
Step 3: Highlight all the layers in Photoshop.
Step 4: From the Edit menu, choose Auto-Align Layers.
Align the images.
Auto-Align works well.
Step 5: Crop the image to eliminate any missing parts of the image.
Sixth step: Highlight all the layers, and then from the Layers menu choose Convert to Smart Object.
Convert the Layers into a Smart Object
Step 7: Click on the Smart object, and from the Layers menu choose Smart Objects -> Stack Mode -> Median.
Use the median stack mode to blend the layers.
Step 8: Look at the result. (It’s pretty dramatic.)
Single Exposure at ISO 1600.
Stacked images at ISO 6400.
Cropped image at ISO 1600.
Cropped image at ISO 6400 (stacked).
Photoshop blended all the (now aligned) layers together, looked at where most of the images showed the same data and decided that data was correct. It then discarded any data that didn’t match. Because chromatic and luminance noise varies from image to image, blending multiple images like this eliminates the pixels showing incorrect color or luminance.
Stacked and Blended Evening Image
As you can see, it significantly reduces noise without losing sharpness or introducing unwanted artifacts. So the next time you’re shooting in low light, why not give this technique a try?
The post How to Improve Low-Light Performance by Increasing Your ISO appeared first on Digital Photography School.
Sigma recently announced nine prime lenses coming to their Art lens lineup for Sony E-mount shooters. We got to test out the new Sigma 50mm f/1.4 DG HSM Art Lens for Sony E-mount mirrorless cameras, an update to the previous Sigma 50mm f/1.4 released in 2014. Here’s what we thought.
Like all Sigma lenses, this one comes packed in its own zippered carrying case. It also comes with front and end caps and a lens hood. It’s ready to use right away, although you may want to buy a 77mm UV filter to protect it while in use.
This E-mount lens is designed for full-frame format Sony mirrorless cameras. However, it can also be used with APS-C models (although it will slightly crop the resulting image).
The lens has an aperture range of f/1.4 to f/16. When shooting at the maximum aperture of f/1.4, it produces a shallow depth of field with smooth bokeh, making it great for portraiture.
The Sigma 50mm f/1.4 Art lens is made for several camera mounts including Nikon and Canon DSLRs, Sony A-mounts and Sony E-mounts. This lens we tested was made for Sony E-mounts and used with a Sony a7R III.
Sigma designates this lens as part of its Art series, which means it’s designed for high optical performance in a range of shooting environments.
Off the bat, the lens has a high-quality look and feel to it. Comprised mostly of metal, this lens is big and bulky. While that may be great for those with bigger hands, having a big and heavy lens that only covers a single range may be an issue for some.
This lens worked so flawlessly with the Sony a7R III that it felt like a native lens. With a clear, contrasting point the autofocus is fast and responsive. Sometimes the lens was slower to focus in low light scenarios, but never in such a way that made it unusable. If you need to focus manually, simply flip the switch from AF to MF and use the large focusing ring near the front of the lens.
Images captured with this lens are crisp with excellent, well-saturated colors. Even when shooting wide open at f/1.4, photo subjects are sharp with buttery-smooth bokeh in the background. There isn’t a lot of vignetting either.
The lens appeared to hit critical sharpness at f/8, although shooting at f/2 provides a nice balance of image sharpness and bokeh.
If all third-party lens mounts worked this flawlessly, I doubt photographers would even bother using lens adapters.
If you’ve recently switched from a DSLR to the Sony mirrorless, you’re probably familiar with the Sigma MC-11 lens adapter. It’s a popular way to use existing DSLR lenses (i.e. the Canon 50mm f/1.4) on Sony cameras. But while the MC-11 has been popular, Sigma is pushing for photographers to adopt native lenses for their camera mounts, including Sigma’s lens options.
Why go for a native mount?
Overall, the Sigma 50mm f/1.4 DG HSM Art lens is a winner when it comes to build and image quality. But here are two reasons why it may not work for you.
Firstly, there’s the price. At $ 949 this is an expensive 50mm lens. By comparison you could get a Sony FE 50mm f/1.8 for $ 248 or a Sony FE 50mm f/2.8 macro for $ 498. But fast Sony Zeiss 50mm lenses always come at a high price. The Sony Planar T FE 50mm f/1.4 costs $ 1,498, while the Sony Zeiss 55 f/1.8 is priced at $ 998.
So depending on your needs, you may need to budget quite a bit of money for a fast Sony prime lens. But if you’re in the market for a basic nifty fifty, there are much cheaper options.
Secondly, there’s its size and weight. At 1.8 lbs it’s large and bulky, comparable in size to the Sony 24-240mm and the Canon 24-70mm f/2.8. By comparison, the Sony Zeiss 55mm f/1.8 is only 0.62 lbs and is more compact and portable.
If you’re looking for a compact prime lens that’s easy to travel with, this Sigma lens probably isn’t your best bet.
Lens size comparison. From left to right: Sigma 50mm f/1.4 Art, Sony 24-240mm, Sony 24-70mm f/4, Sony 55mm f/1.8
For photographers set on having a fast 50mm prime lens, the Sigma 50mm f/1.4 Art lens is a great choice. It’s smaller and more reasonably priced than the Sony 50mm f/1.4 lens, and produces crisp and beautiful images.
However, photographers with a smaller budget, or who want to carry smaller lenses, may want to consider other 50mm options at lower price points in more compact packages.
Sigma 50mm f/1.4 Art lens at f/11
Sigma 50mm f/1.4 Art lens at f/8
Sigma 50mm f/1.4 Art lens at f/4
Sigma 50mm f/1.4 Art lens at f/2
Sigma 50mm f/1.4 Art lens at f/1.8
Sigma 50mm f/1.4 Art lens at f/1.4
Sony 55mm f1.8 at f/1.8
The post Thoughts and Field Test: Sigma 50mm f/1.4 for Sony E-Mount appeared first on Digital Photography School.
Post-processing can make or break an image. It doesn’t matter how much you change in your photo editor of choice, even a small adjustment can damage your image if it isn’t applied correctly.
A common mistake I see with post-processing is applying all adjustments globally (i.e. to the entire image). It’s something we rarely want, which is why we tend to use Lightroom’s Highlights and Shadows sliders to adjust the exposure rather than the Exposure slider. And once you bring your image into Photoshop you can apply more advanced techniques and adjustments.
More than ever, you need to know how to make these adjustments correctly.
And that’s where luminosity masks come into the picture.
If you’ve read any of my previous articles you may have seen me talk about selective post-processing – making adjustments that only affect specific areas rather than the entire image.
Luminosity masks are selections based on a pixel’s luminosity value. This means you can accurately select only the bright, dark or midtone pixels. We can refine these selections to affect only the brightest brights or the darkest darks, and use them as layer masks for our adjustments.
Since they’re based on the pixel’s brightness, we can get extremely accurate selections that target only the specific pixels we want. Having an accurate selection means we avoid certain unwanted artifacts you might otherwise experience.
You won’t find luminosity masks in a list or menu within Photoshop (although third-party plugins can automate the process). Instead, you need to create them manually by making selections based on the RGB channels.
Now that you know what they are, the next thing you need to know is how to use them. As you probably know they don’t adjust the image themselves. Instead they’re a selection you can apply to any layer or group you can use a layer mask on.
Before we look at how to use them, we need to look at how to create them. You can do this either manually or by using a third-party plugin. I strongly recommend you learn how to create them manually before you start using a plugin to speed up your workflow.
Let’s create a Brights mask, which will select the bright areas of the image but leave the midtones and darks untouched. Keep in mind this is the broadest brights mask, and you’ll probably need to refine it to target more specific pixels. (More on that another time.)
Start by opening an image in Adobe Photoshop, and follow these steps to create the mask:
Not too hard, right?
This is what the Brights 1 Mask looks like
We’ll make the Darks mask next. It’s pretty much the same process as making the Brights mask except we need to invert the selection:
This is what the Darks 1 mask looks like
Finally, we’ll create the Midtones mask. This one is made slightly differently to the first two masks.
This is what the Midtones 1 mask looks like
We’ve now created the three basic luminosity masks. The process might seem confusing at first, but soon you’ll find creating masks as easy as one, two, three.
Now that we have our masks, let’s look at how to use them. As I mentioned earlier, you can apply luminosity masks to any layer or group you can use a layer mask on. This includes merged layers, adjustment layers, groups, smart objects and more.
I want to brighten the darkest parts of this image but leave the highlights alone
A typical processing scenario is the foreground being is a bit too dark while the sky is perfectly exposed.We can fix this by increasing the exposure using a Curves Adjustment. But using a Curves Adjustment without a mask will brighten not only the shadows,but also the areas that are already well exposed.
So let’s use the Darks mask.
Hold down Ctrl/Cmd and click on the Darks channel’s thumbnail to activate the selection. (You’ll know it’s active when you see the marching ants.)
With the selection active, create a Curves adjustment layer. Since the selection is active, the Darks luminosity mask will be applied to the Curves’ layer mask. Any adjustments you make on this particular layer will only affect the areas represented by white on the mask.
Now simply pull the Curve up to brighten the darks. You can toggle the mask on and off by shift-clicking the layer mask to see the adjustment with and without the mask. (It makes a huge difference.)
With the luminosity mask applied
Without the luminosity mask applied
This is just one way you can use luminosity masks. When processing an image I use them several times with a variety of adjustments. They can even be used to blend multiple images.
And while third-party plugins can automate the process for you, you really should learn how to create them manually first. Understanding how they work makes it easier to know how and when to use them – and when not to.
If you’re interested in this subject, take a look at my eBook A Photographer’s Guide to Luminosity Masks where I teach you everything you need to know about them, as well as a variety of other masks and advanced selections.
The post Luminosity Masks: What They Are and How to Use Them appeared first on Digital Photography School.
A question seen frequently on photography groups is “What software do I get to process my images in?”. There is the usual flurry of recommendations for the familiar choices and a few random ones thrown in. One option that doesn’t get mentioned as often as it should is ACDSee. In particular the Photo Studio Ultimate 2019 bundle is worthy of consideration for both beginners and more experienced users.
The 2019 version with the newly included Face Detection and Facial Recognition features is a step up from the previous 2018 program, indicating an intention towards AI-based digital asset management.
For anyone wanting a one-stop shop to manage, view, process RAW files, and edit with layers, etc, PLUS only having to pay once for a perpetual licence, ACDSee offers a compelling option in the marketplace.
My background is in Lightroom and Photoshop which is the basis for comparison in this review.
Let us assess this software from the point of view of what it offers a beginner.
Setup and installation are fairly standard as per most software. ACDSee does require you to set up an account as part of the install process (it’s mandatory and cancels the install if you try to opt out), which then requires an extra registration step with an email confirmation. However, once sorted, no further registration is required. If you have registered before, you can use the previous login details.
It does allow you to choose which drive/directory/folder you want to install it into, as well as if you want to use a non-standard install path. As per the splash page below that opens on Startup—you can auto select the folder to open when the software starts.
Also new is the next screen, which helpfully shows you what the key functions and features are, and where to find them. Both of these can be turned off if desired. You can click on any of the words on the left panel and it will take you to the appropriate screen. Or click through on the NEXT button. Or close it.
Once you have navigated the splash pages, you will be taken to the Manage mode screen.
ACDSee has five main modes in separate tabs for each function—Manage, Photos, View, Develop, and Edit. There are some extra features but these are key ones used in general.
Summary of the features:
Manage mode has access to your computer, direction to find images where they are stored on the computer, and the default option is to view your images in thumbnail view (similar to Grid in LR). It shows EXIF data, histogram, and shot information for a particular image. You can colour code or rate images in Manage Mode.
Photos mode is similar to Manage. It allows a more comprehensive way of viewing image files on your hard drive, and you can drill down to specific day/month/year views.
View mode allows you to view a single image in full screen mode (similar to a single image view in LR) and has some basic editing functions included.
Develop mode is where you edit your RAW image files (similar layout and functions to LR or ACR).
Edit mode is where you can do advanced editing with layers (similar to PS).
There are also the 365 tab, Dashboard tab, and Messages tab. 365 is where you have access to your subscription information, if you opt for it. The Dashboard shows graphical data on image/camera information—if you want to know your most commonly used ISO setting, type, and number of files, it is visible here.
Importing is not required with ACDSee. The software will read folders directly off your computer, displaying and respecting its existing folder structure, just like Explorer. However, users can import off of external sources if they wish to achieve other organizational goals at the same time, such as culling, tagging, renaming, etc.
Once imported, you will then want to view them, cull, tag, and select the best ones for editing.
I have all my images stored on a NAS and it found those with no issues. Above is the Manage page showing the hard drive directory structure and images in thumbnail grid view.
You can rate your images either using numbers or color tags. In the above image it has picked up the color rating I gave one image in LR. If you select the Catalog tab on the left hand menu, you can further refine your search parameters with selecting a specific rating or color tag. In the below example it has used the Red color tag to select images to view.
Also visible in the above image is the histogram (color graph below left) with camera settings above it for the selected image. The fine print at the bottom of the window has the name, file format, date/time taken, and file size information.
The full Manage mode window above, with directory tree/histogram/camera data on the left hand menu, and EXIF data for the selected image on the right hand pane, and all the images on display.
ACDSee has two other image viewing options included. Photos mode and View mode
Photos mode opens with a splash screen explaining what it does.
It offers another way to sort and view your image files and has some granular control. You can get it down to a specific day quite easily and just see the images shot on that day. Probably very helpful for wedding or event photographers. Below is an example where it shows all the shooting days, with a blue bar that gives an idea of how many photos are stored under that day.
View mode is where you can see just a single image using the full screen size. You can zoom in to check the image quality using various zoom features. There is a floating Navigator panel you can activate and use that to ensure you are viewing the correct part of the image. Similar to the Navigator in LR/PS.
There are some very basic editing tools available here, but better functionality is had in Develop mode.
RAW image editing is done in Develop mode and it is laid out very similarly to LR. By default, the Editing tool panel is on the left but it can be moved.
Image with Edit Tool Panel on the left
It’s not immediately obvious, but the white section of the grey bar that ends with the triangle cut out of the bottom is the active slider. You move the light bar to the desired settings. Or type in a number or use the Up and Down arrows on the end.
There are 4 main tabs in the Tool Panel:
Tune – The usual tools for editing a RAW file, exposure, etc. Very similar to LR
Detail – Sharpening, Noise Reduction, and Skin Tuning
Geometry – Lens Correction, Cropping, Perspective adjustments
Repair – Heal/Clone and Red Eye adjustments
In Develop Mode with the Tune Panel open
In general, I found the sliders a bit fiddly to operate; it wasn’t smooth, but apparently it is easier to incrementally adjust sliders with a mouse wheel. My perception of the program is that its application of the settings is quite harsh, so careful use of the sliders is necessary.
While you can activate a second screen in Develop mode, the only purpose is to maintain a view of the unedited image for comparison.
The Tune tab also has some spot editing features—Develop Brush, Linear Gradient Tool and Radial Gradient Tool—the equivalent of Adjustment Brush, ND Grad, and Radial Tool in LR.
Edit mode gives most of the expected features you would find in Photoshop and other programs that offer layer/mask functionality. The Filmstrip is visible (similar to Bridge), although you can turn it off to gain the screen real estate back.
Edit Mode open with all the default settings and panels visible
Edit mode offers quite a few extra or useful features. The 2019 version also has an Adjustment layer for Color LUTs, which is a recent new feature brought into LR.
A new feature in the 2018 version was an Actions Menu—a range of preset creative edits you can apply with one click. The 2019 update to this allows you export and import actions as well.
Some of the actions have a really harsh effect like overdone HDR or similar, which was quite noticeable in the 2018 version. In the 2019 version they have toned down the effect in some of the actions, but not all of them. So it pays to pick and choose as it does depend on which action you choose as to what outcome you get. Also it applies it directly to the image so you can’t do it as a layer and then blend in, unless you duplicate the base layer and blend back which has its own issues.
One of the features that did impress me in both the 2018 and 2019 versions was how good a job the Heal tool did in tidying up spots and other issues. On the above image I have removed several spots and imperfections. On the right hand side, in the center of the flower, was a long black mark on a petal (near the small curled one), and that has been seamlessly removed.
An oddity also visible in the above image—in View mode I applied a LOMO preset and liked what it did, and further edited the image to mute the tones and lower the saturation.However, when you use the Navigator tool, as per above, it shows the original RAW file in its unedited state.
Finally I dragged some texture layers, (can be dragged from a second monitor into the Layer Palette), apply some blend modes, adjust the opacity, and soften areas with a mask to reach the final image.
Several new features have been included in the 2019 edition, but one key one is Face Recognition. A short video explains how to use it HERE.
I don’t shoot people/portraits generally but had a few tucked away to test. I could get the Face Recognition to function, however it didn’t automatically find all the other images and assign them correctly. I suspect this is because I have all my images on a NAS and not in the usual directory. If I clicked on each image individually, it did recognise the face and the person.
There are some things I find odd about how the program functions; three different ways to view the image can be a bit confusing. The second monitor view in Develop mode that only holds a copy of the unedited file for a comparison seems like a major waste of screen real estate.
Many new features were included in the 2018 version, and the ones assessed in this review of the latest version have been further enhanced and improved—I am guessing in response to user feedback.
This 2019 version adds a lot of nice new mature touches, and helpful splash screens to introduce you to different features. More accessible help options is a vast improvement: there are links in the Help menu to a Support Community, a Facebook page, and a Twitter account.
Any new software program takes a bit of getting used to, but once you understand it, ADCSee Photo Studio Ultimate 2019 offers any beginner (and more experienced users) a compelling package. It has all the features you need for image management, RAW editing, and more advance editing in one place, with the advantage of a ‘pay once and it’s yours’ option instead of a subscription. Although a subscription option is available, if desired.
At $ 149 USD for the single purchase perpetual licence, you get a LOT of capability all wrapped up in one software program.
8.5 out of 10
Disclaimer: ACDSee is a paid partner of dPS
The post ACDSee Photo Studio Ultimate 2019 Review: Face Detection and Recognition appeared first on Digital Photography School.
Most of us look at the world through both eyes. But whenever we take a photo, we close one.
I want to encourage you to reverse this practice.
© Pansa Landwer-Johan
With a few exceptions, cameras don’t have two lenses. They record an image through a single lens, which is why the results are always two-dimensional.
But when you look through two lenses, as you do with binoculars, you’ll perceive more depth in the scene.
(That’s why we see with two eyes. It helps us perceive depth and distance between objects.)
Closing one eye lets us see a scene in the same two-dimensional manner our camera will record it.
This can be helpful in pre-visualizing a photo. When you use one eye, you’ll see the relationship between objects in your field of view differently. This can be particularly helpful when making a portrait, or photographing anything you want isolated from the background.
With both eyes open, you may not notice something ‘growing’ out of your subject’s head. Closing one eye lets you see distractions relating to your subject more easily.
© Kevin Landwer-Johan
Hold your index finger up and stretch your arm out towards a glass or similar object two or three meters in front of you. If you look at it with both eyes open you’ll still see the object. But if you close one eye you’ll be able to hide it behind your finger.
Closing one eye and holding your hand to shield the sun helps you see where the clouds are and whether one will soon block the sun.
As you become accustomed to how this works, you’ll start looking through your lens in new ways. Knowing you have less depth perception looking through one eye and one lens can help you position your camera with more precision.
This is particularly helpful when photographing an isolated subject. When the background contains distracting elements, even a slight change in camera position can help hide them. By moving left, right, up or down a little, you can eliminate things from view. Similarly, it can help to close one eye while preparing to take a photo.
© Kevin Landwer-Johan
With both eyes open you can be more aware of what’s happening around you. It’s easy to get consumed by an interesting subject while looking through your viewfinder. You may not see something else interesting happening nearby.
Being aware of someone potentially walking into your composition can also help you time your photos better. With both eyes open you can see who’s coming and choose whether or not to include them in your photo.
When you’re making portraits with a shortish lens (70mm or wider on a full-frame camera), having both eyes open makes you less anonymous to your subject. And they’ll be able to relate to you more easily if they can see one of your eyes.
Using a longer lens and keeping both eyes open gives you a more open view of your surroundings. When you focus through a long lens, it’s easy to lose some sense of depth in relation to your environment.
When photographing with a bright light in front of you or off to one side, closing your non-viewfinder eye will be less distracting.
© Kevin Landwer-Johan
Concentrating on what you see in your viewfinder is more difficult when you have your other eye open. Learning to split your vision and scrutinize what you see through your lens and with your other eye is challenging.
Like anything else you want to learn, you must practice. Even when you’re not taking photos, you can still discipline yourself to leave your other eye open while your main eye is at your camera’s viewfinder. The more you do it, the more natural it will become.
Repetition will build muscle memory, and you’ll get used to separating the two fields of vision.
© Kevin Landwer-Johan
Most people who do anything exceptionally well are usually somewhat different – even eccentric. Closing one eye to look at the world and then keeping them both open while looking through your camera may seem a little weird. But don’t worry about what other people might think.
These two simple techniques will take some getting used to. But once you do you’ll see so many things in new ways and take better photos of them.
So set yourself the task of practicing one eye closed and both eyes open. Stick with it until it feels natural, and you’ll soon appreciate the benefits.
The post Looking Through One Eye and Looking Through Two appeared first on Digital Photography School.
An off-camera flash lets you create your own light, giving you new and powerful options for bringing your vision to life.
But one of the biggest challenges of striking out as an off-camera flash specialist isn’t getting the necessary equipment, or even learning how to properly expose a picture.
It’s learning how to control the light. You need to harness it, not to let it roam free.
Firing a strobe into an umbrella or a softbox for the first time and instantly creating soft, even light you can use for flattering portraits is an awesome feeling. Unfortunately, the artificial light usually spills everywhere, including the places you don’t want it to go—all over your background, back into the camera to create lens flare, etc.
As we know from the inverse square law, light loses its intensity the further it travels. But if you’re lighting a portrait in a tight environment you may not have the luxury of the light falling off. Your carefully lit shot could be ruined by light bouncing here, there and everywhere.
Fortunately, a bevy of creative options are available for controlling and limiting how your flashes splash light across the image. And one of the more popular options is using a grid.
A grid fits over your flash and, using a series of honeycomb tubes, restricts the direction of the light output. Grids come in a variety of sizes to give you either a narrower beam of light or a wider spread. A 10-degree grid casts a narrower beam of light, while a 40-degree grid creates a wider beam.
With this level of control over your light you can create the precise lighting setup for the picture in your head.
While other options are available for restricting light (such as snoots), a grid provides the best balance between controlling the light and providing a pleasing effect with a gradual light falloff.
As I mentioned earlier, the challenge is to stop the light where you want it to. That perfectly placed light that’s highlighting your subject might also be throwing light over other parts of your picture, ruining the delicate balance.
Where a grid really shines is in providing a precise and restricted beam of light. You can use it to highlight a detail, create intrigue, or add drama in any other way you can imagine.
This shot is lit using an umbrella. The light is soft and covers a wide area.
This shot is lit with a flash but no modifiers. The light is harsh, but narrower than the umbrella.
Finally, this image is taken using a grid. The light is still quite harsh, but it’s restricted to bring more focus to the subject.
A grid is a fun way to create drama or heighten contrast. This is typical for low key images where a grid is used to purposefully show or hide key details.
For example, you can use a grid to mimic a shadowy and dark “film noir” image. The grid restricts the light, keeping it from spilling all over the scene and helping to maintain that dark, low key effect.
In a multi-light setup, you may need to use a grid on your secondary lights so you don’t ruin the balance provided by your key and fill lights.
Let’s say you already have the lighting you need on your model, but you want to emphasize a background detail. A bare flash would send a lot of new light careening around the image, whereas a grid lets you achieve the look you want with the precision you need.
The light from the secondary light behind and to the left of the subject is causing lens flare. Putting a grid on the light would restrict the beam and stop it from happening.
Another useful application for a grid is where your rim light is pointed back towards the camera. You may need it to separate your model from the background. But if that light spills into your lens you’ll have to deal with lens flare and lowered contrast when editing later on.
The solution? Slap a grid on your rim light. The light will be directed only where you want it to go, potentially saving you hours of post-processing work.
A grid is a handy tool in any off-camera flash photographer’s bag. Their simple design makes them an affordable option and, as I said earlier, they can be used creatively on either your key or secondary lights.
Making the most of a grid is an excellent step to take towards becoming the best flash photographer you can be.
The post Tips For Using a Grid in Off-Camera Flash Photography appeared first on Digital Photography School.
As a parent, one of the most enjoyable aspects of photography for me is sharing my love of photo-taking with my two kids. My wife and I enjoy taking pictures of our two boys, looking through old family photos with them, and involving them as much as we can when we are using our cameras.
However, when our oldest was about five years old he started wanting to get in on the action as well, and that’s when we hit a bit of a road block. We wanted to get him and his younger brother a camera, but with so many options we didn’t even know where to start. Fortunately we found a solution that has worked wonders for us and could be great for you too.
When we started looking more seriously into cameras for our kids we realized we had several options, all of which we ended up discarding for the following reasons.
Let them use our cameras. As much as we wanted them to get a real hands-on experience with photography, the cameras and lenses we use for formal photo sessions are much too expensive to hand over to our little boys. When they’re older we will certainly let them use our camera gear, but not at such a young age.
Invest in rugged point-and-shoot cameras. Some cameras made by Olympus and Panasonic are designed to take a bit of punishment and seem ideal for kids, but we didn’t want to spend hundreds of dollars on a camera that our kids might enjoy for a few days and then put aside in lieu of something else. (As parents we have learned that our kids’ enjoyment of a particular toy or object is rarely correlated with the amount it costs, and just because something is expensive by no means ensures they will like it or use it more than once!)
I have no idea why, but my six-year-old is obsessed with taking pictures of ceiling fans. This has led to some good discussions about shutter speeds and also the effect of flash when freezing motion.
Purchase a kid-oriented camera. If you search online you can find dozens of kid-oriented cameras that have big buttons and bright colors, but all the ones I have used have been quite unimpressive. Tiny low-quality LCD screens, slow response times, horrible image quality, and awful sound effects all seem like they are designed specifically to suck the enjoyment out of photography altogether.
Let them use an old mobile phone camera. This seems to make a lot of sense given the prevalence of tablets, phones, and other devices with cameras and touch-screen technologies, but we ultimately decided against it. We didn’t want the hassle of dealing with internet restrictions and app downloading, especially when our kids are so young. In the future we might open this door, but for now we’re more comfortable giving our kids an actual camera instead of a device that has many functions, including a camera.
The more we looked at choices available to us the more we seemed to hit dead ends, until we came up with a solution that seemed to check many boxes all at once: we would buy each of our kids a used point-and-shoot camera.
Old point-and-shoots can’t match modern cameras, but they’re not too shabby either. And when a kid can snap a picture of a sunrise with their very own camera, it’s a fun moment to witness.
A used point-and-shoot camera hit every one of our criteria. And the more research we did, the more we realized that this plan had almost no drawbacks and a variety of benefits including…
Price. You can look on eBay or used gear sites like KEH.com for used point-and-shoots and find plenty of options for $ 25 to $ 50. That’s well within the range that we are comfortable spending on a toy, and if our kids lose interest or break their cameras accidentally, we haven’t lost a lot of money.
Selection. The sky really is the limit when it comes to selecting a used point-and-shoot, and no matter your budget you can probably find one that suits your needs – especially if the goal is to give it to a child. As a starting point search for “Powershot”, “Coolpix”, or “Cyber-Shot” and sort by price to see plenty of low-cost point-and-shoot options.
A quick eBay search for Canon PowerShot digital cameras between $ 25 and $ 50 turns up dozens of results.
Features. I owned a few small pocket cameras way back in college and over the years I had forgotten how many features these old things had! Most of the ones we looked at included things like optical viewfinders, video recording, optical zoom lenses, self-timers, limited manual controls, white balance options, various metering modes, macro/portrait modes, custom scene settings, and instagram-style filters. Some of these require digging through menus, but it’s all there for children to explore and figure out, which is part of the fun of photography in the first place.
Image quality. Can a decade-old point-and-shoot match the quality and megapixels of a modern DSLR or smartphone? Of course not. Most of the cameras you are likely to find will be in the 3-megapixel range, which pales in comparison to any modern camera. And good luck taking pictures at high ISO values. But the point is to use this as a way to get kids interested in photography, and no child I know is going to balk at having only 3 megapixel images. That’s plenty big enough to crop and print. (Remember, a 4×6 photo at 300dpi is only 2 megapixels.)
Image quality on a used point-and-shoot can’t rival a DSLR, but it can be easily and cheaply replaced if dropped in water when taking pictures of turtles. And that’s almost what happened when this photo was taken.
After all our investigating we ended up getting our boys each a Canon PowerShot DS450 Digital ELPH from eBay. We paid $ 27 for one and $ 29 for the other, including shipping. Our kids (age 6 and 3 when they received them) were so thrilled they could hardly put them down. They called them their “Professional Cameras” and quickly started taking pictures, experimenting with different options, and figuring things out in the menu screens while teaching each other what they had learned.
Over time our kids have learned a lot more about photography and how to use their cameras to get the images they want. And they really enjoy experimenting with the self timer and taking short videos too. We made albums for each of them within our Apple Photos app. Over the past year they have built their libraries up with thousands of pictures which they like looking through and sharing with others.
This picture of grandma and grandpa’s dog isn’t going to win any awards, but my son had fun taking it and it helps him remember this visit.
At times their interest has waxed and waned, and sometimes a month will go by without them picking up their cameras. But that’s how kids are with most toys, and I don’t think the situation would be any different had we spent $ 200 on a brand-new kid-friendly point-and-shoot. The situation isn’t all sunshine and roses though, and there have been some drawbacks and risks that any parent would need to take into account when buying a used camera.
Purchasing anything used, whether it’s a camera or a car, carries with it its own set of risks and parents should be aware of what they are getting into.
Gear condition. If you get a new camera, whether it’s a brightly-colored toy camera or an advanced drop-resistant point-and-shoot, you can be fairly certain that the product you pay for is the same as the product you receive. It will also likely come with a warranty, but neither of these is the case with used cameras. Reputable sites like KEH, B&H, and Adorama rate their items with a scale that gives you a pretty good expectation of their condition, but what you get in the mail might have scratches, dents, or other defects you might not expect.
Both of the cameras we got on eBay had dings and dents, but my kids didn’t mind at all and I would suspect most kids (especially very young ones) wouldn’t even notice.
Beware of auction sites. If you have never used eBay or other auction sites before, navigating their options can seem like a bit of a digital minefield. Look closely at seller ratings, return policies, and buyer-protection options before making a purchase. And if you come across a camera deal that seems too good to be true, it probably is. The same goes for cameras you might find on Craigslist or Facebook Marketplace. Don’t be afraid to ask questions of the seller.
Accessories not included. Depending on where you get your camera it may or may not come with niceties like a wrist strap, a memory card, or even a charger or working battery. The cameras we got for our kids had batteries that barely held a charge, so we got a pair of third-party batteries for about $ 15. It wasn’t too big of a deal but it served as a good reminder of the difference between buying used vs. buying new. Things like this aren’t deal-breakers and your pocketbook will be still be much happier, even if you do have to buy some of these additional items.
On a recent trip to the local botanic gardens my kids finally got to be the ones taking pictures of daddy, not the other way around. Simple wrist straps definitely helped them keep track of their cameras in the process.
The lesson here is one that has rung true for ages, ever since humans began trading for goods and services: caveat emptor—let the buyer beware. If you do a little bit of research, ask questions, and trust your instincts you will probably end up with a perfectly good camera that will be great for kids.
It’s been well over a year since my wife and I got used point-and-shoot cameras for our boys, and despite a few hiccups, the experiment has been a resounding success. It has not ignited some latent passion for photography, but our boys have had fun experimenting and exploring and creating – and thus far they haven’t broken their cameras either.
My three-year-old took this with the pocket camera we bought him for under $ 30. I asked him why, and he told me he just liked the colors of the bike.
Meanwhile my wife and I rest easy knowing that they can’t access harmful internet sites or download strange apps onto their 2005-era digital cameras. And if our kids do end up breaking or damaging their point-and-shoots it will be a very cheap problem to solve. (As a bonus, if they do break their cameras we plan to use it as a financial lesson and make them save up for replacements.)
If you or someone you know has kids who are interested in photography, I highly recommend checking out the many used cameras available to you before shelling out hundreds of dollars on a brand-new model or buying a cheap kid-friendly camera with actual bells and whistles, but limited capacity for photography. The risk is fairly minimal, the results can be quite rewarding, and you might even find yourself renewing your own excitement for photography simply by helping teach the younger generation what makes the art form so special to you.
The post How to pick the perfect camera for kids appeared first on Digital Photography School.
In a previous article, I discussed some helpful tips for preparing for a photo shoot. It’s important to be ready, but let’s be clear – you have to be able to perform on the day. So let’s talk about some helpful tips you can use to capture a successful collection of photographs on the big day.
I shot photographs for a band. The goal of the shoot was to create a collection of images they could use on social media. This one is pretty dark but it was processed this way on purpose. The band was playing a very moody venue and they liked the idea of a darker photograph.
Regardless of whether you’re shooting professionally or taking some photos for friends, these tips can help you to ensure you get the best pics. You may be taking photos of your child’s soccer game. Whatever the occasion there are some things you can do to get great photos.
This is the single most important thing you can do is take care of your clients. It sounds silly, but your job is to build their confidence, to direct them, to inspire and help them to pose for photos. Anyone with knowledge of camera settings and lighting can take an image that is sharp and well-lit. But to bring out the personality of those you photograph and to make meaningful images requires you to make a connection with the clients. They need to feel safe during the shoot. You’re the one who has to ensure each person involved feels secure. It’s important to watch your models carefully. Are they comfortable? Are they fidgety?
The leader singer was a little apprehensive about me taking photographs. She told me when she sings she always looked like she was in pain. I took the time to shoot a lot of images hopefully capturing something she would like.
Consider the type of atmosphere you create during the shoot. Are you relaxed? Do you exude confidence in your abilities or are you nervous? If you’re feeling nervous, then so will the people you are photographing. It might be worth thinking of yourself as the father or mother of the folks you are photographing. Be that voice of calm amidst the chaos. Let them know you have their back.
I tried to include some shots of the action in between songs.
Depending on the event you’re shooting you need to consider several factors. The last thing you want to do is shoot a whole bunch of images that look the same. So you need to consider several things.
If you’re shooting a portrait session, then you need to think about posing and grouping individuals. How can you make the images look different? Do you change the setting or do you have people arrange themselves differently? You could have them grouped closely together or create a composition in which individuals are more spread out. Perhaps you have a mix of individuals either standing or sitting. There are lots of ways to pose people. If you’re the type of person who needs to sketch out diagrams and have a plan, then go ahead and do that, but remember variety is the key.
It was important to try and isolate two members of the band. A photograph of the married couple on stage together is an important keepsake.
If you’re shooting a child’s sporting event, you will want to mix in images that show both the whole playing surface as well as images that capture individual players. Maybe you choose to focus on facial expressions for a while. You can also capture intricate details like a pair of feet dribbling a ball, or the hands of player just before she shoots a 3 pointer. Just try to consider lots of different ways to portray the action.
It’s so important to consider the point of taking these photographs. What do you hope to accomplish with this collection of images? Are you capturing precious family memories? Perhaps you’re documenting the growth of your son’s abilities to play soccer? Maybe the goal is to capture images of a beloved family pet that hasn’t got a whole lot of time left with the family. Whatever the reason, this purpose will guide you to create photographs.
Communicating an idea will dictate how you ask your family to pose. A photograph in which a dog is running happily after a toy or playing with small children will communicate a sense of family, but consider how a shot of an older dog sleeping next to your teenager on the couch may show a different stage of the life cycle.
A close up of the musicians and their instruments adds a nice variety.
All too often we jump in with the camera and forget that purpose can be more important than having the perfect exposure. So slow down, think purposefully as you shoot, and remember your goal is to create cohesion. You want a set of photographs that have a variety of compositions but also fit nicely together. Create interest in both the composition and the story told by your images.
Writing out your purpose might be helpful. Create a type of mission statement that you keep in the back of your mind as you shoot. Do whatever you need to do keep the purpose of your photographs front and centre. Don’t hesitate to post the purpose on a piece of paper somewhere. It might even help for the individuals involved in the shoot to see the purpose. If they are aware they can help to maintain the central idea through how they pose for photographs.
Including images of all the band members was important too. The focus on this shot is the sharpest but there’s a lot of emotion and effort in his face. That was important to capture.
So, no matter the subject matter or your photographic expertise, keep in mind how important it is to shoot photographs with a consciousness that accounts for all the factors listed above. It will be hard at first to remember all these different elements but eventually, you will become comfortable, and it will be more second nature to you.
If you’ve got some helpful tips, please share them with us. We want to hear about all the different types of steps you take when shooting a group of photographs. Let’s help each other out.
It’s also important to consider changing lenses. I used a wide angle lens for this shot.
The post Capture a Successful Collection of Photographs with these 3 Tips appeared first on Digital Photography School.
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