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  • NatGeo’s George Steinmetz on capturing Africa ‘from a flying lawn chair’

    During a new 10-minute TED Talk, famed National Geographic aerial photographer George Steinmetz talks about his experiences photographing Africa while flying around in a motorized paraglider. This vantage point gives Steinmetz a unique look at the world below, including its various cultures and landscapes.

    The motorized paraglider is composed of a wing in the style of a parachute and a backpack motor, holding 10 liters of fuel and offering a speed up to 30MPH / 48KPH. Steinmetz explains that he gets a flight time of about two hours, during which he gets an “unobstructed view both horizontally and vertically.”

    “It dawned on me that this crazy little aircraft I was flying would open up a new way of seeing remote parts of the African landscape in a way that had never really been possible before,” Steinmetz explains in the video, pointing out that a typical airplane moves too fast for this type of photography, and a helicopter is too loud with too much downdraft.

    He goes on to introduce a video of how the paraglider works before highlighting some of the most striking aerial footage and photos taken from it.

    For most of us, a drone presents photographers with the closest we can get to Steinmetz style of capture, but that’s still not quite the same as a paraglider. As Steinmetz explains in the video, the motorized paraglider’s long flight time and capabilities makes it possible to not just photograph the immediate landscape, but explore the wider world around it.

    Check out the full video above for a dose of Friday inspiration.

    Articles: Digital Photography Review (dpreview.com)

  • Arri introduces Alexa LF ‘large-format’ 4K camera and LPL mount

    Cinema camera manufacturer Arri has launched a completely new, ‘large format’ 4K system comprising a camera with a new lens mount and 16 new lenses to go with it. The Alexa LF camera uses a sensor fractionally larger than what stills shooters would consider ‘full frame’ and can record in resolutions up to 4.5K and at frame rates of 150 fps.

    Arri introduced the new system today at London’s BSC Expo, and claims the new system is smaller and lighter than current full frame models. The camera’s sensor measures 36.70 x 25.54mm and uses 4448 x 3096 pixels – all of which users will be able to utilize in open gate mode. When used in 16:9 mode a 31.68 x 17.82 mm area is exposed with a full 4K resolution of 3840 x 2160 pixels. This is a 36.3mm diagonal, so is fully compatible with lenses such as Zeiss’s Compact Prime and Cinema Zoom series of lenses.

    A 2.39:1 ratio mode uses 4448 x 1865 pixels and a 39.8mm diagonal.

    In all of these modes the camera can shoot at up to 90fps in Arriraw, but it can manage 150fps when used in 2.39:1. Arri says the sensor has an exposure latitude of ‘14+ stops’. Newsshooter is reporting that the sensor is essentially two of its existing, 8-year-old ALEV-III sensors stitched together.

    Large PL mount

    A new lens mount has been introduced with the system that uses a wider throat and a shallower flange so that lenses can be made with large maximum apertures that would not be possible with the narrow throat of the PL mount. It should also allow lenses to be slightly smaller and lighter. The LPL (‘Large PL’) mount is 62mm in diameter and has a depth of 44mm, so existing PL lenses can also be mounted via an adapter. Arri says it is making the LPL available under licence to other camera manufacturers and third party lens makers.

    Its own collection of Arri Signature Prime lens system will comprise 16 lenses of between 12mm and 280mm. All will have a maximum aperture of T1.8 and will be compatible with the new LDS-2 lens data protocol, which Arri says it will also license. The mount will be able to read data from LDS-1 and /i lenses.

    According to the Cinema 5d website pricing will start at €76,608.37 plus tax, adding ‘if you think it’s expensive, it’s probably not aimed at you…’

    For more information and more show reel samples see Arri’s Alexa LF microsite.

    Press release

    ARRI launches large-format camera system

    The ALEXA LF camera, ARRI Signature Prime lenses and LPL lens mount together comprise an entirely new system, offering an immersive, emotionally engaging look.

    At the 2018 BSC Expo in London, ARRI has unveiled a complete large-format system that meets and exceeds modern production requirements, delivering unprecedented creative freedom while also being backwards compatible with existing lenses, accessories and workflows.

    Featuring a large-format sensor slightly bigger than full frame, ALEXA LF records native 4K with ARRI’s best overall image quality. Filmmakers can explore a large-format aesthetic while retaining the ALEXA sensor’s natural colorimetry, pleasing skin tones and proven suitability for HDR and WCG workflows. Different sensor modes cover any deliverable requirement and versatile recording formats-including efficient ProRes and uncompressed, unencrypted ARRIRAW up to 150 fps-provide total flexibility.

    Accompanying the ALEXA LF camera are 16 large-format ARRI Signature Prime lenses, ranging from 12 mm to 280 mm and fitted with the new ARRI LPL mount. While the Signature Primes exemplify state-of-the-art optical precision, they render organic, emotional images, gently softening and texturizing the large format. A fast T-stop of T1.8 facilitates shallow depth of field and the smooth focus fall-off gives subjects heightened presence in the frame.

    In the lead-up to the release of its new large-format system, ARRI asked a number of cinematographers to shoot with the camera and lenses in real-world situations. Among them was Dan Laustsen ASC, DFF, who is Oscar-nominated this year for his work on THE SHAPE OF WATER. After shooting with the system, Laustsen commented, “We were trying to tell a story about wideness and freedom; the ALEXA LF worked really well. The depth of field is so small, creating its own world. It’s fantastic.” Of the Signature Primes, he noted: “The lenses are lightweight and are not too sharp, but with a certain softness and very specific. With the 25 mm lens, you feel like you are there in the scene with the actors.”

    The new LPL lens mount has a wider diameter and shorter flange focal depth, allowing the ARRI Signature Primes and all future large-format lenses to be small and lightweight, with a fast T-stop and pleasing bokeh-a combination of features that would not be possible with the PL lens mount. The LPL mount will also be available for other ARRI cameras and is being licensed to third-party lens and camera manufacturers.

    Another cinematographer to shoot with the system prior to its release was Wang Yu, who used it to explore the atmospheric studio and creative inspirations of the celebrated Chinese artist and furniture-maker, Shao Fan. “The results got me really excited,” he says. “The camera and lens captured every tonal nuance with unmatched detail, gradation and color. I love how the out-of-focus areas are rendered, contributing to a rich and vivid overall look.”

    Although the camera, lens mount and lenses are new, full compatibility with existing PL mount lenses and ALEXA accessories is a cornerstone of the system’s design. A PL-to-LPL adapter offers backwards compatibility with all PL mount lenses, whether Super 35 or full frame. The adapter attaches securely to the LPL lens mount without tools, allowing crews to rapidly switch between PL and LPL lenses on set, and offering cinematographers an unlimited lens choice.

    Tom Fährmann BVK, who also got a sneak preview, chose to shoot a diverse palette of faces and skin tones against a white background, under varying portrait lighting conditions. He reports: “To me, the system embodies typical ARRI quality, but there is a new level of emotion to the images-a smoothness to the way the camera and lenses work together.”

    ALEXA LF offers the same tried-and-true, versatile workflows as other ALEXA cameras. Existing ARRI Look Files can be used, and the entire range of ARRI workflow software tools will support ALEXA large-format images. Lens metadata can be recorded from LDS-1, LDS-2 or /i capable lenses.

    Shooting wide open with ARRI Signature Prime lenses for shallow focus and gorgeous bokeh, French cinematographer Matias Boucard worked purely with natural light and available sources when he tried out the new system in Thailand. “The ALEXA LF camera and Signature Prime lenses are an elegant combination,” he says. “I love the lenses; they strike a wonderful balance between modernity and character.”

    Articles: Digital Photography Review (dpreview.com)

  • Tips for Better Smartphone Photography

    Everyone has a camera nowadays. If you have a smartphone, you have a camera. Many of them take great photos, full of color and clarity. But what can you do to take your smartphone photography to the next level? Here are 3 videos with some tips to help you out.

    7 Smartphone Photography Tips & Tricks

    In this video from Serge Ramelli, you get some practical and easy to apply tips to help you elevate your smartphone photography.

    ??

    The 101 of Smartphone Photography from COOPH

    Here are a few more ideas from the crew over at COOPH who consisting have great video tips.

    ?

    9 Smartphone photography tips from B&H Photo Video

    Finally, here are 9 more tips from Larry Becker and B&H Photo Video.

    ?

    If you still haven’t gotten enough tips for better smartphone photography here are some dPS articles to help:

    • 9 of the Best Apps to Help You Do Awesome Mobile Phone Photography
    • 9 More Great Apps You Need for Your Smartphone
    • How to Get Stunning Macro Photos with Your Mobile Phone
    • Lightroom Mobile – The Secret to Shooting and Editing on Your Smartphone
    • Review: Struman Lenses for Mobile Phones

    The post Tips for Better Smartphone Photography by Darlene Hildebrandt appeared first on Digital Photography School.


    Digital Photography School

  • Weekly Photography Challenge – Your Best Smartphone Shot

    Likely you have a smartphone as well as your main camera – whether that be a DSLR, mirrorless or other. This week your challenge is to come up with the best shot you can using just your smartphone. So you can’t rely on fancy lenses or advanced settings – you’ll need to use light and composition and creativity to your advantage here!

    If you need some help check out: Tips for Better Smartphone Photography

    Weekly Photography Challenge - Your Best Smartphone Shot

    Weekly Photography Challenge – Smartphone Shots

    Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge. Sometimes it takes a while for an image to appear so be patient and try not to post the same image twice.

    So get creative, let’s see what you can do?

    Share in the dPS Facebook Group

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

    The post Weekly Photography Challenge – Your Best Smartphone Shot by Darlene Hildebrandt appeared first on Digital Photography School.


    Digital Photography School

  • New Alexa large-format 4K cinema system introduced by Arri

    Cinema camera manufacturer Arri has launched a completely new, ‘large format’ 4K system comprising a camera with a new lens mount and 16 new lenses to go with it. The Alexa LF camera uses a sensor fractionally larger than what stills shooters would consider ‘full frame’ and can record in resolutions up to 4.5K and at frame rates of 150 fps.

    Arri introduced the new system today at London’s BSC Expo, and claims the new system is smaller and lighter than current full frame models. The camera’s sensor measures 36.70 x 25.54mm and uses 4448 x 3096 pixels – all of which users will be able to utilize in open gate mode. When used in 16:9 mode a 31.68 x 17.82 mm area is exposed with a full 4K resolution of 3840 x 2160 pixels. This is a 36.3mm diagonal, so is fully compatible with lenses such as Zeiss’s Compact Prime and Cinema Zoom series of lenses.

    A 2.39:1 ratio mode uses 4448 x 1865 pixels and a 39.8mm diagonal.

    In all of these modes the camera can shoot at up to 90fps in Arriraw, but it can manage 150fps when used in 2.39:1. Arri says the sensor has an exposure latitude of ‘14+ stops’. Newsshooter is reporting that the sensor is essentially two of its existing, 8-year-old ALEV-III sensors stitched together.

    Large PL mount

    A new lens mount has been introduced with the system that uses a wider throat and a shallower flange so that lenses can be made with large maximum apertures that would not be possible with the narrow throat of the PL mount. It should also allow lenses to be slightly smaller and lighter. The LPL (‘Large PL’) mount is 62mm in diameter and has a depth of 44mm, so existing PL lenses can also be mounted via an adapter. Arri says it is making the LPL available under licence to other camera manufacturers and third party lens makers.

    Its own collection of Arri Signature Prime lens system will comprise 16 lenses of between 12mm and 280mm. All will have a maximum aperture of T1.8 and will be compatible with the new LDS-2 lens data protocol, which Arri says it will also license. The mount will be able to read data from LDS-1 and /i lenses.

    According to the Cinema 5d website pricing will start at €76,608.37 plus tax, adding ‘if you think it’s expensive, it’s probably not aimed at you…’

    For more information and more show reel samples see Arri’s Alexa LF microsite.

    Press release

    ARRI launches large-format camera system

    The ALEXA LF camera, ARRI Signature Prime lenses and LPL lens mount together comprise an entirely new system, offering an immersive, emotionally engaging look.

    At the 2018 BSC Expo in London, ARRI has unveiled a complete large-format system that meets and exceeds modern production requirements, delivering unprecedented creative freedom while also being backwards compatible with existing lenses, accessories and workflows.

    Featuring a large-format sensor slightly bigger than full frame, ALEXA LF records native 4K with ARRI’s best overall image quality. Filmmakers can explore a large-format aesthetic while retaining the ALEXA sensor’s natural colorimetry, pleasing skin tones and proven suitability for HDR and WCG workflows. Different sensor modes cover any deliverable requirement and versatile recording formats-including efficient ProRes and uncompressed, unencrypted ARRIRAW up to 150 fps-provide total flexibility.

    Accompanying the ALEXA LF camera are 16 large-format ARRI Signature Prime lenses, ranging from 12 mm to 280 mm and fitted with the new ARRI LPL mount. While the Signature Primes exemplify state-of-the-art optical precision, they render organic, emotional images, gently softening and texturizing the large format. A fast T-stop of T1.8 facilitates shallow depth of field and the smooth focus fall-off gives subjects heightened presence in the frame.

    In the lead-up to the release of its new large-format system, ARRI asked a number of cinematographers to shoot with the camera and lenses in real-world situations. Among them was Dan Laustsen ASC, DFF, who is Oscar-nominated this year for his work on THE SHAPE OF WATER. After shooting with the system, Laustsen commented, “We were trying to tell a story about wideness and freedom; the ALEXA LF worked really well. The depth of field is so small, creating its own world. It’s fantastic.” Of the Signature Primes, he noted: “The lenses are lightweight and are not too sharp, but with a certain softness and very specific. With the 25 mm lens, you feel like you are there in the scene with the actors.”

    The new LPL lens mount has a wider diameter and shorter flange focal depth, allowing the ARRI Signature Primes and all future large-format lenses to be small and lightweight, with a fast T-stop and pleasing bokeh-a combination of features that would not be possible with the PL lens mount. The LPL mount will also be available for other ARRI cameras and is being licensed to third-party lens and camera manufacturers.

    Another cinematographer to shoot with the system prior to its release was Wang Yu, who used it to explore the atmospheric studio and creative inspirations of the celebrated Chinese artist and furniture-maker, Shao Fan. “The results got me really excited,” he says. “The camera and lens captured every tonal nuance with unmatched detail, gradation and color. I love how the out-of-focus areas are rendered, contributing to a rich and vivid overall look.”

    Although the camera, lens mount and lenses are new, full compatibility with existing PL mount lenses and ALEXA accessories is a cornerstone of the system’s design. A PL-to-LPL adapter offers backwards compatibility with all PL mount lenses, whether Super 35 or full frame. The adapter attaches securely to the LPL lens mount without tools, allowing crews to rapidly switch between PL and LPL lenses on set, and offering cinematographers an unlimited lens choice.

    Tom Fährmann BVK, who also got a sneak preview, chose to shoot a diverse palette of faces and skin tones against a white background, under varying portrait lighting conditions. He reports: “To me, the system embodies typical ARRI quality, but there is a new level of emotion to the images-a smoothness to the way the camera and lenses work together.”

    ALEXA LF offers the same tried-and-true, versatile workflows as other ALEXA cameras. Existing ARRI Look Files can be used, and the entire range of ARRI workflow software tools will support ALEXA large-format images. Lens metadata can be recorded from LDS-1, LDS-2 or /i capable lenses.

    Shooting wide open with ARRI Signature Prime lenses for shallow focus and gorgeous bokeh, French cinematographer Matias Boucard worked purely with natural light and available sources when he tried out the new system in Thailand. “The ALEXA LF camera and Signature Prime lenses are an elegant combination,” he says. “I love the lenses; they strike a wonderful balance between modernity and character.”

    Articles: Digital Photography Review (dpreview.com)

  • Photographer struck by rally car while standing near track corner

    An incident involving a photographer struck by a car during the outdoor racing event Sno*Drift Rally has spurred discussion and criticism over shooting practices in risky situations. Photographer G David LaClair was standing near a corner of the outdoor racing track when a vehicle lost control and spun out, slid into the brush, and directly impacted the photographer.

    The collision was captured in a pair of videos, both of which are graphic in nature. In a post shared via a screenshot on Facebook, the photographer LaClair reports that he suffered a lacerated liver and broken scapulas, as well as many bruises. The incident has resulted in many pointing out that better attention to safety would have prevented the collision.

    Photographers were reportedly warned not to stand on the outside of a track corner due to the risk of a car losing control

    In a Facebook comment left on a video of the accident, photographer Adam Bachi explains that a mandatory safety meeting for media personnel was held before the event. During this safety meeting, photographers were reportedly warned not to stand on the outside of a track corner due to the risk of a car losing control. Whether LaClair was present in that meeting and why he chose to stand in that spot is unclear.

    Discussions have focused, in part, on how future incidents like this can be avoided, including potentially having experienced photographers follow inexperienced photographers, posting warning signs in dangerous shooting spots, and having safety personnel monitor dangerous spots to turn away anyone who unwittingly positions themselves there.

    Via: Fstoppers

    Articles: Digital Photography Review (dpreview.com)

  • New flash storage standard opens the way for 8K video capture on smartphones

    Photo by veeterzy

    Storage speeds on smartphones, Chromebooks, VR headsets and automotive devices are about to make a huge leap forward. Standards group JEDEC has announced the new UFS 3.0 flash storage standard, which doubles the theoretical speed of the current UFS 2.1 standard to 2.9 GB/s, all while lowering power consumption and allowing for operation at a greater range of temperatures.

    This theoretical maximum likely won’t be achieved by production devices, but the standard does require the host device to use hardware that supports these blistering fast transfer rates.

    What does this actually mean for smartphone cameras? If you are only capturing still images, you won’t see much of a difference; but for video shooters, this could be huge. The new standard allows for 4K video capture at 60 frames per second or even 8K resolution without putting nearly as much stress on your device.

    In combination with larger storage capacities—Samsung, for example, has promised to include 512GB modules in its upcoming smartphones—this new standard could make ultra high-resolution video recording on mobile devices standard. If you later want to transfer the recorded footage to another device or computer, the faster speeds help with that, too.

    And, finally, the new standard also offers lower power consumption and increased reliability in a wider range of operating temperatures.

    As usual, it’s not clear when we will see the first UFS 3.0 ready devices; the new standard will probably take a while to implement on a wider scale. But given Samsung is by far the biggest NAND memory module manufacturer, there is a good chance the Korean company will be among the first to offer the new standard in its smartphones. Something to look forward to in the Galaxy S10, perhaps?

    Articles: Digital Photography Review (dpreview.com)

  • This video shows that everyone takes the exact same Instagram travel photos

    After reading our recent coverage on Instagrammers hurting an iconic tree in New Zealand just to snap the same photo everyone else has already taken, photographer and videographer Oliver KMIA decided to put together a short video with a single, tongue-in-cheek purpose:

    I wanted to show how people take the same picture over and over again while traveling.

    The result is Instatravel, a video slideshow made out of thousands of Instagram travel photos that look pretty much identical. All of the typical tropes are covered: the passport photo, the pretty girl leading you by the hand, the airplane wing, and all of the most iconic landmarks being photographed from the same old locations in the exact same way.

    We can’t decide if the video is funny or depressing, so we’ll let you do that. Alternatively, this is probably a good video to reference the next time you find yourself tempted to take one of these cliché travel shots. We’ve all done it, but a few seconds of hesitation might just yield something a bit more unique.

    Articles: Digital Photography Review (dpreview.com)

  • Behind the scenes: The story behind this volcanic eruption wedding photo

    Photograph by Jack Kurtz/ZUMA Press

    Photojournalist Jack Kurtz was in the Philippines covering the eruption of the Mayon volcano for ZUMA Press this past month, but the photo that’s gotten him the most attention wasn’t one of his press shots. Instead, it’s this serendipitous wedding photo that has spread across the Web like wildfire—a once- or twice-in-a-lifetime kind of photograph that captures the power of nature as a backdrop to the human experience.

    The story behind this shot is simply about being in the right place, at the right time, with the right attitude.

    Kurtz tells DPReview he arrived in the Philippines on Saturday, January 20th and proceeded to spend most of the week capturing photos for his agency—mostly “photographing people in evacuation centers and the volcano when it was erupting.” But after five intense days of photography, he needed a break, so he took Thursday as a “personal day.”

    “I needed to run some errands and since the volcano was quiet it seemed a good day to do that,” says Kurtz. “I finished my errands about 4:30 in the afternoon and decided to go to a church a few kilometers away to try to make a sunset photo of the volcano erupting.”

    The volcano had been quiet all day that Thursday, so it was a risk, but as Kurtz told us: “nothing ventured nothing gained, and off to the church I went.”

    When he got to the church, there was no sign of an eruption and clouds were obscuring the cone, but he decided to wait and was rewarded for his patience. In his own words:

    As it got later, the clouds drifted off and smoke started to puff its way out of the cone, signaling a likely eruption. All good signs. I set up my small table top tripod on a flat rock, made a couple of test pictures with my Pen F and iPhone controlling the camera with the Olympus OI Share app. Everything was working so I sat down and waited.

    While I was sitting there, a couple who had just been married in the church came out to a restaurant next to the parking lot to make their wedding photos. Just as they got to the overlook, the volcano started its eruption. I grabbed my gear and ran over to the restaurant to photograph them.

    Before I started photographing, I introduced myself to their wedding photographer and asked if I could make some pictures (I think it would have been rude of me to butt in on his job) and he said okay. I started photographing the couple. During a break, I talked to the couple. I told them who I was and asked if I could put the photos on the wire. They said it was fine. Then I went back to photographing.

    A few minutes later, they finished up, everybody thanked everyone else, and Kurtz went back to his spot in the parking lot to set up the exposure that would yield the photograph below.

    Photo by Jack Kurtz/ZUMA Press

    Speaking with DPReview about the technical details behind the photographs, he says the wedding photo was made with his Olympus Pen F and 17mm F1.8 lens at ISO 400, F4, and 1/30. Color balance was set to daylight, and the photo was later edited in Lightroom 6 to straighten the horizon and adjust the color balance (“Because of the time of day and light, the skintones were a little warm, so I knocked the color temp down a little.”)

    The eruption photo above was also shot on the Pen F, this time with a 25mm F1.8 lens at ISO 200, F4.5, and 85 seconds. The camera was set on a small tabletop tripod and controlled by the OI Share app on Kurtz’ iPhone. It, too, was edited in Lightroom 6.

    A big thank you to Mr. Kurtz for sharing his photographs and the story/technical details behind them with us at DPReview. To see more of his work, be sure to visit his website or give him a follow on Instagram.


    Photography by Jack Kurtz/ZUMA Press, used with permission.

    Articles: Digital Photography Review (dpreview.com)

  • How to Use Layers and Masks in Photoshop to Add Text to Your Photos

    Do you want to make a photo-card for your loved one? Or maybe a flyer for your business? Or add some personalized notes to your photos that turn your album into a scrapbook? If you ever tried to add text on your photos and ended up just covering up the image, this article is for you.

    How to Use Layers and Masks to Add Text to Your Photos

    Although Photoshop is not a software specially-made for design, it does have some design functions, one of which is the text tool. You don’t need to learn any extra software to integrate text into your photos, you’ll learn how to use layers and masks in Photoshop to overlap the text and the image so that they interact which results in integrated and elegant images.

    Since Valentine’s Day is so close, I’ll give you some easy-to-do examples to make a card for your loved one. However, you can apply the same steps to any image to add text for any other purpose.

    Overlapping

    In this first technique, you won’t apply any effects to the text itself, therefore the result is a clean and simple design.

    First open an image of your choosing in Photoshop, one that goes well with the message you want to convey. You can later move the text to make some final arrangements, however, you do need to start with an idea for the text placement. This is because you need to select the part of the subject that you want to overlap with the text. I used the Quick Selection tool, but you can use whichever is best for you.

    Selection - How to Use Layers and Masks to Add Text to Your Photos

    Then duplicate the layer by dragging it to the new layer icon at the bottom, or by going to Menu > Layer > Duplicate Layer (you can also use the keyboard shortcut Cmd/Ctrl+J). Then you will need to add a mask to the new layer by clicking on the layer mask button from the bottom of the Layers palette.

    Whatever was selected is now the only thing visible from that layer. You can also refine the edges of this selection if you right-click the layer and select Refine Edge.

    Layer mask - How to Use Layers and Masks to Add Text to Your Photos

    Add your text

    Then, select the Text Tool and write your message. You can choose the font, size and color from the menu as you would in any word processor like Microsoft Word. Now your text is blocking your image but all you need to do to create the overlapping is to drag the text layer in between the background and the selected layers.

    Text tool - How to Use Layers and Masks to Add Text to Your Photos

    You can move or transform the text to make it fit better as well. Finally, if you want to have a part of the text appear to be behind the image and part in front, to make it more integrated, you can paint on the layer mask with a black brush (black conceals – white reveals) to hide the parts “behind”.

    I love you - How to Use Layers and Masks to Add Text to Your Photos

    Picture in Picture

    Another way to integrate text and image is to use the same background photo as a pattern for the letters and just change the blend to give it a personalized effect.

    Open an image of your choosing in Photoshop. Then using the Text tool, write your message in a font that is wide enough to show the image inside, in this case, I used Braggadocio.

    Text Love - How to Use Layers and Masks in Photoshop to Add Text to Your Photos

    Add the photo

    Now go to Menu > File > Place and choose the same photo that you are using in the background. Adjust its size to fit the text.

    Place - How to Use Layers and Masks in Photoshop to Add Text to Your Photos

    Go back to the Layers palette and right-click the text layer. In the drop-down menu choose “Make a work path”. Then from the Path palette, right-click the work path and click on “make selection”. This will create a selection around the letters, but it will keep the path to make the selection later in other layers where you are going to need it.

    Path Selection - How to Use Layers and Masks in Photoshop to Add Text to Your Photos

    Then go back to the Layers palette and select the layer with the second image (the one you placed and added a layer mask to); this will have the shape of the letters.

    If you want to rearrange the image inside the letters you can make the original text invisible by clicking on the eye icon on the left side of the layer name, and then unlink the mask by clicking the chain in between the thumbnails. That way you can just drag the photo until you are satisfied with how it looks (see below).

    Unlink - How to Use Layers and Masks in Photoshop to Add Text to Your Photos

    Once the image is placed the way you want it, you can apply any effect that you like. In this case, I added an adjustment layer with a Gradient map, this can be done by going to Menu > Layer > New Adjustment Layer > Gradient Map; or by clicking the shortcut button at the bottom of the palette. From there I chose a greyscale gradient.

    Finishing up

    Finally, I changed the blending mode of the layer to Multiply. You can do this or choose any other blending mode from the drop-down menu on the top part of the layer palette. Then I activated the original text layer (which was white if you remember) and I moved it a little bit so that it would show underneath and it gave it a border to separate it.

    Love - How to Use Layers and Masks in Photoshop to Add Text to Your Photos

    The post How to Use Layers and Masks in Photoshop to Add Text to Your Photos by Ana Mireles appeared first on Digital Photography School.


    Digital Photography School