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Anthropics Portrait Pro Editing Software Review

25 Aug

The post Anthropics Portrait Pro Editing Software Review appeared first on Digital Photography School. It was authored by Carl Spring.

A model before and after using Anthropic Portrait Pro

Anthropics Portrait Pro 19 is the latest version of its incredibly popular retouching software. This piece of software allows users to create professional retouches without needing to spend hours learning several techniques. Instead, Portrait Pro uses a simple, user-friendly interface that allows advanced retouching in a simple to understand and time-saving manner.

What’s New in Portrait Pro 19

Anthropics Portrait Pro 19 brings a host of improvements that make this software better than ever before.

Clearskin 5

Athropics Portrait Pro skin texture compared — There is a big improvement in the skin detail over previous versions of Portrait Pro.

The first I must mention is the Clearskin 5 technology. Based on state-of-the-art A.I., Clearskin 5 intelligently maps the contours and features of the face and retouches skin accordingly. It also replicates the face’s natural skin texture, allowing users to subtly remove blemishes while maintaining the subject’s natural appearance. When combined with the improved Fix Lighting tool, this new technology makes it even easier for photographers to achieve amazing results.

When compared to previous versions (which themselves were very good) this is a subtle but noticeable difference. For me, this alone is enough to recommend this version, but there is a lot more under the hood.

Let’s look at what’s new in Portrait Pro 19.

Advance Hair Retouching

Hair detection has been improved and gives users more options than ever before. After choosing a base shade for the hair, you can tweak this to create a variety of styles, from a subtle improvement of natural color all the way through to more extremes of pink and blue hair.

Choice of hair when using Anthropics editing software — A subtle tweak or a radical change? Both are possible in Portrait Pro.

Expression Sliders

This tool offers a variety of ways to subtly change the expression of your model, letting you get the perfect smile every time.

a photo retouched to show different facial expressions — It’s easy to get your subjects smile just right when using this software.

Accurate Lens Correction

Utilizing 3D modeling, the software accurately corrects for lens distortions created by wide-angle lenses such as mobile phone cameras.

Optimized Plugin (Studio exclusive)

This plugin allows you to harness the power of Portrait Pro directly from Photoshop and start editing right away. By updating the technology, the plugin returns to Photoshop up to five times faster than previous versions, which means less time processing and more time creating great portraits.

Improved Automatic Batch Processing (Studio Max exclusive)

PortraitPro Studio Max 19 allows photographers to automatically process batches of images simultaneously. The software detects faces and features in the image, applies your chosen presets and automatically saves the result. Again, thanks to PortraitPro 19, the software handles images 2x faster than before, allowing you to retouch a batch of images quickly and easily yet achieving amazing, tailored results.

This tool (exclusive to the Studio Max edition of the software) is something that I can see being amazing for sending proofs from a headshot session. Imagine the ability to send all of the client images to select from, all retouched to your specific style. Not only will it wow your clients, but it is effortless for you to do this.

Portrait pro applied to a model not looking at the camera — You do not need your subject to be looking directly at the camera. In this example, which was part of a batch, it still picked up the features quickly and easily saving me time.

Interactive Tutorials

These tutorials are some of the best I have seen for any software – allowing you to follow along and improve images with a guide to hold your hand.

The tutorials allow users to get to grips with the features of the software quickly and easily. By the time you get through the first couple of tutorials, you will be itching to use the software on your own images, but when you want to push your skills a little more (or just can’t quite figure something), there are more advanced tutorials to help you upgrade your skills.

There are various tutorials, from retouching skin and face shaping (which are the two tools you will probably use the most) through to a series of advanced tutorials that go into detail on things like applying makeup, hair, eyes, and many more. Thus, allowing you to take advantage of the massive feature set on offer with this software.

Portrait Pro Tutorial — The built-in tutorials make it really easy to get started in Portrait Pro 19.

In Use

After going through the first two tutorials, I wanted to put some of my own images through the software. The feature detection on the tutorials was quick, simple, and incredibly accurate. I wanted to see if this was as good in real life as it was in the tutorials. I was amazed that my own images imported quickly and found the models’ features perfectly the first time.

Showing how Portrait Pro defines facial features — Putting in my first image, I was surprised how quickly it found all the features of the face.

Presets

I thought I’d start by trying the built-in presets. I clicked the Standard Preset and almost instantly the image was good enough to give to a client. After trying the other presets, I found the Maximum Lighting worked really well for the shot below.

Within two clicks, I had an image that was retouched to a high standard. As someone who has spent hours learning retouching techniques in Photoshop, it was impressive. To those who are new to retouching, it will give you a set of tools that would normally take hours to master individually at the click of a button.

I’ll be honest, some of the presets were a little too much for me. However, I tend to go for a more natural look in my retouching. Yet, I can see that for some, they will be perfect. I think the presets have been created to give every style of photographer a great starting point that can be tweaked until they get their own style.

Using presets in Anthropic Portrait Pro gives you a great look in seconds — With a few clicks, you can get results like these. From L-R: Original image, Standard Preset and Max Light Preset

Starting From Scratch

It would have been easy for me to leave the review here, as the presets do a great job, but I wanted to dive deeper and see how the tools would work individually. I started over with the same image and worked my way through the panels.

The panels are laid out in a very logical order, starting with Sculpting the Face, which allows you to tweak everything from eye size to the length of the model’s neck. Everything is simple and uses a slider-based system.

I then worked through the skin smoothing (which looks a lot more natural than previous versions of the software) before continuing to work my way down the menu system.

Anthropics Portrait Pro Editing Software Review — I created my own preset for this shoot. Once I had it how I liked it, I could then save my style as a preset and apply it to more images from the shoot.

A small word of caution, though. Portrait Pro allows you to push the retouching levels to the extreme. You can get caught up in pushing all sliders to the max. This will not give you a great result and like adding salt to a meal, a sprinkle is always better than a handful.

Make use of the before and after function to check you have not pushed your image too far. I have heard complaints that Portrait Pro makes everything “Doll Like” or “Just Not Natural.” That is not true. Just like Photoshop, users can get carried away and push things too far in their edits.

It was amazing that only 30-minutes into using a brand new piece of software, I was able to fully retouch a portrait to this level without needing a YouTube tutorial. What’s even better is that with a couple of clicks, I now had my own preset that I could apply to other images. This is something that really does create a massive time-saving option.

I put my newly created preset to the test with another image from the same shoot. It literally took me 10-seconds to import and apply the preset and it was ready to export. If you are working with large amounts of images per shoot, this might just be a game-changer.

Applying a personal preset in Portrait Pro to a new image — Within 10 seconds, I had created this edit, in my own style without needing to press more than one button.

By the time I had finished, I had added makeup, added lighting, and changed both hair and eye color quickly and easily. The feature that stood out for me was the advanced lighting tool.

For those who are new to working with light or those who don’t currently have a lighting system, you can add lighting effects that really enhance the image and make it pop.

Who’s it for?

Anthropics Portrait Pro is an amazing tool for those who are new to retouching portraits. It is simple, yet incredibly powerful and gives you pleasing results within seconds. However, it offers much more and encourages you to go back to the software and personalize your retouching.

For those who are more advanced photographers, it allows you to really speed up your workflow and create signature styles. The Photoshop Plugin (Studio Exclusive) means you can use Portrait Pro as part of a larger project.

For Pro’s, there is a real benefit from the batch processing options found in the Studio Max Edition. If you are shooting several images and want to send clients a selection, by using a preset (either one in-built or your own signature style), you can retouch all images with a few clicks. This saves you a lot of time and allows you to focus on your business.

If you retouch portraits, you really need to try this software out. Also, DPS has managed to get a special offer just for you.

How Do You Get Portrait Pro?

You can download your free trial at https://www.anthropics.com/portraitpro/download/

Currently there is a 50% OFF sale everything + DPS readers get an EXTRA 15% OFF when you use the coupon JW9682

I look forward to seeing what you create in the comments below.

The post Anthropics Portrait Pro Editing Software Review appeared first on Digital Photography School. It was authored by Carl Spring.

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A Beginner’s Guide to Focus Stacking

25 Aug

The post A Beginner’s Guide to Focus Stacking appeared first on Digital Photography School. It was authored by Bruce Wunderlich.

Other than for special effect, photographers generally do not want out-of-focus images. But sometimes, regardless of which camera settings are used, not every detail of an image can be captured tack sharp.

The depth of field (DOF) can be so shallow that interesting aspects of the photos are without sharpness. A smaller aperture may be used to increase DOF, but moving the aperture farther from a lens’s sweet spot introduces lens diffraction into the image, again resulting in some fuzziness. Also, if stopping down the camera’s aperture, the shutter speed will need to be increased and blurry images may result. Increasing ISO to help with the exposure will introduce digital noise to the image.

So how do you shoot with the best aperture and shutter speed combination and get sharp images from the front to the back of an image? A technique that can help resolve this problem is called focus stacking.

Here’s some helpful info about this technique.

A 13 image focus stack.

What You Need

A tripod.
A DSLR camera capable of shooting in manual mode. It is possible to use a point and shoot camera, but it must have a manual mode and manual focus capabilities.
A depth of field app (which is helpful but not required).
Photoshop or another focus stacking software.

How to Shoot for Focus Stacking

Focus stacking is similar in principle to HDR photography. However, with focus stacking, images are captured with different focus points and later combined in Photoshop; this is in order to create an image with more DOF than would be possible with a single exposure. Landscape and macro photography are two genres of photography that benefit most from using this procedure.

But be warned: Calm winds and reasonably stationary objects are a must!

Before beginning to shoot, it is always helpful to know a lens’s sweet spot, defined as the aperture at which the lens produces its sharpest image. (It is usually found about two to three stops from wide open.) Experiment until this important setting is determined.

6 image Focus Stack

Landscape

There are two basic scenarios when shooting landscapes that may benefit from focus stacking.

The first is when the subject is a close foreground object with an interesting background, and you want both these elements to be in sharp focus.

The second is when using a telephoto lens (which typically has a shallow depth of field) and the subject covers multiple distances that may be brought into sharper focus.

(FYI: If shooting a landscape with a wide-angle lens, the DOF may be deep enough to capture a sharp image that doesn’t require focus stacking.)

Here is a little trick to find out if focus stacking will benefit an image when photographing a scene or subject:

After composing the image, set the focus point about one third into the image. Then, using Live View, enlarge the image and check to see if the foreground and background are sharp or blurry. If either image isn’t in focus as sharply as desired, the image could benefit from focus stacking.

Steps for Shooting Landscapes for Focus Stacking

Place the camera on a sturdy tripod; this is a must!
Frame the subject and compose the shot.
Determine exposure for the scene and set the camera to manual mode to ensure that the exposure is constant for every image.
Set the camera to Live View and aim the focus point at the nearest object you want in focus. Use the camera’s zoom (the plus button, not zoom on the lens) to preview the focus through Live View. Then switch to manual focus and use the focus ring to fine-tune for sharpness if necessary.
Take the first exposure.
Without moving the camera or adjusting any settings, move the focus point to an object mid-way in the image and refocus.
Take the second exposure.
Again, without changing anything, refocus on an object at the farthest point of the intended image.
Take the third exposure. To capture landscapes, three images are generally all that is necessary to create sharp focus stacking images, but it’s completely fine to take extra images to make sure that the entire scene is covered. A rule of thumb would be to add more images for longer focal lengths. Be aware that extra images will take longer to process in post-production. If available, check the DOF with a Smartphone app in order to figure out how many images will be necessary to get every aspect of the photo in focus.

Using three images focus stacking. The first image was focused on the fence, the second was focused mid-way into the image, and the third was focused on the front of the house.

The first image was focused on the fence, the second was focused midway into the image, and the third was focused on the front of the house.

Macro Photography

Macro photography can benefit from focus stacking more than any other type of photography, because a macro lens has an extremely shallow depth of field.

So here’s what you do:

Place the camera on a sturdy tripod – a must!
Frame the subject and compose the shot.
Determine the exposure for the subject, and set the camera to manual mode to ensure that the exposure remains constant for each and every image.
Set the camera to Live View and aim the focus point on the nearest object you want to be in focus. Use the camera’s zoom (the plus button, not a zoom on the lens) to preview the focus through Live View. Then switch to manual focus and use the focus ring to fine-tune for sharpness, if necessary.
Take the first exposure.
Without moving the camera or adjusting any settings, move the focus point to a distance slightly farther away from the lens. Remember that DOF in macro photography will be measured in fractions of an inch, instead of in feet (as in landscape photography).
Repeat step 6 as many times as needed to cover every aspect of the subject’s DOF. This could range from as few as six images to 30+ images. Make sure the entire subject is covered or the results may be unusable. If available, check a DOF app on your smartphone to figure out how many images will be necessary to get every aspect of the photo in focus.

By focus stacking the flowers only and leaving the background out of focus makes the flowers stand out in the final image.

Focus stacking the flowers only makes the flowers stand out from the background.

Image on right is a single image capture at 85mm focal length. Image on right is a 12 image focus stacked image. Each image had a DOF of less than one inch.

The image on left is a single image capture at 85mm focal length. The image on right is a 12-image focus stack. Each image had a DOF of less than one inch. Note the additional detail in the image on the right compared to the single image.

Tip: Take a shot with your hand in front of the camera before and after each series of images. When working with the images later, this will make it easier to tell where each series starts and ends.

Use you hand to mark the beginning of each series of images, this will make processing you images much easier.

Use your hand to mark the beginning of each series of images. This will make processing your images easier.

Processing the Final Images

Processing the files to achieve the final image may seem like the most difficult part of creating a focus-stacked image, but it’s really very simple to do in Photoshop. Here’s how:

Open Photoshop
Get each image on a separate layer. Under File, choose Scripts and Load Files into Stack. Click Browse and select all the images.
Check the Attempt to Automatically Align Source Images box.
Click OK and each of the images will open into a new layer in Photoshop.
Open the Layer palette and select all layers.
Under Edit, select Auto-Blend Layers.
Check the box for Stack Images and Seamless Tones and Colors. Optionally, select Content-Aware Fill Transparent Areas, which will fill any transparent areas generated by aligning images in step 3. (Be aware that this will increase processing time. Generally, I do not choose this option; rather, I just crop the image slightly later, if necessary.)
Click OK
Flatten the image by selecting Layer>Flatten Image and save.

Focus-stacking-1

Note: If you are using a Lightroom and Photoshop workflow, after importing your images into Lightroom, instead of following steps two through five, you can simply add all your images into Photoshop as layers. Just select all your images, then go to Photo>Edit In>Open as Layer In Photoshop.

This will open all the selected images as layers. You will then have to align your images by selecting all the layers in the layer palette, then go to Edit>Auto Align Layers. Finally, continue at step six above.

Summary

It is nearly every photographer’s intention to capture the sharpest images possible, and focus stacking can be another tool to help you achieve that goal. The trick to this whole process is to take enough focused images to create a final photo that is in focus from foreground to background.

The results can be amazing once you get the hang of it; make sure to give it a try!

The post A Beginner’s Guide to Focus Stacking appeared first on Digital Photography School. It was authored by Bruce Wunderlich.

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A New Adobe Lightroom Update Just Deleted Customers’ Photos and Presets

24 Aug

The post A New Adobe Lightroom Update Just Deleted Customers’ Photos and Presets appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Last week, Adobe released Lightroom 5.4.0, a routine update meant for the iPad and iPhone Lightroom app.

But it soon became clear that the update was far more than users bargained for when customers who installed Lightroom 5.4.0 found that their photos and presets had disappeared.

Lightroom users immediately reported their situation on forums, explaining the data loss and asking Adobe for help.

One user wrote, “After the automatic update to Lightroom mobile 5.4…my whole library is lost.” Another wrote, “I can’t believe I lost 2+ years of edits due to the Lightroom mobile update.”

Note that presets were also affected; a Redditor explained how, upon launching Lightroom, “Not only were most of my photos gone, but also hundreds of my presets, some of which I worked on for the past couple of years.”

Adobe soon issued Lightroom 5.4.1, as well as an official response:

“Some customers who updated to Lightroom 5.4.0 on iPhone and iPad may be missing photos and/or presets. This affected customers using Lightroom mobile without a subscription to the Adobe cloud. It also affected Lightroom cloud customers with photos and presets that had not yet synced to the Adobe cloud.

A new version of Lightroom mobile (5.4.1) for iOS and iPadOS has now been released that prevents this issue from affecting additional customers.

Installing version 5.4.1 will not restore missing photos or presets for customers affected by the problem introduced in 5.4.0.

We know that some customers have photos and presets that are not recoverable. We know how frustrating and upsetting this will be to people affected and we sincerely apologize.

Some customers affected by this issue might be able to use iPhone and iPad backups to recover photos and presets.“

Many users were understandably upset upon learning that their photos and presets were unrecoverable. It seems that much of the data is gone forever, though a few users did manage to regain some or all of their missing data via device backups.

While it’s deeply frustrating that Adobe would make such a mistake, this error hammers home the importance of having multiple backups of your photos at all times. I recommend having at least three, including at least one physical backup (e.g., an external hard drive), as well as a cloud-based backup. And, once you have the backups, you must update them regularly; it’s the only way to ensure that your precious images stay safe!

Now over to you:

Were any of you affected by this Lightroom update? If so, were you able to recover your images? And for those who weren’t affected, do you plan to change your image backup practices? Share your thoughts in the comments!

The post A New Adobe Lightroom Update Just Deleted Customers’ Photos and Presets appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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A Non-Techie User Guide to Installing GIMP Plugins

23 Aug

The post A Non-Techie User Guide to Installing GIMP Plugins appeared first on Digital Photography School. It was authored by Ana Mireles.

Have you heard all about how GIMP is free and open-source, but you’ve struggled to embrace the program? Well, I was like that at first; that’s why I decided to make this guide on installing GIMP plugins from one non-techie to another.

My first few attempts to use GIMP were quite off-putting, and when I tried to install a plugin I ended up completely frustrated. But now I actually prefer GIMP to Photoshop for certain edits. Hopefully, this article can save you some time and turn you into an avid GIMP user, as well.

What is open-source software?

When a developer builds software, they write lines of text in a specific programming language. This forms the software’s source code.

In commercial software, this code is protected by copyright. You have to pay a license to use such a program, and you can’t change it in any way.

Instead, an open-source program can be used, modified, and distributed by anyone. Also, most of the time it is free. Sounds great, right?

Well, it is. That’s why everybody keeps telling you GIMP is amazing because it’s “open source.” On the other hand, GIMP is not as user-friendly as other programs. So you might need some time to get used to it. Here’s an introductory guide to get you started.

What are plugins?

A plugin is an add-on that gives more functions to a program. It can be a filter, a tool, or a library that isn’t included in the original source code. As a result, the software gets more powerful and gains more capabilities.

Commercial software has plugins, too (Photoshop, for example).

Since we are already talking about expanding the capabilities of software, scripts are another essential add-on to be aware of. You’ve probably heard of Photoshop actions and Lightroom presets, both of which are scripts.

Well, GIMP has scripts to automate processes and save you time and effort. So while you might find GIMP to be somewhat basic at first, once you start adding plugins and scripts you’ll see that it really has a lot to offer.

Where can you find GIMP plugins?

This is where it starts to get more tricky. Because neither GIMP nor the plugins are made by one developer, there isn’t a website that you can go to find a list with links.

GIMP's plugins are no longer in registry installing GIMP plugins

There used to be one registry that held all the plugins, scripts, images, and files, but it’s not active anymore. Fortunately, in this day and age, you can find anything just by Googling.

As you know, search engines like Google will show you a lot of results; some of it can be outdated, other results can even be a virus, so be careful with what you download.
Here are some tips to make your search more efficient:

Look for tutorials

Start by searching for guides or tutorials on what you want to do, for example: “How to do Content Aware Resizing in GIMP?”

These results will give you suggestions for different plugins that have this functionality, and often they’ll even share the link so you can download it. Since you know that the recommendation comes from a plugin user, you know it’s safe and you can also see if it’s what you’re looking for.

Always look at the date the recommendation was published and click on the most recent suggestions. If you find an article that’s too old, you might not find the plugin anymore, or the plugin may not be compatible with your GIMP version.

Look for reviews on blogs

There are tons of websites that make lists and reviews about these kinds of things. You can search for “The best plugins of this year for GIMP.”

This way, you’ll also find safe downloads and you don’t have to worry about the plugins being useful. If they weren’t, they wouldn’t be on such a list, right?

Installing GIMP plugins

Download your file

Once you find the plugin you want, download it to your computer. I’ll use the Resynthesizer plugin as an example, which you can download here. Please keep in mind that you need to find the right file for your operating system. Everything you see here is done on a Mac.

Resynthesizer downloads in a zip file, so double-click on it to extract the files. Leave this Finder window open. You’ll need it again in a moment.

Find GIMP’s plugin folder

Now open GIMP. Click on the GIMP menu and choose Preferences. This will open a pop-up window.

In the left column, find the Folders menu and click on it. This will display all the folders that hold GIMP’s information, so just look in there for the one called Plugins.

Find the folder with the plugin resources. It should be called something like this: GIMP-2.10.app/Contents/Resources/lib/gimp/2.0/plug-ins.

Of course, the GIMP version may be different for you; mine is 2.10.

Find the folder for installing GIMP plugins

Now click on the square button in the top right of the window. If you hover on top of the button, it should say Show file location in the file manager. This will open the folder that contains the plugin files.

Copy the plugin to GIMP

Now you should have the two folders open:

On one side, the Finder window with the folder of the plugin you downloaded.

On the other side, the window you just opened from GIMP with the folder that contains the plugins.

Select the files from the new plugin and drag them into GIMP’s plugin folder.

Copy-Paste files for installing GIMP plugins

Restart GIMP

That’s it. Now you only have to restart GIMP to find the new tools ready for use.

In the case of the Resynthesizer plugin, it adds the filters Enlarge & Sharpen, Heal Selection, Heal Transparency, Sharpen by Synthesis, and Uncrop.

Conclusion

That’s it. As you can see, installing GIMP plugins is basically a copy-paste operation, so it’s really not as complicated as you might think.

The only hassle is finding the right files and locations. With the tricks I showed you in this article, it will hopefully get easier.

In the end, it’s worth the effort.

Now over to you:

Share in the comments your experiences with GIMP plugins, as well as any plugins or scripts you recommend.

The post A Non-Techie User Guide to Installing GIMP Plugins appeared first on Digital Photography School. It was authored by Ana Mireles.

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SLC-2L-13: Shoot Through Your Sunset

23 Aug

Whenever you have control over the time of day in which you'll be shooting a location portrait, always remember that the hour that wraps around sunset will offer you at least five different lighting environments in which to work.

And for today's portrait of birders Jo (left) and Bob Solem, we're going to use three of them.

13 Tips for Improving Outdoor Portraits

22 Aug

The post 13 Tips for Improving Outdoor Portraits appeared first on Digital Photography School. It was authored by Guest Contributor.

Outdoor portraits present portrait photographers with a variety of challenges and opportunities. Today, James Pickett suggests 13 tips to help you with your outdoor portrait work.

When I bought my very first digital SLR, there was a sigh of relief. Everything was going to be so much easier, and I wouldn’t have to think anymore.

You know the scenario: You pull the camera out, charge the batteries, go for a walk around the house and down the street, taking the same pictures you have taken every time a new camera came into your life.

“This is great,” you think to yourself. “This is going to make my life so much easier!” I was wrong. In fact, I was dead wrong.

There are three very simple things that improve all photography, including portraits. To this day, there is no trick I have found that replaces the need for proper exposure, white balance, and sharp focus.

1) Never select all of the focus points for portraits; pick one

When you pick the autofocus option that allows the camera to select focus points, you are doing your portraits a terrible disservice.

This feature of a camera is usually designed to pick whatever is closest to the lens and focus there. In some cases, like with my 1DS Mark III, the camera will choose a cluster of focus points and make a “best guess” based on averaging the distance between all of the chosen points. Using one focus point gives you, the photographer, ultimate control.

2) Always focus on the eyes

The eyes are the windows to the soul and should be the focal point of any good portrait. Not only are the eyes the most important part of a good portrait, but they are the sharpest element on the face and should be left that way.

When you are shooting with a wide aperture value and you’re focused on the eyes, the lens’s bokeh will aid in softening the skin, as well.

3) Shoot wide open for shallow depth of field

There are quite a few reasons to invest in a fast lens capable of wide aperture values; the most common is for shallow depth of field.

If you can shoot at ƒ/2.8 or ƒ/4, you should use it. Most fantastic natural light portraits are from wide aperture values, and it is all because of the wonderful smooth background blur we call “bokeh.”

4) Never, ever shoot a portrait at less than 50mm; try to stay at 70mm or higher

The last thing you want to hear from a client is “Why does my head look swollen?”

Any focal length below 70mm can distort your subject. However, it doesn’t become very noticeable until you are below 50mm. The compression effect of a telephoto lens will also increase the blur of bokeh. Most of my portraits are done between 120mm and 200mm.

5) Always shoot in RAW

These words have bellowed from my mouth a thousand times, and they will surely come out a million more. Raw is an unmodified compilation of your sensor’s data during the time of exposure. It is your digital negative. When you shoot in JPG format, everything but what the image processor needs to make a shell representation of the image you intended to capture is stripped away. For every edit you make to a JPG, you lose more data. With RAW, you can make a vast range of edits before creating the JPG.

How can this make you portrait better? Think about the last time your white balance was set incorrectly and you tried for hours to remove the color cast, only to destroy the image with every attempt. RAW would have saved you by allowing you to fix the color before opening the image for retouching.

6) Always bring a gray card or a piece of a gray card for white balance

Gray cards aren’t free. However, $ 5.95 US for a cardboard Kodak gray card is darn close. To avoid confusion, I am going to explain this backward. When opening Adobe Camera Raw or any other RAW image editing application, there is always a way to select a custom white balance. Usually, it is an eyedropper of some kind that you can use to click on what you think is neutral gray in your image.

Imagine a world where your photoshoot involved 4 locations and a total of 800 images, and all day the camera was set to Auto White Balance. That is 800 different white balance values, a post-production nightmare.

If at each location you have your subject hold the gray card on the first shot, you will save hours of work. When you open images from the first location in your favorite post-production application, all you have to do is click the eyedropper on the gray card, select all the photos, and synchronize the rest. Precious hours will be saved.

(If you plan on taking your time, it may be wise to do this once every 30 minutes or so to compensate for the changing light of day.)

7) Shoot in the shade (avoid direct sunlight)

Direct sunlight is harsh, makes your subject squint, and creates hard directional shadows and unpredictable white balance conditions. When shooting in the shade, there are no more harsh shadows, only smooth, milky shadows created by your subject’s natural features. With proper exposure and white balance, you can make these shots look amazing.

8) Shooting carefully on an overcast day.

Nature’s softbox is a giant blanket of clouds. A good heavy blanket of cloud cover can help you enrich your colors, and make some very smooth and pleasing shadows.

9) If you must use hot, hard, bright light…

Always try to control the direction, use some kind of reflector, and try to mimic a studio light. Putting the sun directly behind your subject isn’t a good idea, unless you are trying to make a silhouette.

When the sun is at my back, I have the subject look off-camera (away from the sun) and get very nice results. Another great trick is to wait for a cloud to move in front of the sun; this usually creates a very bright-yet-contrasted look.

10) Use an existing reflector

For example, my guess is that about 75% of the delivery trucks on the planet are white. These big, white delivery trucks can make amazing fill light reflectors as long as they weren’t painted with an off-white. (A yellow tint can change the white balance in your shadows.) Picture framing outlets and craft stores always have medium-to-large-sized pieces of foam core lying around that have been left for scrap. They are usually more than happy to part with these scraps and, if not, chances are that there are pieces by the dumpster.

11) Learn the sunny ƒ/16 rule

Why?

So you have a baseline for proper exposure in your mind to work with if no other tools are present.

The sunny ƒ/16 rule states that on a sunny day, with your aperture value set to ƒ/16, your shutter speed will be the inverse of the current ISO speed. For example, if your camera is set to ISO 100, and your aperture value is ƒ/16, your shutter speed will be 1/100th of a second. On a cloudy day (or when in the shade), you simply use ƒ/8 instead. If you own an incident light meter or gray card, use either for the most accurate exposure instead.

(Note: the procedure for metering exposure with a gray card is not the same as a custom white balance.)

12) Bring a sheet and a few spring clamps from home

Leave the expensive 200-thread-count sheets on the bed. You already got them? Well, go put them back. You know that cheap old sheet you stuck in the corner of the closet to use as a drop cloth the next time you paint? Go get it.

(Another option is to buy the cheapest low-thread-count white top sheet you can find.)

A queen-sized sheet is an amazing, cheap diffuser. Sort of a seven-foot softbox for the sun. Wrap an edge of the sheet around a branch or clothesline and clamp for a sidelight.

(Anchor the bottom corners with rocks to keep the sheet from blowing into your image.) Clamp all four corners to anything you can above your subject for an overhead light.

13) Keep the powerlines and signs out!

We have already discussed keeping your camera focused on the eyes, but you must also keep the viewer’s mind focused on the image as a whole. Powerlines, signs, long single blades of grass, single pieces of garbage, and sometimes even trees can be serious distractions from the overall focus of the image: the person you are photographing.

Last, and most important, have a great time shooting! Enjoy what you’re doing, and it will show in your work (as well as in the expression of your subject).

A few bonus tips for shooting on cloudy days

Clouds are wonderful. They create a giant blanket of natural sunlight diffusion that makes your images rich and powerful. The clouds can fool your mind in ways you can’t imagine, much like your mind corrects for the natural white balance throughout the day.

When you are shooting on an overcast day, using your camera’s custom white balance is especially important. Every day is completely different for color, and that color depends on two things. First, the time of day; most people understand white balance and how it changes throughout the day. Second, you have to account for all of the wonderful things that light has to pass through before it hits your subject.

Pollution changes the color of the light from minute to minute. Even if your eyes don’t see it, your camera does. On a cloudy day, pollution particles are being carried around in the sky by tiny water droplets. Now your sunlight is passing through nature’s prism and reflecting off of pollution particles in infinite directions.

Don’t forget to white balance with that six-dollar piece of cardboard, your Kodak gray card.

The ultimate secret to shooting on a cloudy day is a compass. (You either tipped your head like a confused Chihuahua or just had an epiphany.) I am an experienced, internationally-published photographer, and rarely can I see where the sun is coming from on an overcast day. The light isn’t omnipresent; it’s just diffused, softened, and scattered. Sunlight on a cloudy day is still directional, and your subject still has a dark side. Use a compass to find out where the sun is, put it at your back, and shoot like mad. Never again will you look at an image after and wonder why the sky was blown out when it was so cloudy, or why the clouds look great but your subject is dark.

The post 13 Tips for Improving Outdoor Portraits appeared first on Digital Photography School. It was authored by Guest Contributor.

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Weekly Photography Challenge – Mistakes

22 Aug

The post Weekly Photography Challenge – Mistakes appeared first on Digital Photography School. It was authored by Sime.

A bit of a departure this week! We want to see your mistakes, we all make them, we learn from them (or we don’t, I mean… who knew my kids were that fast on scooters!)

Love them or hate them, mistakes are a part of learning. I could have used a different focus mode here, I could have been more prepared for when master 6 came towards me and I missed him with my focus point, but I wasn’t ready and I missed the shot and there was no way he was going back to do it again! Moving on.

9 Solutions for common camera mistakes beginners make
Photo Mistakes! Learning from a Photo Autopsy
7 Mistakes beginner photographers make the camera can’t be blamed for

Dig through your photos and find something that you remember as a mistake, here’s another of mine from a few years ago now, I was in Cuba, somewhere I likely won’t get to go back to, and I’d recently purchased a 50mm f/1.4 and was still in that “Whoa! Everything looks amazing at 1.4!” …I misfocused when I built up the courage to ask this chap if I could make an image, I got the tip of his nose nice and sharp, but missed his eyes… It made me slow down a little and make sure I had the focus point in the right place. As long as we learn from our mistakes, they can be a valuable tool!

Great! Where do I upload my photos?

Simply upload your shot into the comments 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. We’re interested to see how you revisit the images that you’ve taken before now in this re-edit challenge!

Weekly Photography Challenge – Looking Up

Share in the dPS Facebook Group

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

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

Follow us on Instagram?

The post Weekly Photography Challenge – Mistakes appeared first on Digital Photography School. It was authored by Sime.

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Fujifilm 16-80mm f/4 Lens Review: The Best All-Purpose Fujifilm Lens in 2020

21 Aug

The post Fujifilm 16-80mm f/4 Lens Review: The Best All-Purpose Fujifilm Lens in 2020 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Is the Fujifilm 16-80mm f/4 OIS the right lens for your needs? Who should think about purchasing it? Can it satisfy beginners? Professionals? Everyone in between?

That’s what this article is all about.

For weeks, I’ve been testing the Fujifilm Fujinon XF 16-80mm f/4 OIS.

And now I’m ready to share my conclusions.

So if you want to find out how this lens performs…

…read on!

Fujifilm 16-80mm f/4 review sample photo — Fujifilm X-T4 | Fujifilm 16-80mm f/4 | 65mm | 1/500s | f/8 | ISO 200

Fujifilm 16-80mm f/4: Overview

On the surface, the Fujifilm 16-80mm f/4 is an all-purpose lens that can do pretty much everything.

It offers:

An excellent focal length range, stretching from wide to standard to (slight) telephoto (24-120mm on a Fujifilm APS-C camera)
Fujifilm’s image stabilization technology (OIS), promising up to 6 stops of extra sharpness
A well-built, weather-sealed body with relatively compact dimensions
A fixed f/4 aperture, which can’t offer the same low-light or bokeh capabilities as an f/2.8 lens, but is still decently wide
0.25x (1:4) magnification
A reasonable $ 800 USD price tag

Put all this together, and you’ve got a lens that should be able to find its way into the kits of landscape photographers, architectural photographers, street photographers, walkaround photographers, and travel photographers alike (and can even work for the occasional close-up shot!).

Fujifilm 16-80mm f/4 review sample image — Fujifilm X-T4 | Fujifilm 16-80mm f/4 | 32mm | 1/125s | f/8 | ISO 320

But all-purpose lenses like these tend to fail in a couple of ways.

First, they’re often optically mediocre, especially on the extreme ends of their focal length range.

Second, they’re sometimes slow to focus, which immediately takes them off the table for street photographers, and can be a big issue for travel and walkaround photographers, as well.

So does the Fujifilm 16-80mm f/4 suffer from these same issues?

Well, I’m happy to report that it does not. And while I’ll go more into the details later, I’m prepared to argue that the 16-80mm is one of the absolute best all-around lenses out there, and combines impressive value with fantastic photographic capabilities.

It’s not that the lens doesn’t have any drawbacks; pretty much all lenses, especially sub-$ 1000 lenses, do! But the Fujifilm 16-80mm offers remarkable quality given the price (and will even satisfy both amateurs and professionals).

Let’s take a closer look.

Fujifilm 16-80mm f/4: Build and handling

Right out of the box, the Fujifilm 16-80mm feels solid, but not in an annoyingly heavy tank sort of way. It’s just under a pound (0.97 lb/440 g), which is light enough for long days of shooting even when lots of travel is involved. You have a mix of metal and plastic on the body, and a nice, tactile zoom ring smack-dab in the middle of the barrel:

Below the zoom ring is the aperture ring, which fits nicely with Fujifilm’s old-school style and feels great. Above the zoom ring is the focus ring, which is a bit smaller and fast to focus than I’d like, but still very serviceable.

One of the great things about the 16-80mm f/4 is its size. At 16mm, the lens is under 4 inches (10 cm) long and fits firmly in one hand, so you can store it easily in a camera bag or backpack.

And even when zoomed out to 80mm, it feels relatively unobtrusive, which is nice for street photographers hoping to move through crowds unnoticed.

As I mentioned above, the manual focus ring is smoother than I’d like (there’s no real stiffness, at least not on my copy), which is a shame, given how the lens boasts 1:4 magnification for close-up shots on the fly. But the focus ring isn’t bad, and should be fine for casual macro shots.

And I haven’t even mentioned the weather sealing. Honestly, this feels like icing on the cake, and is especially important for street and landscape photographers, who shoot in all sorts of conditions and need a lens that can withstand a bit of water.

(Of course, you’ll want to make sure that you’re also using a weather-sealed body, such as the all-around awesome Fujifilm X-T4!)

Finally, one of the real bonuses on the 16-80mm is the image stabilization. This is a lifesaver in so many situations, from close-ups to low-light street shooting to handheld landscape photography and more (though the exception is photography of fast-moving subjects, where you’ll probably want to opt for a lens with a wide maximum aperture, instead).

Fujifilm 16-80mm f/4: Autofocus and focal length

I tested the Fujifilm 16-80mm on the Fujifilm X-T4, and focusing speeds were stellar; the lens was snappy in good light and still pretty strong in low light. I’d expect a slight drop in focusing speeds as you work with other cameras in the Fujifilm lineup, but I can say, without a doubt, that I was happy with the 16-80mm’s performance.

If you’re shooting street-style photos, this fast focusing is essential. And you’re also going to appreciate the 16-80mm’s speed if you grab the occasional action shot while doing walkaround or travel shooting.

That said, the Fujilm 16-80mm doesn’t really scream fast-paced action, so if you’re looking for some sort of wide sports lens or fast lens for indoor events, I’d suggest going elsewhere. This is thanks to the f/4 maximum aperture, which really isn’t going to get you the shutter speeds you need when shooting fast-moving subjects in low light.

On the whole, however, the Fujifilm 16-80mm f/4 autofocuses very well, and won’t let you down when it comes to capturing the occasional action shot.

In terms of focal length, I absolutely love the 16-80mm range on a crop-sensor camera. You can shoot landscapes at the wide end, zoom in for portraits, and zoom all the way to 80mm for longer street shots.

In fact, I’d argue that the 24-120mm focal length equivalent is one of the best focal length ranges available, especially compared to the standard 16-55mm kit-lens focal length range, which does well on the wide lens but just doesn’t offer that extra bit reach for travel and street scenarios.

Fujifilm 16-80mm f/4: Image quality

When I buy a lens, image quality is my greatest concern.

Why?

Because I don’t care if a lens is lightning-fast and is a dream to handle if it can’t deliver sharp images in key scenarios.

Fortunately, I can confirm that the Fujifilm 16-80mm does extremely well optically. At f/4, sharpness is excellent at the center of the frame at all focal lengths, though it does fall off toward the edges of the frame, especially at the focal length extremes (i.e., 16mm and 80mm).

That said, edge sharpness is still good at f/4 when shooting in the 30mm to 50mm arena, and edge sharpness improves across the board when you stop the lens down to f/5.6 and beyond (which is really where things start to count for landscape and other detail shooters, anyway).

All in all, you’re going to love the resolution that this lens can provide. You get gorgeous results in the center of the frame, and very good results at the edges when stopped down, which will be enough for most photographers, including professionals.

You also get pretty much zero chromatic aberration, limited distortion, and limited vignetting.

Now, the f/4 maximum aperture isn’t great for low-light shooting. You’re going to want an f/2.8 lens if you plan to shoot indoor events, and you’ll probably also want f/2.8 if you plan to do any astrophotography.

The f/4 maximum aperture is also a problem for portrait photography, where the goal is often to achieve a creamy background blur combined with a sharp subject; at f/4, the blur is nice, but not outstanding (as pictured below).

Fujifilm 16-80mm f/4 review bokeh — Fujifilm X-T4 | Fujifilm 16-80mm f/4 | 80mm | 1/250s | f/4 | ISO 200

Who should buy the Fujifilm 16-80mm f/4?

The Fujifilm 16-80mm f/4 is, simply put, an outstanding lens.

It offers the focal length, build quality, autofocus speed, and image quality to be taken seriously by professional landscape and street shooters. It’s also a fantastic walkaround or travel option, given its light weight and compact size, especially when attached to Fujifilm’s smaller camera bodies.

At $ 800 USD, the lens doesn’t come cheap. But the price is far from unreasonable when you consider everything it offers.

So who should purchase this lens?

Pretty much anyone looking for an all-purpose lens who can afford the price tag. The Fujifilm 16-80mm f/4 also does well at street photography, travel photography, walkaround photography, and handheld landscape shooting, and while I wouldn’t recommend it as a primary portrait or macro lens, you can still get some use out of it in both of these genres.

So I absolutely recommend you check it out; the lens is available for $ 799 USD here!

Rating: 4 out of 5.

The post Fujifilm 16-80mm f/4 Lens Review: The Best All-Purpose Fujifilm Lens in 2020 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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5 Ways to Diversify Your Photography Business

20 Aug

The post 5 Ways to Diversify Your Photography Business appeared first on Digital Photography School. It was authored by Karthika Gupta.

Photography is an incredible art form that really gets your creative juices flowing. There are so many elements to making a great image, and the beauty of it is that so much of photography is really subjective.

Sure, there are some technical requirements that you might need to pay attention to. But these days, even those are somewhat relaxed in the name of art.

That said, there are a lot of things that you need to consider and pay attention to if you want to make photography your full-time career, or even make a living out of creating images. It is hard to start out and get consistent work in a sea of photographers. The fact that there is really a low barrier to entry in terms of starter gear results in a lot of competition. Plus, much of photography education online is free (or almost free), so there is nothing you cannot learn about photography on your own, right?

Diversify Your Photo Business Karthika Gupta

Being able to call yourself a full-time photographer and being able to make a living out of photography is not that easy. Markets are constantly changing; customer tastes are evolving and prices for good photography are also shifting. Unfortunately, you will always find someone who is willing to do a job for less money. That is a reality, not only for photography, but for almost any business out there.

Luckily, it is not all doom and gloom when it comes to making a living from your photography. The smart thing to do is to diversify your photography business and create multiple streams of income; that way, when one area is slow, the others more than compensate in terms of monetary benefits you can derive from this art form.

Here are five ways you can diversify your photography business:

1. Shoot different genres

I know that many photographers promote picking one genre and sticking to it. There definitely is an advantage in honing your skills and perfecting them. But I have never been one to follow that rule. I tend to get bored easily and, when I was just starting out, I did not know what I wanted to specialize in.

I tried to photograph everything I could as a way to practice using my camera as well as a way of figuring out what I wanted to do long term. When I first started my photography business, I photographed children and families. Then I moved into photographing weddings. That quickly changed to more travel and lifestyle photography and, somewhere along the way, small business branding came into play.

Now I focus on travel, lifestyle, and business editorial visual content creation. While you might think this is a crazy trajectory, I try to focus on all the soft skills I picked up during each of these phases: dealing with different types of clients, working with different kinds of lighting, and even creating different types of visual content. And I found that this really helped when it came time to diversify my photography business.

2. Teach or mentor other photographers

Once you have been around the block a few times, you realize that you have learned a lot from all your experiences. This holds true for life as well as photography, doesn’t it? If you find yourself constantly in the position of talking to other photographers who are asking for advice on how to do certain things or how to manage a photography business, perhaps it is time to officially start teaching and mentoring newer photographers.

But I have to warn you: This has to come from a place of genuinely wanting to help and teach others. Don’t just use this privilege as a way to make money. We photographers know when we are being taken for a ride, right? Being someone’s mentor or teacher is a huge responsibility, and you need to be willing to give more than you take.

3. Write photography-related articles

This is, by far, one of my favorite ways to diversify my photography business. I started writing articles for Digital Photography School in 2013, and I’ve really enjoyed the opportunity this community has given me to connect, share, and be a part of an awesome group of people who all have a common love for this art form. This has also led to more writing work, as well as more clients, so I see this as a win-win from all sides.

Now, just to set the record straight:

When you first exploring writing photography articles, be prepared to maybe do some pro-bono work. As more and more photographers are getting into writing and teaching, there is a lot of supply. Consider this exercise very similar to your initial portfolio-building experience.

4. Shoot and sell stock

I admit that this was not on my mind at first. But the more I started speaking to my friends about how they are maintaining their photography business, the more intrigued I became by stock photography.

I started shooting images for stock and found that it was a lot of work. So instead, I started adding stock imagery as one of the line items in each of my shoots (client and personal). I was creating work for my clients, anyway; why not spend some time after the shoot creating some images that can be added to my stock portfolio?

I also shoot scenarios specifically for some of my stock clients if and when I am assigned that job.

5. Sell physical products

I started doing this when I was actively photographing weddings and families. I resisted the temptation to simply copy all images onto a disk or add to an online gallery and give my clients all the images. I found that most of the clients I served were overwhelmed with 50+ images from a session.

Instead, I started an in-person-sales process, where clients would get to see their images and choose images/prints and products. This increased my average sales per shoot and added more revenue to my bottom line.

Conclusion

I have been a professional photographer for the past 10 years and, if I have learned anything this last decade, it is that we have to be nimble and flexible in how we navigate the small business entrepreneur path. What worked five years ago is definitely not going to work today.

For that matter, what worked last year may not work this year. So take it in your stride and actively work on diversifying your photography business.

Not all of these options might be appropriate for you. But if you can even take one of these suggestions and make it your own, you might be less stressed when the slow season comes along and your bills keep piling up.

The post 5 Ways to Diversify Your Photography Business appeared first on Digital Photography School. It was authored by Karthika Gupta.

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Great Android Apps for Adding Glitch Effects to Your Images

19 Aug

The post Great Android Apps for Adding Glitch Effects to Your Images appeared first on Digital Photography School. It was authored by Megan Kennedy.

In digital photography, glitches are usually avoided at all costs. However, there are some who welcome the whimsical aesthetic of glitch art. Here are four of the best Android apps that can be used to add artificial glitch effects to your images.

What is glitch art?

Generally, the word glitch refers to a visual or audio malfunction occurring in a media format.

Music, video games, and digital photography; all technology can succumb to glitches. While often viewed as an unwelcome occurrence, glitches have, over time, garnered a growing amount of creative interest. That’s where glitch art comes in.

Glitch effects example — Glitch art embraces the glitch as an artistic event spawned by the development of technology.

Glitch art is created by artists who embrace the nature of the glitch for its aesthetic and audible qualities. By either intentionally creating glitches or capturing them as they occur organically, artists elevate the status of the glitch from a technical irritation to an intriguing insight into the technology we surround ourselves with.

One of the earliest examples of glitch art was orchestrated by the art collective JODI. Founded by Joan Heemskert and Dirk Paesmans, JODI operated on experiments like deliberately causing errors on their website to evoke error messages. From there, artists have adopted the glitch aesthetic as a means of conveying ideas and exploring the technological landscape.

How is glitch art made?

Glitch art can be achieved in various ways.

For example, misalignment glitches are the result of a digital file being opened by a program that is ill-equipped to process that specific type of file.

Hardware failure glitches, on the other hand, are caused by tampering with the physical mechanisms of a machine itself.

Databending refers to the manipulation of file data with programs like hex editors.

The appreciation for glitch art has spread across the globe, with many glitch artists sharing their broad range of technical approaches to the format online. And with the growing number of glitch art apps available at little or no cost to the user, glitch effects have been an increasingly popular presence in art and social media.

Now let’s take a look at the best Android apps for creating glitch effects:

Glitch Lab

Glitch Lab operates on the central theme of being “simple to use yet at the same time endlessly configurable.” With an impressive amount of free presents and adjustments available to induce glitched imagery, all alterations can be tweaked with an easy-to-use interface, creating rich layers of visual chaos.

In addition, Glitch Lab offers some basic photo adjustments as well as a Generate function, which allows a user to generate glitch art from scratch, without the use of a photo as a starting point.

Glitch!

Simple to use and with a good amount of free features, Glitch! is one of the most popular glitch art apps available. With glitch effects like Scanner, Hacker, and Paintbrush, Glitch! realistically imitates manual glitching techniques. Premium functions include a Datamosh preset and video-based options.

Glitcho

The Glitcho app allows a user to glitch photos and videos in real-time, which can be handy for quick adjustments and previews. The app also offers a GIF-generating function, which animates some glitch effects applied to images.

Glitcho has a range of free glitch presets that can be applied to both photos and videos. The app also offers additional glitch effects that can be unlocked by watching ads or by upgrading to Glitcho Pro.

EZGlitch

Like Glitcho, EZGlitch provides glitch effects to create glitched photography and videography in real-time. The in-app purchases available in EZGlitch are balanced by the range of filters on offer at no charge to the user.

EZGlitch is also equipped with a simple-to-use Auto GIF function to generate animated glitchy GIF or MP4 files to save and share.

Conclusion

If you’ve recently looked for glitch-based editing apps on the Play Store, you’ll have seen a myriad of different options on offer.

While it may take some trial and error to find the glitch app that works best for you, these four apps are a great entry point, allowing for quick and easy glitch effects on your Android device.

The post Great Android Apps for Adding Glitch Effects to Your Images appeared first on Digital Photography School. It was authored by Megan Kennedy.

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