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4 Ways to Create Awesome Infrared Images

10 Jul

The post 4 Ways to Create Awesome Infrared Images appeared first on Digital Photography School. It was authored by Simon Bond.

A really interesting form of photography that can transform your images is infrared photography. This form of photography has been around for a long time, and today, you’ll discover how to make your own infrared images. Anyone can do this, and it’s possible to do with minimal or even no extra equipment at all. So read on and find out how you can enhance your photographs today.

4 Ways to Create Awesome Infrared Images — Infrared works very well as a long exposure, especially with moving water.

1. Infrared photography with an infrared filter

The first and most accessible way for photographers with a digital camera to get into infrared photography is to buy a filter. Filters work by filtering out all light except infrared. This will lead to an infrared image rendered onto your camera sensor.

The imperfect solution

Using a filter is the quickest route into this genre of photography, but it’s not without it’s problems. The fact is your camera is built to resist infrared light, a fact that has both positive and negative results for you as a photographer. Let’s take a look at some of the factors you’ll need to consider.

Camera sensor – Different cameras will work better or worse when it comes to infrared photography with a filter. This comes down to how strong the filter that blocks infra-red light hitting your camera sensor is. A strong filter will mean you’ll need longer exposures, and the results are not always as strong.
Light leaking – With the long exposures needed it’s important to cover area’s of the camera that allow light in, other than of course the lens. If you fail to do this you’ll find light leaks in, effecting the outer area’s of your image. The most obvious area that needs covering on a dSLR camera is the viewfinder.
Camera noise – If your camera is not sensitive to infrared light you’re going to have two choices, both will lead to digital noise on your image. Those choices are upping the ISO, to allow a shorter long exposure, or exposing for several minutes in bulb mode.

The need for long exposure

As mentioned infrared photography with a filter requires long exposure, however this can often really add to your image. You’ll need a tripod, a way for triggering your shutter remotely, and you’ll need to cover your camera to prevent light leaking in. Using long exposure is often the choice of many landscape photographers anyway, so what will you gain? If you’re photographing anywhere with moving water or clouds, then you’ll capture their movement with long exposure. Coastlines and seawater are somewhat different in that it will flatten the water, again often a desirable effect.

Which filter?

There are plenty of options when it comes to filters you can buy. Obviously, as with different manufacturers, the results will vary, and you’ll need to choose a filter that suits your style. However, all of these filters will do the same thing, and that is filter out infrared light. The photos in this article were produced using the Hoya R72 filter.

The white balance

To get to your desired result with an infrared filter, you’re going to need to adjust the white balance. You’ll usually want to do this in post-processing, however, it’s also possible to do it in-camera.

The method needed to do this in-camera is as follows:

Compose your photo and aim at some grass that is well-lit by the sun – it needs to be photosynthesizing.
Use an exposure of 10 or 20 seconds – enough to correctly expose the photo.
During the exposure, which in this case can be handheld, move the camera around so you get a blurred photo.
Your image should now be red, with no sharp portions to your photo.
Now go to your camera’s white balance settings.
Select the custom white balance option.
Select the photo you have just taken, and use this to set the custom white balance. It will now set everything that is red in your image and make it white.

Post-processing required

If you chose not to use the camera’s custom white balance, then you’ll now need to process your image. You’ll have a RAW image that is mostly red. You can now decide whether to process for a color infrared image, or a black and white one. In both cases, you’ll need to adjust the red and blue channels to achieve this.

2. Modify your camera to produce infrared images

Those more serious about infrared photography can look into modifying their camera. It’s important to mention that once modified, your camera will only be useful for infrared photography, so don’t get this done with your main camera.

Those that go down this road often have a second camera body, which they’re prepared to dedicate to infrared photography.

What’s involved?

Remember that most camera manufacturers produce cameras that block out infrared light? You will modify your camera to remove that infrared blocking filter in front of your camera sensor and put an infrared filter in place. That’s the process, and now your camera will be sensitive to infrared light.

What are the advantages?

You can now use this camera more like a regular camera, instead of only being able to take long exposure photos. That means techniques like panning and infrared are possible. You’ll be able to use fast exposures to capture moments. In other words, you will regain full artistic control of your camera, just now it only photographs in infrared.

3. Film photography and infrared

Infrared images have been produced for a long time, and certainly predate digital photography. It’s possible to take beautiful infrared images with film, though you’ll need to get film that specifically for this form of photography.

An infrared filter used on a digital camera won’t be needed this time, as the film itself exposes for infrared light. However, you may well consider using filters anyway. The same filters that enhance regular black and white photos can also do the same for infrared. That means the classic yellow, orange, and red filters should be in your camera bag. Should you choose to use an infrared filter this will certainly work, but again it will block most of the light, meaning you’ll be taking a long exposure.

4. Producing infrared images in post-processing

The last method to produce infrared images is post processing.

That means you can choose any of your existing photos, and process them to replicate the infrared effect. It’s worth choosing a photo that would work well if it were photographed as an infrared.

Think of a landscape photo with plenty of green foliage, and a blue sky with one or two clouds. Those wishing to learn how to process their images in this way can do so by reading this article.

Time to create your infrared image dreamscapes!

This article has given you all the information needed to create infrared images, or where to find that information.

Have you tried out this form of photography? If so, which of the above methods did you use, and do you have a preference?

Infrared photography is fun. If you’re waiting to get out on a sunny day, why not try the post-processing route? If you have any infrared images already, why not share them in the comments? We love to see your images!

The post 4 Ways to Create Awesome Infrared Images appeared first on Digital Photography School. It was authored by Simon Bond.

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How to Create a Photogram Effect with a Digital Process

13 Jun

The post How to Create a Photogram Effect with a Digital Process appeared first on Digital Photography School. It was authored by Megan Kennedy.

One of the first photographic processes I learned was how to make a photogram. Since then, I’ve often wondered if a digital process could adequately mimic the appearance of the finished photogram aesthetic. The difference between the original and digital processes means that the results of any digital technique can’t really be called a photogram as such (I’ll call it a photogram effect). Nevertheless, there are digital processes that do hearken back to the appearance of the photogram.

In this article, I’ll walk you through my method to make a photogram effect with a digital camera, a laptop/tablet, a bit of Photoshopping, and a handful of objects.

How to Create a Photogram Effect with a Digital Process

What is a Photogram?

A photogram is a photographic image made without the use of a camera. The photogram process usually involves placing objects directly onto a photosensitive medium like photo-paper and exposing the arrangement to light. The result is a negative rendering of the objects, creating delicate studies of the interplay between light and various degrees of transparency.

The photogram technique was famously used by Man Ray in his explorations of rayographs. Other artists like László Moholy-Nagy, Pablo Picasso and Imogen Cunningham also experimented with the distinctive photogram format.

How to Create a Digital Photogram Effect

To create your photogram effect, there are a few things you will need.

You will need a:

dark(ish) room
tablet or laptop
digital camera
piece of white paper (A4 approx)
selection of objects of different transparencies
tripod (optional)

Setting up

Creating a photogram effect requires a little preparation. On the laptop or tablet, open a plain white image and display it full-screen. You can make a plain white image by saving an unedited white canvas from Photoshop or Paint etc and viewing it full-screen in a photo-viewer. For greater impact, turn up the brightness of your laptop or tablet screen too.

Once your laptop or tablet is displaying a plain white background, position the screen so that it lies flat and face-up on a level surface. Place the sheet of white paper over the screen.

Position an object or a selection of objects on the paper. You can arrange them as neatly or as randomly as you like – there is no hard-and-fast rule!

Once your have arranged your objects, turn off the lights, close the curtains, do what you can to darken your surroundings. You don’t need complete darkness to create a photogram effect, but working in darker conditions does make the effect a little more pronounced.

Taking the shot

Next, it’s time to start taking photographs. If you want to use a tripod, get set up so the camera is positioned squarely over the laptop or tablet.

In terms of camera settings, I set my camera to manual at f/4 at around 1/80th of a second. For this project, I set my ISO to 1600 and I also adjusted the exposure compensation to +2. These settings may differ depending on your setup. To mimic the photogram effect, you want detail in the transparent areas of an object and considerable shadows in opaque areas. It can be difficult to get the balance right first go, so don’t be afraid to experiment with your camera settings.

If you are hand-holding, aim your camera so it is square with the dimensions of the laptop or tablet screen. Set your focus and take a shot (don’t worry if some areas are out of focus, this can add to the effect).

The intriguing part about this process is that the results may not immediately grab you. The paper may look blotchy, the shadows blocky, the edges of the computer/tablet screen might be visible etc…but don’t give up! Just aim to capture detail in the transparent areas. It’s in the post-production that the photogram effect really comes to life.

Post-production

Once you have shot a range of images, its time to Photoshop them. First, open an image and click on the Exposure Adjustment Layer. Set the exposure so that the background in the image is completely white. This will brighten your subject too. You can also do some cropping to eliminate any remnants of the laptop/tablet screen etc.

Next, click on the Invert Adjustment Layer to invert your image. Then, select the Black and White Adjustment Layer. The result will look something like this…

You can experiment further with your image by adjusting the Black and White Adjustment Layer settings and/or presets, or experimenting with a Curves Adjustment Layer to increase or decrease contrast.

Here are a few more examples I made by collecting plants around the local area, photographing them on my laptop screen and processing them with Photoshop:

photogram effect bottle brush and flowers — To get a blockier photogram effect, I increased the contrast of these images with the Curves Adjustment Layer

Conclusion

And there you have it! While it isn’t a genuine photogram, this photogram effect sure is reminiscent of the old analog processes I did in the darkroom.

Show us your photogram effects in the comments!

The post How to Create a Photogram Effect with a Digital Process appeared first on Digital Photography School. It was authored by Megan Kennedy.

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Video: Mathieu Stern uses beet juice to create an ‘anthotype’ prints

05 Jun

Photographer Mathieu Stern is often using interesting camera gear, lenses and even trying unusual photographic processes. His latest project was to create an ‘anthotype’ print, also known as a phytotype. This photographic process was invented all the way back in 1842 by Sir John Herschel.

To create an anthotype print, you must use photosensitive material from plants. Materials ranging from flower petals, fruits and vegetables can be used. A sheet of paper is coated with the photosensitive material and then partially covered with an object or a photo positive before being exposed to light. The area of the paper which was not covered is essentially bleached, leaving color behind only in obscured areas of the image. There is no fixer used in this photographic process, so the paper remains sensitive to light.

As you can see in Stern’s video below, for his anthotype print, Stern used beetroot juice. After filtering the juice, Stern applied it to a piece of paper and let it dry. He then repeated the process for a second and third coat. After preparing his paper, Stern placed one of his transparent positives over the paper and placed them both in a wooden frame. He then left the positive and beetroot paper in the sun for a week. You can see the full process and result in the video below.

If you are looking for a fun project to try at home, creating an anthotype is a neat option. Stern also recently tried his hand at the cyanotype photographic process. You can learn how this went by clicking here.

To view more of Mathieu Stern’s work, be sure to visit his website. If you’d like to see his videos, you can view them on his YouTube channel. There you can find a lot of interesting experiments, including Stern creating a lens using ice, adapting many old lenses to his modern mirrorless cameras and much more.

Returning to Stern’s inspriration, the creator of the anthotype photographic process, Sir John Herschel, led a very interesting life. Born in the late 18th century in England, Herschel spent time as a mathematician, astronomer, chemist, inventor and experimental photographer. Herschel also invented the cyanotype photographic process, which became the blueprint. His contributions to science were many.

With respect to photography, Herschel made numerous contributions. In addition to creating cyanotype and anthotype photographic processes, Herschel is credited as the first person to use the term ‘photography’ itself in 1839 and the first to use the terms ‘positive’ and ‘negative’ within the field. Also in 1839, Herschel’s fixing agent was used by his friend, Henry Fox Talbot as Talbot raced against Daguerre to perfect a photographic process using negatives. That same year, Herschel himself made what is considered to be the first glass negative.

Articles: Digital Photography Review (dpreview.com)

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How to Photograph Long Exposures to Create Dreamy Images

02 Jun

The post How to Photograph Long Exposures to Create Dreamy Images appeared first on Digital Photography School. It was authored by Jeremy Flint.

Many new photographers may not know how to photograph long exposures, or even what that means to their photography. Thanks to the development of camera accessories and filters, capturing long exposures is becoming a very popular medium of photography for enthusiast photographers.

Long exposure photography is a technique used by many landscape, cityscape and seascape photographers. Have you ever seen a picture of the city where clouds show motion, the car lights have been made streaky or the seawater is rendered blurry? Well this will usually be the result of using a filter to achieve a long exposure that captures the movement of the subject.

Before we look at how to photograph long exposures, it is first worth considering the meaning of a long exposure, and the different types of photography you can apply the method to.

A long exposure is “a timed exposure of a long duration where the shutter is open for a speed of several seconds where the purpose and aim of long exposures is to sharply capture and minimize movement of static objects within the frame whilst blurring the elements with motion.”

Samples of long exposure photography

There are a variety of different styles of photography where using long exposure photography techniques can result in great images. Some examples of popular subjects include landscapes, cityscapes, seascapes, astrophotography (such as creating star trails), street scenes, and even abstract scenes.

Applying the technique of long exposure photography to landscape scenes can be a great way to create drama in skies or foregrounds with moving clouds or foliage.

Shooting water with long exposures can also benefit your images. Capturing moving water can bring an ethereal look and feel to seascapes as waves break or crash. Using a long exposure, you can capture the swell of the ocean or motion of tides for dreamy-looking images.

How to achieve long exposures

When considering how to photograph long exposures,
you will initially need to think about the kit that you will require, how to
set this up and the steps to capturing your image.

How to Photograph Long Exposures to Create Dreamy Images — The Lee Big and Little Stopper Neutral Density (ND) Filters are great for long exposure photography.

Kit required

A tripod is an essential piece of equipment to enable your camera to remain still during the image capture time when the shutter is open.

Next, you will need a cable release, or wireless remote so you can start and stop the long exposure. Please note this is only required if you need to extend your exposure time beyond 30 seconds. If you shoot below 30 seconds your cameras self-timer will be sufficient to trigger and close the shutter.

A filter holder is another essential item that is required to achieve long exposures. These are used to hold the filters in place that will be used to slow the exposure time down.

With regard to using filters, neutral density (ND) filters are recommended to minimize the light entering your camera.

These vary in strength and the effect they can create. The darker the coating, the greater the number of stops of light and the stronger the filter will be. For example, a 10-stop filter will block out more light than a 3-stop or 6-stop filter, and enable you to achieve longer exposures. Examples of these filters include Lee Filters Big Stopper (10-stop) and Little Stopper (6-stop).

Leaving your shutter open for an extended amount of time can result in some really interesting shots. With this shot of a waterfall, I wanted to make the water more blurry, so I set the camera up on my tripod and photographed it using an ND filter and a longer exposure. By increasing the exposure time, you can see I have been able to create a milky, smooth effect on the water, giving a pleasing result to the image.

Set Up

Once you have found a composition you like, you will need to place your camera on the tripod, attach your cable release and affix your filter holder. Next, focus the camera manually (using the MF button on the side of your camera) before putting the filter in place.

Steps to photographing long exposures

Once your kit is set up, here are some simple steps on how to photograph long exposures using the equipment mentioned above to achieve sharper images.

1. Bulb mode

Arrange your camera so that you are shooting in bulb mode. This allows you to keep the shutter button open for longer. It will stay open as long as you hold it open.

2. Set your aperture and ISO

I recommend setting a small aperture of over f/8 to f/22. The larger the f/number the longer the exposure you can achieve and a low ISO of 100.

3. Exposure times

Depending on the strength of the ND filter you are using, your exposure time will change. Based on an initial exposure time of ½ second using a 6-stop filter, you will need to shoot for 30 seconds or 8 minutes using a 10-stop filter, for example.

Press the self-remote timer and lock the shutter open
or if you are using the cameras self-timer press the shutter button gently on
the camera. When you are ready to close the shutter unlock the cable release
(if you are using the self-timer the image will finish by itself).

4. Extra tips

If you are using a DSLR, it is also a good idea to use your mirror lock-up so that the mirror going up and down during your exposure doesn’t cause camera shake. Also, be sure to cover the back of the viewfinder to prevent light from entering and potentially ruining your pictures during the exposure. Many cameras have a little rubber cap that comes attached to the camera strap, to cover your viewfinder. That will stop any light leaking through.

Conclusion

In summary, shooting long exposures is a great technique you can use to enhance landscapes, seascapes and images of water where movement is added to the image by extending the exposure time.

When you are looking at how to photograph long exposures, be sure to get the right kit for the job such as a tripod, filter holder, ND filter and a cable release. Remember to follow the steps required above to capture your long exposures, and share the images you take with us below. It will be great to see what you capture.

If you want to go deeper into long exposures, see this article by DPS writer, Rick Ohnsman.

The post How to Photograph Long Exposures to Create Dreamy Images appeared first on Digital Photography School. It was authored by Jeremy Flint.

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Interview: Dirk Dallas of ‘From Where I Drone’ shares what it takes to create excellent photos

27 May

Interview: Dirk Dallas of From Where I Drone shares what it takes to create excellent photographs

Anyone can curate photos, but not many have built a successful brand out of it. Dirk Dallas has dedicated thousands of hours to From Where I Drone (FWID), a website and online community that aggregates aerial images from all over the world. FWID has made such a profound impact, with its 266,000 active followers and counting, that Dallas was approached by an established publisher to create a book.

He is also a professor, photographer and ambassador for top brands including PolarPro, an instructor for Adorama TV and a judge for competitions including the Paris Aerial Photography Awards. Dallas credits DPReview for guidance at the start of his journey, saying:

‘DPReview was of the sites I remember always checking when I was going to look up my first camera. I would read all the reviews, there were hi-res photos and I would zoom in to examine more details. You were one of the first sites to feature photos where I could do that and actually see the product clearly.’

We got a chance to catch up and learn more about the steps he took to build a robust online community, his thoughts on what makes a photo stand out in a sea of millions and his new book Eyes Over the World: The Most Spectacular Drone Photography — featuring 20 of his images plus 170 more from 125 aerial photographers seen on FWID. Anyone looking to improve their skills, or simply be inspired, is encouraged to read on.

All slideshow images appear in the book and are shared with permission from Dallas and the publisher.

Tell us a bit more about your background. How did you get started in photography?

Right before I went to college, I was really into video. I wasn’t a great skateboarder but my buddies were. I remember my grandpa had a Hi8 camera and I asked him if I could borrow it to make skate videos. I was using Windows Movie Maker in the process and I loved it.

I never thought of it as a career, though. My parents are all teachers so I thought ‘I’m just going to be a teacher, it’s a safe job. I’ll never have to worry about getting fired, teachers will always be around.’ At the time my girlfriend, who is now my wife, knew I wasn’t really into what I was studying in school. She told me ‘I’d rather have you do something that you love than have a super-safe job that you hate.’

That was a big moment of freedom for me. I didn’t know what my career was going to look like but I knew I was interested in video. I changed schools and started taking an editing class. They handed us cameras, I think I got a Canon XL and started in with that.

Fast-forward to 2007, I got the iPhone when it came out. I remember thinking ‘this thing’s pretty impressive for a camera phone.’ I decided to start taking a picture every day and practice my eye for composition. This was purely for video reasons, not for photography.

A screenshot of the iPhone photography group Dallas was a part of on Flickr.

Then I started getting into photography and I uploaded my work to Flickr. That is where I found a community for iPhone Photography which, at the time, was really weird to outsiders. I would share my iPhone shots to other groups and people would tell me ‘that’s not real photography. You’re not using a real camera.’ Our group was definitely niche and we felt like a band of rebels that were trying to push the camera as far as we could.

What’s interesting about that is now it’s not weird at all to take a good photo with your phone. You even see Apple put ‘Shot on iPhone’ on their billboards. But I remember getting made fun of for that on Flickr at first. I got really into photography and that same iPhone Photography community introduced me to Instagram when it first came out. I was one of the first 5,000 users and the community there is what inspired me to keep pursuing photography.

What inspired you to move into aerial photography, particularly drones?

To be honest with you, in 2014 I was getting tired of my photography. I could go to the beach and take a picture of a pier which I’d already done a thousand times. I was getting burned out, losing the spark. The fun disappeared. I knew I needed to mix things up. I remember seeing someone fly a Phantom drone with a GoPro attached to it and was instantly intrigued.

In the 2000s, I was into flying electric helicopters and airplanes. They’re so hard to fly, I’d always crash and barely be able to get any flight time. I’d spend a bunch of time and money fixing them. The drone looked like it was pretty stable and it had a camera on it – two things I enjoy. So I got a Phantom and stuck a GoPro on it. I could now shoot all the spots that I go to and was tired of, like the pier, from a new perspective.

It was a new challenge, especially since the early days of drone photography were so hard. I would set the GoPro on timelapse mode and then guess. I would fly over something and count in my head, because the intervals were 5 seconds and then think ‘all right, I got the shot.’ But I wouldn’t know until I got home and watched the footage from the memory card.

The challenge of something new, combining my two loves, is how I got into aerial photography.

What’s the craziest thing that’s ever happened to you while flying?

In Chicago, I was flying at a park and I remember drones weren’t really common yet. You didn’t really them often. Someone approached me while I was flying and started asking me questions. I’m answering them and in the meantime, they also have a dog that’s running circles around us. I completely lost track of the time and realized that while I’m talking to this guy, my drone’s in the air and about to land any minute.

I start looking for it because it drifted away during the flight. I located it as it’s losing power and going straight into these trees. It gets stuck in one about 30 feet up. I could see it but couldn’t climb the tree to get it. What made the situation even more difficult is that my flight to California was leaving in 4 hours. I’m was quickly running out of time.

I found these guys playing football. I approached them and said ‘guys, I will give you $ 100 if you can help me get my drone down. Maybe we could throw the football at it and knock it out of the tree.’ They looked at me as though I was crazy and one of the guys threw his football at it and misses. They tried for 30 minutes and finally knocked it down. It smashed to the ground but everything ended up still working.

Why did you launch FWID?

In 2014, I started to share my work on Instagram and people were asking how I got these unique (at the time) angles. I would tell them it was from a drone and then they’d ask how they could get one, and so on. I would be helping everyone through messaging and emails. I realized, early on, that the same questions were being asked so maybe I should just start a website. I could send everyone seeking answers to the same questions there.

I couldn’t find anything else like it. No one was really helping people. There were some super-techie questions in there but I’m more creative. Still, I shared tips, and what I was learning along the way with the goal to help people. Then I started sharing stuff from the community.

Before FWID was a website, it was a hashtag – and it was a joke.

Before FWID was a website, it was a hashtag – and it was a joke. There’s that popular hashtag ‘#fromwhereistand,’ and I thought of that except I was taking a photo with a drone. So I tagged it and people immediately got the joke. One day I clicked on it and there were a bunch of photos from people with drones. I realized back then that more people had a drone than I was aware of.

None of my immediate friends were flying drones so it was great for me to see all these people using them and capturing places in ways I’d never seen before. I started an Instagram account for it, just to share photos. That’s where I got all the messages at first and then started the website to point people to for answers.

You’ve created a substantial online presence. Do you have any tips for community building?

Community building is really important to me, in general. I’m also a professor teaching photography, motion design, and graphic design. I spend a lot of time during my semesters building those communities because I’ve seen the value of how it pushes us, functions as a support system, and keeps us accountable.

In some ways that’s translated online. Everybody matters, in my opinion. In the early days, it was so easy to give comments to people, check out feeds, message people, and reply. It would take forever but it mattered to me because there was someone out there reaching out and I would reach back. I think those small gestures went a long way.

One of the things going for FWID is consistency (Dirk took a brief hiatus from posting late last year). I showed up everyday for 2 posts, or a minimum of 1 post, at least, for 4 years. Everybody’s striving for perfection, but it’s not obtainable. I would encourage people to strive for consistency. How are you improving every day?

The fact that FWID showed up almost every single day with something new in the feed made it top-of-mind for a steadily growing audience. Once you know you’ll see it, you come to expect it. People ask me why I post at 9:00 PM every night (PST). I would get my kids to bed, finish our routine. The night was done so then I could post. That’s my habit, that’s my routine.

I spend a lot of time finding photos. My book hadn’t come out yet as I’m telling you this but someone, when they discovered all the photos in there weren’t mine, emailed me and said ‘these aren’t all your photos? Anyone can curate a photo book.’ I had to laugh because I spend so much time seeking out an epic image, something inspiring or unique, something you’ve never seen before. The point is, I put a lot of work into it and don’t post anything random.

There needs to be something of value or people are going to stop showing up. For people reading this, ask yourself ‘what is the value I’m giving people?’ For me, for FWID, the value is inspiration. As soon as that’s lost, FWID will go down. There’s a lot of pressure with that realization.

For example, with Nike, when we think of that logo, it’s actually kind of lame. What makes it so cool is you associate it with Michael Jordan. You associate it with Kobe Bryant. Because those people do amazing things, that’s what makes the brand recognizable. Because the people in the FWID community are incredible, I’m able to share their work and grow.

I’m great at promoting other people’s stuff, by not my own if I’m being honest. It’s not natural to me. Sometimes I feel late to the game or that I should be doing some stuff sooner. This is because I want to help others, that’s my goal. Not everyone’s going to make it onto the feed. And I feel bad because I don’t want to leave anyone out. This is what’s great about Stories. If you tag me with something that’s great, I’ll feature you there and you’ll get tons of views on your work that way.

You have well over 1 million photos to choose from in the FWID community. What is it about a photo that stands out to you enough to make worth featuring?

One of the things I try to do is look for a clear subject. There’s got to be a point, what am I looking at? For example, in the photo below, there’s a person standing next tot the boat and I’m thinking ‘wow, they’re in the middle of nowhere. How did they get there, they’re all alone, and where are they going?’ There’s all these questions that start to pop up.

What they also did is introduce scale. What I’m looking for is some basic photography principles. Scale is one of the biggest things that draws me in. This one (below) interests me because when do you ever see a stadium in the shape of a circle? I’ve never seen one. I always gravitate toward something unique. The lightest part is the tennis court and it’s in the center, so the composition is very focused. The crop is tight.

Pops of color are always a winner. Contrast is always something I look for too. If I click on the #fromwhereidrone hashtag, images that have a color scheme that isn’t blues or greens, something really typical, tend to stand out. Now I want to check it out and see if the image is sharp and crisp. If so, I’ll bookmark it.

I never really see warm, orange-hued photos. These are rare. Everything I see is typically blue, green, and brown. One things a lot of drone pilots forget about is the photography principles. They get so caught up in taking the drone up high that those are an afterthought. The people who get featured and do well, in general, take everything we know about photography on the ground and apply it in the air.

Those are the strongest images to me. A great edit. Light is important for creating atmosphere. If you shot this image (below) 2 hours before, it wouldn’t be interesting. How is this unique? Is there a little bit of fog or does the light come in at the right time? Being mindful of the time of day makes all the difference. The people who will wait for hours until the lighting is just right, who make that extra effort, are striving for excellence.

The top photographers will make more of an effort, most people don’t. It’s your commitment to striving for excellence that separates you from the rest.

You have a new coffee table book out. Tell us more about it.

I’ll start by saying that being able to connect digitally is awesome. I now have friends through FWID from around the world that I wouldn’t have otherwise known. That said, we’ve lost this sense of touch and tangibility. What I set out to do is put together some of the best photos at the time of when this book started, back in Summer of 2018, put it in your hands, and inspire you.

I’ve seen these photos on the feeds, I’ve looked at them on my computer, in InDesign, and in drafts and proofs. Once I actually touched and held the book, it was magical. What this book does, I believe, is inspire. Right now we’re in lockdown so it feels like a little vacation, a little trip around the world. It’s a bucket list that makes you think ‘I want to go there when this pandemic is done. I want to shoot that place.’

Once I actually touched and held the book, it was magical. What this book does, I believe, is inspire.

The beautiful thing about FWID is the community. I would have never met or known about all these amazing photographers if it wasn’t for an app (Instagram).

The beautiful thing about FWID is the community. I would have never met or known about all these amazing photographers if it wasn’t for an app (Instagram). What this book represents is a community, people with a shared vision. Now the FWID community has something tangible and lasting. I could delete a photo, close the account, go dark, but the book is out. It will live on, it’s an artifact that will be in the world forever.

When I’m on Instagram or anywhere else online, I may like a photo, but I’ll take it in for half a second. As an author and a curator, I’ve had to pause with these photos and really take them in, ponder in that moment. Those are some feelings I didn’t expect, to be honest.

There have already been quite a few drone and aerial photography books released — What makes yours stand out?

For me, it represents the community. I looked at thousands and thousands of photos that I curated over the years and painstakingly whittled it down to what I thought were the best, most unique images. There are some books that put an image in simply because it’s a drone shot. With this book, I considered the question of ‘why does this shot deserve to be included?’

The book is broken down into 5 categories (Water, Arid, Lush, Urban, and Ice). At the beginning of each category, I wrote photography tips – it’s called ‘Photography Insights.’ For Arid, for example, ‘with extreme temperatures, blowing sand, and broad expanses of land and sky, these landscapes provide challenges to photographers. The drone pilot should be prepared to protect their gear from the elements while being persistently observant. These environments are often devoid of life. It’s crucial to scan the area for compelling subjects to tell a story and give context to a location.’

I give some examples of what you should look for, how to think of capturing lines and curves. I also give some insights on shooting in different climates but I want to make it clear that this is not the focus of the book. Another thing, and I think this makes the book unique, but I’m not entirely sure, is that all 7 continents are represented – including Antarctica.

Were you approached by a publisher or did you pitch this book?

I had been asked 2 times in the past to do a book but I either didn’t know the publisher or it seemed like they were trying to make a buck. Then I got approached by Rizzoli and it just so happened that 3 weeks after I got an email from them, I was going to be in New York where they have an office. I asked if I could meet with them.

My whole motivation for FWID is not to get rich but if I’m going to do something, it has to be done well. I really want it to be something that I can be proud of and can put my name on. COVID has caused some delays. I got my first copy of the book a few weeks ago, even though it was completed in February. That’s not normal. I should have gotten it back then, when it was printed.

I couldn’t start promoting a book until I saw it and held it. It needs to be good. If it’s not, I won’t promote it. I looked at Rizzoli’s work, they produce beautiful books and my editor was really awesome. The collaboration started through an email from them and we decided to collaborate from there.

What photography and drone gear to you use the most?

Drone-wise, I’m shooting a ton with my (DJI) Mavic 2 Pro. I love how small it is, how quick it boots up. That’s a huge thing, it boots up so fast. I also love how quiet it is, that’s a bonus. My next drone that I use is my Phantom 4, but that’s only when I don’t have my phone charged. I hate that I have to use my phone. I know DJI has a Smart Controller but it’s $ 800. I don’t know how I can justify purchasing one.

I use my phone and I hate it on the Mavic so if the phone’s not juiced, I bring my Phantom 4 with a tablet. Also, if I’m shooting during the day, a larger screen is better. For regular photography, I shoot with a Canon 5D Mark IV.

Who are the artists that inspire you the most?

I’m blown away by the work of Costas Spathis. He finds the most unique places, and I ask myself ‘where does this even exist on Earth and how does he find it?’ Another is George Steinmetz. I remember seeing his camel photos for the first time, and I was blown away. The subject wasn’t the camels, it was their shadows and that’s what made me realize what was possible with aerial photography.

Chris Burkard, who did the forward for this book, inspired me years ago when I saw his photos of surfers in the snow. I had never seen anything like that in my life. He challenged me to go for those unexpected moments like people surfing in frigid temperatures around Iceland.

Those are the photographers who have shown me to look at the world in a different way, and to think differently. On a non-photography level, I’m really inspired by Van Gogh. As I continue to learn about his use of symbolism, it becomes clear that for him it’s more than just a painting. Everything had meaning, and you can tell he put so much thought into every decision he made when creating. It makes me want to do things with purpose and excellence.

What tips do you have for people starting out in photography or are looking to improve their skills?

My biggest recommendation is consistency and discipline. So many people think FWID just happened or a print that wins an award or gets featured somewhere big just automatically happens instead of being the result of a lot of work, time, and effort. It takes a lot of failures before you get to a certain level.

One of the things I miss about being a newbie is not caring. I would create something and put it out there. I wouldn’t care because I didn’t know any better. Now that’s disappeared a little bit. I’m cautious, and I ask myself if something is worth sharing or not. It’s good in some ways, bad in others.

If people want to get better, but you don’t have a plan, how are you going to accomplish that? You’re going to be like all those people who make New Year’s resolutions and then a week later, nothing comes out of it.

The point is, when I started taking pictures with my phone, I didn’t care if it was a good photo. I was practicing. I was showing up every day in a discipline, I was in a habit. I made the thing I wanted to get good at a habit. If people want to get better, but you don’t have a plan, how are you going to accomplish that? You’re going to be like all those people who make New Year’s resolutions and then a week later, nothing comes out of it.

You have to be disciplined. You have to have habits. For me, consistency is the biggest factor. Show up, even on the days when you don’t want to, even when you’re tired. Figure out a discipline. For me, that was a photo every day. I don’t know what that means for someone else. The point is, I had a plan and I saw it through.

Articles: Digital Photography Review (dpreview.com)

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How to Create Sun Flares Using Luminar 4 and Photoshop (video)

23 May

The post How to Create Sun Flares Using Luminar 4 and Photoshop (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this video from Anthony Turnham, you’ll learn how to create sun flares using Luminar 4, either standalone or as a plugin in Photoshop.

This effect can be a great addition to any landscape photo or portraits, especially if you feel your image is lacking something special. This effect can possibly give your image extra life and dynamic.

Anthony takes you through this tutorial in an easy-to-follow way, making it easy for you to create your own sun flare.

Try out this technique and share your resulting photos with us in the comments section.

Do you have other methods for creating sun flares? Share those with us too!

Shoot your base images

First of all, you’ll need your base images. I started with a simple tabletop set up next to a window so that I could work with natural light. You could also use studio lights or lamps for this technique, and different lighting will produce quite different results!

How to Create a Pep Ventosa Inspired Still Life

Once you have your camera set up and an interesting object in place to photograph, take your first image. Then rotate the object a small amount and shoot another. I like to take at least ten images, which seems to always create a good effect. If you choose to start working with lots more images, you begin to run into Photoshop’s file size limitations quite quickly!

Make sure that you place your camera on a tripod the first time you try this out. This will keep your background consistent and allow you to move the object without worrying about having your camera in the same place each time. Once you’ve mastered the technique, you can experiment with moving the camera as well as the object in a different variation of the Pep Ventosa inspired still life.

Work in Lightroom Classic

You can choose to import the images straight into Photoshop and layer them into a stack manually if that’s your preferred workflow. However, I really like the Lightroom Classic functionality that can do all this for you.

As you can see, the images are all very similar, but each one is slightly different from the last. I’ve tried not to blow out any highlights or get too much black in the shadows. Having the images quite flat in this respect can be helpful when you start to work with the layer blending modes in Photoshop.

Take this opportunity to also clean up any blemishes or marks on the backdrop. Anything left in now will be harder to tidy up later.

When you’re ready to start layering your images, select them all in Lightroom Classic and then select the “Open as Layers in Photoshop” option. This will create an image file that has all of your base photographs stacked on Photoshop layers. Now you’re ready to start the fun bit of editing your Pep Ventosa inspired still life.

Work with Photoshop blend modes

Blend modes can be intimidating if you’ve never used them before, but this experimental image can be a great time to play with them. There are 27 different blending modes in total, which gives you lots of options for your Pep Ventosa inspired still life.

At the top of the layer stack is a drop-down box that is available as long as you have a layer highlighted. This is where the blend modes are hiding. Each option allows the layers underneath to show through according to different computer algorithms.

For the image above, I set each layer to “multiply” blend mode and changed the opacity to between 25% and 50%. This results in an extremely dark image at the end (because the colors multiply together mathematically), so I also added a Curves Layer to bring the exposure back up to something normal.

Spend some time experimenting with different blending modes. In my experience, Soft Light and Overlay also give interesting results. Some of the others might, too depending on your base images.

Finishing your image

Once you’ve finished adjusting your layers, you can save the image, close Photoshop, and open Lightroom Classic back up. Now you can polish the image, adjusting the colors and tone to suit your style.

Once you’ve edited an image in Photoshop and taken it back into Lightroom Classic, you can treat it as you would any other image. That means you can apply any effects, filters, or presets to the image.

If you’ve never worked with presets in Lightroom Classic before consider buying a large set to get you started. As you experiment with them and use them more and more, you’ll get to know how the settings work, and then you can start building your own.

Changing the colors in Lightroom Classic can change the whole mood of a photo. A dark, shadowy blue image can feel quite melancholy and introspective, while a warmer-toned image can feel more hopeful and even joyous.

When you shoot a still life image, it’s not just the subject that conveys emotion, but the colors too. So while you’re finishing off the colors in Lightroom Classic, make sure that they’re helping to communicate your message.

Consider how you’ll print your image

These kinds of images are really begging to be printed quite large on beautifully textured paper. And there are plenty of labs that will do this for you. A textured paper can really enhance the fine art feel of a Pep Ventosa inspired still life, working sympathetically with the multiple layer effect that you’ve created in Photoshop.

If you don’t intend to print your image, you could try adding textures to your work instead. Open the image (again) in Photoshop and try out different textures until you get an effect that you’re happy with. Remember, textures are always best kept subtle!

Conclusion

There are so many different ways you could use this technique. You could combine it with other photographic techniques, or different post-processing. And of course, there is an infinite number of different subjects that you could photograph.

Please do try your own Pep Ventosa inspired still life. And don’t forget to post your results in the comments – I’d love to see the different ways that we all interpret this idea!

The post How to Create a Pep Ventosa Inspired Still Life appeared first on Digital Photography School. It was authored by Charlie Moss.

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How to Create Mandalas in Photoshop Using Stack Modes

30 Apr

The post How to Create Mandalas in Photoshop Using Stack Modes appeared first on Digital Photography School. It was authored by Megan Kennedy.

create mandalas in photoshop with stack modes

There are so many facets to Photoshop that even regular users can sometimes be surprised by new ways to use particular features. Stack Modes is one of the tools in the Photoshop repertoire that I’ve only just started really playing with recently. And, it turns out, the function is great for generating intricate patterns and even mandala-like designs. In this tutorial, I’ll guide you through the steps to create mandalas in Photoshop with Stack Modes.

Can I use Stack Modes?

First things first – unfortunately, Stack Modes aren’t available in all versions of Photoshop. For this tutorial, I’m going to be using Photoshop CS6 Extended. Doing a little research, it looks like Extended and CC versions of Photoshop have the stack mode function. However, if you don’t have the Stack Modes tool required for this tutorial, you can try creating something a little similar here.

What are Stack Modes?

So what exactly are Stack Modes?

The Stack Modes function works by combining a group of image layers with similar content into the one image. For example, astrophotographers may use Stack Modes to combine hundreds of shots into one frame.

Stack Modes can also be used to reduce noise and remove people and objects from photos. It’s a pretty nifty function!

What are mandalas?

Throughout history, mandalas have seen numerous incarnations and applications. Meaning circle in Sanskrit, mandalas are a geometric array of symbols and designs made for spiritual, meditative and artistic purposes.

In modern terminology, mandala is a phrase sometimes used to describe other circular visual arrangements like spirographs and scientific diagrams. The term mandala may also be used to describe the meditative or visual quality of an artwork.

How to create mandalas in Photoshop with Stack Modes

Setting up

To create mandalas in Photoshop, the first step is to pick a single photograph to work with. Something with a few colors and small details is a good bet. I’m going with the flower seen below:

create mandalas in photoshop with stack modes flower close up

Open your image in Photoshop and right-click on the image layer in the Layers Panel. Select Duplicate Layer… and click OK at the prompt.

Select the Background layer in the Layers Panel (not Background copy) and hit Delete.

Next, click on Image on the top toolbar. Select Canvas Size… and (roughly) double the height and width of your canvas so we have room to expand the design.

Click OK.

How to Create Mandalas in Photoshop Using Stack Modes

Adjusting layers

Drag your image to the top of the canvas. Right-click on your image layer in the Layers Panel and select Duplicate Layer… hit OK at the prompt.

With the Move Tool selected, click on the image on the canvas to select it (one layer will be behind the other).

Hold the Shift key on your keyboard down and drag the selected image by the top-middle transform control icon towards the bottom of the canvas, flipping the image to mirror the remaining photograph so it looks like this:

create mandalas in photoshop with stack modes – duplicating the image

Select both layers by depressing the Shift key and clicking on each layer in the Layers Panel.

Right-click on either layer icon and select Merge Layers. The two layers will merge into one. Drag the merged image to the left edge of the canvas.

Right-click on the layer in the layers panel and hit Duplicate Layer… and Click OK at the prompt. Hold down the Shift key and click the left-most transform icon and drag the duplicated layer towards the right edge of the canvas, flipping the second layer to mirror the first. Like in the example below:

create mandalas in photoshop with stack modes – duplicating the image again

Making room

We have a pretty cool image now, but we aren’t finished yet!

To create mandalas in Photoshop, we need to extend the canvas further to accommodate the rest of the layers we will be making.

Click on Image->Canvas Size… and add an extra hundred-or-so cm’s to the height and width of the image. Don’t worry if the canvas looks too large, we can always crop it back down once the mandala is finished.

Back to layers

Okay. In the expanded canvas, select our two layers by holding Shift and clicking on both layers in the Layers Panel. Right-click and select Merge Layers.

Next, right-click on the merged layer and click Duplicate Layer… Click OK at the prompt. Hold down the Shift Key and rotate this newly created layer to form a cross-like structure.

Duplicate one of the layers again and rotate it so that it looks like mine below:

create mandalas in photoshop with stack modes – rotating the image

Duplicate the layer again and rotate it so that your image looks like this:

You can continue adding layers with the duplicate/rotate process until you are happy with the look of your image, or you can leave it as is.

When you are ready, select all the layers in the Layers Panel by holding Shift and clicking on the first and then the last layer in the Layers panel. Right-click on the selection and select Convert to Smart Object. This will combine your layers into a single Smart Object.

Making the mandala happen

With all this duplicating and rotating, the final step to creating mandalas in Photoshop is pretty straight forward. With your Smart Object layer selected, click Layer (in the top tool bar) then click on Smart Objects->Stack Modes. A range of options like Entropy and Kurtosis will become available.

You can look up the exact mathematics behind each setting here, but basically, each option is an algorithm that blends the layers together a different way. Select one and see how it looks…and if you don’t like it, simply undo it and try a different mode.

Here’s my result using the Maximum Stack Mode:

create mandalas in photoshop with stack modes – the final result — The result from using the Maximum Stack Mode

Final touches

Now you have your mandala, the rest is up to you! You can adjust the colors of your creation or increase/decrease the contrast…you can even invert the colors via the Curves Adjustment Layer and see what that looks like.

You can create mandalas in Photoshop forever – the possibilities are endless! It’s a great opportunity to experiment and explore.

If you’ve created a mandala with this method, go ahead and share below!

The post How to Create Mandalas in Photoshop Using Stack Modes appeared first on Digital Photography School. It was authored by Megan Kennedy.

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DPReview TV: Create beautiful abstract photos with polarized crystals (DIY project)

24 Apr

Tiny crystals on a glass slide may look unimpressive to the naked eye, but with a macro lens and some polarizing filters they become magical. We show you how to make your own.

Know the answer to Don’s polarization trivia at the end of the episode? Tell us in the comments!

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

Introduction
Making crystals
Now we wait…
Crystal depth
The fancy setup
Making art
The basic setup
See you next time
Wait… just one more thing!

Posts Tagged ‘Create’

1. Infrared photography with an infrared filter

The imperfect solution

The need for long exposure

Which filter?

The white balance

Post-processing required

2. Modify your camera to produce infrared images

What’s involved?

What are the advantages?

3. Film photography and infrared

4. Producing infrared images in post-processing

Time to create your infrared image dreamscapes!

What is a Photogram?

How to Create a Digital Photogram Effect

You will need a:

Setting up

Taking the shot

Post-production

Conclusion

Samples of long exposure photography

How to achieve long exposures

Kit required

Set Up

Steps to photographing long exposures

1. Bulb mode

2. Set your aperture and ISO

3. Exposure times

4. Extra tips

Conclusion

Interview: Dirk Dallas of From Where I Drone shares what it takes to create excellent photographs

Tell us a bit more about your background. How did you get started in photography?

What inspired you to move into aerial photography, particularly drones?

What’s the craziest thing that’s ever happened to you while flying?

Why did you launch FWID?

You’ve created a substantial online presence. Do you have any tips for community building?

You have well over 1 million photos to choose from in the FWID community. What is it about a photo that stands out to you enough to make worth featuring?

You have a new coffee table book out. Tell us more about it.

There have already been quite a few drone and aerial photography books released — What makes yours stand out?

Were you approached by a publisher or did you pitch this book?

What photography and drone gear to you use the most?

Who are the artists that inspire you the most?

What tips do you have for people starting out in photography or are looking to improve their skills?

You may also like:

Shoot your base images

Work in Lightroom Classic

Work with Photoshop blend modes

Finishing your image

Consider how you’ll print your image

Conclusion

Can I use Stack Modes?

What are Stack Modes?

What are mandalas?

How to create mandalas in Photoshop with Stack Modes

Setting up

Adjusting layers

Making room

Back to layers

Making the mandala happen

Final touches