Season’s
Greetings
And Best Wishes During
the Holiday Season.
I will be “off the air” for most of the holiday season but will have limited email access. So if you have any questions about classes, and especially the upcoming Image Management and Raw Workflow Workshop in early January, please send an email and I’ll be in contact soon.
The first digital darkroom tool to be popularized was stitching software that blends together a series of overlapping captures. The most common use of stitching software is in making panoramic images. The image below, the interior trusses of Hayes-Clark Covered Bridge in Chester County Pa., would have been virtually impossible without stitching software.
(Sorry for the small size but with the limited width this is as large as I could make it.)
Stitching software can also be used to create very high resolution images. Instead of capturing a single image with a WA lens a photographer captures the same scene as a series of images in matrix form with a telephoto lens. For example he could capture three rows of four images each, overlapping sides and tops; and stitch them together to form a high resolution image (on the order of 6x larger) in the same format, 3×2, as the single capture. When creating both panos and high resolution images, the stitching software is used pretty much the same way. The difference is the photographer’s intent when the capture was made.
The next tool that photographers starting using in the digital darkroom was focus bracketing Read the rest of this entry »
As I wrote this it went from a quick and simple post into one that’s too big for a single post so I’m going to spilt this into 2 posts. Part 2 will come tomorrow.
With that headline all of the engineers and matamaticians out there must be thinking I’ve gone off the deep end. Well of course we’re not breaking the Laws of Physics because …. well …. because they are the Laws of Physics and cannot be broken. This is simply a way of organizing three somewhat disparate digital photography techniques into one bucket. So it’s not so much a tip or anything that you can use directly but simply a different way of thinking of things.
Back in film days, before desk top scanners, there were four areas that photographers were limited in by the physics of light and lenses. They struggled to overcome these limitations:
Since we had such good fortune at Zebriskie Point the night before (see Day 1) we decided to give it a try for sunrise the next morning. The contrast range was so high (even with a 3 stop grad) that I mostly shot HDRs. Back home I batch process them in Photomatix Pro and generate three files for each bracket sequence: Tone Mapped, Detail Enhancer, and Exposure Fusion (this a type of exposure blending while the first two are different ways to do the HDR tone mapping). I then look at the files. Sometimes I like one of the three and will further process it in Photoshop. But most of the time I will like one section of the scene from one file and like another file for the rest of the scene. I’ve not figured out under what circumstances which way of processing will produce the best results. That’s why I generate all three versions.
When most people think of brushes in Photoshop they think of a tool that allows you to paint new pixels onto a layer. And I use the Brush Tool a lot to paint on a layer mask to hide/black (or reveal/white) part of that layer. But the Brusch Tool is not the only tool to use brushes. They are common among many of Photoshop’s tools; for example, the heal/clone tools, the quick selection tool, and the dodge/burn tools. Since they are used a lot, it’s good to have a number of ways to modify their attributes. Read the rest of this entry »
A couple of years ago the most frequent answer to that question would have been 1024×768 pixels. Nowadays, with wide screen LCD monitors, the answer to that question is going to be something like 1680×1050 pixels. And even wider for HD LCD displays, something like 1920×1080.
So how do you find out the resolution of the display you are using. On a Windows platform, right click on an empty portion of your desk top and select Properties from the drop down menu. In the Properties Dialog select the Settings tab. In the middle left of that tab you will see a section called Screen Resolution. The slider below will let you change your display resolution. If you want to change your display resolution from 1280×768 pixels to 1680×1050 pixels this is where you can do that (assuming that the version of the OS you are running supports it). Note that the slider that changes the number of pixels in each direction is call Screen Resolution.
But wait a minute, Read the rest of this entry »
This page lists books I am currently or have used as text for photography classes. It also lists books I have read and would recommend to someone else who wants to know more about the topic. As you scroll down the page you will see the following headings: Landscape, Close-up, Photographic Composition and Creativity, and The Digital Dark Room.
Digital Landscape Photography: In the Footsteps of Ansel Adams and the Masters
This is the text that I’m currently using in the Landscape Photography–It’s All About the Light class. I like the way the author, Michael Frye, approaches the technical topics. That it’s not that the geeky it is important because of how it affected the image aesthetic. And he does a better than average job covering composition and light in an all-in-one book.
The Ultimate Guide to Digital Nature Photography
This is the text that I’m currently using in the Digital SLR Essentials class. This book is quite current and does a reasonably good job covering the major topics in an up-to-date way: Equipment, Composition, Image Capture, Light, and Composition.
John Shaw’s Landscape Photography
John Shaw’s books used to be the go-to books for photo enthusiast trying to better their craft. But it was published back in 1994 and has not been updated. While John’s explanations are still correct and easy to understand the are dated. A good part of the book is dedicated to film and tools, like color correction filters, that do not apply in our digital world. But the material on exposure (even though it doesn’t mention histograms), composition, light, and getting sharp images is all still very good.It’s still a good book to learn from just recognize that it’s a bit dated.
Close-Up and Macro Photography
This is the book that I am currently using for my Close-Up Nature Photography class. While not what I would call an ideal text’ this one is getting close. I’ve looked at quite a few and even read a few and for what is available now, this is the best of the bunch.
The author does a good job with equipment, technique, and light for this style photography. But, for what ever reason, hevchose not to address the topic of composition. He does however, include a chapter on digital workflow.This is a topic that deserves a complete book by itself. While, the material in this chapter is accurate, it does not go deep enough to be useful.
John Shaw’s Closeups in Nature
This is another John Shaw oldie but goodie photography book. Again has several section that discuss film and related topics that are out dated. However, John’s treatment of foundations topics are close-up equipment and field techniques are excellent.
Macro Photography Photo Workshop
I’ve been searching for a book to replace Shaw’s book for my Close-ups in Nature class. When I read the reviews and the preview sections I thought I had found it. But when I read it I was a bit disappointed. Don’t get me wrong, there is some good information in this book. The problem is you have to weed thought sections where the author seems to go on and on about squat. And, overall, the sample images are a bit underwhelming.
Even though I haven’t used these as text books I have found them to be useful and as such can recommend them.
The Photographer’s Eye: Composition and Design for Better Digital Photos
Michael Freeman takes a very methodical and structured look at composition and image design. He also touches on how using new tools, like panoramas and HDR, still need to adhere the concepts of composition and design.
Photographic Composition
The authors emphasis that photography is a form of communication. And to effectively communicate visually requires the use composition. They then break down the areas a photographer needs to control as part of the design process into: Graphic Controls, Photographic Controls, Color Controls, and Tonal Controls.
Within the Frame: The Journey of Photographic Vision
In my classes I talk about photography being both a right brain, as well as, a left brain activity. Perhaps that is why my favorite quote from the book is a sub chapter title, “Gear is Good, Vision is Better.” It’s just a more sophisticated way of saying, “The photographer makes the picture, not the camera.” But at the same time drives home the point that both photographic vision and photographic technique are required to consistently make good images. I found this book to be both thought provoking and inspirational. A must read for photographers.
Creative Nature and Outdoor Photography
A practical how-to for expanding your photographic vision that will help the reader to begin making images with more impact. Brenda breaks images design down into discussions on light, vision, color, and graphical elements.
In addition to the informative text the book is illustrated with some wonderful imagery.
Brenda has an updated revised edition of this book now available. Comparing the Table of Contents and a few pages the textual content has not changed much. However, the accompanying photographs have all been updated. Since I already own the previous edition I don’t plan on purchasing the new edition. However, I you don’t own that I’d recommend getting the newer edition.
Photoshop CS4 for Nature Photographers: A Workshop in a Book
Photoshop books tend to fall into one of two different classifications. One is what I call a “How-to” book. Sections tend to be short, freestanding tutorials on how to do one technique. The sections of these books do not need to be read in order. The other books are more like text books, with long chapters that explain a topic in detail. And the chapters are intended to be read in order as they often build on earlier material. (BTW, I’m not saying one is better that the other. They are just different.)
This one falls in the text book category with a very practical approach for photographers. One detriment, it only has ”ok” coverage of Adobe Camera Raw. It is also a little unusual in that it has sidebars that explain how do some things in Photoshop Elements. But this is most likely not going to be of any interest to a Photoshop user and does not have enough meat to make it worth buying the book for an Elements user. But it is a good book for photographers using Photoshop.
Real World Camera Raw with Adobe Photoshop CS4
This the not only the definitive book on Adobe Camera Raw and how to effectively develop you raw files. It also covers the raw file format to better understand things like highlight recovery. It also covers a raw workflow using Bridge.
The Adobe Photoshop Lightroom 2 Book for Digital Photographers
Truth be told, before reading the Lightroom 2 version of this book I was not a Scott Kellby fan. His books, articles, and videos were over the top with slapstick. I understand that learning applications like Photoshop and Lightroom are dry and a little humor can help the learning process.However, without this book I probably would have given up on using Lightroom 2. Even though this is written in the step-by-step how-to style (that Scott is famous for) he takes an in depth view of how to use Lightroom 2 to implement a workflow from injection into the computer through organizing images into final output via both print or display based.
While I have not read this newer version of Scott’s book I’ve got to believe that it is as good as the previous one. So this would become my second favorite Lightroom 3 book.
In Part 1 of this series on White Balance we defined WB and in Part 2 talked about using WB to control the colors in our images. If the WB setting matches the color temperature of the light hitting our scene we would get accurate rendering of the colors in the scene. And if the camera WB setting did not match the color temperature of our light source the image would be rendered with a color cast. And that as creative we photographers sometimes want to purposely shift the colors in the image to control the emotional content of the image.
You may have noticed that in Part 1 the example images had the WB set at the time of capture and that the example images in Part 2 had the WB adjusted during post processing (during the raw conversion step). This leads to the question, “What is the best time to set WB and are there any advantages to doing it during capture or in post production?” The answer is that it depends on the file format you are capturing your images in, jpg or raw. But before we answer the question lets take a look at the differences between jpg files and raw files. Read the rest of this entry »
