Category: Photography

  • 3 Ways to Take Advantage of Bad Weather

    In Norway we grow up hearing, “there’s no such thing as bad weather, only bad clothes”. While this wasn’t what you wanted to hear when you were eight years old, and had to go to school even though it’s -20c and a snowstorm, it’s what we are used to. Instead of complaining about the cold weather we would wear an extra layer of clothes and go about our day as normal.

    Foggy sunrise at Covadonga cathedral in Asturias, Spain

    Foggy sunrise at Covadonga cathedral in Asturias, Spain

    This way of thinking has in many ways impacted my photography and made me go out with a camera, even though it’s rainy, windy or just bad weather. What many seem to neglect is that even though the weather is bad, there are still a whole lot of great images waiting to be captured. They are just a little harder to find. Here are three ways to take advantage for bad weather conditions and still get good photos.

    #1 – Drop the sky and zoom in

    Bad weather often means a grey sky without contrast. Personally, there’s not much I dislike, more than that in a landscape image. Most of the time this uninteresting sky will take unnecessary attention from the subject, and do more harm than good.

    Jotunheimen-Cabin-Fog

    Remote cabin in Jotunheimen in foggy weather

    So, instead of including a sky that lacks contrast, use a telezoom and focus on a smaller detail in the landscape. Perhaps there’s a cabin, a river, or maybe even a deer in the area around you. Use your zoom and make these subjects into the main part of your image.

    This can also be a good exercise for your creative vision, as it forces you to slow down and pay attention to your surroundings. It forces you to carefully look through the landscape and notice every single

    In fact, I’ve found using a telezoom beneficial for my photography in general, as I’ve become more aware of the scenery, and I’m constantly searching for something that sticks out.

    Geirangerfjorden-fog

    The low clouds made an interesting framing of this waterfall in Norway

    #2 – Photograph waterfalls

    On sunny days it’s very hard to get good images of waterfalls, as the light is hard and the reflections are bad. Most likely the water will look hard and “shiny” even though you’re using a long exposure.

    When the sky is grey, it’s raining, or when there are a lot of clouds, you’ve got the perfect excuse to go photograph waterfalls. Since the sun is not an issue, the light will be softer, and you’ll have no problems with hard light on the water. This lets you do both short and long exposures, and still have decent light.

    Hraunfossar-snowstorm

    A quickly passing snowstorm gave interesting light to this waterfall on Iceland

    If it’s raining you should consider using a polarizer filter, though, as the rocks (if any) around the waterfall might reflect some light. The polarizer will kill most of the remaining reflections and you’re left with a great result.

    #3 – Take a hike in the woods

    My last piece of advice on how to take advantage of bad weather, is to take a walk in the woods. This is something I often do when it’s a rainy day, both with and without my camera. Sometimes it’s nice just to go for a hike in familiar terrains, while other times it can be really rewarding to bring the camera.

    ShenandoahMistFall

    Misty morning in Shennandoah National Park

    Personally, I do not often bring my camera in the woods when I’m going during the daytime. The reason is that I find the mood to be much more compelling when it’s early in the morning, or late at night. At this time the light is even softer, and you can get some dark moody images, or perhaps you’re lucky to even get the light shining through.

    Another benefit of going early in the morning is that you increase the possibility to encounter deer or other animals. Just be sure that you don’t make too much noise when hiking, as that will scare away most wildlife.

    Dyrholaey-people

    Bonus tip: Bring rain gear for both yourself and the camera! Also, bringing both an air blower and a microfiber cloth is important when you’re photographing in bad conditions.

    What do you prefer to photograph when the weather is challenging? Let us know in the comments below, and share your images of bad weather as well.

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    The post 3 Ways to Take Advantage of Bad Weather by Christian Hoiberg appeared first on Digital Photography School.


    Digital Photography School

  • Tips for Shooting the Milky Way

    Seeing the Milky Way with your own eyes is what you may call a jaw dropping experience, but one that can be truly achieved only in complete darkness. While stars are visible even in light polluted areas, the Milky Way’s beauty, which is actually caused by concentrations of stars, gas and dust, fades away in the light polluted areas and cannot be seen.

    2 frames portrait

    Before going in to practice, you need to understand few things about the appearance of the Milky Way:

    • The part that you want to shoot is the center of the galaxy, and it is not visible all year long. In the northern hemisphere the Milky Way is best observed between April and September. During April and May it is almost parallel to the horizon (the best time for Milky Way panoramas) while in June to September it gets more vertical.
    • Unlike star trail photography, when shooting the Milky Way your goal is to achieve a sharp image, where the stars are seen as points and do not smudge.
    • At the beginning of the Milky Way season, it rises above the horizon late at night – and as the months pass, it rises earlier and earlier.
    • Getting a good photograph requires quite a lot of editing, in order to emphasis the Mily Way’s colors and shapes.

    Planning ahead

    Before going out to shoot the Milky Way, there is some planning that needs to be done.

    • Choose your location carefully (there is no place for spontaneity). There are several things to consider, but most importantly you need a dark location, as far as possible from light polluted areas. Consider that city halos are visible at night for a very long distance, so get as far as possible from light sources. The darker the area you’re in, the clearer the Milky Way will be seen.
    • Consider an interesting item to be used as your anchor in the photo. It is not enough to shoot the Milky Way, you want to have a nice foreground to make your photo interesting and unique. Find yourself a big tree, an interesting rock formation, a pier on a lake, or any other item to be used as your anchor. Try to make your foreground correspond the the Milky Way’s view.
    • Learn about the weather and lunar (moon) phases – to get a good, clean shot you need a good, clear and dark sky. Choose that period of the month when the moon is not visible in the night sky, and make sure the forecast does not predict too many clouds. High humidity is also not good, as it may accumulate on your lens and result in blurry frames.

    2 frame landscape

    Prepare your gear

    Before you head out make sure you are prepared with:

    • A DSLR camera with a fully charged battery. Unfortunately – not any DSLR (or mirrorless) camera will work for you. You need to be able to go to a minimum of ISO 2,000 and preferably even higher.
    • Plenty of room on your memory card. Shooting in RAW is crucial for post-processing.
    • A wide angle lens. Anything between 10-20 mm will give you good results. You can shoot also with narrower lens but results will be less impressive. A wide aperture is also essential to allow lower ISO.
    • A strong, steady, tripod. When placing it, make sure nothing will cause it to shiver from a passing wind.
    • A remote control can help but it is not mandatory – you can program your camera to shoot in delay mode or self-timer.

    3 frames

    Getting started

    Single frame option:

    Although you may want to show as much of the Milky Way as possible, it cannot stand alone. Your photo must rely on a strong anchor, or foreground, if you want your viewers to be really impressed. You also need to consider that it is impossible to have all of the Milky Way in your frame, and shooting a panorama may be a good solution.

    In most cases, it will be quite difficult, to the verge of impossible, to build your composition at night, in total darkness. So, it is better to arrive before night falls and it gets too dark to see. The last minutes of the day are your best time to plan and build your composition. But, remember to consider the expected location of the Milky Way in the sky. Use one of the many sky apps available to help you plan.

    1 frame

    Single frame shot.

    Take the first shot which will be used as the foreground of the frame. If you want your foreground to be a silhouette then all is good but, if you want details to be shown, you will need to have at least one frame lit. This can be achieved in a few ways:

    • Shooting one frame during twilight (to be blended in during post-processing later).
    • Using a high ISO and longer exposure.
    • Using an outside light source such as flash (with a flash it is better to use a CTO gel for the right temperature).
      Your goal here is to get one frame that has good appearance of your chosen foreground. It is better to take a few options; using different ISO level, exposure time, lightning options, to be able to choose the best rest afterward. When satisfied, you can move on.

    Set your camera to the widest aperture you have on your lens, the highest ISO bearable, manual focus to infinity, and longest possible shutter speed, considering the rotation of earth (see below).

    Choosing the correct shutter speed:

    • If your exposure is too long, the rotation of earth will start to have impact, and the stars will start to arch in your frame.
    • Calculate the longest possible shutter speed while keeping the stars clear and sharp using the 500 Rule. This rule considers your focal length to determine when star movement will start to be seen in your image. The calculation is 500 divided to the focal length equals time in seconds. This calculation is for full frame cameras and in crop sensors you need to add the crop factor to the calculation (1.6 for Canon / 1.5 for Nikon). Here are couple of samples:
      • Using a 10mm focal length on a full frame sensor: 500 / 10 = 50. You can use up to 50 seconds as your shutter speed with this lens/camera combination.
      • Using a 10mm focal length on a Canon crop sensor: 500 / (1.6*10) = 31.25. You can use up to 31 seconds as your shutter speed with this combination.
      • Using a 10mm focal length on a Nikon crop sensor – 500 / (1.5*10) = 33.33. You can use up to 33 seconds as your shutter speed with this gear.

    Panoramic option:

    9 frames

    9 frame panoramic shot.

    There is no change in the settings for your camera when shooting a panorama.

    You may want to consider the appearance of the Milky Way though. If it is relatively horizontal it is a good idea to aim for a wide panorama, showing it from side to side. If it is vertical, you may want to build your panorama upwards.

    In a panorama it is recommended that you have a 30% overlap, but when shooting at night it is more difficult to see – so it is even better to have a larger overlap between the frames. Better to be on the safe side, than discover later that you have gaps in your final result.

    When shooting a Milky Way panorama you may want to position your camera in portrait orientation (vertical). Although you will need more frames from one side to the other, you will have more sky, and a chance of catching the entire Milky Way. If shooting in landscape position, you may need to shoot two “floors”, in order to catch the entire Milky Way together with the ground.

    10 frames

    10 frame pano shot.

    18 frames

    18 frame pano shot.

    Post-processing your Mikly Way photos

    Milky Way frames require a lot of post-processing work, which deserves its own article. There are also many ways to approach post-processing of the Milky Way, and it depends on the software you are using and your personal taste.

    I’m working with Lightroom and Photoshop. Starting with Lightroom, I use the Dehaze and clarity sliders, tone adjustments, saturation and noise reduction. After reaching the best possible outcome, I move to Photoshop for some additional adjustments by playing with curve layers.

    1 frame original

    Before post-processing.

    1 frame edited

    Final processed image.

    Your turn

    Have you tried to capture the Milky Way before? Please share your experiences, questions, and your images in the comments below.

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    The post Tips for Shooting the Milky Way by Amir Ehrlich appeared first on Digital Photography School.


    Digital Photography School

  • Circular Polarizers Versus Graduated Neutral Density Filters for Landscape Photography

    Whether you’re a professional or hobby photographer, odds are you’ve come across a beautiful, scenic landscape, that you absolutely had to photograph. Unless you’re an experienced landscape photographer, there’s a good chance the color in that photo wasn’t as saturated, or balanced as you were expecting. That’s because there’s generally a wide disparity in the dynamic range between the foreground and background of landscapes, as well as between the upper (sky) and lower (earth) halves of the frame. Thanks to a couple of lens filters, this hurdle can easily be overcome without having to spend hours of post-processing in Photoshop.

    Drop-in and screw-in filters

    What are lens filters?

    Lens filters are lightweight pieces of glass that screw onto the front of most camera lenses (or drop-in using a holder system) in order to offer additional protection of your lens while also improving image quality. There are a variety of filter sizes that must match up to the size of the thread on your camera lens, so it is very important to make sure you get the correct size for the lens you plan to use it on (tip look on the back of your lens cap).

    In addition to varying sizes, lens filters can also serve several different purposes. Most basic lens filters are ultra-violet (UV) reducing filters (also known as haze filters) that come with an anti-reflective coating to cut through the effects of atmospheric haze, thereby improving overall image quality. Besides UV/haze filters, there are two others that are particularly useful for landscape and outdoor photography – polarizers and graduated neutral density filters.

    From left to right: A clear UV filter, a polarizing filter, and a Graduated Neutral Density filter.

    From left to right: A clear UV filter, a polarizing filter, and a Graduated Neutral Density filter.

    What is a polarizing filter?

    The next filter we’ll discuss is the polarizing (usually circular) filter, which attaches to the front of a lens and can be spun around to produce varying degrees of saturation throughout an image. This quality of the polarizing filter is important to pay attention to, because it’s easy to produce uneven shades of saturation if the polarizer is even slightly off, such as in the example below.

    Circular polarizer versus ND grad filter

    Landscape photo with uneven polarization. Notice how the sky is very uneven in color.

    Sony a6300 camera with bare kit lens - no filter applied. UV and Polarizing filters on the table.

    Sony a6300 camera with bare kit lens – no filter applied. UV and Polarizing filters on the table.

    Polarizing filters do two things: first, they help reduce glare or reflections cast by non-metallic reflective surfaces such as glass or water. Second, they saturates colors and enhances image clarity by reducing the overall exposure of an image. The benefits of the polarizing filters are best seen when you are shooting at a 90-degree angle to the sun.

    Take a look at the landscape photo below that was taken with no filter, the colors are muted and not very exciting. However, once the polarizing filter is added, you can see a huge boost in overall color saturation. It’s a pretty dramatic difference without even post-processing the photo.

    Circular polarizer versus ND grad filter

    Landscape photo with no filter.

    Circular polarizer versus ND grad filter

    Landscape photo with a circular polarizing filter. Notice how overall the colors are intensified.

    What is a neutral density filter?

    Another effective filter for landscape photography is a neutral density (ND) filter, which reduces the overall exposure of an image. ND filters are uniformly dark in color and they come in different strengths depending on density.

    The best use of ND filters is in situations where you wish to use a long exposure or wide aperture to capture an image, without risking overexposure. Some example scenarios when a ND filter would be effective include:

    • Producing a smooth, blurred movement of water in a waterfall, lake, or the sea.
    • Blurring moving subjects to convey movement or motion (such as panning).
    • Reducing diffraction by using a large aperture.
    • Shooting with a shallow depth of field in bright lighting.

    What is a graduated neutral density filter?

    ND filters also come in a graduated form, also known as a split ND filter. The top half of the filter appears dark, while the bottom half is clear. Similar to the circular polarizer, the graduated ND filter can also be spun around to produce varying degrees of saturation, so it’s important to be careful when using it to avoid unevenly saturating your image.

    The best scenarios for a graduated ND filter to shine are when you wish to reduce light, or darken just part of your image. Think landscape photos where the earth is balanced, but the sky is blown out. This would be an ideal time to use a graduated ND filter to darken the sky.

    Circular polarizer versus ND grad filter

    The above landscape photo with a soft edge ND grad filter. Notice how the sky is darker and more saturated, while the water hasn’t changed.

    There are two types of ND grad filters: hard edge, and soft edge. You’ll want to use a hard edge filter when the light and dark sections are very clearly separated, while a soft edge filter is best used when the light and dark sections are not distinctly separated.

    Circular polarizer versus ND grad filter

    Landscape photo with no filter.

    Circular polarizer versus ND grad filter

    Landscape photo with a circular polarizer.

    Circular polarizer versus ND grad filter

    Landscape photo with a graduated ND filter.

    Over to you

    Do you use polarizers or neutral density filters with frequency in your photography? Please share your thoughts and images in the comments below.

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    The post Circular Polarizers Versus Graduated Neutral Density Filters for Landscape Photography by Suzi Pratt appeared first on Digital Photography School.


    Digital Photography School

  • How to Tell a Story with Portraits by Using Creative Composition

    In this article, we will explore new ways of using composition and creative framing to tell a story in your portraits. We’ll do so by understanding the marvellous ways our brain (as viewers) construct a sense of story.

    The common principle of the techniques I will describe here, is that they are all based on our mind’s ability to fill in missing gaps of information. A skill that helps us survive in a world of uncertainty.

    F11A2018

    Two things to note about creativity before we start

    Skill, is not just a talent: Just like working on the flexibility of a muscle, I believe we can work on our creativity, with the “muscle” being our vision.

    Being creative for the purpose of being creative: Creative compositions should be a vehicle for a purpose – an emotion or a story you want to evoke in the image. If you choose to add creativity to your images, just to be more creative, it will be an empty gimmick.

    Half close up portrait – a full story

    By showing only half of a close-up portrait, you stimulate the viewer’s mind and almost force it to delve into the image. We do so by activating their mind’s need to fill in gaps of missing information. This ability is rooted in us since ancient times, from which we evolved to understand that the two blurry spots between the trees, could be the hidden face of a tiger.

    F11A6628

    Good to know:

    For best results, you can practice framing this kind of composition by using the crop tool in your editing software. Once you become comfortable with this technique (and framing); it will be easier to achieve a “half close-up portrait” in the field, without the need to crop it in the post-processing stage.

    This kind of framing is like an exclamation mark, which one cannot ignore. Therefore, use it only on the most interesting faces, and not on every portrait.

    F11A8534

    Environmental portrait – a person in context

    For me, this the most challenging and rewarding portrait framing style, the environmental portrait. This shows not only the person, which is the hero of your image, but also his or her environment: home, work place, country, etc. By doing so, you use the mind’s ability to conclude and understand a situation by connecting pieces of information.

    14 the sleep

    Good to know:

    The biggest challenge in this type of composition is the balance between the main figure (hero) and environment. Keep in mind that the main figure must be dominant, and not overtaken by the background. Use light, color, and sharpness to make your subject significant.

    Using a wide lens (below 50mm) is recommended for the environmental portrait framing, as it will allow you to capture the environment of your hero, even in small spaces.

    F11A4931

    Detail portrait – telling the story with small details

    Like with the half portrait technique, in the detail framing we use the brain’s ability to fill in the gaps, by showing only a small fraction of the entire story. For a good detail shot, choose some with a connection to your subject. It can be a connection of similarity or difference. For example: take a close-up shot of his or her hands, shoes, the reading books on the shelf, the subject’s regular chair or smoking pipe, you name it! As long as this object, represent something which is bigger than the object itself.

    12970960 1147522381976706 3379301587067512747 o

    Good to know:

    A good place to start is by examining your subject from head To toe. Looking for anything that other people might miss in that person. Did you spot anything special? Like a unique piece jewelry, a tattoo, or just a hole in their shoe.

    Some of my best ideas came from my subjects. Ask your subject to show you an object to which he or she feel a strong connection. You do not even need to have any human presence in the detail shot, as long as the object represents or tell us something about its owner.

    IMG 4005

    Kuleshov effect – creating a meaning by interaction

    In this technique, based on the groundbreaking experiment by the Soviet filmmaker Lev Kuleshov, we will use the brain’s ability to derive meaning from the interaction. Kuleshov demonstrated that the audience constructs the story not only by the content, but also by the order in which the images appear, and the connection between them.

    In the experiment, Kuleshov used two different shots, which he put in sequence one after the other. The first shot, a close-up shot of the face of silent film actor Ivan Ilyich Mozzhukhin, remained the same throughout the experiment, while the second shot was replaced with every round of projection; a plate of soup, a dead young girl, a woman on a divan (sofa).

    The audience praised the actor’s ability to express different feelings such as sadness and even hunger, using only his facial expressions, without knowing that they watched the same shot over and over, and the only thing that was changed was the second image.

    Page 18

    To use this effect in your work, just place two images side by side and try to evoke a connection between them. In the example, I combined between the portrait of Net, which I did with the half close-up composition, with an image of a swirling sea. Where does it take you?

    Good to know:

    You will be amazed by the power of creative composition. Challenge your audience. Don’t be afraid to create a connection which is too complicated to understand.

    A good creative exercise which you can do is by collaborating with a different photographer. You will provide the first image, he or she will provide the second. In there you will have a connection, not only between the two side-by-side images but by two different points of view.

    The author would like to thank Nicholas Orloff for his assistant in writing this article.

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    The post How to Tell a Story with Portraits by Using Creative Composition by Oded Wagenstein appeared first on Digital Photography School.


    Digital Photography School

  • Tips for Abstract Macro Photography – Using Texture and Light

    Macro photography opens up a whole new world to those who are willing to get up close. There is no shortage of subject matter to photograph, but in this article we’ll look at the abstract world of texture and light.

    Rusted paintwork of a Dodge Campervan

    Rusted paintwork of a Dodge Campervan

    The beauty about these subjects is that they can be shot anywhere; in your backyard, on your street, or in any part of your city. Textures are everywhere. They are really easy to find, and working with the light properly will help you to highlight the grittiness and tactile effect of textures. Ideally, a macro lens would be perfect to use for this type of photography, but a good 50mm or 85mm can work too. A macro lens gives you the bonus of being able to focus really close, normal lenses may not be able to get as close as you want.

    My view is that even if you don’t have a macro lens, give this a try anyway, a new tiny world of wonder awaits you!

    What is Abstract Macro Photography?

    Abstract photography, in general, is about representing a subject in a non-literal way. The focus of abstract photography is more about colour, shape, and texture, as opposed to the literal representation of the subject. Abstract macro photography, takes this to the next level by enabling you to get even closer to your subject, and therefore also able to be more abstract in a sense. In this article, we are concerned with texture and showing that in our images.

    The same guidelines around composition apply, you can use the rule of thirds, curves, and lines, to draw the viewer into your image. The difference is that the subject may not be immediately recognizable, your centre of interest might be a colour, or the curve of a flower. So for abstract macro photography, you will need to think a little differently.

    Cracked paint on a car bumper

    Cracked paint on a car bumper

    What will I need to do abstract macro photography?

    A macro lens will work best. A 50mm or 85mm lens will work pretty well too, you may not be able to get as close to your subject though, so be aware of that (or you can try close-up filters). You will need a tripod too, or some sort of support for your camera, as shooting macro images handheld is really difficult and can be frustrating.

    What can I photograph?

    Textures are all around you. Think of the rusted lamppost at the corner of your street, the peeling paint on the wall of the shed, or even the cracked paint on the bumper of a car. They are everywhere.

    You need to spend time looking at all the surfaces around you, then take some test shots to see if they work. The key thing to be aware of when shooting textures is how the light is affecting the scene. Macro photography is like a micro landscape image. It has a foreground, middle-ground and background. There are colours, shapes, and of course textures in the image.

    When you look at the texture, take some time to study where the light is coming from, and how it is affecting the image. Try a few different angles to see what works best in the scene. Using side light (i.e. light some from the left or the right) will accentuate the texture in your image. Side light will give your image a three dimensional quality, so try and get some directional light on your scene if possible.

    Reflections from a security gate

    Reflections from a security gate

    Find your texture, and use this as a workflow

    • Work on building your composition – is there a particular part of the texture you want to emphasize, try and get some side light if possible?
    • Use manual focus to bring even a small part of your image into sharp focus, this sharp area will be the natural focal point for your viewer.
    • As an abstract image, you don’t need a subject as such, but the texture and the colours will be the reason for the image, so make sure the subject matter is interesting.
    • Check the histogram to make sure that you are exposing your scene correctly.
    • Capture the shot.
    • Try shooting the same subject from different angles, and maybe even with a different centre of interest.
    • Take as many images as possible, from different angles, with different focal points.

    The beauty about this type of photography is that you have an infinite number of subjects. It is really easy to get going once you start looking around you, at what there is to photograph.

    The beauty of cracked window putty

    The beauty of cracked window putty

    Have you tried abstract macro photography before? If not give it a go and share some of your images in the comments below. See if we can guess what you photographed.

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    The post Tips for Abstract Macro Photography – Using Texture and Light by Barry J Brady appeared first on Digital Photography School.


    Digital Photography School

  • How to Add a Soft Focus Look to Your Images for a Unique Style

    Soft focus photographs present themselves with a tranquil and almost dream-like effect. They have become quite popular, and can be found to some extent in many genres of photography, from portraits to landscapes.

    In reality, what many of us think of as soft focus photos, aren’t actually soft focus at all. The more accurate term is soft contrast. Soft focus is essentially the blurring of an image, which is not exactly the same as soft contrast. The softening effect can be achieved a number of ways using softening filters mounted in front of your lens, or in post-processing. With the powerful digital editing tools we have today, a soft contrast effect is both easily achieved, and infinitely adjustable.

    Before and After

    In this example, you will see at a step-by-step workflow for applying a soft focus, or soft contrast, look to a photograph in Photoshop using our old friend the High Pass Filter. You might be familiar with using the High Pass for sharpening, but in this case it will be used on the opposite end of the spectrum. We will begin with a RAW image file and work our way to a finished product ready for publishing.

    Don’t worry. All these edits are incredibly easy, fast, and will give your images a little creative boost if used correctly. Let’s get started!

    Here have the RAW file or as I affectionately call it the “Genesis Image”.

    Raw

    Make basic edits first

    We will begin with some basic edits in Adobe Lightroom, then transfer the image to Photoshop to apply the soft contrast magic. It’s best to perform your core processing first, before beginning the soft contrast process. I like using Lightroom because it makes for a super simple transfer, for working in tandem with Photoshop.

    For this photo I performed some global exposure adjustments, as well as made some selective adjustments. I also made use of the HSL panel to bring the color saturation and luminance closer to my visualization.

    LR Adjustments

    Open in Photoshop and duplicate the background layer

    Once you’ve finished the foundational processing it’s time to bring your image into Photoshop. Right click it in Lightroom and choose “Edit in Photoshop”.

    Now that you have your file open in Photoshop, you can begin the easy process of applying the soft contrast effect. To begin, you need to duplicate the base layer. Do this by right clicking the base layer and selecting Duplicate Layer, or by pressing control+J (command+J for Mac).

    Duplicate Layer

    Apply the High Pass Filter

    Next, select the High Pass Filter. To do this, select from the top menu: Filter > Other > High Pass. The image before you will transform into a garbled mass of gray muck.

    High Pass Filter Select

    You will be given the option of adjusting the radius of the High Pass. I have found that for most images, a radius of 10-20 pixels is appropriate, but in the end it will be up to you and your creativity to decide. After you’ve selected the radius, click OK.

    Next, go to: Image > Adjustments > Invert. You can save some some time by using the keyboard shortcut Ctrl+I (Command+I for Mac).

    High Pass Invert

    Change the layer blend mode

    And vola! Wait…the photo still looks like a moldy piece of bread. Everything is okay, though! The next step is one of the most important, and it will make all the difference. In your layers panel, change the blending mode to Softlight.

    High Pass Softlight

    Boom!

    High Pass Softlight Effect

    The image looks like a photo again. The soft contrast effect has now been applied to every part of the image. If you like how everything looks, great, you’re completely finished and can go on your way. Most often though, additional fine tuning will be needed to bring out the best of your photograph. This is the real power of Photoshop, because you can now selectively choose what areas will benefit most from the softening. To do this you need to add another layer mask, but don’t let this intimidate you.

    Add a layer mask to refine the effect

    At the very bottom of the layers panel you will see a small row of icons. The layer mask icon is the white rectangular box with the gray dot inside, click that. A layer mask will be added to your adjustment layer. This way, you can choose exactly where you want your effect to be applied using the brush tool.

    Add Mask

    Now I can really get creative. I want to leave the softening effect on some areas, but remove it from some of the key points of the composition; namely the rock face and the ground surrounding the waterfall. Use the brush tool (paint brush icon) and a layer mask to show or hide your edit. Be sure the two black and white squares at the far left bottom of the tool panel show the black square above the white one (hit D on your keyboard to set them to default and X to swap the colors). This means you are hiding the effect from the image by masking it.

    If you click the two sided arrows above the squares (switch to put white on top – or click X on your keyboard to do this) you will be able to paint back in the effect, in the case you remove too much (using a mask is non-destructive editing, you are not removing pixels just hiding or showing parts of one layer). Also, remember the the brush tool is completely customizable as far as size, flow, and opacity are concerned.

    Layer Mask Adjustments

    Final edits back in Lightroom

    In the case of this photo, I save and close it in Photoshop, and it will automatically import back into Lightroom where I will finish up some minute details. The final edits include mainly selective sharpening and a slight vignette.

    Final Adjustments

    And it’s done! In what amounts to a few short minutes, I have gone from a RAW file, to an image that artistically captures what I saw when I clicked the shutter.

    Before and After

    As with any type of post-processing, it’s important to remember that less is often more. Be judicious with your edits and only go as far as you need, in order to reach the image you want to make.

    Have a soft contrast or soft focus image you’ve edited in Photoshop? Feel free to share them in the comments below.

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    The post How to Add a Soft Focus Look to Your Images for a Unique Style by Adam Welch appeared first on Digital Photography School.


    Digital Photography School

  • 21 Pics of Tender Tootsies – Feet

    One mistake new photographers often make is always shooting from the same point of view – eye level – and always looking for subjects at the same height.

    This week I have found some photographers who looked at things a bit differently and chose to look down – to their own feet – or to other people’s shoes and feet. Here is a connection of images of feet (not all human necessarily) and shoes where the photographers chose to see a little outside the box.

    Images of feet and shoes

    MIKELIKEBIKE

    By MIKELIKEBIKE

    Mister G.C.

    By Mister G.C.

    Malia

    By Malia

    Caroline

    By Caroline

    Khánh Hmoong

    By Khánh Hmoong

    M I S C H E L L E

    By M I S C H E L L E

    Monroe's Dragonfly

    By Monroe’s Dragonfly

    Craig Sunter

    By Craig Sunter

    Ariel H.

    By Ariel H.

    Tomstar3000

    By tomstar3000

    Maria Teresa Ambrosi

    By Maria Teresa Ambrosi

    Khánh Hmoong

    By Khánh Hmoong

    Michael Frank Franz

    By Michael Frank Franz

    Litherland

    By litherland

    James Jordan

    By James Jordan

    Dean White

    By Dean White

    Juan Antonio F. Segal

    By Juan Antonio F. Segal

    Girl/afraid

    By girl/afraid

    Khánh Hmoong

    By Khánh Hmoong

    AndriuXphoto

    By andriuXphoto

    Donnie Ray Jones

    By Donnie Ray Jones

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    The post 21 Pics of Tender Tootsies – Feet by Darlene Hildebrandt appeared first on Digital Photography School.


    Digital Photography School

  • Weekly Photography Challenge – Feet

    Tootsies, feet, toes, the often forgotten and less photographed part of the anatomy. See some photos of feet here.

    Greg Pye

    By Greg Pye

    Weekly Photography Challenge – Feet

    This one isn’t hard – you don’t need any special gear, or an exotic location. Just go out and find some feet!

    Think outside the box on this one too – look not only at your own feet and other humans but at dogs, cats, all pets, statues, toys, etc. How can you photograph feet to make an interesting and compelling image? Can you tell a story with feet?

    Navy Blue Stripes

    By Navy Blue Stripes

    Graeme Paterson

    By Graeme Paterson

    Khánh Hmoong

    By Khánh Hmoong

    Rick Harris

    By Rick Harris

    Share your images below:

    Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer upload them to your favourite photo sharing site and leave the link to them. Show me your best images in this week’s challenge. Sometimes it takes a while for an image to appear so be patient and try not to post the same image twice.

    Share in the dPS Facebook Group

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

    Micah Camara

    By Micah Camara

    Maia C

    By Maia C

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    The post Weekly Photography Challenge – Feet by Darlene Hildebrandt appeared first on Digital Photography School.


    Digital Photography School

  • How to Bump Your Photography up a Level by Using Film Style Limitations

    Get 50% off Tom’s ebook Ang’s World – A Life in Photography eBook, now only until July 26 at Snapndeals.

    One of the most important skills in photography is pre-visualization. The idea is that before you capture an image in the camera, you have a clear idea in your mind of what it’s going to look like. You preview the image before you shoot it. Colour or black-and-white in rendering? Rich in tones or pale and soft? Misty-blurry in feel or so tack-sharp you might cut your eyes on it? What – exactly – will your image look like?

    One of the early objections to digital photography was that it wasn’t really photography because there was no negative; no sense of what kind of picture you’re making. In fact, with digital, there’s not much at all, apart from data in the form of a very, very long row of zeroes and ones. You know what kind of image you have only when you use that data to drive a screen (on camera or at computer) or a printer. And before you get there, you have to process the image. If you feel feel isolated from the process of creating the image, it’s no wonder.

    01 DSC3714
    The most basic in-camera processing setting is your exposure. For this nature shot in my back-garden (above), I over-exposed by two stops. This pales out the colours, fills the shadows nicely to get the effect I envisaged, all suffused with light.

    If you feel a bit disjointed from your images or from your camera, one way back is to try some old-school photography. If you feel your photography is getting a bit jaded, you can re-discover its joys by committing to a treatment or filter effect at the time you take the photograph.

    You simply think, feel and shoot as if you’re using film.

    I love this way of working. There are two simple steps. You choose an in-camera processing or filter effect (which, of course, produces JPEG files), and you do not use the screen to review your images (it’s good practice anyway). So, let’s set to the Toy Camera option – this vignettes the image heavily (darkens the corners), under-exposes, and adds strong saturation. And off we go:

    02 DSC43152013
    This indoor scene on our dining table (above) is rich in a surreal way, because the strong colours in the centre and heavy vignetting forces the viewer’s attention to the centre. The very shallow depth of field – from using a f/2 aperture – also helps make the space tensioned.

    One reason some photographers have returned to work with film, is that the process of envisioning how the image will look before clicking the shutter, creates a sense of connection with the subject. You feel more involved with the process, and that’s an important part of the fun of photography.

    03 DSC6410 2014

    This portrait is a rich-toned black-and-white: it takes a shocking amount of processing in-camera, but comes out with deep, sharp tones that is surprisingly flattering. It works well in mixed hard and soft lighting.

    There’s another advantage to camera processing – if you work this way, you often don’t need to touch the image before being able to use it. When I photograph for my books, I produce thousands of images, and have to submit as many as 1,500 images to the art department. You won’t find me messing about with the images more than I need to, I have a book to write! So images that pop straight out of the can into the book are what I aim for, like this one.

    04 DSC9708 2

    This late evening scene in Auckland, New Zealand comes straight out of the camera as rendered by the Toy Camera effect. I did try out some adjustments, but quickly decided it was best left as shot.

    04A DSC14092014

    Garden furniture left in the rain came out glowing with the Toy Camera filter, which often brings out a mood that is slightly world-forsaken. I like using the filter with the lens wide open, to leave as much as possible softly blurred.

    So the question is; do you know what your image will look like before you capture it? If commitment scares you, one approach is to at least think ahead to the post-processing that you’ll do. Instead of blundering around trying one effect or adjustment after another, you will go straight to the effects that you want. Saves a LOT of time.

    Or you can do as I’m showing here, and bravely go for it. More jeopardy equals more fun! And that’s exactly what you’d have done with film. You load the camera with film – say slow black-and-white for fine grain, or fast colour for low-light work. 24 or 36 exposures, and you’re stuck with it until the last frame reels off, come rain or shine, action or still-life. Many photographers have found fun in photography again by embracing the risks of film-like limitations.

    05 IMG 1367

    I’ve used the Hipstamatic app on my iPhone since the beginning, as I enjoy the commitment to the image coming out according to the film and lens combination you pick. This is one of my favourite combinations – the Libatique lens – and the Dream Canvas film.

    Just like learning to work with a fixed focal length, what looks like an imposition and inhibiting feature, can actually free you artistically. For example, knowing that I’ve chosen a filter that gives a particular soft focus but richly coloured look, means that everyday scenes become mysterious washes of colour and tone. Without that effect, I might not have thought of making this shot.

    06 IMG 1446

    This is a Hipstamatic shot using D-Type Plate film with the Jane lens, processed for increased saturation.

    A mundane scene like the mess on a chopping board just looks ordinary in colour. But in black-and-white, with a bit of fake Tintype effects, and the image moves into another arena.

    Committing to a treatment challenges you, and changes the way you look at things. Some photographers say they can see compositions only in black-and-white. If you set your camera to shoot black-and-white, you will find that you photograph different things from your usual subjects. You’ll probably shoot them in a different way too. If you’re feeling especially brave, you can set your camera to apply an art filter. I like using the Illustration filter, which pumps up colours and draws a line on sharp edges. It works neatly with nature.

    07A__DSC2691A
    A moderate wide-angle view of a nature reserve. (Looks pretty but actually it’s over-run with invasive foreign species.) In the soft light, I thought the image would come out flat and lacking in contrast. So I decided to add some filter fizz.

    07B DSC02690 2014

    With the illustration filter applied, all the important features have been brought out; the trees, the slope of the hill, the bright lilies, and lily leaves. This image came straight out of the camera, with no post-processing at all.

    You don’t have to be so drastic though. One useful in-camera effect available in several models, is built-in HDR (High Dynamic Range). In fact, what the effect does should be called tone-mapping. It makes three or more rapid-fire shots of the subject, at different exposure values. Then, in camera, it combines them so that the image is predominantly filled with mid-tones. Now if you try this on a moving subject, you get weird double-fringed effects. More in-camera fun!

    08 DSC27672014
    Three separate exposures of trees waving in the wind, even when shot at a high rate of fire, will create blurred or fringed images. Then tone-mapping them – processing to bring out mid-tones – gives a half-photographic, half-graphic effect. (Post-processed to reduce brightness and increase saturation.)

    All this works, because pre-visualization makes you see in a different way. What happen is that the camera actually reprograms the way you see. That makes a lot of sense, if you think about learning new skills. Let’s take martial arts, for example. Before you start classes, you just see people punching, kicking. Once you learn more about it, you start to get your eye in – you see when someone’s leaning too far forward, or that there’s no power in a strike. It’s exactly the same moves as before, but your now-tutored eyes see more; they see differently.

    In photography, you may start to see relationships, not objects. You pick out shapes and aren’t distracted by textures. Or you may see small details which before you’d overlook. In short, committing to one look for your images can invigorate your seeing, which will inspire your photography to greater, new levels.

    09 IMG 4425 2015
    An extravagant flower display at a hotel reception looks charming when given a look of aged film, complete with old-world border given by Hipstamatic Libatique lens with Ina’s 1969 film options.

    Get 50% off Tom’s ebook Ang’s World – A Life in Photography eBook, now only until July 26 at Snapndeals.

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    The post How to Bump Your Photography up a Level by Using Film Style Limitations by Tom Ang appeared first on Digital Photography School.


    Digital Photography School

  • Photography: One Hobby to Rule them All

    Fellow photographers, let’s reflect for a moment on our mutual passion for this amazing art form, and maybe even do a little bragging about it. Photography is an incredibly rewarding hobby; in fact, it’s so rewarding that I believe it to be the best hobby one could enjoy. Here are five reasons why.

    IMG 1636 dps

    1. Photography complements many other hobbies

    If your other hobby involves any physical thing, well then, you’re able to take beautiful photos of it! Whether it’s gardening, cars, or cooking, being able to skillfully photograph the things you spend your free time doing, only enhances the pleasure you take in those activities.

    IMG 6922 dps

    This principle extends beyond the photographer too. My mom spends all of her free time in the summer taking care of her numerous gardens (about five different flower gardens, a vegetable garden, an herb garden, and two shade gardens). She loves to see photos of the many plants that she puts so much time and energy into cultivating (and of course I love taking them; the photo below is of a daffodil that was grown by my mom this spring).

    IMG 5299 dps

    2. Photographers get to beautifully capture their loved ones

    Anybody with a camera tends to take a billion photos of their kids, especially while they’re so little and cute – it’s pretty much impossible not to. But only photographers are knowledgeable about window lighting, reflectors, bouncing a flash, or using fast glass to make the best photos in poor lighting situations. Especially for an active little one, it takes a photographer who knows how to take control of the camera settings to get a shot that’s not blurry.

    IMG 8438 dps

    Aside from the kids, folks are always grateful for the photographer in the family who takes photos during holiday gatherings and special occasions. Unless the photographer corrals everybody into a group shot, it usually doesn’t get taken. There is also the candid photos of genuine moments while families enjoy each other’s company. While selfies and food photos abound, a true photographer is more focused on the meaningful moments.

    All of those everyday moments matter, especially when it comes to one’s immediate family. I’m 30 years old, but I still spend Sunday evenings over at my parent’s house for family dinner. None of my immediate family particularly likes getting photographed – but every now and then I sneak in some candids. The older I get, the more these kinds of photos are cherished.

    26045993031 0e0648589a o dps

    3. Photographers get to relive their magic of vacation all over again

    All of the wonders that we spend our hard-earned money to see make the trip back home, packed up into a few tiny memory cards.

    IMG 9719 dps

    There’s no doubt that anybody with a smart phone is snapping away their entire vacation. But it takes some specialized gear to really capture the most amazing travel photographs. It also takes some post-processing knowledge to make those photos wall-worthy.

    For example, wide angle lenses are crucial in capturing the majesty of a stunning landscape, or perhaps some ancient architecture. Just the right amount of HDR will really bring out a landscape, or an intense black and white conversion might be the perfect touch for an architectural shot. Photographers know how to work their digital toolkit to really make the most of those beautiful vacation memories.

    9233878664 aef785d3a7 o dps

    4. Photographers get to see the world from a different perspective

    Photography often propels us forward into new territory, that we otherwise wouldn’t experience. If there’s any beauty to be captured, we’re willing to accept the uncomfortableness that might go along with it.

    Getting up before dawn on a weekend isn’t most people’s idea of a great way to start the day, but capturing a sunrise photo makes it all worth it. Dirty hands and knees are often required for getting the perfect floral or insect shot.

    IMG 9521 dps

    Photography connects us with nature in ways that wouldn’t exist without our cameras. I truly believe that the heart of a photographer is just a little more wild, a little more adventurous.

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    5. Photographers are a part of one big, awesome, online community

    Whether it’s Flickr, 500px, your favorite online photography forum, or maybe even your local photography club -photographers support each other. For the most part, we are ready and willing to help, to share our process, and to share what the conditions, settings and equipment were for those really amazing shots.

    IMG 5622 dps

    When you go looking, there is an almost never-ending source of support and encouragement for your photography. It is one of the few creative realms where we’re able to teach one another, even if we’re separated by half the planet. And that, my fellow photographers, is quite the blessing!

    Does anybody have any other perks that they love about being a photographer? I’d love to hear some more reasons why photography rocks in the comments below.

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