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3 Methods for Converting to Black and White Using Photoshop

16 Jun

I am a huge fan of color. I love bold colors to create a mood in my images, and often use the meaning behind colors to reinforce the message I want to convey.

Sometimes though, you want to get rid of the colors to draw the viewer’s attention to your compositional lines, to textures, or to make a contrast. To do so, you may want to turn a color picture to black and white, in order to see what works best.

I do not work so often with black and white, but I truly love it. There are some photographers who create amazing black and white pictures and I really appreciate such a beautiful images even if I am mainly drawn by color.

Setting the mood in color or in a black and white image is very different.

Color and bw image

There are very different types of black and white – whether you have a full tonal range from white to black, or merely light or dark grey tones. Dark or light tones will create different effects, and convey a different mood to your image. Dark tones are often associated with a sombre mood, while light tones are more optimistic, or positive. This is a generalization, of course, but it tends to be true most of the time.

Low contrast would impact a gentler mood, while high contrast will have a stronger impact. The eyes usually jump directly to the highest contrast area of an image. In addition to a well thought out composition, using contrast is a great way to highlight an important feature of your subject.

Think about what kind of black and white you are attracted to. It is very personal for you, plus it also depends on the genre of photography you are dealing with. As I am a portrait photographer, I will be showing you how I process a color portrait into a black and white one. I chose a portrait from a vegetal hairstyle shoot I did in Paris last month.

As usual you have many ways to achieve the same result in photoshop. Find the way that suits your workflow best, or the one that achieves the best results according to your photographic style, or mood of the day.

I am going to use two different adjustment layers to show you the difference regarding tones and contrast. Then, we are to combine those different layers, to keep the best part of each one.

1 – Channel mixer adjustment layer

Go to your layer panel and click on Channel mixer, or go to Layer > New Adjustment Layer > Channel Mixer.

Add channel mixer

Channel mixer layer

With channel mixer you can do more than just desaturate your colors. You can get great results sorting by color channel. This will modify your input and output levels.

You can get lighter or darker tones, you can also play with your constant overall tone, which I use mainly to darken my background. You can play with each channel and see what you like the most. You can play with red channel in a portrait, as skin tones are usually red, therefore highlighting your subject.

Channel mixer

2 – Using a Black and White Adjustment layer

Black and white layer adjt

When working with black and white you cannot see different adjustments at once. To keep several adjustments visible, I create a stamp layer (a separate layer on which the adjustment has been applied directly to the image). To do so, press Shift + Option + CMD + E, and the stamp layer appears (combining all visible layers into one).

You can then combine with a black and white adjustment layer. To do so you go to Layer > New Adjustment layer > Black and white. Then, play with the different values for each color to adjust the tones as you wish in your image. As in the previous step I create a stamp visible layer.

Black and white

On the two different stamp visible layers I have different contrasts. I can choose to apply each of these contrasts on different parts of the final image, combining those layers.

Different contrats bw or channel mixer

Add a layer mask to each one, and paint on the mask using black, over the areas you want to hide, thus revealing the layer underneath. Paint with white (layer mask is white by default) to reveal the selected areas of the top layer.

If you are not so familiar with layer masks I would suggest you create only two types of black and white, making it easier to apply selectively the different effects.

Layer mask

Layer masks deserve an entire article, so I will save how I use them for another article.

At the end, you have a mix of different contrasts in your image, and can apply those contrasts as they best suit each area where you want to drawing the viewers’ attention. There are so many ways to create a black and white images in Photoshop, each way giving a different look, and contrast to your image

For example see how I use gradient map in this previous tutorial: How to Create a Vintage Look for Your Image Using Photoshop

3 – Use a Level/curves adjustment layer

In this image I create a new curves adjustment to modify a little the overall light. Also, it is great to remove distractions such as you can see in this image.

Curves

Usually I do not pay much attention to small distraction in my backgrounds, as I would add a texture overlay to my image (therefore adding more details to a plain background). If you like smooth backgrounds it is very useful.

In this image I also wanted to remove the light distraction on the top right corner (too bright compared to the rest of the dark background).

Using curves to remove bg distractions

To finish this image I will add some texture.

Final image BW

Do you have other methods to convert to black and white using Photoshop? Please share in the comments section below.

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Two Methods for Shooting Star Trails Made Easy

23 Oct

As a landscape photographer, it can be easy to find stunning subject matter to photograph during the day. At night, things become more difficult as the sun goes down, but there is still plenty to photograph. With some patience, you can create stunning images featuring the stars as your backdrop, or even your subject.

star trails, night, photography, sky, astrophotography

This image is a composite of 156 separate exposures, merged using StarStax software. Each exposure was ISO 400, f/2.8, 30 seconds. The red glow inside the bus was done by shining a red LED flashlight inside the bus from the other side, during one of the exposures.

Equipment list

Before you get started, you’re going to need a few things:

  • A good sturdy tripod is absolutely essential, I’m using an Induro GTT204M2.
  • A wired remote for your camera is also a necessity. Which model you use will depend on the camera you have.
  • A fully charged battery is a must. The vertical grips that are available for some cameras, allowing you to use two batteries at once for longer life, can also be helpful.
  • A flashlight can come in handy, both for finding your way to the location, and for light painting in the foreground.
  • Finally, a large memory card, or two if your camera has dual slots, will be needed.

#1 – The One-Shot Method

There are two ways to photograph star trails. The first is the old-fashioned way, using a single exposure.

For this method, exposures can range anywhere from several minutes, to several hours. This method was the only way to photograph star trails in the days before digital cameras. When using the single exposure method, your camera needs to be in manual mode, with the shutter speed set to Bulb. Some cameras have a separate mode for Bulb. It is like manual mode, but the shutter stays open for as long as the release button is depressed. A time controller such as the Nikon MC-36A, or Canon TC-80N3 can make things easier by allowing you to lock the shutter button down, or program a set amount of time for the exposure.

ISO should be set to 400. You’ll want to set your aperture somewhere around f/4. The wider the aperture is open, the brighter the star trails will be. If you are photographing in a completely dark setting, with no moonlight, the stars will likely be the brightest object in your scene. Once you’ve set your aperture, you need to decide how long a star trail you want. The longer the exposure, the longer the trails.  The image below was a 30 minute exposure.

This image was created as a single exposure. Exposure time was 30 minutes, ISO 100, f/5.6. The star trails are dimmer due to the smaller aperture, the fact that the moon was still in the sky, and light pollution from the city in the distance, seen as the glow to the right.

This image was created as a single exposure. Exposure time was 30 minutes, ISO 100, f/5.6. The star trails are dimmer due to the smaller aperture, the fact that the moon was still in the sky, and light pollution from the city in the distance, seen as the glow to the right. The street in the foreground was painted with an LED flashlight for several seconds during the exposure.

One thing you need to be concerned with when using a single long exposure is Long Exposure Noise Reduction. If you choose to photograph star trails using a single exposure, the heat generated on the imaging sensor adds noise to the image. Turning on Long Exposure Noise Reduction reduces that noise by using a method known as dark frame subtraction. I previously discussed dark frame subtraction in the article The Night Sky In Landscape Photography. Long Exposure Noise Reduction doubles the length of time needed to make an image. The camera first takes the exposure. In this case, let’s say the exposure is one minute.Long Exposure Noise Reduction then requires another minute to reduce the noise created by the long exposure. That means if you make a star trail exposure for 15 minutes, your camera will be unavailable to take another picture for 30 minutes. You’ll need to make sure you have enough battery to keep the camera powered while it carries out Long Exposure Noise Reduction.

This is a single exposure of 10 minutes, ISO 400, f/5.6.

This is a single exposure of 10 minutes, ISO 400, f/5.6.

In addition to Long Exposure Noise Reduction, another consideration is the length of the exposure itself. There is nothing worse than standing next to your camera while it makes a 30 or 45 minute exposure, and two-thirds of the way through the exposure, a car goes past, shining its headlights across the scene and ruining the exposure. It’s happened to the best of us.

#2 – Merging Multiple Exposures

This is where the second method for photographing star trails comes in. With the advancement of digital imaging, stacking multiple exposures has become possible, and has made creating star trail images easier than ever. By taking a series of drastically shorter exposures, then stacking them in software such as StarStaX, you can increase your flexibility as a photographer, because there are two benefits to this method. The first is that since the exposure are shorter, you can turn off Long Exposure Noise Reduction. The second benefit is that even if a car drives by to ruin the exposure, it’s only one small piece of the sequence, so you can just delete the one frame that was ruined.

StarStaX works by blending a series of images, allowing you to capture the motion of stars in the sky, similar to a single exposure. The one drawback to using software like StarStaX is if clouds are also moving across the sky, it has a tendency to create a stepped shape with them that doesn’t look natural. Better Star Trails Photographs with StarStax is an excellent tutorial for using StarStaX.

Camera settings

To use the stacking method for shooting star trails, set your camera to Manual mode and your camera’s drive to Continuous. Start with your aperture set to f/4. This setting can be adjusted, but the wider the aperture, the brighter the trails. However, be careful to ensure you have enough depth of field, and aren’t overexposing the stars. Shutter speed will be 30 seconds. ISO should be set to 400. Using the time controller or remote for your camera, release the shutter, and use the locking mechanism to keep the shutter button on the remote depressed. With the camera in continuous drive mode, as each exposure ends, another will begin until you stop it. This also minimizes the pause between each exposure, which can cause small breaks in the star trails when the exposures are merged. Alternatively you can use an intervalometer feature if you camera has that, or similar type of remote.

star trails, night, photography, sky, astrophotography

This image is a combination of 121 exposures merged in StarStaX. Each exposure was 15 seconds, ISO 400, f/1.4. To keep the lighthouse from being so bright that it would overpower the star trails, a 3-stop soft-edged graduated neutral density filter was used.

It can be easy to forget the rules of composition when photographing star trails, so don’t get so fixated on the stars that you forget to look at the foreground as well. Chances are your foreground will be shrouded in darkness. A flashlight can come in handy for painting the foreground object with light to make it stand out in the darkness. Colored gels can allow you to get creative with the light painting. When stacking images, you’ll only need to illuminate your foreground for a single frame, as StarStax will use the illuminated exposure for that foreground object.

By the same token, there may be a time where your foreground object is brightly illuminated, as with the lighthouse image above. So I carry a set of graduated neutral density filters, even when shooting at night. For the lighthouse image, I mounted a Vü filters 3-stop soft-edged ND grad on my lens, so that the dark side of the filter was over the bottom half of the frame. This allowed me to keep the lighthouse exposure dim enough to still allow the stars to register in the exposure as well.

This image was created by merging 116 separate exposures in StarStax software in comet mode. Each exposure was 30 seconds, ISO 400 at f/2.8. A red LED flashlight was shone inside the bus for the first exposure.

This image was created by merging 116 separate exposures in StarStax software in comet mode. Each exposure was 30 seconds, ISO 400 at f/2.8. A red LED flashlight was shone inside the bus for the first exposure.

Once you’ve found your foreground, think about the direction you are facing. When facing north, star trails will form concentric circles. When facing away from the north, star trails will simply be slanted lines or arcs in the sky. Both can create interesting and awe-inspiring images.

Now that you know you don’t have to put your camera away when the sun goes down, you need to find some dark sky to get the best results with star trails. The International Dark Sky Association has a great tool on their website to help you find the best places for night sky photography.

Show some of your best star trail images below!

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5 Effective Methods of Creative Composition

13 Oct

It seems everyone has a camera these days, so you may be wondering, “How can I separate myself from the pack?” The answer does not involve a better camera, or a more expensive lens. In fact, the most important part of your equipment actually can’t be purchased in a store. It’s your own unique vision, and perspective on the world, that makes all the difference. The following five elements of creative composition are starting points to help you better express your point of view.

1) Leading Lines

While using leading lines in composition sounds simple, it’s actually one of the harder styles to pre-visualize. The idea is to find a line that will lead the viewer’s eye through the frame, and direct them to the subject. Train tracks are an obvious example, but it’s dangerous to shoot there, and therefore not recommended. There’s no shortage of safe alternatives however. The key is learning to see these opportunities, and apply them accordingly. How do you do this? Slowing down is certainly a good place to start. If you’re chasing the light at sunset, chances are your composition will be rushed and sloppy. If you take the time to really scout a location, it’s possible to craft an image that far exceeds a routine snapshot.

2) Shutter Speed

2_waterfall_slow-shutter

Yes, even your camera settings can be used as a compositional element. In this instance, a fast shutter speed would have frozen the water, leaving it rather listless. By slowing the exposure down to several seconds, the circular motion of the stream becomes evident, and works to anchor the scene. This is a different way of thinking about composition. It’s not only about where you put your focus point, but how you apply your settings to create the scene.

3) Depth of Field and Selective Focus

The aperture you choose can also play a major role in your composition. At f/1.8 for example, you have such a shallow depth of field that only a small portion of the picture is in focus. From a strategic angle, this can be quite an effective way to bring attention to your subject. While the face of the monument is sharp, both the foreground and background are completely out of focus. Seeing like this in advance, takes practice and imagination. When you look at an object, try to visualize how the camera can render it at various settings.

4) Going the Extra Mile

Lazy Composition

When traveling, it’s easy to get swept up in the excitement of a location. Often, you have to balance shooting time with making time to eat, sleep, and well, be human. Still, you want to get the shot that will be good enough for your portfolio. This doesn’t necessarily mean you need to sleep in the field, with the camera as your pillow. Sometimes, the difference between an average shot and a great one is a little extra effort. I’ve seen this time and again in my own work, and therefore wanted to stress it here.

In the first shot (above), I got off the ship, turned around and made a quick mindless record shot. The light was pretty but the overall image is uninspiring at best. Taking my own advice, I asked the waiting cab to let it idle for a minute, and walked down the pier a few hundred feet. From this new perspective, an entire different view presented itself with the sun kissing the ship’s bow. To emphasize the shape and color I purposely underexposed the scene (to make a silhouette). The small aperture of f/16 turned the sun into a starburst. These two shots are vastly different but were taken merely 100 feet apart, separated by five minutes.

Second ship shot

5) Framing

There are of course times when you scout and plan well, but the light is just not flattering when you arrive. You can go home empty handed, or work with what’s been presented, to make something special. Framing is one of the most effective ways to eliminate bad light. By essentially hiding it behind foliage you can emphasize your subject in a clever way. For the viewer, this provides a sense of three dimensionality, almost like they’re peering through a window. A small aperture works best for this technique, as it will keep everything sharp from near to far.

So try to incorporate some of these creative composition techniques into your images as you shoot. Work intentionally and think about your image before you press the button. Share any additional tips you have in the comments below.

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Three Methods of Making Stunning Photographs in Bright Sunlight

26 May

Location Lighting Masterclass – The Art Of Shooting Into The Sun

Shooting directly into the sun may not be the first thing that pops into your mind when creating a photograph, but the effects it can have on your final image when done correctly can border on magical.

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#2 The Dreamy Look

There are three primary looks that can be achieved by shooting into the sun.

  1. The first of these takes advantage of lens flare and aims to over-expose the image drastically, creating a ‘dreamy’, almost glowing look. (see image above)
  2. The second ignores the foreground entirely, exposing only for the brightly lit sky and creating foreground silhouettes.
  3. The third comes somewhere in between, exposing for the brightly lit sky and simultaneously using reflection or fill flash to overpower the foreground shadows.
The Silhouette Look

#2 The Silhouette Look

#3 The Balanced Look

#3 The Balanced Look

Let’s work through each of these in turn, how to make stunning photographs in bright sunlight.

#1 – the Dreamy Look

This is not a photographic style I typically aim to produce, however it is nonetheless popular with many photographers. The style aims to expose for the skin tones predominantly, allowing the background to become significantly overexposed; and in the process, create a soft glow around the subject. This style can also take advantage of lens flare (the rings of light that appear in your shot when you shoot directly at bright sunlight) and the varying types of lens flare that different lenses create. To achieve this look, ensure that you have spot metering selected on your camera and measure directly for the skin (you will need to be in aperture priority mode for this). It doesn’t matter if the background overexposes; the primary aim is to expose for the skin and facial features. The brightness of the background will typically create a haze across the rest of the image.

4

#2 – the Silhouette Look

Again, using the camera’s spot meter in Aperture Priority mode, you will need to meter and expose for the background. Select an area (not directly on the sun itself) of sky near to the sun. You can lock the exposure using the AE lock function (usually the “*” button on Canon cameras) to enable recomposition of the image. Alternatively, note the shutter speed reading where you metered on the sky, switch to manual mode and set the camera up with the given shutter speed and aperture manually. Here, the aim is to darken everything in the foreground so be sure to think about the kind of silhouette you’re creating. Less is usually more. Too much in the foreground just creates clutter and loses the focal point.

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#3 – the Balanced Look

The final, and arguably the most powerful is partway in between, and utilizes flash to fill the image exposure correctly.
Just like the silhouette style, you should meter on the background sky. If you don’t use flash, you’d end up with another silhouette. Instead, crank up the power of the flash as far as it will go (it takes a fair amount of flash power to overcome direct sunlight). About 600w (watt seconds) is preferable, and ensure that the subject you want to light up remains relatively close (due to the inverse square law, light fall-off will very quickly erode the power of the flash). Some post-production boost to the shadows and recovery of the background highlights may be necessary to properly balance the exposure.

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A few general hints to help with direct sunlight shooting:

1) Autofocus often struggles in direct sun. Try first shading the end of your lens with your hand, focussing on your subject, then switching off autofocus and taking the shot without shading the lens.

2) Colors and white balance can often be thrown by bright sunlight. Be sure to shoot in RAW so that you can true up any color differentials later on.

7

3) Use a polarizer or ND (neutral density) filter where you can. Really bright direct sunlight and long exposures are not good for your camera’s sensor over time, just as they are not good to stare at with your naked eye.

4) Think about the time of day – you want light to fall behind your subject, not on top of it. Therefore, early mornings and late afternoons are best for this type of photography. It is also when the sunlight is weakest, resulting in less overexposure and less risk of damage to the sensor.

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5) Think about alternative fill light sources. Consider reflective windows, white walls, metallic surfaces – effectively anything that can bounce the direct sun back into the subject to naturally add fill light. This means you will need to have your back to the reflective source.

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6) Consider some post-production magic, if too much flare is coming into the shot. Mount the camera on a tripod so that the image doesn’t shift, then take two shots of the same scene with the same exposure settings. For one shot, leave the image as is, but for the second, shade the end of the lens with your hand. It doesn’t matter if your hand appears in the image because during post production, you simply join the half from the shaded shot that doesn’t have your hand in it, with the bright half from the unshaded shot. This technique will leave the full effect of the flare around the sun, but enable you to remove the surplus flare from the rest of the image.

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6 Main Studio Lighting Methods to Master for Your Portraits

16 May

Understanding light is a concept that makes a good photographer, and an even greater skill to master is knowing how to recreate different light effects in the studio . Using lighting accessories like off-camera flashes or strobes, and studying how to trigger them from a different position than on top of the camera, will give an overall different aesthetic to Continue Reading

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How To Change Eye Color: Two Methods

31 Mar

Two simple methods for changing/enhancing eye color in Photoshop. Photo used is one of my own of Jessica.

Take your images to a whole new level! Today you can enhance select areas of any image with extraordinary power and precision, giving you vastly expanded possibilities for creative expression. These essential go-to techniques will help you master brushing, selections and masks; simple masks, gradient masks, luminance masks, contour masks and more. Plus, learn to control the position and quality of every transition and edge. In addition, you’ll discover r/evolutionary new ways of capturing and enhancing light. Drawing With Light; 21st Century Dodging and Burning will teach you these invaluable techniques.

 
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