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Tips for Processing Landscape Photos – from Basic Edits to Artistic Interpretation

20 Jul

All professional, and many hobbyist photographers, post-process their photos. There are various reasons why you want to edit your photos, besides the fact RAW files need some level of processing, including:

  • To fix minor errors made when you took the image.
  • To make the image look more like you envisioned when you took it.
  • To add your artistic touch to the image.
  • Because image editing is fun, and is an important part of photography.

Sunrise 0

Landscape photography is often about being in the right spot at the right time. This is not always possible, so a little post-processing might help. “Why make it when you can fake it” seems to have become more and more common.

One question often raised, is how much editing you can do before you have over-processed your photo. Too much and your photo no longer represents the reality of the landscape.

It’s subjective how much editing is acceptable. Some argue the editing has gone way too far and is destroying photography. Others put their heart and soul into image editing. They try to get the most out of every detail in the photo, and to make their personal interpretation.

Landscape photographers are not photojournalists documenting reality. As such there should be plenty of room for an artistic interpretation of landscape photos. In the rest of this article, I’m going to discuss different levels of editing, using one of my own landscape photos as an example.

1. The leave as is approach – no editing

The easiest method is to save your files as JPG and do no editing at all. If you don’t want to buy an image editing software, or you simply don’t care to spend time on post-processing, that’s fine. It’s your decision. You can still enjoy the time you spend out in nature taking photos.

Obviously, with this approach, nobody can accuse your photos of not being real. But unless you learn some basic editing skills and post-process your images, you’re likely not to be regarded as a serious photographer.

Hardly any of the images with most likes on social media and photo sharing sites are unedited. In digital photography capturing the photo is just half the work, the rest is about post-processing techniques.

Sunrise 1

2. Basic editing

In my image (above), I realized I was sloppy with the composition when I took it. I had to fix this. Often one adjustment leads to another. Let’s go through the different steps I applied to this image.

The image above is the untouched RAW file straight out of the camera. Some photographers are happy with this result, and leave it there. After a closer look, I found there were several other things with the image I could improve. Because it’s a RAW file, I knew there was a lot of image data to work with.

Basic editing is supposed to enhance what’s already in the photo, not fix what is wrong. Ideally, you should get the shot as technically correct as possible in the camera. One nice thing about digital photography is how easy it is to make small adjustments after the shot. If you fail on the exposure or the horizon is not perfectly straight, no problem, you can fix it

Levelling a tilted horizon and verticals, cropping, and dust spot removal

capture-2bWhile you edit, you can make simple adjustments to your composition, like levelling the horizon and cropping. By cropping, you can tighten the composition, and to some extent “move” elements, so they align according to the rule of thirds or golden mean.

In the photo below I have levelled the trees, as they were leaning slightly to the right. I did not notice that when I took the photo. Most photographers will not question if levelling the horizon, cropping, and removing dust spots are acceptable image editing. It’s part of the workflow.

Sunrise 2

Adjusting the White Balance (WB)

I took this image an early morning, at sunrise. The reflections from the clear blue sky gave the scene an overall blue color cast. At the computer, I remembered the scene as being warmer. Warmer is perceived as more pleasing. I could be wrong, because who remembers exactly what colors a scene had at the time they took the image?

Photographers often claim they edit their photos to represent how they saw the scene. It is probably more correct to say they edit their photos the way they wish they saw the scene.

capture-3bSo I decided I wanted my image to have a warmer color tone. I adjusted the White Balance by adding more yellow.

I could have achieved something similar by setting the camera White Balance to the Cloudy preset, at the time I took the image. Changing the White Balance after the shot is another advantage when you shoot your files as RAW. Either way, the result is altered, and to some extent, the reality is changed.

Although the significant impact changing the White Balance can have on an image, it is usually accepted as part of the post-processing workflow.

Sunrise 3

Increasing Exposure and Contrast

Because no adjustments are made to the RAW files in camera, the images look unfinished when you open them up on your computer. The preview on the LCD is an embedded JPG version of the photo, which often looks much better.

capture-4bEven with modern digital cameras you don’t always hit spot on with the exposure. If you don’t get it right in-camera, with RAW files you can easily correct the exposure one two stops when post-processing.

My image is no exception, it looks flat, and needs a few more adjustments. So I increased the contrast slightly. When you increase contrast, the image tends to get a little darker. To compensate for this, I had to increase the exposure a tiny bit. You can see the result so far below.

Sunrise 4

Decreasing Highlights and increasing Shadows

capture-5bOne more thing that bothered me was the black chunk of trees to the far right. The trees have now become too dark with no details in the shadows. I fixed this by increasing the shadows slightly. I also lowered the highlights a little to bring out more of the texture in the ice. In the version below the trees to the right are no longer completely black.

With these last adjustments, the image starts to look pretty decent. So far so good. All of the edits I have done until now are within what most photographers will find acceptable.

Sunrise 5

3. Beyond basic editing

Oversaturated colors

Photos with saturated and vibrant colors are eye catching. If you want attention when you post your images on social media sites, it’s a good idea to boost the colors first.capture-6

At this stage, it was attempting to make the sunrise more beautiful. To me, it was already an awesome winter morning sunrise. But I felt I could make it even better – with some over-processing.

I did this simply by increasing vibrance and saturation significantly. The image now has an entirely different feel. To me, it looks fake. But I bet this version would have received more attention on my social media sites if I posted both versions there. I have seen this happen with some of my other images before.

With this level of editing, the discussions start as to whether or not the image represents a realistic landscape. It can be your artistic interpretation of the scene, but to me it’s not authentic anymore.

Sunrise 6

4. Photo editing artistically

Adding texture for a complete different look

In the next image I have used my artistic freedom as a photographer and artist. I blended in a couple of texture layers and photo filters with the original image. By using textures properly, you can create some interesting effects on your images.

If this is a realistic landscape photo or not, is no longer a relevant question. It’s not, nor is it supposed to be. But you can discuss whether or not you like this style. While all the previous edits were made in Lightroom, the last two versions were made in Photoshop, as Lightroom doesn’t have the layers function which is needed.

Sunrise 7

Composite of several images makes this surreal piece

The last version of my image is a composite. Only a few elements are left from the original, but you can tell it’s still there. The result is so extreme that nobody can blame you for faking a realistic landscape image. Everybody know this is a creative piece of art. Again it’s very subjective whether like the style or not. Compositing is a whole new level of photo editing, it’s not for everyone.

When you create composites, you need many of the same skills as when you photograph. For a balanced composite, you must know about composition techniques and how to deal with light and shadows, as well as colors.

Sunrise 8

Conclusion

With digital photography it’s possible to create the image you want. Your imagination and skills are your only limitations. The general trend is bold and vivid colors get a lot of attention, at least among some photographers. Whether you want to follow this trend or not, is your decision. The fact is that more of the images you see online look similar, due to the same post-processing techniques. It’s getting harder to be recognized online unless you make something different.

As a landscape photographers you have a few challenge to tackle because the elements of nature are limiting. Light and weather conditions might not be as you wish when you’re at your dream scene. Maybe you never come back to the same spot again. In such a situation it’s tempting to fix the light (slightly) in post-production. In other words, to fake reality like I did with the oversaturated image.

ICM_forest_original_edit

Original edit

ICM_forest_creative_edit

Creative edit

Photography is art, so it’s not wrong if you choose to do so, but be open with what you have done. Don’t pretend you experienced the sunrise of your life if you didn’t. In the end, it’s up to you what you’re comfortable with. Nobody can take away your creative vision.

You can do more advanced editing in Lightroom than I have shown in this tutorial. In Photoshop however the possibilities are endless. You can manipulate, remove, and add content to your images. With such drastic steps, you’re not only altering the reality, but you’re cheating. That’s if you claim your photo is real.

Now it’s your turn. What’s your opinion about how much you can edit landscape photos? Please share your thoughts in the comments below.

Original edit

Original edit

Creative edit

Creative edit

This week we are doing a series of articles to help you do better nature photography. See previous articles here:

  • 3 Habits Every Outdoor Photographer Should Develop to Avoid Missing Shots
  • 5 Tips for Better Nature Photography
  • 27 Serene Images of the Natural World
  • Weekly Photography Challenge – Nature
  • 10 Ideas for Photographing Nature in your Backyard
  • 6 Tips for Capturing Character and Personality in Wildlife Photography
  • 5 Tips for Setting the Focus in Your Landscape Photography
  • 7 Tips for Better Marine Wildlife Photography

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11 Steps for Basic Portrait Editing in Lightroom – A Beginner’s Guide

16 Mar

I love Lightroom, and use it for the vast majority of my portrait editing. You can achieve a wide variety of portrait effects in Lightroom, from harsh and grungy, to soft and dreamy. My technique varies depending on the kind of portrait I’m editing, although the workflow remains consistent.

The photo I’ve selected for this exercise, is one you can easily replicate at home. It was shot indoors, with a large window as the only light source, and is one of a series shot in the same location.

Before and after

One of the great features of Lightroom is the ability to sync settings. It’s a huge time-saver when you have a series of images, all shot in similar conditions. Once you are happy with the general settings (white balance, shadow-highlight ratio, etc.) of one image, you can sync the rest of the images in the series, with the same settings. After that, you’ll only need to fine-tune the others.

This before image is too cool for my liking, and there is not enough separation between the model’s hair and the background. I am also going to smooth out her skin tone, and bring a bit more sparkle to her eyes.

As you work through each step on your own image, play around with the sliders to see what effect each one of them has.

Step #1: Import your file

Image showing basic portrait editing in Lightroom

Sharpening preset

In the LIBRARY module, import your image into Lightroom. I have created a custom sharpening preset (shown here), which I find works with the majority of my portraits. I apply this preset upon import – a handy shortcut, especially when you’re importing a large number of images at once. It’s easy to create your own presets in Lightroom, read this tutorial How to Create Your Own Lightroom Presets on dPS, that shows you how.

To apply a preset on import, go to the righthand panel in LR, to the tab labelled “Apply during import”. Go to Develop settings > user presets, then click on the preset you wish to apply.

Once you have imported your file, go to the DEVELOP module.

Image for basic portrait editing in Lightroom

Import your file.

Step #2: Adjust  the white balance

The colour tint in this photo is a bit cold. There are a number of ways to adjust the white balance. If there was a neutral wall or surface in this photo, you could use the eyedropper tool. In this case, there isn’t a neutral reference, so I have moved the sliders under the white balance section to give the image more warmth.

Image for basic portrait editing in Lightroom

Correct the white balance.

Step #3: Adjust highlights and shadows

The model’s skin tone is a little too light, and her hair and the background are too dark. To redress the imbalance, pull back the highlights and lighten the shadows. You can fine-tune this later if necessary.

Image showing basic portrait editing in Lightroom

Adjust highlights and shadows.

Step #4: Increase vibrance and saturation

The image still looks a little dull. Use the sliders under the presence tab to increase the vibrance and saturation, and move the whites slider up to give your portrait a nice clean look. Now it’s starting to look like my model’s real-life skin tone.

Image showing basic portrait editing in Lightroom

Increase vibrance and saturation.

tep #5: Crop your image

You can crop at any stage. I’ve cropped this image for a tighter, better-balanced headshot.

Image showing basic portrait editing in Lightroom

Crop your image.

Step #6: Soften the skin

Zoom in to take a closer look at the skin. This model is very young with almost flawless skin. Usually I wouldn’t do much, if any, softening with such great skin. However, for the purpose of this exercise, I will.

Select the brush tool. You can load your brush with any adjustments you want to apply. Although there are brush presets you can use for skin softening, teeth whitening, etc., I find them too heavy-handed.

Set the clarity slider down to around -35 to -40, and the (contrast to +35, and the Highlights to +15 or so – this will help maintain contrast and keep the face from looking flat) sharpness up to +20. This will vary according to your subject’s skin, and the kind of effect you want to achieve. In this example it will just even out the skin tone and give it a soft, glowing appearance. A mature person photographed in stronger light, will require a different treatment. The lower the clarity slider, the softer the skin will appear. For a grungy look, increase the clarity slider.

Reducing the clarity tends to flatten out the image, so you can increase the contrast, deepen the shadows and increase the highlights to balance this out. Keep the feather and flow at 100%, and brush all over the face with a large brush.

Image showing basic portrait editing in Lightroom

Zoom in close to look at the skin.

Image showing basic portrait editing in Lightroom

Brush all over the area with your adjustment brush.

Step #7: Fine-tune your adjustments

Underneath the image, check the box “Show selected mask overlay”  (or use the keyboard shortcut, O) to see exactly what parts of the image your brush adjustments have touched. Often you’ll find it has covered the eyes and mouth, which is not desirable. Still using the adjustment brush, click on the erase brush tool, and remove the brushed-on effect from around the eyes, mouth, and hair.

Image showing basic portrait editing in Lightroom

Brush off the adjustments from unwanted areas.

Image showing basic portrait editing in Lightroom

Here are the adjustments so far. Looking good.

Step #8: Brighten the eyes

Zooming in even closer, then use the Adjustment Brush to add clarity and sparkle to the eyes. Note that by increasing the clarity, you also make the affected part of the image darker. Compensate with your exposure slider.

In this photo, I also increased the saturation of the iris a little to enhance the blue of the model’s eyes. Be sparing with this technique to avoid an unnatural look.

Image showing basic portrait editing in Lightroom

Use the brush tool to sharpen the outline of the eyes.

Image showing basic portrait editing in Lightroom

Treat the iris separately.

Step #9: Add colour to the mouth

Moving on to the mouth area now. Again, this model doesn’t need any work on her lips or teeth; this is for the purpose of demonstration. Using the same technique as with the eyes, brush on clarity and increase saturation. I have also moved the temp and tint sliders up to alter the hue of her lips.

Image showing basic portrait editing in Lightroom

Brush over the lips to add colour and clarity.

Step #10: Whiten the teeth

To lighten teeth, use the brush tool with the saturation slider decreased, and the exposure slider increased just a little. As with the eyes, be sparing with this step.

Image showing basic portrait editing in Lightroom

Lighten or whiten the teeth.

Step #11: Lighten the hair and background

Finally for this image I have lightened the hair and background to reduce contrast between her face and the background, and to give separation between hair and background.

Image showing basic portrait editing in Lightroom

Finally, lighten the hair and background to give separation.

The final image is a vast improvement on the SOOC (straight out of camera) image.

Image showing basic portrait editing in Lightroom

Before Lightroom adjustments.

Image showing basic portrait editing in Lightroom

After all Lightroom adjustments.

Over to you!

Lightroom editing is as much about personal preference as your shooting style, and my workflow and style represents just one approach of many. Share your tips and tricks (and, of course, questions) in the comments section below.

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How to do Basic Processing on a Portrait in 5 Minutes Using Lightroom

11 Nov

There’s a Triangle of Service that you may have seen before which goes something like this: You have three options available (cheap, quick, quality) but can only choose two. I first saw this on a sign in an automotive shop years ago, but it applies in almost any professional setting where goods and services are produced for consumption, and is especially true in photography.

As a photographer you don’t have unlimited time, but you and your clients expect quality results, and doing so is not always cheap or easy. Fortunately Lightroom makes it simple to do a basic portrait processing job in only a few minutes, which you can then copy and paste to other similar photos, to make your work even faster.

five-minute-lightroom-portrait-processing-headshot

Before I get too deep into this article I want to make clear that the following steps are a process that works for me, but your unique solution might be a bit different. The important lesson is to find a workflow that is easy to replicate and repeat, so you don’t spent all your time doing the same types of edits over and over.

As you work with any editing program – whether it’s Lightroom, Photoshop, Capture One, or even a free tool like Photos or Picasa – it’s a good idea to find an editing style that matches your photography style. I know the look I’m going for when I edit a portrait or headshot, which might be entirely different from what you prefer. Knowing how to achieve my particular style has taken me a while, but now I find that my editing is a lot quicker, because I start each photo with a particular set of steps:

  1. White Balance
  2. Tone
  3. Sharpening
  4. Vignette

These steps are quick, usually get me 90% of the way towards a finished image, and will often result in a finished portrait with no additional editing required. Let’s look at each step one by one:

five-minute-lightroom-portrait-processing-step1-import

This original is decent but it needs some tweaks before it’s good enough to give to my client.

Step 1: White Balance

One advantage of shooting in the RAW format is that you can calibrate the White Balance of your images afterwards, whereas shooting in JPG leaves you much less leeway to edit not just White Balance, but most other aspects of the photo as well. Of course, one drawback of shooting in RAW is that calibrating the White Balance can take a lot of time, but much of this can be mitigated by using Lightroom’s eyedropper tool (targeted adjustment tool) instead of fiddling with the sliders on your own.

five-minute-lightroom-portrait-processing-white-balance

To quickly adjust the White Balance, click the eyedropper icon, then find a part of your image that is neutral in color – think slightly gray instead of pure white. The eyedropper tool might not get you the perfect overall color, but it will quickly get you close to your target, after which you can adjust the Temperature and Tint sliders to your liking.

Another tip to speed things up is to click directly on the Temperature and Tint numbers and use the up/down arrows to adjust their values, or hold down the [shift] key while doing so to make larger incremental changes.

Step 2: Tone

After you get your initial White Balance set, it’s time to make some initial adjustments using the rest of the Basic panel in the Develop module. To get my particular look, I almost always start off with the following values. You can change each one quickly by highlighting the numbers, entering new values, and pressing [Tab] to move to the next set of numbers instantly.

five-minute-lightroom-portrait-processing-basic-panel

Exposure 0, Contrast 0. I don’t change these values until I make the following adjustments you see below. Because they are global, and affect the entire image, that is not usually what I want to do right away. If the image is still too light or dark after doing the rest of the basic adjustments, I’ll increase or decrease exposure accordingly, but rarely do I need to adjust contrast and you’ll see why in the steps below.

Highlights -25. This helps even out the bright portions of the portrait so any spots that are a little bright are brought down a bit.

Shadows +20. This is a way of brightening just the dark parts of the portrait to bring out a little more color and definition.

Whites +20, Blacks -25. I use these sliders instead of adjusting the contrast because it gives me more granular control over the look and feel of my portraits. I’m essentially making the whites and blacks more pure, which helps give the portrait a richer look overall. Some people skip this step and make adjustments to the Tone Curve, but it’s all a matter of personal preference, though I usually find the white/black adjustments to be quicker.

Clarity -5. Most people bump up the clarity slider which essentially affects edge contrast mostly in the midtones, but I like a slightly more subdued look so I usually start by lowering it a few notches.

Vibrance 0 (zero). This slider mostly affects colors outside the normal range of human skin, so it can be useful if you shoot outdoors and want to make the nature colors pop. I leave it at zero as a general rule, and then adjust later as necessary.

Saturation +5. I usually like a bit more color to start things off, so I start with a small value increase here, and then go up or down as necessary.

I always start with these adjustments, and then tweak as necessary. The whole process only takes a minute and almost always results in an image that is dramatically improved over the initial import.

five-minute-lightroom-portrait-processing-step2-color

This image is already more vibrant than the initial picture even though most of the adjustments were very basic.

Step 3: Sharpen

After the color and tonal adjustments are finished, I almost always apply some degree of sharpening to the image. With portraits, it’s essential that the eyes be in focus and sharp, so the next thing after Basic adjustments, is to use the Detail panel to get the sharpening you want.

five-minute-lightroom-portrait-processing-step3-sharpen

Click the targeting symbol in the top-left corner and then click on your subject’s eye to get a zoomed in view, then adjust your sharpening accordingly. I usually start with a value of 50 and then tweak additional parameters like Radius or Detail if I need to, but this basic adjustment is quick and usually gets me right near where I want.

I also apply a mask to the sharpening so it doesn’t apply to areas like faces. This helps keep the eyes sharp without adding unwanted texture to people’s skin. If you hold down the ALT key while you click the Masking slider you will see something like this (below). The white areas are where sharpening will be applied, the black areas will not. Use this to decide how far you want to take the masking on your portrait.

five-minute-lightroom-portrait-processing-step3-sharpen-mask

Step 4: Vignette

This one is a bit controversial – some people like vignettes, and some think they are an abomination unto modern photography, but as I said in the beginning this is all about finding a style and workflow that works for you. I usually add a slight vignette to my portraits, but if that’s not your thing then you can skip this step altogether. It’s not part of everyone’s five-minute workflow but it fits neatly in with mine, which is why I’m including it here. I only use a little bit of highlight priority, dark vignette, and try to keep the effect subtle.

five-minute-lightroom-portrait-processing-step3-vignette

That’s it – finished

Doing these four steps won’t always lead you to a finished portrait, but as the title of this article implies, you can usually get to a very nicely-edited portrait in under five minutes with these simple steps. You might have additional adjustments like adjustment brushes, spot removal, or red-eye corrections to do afterwards, but this will get most of the essentials out of the way.

five-minute-lightroom-portrait-processing-step1-import

Before

five-minute-lightroom-portrait-processing-step3-vignette

After – subtle but you can see the differences

Save your settings as a Preset

One final way to speed things up even more is to create a preset based on your workflow, which you can then apply to all photos on import.

five-minute-lightroom-portrait-processing-new-preset

If you take this angle, be sure to err on the side of caution and be a bit more conservative with your edits when creating the preset. You probably won’t want want to apply the same dramatic alterations to every single photo, but if you do find yourself reusing the same workflow over and over it might be worth your time to do an import preset.

Alternatively, you can create a preset and apply it at will after import by right-clicking on any photo in the Develop module, and choosing your preset from the “Develop Presets” shortcut (or find it in the Develop Presets panel on the left side panel of Lightroom).

What quick portrait processing tips work for you? Are there any specific actions you have found that save you a great deal of time? Share your thoughts in the comments below, and any example images of what your finished portraits look like are always welcome.

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Lighting 101: 4 Basic Lighting Looks

09 Jun

I recently came across a proof book that I had shot wayyyy back in the dinosaur ages, when people used a thing called film, and photography was about your skill with a camera, not skill with your computer….but that’s a topic for another day. Anyway, in those days, I was all about people’s expressions, and not lighting at all, which Continue Reading

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Your Basic Lighting Kit: A Spin Around the Block

13 Apr

So you bit the bullet and spent ~$ 100 for the stuff needed to turn your hot shoe flash into a mini portable studio lighting system. What do you with the box of stuff the UPS guy just dropped onto your dorstep? Where do you start?

That is exactly the gap we explore whenever I teach a beginner's lighting class. So today we are going to walk through a "first steps" exercise.

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Understanding the Basic Sliders in Adobe Camera Raw

26 Jan

In this short video tutorial by Tuts+ you can get a quick overview of how the basic sliders work in Adobe Camera Raw. It has a great demonstration using a white to black grayscale image which shows what each slider does, and which parts of your image each are affecting. There is also a good indicator of why you want to be shooting RAW format instead of JPG, showing the same corrections done on both formats and the difference the the larger RAW file makes.

Enjoy the video:

For more Photoshop tips check out our post-processing section. The Basic sliders in Lightroom do pretty much the same thing, but they have slightly different names. Give it a try yourself and see if this helps make sense of the basic panel.

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Basic Portrait Processing in Lightroom

24 Jan

Over the past few years I have learned a great deal about doing portraits, especially of young kids. I think it’s because I get so much enjoyment out of these types of shoots that I end up doing them more, though at some point it hardly seems fair because I wonder if I’m having more fun than the children whose pictures I am taking.

While each session is unique, I have developed my own style (which, in many ways, will always be a work in progress as I continue to learn new things) when it comes to both the shooting and editing process, and I thought it might help those who are new to this type of photo session to see a few examples along with an explanation of the creative choices I made along the way. I do all my edits in Lightroom, and while I sometimes need to do some more in-depth adjustments in Photoshop, 98% of all the pictures I give to clients don’t need anything more than what Lightroom can do. If you don’t have this software, I highly recommend it!

DSC_8127

Get it in camera first

Before I get to the editing portion of this piece, I need to clarify one thing: no amount of editing can make up for initial on-location mistakes, which is why it’s so critical to get the initial picture as good as you can right from the beginning. This involves things like choosing a good place to take the photos, finding the right time of day, and communicating with your subjects (and their parents, if you are working with kids). Along with that are your own creative choices such as your aperture and focal length, the composition of your shot, the angle from which you choose to shoot, the lighting manipulation you use, and a host of other elements that have an enormous impact on the final outcome of any given photo session.

Of course if you work in a studio you have much greater control over some of these items, but at the end of the day a poorly-shot initial photo will remain exactly that, no matter how much you try to edit it in Lightroom or Photoshop. I say all this to make sure you understand that editing tools are not a magical cure-all to make all your pictures shine. And the best way to make sure your photos are as good as they can be from the beginning is to focus not on the editing, but on basics like exposure, lighting, framing, and composition. It also helps to shoot in RAW, not JPEG, in order to maximize the amount of data you can work with on each individual photograph.

DSC_6792-original

Basic portrait processing in Lightroom

I shot this picture with my Nikon D7100 at 50mm, f/1.8, ISO 200. Since the sun was setting and I was not working with off-camera strobes, my lighting options were a bit limited. I had his father stand behind me with my Neewer 43-inch reflector to capture a bit more of the available light. (If you don’t have one of these, I recommend getting one. They are quite cheap and a fantastic addition to any camera setup.)

histogram

The initial photo was a bit underexposed, as shown in the histogram as well.

I also chose to frame the child with the green bush in the background, and of the half-dozen images I got of this particular pose I liked this one in which he was not quite looking at the camera. Often when working with kids I have found that the best images are a bit more candid as opposed to posed, but again, this is a creative choice you will have to make for yourself. Finally, I made sure to shoot this in RAW to take advantage of as much data as possible in order to correct some things back at my computer. Right away you probably noticed that the image is a bit too dark, which was the first thing I fixed in Lightroom.

A quick look at the histogram showed me that overall I got things pretty good in camera, but to make it look a bit better I increased the exposure by 1.2 stops, as well as cropped it a bit to focus the viewer’s attention on the boy’s face without the distracting red building in the background.

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First edits: Cropped and increased the exposure by 1.2 stops.

So far so good, but there’s still a lot of work that needs to be done. While the overall brightness was better, the colorization was still a bit off. The initial white balance settings determined by my camera were 4900K and -9 tint, but I wanted something a bit warmer so I increased the temperature to 5700K and changed the tint to -7.

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Second edits: adjust white balance and tint.

I liked this much better, but there were still some things that needed fixing. Now that the overall photo was properly exposed, there were some parts that were a bit too bright which was handled by lowering the highlights slider by -19. After that I increased the saturation to +6 and added +4 contrast as well.

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Third edits: lower highlights, increase saturation and contrast.

I was much happier with this, but it’s important to remember that all of the changes you make to a photo in post-production are based on your own creative ideas and there is no right or wrong way to do things. Some people like images that are desaturated, some prefer selective coloring (i.e. one part is colorized or over-saturated while the rest of the image is more black-and-white), others use cropping to achieve different effects. The sky really is the limit. One thing I like to do from time to time is add a subtle vignette effect (using Post Crop Vignette at -26, Highlight Priority), which I did here to result in the final image I gave to the client.

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Final edits: add a bit of an edge vignette, other minor color adjustments.

You might look at this and think the colorization is a bit off, or the vignette should be stronger, or the entire framing should be different, but the beautiful part of photography is that we all have our own opinions on how to do things. I was happy and so were my clients, which is all that matters to me.

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In this photo I used the Brush tool to selectively desaturate the orange strip on the boy’s shirt, and the Radial Filter to add a more precise vignette.

I do think it’s important to maintain a sense of reality in photos, though, and not let the editing get out of hand. It’s easy to feel like an all-powerful genie when you start playing around with the tools in Lightroom, Photoshop, or other editing software, but my rule of thumb when editing is to try to make the final image represent what I saw, when I initially took the photo. In the above image, for example, the orange strip on the boy’s shirt was a bit distracting, so I was able to selectively desaturate it quite a bit with Lightroom’s Adjustment Brush tool. This, along with other edits similar to the ones described above, resulted in a photo that my client was quite pleased with.

My point is that it’s great to have these editing tools available but If I start to lean too heavily on the saturation, bump up the clarity to absurd levels, or making dozens of small changes with the brush tool, I usually end up with photos that bear little resemblance to the original and come across as emotionless and empty.

What about you? What style have you developed over the years, and what approach do you use when you sit down to edit? Post your thoughts in the comments section below.

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Beyond Basic Bikes: 12 Twists on Classic Cycle Designs

06 Aug

[ By Steph in Design & Products & Packaging. ]

Bike Innovations Commuter

Plug-and-play accessories, bendable frames, built-in tents and totally unexpected redesigns transform the classic century-old bicycle design for the modern era. These 12 clever and sometimes weird cycling innovations  range from simple flat-pack construction that can be assembled with a single allen wrench to bikes that incorporate a range of the latest gadgetry.

EVO: Commuter Bike with Clip-On Components

Bike Innovations Commuter Clip On 2

Billed ‘the ultimate urban utility bike,’ the EVO by HUGE Design features quick-connect mounts on both the front and back for attaching a range of accessories including child seats and a variety of racks. Inspired by San Francisco’s famous towers and bridges, the symmetrical frame was designed to support cargo loads on both ends.

nCycle Electric Bike with Integrated Lock

Bicycle Innovations nCycle 1

Bicycle Innovations nCycle 2

Bicycle Innovations nCycle 3

The designer of the nCycle questions whether it makes sense to simply add electrical components to a design that’s over a century old, choosing instead to completely re-invent the bike for this new purpose. Gone are the ‘odd mix of tubes and wires,’ replaced by a pair of side panels that conceal a battery, storage compartment and optional folding mechanism. It’s got a built-in lock, lights and a sound system, and a holographic display on the handlebars linked to a smartphone.

FLIZ Velocipede Requires You to Run

Bicycle Innovations FLIZ 1 Bicycle Innovations Fliz 2

This isn’t exactly the sort of bike you can ride around on – the FLIZ is basically a means to propel yourself faster than you could ever run otherwise. The rider clips into a 5-point harness and gets a running start, the belt replacing the saddle.

Space Roam Fixed Gear Bike

Bicycle Innovations Space Roam 1

Bicycle Innovations Space Roam 2

This fixed-gear bike design is anything but the same old conventional style, with an ultra-streamlined design inspired by liquid metal. It’s made of super lightweight materials to make it an extra-zippy ride.

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Beyond Basic Bikes 12 Twists On Classic Cycle Designs

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[ By Steph in Design & Products & Packaging. ]

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Basic Skin Smoothing in Photoshop

22 Aug

I’ve always said that the best Photoshop is the Photoshop you never even notice.  I encourage my students to get it right in the camera, because my belief is that imaging software is a tool, not a crutch.  To quote commercial/portrait photographer Zack Arias, “If you find yourself saying, ‘I’ll just fix that later in Photoshop,’ stop what you’re doing and slap yourself as hard as you can.”  When people look at my portraits, I want them to see the personality.  I want them to see the emotion.  I want them to remember a moment in time.  What I don’t want is for them to look at my work and say, “Wow, great editing!”

In a perfect world, the photo shoot goes flawlessly.  The photos are creatively lit and bring out my subject’s personality.  It’s an intersection where subject and photographer come together in a collaborative effort that creates images needing almost no post production.

But since I don’t live or work in anything even remotely resembling a perfect world, Photoshop has become a necessary tool in the arsenal.  A levels adjustment to tweak the blacks.  Maybe a curves layer to bump the contrast.  I try to keep it subtle.  If you are shooting landscapes, it’s easy to let the artist run amok with color and special effects.  HDR?  Sure, go for it!  As a portrait photographer, though, you have to be very careful about not taking the editing and manipulation too far.

What do I mean by “too far?”  Have you ever seen a post-processed portrait where the whites of the eyes are so white that the subject looks like something out of a sci-fi movie?  What about skin so smooth it looks like plastic, totally devoid of any texture?  Any edit that pushes the bounds of reality is– in my opinion– “too far.”  I know there are people who disagree,  but my philosophy is this: whether you are coming to me for wedding/engagement photos, press photos for your band, or a head shot for the dust jacket of your latest book, we are coming together to make a portrait– not a semblance of a portrait.

Like I noted earlier, if I’ve done things properly, my portraits shouldn’t need much processing once they come off the camera.  Usually cropping/sizing.  Maybe a contrast tweak.  And maybe just a little attention to the skin.  But skin has texture.  It has pores.  It can be tricky, so here’s how I handle it.

This is a very old test shot from just before I went professional ten years ago.  Not exactly my finest hour– the pose is a bit awkward, there are multiple hot spots, the background is a mess– I could pick this photo apart for hours.  It is, however, a great image for demonstrating a skin smoothing technique.   There are a lot of different ways of doing this.  I’m not going to tell you that my way is best, but I am going to  tell you that my way is best for me.  It’s a pretty basic, straightforward approach, so it might end up being best for you, too.

First, let’s open up our image in Photoshop.  I’m doing this in Photoshop CS6 (No Cloud yet for me!), but I’ve been using this method for years, so you should be fine, regardless of which version you are using.   Step One is zooming in on our target areas.  Any adjustments you make in Photoshop will be less noticeable if you work on an enlarged view.  You’ll be making smaller, more direct adjustments, and you’ll have a better idea of when to stop.

Zooming in lets you make more direct, subtle changes.

Zooming in lets you make more direct, subtle changes.

Once we’ve zoomed in on our target areas, we duplicate the layer and add a 20-pixel Gaussian blur in the Filters menu.  You’ll immediately see the entire image go very soft.  In the Layers palette, reduce the opacity of the layer to 50%.

Duplicate the background layer in the Layers Menu.

Duplicate the background layer in the Layers Menu.

Add a Gaussian Blur.

Add a Gaussian Blur…

...and adjust it to 20 pixels.

…and adjust it to 20 pixels.

Next we are going to add a layer mask.  Don’t be intimidated.  The only thing a layer mask does is either hide or reveal the effects of the layers below it.  More on that in a little bit.  We are going to add the layer mask by holding down the ALT/OPTION key and clicking the Add Layer Mask icon at the bottom of the Layers palette.  You’ll see your image go back to its pre-blur appearance and a small black box will appear next to the layer thumbnail.

Reduce the opacity of the layer to 50% and add a layer mask.

Reduce the opacity of the layer to 50% and add a layer mask.

Next, select the brush tool.  You can use the bracket keys to adjust the size of the brush.  Pressing the SHIFT key while using the bracket keys will adjust the hardness/softness of the brush.  You’ll definitely want a brush with softer edges.  This will allow your facial edits to blend for a more natural look.  Hard brush edges will stand out.

Select a soft, white brush and adjust the size.

Select a soft, white brush and adjust the size and opacity.

Make sure you are using a white brush.  The opacity of the brush will dictate the overall affect.  The closer you are to 100%, the closer you will be to the original Gaussian blur and we don’t want that.  I generally work with an opacity between 50%-70%.  I usually work at the higher end on female portraits and the lower end on males.  Experimenting with various opacities will show you how they affect the overall look of your image.  If you think you’ve chosen the wrong opacity, simply switch the brush color to black and go back over what you’ve done.  This will replace the part of the layer mask you’ve just removed.  Then readjust your opacity, switch the brush color back to white, and continue with your edits.

Before we go any farther, let’s take a look at what exactly is happening.  When we duplicated the layer and added the blur, creating the black layer mask only covered the blur– it didn’t remove it.  By using a white brush on the black layer mask we are removing parts of the mask, revealing the blur underneath only where we need it.  You’ll notice these areas appearing on the layer mask thumbnail.

You'll see the effects of your brush strokes on the layer mask.

You’ll see the effects of your brush strokes on the layer mask.

Be careful to not brush over features like eyes and lips.  In a good portrait, facial features– the eyes particularly– should be sharp.  You do need to make sure, however, that you are consistent in your edits.  For instance, if I’ve smoothed the forehead and cheeks, chances are that the neck and shoulders are going to need some attention, too.  One sure-fire way to bring attention to your edits is to be inconsistent.  You don’t want some sort of imaginary line between retouched and non-retouched areas drawing attention to them.

The end result is a subtle, but noticeable change.

The bottom line is that skin has texture.  If you over-smooth it you will be left with a portrait that draws attention to the edits, rather than the person.  How much is too much is subjective, but keep in mind what I said earlier about going too far.  This is a technique where a little bit can go a long way.  What I really like about it is that it lets you make these edits in a subtle way, leaving you with a natural-looking portrait.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Basic Skin Smoothing in Photoshop


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The ultimate Introduction to DSLR Filmmaking | Basic Tutorial

11 Feb

A tutorial by Fenchel & Janisch Facebook: www.fb.com YouTube: www.youtube.com This introduction to DSLR video is divided into six parts. Learn how to set up your camera, shoot in daylight and at night. This tutorial shows you how to get the cinematic film look that so many people are talking about. In the fall of 2008 Vincent Laforet was the first one to use the Canon EOS 5D Mark II which was the first digital SLR capable of recording full HD video. The short film he shot mostly at night, called “Reverie”, become popular over night. Something that Canon never intended got more and more in focus of amateur filmmakers all over the world: Shooting films and commercials with a stills camera. It only took a few month and the first accessories were released. Since then a lot has happened and a lot of TV shows like “House MD” or “CSI Miami” used DSLRs on set. Philip Bloom, another pioneer in digital filmmaking, used cameras on the Lucas Film production “Red Tails”. The small body and the great image quality has fascinated international acclaimed cinematographers like Rodney Charters (“24”). In independent cinema those cameras became indispensable. Questions: www.fenchel-janisch.com ETHIC STATEMENT: Fenchel & Janisch GbR is not affiliated with any of the companies shown or named in this video. © 2012 by Fenchel & Janisch Filmproduktion GbR
Video Rating: 4 / 5