A Guest post by Dave Ware from Whalebone Photography.

This note is aimed to be a quick discussion on High Dynamic Range and possible future enhancements to improve it.

What is High Dynamic Range?

High Dynamic Range is a digital processing effect used within photography to combine a number of images of differing exposures to create a consistently exposed picture throughout the entire frame. This increases the luminance (amount of light) visible within an image.

Why is it required?

The camera’s limitation of amount of colour and luminance it can record is governed by the sensor’s capability and the dynamic range of the camera’s electronics. For example, the Canon EOS 40D uses a 14 bit analogue to digital converter which digitises the analogue signals received from the sensor. The 14 digital bits allow 16,384 different colours to be recorded within the camera.

Looking a a histogram, the horizontal axis is the level of luminance of an image. The vertical axis represents the amount of the image which contains that level of light. For example, a histogram with a single line at the left hand edge shows that the image is purely black. Likewise, a single line at the right hand edge represents an image which is purely white. The amount of data which may be compressed within the histogram is limited by the dynamic range of the camera. A very low dynamic range results in the horizontal axis limits close together. A high dynamic range places these axis far apart.

Here, the exposure of the camera has been set for the balloons – this was chosen as the balloons were the subject of the image and the trees in this case were used to ‘frame’ the balloons. The histogram shows the spike on the left of the histogram representing the trees, and the data on the right represents the balloons and sky. If the photographer wanted both the balloons and the trees exposed then a compromise would have been required so that the balloons become slightly over-exposed and the trees only slightly underexposed.

The above image shows the traditional compromise – the sky has lost some of its saturation in colour, but the trees have retained some detail. Notice also that the histogram shows a slightly narrower spike on the right hand edge (the balloons are now slightly over-exposed), and the left hand edge indicates that more detail is present (the trees are no longer a complete silhouette).

So, to overcome this, the photographer may take a photo exposed for the background and then another photo exposed for the foreground. A few other photos are usually taken between these 2 exposures.

When combining each image, a visually pleasing picture is created and the effects can be quite dramatic. This is the basis of digital HDR. A quick Google search will provide some more examples.

The Future of HDR

Currently, HDR is a post-processing technique, but as cameras advance, its possible that this is an area which may be really improved by manufacturers.

The dynamic range of the camera is likely to be improved. The 14 bit ADC mentioned above allows 16,386 colours to be recorded. 24 bit ADCs have been in manufacture for many years which would allow a total of just under 17 million colours to be recorded! The sensor would have to be capable of matching this dynamic range and the camera’s internal processor would have to be capable of processing the data. This capability exists already as is evident in home computers which have operated from 32 bits for years and are now up to 64 bit processing. Whether or not the sensor is capable of this is another matter for discussion and the additional processing required would increase the amount of time to write the data to the memory card. This may limit the number of full speed frames taken before the cache is full and the camera writes the images to the memory card. These drawbacks are perhaps what is impeding the development of increased in-camera dynamic range as with many advantages, there is often a draw-back.

Another ‘in camera’ technique may be to use numerous sensors within the camera. If one sensor and accompanying electronics can be capable of a certain dynamic range, then 2 sensors may be used to increase the overall dynamic range. For example, one sensor can expose for the highlights and 1 sensor can be used to expose for the shadows, thus creating a higher dynamic range. Sensors can be made incredibly small – just look at the size of phones which have numerous megapixel cameras, and so it’ll probably be no issue squeezing 2 sensors (or more!) into a single camera. However, as the sensor size decreases, the noise of the recorded image (the ‘grainyness’ of the image) becomes greater. Once again, this is a trade-off between high dynamic range, image quality and size.

Another method could be to use an alternative tone-curve algorithm which is currently generally applied to images within the camera. When a photo is taken, signals from the sensor are turned into digital bits and sent to the camera’s computer. To make sense of these signals, the computer processes the data and turns them into something meaningful. This is a form of tone curve. Normally this is employed over the entire image as an ‘average’. Modern techniques however can apply an individual tone curve to every single pixel within the image. This can render a image exposed in a similar manner to that seen by the human eye (ie with a higher dynamic range). This inevitably will increase the processing time within the camera, although as the current method of HDR imaging is to take numerous photos at different exposures, the additional processing time for one single image is probably still a huge time saver.

This new tone-curve method is being advance by companies and Samsung has recently purchased a license to use the technology.

Perhaps other manufacturers have an alternative method, or do not consider high dynamic range of high importance in their cameras, or are just biding their time. This technology is still developing and is an exiting area of camera technology especially as the mega-pixel battle is becoming old news.

High Dynamic Range techniques can be overused and images can easily be made unnatural. The reason they are unnatural is because they extend the range possible by the human eye. It would be sad if technology removed the authenticity of photography, which separates this art from the art of painting (where both composition and exposure is only limited to imagination). If technology however was able to replicate the images as seen by the human eye, then perhaps that is an acceptable technological milestone.

Check out more of Dave’s work at Whalebone Photography.

Post from: Digital Photography School - Photography Tips.

The Future of HDR and its Use within the Camera

The Canon EOS 500D has been replaced with the Canon EOS 550D today, and by the looks of it, replaced with style.

Canon EOS 550D

• 18MP

• 1080p HD Movies

• ISO 6400

United Kingdom / Republic of Ireland, 8th February 2010 – Canon today announces a groundbreaking new addition to its expanding, world-famous EOS range of Digital SLR cameras – the EOS 550D.

The EOS 550D redefines the boundaries of Canon’s consumer DSLR range, incorporating technologies and features more commonly found in semi-professional DSLRs into the compact, lightweight body favoured by consumers. With a newly-developed 18 Megapixel (MP) APS-C CMOS sensor, coupled with Canon’s advanced DIGIC 4 image processor and the ability to shoot Full HD movies, photography enthusiasts are empowered to explore new levels of creativity.

Creative control with no compromise on quality.

The EOS 550D makes Canon’s powerful imaging technology more accessible to consumers. Canon’s advanced DIGIC 4 image processor and 18MP sensor support standard ISO settings of 100 – 6400 (expandable to 12800), while enhanced in-camera noise reduction technology boosts performance in low light conditions. The system’s 14-bit image processing also produces smoother tonal gradation and natural looking colours for high quality prints and on-screen display.

For swift and accurate focusing, the EOS 550D features a 9-point AF system with one extra-sensitive cross–type point at the centre for f/2.8 or faster lenses. The EOS 550D also supports high-speed, continuous shooting at 3.7 frames per second (fps). These features provide users with the opportunity to exert greater control over their images, allowing them to capture split-second moments with ease and accuracy.

Continuing Canon’s tradition of filtering new technology and features down from its advanced and professional DSLR ranges, the EOS 550D includes the iFCL metering system first launched in the EOS 7D. New for EOS is the ability to set the top limit for automatic ISO, allowing users to control the maximum amount of noise in their images. In a first for entry level EOS, exposure compensation and bracketing can be set up to plus or minus five and two stops respectively, allowing the photographer to take a number of differently exposed versions of the same shot to ensure they capture a well-exposed image, even in difficult lighting conditions.

“Digital SLR photography has captured the imagination of consumers globally,” said Kieran Magee, Director of Product Planning, Consumer Products, Canon Europe. “Every year, more and more individuals are looking to record key life events with unrivalled quality or to test and explore their creativity. The EOS 550D redefines the entry level DSLR category, putting technologies and features previously the preserve of the professional into the hands of the consumer – allowing them to achieve outstanding results. With the EOS 550D, consumers are free to explore the limits of their own creative vision.”

EOS Movies: Full HD video with creative control.

As the ability to record Full HD video becomes increasingly important, Canon continues to deliver DSLR technology that sets the industry benchmark for multimedia functionality. The EOS 550D records video in full 1920×1080p HD resolution, allowing photographers to select the frame rate preferred from 30, 25 and 24fps, as well as offering 720p video at 60 and 50fps. The EOS 550D also includes a 3.5mm stereo microphone socket, enabling the use of an external microphone when capturing video.

Photographers can also take manual control over exposure settings, changing the depth of field and degree of motion blur to shoot more creatively. To provide the best possible video quality, highlight tone priority (HTP) can be set independently for movie capture, without changing any still image capture settings. In situations where the subject is further away, the EOS 550D Movie Crop function records with the central 640×480 pixel area of the sensor, creating an effective magnification of approximately seven times. The EOS 550D is the first in the EOS range to feature Movie Crop and gives consumers more flexibility to capture important moments which would otherwise be too far away.

A clear view of your world.

The EOS 550D also allows photographers to view their images and video in unhindered clarity. A 7.7cm (3.0”) 3:2 Clear View LCD screen with 1,040k dot resolution makes it possible to see 100% of captured images with no borders. The anti-reflective, water-repellent coating also makes it easier to see the screen in bright conditions and from a variety of angles.

EOS build – Canon quality.

As consumers would expect from an EOS DSLR, the EOS 550D is built to a high quality specification. It features bigger, more intuitive buttons which have been redesigned following feedback from users. Based on this feedback, the EOS 550D also features an additional button on the new, battery grip, allowing aperture settings to be changed when shooting with the camera in a vertical position, without having to reorient the body.

Share the moment with friends and family.

For EOS 550D photographers, shooting great pictures and video is just a first step. Thanks to an integrated HDMI port compatible with High-Definition Multimedia Interface – Consumer Electronics Control (HDMI-CEC), video and images stored on the EOS 550D can be viewed on an HD-ready TV and controlled via the TV remote.

For users who want to transfer content wirelessly, the EOS 550D includes Eye-Fi connected functions. The EOS 550D features a dedicated Eye-Fi section in the User Interface and it disables the automatic power-down function when an Eye-Fi card is transmitting – allowing users to transfer content easily and without interruption.*

Accessories

The EOS 550D is fully compatible with all Canon EF and EF-S lenses and EX series Speedlite flash units, including the compact Speedlite 270EX. The EOS 550D is also compatible with the new RC-6 Remote Control, allowing photographers to capture high quality stills and Full HD video without touching the camera body. The slim line infrared controller can trigger the shutter release from up to five metres away, with users able to select either immediate release or a two second delay for greater flexibility when shooting. As well as supporting EOS 550D, the RC-6 is also compatible with the EOS 450D, 500D, 7D and 5D Mark II.

CANON iMAGE GATEWAY – share your stories

Owners of the new Canon EOS 550D can join the CANON iMAGE GATEWAY, a free online facility for Canon users that makes it easy to share their photos and video. Users can take advantage of up to 2GB of personal storage space, creating enough room for hundreds of high-quality images. Mobile browsing is also supported, making it easy for friends and family to view photos on the move.

Features at a glance:

18 Megapixel APS-C CMOS sensor

DIGIC 4 processor with ISO 100-6400 (Expansion to 12800)

Continuous shooting at 3.7fps

Full HD movie recording with manual control and selectable frame rates

7.7cm (3.0”) 3:2 Clear View LCD with 1,040k dots

iFCL metering System with 63-zone Dual-layer Metering Sensor

Quick Control screen to change shooting settings

Exposure compensation +/-5 stops.

Select maximum value for Auto ISO

External Microphone socket

Movie crop function

Eye-Fi connected functions compatibility

Pricing and Availability

The EOS 550D body only is available from 24th February 2010 priced at £799.99.00 / €899.00 RRP inc. VAT.

The EOS 550D, EF-S 18-55mm f/3.5-5.6 IS lens kit is available from 24th February 2010 priced at £899.99.00 / €999.00 RRP inc. VAT.

The EOS 550D, EF-S 18-135mm f/3.5-5.6 IS lens kit is available from 24th February 2010 priced at £1,099.99.00 / €1,249.00 RRP inc. VAT.

The EOS 550D, EF-S 18-55mm f/3.5-5.6 IS & EF-S 55-250 f/4-5.6 IS double lens kit is available from 24th February 2010 priced at £1,199.99.00 / €1,349.00 RRP inc. VAT.

The BG-E8 battery grip for the EOS 550D is available from 24th February 2010 priced at £159.99.00 / €179.00 RRP inc. VAT.

The LP-E8 battery pack for the the EOS 550D is available from 24th February 2010 priced at £49.99.00 / €49.99 RRP inc. VAT.

The RC-06 remote price is TBA.

Tags: Canon EOS 550D

Post from: Digital Photography School - Photography Tips.

Canon EOS 550D Announced

Main Entry: dip·tych

Pronunciation: \?dip-(?)tik\

Etymology: Late Latin diptycha, plural, from Greek, from neuter plural of diptychos folded in two, from di- + ptych? fold

Date: 1622

1 : a 2-leaved hinged tablet folding together to protect writing on its waxed surfaces

2 : a picture or series of pictures (as an altarpiece) painted or carved on two hinged tablets

3 : a work made up of two matching parts

Diptychs and triptychs are a brilliant tool for photographic storytelling. They present two or three images which can be from the same session or they can be polar opposites to show opposition or contrasting ideas. Below are 5 such images and what we can get out of them to help us form our own effective diptychs and triptychs.

1. {Zoom} This beautiful diptych uses zoom to focus on the two main elements of the image and cuts out the space in between.

2. {Tell a story} Or a joke for that matter! This clever diptych from Kimberly Chorney was created to illustrate her son’s joke: What do snowmen eat for breakfast? Frosted flakes!

3. {Lapse} Illustrate a lapse in time or activity. Morning vs. night, old vs. new, dirty vs. clean.

4. {Succession} This triptych is three frames in succession to show you more than just one nanosecond in time. I find this style very effective for shots of children who move so quickly and change their expressions continuously.

5. {Oops} experiment with the mistakes. When first going through the images caught in this session with my kids, I could have easily discarded the out of focus shot on the left. But paired with the in-focus on the right, it just seems ‘right’ somehow. Experiment and withhold the urge to hit ‘delete’. You might find the mistakes are actually keepers when paired in a diptych.

We would love to see your examples. Did you know you can add images to the comments below? Give it a try!

Post from: Digital Photography School - Photography Tips.

Diptychs & Triptychs – 5 Prime Examples

They met at an Italian restaurant. Not just any Italian restaurant, but Laura's family Italian restaurant. Carlos and Laura worked at the restaurant and they quickly became friends. He made her laugh, and when Laura went through a tough time, Carlos was there for her at every turn in the road. Laura invited him for coffee one night, and their friendship morphed into something they didn't expect. A love affair.

Carlos and Laura have bonded through the years and they attribute their beautiful relationship to their love the small things they admire. Carlos is patient, sweet, and loves when people laugh hard...Laura is kind, driven, and caring. At the center of their relationship is their passion for God and they've built their lives in such a way to share their love in small, poignant pieces.

They're marrying in May at Hummingbird Nest Ranch and I'm super excited to shoot there again as it's such a gorgeous venue. We met at Balboa Park in Los Angeles for engagement pictures and when Laura planned a vintage theme shoot, I was thrilled. Here are a few favorites from the day...


Laura, you're fabulous. No, really, you are.



The light at Balboa Park was just amazing last week and I was in love...



Go on wit yo bad selves....



I was beyond thrilled when Laura and Carlos arranged for a vintage car for the engagement photos...


Laura, augh...........seriously.


I loved all the vintage aspects to the engagement pictures...




Love you guys!


To see more of Laura and Carlos' vintage engagement session at Balboa Park in Los Angeles, CLICK HERE for a slideshow!


© Jasmine Star. This post cannot be republished without permission. Stealing makes me sad.

sevenman posted a photo:

Last month we asked readers a simple yes or no question in our site poll – do you have a PhotoBlog? Over 12,000 people responded.

Here are the results:

I was actually a little surprised by the numbers that did have a photoblog – I guess the many in the DPS audience have discovered the joys of sharing their best shots online!

Post from: Digital Photography School - Photography Tips.

40% of Our Readers Have PhotoBlogs

kf4lnq posted a photo:

Had some extra time today so I learned how to do layer masks.

A Guest Post by Robin Ryan

I’d like to talk today about the potential offered by Neutral Density filters, and how they can make your photos more unique.

The smooth watercolour feel in the above photo is due to a Neutral Density 64 Filter. This filter has interested me lately and this photo demonstrates one of its primary uses: to smooth out water and skies without the use of post-processing. I think the results are perfect, and I’d love to have this on my wall.

A Neutral Density Filter is one designed to block out a substantial amount of light. This enables the photographer to slow down his shutter speed and/or shoot at a faster F-stop.

Most photographers will use what is called an N2, N4, or N8 filter to smooth out waterfalls, rivers, oceans. This photographer has used an N64 filter which is far stronger, letting him have an exposure of 60 seconds at f/16 for this image. Without the filter, the photographer would have had to use f/2 to get away with a 60-second image, or less than a second at f/16.

An N64 filter allows for 1.5% of available light to enter the lens. Here is comparison table for the other filters, courtesy of wikipedia:

Filter Name F-Stop Reduction % of Light Transmitted

ND2 has an F-Stop Reduction of 1 which means 50% of the light gets through
ND4 has an F-Stop Reduction of 2 which means 25% of the light gets through
ND8 has an F-Stop Reduction of 3 which means 12.5% of the light gets through
ND64 has an F-Stop Reduction of 6 which means 1.56% of the light gets through
ND1000 has an F-Stop Reduction of 10 which means .1% of the light gets through

Options

It’s important to remember that filters are designed to fit your lens circumference. Look at the front part of your lens and check for a 2-digit number followed by mm. Common circumferences are 77mm, 72mm, and 52mm.

Robin Ryan is a Vancouver-based photographer always hunting for beauty through the rain. Or in it. Anyways, he runs “Your 1000 Words” and his portfolio is found at www.robinryan.ca

Post from: Digital Photography School - Photography Tips.

Neutral Density Filters

sevenman posted a photo:

Christopher Martin is an editorial and advertising photographer based in Atlanta, Georgia.Photographer: Christopher T MartinSourse: http://www.christophertmartin.com

These photos of Bernard were taken last month. All shot in my computer room, with the same settings as before; using a single fluorescent tube as a light source and a home made reflector.

Yeah I know, Improvised stuff, because studio equipment are expensive =/

It was still fairly dark and I was forced to use ISO400 and one of these was shot with ISO 800. Both were shot with an aperture of f/2.8

All I that was left to do was Color Correction in post processing.

It was the first time she had done anything like this.

After all, fear of the unknown took her outside her comfort zone. Treading on new territory, pushing the boundaries of her photography, and allowing herself to be stretched would take all the courage she could muster. In her mind, there were a good many others more qualified. In the end, none of that mattered, she would do it anyway.

Tasra Dawson** climbed onto the bus with 33 other photographers. They had met for the Pictage PartnerCon (a photography conference) in New Orleans, taking 4 days to network, learn, and be inspired by massively successful pros in the industry. Tasra herself had spoken, and helped write and produce a film series for the event along with her husband Ron, but the experience she was about to walk into was less familiar and more daunting than standing on that stage before hundreds of people:

Shooting street images of strangers… with their permission.

She would meet her goal while out on a photo walk. It was the first she had ever done. It was to be a time when photographers pile onto a bus, travel across the city, and take pictures of various things, places, and people.

The fact that this photo walk was in New Orleans was surreal for her. When Hurricane Hurricain Katrina had hit in 2006, her parents had been on the Gulf Coast of Mississippi. Being in a place that had been touched by the same destruction near to her parents, made her feel as though she was experiencing family history. She was seeing it all with her own eyes. She would be documenting it with her own eyes too.

Tasra breathed. She had her camera. She had her gear. She had comrades. Together, they could embark on this adventure, and she was excited about what might come her way. The sense of adventure motivated her. She was a capable and successful photographer. The confidence she always instilled in her students and blog readers would have to be placed in herself.

The tour would cover the lower 9th ward – one of the places hit hardest by Hurricane Katrina. The first stop was Flood Street. She had ten minutes. She got off the bus, and didn’t allow herself any thought but one: Take pictures and go wherever it may lead.

She began to shoot. After a few shots, she turned and began taking pictures of what looked like a building just after destruction had passed – not years later. As she photographed, she noticed a man coming toward her. Her heart began to race wondering if he’d tell her to stop or get mad. She looked around for support but found herself alone.

This is it.

She took her courage and started a conversation. “Were you here during Katrina?” She asked him and received a nod in response. “Do you live around here?” His response “Not around here. I live here,” and he motioned to the building she had been photographing. He was there during the rising of the waters. He was there, in the top story of his house, when the water was up to his waist. He just couldn’t bring himself to leave, even in the face of danger; he had to stay.

For Tasra, the moment of truth came at that moment: “Would you mind if I took your picture in front of the house?”

To her relief, he said yes. After a few shots, the man asked if she wanted to go inside – inside his house. Her heart jumped. She was amazed. Amazed that the moment was not nearly as intimidating as she thought. She wondered if there were other moments and opportunities she missed because of her lack of confidence. She knew there were.

  

She walked into the house with a few other photographers. The first image she saw was the broken roof on the right side of the house. The light was streaming through the vacant opening, creating a beautiful shaft of light. As she took pictures, she asked about the different rooms, and the man shared. She could hardy believe how much she was able to document such a precious story of a man who would have rather died than leave his home. His courage was inspiring.

And she was able to experience this simply because she stepped out of her comfort zone.

The time passed quickly. After 15 minutes, she heard the bus honking for the return. She didn’t want to leave. The time had been unreal. As she walked back through to exit, the man passed through the light shaft – first image she had seen upon arrival. A quick snap captured one of her most precious images; not because of the rising smoke in the light, and the intense contrast of the textures, but because encapsulated in this one image was the entire story of a courageous man.

Tasra walked away with a new sense of confidence. She could be the photographer she had always wanted to be, but never thought she was. A photographer who captured beauty in stories and experiences that other people may not have. As she got back on the bus, she was content. They had only finished their first stop but she felt as though she had her story – the one she came for.

The lesson ushered in a new level for Tasra. She realized that situations may require certain risk, but sometimes the risk is not the end. There are rewards for stepping outside ones comfort zone. And often, those rewards are priceless.

** Tasra Dawson is a nationally acclaimed Senior Portrait photographer from Georgia. Tasra is involved with her husband Ron as a Creative team member for DareDreamer Media, and spends full time work as a photographer, blogger, and artist. Tasra takes part in “Pro: You”, a series of lessons learned on the road of professional photography. Her daily work can be found online at: www.TasraMar.com and www.TeenIdentity.com.

DPS thanks Tasra for the time she invested interviewing for this story.

Post from: Digital Photography School - Photography Tips.

A Story of A Photographer Leaving Her Comfort Zone

A quickie from the most famous (and fabulous) sign in Las Vegas. It's another in what's becoming a bad habit. From Mt Rushmore to the Taj Mahal, there's nothing a little in-camera motion blur...

kf4lnq posted a photo:

Today is a quick self portrait mainly to play with the 50mm lens and the iPhone remote control app. Natural window light only with a reflector to fill in the shadow side.

Weekly Assignment

We finished up a weekly assignment that took us back to the basics and looked at how different compositions can create an entirely different feel to a photo. We focused on photos with Centered Compositions. Having a centered composition can be dangerous because it can make your subject look very static, but used well, it can create a lot of interest in a shot as well. We actually had a 3 way tie this week! So, in no particular order, our winners. First up is inkiest’s Planet Lake Hodges. This is a great example of a “little planet” shot where a panoramic shot becomes a little planet. This kind of shot really takes centered composition to the next degree, and the rock in the middle really further emphasized the center nature of the shot. Our next winner is Obijuan’s Trapped Orange Slice. This still life was different than many of the shots and it really considered the use of centered composition well. Not only was the orange in the middle, but the holder was also (and the orange was in the middle of the holder!). And finally, last, but not least was GadgetVirtuoso’s Escalator Girl. The symmetry, the reflections, and the leading lines all lead to the subject. Add in the fantastic colours and you’ve got a great shot! Congrats everyone! It was definitely a good week!

We also started our month of food photography. This week, we’re focusing on Food Photography – Desserts. Food photography is one of those things that is deceptively easy, so to get you started, there are a number of tips listed on the assignment thread. We not only want to see a tasty dessert, but we want to see it in a way that makes us drool! Just a quick reminder of the rules, your photo must have been taken between 27 January – 10 February 2010. Second, your post must contain the words “Assignment: Food Photography – Desserts” and the date the photo was taken. Finally, your EXIF should be intact and it’s helpful if you can include some of the main points such as shutter speed, ISO, aperture, lens, camera, etc. Next week’s assignment will continue food photography, but it will be Food Photography – Fruits & Vegetables, so get out those veggies and see if you can make them as appealing as a nice dessert!

Hot Threads

• dPS Photography Competition: Life (Week 2): In case you missed it last week, dPS in conjunction with DigitalRev is running a competition where you can win your share of $2900 worth of prizes. You can enter 1 photo per week during the four weeks, so choose carefully! Best of luck!
• Post-It Notes: They’re good for jotting down your grocery list, notes to your family, and reminders for yourself, but did you know that they can make great camera accessories too? Gonzo13 shows us how to use colourful Post-It notes to add colours to your flash and subject. Check it out if you’re looking for some creative lighting ideas.
• Ratio of Good Images: This is a discussion that comes up every once in a while, and as we all know, the answer not only varies from person to person, but may change as you progress in your photography. Come share with us what kind of photography you do and what your ratio of keepers is. Then tell us whether you think that’s good or bad, or if it just is what it is.
• Photographs of Planets: Astrophotography is one of those types of photography that can be incredibly impressive. This thread has some great shots and great information about how you can take shots of the stars, planets, and other heavenly bodies. If you’re interested in astrophotography or you do it yourself, come join in the thread over in the forum.
• What Would You Do: As usual, we have another week of WWYD photos. This is your chance to edit the photo of another forum member and show us what you would do. These threads are a great chance to practice and hone your post-processing skills in ways you may not be able to do on your own photos.

Post from: Digital Photography School - Photography Tips.

This Week in the Digital Photography School Forums (31 Jan – 6 Feb ‘10)

Chris Cocozza, an award winning bookcover artist, has illustrated over 500 bookcovers for major publishers across the United States and abroad.From romance novels to children's books, his portfolio demonstrates a wide range of "looks", photographic to impressionistic, all exquisitely depicting the concept you have in mind. Chris was invited in 1995 to be a member of The Society of Illustrator's

Kirk Hille is an extremely talented amateur landscape photographer from Perth in Western Australia. Kirk has only been dabbling in photography for just over a year but the results are far from amateur!Photographer: Kirk HilleSourse: http://kirkhille.wordpress.com

Michelle Monique is an innovative photographer with a unique ambition. She strives to create photographs that have never been done before and her ultimate dream is to produce images that cannot be found in real life. In her own words, she likes to "create not interpret."Photographer: Michelle MoniqueSourse: http://www.michellemonique.artworkfolio.com

Yvonne Boyd is an advertising and editorial photographer based in Atlanta Georgia.Photographer: Yvonne BoydSourse: http://www.yvonneboyd.com

Beautiful photography by Nich Hance Mcelroy, professional 24 years old photographer, based in Alaska.Photogrgapher: Nich Hance McelroySourse: http://nhmcelroy.com

Amazing portraits by Karin Stenvall, talented female experimental photographer, based in Paris, France.Photographer: Karin StenvallSourse: http://www.karinstenvall.com

sevenman posted a photo:

Marc Adamus is a landscape photographer based in Corvallis, Oregon. The visual drama and artistry of his photographs are born of a keen eye for the many moods of Nature and a life-long passion for the wilderness. This passion shines throughout Marc’s work and has attracted a wide audience around the world.Marc’s style is unmistakable. His talent for rare captures of amazing light and fleeting

In the last post I talked about how amazingly quick and simple it is to make a panoramic inside of Photoshop. Photomerge has become increasing clever at seamlessly joining overlapping images together, but it does have it's limitations.

First off, if you're using Photoshop CS3 you're limited to a panoramic that covers a field of view that's roughly 180 degrees. That's pretty wide, but Photoshop CS4 can manage an eye spinning 360 degrees.

There's other differences too. For example Photoshop CS4 can join a multi row panorama and even a vertical pano. Photoshop CS3 can't do either of those, although a quick cheat for vertical panos is to rotate the images and trick Photoshop into thinking it's a horizontal image. Just remember to rote the final image back to vertical.

The other major difference between Photomerge in CS3 and CS4 is how wide a lens you can use. I found CS3 was OK with lenses going down to 24mm (on a APS-C camera) but struggled with anything wider. In Photoshop CS4 we have a Geometric Distortion Correction option which allows the use of super wide optics and even fish eye lenses.

So in theory Photoshop CS4 is capable of stitching a full (spherical) 360 degree panoramic. But does it work?

Actually, no. Well ok it does work, but when it comes to full panoramics shot with a 10mm wide angle lens, it's far from perfect.

Have a look at this panoramic I shot today. It's a full 360 pano, so that's everything I could see in front, behind, above and below. 17 images were needed to complete the image.

Click to enlarge

Look closely. Can you see the joins? I'm pretty sure you won't find any. Mind you I didn't use Photoshop, I used Autodesk Stitcher, a purpose built panoramic stitching program.

The location is stunningly peaceful Worth Abbey in Sussex, England and I was lucky enough to be allowed in to take a number of interactive panoramics. Why are they interactive? Well download my virtual reality tour (4mb) to see. Just drag your mouse over the Quicktime "movie" to see exactly what I saw. including the top of my tripod!

Here's the link: http://www.gavtrain.com/free/worth-abbey-VRtour.mov

By the way, vrtual tour images is just one of the services offered as part of my Photography Services. See http://www.gavinphoto.co.uk/

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I think most people have seen motivational posters in their travels. You know the ones – they have an image in the middle – a large word underneath and often a saying or quote that is supposed to inspire and motivate you for your day ahead.

This weekend your challenge is to create a motivational poster of your own and to share it.

You might choose to make a serious motivational poster or do a funny one (my personal favorite)- the choice is completely up to you.

Once you’ve taken your shot and created your poster come back to this post

Once you’ve taken your photo and created your poster, upload it to your favourite photo sharing site and either share a link to it below or embed it in the comments using the our new tool to do so.

If you tag your photo on Flickr, Twitter or other sites with Tagging tag it as #DPSMotivate to help others find it. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

Post from: Digital Photography School - Photography Tips.

Motivational Posters: Weekend Photography Challenge

kf4lnq posted a photo:

High iso fun with Erin's eyes. The secret is still the tripod.

As equally important to success in photography as knowing your camera, equipment and light – and being a good marketer – is developing within yourself an attitude of success. It’s something that separates and elevates the photographers that are popularly admired today including Chase Jarvis, Jasmine Star and Joe McNally, to name a few.

I wanted to use this post to give extra attention to two skills I think sometime see less awareness than other components of photography – kindness and hard-work. Combined, the two are an incredibly powerful force. The reason behind this post came after asking a few Facebook fans what I could help them with from my own experiences as I continue to forge my own path into the professional arena. The overwhelming response was, “How to make a buck with a camera.”

The variety of marketing plans and methods to get your work seen where it will sell, seems as varied as each photographer. Social media, hard portfolios, promo cards, word-of-mouth and more all fit into the puzzle. All important information to know, but to answer this question what I really wanted to hone down on was the principles of successful people, and how you can bring them into your own photography.

Give more to get more

On January 20, 1961, American President John F. Kennedy took to the podium for his inaugural address and delivered a phrase that holds a deeper meaning as a core principle of success – “ask not what your country can do for you – ask what you can do for your country.” In essence, instead of simply seeking out how other people can help you, learn how you can help others. Apply it to your photography. By doing so, I guarantee it will open new doorways for you.

Personally, it has given me an incredible amount of opportunities in a very short time period, and the chance to have a dialogue with many of the photographers I admire most. What I’ve taken from those conversations and opportunities has been invaluable. What I’ve also found pretty consistent among those photographers I admire most is they want to know how they can help me as well. It’s an attitude that’s served them well throughout their careers. Apply it to yours.

Show up to every job

Here is the crux. Be prepared and ready to deliver the help you offered with hard work and enthusiasm. Take a moment to reflect and be ready with a great attitude. Be persistent in following-up, but don’t be a pest either. If you offer to help a photographer, art director or someone else you admire, be sure you can actually deliver on that offer! Don’t propose to assist a photographer and then flake on the day of. Consider your chance with this photographer or team blown for good if you do. Prove you are good to your word and prepare to be there with your A+ game.

The same goes x10 for any client you book. These are the people or groups putting out their hard earned money for your product. Earn it. That small $500 client may be connected to a buyer or newly engaged couple that has the potential to book you for a $5,000 wedding or $25,000 commercial job. People pass along the word when you deliver not only a great product, but a great experience as well. Don’t just be there, show up for them.

Position yourself in ways to give back

It’s unrealistic to expect to get accepted by every photographer you ask to assist or art director you’d like to work for. These are incredibly busy people and the higher up the “food chain” they are, the more often they receive offers from enthusiastic and good-natured people just like you. Or you may just not fit the mold of what they’re looking for. Don’t be discouraged. Find some way to stand out amongst the pack. Always ask yourself, “What is it that’s unique about me that I can bring to this client or team?” Pursue the opportunities that will put you in a position to help or just say, “Thanks.” Give without any expectation of receiving.

One of those opportunities allowed me to get in contact with a photographer who has been a big inspiration behind my own work, Nick Onken. Being a writer for Digital Photography School has given me the chance to review his upcoming book, Photo Trekking, as my thanks for the great information I’ve learned from reading his blog. If you’re interested in the world of commercial and travel photography his blog is a must read.

Opportunities like this are available to each and every one of you if you search for them. Believe it! Being an arm-chair activist won’t get you there though; seek out the positions or unique skills that will elevate your game wherever you can.

Learn from Conan

Be open, be engaging and be kind. Good things come to good people who treat others well and live positively. I firmly believe that. You’ll notice you admire your favorite photographers not only because of their great work, but because they are genuinely great people too. We gravitate towards individuals who bring the right energy and attitude each and every day.

Conan O’Brien said it best. “Nobody in life gets exactly what they thought they were going to get. But if you work really hard, and you’re kind, amazing things will happen. I’m telling you, amazing things will happen.”

Work hard, be kind and soon you will find yourself on the path to both photographic and personal success.

Post from: Digital Photography School - Photography Tips.

Develop an Attitude of Success

It's been a long week. Like really, really long. Like world-record-breaking-defy-gravity-didn't-know-they-made-them-in-THAT-size long. But it's Friday and I'm thankful. Last night, before I fell asleep, I rested in bed and made a mental checklist of everything for which I was appreciative. Before long, I dozed off in a state of thankful bliss for non-fat frozen yogurt, my mom's health, mango sugar body bath scrub, JD, two-ply toilet paper...

I snapped this picture of JD and Polo wearing his Snuggie and I'm extra thankful for this moment...


And, yes, I just said Snuggie. Oh, Internet, my dog wears a Snuggie. Don't hate. With many thanks to Jessica Claire and Jeff Norwood for his new accoutrement, Polo is now the nerdiest dog on the block.


© Jasmine Star. This post cannot be republished without permission. Stealing makes me sad.

High Fashion Bridal Workshop

Now Open for Registration!

Many people have asked for it and here it is!  A two day workshop that combines high fashion and bridal photography into one massive education and shooting opportunity packed into two days!

For all the gritty details and registration please visit http://jakegarn.com/photography-workshop/two-day-2010/

You can also find travel information and hotel recommendations if you are lucky enough to have the time to come from out of town!

sevenman posted a photo:

In the previous article on the topic of Photo Editing with Histograms, I discussed the six basic adjustments found in Adobe’s raw processing engine and how those settings affect the image and the image histogram. Then I posted a poll asking your experience level with curves, which also offered up some basic concepts and links for further reading. I also posted a few videos having to do with curves adjustments. So if you’ve been following along, you should have a decent grasp of how the tool works.

In this article, I’ll be discussing how various curve adjustments affect the image and the image histogram — but only in the realm of linear curves. So… linear… curves? Yup, you can do straight lines in the curves adjustment and they have their applications. So let’s look at a few extremes, then I’ll show you how to apply the linear adjustment to an image in need. After this, we’ll dive into the curvy stuff. And after that… I’m sure I’ll have something else to ramble on about.

LINEAR MANIPULATIONS

Let’s just start with some basic straight-line adjustments. Wait… isn’t this supposed to be about curves? Have no fear, we’ll get there — but these basic concepts are essential for the advanced concepts. Keep in mind throughout these examples that the input scale is along the bottom of the curve dialog and the output scale is along the left side of the dialog.

Each of the following examples shows the curve dialog overlaid with the base histogram, the adjusted histogram, and the base image from bottom to top. The original image is shown in example 3.

What I’m showing above is a spectrum of linear manipulations within the curves dialog. We start at full contrast and work our way to zero contrast, followed by negative contrast. Let’s go through them one by one…

The first image shows what would happen if your curve was pushed vertical. What I’m doing is taking all the pixels with tones to the left of the line and forcing them to be black. I’m also forcing all pixels with a tonal value to the right of the line and forcing them to be white. Everything between the set black and white points is scaled according to the diagonal line, thus we see a higher contrast (remember what I said about slope a few days ago?).

The second image shows a high contrast linear curve. This is very similar to the previous example, but I’m allowing midtones to remain somewhere between black and white. I’m still forcing black and white pixels, but not to the extreme as with the vertical line adjustment.

This third image shows absolutely nothing — it’s what we started with. A perfect diagonal line from the upper right to the lower left corner represents a perfectly untouched input/output relationship.

The fourth image shows the opposite of the second image. Here, I’ve moved the black and white points along the edge of the box, but in the other direction. This tells the software to convert all perfect black pixels to some level of dark gray, and all perfect white pixels to some level of light gray. Everything between black and white is scaled accordingly, thus we see a lower contrast.

The fifth image shows a perfectly horizontal line — exactly opposite from the first image of absolute contrast. What I’ve done is mapped every single input tone to output a single tone value. All blacks, grays, and whites are now a single tone value.

And our final image shows the opposite of image three. I’ve turned the curve upside down, inverting all the tones. Blacks map to whites, whites map to blacks.

APPLYING LINEAR CURVE ADJUSTMENTS

Those of you acquainted with curves and levels will say “linear curves can be accomplished with levels!” True. I’m not disputing that fact, I’m just showing how to use curves in a linear fashion. For those using Lightroom or ACR, they don’t have access to levels within the raw processor interface.

At any rate, here’s how I would apply a curve adjustment to the base image/histogram.

So what did I do here? If you look close, you’ll see that I basically did a version of #2 shown above. I set my black and white points so that my histogram spans the entire tonal range. This gives me a true black and white tonal value in the image. Of course, it’s not perfect at this point, but it’s a hell of a lot better than it was!

This is the most used real-world application of the linear curve adjustment — setting your black and white points. There are other uses depending on your artistic vision, but you’ll have to explore those yourself.

So now that we’ve covered the linear adjustments, let’s move on to the non-linear stuff! Any questions on the linear adjustments?

kf4lnq posted a photo:

Sweet Dragon Roll for a sweet date night at Champa

I've pit-stopped in Las Vegas to regroup and plan my ongoing Vespadventures. While food is likely to be a continued topic, my trajectory is south of the border and forcing my focus on organic coffee,...

Canon’s G series cameras have been around for a while and are much used by semi pros and pros needing an easy to use backup camera that still offers quality image capture.

The G11 continues the breed, with some improvements tucked away under the bonnet but with one or two surprising omissions.

Image capture maxes out at 10 million pixels; the lens is an optically stabilised and reasonably fast f2.8 Canon optic that has a 35 SLR equivalent of 28-140mm … or 5x.

The ten million pixel CCD delivers a maximum image size of 3648×2746 pixels or, in print-speak, a 31×23cm output at 300 dpi. RAW and JPEG capture are available. In the current climate, the movie specs are disappointing with only 640×480 pixel capture.

While many compact digicams shout about their higher res capture — 12 megapixels and more — it’s useful to compare apples with apples: the G11’s CCD measures 14.9mm across the diagonal while the compacts mostly reach 11mm — a significant difference. This is what Canon is all about.

At first look, the G11 seemed to be smaller than the previous G10 model and it sort of was — and wasn’t! Overall, the G11 is about five percent larger … a little wider and higher. However it’s still a very compact camera and could fit most outer coat pockets.

Canon Powershot G11 Features

Looking more and more lonely these days is the G11’s optical viewfinder, uncorrected for parallax and with little more going for it than it gives a bright view of the scene, even in bright sunlight. You will have to be careful of vertical parallax when shooting subjects a metre or so from the camera.

Supporting this optical finder is the rear 7.1 cm LCD screen, tiltable vertically and swingable horizontally. Compared to its compact digicams peers the LCD has relatively low resolution but worked well in my shooting adventures with the G11.

What sets the G11 apart is its direct control of the some of the camera’s settings via two concentric mode dials. The inner one leads you to auto, Program, aperture and shutter priority exposure modes, give access to scene modes, two custom settings and movie shooting. A Quick Shot Mode offers display LCD of the camera’s current settings like white balance, image size etc with idea that you view with the optical finder and just fire away.

The other mode dial is an ISO speed dial, which gives direct access to all settings — ISO 80 to 3200: a far better approach than a dig and delve in the finder menu.

(insert Canon G11 ISO 80 f4.5 1/25 sec.JPG)

A direct access to an interesting Low Light Mode is here also: the ISO speed will be varied between 320 and 12,800, with a faster shutter speed, according to ambient conditions.

To the left of these controls is another direct access button to raise or lower exposure compensation: two f stops up or down in third stop increments.

In the area of face detection Canon has chosen a smart approach: aim the camera at a face, press the frame detector button and the AF system will lock on this face, no matter how much you reframe and alter its position in the picture.

The G11’s continuous shooting abilities are less than superb: a rate of 1.1 pictures/second is available, with focus and exposure locked; step back to 07 pics/sec and the camera continues to focus.

I managed to capture this shot by using an exposure of f8 at 1/13 second. Had I needed more water blurr I also could have switched in a neutral density filter that shrinks the incoming light levels to 1/8 or three f stops.

Startup Time

The camera was ready to shoot about one to two seconds after startup; follow on shots at about a second each.

Distortion

There was noticeable barrel distortion at the wide end of the zoom, with little visible at the tele end.

Comments

The G11 is a fine camera and should win friends who want an easy to use, high quality picture maker.

Quality: about as good as it gets with a compact digicam. If you need better colour capture and higher resolution you may have to pick up a DSLR.

Why you’d buy the G11: optical finder; direct access to important settings.

Why you wouldn’t: poor movie specs; poor burst rate.

Canon PowerShot G11 Specifications

Image Sensor: 10 million effective pixels.
Metering: Evaluative, centre-weighted average; spot.
Sensor Size: 14.9mm CCD.
Lens: f2.8-4.5/6.1-30.5mm (28-140mm as 35 SLR equivalent).
Shutter Speed: 1 to 1/4000 second.
Continuous Shooting: 1.1fps.
Memory: SD, SDHC, MMC, MMCplus, HC MMCplus cards,
Image Sizes (pixels): 3648×2746, 3648×2736, 3648×2048, 2816×2112, 2272×1704, 1600×1200, 640×480. Movies: 640×480, 320×240 at 30 fps.
File Formats: JPEG, RAW, Motion JPEG.
ISO Sensitivity: Auto, 80 to 3200.
Interface: USB 2.0, AV, DC input.
Power: Rechargeable lithium ion battery.
Dimensions: 112.1×76.2×48.3 WHDmm.
Weight: Approx. 355 g (body only).
Price: The Canon Powershot G11 is currently $453.99 at Amazon.

Post from: Digital Photography School - Photography Tips.

Canon Powershot G11 Review

I usually use the month of January to reassess things in my business. My mistakes, areas for growth, ways to improve. I'll be the first to admit I get quite hard on myself, but self-deprecation motivates me. Hey, Thunder Thighs, run the extra mile for the cup of cereal you ate last night, is a fully acceptable form of motivation. While talking myself down is easy, finding ways to move forward, fix, and amend my past is so much harder. Especially because I'm easily distracted.

Oooh, something sparkly!

One of the first changes in 2010 is redesigning a few elements of my website. I've been inspired by the following photographers and I know it's time to shake things up because they're doing a fabulous job at being completely unique and designed a website reflected of their individuality.

All of the following websites were created using Showit and I'm blown away at how each website is completely their own...

Promise Tangeman
This is site is so sick. It's like walking into Urban Outfitters. Only better. Promise is a photographer, but she definitely doesn't put herself in that box. She's an artist. She creates things. And her site shows off her best.


The Shot Shot
Want to see a site that takes portraiture to a new, hip, and slick heights? Check out The Shot Shot. This site showcases the buzz around their work, the perks, the hype...as well as feature some pretty awesome photos to boot!



Christianne Taylor
I met Christieanne a few months ago and she's taking the fashion photo world and making it her own. Her eye, portfolio, and determination have set her apart from the beginning. Christieanne styles her own shoots, often makes the clothing, and works with model agencies in Los Angeles to create her work. Her site is truly reflective of her growing voice.


Kara Layne
I was immediately struck with the simplicity and ease of Kara's site. It does a great job taking passive viewers and engaging them in a way that brings them into her sphere. Her bio was sincere and can make a complete stranger (like myself) want to reach out and invite her for coffee. Or Sprinkles Cupcakes!



I'm looking forward to revamping my site with Showit and starting off 2010 in a way that makes me hungry to further define who I am on the web. I encourage you to do the same...


© Jasmine Star. This post cannot be republished without permission. Stealing makes me sad.

They say never work with animals or children but who can resist those cherub like faces? Here are a handful of hopefully helpful pointers that one can try when it comes to framing tots and toddlers:

1. Most children will have the patience of a fly so start by netting the ‘safe shots’ first, such as a few well composed, nicely lit portraits with a 50mm prime, before diving into the most adventurous ideas. Suggestions for such could be to: opt for some tight crops of the tot’s face, vary depth of field to avoid distraction, or get creative with shutter speed to some exciting ‘movement’ effects. When their attention levels start to dissipate, try following them around. Not only do you get a glimpse into their world but this can make for some beautifully natural shots. When kids are happy playing on their own opt for a zoom such as an 18 – 200mm to cater for up close and at a distance shots.
2. When kids are cute it can effortless to forget technique and become shutter happy; click, click and click some more – before you know it you’ve expired a 4GB memory cards and have a heap of blandly identical images. Limiting yourself to 20-40 shots forces you to focus on strengthening your composition, as it helps you to decide what it is important and challenges you to be more creative.
3. A towering adult is obviously a daunting prospect for a tot and the bird’s eye view perspective is only going to yield so much value. A better idea is to drop down to their level is ideal and emphasis the smallness of their stature, reinforce the connotation of innocence and if you catch them looking up you’ll be amazed at how big their eyes can appear, subtly increasing the ‘aw’ factor.



4. Some kids just don’t want to sit for photos. Give them a prop, toy or a task to focus their attention and you’ll be amazed by the results. There are lots of things you can try; baking cakes, gardening, building sandcastles, following a treasure trail – anything to get them to relax and this is where an on-hand parent can be of great use; helping the child to relax and bring them out of their shell. If they still don’t want to play ball catching infants at their most naughty, angry, sulky or upset can still make for powerful portraits. Be aware that cheesy grins may cause the eyes to crinkle and the impact may be lost, so catching a shot whilst the child is off guard but in good spirits is a solid antidote for this.
5. As with any portrait consider your scene. Be sure the light falls evenly and flatteringly, backdrops featuring bright colours and interesting textures add interest and declutter your scene of distracting items. On a really bright day it can be hard to get even light, so place your subject in a shaded area such as a doorway, porch, entrance to a tent, or even under a garden table. Take an exposure reading from their face and the result will be a portrait with flattering light without the need for flash or reflectors. Alternatively if there is no shade, try taking a shot of the child walking away with the light behind you – often these shots can reveal more about their personality than the front.
6. The beach is a wonderful location for photographing children at play. Their actions are natural and the backdrop provides a sense of place whatever the weather. Avoid shadows and squinting in super sunny conditions by bringing along a parasol or improvise with a beach towel, shooting them under the shaded area.



7. The clothes the child wears will have an effect on their mood and ultimately – your shots. Everyday casuals are ideal for relaxed natural shots, whereas formal wear can go either way; exude maturity or sulk because they dislike stuffy dresses and suits. Costumes are perfect for bringing out the imagination gene in your models, resulting in energetic and tangibly fun frames.
8. Black and white images can do wonders for pictures of newborns, whereas tot shots are often better left in vivacious colour. However if you are keen to emote a calmer, softer connotation open up Photoshop travel into the Adjustments menu and either reduce saturation, hit desaturate or travel into Gradient Map and select the B&W option. Employing a high-key effect in Photoshop can also add an angelic feel to portraits of your little cherubs. Take a beautifully lit image and open it in Photoshop. Head for Adjustments and select Curves. Gently lift the line twice near the bottom and once near the top to generate a shallow ‘S’ shape. This will alter the contrast and brighten hues, but do this process in small increments as too much and you’ll lose details.
9. Creating a shallow depth of field is wonderful for focusing attention on the child sitter. If you’re uncomfortable with using manual, flick your shooter into Aperture Priority and opt for a lovely wide aperture such as f4 or f5.6. Focus on your subject and incorporate the backdrop into the frame – use something interesting or colourful here. Alternately throw the child out of focus by aiming at an object in their hands instead.



10. Get creative with shutter speed! Chuck a pair of wellies on the pint size model and have them jump around in puddles. You could freeze water splashes and stop the action using a shutter speed of 1/250 or above or blur the child mid air with a slow shutter of around 1/60 (but you may need to ramp up the ISO in low light). Alternatively mix the two effects with a rear curtain sync to make the most of a long exposure whilst firing a flash – the result is a frozen subject with the motion trailing behind.
11. Newborns grow rapidly and their features can alter as a result. Photograph at regular intervals to chart this change. Whilst they are very young you’ll find it is easy to capture stills whilst they are asleep. For the best results position the baby in a well lit room or near a large window diffused with a thin white sheet. Cropping in close for segmented body shots of newborns is quite clichéd but the results can be breathtaking: toes, feet, hands, legs, face, etc. Why not use these as a series or pick the best three to form a triptych?
12.  Shooting children in groups multiplies the stress levels but increases the opportunities to be experimental. Ask them to interact by holding hands, rubbing noses, playing a game s, running towards the camera, jumping off a bench – anything that unleashes their personality! The encyclopaedia of expressions and characteristics that will no doubt explode out of the frame will definitely be worth the hassle. Expose for the faces and lock focus on to one of the cheeky grins for sharpness.

Post from: Digital Photography School - Photography Tips.

Photographing Tots and Toddlers

We all love getting our hands dirty with studio lighting equipment. Here is everything you'll need to get a studio going. All the modifiers are DIYed so mark the next few weekends as taken. Click each image to get to the relevant project page.

DIY Beauty Dish

A Beauty Dish is a flash modifier used commonly in fashion
photography. It has a great combination of soft light and fast light fall
off. When you look at it closely, however, you find out that it is
nothing more than a terracotta bowl and a plastic jar (or a small car
mirror). By Mr. Embrey.

read more

sevenman posted a photo:

I’m still working on putting together my article on using curves and histograms to edit photos, so in the meantime here are some good video tutorials on the subject. These tutorials are easier to understand because they show how the curve adjustments affect the image in a more dynamic fashion.

This first tutorial is fairly comprehensive for the grayscale and combined RGB channels, covering the basics of contrast and brightness adjustments while also hitting on a lot of little tips and tricks. The creator of this video also jumps into some of the things you should not be doing with curves so that you can avoid these situations.

This second video is a little more basic than the first, but it presents some of the material in a slightly different manner. If you watched the first and you don’t have a good grasp on the curves dialog, watch this one and see if it helps.

And if you have already watched the first two videos and you still don’t have a handle on things, this last one from our friend Donnie might help. He also gets into color channel curve adjustments, so this is helpful for the more advanced users.

kf4lnq posted a photo:

Snow covered campus. Not my best work but better than nothing today and I hope the last P&S day for a while. My T1i is back!

3-D is the biggest craze in Hollywood at the moment. Avatar, Toy Story 3, A Christmas Carol and even Nanny McPhee have gone (or are going) 3-D this year. So how can we harness this concept in our photography?

The most basic principal of three-dimensional art is a foreground/subject which stands out from the background in such a way that you can actually feel the space between them. Obviously, a picture is flat. But if you can edit it in a way to create that space, you can make the effect on it’s viewer memorable. The concept translates into the editing process simply: edit the subject and the background entirely independently of each other. The way in which I feel most successfully achieves that is to make a darker, richer background and a lighter subject.

1.} Choose an image carefully. Not just any image will do. Try to find one which already has a sense of space between the foreground and background. Some far off background action would be great. I chose one where the subjects were almost fully shown (not just their upper halves).

2.} I duplicated the image for safe measure. As I usually do for step 1 of my editing process, I separate the foreground from the background by using the quick selection tool  and typing ctrl+j to create a new layer. First, though, I feather the selection out in select > feather > 0.5 px.

3. } Start editing the background. I usually first duplicate the layer, use overlay or soft light blending mode and take it down to at least 50%. When it’s the way I want it, I then merge the background layers back into one and separate the sky from the rest of the photo so I can edit them separately.

4. To the grass, I applied Flypaper’s ‘Muscatel’ texture layer at hard light, 49%. I also used ‘algae’ at overlay 100% (before you run off to buy these wickedly ingenious textures, read to the bottom for a discount code!) Check out this before/after of the grass:

5.} For the sky, I opened an image from my skies folder (I keep a folder with impressive skies to use as replacements) and laid that over the background sky. I then used Flypaper’s ‘Marie Antoinette’ @ multiply 9%, ‘ming’ @ overlay 35%, ‘lavender skies’ @ multiply 35% and ‘algae’ @ overlay 16% and here it is after:

6.} Here’s the wow factor step. I used the ‘Colosseum Sienna’ and placed it over the top layer in the layers palette. I then type ctrl+g to clip it in so that it is glued onto the boys like this:

7.} Then hold onto your seats as you change it to overlay 100% because immediately, the boys pop out of the picture and into my office (ok I’m not that important…I’m writing this in bed). I wish I had a way to show you in mouse-over because they almost literally pop off the image.

8.} ‘Colusseum Sienna’ is a cracked texture and quite orangey on their skin, so I added a maximum gaussian blur and took down the saturation a notch.

9.} For one last little touch, I added a slight filter > correct camera distortion vignette to the background. And here is the before/after. What do you think?

Flypaper is kindly offering DPS readers a $4 discount on the purchase of any textures pack for the next two weeks. Just enter the code ‘DPS‘ at checkout!

Post from: Digital Photography School - Photography Tips.

How to Make A 3-D Effect in Photoshop

This weekend I’m going to be in St. Louis and I am getting so excited!  If anyone from that area would like to have dinner with us on Friday night email me so I can give you more info.  I love love love meeting new people so anyone is welcome!

This weekend my husband and I were having quite the conversation.  I swear every January we are so unhappy living in the cold North.  I’ve lived in Minnesota my entire life and every winter about a month or so after Christmas is when I think everyone starts to get really antsy. (This is why we put up our Christmas tree right before Christmas and leave it up longer than most people b/c it seems to make the long winters go by faster for me.  lol)  And so we were talking over breakfast after church about where we could move.  I would love to move somewhere that is warm and doesn’t snow.  I’d also love to live where I could charge more for my portraits.  (wouldn’t everyone!)  Anyway, there are so many ‘ifs’ about moving.  It’s just one of those things that you just talk about but never do.

I was just talking to my friend Dawn McCarthy today and was telling her about this same subject and she said it’s like cutting your hair. It’s like you always want to do it but you are too chicken.  lol  But it’s funny, I chopped my hair and gave myself a new cut today maybe because I know deep down I will most likely never move.  And I needed something new!

Anyway, I am working on some ‘NEW’ things for Rock That OCF and I hope to be able to announce it very soon.  I am finishing up all the details in the next week or so too.  It’s taking me a lot longer to get my work done now with my husband out of town so much and I don’t have much help with our daughter.

I hope to announce this very soon!!!! I am so excited about what’s coming up!

ali

The northern and southern polar lights have fascinated and hypnotised man for as long as we have graced the planet. The unearthly flame-like lights have been the inspiration of folk tale and legend for generations and since the invention of the camera a holy grail-like conquest for many enthusiast photographers.

Named after the Roman Goddess of Dawn (Aurora) and the Greek name for north wind (Boreas) the Northern lights AKA Aurora Borealis, are seen in areas that are within or surround the Arctic circle, for example: Norway, Sweden, Finland, Canada, Alaska etc. Equally the southern counterpart ‘aurora australis’ is visible from high southern latitudes in Antarctica, South America and Australasia. The mesmerizing wisps are actually solar charged particles reacting with the magnetic field as they make contact with the upper atmosphere gases. The most common lights star-gazers are likely to see are the green variety, with the red variant only appearing in tandem with the green. Sometimes the lights lie horizontally like an expanse of neon fog, other times in vertical streaks dancing their way across the night sky – whatever the colour or form the results are quite awe striking and will make for the most wonderful of subjects.

Spring and Autumn are the best times to witness the event (March to April, and September to October), but if you choose to visit in the winter months you will find the temperatures can be extremely cold often between as low as 35 below, and the days can be shorter with less light. For example at this time of year in somewhere like Sweden the sun rises around 9am and sets about 3pm but the window, this is great for star gazing but will mean your camera’s ISO capabilities will be put to the test.

Both factors will influence your choice of kit so pick a DSLR which can withstand the cold and work at high ISO. Nikon’s revolutionary D3S with 102,400 ISO is a fantastic choice; similarly the Olympus E3 is famed for its ability to withstand extreme conditions. Fast lenses are an absolute must, with a wide angle or fish eye acting as the best choices for capturing that great expanse of night sky. If you’re concerned for your camera or its potential demise in longevity take a fleece blanket or towel and gently wrap it around your DSLR, this is particularly wise for those models sensitive to colder climates.

Battery life is a big issue for any electronic device when the temperature is low so be sure to charge several spares if you are trekking out away from power supplies. Keep these close to your body when not in use.

A tripod is essential for stability and ultimately the success or failure of your shots. Long exposures of 15 seconds plus are going to be needed so a good solid contender that can withstand the cold and can be collapsed and erected with ease is going to be your best ally here. Manfrotto’s carbon fibre line up is definitely worthy of consideration, but ideally avoid anything that is predominantly constructed of metal. Furthermore to ensure the camera suffers minimum camera shake during exposures – which would result in blur – operate the shutter with a remote control/release or use the unit’s self timer mode.

Common sense would dictate that you do not head out into the snow-capped wildness alone or without at least notifying someone, and a compass or some form of GPS device is essential. Likewise sensible clothing is a must; plenty of breathable, thermal layers, with a waterproof out layer, sensible snow boots, balaclava, hat, scarf and gloves. When it comes to gloves double layered products are superb, especially those with a tip-less outer layer or grip coating – extending a better grip of camera controls to photographers. Lowepro, Peter Storm and Sealskinz in particular all make excellent items suitable for shooters.

In terms of transporting your kits, you are going to want your camera and lenses to be as snug and protected as you are, so this is no time to scrimp. One standout brand noted for its sturdy rucksacks is KATA and in particular the R-family of camera orientated luggage. Insulated with Thermo Shield Technology, the bag protects from the cold as well as knocks and bumps. The bags are cabin friendly (check with airline policy) and feature soft removable padding that cushions valuable items and the bright orange colour of the interior fabric is a boon for night time photographers. Another valuable asset to carry is a light; once away from the light pollution the only available light source will be from the stars, so until glow in the dark controls are invented remember to bring along a torch or if you do forget it a mobile phone will suffice.

As well as incorporating the beautiful streams of light which will no doubt fill your shot it will add interest and scale to incorporate a foreground subject such as a tree or cabin. Once you’ve found a good scene, be patient as the aurora borealis can appear in fits and burst over a period of many hours, and sometimes not at all. This is why travelling with a guide or experienced local can be of benefit. Once you do see the glow and take the shot be patient again and stand back from the tripod so your movement does not affect the stability of the capture.

In terms of technique switch to manual mode and open the lens’s aperture as wide as it will go. Next dial in the shutter speed, starting with 15 seconds but extend this duration as needed. It will be too dark for your lens to autofocus so opt for manual focus and adjust the ring with small incremental turns until the correct position is achieved. Keep checking the LCD for confirmation.

Experiment with ISO until it becomes uncomfortable. Some photographers favour exploiting the Noise Reduction mode in these conditions. After each shot zoom in on the LCD to check the level of grain, if things are looking uncomfortable opt for a longer exposure instead of degrading the quality of the shot further.

For capturing beautiful star trails in tandem with the lights, take dozens or even hundreds of frames of the same scene of 15 second exposures and flatten and merge them into one individual file in a software package later.

After an evening spent shooting be sure to reintroduce your equipment into warmer environments (i.e. indoors) slowly, to avoid the build up of condensation in the lens. Begin by leaving the camera and lenses by the door, drawing it into the premises in regular stages.

According to experts there is an extraordinary solar storm on the way (which happens roughly every 11 years in the solar cycle) and experts have forecast 2012 will be one of the most prolific seasons to witness the lights. It is during these times that the lights can be seen further outside the usual areas – especially those with less light pollution. For up to the minute information on flares and sun spots visit www.spaceweather.com.

Check out more images by Orvaratli’s Aurora set on Flickr.

Post from: Digital Photography School - Photography Tips.

An Introduction to Photographing the Northern/Southern Lights

Yesterday, I posted a poll asking “How Well Do You Know Your Curves?” and I’m seeing a slightly skewed response toward the “less experienced” side of things. That’s totally cool, and I’m glad so many of you chimed in to let me know!

As I gear up to post my next article on “processing via histograms” I’m coming to the conclusion that I should put up a bit of background info on the curve adjustment tool. This tool is deserving of a book just because of the flexibility and complexity that it encompasses… but I’m not going to write a book on this stuff. Instead, I’ve put together a few thoughts and screenshots followed by links to articles far more comprehensive than my own.

So let’s get started with curve adjustments, tones, ranges, slopes, color channels, and all the other associated fun stuff.

Keep in mind that this post is somewhat of a teaser intended to get you thinking about the topic at hand. Read it through, check out the images, and follow the links at the end. I’m hoping that you’ll have a better grasp of the curves tool by the time you’re finished.

WAIT… WHAT’S A CURVE?

If you’ve worked in Photoshop, The Gimp, Lightroom, Adobe Camera Raw, and many other pieces of photo editing software, you may have already used curves or at least seen them. It’s that box with a diagonal line through it, and you can usually manipulate that straight line into a curve through various methods.

A curve adjustment is a simple input-output tool that changes the tonal value of pixels by stretching or compressing portions of the histogram. So let’s say that you want all pixels with the tonal value of 190 to change to 200 (making the light tones lighter). The curve tool does this for you, but it also moves nearby tonal values to maintain a smooth appearance in the image.

Essentially, you need to know that as you move the curve down and to the right, tones will darken from their current values. Move the curve up and to the left, tones will lighten from their current values. A curve can have many bends and inflection points, so it is possible to apply different adjustments to different sections of the histogram.

THE INPUT/OUTPUT RELATIONSHIP

As I mentioned above, you can use the curve adjustment to designate tone transformations across the entire tonal range. If you want one section of tones to become brighter, you move the curve in one direction for that local area. If you want one section of tones to become darker, you move the curve in the other direction for that local area.

A side effect of curve adjustments is the increase and decrease of contrast for different tonal ranges in the image. The slope (or how steep the curve looks from left to right) determines how much contrast adjustment will be applied to that local area. A steep slope (closer to vertical than horizontal) will give you a higher contrast. A shallow slope (closer to horizontal than vertical) will give you a lower contrast. The interesting thing about the curve adjustment is that slopes changes will alway negate each other. So if you increase the slope in the midtones (thus increasing the contrast) with a traditional s-curve, you also decrease the slope in the highlights and shadows (thus decreasing the contrast).

Simple curve adjustments are applied to a combined rgb channel. Advanced curve adjustments can be applied to individual channels in any color space such as RGB, LAB, or CMYK. This type of thing gives you ultimate control of the tones for each color representation in your image across multiple color channels, but it can be difficult to visualize and control unless you have experience with the tool.

PRACTICE, PRACTICE, PRACTICE

To best understand curves, I would suggest starting out with grayscale images rather than color. Working with a single channel will be about three times more clear than working with three channels. This scenario will allow you to explore the relationship between input and output tones without having to worry about color effects.

If you have a good handle on how the curve tool works, try messing with the color channels in the RGB space to get a feel for how they work. It’s the same concept as with grayscale, but applied to each color (red, blue, green). You can also convert your image to LAB or CMYK color space and experiment with the curve adjustment.

FURTHER READING

This topic is huge just from a technical standpoint. So rather than regurgitate a bunch of stuff that’s already been said, be sure to check out these following articles. I’ve narrowed my choices down to four articles that I feel cover the main ideas.

Tonal Range and the Curves Tool
This link from Chromasia is actually an entire series of articles on the topic of curves adjustments and everything associated with them. If you have time to read through it, I would highly suggest doing so.

Using the Photoshop Curves Tool
While not as comprehensive as the first link, this article from Cambridge in Colour covers many of the basic lessons in curves adjustments. I like this one because of how concise it is with each topic.

Photoshop Curves: Stepping Up From Levels
This article from Earthbound Light is similar to the previous article, but it hits a few different points and presents the material in a slightly different manner. Both are worth reading.

Color Correction in Photoshop with the Curves Adjustment Tool
And finally, for those of you wanting to dive into color curves, this article from PSDtuts+ gives a good introduction. It doesn’t get terribly technical, but it should give you a good idea on how the color channels are affected by curves adjustments.

As I said, this article is just a precursor to my next article on the curve adjustment and how it affects the image and its histogram from a practical standpoint. So if you’re unfamiliar with curves, read these links and practice on some of your own photos to get familiar with the tool.

More to come later this week…

Last Sunday, SPCA KK held a booth in Palm Square, Center Point along with KK Reef Watch to raise awareness, recruit members, as well as raise funds.

He hates that we do it, yet he comes back from every wedding anxious to see the results of the thing we do at weddings. Take pictures. Of the wedding, but once in a while--in the tic of nanosecond--we take heinous pictures of each other. JD and I try to capture the worst picture of each other while we shoot. It's a game we play. We're the first to admit the absurdity of it all, but just roll your eyes and ignore us. We thrill easily.

The 2009 wedding season treated us extraordinarily well and we know 2010 is well on its way for a repeat. Here's a few photos of us in action and behind the scenes last year. And, yes, we know we're so incredibly and unfathomably cool. How we've remained this cool boggles my mind. Every day.

JD calls me Little Shrimp...now I know why...


JD loves being the center of attention....


You know I love me some Louboutin's....thanks to Kimberlee for catching me in action...


Hey, look, I wanna be a bridesmaid too!


JD takes his dress carrying abilities quite seriously...


I laugh too much. I know I do, but I can't help it.


Making sure my stylizing abilities are still sharp...


This is the face of a girl who can carry all the bags on one arm. Usually JD carries everything but as we darted out of the church, I wanted to show how cool I was. Look, Ma, one hand!


This is the face of a girl who's about the steal a glass of champagne...


Picture Ruining 101



Again, I laugh. Too much. I know this.


Look at my little bout specialist!


I'm short, I know this. But these guys were TALL. I needed a little help. Don't hate.




Look at me acting all gangsta...


Again, no one holds a dress better than my man!


Thought we had a Manolo emergency, but it was okay. Don't worry folks, I'm a professional.



Sometimes I wonder if clients laugh with me, or at me...


Honest, guys, I'm funny...


JD knows that if he can straighten the bow perfectly we make out at the end of the night. Too much information? Next time you're wearing a bow and JD offers to fix it, YOU'LL KNOW WHY.


Making sure my bride has a glass of champagne comes second nature to me. I used to be a waitress.


Look at JD's ninja skills!


Thanks to Lyra for capturing me in action while I make a slideshow at a wedding...


This is proof. Proof he loves me. Proof he can deal with me on wedding days. Proof that JD has come such a long way in supporting my dreams. He's the backbone to this business and a partner I could never do without.


To see more behind the scenes photos of us shooting weddings, CLICK HERE for a slideshow!


© Jasmine Star. This post cannot be republished without permission. Stealing makes me sad.

sevenman posted a photo:

kf4lnq posted a photo:

What a gray washed out day.

A Guest Post by Pye of SLRLounge.com.

Introduction

If you have been anywhere near the photography world in the past couple years, I am sure you have heard of HDR by now as there have been countless tutorials floating around on how to create HDR images using 3 bracketed exposures in programs like Photomatix and Photoshop. However what if you don’t have your tripod or if you are shooting a scene with moving subjects, yet you still want to create an HDR type shot? Well, good news, it is possible.

This tutorial will teach you how correct and produce a single RAW image into an HDR-like masterpiece using only Lightroom! That’s right, Photoshop skills are not even needed for this tutorial.

Image is provided courtesy of Lin and Jirsa Photography.

Shooting the Image

Before we get into the actual post production steps, let me quickly give you a background of the image and how it was shot. I always shoot in RAW format simply because it provides vastly more tonal information than the compressed JPG format. What does this mean? It means that we can do much more to the image in post production before the image quality degrades. Your ability to alter Color Temperature, Exposure, Brightness and Saturation is much more limited with JPG files in comparison to RAW files. Bottom line, if you are trying to create an HDR look from a single image, you MUST SHOOT IN RAW.

What you see below is the RAW file directly from a Canon 5D Mark II. The crucial component for shooting a single shot image that is going to be turned into an HDR shot is to shoot it so that you are not clipping any shadows or blowing any highlights. This typically means that you are going to be anywhere from 1-2 stops under exposed in order to save most of the highlights and still keep detail in the shadows.

When you are getting used to this process, it is wise to take a few different shots of your scene at different levels of exposure in order to get the hang of just what level of exposure you need. If the shot is too bright, you will have no details left in your highlights, where as if you shoot the shot too dark, then you are going to create too much noise brightening the shadows.

Image Metadata (Canon 5D Mark II, EF 17-40mm F/4L USM @ 40mm, 10 seconds, F/11, ISO 100)

RAW files will always look dark and murky from the camera since there is no post production applied to the image. Keep in mind that the camera LCD preview will apply some post processing settings to the image when you are previewing them, so I recommend that you turn on your highlight alert to make sure you didn’t blow your highlights or clip your shadows. You will notice that the shot above is exposed so that we can still see color in the sky, while still seeing most of the detail in the shadows under the dock.

If you haven’t already done so, download the image and load it into Lightroom. The RAW image you see above is “zeroed out” meaning that every Lightroom slider is set to 0. Lightroom will typically apply default settings to each image, so you want to make sure your image is zeroed out as well, otherwise it will look differently.

Processing the Image

Step 1) Brightness +80 - The first thing I typically do when processing an image is to typically dial in an approximate Brightness level so that I can see the correct effect when applying other adjustments. I am going to start with +80 as a baseline, however, I will revisited the Brightness to make sure it’s correct once our Contrast/Black levels are adjusted. During brightening I am paying more attention to the brightness levels of the darker areas than the sky and water since I can burn those down later.

On a side note, I always resort to using Brightness before Exposure. Reason being that Exposure affects highlights more than shadows and mid-tones, while Brightness adjusts all of the tones equally. You should now see something like the image below.

Step 2) Contrast +100 – I love my landscapes to really pop and so I love using a lot of Contrast in my shots. I am always careful to make sure the shot doesn’t look faked, but even at +100, I don’t think it’s too much. You should now see the following.

Step 3) Blacks +7 – Now, I am going to dial in my Blacks to make sure the blacks in the scene are truly black versus a dark shade of grey. During this part you want to be careful not to clip (lose detail) too much of the shadows in the scene by taking your Blacks too high. If you press “j” you can see which areas are clipped as they will be highlighted in blue as shown below where blacks are set to +17.

I find that Blacks right around +7 suits my taste, though yours may differ. Here is what you should see now.

Step 4) Brightness +110 – Now that my Blacks and Contrast are dialed in, I am going adjust my Brightness up just a bit more. While this may look very bright on an uncalibrated screen, this level of Brightness will ensure that it comes out correctly from our printers. Again, keep in mind that I am going to do some additional dodging and burning in a moment.

I would encourage everyone to make sure their screens are calibrated to your printing solutions as pictures can often come out much darker on paper.

Step 5) Recovery +100 – Recovery is a great tool for bringing down highlights. So, we are going to max it out to bring down the highlights on the ocean and sky a bit before we get to dodging and burning. The highlights in the sky and water should now look a bit more subtle as you see below.

Step 6) Burning the Sky - To get that HDR look, we need to burn (darken) our highlights while dodging (brightening) our shadows in order to balance out the overall exposure. While we used to do this all in Photoshop, Lightroom’s dodging and burning capabilities are quite powerful and can save us a lot of time from having to do this in Photoshop.

We are going to begin with burning the sky by selecting your Adjustment Brush (K). Once selected, you will see the Adjustment Brush panel open up as you see below.

We are going to drop Exposure to -1.80 while using a large brush to softly paint over the sky and the ocean. I like to paint with a brush size of 30, and simply use the edge of the brush to do the painting to keep it subtle. You will need to adjust the size of the brush as you go to fit into the little areas next to the dock and such. To erase any brushing in unwanted areas, simply hold “alt” while brushing.

By mousing over the little adjustment circle on the image, you can see the area that has been affected with your brush as they will be highlighted in red as you see below.

Your image should now look like this.

Step 7) Dodging the City – Just as we did with burning the sky, we are going to use the Adjustment Brush (K) to dodge the cityscape in order to bring out the detail in the shadows. To do so, I am going to select the Adjustment Brush and this time move my Exposure to +1.00 and now paint over the docks, city and mountain area. This time I am going to reduce the Flow of the brush to only 50 so that the brush doesn’t come on too strong.
By mousing over the Adjustment Brush marker you can see the painted area in red like below.

Your image should now look like the following.

Step 8) Noise Reduction Luminance +100, Color +25 – Since we are doing a lot of exposure adjustment, we are going to be adding a little bit of noise to the picture. While the noise isn’t too significant, as shown by the image below, it is my preference to reduce it. You can see the difference in the comparison below.

Step 9) Sharpening Amount +110, Radius +2.0, Detail +70 – The noise reduction that we performed in Step 8 does kill a little bit of the detail in the shot, so we are going to sharpen it to compensate.

Step 10) Lens Correction Amount -35 – Our last step is to add a little artistic edge burn vignette to the image by applying some Lens Correction. When using a vignette, I always use Lens Corrections versus Post-Crop vignettes. Reason being that a Lens Correction will actually just dodge or burn the natural colors on the edges, while a Post-Crop vignette will actually apply a black or white vignetting to the outside of the image.

Now your final image should be similar to the one you see below!

Congratulations, you have just learned how to color correct and create an HDR effect from a single RAW file!

Article contributed by Pye of SLRLounge.com – resources, tutorials and tips designed specifically for wedding and portrait photographers.

Post from: Digital Photography School - Photography Tips.

Creating an HDR-like Image From a Single RAW File in Lightroom

In this post we’re featuring a full set of 59 image from a photo shot by the team at Crudo Visual along with some commentary giving some behind the scenes information on the concept and how it was achieved (below the images). I hope you enjoy this type of post!

– Darren

TWO SIDES TO EVERY STORY.

Dissecting the photo shoot “No Originality”.

Rodrigo Rey del Castillo, Producer.

THE PROJECT.

“NO ORIGINALITY” is a project that Crudo Visual ( www.crudovisual.com) did in collaboration with local photographer Alejandro Renteria and fashion designer Azucar. For this particular project we wanted to do something different, more than just showing Azucar’s new collection, we wanted to tell a story. A story that would resemble this new collection, different, colorful, somewhat elegant yet, casual for everyday use.

THE SETUP.

For this particular piece, we used actors instead of models, because we wanted to really be able to express emotions and develop character. The locations we selected were on the outskirts of the city of Miami; we wanted dust, long dirt roads, we wanted to stay away from beautiful skylines, amazing beaches, crazy nightlife and show a different side of Miami. Once again, this project needed to be different from what people are used to seeing when it comes to fashion photography.

THE SHOOT.

One of my main concerns was the safety of the photographer and assistants while doing the driving shots. These shots of the three individuals riding the blue Land Rover, were shot from another moving vehicle in front of it. The lead vehicle was rigged with lights, safety harnesses for the photographer and assistant, and radio communication between both vehicles for cues. In these kinds of setups, safety meetings are required. It only takes minutes, but helps keep everyone safe and injury free.

One important factor that we had to keep in mind was the sun’s position, making sure we got the sun light we needed on every location. We scheduled four setups on the three different locations. Even though some lighting was used, we utilized all the natural light we could.

Alejandro Renteria, photographer.
“The concept behind No Originality began as just an artistic expression of my amusement and acknowledgment of life’s inescapable cliches: machismo, religion, greed, heroism, and love. No matter what it is, it’s all been done before. However, when asked to really inspect the inspiration of it all, I had subconsciously pulled experiences from my own life to come up with the piece. It is only in retrospect that I am able to draw the comparison. Basically, you’ve got a guy who’s trying to find his way in life, and the one thing he knows for sure is that time is running out. Along his journey, he meets a woman who is off limits, and he goes for it in anyway. The situation gets worst, and he finds himself trying to find himself again. So he turns to religion for guidance. Once again, he realizes this is not what he truly wants for himself. He continues on once more and finally finds the hottest mamacita in all the land…. and she needs him. So just like in fairy tales ,they live happily ever after.– no originality!”

I’m always trying to convey a story in each of my photographs, and that was the main focus of this project. My photography background comes from studio work; so, when first approached for this project I sat down and wrote a script with detailed frames so I could recreate them later on set. I knew I was not going to have the same control I am used to in the studio environment. Preparation was the key point to make “No originality” a one day shoot. We had four scenes/setups: “The Walk,” “The Ride,” “The Rooster,” and “The Girl.” Each having subtle different color schemes, allowing them to have unique feelings as well as helping separate each chapter. Being shot in different locations and forcing us to work with consistently moving sun light. For “the Girl” section being almost nonexistent, having to use very low shutter speed and a lot of flash power with CTO to make that golden/orange feeling.

Nikon D300 with Sigma lenses?
Hasselblad 501 with Carl Zeiss

The project was a success and the first one of many collaborations with fashion designer Azucar.

Crudo Visual – www.crudovisual.com.

Post from: Digital Photography School - Photography Tips.

Two Sides to Every Story: Behind the Scenes of a Photo Shoot

Amazing and very beautiful photography by Oleg V. Dragon Semenets, professional photographer, based in Amur, Russia.Photographer: Oleg V. Dragon SemenetsSourse: http://www.sdsstudio.com

I first met her via email. A sweet girl who loved photography, and her boyfriend. But not in that order. Alicia emailed me and said she wanted to pursue photography and follow her dreams. About a year later, she emailed again, but this time as a prospective client. Alicia and her amazing boyfriend, Steven, planned to tie the knot and asked me to document their day. I was totally blown away and honored.

The first time we met in person, Alicia brought me a dozen Sprinkles cupcakes. And--just like that--I knew she was going to be a perfect J* Bride! ;) I've been honored to see her love for Steven blossom, her business blossom, and our friendship blossom. Alicia and Steven planned a perfect wedding, so when I received the news it was chosen as a featured wedding in the national issue of The Knot Magazine, I was ecstatic. All their hard work definitely paid off and I'm honored to see their Villa Del Sol D'Oro wedding photos in print.



I was particularly excited to see Alicia and Steve's wedding in this issue of the The Knot because it's the Fashion Issue. Holllllla!


And here's a picture of me and Alicia at her wedding...for being professional Photoboothers, we really missed the mark. I personally think we look lost and like we've NEVER SEEN A PHOTOBOOTH BEFORE. What's that? Flash?! How unique!


Happy Tuesday!


© Jasmine Star. This post cannot be republished without permission. Stealing makes me sad.

What you see in the picture above is a panoramic image of the members of Horley Camera Club. It's made up of four images stiched together.

How to take a pano
If you’ve never taken a pano before, the technique couldn't be simpler. The first thing to check is your software. If you’re using Photoshop CS4 or CS3 then you’re in luck as it features the newest version of Photomerge. Similarly, users of Elements 6, 7 & 8 are equally blessed with the panoramic stitching power of Photomerge, although it has a few less features.

The next thing to do is take a series of images. For these shots I used my Canon 24-105L lens at its 24mm setting. I cranked up the ISO to 1600 to avoid the use of flash and overlap each image by roughly 30% to ensure a good stitch.

How to stitch a pano
Open all the Images in Photoshop and click File – Automate – Photomerge (Elements users click File – New – Photomerge Panorama)

Gravesend

West Malling

One final tip. If you’re coming to one of my talks, dress smart, sit up and smile!

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I’m in the process of writing the 2nd part to a previous article on Photo Editing With Histograms and it basically centers around the curves adjustment tool found in many pieces of photo editing software. The problem I’m having is determining how deep to go into the topic — curves can be highly technical and complex if you start from ground zero.

So help me out with this poll and let me know your experience level with curves. I’m assuming that most of you know what it is and how to use it, but with an audience this size it’s hard to tell for sure. If I see a lot of people with absolutely no clue, I’ll try to include some of the basics in the article. But if the majority is already familiar with curves and how they work, I might trim that stuff down and just give a few links to other articles that cover the fundamentals.

And if you have any specific questions about curve adjustments or how they relate to the image/histogram, leave a comment and let me know! Hey, I can’t answer your questions if you don’t ask.

sevenman posted a photo:

There have been a few developments in my gear bag, approach, and itinerary. The gear involves the accidental trashing of my Canon G9 and replacing it with a simple Canon SD960 Digital Elph. It's the...