Move beyond the basics with advanced photography software techniques from our experts. Covering much more than how to use photo software, topics include color choice, file formats and hundreds of other subjects.
Monday, October 8, 2007
Exposing For RAW
There are special considerations to take into account if you're shooting RAW and you want to be sure that you're getting a proper exposure
You wouldn't think changing image capture from film to digital photography would require a new way to think about exposure, but it may, depending on how you use your digital camera. This is because a digital camera sensor behaves quite differently from how film and our human visual system respond to light intensity.
Thursday, August 16, 2007
In this first in a series of columns about digital black-and-white, we explore some of the fundamentals
Prior to the 21st century, black-and-white photographers developed a heightened sensitivity to the direction and intensity of light, a given relationship between highlights and shadows, largely discounting the appearance of hue and saturation unless able and willing to use color filtration during exposure. These perceptual skills are all very important for 21st century digital black-and-white photographers. But, today, because you can make any hue light or dark, globally or locally, and you can make more dramatic changes to more saturated hues, hue and saturation need to be factored in rather than factored out.
Wednesday, August 15, 2007
Color Choice Isn't By Chance
Getting color right isn't just about the scientific quantities of the Kelvin scale and wavelengths of light; it's also about emotion and creativity.
Personal creativity comes from the “sweat” of making great pictures. Get the balance with powerfully effective imaging tools; it's choice, not chance! Let's examine the balance of color. Deeply involved with digital, I draw upon film experience and knowledge about color rendering. Balance has always been a key factor. Film photographers choose a film for its color rendering, but digital photographers make the same decisions through observation and their camera's and software's digital tool control; digital provides a broader range of personal control.Read More...
Friday, June 29, 2007
Strategies for selectively lightening and darkening an image
This is the first iteration of a new Digital Photo Pro column from John Paul Caponigro, a master photographer and artist who teaches workshops, writes books and lectures on Photoshop technique. In each installment of (R)evolution, we'll examine a technique for improving your photographs. By focusing on a single problem in each column, we hope to show you the depth and power of some of the tools at your disposal in Photoshop.
Friday, June 29, 2007
Mastering this tool will help to ensure that you have continuous tones in your images
Smooth transitions. They're the essence of continuous-tone images. In most cases, you want to preserve them. On occasion, you want to modify them. Sometimes, you want to create them. While gradients can be extremely complex and yield highly sophisticated results, once the basic principle behind them is firmly grasped, they're simple to create and use. Using the Gradient tool, a gradient is created between the start (where you click first) and end points (where you drag to). The start and end points may be placed anywhere on the canvas. Gradients can be drawn for any length at any angle.
Friday, June 29, 2007
Take control of the contrast in your images with precision using these Photoshop controls
The relationship between highlights and shadows is a critical aspect of any image. Photographers have been trained to become highly sensitized to these relationships. Today, we have more control and greater precision than ever before over these key visual elements using the digital darkroom. In Photoshop, the type of adjustment chosen will provide very specific control. The specificity of an adjustment can be further refined by using a mask. One type of mask yields extreme precision and is derived directly from the light and dark relationships within an image—a luminance or contrast mask.
Thursday, June 28, 2007
Use this powerful tool to affect precise areas of your image smoothly
Digital imaging offers the ability to define complex contours efficiently and precisely, enabling users to affect an image in very specific areas. What was once tedious and challenging is now quick and easy. Once you learn a few essential selection and masking techniques, few contours will elude your grasp. Before I continue, let me caution you against defining contours too precisely. Remember, contours in continuous-tone images are often quite soft. What's more, many times photographers simply need to define broad areas to work smooth transitions into surrounding areas. Just because you can define contours precisely doesn't mean you should, but it's advantageous to have the option when you need to.
Thursday, June 28, 2007
Masking Essentials I
Mastering the art of the mask will empower you to control your images with precision
The ability to work in specific areas of an image with unparalleled precision and repeatable results, along with the ability to combine multiple exposures seamlessly and flexibly, are two key advances that are propelling the current revolution in photographic practice. Still, selection and masking are topics that plague many longtime Photoshop users. This whirlwind tour will demystify the process and set you well on your way to mastering these essential skills.
Wednesday, June 27, 2007
Masking Essentials II
A number of key concepts and strategies make selection and masking more efficient and precise
The ability to work in specific areas of an image with unparalleled precision and repeatable results, along with the ability to combine multiple exposures seamlessly and flexibly, are two key advances that are propelling the current (R)evolution in photographic practice.
Contender: Nicholas Mele
It can happen in an instant
Contender: Cindy McDaniel
Going underwater for an unpredictable look
Contender: Martin Christopher
“Angel Face” was photographed for a local hair salon’s ad campaign
Contender: Bruce Roscoe
Meticulous attention to the lighting creates strong chiaroscuro and a dramatic effect
Contender: Kevin Ziechmann
Reality and photography collide in this self-portrait
Contender: David Miller
Rendering a split look in a “Frankenstein” photo
Contender: Jeff Nadler
Black and white film and natural light gave this image its distinctive look
Contender: Jessica Christie
Capturing emotions and creating a retro look
Contender: Laura Bello
A little bling and vibrant color demand a viewer’s attention
Contender: Dhrumil S. Desai
Style and substance came into play in making this warm-toned black and white portrait