Check out ePHOTOzine's inspirational photo month calendar! Each day click on a window to unveil new photography tips, treats and techniques.
View August's Photo Month Calendar
Wednesday, August 31, 2011
Tuesday, August 30, 2011
Salisbury
Check out ePHOTOzine's inspirational photo month calendar! Each day click on a window to unveil new photography tips, treats and techniques.
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Sculpture by the Lakes, Pallington Lakes, Dorchester, Dorset
Check out ePHOTOzine's inspirational photo month calendar! Each day click on a window to unveil new photography tips, treats and techniques.
View August's Photo Month Calendar
Monday, August 29, 2011
The old school house
Check out ePHOTOzine's inspirational photo month calendar! Each day click on a window to unveil new photography tips, treats and techniques.
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Saturday, August 27, 2011
12 Top Photography Composition Rules
12 Top Photography Composition Rules - Take better photos by following these basic photography rules.
Earlier in the week we talked about breaking photography rules to create shots with more impact, however to break the rules you need to know what they are so here's 12 top photography composition rules for you to learn, shoot with then if you want to, break. If your shot is in danger of losing impact due to a busy background/surroundings, crop in tight around your main point of focus, eliminating the background so all attention falls on your main subject. This works particularly well with portraits when you're trying to capture something more intimate and focused or are shooting in a busy location where what's around them would just cause a distraction. Filling the frame could involve you capturing them from the waist up or for more impact, fill the frame with just their face. Patterns are another subject that when capturing, you should fill the frame with, aligning it up carefully to ensure it's straight. Keep an eye on the edges of your frame to make sure the person/animal you're photographing hasn't had any of their body parts chopped off by it. Cutting off your cat's tail, your dog's ears or part of your model's head, will not only spoil your shot, the unintentional limb chopping can pull attention away from what the viewer should really be looking at. The same goes for shots where your model's arm goes out of the shot and comes back in, such as them leaning on their arm which is bent at the elbow, if you can't see the bottom of the arm and how it's connected to their body, it can look a little alien, like it belongs to someone else. The most basic of all photography rules is all about dividing your shot into nine equal sections by a set of vertical and horizontal lines. With the imaginary frame in place, you should place the most important element(s) in your shot on one of the lines or where the lines meet. It's a technique that works well for landscapes as you can position the horizon on one of the horizontal lines that sit in the lower and upper part of the photograph while you're vertical subjects (trees etc.) can be placed on one of the two vertical lines.
Frames have various uses when it comes to composition. They can isolate your subject, drawing the eye directly to it, they can hide unwanted items behind it, give an image depth and help create context. Your frame can be man-made (bridges, arches and fences), natural (tree branches, tree trunks) or even human (arms clasped around a face). Our eyes are unconsciously drawn along lines in images so by thinking about how, where and why you place lines in your images will change the way your audience view it. A road, for example, starting at one end of the shot and winding it's way to the far end will pull the eye through the scene. You can position various focal points along your line or just have one main area focus at the end of your line that the eye will settle on. Shapes can be used in a similar way, for example imagine a triangle and position three points of focus at the end of each point where the lines of the shape meet. By doing so you create balance in your shot as well as subtly guiding the eye.
Having too much going on in your frame can me the person who's looking at it will just keep searching it for a point of focus and soon get bored of looking when they can't find one. This doesn't mean you can't have secondary points of focus, it just means you should make every effort to make sure they don't steal all the limelight. Take a look at our tutorial on using Points Of Interest In Photography for more information on this.
Unsightly objects, overexposed or particularly bright areas and blocks/dots of bright colour will all pull the eye from what it's meant to be focusing on so take a good look at your background before you take your shot and if possible, find a background that's not so obtrusive. If you're working on portraits make sure there's no unwanted items sticking out of your subject's head and unless it adds to the shot, throw the background out of focus. To do this, select a wider aperture if working with a DSLR or select the Portrait Mode on a compact camera to tell it you want to work with a wider aperture. If you're working with plants and flowers try creating your own backgrounds out of card and material which can be slipped into your bag alongside your camera gear. The problem with following the rule of thirds rule is that it can leave you with a strong focus point on one side of your shot and a big empty space on the other so, to improve this, see how you can add a secondary point of interest that's less important to balance your shot. This could mean moving an object (if you can), cropping in by zooming in with your lens or with the crop tool in your editing software or by moving your feet to find a different angle. This is similar to balance except you use the same object or a reflection of it on both sides of the shot or repeated through the entirety of it. Filling your frame with a pattern that repeats gives the shot more impact, exaggerating the size/number of the objects you're photographing. Shots where there's symmetry in them such as lamp posts lining either side of a street, a long line of trees or a series of arches can also be used to guide the eye to a single point. Just remember you need a focus point at the end of your shot otherwise it won't work as well. Symmetry can also involve non-related objects that resemble each other in shape, colour or texture. To be different, break the repetitive pattern with one shape/colour that stands out from the rest. You'll probably have to play around to see how positioning the 'odd one out' changes the composition/feeling of your shot. Having fore-, middle- and background detail will add depth to your image as well as draw the eye through the picture. Compositional elements that compliment each other, for example with colour or by association, work better but do be careful with the size of objects you use and how you place them as you don't want the shot to be thrown off balance. You don't want a rock in the foreground of your landscape shot, for example, drawing the eye away from the hills and mountains in the background. Adding water to the foreground can also lighten your shot as well as adding an extra element of interest as it reflects the sky back out. For some reason, items grouped together in odds (three strawberries rather than two) give you a shot that's more interesting and easier to focus on as the middle element is automatically framed by those that surround it. Try it next time you're shooting still life work or group portraits. As colours can be harmonious together (reds and yellows or yellows and greens) or complementary (orange and blue or magenta and green) they're great compositional devices. A colour scheme that sits well together will create a sense of rest and calm while colours that complement each other can be used to create more vibrant and dynamic shot.
Friday, August 26, 2011
8 Ways To Break Photography Rules
Break The 'Rules' Of Photography - As the saying goes, rules are meant to be broken so here are a few ways you can break a few of the photography rules creatively.
Compositional rules are there as guides but that doesn't mean you always have to use them. Sometimes breaking the rules can help you create an image that's far more striking, so here's eight ways how breaking the guidelines can help you create an image that has far more impact. With the rule of thirds, you have to ensure that your main point of focus is positioned on one or more of the four intersecting lines on the nine square grid you have to imagine is sitting over your image. However, there are some shots where placing your subject in the middle of it will give you a more striking image. For example, a road or path stretching off towards the horizon, starting so it fills the frame and winding away until it vanishes can look better when positioned in the centre. The same goes for shots with lots of symmetry. A long table that's set for dinner with rows of chairs and lines of plates, glasses and cutlery on it will make a more interesting photograph if positioned in the centre of the frame, while photographing escalators, steps, piers and tunnels so they sit in the centre of the frame can help exaggerate their length, giving the impression that they go on forever. Portraits are more pleasing to the eye when you use the rule of thirds grid but if you're shooting a portrait that has a more creepy, unusual feel to it, positioning your subject in the centre of the shot will enhance this uneasy feeling.
When you're working with the horizon or lines you should avoid splitting the image in two, so horizons should be slightly higher or lower, depending where the interest is and lines should be positioned to the left or right of the centre line. However, cutting your image in two will give you a shot that has a lot of impact, particularly if you're going for something more abstract where strong blocks of colour are your focus. Keeping your horizons level and your shots straight is a rule that's important for landscapes but there are other subjects where tilting your camera will give them more energy and a sense of excitement/fun. If you're going to do this, make sure you do it properly, really turning your camera. If you don't, it'll look like you were going for a straight shot and angled your camera by mistake. For shots that are clean and sharp, you'll generally need to use the lowest ISO possible. Of course there are many cameras now that cope quite well at higher ISO levels, and they won't leave noise in your shots. However, if you have a camera that still struggles at higher levels, use it to your advantage, shooting some grainy images. If you don't want to create the look in-camera, shoot at a lower ISO and run your image through photo editing software and apply your grain digitally. The grain works even better with black and white shots so while you have your editing software open, try converting your coloured shot into something much more moody. Portraits are good subjects for this but if you have a few landscape shots you've taken on dull days, try converting them to black and white, add a little grain and a grungy frame and you'll breath life back into a boring shot. For a more dream-like composition, try throwing your whole frame out of focus. A wide aperture will be needed and you'll probably have to focus manually to stop your lens focusing on something in the frame. You want the shot to be out of focus just enough to make it look like you did it intentionally but still leave enough detail to make the scene recognisable. Your other option is to blur what would be considered as your main point of focus and have something in front or behind them sharp. A more subtle way to use the effect is by creating a soft focus portrait. Take a look at our Photoshop Tutorial for more information on how to do this.
Photo by David Clapp - www.davidclapp.co.uk
The 'try to keep your camera as still as possible' rule only applies when you're not going for a strong, abstract shot that's full of energy. If you're photographing action, a car speeding along a track or dancers spinning in a circle, moving your camera while you take your shot will add a little blur that can increase the feeling of speed and excitement. Using a slightly slower speed than you'd usually use to capture action will further enhance their movement and you probably don't need to move your camera to do this. Again, having part of the shot a little sharper than the rest will give your viewer a focus point. Try zooming your lens barrel out or in through the exposure too to create a zoom burst. You'll probably want a tripod to hand for this as it makes it easier to turn the barrel of the lens. Zoom bursts work well on stained glass but they can give equally good results on groups of fast moving dancers who are making their way towards you.
Try removing all sharpness from the shot with a drag landscape. We've covered this on site in a previous technique which you can find here: Drag Landscapes OK, so shooting with your camera held to your eye or using your camera's screen to frame your shot isn't a rule, just more of a thing that everyone does because that's the way camera's work! But by leaving your camera by your side and 'shooting from the hip' you can get some interesting results. Sure, it can be a little hit and miss but as it doesn't look like you're taking a photograph you stand the chance of capturing much more candid results, particularly on the street. When photographing someone or something moving through your frame, the eye will naturally follow the path the subject's on and most of the time, people leave space for them to move into. However, forcing them to the other side of the frame, in the direction they're moving can create a sense of speed, giving the impression that you couldn’t keep pace with them.
Thursday, August 25, 2011
Controlling And Using Flare In Your Photographs
Check out ePHOTOzine's inspirational photo month calendar! Each day click on a window to unveil new photography tips, treats and techniques.
View August's Photo Month Calendar
Wednesday, August 24, 2011
'Old Vs New' Photography Challenge
Check out ePHOTOzine's inspirational photo month calendar! Each day click on a window to unveil new photography tips, treats and techniques.
View August's Photo Month Calendar
Portrait Photography Tips From Damian "The BIG Dog" McGillicuddy
It's my intention while on our photo journey together that I show you an insight into my world but more importantly in to my "photo-philosophy". I want to show you that although good quality kit, that does what it says it will do is imperative, the latest, biggest and shiniest isn’t going to make you a better photographer!
I also want to show you that in my world, in the main, a piece of kit needs to be versatile, if I’m carrying it (actually I don’t carry anything as my assistants will testify to) it has to be versatile and more than just a "one trick pony"!
Perhaps most importantly I want to show you my philosophy of "stacking the odds", as much as is possible, in my favour is the path I always endeavor to take in my image making.
So lets start our next article by refining what we shot previously and making it that little bit more polished.
My intention was to add a little more control and a little more finesse to our first image. I want to show you that it doesn't take too much extra work to incrementally "move" an image on.The image needs to still have that "grungy", sassy, sexy urban edge to it but with the added refinement of greater lighting control and a softer femininity.
Down by the canal, Castlefields, Manchester.Nikon D700 fitted with Nikons 85mm f/1.8
2x Nissin Di 866 Speedlights
2x Elinchrom Universal Skyport
The “bare bulb” enhancer from the DMLS Portaflex kit.
The 19 inch DMLS “Classic” beauty dish.
Sekonic L-758D light meterImage captured in RAW
ISO 200, f/5.6 @ 1/160 sec
RAW file processed through Aperture 3.1.3
I'm all about control - especially in my image making! I also believe your last capture can always be bettered, so lets evolve our last image and see if we can!
The technical aspect of the camera craft won't vary much. What I want to demonstrate is the refinement in our lighting and posing. These refinements may require you to look hard at your monitor but I promise you the effort you put in will be well rewarded.
My first aim with this image is to "soften" its overall feel - and I don’t mean to murder the image with gaussian blur. So my first thought turns to lighting which, for me, is the absolute core quality of an image. If I’m looking to soften the image I’m looking to reduce the contrast within the image and to "blur" the line of transition between the highlight and shadow creating a more gradual and therefore less abrupt change in the image's tonality. In this image my dilemma is that I still have a mood to maintain so I can’t go too soft or it will destroy the intent and narrative of the image - answer softer but not too soft.
I swap the modifier on my key light for the classic 19 inch McGillicuddy collapsable beauty dish. The bigger modifier will give a softer light... but why does the beauty dish design liberate the humble speedlight?
The small flash tube in a speedlight by nature gives a crisp, hard, often harsh light. They were originally designed for the press to get light where there wasn’t enough for them to get a picture that would print well in the then, "low tech" reproduction of the newspaper world. The idea that image wise, something was much better than nothing!
Now I love the thought of the portability of these little packets of sunshine and believe they are highly useable, especially if you liberate them from the top of your camera! If you take a quick look at the close up image of the bowl of the dish you can see that the head of the speedlight is "poked" through the back of the dish.
The flash output is then aimed at the suspended “deflector”, the white bit, bottom left of the image, and this in turn bounces the light back into the bowl, growing in size all the time, then back around the sides of the defector and out of the dish and towards the subject. The illumination now enlarged and therefore is softened so it's now highly controllable, malleable light... magic!
You can see from my behind the scenes picture the exact placement of the key light.
You’ll note that it's been pushed further back from the 45 degree angle, although it's still above the subjects eye-line and angled down. The reason being that this will extend the "loop" shadow cast by the nose and join it up to the shadow on the face opposite to the key. This creates a little triangular patch of light on the cheek and the lighting pattern know as “Rembrandt”. This is a very sculptural, defining light that creates great dimensionality, never forget, our aim is to tell a 3D lie in a 2D medium.
The overview image also shows that we have now introduced a second speedlight. In point of fact it is the exact same light we used as the "key" in our last article. In this shot it has been repositioned to serve another duty. Now the light is behind our subject and on the opposite side to the "key" it can be used as a "rim" or "accent" light to stand the shadow side of the subject off the background and add more depth through lighting finesse. Adding this light has also allowed me to increase the shutter speed slightly and further darken down the levels of the ambient illumination adding a little more drama to the wall.
Both lights were triggered with Elinchrom’s Universal skyports. You can see from the behind the scenes image that the Skyport receiver simply plugs into the pc socket of the flash and triggers it once it receives the signal command from the transmitter which sit in the hot shoe of the camera... it's just like witchcraft really!
As the aim is to soften the image I’ve directed Nic to adjust the pose. The secret of a good model for me is the ability for him or her to listen to the direction and adopt it without fuss or question and certainly without interpretation. I control all the elements within one of my images and leave nothing to chance or third party input!
I’ve broken down the harsh aggressive nature to her pose and made it softer, more feminine and a little lighter by removing the strength from her triangular base (feet) and further adding and enhancing sexy “S” shapes. Simple and subtle... but powerfully effective.
Post is exactly the same as the image in my last piece. I'ts enhancement not rescue! Blemishes erased, skin softened, colour tweaked etc.I don’t want you to think that a tool is "dead ended". In other words only fit for one use, I want you to understand that there are many ways to skin the preverbal cat! Thats why I feel it worth posting this image.
Theres no explanation needed, it was shot in the exact same way as the image in the last article, just in my studio, using the exact same bare bulb enhancer from the portaflex kit. The light just "pushed" further round to "split" the lighting, the reduction in ambient illumination just increases the contrast... the pose and styling obviously send a different message but essentially it's still the same tools used in a similar vein... just "tweaked" to create different mood and feeling within a different image... it's not rocket science is it?
I’m obviously feeling very generous today! I want to complete this article by talking briefly about another of my photo - philosophy core points. Simplicity is often the key! One thing I notice a lot as a international judge in the work of others (and sometimes my own!) is that it just becomes too complicated in many instances. It is this "gilding of the lilly" that can often ultimately weaken an image. Let me explain: sometimes if something works we should just embrace it, use it and be happy to create. Recently I had the great pleasure of using the Ray Flash speedlight "ring flash" adapter from Flaghead Photographic and boy, this could not be simpler or more effective to use. The unit literally connects to the head of the speedlight, locks on and then positions itself around your lens. It really is that simple!
It's application was equally as simple in its execution! To get this smooth, shadowless, fashion inspired portrait I did nothing more than set my ISO to 400, put my camera into aperture priority, select f/5.6 and shot away. MAXIMUM effect from MINIMUM effort! Of course I like to think that concept, camera craft, styling and composition have a little to do with the outcome of the image but it really couldn’t have been easier to produce from a technical point of view.
I certainly will be exploring the use of this modifier over the next few months and I’d advise anybody wanting a "tres cool" effect to take a serious look at this tool to! The post was once more the same as the other images shot in this location to keep them as a cohesive collection.
McGillicuddy
To read part one, click this link: McGillicuddy Portrait Tips Part One
Tuesday, August 23, 2011
Kubota Image Tools Offer Free $50 Gift Certificate
Kubota Image Tools rarely discount or make offers on their software because quite frankly, they don't need to...it sells so well. However, for the month of June, they are giving away $50 Kubota Bucks gift certificates with purchases made before that date that total $150 or more, this is a great offer and well worth taking them up on before it expires on June 30th. If you have not used their image tools for Photoshop before, you are in for a treat!For more information, click below:Kubota Image Tools $50 Offer
Top 10 Best Ultra Zoom Bridge Digital Cameras
The ultra zoom - or bridge style camera is still a popular format of camera, offering SLR styled looks, and a huge optical zoom. This style of camera lets you get wide-angle shots and then zoom into distant subjects, with the latest cameras offering up to 36x optical zoom! Here is our list of the best ultra zoom / bridge cameras reviewed on ePHOTOzine:
Number 1: Nikon Coolpix P500
Number 1: Nikon Coolpix P500
Nikon Coolpix P500 - Review - The Nikon Coolpix P500 has a massive 36x optical zoom lens, it goes from an ultra wide 22mm equivalent all the way to 810mm equivalent. Available for £287.
2nd - Panasonic Lumix FZ45
Panasonic Lumix FZ45/FZ100 - Review - although we weren't as impressed with the FZ100 as we were with the FZ45. Zooms from 25mm - 600mm equivalent. The FZ45 is available for £247.
Number 3: Sony Cybershot HX100v
Sony Cybershot HX100v - Review - The Sony Cybershot HX100v comes with built in GPS, and is the only ultra zoom available with GPS, however you will pay the price for these features as the price of the HX100v is the highest of all the cameras here. Zooms from 27mm to 810mm equivalent. Available for £389.
Number 4: Fujifilm FinePix HS20EXR
Fujifilm FinePix HS20EXR - Review - The Fujifilm FinePix HS20EXR features a back lit 16 megapixel EXR CMOS sensor, this lets you shoot with high dynamic range, low noise, high resolution, and high speed as well. Zooms from 24mm to 720mm equivalent. Available for £279.
Number 4 (Joint) - Fujifilm FinePix S2950
Fujifilm FinePix S2950 - Review here - A compact 18x optical zoom bridge camera, it features rubberised looks and a competitive price. Zooms from 28mm to 504mm equivalent. Available for £126.
Number 5 - Olympus SP-610 UZ
Olympus SP-610UZ - Review - The Olympus lacks manual controls, but does feature a 22x optical zoom lens, and art filters to add some creativity to your shots. Zooms from 28mm to 616mm equivalent. Available for £149.
Number 6 - Nikon Coolpix L120
Nikon Coolpix L120 - Review - The Nikon Coolpix L120 may only feature a 21x optical zoom lens, but it has a great hand grip and produces colourful photos in a variety of conditions. Zooms from 25mm to 525mm equivalent. Available for £189.
Number 7 - Fujifilm FinePix S3200
Fujifilm FinePix S3200, Review - The Fujifilm FinePix S3200 features a 24x optical zoom lens, takes AA batteries, has SLR styling and grip, and is extremely competitively priced. Zooms from 24mm to 576mm equivalent. Available for £147.
Number 8: Canon Powershot SX30 IS - We weren't massively impressed by the image quality, neither were you, but have included it for a complete list, as it has the longest telephoto reach, zooming from 24mm to 840mm equivalent.
Canon Powershot SX30 IS - Review - With the second longest optical zoom, the SX30 IS features a 35x optical zoom lens, stereo sound, and full manual controls. Available for £348.
Although these cameras offer some of the longest telephoto optical zoom lenses available on a camera, if you are looking for something more compact, you could have a look at the Olympus SZ30MR, with compact camera styling it manages to pack a massive 24x optical zoom lens!
African Safari Photography - By Grace Bryant, Member of ATP
All Things Photography - Photography Tips : Digital Photography Tips Home : July 2011
July 26, 2011 09:33 - Photograph the rich and famous and work with top professional photographers...
Ever wondered how people break into the big time with photo shoots that you would die to be a part of? Ever wanted to work with a top professional photographer and get some huge tips and advice from the industry's leading professionals? All Things Photography are now working with Talenthouse, an agency that put's you a step nearer to your goals and in touch with the opportunity to shoot some extraordinary people! To find out more and to get involved for free, please use the link below and get started today! Talenthouse for Photographers - How to Photograph the Rich and Famous
July 26, 2011 09:50 - Lastolite Easybox vs Westcott Apollo Flash Softboxes
This year I started using more and more off camera flash using the amazing Pocket Wizards (Flex TT5 and Mini TT1). To compliment this set up, I recently purchased a couple of softbox diffusers to help with diffusing the ligh for a more pleasing look to my shots. The two that I bought were the Lastolite Ezybox Hotshoe 24" and the Westcott Apollo 28" Front Recessed Softbox. Read what my initial thoughts were below and find out which one got sent back to Amazon the very next day! Lastolite Easybox vs Westcott Apollo Flash Softboxes
July 26, 2011 10:00 - Pixel Pro External Flash Battery Pack
Another accessory that I recently purchased to go with my new off camera flash set up is to do with power! I am constantly frustrated at weddings when I need to keep changing batteries at the most inopportune moment, plus the sheer number of batteries I carry adds a hefty weight to my already heavy camera bag. Read how I solved both of these problems in one foul swoop with a very cheap but well made and all-round excellent battery pack from Pixel Pro... Pixel Pro External Flash Battery Pack
July 26, 2011 10:06 - Samsung 8GB Micro SD Memory Card
I was recently sent the new Samsung Micro SDHC Class 4 Memory card with a request to review it and test to destruction! This is the latest in a line of hardy, robust cards and this one claimed to be waterproof, dustproof, shockproof and magnetic security check proof (airports etc) so who was I to argue? Read my review below and see how I finally broke this tough little cookie! Samsung 8GB Micro SD Memory Card Review
July 26, 2011 10:16 - African Safari Photography - By Grace Bryant, Member of ATP
One of our members over at ATP Members recently uploaded a bunch of great images from her recent safari to Africa. She also wrote a great article outlining the events and happenings during her once in a lifetime trip. You can read all about her adventure and see a selection of images using the link below. If you have a similar story with images to share, please get in touch with your idea/story. African Safari Photography«
Lastolite Easybox vs Westcott Apollo Flash Softboxes
All Things Photography - Photography Tips : Digital Photography Tips Home : July 2011
July 26, 2011 09:33 - Photograph the rich and famous and work with top professional photographers...
Ever wondered how people break into the big time with photo shoots that you would die to be a part of? Ever wanted to work with a top professional photographer and get some huge tips and advice from the industry's leading professionals? All Things Photography are now working with Talenthouse, an agency that put's you a step nearer to your goals and in touch with the opportunity to shoot some extraordinary people! To find out more and to get involved for free, please use the link below and get started today! Talenthouse for Photographers - How to Photograph the Rich and Famous
July 26, 2011 09:50 - Lastolite Easybox vs Westcott Apollo Flash Softboxes
This year I started using more and more off camera flash using the amazing Pocket Wizards (Flex TT5 and Mini TT1). To compliment this set up, I recently purchased a couple of softbox diffusers to help with diffusing the ligh for a more pleasing look to my shots. The two that I bought were the Lastolite Ezybox Hotshoe 24" and the Westcott Apollo 28" Front Recessed Softbox. Read what my initial thoughts were below and find out which one got sent back to Amazon the very next day! Lastolite Easybox vs Westcott Apollo Flash Softboxes
July 26, 2011 10:00 - Pixel Pro External Flash Battery Pack
Another accessory that I recently purchased to go with my new off camera flash set up is to do with power! I am constantly frustrated at weddings when I need to keep changing batteries at the most inopportune moment, plus the sheer number of batteries I carry adds a hefty weight to my already heavy camera bag. Read how I solved both of these problems in one foul swoop with a very cheap but well made and all-round excellent battery pack from Pixel Pro... Pixel Pro External Flash Battery Pack
July 26, 2011 10:06 - Samsung 8GB Micro SD Memory Card
I was recently sent the new Samsung Micro SDHC Class 4 Memory card with a request to review it and test to destruction! This is the latest in a line of hardy, robust cards and this one claimed to be waterproof, dustproof, shockproof and magnetic security check proof (airports etc) so who was I to argue? Read my review below and see how I finally broke this tough little cookie! Samsung 8GB Micro SD Memory Card Review
July 26, 2011 10:16 - African Safari Photography - By Grace Bryant, Member of ATP
One of our members over at ATP Members recently uploaded a bunch of great images from her recent safari to Africa. She also wrote a great article outlining the events and happenings during her once in a lifetime trip. You can read all about her adventure and see a selection of images using the link below. If you have a similar story with images to share, please get in touch with your idea/story. African Safari Photography«
Photograph the rich and famous and work with top professional photographers...
All Things Photography - Photography Tips : Digital Photography Tips Home : July 2011
July 26, 2011 09:33 - Photograph the rich and famous and work with top professional photographers...
Ever wondered how people break into the big time with photo shoots that you would die to be a part of? Ever wanted to work with a top professional photographer and get some huge tips and advice from the industry's leading professionals? All Things Photography are now working with Talenthouse, an agency that put's you a step nearer to your goals and in touch with the opportunity to shoot some extraordinary people! To find out more and to get involved for free, please use the link below and get started today! Talenthouse for Photographers - How to Photograph the Rich and Famous
July 26, 2011 09:50 - Lastolite Easybox vs Westcott Apollo Flash Softboxes
This year I started using more and more off camera flash using the amazing Pocket Wizards (Flex TT5 and Mini TT1). To compliment this set up, I recently purchased a couple of softbox diffusers to help with diffusing the ligh for a more pleasing look to my shots. The two that I bought were the Lastolite Ezybox Hotshoe 24" and the Westcott Apollo 28" Front Recessed Softbox. Read what my initial thoughts were below and find out which one got sent back to Amazon the very next day! Lastolite Easybox vs Westcott Apollo Flash Softboxes
July 26, 2011 10:00 - Pixel Pro External Flash Battery Pack
Another accessory that I recently purchased to go with my new off camera flash set up is to do with power! I am constantly frustrated at weddings when I need to keep changing batteries at the most inopportune moment, plus the sheer number of batteries I carry adds a hefty weight to my already heavy camera bag. Read how I solved both of these problems in one foul swoop with a very cheap but well made and all-round excellent battery pack from Pixel Pro... Pixel Pro External Flash Battery Pack
July 26, 2011 10:06 - Samsung 8GB Micro SD Memory Card
I was recently sent the new Samsung Micro SDHC Class 4 Memory card with a request to review it and test to destruction! This is the latest in a line of hardy, robust cards and this one claimed to be waterproof, dustproof, shockproof and magnetic security check proof (airports etc) so who was I to argue? Read my review below and see how I finally broke this tough little cookie! Samsung 8GB Micro SD Memory Card Review
July 26, 2011 10:16 - African Safari Photography - By Grace Bryant, Member of ATP
One of our members over at ATP Members recently uploaded a bunch of great images from her recent safari to Africa. She also wrote a great article outlining the events and happenings during her once in a lifetime trip. You can read all about her adventure and see a selection of images using the link below. If you have a similar story with images to share, please get in touch with your idea/story. African Safari Photography«
Wedding Photographer Waterford Dublin
All Things Photography - Photography Tips : Digital Photography Tips Home : March 2011
March 4, 2011 10:26 - Wedding Photographer Waterford Dublin
Birthe Pollmeier, a wedding photographer in Dublin and Waterford, is the latest addition to our photographer's directory at All Things Photography. Her style is laid back with a reportage approach which allows her to put her clients at ease on their big day.For more information, contact details and a sample gallery, please visit her page using the link below.Wedding Photographer Waterford Dublin
March 4, 2011 10:36 - Sony HDR SR1 for Sale
I am selling this wonderful selection of my video kit after realising I now have 6 HD video cameras. Also, I don't use the underwater kit any more since moving back from Spain. This kit is excellent quality, the video quality is superb and will suit a newbie to video, someone who wants to sell stock footage and/or divers. For more information and price, please use the following link: Sony HDR SR1 Video Camera For Sale UK
March 15, 2011 13:55 - B & H Photovideo Taking Pre-Orders on 2 Funky New Products...
B & H Photovideo have just announced that they are one of the few retailers currently taking orders on the following products:1. Motorola Xoom WiFi 10.1"
This is a new tablet from Motorola with the following specs: Android 3.0 (Honeycomb)1GHz Dual-Core CPU1GB LP DDR2 RAM32GB Flash Storage10.1" Touchscreen DisplayDual-Band 802.11n Wi-FiBluetooth 2.1+EDRFront & Rear CamerasHD Video Recording10 Hour Battery
Motorola Xoom WiFi 10.1"
2. Fujifilm Finepix X100
A very cool retro style digital rangefinder camera with some top notch specs including: Large 12.3MP APS-C Size CMOS SensorSharp, Fixed 35mm (Equivalent) F/2 LensSwitchable Optical/Electronic Viewfinder2.8" LCD Monitor W/460K-Dot ResolutionJPEG + RAW (Process In-Camera)100-12800 ISO CapabilitiesHD 720p Video W/Stereo SoundClassic Design Magnesium Alloy BodyProvia, Velvia, Astia, Etc. Film EffectsHigh Speed Contrast Autofocus
Fujifilm Finepix X100
March 16, 2011 15:43 - Secret Italy Holiday/Photography Workshop
If you have been to Italy before, you will know just how stunning and photogenic it is. I have been there many times...ski-ing, holidaying and working and I absolutely love the place!«Italy just seems to get the best of the light especially around Autumn time and this is when Kevin Kubota, a world reknowed professional photographer and all-round nice guy, will be holding his fifth "Secret Italy" digital photography workshop.
This is a perfect opportunity to learn from one of the greats and have a fantastic holiday at the same time but be warned, places are limited so get in quick if you fancy this trip of a lifetime in some of Italy's most stunning locations! Follow the link below for more details:
Secret Italy Photography Workshop
B & H Photovideo Taking Pre-Orders on 2 Funky New Products...
All Things Photography - Photography Tips : Digital Photography Tips Home : March 2011
March 4, 2011 10:26 - Wedding Photographer Waterford Dublin
Birthe Pollmeier, a wedding photographer in Dublin and Waterford, is the latest addition to our photographer's directory at All Things Photography. Her style is laid back with a reportage approach which allows her to put her clients at ease on their big day.For more information, contact details and a sample gallery, please visit her page using the link below.Wedding Photographer Waterford Dublin
March 4, 2011 10:36 - Sony HDR SR1 for Sale
I am selling this wonderful selection of my video kit after realising I now have 6 HD video cameras. Also, I don't use the underwater kit any more since moving back from Spain. This kit is excellent quality, the video quality is superb and will suit a newbie to video, someone who wants to sell stock footage and/or divers. For more information and price, please use the following link: Sony HDR SR1 Video Camera For Sale UK
March 15, 2011 13:55 - B & H Photovideo Taking Pre-Orders on 2 Funky New Products...
B & H Photovideo have just announced that they are one of the few retailers currently taking orders on the following products:1. Motorola Xoom WiFi 10.1"
This is a new tablet from Motorola with the following specs: Android 3.0 (Honeycomb)1GHz Dual-Core CPU1GB LP DDR2 RAM32GB Flash Storage10.1" Touchscreen DisplayDual-Band 802.11n Wi-FiBluetooth 2.1+EDRFront & Rear CamerasHD Video Recording10 Hour Battery
Motorola Xoom WiFi 10.1"
2. Fujifilm Finepix X100
A very cool retro style digital rangefinder camera with some top notch specs including: Large 12.3MP APS-C Size CMOS SensorSharp, Fixed 35mm (Equivalent) F/2 LensSwitchable Optical/Electronic Viewfinder2.8" LCD Monitor W/460K-Dot ResolutionJPEG + RAW (Process In-Camera)100-12800 ISO CapabilitiesHD 720p Video W/Stereo SoundClassic Design Magnesium Alloy BodyProvia, Velvia, Astia, Etc. Film EffectsHigh Speed Contrast Autofocus
Fujifilm Finepix X100
March 16, 2011 15:43 - Secret Italy Holiday/Photography Workshop
If you have been to Italy before, you will know just how stunning and photogenic it is. I have been there many times...ski-ing, holidaying and working and I absolutely love the place!«Italy just seems to get the best of the light especially around Autumn time and this is when Kevin Kubota, a world reknowed professional photographer and all-round nice guy, will be holding his fifth "Secret Italy" digital photography workshop.
This is a perfect opportunity to learn from one of the greats and have a fantastic holiday at the same time but be warned, places are limited so get in quick if you fancy this trip of a lifetime in some of Italy's most stunning locations! Follow the link below for more details:
Secret Italy Photography Workshop
Monday, August 22, 2011
Secret Italy Holiday/Photography Workshop
All Things Photography - Photography Tips : Digital Photography Tips Home : March 2011
March 4, 2011 10:26 - Wedding Photographer Waterford Dublin
Birthe Pollmeier, a wedding photographer in Dublin and Waterford, is the latest addition to our photographer's directory at All Things Photography. Her style is laid back with a reportage approach which allows her to put her clients at ease on their big day.For more information, contact details and a sample gallery, please visit her page using the link below.Wedding Photographer Waterford Dublin
March 4, 2011 10:36 - Sony HDR SR1 for Sale
I am selling this wonderful selection of my video kit after realising I now have 6 HD video cameras. Also, I don't use the underwater kit any more since moving back from Spain. This kit is excellent quality, the video quality is superb and will suit a newbie to video, someone who wants to sell stock footage and/or divers. For more information and price, please use the following link: Sony HDR SR1 Video Camera For Sale UK
March 15, 2011 13:55 - B & H Photovideo Taking Pre-Orders on 2 Funky New Products...
B & H Photovideo have just announced that they are one of the few retailers currently taking orders on the following products:1. Motorola Xoom WiFi 10.1"
This is a new tablet from Motorola with the following specs: Android 3.0 (Honeycomb)1GHz Dual-Core CPU1GB LP DDR2 RAM32GB Flash Storage10.1" Touchscreen DisplayDual-Band 802.11n Wi-FiBluetooth 2.1+EDRFront & Rear CamerasHD Video Recording10 Hour Battery
Motorola Xoom WiFi 10.1"
2. Fujifilm Finepix X100
A very cool retro style digital rangefinder camera with some top notch specs including: Large 12.3MP APS-C Size CMOS SensorSharp, Fixed 35mm (Equivalent) F/2 LensSwitchable Optical/Electronic Viewfinder2.8" LCD Monitor W/460K-Dot ResolutionJPEG + RAW (Process In-Camera)100-12800 ISO CapabilitiesHD 720p Video W/Stereo SoundClassic Design Magnesium Alloy BodyProvia, Velvia, Astia, Etc. Film EffectsHigh Speed Contrast Autofocus
Fujifilm Finepix X100
March 16, 2011 15:43 - Secret Italy Holiday/Photography Workshop
If you have been to Italy before, you will know just how stunning and photogenic it is. I have been there many times...ski-ing, holidaying and working and I absolutely love the place!«Italy just seems to get the best of the light especially around Autumn time and this is when Kevin Kubota, a world reknowed professional photographer and all-round nice guy, will be holding his fifth "Secret Italy" digital photography workshop.
This is a perfect opportunity to learn from one of the greats and have a fantastic holiday at the same time but be warned, places are limited so get in quick if you fancy this trip of a lifetime in some of Italy's most stunning locations! Follow the link below for more details:
Secret Italy Photography Workshop
Samsung 8GB Micro SD Memory Card
All Things Photography - Photography Tips : Digital Photography Tips Home : July 2011
July 26, 2011 09:33 - Photograph the rich and famous and work with top professional photographers...
Ever wondered how people break into the big time with photo shoots that you would die to be a part of? Ever wanted to work with a top professional photographer and get some huge tips and advice from the industry's leading professionals? All Things Photography are now working with Talenthouse, an agency that put's you a step nearer to your goals and in touch with the opportunity to shoot some extraordinary people! To find out more and to get involved for free, please use the link below and get started today! Talenthouse for Photographers - How to Photograph the Rich and Famous
July 26, 2011 09:50 - Lastolite Easybox vs Westcott Apollo Flash Softboxes
This year I started using more and more off camera flash using the amazing Pocket Wizards (Flex TT5 and Mini TT1). To compliment this set up, I recently purchased a couple of softbox diffusers to help with diffusing the ligh for a more pleasing look to my shots. The two that I bought were the Lastolite Ezybox Hotshoe 24" and the Westcott Apollo 28" Front Recessed Softbox. Read what my initial thoughts were below and find out which one got sent back to Amazon the very next day! Lastolite Easybox vs Westcott Apollo Flash Softboxes
July 26, 2011 10:00 - Pixel Pro External Flash Battery Pack
Another accessory that I recently purchased to go with my new off camera flash set up is to do with power! I am constantly frustrated at weddings when I need to keep changing batteries at the most inopportune moment, plus the sheer number of batteries I carry adds a hefty weight to my already heavy camera bag. Read how I solved both of these problems in one foul swoop with a very cheap but well made and all-round excellent battery pack from Pixel Pro... Pixel Pro External Flash Battery Pack
July 26, 2011 10:06 - Samsung 8GB Micro SD Memory Card
I was recently sent the new Samsung Micro SDHC Class 4 Memory card with a request to review it and test to destruction! This is the latest in a line of hardy, robust cards and this one claimed to be waterproof, dustproof, shockproof and magnetic security check proof (airports etc) so who was I to argue? Read my review below and see how I finally broke this tough little cookie! Samsung 8GB Micro SD Memory Card Review
July 26, 2011 10:16 - African Safari Photography - By Grace Bryant, Member of ATP
One of our members over at ATP Members recently uploaded a bunch of great images from her recent safari to Africa. She also wrote a great article outlining the events and happenings during her once in a lifetime trip. You can read all about her adventure and see a selection of images using the link below. If you have a similar story with images to share, please get in touch with your idea/story. African Safari Photography«
Pixel Pro External Flash Battery Pack
All Things Photography - Photography Tips : Digital Photography Tips Home : July 2011
July 26, 2011 09:33 - Photograph the rich and famous and work with top professional photographers...
Ever wondered how people break into the big time with photo shoots that you would die to be a part of? Ever wanted to work with a top professional photographer and get some huge tips and advice from the industry's leading professionals? All Things Photography are now working with Talenthouse, an agency that put's you a step nearer to your goals and in touch with the opportunity to shoot some extraordinary people! To find out more and to get involved for free, please use the link below and get started today! Talenthouse for Photographers - How to Photograph the Rich and Famous
July 26, 2011 09:50 - Lastolite Easybox vs Westcott Apollo Flash Softboxes
This year I started using more and more off camera flash using the amazing Pocket Wizards (Flex TT5 and Mini TT1). To compliment this set up, I recently purchased a couple of softbox diffusers to help with diffusing the ligh for a more pleasing look to my shots. The two that I bought were the Lastolite Ezybox Hotshoe 24" and the Westcott Apollo 28" Front Recessed Softbox. Read what my initial thoughts were below and find out which one got sent back to Amazon the very next day! Lastolite Easybox vs Westcott Apollo Flash Softboxes
July 26, 2011 10:00 - Pixel Pro External Flash Battery Pack
Another accessory that I recently purchased to go with my new off camera flash set up is to do with power! I am constantly frustrated at weddings when I need to keep changing batteries at the most inopportune moment, plus the sheer number of batteries I carry adds a hefty weight to my already heavy camera bag. Read how I solved both of these problems in one foul swoop with a very cheap but well made and all-round excellent battery pack from Pixel Pro... Pixel Pro External Flash Battery Pack
July 26, 2011 10:06 - Samsung 8GB Micro SD Memory Card
I was recently sent the new Samsung Micro SDHC Class 4 Memory card with a request to review it and test to destruction! This is the latest in a line of hardy, robust cards and this one claimed to be waterproof, dustproof, shockproof and magnetic security check proof (airports etc) so who was I to argue? Read my review below and see how I finally broke this tough little cookie! Samsung 8GB Micro SD Memory Card Review
July 26, 2011 10:16 - African Safari Photography - By Grace Bryant, Member of ATP
One of our members over at ATP Members recently uploaded a bunch of great images from her recent safari to Africa. She also wrote a great article outlining the events and happenings during her once in a lifetime trip. You can read all about her adventure and see a selection of images using the link below. If you have a similar story with images to share, please get in touch with your idea/story. African Safari Photography«
Managing Your Photoshop Workspace
Managing Your Photoshop Workspace
The concept of workspaces has been around in Photoshop for a number of releases now but has evolved from being a seeming afterthought to become a central point of aiding productive and managing clutter. It's about time I wrote some thoughts on the subject.
As best I recall, workspaces were first introduced in Photoshop 7 as a command on the Window menu. After arranging things as you wished, you could save that configuration as a workspace so you could quickly arrange things that way again later. Photoshop CS was much the same but shipped with three named workspace configurations that differed only minimally: "Laptop," "One Monitor," and "Two Monitors." Photoshop CS2 dispensed with these and gave us instead a selection of task oriented workspaces such as "Color and Tonal Correction," "Printing and Proofing," and "Web Design" along with the now familiar "What's New" workspace configuration that color coded features new to that release of Photoshop. Photoshop CS3 kept these largely unchanged but gave us the ability to easily switch workspaces from the Option Bar. Adobe made only minor cosmetic changes in Photoshop CS4, but with the release of Photoshop CS5 workspaces finally took center stage with the new workspace switcher in the Application Bar.
It's actually not so much that easily switching workspaces is, in and of itself, so wonderful though, it's what you can do with workspaces. Photoshop has a lot of tools and palettes that can be configured and positioned in countless ways. They can be docked or floating. They can be collapsed to icons with or without labels. They can be expanded. Some can be expanded even further. The workspace switcher makes it easy to switch between any number of configurations easily so you won't need to hesitate to save any number of configurations.
To understand the power of workspaces let's start with the workspace switcher. You'll find it up on the top menu bar in Photoshop to the right of the actual menu choices. This area is known as the Application Bar. By default you'll see the boldface words "Essentials," "Design," and "Painting" followed by rightward pointing styled arrow icon. Photoshop CS5 comes with seven workspaces named "Essentials," "Design," "Painting," "Photography," "3D" (assuming you have Photoshop Extended), "Motion," and "New in CS5" although you can only see the first three on the Application Bar. To get to the rest you need to click on that arrow icon at the end of the list. A dropdown menu will appear showing you the remainder plus several other options for managing them.
To get an idea of what is possible with workspaces, try clicking on each of the provided ones in turn. When you do, the configuration of panels and tools will change, sometimes in radical ways. Doing this is somewhat like watching the movie "Transformers" with the palettes and tools transforming in so many ways. After trying them all out, just click on the one you like best. "Essentials" is the default workspace Photoshop starts out with if you can't decide.
If you're a photographer like me you may find the new "Photography" workspace fits your needs well. If you're a graphic designer, "Design" may be everything you ever wanted in a workspace. But sooner or later you will probably feel the urge to change at least something.
The easiest way to create your own workspace is to modify one of the existing ones. I say this because it is in fact the only way to create your own workspace. There is an option called "New Workspace..." on the dropdown menu for the workspace switcher, but it really should be called "Save Workspace..." like it used to be in previous Photoshop versions. You position everything the way you want it, select this menu option and give your masterpiece a name to save it.
Everything you see in the workspaces that come with Photoshop can be done in your home grown workspaces too, but at first it might not seem so. Try as you might, some of the formatting styles simply defy reason to create. Fear not. It can be done. But as I say, the easiest way is to modify one of the existing workspaces. Even if that workspace has nothing to do with the tools you want to put in yours, so long as it has the formatting you are after, start there. If the tools you want are showing somewhere in that workspace, drag them to where you want them to be. If they aren't showing, use the Window menu to make them visible and drag away. If you don't want to keep some of the tools in that workspace drag them out of their docked configuration then close them. When you get to what you want, use "New Workspace..." to save it with your own name.
Whatever workspace you just got done making changes to (the one you started with) will now of course look the same as the one you just saved. You can prove it to yourself by toggling between them. To put the original one back to the way it's supposed to look, make it active and then use the "Reset" option from the workspace switcher dropdown menu. "Reset" can save you if you really mess things up while trying to create a new workspace too. It reloads that configuration back to the way it was when last saved.
You can also delete workspaces via the dropdown menu. Photoshop won't let you delete the active workspace, but any of the others are fair game, even the ones that come with Photoshop.
You can always get to any of your saved workspaces via the workspace switcher dropdown menu. To control which workspaces show on the Application Bar where you can get at them more easily, simply drag them around. First, grab the vertical divider to the left of the workspace switcher and drag it left to make more room. As you do, more and more entries from the dropdown list will show up directly on the Application Bar. When the one you want is showing, stop dragging the divider. Now grab the workspace name on the Application Bar and drag it to the position you want. You can reposition any of the entries in the list this way to put your own custom workspaces first if you want and leave the built in ones at the end of the list.
As mentioned, creating your own workspace can seem frustrating at time since there seems at first to be no clear way to create the type of layouts present in the built-in workspaces. But there is a method to the madness. When dragging tools around to change a workspace configuration, pay attention to the color cues. When you get on top of a place where you can drop the tool you are dragging, the background color will change to a pale blue. When you see a horizontal divider in the built-in workspaces, you can drop a tool above it, below it, or on top of it. If you drop a tool on top of a divider, it will split in two to create a new group with just that tool. If you drag the last tool out of a group, the dividers that make up that group will collapse and the group will be no more. Just watch the color cues to explore what can be dragged and dropped where. Remember, you can use "Reset" at any point to undo your experiments.
If you have a vertical column of icons that you want to change to be icons with labels, simply grab the left edge of that column and drag it left to widen it. The labels will appear when there is room for them. The reverse is also true. To get rid of the labels, make the column narrower and the labels will disappear when they won't fit anymore.
Everything on the dropdown menu for the workspace switcher can also be accessed via Window >> Workspace on the main menus. There are also a few relevant checkboxes on the Interface panel of Photoshop's Options dialog you might want to investigate. And if you really mess things up, there's a button labeled "Restore Default Workspaces" under Options >> Interface. If you ever delete a built-in workspace or save changes to it you regret, this can save the day.
My default workspace is saved simply as "Earthbound Light" and is basically the "Photography" workspace with a few tweaks. I also created one with a very simple, narrow palette dock with just icons for use on 1024 x 768 displays when doing a presentation to a group with a projector. Given how easy it is to switch workspaces now there's no reason not to create them to fit your own needs. Feel free to experiment.
Importing Photos into Lightroom
Importing Photos into Lightroom
If you're a Photoshop user just starting to use Lightroom, one of the first differences you'll run into is the fact that Lightroom is built around a database while Photoshop is not. In order to do anything with a photo in Lightroom, you first have to import it into a Lightroom catalog. It's here that your Lightroom workflow has to start.
Photoshop and Adobe Bridge can navigate to any folder on your computer as well as those accessible on your local network. If you can get at an image file through your operating system, you can open it in Photoshop and Bridge. Not so with Lightroom.
The architecture of Lightroom is built around the concept of "modules," with each module serving a different function. When you open the program, you can see them listed across the top of the screen as Library, Develop, Slideshow, Print and Web. It's from the Library module that you can import new photos. If you go into any other than Library, you'll find that the only images you have access to are those that have already been imported.
When you install Lightroom, it will create a catalog for you, but can create a new one if you feel a need to later by going to the File >> New Catalog dialog and giving your new catalog a name. There's also File >> Open Catalog if you have more than one and you need to switch between them. You can only have one catalog active at a time and switching forces you to close and reopen Lightroom, so most users simply put everything in a single catalog.
A brand new catalog is a rather uninteresting thing since it's just an empty container. You have to import images to it before you can do much. To begin the process, click in the "Import..." button in the lower left of the Library module, or use File >> Import Photos to get to the same place. You can also just drag a folder full of images onto the open Library window. Once you've already imported some images, you can also select "Import to this Folder..." from the right click context menu of any existing folder in the "Folders" section of the Library module. You can even tell Lightroom to automatically import your images by turning on File >> Auto Import >> Enable Auto Import. If you enable auto-import you'll want to also go to File >> Auto Import >> Auto Import Settings to specify which folder you want Lightroom to monitor and other default settings.
The basic Import dialog is straightforward enough with guided steps listed across the top. You can also click on the small downward arrow in the lower left to expand this small window to a full screen version. Both versions are basically the same, but the full screen window lets you see the individual images available for import so you can pick and choose, and also provides additional options. I'll talk mainly about the full window dialog here but either way, there are some basic steps necessary to import images. First, select a source, then select an action, and then a destination. When you choose the source, there's a checkbox to automatically include any subfolders. Above the previews in the full dialog you'll find a filter option to either see "All Images" or just "New Images." Obviously there will only be a difference between these two if you importing additional images from a folder you have previously imported from.
Importing an image into Lightroom doesn't necessarily make a copy of the original files. The dialog gives you a choice. "Add" keeps the photos in their original location and merely adds a reference to them to your Lightroom catalog. "Copy" leaves the original files alone, but makes a copy in the selected destination folder. "Move" copies your imported images to a folder you specify and deletes the originals. "Copy as DNG" is the same as "Copy" but converts your original camera raw files to Adobe's DNG raw format. With the action set to "Add" the destination automatically shows as "My Catalog." With another action selected you'll need to tell Lightroom where to copy or move the images you import. If you are importing directly from a USB attached camera your only choices will be Copy and Copy as DNG.
Which action you choose depends on how you want to manage your files. If you copy your image files to a directory structure where you want to store them before importing them into Lightroom, you should stick with "Add." If you want Lightroom to handle this for you, choose one of the other options. If you enable auto-import, you'll probably want to go with "Move" so the monitored folder gets cleared.
If you want to take a closer look at your source images before importing them, you can increase the preview size with the Thumbnails slider in the lower right. If that's not enough, you can also utilize the Loupe view using the icon in the lower left corner. By default, all images Lightroom finds in your source folder will be selected for import. If you decide you don't want to import any, just uncheck the box next to them.
That covers the basics, but before you actually begin the Import process, you should make sure a few other options are set the way you want them. You can tell Lightroom to look for duplicates and not import any that it determines you already have. The import process will consider files as duplicates if they have the same original filename, the same file size, and the same capture date and time in the EXIF metadata. If you are copying or moving, you'll be given the option to create a one-time backup of the imported files, a good idea just in case something unexpected happens. As a performance tradeoff, there are also options for telling Lightroom how it should render initial preview thumbnails. "Minimal" previews will immediately make use of the smallest camera preview present in each image and is generally a good choice. "Embedded and Sidecar" will use the largest available camera preview which will take longer but could result in a better preview. "Standard" tells Lightroom to immediately start rendering previews equivalent to what you would see in the Fit zoom level of the Loupe tool. "1:1" displays previews that are full sized images using actual image pixels. Preview jpegs embedded by cameras generally aren't color managed but should be sufficient in most cases. Regardless of your choice, Lightroom will start rendering standard previews via a background process. There's also robust support for renaming your imported images if you desire.
During Import, you can automatically apply a Develop setting preset. Since Lightroom is non-destructive, this will become merely the starting point for your future work in the Develop module. It doesn't actually alter your source images so if applying a preset during import gets you closer to where you ultimately want to end up, it can be a big time saver with no loss of quality in the final result. You can also apply a metadata preset to add copyright and other data you want to include in all of your imported images. I have a standard preset with copyright, contact information and so on. If all the images you are importing should share common keywords, you can add them during import as well.
When you've ready, click on the "Import" button in the lower right, or click on "Cancel" if you change your mind about importing. When you click on "Import," you'll start to see your images show up in the Library module as a progress bar moves its way along in the upper left. If you have a number of folders to import, you'll have to import them one at a time, or else organize them ahead of time so that all are under a single parent folder and use it as your Import dialog source. You can only have one Import task running at a time.
After you've spent some time setting all the Import options the way you want them, you can save these choices as a preset so you can more easily use them next time. Even the small Import dialog gives you access to select an Import options preset.
The Import dialog is incredibly flexible and feature rich. To fully master them, you might consider creating a "test" catalog and import images to it in a number of ways. After you've spent some time experimenting, you'll be in a better position to set up your real catalog and begin importing images to it.
Lightroom 3 Noise Reduction
Lightroom 3 Noise Reduction
Modern digital cameras have much less of a problem with noise than models sold even a few years ago. But with a long enough exposure or high enough ISO all cameras will eventually succumb. Here's how to deal with digital noise in Adobe Lightroom.
Up until the late beta releases of version 3, the tools available to deal with noise in Lightroom were limited indeed. Back in the days of Lightroom 2, it used to be necessary to open images in Photoshop to deal with noise reduction. Third party filters such as Noise Ninja and Neat Image used to require Photoshop as a host application to work their magic. A standalone version of Noise Ninja added a Lightroom plug-in to open work on images without Photoshop, but one still needed to spend money to buy the standalone version. There just weren't any other good tools out there to get rid of noise. Thankfully, Lightroom 3 changed all that.
Noise reduction is a complicated problem. How do you tell what is in fact "noise?" One image's noise could well look like another images fine grained detail. Determining what is supposed to be there and what is not isn't a simple thing to at all. Every software filter I know of that is designed to remove noise unavoidably removes some wanted detail as well. And Lightroom is no different.
You'll find Lightroom's controls for Noise Reduction under Detail in the right panel group, directly below the controls for Sharpening. There are five sliders for noise reduction split into two groups, Luminance and Color. By default, the main slider for both Luminance and Color are set to zero which effectively disables the impact of the other sliders so they will appear grayed out. As soon as you raise the level of either main slider, the other controls in that group for noise reduction will kick in and you can adjust them as well. As with sharpening, you can monitor the results of your adjustments both on the main image display area as well as the zoom preview at the top of the Detail panel.
Luminance noise is made up of pixels of varying brightness, but that all more or less have the right color. Color noise has basically the correct brightness, but has varying color or hue. Luminance noise is far more common, but the noise you encounter may have components of both luminance and color to deal with. Let's look at both types in turn.
In addition to the main Luminance slider, there are two others in this group labeled Detail and Contrast that control how luminance noise is processed. Once you raise the value of the Luminance slider itself, you'll find that Detail starts at 50. As a quick and dirty default, that might be good but I'd prefer it if it started at zero and I'd recommend that you set it there before choosing an appropriate value for the Luminance slider itself. Don't worry. You can always come back to Detail later.
As I mentioned, removing noise has the side effect of unavoidably removing some detail as well. The purpose of the Detail slider is to limit that loss by defining a threshold for what truly is noise, and what should be kept as not noise. With the Detail slider pushed all the way down to zero, raise the Luminance slider until the appearance of noise disappears or drops to an acceptable level. You'll want to have the image zoomed in to see the effects clearly. As you increase the Luminance value, you will probably notice a slight softening of image detail as well. To restore it, slowly raise the Detail slider until the noise starts to make itself apparent again. If the image is noisy enough, there's a tradeoff you'll have to make between getting rid of luminance noise and preserving detail. Tweak these two sliders until you are satisfied you have the best result you can get.
The third slider for controlling Luminance noise is labeled Contrast. Since luminance noise is defined by varying brightness, excessive noise reduction can result in a slight loss of contrast. You can use this Contrast slider to restore it. Contrast restoration defaults to zero which is fine for most images. Generally, only very noisy photos require so much reduction that you need to worry about Contrast.
After optimizing the sliders that control luminance noise, it's time to turn your attention to Color noise. The controls are similar are similar to those for luminance, but there are only two sliders, the main one, and one for Detail. As with before, Detail defaults to 50, but is disabled until you raise the value of the main Color slider. And as with Luminance, my preference is to set Detail back down to zero before adjusting the main Color slider. This will let you better see what effect each slider actually has. Raise the value of the Color slider until the noise is diminished, then raise Detail to bring back any lost detail. If you raise Detail too far, the rainbow speckles of color noise will become noticeable again. Set it just right and you can optimize the appearance of fine color edges without sacrificing the reduction of color noise.
It's hard to do justice to demonstrating noise reduction when limited to modest sized web jpeg images. What I've done though is to provide zoomed in views of one section of the flower image shown above. You can see a description underneath each image. The images below are zoomed in to 400%, far beyond what you will probably use to work on images, but enough to make the effects of the noise adjustments more visible.
Third party noise filters such as Noise Ninja may still do a better job in some cases than Lightroom can, but Lightroom may just win out in others. For most images Lightroom 3 is more than up to the job and keeping with a Lightroom only workflow simplifies things greatly.
I would have given anything to have noise reduction software this capable back when I was shooting with a Nikon D100, my first digital SLR. It's ironic that Lightroom has made noise reduction this easy at a time when the need for sophisticated noise reduction has decreased so much, but I'm still glad I can do it when I need to. Thanks Adobe!
Sunday, August 21, 2011
Shooting Into the Sun
Shooting Into the Sun
Many photography books for beginners say you should shoot with the sun over your shoulder. Don't believe them. Shooting into the sun can be tricky business but can yield dramatic results. Here are some tricks and tips.
Wildflowers on the Columbia Gorge
Basic exposure is the first major problem you'll have to overcome when shooting into the sun. It's likely the main issue the authors of those beginning photography books were hoping to save you from. Backlighting will tend to make your subject darker than what is behind it, and if what's behind it is the sun you have a real exposure dilemma on your hands. Digital has a somewhat wider exposure range from pure black shadows to extreme highlights than film used to, but there are still severe limits.
Digital photography has made it easier than ever to overcome exposure latitude problems with HDR (high dynamic range) techniques where a series of shots at different exposures are blended later to create a shot that exceeds what could have been achieved in the field with just a single shot. In the past it was necessary to use graduated neutral density filters to block some of the light from part of the frame. I used to frequently use multiple stacked grad ND filters each positioned differently to blend light across a scene. I do still use grad ND filters sometimes but often dispense with them completely in the interest of cutting down on potential flare.
Lens flare can be a huge problem. Modern zoom lenses have a lot of glass elements and every glass/air interface can induce flare as the harsh light passes through. Good lenses have exotic coatings to minimize flare, but there's no way to eliminate the problem completely. A good lens hood is a must. There's no sense in letting any stray light into your lens when you're already contending with potential flare caused by the light rays you do want. Even if you can overcome lens flare, the same extreme backlighting can rob a scene of contrast. Everything can end up appearing washed out with no true blacks to be found. A good lens hood can help here too.
Blocking the sun with my hand (pardon the fish eye)
I've seen advertised various "flare buster" products that enable you to block stray light further but I've never felt a need to buy one. Simply holding my hat or hand over the offending spot can accomplish the same thing without the added expense or bother. You can also sometimes get rid of a stubborn flare problem by moving your position slightly or by angling the lens off axis a tad. Very small changes can have a huge impact on your flare situation. Experiment a bit and see what you can do.
The problem of lens flare is inherent in lens design but that's no excuse for the self inflicted lens flare many photographers bring on themselves by what they put on the front of their lenses. I'm talking greasy fingerprints here. You can solve a lot of lens flare problems simply by keeping the front of your lens spotlessly clean. Invest in some good lens cleaner and a micro fiber cloth. Cary them with you and use them. And if you put a filter on the front of your lens you actually triple your fingerprint problem since now you have the lens front element itself plus both sides of your filter to contend with. I'd urge you to dispense with the use of so called "protective" filters at least when shooting into the sun. Save them for the beach where they'll actually serve a purpose keeping salt spray and sand away from your lens glass.
High in the Olympic Mountains
Another great thing about shooting digital is that you can easily retake a shot in an attempt to get rid of flare. As I say, experiment. Digital also makes it easy to combine multiple versions of a shot together to take advantage of the best parts of each. I've been known to shoot an image with the top part of the frame intentionally blocked with my hand to cut down on flare and stray light across the bottom part of the frame. Later at home in Photoshop I replace the top of my hand shot with the top of a straight shot without my hand in order create a version with a better foreground and the same sun filled sky above it.
Welders Glass
Another issue I would be remiss in not discussing is protecting your eyesight. Looking into the sun can be harmful, especially if done through a high power telephoto lens. One useful tool to help shield your eyes is a simple piece of welder's glass from the hardware store. This is a roughly 4-1/2 x 5-1/2 inch rectangle of almost black glass that looks somewhat like a large format square filter from brands such as Cokin. I bought mine years ago and carry it around in a Tamrac filter holder that fits it perfectly. It acts basically like a ten to fourteen stop solid neutral density filter that blocks not only visible light but pretty much every wavelength. If you try to look through it indoors it will appear essentially opaque black. If you look through it outdoors at s strong light source everything will be colored with a harsh green cast. But it will block enough light that it is actually safe to look at the sun through it. Use it to help with composition and then put it away when you actually press the shutter. Your camera never sees the green and your eyes are kept safe.
Lens flare, exposure and other issues can make it difficult to get good results when shooting with the sun in the frame. But oh can the results be worth the effort. Give it a try sometime.
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