Tutorial 004: 5 Minute Photoshop Fixes For Photographers: Part 1

While there is alot to be said for settling down for a mammoth Photoshop session where you tinker and tweak an image into pristine glory, there are times when you just want a quick solution.  And to be honest, a lot of common problems can be sorted out in a matter of minutes.
    Over the next few tutorials im going to be sharing some of the quick techniques i use when time, patience, or concentraition are in short supply.  We'll be fixing obvious problems such as dull colour or soft edges in addition to looking at creative solutions for pepping up an image.  Sometimes a photo will only ever be okay no matter how bright its colours or how in focus it is.  However, by giving it a sepia effect, for example, you can create an entirely different image that has the ability to really stand out.
    Each of the fixes are detailed in three easy-to-follow steps, most with a short introduction on the process.  So load up Photoshop or Elements and get started on pixel-perfect pictures now!

Correct Color Casts

Pull a natural hue out of a poorly coloured picture

What you'll need...

• Photoshop
• Starting Photo (Download Here)

What I used...

• Photoshop CS5

You could try...

• Photoshop CS and above
• Photoshop Elements

    We may not notice the difference between, for example, the light generated by a fluorescent bulb and a hologen one, but photographs sure do, as images taken with different light sources will show great differences in colour.

    Not accounting for this sensitivity can generate an image with a distinct tint.  These off-colour photos are known as 'colour casts' and are usually the result of a photograph taken with an inaccurate white balance setting.

    When out on a shoot, you can compensate for this by setting the white balance on the camera, or letting the sensor do it for you.

    But do not fear if you have already snapped away without white balancing.  Once you are back at your editing station, you can correct this by re-maping the the white, grey or black points, as this allows the colours to settle back into the more expected values.

   If you've gotten a photograph that has an unwanted colour cast (Sometimes an improper white balanced photograph is taken on purpose), then here are the three simple steps to follow to easily remove all but the most drastic of colour casts and get the tones just right for your picture.

1 Add adjustment layers.  Begin by adding a Curves adjustment layer.  Look for the black-and-white circle icon at the foot of the Layers palette. Clicking on that icon activates a drop down list of available adjustment layers, then simply select the Curves option from there.

2 Black and white points.  To the left of the graph you'll see three eyedropper icons.  Click the black eyedropper and then a part of your image that is completely black.  Likewise, use the white eyedropper in the same way to sample the brightest pixels to set the white point.

3 Kill the colour cast.  Using the grey eyedropper is the most effective and most difficult step in the process.  The goal is to sample a pixel that should be 50% grey.  This may take a few attempts before getting a good setting.  If the first click yields poor results, try another spot.  No need to use "undo" (ctrl+z), just keep clicking till you find the right pixel.

Better, Brighter Skies

Chase away dull skies with this easy repair

• Starting Photo (download here)

1 Select a sky.  Begin by using the Quick Selection tool to select your sky area.  If the tool grabs areas of the image you dont want, hold down the Alt key and paint over the area.  Depending on your version, the selection can be edited using the Refine Edge button.

2  New Masked Layer.  While still selected, press the Add new layer button at the foot of the Layers palette.  The selection is converted into a mask for this layer.  This will limit the effect to the sky, and having it on a new layer protects the original from alterations.  Set this layer's blending mode to Overlay.

3 Fade away the dull.  Set your foreground colour to sky blue.  Grab the Gradient tool and use the Foreground to Transparent preset in Options.  Set the mode to Linear, click at the top of your canvas and drag down towards the horizon to create a blue gradient that fades away.

COMING SOON:

Part 2 Boost Colours and Sharpness

Part 3 Rich Sepia Tones & Fake Focal Blur

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Tutorial 003: Working With the Light

     Tutorial 003: Working With the Light

     The right light is crucial to an effective photograph, but "right" is often in the eye of the shooter.  Generally, the most desirable light conveys a three-dimensional effect and enhances the beauty of the photograph, but light can also convey more nuanced moods, emotions, or personal statements.  Light is not only the necessary condition for photography but also its primary tool.
     While every day presents, unique light conditions, there are some generalizations that can be made.

• MORNING LIGHT  In the early morning when the sun is still low in the sky, the light is clean and white.  This is a good time for landscape photography, because the extra length of the shadows adds a three-dimensional effect to your pictures.  This time is often called "The Magic Hour"

• MIDDAY LIGHT  At high noon, when the sun is directly overhead, the shadows are short and deep and the light can be very contrasty.  Portrait photography is especially difficult at this time because you must employ a fill flash or reflectors to soften the effect of the shadow.

• AFTERNOON LIGHT  Late afternoon brings a warm, diffused light with long, soft  shadows.  It is an ideal time of day for most kinds of photography.  This is also referred to as "The Magic Hour".

   Light is dynamic. If possible, plan your photography around the light. If you see a picture but the light is too harsh, wait an hour for conditions to improve.


     Good weather doesn't necessarily equate to good light. Overcast days soften light and reduce its contrast, while storms can create rare, surreal effects that if used well can transform an otherwise ordinary scene into an extraordinary photograph. A rocky coastline with crashing waves can be spectacular with menacing, cloudy, gray skies as a backdrop. A person looking through a rain-streaked window can communicate strong emotions.

TRY THIS: >>Place your subject by a window or an open door to create dramatic sidelighting.  The light coming through a window is often diffuse and not as harsh as broad daylight<<

      

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Tutorial 002: Composition

     My friend Tim asked me about composition rules, and the rule of thirds, so I decided to make that topic my next tutorial

     Composition is the way you organize the different elements on the scene in front of the camera.  It's tempting to imagine that the world is just the way it is, and all you can do is just turn up, point the camera and take the picture but there's a lot more to it than that in the real world it's usually not possible to move objects around your ideas - but you generally don't need to.  Just by changing your viewpoint, and sometimes the focal length you're using, you can completely change the appearance of the photo and the objects within it.
     Composition in photography is like the rules of grammar in writing. If you don't put what you think in the right order, using the right words, with the right punctuation, no one's going to understand what you're trying to say.  It's the same in photography. If you just shoot at random your pictures are going to look visually incoherent with no clear point of focus or meaning.  But with a little compositional awareness, it's possible to draw the viewers attention to your subject, create interesting juxtapositions between objects and get them to see and feel exactly what it is you want them to.
     Composition isn't just about making the meaning of your pictures clearer, though. Photographs can also be satisfying, challenging or intriguing on a purely graphic level, and this is down to the arrangement of the shapes tones and lines in the picture.
     The best known 'rule' for creating graphically pleasing pictures is the 'rule of thirds'.  This says that you should never put your subject in the center of the frame, but a third of the way from the top or the bottom, or from the sides.  In fact, many cameras can display grid overlays on the LCD or in the viewfinder, which show you exactly where these 'thirds' are.  If you were shooting a landscape, for example, you might position horizon on the lower horizontal third and a solitary tree on the left or right vertical 3rd.  This is a pretty weak kind of rude though.  It's a good fallback if you can't think of a more interesting way of composing the picture, but that's about all.  If you see an arrangement which you think looks better you should use it.
     There are other rules to follow.  For example, you must make sure that your subject is looking into the frame rather than out of it, and you should avoid any composition that leads your viewers eyes out of the frame.  But maybe want to emphasize the symmetry between the landscape and the sky, or the central Isolated the position of a lone tree?  Maybe you like having your portrait subject looking out of the edge of the picture, because it hints at some unseen event and introduces a note of tension or unease?  Rules are there to be broken especially rules of composition, but this only works if you know what they are in the first place, and you break them clearly and deliberately and for a reason.
    Top Tip» Focal length and perspective: We normally think of zoom lenses simply as a tool to 'get more in' or bring distant objects closer, but in terms of composition there's a lot more to it than that. Instead of using the zoom to change the size of the object, try moving closer or further away and then adjust the zoom to keep the subject the same size.  What you discover then is that the focal length you use has a big impact on the relationship between your subject and its background.  A short focal length makes you get closer to the subject and makes the background look smaller and further away.  A longer focal length means you move further away, and this makes a background look larger ( it's simple geometry really but the affects become obvious when you try them out).  Telephoto lenses effectively enlarge the background, making it easier to find neutral areas to act as a backdrop for your subject, or to emphasize the scale of a landscape.  It's often said that wide-angle lenses exaggerate perspective and that telephotos flatten it which is another way of saying the same thing.  Stop thinking of your zoom lens as a substitute for walking, and start using it as an aid to composition!
     The arrangement of objects and shape affects the meaning and the mood of the picture, and they also affect the sense of 'movement' in the image.  The eye doesn't absorb the whole photograph in a single instant as a static image.  Your eye moves from one object to another, sometimes in curves, sometimes in zigzags.  This movement is a key part of the photographs appeal, or at least the extent to which it holds your attention.  It's perhaps why you can quickly get bored with a photo that initially looks great, but become more and more fascinated by one which doesn't have a big initial impact, but does have a lot of compositional complexity.
     The most obvious way to create this movement is with lines.  These can be very literal, such as railway lines converge in the distance, or 'implied', such as the direction of the subjects gaze in a portrait.  Pictures can have a single dominant line or they can have a number of lines which direct your gaze in a certain direction, and cause it to follow a certain route around the picture, or form a more complicated interlocking structure.
     Shapes are very important for photography too.  They might be easily recognized shapes such as human figures or silhouetted trees, for example, would gain extra power when thry stand out starkly against a contracting background, or they could just be areas of tone rather than specific objects.  These are just as important in terms of composition  however, because they contribute towards any picture's feeling of 'balance'.
     Shapes can be used as natural frames to draw attention to your subject and to prevent the viewer's gaze from wondering out of the picture.  Look out for archways, overhanging branches, gates, hedges... you can find natural frames almost anywhere.
     Composition is part-science, part-instinct.  The science is the way elements of the picture work together and affect the way you see it.  The instinct is the way you as a photographer combine those elements in your own unique way.

*picture 3: the bees eye is placed at the right third.  Eyes are usually the focal point, so his eye is placed directly on the third point.
*picture 2: the sun is on the left third, while the boat is off center along the horizon.  This helps to 'lead' you through the image.
*picture 1: the eye again is the focal point, and thus this image has depth and emotion by having the subject off center as opposed to centered in the photo.

(photo credits: 2 & 3google images, 1 Photographer Adam Paul)

Feel free to comment below with thoughts, ideas and posts of your composition success and failures.

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Tutorial 001: Monochrome Photography (part 2)

(continued from part 1 you can read that by CLICKING HERE)

EXPOSING CORRECTLY»
     While it is always important to expose your images correctly, when you are planning to convert your images to black and white this is particularly vital.  A monochrome image relies heavily on the tonal range in the scene.  If you underexpose the image too much, areas of the image that should be various shades of grey will 'block up' as dense, pure-black shadow.  If you overexpose the image too much, you risk losing highlight detail, something that never looks great but can be particularly unappealing in b/w scenes.  One of the joys of b/w photography is being able to dodge and burn in the digital darkroom so you need to give yourself some room to play with in your editing software, which means capturing images that are neither too dark or too light.
     Scenes with a high degree of contrast (with very bright and very dark areas) always present a challenge in terms of exposure and this is the kind of scene most likely to cause your camera's metering system to get confused.
     You can decide which area of the scene is most important for your final image and expose accordingly.  Aternatively, you can shoot two seperate exposures (one with shadows in mind and one for the highlights) and merge them later.  This is a common practice in HDR photography which ill cover in another tutorial at a later date.
     One thing to be aware of when you are exposing your images is the role of the ISO setting.  If you find that you need to brighten up the image in post-production you'll generally notice a lot more noise in the shadow areas of the image if the shot was captured using a higher ISO (ex. ISO 800 or 1600).  As it's not always possible to shoot at a lower ISO, it's best to adopt a policy of 'exposing to the right'.  Here's what I mean:
    Histogram Top Tip:
Your histogram meter needs to be your best friend, and you should get used to using it for b/w photography.
  A properly exposed histogram will have no clipping (represented by sharp spikes) at either the highlight or shadow ends of the histogram.  The histogram should be biased towards the right slightly, ensuring that noise in the shadow areas is kept to an absolute minimum. 
  An overexposed image will have the information crowded into the far right-hand side of the histogram with a sharp spike.  Some of the highlight detail may be recoverable but most of it will be lost.
  An underexposed image will have the information crowded towards the far left-hand side with a sharp spike.  Some shadow detail will be recoverable but is likely to be noisy with poor detail and colour accuracy.

PORTRAITS»
     Portrait photographers have worked in b/w since the sawn of photographic time.  From Julia Margaret Cameron to David Bailey, photographers have used monochrome to capture portraits with style.
     Black and white portraits can look either modern or classic with equal success.  The clear advantages of shooting without colour include the ability to remove distracting elements and smooth out uneven skin tones and blemishes.
     When there's no colour to worry about, you are free to oush the contrast to its extremes and create a very wide range of effects.  The absence of vibrant hues also means that it's easier to capture impromptu portraits when the subject's clothing doesn't have the required tones or the surroundings aren't ideal.
     However, it's important to remember that shooting in b/w doesn't allow you to take your eye off the ball in terms of planning and preparing a portrait shoot.  Simple, fairly plain clothing with a relatively small range of tones will usually work best for b/w portraits.  It's also important not to expect your portraits to automatically look like the work of one of the greats simply by converting it to black-and-white.  It's even more important to consider your subject's pose and expression, as the best b/w portraits will almost always be very strong in these respects.
     Be sure to pay attention to the lighting as much as you can, because in b/w the contrast between well-lit areas of the frame and areas of shadow is always accentuated.
     Top Tip: great b/w portraits can often be achieved with minimal lighting, such as just one of-camera flash with a softbox.

LANDSCAPES»
Although the iconic landscape photographer Ansel Adams worked almost exclusively in black and white, landscape photography is often associated with colour.
     One of the main inspirations for capturing landscapes is the appeal of the warm, golden colours produced by late afternoon and early morning light, or the glow of a gorgeous sunrise or sunset.
     However, landscapes also offer a wealth of textures, shapes and patterns that lend themselves perfectly to black and white.  Without the distraction of colour, the landscape is both simplified and endowed with an appealing timelessness.  Black-and-white landscapes taken today can look little different to the photographs taken in the 1940's by Ansel Adams himself.
     However, in some respects, b/w landscape photography cam present greater challenges than shooting in colour.  Without a beautiful blue sky or orange sunset to rely in, the composition of the shot itself becomes more important.  With this in mind, it's vital that you take extra time to carefully assess each and every element of the scene before taking the photograph.  Althought, all the elements of the scene need to be in harmony in all landscape images, the final photo really wont work at all if this isn't achieved with a b/w scene.
     Top Tip: for the best black and white landscape shots, seek out scenes that include distinctive patterns, shapes amd textures«
     It's also worth remembering that the time of the day still counts with b/w landscapes.  Images taken at the beginning and end of the day will have much softer shadows than photos taken around midday with the sun at its peak.

STREET PHOTOGRAPHY»
     Street photography became popular with the rise of 35mm and other portable-camera systems.  Henri Cartier-Bresson's classic b/w reportage images still influence street photographers like myself and this is a field of photography where monochrome images far outnumber colour shots.  Black and white offers street shooters instant artistic and practical advantage, and this element of the medium harks back to the tradition of photojournalistic images that for many years were exclusively black and white.
     The very nature of street photography dictates that the photographer cannot control the range of colours within the scene and in many situations this could result in a much less appealing image.  B/w's ability to simplify the image provides a way of creating graphic, captivating images.
     Top Street Tip: shooting from the hip is a popular technique among street photographers as it allows them to take candid shots without people paying close attention to the fact that they are being photographed. Results can be hit or mias unless you are used to this method.  Use a fairly narrow aperature of at least f18 in order to get a decent amount of depth of field in the shot.  Also ensure that the shutter speed you use is reasonably fast to ensure a sharp image. If needed boost the ISO to compensate.
     In terms of subjects for this type of project, you should aim to keep your compositions as simple as possible.  This isn't necessarily easy on busy amd crowded streets, but is vital for successful shots.  Very often, the best images have a degree of anonymity, without any faces, so keep a look out for hurried feet or hands held pensively behind the back.  A bustling shopping centre or high street can be a daunting place at times but keep watch for moments of human interaction and affection, as these can look even more striking and emotive in a public setting.

EDITING B&W
     Converting an image to b/w cam be as simple as changing from RGB to Grayscale mode.  However, if you are serious about getting strong monochrome images it's worth taking a little bit more time and trouble.  Fortunately, there are lots of other ways of changing a colour shot to a b/w image in Photoshop and they are powerful too.  When converting to mono, you need to pay close attention to how individual colours are responding as this can make or break the final image.  Another important point to be aware of is contrast, which often needs to be more dramatic in mono.

Landscape tip: using a tripod low and close to the ground means that you can make the most of lead-in lines such as a boardwalk along a pier or a brick road.  Opt for a long exposure to make the most of any movement in the clouds.  This helps to keep your exposure as simple and umcluttered as possible.  Use a narrow aperature like f16 to get the maximum depth of field in your image.

Editing tip: use the black and white adjustment layer, if you're new to b/w there are a number of presets to get you started, but you'll achieve the best results by tweaking the six colour sliders to suit the image.  Next, duplicate the layer and change the duplicated layers blending mode to Soft Light.  That will improve the contrast...if it is too much, simply lower the opacity slider in the layers palatte for a more subtle look.  Next you can add a bit of noise for a film look, or leave it crisp and.clean for a more modern look.

Filter tip: filters can enhance your black and white photography but you need to know how to use them to get the full benefit.  The SRB-Griturn filter kit is used in b/w photography to enhance colours within the shot, with each filter enhancing different aspects.  Red filters help to exaggerate clouds and darken greens, whilst lightening reds and yellows.  An orange filter will enhance detail such as stone work as well as subduing blemishes in portraits.  Yellow filters darken blue skies, improve contrast, and lighten yellows.  A green filter will lighten foliage, as well as helping cloud effects. Visit www.srb-griturn.com for more details.

Please feel free to add your thoughts below!

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Tutorial 001: Monochrome Photography (part 1)

FROM COLOUR TO BLACK AND WHITE»
It may sound strange to traditional black-and-white photographers, but shooting in colour is now essential if you want to get great black-and-white shots.  In the professional industry, it's common practice for photographers to shoot their b/w images in colour first, with the intention to convert to monochrome later.  The benefit here of course is that you leave your shots open to all options, so if it doesnt work well in b/w, it's still a great colour image.
         »IN CAMERA TIP: in-camera, check your colour exposure on the back LCD, this will give you a preview of the image as a JPEG.  Most cameras give you the option to preview in b/w for an idea of how the colour tones will convert.«
This method also gives you a lot more control over the conversion process, enabling you to take a much more considered approach to adjusting the photograph's contrast and tonal range.
  In order to do this sucessfully however, you'll need to ensure that you're shooting in RAW file formats first.
This way, you'll be able to gather as much information in the scene as possible so that you're guarenteed great-quality conversions that provide plenty of detail across the entire photograph.
  Knowing the type of colour shots that will convert well to black-and-white is key, and can be a real time-saver when it comes to editing.  It's worth noting that vibrant shots with a lot of different colour hues don't always translate well to monochrome, particularly if certain tones appear similar when desaturated, such as blue and red tones for example.  Surprisingly, it's captures that offer a muted colour palatte that convert better to b/w, as you have a lot more control over the tonall contrast and ultimately the strength of the composition.
CONVERTING WITH CHANNELS»
When composing a black-and-white image in colour, it's important to pay attention to the hues that feature within the frame.  It's these colours that are ultimately responsible for the tonal range within your black-and-white image.
           »COLOUR TIP: although colour hues can have a considerable effect on the outcome of your image, don't get caught up in the rule when it comes to converting.  Experiment with all of the colour channels for creative results.«
Before digital technology, b/w film photographers would rely on colour filters to enhance or adjust specific tones and contrast within their shots.  These days, we can largely do the same thing, using image-editing software.  However, understanding how these filters and ultimately colour channels can affect your image is crucial.  This is particularly important when you're converting a colour capture to monochrome, or even looking to strengthen a b/w composition while shooting.
COMPOSITION RULES»
The strength of a b/w image lies in it's composition.  Unlike with colour photography where vivid hues can command attention, b/w captures rely heavily on their content in order to engage viewers with the frame.  Using a few key compositional pointers can go a long way in helping you to strengthen the structure of your b/w shots.  Regardless of whether you're shooting landscapes, portraits or even still life.
           »IN-CAMERA TIP: activate your camera's grid lines to help you compose your black and white shots in-camera.  These are particularly useful when framing a photograph using compositional rules«
One of the most popular compositional rules for monochrome photography, which also applies to colour, is the use of lead-in lines.  Use them to enhance or even create an illusion of depth that can then guide the viewer's gaze through the entire frame.  Lead-in lines, don't necessarily need to be straight either, think creatively when composing for b/w and look for diagonals or even curves.
   For more dynamic compositions when photographing architecture, landscapes or even abstract forms, focus on framing bold shapes that will noticeably stand in the foreground or background of your shot.  This will help add structure to your monochrome image and, in good light, can offset contrast nicely too.
    Photographing textured surfaces is another great compositional guide for b/w.  Ideal if lighting conditions appear a little flat, you can include textured surfaces within the frame to naturally increase contrast areas and add an additional visual element to the frame.  This is particularly important if you're shooting abstract subjects, but can also be applied to portraiture with weathered skin and even street photography as brickwork translates incredibly well when converted.
    Having a good idea of what you want to achieve, or being able to envision the end result is important when framing for a b\w image in colour.  This will not only guide you during the conversion process but will also help when it comes to selecting the right camera settings for the best exposure.
Read Part 2 by CLICKING HERE
(please be sure your tips, successes and failures below, feel free to include links to your black-and-white images as im sure we would all be interested in seeing them)

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Tutorials, Tips & Tricks

Coming soon ill be posting different tips for photographers and models.  Everything from infront of the camera to behind and even ways to better business.

If there are any topics you'd like to see covered, feel free to message me or shoot me an email and ill do my best to get those topics addressed.

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