Category: Photography

7 Vital Tips to Improve Your Candid Street Photography

If people watching is in your nature, you owe it to yourself to try some street photography. It can be addicting, and the fleeting moments you can capture will be one of a kind. It is a genre of photography similar to fishing. The more you enjoy the process, and the more you cast your reel out there (is this correct fishing terminology?), the more you will catch.

Time and experience trump everything due to the difficulty, and while perseverance is the only way to do street photography well, there are some important tips and strategies that can set you off in the right direction. Here are some of my favorites.

1. Travel light and with minimal gear

Many of you will have a DSLR and a mid-range zoom lens. While it is fine to shoot street photography with this equipment and many do (and even more start out this way), lightening your load will make a huge difference. You will have more energy, your coordination will be better, and you will be faster and more willing to explore. You will also be able to photograph in situations where you would not want to bring a large camera.

Not only are micro-4/3rds and mirrorless camera systems lighter, but they look less intimidating to the people you are photographing. If you have a DSLR, consider using a 35 or 50mm prime, or a pancake lens for these reasons. Fortunately, you do not need the fastest versions of these lenses, so it will not be quite as expensive. A 35mm f/2 is usually about half the size of a 35mm f/1.4, and Canon’s 50mm f/1.8 is both small and only $ 125.

Prime lenses

Prime lenses will restrict you to a specific focal length, but this limitation can actually be quite freeing. By sticking to a focal length such as 35mm or 50mm (the two favorite lenses for most street photographers), you will learn to see how the lens sees.

You may miss out on certain moments by not having a zoom, but at the same time, you will be able to capture more quality images within the ideal distance for the lens that you are using. You will be quicker and more spontaneous with your camera. You will even start to think more about your perspective and framing without having the luxury of the zoom, and as the old saying goes, you will begin to zoom with your feet.

2. Raise your ISO

It used to be taught that you always needed to use as low an ISO as possible. This is because the early digital cameras were terrible at high ISOs, particularly over 400. Luckily, new digital cameras blow the old ones out of the water in terms of high ISO ability. You can now shoot at ISOs of 1600 and 3200 with beautiful looking grain/noise, but the stigma of using high ISOs still exists.

For street photography, I will typically shoot at ISO 400 in sunlight, 800 in light shade, 1600 in dark shade, 3200 at dusk, and 6400 at night. With an entry level or less advanced camera, I would go down one stop in ISO, i.e. ISO 200 in sunlight and up to 3200 at night.

Benefits of high ISO

This gives us a huge advantage. Being able to raise our ISOs this high not only allows us to shoot handheld in dark situations, but it also allows us to simultaneously shoot with a faster shutter speed to freeze motion and a small aperture to maximize the depth of field.

Some photographers prefer a shallow depth of field, but in the fast moving world of candid photography, I prefer a large depth of field for a few reasons. First, if you miss the focus on your subject, they can still turn out sharp. If you are photographing at f/2.8 on the other hand, your image will be ruined if you miss the focus. Next, since context is very important in street photography, if you have multiple subjects at different depths or important background elements, it will allow everything in the frame to be relatively sharp.

I prefer to shoot at 1/250th of a second to guarantee that there is no motion blur in my subjects, although I will go to 1/160th or 1/125th in the darkest of situations. In bright light, I will shoot at 1/320th or 1/400th of a second. A high ISO is what allows me to shoot with these speeds, no matter what the lighting is like.

3. Pick a spot and wait

Street photography and going for a walk go hand in hand. Sometimes you just want to take your camera and explore on a nice day. However, by constantly walking, you might be doing yourself a disservice. Instead, try to find some promising locations on the way and linger there for a while as you wait for something to happen.

Picking one spot does a few things. First, it allows you to combine a good location with an interesting moment. If you find a quality location and just take a quick photo and move on, you’re killing so much of the potential. By waiting, you give yourself more time for that magical moment to happen. It’s when the right location merges with the interesting moment, that a great photograph appears.

It’s when the right location merges with the interesting moment, that a great photograph appears.

You will also be faster at noticing your surroundings and quicker with your camera because you will be focused on looking around instead of walking. In addition, people will be coming into your scene and entering your space instead of you entering their space, so it makes the whole practice of street photography easier and less confrontational.

Camera snap

A small but important tip that goes hand in hand with this idea has to do with the camera snap. The camera snap is the quick, instinctive removal of the camera from their eye that photographers do immediately after clicking the shutter. It is the motion that tips your subjects off to the fact that you just took a photo.

By picking a spot and waiting for a subject, you can be as candid as possible. Just put the camera to your eye, take the image, and keep it there as the subject leaves your scene. This will make it seems like you were just photographing the background and waiting for them to get out of the way.

4. Know what to say if someone stops you

No matter how you approach it, there is an inherent creep factor to street photography. Some of your subjects will understand and be flattered, while others will think you are the weirdest person on the planet. If you like to photograph your surroundings and culture, people are a big part of that. Including them in what you capture can be a big part of telling the story of your surroundings, and there is nothing wrong with it.

While tough situations are rare, particularly if you handle yourself in the right way, knowing what to say ahead of time is very important. If someone asks if you took their photo, own up to it and tell them what you were doing. Talk to them and explain why you found them interesting. This will flatter some people, but others will still not understand. I always keep a business card with me and offer to send the photograph if someone emails me for one.

Keep your cool

Always keep a smile on your face. If someone seems angry for any reason, there is no need to get defensive or angry back. You don’t have to explain that it’s in your legal right (depending on where you are photographing of course) unless it comes to that. That’s not the best thing to bring up right away because it can make people even angrier.

Instead, figure out how to diffuse the situation and tell them that you did not mean to make them uncomfortable. I’ve offered to delete a couple of photos over the years when I felt it was necessary. The ability to diffuse a situation is very important, even though I have only had one or two uncomfortable situations over a 15 year period of frequent shooting.

5. It’s not just about people

It is a common thought that street photography is only about capturing people walking down the street, on a beach, or in public. That’s just not the case. Street photography is about candid photography of life and culture. While that can and should include people sometimes, other times it can be about nearly anything else. Capture daily scenes and backgrounds that you find to be interesting.

They can be weird images. Capture something unique. You do not always have to take the prettiest or most epically beautiful photograph. Capture something that makes someone think or that throws them off balance. Capture images for yourself, and ones that you know some people will not understand or like right away. It is not your job to please everyone. It’s your job to take a good photograph.

Be spontaneous and go for it

Be spontaneous. With other forms of photography, you can be a perfectionist about every detail. While it is also important to think this way for street photography, so many of these decisions are made in a split second. Let yourself go and be spontaneous with what you capture. Whenever you feel there is potential for a strong image, even if you aren’t sure, go for it. Many will fail, but some of those moments will end up being the best photos you have ever taken.

Go somewhere that you think will make it tough to capture an interesting photograph. Sometimes you will find that you will be able to capture unique content in areas that others would think of as quiet or boring. There are good photographs everywhere and the best photographers have a way of finding them anywhere.

6. Group your photos while editing

This is not a tip that all street photographers adhere to. Some like each of their photographs to live on their own. However, many prefer to group their work by feeling, ideas, or themes. For some, the book is the ultimate form of display for street photography.

Group your photos based on feel and sequence them into a loosely based narrative of some sort. Come back often and add to and take away from it. Over time, you will notice that ideas will grow organically. It will help inform you about what to capture when you are out there. These ideas will develop as you grow as a photographer.

Before you think about putting together a book, purchase a simple cork board for your office wall and fill it with 4×6 and 5×7 images. Constantly print and replace them to create a cohesive wall of images. It is a lot of fun and a great way to view your work and your progress.

7. Explore the work of other photographers

This is such a simple tip but it is immensely important. In your free time, look up the work of all types of street photographers and study their portfolios. Explore the content, the technique, and the styles that you like. Watch videos of these photographers in action to see how they approach the street. Go to gallery shows and look at real life prints to train your eye. This will give you a range of ideas for what to capture the next time you are out shooting.

The fascinating thing about street photography is that while the content is the same for all of us, what we each come back with is completely different. Studying the styles of different photographers will help inform what is possible for you to create.

It is inspiring and fun to do. Start a photography book collection or even purchase a couple prints for your walls. The more you surround yourself with it, the better you will become, the more ideas you will have, and the more inspired you will be.

Some photographers to start out with are Henri Cartier-Bresson, Garry Winogrand, Robert Frank, Helen Levitt, Lee Friedlander, William Eggleston, Walker Evans, Daido Moriyama, Martin Parr, Elliot Erwitt, Joel Meyerowitz, Mary Ellen Mark, Bruce Davidson, Saul Leiter, Trent Parke, Alex Webb, Vivian Maier, and Bruce Gilden.

Conclusion

Now go out there and have some fun. The biggest tip is that the more time you spend shooting, the better images you will come back with. So shoot with some regularity and do it in the way that you find the most fun so you will continue to practice.

If you’d like to learn more about Street Photography, then please check out my ebook The Essentials of Street Photography.

googletag.cmd.push(function() {
tablet_slots.push( googletag.defineSlot( “/1005424/_dPSv4_tab-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78623” ).addService( googletag.pubads() ) ); } );

googletag.cmd.push(function() {
mobile_slots.push( googletag.defineSlot( “/1005424/_dPSv4_mob-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78158” ).addService( googletag.pubads() ) ); } );

The post 7 Vital Tips to Improve Your Candid Street Photography by James Maher appeared first on Digital Photography School.

Digital Photography School

January 21, 2017
5 Tips for Capturing Everyday Moments in Your Family’s Life

Lifestyle photography and the art of everyday photography is about documenting your daily life. This could include capturing your baby’s toothless smile, his/her first steps, the way they hold their hair or twirl their dress, first time they start to read or write, or anything that you would normally run to grab your cell phone to capture.

While smartphone cameras have gotten to be more powerful and expensive over the years; nothing beats the quality and the depth of field you can achieve with wide apertures using your DSLR. The ability to capture raw files and process them, lens interchangeability, and being able to obtain superior images under even low light conditions, are just a few of the benefits. To add, over the decade the price for an entry level DSLR has also come down significantly. So if you own a DSLR (or a mirrorless or high-end compact camera) already, why not use it to capture everyday moments in your daily life?

Here are some tips for you to capture your everyday moments with your camera.

#1 – Capture the details

Capturing the details is about focusing on what the subject is actually doing versus photographing the entire subject which can take away from the story the image is trying to tell or convey. It could be something as simple as a kid holding a flower, or the way she touches her hair or smiles, or anything for that matter.

Another key to creating extraordinary images out of the ordinary is to think about composition while considering the detail you are trying to capture. You may be focused on documenting and creating that memory that you can reflect upon. So compose your image such that the subject, in this case, the boy writing, creates stronger and meaningful image while helping you remember the story that occurred.

Another example is the image below.

This was a very simple image where he wanted to show a tiny flower he got from the garden. Again, having my camera right next to me, I quickly adjusted the settings to get the shot. I also tweaked the image a bit during post-processing to accentuate the details.

Children grow up fast and the memories in images and videos of them doing little fun things, their innocence is sometimes all we have to remember and treasure of their childhood.

#2 – Think perspective

This was an ordinary everyday moment for us. Having breakfast at the table, eating his favorite snack and just enjoying his moment. I happened to think about a different angle and took this image while he stared up at me. Straight on would have been a perfectly fine image as well, but him looking up gives the viewers something different from the usual.

Here is another image where perspective was a little different.

In this image, I found my little one sitting on the stairs and coloring away. He found that to be his comfortable spot. Using the stair rods as framing I placed my camera in between the pillars and clicked for a unique perspective. This was a very ordinary moment of a 4-year-old coloring. But having my camera on hand and using a different perspective makes this image more unique and extra special.

Perspective can be anything. Utilizing your stairs for shooting through, or having your kid looking up at you while you click to emphasize scale are some commonly used techniques that can give an added boost to your images.

3 – Open your windows and blinds and use natural light

When that fails, use alternate light sources.

The biggest challenge with indoor photography is the availability of light and being able to use your camera under different lighting conditions. The quantity and quality of light change dramatically with different sky conditions. Regardless of the sky, however, try to shoot in the available natural light while keeping your subject close to the window.

Also, consider the time of day while photographing your subjects. In the first image above, I had to increase my ISO to 400 while also trying to keep only certain parts of the image in focus. Something to remember is while a high ISO can help you with many scenarios, it can also produce a certain amount of grain in the images which may or may not be desirable, depending on the look you want.

The bigger challenge with natural light is what do you do at night when there is only artificial light available? One solution is to use a flash and bounce it off the ceiling or wall depending on how much you wish to have in your image. Another way is to actually decrease the available light in your image, use interesting available light sources as a backdrop and accentuate your subject under low lighting conditions for some extra creativity.

In the image above, all the artificial lights in the room were turned off. While he was browsing his iPad, it was the only light source illuminating his face.

In examples below, I used the lighting from the Christmas tree as my light source. I turned all the room lights off and adjusted the exposure a bit during post-processing. Another creative way to use the artificial light is to use backlighting which causes a silhouette.

In other words, use natural light as much as possible. However, when artificial lighting is all you have, use it in the best possible creative way.

#4 – Make your moments happen, don’t wait for them

Somedays, you just have to wait for a cute moment to happen. While other days, you have to create a scenario to make those adorable moments with your kids occur. In the images above, he just wanted to hang out in his room. I used that as an opportunity to let him jump on the bed, which he loved a lot, and I clicked away to capture the action and movement shots with a high shutter speed.

In the image below, I really wanted a laughing happy image of my kid without him knowing I was shooting. Hence acting natural, while he really didn’t care to do either while being engrossed with his iPad. I kept repeating certain jokes he likes until I got that laughter out of him.

In other words, it is nice to have your camera nearby when a certain moment happens for you to be able to capture it right away. However, you sometimes have to create that moment or place your subject in a place or a scene in order to achieve something you want.

#5 – Last, but not the least, carry your camera everywhere

Carrying your camera everywhere you go will ensure that you do not miss out on documenting key moments in your kids’ lives. Can you imagine carrying only your cell phone to your son’s soccer game and ending up with a blurry image?

Documenting and creating a memory book or printing out a family album with images you created that are clean, crisp and not blurry is a special feeling of its own. Having your DSLR with you while learning the basics will help you to document key events in your own life and ensure they remain for generations to come.

Conclusion

In conclusion, just a few simple techniques in understanding composition, lighting, while also applying the above tips will help you create stronger images. Lifestyle photography and the art of capturing the everyday moments using your DSLR instead of your cell phone gives you an extra layer of that creative edge while still documenting moments that you usually would either way.

googletag.cmd.push(function() {
tablet_slots.push( googletag.defineSlot( “/1005424/_dPSv4_tab-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78623” ).addService( googletag.pubads() ) ); } );

googletag.cmd.push(function() {
mobile_slots.push( googletag.defineSlot( “/1005424/_dPSv4_mob-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78158” ).addService( googletag.pubads() ) ); } );

The post 5 Tips for Capturing Everyday Moments in Your Family’s Life by Jyotsna Bhamidipati appeared first on Digital Photography School.

Digital Photography School

January 21, 2017
Review of the New Flagship DX Camera – The Nikon D500

Everyone thinks they need a full frame camera but are they really that much better? Most people feel the only reason they have cropped sensor cameras is because they can’t afford a full frame one. Then you have to wonder why Nikon have produced one that is not full frame and comes with an expensive price tag. So who would be interested in the new Nikon D500? There are a lot of people who would love this camera and what it has a lot to offer.

Earlier this year Nikon released the new flagship D500 camera as part of their DX range or cropped sensor line-up. It is fast and designed with a specific user in mind. It is also one of the first cameras Nikon has produced that is using Snapbridge, the new phone app that allows you to take photos and upload them to your phone for sharing on social media straight away.

The Nikon D500 – image courtesy of Nikon.

Price out the Nikon D500 on Amazon or B&H Photo’s site.

First impressions

Unlike many of the other DX cameras, it is quite large. People tend to think that cameras with cropped sensors are smaller, but the D500 is in the Pro range and you can see that just by looking at it. It looks like a camera that a professional photographer would use, and many indeed do.

One of the first things I noticed was how similar many of the controls and the layout is to the D800. In many ways, it seems like a cropped sensor version of that camera. This also means that most of the buttons are around the camera body, so you don’t have to keep going back to the menu to change settings. There are everywhere, but it doesn’t make it confusing. You can make changes without really having to stop and look at what you are doing.

Sunset image shot with the Nikon D500.

If want to do long exposure photography there is a small blind in the viewfinder that will close to stop light leaking into your image. It means you never have to worry about whether or not you have the cover for it. You just need to remember to use it when doing long exposures. Very handy.

ISO and noise

The D500 is Nikon’s replacement for the popular D300 range that they stopping making a few years ago. The D300 was fast and great for many types of photography, however, the ISO range was not good. As soon as you increased the ISO the images became very noisy.

It also didn’t go very high, with ISO 3200 being the maximum. The D500 ISO goes up to 512,000, so it will get you images no matter the shooting conditions. The level of noise in the images is also significantly better and not as noticeable.

Image shot using a tripod with the Nikon D500 at ISO 200.

Image shot with the Nikon D500 hand held at ISO 6400.

Megapixels and image size

The camera is 20 megapixels, which is enough for most people. A RAW image is around 25 MB. Not as large as some cameras, but still large enough that you have to consider how you will store them. Jpegs are a lot smaller, but you don’t get as much information to work with as shooting RAW.

Battery

The battery is very similar to the battery for the D800 but it is a new version, so should only be used in the D500. If you have similar batteries for other cameras it is a good idea to mark them in some ways so they don’t get mixed up. You don’t want to be putting the wrong battery in the camera. While the battery is different the charger is the same.

The battery lasts a long time and you can safely go out for a day of shooting and not use much. Like most Nikon cameras you can go out and shoot for a few days without having to recharge it. Though that is dependent on how many photos you take. Of course, if you do a lot of chimping (image review on the camera) or use LiveView frequently the battery will run out faster. Likewise, if you’re shooting in the cold.

The batteries do typically last a long time as well. You can use a battery for quite a few years before you start noticing that it doesn’t last as long.

Remote shutter release

Using some ND filters and the MC-36 remote shutter release on the Nikon D500 for some long exposures.

When you are looking at a new camera you need to be aware of all the accessories and whether or not you will have to buy a lot of new ones. The remote shutter release that I purchased for the D300s, the MC-36, was fine for the D800, and it is also good to use on the D500. That makes it a good match for the gear I already have. It is something you need to consider anytime you are buying a camera, it isn’t just the expense of the camera, but what other equipment you may need as well.

A long exposure of some recently painted silos using the D500.

Focusing area

The focusing area takes up larger space in the Nikon D500 than it does in other bodies. It has the same focusing center as the Nikon D5, their top pro model, but on the cropped sensor of the D500. In practice, that means you can focus on subjects almost up to the very edges of the viewfinder. You can focus on a much larger area than other DX cameras.

If you want to use spot focusing, but have found it hard in the past because you couldn’t focus on subjects at the side, it is now possible to do that. Any camera that makes focusing easier for you has to be good.

Memory card

The D500 has two slots for memory cards. You can put an SD card in one, and the other is for XQD cards, which are reasonably new but only needed for a few Nikon cameras. It is mainly used in the higher end bodies that are fast and shoot a lot of frames per second, which is why the card is used. Normal cards would find it hard keeping up with the speed and writing the images. If you are taking photos at 10 frames a second it is important.

Apparently, you can buy the cards at all good camera stores. Though, you would also need a memory card reader for it as well.

Touchscreen

The screen at the back is a touchscreen which makes it easy to scroll through your images. It works a lot like your smartphone. You can make the images bigger or smaller and flip through them with your fingers.

The back screen of the D500 can be moved for better viewing and is also a touchscreen.

Crop factor

The Nikon D500 has the 1.5x crop factor. Basically, that means that if you have a full frame lens, like the 70-200mm, when you use it on the D500 the lens becomes essentially like a 105-300mm. It is the advantage of using a DX camera body with high-quality lenses.

It is all set up to take some sunset photos of the city of Melbourne.

Who is the Nikon D500 for?

The most likely person to buy this camera is someone who is interested in the 1.5x crop factor. Photographers who can’t afford those great big long lenses, but want to be able to get as close as they can to the action. Having the ability to make a 300mm lens go to 450mm is fantastic. The longer the telephoto lens, the more expensive it is, so the cropped sensor is great for that reason.

The sunset shot with the Nikon D500. The DX camera allowed me to get a lot closer with the 80-200mm, this was at 277mm.

Sports photographers would also be interested where speed and getting closer to the action is very important. Full frame is great, but to get a camera that is fast enough to shoot lots of frames per second you would need to spend around $ 6500 on a Nikon D5 or similar. If you don’t have that kind of money, $ 2000 USD will get you the Nikon D500 which will do many of the things that the others can, but you also get the cropped sensor.

There are many other kinds of photographers who would benefit from the D500 as well. Bird and wildlife photographers would love being able to get more length with their lenses. The 10 frames per second capability of this camera would also be an advantage for capturing birds and animals on the move.

Macro photographers will get a lot closer to their subjects with their lenses, and when you put on extension tubes, a whole new world will be seen.

Taken using the D500 and the Nikon 105mm macro lens, with the cropped sensor you can get in a lot closer than you can with a full frame.

Snapbridge app

This is a new app that Nikon has developed that makes it possible to connect your smartphone with the camera. It is unlike others that use Wi-Fi to do it, Snapbridge stays connected to your phone all the time. You can upload photos, use it to take your photos, and it also keeps your camera’s firmware up to date.

It is available for Apple iPhones and Android, though it is a little harder to use with an Android.

Using the camera

I found the camera easy to handle and work my way around. Then again, I’ve been using Nikon cameras for many years, and as previously stated I found a lot of similarities with the D800. I found the weight fine, but others who picked it up thought it was heavy. Then again, you would expect a camera of this quality to be that heavy. Good quality cameras of this caliber are always a bit hefty.

The fast frame rate blew me away and as someone who always likes to bracket photos to get more options, I really enjoyed it. With the D800 I would never do more than three shot hand holding, but with the D500 I felt there was enough speed to let me do five. I also really enjoyed just listening to how fast it was.

Using the D500 for night photography in Melbourne.

If I had one criticism, it would be that there is an overall blue cast and how, in some cases, it made the blues far bluer than they really were. I’m not a fan of blue in images, so I didn’t like it, but I know a lot of other photographers would.

Overall

The Nikon D500 is a great camera and anyone who purchases it will really enjoy using it. Full frame is great, but if you are a photographer who likes to zoom in, then the DX may suit you more. If you shoot sports, birds, wildlife or macro, look at this camera, it could be just what you need.

Price out the Nikon D500 on Amazon or B&H Photo’s site.

The sun as it sets and the camera taking photos.

googletag.cmd.push(function() {
tablet_slots.push( googletag.defineSlot( “/1005424/_dPSv4_tab-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78623” ).addService( googletag.pubads() ) ); } );

googletag.cmd.push(function() {
mobile_slots.push( googletag.defineSlot( “/1005424/_dPSv4_mob-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78158” ).addService( googletag.pubads() ) ); } );

The post Review of the New Flagship DX Camera – The Nikon D500 by Leanne Cole appeared first on Digital Photography School.

Digital Photography School

January 20, 2017
How to Create a Rim Light Effect Using Photoshop
Lighting is a huge integral part of a movie’s success. The same applies to photography. It’s all about the light or lack of it to create the drama in an image. Rim lighting, as the term suggests, is also called edge or back lighting. In this article I will show you how to create this dramatic style of lighting.

A rim light effect created in-camera and an Inner Glow effect added in Photoshop.

Rim lighting adds drama

There’s a particular scene in the movie Alien (1979) in which the character played by Harry Dean Stanton goes to find Jones the cat. That scene had me glued to my chair with both hands up to my mouth and fingers lodged between my teeth. You just knew something bad was going to happen but it was drawn out with unbelievable tension.

Alien Courtesy of 20th Century Fox

The lighting throughout the movie was low key to give that moody atmospheric feel.

A good example of rim lighting is using two side lights or one light from behind the subject, as in the image below.

In this photo the light is behind the subject creating an edge or rim light around the subject’s head. This is also called a hair light.

Before I demonstrate how to create a rim light effect in Photoshop. I want to show you just how easy it is to get a rim light effect in-camera, so you can try it out in the comfort of your own home.

Create a rim light effect in-camera at home

I used the following setup to create my rim light:
- One bottle of water
- One glossy black tile
- Two lights
- A camera mounted on a tripod
I picked up a sample black glossy tile from a local tile shop, where I was able to purchase just the one. As for the lighting, strip softboxes are ideal for this type of rim lighting. You place a strip softbox on each side, and slightly behind (closer to the background), the subject.

Unlike standard softboxes, strip softboxes are narrow and rectangular in shape. But, for the purpose of this article so that you can easily do a similar setup in your own home, use whatever light sources that you already have at your disposal.

Using my iPad placed vertically to one side of the bottle, I opened the Soft Box app which is free to download and set it to white. I placed an LED light on the other side of the bottle. My kitchen table was used for the setup.

As you can see in the photo below, I was able to angle the lights so that I could control the rim light hitting the bottle. My camera settings were: ISO 2000, 1/60th of a second, at an aperture of f/5.6.

A simple setup that you can do at home to create a rim light effect in-camera using a black glossy tile, a prop, and two lights.

NOTE:

If you don’t want to use two lights and you have a regular softbox, try placing it directly behind the object and cover the center of the softbox with a strip of black card (that will become your background). You will need to experiment to get the rim lighting around the object.

This is the bottle of Water straight out of the camera.

Let’s dive into Photoshop.

Creating a rim light effect in Photoshop

The key to adding the rim light effect in Photoshop is Layer Styles and having the subject isolated from the background. Before any layer style can be applied, it is necessary that the image that you are applying the style to has been carefully cut out. Use whatever selection tool you want but I would recommend using the pen tool.

Layer style

Let’s take a look at Layer Styles. With Photoshop open, go over to the Layers Panel. Scroll down to the bottom and you will see a group of icons. You will see this icon, fx second to the right. Click on that and a pop-up dialog box will appear with different preset style options.

The Layer Styles presets are accessed by clicking on the fx icon located at the bottom of the Layers Panel.

The Inner Glow preset

Alternatively, you can access the Layer Styles by going back to the top right corner of the Layers Panel and clicking on the downward arrow icon with horizontal lines beside it. Scroll down to where it says Blending Options. The same Layer Style option box appears and just click on Inner Glow.

When you click on any of the Layer Style options, the settings are all preset options, but they can be easily edited. In this example, leave some of the settings as they are and only adjust the following three:
1. Choke – similar to feathering
2. Size
3. Opacity
Experiment until you get the desired effect, then click the OK button.

The Layer Style pop-up dialog box with the default settings.

A rim light effect is added in Photoshop using Inner Glow from the presets in the Layer Styles.

Using Color Dodge Blend Mode instead of Screen

My preference when using this Layer Style technique is to change the Blend Mode from Screen to Color Dodge. I used this on the bottle of water in the title shot. To illustrate the subtle differences between the two Blend Modes, see the two photos below. The first image is the Inner Glow with Screen as the

The first image is the Inner Glow with Screen as the default setting. For the second image, I changed the Blend Mode to Color Dodge.

Changing the Blend Mode to Color Dodge

Rim light effect created in Photoshop using Inner Glow from the presets in Layer Styles.

This rim light effect is created using Inner Glow from the Layer Style presets but I changed the Blend Mode to Color Dodge.

Creating a rim light from scratch using Photoshop

However, this technique really does shine when you have to create the rim light effect totally in Photoshop. For example, take this Owl Butterfly image that I got from www.pixabay.com. It has no rim light effect on it at all.

Owl Butterfly from Pixabay 1668956 – dowload the image if you want to follow along.

I isolated the Owl Butterfly from the background using the Pen Tool and placed it against a different background shot to which I added a Gaussian Blur.

Wheat from Pixabay 8244_1920

As I had the Butterfly on its own separate layer, I added an Inner Glow from the Layer Styles and changed the Blend Mode to Color Dodge and chose a darkish yellow. I wanted a backlight to appear on the wings of the Butterfly caused by the setting sun in the background.

The Owl Butterfly was cut out using the Pen Tool in Photoshop and placed it against another background image. I blurred the background using Gaussian Blur.

I put this Layer Style effect on its own separate layer. Then I applied a layer mask and brushed in the yellow glow on the wings to give it a more realistic look. I did a bit more retouching by adding a gradient Overlay and then applied the Filter>Blur>Average to blend the colors from the two images.

By placing the Layer Style effect on its own separate layer. I was able to apply a layer mask and brush the Glow effect onto to the wings of the Butterfly.

An Inner Glow was added using the blend Mode set to Color Dodge. I then added a Gradient Overlay to darken the bottom part of the Butterfly and I applied an Average Blur to blend the color of the two images.

Your turn

I hope I have been able to show you how effective creating a rim light in Photoshop can enhance your images. Do you use this effect on your images? Feel free to give it a try and post your results below, I will try to answer any questions and would love to see your images.

googletag.cmd.push(function() {
tablet_slots.push( googletag.defineSlot( “/1005424/_dPSv4_tab-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78623” ).addService( googletag.pubads() ) ); } );

googletag.cmd.push(function() {
mobile_slots.push( googletag.defineSlot( “/1005424/_dPSv4_mob-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78158” ).addService( googletag.pubads() ) ); } );

The post How to Create a Rim Light Effect Using Photoshop by Sarah Hipwell appeared first on Digital Photography School.

Digital Photography School
January 20, 2017
How to Stand Out as a Photographer in a Crowded Market

In today’s world of rapidly changing technology, there’s one big problem that you and every aspiring photographer must face; you are one among many. It no longer takes years of practice or even an expensive camera to make someone a talented, and in some cases professional, photographer. Whether you are an aspiring pro or just taking up photography as a hobby, here are five ways to challenge yourself and stand out as a photographer in today’s crowded market.

1. Keep evolving your craft

Let’s start with the good news; just because someone has a camera doesn’t mean they know how to take great photos. In fact, there are very few people who desire to shoot in anything other than the automatic program function of their cameras.

Dedicate yourself to mastering every aspect of photography. If you’re shooting in full auto, learn how to shoot in Aperture Priority, then Shutter Priority, and then finally Manual mode. If you’ve mastered natural lighting, move on to off-camera flash and other lighting techniques. Keep pushing forward and challenging yourself to master new aspects of photography, and you’ll always be a step ahead.

2. Focus on one area of expertise

Just as the photography market has become saturated, so has the industry for teaching photography skills. From websites like dPS to local workshops, there are many avenues to learn about every aspect of photography. In order to keep evolving your craft and not get overwhelmed by the plethora of information out there, focus your studies on one aspect of photography to start. Also, limit the resources you use for the sake of consistency.

This same strategy of limiting your areas of expertise is also true if you’re aiming to start a photography business. Narrowing your focus makes it much easier to grow your skills quickly, and also attract clients that you actually want to work with.

3. Only implement new technology if it’s working for you

No matter how many features are packed into a camera, your job is ultimately about producing a good photo. Sometimes, having the latest camera packed with tons of fancy new high-tech features can actually overcomplicate your work. I remember the first time I tried shooting tethered for a new corporate client. It was only my third time using that process, and I was so overwhelmed by other factors on set that my attempt at using technology just caused more frustration.

If you invest in new technology, be sure it is actually enhancing your workflow and not holding you back. Take the time to practice using it over and over until it feels like second nature. And always have a fallback plan, since technology notoriously fails at one point or another.

4. Work your people skills

Being a skilled photographer isn’t just about growing your technical abilities. You should also have excellent people skills. As a professional photographer, it’s not uncommon to be hired for a photo shoot or complemented on my work before my client even looks at my photos. I’ve come to realize it’s all about people skills and making people feel comfortable even before delivering a service.

Even if you don’t photograph people, you still interact with them to set up photo shoots and sell your services. Practice your people skills and get good at putting a smile on someone’s face even when they’re not in front of your camera.

5. Continue to network and put your work out there

Another positive aspect to a growing interest in photography is the huge uptick in communities for photographers. From Instagram and Facebook Groups to local Meetups, there are tons of places to meet fellow photography enthusiasts. Take part in communities such as the Digital Photography School Group. Check out the questions and conversations others are having. Put your work out there to get feedback from others and make improvements accordingly. Also, don’t be afraid to chime in and offer your own constructive criticism.

In Conclusion

What are your thoughts on the role of evolving camera technology today? Do you have your own tips and strategies for standing out as a photographer in a saturated market? Let me know in the comments below!

googletag.cmd.push(function() {
tablet_slots.push( googletag.defineSlot( “/1005424/_dPSv4_tab-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78623” ).addService( googletag.pubads() ) ); } );

googletag.cmd.push(function() {
mobile_slots.push( googletag.defineSlot( “/1005424/_dPSv4_mob-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78158” ).addService( googletag.pubads() ) ); } );

The post How to Stand Out as a Photographer in a Crowded Market by Suzi Pratt appeared first on Digital Photography School.

Digital Photography School

January 20, 2017
The Myths and Realities of Becoming a Professional Photographer

As a professional photographer, I think the number one mistake for aspiring pros is to fall for certain myths about the craft and career. In this article, we’ll look at some of the myths and realities of being a professional photographer. If you’re on the fence about taking the leap it may help you decide.

But first a little story

My heart was beating fast as I approached the school. My dad was holding my hand when I started to put my foot down on the ground. Despite my protests, my dad quickly dropped me in class and left in a flash. I wasn’t his problem anymore.

Bad move. I started screaming.

The teacher, as wise and as calm as she could, tried to calm me down. She made the mistake of putting her hands near my face. I opened my mouth just like you see in the movie jaws and WHAM I bit her hands and pressed as hard as I could. I bit her so bad you would think an enraged dog bit her.

The moral of the story

What, you may ask, does that have to do with professional photography? In a sense, everything, because that episode taught me about one thing I would like to talk about today – setting expectations.

You see, I had absolutely no idea what I was getting into both as a 5-year-old heading to school for the first time and starting out as a professional photographer. They both caused me trouble. If you do not plan, you plan to fail, but it’s hard to plan when you have absolutely no idea what to expect!

Here are a few myths that I believed about professional photography and how reality slapped me hard. Hopefully, these will help you avoid the same mistakes I made.

Myth #1 – Being a professional photographer = validation

I don’t know where the idea comes from, but it seems like for everyone that picks up the camera, the pinnacle of achievement seems to become a professional photographer. It’s almost like a necessary evolution. At first, you have a camera, people start complimenting your work, then you decide to become a pro. It was too late for me to realize it, but I would have been perfectly happy as an amateur.

At the end of the day what really matters is the images, if you can get a few bucks for them, great! But becoming a pro will not magically validate you or your images. I expected to feel better about my images and myself when money started rolling in, but that never really happened.

Myth #2 – You get to spend all your time shooting

This is most likely the biggest myth of all time in regards professional photography. People sell it to you like all you will be doing is shooting all day, every day. But that is far from the truth because you will spend more time seeking work than actually working.

You don’t spend most of your time shooting, you spend it marketing, attending events, networking, putting yourself out there. Whatever time you get in front of the camera, you’ll spend two to three times as much simply editing as well.

If you believe photography is hard, it is actually the easy part. The hard part comes after; selling your work. It’s a sobering truth that probably hits every photographer, writer, painter, etc., that the product or service is only the first and easiest part of the process, the hardest effort comes afterward.

But you say, “I believe that I am good photographer, and people will realize how much better I am than Joe Shmoe.” I understand the feeling, and you are probably better than Joe, but that brings us to the next myth.

Myth #3 – Being good is enough

I call this myth the “best product fallacy”. Just because you are good doesn’t mean anything. Van Gogh was good yet he died in obscurity. Talent is not enough, the world has millions of talented photographers, painters, actors and more that are eating dust.They had a social experiment where they put one of the

There was a social experiment where they put one of the world’s highest paid musicians in a subway station, playing a million dollar violin by the way. Did the world recognize his talents, did they put their wallets out begging him to take their money? No. Nobody really cared. Watch the video below.

We’ll get back to this later but for now, just know it doesn’t matter that you’re a good photographer. Don’t get me wrong, you’d better be good at what you do, but that does not in any way shape or form guarantee you success by itself. Talent is just not enough.

Myth #4 – You’ll be rich and famous

If everything you see is success story after success story, doesn’t it follow that if you try it too, you might become rich and famous? Even more, won’t you just blaze through it because you are talented? Many photographers make a living telling you how to be a professional, so of course, they will sell you a dream. It’s like many guys on YouTube, you’ve probably seen a few.

They try and sell you a dream. But the reality for all the photographers that I know, is that it’s an income that pays the bills. And they sure aren’t well-known outside their local area. Sure there are superstar photographers in the world but that is what they are, stars. Just like the Hollywood stars, for every well-known one, there are others just making a living.

The things is that not everyone can be a superstar photographer (depending on who you ask, a superstar makes more than $ 40,000 a year) because when it comes to wealth distribution there is inherent inequality. There will always be a group that makes more than the rest combined. For example, there’s about 20% of the countries that have 80% of the wealth, about 20% of actors make 80% of the wealth, about 10% of the companies that make 90% of the wealth: Companies like Apple, Google, Microsoft, Samsung, etc., take the lion’s share.

Only the top elite will ever reach that level

Same for photography, there’s a group that earns more than all others combined (and if you really want to go deep, a group within that group that earns more than the others combined again, Terry Richardson, who earned 58 million in one year, is probably in that group ).

The worse part is that many of them make it sound easy because they want to teach you how to become a professional photographer. I’m not saying you can’t become rich and famous. What I am saying is, that when you are on your quest for fame and fortune know that there’s only a few that can make it to the very top. It’s a bit like football, not everyone can be an NFL player. That should put in perspective the amount of effort required.

Count the costs

A few years ears ago I had to rent a U-Haul truck to move from my apartment to my wife’s parents’ house with our baby in tow. The reason was that I had failed to understand that professional photography was as much about marketing and selling as it was photography. It almost cost me my marriage as well.

So, count the costs. If you want to build a house, add up the costs, if you want to be a pro, count the costs. It’s not just about shooting, see the sacrifices and the long and hard road ahead.

Also, understand the nature of the beast. You will usually see success stories but never those who have failed…and there’s more of the latter than the former. Take it from me, I cried many times because things were not working.

What now?

This article is by no means meant to discourage you from becoming a professional photographer, just the opposite. It is meant to empower you to avoid unnecessary pitfalls due to unrealistic expectations. That episode at 5-years old would not have happened if only my dad prepared me for exactly what was going to happen. I would not have needed to move out to my in-laws’ if I had known what to expect going pro.

If you want to become a pro, by all means, go for it, just be realistic about it. You’ll need to learn a whole other field (business, marketing, etc.) above and beyond photography. Coming back to Joshua Bell (the violinist), he didn’t change, his skills didn’t change, the only difference between him and countless other metro violinists is his marketing. So the wisest thing you can do is to learn about marketing, running a business, and how to sell your work. This is probably the single most important piece of advice I could ever give you, because trust me, your images won’t sell themselves.

Conclusion

I love being a professional photographer, I wouldn’t do anything else, it’s in my blood. But making a living from photography is harder than many would lead you to believe. It’s not just about being talented, it’s about selling yourself, and more of your time will be spent doing the latter than the former.

I believe people make mistakes so that not only they can learn from them, but others can benefit as well. So, take it from me, I had to move in with my wife’s parents, I was on the brink of divorce and had many teary nights. Count the costs, and learn how to sell.

Be yourself, stay focused, and keep on shooting.

googletag.cmd.push(function() {
tablet_slots.push( googletag.defineSlot( “/1005424/_dPSv4_tab-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78623” ).addService( googletag.pubads() ) ); } );

googletag.cmd.push(function() {
mobile_slots.push( googletag.defineSlot( “/1005424/_dPSv4_mob-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78158” ).addService( googletag.pubads() ) ); } );

The post The Myths and Realities of Becoming a Professional Photographer by Olivier Duong appeared first on Digital Photography School.

Digital Photography School

January 19, 2017
Mom Photographer’s Best Helpers: Review of the Peak Design Everyday Bags

I bet at least one bag from the Peak Design Everyday series is on maaany wishlists this year. And if it’s still not, there are good chances you’ll want to add another item to yours after reading this review. Wondering what made me sound as if I’m earning commission from the bag producer? Watch the video below to get a Continue Reading

The post Mom Photographer’s Best Helpers: Review of the Peak Design Everyday Bags appeared first on Photodoto.

Photodoto

January 14, 2017
Lighting 103: Introduction

Abstract: Our flashes are calibrated to produce white light. But in the real world, white light is a rarity.

Sara Lando (your mollusk portraitist from Lighting 102) gives a thumbs up while spending a week assisting for photographer Gregory Heisler (seen squinting through camera).

She was assisting Greg for a week of shooting and teaching at Gulf Photo Plus in Dubai. Sara learned a ton of stuff, duly reported on in a three-part series that to this day remains one of the most popular pieces ever written on this site.

Many of the things she learned while following Greg around had little to do with photography: his work ethic, thought process, etc. (Seriously, read the series.) But the week also changed the way Sara thought about light, her most important takeaway being this:

"White light is a lie."
Read more »
Strobist

January 13, 2017
Initial impressions of the Manfrotto Spectra LED Light 500S
I wanted a small portable LED for video work primarily to either pop on the hot shoe of my camera or use on a light stand off camera. I also really like the white light emitted from a LED source. So I purchased the Manfrotto Spectra LED 500s.

The portable Manfrotto Spectra LED 500S

Why did I purchase it?

LEDs are becoming more popular in photographers’ studios where continuous lighting is used. The main advantages of LEDs are they don’t get hot, unlike tungsten or incandescent lights. Another important factor is that LEDs use less power (watts) per unit of light generated (lumens). So they are extremely eco-friendly.

In this article, I will describe my initial impressions of using the Manfrotto Spectra 500s light for photography. I haven’t had it for long enough to give it a more comprehensive review.

Most of my work is location based, so portability is essential and plays an important role when choosing my photography gear. Nothing irks me more than going to a shoot and feeling like some poor-beast-of-burden overloaded with camera equipment!

I could have purchased a cheaper similar model off Amazon. However, I sourced online with a local company that had it in stock. I got this particular model at a discounted price and more importantly if I had any problems with the light I could easily return it with minimum fuss. Plus, I have built a trust with the brand over the years.

Disclaimer: I bought this Manfrotto Spectra light. I wasn’t sponsored to write this article. The opinions expressed in this article are mine alone.

What’s in the box?

The Manfrotto Spectra LED 500s box

The unit itself is really compact and measures 3.7 x 4.4 x 1.7″ (including the on/off knob). It has one power switch which also acts as a variable dimmer, very cool. It is daylight balanced at 5600 Kelvin. Also included with each light is a set of filters, including one ¼ CTO, one ½ CTO, and one opal diffuser. It also comes with a ball head shoe mount.

The Manfrotto Spectra LED 500s light comes with 2 CTO gels and one opal diffuser. It also comes with a ball head adapter for mounting on a hotshoe or tripod.

I did find this mini ball head adapter a bit clunky to use. I had to fiddle with the lever to release the tension to get it to move and then lock it back in place. Not ideal when you’re on a shoot, time is of the essence, and you just want your equipment to work effortlessly.

This unit is slim and very compact, as you can see in comparison to my Sony RX100 camera (below).

Side by side size comparison of the Manfrotto Spectra 500s LED Light with the Sony RX100.

The Manfrotto Spectra LED 500s is quite compact and slim.

How is it powered?

This little unit, the 500S is the smallest in the range of five models by Manfrotto. The S stands for spot, as a beam of light emits at a 30-degree angle. It produces 300 lux at one meter. The Spectra 500s takes four Alkaline AA batteries. It is simple to use, turn the knob to switch it on. It is also dimmable which makes really useful to control the amount of light being powered.

Rechargeable AA and Lithium-Ion AA batteries can be used as well. It can also be powered by an AC adaptor (ADAPTOR12V0.5A) to use through the mains. I can’t see myself bothering with this but the option is there. You can also purchase an adaptor (Manfrotto L7.2V-Battery Adapter) which mounts at the back of the spectra unit and uses Sony L-Type batteries. Again, another alternative.

The Manfrotto Spectra LED 500s on full power at one meter.

Here, the the 1/4 CTO gel has been applied over the light.

The Manfrotto Spectra 500s LED light with a CTO gel.

The Manfrotto Spectra 500s LED light with the opal diffuser.

LED versus flash lighting?

To see how using speedlights fared against this little LED I did a quick test. I didn’t set out to pitch one light source over the other, as that would be like comparing apples to oranges. I only wanted to get a comparison to see the results.

The speedlight is way more powerful, I know that. For the shot below, I used a speedlight with a shoot through umbrella, which was about two feet away from the subject at an angle of 45 degrees. The power on the flash was only at 1/8th power. I kept the ISO the same at 200 for both. Shutter speed was at 1/60 second and the aperture was f/7.1.

In contrast to the Spectra light, I had the light switched to full power and I had to get really close, 10-12 inches away from the object. The camera settings were 1/15th of a second at f/5.6. I didn’t put a diffuser on the Spectra light as a result, there is a harsh shadow under the air blower.

This was shot using flash with a speedlight.

This was shot using the Manfrotto Spectra 500s LED light.

What to look for when choosing LED lights

First, CRI (color rendering Index) is important when choosing an LED light. The closer it is to 100, the more ideal it is. Less than 90 is considered not great. The Manfrotto Spectra LEDs claim >90. What does this really mean? Natural light is classified as having a CRI of 100, the best possible.

Secondly, make sure the LED is flicker free.

Pros of LED lights
- Extremely portable
- Lightweight and compact, even with the batteries
- Easy to use
- Don’t overheat
- Can be used for both video and photography
- Great for small product shots
- Handy in low light conditions
- As it is a portable continuous light source, this makes LED lights ideal for beginners to learn about how light affects the subject/model
I put the Spectra light inside this pendant shade. This is where the LED light could come in handy by mimicking other light sources to create atmosphere or mood in your shot.

I just placed the Spectra LED LIight under this shade to see how effective it could be to mimic another light source to add atmosphere in your shot.

Cons
- A little pricey, unless you get a discounted price
- The white light may not be appealing to some – but the gels included compensate for that
- The mini ball head adaptor is clunky and fiddly to use – not a deal breaker but annoying nonetheless
- Not powerful enough in some situations where there is a lot of ambient light to balance against.
Conclusion

As I stated at the beginning of this article I set out to describe my initial impressions so far to date. As this is a very recent purchase, I have yet to test it out fully. But so far I give it 3.5 stars out of five. This may seem a bit harsh but I took a half star away for each of the following:
- The mini ball head adapter is quite cumbersome to use.
- It’s fairly expensive compared to other similar less expensive models.
- This light is not really powerful enough in certain situations and other cheaper models are more powerful.
In terms of photography use, LEDs are terrific and so easy to use. The Manfrotto Spectra 500S is the smallest but not as powerful as its siblings in the Spectra range. That said, I won’t be putting away my speedlights just yet.

So, if you are new to LEDs lights and you would like to test them out for your photography. Check out my article here on how to use an inexpensive LED flashlight to take shots.

Do you use LED lights in your photography? Please leave a comment below, and tell us more.

googletag.cmd.push(function() {
tablet_slots.push( googletag.defineSlot( “/1005424/_dPSv4_tab-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78623” ).addService( googletag.pubads() ) ); } );

googletag.cmd.push(function() {
mobile_slots.push( googletag.defineSlot( “/1005424/_dPSv4_mob-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78158” ).addService( googletag.pubads() ) ); } );

The post Initial impressions of the Manfrotto Spectra LED Light 500S by Sarah Hipwell appeared first on Digital Photography School.

Digital Photography School
January 12, 2017
How to Swap Colors in Photoshop – Two Methods Explained
Color swapping in Photoshop is both a fun thing to do and a very handy tool for product photographers with clients in need of options. It’s not a hard technique and it only takes a try or two to get it right. This article outlines two methods for how to swap colors in Photoshop.

The first is a quick method and the second tends to do a better job. I’ll be using this the image below from my review of the Lowe Pro Photo Sport 100/200 AW bag. This demonstration was created with Photoshop CC 2017.

The Quick Method

This method is a quick color swap that may or may not cover your needs. If your subject has nice, solid colors without very much tonal difference, you can likely use this method by itself. Go ahead and open your file in Photoshop and let’s get started!

Sample Image

Step #1 Create a Hue/Saturation Adjustment Layer

Click on the “Create New Adjustment Layer” button on the bottom of the Layers panel and choose “Hue/Saturation”.

Choose Hue-Saturation

In the Properties window that pops up, there is a little hand with a pointer finger in the upper left side of the box. Click that.

This is where my method deviates from some others. As you can see in the image above, there is an option to hold Cmd/Ctrl as you drag the mouse, and change the Hue straight away.

This is a tempting method, for sure. But it won’t always get you as close to your desired results as if you follow the rest of these instructions. For instance, I used that method to try to change the orange pack to blue and this was the result.

Not what I wanted. So….

Step #2 – Select a color range

After you click that little finger and hover over your source color (the orange bag), click there to select the color. Your screen will change depending on which color you pick, but more or less it will look a little like this.

I chose a dark spot so my saturation for all orange dropped and now there is a little slider in the color bands at the bottom of the properties box. You will be using those bands and the saturation slider to refine your selection.

Step #3 – Adjust to get all the color

To know you have the right colors you want to work with, move the Saturation slider all the way down, essentially turning off the source color. If that doesn’t get all the color you want, move the little white bands on the color slider on the bottom until it captures all your source color.

Move Saturation to -100, and adjust the bands (bottom green arrow) left or right, or apart, until there is no more of the selected color showing.

Can you see how that lighter gray box on the sliders at the bottom is larger (they were moved farther apart) in this image compared to the one above? That is to make sure I gobbled up all the orange, including some reds and yellows. Fiddle with this option to capture all your source color.

Step #4 – swap the color for a new one

Now that you know you have the right source color, jack up the Saturation slider then move the Hue slider until you get a color you like.

If you’re looking for quick and easy, you are essentially done! Save the file with a new name and you’re good to go.

But wait! Things aren’t as good as they could be with this method. For one thing, there is now a slight tint to the entire image as the mask was applied to the entire image. Let’s clean that up a little.

Method #2 for swapping colors

Method #2 picks up where Method #1 left off and continues:

Step #5 – Apply a layer mask

In this step, you want to apply a mask to the Hue/Saturation adjustment layer (seen on the right side of the layer) just to the backpack so it doesn’t tint the whole image. Click on the layer mask and the information panel will change to show mask options.

Choose “Color Range…” from the “Refine” options at the bottom.

This should bring up a mask with the color range you have already selected and changed in the steps above. Your mask should show the area of color you are swapping as white, like so:

Click OK to apply the layer mask.

Step #6 – Refine the layer mask

Now you need to refine the layer mask just a little as Photoshop is not always perfect. Take a look close in my example and you can see some orange peeking through.

To eliminate this effect, click on “Select and Mask”, once again in the “Refine” options area.

Choose to use the “Marching Ants” View to make it easy to find the missing areas.

Then in the upper left corner, choose the Brush Tool and make sure the “add” feature (+) is selected. Lastly, choose a radius size to make the selecting easy. In this case, I used 365.

Now paint all over the area you want to change to the new color. It’s okay to go slightly over the edges to ensure all of the color is changed. If you are making drastic changes or if your background color will interfere, you may need to be more careful with your painting.

Zooming in, you can see that I missed some edges here and there and overlapped a little too much. Take your time and make it look good.

You can also see in the image above that there is still an orange cast on the armrest of the chair. To make the scene complete, I’ll swap that color as well.

Click OK when you are finished painting in the area to swap. You’re just about done!

Step #7 – Layer blend mode

Depending on what you’re swapping and the textures and colors involved, you may be able to get a slightly better result by choosing a different blend mode option for this layer. Click the word “Normal” above your layer and play around with the different layer blend mode choices.

You’re done!

From here, you can fiddle until your heart is content. Try new blending modes and opacities. Refine your masks. Then sit back and enjoy your handy work!

Cautions
1. Watch out for white objects when there is a lot of white in the scene. These can be tricky.
2. For that matter, watch out for the color you want to swap appearing anywhere else in the image. You’ll need to remove the mask from those areas manually (Step #6 but use the “minus” option).
googletag.cmd.push(function() {
tablet_slots.push( googletag.defineSlot( “/1005424/_dPSv4_tab-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78623” ).addService( googletag.pubads() ) ); } );

googletag.cmd.push(function() {
mobile_slots.push( googletag.defineSlot( “/1005424/_dPSv4_mob-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78158” ).addService( googletag.pubads() ) ); } );

The post How to Swap Colors in Photoshop – Two Methods Explained by Peter West Carey appeared first on Digital Photography School.

Digital Photography School
January 12, 2017