Working on your photos in Photoshop, you might have come across the situation where you begin to see weird lines appear in places where they shouldn’t be and weren’t before. This issue is especially common for very smooth gradients, such as skies, and can undoubtedly destroy even the most beautiful photo. And unlike other problems, this issue doesn’t seem to be triggered by anything particular; one moment it’s not there and the next time you look at the image – there it is. So, let’s figure out what this is, why it happens and how to fix it.
We are very excited to announce the release of our second video course, Level 1: Workflow and Post-Processing. After months of hard work and many sleepless nights, we were finally able to wrap the course up and make it available for purchase. After receiving a lot of positive feedback on our first video, we decided to take it up a level and deliver something we are truly proud of. The result is a 14-hour educational course that will surely satisfy your hunger for photography knowledge for quite a while. In this course, we pick it up right where we left off last time; from the moment you insert your memory card into your computer, all the way to the image export process. We go over each step of the photography workflow process, provide detailed information on different post-processing tools available on the market today (along with the overview of the most popular ones), and give you in-depth coverage of Adobe Photoshop Lightroom. In addition to the above, you will also learn how to properly organize your images and your Lightroom catalogs, find out about computer hardware required for post-processing, and even learn how to properly backup and export your images. To make it easy for you to follow the course, we are providing all relevant raw images, so that you can try all the tools we teach you to use. Without a doubt, this is one of the most detailed and complete courses you will find on both workflow and post-processing!
Every so often, the planet Mercury lines up perfectly between the Earth and the Sun. When it does, astronomers and photographers have a relatively rare chance to see and photograph the planet Mercury transiting across the Sun. Next Monday (May 9) is one of those opportunities. In this article, I will cover some tips and techniques for photographing this year’s Mercury transit.
Photographers have a dilemma. If you want your photographs to have the largest possible depth of field – from the foreground to infinity – a small aperture is absolutely necessary. At the same time, though, a small aperture causes your photograph to lose sharpness from diffraction. So, where’s the sweet spot? In this article, I will cover how to choose the sharpest possible aperture for such a photograph, including mathematically accurate charts (free for printing) that are easy to use in the field.
When photographers talk about diffraction, they are referring to the fact that a photograph grows progressively less sharp at small aperture values – f/16, f/22, and so on. As you stop down your lens to such small apertures, the finest detail in your photographs will begin to blur. With good reason, this effect can worry beginning photographers. However, if you understand how diffraction impacts your photographs, you can make educated decisions and take the sharpest possible photographs in the field.
Hyperfocal distance can be a confusing topic, both for beginning and expert photographers. However, if you want to take the sharpest possible images, particularly landscape photographs, it is simply invaluable. In this article, I will explain hyperfocal distance and give several methods to get the sharpest possible photographs with maximum depth co field. This article covers hyperfocal distance charts, as well as other, simpler methods to find your hyperfocal distance.
A couple of weeks ago I wrote the article “Four Simple Tips for Better Composition”. In that article, I discussed in-camera techniques for keeping your horizons level and verticals vertical. However, even if you are careful, this is not always possible. This is especially true when trying to take pictures of tall buildings. I received several great comments mentioning that Photoshop’s powerful “Transform” tool can be used to correct the keystoning issues that arise in such a situation. I thought it would be a good idea to follow that last article up with one on post-processing methods for perspective corrections. I will go over a couple of ways to quickly fix horizons in Lightroom and how to easily improve/correct keystoning in Lightroom. I will also go over some more advanced techniques for perspective correction using Photoshop, for when the Lightroom methods don’t quite make the grade. The combination of good in-camera image creation and post-processing perspective corrections should allow you to create images that reflect how are eyes see and our brains perceive the world around us.
So you want to get your flash off camera? If you want to improve your flash lit portraits you need to get your flash off the camera. A great way to start is to use Nikon’s own CLS (Creative Lighting System). Since a lot of people will own one of the Nikon Speedlights, getting it off camera and triggered remotely is a very straightforward and relatively inexpensive task. In this article, we will explore the basics of Nikon’s Creative Lighting System and set things up to photograph an image like this:
No matter what you photograph, there is one thing you should realize about light. Not all light is created equal. I’m not talking about the quality of light, but rather the color of light. What you might see as white light from different sources can actually have different colors, or what are referred to as color temperatures. Direct sunlight at noon (which I’ll just refer to as sunlight) is considered to be a “normal” color temperature, so all light sources are compared to this as the standard. For example, light from an incandescent light bulb appears to be more orange than sunlight. On the opposite side of the spectrum, shady areas appear to be more blue than sunlight. In photography, we refer to these differences as being “warmer” (or more orange) and “cooler” (or more blue) than our neutral sunlight reference point. In this article, we will go over the basics of white balance and color temperature, topics that can be a bit intimidating for beginners to understand.
Drones – often called unmanned aerial vehicles – have become vastly more common over the past few years. In the United States alone, the Federal Aviation Administration (FAA) predicts that more than one million drones will be sold over this holiday season; many more will be sold in other countries across the world. Whether you love or hate the growing prevalence of drones, their popularity has never been greater. In this tutorial, I will share some tips that I have learned over the past few months of using a drone for taking pictures. My focus is on still images, but many of these tips apply to drone video and cinematography as well – particularly for people in the midst of buying their first drone.