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Archive for February, 2020

Flat Lay Photography – How to Make Yours Stand Out from the Rest

18 Feb

The post Flat Lay Photography – How to Make Yours Stand Out from the Rest appeared first on Digital Photography School. It was authored by Lily Sawyer.

flat-lay-photography

If you’re on social media, you may have come across flat lay photographs. They have become very popular over recent years and can be successful scroll-stoppers on sites such as Instagram when done properly.

What is flat lay photography?

Simply defined, flay lay photography means a photograph where the subject/s are arranged on a flat surface and photographed from above. It is also sometimes called the bird’s eye view.

The surface and the lens are positioned parallel to each other from a vertical distance apart, and therefore, no angles are visible. The surface is flat, and the image shows a singular dimension taken from a parallel position above the surface.

However, this does not mean that your image should look flat. This article will discuss factors that contribute to achieving interesting flat lay photographs without the image looking necessarily flat, especially if that is not your intention.

dps-how-to-do-flatlay-photography-successfully

f/2.8 ISO 1000 SS 1/125

What can you shoot in the flat lay style?

Because flat lay photography is a style or a format, you can shoot just about anything! The only consideration is the size of the subject.

If you had a drone camera, for example, then you can shoot landscapes and mansions in a flat lay fashion, much like aerial photography.

However, drone photography is not only limited to aerial photography. You can use a drone to capture normal objects in flat lay format. What is generally available to us are mobile phones and digital cameras, which are small. So they can limit the size of what we can shoot given the vertical distance requirements.

People

You can photograph people lying down on the grass or on the bed from above, and that would be considered flat lay.

Newborns are easier to photograph from this angle because they are small. You can capture their entire bodies plus a background from a short distance, such as the newborn images below.

dps-how-to-do-flatlay-photography-successfully

f/4 ISO 1000 SS 1/125 Off-camera flash in a strip softbox to the side and a reflector on the opposite side

Objects

You can photograph just about any object in the flat lay style. Smaller objects grouped into a space together is the simplest way of doing this.

The photo below required very little styling, and I photographed it in a bright and evenly-lit space; hence there are no dominant shadows in the photo.

dps-how-to-do-flatlay-photography-successfully

f/1.8 ISO 400 SS 1/160

Food

One of the most common subjects photographed in this style is food. A plateful of food is small enough to snap a picture of so quickly. It often requires minimum styling, especially if you are dining in a restaurant, as often the food is already presented well on the plates.

Instagram is peppered with food photos, both styled and unstyled, and flat lay can add the wow factor without much effort.

The photos below are unstyled and are quick snaps of the food served at a reception. I photographed these indoors with directional on-camera flash as the rooms had little light.

dps-how-to-do-flatlay-photography-successfully

f/4 ISO 2000 SS 1/125

Flowers

I love photographing flowers. They are packed with texture and color and offer limitless styling possibilities. The top photo below, I shot on the floor in a hotel room. I wanted to capture the invitations styled with the flowers and needed more distance, so I used a wide-angle lens 24-70 at around 35mm.

Below is a photo of two bouquets taken from the bird’s eye view. These bouquets are fairly big, so I had to stand up and take the shot with the bouquets on the floor.

When taking flat lay photos using a DSLR and a heavy lens, it is quite difficult to keep all the gear steady while shooting straight down without a tripod. This is the reason why I rarely go below 1/125 sec shutter speed when doing so.

dps-how-to-do-flatlay-photography-successfully

f/2.8 ISO 1000 SS 1/160

Jewelry

Another one of my favorite subjects to use when photographing flat lay style is jewelry. I love juxtaposing jewels and metallic textures next to soft fabrics of various kinds. The layering of textures injects lots of interest in an image.

This brings us to some tips on how to enhance flat lay images, so they don’t look boring and too flat.

dps-how-to-do-flatlay-photography-successfully

f/2.8 ISO 400 SS 1/160

Tips

In my opinion, the handiest and easiest equipment to use when doing flay lay photography is your mobile phone. It’s light, has a versatile lens (which also has a fairly wide-angle), and you don’t even have to set the settings yourself! It’s super easy.

However, some phone cameras are better than others, so you can’t guarantee how good your photos turn out – especially when available light is fairly low.

Lighting

Whatever camera you use, the first, and in my opinion, the most important consideration to take is lighting. Make sure there is ample light, so your subject is well lit. You can opt for a bright and airy look with hardly any shadows, or choose a moodier look using shadows.

I like having directional light that casts some shadows because I feel they add another dimension to an image. The easiest way to check where your dominant light is coming from is to look at where the shadows fall.

On the baby photo below, the room was bright and airy. I positioned the baby on the bed, away from the window. However, the main light comes from a huge window on the left. As you can see, the shadows fall on the right. However, because it is quite a large light source, the shadows are subtle.

dps-how-to-do-flat-lay-photography-successfully

f/4 ISO 800 SS 1/160

I snapped the photos below using natural light coming from a window, but a smaller window this time to achieve a dark moody look.

dps-how-to-do-flatlay-photography-successfully

f/2.8 ISO 400 SS 1/160

If you want to eliminate shadows altogether, you can use a reflector opposite the main light to counteract the shadows. Alternatively, use a lightbox to light the space evenly.

Layers

The photo below is a social media advert for a brand. I shot it with a mobile phone that has a mediocre camera. While I have applied a filter to it, both resulted in rather grainy photos. However, they were clear enough for the brand to be happy with them.

In terms of lighting, ample light came from a side window and a velux window above. However, I wanted more of an impact, so I created layers of color and objects.

There’s the dark blue background as the first bottom layer, the fairy lights and decorations on the table as the second layer, the product as the third layer, and finally, hands as the fourth and top layer.

Layering increases the dynamic in a photo and makes it more interesting.

dps-how-to-do-flatlay-photography-successfully

mobile phone photo

Another way of creating layers is to use a very shallow depth of field. This creates an illusion of infinity for the background.

The below photo is of a rose on a vase with centrally-positioned rings to be the topmost layer of the image. However, you can’t see the surface where the vase sits because of the shallow depth of field and the use of a macro lens. In this case, I used the 60mm and shot at close range, which when using a macro lens, produces background compression and bokeh.

dps-how-to-do-flatlay-photography-successfully

f/7.1 ISO 1000 SS/ 1/125

Composition

Composition is of utmost importance as it can make or break a photo.

Every photo has a certain type of composition used in them, whether intentionally or unintentionally.

Well-executed composition elevates the level of success of a photo because composition plays a significant role in engaging and connecting with the viewer.

The photo below uses the rule of thirds – one of the simplest yet strongest compositional structures there is. Alternatively, the photo below it shows a centered composition.

dps-how-to-do-flatlay-photography-successfully

f/1.8 ISO 400 SS 1/200

It is easier to play around with composition when you have a variety of objects to use. Take the photos below where the labels and invitations were used along with the flowers to create different compositions.

dps-how-to-do-flatlay-photography-successfully

f/2.8 ISO 200 SS 1/250

Color and contrast

The key to creating successful visual images when you are limited to a flat lay dimension is color and contrast.

A darker background creates a strong contrast against lighter or brighter objects, thereby allowing enough separation to give an illusion of multi-dimensionality, as shown in the photos below.

dps-how-to-do-flatlay-photography-successfully

f/4 ISO 1000 SS 1/200

Where color might be too subtle to create a bold pop, utilize contrast with a variety of textures instead.

As shown in the photos below, delicate flowers lay against a weathered wood grain and pastel-colored invites against rough concrete.

dps-how-to-do-flat-lay-photography-successfully

f/2.8 ISO 200 SS 1/200

Style

There are a plethora of styles you can use when photographing flat lay. Illustrated in the photos below are two opposite styles: elegant and minimalist (top two photos) and homely and maximalist (bottom photo).

dps-how-to-do-flatlay-photography-successfully

f/5.6 ISO 800 SS 1/200

dps-how-to-do-flatlay-photography-successfully

f/ 5.6 ISO 2000 SS 1/160

For website purposes, I shot the photos below as a clean branding style against a seamless white background.

dps-how-to-do-flatlay-photography-successfully

f/5.6 ISO 400 SS 1/125 using off camera flashes

Conclusion

I hope this article has given you ideas on the different ways you can capture an image using the flat lay photography style. Flay lay photography is a super-creative medium – the possibilities are endless. You can achieve some high impact photos if done successfully.

Do you have any other flat lay photography tips you’d like to share? Alternatively, do you have some flat lay photographs you’d like to share? If so, please share them with us in the comments section.

The post Flat Lay Photography – How to Make Yours Stand Out from the Rest appeared first on Digital Photography School. It was authored by Lily Sawyer.


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Vazen announces new 28mm T2.2 1.8x anamorphic lens for Micro Four Thirds mount

17 Feb

Chinese cinema lens manufacturer Vazen has announced its latest anamorphic lens for Micro Four Thirds (MFT) cameras and teased another one that’s due out ‘in a few months.’

Vazen’s new 28mm T2.2 1.8x anamorphic lens for MFT camera systems is the second lens in its MFT anamorphic lineup, following up on its 40mm T2, an impressive anamorphic lens we had a little fun with on DPRTV. The new 28mm T2.2 features a lightweight design that Vazen claims makes it the ‘World’s Lightest 1.8x Anamorphic Lens for Panasonic GH5, Z-Cam E2 & Blackmagic Pocket 4k.’

It weighs just 720g (1.59lbs) and measures 80mm (3.15in) diameter and 107mm (4.2in) long. Its T-stop range is T2.2 through T16, it features a 72-degree angle of view and it has a minimum focusing distance of 82cm (2.7ft). Below is a sample video of footage captured with the lens on a ZcamE2(Vazen also shared this slightly NSFW music video captured with the lens):

In addition to the new 28mm T2.2 lens, Vazen also confirmed it’s adding a third lens to this lineup, a 65mm anamorphic lens. No details are given on the specs, but Vazen does not the 65mm lens ‘is expected to have the strongest anamorphic “character.”’

The Vazen 28mm T2.2 1.8x anamorphic lens for MFT camera systems is currently available to purchase through Vazen’s website for $ 3,250. If you purchase both the 28mm T2.2 and the 40mm T2 as a kit, Vazen drops the price for the pair by $ 400.

Articles: Digital Photography Review (dpreview.com)

 
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Leica announces three limited-edition Summicron M lenses

17 Feb

Leica has released new versions of three of its existing M lenses, giving users a choice of a silver option of the normal 75mm, and two limited edition lenses to match the green M10-P ‘Safari’. The silver anodized APO-Summicron-M 75mm f/2 ASPH will be a standard production model to give all M users an alternative to the black paint version that is currently available. Leica UK will charge a £200 premium for the silver model though it seems to be the same price as the black version in the USA. The Miami Leica store has this model marked as a limited edition of 300 units worldwide but still lists it as the same price as the black model. That may be a mistake.

The Safari green Summicron-M 28mm f/2 ASPH and APO-Summicron-M 90mm f/2 ASPH lenses will be limited editions, with Leica producing 500 units of the first and 250 of the second. These two lenses join the Summicron-M 50mm f/2 to form a set of three that match the M10-P ‘Safari’ camera that is finished in the same green paint.

The original Leica M1 in Olive for the armed forces

Copyright: www.schouten-select.com

All these cameras were marked with the word Bundeseigentum – Federal Property

Copyright: www.schouten-select.com

Leica says these green models follow in the footsteps of the original Leica M1 which was produced in Olive for the German Armed forces in the early 1960s. Those cameras were all marked ‘Bundeseigentum’ to denote that they were the property of the German government and now fetch a good price as, according to Dutch dealer Schouten, there were only 208 units made. The original M1 Olive cameras only had the standard-issue lenses for the time though, so no matching green paint in those days.

The three new lenses will start shipping at the end of February.

  • APO-Summicron-M 75 f/2 ASPH. silver anodized: £3,500/$ 4395
  • Summicron-M 28 f/2 ASPH. Edition ‘Safari’: £3,800/$ 4895
  • APO-Summicron-M 90 f/2 ASPH. Edition ‘Safari’: £4,000/$ 5095

For more information see the Leica website.

Press release:

Leica Camera introduces three new M-lens variations

Wetzlar, February 14, 2020. Leica Camera is delighted to present three new lenses for the Leica M-System: the silver anodised APO-Summicron-M 75 f/2 ASPH. as well as two limited editions, the Summicron-M 28 f/2 ASPH. and APO-Summicron-M 90 f/2 ASPH. which both come in an olive-green ‘Safari’ finish. The technical specifications of the three new lenses are identical to those of their serially produced counterparts.

The APO-Summicron-M 75 f/2 ASPH. is known as one of the most high-performing lenses for the Leica M-System and is particularly suitable for portrait photography. The new lens variation features an anodised finish and in contrast to the black-paint variant, the feet markings on the distance scale as well as the focal length engravings are inlaid in red, while all other engravings feature black inlays, emphasising the sophisticated design of the Leica M.

Leica is also releasing two limited editions, the Summicron-M 28 f/2 ASPH. and APO-Summicron-M 90 f/2 ASPH. with a special, olive-green paint finish. Both ‘Safari’-edition lenses feature red-inlaid feet markings on the distance scale and red focal length markings, while all other engravings are inlaid in white, creating a stylish juxtaposition with the olive-green lens.

The exceptionally hard-wearing, olive-green paint has a long-standing tradition at Leica. The first Leica cameras to be treated with this superior-quality enamel finish were designed for military use in 1960. Shortly after, the cameras became widely renowned as robust tools that could withstand even the most extreme conditions and what had started with the Leica M1 ‘Olive’ for the German Armed Forces went on to become an enduring success story. While the Leica M3 and M4 in olive-green were still manufactured exclusively for military use, a growing demand among private customers prompted Leica to release the first market version – the Leica R3 ‘Safari’ – in 1977. This was followed by the M6 TTL ‘Safari’ in 2000, the M8.2 ‘Safari’ in 2008, the M-P (Typ 240) ‘Safari’ of 2015 and, most recently, the M10-P Edition ‘Safari’ in 2019. Today, the olive-green cameras are highly sought-after by collectors and Leica enthusiasts alike.

Aside from the Leica Summicron-M 50 f/2, released in 2019, the new Summicron-M 28 f/2 ASPH. and APO-Summicron-M 90 f/2 ASPH. are the only M lenses to perfectly match the olive-green Leica M10-P Edition ‘Safari’, making the lenses a desirable addition to any Leica M Camera. Only 500 units will be available of the Summicron-M 28 f/2 ASPH. Edition ‘Safari’; the APO-Summicron-M 90 f/2 ASPH. Edition ‘Safari’ is limited to 250 units.
You can download high-res images here; all three lenses are available from end of February.

RRP:

  • APO-Summicron-M 75 f/2 ASPH. silver anodised: £3,500
  • Summicron-M 28 f/2 ASPH. Edition ‘Safari’: £3,800
  • APO-Summicron-M 90 f/2 ASPH. Edition ‘Safari’: £4,000

Articles: Digital Photography Review (dpreview.com)

 
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Review: Timelapse+ makes day-to-night time-lapse sequences easy

16 Feb

Even if you’re only a casual time-lapse photographer then you probably know how challenging it can be to shoot a time-lapse sequence that involves drastic changes in lighting conditions. For example, sequences shot during periods of time covering sunrises, sunsets, moonrises and moonsets are difficult because a single set of exposure parameters won’t work for the entire sequence. It’s also unlikely that your camera’s Auto Exposure mode will give you proper results, especially during low light conditions.

That’s where the Timelapse+ View intervalometer, a device designed to automate day-to-night time-lapse sequences, comes in. It retails for $ 399 and it includes Timelapse+ Studio, a Lightroom plugin for processing the timelapse sequences. Studio is also sold separately for $ 49.

I started photographing astronomical observatories 12 years ago. Whenever I needed to leave my camera unattended I would expose for the nighttime conditions (mainly considering the Moon’s brightness) and start my time-lapse sequence before sunset. The sequence would start completely overexposed but would become correctly exposed as it got darker. I would then try to salvage as many evening and morning twilight frames as possible by reducing the exposure value and recovering highlight information in post-processing. (More on how to do this in the Timelapse+ Studio for Non-Ramped Sequences section below.)

These time-lapse sequences illustrate the challenge that the Timelapse+ View aims to solve. I optimized the exposure to correctly capture the night sky, but as a result the afternoon and morning sequences were completely overexposed. Paranal Observatory, Chile. (Nikon D700 and Nikkor 14-24mm F2.8)

Timelapse+ View (the hardware)

All that hassle and limitation can be eliminated with the use of an exposure ramper, a device that progressively changes the exposure according to the lighting conditions. Some devices require that you know beforehand how the light is going to change as a function of time (that is, a light curve) and program the device accordingly. For changes involving the Sun and the Moon, this light curve will depend on the day of the year and your latitude on Earth. Consequently, a lot of trial and error might be required.

The View is an intervalometer and exposure ramper that uses algorithms to analyze the last several exposures and determine how the lighting conditions are changing. Then it predicts the correct exposure for the next frame and sets it accordingly on the camera.

With the Timelapse+ View you can correctly expose the first frame of a sequence and let its auto ramping mode do the rest of the work. The View is an intervalometer and exposure ramper that uses algorithms to analyze the last several exposures and determine how the lighting conditions are changing. Then it predicts the correct exposure for the next frame and sets it accordingly on the camera. At the same time, the View ignores transient sources of light such as headlights.

With the Timelapse+ View you can correctly expose the first frame of a sequence and let its auto ramping mode do the rest of the work.

The View has an internal battery which can be recharged via a Micro-B USB cable connected to a power device or AC outlet adapter. It sits on the camera hot shoe and is connected to the camera via a USB cable (simultaneous multi-camera control is supported via an optional USB port). The View works with many camera models from Nikon, Canon, Sony, Panasonic, Fuji and Olympus, and works with most motion control systems for shoot-move-shoot functionality and motion keyrame integration. It writes image files to either the camera memory card or to an SD card in the unit itself.

Exposure ramping a day-to-night sequence

To shoot a day-to-night sequence, one sets the camera to the lowest ISO and the appropriate shutter speed, making sure that no highlights are clipped. This initial setup will ensure that the sequence will not be overexposed. Since I always shoot in Raw I leave the white balance set to Auto (AWB) and edit the values in post-processing. (See below to learn how to edit a varying White Balance with Timelapse+ Studio.)

You can program the View with its intuitive menu but I prefer to use the free TL+View app (iOS and Android) to program, monitor, and even override my time-lapse sequences. The View can also be controlled from a web-based app on any device with a web browser.

In the first video example below, I captured a fisheye time-lapse sequence of night falling in Nashville for a planetarium show produced by Chicago’s Adler Planetarium. The most natural way of viewing circular fisheye photography is by projecting it on a dome. This results in an immersive experience putting the viewer at the center of the action.

Left: Out-of-camera sequence from a Nikon D810A controlled by the Timelapse+ View exposure ramper. The shutter speed changed from 1/250 sec to 5 sec. Right: The same sequence processed with the Timelapse+ Studio plugin to smooth out exposure changes and gradually change the white balance. Nashville, Tennessee.

For this sequence I set up a Nikon D810A with a Fisheye-Nikkor 8mm F2.8 AI-s lens by the Cumberland River in downtown Nashville. I chose an initial shutter speed of 1/250 sec and ISO 200 (with a fixed F8 aperture) and used the View’s Auto Day/Night interval mode. I set the (initial) ‘Day’ Interval to 5 sec, the ‘Night’ Interval to 10 sec, and chose Speed and ISO Auto Ramping (Aperture ramping mode is also available on the View).

In the Speed and ISO Auto Ramping mode, the View will gradually increase the exposure time and interval between exposures as night falls. ISO values will increase when the exposure time approaches the interval. In the Nashville sequence, the final shutter speed was 5 sec with an interval of 7 sec. It is interesting that during the sequence the ISO gradually decreased from 200 to 100. That’s because, whenever possible, the View will use the longest exposure (for a smoother motion) and lowest ISO (for a lower noise), even if this does not change the resulting exposure.

The View is an intervalometer and exposure ramper that uses algorithms to analyze the last several exposures and determine how the lighting conditions are changing.

I later learned that one can set a mimimum ISO. Setting this to 200 would have prevented the D810A from going into its extended (non-native) ISO range (below 200). According to the developer, only native ISO values should be used since going below the lowest native ISO could cause loss of highlights.

While a time-lapse sequence is in progress you can preview the sequence on the unit’s screen by using hand gestures. This nifty feature lets you control the sequence playback without ever touching the unit, and unintentionally moving the camera. Of course, you can also preview and monitor the sequence remotely using the TL+View mobile app or web-based interface (connected via Wi-Fi, either locally or over the internet). Furthermore, if you need to tweak the sequence settings, the app lets you make changes spread over a determined number of frames, resulting in a smooth change.

You can preview your time-lapse sequence on the built in screen using hand gestures, eliminating the need to physically touch the camera and risk moving it. The View can be programmed with its intuitive menu but I prefer to use the free TL+View app.

On the next page, I’ll explain how to process your images using the Timelapse+ Studio Lightroom plugin.

Articles: Digital Photography Review (dpreview.com)

 
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Tips for Retouching Skin in Photoshop That You Need to Know

16 Feb

The post Tips for Retouching Skin in Photoshop That You Need to Know appeared first on Digital Photography School. It was authored by John McIntire.

tips-for-retouching-skin-in-photoshop

When it comes to retouching skin in Photoshop, there are a lot of tools and techniques available to you. Some of these are fairly easy and self-explanatory, like the Healing Brush. Others, like frequency separation, are complicated multi-step processes. They involve such obscure features of Photoshop that you would never be able to figure it out on your own. Many of the skin retouching techniques are useful and work well when used together with one another.

This article will provide you a set of tips to get the most out of some of the most common and most useful (read: my opinion) of these techniques. It assumes you have a basic understanding of how to use them. If you don’t, there are a myriad of good quality tutorials available.

Tips for retouching skin in Photoshop.

Tutorials

Here’s a short list of tutorials for all of the techniques listed in this article:

  • Healing Brush
  • Patch Tool
  • Clone Stamp
  • Frequency Separation
  • Dodging and Burning

Healing Brush

The Healing Brush is probably going to be the first thing you reach for when you are retouching skin in Photoshop. It’s a somewhat intuitive tool, that doesn’t take that long to figure out and it is very effective at what it does.

To get the very best results from using the healing brush:

1. Work on a new layer

When working with the healing brush, be sure to work on a new blank layer. That way, you can be sure that you are not altering your original image. This also allows you to make changes later.

To do this, press the New Layer button on the Layers palette or press Ctrl+Shift+n (Cmd+Shift+n Mac). With the new layer set up, be sure that the drop-down box for the Healing Brush labeled “sample” is set to Current and Below.

Using the healing brush for retouching skin in Photoshop.

Working on a blank layer will ensure you can undo any changes you make should you decide to later.

2. Use as small of a brush as possible

You can quickly change your brush size with the bracket keys ( { and } ). Try to keep the brush just big enough to cover only the blemish that you are trying to remove.

Image: For the best results, use a brush size that is just bigger than the blemish you are trying to...

For the best results, use a brush size that is just bigger than the blemish you are trying to remove. This ensures that you don’t make too many alterations to the natural pattern of the skin.

3. Sample often

Don’t make a sample selection just once – do it often. Do it between every blemish if you can. This may seem like a lot of effort, but with practice, it’s really not. Your images will be better for it too.

4. Zoom in

To make sure that you are only trying to heal blemishes, and not the area of skin around them, zoom in as far as you need to.

I understand some photographer’s reticence to zoom in to 400% to 500% for the sake of retouching, but doing so will make sure that you only affect the areas of your subject’s skin that need it.

This tip (and the next one) doesn’t just apply to the Healing Brush. Do this with every skin retouching technique listed here.

Image: Zooming in allows you to be more precise with your adjustments and leads to more natural-look...

Zooming in allows you to be more precise with your adjustments and leads to more natural-looking results.

5. Zoom back out

When you are very zoomed in on your subject, you can get lost in all of the details that you can now see. Make it a point to zoom back out frequently so you can make sure that the changes you are making are actually affecting what you can see on the image at 100%. This can save you hours.

6. Don’t paint

Instead of painting with the Healing Brush, just press once (or click with a mouse) over the blemish you are trying to remove. This will limit the alterations to the surrounding skin.

Using the healing brush for skin retouching in Photoshop.

Painting with the healing brush leads to weird artifacts. To avoid these, simply click on the blemish you want to remove and nothing more.

Patch tool

The patch tool is a powerful utility that allows you to select an area that you want to retouch with a lasso and then drag that over to a sample area that you want to use to fill that first area in. It’s fairly easy to use, but it can be tricky at first.

1. Work on a new layer

You can use a copy of your background layer.

If you’ve already created and worked on a few layers at this stage, you can press Ctrl+Alt+Shift+E (Cmd+Alt+Shift+E – Mac) to create a new layer with all of those adjustments merged into it.

This will allow you to reduce the opacity of what you’ve done with the patch tool in case you go too far. It will also make it easy to delete the layer and start from scratch if need be.

Image: The patch tool can’t be used with an empty layer. Instead, duplicate your background la...

The patch tool can’t be used with an empty layer. Instead, duplicate your background layer and work on the copy. If you’re later on in your workflow, press Ctrl+Alt+Shift+e (Cmd+Alt+Shift+e) to stamp all existing layers into a new one above the rest.

2. Avoid the content-aware fill

In terms of skin, the Content-Aware Patch Tool never seems to perform very well.  Instead, leave the mode set to normal and use the Patch Tool that way. For things like backgrounds, by all means, use content-aware; just avoid it for skin retouching.

Image: Content-aware fill, as it works with the Patch Tool, is great for many things, but skin is no...

Content-aware fill, as it works with the Patch Tool, is great for many things, but skin is not one of them. Although this was sampled from a very similar part of his face, content-aware has made a mess of it.

3. Patch small areas

It’s tempting to just select a large area of skin and try to work that way. However, this will only serve to create a bunch of artifacts on your subject’s skin. Keeping your selections small allows you more control over the end result and will result in fewer problems down the line. 

4. Use similar tonal areas

When possible, use a sample area that’s similar in tone to your selection area. This will reduce the chances of creating problematic artifacts and blur.

Using the patch tool for skin retouching in Photoshop.

Here, you can see the various areas of similar tonality circled in red. When using the Patch Tool, try to sample from similar areas of tonality.

5. Reduce opacity

Once you’ve done the work that you want to with the patch tool, feel free to reduce the opacity of the layer that you are working on. This can help to hide a heavy handed approach and help to give more natural looking results. This tip applies to pretty much every other skin retouching technique as well.

Clone stamp

When you are retouching skin in Photoshop, the clone stamp tool will probably be one of your least used tools. It’s tricky to use and it’s often easier and faster to get similar results with other techniques. The one notable exception is when you are using frequency separation (covered below).

1. Use a soft brush

This may be a preference, but the Clone Stamp is a heavy-handed tool that makes drastic changes with a single click. By using a soft-edged brush, you will reduce the impact of the area of skin around the blemish you are removing.

To get to your brush menu, just right-click.

Image: This may be preference, but for the most part, you will want to use the softest brush possibl...

This may be preference, but for the most part, you will want to use the softest brush possible when using the Clone Stamp. The Clone Stamp is a very aggressive tool that can affect skin patterns in an undesirable way if used without care.

2. Do not paint

As with the Healing Brush, do your best not to paint an area of skin with the Clone Stamp. Try to keep the affected area limited to an individual blemish, pore or other marks.

Using the clone stamp for retouching skin in Photoshop.

Even though the sampled area was identical in tone, you can see the results of painting with the clone stamp tool in one large stroke.

3. Use sparingly

Again this may be personal preference talking, but try to resort to the Clone Stamp when it’s the only tool left for the job, at least in terms of skin retouching. The problems this tool can create with odd aberrations in skin texture patterns are hardly worth the risk.

Frequency Separation

Frequency Separation is one of those techniques that appears as overcomplicated sorcery at first glance. Once you’ve learned the fundamentals of the technique and how to set it up, it’s actually quite easy. It’s also a very powerful technique that can transform your skin retouching workflow. It is; however, very easy to go overboard with this technique and a heavy hand will result in less than ideal results. Once you’ve got the implementation and the basics of frequency separation down, there are a few tips to help you get the best results.

1. Gaussian Blur settings

When setting up your frequency separation layers, keep the Gaussian Blur settings to the lowest possible number while it is still obscuring all of the detail in your subject’s skin.

“4” is a good number to start with, but it might vary depending on the resolution you’re working with and how much of the frame your subject’s face fills.

Image: When setting up your Low-Frequency layer, use just enough blur to remove all of the skin text...

When setting up your Low-Frequency layer, use just enough blur to remove all of the skin texture in that layer. Here, Gaussian Blur was set to 2.

2. Blur

When applying Gaussian Blur to your Low-Frequency layer, keep the amount of blur to either equal or less than the amount that you used when setting up the layer in the first place.

3. Blur – Tones

Only blur areas of skin that are a similar tone. Blurring midtones and highlights (or shadows and midtones, or any other combination) can result in muddied tones that often don’t look good. Keep your selections to areas of similar tonality to avoid these muddied tones.

Using frequency separation for skin retouching in Photoshop.

When applying blur to sections of your Low-Frequency layer, try to make your selections in areas of similar tones. This will still help to smooth the tonal transitions without muddying them.

4. Zoom in

Ensure that you are zooming in to at least 100% on your images to watch for any hard edges that may appear while applying blur.

This can happen as you get close to hard edges within your frames, such as lips and eyes. If they do start appearing, you can reduce the amount of blur you are using, or you can make a new selection farther away from the areas causing you trouble.

5. Clone Stamp

For the High-Frequency layer, you just need to be careful with how you use the Clone Stamp. As above, the Clone Stamp is best used on very small areas with a single click. Sample often and don’t paint with it and you should be fine.

Dodging and Burning

Probably the most powerful and versatile of the techniques listed in this article, Dodging and Burning might as well be considered an essential tool for anyone that expects to be doing a lot of skin retouching. There are a lot of ways to do dodging and burning, but for the sake of these tips, I am going to refer to the method that involves using a 50% gray layer set to Overlay that you then paint on with the brush tool with white to lighten the tones and with black to darken them.

1. Keep the brush flow at 1%

Like all skin retouching techniques, subtlety is the key, and with the brushes flow at 1%, you can slowly build up any alterations that you are making.

Dodging and burning for skin retouching in Photoshop.

When dodging and burning on a grey layer, set the flow of your brush to 1%. This will allow you to build strokes slowly for more natural results.

Using dodging and burning for skin retouching in Photoshop

Circled at the top: The flow for the brush was set to 10%. Circled at the bottom: The flow here was 1% You can see the drastic difference just 9% makes on the flow settings.

2. Try to avoid broad strokes

Instead of trying to alter large aspects of your image at one time (for example, lightening an entire forehead in one go), zoom in on the area you want to work on and work on areas of a similar tone. By working with smaller areas, you will get more natural results.

3. Use multiple layers

If you are using broad strokes and working on finer detail with dodging and burning in the same image, do both of these on separate layers. Dedicate one to each layer.

With the large brush strokes, you will likely be more concentrated on overall contrast. You will often want to use a Gaussian blur on your brush strokes to even them out too.

This is not the case with fine detail where your brushstrokes should only deal with tiny, precise areas.

Using dodging and burning for skin retouching in Photoshop

For very fine control over your image, use a different layer for dodging and burning all of the sections of your image. This will allow you to alter, or get rid of any changes you might change your mind about later on without undoing all of your work elsewhere.

4. Use a small brush

Skin has a lot of fine detail in which the light in your scene passes over and creates contrast. It’s this contrast on the skin that creates the appearance of blemishes in your photos.

Because these blemishes are often small, you want to try and use a brush that is at least as small as the area you are working to lighten and darken with dodging and burning. This will ensure that you are lowering the contrast – therefore lowering the visibility of the blemishes – rather than adding it where you don’t want to.

5. Use Ctrl+z (Cmd+z) often

When you’re using a technique like dodging and burning for retouching skin in Photoshop, you are using a lot of little adjustments, maybe even thousands of them, to build up to a  finished result. You will get some of these wrong. Don’t be afraid to undo anything you’ve done if it isn’t right.

6. Reduce the Layer Opacity

Once you’ve done any adjustments that you are going to make with dodging and burning, try reducing the opacity of the layer(s) to see if you can get a better result with less of an effect.

With a time-consuming technique like this, it is easy to get lost in it and go overboard. Sometimes reducing the effect at the end is just what is needed for a more natural result.

Using dodging and burning for skin retouching in Photoshop

When you’re finished with your dodging and burning, you can always turn the opacity of the layer down to see if you might have gone too far. It’s a good idea to always at least look, even if you don’t decide to lower the opacity in the end.

7. Zoom way in

Unless your image will never be printed and only viewed in a small resolution, zoom as far into your images as you dare while retouching skin in Photoshop (this applies to all of the techniques here) to achieve the absolute best results.

Sometimes, you will find that you need to be zoomed in at 300-500% to see all of the detail that you need to work with. Sure, working this way takes a lot longer and is intimidating to think about, but putting that amount of effort in will help you to achieve better results.

The end

There are, of course, many other techniques available for retouching skin in Photoshop, but these are the ones that I use the most often.

If you’re new to these techniques, you now (hopefully) have a few tips to help you figure out how to make the very most out of them.

Of course, with techniques like these, there are always more ways to do things. If you have any tips of your own on retouching skin in Photoshop, please feel free to share them below.

The post Tips for Retouching Skin in Photoshop That You Need to Know appeared first on Digital Photography School. It was authored by John McIntire.


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Photoshop Elements 2020 Smile Tool – What it is and How to Use it

16 Feb

The post Photoshop Elements 2020 Smile Tool – What it is and How to Use it appeared first on Digital Photography School. It was authored by Mat Coker.

photoshop-elements-2020-smile-tool

You’ve likely faced that frustrating moment when you can’t get kids or families to smile for a portrait. Maybe it’s even worse and you make people grumpier when you try to take their picture. If you look through your photos and wish there were more smiles, the Photoshop Elements 2020 Smile Tool can help with that.

You can retouch facial expressions and not have to be intimidated by the process anymore. Photoshop Elements 2020 (a simplified version of Photoshop) allows you to put a smile on faces using a simple slider tool.

Let’s look at how this tool works and the best situations to use it.

frown portrait

Photoshop Elements claims that the Smile Tool can turn a frown upside down. Let’s see if it really works that well.

What is the Photoshop Elements 2020 Smile Tool?

Photoshop Elements is a simplified version of Photoshop. Adobe has introduced many automations that make Photoshop’s essential tools easier to use. Photoshop Elements gives you the power of Photoshop without the overwhelming number of complicated features found in the full Photoshop program.

The Photoshop Elements 2020 Smile Tool allows you to easily put a smile on your subjects face using a slider rather than the usual complicated tools.

So, if you’ve made a mess of faces with the liquify tool, this will give you better results!

Before and after editing portrait facial features

It took less than 10 seconds to enhance his smile.

 

Who is the Photoshop Elements 2020 Smile Tool for?

The Photoshop Elements 2020 Smile Tool is for you if you want the power of Photoshop to retouch smiles without the learning curve of Photoshop’s many tools.

If you’re hoping that you won’t have to make people smile anymore because you can “just fix it in post,” this tool isn’t for you.

Think of this tool as an insurance policy. If you fail to make your subject smile for real, there is hope that this tool can help. But you should try your best to get a good smile in the first place.

How does the Photoshop Elements 2020 Smile Tool work?

This tool is very simple to use.

  1. Open your photo in Photoshop Elements 2020.
  2. Go to the Enhance dropdown menu.
  3. Then go to Adjust Facial Features.

Photoshop Elements 2020 Smile Tool

Photoshop Elements will auto-detect your subject’s face.

The Photoshop Elements 2020 Smile Tool is now available as a slider on the right-hand panel.

You’re ready to adjust the overall smile and even make fine detail improvements to the lips, eyes, nose, and face shape.

But before you get too excited, you should keep your adjustments as small and subtle as possible. You can too easily distort a face.

photoshop elements smile tool auto detect

The tool has no problem detecting a face that takes up a significant portion of the frame. But it does have trouble detecting small faces, especially in a group photo.

How well does the Photoshop Elements 2020 Smile Tool work?

Adobe claims that you can transform frowns into smiles. Will it really work that well for you?

Let me give you a spoiler. No, the Photoshop Elements 2020 Smile Tool won’t transform a frown into a smile. At least I couldn’t figure out how to do it.

Photoshop Elements 2020 Smile Tool

I brought up the corners of his lips, which produced only a hint of positivity in his mouth. His eyes have also been enlarged. But how do you remove the furrowed brow? You can’t. It’s too late to fix this smile in post-production. The right moment to fix this smile was the moment the photo was being taken.

 

Photoshop Elements 2020 Smile Tool

Again, even after extensive use of the tool, there is very little difference between these two photos. It takes more than upturning the mouth to make a frowny face look happy.

What if you start with a neutral face?

You can not fix a frown with the Photoshop Elements 2020 Smile Tool. But when you begin with neutral emotion the results are more impressive.

Photoshop Elements 2020 Smile Tool

The first photo looks more serious, while the second has a small smile. Moving the slider too far seemed to produce a very fake-looking smile.

 

Before and after editing a head and shoulders portrait

Again, the tool works well when beginning with neutral emotion and adding a subtle smile.

Sometimes it won’t detect a face

While experimenting with different photos, I discovered that Photoshop Elements will often fail to detect all the faces in group photos. But I found that when I cropped in closer and the faces became more prominent, they could then be detected.

I had to rotate a newborn photo so that Photoshop Elements would detect the face.

Error messages when editing portraits

Perhaps the program can only detect a face when a person is sitting upright.

 

Photoshop Elements 2020 Smile Tool

Rotating the photo allowed the program to detect the face.

 

Photoshop Elements 2020 Smile Tool

But upturning the lips and enlarging the eyes only produced an awkward expression.

Begin with a photo that has potential

The Photoshop Elements 2020 Smile Tool will not turn a frown or awkward expression into a smile. You need to begin with a neutral expression or a small smile if you want the tool to works it’s best.

The human face is too complex and meaningful to transform a deep expression with a simple slider. When it comes to scowls and frowns, the entire face is involved.

Perhaps someday the tool will be able to detect the unique contours and subtleties of the emotions written on our face. But for now, you’ll need to use other magical powers to manipulate the human face.

Yes, you can manipulate the human face without needing Photoshop or any other post-processing software.

How to make people smile for real

Your goal is a portrait of smiling people. You need a plan in order to make that happen.

For most photographers, the plan is to just tell their subject to smile. That’s an okay place to start, but that doesn’t always work.

You may have to confront the fact that you don’t always know how to make people smile or bring out the best in them. Perhaps you even upset people when you’re trying to make them smile.

Here are three ways to help people smile for their photo without simply commanding them (or using Photoshop later on):

  • Energy
  • Comedy
  • Praise

The amount of positive energy that you bring to the session will be reflected back at you. Negative energy will always come back worse, positive energy will always come back better. Do not bring harsh tones and negative energy to your photo sessions.

Comedy makes people laugh. Notice that comedians don’t tell people to laugh, they just say funny things and (most) people laugh spontaneously. Be funny for the people you’re photographing and they will smile.

Happy portrait

People normally have a nice smile in real life but a fake smile for the camera. They need to be praised and told whenever they are showing a good natural smile. That way they know how it feels when they have a natural smile and can produce it for the camera. Also, praise will make them smile even more. Eventually, they’ll smile just because you tell them they have a nice smile.

I’ve learned all this the hard way. As a family photographer, I could make other people’s kids smile but not my own. I made my kids miserable by becoming a dictator when I wanted a photo. Very few people smile when being bossed around by a dictator.

I realized they will smile naturally if I stop barking orders and turn the photo session into a comedy routine. I got far better results as an engaging person.

Dealing with grumpy kids during photo sessions

The result of commanding them to smile.

 

Making kids come alive for portraits

The result of being a comedian.

 

Use it sparingly

The Photoshop Elements 2020 Smile Tool will help put a smile on your subject’s face, but it won’t help you to become a better photographer or the sort of person that makes others happy.

This tool is not for you if you consistently miss smiles and hope to fix them in post-production. I think the solution for all of us is to learn to engage other people and bring out the best in them.

Be thankful for the Photoshop Elements 2020 Smile Tool, but plan to use it in case of emergency. You’ll feel really good letting people know that you don’t have to “Photoshop” the smiles in your photos.

Have you used the Photoshop Elements 2020 Smile Tool? What are your thoughts? Share them with us in the comments.

The post Photoshop Elements 2020 Smile Tool – What it is and How to Use it appeared first on Digital Photography School. It was authored by Mat Coker.


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DPReview TV: Olympus 12-45mm F4 Pro review

16 Feb

The new Olympus 12-45mm F4 Pro lens promises to be a high quality, compact zoom for Micro Four Thirds cameras. Does it live up to the hype?

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  • Introduction
  • Size and weight
  • Livin' la Bokeh LoCa
  • Sunstars
  • Sharpness
  • Compared to the Panasonic GX 12-35mm F2.8 II
  • Minimum focus distance
  • Conclusion

Sample gallery from this episode

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Officials warn Yosemite’s lack of water may spoil annual ‘Firefall’ waterfall event

16 Feb

Photographers hoping to attend this year’s ‘Firefall’ waterfall event at Yosemite may be disappointed. The National Park Service has published an advisory warning that Horsetail Fall, the site of the Firefall event, has ‘little to no water.’

The Firefall event takes place in late February every year, giving photographers the opportunity to capture the Horsetail Fall illuminated with sunlight. During this time, the water turns bright orange and resembles fire or molten rock pouring over the edge of El Capitan in Yosemite Valley.

The lack of water, however, threatens to ruin this event; without water, obviously, there will not be a stream of ‘fire’ to photograph. Assuming the Firefall does happen, it will be visible from February 13 to 27 this year. In order to prevent issues from heavy traffic during this event, Horsetail Fall will have daily restrictions from noon to 7 PM during the aforementioned dates.

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Video: How much does an anti-aliasing filter affect image quality?

16 Feb

Some digital cameras currently on the market don’t have a traditional optical low pass filter (OLPF), or anti-aliasing feature, in front of the sensor. Manufacturers claim this makes images sharper though it comes with an increase in moiré patterns. Does this significantly affect image quality? New Zealand-based wedding photographer Richard Wong wanted to find out. In the video, above, he displays side-by-side comparisons of images taken with similar full-frame mirrorless cameras. One has an anti-aliasing filter while the other leaves it out.

By zooming in on images taken with a Panasonic S1, which leaves the anti-aliasing filter out, and a Panasonic S1H, which contains an OLPF, Wong illustrates some subtle differences. Both cameras boast a 24MP sensor and photos were captured with the same lens, a Lumix S 24-105mm f/4, with an aperture setting of f/8. While it might be easy enough to correct minor flaws in the post-production process for photos, it gets a bit more complicated with video.

Even when zooming in 200%, it’s difficult to tell the difference between the images taken with the two different cameras.

“If there are two cameras out there that are pretty much identical, and the only difference is that one camera doesn’t have the anti-aliasing filter and one has it, if you want to maximize the image sharpness and don’t worry too much about moiré patterns, then definitely go for the camera that doesn’t have the anti-aliasing filter because that will give you the best image sharpness,” explains Wong.

“On the other hand, as you can see from the comparison photo, even when I zoom in and look at the photo side-by-side at 100% zoom level, I can’t really tell the difference,” Wong continues. “I have to zoom in to 200% or 400% before I can actually see the difference between the two photos.”

By zooming in 400% to 800%, differences become more defined. You can see discoloration or false colors on the balcony with the S1 while the S1H is slightly more blurry in the details.

One final note: Wong recommends you watch this comparison video from a full screen instead of a smartphone to see the subtle differences. What do you think? Would it be worth upgrading to a camera like the S1H, which contains an anti-aliasing filter, if you were using it for video as well?

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PiXLIGHT portable speedlight for cameras and smartphones launches on Kickstarter

15 Feb

Photographer Arash Hamidi has launched a Kickstarter campaign seeking funds for PiXLIGHT, an off-camera speedlight with a portable, lightweight design and support for smartphones in addition to cameras. The speedlight system collapses down to a small size when not in use, enabling photographers to pack it in the average photography backpack or most bags.

PiXLIGHT weighs 1.6kg (3.5lbs) and measures 203cm (80in) long when setup with its umbrella, which will be available with six and eight ribs. The modeling LED light has a 2.5s recycle time, attaches to a flexible gooseneck with 360-degree swivel support and is capable of 400 full-power flashes per charge; the battery is user-replaceable.

Other features include support for high-speed sync, more than 15 light modifiers, an angle lock on the tripod, remote control and built-in trigger, Bluetooth for connecting to a smartphone in order to control the light’s settings, standard USB-C charging and a guide number of 58 at ISO 100.

The Kickstarter campaign, which has exceeded its funding goal, is offering the PiXLIGHT with an umbrella, remote, battery and ‘simple bag’ for pledges of $ 249. Other pledge options are also available offering a variety of modifiers without the light, two lights with umbrellas, batteries and a ‘special bag’ and more. Shipping to backers is estimated to start in July.


Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

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