Arguably the most versatile adjustments in Photoshop are the layering and masking tools. Together, layers and masks make up a large portion of the work most photographers do in Photoshop, both for subtle and complex edits. However, if you are just beginning to work in Photoshop, these two irreplaceable tools may not be completely intuitive. In this article, I will cover some basic tips and techniques for using layers and layer masking in Photoshop – laying the groundwork for far more advanced post-processing adjustments.
It’s been 9 months since I wrote my review of the Nikon 1 J5 and I finally gave in to a bout of GAS (gear acquisition syndrome) that has been lingering for some time, purchasing a J5 this week. I had resisted the temptation to buy this particular camera as I was waiting for the new 20.8MP BSI sensor to find its way into an updated Nikon 1 V-series camera. With the recent earthquakes in Japan delaying various Nikon products the timing seemed right to buy a J5. I have some things planned for the second half of the year where the improved sensor performance of the J5 will be appreciated. [Read more…]
No matter how much planning is done, depending on the photography genre weather can often be an issue – and sometimes you need the cooperation of a much higher power – Mother Nature!
With so many editing / post-processing software packages on the market today, photographers might find it rather difficult to go through them all and compare key features in order to pick something that would ultimately work for their needs. Many of us go through that stage, especially when starting out. What is the best software for photo editing? What features does it have? Is it easy to learn and how much does it cost? These are just some of the questions photographers seek answers for. While John Bosley and I have been working hard on producing our PL Level 1: Post-Processing Basics course, we have decided to share one of the charts that we will be including in the course with our readers, which compares the most popular non-destructive editing tools on the market. It took us a while to compile all this data, since there are so many different features and considerations one must go through to make a meaningful comparison. The chart has not been fully finalized yet, since we are currently looking for your feedback and ideas, so that we can hopefully make the chart complete and comprehensive enough for those who are interested in such a comparison.
This is the second part of a series in which I share my favorite photos from 2015 with the Photography Life community. These articles include the preparation that went behind creating each image, the thought process that led to the final composition, post processing technique, etc. Continued from Part I.
Today is a very sad day in our photographic community – Michael Reichmann, the founder of one of my all-time favorite sites “Luminous Landscape“, passed away late last night after an extended battle with cancer. He was 71. Although I never had a chance to meet Michael in person, I always hoped that one day our paths would cross, since he has always been such a huge inspiration. A great teacher, an amazing photographer and from what I had heard from others, a very warm, kind and funny person. I learned so much from Luminous Landscape and the articles that Michael and his team put out on the site, and I have always recommended the site to our readers as one of the best sources on the Internet on landscape photography.
Sharpening remains a particularly confusing topic among photographers, especially given the tremendous number of post-processing options available. Some post-processing software has so many options that it is hard to know where to start; others do not let you use optimal methods in the first place. If you are trying to use the best sharpening settings – including the lowest possible levels of noise and other artifacts – the ideal method is three-step sharpening.
John Bosley and I have been actively working on producing our second Level 1: Post-Processing Basics video and we have decided to look into getting a shotgun microphone for the studio environment. While our lavalier microphones have been working great for the most part, they tend to collect ambient noise quite a bit, especially when the subject moves or accidentally touches the microphone. Additionally, lavalier mikes can be painful to deal when there is a lot of interference, particularly in a busy urban environment. When shooting in San Francisco, we experienced some sort of interference practically in every channel, which made it difficult to shoot (and that’s considering that we had two different transmitters at completely different radio frequency ranges). So it was time to look for a different solution that gives us good quality sound without the problems of the lavalier microphones. We decided to evaluate a number of popular shotgun microphones and we came up with the following list: Sennheiser MKE 600, Audio Technica AT897, Rode NTG2 and Rode NTG3. While the first three are in the same price range (around $300) and therefore can be considered direct competitors, the Rode NTG3 was a higher-end unit priced at around $700. The big question was – which of the four microphones would win us over? Take a look at our video below:
MIOPS Smart Camera Trigger is a camera and flash trigger in a single unit. It provides seven different triggering modes, including lightning, sound, and laser. It also functions as an intervalometer for timelapse photography. It has an HDR mode, a scenario mode, and a DIY mode. With the smartphone app, you can also use the trigger in four shutter release modes: cable release, press and hold, press and lock, and timed release. The past few days I have had a lot of fun playing with my MIOPS Trigger, and I would like to share my experiences with you.
It has been 15 years since Nikon produced the last iteration of its budget 300mm lens, so the new Nikkor 300mm f/4E PF ED VR was something many enthusiasts and professionals have been patiently waiting for. Although the previous generation Nikkor 300mm f/4D AF-S is an excellent lens optically, it lacks image stabilization, new generation coating and other new technologies that Nikon has been integrating into modern lenses. I have personally been a huge fan of the 300mm f/4D AF-S lens and have owned it for many years, loving the lens for its superb optical performance, fast autofocus, light weight and compact size, making it my ultimate travel lens for wildlife photography – a perfect companion for hand-held shooting. Because it was so good with the 1.4x teleconverter, I practically always kept the teleconverter attached to the lens, making it a very nice 420mm f/5.6 combination. When Nikon finally announced the new 300mm f/4E VR lens, I got very excited, because Nikon completely redesigned the lens. In fact, with close to a 50% reduction in weight and a 30% reduction in physical size, we are not dealing with another redesign or update – this is a completely different lens.
UPDATE: The review has been updated – missing Imatest charts and lens comparisons have been added based on two additional lens samples.