GIMP 101 Tutorial for Beginners: Learning the Basics

GIMP 101 Tutorial for Beginners: Learning the Basics


hello and welcome to yet another
tutorial by Davies media design I’m Michael Davies and today I’m going to be
going over the basics of GIMP. This is version GIMP 2.6 there’s a couple new – newer
versions out of GIMP but this one still my favorite so I’m just
gonna go over the toolbar right here and the Layers panel over here which I’m
still getting a lot of questions about even after I’ve done some more advanced
tutorials so I’m gonna go over this and that way you guys can
be better GIMP users so a big question I always
get is where does this layers panel come from over here on the right – the layers bar and if you don’t automatically have it
open like if it looks like this, to get it to
open up go to “Windows” “recently closed docs” and then it’ll be
right here under “layers, channels, paths, undo” so just click that. And that’ll bring up your layers, and I’ll go over the layers here in a second so, going from top to bottom left to
right the very first tool is the rectangular
Select Tool and what this does is allows you to fill
in the area a or at least just select within an area so
that you can paint within that area using either the bucket fill tool
or the gradient tool which is called the blend tool here or any of these paint tools and then to resize a rectangle just click within the rectangle area and come up to
the top and you can click and drag come over to this side and you can do the
same thing on all sides same applies to this tool which the elliptical select tool same basic concept except this you can make the ellipse shape. if you want a
perfect circle with the elipse tool you can come over
here to the toolbar and under here it says size, you can choose exactly what size it is. So here I’ll
change the width and height to be the same so they’ll each be 571 or at least close to it and uh you’ll get a circle you can also
change the exact position here and up here are rulers telling
you where exactly you are positioned on the
image and then up here gives you the dimensions of the image this one’s 1920 by 1080 pixels and you can feather the edges before you draw it which means that
once you draw it if you like color this in with the paint
brushes it’s gonna go a little bit outside the edges Kinda like a gradient type affect so all demonstrate here using the bucket
fill tool and as you can see if I come over to select>none which gets rid of that select tool, the
edges are a little blurry and depending on how I’m high up you
turn the feathering, it’ll make the edges
more more blurred so some other features with the ellipse
select tool, and these also apply to the rectangular select tool is you can change the mode so that for instance if you go to
add to selection mode what’ll happen is
it’ll just keep building upon the shape of the selection and then
there’s also the subtract from the current selection
so we’ll do the exact opposite you know kinda carve out of that shape that you
originally drew and then there is the a intersect with current selection
which’ll make a shape out of whatever areas are being intersected
by the newer ellipse so there we have this new shape. If you come over to select none it’ll just get rid of the selection. The
Lasso Tool or the free select tool allows you to freely draw wherever you want so few if you click once – and by a draw I mean – this is gonna turn into a selection
like that, so if I click once and his move the mouse
over to wherever it’s gonna draw a straight
line for me whereas if I click and hold you can freely move the mouse around and it’ll make a
selection out of that so the instances where this comes in
handy is like if you trying to remove the background of an image. Right now I’m just going over the “a”. But let’s say you wanted to remove everything around this a or you wanna just to delete that a, or paint over it, you just use the select tool and you can you know provided that you’re on the
right layer you can there color over just the a and if you go to select>invert you can color everything except for
the a. So it comes in handy a lot of times when you’re trying to erase a background or color over a background obviously you would use the eraser if you were trying to erase the background to the next thing on here is the fuzzy
select tool so this basically operates on shapes within a layer in this case I have the
text layer selected and it’s going to select everything outside of the text if I
click the area outside the text or if I
click the actual text itself it’ll only select
that text the next who is the selected by color
tool and this is only gonna select objects that have the same color as
what you selected so if I come over here to this layer that I made and I click this white area it’s only gonna select everything with that exact color so I’m going to go to select none. Now the other select tools include the scissor select tool and the foreground select tool I don’t really ever use that stuff so I’m not going to go over it. The paths tool it’s kinda like in Illustrator where you
can create a path by creating points and then clicking
and dragging and this allows you to just draw shapes there’s not really a need for it within GIMP, so I wouldn’t really
recommend using it nobody really ever uses that. Color
picker – that just allows you to choose a color within a layer so that it’ll use that color over here in the
foreground and background color squares which is what you would then use with the bucket
fill tool or the paint tool So the Zoom tool – that allows you to
zoom in on the image so you can get a closer look or if you hold control and then click it’ll make it zoom out and you can toggle those options here to
zoom in zoom out if you wanna hold control. The measure
tool allows you to see exactly how far something is from another thing another object and
other measurements are gonna come down here so for instance if I want this GIMP
basics thing to be a certain amount of pixels away from the top I can click on the top and drag down – click on top and drag down till I get to
the letter and see exactly how far down it is here
it saying that its 390 pixels down and it also shows you the angle at which
you dragged down right here it says 90 degrees and another tool that has to do with measurements is the rulers and they are either at the top or on the side and to use the ruler you
just click at the very top where measurements are
and drag down and that’ll give you a ruler and you can do the same from the side
and you’ll see down here at the bottom it’ll show you where
you’re adding that new guide in pixels. So this is good when you need
exact measurements of where to put objects and to get rid of them, just click and
drag them if you have the move tool selected which is
this tool right here so that’s the next tool on the tool bar. And that just allows you to move objects within a layer that you
have selected by clicking and dragging the crop tool allows you to crop a
certain portion of an image you know – if let’s say you don’t want this image
to be 1920 by 1080 you just want this to be your image you would just click and drag like I did from the start top left to bottom
right of where you want to crop and then you double-click and now this image is cropped so that this is the entire image the rotate tool allows you to rotate the
layer so I have the background layer select
right now if I wanted to rotate it I would just click and drag to whatever angle I wanted it to be rotated at
denoted right here or I can change its position as to where it’s
being rotated and just click rotate or you know
reset or cancel real quick I’m just gonna go over the layers
thing over here on the right is the Layers panel and you have a bunch of layers here each layer has has its own name and it has
its own content on it if you are using GIMP right. You want to use the layers in a way that every
object every new object you create is on its own
new layer so for instance I have a background
layer So if I click this eyeball here it’ll make the layer disappear This layer is just a pattern
layer this layer is a- kind of shape design I did and you
can change the opacity of the layer by clicking on that layer that you want to adjust and come up here to opacity and you can change, you know, how transparent that image is and there’s text layers and to tell if it’s
a text layer you’re just going to see a “T” with like a rhombus shape underneath it and to edit a text layer just
double-click it and this text box comes up if you’re using version 2.6 and then you come over here and you can
change the font above the text if you click this button
it’ll it’ll take the font selections and give
it its own little box here which just makes it easier to
look through all the fonts you change the size of the font you can
change in what units you wanna do the size of the font in. So you can do inches, you can do millimeters you can change the color of the
font by clicking in this rectangle here and a you can
change how the font is aligned to the page you can also change the spacing of each row of font. Right here I only have one row so it’s not going to do anything and you can change the spacing of the letters in the font by using this as you
can see the font is spreading out and right now I have other layers on
top of that font so that’s why it looks all weird like that
you can also make a path from the text or text along a path I don’t ever really
use those so you don’t really need to know about that now here’s the bucket fill tool which is a
pretty important to first off to demonstrate this I’m going to
create a new layer so come over here layers and channels tool bar over here and click this page which’ll create a
new layer you can name the layer – I’ll just name it fill. And here you can have the size of the layer change right now it’s at the default
setting 1920 by 1080 which is the same size as
your image here and you can do a layer fill if you want. The
foreground color will be what’s in this box – background-color
will be what’s in this box and right now their the same and you can also just do a white or
transparency which means that the background will be clear. So I’m
gonna go with that here’s the new layer. Whenever a layer
is on top of another layer is going to cover everything underneath it and when there’s other
things on top of this layer, those
things are going to be above this one in the image that you’re making so you can either fill the foreground
color which you can change by double-clicking and you can adjust the colors using
this bar right here and clicking and dragging in here and once you find the color you like
just click OK down here are some pre-made colors. These are colors that were used previously so just click OK and to use the fill just click within
the image and it’ll fill everything you can change the opacity hit control>z to undo so like I said before using the select
tools you can also- in this case I’m creating an elliptical- make sure the mode is is – make sure it’s set to the right mode – in
this case I just want replace the current selection so come back to the bucket fill tool and we’re still on the same layer that we
just created and using the bucket fill tool, when we click
within the ellipse select, it’s only gonna fill in
the ellipse shape. Then go to select none and there’s your fill and the edges are still
blurry because I still have it set to “feather edges”. View part 2 on our channel.

Adobe Photoshop Tutorial – Adding Bleed

Adobe Photoshop Tutorial – Adding Bleed


Hi and welcome to this printed.com tutorial on how to add bleed in Photoshop. My name’s Dan, and I’m going to show you through the process. Bleed is an area of print outside the document that’s trimmed after printing. It’s there as a precaution to make sure there’s no white space left on the document after it’s trimmed. When preparing a document for print, it’s really important to make sure the image extends right to the edge of the bleed, and that any text is set at a safe distance from the trim line. Photoshop doesn’t have a bleed option, so instead we have to manually add space to the edge of the document. To start, click file-new, and set your document size. At printed.com we require documents to be set to CMYK colour mode, with a resolution of 300 dots per inch (dpi). Once those are set, click OK. Now the document’s set up, we can prepare to add bleed. To make sure we can see where the trim line will be, we need to drag guides to the edges of the document. Go to view-rulers to show the rulers, or press ctrl+r (or cmd+r on a mac). Use the mouse to drag line guides from the rulers to the edges of the document. They should snap to the edges. If they don’t, make sure snapping’s on by clicking view-snap to, and make sure document bounds is ticked. Once we have guides on all four sides, we can add bleed. To add bleed, go to image-canvas size, and make sure the units are set to millimetres. We need to add 6 millimetres to the values in these boxes. That’s 3 millimetres on each side of the document. Photoshop doesn’t add the number automatically, so you’ll need to calculate it yourself. Once your values are correct, click OK, and the document should expand on all sides. It’s really important to make sure any images extend right up to the edge of the bleed. The area inside the line guides is the area that will appear in print – the rest will be trimmed off. Make sure any text is set over 3mm from this line, so it won’t be cut off. To export your document for print, click file-save as, and choose Photoshop PDF from the dropdown menu. Turn off layers to save file size, and make sure ‘as a copy’ is selected. Type in your filename, and save. For print, we recommend the PDF/X-1a:2001 preset. Once that’s chosen, click ‘Save PDF’ Be sure to check your PDF is exactly how you want it before sending it off. If everything looks ok, you’re ready to send your document to print. Thanks for watching — we hope you found this tutorial useful.

China’s Tortured Beauties: Make Me Look Western

China’s Tortured Beauties: Make Me Look Western


This is the modern face of China. The whole
nation looks to Shanghai for a vision of their future – modern, rich, and luxurious. The oriental superpower is undergoing a radical
transformation. The economic miracle has fundamentally changed the country; China is becoming a consumer
society. And according to Chinese sociologists, the beauty craze is its most striking effect. A glance at this chemist leaves no doubt about
what’s desirable in modern China: white skin is chic. Whitening beauty creams outnumber
non-whitening varieties everywhere you look. With the opening up to capitalism there came
a flood of foreign films, books, magazines. This made a huge impact. It changed our ideas
and values. This is why many young women want to look
like Western celebrities. 30 years ago this would have been unthinkable. No one could
afford cosmetic surgery. No clinics offered cosmetic surgery for reasons other than accidents. So just what should a woman in China look
like? What now counts as desirable? And why have these ideals of beauty changed? In a
former factory on the outskirts of Beijing, Photographer Zheng Chen believes he has some
of the answers to these questions. This is a woman from the Tang dynasty. Under
the Emperor, being curvy was considered beautiful. A wide face, long eyebrows, small mouth… Until recently, communist ideals valued natural
beauty. Women didn’t use make up. The natural, realistic look was ‘in’. Today other things are considered beautiful.
Big eyes, small mouth, high nasal bridge, pointy chin and of course, one’s meant to
be skinny. Unusually tall with white skin and an oval
face, model Ai Xiao Qi has more than a hint of a Western appearance; and she makes good
money on it. At just 19, she is already a well-known model. But she’s still not totally
happy. I want to look even more Western. My job demands
this. Especially when you’re a model, when you’re standing in front of cameras, your
face must have a strong profile. Cheng Zhen does what he can to help out: computer
software allows him to pick up where nature has left off. I make the skin cleaner, then change the face
shape, I make it smaller and longer. This makes people look younger and cuter. Then I take care of the eyes and nose, and
other details. According to Xiao Qi, cosmetic surgery is
out of the question… at least for the time being. Asian models with Western faces adorn the
showrooms of European luxury goods stores throughout Shanghai. Do you like this woman, her mouth, her face?
Do you think she looks good? I like her. She’s sexy. But why? She’s very pretty, she’s almost ideal… Her face shape is very three-dimensional.
Especially her cheekbones and pointy chin. What do you think is so beautiful about European
facial features? The European face is three-dimensional. The
eyes have got a good shape, a high nasal bridge. European women also have full lips. Us Chinese on the other hand have very flat
faces. It doesn’t look good in pictures. That’s why many Chinese women would prefer to look
more European. These four friends initially claim they wouldn’t
go under the knife for the sake of beauty. But they’re not being completely honest. Do you like my new chin? Yes, very pretty. The surgery did you good. Another girl from the group has recently had
an eye surgery. She also keeps quiet about it. Somehow, they find it all a little embarrassing. The girls are
typical of a new affluent, young demographic.
So they have a good handle on the latest tastes in cosmetic beauty. Small face, big eyes, high nasal bridge, white
skin. That’s pretty. I would look better with a smaller face. But
women are never satisfied. A good appearance helps at interviews. But
ultimately your achievements matter most at work. But apparently, this isn’t always the case.
This recording clearly suggests cosmetic beauty can seriously help your employment prospects. What looks like a fashion show is in fact
a serious application process, organised by an official employment agency. Beauty promises success to women in China,
both personally and professionally. I went to the States. I studied at Colombia
University in New York… This wealthy bachelor is in search of a beautiful
dream wife, and he’s come to the right place. This marriage market has been organised by
an exclusive dating agency, designed for rich men to meet beautiful young women. In China,
as in the West, financial concerns often come to the fore when it comes to choosing a partner. A
recent study questioned tens of thousands
of couples and singles from the across the country. 4 out of 10 women will only marry
a man who earns at least 1,000 euro a month. 7 out of 10 insist he must own a flat. Ms Fei manages the Peking office of a nationwide
marriage agency. Only the cleverest and prettiest women stand a chance here, and many applicants
are rejected. In contrast, male customers must meet only one condition: they must have
plenty of money We are very exclusive here. The men who come
here must have an excellent financial base. 10 million yuan is the minimum requirement. Once they’ve signed up, the male clients of
this exclusive and expensive agency expect to be able to ‘order’ a dream wife. This customer for example is 55 years old
and wants a woman aged between 27 and 35. He has clear aesthetic expectations. Her face
should be oval and have pretty facial features, such as young skin colour. He wants her to
have voluptuous breasts, and she should be between 5’4 and 5’6. Not many are able fulfil such high expectations.
The average height of Chinese women is just below 5’2″ tall. This is why some opt for
drastic measures. In this operating theatre, one of the most
extreme cosmetic procedures imaginable is being undertaken. This treatment has in fact
been banned in China, but some surgeries will still perform the operation for a five-figure
payment. First, the bones of the leg are sawn in two. Then, holes are drilled through the
calves. Long metal pins are hammered into the legs, before a brace is attached that
will stretch the legs as the bones grow back. Due to the high risks involved, leg extensions
are illegal in China; the procedure may lead to muscular atrophy, nerve damage and arthritis.
Nevertheless the demand for these risky cosmetic treatments remains high – some clinics are
performing as many as 300 procedures a year. Leg extensions may seem drastic, but they
aren’t the only cosmetic procedure to come with risks. The victims of the beauty craze are well documented
on some Chinese websites. Wang Bei was an up and coming pop star. She
wanted to narrow her jawbone. She died during this routine surgery, aged 24. This is an
extreme case, but there are many things that can go wrong in China’s beauty clinics. According
to some estimates, 200,000 faces are being deformed every year. This woman is one of the many victims – even
if it is barely visible today. Qi Lixia comes from a village hundreds of kilometers away
from Beijing. 4 years ago, the tour guide decided to have nose surgery. After the first
surgery failed, deforming her nose, she needed three further, painful interventions to correct
the botched job. When I complained after the surgery, the doctors
tried to re-assure me. They said the nose looked good. But it was completely deformed. She refuses to share pictures from that period.
Instead, she will only show photos of her face after the first corrective surgery. Qi
Lixia spent 3000 euros to make her nose look natural again. That’s as much as an annual
salary in China, and she had to pay for it all by herself. Any suggestion of compensation
was firmly rebuffed by her surgeons. Lawyer Zhang Gang represents many cosmetic
surgery victims, and says Qi Lixia’s case is not unusual. Many go to private beauty salons and clinics
without a medical license. The relevant documents are missing, there’s no treatment contract,
no official accounts. No medical records. Nothing. When something goes wrong, when the
result isn’t good, it’s almost impossible to demand your rights. Such warnings generally go unheeded. Cosmetic
surgery is booming. There’s a 20% increase in the size of the chinese market each year.
With 4 million operations and 3 billion Euros in sales last year, the Chinese cosmetic surgery
market is now second in size only to the US. China has bid socialism farewell long ago.
China is like an apple – red from the outside only. In China, capitalism is more brutal
than in the West. This discussion doesn’t concern Qi Lixia.
She’s now happy with her appearance. Her fear and pain seem to be forgotten. She tells us
she’d be happy to have further operations. Many customers want to have a good-looking
tour guide. Looking good helps me in my job. Before my colleagues were in a better situation
contract-wise. Now this has changed. The
beauty industry is big business. And as it
becomes more accepted as the norm in China, the message to young girls is clear: it is
what’s on the outside that counts.

Your problem: You can’t open your camera raw files. Here’s how.

Your problem: You can’t open your camera raw files. Here’s how.


[Music] Hi there it’s Marlene from ImageMaven.com and in this week’s video blog post I’m going to talk about what happens if
you shoot RAW files and they won’t open. This happens when you have a new camera,
or a fairly new camera, and you have slightly older (not even that old)
software. So I’m going to show you what to do when your RAW files don’t open.
This can happen whether you’re using Photoshop Adobe Camera Raw, whether
you’re using Lightroom, Photoshop Elements, Aperture, iPhoto, anything that
you use to open RAW files. You have to keep your raw software up to date. The
reason is is that camera manufacturers haven’t come up with a standard raw file
format. Well actually they have, but very few camera manufacturers are using
it. It’s called the DNG file format, which stands for digital negative. Pentax uses
this file format so their files will open up in any software even older
versions. But Canon and Nikon and Panasonic and all the other popular
brands, often you’ll get a disparity. You have a new camera and older software. And
I’m going to show you steps you can take so that you will be able to open your
RAW files even if you have slightly older raw software. It is recommended
though that you keep your software up to date and that you don’t use a software
that’s too too old. One of the reasons is there’s so many great new features and
newer versions of software and you’re going to want to take advantage of them.
Alright let’s have a look at the software. So this is what Photoshop
Elements looks like when you have no files open. And to see if you can
actually open your RAW files, just go under File, Open, and navigate to a folder
that has RAW files in it. And you can see that in this case it lets me open this
file. However I’m going to navigate to a folder that doesn’t have files that will
open. I have a new Panasonic camera and you can see that the JPEGs open no problem.
But if I look at the other files RW2, those are raw files, my Panasonic RAW
files. They’re grayed out. So I know that I need to upgrade my Adobe Camera Raw
plug-in for Photoshop Elements 9, which I have here. And I know that my plug-in is
not up-to-date for this software. So I’m going to show you how to do that now. So
how do you know if what version of Adobe Camera Raw you’re using? All you do is go
under the Photoshop Elements tab and go About plug-in. Go down to Camera Raw. Click
on it. And it will tell you what version that you’re using in the Camera Raw
plug-in. So in my case it’s 6.1.0.250. I know
from just checking the Adobe website that the latest plug-in version is
actually 6.3, so now I know why my files won’t open. I’ll have to
update to version 6.3 first. If you’re using a Mac, and you have Adobe
products installed you can just go up to the top right corner of your top menu
bar, and you see this A symbol and in my case it has the number 4 here. If I
click on that, it’s actually going to open the updater, the Adobe updater. So
now the Adobe updater has popped up. And, I can see that I have lots of software
to update so all I do is I hit “update” and all of my camera RAW plugins will be
updated. I have a Photoshop version. I have an Element’s version. I have Bridge
here that needs updating. And Adobe Photoshop CS5. So I’m just going to
update all those, and I’ll come back to you when that’s done. When you’re all
done your updates it should look like this. Now let’s see if we can open up
those RAW files. So now let’s try to open that raw file again that wouldn’t open
before. So go under File, Open, go to our folder where those test images are, and
now you can see that the RW2 file isn’t grayed out anymore. So we can click on it
hit Open. There we go, there it’s open, and it’s showing us the Adobe Camera Raw
window. We’re off to the races. And just one more thing I have a page on
my website with information on all the links and where to look and how to find
the latest version of the Adobe Camera Raw software. So have a look in the video
description below. Click on those links it will take you to my website, and there
you can get further detailed information as well as a step by step instruction
guide on how to actually open your files. Leave me a comment. Subscribe to my You
Tube channel. And see you soon. [Music]

Photoshop Tutorial: How to Create a Digital Portrait from a Photo

Photoshop Tutorial: How to Create a Digital Portrait from a Photo


Hi. This is Marty from Blue Lightning TV.
I’m going to show you how to create a digital portrait from a standard photo and how to
replace the photo without having to redo the effects. This is an update to a tutorial I
did on an earlier version of Photoshop. Open a photo you’d like to use, I downloaded this one from Shutterstock.com. To add effects to the photo non-destructively, convert it
into a Smart Object. To do this, click the icon at the upper, right of the Layers panel
and click “Convert to Smart Object”. Go to Image and Image Size. To ensure that your results will be the same as mine, make the Resolution: 150 pixels per inch and the Height:
850 pixels. The Width will automatically update itself to another amount because the width
and the height are linked. Then, click OK. To fit the photo back onto your canvas, press
Ctrl or Cmd + 0. For the best results, the subject should be on a white background. If
your subject isn’t on a white background, we need to make a selection around the subject
and then cut it out. For this example, I’ll use the Quick Selection Tool. I’ll make the
Size: 15 pixels and drag the tool over the subject. The selection doesn’t have to be
perfect. If you want to see it as a quick mask, press “Q”. Press “Q” again to revert
it back into a selection. Press Ctrl or Cmd + J to cut your subject from its background and copy it to its own layer. Make a new layer below it. To do this, Ctrl-click or Cmd-click on the New Layer icon. We’ll fill the empty layer with white and since white is the background color, press Ctrl or Cmd + Delete. Merge these layers by clicking on the thumbnail of your subject to make the layer active and pressing Ctrl or Cmd + E. Make this layer into a Smart Object and go to Filter, Pixelate and Mosaic. Make the Cell Size: 15 pixels square and click OK. Go to Filter, Noise and Median. Make the Radius 5 pixels. This modifies the square mosaics into round shapes. Go to Filter and Filter Gallery. Open the “Stylize” folder and click “Glowing Edges”. I’ll make the Edge Width: 1, the Edge Brightness: 15 and the
Smoothness: 15, however, feel free to experiment with the amounts to get the combination you
like. To replace the photo with another without having to redo all the effects, double-click
on a Smart Object to open the source photo. Open the new photo and go to Image and Image
Size. Make the Resolution: 150 pixels per inch and Height: 850 pixels. Then, click OK. Press “v” to open your Move Tool and drag it onto the tab of the .psb file, which is
the Smart Object. Without releasing your mouse or pen, press and hold Shift as you drag it
down onto the image. Then, release. Go back to the Smart Object tab and click the small “x” to close it. When you see this warning, click “Yes” to accept it. Click back on the tab of your portrait to open it and your new photo will automatically update itself with
all the effects. To crop it, open your Rectangular Marquee Tool and drag a rectangle over you image. Go to Image and Crop. Then, deselect it. This is Marty from Blue Lightning TV.
Thanks for watching!

How to Deal with Moiré: Take and Make Great Photography with Gavin Hoey

How to Deal with Moiré: Take and Make Great Photography with Gavin Hoey


In this video I have a look at how you
can deal with the problem of Moiré in your photography. Adorama TV presents
Take and Make Great Photography with Gavin Hoey I’m Gavin Hoey and you are watching AdoramaTV brought to you by Adorama, the camera store that has everything for us photographers and today I’m in the studio and I being joined by Sam. Do you want to come in? So Sam’s going to be
modeling for me today, and I’m just gonna take a picture and show you a potential
problem that you may come across.Ok lets take a shot. At first glance it looks
absolutely fine but closer inspection and you’ll see it as a problem. The problem is known as a Moiré pattern, now
in this video I’m gonna talk about what causes it, how to check for it whilst your
shooting and also how to remove it. Moiré patterns appear whenever you combine
two fine patterns, and in this case, it’s the man-made pattern on Sam’s shirt combined
with a very fine pattern of pixels on the sensor of my camera. Now when you
combine them together in just the way, you will see a rainbowing or
circular patent appear, and that’s Moiré. Now we never used to have this problem
we had something in the cameras called an anti-aliasing filter or low pass
filter and it’s one job was to remove this problem and it did it by every
so slightly blurring the picture and of course we don’t really want slightly
blurry pictures so those sorts of filters are slowly disappearing from
modern digital cameras. Now it’s not just a portrait problem, it can happen with
architectural photography and anything with a fine pattern, nature and landscape
where it’s less common. With mother nature it’s generally man-made objects that
have this effect. Now look over to the side for me, and then back at the camera. So, how do you know you’re going to have a
problem with Moiré patterns? Well sometimes it’s obvious just the clothes
that someone’s wearing is a giveaway. Other times you not going to expect it
and it’s not easy to see it on the back of the camera. To be sure it’s there, it’s always a good
idea to take a test shot and then use the zoom facility to review your images at
100% or more. That should really be a good idea as to whether there’s a
problem or not. Of course if you access to a computer actually putting your images on
the computer, well that will show you straight away.
And if you can get to the problem first. You can deal with it in camera to a
certain degree, so once you know that you’re going to have a problem with Moiré,
there’s a few things you can do to alleviate it, and I’m gonna look at three
different solutions, the first solution is pretty obvious, I could get Sam to wear
a different shirt, that would solve the problem. Anything with a bigger pattern, or even
no pattern whatsoever, and I wouldn’t have a problem anymore. Downside is, that’s not necessarily a
solution, it could be a photo shoot where this shirt is vital for the entire shoot.
It could be an architectural shoot and the Moiré is coming off of roof tiles from a house for example. That you couldn’t really change. So while that’s a solution, it’s not always
practical. The second solution is to change the camera’s settings, so I can do
a couple of different things and I’m going to start with the aperture. So I’m
currently shooting at f5.6 lets take a shot like that. Here we go Sam, great, one
more, put your thumbs in your pocket for me. So with f 5.6, there is plenty of problems
with that shot, the Moiré pattern is there, and very clear, what would happen if I
choose f8? A stop difference. Well, I can dial f8 into to my camera, just
need to adjust the flash, that means it needs to produce one more stop of light. I
can do that on the remote, three clicks. That’s one stop extra light from the
flash, that should balance up the exposure, let’s take the same shot, and f8,
there’s still a problem. I can still clearly see the patern on the shirt that
didn’t work. Ok let’s try one more, let’s try f11, so again I can dial in f11 on my camera, increase the flash power to
compensate by one more stop, and take the same shot again. So at f11, the problem looks like it’s almost
gone there’s still a hint of it here and there, but surprisingly, by changing the
aperture I’ve managed to reduce if not quite eliminate the Moiré effect, so
what else can I do? Well I can also zoom in, so I’ve gone for quite a wide shot at
the moment but if I take a much closer, more tight shot, the problem should just
go completely, just look down over there for me, bring your eyes back to me, and as you
can see, on that shot there is no problem whatsoever, by zooming in closer,
I made the pattern on the shirt just a little bit bigger, so it doesn’t
interfere with the pattern of pixels on the sensor and solved the problem instantly, but once again of course it
may not be a solution, because maybe you need a certain angle of view. of course is
always a third option and that’s to fix it in post production both Photoshop and
Lightroom have some tools to help you reduce Moiré, and we are going to have a look at those right
now. There are of course plenty of different ways of achieving the same result inside of post-processing software. But the way I’m going to do, works with both Lightroom and Photoshop Adobe Camera Raw
which is what I will be using and it’s pretty effective too, lets have a look.
So here we got Sam, and at first glance there doesn’t seem to be a problem here and
that’s because we’re looking at a high-resolution image on a low
resolution screen. To really see the problem you always have to double click
on the Zoom tool or have a look at the one-to-one view, and that’s when you’ll see for
real, the damage that the Moiré effect is
having, and there’s two problems here, There is some weird stripes and circles
that’s a telltale sign, but also a rainbow color that doesn’t exist, this is
a pure grey shirt, so two things I need to deal with, the color in theory
and I guess I can just take the saturation away and that will fix the
problem. Except it doesn’t, because I’m left with
the stripes still and of course I might not want a black and white image, so that’s
not really a solution at all. What I need is a tool, and there is one that specifically
removes Moireé, now you might think it’s going to be hidden away with the noise
reduction and the sharpening, that would make sense, but it’s not, this is a local tool,
so it’s found underneath, either the adjustment brush and if I come down here it is, Moiré reduction, or the graduated filter. Moiré reduction, there it is, or the
radial filter has it too, so those are the three tools, at the time of recording that
you’ll find this effect on. Now I’m gonna use the adjustment brush, it’s the slowest,
but more accurate way of working and everything on the adjustment brush
setting is zeroed out except Moiré reduction that I’m going to put to around
+50. Then what I’m going to do, is get a nice big brush, and we’ll just start painting
over this part of the shirt. Up at the top here, and hoping, crossing my fingers that
it’ll work, as nothing appears to happen for a while, and then magic happens and
it disappears more or less, There is always a bit you missed, isn’t that good. Now let me just tell
you a couple of things before we get too carried away. First of all this is a slow process it
will slow your computer down it will take time be patient. Secondly, it’s not an out-and-out
solution this is a software solution, it has it’s limitations and it can have some
disastrous drawbacks. I’ll look at those in just a second so keep that in mind, but
on the whole that looks pretty darn good Ok, let’s just move down to the the rest
here and I’m going to paint over the rest of his shirt and obviously the more time
I spent here would give me better results, because things like his sleeves,
and everything else that needs to be done. There are some areas where I’ve got
that sort of patterning and it doesn’t matter how many times I go over it, it won’t
go, so keep that in mind not everything is a perfect solution. Now, when I came up to the top I can see there’s a little kind of gray
area on his neck here if I accidentally painted bit harder around that area that’s
going to extend and become worse, the reason I like to do this with a brush, is it gives
me the control to paint the effect where I want it to go, Now I mentioned earlier
that I start with 50 as my control here by popping out to a 100, you’d
think that’s going to be better but it will have a more detrimental effect on
areas where you have a crossover of tones and patterns because it’ll try and
apply a Moiré reduction even where there isn’t any, and you end up with a
sort of bleed effect, coming in on to things like skin tones and hands and
other things around the object of trying to remove the problem area from. So the
art with this is to take the Moiré reduction down, and start with it fairly
low, if you can get away with it, so down here I can still see a hint of something,
it may or may not come over on the video in that area there. I probably need to
go up to sort of mid thirties before that goes, probably even sort of 40 before it is gone to
a level where I’m happy. Now I’m still left with a slight gray halo around the neck area here so I’m going to
jump from the add to the erase, I’m going erase that back using a nice neat small
brush, again I need to be patient because this won’t happen live, when I let go, I have
to wait for that to render out again faster computers may make that happen
even quicker from my little computer here. Well I just wait a few seconds, and there
we are. So there we go, there is the Moiré fix. Let’s have a little look at before and after,
side-by-side and I’ll think you can agree that whilst it’s not absolutely perfect, that
is acceptable. Good enough and I don’t think anybody would
notice a problem was there at all. Well if you enjoyed this video and you
want to see more from myself and the other amazing presented here at AdoromaTV you know what you’ve got to click on the subscribe button. I’m Gavin
Hoey thanks for watching. Do you want great-looking prints at low-cost be sure
to visit our easy to use online printing service AdoramaPix, our professionals
to treat your images with the utmost care that you can count on. For quick
turnaround on photos, cards, or albums use AdoramaPix.com

Add LUXE drama to studio photography with digital overlays in Photoshop: Metallic Pinstripe

Add LUXE drama to studio photography with digital overlays in Photoshop: Metallic Pinstripe


hey everyone this is Jessica with Daily Designables and I’m back to show you one more time
play a and one more example of how to use my
lacks digital paper as photo overlays or
textures so to start off with I’ve diet another
nice studio shot here fifth time with that little bit of a
darker studio backdrop and what I’m going to do is use wanna be’s digital papers here as an overlay I and to start off with just like the other one you wanna grab
10 neutral colors not one that’s already colored I’m just
kinda works out better so I’m in a gram that’s one its less color saturated than the other ones
and it’s darker so that is a good one to start with let
me go back here and got the paper already I just simply take my selection tool dragon slayer on top of my photo and it’s really large as on my digital papers are so I’m gonna pre transform this resize this on the Mac I’m using command he on but it’s actually really big some
good at typing in here texan values and get me started I think on the PC is control T so holding down the shift I’m gonna
resize this and then hit return to commit my
transformation so there I have the paper over the image and I’m just gonna turn that offer right
now and what I’m going to do is make a color square over the whole image and this is going to be a he layer for additional paper so first off I just wanna take my eye dropper tool
and grab color from the backdrop just maybe a mid-range color kinda dark toe take my square tool direct air tool just draw a rectangle a colored
rectangle over the whole image now it’s pretty
similar to that color backdrop might just move it over get a little darker that good can get a purplish turned to
the backdrop so can I just put that back over there and i won hide that make invisible so now we’re going to go
back to be digital paper over here on the blend
mode let’s put that in overlay see how it
works or soft light work but kinda nice overlay and just go with overlay for now and it’s over you know you can see that
it’s over the the woman but we’ll mask that out San and I’m gonna go ahead and turn on this
layer the color square lehrer right now it’s
on normal but we want to turn net to heal and now me wanna hit layer create clipping mask so that Eclipse to the bottom clips to
that digital paper lehrer the little purple for my case right now
but we’ll just change that later but as you can see it changes they heal that digital paper overlay you could
even make it really purple yeah just change the color
have the lake and obviously this price gain enough
doubt but it’s pretty neat anyway to change the color so it is
gonna leave that for now actual turn that off and now want to mask out this part over the
girl so I’ll go to layer wear mask and we’re gonna reveal all gonna get my well gradient tool make sure it’s set on a radio laptop make sure we have the black here and then just hold down and make a
little gradient over the girl and I’m just gonna mascot
that where and as I said before my other tutorial it’s pretty cool because if you match
use this hue color layer or whatever you can match that overlay to the background and it’s
pretty forgiving say you don’t necessarily have to be super super
precise as he would otherwise I’m just getting
all this have the glittery sort of a layer of her skin you know just easily using the
gradient tool which is really fun miss a nice way to do it you could
always on get a pen stylus or just carefully more carefully cut it out but right now
we don’t really need to. selling keep going there might have it kinda satisfied so that
looks pretty cool you know you can go back in here switch
it to white bring in some other spots and maybe
he’ll went too far on but you know it’s a
layer mask so you can always just change it alright so that’s pretty good and then yes you can see am using the overlay am and a hat this adds a warm to the background which
is kinda cool but i wanna match it to the backdrop so
I’m going to kill like that think I’m just whining and a
little less saturated I’m just kinda changing the color on
that he’ll air there we go that’s better say a you can just keep changing that make their it kinda bread but I really
wanted to be kinda gray like the backdrop was originally said now it really looks pretty seamless maybe
turn on and off Bellaire so I think that looks pretty cool and
it’s a nice way just adds an easy visual interest easy texture background without having
to by another backdrop or something now and you’ve got that cool metallic
the fact and it’s really Kennedy you need a mask
out like you don’t have to be so super super precise for it to look
good for now when I’m gonna do and I’ll just
a where gonna flatness MH and I think I’ll drop it into my
template over here this one I’m gonna go click on the red
layer my photo will go above that where and drag it over here and actually had that size down but normally you would never want to feel make an image bigger like this but for
display purposes I’m just going to had there’s a different resolutions 20 just put that photo in there and with
that dark around the edges these gold highlights
just like a L’Ecole really good I think that looks really nice I might
duplicate this edge layer and see how it looks don’t
really even need that so I think it looks pretty cool that’s a
great way to make a blog graphic the marketing graphic use this in your alburn and clients
sneak peek you know whatever you can think up so
hopefully you enjoyed that template and come back for more and don’t forget
to stop by my facebook page and leave me a template request or ask me

Add LUXE drama to studio photography with digital overlays in Photoshop: Zebra Gold Leaf

Add LUXE drama to studio photography with digital overlays in Photoshop: Zebra Gold Leaf


hey everyone this is Jessica with Daily Designables and I am here today to show you how to
use my luxe metallic digital papers as a photo overlay or a texture overlay so to start off with I have this nice
studio shot and it’s got a nice plain studio
backdrop but I’d like to add a little bit over visual interest to this so I’m gonna do its use this stage opec
paper pack from my website and to start off with US Europe wanna
the neutral ones a I’ve color I some digital papers some
other paper for a already but I would grab the 1i the neutrals
like this and probably the darker one so I’ve
already got that opened in Photoshop here one there we go so I just wanna take my selection tool and
dragged this layer over my photo and now I need to resize
it so I’m gonna hit command T I’m on a Mac or you could hit control teeny piranha
when does I believe that is the shortcut and holding down
your shaft you resize the earth tell you happy with
it hit return to commit and now you’ve got that layer over your
photo I’m gonna go here to the blending mode
and change that overlay and already you can see the coal effect that it has nevermind
this for right now and on this overlay mode it’s nice
because it keeps the shadows and highlights behind them so it looks
natural and I’m going to just turn that offer
right now we’re also gonna make a.m. color
correction layer so that we can better match be digital
overlay to the color of your background it’s not going to make such a big
difference on this photo cuz it’s actually kinda similar but on other photos on you’ll see it
will make a difference so this is basically an idiot he lehrer
so you go over here to your square tall and I miss gonna
hold a actually first off let my color go
here the color picker I’m just gonna pick where these
Midtown’s have the tow so got that color picked pay is my square tool
gestionnaire create that shape over it got the color backdrop we’re gonna go over here to the layer mode change
that to heal and turn it off for now now we want to
go back turn on our digital paper overlay and we
want to or mask out this part that’s over the girl so we go to
layer layer mask reveal all and then I’m gonna go here to my left
pic this gradient tool make sure it on the
radio make sure you’ve got black and I’m just
gonna easily make some little gradients and mask that of you can get a little more detailed if
you want but this is a miss overlays a very forgiving thing
especially if you match it to your backdrop SanDisk annie is that and make some
little gradients hold that down just get that part that’s over her and don’t worry if it’s not perfect you
can always go back in a just a little bit but I’m just using the gradient for a
just a rough roughly a mascot already looks great I
mean it’s really forgiving and it matches
this happens to match the background really well now I’m gonna go back here that already looks really cool to me I’m
gonna turn that he layer on and you’re not going to see
much of a difference on this one but I am on that
this is important to go to layer and I create clipping mask so I clip
that he’ll to that digital paper elaire so there you go you can mask that out a
little bit more refined if you like but if you match the color with that he
layered the backdrop it’s pretty darn forgetting and I’m just
gonna leave that up to 100 percent I think it looks really cool and if you see here you click this double click your heels where you can
actually change to that he over the backdrop and this one
doesn’t show is a much different here because it’s a lighter backdrop but
you’re gonna really see the different if you have like a
darker backdrop but it’s pretty cool you can change it
that’s like a cool that looks Kenny everything counts a lot
of that hair like that how it is I like the gold color so that the first part and just for a
little fun Canada hit can get a flat my image image here layer flatten image I’m gonna drag descent went to my
templates so annie is this template here and as you
can see a lot on my templates are really multi-purpose so we’ve got a family picture here but
you know don’t let that limit you so or going affect Photoshop here take
this and got that template already open and I’m going to drag this above the
right but the flicks a really cool I think
this’ll make a really gorgeous blog traffic or something and have got that in there I’m gonna head
command he or you could do control tea if you’re on
a Windows gonna hold down the shift in resize
that’s a little bit just I love this golden glamour
collection I think it’s just really really pretty I love anything that shiny
and sparkly so can hit return commit that and that looks pretty cool as you can
see over here and got this optional dark around the edges and
that’s going to make that border stand out more and I’m just going to right click here
and duplicate this layer because I want that little edge to be more dramatic he could even
do it again a little more now I don’t think I’ll
have that one out like that and there you go you can use this as a seen your style inspiration use this as
a blog graphic use this as a Facebook marketing graphic
but I think it looks really great so there you go and that was just using two my templates so
I hope you enjoyed this tutorial and come back for more

The Double Exposure Trick – Exploring Photography with Mark Wallace

The Double Exposure Trick – Exploring Photography with Mark Wallace


In this episode I’m going to show you how you can use store windows to create some really interesting double exposure effects with one click of your shutter. AdoramaTV presents ‘Exploring Photography’ with Mark Wallace. Hey everybody. Welcome to another episode of ‘Exploring Photography’. I’m Mark Wallace. Well I’m here in a passage way, it’s sort of a shopping center in Paris, and the thing I love about this is it’s got lots of windows and tons of reflections and this gives me an opportunity to demonstrate one of my favorite photography techniques and that is a false double exposure. It’s a term I totally made up myself, but what it means is when I’m shooting into a window like this, I can either focus on what’s behind the glass or the reflection that is on
the glass or maybe if there’s lettering or something on the glass I can shoot
that as well and so what I get is a photo that has different layers of a
photo so I get the reflection, I get the thing that’s behind and I get the glass
itself and it can create some really unique opportunities. Now the trick to
this for me is to use a lens that has a really wide aperture, so I’m shooting with
a 50mm 1.4 aperture. This is going to give me extremely shallow depth of field and that allows me to selectively focus either on the
things in the window, the window itself or the reflection in the window and let
everything else fall out of focus into some wonderful bokeh. So I’m going to shoot some of these, show you the results and then there’s really a trick to process these
in post-production so we’ll do that next but first let me shoot a few photos and then we’ll head over to Lightroom and I’ll show you how to make these look great. Right, I just found a really cool spot. And this is sort of the joy of doing this technique is to find somewhere where you have different levels of photo inside of the reflections and of what’s inside here and so we’ve got some really cool colors, a red lamp we have a yellow couch in there but there are people behind me and you can see that are
coming out from the other side of the street and they’re reflecting
beautifully in this window and so I’m getting that lamp and the color and I’m
getting the people walking through and I’m getting these are really interesting
street shots that look like they’re been superimposed with other photos even
though it’s all with one shot so this is a technique that can really give you
some rewarding photos. So in this window here we’ve got this beautiful painting
here but what I’m doing is I’m actually ignoring the painting all together and
focusing on the reflection in the window of the people walking by and so I’m
getting some interesting portraits of people looking at this picture and so
it’s a really neat technique. So I’m going to shoot a few more secret portraits and
we’ll see how they turn out. Well, the truth is I can shoot this all day
long but we really need to get over to Lightroom so I can show you how to do the
post-processing on these images so they really stand out so let’s head over there
and start that right now. OK, before I start showing you how I
processed these images. Let me sort of show you what they have in common. Notice that
they have really high contrast. The blacks are really black. They’re highly
saturated, the clarity is really high on these images. Now, each of these has sort of been interpreted the best that I can interpret that specific image. There’s no one way to process these and that’s the fun of this. You can make it whatever you want it to be
and you can also see that in some of these images you will show up. And here I am
clearly in my own photo and here’s Lex, taking a video of me making this photo. So
that’s one thing you have to be aware of I’ve seen myself in my own photos and I do
this so watch out that you don’t show up in your own photo. Let’s get back to
interpreting these photos. I want to show you this series of photos that I shot at the window when I was looking up, sort of, at the sky light here. Notice that have three images, basically
of the same thing and I have interpreted these differently. I’ve got one that’s got really nice
blues so I have taken the color temperature really down to the blue end of the
spectrum. This image, same place, I interpreted that as a black
and white image. In this one I made much warmer so it’s almost a sepia and so you can take and make these whatever you want them to be but you’ll notice that they’re highly… They’re really contrasted, they’re saturated
unless they are black and white. You might want to do that for something
that’s got really, really nice strong shape like this does. OK, so what we want
to do here is I want to start by showing you the first thing I’ll normally do. I’m going to take this chandelier here, hop over into the develop module. The first thing I’m
normally going to do with an image like this is I’m going to figure out what is the color palette? What are the colors that I want to work with and so what i’ll do with this one is I’ll start
by playing around with my color temperature slider. Now, I shot everything in RAW. You want to do that so you have the maximum amount of
data to work with in post-production. What I’m noticing here is when I get down to around the 2200 range, I’m starting to see some blues showing up here we’ve got some really nice reds. This orange is starting to show up here and so it’s really nice. I really like that. That’s a place to start. I need to make this a little bit more
contrasty, so the first thing I’m going to do here is I’m going to take my blacks. I’m going to take them way down. Now don’t be afraid to sort of overdo this, because once you take these blacks way down, you can balance that out by opening up the shadows. I will do that. Take this back up to around a 59-60 area, something like that, so now I have really contrasty, and I’m starting to see those blues and
reds, those complementary colors. They’re really starting to show up. Now I’m going to take this clarity slider and then take that up here to almost thirty to bring out some more of the
character of this image. My vibrance is at 15. Now when I can do is I can start
doing some things down here in my saturation sliders. So if I click on this little
button right here, I can take this up and I can click in a blue area and I can increase that. I’m going to take that way up to about 50-60 something like that. So
we have this blue that starting to show up. The blues and the chandelier are
starting to really pop. I’m going to take these reds here and bring those way up. So I’ve got the reds that are coming up, I’ve got these oranges that are really starting to explode so I’m
really getting these nice complementary colors and there’s color bouncing all over the place and you can see that I’ve started to manipulate this. I can sort of see
if there’s any green in here, bring that out, yeah. We’re getting this green that’s sort of down at the bottom of the chandelier and you can see that you can play around with
all this stuff and really brings some character into your photo so I’ll kick that side panel out. Let’s see a before and after. You can see that, yeah, this was really sort of drab. This is really contrasty. I’ll do a straight split here and you can see that this is
really an improvement over what we started with. Alright, so that’s how I normally will
approach an image. This isn’t really the best image in the series but it’s a good
image to illustrate how to approach it, fine with the color palette is and then
really make it as contrasty as you can, but let’s take a look at a different
image. This is one that you’ll see these kind of images. It looks sort of hazy
they don’t look like they have a lot of contrast because they don’t. All those reflections sort of put a fog on your image so the way that we can really pull something
out of this. we’ll go into the develop module and what we’re going to do here is
there is a new feature in Lightroom 2015 it’s this Dehaze filter right here. It’s in the Effects at the very bottom of the
develop module. I can increase or decrease this to really bring out some character
of an image like this and you can see this guys is sort of popping out. Notice that we’ve got a lot of oranges here, so we might not want that. We want to go a different direction. Now I’m going to not go too crazy on this dehaze here so I’m going to make it about it 35-36 setting
because I also want to do my own traditional contrast settings and that
is to just get in here take this black slider, take it way down again so we’re
up about 75-77, something like that. We can start to see that’s really coming
out. I can take my clarity, take that way up so now we’re seeing super high contrast
from that hazy image to a really contrasty image and we can go in, I can start feeling out where I want this color. I sort of like that blue but not that much blue so I’ll take that down to around
3200, something like that. I can play with the tint, see how that works out. I think around 18 or 20 looks pretty good. The contrast could be increased a little bit and now you can see that we just went from something that was really low
contrast and hazy to something that is really nice and crunchy and that is what
you want to do. You really want to get in there and make those images high
contrast. Now the thing about this image that I really like here is when I see an image like this I see that it could
probably be much better as a black and white image. So I’m going to click over here to black and white. I think it really works,
but the thing with a black and white image is you can then go in and can play
with your black and white conversion and you can take maybe this cap, and make it a little bit darker, you can make this a little bit whiter, so if you don’t know what I’m doing here,
I made a video on converting images to black and white so that’s something that
you might want to take a look at. We’ve included a link in the description of
this video and so I did play with this quite a bit and here is what I came up
with, with the black and white image. I really like that . It’s really grainy, it’s got
a lot of character, a lot of reflections and this guy looks like he’s just one really
mean dude and I like that. One other image I want to show you that has some
techniques that you might have to apply when you’re working on these images. With
an image like this we have a lot of different color temperatures. We’ve got the
color temperature of the interior. We’ve got color temperatures of things that
are reflecting. We’ve got color temperatures of lights in the image so
you might have to do some individual local adjustments. It doesn’t look like
there’s a lot going on here in this image but let me show you two things that I’ve
done. The first is this lady’s face right over here. It’s sort of blended in with the
border of the frame of this photo right here so what I did was I actually put an
adjustment brush right over her face and you can see where I’ve brushed that in and I took the saturation way down so if I turn that off, you can see that her face was just sort of
red and orange. I didn’t like that so I desaturated just her face. That’s one thing you might want to do, is do some local adjustment brushes to change the
saturation of the color temperature of the contrast etc. This guy right here, the main character in our image. I didn’t
like the color at all of what I was getting there so what I did was I used a radial filter and I can turn that on. You can see what I did, so I’ll hover over this. You can see that I’ve filtered this entire area that’s showing up red right there. If I turn that filter off you can see that
there’s just way too much of this sort of yellow, and so by turning that on what I did
was I took the color temperature and I changed it so that it wouldn’t have
so much yellow in that specific area. It was drawing my attention away from what I
wanted and so I did that filter right there. So two local adjustments so you might
have to do that on your images so the basic thing that you want to do with all
your images: increase the contrast, increase the saturation and then make them your own. Thank you so much for joining me for this episode of ‘Exploring
Photography’. Shooting into reflections like this and finding these passageways
with all kinds of glass reflections and depth, it’s really one of
the most rewarding things you can do with your camera. Remember the secret to
this is to get a lens that has a really wide aperture so you can have that selective focus so you can shoot inside on the glass or the reflection and that’s going to give you the
best results. Well don’t forget to subscribe to AdoramaTV. That way, you don’t miss a single episode, it’s absolutely free and also check out the Adorama
Learning Center. We have tons of articles and videos all about photography and
shooting video and even audio stuff so check that out and thank you so much again for
joining me. I will see you again next time. Do you want great-looking prints at low cost? Be sure to visit our easy to use online printing service. Adorama Pix has professionals who treat your images with the utmost care that you can count on. For a quick turnaround on photos, cards or albums, use adoramapix.com.

Digital Interactions – Introduction to Macro and Object Photography Using the Copy Stand and DSLR

Digital Interactions – Introduction to Macro and Object Photography Using the Copy Stand and DSLR


but everyone thank you for turning up
today my name is dr. Robert lenford as you’re aware of by now and basically I’m
an archaeologists on a project nearby the tram expansion project which if you
drive it off you know you’re acutely aware of the traffic that it’s causing
so I’m basically on tea break at the moment so I’m just gonna briefly talk
for about 25 minutes or so and I can answer any questions
basically I’m talking about today the coffee stand and the DSLR in this case
it’s a Canon 7d some of you may may be very keen digital photographers and some
aspects of this you may be more familiar with that I do quite a bit of a
geography I’m basically self-taught but I’ve been doing it intensively for about
five years now and basically I take lots and lots of photos of everything so I’m
coming at this from a from kind of a advanced amateur enthusiast perspective
if you will but I also I was the photographer on the poplar Petri project
in which I photographed the pod refined from the site in Greece where dr. John
Henderson and the department here has been working so it took about thousand
artifacts photos on that on that excavation and and then just naturally
in my job as a commercial archeologist at the moment I do a lot of site
photography so but getting away from field work a bit at the moment basically
I’d like to go through and just say a little bit about what is macro
photography which you may or may not have heard of and basically what the
coffee stand what its advantages are over say it
scanner for example if you if you’re photographing documents and macro
photography is basically as I eloquently put in handout is making big photos of
small things so technically if you’re taking a macro photograph you are taking
a photograph that is larger of that object in real life so if you take a
photograph of a fly for example and you print it off and the fly is this big and
then you are doing macro photography this this copy stand is capable of
helping with that they can also be used with with different lenses now just to
point out the lens along here at the moment is a 100 millimeter lens it’s a
macro lens on the side it has a minimum focusing distance of about 31
centimeters now the other two lenses are what they call standard prime lenses
they’re a bit wider angle ones a 50 mil 28 mil the lower the number the wider
the angle of view with these lenses these lenses are called prime lenses
versus zoom lenses zoom lens you might have a range from say 18 to 55
millimeter or something like that so you can you can move in and out without
having to move yourself physically remove the camera to get the desired
composition now this one has a macro function
and it will focus within 31 centimeters kit lenses or standard lenses may
actually have a closer focusing distance but the problem is if you get the lens
too close to what you’re trying to take photographs up then you’re lighting on
the sides is being blocked and in photography lighting is as critical as
everything if you want to get really good results you need to get your
lighting set up properly so I mean said that to switch back just to the coffee
stand basically a copy stand works in the same way as the tripod does just as
the gentleman here is using for his video camera the advantages of a copy
stand as you can see you can get very precise you can get very precise
vertical motion with it and you can also if you in rare cases if you want to tilt
the camera to get an oblique angle you can do so by making basically micro
adjustments with this hat but the primary advantage here is is that you
get excellent control height wise with the camera now the advantages over a
tripod as you can see if you’re taking objects horizontally with a tripod you
would need to shorten two of the legs as I’ve done the forum projects where I
didn’t have a copy stand shortened to the legs and have the third leg
extending way out and it’s a big kerfuffle you’re trying to get the
camera directly over the object you’re trying to photograph and you have to
have a rucksack underneath with some books in it to hold everything it’s yeah
so this is a much more professional set up you can look in the phreatic
sometimes and find film enlargers that people
and you can actually take the enlarger bit off because it uses a similar base
and upright as the top east and so you can you can almost make a coffee stand
if you’re particularly keen on that the lighting is critical
again with this you have what’s called white balance which I’ll talk about a
little bit more in a minute but the lights the lights used here
mimic basically sunlight at noon or when the sunlight is in overhead conditions
they would have a different color temperature probably than these
fluorescent bulbs overhead so you’ve got two different lighting sources so you
need to be aware of where you’re lighting these horses are coming from
three actually you’ve got a third color temperature coming into the window but
it’s not very strong today so we don’t need to worry too much about that I am
now quickly before I move on to more and camera bits the copy stand has primary
advantages for photographing documents and objects with precision documents in
text especially rare text or fragile text that you can’t just plunk down in a
flatbed scanner so have a little ditch eye and keep going back and forth page
after page you obviously can’t do that with some documents damage them in a
very short manner Laurens documents that I know there is
well this standard here in particular may be able to fit larger documents but
again if it’s a rare manuscript for example it’s much much preferable to lay
it flat on a copy stand and use it in photographic that way than trying to
scan an image if it’s not a rare manuscript but you want to photograph
many pages it’s a lot faster to get this set up it takes a minute to set it up
maybe compared to say a scanner once you get it set up you can use the
tether mode where you can actually control the camera from the computer
that’s one of the nice functions about this camera and you can actually get it
set up you almost have someone flip the pages
and as soon as they flip the page you can you can activate the shutter here so
you can go very rapidly that way so that’s another advantage of it so many
other advantages again the reason why I chose this object instead of
photographing a flat object this was just some some bits that were lying
around so we’ll call that our widget for today’s purposes the reason why I chose
this is because it’s it’s a taller object so the problem when you’re doing
macro photography what you can run into is a problem with depth of field that
means you might get this bit in focus but then if you want to have this part
in focus as well it may not be because bets down to what’s known as your
aperture I mean my little handout there I go and talk about this five different
things that when you use your camera most cameras have green mode or
point-and-shoot if you’re using an iPhone even every time you use the
digital camera on an automatic setting it’s doing five things for you so you
don’t have to think about it so you can just take the photo
the first one is focus its auto focusing the second one is shutter speed the
third is aperture the fourth is ISO and the fifth is white
balance basically autofocus most cameras today are very good with autofocus you
don’t have to worry about that too much if you were say photographing this
temperature controller over the wall this is what we would call a little
contrast above that because there’s not much for the camera to recognize so you
may have to switch to manual focus to get the proper focus on something like
that obviously a more high contrast situation where we have this brass water
fitting the camera will be able to autofocus quite easily so 99% of time
you can leave the camera on the autofocus you don’t have to worry about
that the second one is shutter speed as you
can see in the hand down on second or third page there’s the bullet passing
through the shutter speed is the difference between having a blurred
photograph or having a nice crisp photograph and you’ll find this if you
take photos it’s someone’s birthday party in low-light and you get your
photos back and they’re all blurry it’s because you’re moving perhaps or the
people themselves are moving so there’s different ways you can correct that one
of the ways you can correct that is by changing the aperture which is inside
the lens that controls the amount of light that reaches the sensor the
aperture also controls your depth of field so it’s a trade-off there is a
compromise here because otherwise numerically and higher f-stop say you
might look at an old camera lens in my twenty-two on it more things will be in
focus say if you’re taking photograph in this room starting from this point here
to the penguin might be in focus at f-22 but if you dial it down to say F 2.8 you
might only get this bit focus if you’re if you’re photographing that way so
everything’s a bit of a trade-off so if you’re using deeper apertures that have
a deeper depth of field and you need to increase the shutter speed
correspondingly and it’s if everyone does have a handout along you may
already know this and it’s um it’s it’s outlined in in some detail there but one
of the advantages here and if you switch to green mode the camera is going to
make a decision about what aperture you want most of the time that’s fine if
you’re photographing something flat you don’t have to get too caught up in the
technical bits you can set it on green mode and the candidate software and
basically you can start clicking away as long as you have your file settings such
as JPEG or if you want to shoot RAW files basically go to town but saying
this is you’ll have to pretend with me here this is an incredibly rare object
and you only have this afternoon to take a few photographs of it before security
comes and takes it back to whatever museum it came from so you don’t want to
use green mode in this instance because you may look at your photos the next day
after you’ve really sat down and you know all the excitement’s weren’t off
and realize that your aperture didn’t allow a sufficient depth of field to
take nice clear detailed photos so what you do if you go to manual mode this is
as the name suggests you full control over all of the camera
settings and this is a perfect environment for using manual mode
because we’re a we’re shooting an object that doesn’t move it’ll sit there as
long as we wanted to that allows us to use a very slow shutter speed so we can
set our aperture in our ISO at the highest quality settings to get a really
really good photograph of this object so in this case we’re also assisted with
good lighting we know what color is color temperature wise this is about
5,400 degrees Kelvin on these lights you don’t have to remember all of this auto
white balance on cameras these days are quite good and since we have a known
color temperature we can always go back and photo editing and change the color
cast if we think it’s same not quite as red as it should be or not quite as
yellow so we’ve got auto focus and auto white balance we don’t have to worry too
much about it it’s really good these days however to get our depth of field
and if we want to get all of this in InFocus F night it’s in spikes Empire well you
won’t be able to see it very well I have this set on a very very high
f-stop it’s f 29 at the moment f 32 which is actually the maximum for this
lens and we’re not done is everything’s on manual setting the ISO goes back to
the film days and it’s what what your film speed is basically now in digital
that translates to basically image quality if you’ve taken a photo in
low-light it’ll be very grainy the image all will start to break down and
deteriorate that’s because your camera in in auto mode is saying oh there’s no
light here this is awful so we’re going to use very high ISO say ISO 6400 and
you get the image and it looks really awful some people like it for artistic
purposes so they like the nice grainy image but we want really good detailed
images from say publication or maybe even gallery enlargement for an exhibit
at a museum so we want to shoot the lowest ISO possible in this instance
most cameras these days is over 100 is the best set because we’re in control
were shooting a non moving object with controlled lighting the camera is held
Rocksteady thanks to the copy stand we’re completely in the driver’s seat
and we can use a slower shutter speed as it takes to get a really good photo so
to get the depth of field you’ll have to do some practice shots and just find out
what the minimum depth of field is that will get everything in focus you really
don’t want to just go to the deepest depth of field aperture and and use that
straight away because you will lose a little
detail due to a process called diffraction which I won’t really go into
that so basically you want to take some test shots and what I did before
everyone came in just very briefly I took I took two photographs of are
priceless widgets and the first one I took at what they called wide open
that’s f 2.8 and basically you can see the 15 on the end of the camera actually
the the maker’s mark or what have you the brand the size of this fitting is is
in focus but you can see how quickly the focus goes away you’ve got everything’s blurred in the
background so all of this is out of focus but you’ve got a nice sharp focus
on the actual end of the object now at the other end of the aperture spectrum
I’ve gone and in turn the aperture stuff tip right the way down at 32 so you can
see in comparison how all of this is in focus including this object now because
it’s a really good camera and good lens combo we don’t have to worry too much
about diffraction because it’s very unlikely you’re going to be printing
this image off and say a1 I mean how many times do you really print a
photograph that egg one although this image you could come close to doing that
he wanted to so you’ve got your depth of field and because you’ve got the copy
stand and as I mentioned you’re in control of everything you can set the
object and set the camera settings to the desired settings you want to get the
photograph you want now one thing I need to point out is on
the page with the little this is actually from the canon 7d it shows the
little print extreme drought of the top LCD monitors on the camera what that is
it’s a light meter and anyone that’s that’s done very much photography manual
photography will be familiar with it your older film cameras and it didn’t
have a built-in light meter image the David Bailey documentary where his
assistant is holding the little meter out there they’re testing the available
light so they know what shutter speeds and what apertures they can get away
with digital cameras these days have light meters built in and so if I go and
change the aperture as I’m doing now I’m going from a really on aperture really
high I’ve stopped down to say something more normal f/8 I then look at my light
meter because there’s a lot more life coming through the lens now because I
opened the aperture I’ll just wake it up here okay so now I need to go in
decrease I’m sorry increase my shutter speed because otherwise too much lights
going to come in and what will have a will have a very overexposed image what
I’ll do here is I’ve got it all wrong I don’t know what I’m doing I press the
shutter yeah that’s that’s what you called
overexposed image and it looks like a nuclear flash went off in the room so
what you do it’s very easy you increase the shutter speed to decrease the amount
of light that reaches the digital sensor and you do that until we get so we find
it is a bit difficult doing the upside down but it only takes a second or two
there this is off the scale so instead of a four second exposure really what we
want is one tenth of a second so basically you just rotate the wheel here
that controls the shutter speed in manual mode until you until you’re right
on zero as so now we’re back in normal range I go and take another photo
breathing deep sigh of relief because now that’s coming out that’s at f/8 and
you can see that’s halfway in between these maximum and minimum I was talking
about earlier this is actually a bit of a difficult object to photograph because
it does have such a depth of field say I have this set on maximum aperture and it
still is in focus all the way I can alleviate that by moving the camera
further away from the object so I can raise it up and what that does the
further away the camera is from an object the deeper your depth of field is
if you’re shooting up very close even at maximum aperture
you might have only a very little bit in focus so this is another reason why it
gives you a lot more control and also by moving that I’ve maintained my
perspective that I have the previous photo so if I’m taking photos of
different objects I can I can maintain that control throughout the day
consistency the other two lenses are not macro lenses but then again it depends
what you’re photographing and macro really only means that the camera has a
closer than normal focusing distance a 100 millimeter lens is getting into
telephoto range that people might use for sports or for wildlife things like
that you can take photos of things across the room a bit closer so to have
a minimum foking focusing distance of 31 centimeters with this lens is quite good
as the macro designation for that one this one is your 50 millimeter what they
call your standard prime and this has a very shallow depth of field if you want
it’s f 1.4 it’s good for sports and low-light things like that if you do
have an object and you just want to get the very edge of it in focus and give it
a nice artistic effect in the background a nice blur so it’s not distracting it
draws your eye in onto just a little bit you want to have in focus and this lens
is about as good as you can get for that it’s 50 millimetres so it does give you
a little bit wider angle of view than the 100 and then also is the 28
millimeter Canon lens that if you have say photographing roughly
a a3 sized document you would probably want to switch to the 28 millimeter lens
for that just to get everything in focus and 99% of this is practice it doesn’t
take too long but once you get everything set up and take it to a few
test shots of what you’re photographing then you’ll quickly be able to dial in
the settings and manages quite quite easy to buy to work with once you’ve
briefly familiarize yourself with it I don’t even really use panic I’ve got a
Pentax but I’m thinking about selling it and getting the canons but these days
it’s really difficult to get along it’s hard to buy a bad digital camera my
camera actually doesn’t have the tether feature which is very very good that’s
one of the main advantages of this camera besides it it’s excellent image
quality is the fact that will combine what the resources here at the digital
humanities center you can you can shoot tethered photos with it and get results
instantly it’s tempting just to shoot with a digital and look at the little
screen on the back and say yeah that’s a good photo and then you download them
that afternoon and realize that somebody bumped the table or or you have one
little setting off and then the object that you wanted to photograph is back in
the library so yeah it’s definitely – I’ll stop
there before I run out of breath and I’m like I said this is just a brief
introduction please load the resources on the Internet
but buyer beware when you look at photography blogs and things like that
make sure it’s fairly reputable source but by and large the basics of
photography are pretty much the same across the board whether it’s film or
digital and then macro photography there’s entire websites dedicated to
macro photography if if you want to get very closed off objects if you’re
shooting lithics for example say you have a nice flint blade and you want to
get a really good photograph of the edge of it you can move in that’s probably
about as close as I can get with that you can move in quite quite closely I
don’t need to know what this is because I have it manual say you can get
some obviously I didn’t set that up and even look at my composition or just
fired away they you can see with that lens you can get some really really good
it’s almost like a microscope so it’s a lot of potential there diffusers as in Oh for flash photography
or tour continues lighting I guess you didn’t talk about too much is
controlling your light source because you may find that this lightning as it
is is I think good point actually it’s too bright it’s too harsh and say you’re
not getting the desired effect be one with the object you’re photographing but
diffuser basically soften it’s like a lampshade almost a lampshade is is
effectively a diffuser because instead of sitting in your chair by the
television looking at a light bulb on the table next to you a lampshade acts
as a diffuser and it softens that light and helps reduce shadows same same
effect in photography I almost gather that these holes on the
side of this are probably for some type of diffuser if you’ve seen photographers
with a it’s almost like a bit of white cottony material that just goes over the
the actual bulb just to kind of cut down on par shadows and glare without really
reducing your available light so you can they have light tents out which are just
little pop-up literally a little tense if you’re doing item photography that
you can set this inside of a small light tent and keep your light source here and
in almost because it’s it’s pretty good here but you can see a little bit of a
shadow around this if you want to completely eliminate
shadows then yeah you can use them you can use the diffuser which it almost be
I’ve heard of people using coffee filters on the spot with the pop-up
flash on their phone their camera I get so yeah you can you can use a diffuser
to break up shadows and if anyone thinks of anything else or has any photo
related questions just drop me an email if I don’t know I’ve got some friends
that probably do so yeah