How Auroras Work
How do aurora work? Find out in this informative video.
Learn more in my Iceland Aurora digital photography workshop.
How do aurora work? Find out in this informative video.
Learn more in my Iceland Aurora digital photography workshop.
“The PDN PhotoPlus Conference + Expo is the largest photography and imaging show in North America, attended by over 24,000 professional photographers and enthusiasts. This year the show will be held Oct. 24-27 at the Javits Center in New York City. Don’t miss your chance to explore over 250 exhibits, see thousands of new products, attend conference seminars, keynote presentations, special events & much more. Register by October 24th for a FREE 3-day expo pass.”
My seminars at PhotoPlus include …
Thu, Oct 25, 2012 – 8:45 AM to 11:45 AM
Fine-Art Digital Printing
Fri, Oct 26, 2012 – 8:45 AM to 11:45 AM
Black & White Mastery
Sat, Oct 27, 2012 – 4:00 PM to 6:00 PM
Game Changers – 12 New Things Every 21st Century Photographer Needs To Know
Find out more about PhotoPlus here,
Image by Ragnar th Sigurdsson.
To one degree or another, we’ve all been underexposing our digital photographs, even if we’ve been exposing to the right (ETTR). Imagine a day when every ƒ-stop had as much data as the lightest ƒ-stop. It’s here now. Here’s how.
Make a series of bracketed exposures where each ƒ-stop in a scene is placed in the far right of the histogram or recorded with half the data in a single digital file. Combine all the exposures into a single 32-bit file using either the Merge To HDR Pro feature in Adobe Bridge/Photoshop or Lightroom. Save or import this 32-bit file into Lightroom (4 or higher) and apply adjustments with its Develop module to avoid many common tone-mapping artifacts.
You may be surprised to find that you’ll benefit from using this technique even for images with significantly more restrained dynamic ranges.
Read more on Digital Photo Pro.
Learn more in my digital photography and digital printing workshops.
Keeper
The strongest images combine immediate impact and staying power.
Sizzles & Fizzles
Color immediately grabs attention, yet other aspects of this image could be stronger and clearer, making its impact less durable than others.
Sleeper
Easily overlooked initially, the appeal of this image grows when it reinforces themes in related images.
It happens to me all the time. I’m excited by what I see on location and hopeful about the images I’m making. Afterward, the final results aren’t as exciting as I had hoped. I rarely leave a location with confidence that I have truly excellent images. I can phone in competent and even good most of the time, but getting to great is another matter.
It’s essential to know the difference between good and great. I measure my current successes against my past successes – I’m always trying to raise the bar. If the images you’re making aren’t making the cut for you, I’d take that as a sign that you’re being more discriminating, and based on that, I would bet that means you’ve got more good images in your portfolio and are well on your way to making even better ones. The world doesn’t need more mediocre images, but it does need more discerning eyes.
While this syndrome of “sizzling and then fizzling” is common. The opposite dynamic is often at work, too. You’ll make images that don’t catch your attention immediately, but you find yourself doing a double or triple take, and your appreciation of these images grows with each viewing. These “sleepers” are very interesting; they tend to be smarter and/or more deeply felt. Because they don’t grab your attention quickly, passing these types of images by is easy. That’s one of the reasons it’s important to look back through your images again after some time to find what you missed. Developing bodies of work will offer you additional useful perspectives.
Sometimes, when you present a sizzler together with a sleeper, they make each other more interesting. The attention-getter does just that – it gets attention. It draws viewers in and sets the stage for seeing related work that might not be as eye-catching but has more substance and depth. Similarly, if it’s related to the attention-getter, in some way beyond proximity, the strong silent type can reveal hidden depths within its flashier counterpart and even transfer some of its depth. Both can “rub off” on each other in a beneficial way. Their relationship can be mutualistic.
When you find the rare few images that achieve immediate high impact and extended durability, you’ve got real “keepers.” These are the images that should be celebrated most. These images set the course for many others. All the other images that come close but fall short, which are collected with the great images, should in some way support, amplify, and expand that greatness. Keep these fires burning and fan the flames. Carry this vital energy forward. Keep this energy flowing with new moves. Find out how long you can stay in the zone and when you fall out of it what it takes to return to it. See where it will lead you and how far you can run with it. Work of this quality often gets beyond you, which doesn’t mean you can’t sustain it or return to it, but instead means you probably won’t fully understand it until long after you’ve done it. Work like this expands you. It raises your bar and calls you to new heights. Answer these calls.
Read more in my Storytelling resources.
Learn more in my creativity and digital photography workshops.
Julianne Kost demonstrates the power of making selective adjustments like dodging and burning, color corrections and noise removal using the Graduated Filter and Adjustment Brush in Lightroom 4. Note: although this video was recorded in Lightroom, the same techniques are available in Adobe Camera Raw in Photoshop CS6.
View more Lightroom videos here.
Learn more from Julianne Kost on her blog.
Learn more in my digital photography and digital printing workshops.
Jack and Ellen were the winners of our Fall Foliage Workshop giveaway – Camera bags, generously donated by Lowepro.
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The following key commands do not require clicking on the mask.
X reverses Foreground and Background colors
Numbers number keys change the Opacity of a brush
[ and ] makes a brush smaller and larger
Shift [ and Shift ] makes a brush softer and harder
Opt Delete fills a mask with the Foreground color
Command I inverts a mask
The following key commands require clicking on the mask.
Control Click displays mask options
Opt Click displays a mask in black and white
Shift Opt Click displays a mask as a red overlay
Command Click loads the mask as a selection
Shift Command Click adds the mask to a selection
Option Command Click subtracts the mask from a selection
Shift Option Command loads the intersection of two masks
Shift Command I inverses a selection
Drag & drop to move a mask from one layer to another
Option drag & drop to copy a mask from one layer to another
Read more about Selections & Masks.
Learn more in my digital photography and digital printing workshops.
In this Photoshop Quick Tip I demonstrate all the masking key commands in Photoshop. They’re real time savers!
View more Quick Tips here.
Learn more in my digital photography and digital printing workshops.
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In this Photoshop Quick Tip I show how and why to make two masks for one layer.
Read more about Selections & Masks.
Learn more in my digital photography and digital printing workshops.
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In this Photoshop Quick Tip I show when and how I feather selections for maximum control.
Read more about Selections & Masks.
Learn more in my digital photography and digital printing workshops.